The Business of TV Production - Cambridge University Pressassets.cambridge.org/97805216/82381/frontmatter/9780521682381_fro… · Contents Preface xii Diagrams and tables xv Abbreviations

The Business of TV Production

The Business of TV Production provides an insider’s view of television production frominitial concept to developing, creating and airing the final program. It outlines the mainfunctions of each of the players involved and the key stages of the production process.

Covering all genres of television – drama and comedy, documentary and currentaffairs, infotainment and reality TV – it deals with the business side of productionand provides context for all aspects of the operation and the challenges of each genre,such as funding, sourcing a creative team, and marketing and distribution.

This book is for all students taking courses in television production and for thosein the industry wanting to upgrade their skills.

Craig Collie is a freelance producer and consultant. He has been working in thetelevision industry since 1969, both in production and network management. Hehas designed the television production curriculums at Queensland University ofTechnology, and been executive in charge of student production at the AustralianFilm Television and Radio School (AFTRS).

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The Business ofTV Production

Craig Collie






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© Craig Collie 2007

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First published 2007

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Collie, CraigThe Business of TV Production

Includes index.isbn -13 978-0-52168-238-1 paperback

isbn -10 0-52168-238-x paperback1. Television broadcasting. I. Title.

384.55065

isbn 978-0-521-68238-1 Paperback

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Contents

Preface xii

Diagrams and tables xv

Abbreviations xvii

Part A Opiate of the people: the television industry 1

Chapter 1 Origins and growth of a global medium 31.1 John Logie Baird and the race to broadcast 61.2 America sets the agenda 101.3 The ideal of public television 141.4 The coming of cable and satellite 181.5 Decline of the US networks 19

Sources and further reading 21

Chapter 2 The digital revolution 232.1 Freeing up spectrum for auction 242.2 Benefits of digital broadcasting 262.3 High-definition television 282.4 Widescreen picture 292.5 Multichannelling 302.6 Enhanced services 332.7 Interactivity 352.8 Convergence 36


Chapter 3 The industry in Australia 393.1 Consolidation of a dual system 403.2 The commercial free-to-air sector 423.3 The two public broadcasters 453.4 Changing patterns of programming 493.5 The third player: pay television 523.6 The transition to digital television 56






vi Contents

3.7 Regulatory and infrastructure changes 57Sources and further reading 58

Chapter 4 Television genres 604.1 Drama 614.2 Comedy 624.3 Documentary 644.4 Current affairs 664.5 News 664.6 Sport 674.7 Infotainment, lifestyle and magazine programs 684.8 Variety and entertainment 694.9 Reality programs 704.10 Music 724.11 Children’s programs 734.12 Animation 73


Part B Massage parlour: development and fundingof a project 77

Chapter 5 The concept 795.1 The role of the producer 795.2 Sources of the concept 825.3 Is it a good idea and who else thinks so? 835.4 It’s a concept, but is it a program? 845.5 A market for the program 865.6 Optioning an existing work 885.7 The stages of production that follow 89


Chapter 6 Development of the project 936.1 The development team 956.2 Contract with the development team 966.3 Chain of Title 976.4 Fee deferral 996.5 The development budget 1006.6 Development funding 1026.7 The proposal document 1066.8 Choice of format 1116.9 Estimate of the production budget 1126.10 Pilots 113


Chapter 7 Approaches to genre development 1167.1 Drama characters and setting 1167.2 The drama treatment 1187.3 Turning story into screenplay 1197.4 Critical assessment of script drafts 123






Contents vii

7.5 When things aren’t working 1257.6 Documentary development 1267.7 Program research 1287.8 Development of reality programs 1307.9 Other genres 132


Chapter 8 The pursuit of funding 1348.1 Australian free-to-air broadcasters 1358.2 Australian pay television 1398.3 Overseas broadcasters 1408.4 Distribution advance or guarantee 1418.5 Film Finance Corporation 1428.6 Other government agency funding 1458.7 Private investment 1488.8 Division 10BA and 10B tax deduction schemes 1508.9 Film-Licensed Investment Companies 1528.10 Corporate investment 1538.11 Production funding contracts 1558.12 Completion guarantee 156


