Finally the date has been set for the final presentation for my individual/collaborative projects. These are the things I had to talk through and explain what my film is about.

1. Introduce myself…

2. Introduce the MP project/displaying
- Tell them the title, running time & intended audience and describe what role I had in the production.

3. Demonstrate/screen/display the piece(s)

4. The briefly respond to the following:
- What have I learnt in the process of creating this piece?
- What aspect of the production do you believe works well?
- What aspect of the production/process would you change if you were able to do it again?
- What is the next step in the journey for this piece? (Refer to my marketing/distribution plan)

5. I would then like you briefly describe the nature of your work in emerging media and if you have time and want to perhaps demonstrate the piece.

6. In describing about what you have learnt overall throughout the degree briefly respond to the following:
• What technical skills have you discovered and/or developed as a result of this degree? (think about the modules/productions work etc)
• What have you learnt about collaboration and how you work with a group – what role do you feel most comfortable in? Has this changed as a result of the completing the degree or has it cemented what you already knew about yourself?
• Has the process of undertaking the degree changed the type of media production work you plan to pursue and if so how? If not describe the experiences that have helped you stay focused.
• What are your plans for the future?

7. If there is time there may be a couple of questions from the audience.

I had such a long interview with Riccardo Pellizzeri from 11:10am til almost 1pm. My questions were quite simple but Riccardo had lots of things to say about his thoughts. I had great time interviewing him and I really appreciate his help for this research project.

Questions
1. Market forces - How has the production business changed in a high budget environment over the past ten years?
2. Is it more difficult to finance a project today than it was ten years ago?
3. What strategies do you employ to deal with these issues?
4. New technology - How does new technologies affect the way you run your productions and your production business?
5. What would be the advantages and disadvantages of working in high budget
production as compared to low budget production?
6. Would you agree that working in low budget production is better than working in high budget production? Why?

KIM: How has the production business changed in a high budget environment over the past ten years?

RICCARDO: There are a lot of changes last ten years in Australia. One of the big changes is that the drama has become harder to sell overseas. Maybe 15 years ago it was easier to get some money at script stage or before production that the overseas company would invest and you can use that to make the shows. The problem is that when we looking to create an Australian drama we are not actually looking to create international projects especially for series television. Because if you looking at mini series or telemovies, that could be a slightly different thing. The things that really changes, it’s much harder to sell these projects. Its much harder to get financing from overseas production companies. So we have pressures on us to make dramas that relevant to Australian audience. So we have pressures on us to create dramas that reflective of the society that we live in. For example the most successful show in last ten years internationally is been “Maclaud’s daughter”. It’s because this series offers something to a lot of international markets they don’t have. Girls in horse back out of the country which can not be made in any other countries but Australia. It also has romance, adventure and great visual to the audience.
Its getting harder and harder because networks paying out of drama, international market is shrinking because they don’t want to pay upfront for Australian drama and meanwhile the pressures are the same but you want to tell the local stories. Lack of money that is coming from the networks and the difficulties with maintaining money flow coming from overseas to make the local products.

KIM: Is it more difficult to finance a project today than it was ten years ago?

RICCARDO: Yes, it’s getting harder because the audiences expectations are grown. They want slick a show, they want something that looks great, and they want great production values. If we think of the histories of Australian television shows, “country practice” was a massive Australian shows in 80s. But if we try to create “country practice” now in 2006, the audience wouldn’t except it because they are so used to a different form production value that show like that which was made two hours a week with certain production values which wouldn’t be able to launch. There is no one answer but the simple answer is that if you can’t sell your products, its getting harder and harder to make locally. The problem is you can’t sell your products and its getting harder to sell Australian products.

KIM: What strategies do you employ to deal with these issues?

RICCARDO: You never develop everything too far without getting someone on the board. As we are making Australian dramas, so we have to have broadcaster. One of the strategies you have to have is that you never develop anything too far and spend too much money without getting any confirmation. You should hook someone as earliest as possible like what we do as treatment. Therefore, you wouldn’t spend too much money up front without knowing the value of the story to other people. I think what happens is that too many people who don’t know enough about this business, they do too much, too quickly and too early. Other strategy is to maintaining relationships with people especially when you go to overseas market because it’s a business about relationships. I met this guy in UK and made a film….I formed a relationship which was a very simple strategy but it end up made a drama.

KIM: How does new technologies affect the way you run your productions and your production business?

