FACTUAL TV
SVOD OPPORTUNITIES
While media giant Comcast is backing its
US-based SVoD Peacock, its European pay-TV operator Sky has boosted investment in factual and is interested in co-production. With the launch this year of Sky Documentaries and Sky Nature, to sit with Sky History, the plan is to spend around £30m on more than 100 hours of originals each year, including around 18 multi- part series and 30 single feature docs. Lightbox’s upcoming Diana cinema
documentary will have its TV premiere on HBO and then sit on the HBO Max streaming platform in the US, with Sky taking rights for the UK. Its cinema window isn’t part of this deal. For documentary features, the rights considerations around a theatrical window can be critical. At Lightbox, with its reputation for high-end feature docs, Chinn is also encouraged by Apple’s interest in working with theatrical partners.
THE BIG PICTURE At October Films, md Adam Bullmore is looking at a different angle, observing the effect of Covid on cinema opening and how this might compromise theatrical investment. If the SVoD’s have to stump up a lot more for feature dramas, how will they also afford to offer diverse content? “The slightly more nimble afoot factual producers might be able to offer them good deals, in return for better rights and distribution,” says Bullmore. Even without a feature film funding crisis, the
demand for continual refreshing of the SVoD schedules is putting pressure on budgets and must drive the hunt for more affordable, volume-based programming, including formats. “I think it would be very naïve to think that premium factual is
“OUR EXPERIENCE IN AMERICA IS ANYONE WILL MEET YOU IF YOU’VE GOT A
GOOD IDEA AND THERE WILL BE
AN APPETITE TO FUND IT”
going to be the most robust part of their factual offering,” says Bullmore. “While premium content can have an important place to bring subscribers and elevate a channel and get it talked about, there are commercial realities that you just can’t ignore …any good returnable entertaining factual format is a hugely valuable piece of programming whether you’re a streamer or conventional broadcaster and I think we’ll probably see more of that, if the price-point is attractive.” As things stand, the US-based streamers
unsurprisingly are most interested in US- centric ideas and formats that cross boundaries. Maverick’s competition format The American Barbeque Showdown was shot in Georgia by the US division of the production company. While Knickerbockerglory was behind Netflix documentary American Murder: The Family Next Door. Blink Films’ Meet the Chimps followed the world’s largest chimp sanctuary, located in Louisiana. UK companies need to think US, unless they find a local setting, or idea, with global resonance, such as the Diana story. And keeping up with US opportunities requires commitment. At Blink, Kershaw and co-founder Dan Chambers visit the US every six to eight weeks (Covid allowing). “We ‘ve developed a methodology for working out there,” she says. Bullmore points to a cultural advantage that
comes with the increasingly influential American way of producing which can allow wriggle room for smaller producers, from any country. “It’s bringing a more American decision culture to commissions and our experience in America is anyone will meet you if you’ve got a good idea and there will be an appetite to fund it.”
48
televisual.com Winter 2020
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