Chapter 9 Management of a creative project 1589.1 The qualities of a producer 1599.2 Choosing the right team 1599.3 Production team interaction 1609.4 The producer–director relationship 1619.5 The team with a leader 1629.6 Negotiation skills 1649.7 Knowing how production works 1669.8 Networking 1679.9 Building a business 1689.10 Ethics 1699.11 Risk taking and commercial prudence 170


Chapter 10 Multi-platform projects 17210.1 Established merchandising 17310.2 Online platforms 17410.3 Mobile (hand-held) platforms 17710.4 Range of rights 179


Chapter 11 Marketing and distribution 18111.1 Marketing options 18211.2 Publicity materials 18311.3 The television marketplace 18511.4 Marketing beyond television 18811.5 The video market 189






viii Contents

11.6 Rights management 190Sources and further reading 191

Part C Riding the tiger: management of the production 193

Chapter 12 Commencement of pre-production 19512.1 Key production personnel 19612.2 The production base 19812.3 Script breakdown 19812.4 Refining the production budget 20112.5 Timing the script 20112.6 Pre-production schedule 202

Chapter 13 Documentation and office systems 20413.1 Office systems 20413.2 Financial organisation 20613.3 Regular reporting 21013.4 Insurance 21113.5 Cast and crew contracts 21413.6 Script amendments 21413.7 Safety Report 21513.8 Daily production paperwork 216


Chapter 14 Crew, equipment and facilities 22114.1 Choices of format 22114.2 The camera crew 22414.3 Hiring of crew 22714.4 Audio crew and equipment 22814.5 Lighting and grips 22914.6 Art department 23014.7 Advisors and consultants 234


Chapter 15 Casting, rehearsal and performance 23615.1 Types of performers 23715.2 Script breakdown and cast scheduling 23815.3 Casting 24115.4 Stunt performers 24315.5 Casting of children 24415.6 Rehearsals 24615.7 Performance on screen 24715.8 Casting for reality television 24915.9 Casting for documentary 250


Chapter 16 Locations 25216.1 Locations and sets 25316.2 The search for locations 254






Contents ix

16.3 Authorities to approach 25516.4 Geographical spread 25616.5 The location agreement 25716.6 Location surveys 25816.7 Documentary locations 25916.8 Filming on Indigenous land 260


Chapter 17 Travel arrangements 26517.1 Getting there 26617.2 Getting around on location 26717.3 Documentation for overseas travel 26817.4 Accommodation and meals 27017.5 Unfamiliar cultures 27217.6 Minders, fixers and drivers 27317.7 Dangerous assignments 274


Chapter 18 Drafting the production budget 27718.1 AFC budget format 27818.2 Story and script 28018.3 Development costs 28218.4 Producers, directors and principal cast 28218.5 Below the Line costs 28418.6 Production fees and salaries 28518.7 Overtime and loadings 28618.8 Fringe calculations 28718.9 Cast 28918.10 Materials costs 29118.11 Location costs 29218.12 Equipment and stores 29318.13 Travel and transport 29418.14 Insurance 29618.15 Post-production 29718.16 Finance and legal 29818.17 Contingency 299


Chapter 19 Scheduling the shoot 30019.1 General principles of scheduling 30119.2 Minimising travelling costs 30219.3 Use of a location 30319.4 Wet weather cover 30419.5 Cast considerations 30519.6 Timing of the shoot 30619.7 Updating the schedule 30719.8 Scheduling actuality shoots 308







x Contents

Chapter 20 Preparing studio and outside broadcast productions 31020.1 Layout of the studio 31120.2 The planning stage 31220.3 Consolidation of pre-production 31720.4 Rehearsal 31820.5 Studio guests and live audiences 31920.6 Outside broadcast production 321


Chapter 21 Management of the shoot 32521.1 Monitor progress, deal with the problems 32521.2 Review of footage shot 32721.3 Production safety 32721.4 Impact on the budget 329


Chapter 22 Management of the production budget 33122.1 Some basic accounting principles 33222.2 Cost Reports 33522.3 Offsets 34022.4 Reporting to investors and others 342


Chapter 23 Post-production through to delivery 34423.1 Role of the producer 34523.2 The three historical phases of post-production 34623.3 Linear editing 34723.4 Non-linear editing 34823.5 Archive and other sourced footage 35223.6 Computer-generated effects and animation 35323.7 The art of editing 35423.8 Music 35523.9 Audio post-production 35623.10 Sound aesthetics 35723.11 Editing factual programs 35823.12 Delivery materials 360


