Television Production Salary Report 2015

Production Salary Report 2015

In association with

ABOUTThis year BRITS IN THE BOX partnered with NYTV PEOPLE for our second annual salary report.

Like our inaugural survey, we wanted to get a picture of non-‐union rates being paid in TV production in the USA -‐ largely because this area is unregulated. Our anonymous survey asked people to report their job role, sex, age, location, experience, daily and weekly rates as well as their earnings in 2014. Respondents were also invited to share their thoughts on the industry.

More than 550 people took part and we received responses from as far as Australia and Russia. We have included responses from the USA only in our rate and earnings analysis, as this market is our focus.

Both median and average values were calculated and we use median values throughout the report, as they are a more accurate reflection of industry rates and earnings. (The median is the mid-‐range value which separates the highest rates from the lowest).

Rates and not included for roles where there was not enough collected data to provide accurate analysis

Thank you to everyone who participated in the survey -‐ which enabled us to produce a useful and informative report, that we know will benefit many production professionals.

Jacqui Moore Founder: Brits In The Box

BRITS IN THE BOX Since 2012 Brits In The Box has provided television production and consulting services to production companies in both the USA and UK.

This year we expanded our services to include one-‐on-‐one coaching and online training for creative professionals, regardless of their nationality and location.

As the go-‐to production resource for British companies wanting to connect with professionals on the ground, we are committed to supporting and informing the production community. Since the results of our inaugural salary report, we have mandated that jobs advertised through our network are paid at the prevailing industry rate.

For more information (including access to free resources) go to:

www.britsinthebox.com

Or follow us on:

Twitter: @BritsInTheBox

Facebook: BritsInTheBox

About the Respondents

0 25 50 75 100

0 25 50 75 100

83%

2%14%2%

World West Coast US Other East Coast

Primary Work Location

Male vs Female

Unscripted vs Scripted

Male Female

Unscripted

© 2015, Brits In The Box www.britsinthebox.com

5%22%

73%

Freelance Employed Unemployed

4%7%

54%

11%

4%

19%

Cable Network DigitalPost Prod Co Production CoNetwork Other

Where They Work

Employment Status


11%

49%2%

30%

8%

20 -‐ 24 35 -‐ 44 55+25 -‐ 34 45 -‐ 54

10%

11%

26%26%

20%

6%<2 years2 -‐ 4 years5 -‐ 9 years10 -‐ 14 years15 -‐ 19 years20+ years

Experience

Age


WOMEN EARNED MORE THAN MEN …

…. But only in some positions below Manager level: Production Co-‐ordinator, Production Assistant and Executive Assistant. There was one exception -‐ female Line Producers earned 2.5% more than men in 2014. The median earnings for female Production Co-‐ordinators in 2014 was a staggering 107% more than their male counterparts!


BUT WHEN IT COMES TO BEING IN CHARGE, MEN EARNED MORE THAN WOMEN

Male Producers and Executives earned 12 -‐ 12.5% more than their female counterparts ( and an inc red ib le 63% more fo r Development Execs). In Post-‐Production male Editors earnings were 29% more, and male Post-‐Production Supervisors earnings were 22.5% more than their female counter-‐parts.

The biggest variable outside of gender for pay inequality is the type of company that you work for. If you’re a Female in Post Production, or you work for a Production Companies (especially if you’re freelancer) then your male colleagues are probably earning more than you.


SOUNDBITES: ON GENDER

“ …I discovered that I was being paid less than my male co-‐worker who I was training … This industry is so awful to women …”

“ … My male counterparts with LESS experience make MORE … I believe there is a definite gender

bias in post production …”

“ … I recently worked on a show only to discover the men were being paid $700 more a week

than me and the other female Producer. We had just as much experience …”


POSITION MALE FEMALE DIFFERENCEExecutive Producer (Incl. Show Runner) 150K 134k +12%

Development Executive 137k 84k +63%Line Producer 120k 123k +2.5%

Post Production Supervisor 120k 98k +22.5%Editor 120k 93k +29%

Senior Producer (Supervising / Co-‐ord) 108K 96k +12.5%Casting Producer / Director 101k 88k +15%

Producer (incl Field and Post) 90k 80k +12.5%Associate Producer 52k 50k +4%

Production Co-‐ordinator 25k 52k +107%Executive Assistant 30k 33k +10%

Production Assistant 20k 25k +25%

MALE VS FEMALE

There was no difference in gender earnings for Directors, Edit Assistants and Production Managers.

There was a lack of comparative data for positions not listed.

Median Earnings 2014 (USD)


Your age determines your rate more than your experience

Generally the older you are the higher your rate is, with highest rates being paid to those aged 45 - 54. However, if you’re 55+ you can expect your rate to decrease. This reflects the US national position (US Census published Sep 2015). A notable exception is for Senior Producers, whose rate is consistent across the board regardless of age. In terms of experience, you’ll hit your earnings stride when you have 15 - 19 years of experience under your belt.


YOU’LL EARN MORE ON THE WEST COAST Of the 10 positions where we were able to make comparison, just 2 had higher weekly median rates on the East Coast -‐ PA 15% and Exec Asst 10%.

