Book contents
- Frontmatter
- Contents
- Preface
- Diagrams and tables
- Abbreviations
- Part A Opiate of the people: the television industry
- Part B Massage parlour: development and funding of a project
- Chapter 5 The concept
- Chapter 6 Development of the project
- Chapter 7 Approaches to genre development
- Chapter 8 The pursuit of funding
- Chapter 9 Management of a creative project
- Chapter 10 Multi-platform projects
- Chapter 11 Marketing and distribution
- Part C Riding the tiger: management of the production
- Part D A nod to the gatekeepers: the environment of television
- Index
- References
Chapter 11 - Marketing and distribution
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Preface
- Diagrams and tables
- Abbreviations
- Part A Opiate of the people: the television industry
- Part B Massage parlour: development and funding of a project
- Chapter 5 The concept
- Chapter 6 Development of the project
- Chapter 7 Approaches to genre development
- Chapter 8 The pursuit of funding
- Chapter 9 Management of a creative project
- Chapter 10 Multi-platform projects
- Chapter 11 Marketing and distribution
- Part C Riding the tiger: management of the production
- Part D A nod to the gatekeepers: the environment of television
- Index
- References
Summary
Usually a program is offered in the marketplace two times. First, it is offered as a program proposal, for broadcaster pre-sale among other production funding sources, as a means of cashflowing the cost of production. This was the subject of Chapter 8. A broadcaster will commit contractually to rights in the program when it is made in return for securing those rights exclusively for its territory. Most commonly, the commitment comes initially from a local broadcaster, as a result of which the possibility of an overseas broadcaster or investor being prepared to commit to the project increases. If no other funding source is secured, the first broadcaster may consider an equity investment in the production on top of the pre-sale, or it might decide to withdraw from the project. The reason a broadcaster commits to a program that has not yet been made, rather than waiting until it is completed and can be assessed, is primarily to assist the program get funded, and thus ensure it is able to be made. It also enables the broadcaster to have an input into the program, so it best fits its schedule needs. It is hard in Australia to raise the full budget for a television production. Without broadcaster pre-sale, the majority of Australian programs would never be made. As noted in Chapter 8, the program may also be offered to a distributor at this time, to seek a financial commitment for the rights not acquired by the local broadcaster.
- Type
- Chapter
- Information
- The Business of TV Production , pp. 181 - 192Publisher: Cambridge University PressPrint publication year: 2007