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Line Budget for TV Pitch?
We’re putting the final touches on our pitch package for a TV show including the “pitch bible” along with a sizzle reel to show the prospective look and feel of the show, an hour one-camera drama.
While I have experience doing smaller line budgets for short films, tv commercials, and music videos, it’s not my forte since I usually work on the creative end of production.
I know a rudimentary line budget is a nice item to include in a pitch bible and I’m sure I can square away a ballpark figure for all the above-the-line costs, but I’d assume some costs are best left out like marketing and legal/admin because that’s moreso up to a network.
Does anyone have a sample network tv line budget? I honestly don’t care if parts and names are blacked out, but I would love to see some kind of industry standard example, and get an idea of what lines are usually included.
Also, would it be safe to say most networks have blanket license with music publishers? Or should I include a music budget of some sort?
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8 Replies
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[Angelo Lorenzo] “I know a rudimentary line budget is a nice item to include in a pitch bible”
We don’t include it. We bring it with us and will show it, but we don’t include it or leave it behind.
[Angelo Lorenzo] “Also, would it be safe to say most networks have blanket license with music publishers? Or should I include a music budget of some sort?”
Include music in your budget to be safe.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” now in Post.
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[Angelo Lorenzo] “would it be safe to say most networks have blanket license with music publishers?”
No, actually I’d think it’d be safe to assume most networks do not have any all-encompassing blanket license that covers music in programming acquired from outside producers.
Definitely budget for music.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Music costs are a HUGE variable. They can easily whipsaw your budget from “attractive” to “impossible” if you’re not aware of the costs involved. Most networks want “world wide in perpetuity” clearance, and that is VERY expensive. If you’re thinking about anything OTHER than library music, it should be clear from the outset with everyone involved, and budgeted accordingly. In my experience, this is one of the most commonly UNDER estimated costs.
Mark
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[Mark Raudonis] “In my experience, this is one of the most commonly UNDER estimated costs.”
Yep, I’ll agree with that. This is one of the reasons we work almost exclusively with original music by the same sound designer who mixes the show. It’s a part of the sound design price and we get the rights to use the music in perpetuity. And we save money over the library route, believe it or not.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” now in Post.
Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital. -
And since we’re on the topic of music, here’s a timely little bit….
$500,000 for about 20 seconds of “Lovely Rita.” See even with a “blanket license” music will still cost ya.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” now in Post.
Creative Cow Forum Host:
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Not surprised. Luckily we’re hinging on using lesser known songs as well as remixes and covers to curtail the majority of licensing costs.
I have contacts at a few of the larger indie record labels, I just need to make some phone calls on Monday.
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[Angelo Lorenzo] “as well as remixes and covers to curtail the majority of licensing costs.”
Ok, just so you’re clear. Lovely Rita was played instrumental by the Tonight Show Band and it cost $500,000. That WAS a cover. 🙂
Be sure you fully understand what you are getting yourself into if you plan to cover or remix any popular music. It’s very complicated and I’ve known people who got clearance from a record label, but then did not get the proper clearance from the Writer and / or Performer. Sometimes you need all three, even for a cover.
It’s all do-able and it’s especially helpful to work with a music researcher who does this kind of this day in / day out. They cost extra but are worth their weight in gold to protect you and your production.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” now in Post.
Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital. -
Totally understood. This is basically just some ballpark figures in case we’re asked for them. We’re presenting the show to one of the “big four” agencies in LA, and they we’re pretty confident they’ll like it and bring it to the attention of those willing to buy it. If it goes to pilot, we’ll be hiring a true line producer and music supervisor.
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