PRODUCER

HANDBOOK
ASTRO INDIAN CHANNEL BUSINESS

BOOK I SSU ED CRE ATED BY

October 2020 Rajindran Raja
 PRODUCER HANDBOOK

All Programmes made for

Astro must comply with Our
guidelines
& policies.
OVERVIEW
This book serves as a guide
and reference to ensure all the
pitching, produced content
and deliverys meets our speci-
fications. The prime objective
of this document is to estab-
lish a clear standard for the
content producers.

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CONTENTS
THE PAGE OF CONTENTS.

01 OU R C ONTACT PAG E 04

02 Pi tchi ng g u i de PAG E 06

03 astro te chni ca l spe ci f i cati on PAG E 12

04 credi ts a nd bra ndi ng PAG E 40

05 Photog ra phy & poster g u i de l i ne PAG E 54

06 c ode of bu si ne ss ethi c s PAG E 64

07 persona l data protecti on PAG E 74

08 M CM C C ontent c ode PAG E 80

09 produ cti on prog re ss re port PAG E 164

10 ve ndor reg i strati on PAG E 166

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OUR CONTACT
VA ANAVI L

MAHESVARAN BALAKRISHNAN
VAANAVIL CHANNEL MANAGER
03 9543 6688 EXT. 2035
mahesvaran_balakrishnan@astro.com.my

YASHWINI RAJAHINGAM
VAANAVIL PLANNER
03 9543 6688 EXT. 2028
yashwini_rajahingam@astro.com.my

VINMEEN

KUPPUSAMY SANDRAGAS
VINMEEN CHANNEL MANAGER & AVP
DIGITAL
03 9543 6688 EXT. 2208
kuppusamy_sandragas@astro.com.my

HISWENI GANESAN
VINMEEN PLANNER
03 9543 6688 EXT. 6504
hisweni_ganesan@astro.com.my

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PRODUCER HANDBOOK

OUR CONTACT
C ONTENT A ND PI TCHI NG

RAJINDRAN RAJA
CREATIVE PRODUCER
03 9543 6688
012 6603620
rajindran_raja-manikam@astro.com.my

C ontent Ne got i at i o n & AC Q U I SITIO N

SUTHA KRISHNAN
AVP, ICB BUSINESS DEVELOPMENT & ACQUISITION
03 9543 6688 EXT. 2485
sutha_krishnan@astro.com.my

VIGNESWARY SUBRAMANIAM
SA, ACQUISITION
03 9543 6688 EXT. 2363
vigneswary_subramaniam@astro.com.my

RITHA DEVI
SA, ACQUISITION
03 9543 6688 EXT. 2103
ritha-devi_kalavanan@astro.com.my

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PITCHING GUIDE

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Pitching guide for series and telemovies

THE series BIBLE
The show bible should go into greater detail about the potential program’s aesthetic choices, dra-
matic arcs, and pop-culture reference points. We recommend not preparing a pitch document any
shorter than six to seven pages. This is due to the sheer number of topics you should address in it.
**Do not include budget in the proposal.

What should be included:

Titl e .

1 Create an interesting title that touches on the main theme of the story, or the dramatic tension faced
by your character.

Bac kgrou nd & Key C r e d i ts .

2 Who is the key above the line members of the team? Be sure to include major achievements and
background on your team. E.g. Producer, Director, Scriptwriter, DOP.

Logl ine .

3 A punchy yet impactful summation of the story concept. No more than two sentences, ideally one.
A logline for a narrative series will usually delve into the particular circumstances and conflict that
drives the plot forward.

Synop sis.

4
A broad overview of the series, making clear the world it’s set in and the dynamics between the char-
acters. This is of particular importance from a commercial perspective to a network, because you’re
highlighting the most compelling thematic facets of the series. This could be accomplished in a few
paragraphs, or a number of pages, so long as the writing itself is polished and reads at a nice clip.

Charac ters.

5 Describe your protagonist and other key players in the show. Speak to their backgrounds as well as
their current lifestyle in a paragraph or so. Explain the way in which they view the world; how they
see themselves and how they relate to other people. Find their flaws, their quirks, and the unique
peccadillos that make them tick.

