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With the credit crunch biting hard, Ben Swift of PSAfilms in Altrincham, tells us how to get the most out of limited broadcasting budgets: As they say, size doesn’t matter - it’s what you do with it that counts and that’s very true when it comes to making TV commercials. Some great ads are made for a pittance, and some terrible ones have cost the earth to make.
Budget doesn’t dictate whether you’re going to make a fantastic TV commercial, but knowing how to spend it wisely usually does.
Production for most TV advertising campaigns normally accounts for 10 to 20 per cent of total budget, but if the overall budget is modest the ratio should be higher. It’s important not to skimp or you’ll get a poor quality ad that devalues your brand. The key is to spend as much as you can afford without blowing your airtime budget, so look at how best to spend your budget.
If your budget is quite low (below £20k) you might be surprised at how much you can still achieve. A good copywriter and production company can work wonders if they know how much money is on the table from the off. The key is to be open and honest about it from the very beginning and they can write an ad using the production options that fit within your budget.
Technological advancements
 Oddbodz ad
Traditionally there were two options for live action: cheap and cheerful digi-beta video format, and film (35mm or 16mm) which offers feature film quality, through its much higher resolution and the optical characteristics of the lenses used. The new generation of high definition (HD) digital cameras accept 35mm film camera lenses, which gives a look to the cinematography that is very close to film, and saves both money and time in film stock and post production.
Animation has moved on dramatically over the past few years. It’s often an underrated production medium, as many people still think it’s only about cartoon styles, but digital technology has opened up the opportunities for advertisers to use techniques like ’Photorealistic CGi’ and 3D animation. Complex special effects and animated graphic techniques can be relatively inexpensive to produce too.
New computer animation programs have been developed which make previously prohibitive special effects much more affordable. For example; if you want to introduce a “live action” element such as a car into an animated commercial or set a live action ad in an imaginary or futuristic background, it is now possible to buy a fully working, photorealistic, 3D animated “model” off the shelf or to create an entire 3D environment in which to set your live action.
Plan to save
 Elephant animation
Money saving production options need not define a script. They can be anything from writing live action scripts to suit the weather conditions at the time, avoiding the need for expensive special equipment, or just keeping the number of actors required to a minimum.
Price should never be a major factor in which production company you choose for your TV commercial project because most production quotes - on a like-for-like basis – shouldn’t differ by more than five to ten per cent. Qualities like creativity, experience and trustworthiness should be the key factors defining your choice.
In a competitive pitch situation be aware that a low priced quotation may be trying to undercut competitors by shaving off too many production costs, compromising the quality of finished product, a much higher quote probably has all the luxuries the director wants to give you to get an amazing result. Ask why there’s a price difference and evaluate what impact it’ll have on the end result.
Look carefully at all production quotes you receive and check what each includes and excludes, as there’s a possibility you could get a surprise further down the line. Are all the versions you need, music, transmission copies, artistes’ fees and campaign buyouts included? These are all substantial costs that could come back to bite you if not factored into your budget.
 Bupa commercial
TV commercials are shot in days and hours so schedules and location moves have to be executed with military precision. Giving your production company more pre-planning time can often reduce a three day film shoot to two, or even cut a two day shoot to one.
If your project has a tight deadline be sure to allow at least three weeks for pre-production and planning, a week or two for editing and post production, plus a week for it to be passed by Clearcast, the body which vets TV commercials before transmission, and sent to the TV stations. Anything more complicated will obviously need longer, so if it needs to be ready to be aired quickly keep your script simple so that it can be completed within the necessary timescale. Something to add? Then leave a comment below or email us now.
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