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Aparently the current BBC-2 idents cost £25,000 each. That is, if BBC don't create it in-house. That doesn't include the planning and research they would have done beofre producing them.
I heard that BBC1 paid a few million for the Balloons, but for the ammount and the quality of them, that's not too bad.
I heard that BBC1 paid a few million for the Balloons, but for the ammount and the quality of them, that's not too bad.
IS
No, they paid a few million for the (then) new BBC logo, bu that included the design of the logo itself, all the variants and the implementation of it (i.e. putting it on walls and the like).
The balloons themselves didn't cost millions of pounds
Adam posted:
Aparently the current BBC-2 idents cost £25,000 each. That is, if BBC don't create it in-house. That doesn't include the planning and research they would have done beofre producing them.
I heard that BBC1 paid a few million for the Balloons, but for the ammount and the quality of them, that's not too bad.
I heard that BBC1 paid a few million for the Balloons, but for the ammount and the quality of them, that's not too bad.
No, they paid a few million for the (then) new BBC logo, bu that included the design of the logo itself, all the variants and the implementation of it (i.e. putting it on walls and the like).
The balloons themselves didn't cost millions of pounds
BB
...and the original set of eight Rhythm and Movement (dancers) idents for BBC ONE cost £700,000 i believe, including conception and execution, though I understand this figure also included the cost of rebranding BBC ONE with the full suite of ECPs, promos and slides etc, as well as off-air collateral.
:-(
A former member
Balloons cost £500,000. Which is about right.
A custom made balloon had to be designed and made in Bristol, assemble a film crew with helicopter in various parts of the UK, get someone to compose music, edit the sequences etc. It all adds up. Seeing as the balloons took 7 weeks to film over June/July 1997, I think £500k isn't too bad.
A custom made balloon had to be designed and made in Bristol, assemble a film crew with helicopter in various parts of the UK, get someone to compose music, edit the sequences etc. It all adds up. Seeing as the balloons took 7 weeks to film over June/July 1997, I think £500k isn't too bad.
IS
And the research and design process including any versions that didn't make it to air
BBC LDN posted:
...and the original set of eight Rhythm and Movement (dancers) idents for BBC ONE cost £700,000 i believe, including conception and execution, though I understand this figure also included the cost of rebranding BBC ONE with the full suite of ECPs, promos and slides etc, as well as off-air collateral.
And the research and design process including any versions that didn't make it to air
EI
For the visual execution it'll be a flat fee. As to the size of the fee - how long is a piece of string? You could commission an ident for £50, £500, £5000, £50,000 or £500,000... it all depends on so many factors.
The only element of an ident that attracts royalties is the music. The PRS for the ITV idents, for example, is worth hundreds of thousands of pounds per year to the composer.
CC100 posted:
How much would a big company like ITV pay for a new logo/ident in general?
A one off flat fee or a royalty like payment?
A one off flat fee or a royalty like payment?
For the visual execution it'll be a flat fee. As to the size of the fee - how long is a piece of string? You could commission an ident for £50, £500, £5000, £50,000 or £500,000... it all depends on so many factors.
The only element of an ident that attracts royalties is the music. The PRS for the ITV idents, for example, is worth hundreds of thousands of pounds per year to the composer.
TV
But if the broadcaster owns/buys the music rights, does that not indemnify them of royalties? Given the nature of idents, it would be financially inconvenient to pay for unplanned broadcasts ie. those brought on by programme changes.
CC100 posted:
The only element of an ident that attracts royalties is the music. The PRS for the ITV idents, for example, is worth hundreds of thousands of pounds per year to the composer.
But if the broadcaster owns/buys the music rights, does that not indemnify them of royalties? Given the nature of idents, it would be financially inconvenient to pay for unplanned broadcasts ie. those brought on by programme changes.
BT
When you commission a package of music for programmes or idents, you can certainly build an "all rights buy-out" into the contract, but any composer with a bit of common sense will charge you a hefty fee for that, taking into consideration the level of PRS revenue he/she would expect to get from normal usage.
Even if the rights haven't been bought out, the PRS on stuff like ident music tends not to be done by logging every single appearance. By totting up the number of uses in a sprinkling of sample weeks, it's easy to work out a figure that's close enough.
tvarksouthwest posted:
But if the broadcaster owns/buys the music rights, does that not indemnify them of royalties?
When you commission a package of music for programmes or idents, you can certainly build an "all rights buy-out" into the contract, but any composer with a bit of common sense will charge you a hefty fee for that, taking into consideration the level of PRS revenue he/she would expect to get from normal usage.
Even if the rights haven't been bought out, the PRS on stuff like ident music tends not to be done by logging every single appearance. By totting up the number of uses in a sprinkling of sample weeks, it's easy to work out a figure that's close enough.
:-(
A former member
tvarksouthwest posted:
But if the broadcaster owns/buys the music rights, does that not indemnify them of royalties? Given the nature of idents, it would be financially inconvenient to pay for unplanned broadcasts ie. those brought on by programme changes.
Interesting little snippet from http://www.offthetelly.co.uk/pdf/features/c4/complete.pdf
Quote:
David Dundas, composer of the four−note Channel 4 "theme", won a court battle to retain all rights to his creation and
£1000 a week in royalties in a settlement on 12 June. (1985)
£1000 a week in royalties in a settlement on 12 June. (1985)
EI
When you commission a package of music for programmes or idents, you can certainly build an "all rights buy-out" into the contract, but any composer with a bit of common sense will charge you a hefty fee for that, taking into consideration the level of PRS revenue he/she would expect to get from normal usage
PRS membership rules stipulate that a composer cannot sign away more than 50% of his/her publishing rights to a third party.
When it comes to frequently-used items like ident music, many composers will work for a lower upfront fee because they will earn so much from the PRS.
Baroness Trumpington posted:
When you commission a package of music for programmes or idents, you can certainly build an "all rights buy-out" into the contract, but any composer with a bit of common sense will charge you a hefty fee for that, taking into consideration the level of PRS revenue he/she would expect to get from normal usage
PRS membership rules stipulate that a composer cannot sign away more than 50% of his/her publishing rights to a third party.
When it comes to frequently-used items like ident music, many composers will work for a lower upfront fee because they will earn so much from the PRS.
TV
Two organisations which to me are the scourge of broadcasters. The British Musician's Union and Equity. The former for reasons spelt out here, the latter because the broadcaster has to pay the performers each time the material is screened.