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Pitching guide for series and telemovies

P rop osed Cast.

6 Give picture reference and short biography of the key cast member.

P ilot ou tl ine .

7 A step-by-step breakdown of the pilot episode, running through the machinations of the plot. Map-
ping out the major story beats start from first and second act breaks, midpoint, and third act’s climax
.

F u tu re ep isode s.

8 A list of eight to thirteen descriptions of potential future episodes—something akin to a logline for
each one.

T wist in every ep i s o d e .

9
For thriller, suspense, drama or horror, you will always need a hookup point to greed audience into
watching the next episode. Mention those twists in the highlight in the episode summaries.

Look and F eel .

10 Mood Board or pictures of references of the similar themes that match your story.

P rodu ction Val u e .

11 What type of camera and special effects are you going to use? The color, the cinematography, the
edit, etc.

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Pitching guide for series and telemovies

Digital E xtension.

12 Value added content for TV and Digital platform. Minimum length of 3 minutes. e.g. Music video, ex-
tended story that was not feature in programme, deleted scene, exclusive fun interviews with stars.

C ontent Marketin g P l a n .

13 What is your strategic marketing approach? How are you going to use multiple platforms to pro-
mote the content?
All marketing strategy must be made with Astro and not as a standalone effort.

S erie s bibl e el ements.

All of these elements put together should broadly address the following:

How are your primary characters and your characters’ world unique? Why do you as a writer feel the need to tell this particular story?

What makes the audience care about these characters? What do you want the audience to take away from it?.

What are their complexities and their flaws? What is the overall tone of the show?

What drives them to make the choices they do? If possible, compare it to a combination of other, existing
programs or movies.

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Pitching guide for Unscripted

( Reality, Documentary or Magazine )
Your pitch document will need to be brimming with information to communicate the particular
brand of reality show you’re aiming to create.
• Self-Contained
• Arced
• Format
• Hybrid

What should be included:

Titl e .

1 Create an interesting title that touches on the main theme of the story, or the dramatic tension faced
by your character.

Bac kgrou nd & Key C r e d i ts .

2 Who is the key above the line members of the team? Be sure to include major achievements and
background on your team. E.g. Producer, Director, Scriptwriter, DOP.

F ormat.

3
Describe what the format of your show would be, in a few sentences.
E.g. 30 min Sitcom Multi-Cam (Arced),30 min Comedy Drama (Self Contain), 60 min Gameshow (For-
mat & Self Contain )

Logl ine .

4 A punchy yet impactful summation of the story concept. No more than two sentences, ideally one.
A logline for a narrative series will usually delve into the particular circumstances and conflict that
drives the plot forward.

Synop sis.

5
A broad overview of the series, making clear the world it’s set in and the dynamics between the char-
acters. This is of particular importance from a commercial perspective to a network, because you’re
highlighting the most compelling thematic facets of the series. This could be accomplished in a few
paragraphs, or a number of pages, so long as the writing itself is polished and reads at a nice clip.

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PRODUCER HANDBOOK

Pitching guide for Unscripted

( Reality, Documentary or Magazine )

Ep isode Breakdow n s .

6 What to expect in every episode?

Look and F eel .

7 . Mood Board or pictures of references of the similar themes that match your story.

Re search Material .

8 Provide a link or supporting documents of your research material.

P rodu ction Val u e .

9
For thriller, suspense, drama or horror, you will always need a hookup point to greed audience into
watching the next episode. Mention those twists in the highlight in the episode summaries.

Digital E xtension.

10 Value added content for TV and Digital platform. Minimum length of 3 minutes. e.g. Music video, ex-
tended story that was not feature in programme, deleted scene, exclusive fun interviews with stars.

C ontent Marketin g P l a n .

11 What is your strategic marketing approach? How are you going to use multiple platforms to
promote the content?
All marketing strategy must be made with Astro and not as a standalone effort.

**If you’re creating a “Docu-Style” series idea, you’ll want to focus on writing a synopsis including these three things; describing the
specific people involved and their relationships, describing the unique world the show takes place in, and describing the potential
events that will unfold.
**If you’re creating a competition format, focus on writing a synopsis of the “arc” of the series that describes how the competition
works and progresses over the course of the season. This may involve the elimination of contestants based on competition or choices
by judges or other people, or it may involve points or votes awarded that lead to a single winner each episode or at season end.