RICCARDO: We have gone from linear editing to none-linear editing. None-linear editing has made editing more exciting prospect because it gives you more freedom and flexibility but new technology is more expensive so you pay more for the machinery. It just becomes more of demand that the producers want more complexity to look better so they spend more time. Something that used to cost 1000$ in 1981 but still cost 1000$ in 2006 but the thing is you want to do more in editing so you actually spend more money in those process. The new technology has given more freedom and flexibility but the cost actually increased. So you spend more in post-production nowadays because of the demand you would have than you do in 1981.
With all sort of new technologies such as HD is equable of super16 in camera in film. What you got there is that you can’t use the same set, woredrop, make-up and hair which you used to use for normal camera but with the HD camera which sees more definitions as eye sees more. So new technology as having better cameras is traffic because you are actually getting a better pictures force you to spend more money in post-production. So ultimately, new technology pressure you to spend more money to make things more better, complex and interesting but nowadays everyone have the abilities to have the camera and make a drama as everybody can tell a story.
Some of the stories can be unknown or be successful but weather they have written the story on the computer or on the pierce of paper with pencil, it makes no difference. It’s about the process that gets you toward making that thing success and that success has to be returning your costs. If you don’t return your costs then you are losing money but you will never going to make anything again.

KIM: Would the new technology effect high budget productions since new technologies are everywhere for everyone…?

RICCARDO: Even with new technologies, I don’t think low budget production such as CH31 effects the high budget production nowadays as I can’t think of one low budget TV show that has been success but that doesn’t mean it won’t happen tomorrow. Anybody can write, shoot and edit a film with their budget, is there market for it? Would they sell it? Maybe one day.
What new technology is doing is always creating new possibilities but it demand more as we are small market until we realise that we are small market and we can’t generate outcome for programs which need to be generate, then its going to be harder and harder for us.

KIM: What would be the advantages and disadvantages of working in high budget production as compared to low budget production?

RICCARDO: It is simple, high budget production is a great risk and low budget production is a low risk. The disadvantages would be the bigger the budget, the bigger the risk and return.

- More money you lose, the greater chance you will have to leave from this industry.
- More money gives you to give you opportunities to have more mistakes.
-No one survives in this business if you keep losing money. The more money you lose the greater chance you will be gone from this business. The higher the production costs, the greater the risk to lose your job.
- More money gives you the opportunities to make more mistakes but more mistakes you make, more money, the greater the risk. So even thought more money give you the opportunities to make more mistakes but you are probably making bigger costlier mistakes.

It’s a collaborative medium in TV/film productions and it is important to know the medium that required you to deal with people all the time to have argue, to have reasons, to have to fight for and back down etc. You have to stay open to everything its happening around, how would you know that my story can make you cry.

KIM: Given a choice, would you rather work on low or high budget production? Why?

RICCARDO: I would do both. Yes, it is about money…. but we all try to escape from the reality that it is not all about money, low or high budget…What I want to do is to make a show which can touch the audience’s heart. You don’t know what next things going to come to your door. Ultimately, it is not about money to me. It is about storytelling. Its call show business. What u want to do is to make a show. If someone comes with a great idea, I would consider. It doesn’t matter if it is high or low budget production as long as I can tell the story. It’s about creative expression to me. It’s about having the sense of joy and pressure in creating something.

-End of Interview with Riccardo-

I had such a great time interviewing Riccardo. He gave me some great compliments that my questions were intelligent as it was his great chance to let his thoughts out about the industry he is in. He also gave me coupld of advise that as long as you have the will and motivation, you shouldn’t care weather it is t low or high budget because it is more important to focus on making something worthwhile to you. One of his great statement, “If you got three notes and you want to make a symphony, they better be three bloody good notes”. This is what his acting techer used to tell him that you can make a beautiful drama with one person in a room but it better be something no one else ever seen before, different, fresh and confronting.

Media is a business with lots of imaginations to tell the stories. The story can be made in a million different ways therefore it is not all about money. I agree with Ric that we can’t escape that reality that we can not get things made without money to certain level but at the same time there are other ways to express ourselves.

I started doing the rotoscorpe for my fighting scene and some other scenes. Why am I doing it? And how am I going to manage to finish roto-scorping in two weeks…? Great questions but I have no idea how to answer my own questions but I will try to figure it out to answer.

Firstly of all, my editor could not make it as he has been too busy with his own job and it was just last minute when he informed me that he couldn’t do it. Not that I expected but I knew that I had to do it somehow. Well, I decided to just go for it and don’t think too much about it although I only have less than two weeks to work on. 25frames per sec and I have almost 3000 plus frames to work on…frame by frame. How great is that! I am sooo going to have brown eye bags and yellow bloated face when I finish But I am sure this is what I have decided and I will be happy in the end. This is one of the reasons why I am doing it. Now the other problem is….am I going to finish on time? That is the super big question mark from now on. Oh, don’t forget that I am also editing the film and the film editor will be doing 2 scenes which need motion track from aftereffects. I hope we both can finish on time…honestly, I am not confident that I will finish on time but I know that I can do it so I shouldn’t worry too much….just do it! Do it! Do it! Do it!

I started writing press kit for my individual and collaborative projects. We had module twice with Yasmin Kentera (ABC publicity), who had talked through the process of developing our individual and collaborative project plans/art work/budgets etc.
I try to follow as what I have learnt from Yasmin. She has given us some examples of press kit in our first module and they actually helped me a lot in terms of getting the idea how press kit should look like and how it should be.

