2nd Australian Producer Survey 2012 FINAL

This is the author’s version of a work that was submitted/accepted for publication in the following source: Ryan, Mark David, Cunningham, Stuart D., & Verhoeven, Deb (2012) 2nd Australian producer survey 2012 : understanding Australian screen content producers : wave 2. ARC Centre of Excellence for Creative Industries and Innovation, Brisbane, QLD. This file was downloaded from: http://eprints.qut.edu.au/57656/

c Copyright 2012 ARC Centre of Excellence for Creative Industries

and Innovation

Notice: Changes introduced as a result of publishing processes such as copy-editing and formatting may not be reflected in this document. For a definitive version of this work, please refer to the published source:

Understanding Australian Screen Content Producers: Wave 2 ARC Centre for Excellence for Creative Industries and Innovation (CCI) This report has been prepared for CCI by Bergent Research November 2012

ARC Centre for Excellence for Creative Industries and Innovation

This report has been prepared by Bergent Research for the ARC Centre of Excellence for Creative Industries and Innovation (CCI). The Centre would like to thank John Berenyi, Irina Korzh, Katy Nugent of Bergent Research, and David Court of the Centre for Screen Business, Australian Film Television and Radio School (AFTRS). November 2012

ARC Centre for Excellence for Creative Industries and Innovation

3 Introduction This report presents the top-line findings of the Australian Screen Producer survey conducted in December 2011. The report was prepared by Bergent Research and commissioned by the ARC Centre of Excellence for Creative Industries and Innovation (CCI), Queensland University of Technology, with assistance from the Centre for Screen Business, Australian Film Television and Radio School (AFTRS). The 2011 producer survey was a national study of the demographics, motivations, sentiments and activities of screen producers across four industry segments: Film, Television, Commercial and Digital Media. This survey is the second Australian Screen Producer survey and builds upon research undertaken in the Australian Screen Content Producer Survey conducted in 2009. The 2011 study is referred to in this report as Wave 2 and the 2009 study is referred to as Wave 1.

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Second Australian Screen Producers Survey – November 2012

4 Introduction: Wave 1 In 2009, AFTRS in collaboration with Bergent Research and CCI, published Understanding Australian Screen Content Producers (http://csb.aftrs.edu.au/survey/). The findings from this major survey of the cultures of Australian screen content producers was also analysed in: • A. Cameron and D. Verhoeven (2010) ‘Analysing the Culture of Australian Screen Content Producers’, Lumina: Australian Journal of Screen Arts and Business, 6, pp. 40-61. • A. Cameron, D. Verhoeven, and D. Court (2010) ‘Above the Bottom Line: Understanding Australian Screen Content Producers’, Media International Australia, 136, pp. 90-102. The report was the subject of a one day industry symposium at AFTRS featuring key industry figures and policymakers and was reported in trade media.

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Second Australian Screen Producers Survey – November 2012

5 Introduction: Objectives of Wave 2 The study has been conducted as part of an ongoing commitment by CCI to the exploration of screen media producers and their practices, and how they are adapting to the realities and challenges of the emerging digital media marketplace. The broad objectives of the 2011 Australian Producer Survey study were to: •

Provide deeper and more detailed analysis into the nature of digital media producers and their practices and how these findings compare to the practices of established screen media producers;

•

Interrogate issues around the pace of industry change, industry sentiment and how producers are adapting to a changing marketplace; and

•

Offer insight into the transitional pathways of established media producers into production for digital media markets.

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Second Australian Screen Producers Survey – November 2012

6 Introduction: Objectives of Wave 2 Within this rubric, the key aims of the data collection were to: – track changes within the industry – by comparing Digital Media and traditional screen producers (Film, TV, and Commercial producers) – by comparing trends in Wave 1 (2009) and Wave 2 (2011) – by analysing sentiment index, level of debt and access to markets – examine Australian screen content producers in terms of – demographics – qualifications, experience, skills and training – genre/category ― interrogate the perceptions and attitudes of Australian screen content producers in terms of ― industry ― business ― expectations for the industry’s future

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Second Australian Screen Producers Survey – November 2012

7 Overview: Key differences and similarities between traditional and Digital Media producers •

Traditional producers when compared to Digital Media producers: – are 6 years older on average (47 years old) – have more years of experience – find it harder to get into their industry – are less likely to work on their own – own less IP in their projects – are less likely to have studied Information Technology – are less optimistic about their long term future prospects • leadership within the screen industry – and achieving future goals

•

However, for all producer segments: – developing quality creative ideas was identified as a primary concern; – finding people who will share critical knowledge was raised as an issue; and – There was a lack of confidence in essential producing skills such as dealing with marketing and legal aspects of production

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Second Australian Screen Producers Survey – November 2012

8 Overview: Significant differences between Wave 1 (2009) and Wave 2 (2011)* •

The key differences between Wave 2 and Wave 1 are as follows: – average experience in industry for all producer segments increased by 5 years – participation in TV production is down from 68% to 60% – there has been strong contrasting growth in digital media participation (in terms of both digital media projects in development and production) – Revenue earned from digital media almost doubled in W2 – responses suggest that this is a trend which is likely to continue – fewer traditional producers employed permanent full-time – traditional producers relied less on their industry financially • and more on other incomes – the perception of earning a high income has declined dramatically – more producers had completed a Creative Arts degree in W2 – More producers with a Management background in W2

*Note: Differences listed here are statistically significant differences between W1 and W2. Although the sample size is more robust in W2, producer demographic has not changed. Sample size in W1 was sufficient for all but digital producers (but since this is representative of producer population and not Australian population we have used the data in some comparisons).

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Second Australian Screen Producers Survey – November 2012

9 Survey overview •

•

This report explores: – differences by producer segment – differences by traditional vs. digital media producers • 'traditional media producers' – TV producers (n=153) – Film (n=109) – Commercial (n=89) • Digital Media producers (n=56) The report also comments on Statistically Significant differences [An 'S' in tables or graphics represents a statistically significant difference. A figure circled in red (see below) represents a notable figure without being statistically significant] – at a 95% confidence interval. Example

• •

Producers by segment

0% results are not represented on most graphs, to ensure legibility Due to normal rounding errors, some graphs may total more or less than 100%

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Second Australian Screen Producers Survey – November 2012

8%

14%

Digital

21% 22%

Commercial 24% 27%

Film 47% 37%

Total W1

Total W2

TV

10 Methodology and sampling approach How

Online quantitative survey (see page 97 for questionnaire).

407 producers in Film, Television, Commercial and New media (Digital Media) via Screen Education Who Sector database, social networks and online marketing. See page 11 for further details Mix of open and closed questions looking at classifications, project details, education, What employment, demographics, industry sentiment, attitudes and perceptions When

November 2011 - December 2011 W2 November 2008 - June 2009 W1

Where

Australia wide (see page 16 for a detailed breakdown of respondents by state)

Why

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For a thorough understanding of producers and the issues they face

Second Australian Screen Producers Survey – November 2012

11

Methodology and sampling approach •

1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

•

•

ARC CCI

The AFI Research Collection was hired by CCI to develop a database of approximately 5000 Australian screen content producers as a sample from which to invite industry members to participate in the survey. This database was compiled from publicly available: – Film & TV industry directories such as the Production Book and the Encore Directory – Video production and commercial productionhouses in Yellow Pages – Student contact details provided by RMIT, AFTRS and VCA – Producer/production details collected from all major Australian film festival catalogues The survey was advertised through social media networks such as Facebook and Twitter, and the Centre for Screen Business/AFTRS, and CCI’s website Flyers were distributed at the Screen Producers Association of Australia (SPAA ) conference 2011 and an 2011 AIMIA event in Melbourne Second Australian Screen Producers Survey – November 2012

12 Methodology and sampling approach 1. Producer Profiles

•

2. Motivations and Needs 3. Sentiment Index

•

• Appendix

• •

• •

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A focus group was held in October 2011 at Bergent’s offices in Melbourne with a sample of Film, Television, Digital Media and Commercial communications/corporate producers to develop and refine the W1 questionnaire. The focus group was representative of the percentage of producers from each producing segment in the W1 study, albeit with a higher percentage of Digital Media producers, and had a similar proportion of men and women. Drawing upon email addresses compiled in the aforementioned database, emails inviting producers to participate in the survey were sent to 4,872 producers – Two rounds of email reminders were also sent to this mailing list. CCI achieved approximately an 8% response rate through email invitations A total of 407 respondents represents an 80% increase in responses from the benchmark in W1 More than three times the number of digital media producers were captured in W2 In order to increase the response rate from Wave 1, it was agreed to offer a cash prize of $2,000. The winner of the cash prize was selected from randomized results of a voluntary game of skill moderated by Bergent Research – In addition, every 20th participant received a free movie ticket