If you want to increase your rate by 30%, head out to the West Coast to work as an Executive Producer or Line Producer. Other roles with higher West Coast medians were: Media M a n a g e r 2 2 % , E d i t o r 1 7 % , Deve l opmen t P r odu ce r 1 6% , Executive In Charge 9%, DP 7% and Producer (incl. Field and Post) 4%.


SOUNDBITES: ON RATES

“ … The smaller production companies take advantage of weekly rates by tacking on extra,

unexpected, often weekend work days …”

“ … People need to stop taking these [low paying] jobs to force the industry to pay up to scale …”

“ … Every year we get more unpaid hiatus weeks so I’m actually making less each year …”

“ … The freelance pay/wage is a crime … I experienced slave labor from a major corporation who increased their demands once I accepted the

position (without an increase in pay) …”

“ … As of 2014 I’ve retired from working in TV in my mid-‐40s … My weekly rate

only increased $500 since 1997…”

“ … I have seen the pay erode and the workload increase …”


PRODUCER, DIRECTOR, WRITER: WEEKLIES

$725EXECUTIVE ASST PRODUCTION ASST

ASSOCIATE PRODUCER

$1250 $3125PREDITOR / VIDEOGRAPHER

$2400PRODUCER (Incl Field & Post)

$1900CASTING PRODUCER

$2800

LINE PRODUCER

$3280

$2600SENIOR PRODUCER (Incl. Co-‐Ordinating and Supervising)

EXECUTIVE IN CHARGE

$4000EXECUTIVE PRODUCER (Incl. Show Runner and Co-‐Exec Producer)

MEDIAN VALUES

$3000

DIRECTOR

WRITER

$1875

$780WRITER’S ASST


PRODUCTION MANAGEMENT: WEEKLIES

Line Producer $2600

$2000 Production Manager

$ 3280 Executive in Charge

Production Co-‐ordinator $1175

MEDIAN VALUES

$725 Exec Asst | Prod Asst


POST PRODUCTION WEEKLIES

PREDITOR $3125

$2400 POST PRODUCTION SUPERVISOR

$3250 EDITOR (On & Offline)

EDIT ASSISTANT $1250 MEDIA MANAGER

MEDIAN VALUES

$1100 POST PRODUCTION CO-‐ORD

COLORIST $3365


CREW DAILIES

$150$750

PRODUCTION ASST

ASST. EDITOR MEDIA MANAGER

$250

$3751st AD ASST. CAMERA CASTING PRODUCER

$400DIT

$500AUDIO MIXER PRODUCER

$575

ART DIRECTOR $600DIRECTOR EDITOR

DP

$650

$525

CAMERA OP STYLIST

HAIR & MU ARTIST PREDITOR / VIDEOGRAPHER

$675COLORIST

MEDIAN VALUES


SOUNDBITES: ON CONDITIONS

“ … The networks and production companies want shows turned around much quicker on much tighter budgets …”

“ … Experience and talent seem to count for less and less … production companies don’t appear to value quality either …”

“ … Projects often have unrealistic schedules …”

“ … I find it difficult when I am forced to work under someone with less capacity to do a job than myself …”

“ … I’m swimming an uphill battle trying to learn every program because the majority of [job] postings want you to be many things. …”

“ … No regards to Producers’ work/life balance … Editors get overtime, we don’t …”

“ … Reality TV is getting really bad with work conditions … The rate is constantly being lowered for longer days and complete and utter chaos on set due to poor planning and production …”

“ … It’s rampant with corporate and production company irresponsibility … sent out on unsafe locations without insurance in place … 12 hour work days are the norm”

“ … [As a PM] Still expected to ask my teams to work unreasonable and dangerous hours because budgets don’t allow for adequate staffing levels …”


SUMMARY

TV production has lost it’s sparkle. To paraphrase one survey respondent “the business of making television is no longer fun”. Long work days and weekend work have become the nor; and there is a lack of benefits, job security and stability. It’s especially tough for the freelance worker who relies heavily on their network to secure their next contract, yet fears retaliation for speaking out about unfair labor practises. “Put up or Shut up’ seems to have been adopted as the industry mantra.

Networks need to be aware of how budget reductions impact at ground level; as this inevitably places pressure on production companies to deliver against financial or time restraints. In turn this may involve them cutting corners, placing crew and production teams under considerable pressure; meaning they have to work long hours, in an unsafe working environment, with little regard for work and life balance.

The good news is that despite the discontent, TV is still relatively well paid in comparison to US Median Household income. The median US household income in 2014 was $53,657. Our survey respondents of manager level and above reported their individual earnings as than this in 2014.


WHEN THE GOING GETS TOUGH, REMEMBER …

“There are some incredibly f*#king talented people in this industry.

YOU ALL ROCK!”Anonymous Survey Respondent, 2015


Pictures RYAN McGUIRE Viktor Hanacek Jacqui Moore

Pixabay

Analysis Arpit Saxena

CREDITS

Words Jacqui Moore

Design EJ Campbell

With Thanks Julian Locke


Visit: 110 E25th St, NY, NY 10010 Call: 702 900 5364 Email: [email protected]

© Brits In The Box, 2015

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Television Production Salary Report 2015

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