Part D A nod to the gatekeepers: the environmentof television 363

Chapter 24 Building the television schedule 36524.1 Schedule layout 36624.2 Scheduling influences 37024.3 Audience research 37324.4 Commissioning for the schedule 375


Chapter 25 Legal constraints on content 37625.1 What is copyright? 376






Contents xi

25.2 Rights of copyright owners 38025.3 Infringement of copyright 38225.4 Copyright collecting societies 38425.5 Other aspects of copyright 38525.6 Confidential information 38625.7 Defamation 38825.8 The law of contempt 39025.9 Offensive material 39225.10 Classification of television programs 39325.11 Privacy and trespass 396


Chapter 26 Business structure and operation 39826.1 Sole traders 40026.2 Private companies 40026.3 Trust companies 40426.4 Partnerships 40426.5 Joint ventures 40626.6 Setting up an office 40726.7 The ABN and business name 40826.8 Goods and services tax 41026.9 PAYG withholding 41126.10 The status of workers 41226.11 Payroll tax 41426.12 Other taxes 41526.13 Superannuation 41626.14 Insurance 41626.15 The list goes on 417


Index 418






Preface

The business of television production is all about creative management and themanagement of creativity. At its heart lie the conventional canons of good man-agement – financial control, people management, inputs, legal oversight and soon – but overlying this is a need for considerable flexibility. No matter how muchmarket research is done, no-one has any real idea whether a television programwill work or not. And production costs are equally unreliable, subject to weatherdisruption, sulking actors and members of the public who have lost interest inbeing on camera. It is possibly the only manufacturing industry that convention-ally puts a contingency into its production budget.

On the other side of the television coin is the management of the creativeprocess. Sometimes the people are brilliantly and erratically creative, sometimesthey are the only people in the world with any regard for their ability. They canbe dishonest, backstabbing egomaniacs. Or they can be cool, calm and collectedprofessionals who know exactly how to carry out their craft in a way that addsimmeasurably to the quality of the program. They can be the source of lifelongfriendships.

The television industry is an industry of paradoxes. Television programs aremade, for the most part, for networks that are extraordinarily risk averse, whentheir own interest is best served by taking risk, and whose commissioning exec-utives often seem to make decisions based on anything but the quality of theprogram proposal.

So why do people expose themselves to this degree of uncertainty and ran-domness? Why have I done so for over thirty-five years? Because it is perverselyrewarding and because the challenge of steering a production through all the pit-falls that lie in waiting calls on all your accumulated wisdom and experience. Youlearn how to anticipate many of the traps and to negotiate your way around them.You take a pride in your professionalism.

This book is designed to give the reader an insight into the process of convertinga curious idea into an immensely satisfying and, hopefully, successful televisionprogram. It is written from the point of view of the producer, the poor fool chargedwith steering the ship of production through to its destination, and it is an insider’sview. The story of the business of television production is the story of the producer.It’s as simple as that.

xii






Preface xiii

Most tertiary courses in media, communications, film and television – call themwhat you will – focus on teaching the creative crafts of production: camerawork,editing and, everyone’s aim in the business it seems, directing. I’m not convincedthat these areas can be taught to any great extent beyond basic operational skills,and these are often glossed over in favour of more time spent on aesthetics andanalysis. With increasing demand for these courses to have greater connection toindustry, there is a growing interest in the business side of television production.At the least, this side lends itself to the processes of teaching, although even thenit has its limits. There are basic operations and basic knowledge to learn, butultimately even the business side of television is about judgement and instinct.That cannot be taught. It is partly already there (or not, as the case may be)and partly accumulated through experience. This book is, first and foremost, atextbook at the tertiary education level, but I hope it would serve a useful purposeas well as a primer for those already in the industry who want to upgrade theirskills to try their hand at producing.

