BUDGET:First Part, Second Part, Third Part, The Sponsors

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Introduction to Broadcasting MCM 411

LESSON 34

BUDGET

Producing any piece of broadcasting for radio or television requires money. Although it

depends on the size and quality of the production, money is needed in any case.

With advancements made so rapidly in the electronic media production and the

competitiveness in this field, it is no more a game of small money. The escalating cost on

various counts is making the radio, especially TV production a very costly affair.

There is little room left for an individual to think of producing a program which must last for at

least one quarter of the year, from its own resources. It is more a corporate business these

days. You need to set up a company to generate resources and take care of the financial side

of a production. Loans from banks are also available if you are a part of the corporate sector

for production purposes. However, banks will show hesitation in lending money to new

comers.

Before we discuss how one can generate money to accomplish a production assignment, it is

pertinent to examine areas in production which require funds.

We can divide costs in three categories:

First Part

A producer needs to get a script of a program, preferably by an authentic script writer. He

needs to pay, or settle terms of payment with the writer. Writers of different programs charge

in different manner. A playwright will demand according to its market demand which may be

massive. Getting a play written by a newcomer, or an ordinary writer will put the production at

risk to some extent. A lot of discussion takes place between the producer and his/ her team in

the selection of the playwright.

The producer will then be talking with the musicians who would provide background music

and sound effects. Obviously some money would be paid to book them.

In case of TV production, the next assignment is to arrange costumes for the performers. It

depends though on the nature of the drama, costumes involve a reasonable amount. And if

jewelry and shows or headgears are also involved in the production, the cost goes up

noticeably.

If the play is not to be recorded at one spot and involves shooting at different locales, the

transportation charges have to be taken into consideration. If the performers have to stay

overnight, simply add hotel charges on to it.

Introduction to Broadcasting MCM 411

If the movement of the crew and the performers is frequent from one point to another, support

staff is required to help in logistics. You can also add some unseen expenditures like

entertainment, rehearsals and some damage to the equipment.

It is not necessary that all the articles required to complete a production must be bought at a

heavy cost. Most articles, like furniture, costumes, items of decoration and many other things

used in building a set are now available on rent. Many a production houses, besides making

their own presentations, also provide commonly used articles in production on rent to others.

Just as you may hire a transport for a couple of days, or a week as the need be, on rent, a

number of other things are available in the same fashion. More you are involved in regular

productions, easier it becomes to hire things you need to accomplish your task.

As far as the talents are concerned they may also be engaged in the same way. If you are to

involve some actors and actresses in a number of your productions, you may sign a contract

with them instead of bargaining with them all the time they are booked for some production.

This is a very common practice in TV as well as film production and is very cost effective at

the same time.

Second Part

A complete shift with ENG staff including cameras, lights, props and the studio means that a

reasonable expenditure is likely to be made. If the indoor shoots need around a dozen shifts,

one can easily workout the amount multiplying manifold. The shifts arrangement must be

understood properly. Shifts are usually for eight hours each. This means if you have a

business for two hours, you would have to book a shift of eight hours. This means, you will

have to pay for the shift time and not for the time you want to consume. A seasoned director

would always book a shift when the director would have so much work to get maximum

benefit from booking a shift at some production house to shoot scenes for its production.

Also money is required to buy tapes DVs, or mini DVs, engage camerapersons, lighting

director and set designers. When we talk about sets, as you know, it means a lot of money

depending on the nature of sets required by the director to film the scenes according to the

demand of the story. All this means a lot of money.

Third Part

Having recorded a program or a drama does not mean end of the business. The most tedious

work is to start yet... to give final shape to the recordings..

Again, a studio equipped with post-production machines is required in the form of shifts.

Usually this part takes more time than the production because all details, dubbing and

changes have to take place at this stage for there is no room to correct anything once it is

through this stage.

Introduction to Broadcasting MCM 411

Till now we have not included the cost of director which is usually very high for it all depends

on the director to give you a high quality product. More quality means more money.

These days it is hardly one person's job to go for production. Most productions are done at

corporate level- by setting up a production house, and with the help of sponsors.

The Sponsors

A very popular term with the producers of radio and TV dramas and other broadcast products.

This means that there is a financer available in the form of an individual (rare these days) or a

company usually manufacturers of popular industrial and luxury products show more interest

in offering sponsorship to showbiz programs like dramas, live music concerts, prize awarding

ceremonies and in some cases disc jockey programs.

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