Second Australian Screen Producers Survey – November 2012

13

METHODOLOGY

Definitions 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

• • • • • •

•

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Producer = someone who manages the financial, creative, technical, and/or logistical challenges of making screen content (Q1) Screen content = audio-visual material produced for cinema, TV, video, online or interactive formats TV = Currently work as a TV Producer (Q3) – and is the primary source of income (Q4) Film = Currently work as a Film Producer (Q3) – and is the primary source of income (Q4) Corporate = Currently work as a Commercial/Corporate Producer (Q3) – and is the primary source of income (Q4) New/Digital media = Currently work as a Digital Producer (Q3) – and is the primary source of income (Q4) – includes producers of moving images using new media (including videos and computer games) but excludes those who do not work as a Producer • this may exclude those who work in graphic design or happen to use the media Note: in W2 the term or role description, 'New Media' producer, was replaced by 'Digital Producer’ in the questionnaire. – 25% of those with main income in digital media identified as Digital Producer and 55% as just 'Producer' (in W1 50% identified as producer and 22% as 'Other'). For the purpose of this report they are reported them as Digital Media producer Second Australian Screen Producers Survey – November 2012

14 Report is structured around the following: 1. 2. 3.

Producer profiles Producer motivations Producer sentiment

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Second Australian Screen Producers Survey – November 2012

1. Producer profile

Demographics Industry experience, employment and income Professional development Projects and funding

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Projects & Funding

Professional Development

Industry Experience ...

Demographics

Respondents were based predominantly in New South Wales and Victoria 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

• Reflecting broader industry trends, the respondents for this survey were concentrated primarily in New South Wales and Victoria, followed by Queensland • There are no significant differences between W1 and W2 in terms of the location of respondents • More traditional, older producers live in Sydney – The largest percentage of younger producers tend to live in Melbourne (37%)

1%

NT=1%

ACT=1%

ACT=3% NT = 1%

4%

5% 3%

8%

1%

3%

2%

5%

7% 4%

6%

10% 13%

7%

2%

8%

12%

20% 26%

29% 34%

60% 47%

TV

NSW

Film

VIC

Q48. Where do you mainly work? n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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43%

Second Australian Screen Producers Survey – November 2012

QLD

34%

Commercial

SA

WA

TAS

Digital Media

Overseas

17

Projects & Funding

Professional Development

Industry Experience ...

Demographics

More male than female producers in each producer segment 1. Producer Profiles 2. Motivations and Needs

•

In Wave 2, there were more males than females working as producers across all segments; a finding consistent with W1 – Especially the Commercial segment with 64% of respondents male and 36% female

3. Sentiment Index

Gender 64%

• Appendix 56%

54% 48%

46%

44%

52%

36%

TV

Film W2: Female

Commercial

Digital Media

W2: Male

Q49. Are you… ? n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

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Projects & Funding

Professional Development

Industry Experience ...

Demographics

Traditional producers are generally older 1. Producer Profiles

•

2. Motivations and Needs

•

3. Sentiment Index

•

• Appendix

On average, Film, TV and Commercial producers in W2 were in their mid to late 40s (consistent with Wave 1 findings) By contrast, Digital Media producers were on average 6 years younger Some significant differences between Wave 1 and Wave 2 include the following: – new age group of 20-24 year old producers now included in Wave 2 – more 35-39-year-old TV producers in W2

Industry segment TV

48

Film

47

Commercial

46

NETT All Traditional

47

Digital Media

41

Q50. What is your age… ? n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Average producer age (mean)

Second Australian Screen Producers Survey – November 2012

19

Projects & Funding

Professional Development

Industry Experience ...

Age 1. Producer Profiles

•

2. Motivations and Needs 3. Sentiment Index

•

• Appendix

•

In Wave 2, the average age for each segment was as follows: • TV producers = 47 years old • Film = 47 years old • Corporate = 46.5 years old • Digital Media = 41 years old There were significantly more 20-29 and 3034 year olds in Digital Media than in any other segment The highest proportion of producers aged over 55 years old, and particularly 60 years or older, were TV and Film producers

Q50. What is your age? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

Demographics

20

Projects & Funding

Professional Development

Industry Experience ...

Demographics

Years in the industry 1. Producer Profiles

•

Traditional media producers have spent more years in the industry than Digital Media producers – on average • traditional media =17 years • digital media = 10 years

•

Producers more experienced since W1

2. Motivations and Needs 3. Sentiment Index • Appendix

Total

Average years in their industry in Wave 2

Years in the industry

Means

W1

W2

TV

Film

Commercial

Digital

11

16 S

17

17

16

10

Q28. How long have you worked in the industry? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Projects & Funding

Professional Development

Industry Experience ...

Demographics

There are a wide variety of producer roles 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

• The questionnaire attempted to capture activities across a range of producer roles from executive to line producer. More than half of respondents in each producer segment identified ‘producer' as their role rather than other associated producing roles • 1 in 4 producers working in digital media saw themselves as Digital Producers

Role

Main source industry TV Film Commerci Total (A) (B) al (C)

Total Producer Number

427

154

111

89

56

Associate Producer

1%

2%

1%

0%

0%

Co-Producer

3%

3%

5%

1%

4%

Executive Producer

13%

17%

9%

18%

7%

Producer 60% Senior / Supervising 4% Producer

53%

74% S

69% S

55%

6%

3%

3%

2%

Series Producer

4%

10%

0%

1%

0%

Line Producer

2%

3%

2%

3%

0%

Digital Producer

4%

0% S

3% S

1%S

25%

Recent Graduate Other (please specify)

1%

1%

2%

0%

5%

3%

5%

2%

3%

2%

Q2. Which of the following best describes your role as a producer? n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Digital (D)

Second Australian Screen Producers Survey – November 2012

22

Projects & Funding

Professional Development

Industry Experience ...

Demographics

Producers develop content across numerous genres 1. Producer Profiles 2. Motivations and Needs

•

•

Producers in each segment typically produce multiple genres (see questionnaire for specific genres) – more TV producers tend to specialise in one genre There are no significant differences between W1 and W2

Number of genres produced

3. Sentiment Index • Appendix

58% 73%

82%

72%

42% 27%

18%

Digital Media

Commercial

Multiple Genres

28%

Film

TV One genre

Q5. What type of content do you produce for the … industry? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

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Projects & Funding

Professional Development

Industry Experience ...

Demographics

Each producer segment specialises principally in certain types of content TV 1. Producer Profiles

•

2. Motivations and Needs

•

•

• Appendix

•

66%

27% 27% 20% 18% 16% 14% 14% 9% 8% 3% 2%

Film

Drama Comedy Documentary Short films Children's content Animation Other Effects Adult entertainment

15% 12% 10% 4% 4%

81%

43% 39% 39%

Commercial

Advertising Corporate comms Educational Music videos Private client Travel/lifestyle Other

28% 17% 17% 16%

51%

74% 70%

Digital PC Mobile devices Other TV Location platforms Consoles

9%

27% 25% 23%

Note: games may be accounted for in PC, mobile devices, TV and other Q5. What type of content do you produce for the … industry? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

57%

82%

Type of Content W2

3. Sentiment Index

While producers generally produced multiple genres, each producer segment tends to specialise in one or two key genres For the 2011 survey, TV producers principally produced documentary content followed by drama programming and children’s content Film producers were predominantly engaged in the production of drama programming, while Commercial producers typically produced content for advertising and corporate communications Digital Media producers were most likely to produce content (general content, games and applications) for PCs and mobile devices

Documentary Drama Children's content Reality programming Travel/lifestyle News & current affairs Other Comedy Education Animation Adult entertainment Game shows

1. Producer profile

Demographics Industry experience, employment and income Professional development Projects and funding

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Projects & Funding

Professional Development

Industry Experience ...

Demographics

Traditional producers are increasingly moving into the digital space 1. Producer Profiles 2. Motivations and Needs

•

• •

There has been a significant increase in traditional media producers who have 'previously produced' or 'are currently producing' digital media; increasing from 48% to 73% There has been a rise in digital media previously produced from 28% to 39% in W2 The increase in 'currently producing' digital media has climbed from 20% to 32% in W2

3. Sentiment Index

Digital Media production by traditional producers

• Appendix

45%

Intend to produce

43%

32% S

Currently Producing

20%

48%

28% W1 Traditional Media

•

39% S

Previously Produced

73%

W2 Traditional Media

Note: results for this table do not add up to 100%

Q3a. Please identify below the media industries in which you have previously produced… W1 n=227 TV=153, Film=109, Commercial =89, Digital Media =56 W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

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Projects & Funding

Professional Development

Industry Experience ...

