This document summarizes the results of a survey of over 550 television production professionals about their salaries and experiences in the non-union TV industry in the United States. Key findings include: women earned more than men in some junior roles but less in senior roles and leadership positions; male producers, executives, editors, and post-production supervisors earned significantly more than their female counterparts; and the type of production company also impacted salaries, with those working for production companies or as freelancers often earning less than counterparts at cable networks or post-production firms.

1. Production
Salary
Report
2015
In
association
with

2. ABOUT
This
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

3. 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

4. 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. 5%
22%
73%
Freelance Employed Unemployed
4%7%
54%
11%
4%
19%
Cable
Network Digital
Post
Prod
Co Production
Co
Network Other
Where
They
Work
Employment
Status
©
2015,
Brits
In
The
Box
www.britsinthebox.com

6. 11%
49%
2%
30%
8%
20
-­‐
24 35
-­‐
44 55+
25
-­‐
34 45
-­‐
54
10%
11%
26%
26%
20%
6%
<2
years
2
-­‐
4
years
5
-­‐
9
years
10
-­‐
14
years
15
-­‐
19
years
20+
years
Experience
Age
©
2015,
Brits
In
The
Box
www.britsinthebox.com

7. 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!
©
2015,
Brits
In
The
Box
www.britsinthebox.com

8. 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
incredible
63%
more
for
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.
©
2015,
Brits
In
The
Box
www.britsinthebox.com

9. 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
…”
©
2015,
Brits
In
The
Box
www.britsinthebox.com

10. POSITION MALE FEMALE
DIFFERENCE
Executive
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)
©
2015,
Brits
In
The
Box
www.britsinthebox.com

11. 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.
©
2015,
Brits
In
The
Box
www.britsinthebox.com

12. 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
22 % ,
E d i t o r
1 7 % ,
Development
Producer
16%,
Executive
In
Charge
9%,
DP
7%
and
Producer
(incl.
Field
and
Post)
4%.
©
2015,
Brits
In
The
Box
www.britsinthebox.com

13. 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
…”
©
2015,
Brits
In
The
Box
www.britsinthebox.com

14. PRODUCER,
DIRECTOR,
WRITER:
WEEKLIES
$725
EXECUTIVE
ASST
PRODUCTION
ASST
ASSOCIATE
PRODUCER
$1250
$3125
PREDITOR
/
VIDEOGRAPHER
$2400
PRODUCER
(Incl
Field
&
Post)
$1900
CASTING
PRODUCER
$2800
LINE
PRODUCER
$3280
$2600
SENIOR
PRODUCER
(Incl.
Co-­‐Ordinating
and
Supervising)
EXECUTIVE
IN
CHARGE
$4000
EXECUTIVE
PRODUCER
(Incl.
Show
Runner
and
Co-­‐Exec
Producer)
MEDIAN
VALUES
$3000
DIRECTOR
WRITER
$1875
$780
WRITER’S
ASST
©
2015,
Brits
In
The
Box
www.britsinthebox.com

15. PRODUCTION
MANAGEMENT:
WEEKLIES
Line
Producer
$2600
$2000
Production
Manager
$
3280
Executive
in
Charge
Production
Co-­‐ordinator
$1175
MEDIAN
VALUES
$725
Exec
Asst
|
Prod
Asst
©
2015,
Brits
In
The
Box
www.britsinthebox.com

16. 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
©
2015,
Brits
In
The
Box
www.britsinthebox.com

17. CREW
DAILIES
$150
$750
PRODUCTION
ASST
ASST.
EDITOR
MEDIA
MANAGER
$250
$375
1st
AD
ASST.
CAMERA
CASTING
PRODUCER
$400
DIT
$500
AUDIO
MIXER
PRODUCER
$575
ART
DIRECTOR $600
DIRECTOR
EDITOR
DP
$650
$525
CAMERA
OP
STYLIST
HAIR
&
MU
ARTIST
PREDITOR
/
VIDEOGRAPHER
$675
COLORIST
MEDIAN
VALUES
©
2015,
Brits
In
The
Box
www.britsinthebox.com

18. 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
…”
©
2015,
Brits
In
The
Box
www.britsinthebox.com

19. 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.
©
2015,
Brits
In
The
Box
www.britsinthebox.com

20. WHEN
THE
GOING
GETS
TOUGH,
REMEMBER
…
“There
are
some
incredibly
f*#king
talented
people
in
this
industry.
YOU
ALL
ROCK!”
Anonymous
Survey
Respondent,
2015
©
2015,
Brits
In
The
Box
www.britsinthebox.com

21. Pictures
RYAN
McGUIRE
Viktor
Hanacek
Jacqui
Moore
Pixabay
Analysis
Arpit
Saxena
CREDITS
Words
Jacqui
Moore
Design
EJ
Campbell
With
Thanks
Julian
Locke
©
2015,
Brits
In
The
Box
www.britsinthebox.com

22. Visit:
110
E25th
St,
NY,
NY
10010
Call:
702
900
5364
Email:
jacqui@britsinthebox.com
©
Brits
In
The
Box,
2015