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ASTRO TECHNICAL
SPECIFICATION
CONTENT ACQUISITION & DELIVERY :
SD, HD & UHD

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CREDITS
AND
BRANDING

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Credits and branding

Credits are important to programme-makers but of limited interest to audiences. The ICB’s
credit policy balances the desire to reflect significant creative contributions with the reality
that lengthy credits make viewers switch off.

Credits should be based solely on the following principles:

Credits should accurately reflect significant creative contributions specific to the programme.

Credits must not be given in return for any payment, reduced fee, benefit or any other advantage.

Credits which imply that certain jobs are the preserve of one gender only must not be used. (The
exception is Best Boy).

To ensure that credits are legible on-screen individual letters should not be less than 40 pixels in
height.

End credits must be between 25 – 45 seconds.

Only Live Sport and Entertainment shows, where credits can be shorter, are allowed horizontal
credit scrollers but these should still adhere to the new format and duration guidance.

If end credits run over visually interesting graphics or live action these should not be editorially
critical to the integrity of the programme or include speech as they may be processed to accom-
modate promotional messages.

End Credits should be justified to the centre and must be either cards or a vertical scroller.

End credits should run over visually interesting graphics or live action, but this should not be edi-
torially critical to the integrity of the programme or include speech (including production-made
trails or helpline information) as they may be shrunk or re-formatted to accommodate promotional
messages.

Must be confirmed with Channel Manager/Creative Producer for all mentions prior to submitting
material.

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Cr ed i ts guide
Acquired programmes: for single Documentaries, animation or filmed music product
the credits and captions must be compliant with this guidance. For feature films and
acquired series, it is understood that at the point of delivery the credits may well not
be compliant to ICB’s specification in terms of duration or graphic safe areas.

Archive credits: archive suppliers may be credited for their Significant Creative Con-
tribution (see below) if the credit is approved by the ICB’s commissioning team. In
considering approval of an archive supplier credit the following criteria will be used
to assess significance of the creative contribution:
• editorial importance
• exclusivity
• duration/volume
• additional support
• contractual requirements

Where an archive house has provided additional support that has involved a signifi-
cant creative contribution, for example archive research, a credit may be given to an
individual or to the archive supplier but not to both.

Charity references: references must not be made in end credits to charities without
prior referral to ICB’s commissioning team.

Choice of credits: to keep lists short credits should be generic where possible eg
when several people have carried out allied production roles the credit Production
Team may be appropriate.

Copyright line: the copyright line should be on the final card.

Grammar and spelling: credits and captions should be checked for spelling or gram-
matical mistakes. Typical pitfalls to avoid are misplaced apostrophes and lower case
letters for names or the beginnings of sentences.

Helplines/Action lines: information about Helplines or Action Lines and other public
service support material should not be included in end credits. Productions requir-
ing a Helpline/Action Line should include this information in the body of the pro-
gramme.
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Honours and qualifications: honours, titles, decorations, and professional or academ-

ic qualifications should not normally be included in credits (or captions) unless they
are relevant to the circumstances in which the person appears.

Independent production companies: the ICB’s contracts with independent produc-

tion companies give us the final say on credits. The ICB requires all independent pro-
ductions’ credit proposals to meet the terms of this guidance. Any queries or excep-
tions should be referred to the ICB’s commissioning team.

Locations: if a production judges that it would be of interest to the audience to

know the name of a location used in a programme (and it is not apparent from the
programme itself ) it may be identified in end credits. Such references cannot be
given in exchange for a waived or a reduced facility fee or for any other benefit or
advantage. Where a location is given the name must appear in the same style as the
rest of the credit sequence. Location owners’ names or logos cannot be used.

Multiple names under one credit: where two or more people have contributed to
work covered by a single credit. eg costume, the relative contributions should be re-
flected by different type sizes. For example, a senior role would appear in larger type
than a junior one.