More producers intend to work in digital media • 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

•

There has been a slight increase in ‘intent to produce’ digital media increasing from 43% to 45% in W2 This suggests that the growth in digital production is likely to continue

Digital Media production by traditional producers

45%

43%

32% 20% 28%

39%

W1 Traditional Media

W2 Traditional Media

Intend to produce

Currently Producing

Previously Produced

Q3a Please identify below the media industries in which you have previously produced, Q3b. Currently producing in and Q3c Intend to produce in W1 n=227 TV=153, Film=109, Commercial =89, Digital Media =56 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56.

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Second Australian Screen Producers Survey – November 2012

Demographics

27

Projects & Funding

Professional Development

Industry Experience ...

Demographics

Higher proportion of producers earning income from digital media in W2 1. Producer Profiles 2. Motivations and Needs

• • • • •

3. Sentiment Index

Income from digital media almost doubled in W2 from 8% to 14% Income from TV has declined steeply from 47% to 38% since W1 Producers spent more time on digital media production in W2 Conversely, there was a decline in time spent on TV production A higher portion of producers earned income from film and commercial production than in W1 TOTAL for all producers Main source of Most important to Industry spent most time income you

• Appendix Industry Sectors

W1 % W2 %

Total n=

W1 %

W2 %

W1 %

W2 %

227

407

227

407

227

407

TV

47

38 S

43

34 S

40

32

Film

24

27

31

34

43

47

Commercials

21

22

18

16

8

7

Digital media

8

14 S

9

16 S

9

13

Q4a/ Q4b/ Q4c Main source of income, industry spend more time on, most important to you personally. Please identify below the media industries in which you have previously produced…W1 n=227 TV=153, Film=109, Commercial =89, Digital Media =56 W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Projects & Funding

Professional Development

Industry Experience ...

Demographics

TV producers surveyed report less work than in Wave 1 1. Producer Profiles 2. Motivations and Needs

• •

There has been a significant decrease in TV production for all producer segments – TV producers in particular reported the most statistically significant decline A corollary is that the decline in TV production from 68% to 60% has been paralleled by a sharp increase in reported digital media production from 29% to 42% across all producer segments

3. Sentiment Index

Type of productions produced by all producers 68%

• Appendix

60% S 52%

51%

51%

50%

42% S 29%

TV

Film W1 Total Producers

Commercial

Digital Media

W2 Total Producers

*Note: This finding correlates with findings published by Screen Australia in The Drama Report 2011/12 (figures for the 2011/12 the financial year). Overall, the production of Australian TV drama was down by 13 per cent on the pervious year. See http://www.screenaustralia.gov.au/documents/SA_publications/DramaReport.pdf Q3a Please identify below the media industries in which you have previously produced, Q3b. Currently producing in and Q3c Intend to produce.in W1 n=227 TV=153, Film=109, Commercial =89, Digital Media =56 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56.

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Second Australian Screen Producers Survey – November 2012

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Projects & Funding

Professional Development

Industry Experience ...

Demographics

Producers keeping similar pattern of working hours 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

•

•

Producers in each industry segment keep similar working hours to those reported in W1 – with Commercial producers working slightly less – Digital Media producers working slightly more Film producers worked on average the most hours of all producer segments in W2, a finding consistent with W1

• Appendix Industry

W2 average hours

TV

46

Film

50

Commercial

37

Digital Media

43

Q22. How many hours a week do you work in the … industry? W1 n=227 TV=153, Film=109, Commercial =89, Digital Media =56 W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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30

Projects & Funding

Professional Development

Industry Experience ...

Demographics

Digital Media producers find getting into industry easier 1. Producer Profiles

•

2. Motivations and Needs

•

3. Sentiment Index

Digital Media producers were the most likely to indicate that they found entry into the industry easy (39%) Film producers were much less likely to indicate that access to industry is easy (23%)

Perceived ease of entry by each segment

• Appendix

Mean: 2.88 Mean: 2.78 S Mean: 2.85 Mean: 3.14

Q5a. How easy or difficult was it for you to gain access to the … industry? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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31

Projects & Funding

Professional Development

Industry Experience ...

Demographics

Producers find getting into industry more difficult in W2 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

•

Overall, there was a significant difference between W1 and W2: – perceived ease of entry into the industry had declined – commercial producers in particular perceived entry as more difficult in W2

Perceived ease of entry : W1 and W2

• Appendix

Mean: 3.08

Mean: 2.88 S

Q5a. How easy or difficult was it for you to gain access to the … industry? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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32

Projects & Funding

Professional Development

Industry Experience ...

Demographics

A proportion of employment occurs outside the screen industry 1. Producer Profiles

•

2. Motivations and Needs 3. Sentiment Index

•

• Appendix

•

•

The 2011 survey included a new question which asked whether producers work additional jobs, and if so, whether those jobs were inside or outside their principal production sector At least 30% of Film, Commercial and Digital Media, in addition to producing, worked in another industry outside of the screen sector TV producers are less likely to have another job – or work outside of their industry Film producers were more likely to have a job within their industry (such jobs included data wrangling, equipment hire, and production management)

Producers having another job %

Q31. Do you have another job? (n=407 TV=153, Film=109, Commercial =89, Digital Media =56) Q31b. Does your job in the Screen Production Industry involve…(n=61 TV=15, Film=31, Commercial =7, Digital Media =8)

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33

Projects & Funding

Professional Development

Industry Experience ...

Demographics

More producers are now coming from management background 1. Producer Profiles 2. Motivations and Needs

•

•

3. Sentiment Index • Appendix

•

The number of producers with a management background increased significantly from 12% to 20% in W2 63% of all producers worked in other industries prior to production in W2 ― but more producers have manager backgrounds in W2 1 in 3 producers held a professional role prior to entering the screen content industry Worked in other industry before production

Total W1 %

Total W2 %

Own Business

65

63

Employee

35

37

Position Professional

Total Total W1% W2% 38 37

Manager

12

20 S

Clerical & Admin Worker

9

12

Technical or Trades Worker

11

7

Sales Worker

6

6

Community or Personal Service Worker

5

2

Labourer

3

3

Associate Professional

3

2

Other

13

11

Q35. Worked in other industry…W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56 Q37. Which of the following is the closest description of your previous occupation (prior to producing)? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial=89, Digital Media=56

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Projects & Funding

Professional Development

Industry Experience ...

Demographics

Producers tend to be self-employed 1. Producer Profiles

•

2. Motivations and Needs 3. Sentiment Index

•

More Film and Commercial producers run their own company – Than TV and Digital Media producers No Film producers employed permanently full time*

• Appendix

W2 employment status 6%

1%

6% 17%

3% 4%

3%

3%

5% 2% 4%

11%

16%

17% 25%

14%

16%

15%

18%

15%

18%

50% 36%

*Note: no producers nominate ‘permanent full time’ for Film in relation to Q29.

TV

Film

Run own company Permanent full time Open ended contract

38%

36%

Commercial

Digital Media

Run own sole trader co Fixed term contract

Freelance Project contract

Q29. Which of the following best describes your current or most recent employment? … W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Projects & Funding

Professional Development

Industry Experience ...

Demographics

Males more likely to own business and females more likely to be employees 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

•

•

Males more likely than females to own a business – especially 45 plus-year olds Females more likely than male to be employees

Females %

Males %

Own Business

68

78

Employee

32

22

Gender

25-34 %

35-44 %

45 Plus %

Own Business

63

64

82

Employee

37

36

18

Age

Q29. Which of the following best describes your current or most recent employment? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Demographics

Decline in permanent full time employment for traditional media producers 1. Producer Profiles

•

2. Motivations and Needs 3. Sentiment Index • Appendix

•

Traditional media producers employed on permanent full-time declined significantly in W2 (from 17% to 10%) ― Especially TV producers (see below table) 18% of Digital Media producers worked freelance in W2, an increase on W1 figures. This figure, however, may be influenced by the number of responses in the first survey and the increased Digital Media sample size in W2. Employment status: TV producers

W1 %

W2 %

Permanent full time

29

17 S

Sole trader

9

14

Employment status W1 and W2 5% 4%

11%

6% 6%

2%

16%

11%

4% 4%

2%

14%

4% 1% 4% 18%

13%

6%

18%

11%

16%

17% 16%

50% 36%

W1 Digital Media W2 Digital Media

42%

10% S

41%

Run own company

W1 Traditional W2 Traditional Media Media Permanent full time

Freelance

Run own sole trader co

Fixed term contract

Project contract

Open ended contract

Q29. Which of the following best describes your current or most recent employment? … W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Projects & Funding

Professional Development

Industry Experience ...

