Uncertain times for Welsh indies

Broadcast

As the biggest commissioner of content from Welsh production companies, changes to the way S4C is funded are causing concern throughout the sector. http://www.broadcastnow.co.uk/news/analysis/uncertain-times-for-welsh-indies/5023933.article

Welsh indies are intent on showing their resilience and acumen in this unsettled period, and pledge to maintain a strong voice in discussions about how the sector’s principal benefactor will be managed.

“We’ve got to see the remodelling of S4C as an opportunity,” says Rondo Media chief executive Gareth Williams. “Indies are a key stakeholder in S4C and part of the solution to its more effective operation.”

Indie trade body TAC (Teledwyr Annibynnol Cymru) has submitted reports to, and answered questions before, the Welsh Affairs Select Committee. It wants to ensure that S4C commissioning budgets continue to feed local producers, and that S4C retains editorial control. It has called for an independent review of the way the broadcaster works. “There’s a certain nervousness in the sector, which greater clarity would resolve,” says TAC chair Iestyn Garlick. “One is always dubious of internal reviews since they are never going to highlight all the problems.”

Telesgop managing director Elin Rhys echoes calls for TAC’s lobbying to be heard. “The financial and editorial independence of the channel is paramount. Nobody can understand the nature of S4C except those who speak the language.” A related concern is that the BBC’s pledge to double Wales’s share of the corporation’s network TV spend to 5% by 2016 could be threatened by S4C coming under licence fee control from 2013.

“Indies naturally want to know that there will be no reduction in BBC commissioning power because of new responsibilities at S4C,” says Green Bay creative director Phil George. “We are all trying to work out what will happen and play into it. We don’t, for example, know how S4C will sustain its tariffs, but it will impact on different indies in different ways.”

Despite the uncertainty, the sector is reassured by culture secretary Jeremy Hunt’s announcement that S4C’s commissioning budget for independent producers (outside of the BBC’s statutory commitments) will be ringfenced at £83m until 2014/15. In 2013/14 and 2014/15, the BBC will contribute £76.3m and £76m respectively, while the DCMS will fund £6.7m in 2013/14 and £7m in 2014/15.

“That’s a better deal than we have at the moment, where S4C can produce in-house and therefore doesn’t have to spend 100% on indies,” notes Boomerang chief executive Huw Eurig Davies. “Post 2015, though, the formula is likely to be linked to the fate of the licence fee.”

This is what worries indies most, according to TAC. “We are assured that the new funding deal isn’t going to affect S4C’s policy of commissioning from Welsh-language TV producers, but we’d like to see it in writing with something cast iron in place for the situation beyond 2015,” says Garlick.

In the absence of personnel in key executive roles at S4C, the broadcaster’s relationship with the indie sector post 2015 remains unclear.

“We are prepared for inevitable budgetary impacts but the degree of editorial control the BBC may have in a few years time also needs to be nailed down,” says Dinamo comanaging director Aron Evans.

Cloudy outlook

While TAC calls the future editorial integrity of S4C “cloudy”, Welsh indies in general do not share these insecurities, preferring to emphasise the positive. While the larger indies have diversifi ed to encompass network and international commissions, the importance of the Welsh broadcaster remains fundamental to their businesses.

Boomerang is in year two of a threeyear, £12m contract to produce children’s programming for the broadcaster, while Rondo Media increased turnover from £10.3m to £11.4m in 2010, largely as a result of winning an S4C children’s and youth tender worth £6m over three years.

Rondo is also mid-way through a four-year soccer contract, Sgorio, for S4C. It has a factual series covering regional events in co-production with Telesgop, and was recently recommissioned for two more series of youth drama Rownd A Rownd.

On the back of that, and on the region’s growing reputation for drama, it completed its fi rst network commission, the 5 x 45-minute The Indian Doctor, and is hopeful of a second run with BBC Daytime and BBC Wales.

The year is also looking strong at Green Bay thanks to a 6 x 60-minute Big History Of Wales for BBC Wales, and a 3 x 60-minute BBC4 examination of Shakespeare, Jacobean Genius, both for delivery in 2012.

“We don’t want to paint a picture of doom and gloom because indies are producing network-level work but we need 2011 to be a good year,” says George. “When you commit to grow the company’s resources, you need to see the investment deliver. We need to see a bigger breakthrough at network level from the BBC and Channel 4 so we can build business in a more solid way.”

Up to 80% of Telesgop’s output is for S4C, including weekly farming strand Ffermio and ultra-local community programming Bro, although it also produces network documentaries such as Heath Wilson for BBC4.

“The quality of work from Welsh producers for S4C based on tight production budgets should be held up as an exemplar to other broadcasters as a way to provide value for money,” argues Rhys. “The Welsh production community has built itself up through sheer determination, unique talent and a willingness to pool resources and collaborate that puts indies in other parts of the UK to shame. All of that will survive and ensure that the sector and Welsh-language provision wins in the end.”

S4C: CO-PRODUCTIONS

The change in funding structure is widely tipped to force S4C into more focused commissioning, particularly with regard to international coproductions. This may also provide a shot in the arm to local producers.

“The upside could be significant, with S4C and its suppliers working less in isolation and more in partnership with a global distribution arm in BBC Worldwide,” suggests Wil Stephens, chief executive of Cardiff-based Cube Interactive. “I suspect most indies will alter working practices and diversify more than they already have to offset budgetary pressures.”

Tim Morley, who runs distribution business Content West, agrees that changes at the broadcaster will stimulate the local industry. “There is deep expertise in programme-making here but the time is right to take that skillset wider, especially internationally,” he says.

Dinamo co-managing director Aron Evans spies opportunities for companies that already operate in the international market. The animation house is the recipient of S4C’s first partnership with CBeebies (and RTE), for 52 x 10-minute The Abadas, currently in production.

“If S4C embraces the international market and shift to a more co-production-based model, it can make its funding go further,” Evans says.

In its document presented to the DCMS last October, S4C announced plans to launch a co-pro fund from its commercial budget. The intention is to invest on a commercial basis, including international co-pros, or to co-fund productions with commercial
potential.

Ahead of a full announcement, S4C’s commercial group has already invested in copros including Ynysoedd (Islands), a six-part series from Green Bay with France 5 and Wales Creative IP Fund support, and Patagonia, a feature film released in 2010 that was co-produced by Boomerang, Boom Films and Rainy Day Films.

“S4C is crucial to the viability of international co-productions,” asserts Green Bay creative director Phil George. “Its commitment to sustaining international co-pros will also help S4C secure high points in its schedule and make sure the S4C brand is seen worldwide.”