Music: there may be times when a production judges that it would be of interest to
the audience to know the name of a piece of music used in a programme. A refer-
ence in the credits must be non-promotional and must be limited to the title of the
piece ,the composer and the performer.

Name style: generally people’s names should appear in credits (and captions) in the
style their owners prefer.

One person with multiple roles: no individual should normally be named in a credit
list more than once. Where someone has fulfilled more than one credit-worthy func-
tion he/she may be credited for both (if more than two functions they must choose
just two which most reflected their contribution) in a single credit line, provided the
roles are significantly different from each other eg “Written and Produced by”. In all
other circumstances proposals to credit someone more than once must be referred
before a commitment is made.

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Order of credits: given the diversity of programmes there can be no firm rule about
the order in which credits are listed. However, the aim should be to run them in a
logical sequence starting, where appropriate, with the names of performers or con-
tributors and ending with the name of the person responsible for the production.

Post-credit sequences: post-credit sequences (ie live action sequences which appear
after the credits have been run) are not permitted without approval from the rel-
evant ICB’s commissioning team.

Promotions over end credits: preview trails edited by production into end credits (eg
“Next week...”) are not permitted. If productions wish to trail the next in the series
this should be done before the end credits.

Readability: to ensure that credits are legible on-screen consideration must be given
to typefaces, graphic style (including contrast with any background used) and roller
speed. Individual letters in credits should not be less that 40 pixels in height.

Significant creative contribution: to ensure we recognize those with the greatest

creative contribution to a specific programme we must be consistent about our defi-
nitions of what this category includes and excludes:
• Only credit those who have contributed directly to the programme. This does not include overarching
managerial roles in companies or departments eg heads of production, production executives, creative heads,
head of development, head of department, company director.
• Do not include suppliers who have provided a resource/service for which we have paid a fee and for
which there was no creative value added by the company. This is a commercial transaction rather than a crea-
tive one. Any exceptions to this require previous agreement with the ICB’s commissioning team .
• Suppliers and facilities: it is not permissible to credit suppliers and facilities who are providing their
products or services for a fee and not adding a creative or production role. This is a commercial transaction and
a procurement relationship rather than a creative one. Any exceptions to this require previous agreement with
the ICB’s commissioning team . It is possible to credit facilities such as post-production houses, where it is clear
that a significant creative contribution has been made. Such credits may include the name(s) of the individual(s)
or the name of the organisation, but not both. Under no circumstances can credits be given in exchange for a
waived or a reduced fee or for any other benefit or advantage. No exceptions to this can be considered.

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Sponsored events: where it is appropriate to identify an event sponsor in the end

credits the name should appear in the same style as the credits themselves. Event
sponsors’ logos or house colours cannot be used. All proposed credits for event spon-
sors must be referred before commitments are made.

Tribute credits: credits such as “This programme is in memory of X” are not permissible
without referral in advance.

Use of animals: where animals are used in productions in a way which may give the
mistaken impression they have been harmed it is often wise to include a reassur-
ing caption in the end credits. Typical options are “The programme-makers/producers
would like to give an assurance that no animals were harmed in the filming/making
of this programme/episode”. An explanation of this type is likely to avert complaints
from viewers.

With thanks to: this section is the reserve of individuals or organisations who have
gone above and beyond the call of duty in helping the programme makers and with-
out whom the programme could not have been made. It should not include on-screen
Contributors, suppliers or fixers. Inclusion of such a credit must be separate from any
financial negotiation or contractual arrangements. Must be confirmed with Channel
Manager/Creative Producer for all mentions prior to submitting material.

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C r ed i ts CATEGORIE S

Opening Credits
This section provides information on what categories may be used in Opening Credits.

Note that opening credits may not credit the commissioning channel (e.g. “Astro Vinmeen
presents...”)

Programme-makers may choose from the following list of credits only. Note: Words in round
brackets are optional; words in square brackets and sub-headings should not appear on
screen.