There are three main aspects to the book, covering the three sets of skillsrequired in the business of production. First, it is about people managementand, through the leadership of the production team, maintaining an editorialand creative focus in all the contributing craft skills that are woven into a finishedtelevision program. These skills are common to any television production any-where in the world, the universal qualities required of a television producer. Thesecond aspect is how to determine and obtain the necessary resources to ensurethe best possible program will be made for the funds available to it. The mostcrucial resource is, of course, money. This knowledge is specific to the country inwhich the program is being made. An Australian production needs to know whatresources are available and how they are used in Australia, how the conventionsof production work in Australia, and what the industry structure and culture isthat prevails in Australia. The third aspect is knowing the steps along the produc-tion path from concept to delivery, what the role of each step is, and how it mightbe modified for the specific needs of each production. A triumvirate of people,resources and process.

This book is not a checklist of the things to do to take a production down somestandard pathway. That would be a misrepresentation of the way the professionof production operates. There is no prescription for making a television program.Every program is different. Every production within a particular genre is differ-ent from the other productions in that genre, but not as different as from theproductions in other genres. There are conventions that are generally useful tofollow or adapt as long as they serve the particular needs of the program. Wherethey don’t, the production process should be amended so it does suit those needs.Each production pathway is planned with a mix of experience and judgement.The guiding principle is: know what is generally done, then do what will workbest for the program.

If there’s no one way to make a television program, it’s important that a booksuch as this doesn’t reflect the experience of just one producer. This is not aboutmy approach to television production, although elements of that are inevitablypart of it. I have endeavoured to bring together a consensus of experiences ofvarious participants in the industry with a wide range of approaches. I have triedto weave this aggregated experience through the common narrative of production.






xiv Preface

I’d like to particularly note and to thank Sue Murray (Fandango Australia) andIan Collie (Essential Viewing), who read and gave critical feedback on selectedchapters, Peter Herbert (AFTRS) and John Eastway (Eastway Communication),with whom I had several discussions about what being a producer is all about, andfor the insights into their particular areas of experience and expertise (in no par-ticular order): Peter Abbott (Freehand Group), Paddy Conroy and Bob Donoghue(Ovation), Fiona Gilroy and Erika Honey (SBS Marketing), Peter George (pro-ducer), Paul Vincent (SBS), Tina Braham and Chris Spry (The Lab), David Vadi-veloo (producer), David Goldie (Goldie Media), Ben Cunningham (Austar), FionaCrago (Beyond Distribution), John Russell (Essential Viewing), and no doubt oth-ers I have accidentally overlooked. There are a number of publications whoseviews I have incorporated into the body of the book. They are listed at the endof chapters. There are also the people I have worked with over the last thirty-five years who have contributed to my growing understanding of the productionprocess and, of course, my family and my wife, Jan, whose support and encour-agement have made the task that much easier. Lastly, my thanks to Alan McKeeof Queensland University of Technology for suggesting me to Cambridge Univer-sity Press to write this book, to Cambridge University Press and Jill Henry fortheir faith, hopefully not misplaced, that I could, and to the editor, Carolyn Pike,for ironing out the bumps and making the book better than it was when I firstwrote it.






Diagrams and tables

pageFigure 2.1 Presentation of 4:3 and 16:9 aspect ratios on incompatible

screens. 31Figure 5.1 Generalised television production pathway from concept to

delivery. 91Figure 6.1 Pathway of program development. 94Figure 7.1 Sample television drama story outline and scene breakdown. 121

Figure 13.1 Layout of a typical Call Sheet for a television drama. 217Figure 13.2 Daily Progress Report for a television drama shot on film. 219Figure 14.1 Camera and sound (field) crews: relationships in

documentary production. 225Figure 14.2 Camera and sound crews: relationships in a drama

production. 225Figure 14.3 Camera and sound crews: relationships in studio or outside

broadcast production. 225Figure 14.4 Structure of the art department in drama production. 231Figure 15.1 Example of a cast cross-plot. 240Figure 20.1 Schematic layout of a studio control room. 313Figure 20.2 Schematic layout of an outside broadcast van. 322Figure 22.1 Layout of ledgers. 333Figure 22.2 Sequence of events in entering a transaction in the

production ledger. 336Figure 23.1 Pathway of post-production with non-linear editing. 350Figure 24.1 Prime time television schedule layout for the ABC (2006). 367Figure 25.1 Classification zones on Australian FTA television. 394

pageTable 1.1 Timeline of global development of television technologies. 4Table 3.1 Ownership of affiliated commercial television stations in