Demographics

Greater freedom, better quality work and better earning power are the main reasons for owning company 1. Producer Profiles

•

2. Motivations and Needs 3. Sentiment Index • Appendix

•

Primary reason for self-employment is greater freedom followed by: – better quality work – better earning power – experience – location Location is more important than experience to Commercial and Digital producers

77% 77%

77% 77%

72%

Reason for running own business/freelance 41%

36%

26% 24% 10%

17%

More conv. location

18%

21%

15%

21%

Valuable experience

26%

51%

46%

34%

36%

24%

Better earning power

Better quality work

Q30. Why did you choose to work as a freelancer / run your own company? n =TV=100, Film=89, Commercial=72, Digital Media=39

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69%

Second Australian Screen Producers Survey – November 2012

Greater freedom

38

Projects & Funding

Professional Development

Industry Experience ...

Demographics

Reasons for running their own a company 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

• • • • •

Better quality work is an important factor for all producer segments But TV producers are most likely to own a company for better quality work – than film producers Digital Media and Commercial producers are more likely start companies for better location – than film producers Commercial producers are more likely to start own business to take care of family – vs. TV producers An additional 'Only choice available' option was added in W2 – but no other significant differences between W1 and W2 51%

Reason for running own business/freelance 26% 13%

17%

17%

19%

15%

11% Only choice avail.

12%

Film

41%

24% 10% S

7% S

Commercial

More conv. location

Digital Media

Q30. Why did you choose to work as a freelancer / run your own company? n =TV=100, Film=89, Commercial=72, Digital Media=39

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46%

17%

To care for family

TV

36% S

Second Australian Screen Producers Survey – November 2012

Better quality work

39

Projects & Funding

Professional Development

Industry Experience ...

Demographics

A large proportion of companies owned by producers were small enterprises 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

• •

No significant differences between W1 and W2 For those who own their own company: – most work either on their own or employ up to 4 people • Digital Media producers were more likely to employ up to 20 people # of staff ‘Own Company’ 13%

4% 10%

1% 16% 28%

• Appendix 47%

45%

43% 31%

40%

40%

41%

41%

TV

Film

Commercial

Digital media

Only Myself

2 to 4 people

21 to 199 people

200 or more

5 to 20 people

Q38. How many people do you employ in your business? n =TV=77, Film=73, Commercial =56, Digital Media =29

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Producers work for different sized companies 1. Producer Profiles 2. Motivations and Needs

•

No significant differences between W1 and W2 – Almost 1 in 2 TV producers surveyed work in a large company by Australian standards (e.g. a TV network with up to 200 or more employees) – 44% of Digital Media producers are sole traders

3. Sentiment Index • Appendix

Q39. How many people are employed in the company you work for? n =TV=76, Film=36, Commercial =33, Digital Media =27

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Demographics

41

Projects & Funding

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Industry Experience ...

Demographics

Producing is the principal source of income across all segments Sources of financial support 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

•

•

Commercial producers earned 64%, TV producers 67%, and Digital Media 55% of their income from producing Only 41% of film producers earned most of their income from producing – while reporting financial support from 'another occupation', 'private income' and 'family support' • especially producers under 45 years old

2% 5%

3%

3% 2%

2%2% 5% 1%

2% 1% 9% 4%

3%

15%

6%

22%

2%

3% 1% 3% 3% 14% 7%

8% 32% 8%

6% 67%

64% 55% 41%

Digital Media

Commercial

Film

TV

Producing

Other production income

Other occupation

Family support

Royalties

Private income

Gov assist/welfare

Other

Q40. On average, over the past 5 years, where did your financial support come from? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Industry Experience ...

Demographics

Traditional producers relied less on industry and more on other sources of income in W2 1. Producer Profiles 2. Motivations and Needs

•

In Wave 2, Film, TV and Commercial producers relied more financially on – other occupation – private income

3. Sentiment Index • Appendix

All traditional media producers

W1 %

W2 %

Producing

67

58 S

Other occupation

13

20 S

Private income

3

5S

Q40. On average, over the past 5 years, where did your financial support come from? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Demographics

Noticeable drop in reported financial success and ability to generate a steady income stream 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

•

•

In Wave 2, responses from producers suggest that their ability to earn a steady income and to achieve financial success declined in W2 in comparison to W1 On the other hand, producers reported greater frequency in the ability to influence public opinion and to achieve critical success Increase in frequency in W2

• Appendix Decrease in frequency in W2

Q10. How frequently have you personally achieved/experienced…? W1 n=227 TV=107, Film=55, Commercial =47, Digital Media =18 n Dec ’08-Mar ’09=227 / W2 n =TV=153, Film=109, Commercial =89, Digital Media =56: Nov ’11-Dec ’11=407

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Industry Experience ...

Demographics

42% of producers feel they are paid below average 1. Producer Profiles

•

More Film producers feel they are paid below average than in W1

2. Motivations and Needs

•

TV producers are more likely to feel that they are paid above average – vs. commercial and Digital Media producers

3. Sentiment Index

Perception of producing income

• Appendix TV Film Commercial Digital Media

41%

22%

1%

3%

13%

24%

34%

11% S

32%

44%

11% S

Well above average

Above average

18%

31%

46%

34%

Average

Below average

Q44. In terms of.. industry, would your typical income from producing be? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

11%

12%

9%

Well below average

45

Projects & Funding

Professional Development

Industry Experience ...

Demographics

Perception that producers are paid below average has increased 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

•

Overall, fewer producers in W2 feel they have 'higher than average' income from producing in their sector ― especially traditional media producers

Total W1 %

Total W2 %

W1 traditional producers %

W2 traditional producers %

TOP 2 BOX Above average

27

17

28

18

TOP 2 BOX Below average

31

42

29

42

Typical income

• Appendix

Note: TOP 2 BOX Above average is composed of ‘Well above average’ + ‘Above average’ , while TOP 2 BOX Below average is composed of ‘Well below Average’ + ‘Below average’ to compare perceived income

Q44. In terms of.. industry, would your typical income from producing be? … W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media=56

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Demographics

Most producers hold up to $25,000 in debt 1. Producer Profiles 2. Motivations and Needs

•

Over 50% of Commercial and Digital Media producers carry debt of less than (or up to) $25,000 – By contrast, Film producers carry the most debt, and almost 1 in 5 carry over $100,000 (22%) in debt

Total debt carried during last project % 10%

12% 5%

4% 2%

8%

3. Sentiment Index

9%

49%

• Appendix

TV

5%

5% 16%

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Second Australian Screen Producers Survey – November 2012

6% 9%

70%

2% 6% 0%

5% 14%

61%

47%

Film

$250,000< $75,000-$99,999 $25,000 to $49,999

Q47. Total debt carried during last project W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

1% 3% 6%

Commercial Digital Media $100,000 to $249,999 $50,000 to $74,999 <$25,000

1. Producer profile

Demographics Industry experience, employment and income Professional development Projects and funding

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Demographics

9 in 10 producers have completed some form of tertiary education 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

•

• •

On average, a large proportion of producers hold a Bachelor Degree or higher – Younger producers tend to have a Bachelor and older producers a Graduate Diploma as their highest degree More TV and Film producers hold a postgraduate degree than Commercial producers Compared to traditional producers, more Digital Media producers completed a Graduate Diploma – Advanced Diploma

• Appendix

Highest level of education TV

29% S

13%

Film

30% S

17%

Commercial Digital media Traditional Media

15%

54% 43%

23%

22% 26%

Postgrad Cert III/IV

14% 14%

41%

14%

34% S 17%

Bachelor Yr 12 & below

Second Australian Screen Producers Survey – November 2012

6% 11%

14%

5%

10% 4% 2% 8% 8% 2% 5%

Adv dip / cert Short courses

Q24. What is the highest level of education you have completed in...? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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9%

12%

9% 4%

26% S 14%

5% 10%

10% 3% 7%

13%

40% 47%

Grad dip / cert Cert I/II

9%

6% 5%

12%

Cert (nfd) Other

7%

49

Projects & Funding

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Industry Experience ...