Opening Credits Credits that can be used

Title [programme title]
[and selection from the following, where appropriate]
Performers (Cast) [main characters only]
Starring [main characters only]
Commentary by / Commentator
Introduced by
Presented by / Presenter
Narrated by / Narrator

Writers, creators, formats etc. Adapted by

Based on an original idea by
Based on the book by
Screenplay by
Series created by / Series creator
Written by / Writer

Production / Editorial Producer / Produced by Director / Di-

rected by

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Closing Credits
This section provides information on what categories may be used in Closing Credits.
Programme-makers may choose from the following list of credits only.
Note: Words in round brackets are optional; words in square brackets and sub-headings
should not appear on screen.

Performers (Cast)
Opening and Closing Credits
Cast/ Performers (in order of appearance)
Commentary by / Commentator
Guest(s) / Panellist(s) / Participant(s)
Introduced by
Presented by / Presenter
Narrated by / Narrator
Reenactment Cast (for drama documentaries - only if the
drama recon is substantive and speaking)
Advice / Consultants Adviser(s)/ Programme Adviser(s)
Consultant(s)/ Programme or Series Consultant(s)
[subject] Adviser(s) / Consultant(s) [e.g.] Historical Adviser(s) /
Medical Consultant(s)
Technical Adviser(s)
Combined credits Adapted and Directed by
Directed and Edited by
Narrated and Produced by
Produced and Directed by
Written and Directed by
Written and Narrated by
Written and Produced by
Crafts Animation Animation (sequences)
[if significant in programme]

Camera Aerial Photography

Camera Operator
Camera(s)
Camera Supervisor
Clapper Loader
Director of Photography [for
major
productions] Film Camera
Focus Puller
Grip
Location Camera(s)
Photography
Steadicam Operator
Studio Camera(s)

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Closing Credits
Crafts Costume Costume Design / Designer
Costumes
Dresser
Wardrobe
Design Art Director
Assistant Art Director (only in major
productions)
Design / Production Design(er)
Designed by / Designer
Production Buyer Properties
/ Props Buyer Properties /
Property Master Set
Designers
Floor & Studio Assistant Floor Manager
Management Floor Manager(s)
Stage Manager
Graphics & Still Graphic Design / Designer / Graphics
Photography Opening Titles
Stills Photography or Stills
Photographer [only if stills included
in
the programme]
Rostrum Camera
Lighting Best Boy
Lighting
Lighting Director
Lighting Gaffer / Gaffer
Television lighting [when there is also
a stage lighting credit]
Make-up Make-up (/ Hair)
Make-up Artist
Make-up Design
Outside Broadcasting Outside Broadcast / OB Cameras
Outside Broadcast / OB Lighting
Outside Broadcast / OB Sound

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Crafts Post Production [Film & Video]

Assistant Film Editor (only in major
productions)
Film Editor / Editing
On-line Editor / Editing
Off-line Editor / Editing
Picture Editor / Editing
Telecine
Video Editor / Editing
Colourist
[Sound]
Assistant Dubbing Editor
Dubbing Editor
Dubbing Mixer
[General]
Post Production Co-ordinator
Sound Boom Operator
Film Sound
Location Sound
Sound
Sound Effects
Sound Recordist
Sound Supervisor
Studio Sound
Special effects Special Effects

Vision mixing and Video Effects

visual effects Vision Mixer
Visual Effects
Editorial and Pro- Editorial Assistant Editor (for major
duction productions)
Deputy Editor
Edited by / Editor
Script Editor
Script Supervisor
Series Editor
Story Editor
Television Presentation by

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Editorial and Pro- Production Assistant director ([including] 1st,

duction 2nd,
3rd) [for major productions]
Assistant Producer
Associate Producer
Casting
Casting (Director) [for major
productions]
Co-producer
Continuity
Directed by / Director
Executive Producer (for BBC)
Location Manager
Outside Broadcast / OB Director
Produced by / Producer / Production
Production Accountant
Production Associate Production
Coordinator Production
Executive [For major
productions at BBC’s discretion]
Production Manager
Production Secretary
Production Team
Programme Associate
Series Producer
Studio Director
Unit Manager
Engineering Communications
Electrician(s)
Engineering
Engineering Coordinator
Engineering Manager
Resources Coordination / Coordinator
Technical Coordinator
Transmission Manager
Video Supervisor

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Producers may only credit facilities, such as post-production houses, if this represents an outstand-
ing creative contribution. Such credits may include the name(s) of the individuals(s) or the name of
the organisation, but not both. Credits cannot be given in exchange or waived or a reduced fee, or
for any other benefit or advantage. The supply of basic facilities, e.g.studios does not merit a credit.

