Some Nine sponsored research into viewing habits with advertising.
Summary - advertising on TV is better than on social media.
Longer adverts on linear television and BVOD provide a significantly longer window of active attention from viewers compared to equivalent length ads on social platforms, the most technologically advanced study into attention to advertising ever undertaken in Australia has found
Currently the 20 year anniversary special doesnât have a broadcaster.
https://twitter.com/couriermail/status/1555035237700468737?s=20&t=MLGODHLR1HTzsa1oQVxcDA
Aussie TV networks will be relying on big-name celebrities, extravagant costumes, social media buzz and inclusivity this Sunday, as they scrum down for the most fierce reality show battle yet.
Sevenâs My Kitchen Rules, Nineâs The Block and Tenâs the Masked Singer go head-to-head in a highly-anticipated clash, not even the Commonwealth Games could delay.
Seven, as the official broadcast partner of the Birmingham games, fast-tracked its third-quarter tent-pole showsâ launch, despite competition still running in the UK.
David Knox, of blog TV Tonight, believes the time difference means there will be minimal impact on the reality ratings anyway.
âMost of the key (Commonwealth Games) medal events are after 8.30pm but Seven canât afford to let The Block or Masked Singer have a free pass,â he said.
âSpending all that money on Birmingham is principally about launching its next slate of shows.â
If i was setting up a new breakfast show, the first thing I would do is not even consider basing it out of Sydney. Sunrise and Today are both based out of Sydney so its hard to get product differentiation - often youâd see the same guests on both shows.
Iâd base out of Melbourne, have a city studio with windows overlooking somewhere like Fed Square or in Brisbane overlooking Southbank.
Who would be starting a new breakfast show?
i donât think anyone is, iâm just throwing it out there
Podcaster and TV personality Hamish Blake is Australiaâs No. 1 broadcast personality as voted by consumers, while Australiaâs âGreatest Showmanâ, Hugh Jackman has topped the overall list of celbriries , the 2022 The Top Talent Report reveals.
Hamish Blake was also the only broadcast personality to make the top 10 overall talent list this year, in sixth position.
Top 10 Overall Talent 2022 1. Hamish Blake +43
2. Dr Chris Brown +40
3. Georgie Parker +34
4. Andy Lee +33
5. Guy Sebastian +32
6. Shane Jacobson +31
7. Manu Feildel +30
8. Carrie Bickmore +30
9. Bruce McAvaney +25
10. Miguel Maestre +25
Some interesting inclusions in the top 10.
Includes:
FTA drama continues to be in decine (though up slightly from last year) while there has been a 4 times increase in subscription TV drama production.
FTA TV and BVOD drama is drama first released on either FTA television â ABC, NITV, SBS, Seven, Nine and 10 â or those broadcastersâ online platforms â ABC iview, SBS On Demand, 7plus, 9Now and 10 play.
In 2021/22 there were 24 Australian titles totalling $208 million expenditure, an increase of 8% on last year, but 8% below the 5-year average. Of these titles, 19 were created for the public broadcasters. The number of hours produced for FTA broadcasters has been in steady decline since 2000/01, when 715 hours of general drama was produced for free-to-air television, and this year there were 278 hours generated.
The number of series/serials produced decreased for the third year in a row, with nine titles down from the 5-year average of 16. Titles included Home and Away (Seven), Neighbours (10) and Aftertaste (ABC). Eleven mini-series entered production â steady on last year - including Barons (ABC), After the Verdict (Nine), and Safe Home (SBS).
General subscription TV and SVOD drama is drama first released on either subscription TV and related platforms â Foxtel, Foxtel Now, Foxtel Go and other Foxtel services â or subscription VOD platforms such as Amazon Prime, Binge, Disney+, Netflix, Paramount+ and Stan.
This year 29 Australian titles entered production, up from just nine in the previous year. Spend increased significantly to a record $445 million, up from $119 million in 2020/21 and more than double the 5-year average.
There was increased production across most platforms, including Stan which had seven titles in this yearâs slate, including Bad Behaviour and Bump series 2 and 3. Paramount+, Amazon Prime and Netflix had four titles each enter production, three titles were produced for Foxtel and one title for Binge (Colin from Accounts).
For the first time this section now includes all Australian childrenâs drama released across television, SVOD and online, providing a more holistic view of childrenâs drama production.
Results in childrenâs television were largely consistent with the previous year, with 11 titles entering production (the same as 2020/21) generating $67 million (a 5% increase) in spend in Australia. While hours increased by 12% from last year, they were 32% below the 5-year average, the data from the past five years shows an overall decline in production from a peak year in 2018/19.
Of the 11 titles in 2021/22, the ABC financed eight, including animations 100% Wolf: The Book of Hath, First Responders, Ginger and the Vegesaurs and Kangaroo Beach series 2, and live action titles Beep and Mort, Crazy Fun Park, First Day series 2 and The PMâs Daughter. NITV financed the live-action series Barrumbi Kids. One title that entered production in 2021/22 was financed by the commercial free-to-air broadcasters, Rock Island Mysteries (Network 10), and Gymnastics Academy: A Second Chance! was financed by Netflix.
Press release from Screen Producers Australia
Screen Producers Australia (SPA) today welcomed the release of the Screen Australia Drama Report 2021/22, which continues to highlight the volatility of the screen sector with a range of recent factors generating both pressures and opportunities for Australian screen productions and the people and businesses that make them. While generating a nice top-line result, a lot more needs to be done to address the underlying challenges the sector faces.