I must say that some of the press kit we got, they are quite boring since there are no pictures or not enough explanation about their production itself. I think that writing press kit is not hard but it needs lots of creativity to get attentions. I am not sure how competitive to get attention from media industry but I certainly think that press kit needs every detail as possible. Also having some good photos of cast and crew are important. Yasmin believes that long press kit is not very attractive but I would think that there are many ways to make the press kit look nice and creative. In order to make a good and professional press kit, we all need the budget especially if you don’t know how to use graphic software. I understand that having a good synopsis/treatment is always important but having a good nice looking press kit is always a bonus since it is the face for the production. I believe that people judge more and attracted from what they see, not what they read.

Moreover, writing a press kit is not as difficult as I expected. I certainly think that my individual and collaborative press kits look as good as the examples I got from Yasmin.

I have found two producers from CH31. I had quick research on their background and what they have been doing…

Alison Murphy was an Executive producer of community television program ‘the Sauce’. The sauce is a youth current affairs program with sport, entertainment, science and music. She is 20 years old and has been volunteering in community media since 17yrs old at SYN (the Student Youth Network) working in a range of areas such as radio producing and presenting, television and most currently guest coordination.

Laura Kelly was an assistant Producer on C31’s national youth current affairs program, “The Sauce”, during 2005. She has only worked in TV/Video production since beginning of 2005 (hence she could not have an overview of what the last decade has been like). Currently, during 2006, she works as producer and co-creative director of Captivate Productions with Sally Biasiutti. Captivate is a very small DVD production house, specialising in creative and commercial projects such as promo DVDs, filming events and running media workshops.

My Questions & their Answers….

KIM: How has the production business changed in a low budget environment over the past ten years?

- Ally Murphy: I have only been involved in community radio and television for 3 years and in those three years the reception from community and government has grown exponentially in quite a positive direction.

KIM: Is it more difficult to finance a project today than it was ten years ago?

- Ally Murphy: I think it is easier these days because of all the grants and sponsorship you can acquire. I believe that each year we become more of a consumer society and companies love the thought that our program has a demographic of 14-26yrs of age (disposable income earners).

KIM: What strategies do you employ to deal with these issues?

- Laura Kelly: The main strategy I have used as a producer facing these challenges is strong organisation. I make sure that before each project, we get a thorough brief from a client on what they expect as an outcome, what budget they are looking at, and what timeline they would like to work on. As a small business, another strategy that is useful in sourcing work is networking, creating relationships with other people working in the media, community TV and film sector.

- Ally Murphy: We hit people that like to squander money to promote products that a relevant to our integrity and audience market.

KIM: What has been the impact of new technologies like HD cameras & desktop editing systems….?

- Laura Kelly: Again, I can’t comment on what it was like working in production before the advent of these technologies. But I can say that desktop editing systems such as Final Cut Pro or Adobe Premier make it possible for small companies like C31 to exist and operate without enormous outlay costs. We can create professional outcomes from home nowadays.

- Ally Murphy: The new technology that impacts community television is DIGITAL!!! It’s shocking! Hehehe you should check out channel 31뭩 site it got some info about it there also the CBAA are a great resource for information about community media.

KIM: What would be the most advantage and disadvantage working in low budget production compare to high budget production?

- Laura Kelly: I worked as an assistant producer on C31’s youth current affairs show, The Sauce. There was basically no budget, and we relied on money from our own pockets to fund the building of the set, buying mini DV tapes, transport, phone calls and website development. The advantage to having a small budget was that we were in total control of our own production. Because the show was voluntary, we also had no trouble attracting enthusiastic crew and cast. Working on a low budget tests you a lot, and you have to prove yourself more.
Disadvantages of the low budget included strain on time and finances.

- Ally Murphy: I have never worked on a high budget production before but from what I have seen it’s a lot less stressful. Working with no money really takes it toll. All the crew working on the sauce have had to juggle part time jobs, uni and a whole heap of other commitments. Also whist being a student you don’t have much extra cash to just go out and buy mini dv tapes or batteries or random bits to get stories together or to help out with the set etc.

KIM: Given a choice, would you rather work on low or high budget production? why?

Laura Kelly: I would like to work on a high budget production to gauge the differences between low and high budget productions.

- Ally Murphy: High budget for sure. I feel I have earned my stripes working on low budget programs and its time to move up and experience life with functional equipment available studios, resources, contacts, industry credentials whilst getting paid a decent wage!

-End of Interview-

Now I have some thought how hard would it be working in low budget production as student. However, the low budget production producers are very possitive about their production although they struggle with their tiny budget. I should think that working in low budget productions (in community TV/short films/promo DVDs, such as those created by Captivate Productions) are great because there is a lot of energy, most people are quite young and looking to gain experience in the industry. This could mean that everyone goes above and beyond what is expected of them, because they are eager to learn and to add to their portfolio. I suppose working in low budget production is as great as working in high budget production as long as you have the passion to make something beautiful…