Steve Oemcke - Director at WTFN
Steve Oemcke is the Director and Head of Production and Development at WTFN, which he and his business partner Daryl Talbot began - specializing in branded and factual entertainment. Steve has supervised the production and development of over 20 original factual entertainment formats in his career!
Why does WTFN mainly focus and specialise in factual programming/Branded Entertainment?
When we started as an independent production company nearly 10 years ago, my business partner and I identified a gap in the TV market in sponsor-funded programs. We both came from a news/factual background – so once we had success with branded – we used the revenue to invest in piloting factual programs, which were our core competency. We have a passion and expertise in the area, as do our talented staff, so this eventually lead to many commissions in the factual space.
Have you noticed an overall shift in Australian Television Consumer behaviours favouring local factual content? Why do you think that this is?
Australian factual and ob doc has gone through a boom in Australia. TV is cyclic so genres come and go – but factual I believe will be around for a long time to come. Australia’s do have a cultural cringe for all things American – but fortunately we are also pretty parochial and love stories about our own country. Factual is a cost effective way of telling Australian stories and have therefore been popular with TV networks.
Do you think the momentum that non-scripted entertainment has gained at the moment will continue into the future? Why/Why not?
Non-scripted will continue to grow – but we will have to move and adapt with the current trends. Pure ob doc is slowing in Australia and ‘soft formatted’ non-scripted like Undercover Boss are being favoured by the networks. As long as you change and adapt – you’ll stay current.
Non-scripted programming is believed to be less expensive to produce than drama. In your experience and opinion is this true and can you explain why/why not?
Simple that you take something that is already happening and turn the cameras on it. Therefore no actors, sets and all the on-costs this involves. We also have a much smaller crew (3 instead of 30!)
How does WTFN recoup the cost of production and end up making profit? (If you can’t be specific, perhaps you can talk about what makes up the mix of revenue streams)
The easiest way to turn a profit is a commissioned series from a network. You work out what the costs of producing a program will be, and then add a production fee as profit. If you underestimate the costs it can bite you. With branded programs – similar thing but more risky. You work out the cost plus profit for a project, then try and raise the money from brands. Once you have 70-80% of the budget you start production and back yourself you will make the rest and not lose money!
How big a role is product placement in the production of the projects that you oversee? Is the idea of product placement as a large influence and factor in the production process of non-scripted entertainment a myth in your eyes?
Brands are critical to TV – without them none of us get paid. Product placement as such is important – but I believe it comes down to fit. If the product looks out of place the fit is poor and will reflect badly on the production and annoy the audience. If the brand is a good fit (Aston Martin in James Bond) no-one is offended and everyone wins.
Some people have an attitude toward product placement that suggests it somehow compromises the end quality of a production, what is your response to that?
I agree placing the wrong brand can compromise the production. You make a program for the audience not the sponsor – if you lose sight of that, the audience wont embrace the program and the brand wont get their moment in the sun anyway. It’s a tough balance but one worth spending the time to get right.
As a developer and buyer of formats, what boxes does a project have to tick before you are willing to invest?
To invest in a format – it has to fulfil the following criteria.
· Will it appeal to a range of networks – it’s a waste of money if you think Seven might say yes but not Ten. The best formats are ones you believe you can pitch to all free to air networks and pay TV.
· Broad audience appeal is vital. No point having an award winning program that no-one watches.
· Something unique. We are passionate TV makers and don’t want to just do what everyone else is doing.
· Will I enjoy making this program? If not I may as well get out of TV and do something else I am passionate about.
· Is this format within the competencies of our company and staff. No point us buying Masterchef because the networks don’t see big reality shows as WTFNs bag.
· Cost. We won’t pay top end format fees because we are too small. We pay and the small to mid range end.
Why does WTFN mainly focus and specialise in factual programming/Branded Entertainment?
When we started as an independent production company nearly 10 years ago, my business partner and I identified a gap in the TV market in sponsor-funded programs. We both came from a news/factual background – so once we had success with branded – we used the revenue to invest in piloting factual programs, which were our core competency. We have a passion and expertise in the area, as do our talented staff, so this eventually lead to many commissions in the factual space.
Have you noticed an overall shift in Australian Television Consumer behaviours favouring local factual content? Why do you think that this is?
Australian factual and ob doc has gone through a boom in Australia. TV is cyclic so genres come and go – but factual I believe will be around for a long time to come. Australia’s do have a cultural cringe for all things American – but fortunately we are also pretty parochial and love stories about our own country. Factual is a cost effective way of telling Australian stories and have therefore been popular with TV networks.
Do you think the momentum that non-scripted entertainment has gained at the moment will continue into the future? Why/Why not?
Non-scripted will continue to grow – but we will have to move and adapt with the current trends. Pure ob doc is slowing in Australia and ‘soft formatted’ non-scripted like Undercover Boss are being favoured by the networks. As long as you change and adapt – you’ll stay current.
Non-scripted programming is believed to be less expensive to produce than drama. In your experience and opinion is this true and can you explain why/why not?
Simple that you take something that is already happening and turn the cameras on it. Therefore no actors, sets and all the on-costs this involves. We also have a much smaller crew (3 instead of 30!)
How does WTFN recoup the cost of production and end up making profit? (If you can’t be specific, perhaps you can talk about what makes up the mix of revenue streams)
The easiest way to turn a profit is a commissioned series from a network. You work out what the costs of producing a program will be, and then add a production fee as profit. If you underestimate the costs it can bite you. With branded programs – similar thing but more risky. You work out the cost plus profit for a project, then try and raise the money from brands. Once you have 70-80% of the budget you start production and back yourself you will make the rest and not lose money!
How big a role is product placement in the production of the projects that you oversee? Is the idea of product placement as a large influence and factor in the production process of non-scripted entertainment a myth in your eyes?
Brands are critical to TV – without them none of us get paid. Product placement as such is important – but I believe it comes down to fit. If the product looks out of place the fit is poor and will reflect badly on the production and annoy the audience. If the brand is a good fit (Aston Martin in James Bond) no-one is offended and everyone wins.
Some people have an attitude toward product placement that suggests it somehow compromises the end quality of a production, what is your response to that?
I agree placing the wrong brand can compromise the production. You make a program for the audience not the sponsor – if you lose sight of that, the audience wont embrace the program and the brand wont get their moment in the sun anyway. It’s a tough balance but one worth spending the time to get right.
As a developer and buyer of formats, what boxes does a project have to tick before you are willing to invest?
To invest in a format – it has to fulfil the following criteria.
· Will it appeal to a range of networks – it’s a waste of money if you think Seven might say yes but not Ten. The best formats are ones you believe you can pitch to all free to air networks and pay TV.
· Broad audience appeal is vital. No point having an award winning program that no-one watches.
· Something unique. We are passionate TV makers and don’t want to just do what everyone else is doing.
· Will I enjoy making this program? If not I may as well get out of TV and do something else I am passionate about.
· Is this format within the competencies of our company and staff. No point us buying Masterchef because the networks don’t see big reality shows as WTFNs bag.
· Cost. We won’t pay top end format fees because we are too small. We pay and the small to mid range end.