The new record for total Australian drama expenditure of $1.15 billion midst an overall total spend of $2.29 billion is welcome, and points to the importance of the Australian screen industry to Australiaâs creative economy which is likely to be in total more than four times as large as this drama report captures.
It also demonstrates the capacity of the Australian screen industry to grow rapidly, in response to investment opportunities. SPA believes that conditions are right to capitalise on this growth through increased skills development and an industry plan for well managed and permanent growth.
SVOD Demonstrates a Move in the Right Direction
SPA also welcomes the increase in spending on drama in 2021/22 by Australian and foreign online streaming services that contributed $186 million to 24 titles, representing a significant step up of investment.
This brings SVOD services even closer to the 20% minimum investment requirement sought by SPA as an ongoing commitment to Australian screen content.
Data is King but Needs Reviewing
For context, SPA notes that these figures capture only one year, so it is important to weigh any record spend against the 5-year averages. SPA also notes that this report is for drama only, and that Australian audiences value diversity of screen content across all genres.
Achieving a consistent and transparent reporting methodology for screen industry data by Screen Australia and the ACMA is an important goal and should be a focus of outcomes associated with the National Cultural Policy under current development.
For example, SPA notes that the figures for Australian VOD drama applied by Screen Australia include titles that are not likely to be considered âAustralianâ under the definition applied by the industry regulator, the ACMA. SPA believes a consistent framework for the collection and reporting of screen industry data across all platforms of free-to-air, subscription, and streaming services is of critical importance.
Commercial Free to Air Needs to Deliver More
SPA remains concerned about the continued downward trend in hours and investment from commercial free-to-air channels which reflects the damaging deregulation of this sector under the previous government.
These vastly lowered requirements are completely at odds with an expectation that Australians should be able to view a range of well-made content on freely available services that in turn benefit from industry protection through the anti-siphoning scheme as well as the use of public assets in the form of spectrum for their delivery to audiences.
This harmful deregulation also hastened the trend for the collapse in the number of series/serials produced by commercial broadcasters, with Home and Away (Seven Networks) and Neighbours (Network 10), providing the bulk of series and serials hours in this report.
With the final episode of Neighbours having gone to air, this leaves continuing challenges for our sector which has benefitted from the training ground that long-running drama programs made for commercial television have traditionally provided. These programs, as well as childrenâs content, have key roles in developing talent in front of and behind the camera and our sector needs both to continue to ensure a healthy sector with key skills is maintained.
The Results for Childrenâs Content are Disastrous
The result for childrenâs content is again disastrous with only one title across a whole year being generated by commercial television businesses, and one by SVOD services despite all these businesses supplying Australian children with thousands of hours of foreign childrenâs content. Urgent regulation across these platforms is needed if we want to ensure our children can dream Australian dreams.
Our National Broadcasters: Steady and Critical
The ABC has provided the only respite here doing all the heavy lifting for childrenâs content and together with SBS, continues to fund a strong backbone of Australian drama series. The ongoing delivery of steady investment in our sector by ABC, SBS and NITV continues to demonstrate how important it is for the Australian Government to provide ongoing, stable, transparent, and appropriate levels of funding to our national broadcasters.
Feature Films Have Significant Challenges Hidden by the Top Line Data
The Drama Report also highlights that the number of Australian feature films that are being made has dropped significantly being well below the five-year average and expenditure associated with a handful of very large budget films mask the ongoing challenges this part of our sector faces both in finance and distribution.
SPA is also concerned about the drop in features with budgets of less than $1 million (down from 13% to 8%) and less than $5 million (down from 52% to 33%). While this is partly a reflection of inflationary pressures in the film industry, SPA believes it is important that cost doesnât become a barrier to new, independent productions to ensure we continue to see a diversity of stories on screens.
An Urgent Need for Terms of Trade
SPAâs most significant concern though is that the commercial deals that underpin the expenditure captured in this report on Australian-created stories are increasingly disastrous for Australian businesses and creators.
Without a âterms of tradeâ framework, Australian producers are losing creative control and ownership of valuable IP in the titles they create â this needs to be fixed as a priority.
Banijay now owns Beyond International (distribution), as well as Endemol Shine and Screentime (production) in Australia.
Beyond was first listed on the Australian Securities Exchange in 1987.
They would be close to the biggest one on the globe?
I think Fremantle is still the biggest TV production firm in the world.
I donât recall this second edition getting much attention at the time. It was mentioned briefly during The Last Year of Television 2022 special specifically the table of diversity in news presenters where Seven has highlighted for having a 91.6% Anglo-Celtic percentage in 2022.
From the report
We also examined the number of appearances of presenters and reporters by television network (Table 4 and Figure 4). Anglo-Celtic background was consistently over-represented across the four major networks, ranging from 72.7% at Network 10 to 91.6% at Seven Network, but was under-represented at SBS and NITV. ABC had a sharp rise in the Anglo-Celtic category in 2022, with almost three in four (74.1%) on-screen appearances being by Anglo-Celtic presenters and reporters, compared to 57.2% in 2019. The shift at ABC was mainly from the European category.
By frequency of appearance, Nine and Network 10 substantially increased their representation of Indigenous presenters and reporters on air, during the 2022 study period.
After NITV, Network 10 had the next highest representation of appearances by Indigenous presenters and reporters, increasing from 5.4% in 2019 to 13.6% in 2022, while Nine also increased from zero in 2019 to 6.1% in 2022. The ABC also maintained strong Indigenous representation on air at 4.5% in 2022.
However, we did not identify a single appearance by an Indigenous presenter or reporter at the Seven Network in
the two-week study period.
From The Age Green Guide today
Australia does have its own genre that we specialise in.
Cheap reality crap TV.
