How do documentary broadcaster commissions work?

Broadcasters fund documentary at a scale grants rarely match — but the deal is different. Here’s what you’re actually trading.

Licence fee, not a grant

The core difference: a grant is a gift toward the film; a commission is a commercial deal. The broadcaster pays a licence fee for the right to air the film — exclusively, in a territory, for a period (say two years). You generally retain copyright and can exploit other rights (international, theatrical) depending on the deal. It’s funding with strings, but the strings are rights, not repayment.

Why commissions matter even if grants are your backbone

Two reasons. First, scale — a broadcaster licence fee can dwarf a grant. Second, and often overlooked, a broadcaster commitment can unlock other money: many national film funds and co-production schemes are built around a broadcaster being attached. A “yes” from the right broadcaster can trigger the rest of your financing. That’s why commissions sit at the centre of many documentary funding stacks. How the stack fits together.

Pre-sales and co-productions

Two common structures: a pre-sale (a broadcaster commits a licence fee before the film is made, which you can sometimes borrow against), and a co-production where multiple broadcasters across territories each take rights in their region. International docs often assemble several broadcaster deals plus public funds. More on co-production.

How to actually get on their radar

Cold-pitching a broadcaster rarely works; relationships and the right room do. The realistic routes: an established production company with existing commissioner relationships, a strong pitch deck and sizzle reel, and — most efficiently — a pitch market or forum where commissioners come specifically to find projects. First-time individual filmmakers usually reach broadcasters through a producer who already has the door open.