Demographics

Significant increase in producers completing Creative Arts’ degrees 65%

59%

1. Producer Profiles 2. Motivations and Needs

Area of study

W1

W2

Creative Arts

49%

58%

57% 54%

3. Sentiment Index

35%

Educational qualification

31%

27%

• Appendix

25%

22% 20% 20% 18%

22%

18% 17% 16% 15% 13% 13% 12%12% 8% 4% 2%

9%

7% 3%

4%

1%

5% 2%

0% 3%

3%

4%

0%

5%

6% 6%

4% 5%

1%

Food, hosp Arch & Engineer & Health & personal build rel tech serv

1%

2%

Agri/Env

TV

6%

10% 7%

3%

Nat & Info Tech physical sciences

Film

Commercial

Mgmt & Education com

Other

Society & Creative culture arts

Digtal Media

Q23. Which of the following areas have you completed studies in? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Demographics

Producers consider IT qualification just as important as Creative Arts degree in gaining current job in their industry 1. Producer Profiles

•

Followed by 'Other' and 'Management and Commerce'

2. Motivations and Needs 3. Sentiment Index

Importance of educational qualifications (mean) Engineering and Related technologies

3.38

Creative Arts

• Appendix

3.57

Management & Commerce

3.44

Society & Culture (Arts & Humanities)

3.30

Education

2.87

Agriculture, Environmental & Related Studies Food, Hospitality & Personal Services

3.36 2.33

Score out 5:

Information Technology Natural & Physical Sciences

Architecture & Building Health

3.58

5 = Very Important 1 = Not Important

2.58 2.82 2.91

Other

3.52

Q25. How important was [qualification] in response to [degree] to gaining your current job in [] industry? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Demographics

Importance of an IT qualification increased dramatically in W2 1. Producer Profiles

Importance of it qualification for all producers:

2. Motivations and Needs 3. Sentiment Index • Appendix

W1

W2

Top 2 box (Very important/important)

24%

63%

Bottom 2 box (Not very important/not important)

57%

21%

•

This trend is particularly evident among traditional media producers – 57% of respondents in W2 in comparison to 29% of respondents in W1 rate this qualification as important

Q25. How important was your highest level of education [qualification] in your area of study [degree/faculty] to gaining your current job in [] industry? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Demographics

General life experience most important factor to successful career 1. Producer Profiles

•

‘General life experience’, ‘networking’ and ‘on the job training’ are what producers consider most important for a successful producing career – professional/formal and business qualifications are the least important

•

Significant increase in 'formal qualifications' from W1 to W2, although still lowest importance

2. Motivations and Needs 3. Sentiment Index • Appendix

Importance (mean) General life experience Networking Industry Experience On the Job Training Mentoring Business experience Experience in other industries Professional qualifications Business qualifications Formal qualifications

4.48 4.41 4.33 4.38

4.13 3.81 3.40

3.14 3.13 2.85

Score out 5: 5 = Very Important 1 = Not Important

Q11. How important or unimportant you think each of the following is to a successful career in the … industry? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

1. Producer profile

Demographics Industry experience, employment and income Professional development Projects and funding

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Demographics

Length of productions

3. Sentiment Index

Commercial and digital media projects have the shortest production periods 59% of films take between 3-10 years to complete More than half of TV productions take 1-5 years 61% of digital media takes 6 month to 3 years – and more likely to take 6-12 months vs. all traditional screen productions which generally take 2 years • 2 in 3 commercial productions take 1 month to 6 months • Overall TV production took longer in W2 compared to W1

• Appendix

Time from idea to final delivery

1. Producer Profiles 2. Motivations and Needs

• • • •

60%

TV

Film

Commercial

Digital Media

Nett All Traditional

50%

40% 30% 20% 10% 0%

-10%

Less than 1 month

1-3 Months

3-6 Months

6-12 Months

1-3 Yrs

3-5 Yrs

5-10 Yrs

More than 10 Yrs

Q21. From experience, what is average time from when start work on idea until final delivery stage in … industry? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Demographics

Producers commence a new project every few months to once a year 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

• •

• •

In W2 we asked a new question about project frequency 1 in 2 Commercial producers tend to take up a new project once a week/few weeks/month and – more frequently than other producers • Moreover, their production time has the shortest life span vs. other productions 1 in 2 Digital Media producers take up a new project every few months Film producers take up a project every few years (since films take the longest to complete) Frequency in up-take of new projects

• Appendix 60%

TV

Film

Commercials

Digital Media

50% 40%

30% 20% 10%

0% At least once a week

Once every few weeks

Every month

Every few months

Q44a. How frequently do you uptake a new producing project W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

Once a year

Every few years

56

Projects & Funding

Professional Development

Industry Experience ...

Demographics

Project budgets 1. Producer Profiles 2. Motivations and Needs

•

•

Overall more producers feel that their budgets are 'average', 'below' or 'well below' average in W2 – especially Film producers in comparison to TV producers – 1 in 5 film producers believe their budget is well below average Female producers think more optimistically about their project budgets

3. Sentiment Index

Typical project budget

• Appendix 33%

9% S 24%

12%

20%

14%

22% 34%

23%

41%

37%

30%

21%

21%

20%

10%

6%

4%

7%

TV

Film

Commercial

Digital Media

Well above average (5)

Above average (4)

Average (3)

Below average (2)

Q18. In terms of the Australian… industry, would your typical project budget be…? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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32%

18%

25%

Second Australian Screen Producers Survey – November 2012

Well below average (1)

57

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Demographics

An increased proportion of producers feel their budgets are below average 1. Producer Profiles 2. Motivations and Needs

•

Overall, a perception that budgets are 'well below average' increased by 9% – especially with TV – 6% – and Commercial producers – 10%

3. Sentiment Index • Appendix

* n=8 too small to validate Q18. In terms of the Australian… industry, would your typical project budget be…? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Producers rely on multiple stakeholders for funding* Origins of funds 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

• Overall, all traditional media producers depend more on distributors and less on self funding in comparison to Digital Media producers • TV relies predominantly on government (27%) and distributor funding (30%) • Film relies on private investment (26%), government (25%) and self funding (20%) • Commercial producers rely primarily on client contract (63%) • Digital Media producers rely mainly on client contract (29%) and self funding (28%) *Note: Figures will not necessarily align with statistics published by Screen Australia. See: http://screenaustralia.gov.au/documents/SA publications/DramaReport.pdf

Q14. In a typical project, what percentage of your funds come from…? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Demographics

59

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Demographics

Demographic differences in funding 1. Producer Profiles

•

Males tend to receive more funding from private investors than females

2. Motivations and Needs

•

Sponsorship is a more popular way of funding in Melbourne and Brisbane than Sydney

•

Older female producers tend to receive more government funding than males

3. Sentiment Index • Appendix

Q14. In a typical project, what percentage of your funds come fromW2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Demographics

Significant changes in funding since last wave* 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

Overall producers reported relying less on government funding in Wave 2 – especially traditional media producers (8% decrease ) • e.g. TV producers (13% decrease) • In Wave 2, producers were more likely to self fund production – especially traditional media producers (5% increase), with Commercial producers recording an 7% increase in self-funding • In Wave 2, although still at a low-base, producers have started to rely more on sponsorship with a 2% increase – especially traditional media producers • e.g. TV producers (5% increase) *Note: this survey did not include a specific question about producer offset and its impact on the industry •

5%

2% S

11%

16% S

19% 2%

16% 4% S

29%

21% S

11%

15%

24%

20%

W1 Total Client Contract

W2 Total Priv invest

Gov

Sponsor

Q14. In a typical project, what percentage of your funds come from … W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Demographics

IP ownership 1. Producer Profiles

Overall, traditional media producers own significantly less IP in their productions than Digital Media producers, and: – Commercial producers typically own the least – Film producers own the most – Victorian based producers have 16% more full IP ownership than NSW producers There has, however, been a significant increase (5%) in IP ownership reported by traditional producers in W2 • especially TV producers

•

2. Motivations and Needs 3. Sentiment Index

•

• Appendix

Producer segments

Ownership of intellectual property or copyright % 0%

1-25%

26-50%

51-75%

76-99%

100%

TV

31

8

12

12

12

23

Film

3

12

18

21

16

30

Commercial

53

10

11

7

8

11

Digital media

14

14

20

7

7

38 S

NETT all traditional media

28

10

14

14

12

22

Q15. In a typical project, what percentage of the intellectual property / copyright do you own? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Industry Experience ...

Demographics

Sources of advice for project development 1. Producer Profiles 2. Motivations and Needs

•

•

3. Sentiment Index • Appendix

•

•

Peers are generally a common source of information for producers in terms of which projects they develop Film producers are more likely to contact peers in the industry/use business partner vs. TV and Commercial producers Commercial producers tend to rely less on their family and friends for information than other segments – and do not contact government agency as much • vs. TV and Film producers Overall traditional media producers rely on distributors more than digital producers (25%)

Source of advice for project development 38%S

52%

37%S

43%

42%

31% S

31% S

16%

25%

27%

10%

9%

1% 5% 1% 14% 4%

3%

22%

25% 10% 32%

4%

12%

2% 9% 14%

12%

16%

TV Distributor/network Financier Government Agency

1%

8% 17%

9%

29%

10%

50%

61%

67%

4%

22%

18%

47% S

4%

40% S

57%

20%

25% S

50%

Film

50%

Commercial

Peers in industry Intuition Business Partner

Digital

Family and friends Retailer

NETT All Trad Other Industry publications

Q16. In preliminary stage of a project, who do you talk to to determine whether project should be further developed W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Demographics

Producers generally find audience research useful 1. Producer Profiles

•

Females tend to find user testing more useful (81%) than males (65%)

2. Motivations and Needs

•

Digital Media producers find it most useful vs. traditional media producers – especially TV