Australia. 44Table 3.2 Share of Australian advertising revenue (2004). 44Table 3.3 Relative audience and advertising share in commercial

television (1993, 2004). 44

xv






xvi Diagrams and tables

Table 3.4 Proportion of Australian content on commercial networks,1998. 46

Table 3.5 Proportion of Australian content on public broadcasters,2003–04. 47

Table 3.6 Commercial television comparative program expenditure(2003–04) and hours broadcast (2003). 53

Table 6.1 AFC development program (as at 2005). 103Table 6.2 Contact details for state funding agencies. 104Table 8.1 Sources of funding of Australian independent documentary

production (2000–2003) and television drama production(2000–2005). 135

Table 13.1 Spreadsheet of production funding cash flow and estimatedproduction expenditure flow. 208

Table 13.2 Workers compensation authorities in Australia. 212Table 15.1 Authority responsible for employment of children in

Australia’s states and territories. 245Table 15.2 Times of work permitted for children under the NSW Code of

Practice. 246Table 18.1 Overtime and penalty rates in the Motion Picture Production

Award. 287Table 19.1 Scheduling a shoot for turnaround requirements. 304Table 20.1 Sample running order for studio production. 316Table 22.1 Typical company balance sheet. 334Table 22.2 Draft Cost Report in summary form. 338Table 26.1 Advantages and disadvantages of business structures. 399Table 26.2 Offices in Australia for registration of a business name. 409Table 26.3 Factors differentiating employees and contract workers. 414Table 26.4 Payroll tax exemption thresholds and tax rates in Australia

(2005–06). 415






Abbreviations

The following abbreviations are used either in this book or in the television indus-try generally.

ABA Australian Broadcasting AuthorityABC American Broadcasting Company; Australian Broadcasting

Commission/CorporationABN Australian Business NumberACCC Australian Competition and Consumer CommissionACMA Australian Communications and Media AuthorityACN Australian Company NumberAD assistant directorADR automatic dialogue replacementA&E Arts and EntertainmentAFC Australian Film CommissionAFL Australian Football LeagueAFTRS Australian Film Television and Radio SchoolAIDC Australian International Documentary ConferenceAMCOS Australasian Mechanical Copyright Owners’ Society LtdAP associate producerAPRA Australasian Performing Rights Association LtdAPS Australian Public ServiceARC aspect ratio converterASDA Australian Screen Directors AssociationASDACS Australian Screen Directors Authorship Collecting SocietyASIC Australian Securities and Investments CommissionASTRA Australian Subscription Television and Radio AssociationATA Admission Temporaire/Temporary AdmissionATF Asia Television ForumATMOSS Australian Trade Marks Online Search SystemATO Australian Taxation OfficeATPA Actors Television Programs AgreementATRRA Australian Television Repeats and Residuals Agreement

xvii






xviii Abbreviations

ATSC Advanced Television Standards CommitteeAT&T American Telephone and Telegraph CompanyAustLII Australasian Legal Information InstituteAV adult violence (classification)AWA Amalgamated Wireless AustralasiaAWG Australian Writers’ GuildAWGACS Australian Writers’ Guild Authorship Collecting Society LtdBBC British Broadcasting CorporationBITC burnt-in timecodeBNF basic negotiated feeBRACS Broadcasting for Remote Aboriginal Communities SchemeBSB British Satellite BroadcastingC children (classification)© copyrightCAL Copyright Agency LtdCBS Columbia Broadcasting SystemCD-R compact disk – recordableCGI computer-generated imageryCNN Cable News NetworkCNNN The Chaser Non-stop News NetworkCOFDM Coded Orthogonal Frequency Division MultiplexCPB Corporation for Public BroadcastingCSI Crime Scene InvestigationCSIRO Commonwealth Scientific and Industrial Research OrganisationCth Commonwealth (of Australia)CTVA Commercial Television AustraliaCU close-upD dayDA director’s assistantDAT digital audio tapeDCable digital cableDCITA Department of Communications, Information Technology and

the ArtsDIY do-it-yourselfDOP director of photographydpi dots per inchDSat digital satelliteDTH direct-to-homeDTT digital terrestrial televisionDV digital videotapeDVB digital video broadcastingDVB–H digital video broadcasting – hand-heldDVB–T digital video broadcasting – terrestrialDV camera digital video cameraDVD digital versatile diskDVE digital vision effectsDVR digital video recorderEDL edit decision list






