As the demand for post-production management talent continues to rise in High-End TV (HETV) & Film productions, it’s essential to stay informed about the latest rates, working conditions, and industry challenges. Below is a look into the at the current landscape, offering insights into rates, experience, and working conditions based on recent data from the survey conducted over the summer. We would like to note that this year (as with every year in the last 5 years!) has been an abnormal one! Many people have been IN work but also a significant proportion of people have been OUT of work. This definitely skews the results. I would think that if next year turns out to be the year that it promises to be, rates will be significantly higher.
Rate & conditions Breakdown for HETV Projects:
The budget levels of productions heavily influence the rates for post-production roles. Here’s how the numbers stack up:
Budget Level: >£750k per Broadcast Hour
Post Production Producer: £1800 – £2300 per week
Post Production Supervisor: £1500 (Average rate) per week
Post Production Coordinator: £800 – £1000 per week
Budget Level: £750k – £3 Million per Broadcast Hour
Post Production Producer: £2200 – £2500 per week
Post Production Supervisor: £1450 – £1750 per week
Post Production Coordinator: £1200 (Average Rate) per week
Budget Level: £3 Million+ per Broadcast Hour
Post Production Producer: £2625 – £4000 per week
Post Production Supervisor: £1750 – £2500 per week
Post Production Coordinator: £1350 – £1800 per week
The Experience Factor: Does More Experience Equal Higher Rates?
Yes, but with some variability.
While experience is generally a key driver for higher pay, there are nuances based on the combination of freelance post production management and general post-production experience.
1. More Experience, Higher Rates:
Freelancers with over 10 years of post-production experience command an average rate of £2625
Those with 2-5 years of freelance experience, paired with 5-10 years of general post-production work, typically earn significantly less, around £1300 per week.
2. Mixed Experience Results:
Interestingly, those with more freelance post management experience but less than 5 years of general post-production work still command a respectable rate of £2300 p/wk, slightly below those with more overall experience.
Gender Pay Discrepancies
A troubling pattern emerges when looking at rates through the lens of gender. The data shows:
Male respondents earn an average of £2,140 per week.
Female respondents fall behind at £1,900 per week.
Non-binary respondents and those preferring not to disclose their gender report significantly lower rates.
This suggests a gender pay gap exists within post-production roles, with male workers consistently earning more than their female and non-binary counterparts.
In Film Post Production Management, budgets obviously have a significant influence on weekly rates for Post Production Supervisors and Coordinators, especially when contrasting low, high, and premium-budget films.
Film Rates by Budget:
Low-Budget Films:
Post Production Supervisor: £1000-1400 per week
Post Production Coordinator: £800 average per week
High-Budget Films:
Post Production Supervisor: £1450-2300 per week
Post Production Coordinator: £1000 average per week
Premium-Budget Films:
Post Production Supervisor: £2500 average per week
Post Production Coordinator: £1800 average per week
Low-budget projects typically offer leaner rates for post-production management roles, requiring supervisors and coordinators to stretch resources while still maintaining high production standards. These roles are often essential even in budget-constrained environments, as efficient post-production management can be the difference between a film coming together smoothly or running into costly delays. As budgets increase, so do the demands on post-production teams. Supervisors overseeing high-budget productions can command rates that reflect the complexity of these larger-scale projects. While coordinators’ rates remain more stable, their role becomes increasingly vital in keeping the production on track, especially as the number of elements and stakeholders involved grows. In premium-budget films, supervisors and coordinators are compensated at the top end of the pay scale. These projects often involve longer post-production processes, and will encompass complex visual effects. The elevated pay in these cases corresponds with the heightened responsibility of delivering under the pressure of intense scrutiny that typically accompanies such productions.
These rates highlight the crucial role post-production professionals play in the film-making process, with their contributions being increasingly valued as the production budgets rise. However, as seen with other post-production roles, higher pay often does not correlate with better working conditions, especially regarding paid holidays or work-life balance.
Working Conditions: What’s Really Going On?
Holiday Flexibility and Rates:
For freelancers, holidays are often limited to “between jobs” and are largely “unpaid”. The nature of freelance work makes taking time off difficult, with one respondent stating that holiday time is “not realistic.”
There doesn’t seem to be a direct correlation between taking holidays and higher weekly rates. Even those with higher rates report difficulties in managing holiday time.
Freelancers who work without holiday benefits often earn competitive rates but at the cost of work-life balance.
Bank Holidays:
Some respondents work bank holidays without additional compensation, as these are paid as standard working days.
There is a mix between those who schedule bank holidays off and those who work through them, but higher weekly rates don’t necessarily mean bank holiday work is compensated better.
The survey has highlighted a lack of structured holiday pay policies in the industry.
Post Production Coordinators:
There is a notable difference in overall project management rates, but the presence of a coordinator does not seem to drastically affect the post-production professionals’ own weekly rates.
There are inconsistencies across productions, with some not hiring coordinators at all or failing to cover office costs, leading to variable working environments.
Mental Health Support:
Mental health resources in post-production are still limited. While some large productions offer minimal support, such as a “hotline from streaming services”, smaller projects fall short.
“Stress and competition” are constant in the post-production world, exacerbating mental health challenges, though the industry is starting to address this.
Unionisation and Representation:
There is growing interest in forming a UK Post Production chapterwithin BECTU, the UK’s media and entertainment trade union. Many HETV freelancers feel that increased representation and advocacy are necessary to improve working conditions and address issues like holiday pay, mental health support, and fair compensation.
Key Takeaways:
Experience Matters: More experience generally translates to higher pay, especially for freelancers with over 10 years in the industry. High weekly rates are not always accompanied by better working conditions, particularly in terms of holidays and bank holidays.
Gender Pay Gap: Male respondents earn more on average, pointing to a potential gender-based pay discrepancy in post-production.
Holidays & Mental Health: The freelance nature of post-production work means that flexibility around holidays is common, but often at the expense of compensation or paid time off. Generally Freelancers face challenges in taking time off, especially during children’s holidays. Mental health support and office provisions may be needed to address gaps in work-life balance, especially for those working long hours without proper holiday or bank holiday compensation.
Call for Unionisation: The desire for more organised support, (especially for HETV) through BECTU, is growing, indicating a collective push for better working conditions.
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