Graeme Duckham
Producer, Visionquest
Written by Amanda Nissen on 2008-10-23
What do you see happening in the next five years in the production industry?
The content transmission landscape is changing all the time as a result of continually emerging new technologies. That said, in whatever format content is transmitted you can be certain of one thing. Trends come and go. It was not so long ago that variety was deemed to be dead and now what do we have? Variety in various forms everywhere. In respect of factual and documentary, again the trends will come and go.
Stepping aside from content trends, right now some will argue that documentary series is the way to go and I agree in respect of narrative development as well as broadcaster opportunity to promote. That said, the ABC recently advised me that series output was to be reduced and perhaps even be replaced by one offs. However the person also said, “well hey, you know this is the TV industry and it really is never say never.”
What are the biggest challenges you and your organisation face as a member of the Brisbane media community?
I frequently work as a freelance and therefore some of the challenges that impact on local companies do not directly impact on me but do, of course, trickle down to me.
Running a TV production company is no different to any other business. Cash flow is the fundamental. Diversification is the key and so do not rely on a single project. The super Indies of Sydney certainly have the advantage in respect of the above with multiple productions happening simultaneously and or overlapping. All sorts of costs then can be absorbed. The worst case scenario is to be forced to stumble from one production to the – hoped for – next.
The wise operators will have purchased / acquired equipment through various productions and in the light times be hiring this out to ‘pay for the rent’. Some will be running a side line of perhaps corporate video production.
What are the most important/valuable skills that graduates can bring to your industry?
It is certainly important to arrive in the industry with more than the theory. I would suggest that whilst the student is completing whatever course they may be doing, they should be seeking as much ‘hands on’ work experience as they can. Queensland has some fine teaching organisations and certainly the graduate should come from this with a fully rounded understanding of the techniques, theories and processes of the industry.
What they must be prepared to do, however, is start at the bottom and learn things again from the ‘real world’ of the seasoned practitioners. Though, that is not to say that the path is the same for everyone.
How would you rate the performance of Brisbane-based media organisations in comparison to other national and international media hubs?
I think that it is difficult to make comparisons because the working environments differ so much between different areas. Having said that, my feeling is that the companies here are perhaps more than a box above their weight. Here in Brisbane and Queensland there is a determined focus on overseas and interstate relationships, and as a result, some excellent and interesting work comes from this state.
I do think, however, that in respect of factual and documentary series output, there would be some merit in comparing the Western Australian approach to the style appearing in Queensland in respect of specific funding focus.
How has new media such as the Internet and mobile communications revolutionised your workplace?
If you are asking about how things like the internet have advanced the work place process, then I would suggest that the jury might be out on that. For example, easy and instant access does not necessarily mean the best of all research and communications.
Certainly media files like Quicktime and others mean that such things as rough cuts can be uploaded for quick review. This saves schedule time and is an invaluable tool for writers and overseas co-production partners for example. Programs such as these are additionally useful for when you’re facing tight deadlines, which happens frequently in this industry.
When it comes to documentaries, in what way does this differ to other genres of film and television in relation to ‘selling’ your ideas to commercial stations and funding organisations?
Often selling documentaries doesn’t differ to trying to sell other genres of film and television, although they really do vary a lot in terms of what they contain. Much of the ‘selling’ process is all about having contacts and who it is you know. Also, knowing the market is definitely essential to selling your product, as is forging these relationships. Having networks and relationships in the industry are vital, and who you know and the connections you have is often what can sell your ideas. Much of the time, the content, while it still needs to be relevant and interesting, is not as important as these connections.
When emerging film makers own the idea of the piece they are hoping to make how difficult is it, and what issues do they face, to keep the rights to their piece in order to get it made?
The main question is do they really own anything other than an idea that they, and others, may have come up with at much the same time. So, the first thing is to identify originality and exclusitivity. The idea does have to really be something new and not thought of before. Without this, this is rather like not actually having a patent.
Assuming they really do have an original – and exclusive – idea, they will then still need to align themselves with an industry trusted provider of product. In so doing, they may need to be prepared to give away a range of rights, which is often what causes conflict between the two parties.