What is a one hour HD program worth?

[mike falconer]

My original question in this forum was how much budget to allow to produce a fairly simple one hour HD documentary for a national cable channel.

I learned that the real question I need to find an answer to is this:

How much will a national cable channel be likely to pay for a completed one hour HD program?

Obviously, the answer will be from a low of ? to a high of ?.

Does anyone have any experience with this? I would very much appreciate anyone's input. Can't think of any other way to get a ballpark figure.

 

[Michael Schrengohst]

http://community.discovery.com/eve/forums/a/cfrm/f/4371928318

http://answers.google.com/answers/threadview?id=447731

 

[mike falconer]

Red Guy...thanks for the websites. The Discovery site appears to be a fan site and the google site address the question from the point of view of someone who wants to sell their idea to the network.

I don't. My question is what can you expect if you walk in the door with a completed one hour HD peice. What range of prices might they be wiling to pay for it?

 

[Rob Gardner]

It is a funny reality that for some reason television executives seem to value a show they haven't seen yet more than one they can sit down and watch that has already been produced. As long as the show exists only as a pitch, they can project their own vision of it in their minds, but once its made, often they just see things they would have wanted differently. Anyone producing something in hopes that it will get on the air is taking a fair chance unless they have firmly established relationships in the buying market (or somebody marketing for them). If the show is truly unique and the broadcast or cable system really want its, they will pay quite a bit for it. If it is just a show like any other, they would generally rather commission it themselves, as a general rule. They know that if they acquire it they most likely have to reversion it in some way. And the price they pay will also be determined by the limitations of the license -- US broadcast only, worldwide, homevideo rights, etc. It is important in this kind of endeavor to keep in mind that there is never any guarantee that anyone will buy it, so whoever is paying for it might see no return at all on their investment, even if all the funder wants is to get it on television (if it is a mission production of some kind, for instance). I think it would be very hard to estimate the potential sales value of a production without knowing a lot more about it and who the target broadcaster might be.
Rob Gardner

 

[mike falconer]

It is a funny reality that for some reason television executives seem to value a show they haven't seen yet more than one they can sit down and watch that has already been produced. As long as the show exists only as a pitch, they can project their own vision of it in their minds, but once its made, often they just see things they would have wanted differently. Anyone producing something in hopes that it will get on the air is taking a fair chance unless they have firmly established relationships in the buying market (or somebody marketing for them). If the show is truly unique and the broadcast or cable system really want its, they will pay quite a bit for it. If it is just a show like any other, they would generally rather commission it themselves, as a general rule. They know that if they acquire it they most likely have to reversion it in some way. And the price they pay will also be determined by the limitations of the license -- US broadcast only, worldwide, homevideo rights, etc. It is important in this kind of endeavor to keep in mind that there is never any guarantee that anyone will buy it, so whoever is paying for it might see no return at all on their investment, even if all the funder wants is to get it on television (if it is a mission production of some kind, for instance). I think it would be very hard to estimate the potential sales value of a production without knowing a lot more about it and who the target broadcaster might be.
Rob Gardner

I agree. I don't think any of us can bank on any return at all...it's the only way to approach this thing.
On the other hand, if you are able to produce a program that closely follows programs that they are currently broadcasting, then I think your chances increase dramatically.

 

[Nick Gardner]

Didn't you say in your other thread that you were going to shoot for 6 days? Unless it's a cooking show how are you going to shoot an hour in six days?

Nick

 

[Rob Gardner]

You also have to keep in mind that the shows they are showing now were created some time ago, both in terms of actual production and in terms of the network's programing profile. These things have a nasty way of changing on a dime after a marketing meeting in the company that owns the network, or a new hire at the upper management level. Also "packaging", the precise addition of logos, bumpers, or whatever elements help to brand the nework will have to be added at some point. Precise air time is important as well, whether there are going to be commercials in the show or not. Nick makes a good point. If you shoot an hour in six days, then they better be six fabulous days or you are going to be suffering in the editing room.
Rob Gardner

 

[John Hunt]

Also "packaging", the precise addition of logos, bumpers, or whatever elements help to brand the nework will have to be added at some point. Precise air time is important as well, whether there are going to be commercials in the show or not.
Rob Gardner

If you sell your show, the network will provide you with a format to follow with act timings and overall content timings. You may be able to then format your show yourself (inserting black slugs for commercials, closed captioning, secondary audio, etc) or they may do it for you for a fee. Network bugs and other lower third-type branding and marketing graphics will be inserted by the network.

Each network has specific delivery requirements you will agree to follow when you sell the show...

 

[mike falconer]

You also have to keep in mind that the shows they are showing now were created some time ago, both in terms of actual production and in terms of the network's programing profile. These things have a nasty way of changing on a dime after a marketing meeting in the company that owns the network, or a new hire at the upper management level. Also "packaging", the precise addition of logos, bumpers, or whatever elements help to brand the nework will have to be added at some point. Precise air time is important as well, whether there are going to be commercials in the show or not. Nick makes a good point. If you shoot an hour in six days, then they better be six fabulous days or you are going to be suffering in the editing room.
Rob Gardner

As far as shooting in six days; we already have half the footage we need and those six days are widely spaced extremely eventful days.

Trust me, we understand that everything can come to a screaming halt at any time due to network changes etc etc. That's just this business. No guarantees.

 

[Rob Gardner]

Well, good luck with the show. It might be a good idea (at the risk of stating the obvious) to begin a relationship with a production executive at your target broadcaster, maybe talk the idea over with them so you can be sure you are in their crosshairs. Most of these guys are pretty approachable since there entire job is to come up with programming. If you have half the footage and you are figuring on 6 days you should come up about right. I'm sure it will be an adventure in any event.
Rob Gardner

 

[mike falconer]

GFIrob...thanks for the good wishes and your suggestion about starting up a relationship with a production executive makes a great deal of sense. Another person who has worked in this area made that his strongest recommendation.