SURVEY
PRODUCTION 100 INTRODUCTION
co-ordinators. As it is, Covid has put a huge workload on to these often unsung heroes of production. “The additional work
shouldered by production managers to implement Covid protocols on top of the growing list of other requirements such as Albert certification is becoming a real issue and really adding to their workload,” says Interstellar. Covid, explains Optomen,
had added more pressure to the production management side of the business. “They are having to work twice as hard doing their normal jobs on top of managing Covid protocols.”
MENTAL HEALTH Indeed, a prominent concern to emerge from Production 100 feedback is about the wellbeing of staff and crew as they navigate increased workloads while juggling home schooling, and possible health or financial difficulties. Baby Cow says Covid has had
an adverse effect on nearly all production operations, from the ability to source and maintain crew, to scenario planning for insurance, contingency budgeting, managing broadcaster expectations, setting up Covid operations on set, managing insurance claims, rescheduling shoots and managing adverse budgetary impacts. “The negative impact to the
mental health and well-being of the crew – mostly felt across production, Covid supervisors and AD departments – has been significant,” says Baby Cow. Love Productions, meanwhile,
says it is “acutely aware of the stress and fatigue throughout the industry,” whether for staff, freelancers, suppliers and clients.
GOING REMOTE With a large percentage of their workforce working remotely, indies like Aardman say it has been hard to replace digitally the sense of
community that it is used to at work, as well as the “impromptu conversation in the canteen which creates a spark for an idea or plan.” Angelica Films, meanwhile, misses face to face contact and laments the “lack of free flowing brainstorm opportunities.” Like many, Impossible Factual
points out that it has been “easier to get ‘face-time’ with buyers and commissioners when operating by video conference platforms.” “The development team found
remote harder this year as they felt Zoom and Teams calls had been slightly exhausted,” says Talkback. “Creative thrives far more in a room full of people together and the development process moves along far quicker as well.”
C4 PRIVATISATION Beyond Covid, indies also reflect in the Production 100 on some of the wider issues that the industry is facing. Many are concerned about the
possible privatisation of Channel 4, and the impact that this could have on their business. “A healthy and competitive C4 that remains a publisher broadcaster is vital to the health of every UK indie – whether or not they are working for C4,” says one indie. The uncertainty around
privatisation is cited as a concern by the likes of Naked, Plimsoll, Studio Lambert and October Films. “The government arguments for privatising C4 make no sense and will reduce the number of suppliers in the sector,” says Studio Lambert. Voltage thinks the UK
production sector is facing “existential uncertainty”. Citing the possible sale of C4 and next year’s review of the BBC charter, Voltage says: “UK broadcasters are either destabilised by government interference or the threat of big spending SVODs launching in the UK and taking market share in key demographics plus talent drain.”
Autumn 2021 P09
RIGHTS CONCERN As it is, many indies are profoundly concerned at the increasing challenges of holding on to programme rights. The Terms of Trade has, of course, underpinned the sector’s growth and innovation since 2003. Indeed, many relied on their reserves from overseas sales to survive the pandemic when production halted. Dragonfly says that the rights
situation is becoming “less favourable overall as broadcasters erode the terms of trade,” citing C4’s increased use of Group M funding and the BBC’s longer rights window on the iPlayer. Meanwhile, “the streamers expect global rights for five years plus.”
DIVERSITY Diversity also remains a key issue for the sector, after really coming to fore last year following the killing of George Floyd and the rise of Black Lives Matter. Many indies say they are struggling to recruit diverse staff and crew. “There is a severe lack of crew, especially diverse crew, in Yorkshire,” says Rollem. Spun Gold, meanwhile, says finding BAME talent, on and off screen has been a challenge, although it hopes this will become easier over time. Amid all the challenges facing
the sector, there are reasons to be positive. Most indies agree that we are living in a TV golden age of creativity and excellence, and say that they are enjoying a growth in global customers, particularly the streamers. Changes to the UK landscape –
including government plans for C4 and the BBC – are a concern, as is the huge competition between indies for commissions and talent, and inflationary pressures in the market. But the outlook, at least, looks
far more encouraging than it did this time last year.
televisual.com
GOVERNMENT ARGUMENTS FOR PRIVATISING CHANNEL 4 MAKE NO SENSE AND WILL REDUCE THE NUMBER OF S I SUPPLIERSN THEECTOR
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