3. Sentiment Index • Appendix

Usefulness of audience research TV

32%

Film

31%

43%

37% Very useful (5)

18% 20%

57%

Digital media Nett All Traditional

21%

37%

20%

34% Useful (4)

Neutral (3)

18%

Not useful (2)

8% 3%

Mean 3.88

3% 5%

4.06

4%

4.27

2%

6% 3%

3.95 S

Not at all useful (1)

Q17. How useful is audience research/user testing in improving production quality in the… industry? (excludes Commercial) W2 n=407 TV=153, Film=109, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

2. Producer motivations: producers view their job as a creative art form and not a business Creative vision still most vital motivation and need for producers

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Second Australian Screen Producers Survey – November 2012

65 Producers lack confidence in some of their abilities 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

• All producers value people skills highest • Producers believe in their creative ability and value that skill highly • Responses indicate that producers are not confident in their legal, business, financial and marketing skills although they rate theses skills as important Importance

Skills – Digital Media People Legal

Creative

Tech

Mktg

Ability

Bus Q12. How important or unimportant are the following skills for success as a producer? See below Q13. What is your level of ability for each of these skills in the … industry? W2 407 n= TV= 153, Film=109, Commercials=89, Digital Media=56

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Fin

66 Producers believe creativity and people skills are most important 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

• Skills gap still exists – Marketing, business and financial skills were viewed as somewhat important, but producers reported having poor ability in these areas • Business and financial skills became more important for TV producers in W2 Importance of skills

TV W1

TV W2

Business

4.01

4.32

Financial

4.12

4.32

Q12. How important / unimportant are the following skills…? Q13. What is your level of ability… W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

67 Satisfying creative vision is an important driver for producers 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

Q9: How much does each of the following drive or motivate…? Q10: How frequently have you personally achieved/experienced… ?n =TV=153, Film=109, Commercial =89, Digital Media =56 Nov ’11-Dec ’11=407

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Second Australian Screen Producers Survey – November 2012

68 Primary motivators for producers are non-monetary 1. Producer Profiles

•

2. Motivations and Needs 3. Sentiment Index • Appendix

•

‘Satisfying creative vision’ is the primary driver for all producer segments, followed by: – ‘achieving critical success’ – ‘pressure/excitement’ after ‘Being well known to the public’ is the weakest motivator – followed by • ‘making a lot of money’ • having a ‘big hit’

Satisfying creative vision

83%

Achieving critical success

17%

48%

Pressure/excitement

39%

45%

21%

39%

39%

Steady income stream

39%

39%

36%

Influencing public opinion

35%

Helping others realise creative vision

35%

35%

Being well connected

33%

39%

Winning respect of peers

12% 6%3% 15%

12%

52%

26%

Winning awards

15%

22%

36%

13% 26% 15%

48%

22%

4% 9%

22%

39%

26%

13%

15%

33%

27%

24%

Making a lot of money

15%

33%

27%

24%

Being well known to the public

3%

30%

24%

Drives me a lot Neutral Does not drive me at all

Second Australian Screen Producers Survey – November 2012

3% 4%

Big hit

Q9. How much does each of the following drive or motivate you as a producer ? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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18%

Contributing to art form

Flexible working arrangements

13%

30%

Drives me a bit Doesn't drive me

12%

69 Digital Media producers most optimistic about growth 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

• •

Digital producers most optimistic about growth in their industry TV producers expect higher growth in their industry in W2 (from 4% to 10%) than in W1

SIG

TV W1

TV W2

4%

10% S

Strong growth

#Note: sample of TV producers in W1 was 107, and 157 in Wave 2, meaning the result is statistically robust

Industry outlook in W2

• Appendix TV Film Commercial Digital Media

10% S

19% S

35% 39%

16% S 8% S

3%

26%

34%

33%

36% Strong growth

32%

19% 14% S

45% Some growth

Stable

17%

Some decline

4% 7% 4% 2%

Great decline

Q46. What are your expectations for production levels in Australia in … industry over the next 3 years? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

70 Bergent Hot Buttons method to explore issues identified by producers 1. Producer Profiles

•

Bergent computes Hot Buttons using a – 5 point scale ( 5= Very Important to 1= Not Important) – statistically derived algorithm – that balances the relative value of 11 issues based on • importance (Q6) • frequency of thought (Q7) • ease of solving each (Q8)

•

Given there have been minor differences by producers from traditional sector – Bergent has split this analysis accordingly – total for all producers – traditional vs. digital producers

2. Motivations and Needs 3. Sentiment Index • Appendix

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Second Australian Screen Producers Survey – November 2012

71 Most vital issue for producers is developing creative ideas 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

• Taking into account all producers' responses to three questions: • importance • frequency of thought; and • ease of solving each issue then the result is 'developing and finding good creative ideas' ranks as the most vital issue for this cohort of All Producers • Digital Media producers have a very similar result with Hot Button result same for top four issues

Total for all producers W2

Hot Button opportunity rank

Develop good creative ideas

1

Find good creative ideas

2

Find people who will share their knowledge

3

Find people with the skills you need

4

Market to domestic market

5

Maintain a sustainable business model

6

Deal with government bodies

7

Access government funding for projects

8

Market to international market

9

Access private investment for projects

10

Find international partners

11

Q6 How important or unimportant …?, Q7 How frequently do you personally need… ?, Q8 How easy or difficult is it for you personally W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

72 Satisfying creative vision is top motivator for TV producers 1. Producer Profiles

•

2. Motivations and Needs 3. Sentiment Index

•

Satisfying creative vision

Satisfying creative vision is a top motivator with 78% of respondents indicating that it drives them a lot

Contributing to art form

50% 41%

37%

Achieving critical success

40%

40%

Helping others realise creative vision

40%

40%

Pressure/excitement

40%

Being well known to the public is not a top motivator

Steady income stream

Being well connected is not a big driver in W2 Doesn’t drive me

Being well connected

19

TV W2 % 5

27%

Being well connected

27%

Winning respect of peers

33% 47%

8%

Winning awards

5%

Being well known to the public

4%

16%

Drives me a lot Neutral Does not drive me at all

3%

12% 4% 5% 15%

12% 4%

19%

13% 4% 5% 3% 5% 8%

9% 3%

23%

31%

Second Australian Screen Producers Survey – November 2012

7% 9%

27%

Drives me a bit Doesn't drive me

Q9. How much does each of the following drive or motivate you as a producer in the TV industry? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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4%

20%

21%

29% 23%

8%

17%

21% 32%

33%

13%

19%

44% 32%

5% 5%

18%

41%

24%

13%

16%

28%

31%

Influencing public opinion

Making alot of money

25%

36%

Flexible working arrangements

TV W1 %

27%

Big hit

• Appendix

•

15% 3% 3%

78%

73 TV producers experience critical success less frequently Pressure/excitement

1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

•

•

In W2, TV producers experienced Flexible working arrangements pressure/excitement more often Contributing to art form – but won awards less often Helping others realise creative vision TV producers felt as though they were Satisfying creative vision influencing public opinion less Being well connected frequently than in W1 Steady income stream – and experienced critical success Big hit less often

27%

13% 12%

8%

49%

8%

4%

Achieving critical success

27%

Influencing public opinion (sometimes)

71

50

Being well known to the public

Achieving critical success (all the time)

9

Making alot of money

8% 5%

Winning awards

1

All the time Not very often

13%

11%

29%

Second Australian Screen Producers Survey – November 2012

11%

17%

8%

42% 50%

5% 4% 19%

59%

21%

39%

37%

31%

25%

31%

53%

Most of the time Never

8% 9% 4%

21%

14%

Sometimes

Q10. How frequently have you personally achieved/experienced each of the following from being a producer in the TV industry? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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13%

48% 45%

4% 19%

6%

51%

21%

Influencing public opinion

9% 1%

37%

40%

TV W2 %

8% 5% 32%

29%

7%

13% 4%

46%

49%

Winning respect of peers

31%

29%

9%

5%

21% 5% 1%

39%

TV W1 %

Personal achievements frequency

45%

74 TV producers threatened by large production companies, funding and younger talent 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

Acquisition managers at Australian TV stations are only interested if the idea has been successfully done overseas

Age is an issue. As you get older, people are more inclined to go with younger people who are less expensive to employ

Badly structured government support creates a 'club' that very few productions and companies can be a part of

Too much reliance on Government funding by very experienced companies means it is too hard for people making their first or second production.

