ABC to live stream main channel while TV boss takes aim at actors’ union over broadcast rights
The ABC has backed the idea of a combined live streaming app for TV networks after announcing it will live stream its main channel from December 1, following the lead of commercial networks Seven and Nine.
The public broadcaster’s director of television Richard Finlayson also spoke out about commercial deals with actors’ unions, which he said was stopping TV networks re-running classic Australian shows because it is too costly.
The decision to live stream its main channel comes after the ABC renegotiated its terms of trade with Screen Producers Australia that will see its video on demand platform iView extend its access window for much of its content to 30 days.
Asked if the various TV networks should now work together on a combined mobile live streaming and catch up platform Finlayson said he would support such as proposal.
“Yes absolutely we would support that if it was (put) in the roadmap for Freeview,” Finlayson told Mumbrella, on the sidelines of the Screen Forever conference in Melbourne.
“It makes a lot of sense for all the networks to come together and provide a frictionless, easy to use place to find free content.”
In his speech to the conference, Finlayson noted negotiations with Screen Australia were going well but blamed the actors union the Media Entertainment and Arts Alliance (MEAA) for holding up negotiations.
“The ABC and SPA have been working hard on a new Terms of Trade that takes us into the digital era- we are close,” said Finlayson, noting how the deal also included additional broadcast runs in return for a shorter licence period allowing content to be freed up earlier for further commercial opportunities.
“(Screen Producers Australia CEO) Matt Deaner and the team have worked hard with us. Negotiations have been constructive but we must get this deal over the line,” he said.
“A key piece to fall into place is the agreement with MEAA and the (actors rights deal) ATTRA. As most of you will know, this is the agreement between producers and actors. Obviously it only impacts scripted programs.
“This is a matter for SPA but unfortunately the ATTRA is hopelessly out of date.”
Finlayson blamed what he said was the refusal of the union to come to the table with a reasonable offer for why many popular Australian shows were not rerun on networks.
“Think about this,” said Finlayson. “While Friends, Seinfield and Hogans Heroes are almost as ubiquitous as the Kardashians – where are the Australian classic shows?
“The ABC has not relicensed an Australian drama or comedy for over a decade. No Kath and Kim; no Sea Change; certainly no Norman Gunston.
“ATRRA residuals make this impossible. It costs multiple times more to re-licence a second run of a local scripted Australian story than it does to acquire an international show.
“MEAA is not only behaving like King Canute, standing against the digital tide, but ultimately depriving their members of income. And they are certainly depriving Australian audiences of Australian content.”
Nic Christensen
I’m not wanting to be “that guy” but perhaps someone might point out to Mr Finlayson that Canute was trying to show the powerless of men (even Kings) in the face of creation.
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The rerunning of classic drama reminds me of the old westerns we used to pay one and six to watch on Saturday afternoons at the “bug hutch” or local cinema.
The (so called) “Red Indian” chief would invariably say something like “White Man speaks with forked tongue.” Not unlike television executives when it comes to reruns. In the case of the ABC, if you want to re-run classics for whatever reason, then it is worth budgeting for.
Why make profit or gain kudos for a professional job, when you don’t want to pay for the services?
“Actors are so unrealistic” say the smarty pants executives, they want payment for everything, yet they are so desperate to work. Yes, and don’t the execs know it.
Amateur theatre is a very different matter, but when you are claiming to be professional as producers, directors, writers etc There must be a budget, and sorry to say this Mr Finlayson, but when you and all the rest do it for nothing, give me a call, and I will throw may hat in with you, so will all the other actors, I am sure.
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Also, it doesn’t make sense to argue that ‘high residuals are preventing the creation of hot new content” and use the examples of decades-old syndicated American content in the same breath?
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Why are the least affluent of the entertainment chain always the favourite target for cash strapped executives?
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Ahhh. The old ‘work once get paid multiple times’ argument.
Step up and put some skin the game and then you can get your residuals. I’m yet to see the actor who will re-mortgage their home in order to get a show up.
Also, many of the shows referred to (Norman Gunston, Sea Change etc) had no budget for digital streaming runs because it simply didn’t exist when the programmes were made.
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A combined live streaming app would be in interesting proposition. That said, a combined SVOD platform up and running way back when I first proposed it might have made Netflix think twice about launching here – or at least made their job more difficult. It became evident very quickly that people weren’t overly interested in separate social media platforms (Jumpin, Fango, etc.) and preferred to use just one (mostly Facebook or Twitter).
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“I’m yet to see the actor who will re-mortgage their home in order to get a show up.”
I’m yet to see an actor who owns their own home.
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Bloody hell Bill, call the cops!
Cate and Andrew must have sold someone else’s home in Hunters Hill for $20m. And Nicole and Keith must be squatting in that mansion down in Sutton Forest.
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I’m sure they are entirely representative of the acting workforce. My mistake.
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