SURVEY
PRODUCTION 100 STREAMERS VS PSBS
ITV ITV is next on the list as best broadcaster to work with, taking 25% of the vote. Praise for ITV centres on its “straightforward,” “commercial,” and “swift” commissioning. One big entertainment supplier says ITV “doesn’t meddle unnecessarily, trusts its clients and allows them to make the best shows possible.” It makes “quick decisions, has decent budgets and proper editorial interest,” says one factual indie, while an entertainment producer praises ITV’s “clear editorial messaging and company structure.” Others, however, think ITV
“wants its own companies to make everything,” or think that the broadcaster is “difficult to gain traction with.” Factual indies lament a “decline in factual hours,” while a big drama producer says ITV is “very aggressive with its deals.” The fact that ITV doesn’t cashflow production also means that “indies are required to take out large bank loans.”
CHANNEL 4 In at third is Channel 4 with 11% of the vote. “It has really improved comms, clarity and responsiveness,” says one factual entertainment producer, while a factual producer speaks of “collaborative commissioners, supportive production management, reasonable budgets and good PR and legal.” “We have a successful collaborative and supportive relationship,” says one major supplier. However, the negative
feedback far outweighs the positive. Budgets are a big issue for many. Some call budgets “strained” and “unrealistic,” and complain that they “don’t match editorial ambition.” Others hit out at C4’s
“confused editorial messaging” and “no clear sense of editorial direction.” “There are so many layers and so many people
involved in every decision which slows things right down,” says one entertainment indie. “They can be over-involved in creative and editorial decisions to a frustrating degree,” says another. Delays in payments and
are also a bugbear. “Invoices paid months, not weeks, late,” complains one producer. Deal terms are another. “They are continually eroding the terms of trade by forcing indies to work with Group M financing,” notes one supplier. “We all love C4, but they can be infuriating to deal with. The multiplicity of different deals, with many of them unappealing, makes it increasingly a grind commercially.”
SKY Sky sits fourth with 9% of the vote. The pay-TV broadcaster “has a clear identity and is going after projects that make a splash,” says one producer. Others say Sky has been “supportive during the pandemic” and is “easy to communicate with, open and trusting.” “They’ve always been good to deal with,” adds another.
CHANNEL 5 Channel 5 is fifth with 5%. “They don’t have the highest budgets and often insist on Motion Content involvement. But they are very clear about the programmes they want, and all departments respond within reasonable time periods,” says one producer. Others praise its “quick decisions” and “clear business terms.” Budgets are clearly an issue,
though. “Low budgets make all conversations hard,” says one indie. Others say budgets “do not meet expectations,” are “horrendous” or “very poor.” One producer speaks of “no channel support during and after production – and unrealistic wants.” For some, C5 “feels like a closed shop – many commissioners are unresponsive.”
Autumn 2021 P49
PROPORTION OF VIEWER HOURS BY GENRE SEP 2019 - AUG 2020 VS SEP 2020 - AUG 2021
Arts Children
Current Affairs Documentaries Drama
BBC 2019-2020 2020-2021 ITV 2019-2020 2020-2021
CHANNEL 4 2019-2020
2020-2021
CHANNEL 5 2019-2020
2020-2021 SKY 2019-2020 2020-2021
ALL OTHER CHANNELS 2019-2020
2020-2021 Data courtesy of
Overnight.tv televisual.com
Education Entertainment Films
Hobbies/Leisure Music
News/Weather Other Party Political Broadcasts Religious Sport TV Films
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