Abbreviations xix

EFT electronic funds transferEMI Electrical and Musical IndustriesE&O errors and omissions (insurance)EP executive producerEPG Electronic Program GuideESPN Entertainment and Sports Programming NetworkExt. exteriorFACTS Federation of Australian Commercial Television StationsFBT fringe benefits taxFCC Federal Communications CommissionFCP Final Cut ProFFC Film Finance Corporation Australia LtdFLIC Film-Licensed Investment CompanyFPI film producers’ indemnityFTA free-to-airFTO Film and Television Office (NSW)FX effectsG general (classification)GDI General Development InvestmentGE General ElectricGST goods and services taxHA high angleHBO Home Box OfficeHCA High Court of AustraliaHDTV high-definition televisionHOD head of departmentHUT households using televisionIBA Independent Broadcasting AuthorityIDFA Amsterdam International Documentary Film FestivalIFB interruptible foldback (or feedback)Int. interiorITA Independent Television AuthorityITV Independent TelevisioniTV interactive televisionJPEG Joint Photographic Experts GroupKKR Kohlberg Kravis Roberts & Co.LA low angleLoI letter of interestL-VIS Live Video Insertion SystemM mature (classification)MA mature audience (classification)MD mini-diskM&E music and effects (sound track)MEAA Media, Entertainment and Arts AllianceMGM Metro Goldwyn MeyerMHz megahertzMMDS Multichannel Multipoint Distribution ServiceMOU memorandum of understanding






xx Abbreviations

MPEG Motion Picture Experts GroupMPPA Motion Picture Production AwardMS mid-shotMTV Music TelevisionMYOB Mind Your Own BusinessN nightNBC National Broadcasting CompanyNGO non-government organisationNHK Nippon Hoso Kyokai (Japan Broadcasting Corporation)NITV National Indigenous Television LtdNTFO Northern Territory Film OfficeNTSC National Television Systems CommitteeNVOD near video on demandOB outside broadcastOCG Office of the Children’s Guardian (NSW)OFLC Office of Film and Literature ClassificationOH&S occupational health and safetyOMF open media frameworkORS Office of State Revenue (NSW)OzTAM Australian Television Audience MeasurementP preschool children (classification)PA producer’s assistant; public addressPAL phase alternating linePAN R pan rightPAYG pay as you goPBL Publishing and Broadcasting LtdPBS Public Broadcasting ServicePC personal computerPDF portable document formatPFTC Pacific Film and Television CommissionPG parental guidance recommendedPIA Production and Investment AgreementPILA Production Investment and Licence AgreementPLA Production and Licence AgreementPMG Postmaster-GeneralPOC proof of conceptPOV point of viewPPCA Phonographic Performance Company of AustraliaPPV pay per viewPUT people using televisionPVI Princeton Video ImagesPVR personal video recorderRCA Radio Corporation of AmericaR&D research and developmentROW rest of the world (sales)SAFC South Australian Film CorporationSBS Special Broadcasting ServiceSDTV standard-definition digital television






Abbreviations xxi

SECAM Sequential Couleur a Memoire (Sequential Colour with Memory)SFX special effectsSingTel Singapore TelecommunicationsSMS short messaging serviceSOT sound off tapeSPAA Screen Producers’ Association of AustraliaSTS Simplified Tax SystemTA travel allowanceTARP target audience rating pointTBS Turner Broadcasting ServiceTelco telecommunications companyTEN The Entertainment NetworkTFN Tax File NumberTIFF Tagged Image File FormatTP technical producerTx transmissionUHF ultra-high frequencyUTS University of Technology, SydneyVCR video cassette recorderVEA Video Education Australasia Pty LtdVFX visual effectsVHF very high frequencyVI$COPY Visual Arts Copyright Collecting SocietyV/O voice-over (picture)VoIP Voice over Internet ProtocolVOD video on demandVR virtual realityVSB Vestigial Sideband BroadcastingV/T videotapeWS wide shotZ/I zoom inZ/O zoom out2D two-dimensional2S two-shot3D three-dimensional






Documents

The Business of TV Production - Cambridge University Pressassets.cambridge.org/97805216/82381/frontmatter/9780521682381_fro… · Contents Preface xii Diagrams and tables xv Abbreviations