Reliance on previous models that have worked are a primary focus for funding

The big issue for me is the complexity of commissioning. The deadlines for Screen Australia / Government Funding Agencies don't work with TV broadcaster deadlines

Q8b. Please list any other problems or issues you have encountered in the TV industry? n=107

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Second Australian Screen Producers Survey – November 2012

75 Satisfying creative vision the biggest driver for film producers 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

•

Satisfying creative vision is the top motivator (75% for 'Drives me a lot') – being well known to the public is not a priority

•

Film producers are becoming increasingly neutral about flexible working arrangements as a motivator – but winning peer respect has become a strong driver

• Appendix

Motivators

Film W1 %

Film W2 %

Flexible working arrangements (neutral)

7%

29%

Winning respect of peers (drives me a lot)

4%

31%

Q9. How much does each of the following drive or motivate you as a producer in the Film industry? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

76 Satisfying creative vision the biggest driver for film producers 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

Q9. How much does each of the following drive or motivate you as a producer in the Film industry? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

77 Film producers’ personal achievements have decreased in frequency 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

• •

1 in 2 Film producers help others satisfy creative vision 'most of the time' 79% feel they are not making a lot of money often (compared to 52% Commercial producers)

Helping others realise creative vision

18%

Satisfying creative vision

16%

Flexible working arrangements

17%

Pressure/excitement

16%

40%

Contributing to art form

16%

39%

Winning respect of peers

Personal achievements frequency

Film W1 %

Film W2 %

8%

Influencing public opinion

8%

Big hit (most of the time)

7%

0%

Making a lot of money (most of the time)

7%

0%

Influencing public opinion (not very often)

35%

14%

Helping others realise creative vision (Sometimes)

46%

24%

Winning awards Steady income stream Being well known to the public Making a lot of money

24%

51%

28%

29%

17%

8% 14%

10%

57%

16%

40%

31%

34%

26% 34%

33% 45%

Big hit All the time

Most of the time

Not very often

Never

36%

4%

45%

4% 16%

21%

4% 4%

39%

57%

29%

34%

Sometimes

Q10. How frequently have you personally achieved / experienced each of the following from being a producer in the Film industry? W1 n= 227, Film=55, W2 n=407 Film=109

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Second Australian Screen Producers Survey – November 2012

5%

3% 3%

53%

12%

7%

9%

37%

31%

10%

2% 2%

38%

45%

7%

2% 6%

29%

41%

12%

Achieving critical success

Being well connected

51%

10%

9% 8%

78 Film producers face difficulties maintaining sustainable business models and have issues with government support 1. Producer Profiles 2. Motivations and Needs

Many people in the government agencies have been there too long and are difficult to deal with

3. Sentiment Index • Appendix

Australian film industry vs. overseas industry (distance, distributor deals, locally guarded)

The regulatory and tax incentive environment for private investment in films has become so prohibitive and difficult that it is almost impossible to attract reasonable amounts of private investment to sustain it

The biggest problem is business sustainability working on low budget films with low fees and overheads and how timeconsuming it is to apply for development funds when trying to keep the momentum going on the projects

The barriers to entry make it seem ... easy to call yourself a producer, all you need is a couple of film projects...

Q8b. Please list any other problems or issues you have encountered in the Film industry? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

79 Steady income the highest motivator for commercial producers Steady income stream

1. Producer Profiles

•

2. Motivations and Needs 3. Sentiment Index • Appendix

•

Highest motivators – steady income stream is more important – satisfying creative vision – helping others realise their creative vision Weakest motivators – being well known to the public – making a lot of money – winning awards

62%

Satisfying creative vision

46%

Helping others realise creative vision

46%

Flexible working arrangements

44%

Achieving critical success

22% 49%

Influencing public opinion

26%

46%

Being well connected

24%

48%

20%

Contributing to art form

18%

Being well known to the public

8%

20%

8% 5%

18%

46%

15%

6% 4%

8% 10%

38%

26%

30%

48%

36%

8% 4% 15% 5% 3%

59%

Making a lot of money 4%

14%

15%

30%

6%

5% 10% 5%

38%

20%

Winning awards 3%

14%

49%

28%

Big hit

15%

36%

Pressure/excitement

21%

5%

38%

31%

Winning respect of peers

14% 2%

16%

32%

33%

12% 4%

18%

Drives me a lot

Drives me a bit

Neutral

Doesn't drive me

10%

Does not drive me at all Q9. How much does each of the following drive or motivate you as a producer in the commercial industry? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

80 Steady income and achieving critical success have become stronger motivators for commercial producers 1. Producer Profiles

•

2. Motivations and Needs 3. Sentiment Index • Appendix

•

Significant differences in commercial producers’ motivations in W2 – steady income, achieving critical success and being well known to the public have become stronger motivators since the last wave • while making lots of money is now a weaker motivator Influencing public opinion and achieving critical success as motivators have both seen significant shifts away from ‘neutral’ responses SIG

Comm W1

Comm W2

Steady income stream (doesn’t drive me)

15%

2%

Making lots of money (drives me a lot)

19%

4%

Being well known to the public (doesn’t drive me at all)

37%

16%

Influencing public opinion (neutral)

40%

15%

Achieving critical success (drives me a bit)

20%

49%

Achieving critical success (neutral)

25%

5%

Q9. How much does each of the following drive or motivate you as a producer in the commercial industry? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

81

1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

Flexible working arrangements are a key motivator for commercial producers • Commercial producers experienced 'flexible working arrangements', 'helping others realise their creative vision' and 'pressure and excitement' most frequently in their everyday profession • Achieving a 'big hit' and 'being well known to the public' was reported as experienced less frequently in W2 Achievements frequency

Comm W1%

Comm W2%

Big hit (most of the time)

19%

0%

Big hit (not very often)

7%

36%

Being well known to the public (not very often)

7%

38%

Helping realise creative vision (sometimes)

5%

28%

Flexible working arrangements

22%

Helping others realise creative vision

15%

Pressure/excitement

14%

40% 56%

32%

Winning respect of peers 5%

3%

Contributing to art form

3%

Being well connected

2%

18%

51%

2% 12%

38%

33%

5% 15%

58%

30%

26%

59%

26%

Most of the time

3% 8%

38%

26%

Big hit All the time

34%

31%

13%

6%

20% 4% 28%

54%

Achieving critical success

Winning awards

36%

38%

Being well known to the public 2%4% Influencing public opinion

32%

56%

Making a lot of money 4%6% Satisfying creative vision

28%

48%

Steady income stream 8%

4% 6%

28%

8%

51%

21% 3%

56% 40%

18% 36%

Sometimes

Not very often

13% 24%

Never

Q10. How frequently have you personally achieved / experienced each of the following from being a producer in the commercial industry? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

82 Commercial producers are experiencing pressures in a number of areas 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

Corporate clients are always looking for the best product at the cheapest price – price competition despite how creative the concept is, can be a problem

Lack of consistent work. Most crew are now diversifying and are doing more than one job to try and sustain a career in the industry

• Appendix

Lack of loyalty from advertising agencies

Getting paid within a reasonable period from completion of projects!

Overwhelming numbers of poorly trained 'production houses' who have never worked in a professional environment and think the quality of their equipment makes them professionals without knowledge of industry and government standards Q8b. Please list any other problems or issues you have encountered in the Commercial industry? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

83

1. Producer Profiles

Digital producers are drawn to the excitement of the sector and ‘psychic-income’ more so than making a lot of money •

2. Motivations and Needs 3. Sentiment Index

•

• Appendix

•

Digital Media producers most frequently experience pressure/excitement – followed by contributing to the art form and flexible working arrangements Overall, ' psychic income’ – intangible non-monetary benefits – including ‘pressure and excitement’, ‘satisfying creative vision’ and ‘winning respect from peers’ were the most popular responses for ‘all the time’ and ‘most of the time’ categories Meanwhile, ‘making a lot of money’ having a ‘big hit’ are the least often experienced or achieved by digital media producers

Pressure/excitement

36%

Contributing to art form

22%

Flexible working arrangements

21%

30% 35% 42%

17%

48%

Winning respect of peers

17%

48%

Achieving critical success

17%

Steady income stream

15%

Helping others realise creative vision

13%

Influencing public opinion Winning awards Being well known to the public

Making a lot of money

35%

24%

9% 9%

39%

18%

70%

9%

39%

3% 9%

3% 3%

13%

35%

17%

6%

4% 9%

13%

30%

4% 13%

Big hit 3%

22%

33%

4%

12%

35%

43%

9%

9% 4%

24%

22%

21%

6%

30%

Satisfying creative vision

Being well connected

27%

26%

36%

17%

33%

36%

24%

33%

33%

All the time

Most of the time

Not very often

Never

18% 30% 27%

Sometimes

Q10. How frequently have you personally achieved / experienced each of the following from being a producer in the Digital Media industry? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

84 Digital Media producers feel there is a general lack of recognition from traditional media producers 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

Lack of understanding from more traditional areas of screen media

You need to do a lot of volunteer work after graduating from university before you can find paid work

Lack of recognition for rich content sites. Funding focused on film content producers or games rather than web people

Finding people who understand and can financially support my vision for a sustainable independent business

