CRAFT HIGH-END TELEVISION NOTES
The Pandemic has accelerated many changes. In the TV world it has fast-tracked the growth and reach of the global streaming services, and with it their demand for high-end production values. As the SVODs increase
in importance for producers, delivering content in 4K, HDR and Dolby Atmos will become commonplace across the genres. Ofcom’s Media Nations 2020
report, published in August, found that around 12 million UK adults signed up to a new video streaming service during lockdown, with around 3 million of them never having subscribed to one before. The overwhelming majority
signed up to Netflix (96%), Amazon Prime Video (91%) and Disney+ (84%) said they plan to keep their subscriptions in the months ahead. But high-end TV production values will be important for PSB
commissions too. BBC DG, Tim Davie, used his opening speech to staff to argue the corporation needs to make less content but with a much higher impact. The priority, he said, must be “unique, high-impact work that is loved” as “we are surrounded by global players with monster budgets. We must pick our battles carefully and make sure we get the biggest bang for limited bucks.” As a result “we are going to identify how we can have more impact by making less.” And as PSBs eke out budgets, co-
pro will be more important, and those co-pro partners will often be streamers demanding high end deliverables. Figures published in January by
the BFI’s Research and Statistics Unit revealed the highest spend ever on film and high-end TV production in the UK in 2019 reaching £3.62 billion, a 16% increase on 2018. Inward investment across film and high-end TV topped £3 billion for the first time. 2019 saw an interim spend of £1.665 billion across 123 high end tv productions in the UK. And the pandemic seems to have
only temporarily slowed that growth. New studio developments aiming
to capitalise on the boom in inward investment episodic TV shows and movies have barely broken stride during lockdown. The new Dagenham Film Studios is
now a go after the local council signed a deal this month with global studios company Hackman to build ‘London’s largest’ film and TV production centre including 12 sound stages and three acres of backlot. Sky Studios Elstree cleared its
final planning hurdle in July with construction now started on 12 sound stages. Elstree Studios itself is also creating two new super stages at the Elstree Studios Borehamwood site that will be ready to go next year. Netflix was already planning to
expand its physical presence in the UK by creating a ‘dedicated production hub’ comprising a mix of 14 sound stages, workshops and office space it will lease at Pinewood-owned Shepperton. Meanwhile, Pinewood is spending £1bn to nearly double its
sound stages after striking a long term deal with Disney. Atlanta-based studios group
Blackhall has also announced plans for a major studios complex on the outskirts of Reading. Planning consent was also granted mid-April for the new Ashford International Film Studios at Kent’s derelict Newtown Railway Works. And that’s just a snapshot While much of that activity is
centred on scripted content, be it TV or movies, the streamers are increasingly commissioning across documentary and entertainment too. All of which will demand HETV deliverables. The basis to achieve this is already
there. Training from organisations like ScreenSkills, The Production Guild, The PMA, The NFTS and Ravensbourne is up and running. The UK’s post production sector is a past master now at delivering the very complex demands of the global streamers. Many have experience of delivering 4K, HDR and Dolby Atmos content and fully expect that work to keep on growing.
PRODUCTION
Winter 2020
televisual.com
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