WEB EXCLUSIVE

By Damian K. Lahey

By Carl Mrozek

A favorite of indie producers were the “30 Minutes With” sessions — intimate settings wherein TV execs often reveal details about their programming philosophy and specs.

Attendees can only sign up in advance for two sessions out of a possible 54; they must stand in line for any others. Producers catch as many as possible to get a concise overview of each channel’s current programming, new interests and shopping lists for the coming year, plus guidelines. Afterwards, there is an opportunity to exchange cards, perhaps give a pithy ‘elevator pitch’ and possibly get some fast feedback from a channel insider. “Each year, I spend more and more time at the “30 Minutes” sessions; they give me the raw information I need to successfully pitch a particular channel,” said Ava Karvonen of Reel Girls Films.  

Few producers would argue with her, because where else would you be likely to discover pertinent insider factoids like:

1.       Nat Geo Channel US is getting more ‘cultural’ and is open to more stories about drug gangs, bikers, hip hop, prisons, etc. One of its best-rated recent programs was its special, Inside Air Force One, thus triggering a follow-up special: Inside Marine 1, about the presidential helicopter. Noted among Nat Geo’s production requirements is that only 10% of a program can originate on a non-HD format, including HDV.

2.      National Geographic International is launching a digital world music channel and a culture channel — both targeting younger audiences

3.      The Discovery Channel is programmed primarily for men while TLC (The Learning Channel) targets mainly women, and both are seeking more scripted shows. Animal Planet is among the top five specialty channels globally and is seen in 173 countries. AP’s new signature program is called Jockeys, a reality show featuring professional jockeys, both male and female, who compete tooth and claw on the race track and off, a la CBS’ Survivor.

4.      France 5 acquires several hundred hours of programming each year and often has just enough inventory on hand to get through the next few months.

5.      Smithsonian Channel, which reflects the broad interests of the Smithsonian Institution, is family-friendly and considers itself America’s storyteller. Unfortunately, it buys/commissions less than 100 hours of programming per year, all in HD.

6.      Joost, a broadband (online) outlet, is welcoming independents who own content to distribute it on one of Joost’s online channels. Joost provides sponsors who pay content owners based on the number of views and urges producers to be proactive in attracting viewers via Facebook, My Space, Twitter and other social networking sites to bolster viewership. Currently, all of Joost’s programming is consigned, but they hope to commission web originals soon.

In other sessions, there was plenty of advice on pitching ideas of all stripes — once you’ve done your homework. Panelist Pierre Brogan of Creative Artists Agency urged producers to be proactive in getting demo footage. Footage always commands attention, but he advised, “be sure not to save the best for last because it may not be seen. Many producers want to be paid to do a demo, but that gives all the power to the buyer to proceed or not.” Also, Brogan added, “if you pay for the demo, you own it. If things don’t work out the first time, you can sell it to whomever.”

Carl Mrozek operates Eagle Eye Media HD, near Buffalo, NY and specializes in shooting wildlife, the outdoors and extreme weather. His work appears regularly on PBS, CBS, CNN, The Weather Channel, Discovery and Animal Planet. Contact him at eagleye1@roadrunner.com.

Correspond with Carl at eagleye1@roadrunner.com

Copyright 2009 by Indie Slate Magazine, www.indieslate.com