The more time I spend out of the country, the more I realise how backward, small and provincial the Australian media industry is. A sheltered workshop where funding decisions are based on who you know, not what your skills are Q8b. Please list any other problems or issues you have encountered in the Digital Media industry? n=107

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Second Australian Screen Producers Survey – November 2012

85

Producers perceive maintaining a sustainable business model as important but hard to do Wave 2

1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

Q6. How important or unimportant…? Q8: How easy or difficult is it for you…? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

3. Producer sentiment: producers have stronger growth expectations and sentiment Sentiment Index and Perception of Future* *See page 118 for the Sentiment Index questionnaire

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Second Australian Screen Producers Survey – November 2012

87

1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

Most producers are optimistic about their long term future and see themselves in the same industry • Three quarters of Film and Digital Media producers believe they will be in the same industry and doing better in 10 year times • Consequently, Film and Digital Media producers were the most positive about their long term outlook • Interestingly, while Film producers are the oldest segment in terms of average age, and have the highest proportion of producers aged in their mid-to-late 50s and 60s years and over, only 8% of Film producers in comparison to 14% of TV producers, and 11% of Commercial producers intended to retire in the next 10 years. 75%

71%

• Appendix

Future employment outlook 55%

16%

11%

12%

9% 4%

Dont know

5%

14% 8%

Retired

[0%]

1%

2%

6%

12%

7% 3%

2% 2%

[0%] 1%

[0%] 4%

Another industry, not Another industry, doing Another industry, doing Same industry, not doing as well better about the same doing as well

TV

Film

Commercial

Digital Media

Q45. What do you see yourself doing in 10 years? W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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54%

Second Australian Screen Producers Survey – November 2012

[0%]

10%

12%

4%

Same industry, doing Same industry, doing better same

88

Digital Media producers perceive production future much more positively than other producer segments

1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

• Overall, producers in W2 have higher expectations for growth in production – Digital Media producers anticipate stronger growth in the next 3 years. Indeed, 80% of Digital Media producers expect stronger growth in the next 3 years compared with 47% of traditional producers as an aggregate. – However, traditional media producers have worked on average much longer in the industry than Digital Media Producers (e.g. 54% for more than 15 years) which may impact upon this outlook (see the following page) Expectations of production levels 5% 35%

20% 26%

80%

54% 46%

TV

42%

Film Commercial Digital Decline Growth Media

Q46. Expectations of production levels in next 3 years… ? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

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Second Australian Screen Producers Survey – November 2012

89

1. Producer Profiles

TV producers and younger producers more positive about their chance to achieve a ‘big hit’ than other segments and age groups •

2. Motivations and Needs 3. Sentiment Index • Appendix

•

TV producers believe in the chance of achieving a big hit more than Commercial producers ― and are more optimistic about other’s success in the industry than Film or Commercial producers Younger producers (25-34yrs old) tend to be more positive about their prospects of 'having a big hit' than producers in older age groups

Score out of 5 (3 is neutral)

W1

W2

Self

Others

Self

Others

TV

2.77

2.89

2.93

3.25

Film

2.85

2.47

2.89

2.82 S

Commercial

2.45

2.7

2.58 S

2.75 S

Digital media

2.33

2.61

2.96

3

NETT all trad. media

2.83

2.74

2.88

2.99

Q19. Thinking about ….. what is the probability of you having a big hit in the next 3 years? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56 Q20. What is the probability of other Australian producers having a big hit in the next 3 years? As above

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Second Australian Screen Producers Survey – November 2012

90 Traditional producers more positive about the success of others in W2 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

•

From being negative in their outlook in W1, producers across all segments are neither pessimistic or optimistic about anyone’s success overall in W2 ― However, traditional screen producers are becoming more positive about the success of others in W2 ― especially TV producers despite a reported decline in overall production and economic activity in this survey

Score out of 5 (3 is neutral)

W1

W2

Self

Others

Self

Others

TV

2.77

2.89

2.93

3.25 S

Film

2.85

2.47

2.89

2.82

Commercial

2.45

2.7

2.58

2.75

Digital media

2.33

2.61

2.96

3

NETT all trad. media

2.83

2.74

2.88

2.99 S

Total

2.69

2.73

2.85

2.99 S

Q19. Thinking about ….. what is the probability of you having a big hit in the next 3 years? W1 n = 227 TV=107, Film=55, Commercial =47, Digital Media =18 / W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56 Q20. What is the probability of other Australian producers having a big hit in the next 3 years? As above

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Second Australian Screen Producers Survey – November 2012

91

Producers are most positive about their own prospects and industry performance •

1. Producer Profiles 2. Motivations and Needs

•

3. Sentiment Index

In Wave 2, producers were more positive about: – their own prospects in the industry in near and distant future • and the industry performance's overall On the other hand, respondents were typically negative about the performance of the government in terms of their support for the industry (see pages below for more detailed analysis) – There was also negativity towards the strength of leadership in the industry 86%

• Appendix

77% 69%

68% 63%

71%

Sentiment index: Top 2 Boxes: positive score

84%

80% 69%

70%

64%

63% 58%

55%

54% 53% 53%

53%

38% 32%

30%

20%

27% 17%

19%

12%

Your prospects in 12-24 months

Your Prospects in 3-10 Industry perform. in 12-24 State Govt. performance years months

0%

Total

TV

Film

Comm

27%

25% 20%

19%

21%

19%

22%

14%

Federal Govt. Performance

Digital

Q46 a-f. Sentiment Index W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

ARC CCI

24% 19%

27%

Second Australian Screen Producers Survey – November 2012

Ease of achieving prof. goals in future

NETT All Trad.

17%17%

14%13%

15%

Strength of leadership in industry

100%

92

1. Producer Profiles 2. Motivations and Needs

There are variations in how producers forecast their prospects • • • •

Digital Media and Film producers are most optimistic about future in the next 2 years Film producers are the most positive about the next 3 to 10 years Digital Media producers are the most positive about distant future vs. traditional media producers as a whole Producers feel the same way about the industry's future overall Sentiment Index: Top 2 Boxes: positive and mean score

3. Sentiment Index • Appendix

Mean (Score out of 5) 3.75 3.66

4

3.48 3.96 3.72

3.84 3.59 4.17 3.69 4.11 3.79

0% Q46 a-f. Sentiment Index W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

ARC CCI

Second Australian Screen Producers Survey – November 2012

3.46 3.41 3.51 3.37 3.68 3.43

100%

93 Producers negative about government performance 1. Producer Profiles 2. Motivations and Needs

• • •

Producers were asked to rank from 1 to 5 the performance of state and federal governments Producers feel that both state and federal governments are performing poorly (below average) in relation to their support of the industry Although there are differences in positive responses, mean responses show that all producers feel the same about government performance

3. Sentiment Index

Sentiment Index: Top 2 Boxes: positive score

• Appendix

2.49

2.4

2.63

2.4

2.61

2.47

2.52

2.4

Q46 a-f. Sentiment Index W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

ARC CCI

Second Australian Screen Producers Survey – November 2012

2.64

2.54

2.61

2.51

94 Digital producers most optimistic about achieving future goals and strength of leadership in industry 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index

•

•

Digital Media producers are more positive about achieving what they want in future – vs. traditional media producers • especially TV and commercial Digital Media producers are more positive about leadership in the industry than traditional producer segments Sentiment Index: Top 2 Boxes: positive score

• Appendix

2.63

2.55

2.65

2.56

2.95

2.58

2.46

2.43

0% Q46 a-f. Sentiment Index W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

ARC CCI

Second Australian Screen Producers Survey – November 2012

2.37

2.42

2.77

2.41

100%

95 Digital Media producers tend to be more optimistic than producers overall 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

•

The sentiment of Digital Media producers overall tends to be more optimistic than other producing segments – TV and Commercial producers are the least optimistic – However, Digital Media producers have spent less time in the industry and are in general younger which may influence this sentiment

Producer segments

Calculated score (overall sentiment out of 100)

Total

41

TV

36

Film

46

Commercials

37

Digital media

54

Q46 a-f. Sentiment Index W2 n=407 TV=153, Film=109, Commercial =89, Digital Media =56

ARC CCI

Second Australian Screen Producers Survey – November 2012

Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

97 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

98 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

99 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

100 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

101 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

102 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

103 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

104 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

105 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

106 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

107 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

108 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

109 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

110 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

111 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

112 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

113 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

114 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

115 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

*See page 118 for Sentiment details (Q46a-f)

ARC CCI

Second Australian Screen Producers Survey – November 2012

116 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

117 Questionnaire 2012 1. Producer Profiles 2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012

118 Questionnaire 2012 1. Producer Profiles

•

Sentiment index relating to Q46:

2. Motivations and Needs 3. Sentiment Index • Appendix

ARC CCI

Second Australian Screen Producers Survey – November 2012