Locations Filmed at/in [e.g. name of property,

town]
[If a producer judges that it would be of interest to the audience to know the name of a location
used in a programme, and it is not apparent within the programme itself., it may be identified in
end credits. Such references cannot be given in exchange for a waived or a reduced facility fee, or
for any other benefit or advantage. Where a location is given, the name must appear in the same
style as the rest of the credit sequence. Location owners’ names, logos or house colours cannot be
used.]
Music and dance Choreography
Chorus Master / Mistress
Composer
Conductor(s) / Conducted by
Incidental music (by) / (composed by)
Music Adviser
Music Arranged by / Music Arranger
Music by
Music Composed by / Music Composer
Music(al) Associate
Musical Director
Orchestrations (by)
Original Music (composed by)
Score Reader
Songs composed and performed by
Sung by
Title music [name]
Title music (composed) by
Title song performed by/ sung by
Music and lyrics
Vocal arrangements(s)

Sources of programme Archives [followed by list of sources]

With thanks to

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Research Question Setter

Research / Researcher
[subject] Research / Researcher (s)
[e.g.] contestant research, celebrity re-
search, film research,
historical research, picture research
Specialisms Armourer
Cartoonist
Stunts
Stunt Arranger
Stunt Co-ordinator
Writers, creators, formats Adapted by
etc. Based on an original idea by
Based on the book by
By
Devised by / deviser
Dramatised by
Format devised by
From an idea by
Screenplay by
Series created by / series creator
Series devised by / series deviser
Written by / writer

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PHOTOGRAPHY
and
Poster
GUIDELINES

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INTRODUCTION
Great pictures are essential for driving an audience to
your programme. They must capture attention and sell
the primary qualities of your show in a very competitive
marketplace. Impactful images tell a story and need to
be of excellent technical quality.

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WHERE WILL YOUR PICTURES BE USED?

Premium imagery is integral to driving reach to your show

Astro release images for press use

online and print, as well as for our digital
platforms, social media activity and third party
spaces.

Images have the longest life span of all

promotional assets, staying on Astro Ulagam page for many
years.

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TYPES OF PICTURES and Poster

We generally requires a range of images to be delivered including an iconic image,
portraits and unit (episodic) stills.

However these requirements can alter depending on the programme format and gen-
re, so please speak to your Channel Manager before filming commences.

01.
KEY ART
An image that encapsulates
the programme brand. Used
as the lead image on Astro
Ulagam, press, across social
media at the start of the
series.

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TYPES OF PICTURES and Poster

02.
PORTRAITS
Portraits of key characters/
contributors used in
editorial features, social
media and programme
pages.

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TYPES OF PICTURES and Poster

03.
BTS
Candid shots from set,used by the press in editorial features and by social media
throughout the series run. Backstage pictures should feature key
cast and a unique filming story.

Whilst the press and our social teams use this type of imagery, the bulk of your
stills delivery should be portraits and episodics.

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CREATIVE DIRECTION - LOGOS

When designing a strong brand logo, there are many things to consider to ensure
the brand is striking and unique. However, some of these details can work against
the brand when displayed on small digital devices.

LOGOS (SAFE AREAS)

When an image appears on television there are areas that will be overlaid with text
and logos once on the platform.

LOGOS (DESIGN)
A logo/title card can be used to add context and understanding to your programme
image, this can encourage views to try a programme they haven’t heard of before.
Consider whether a design element could be incorporated into your logo that will
help lift your Key Art.

Title logo must be provide in alpha channel copy as well for promotion use.

NB: You must ensure that fonts/logos are free for us to use in perpetuity

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LOGOS (DESIGN)
A lot of our poster content is consumed on mobile devices so images and logos
need to be clear and effective on a small scale.
Type faces created using objects can hard to read. Small Type faces surround with
GFX and borders can become lost in the image.

Logos containing a large variety of colours can become lost in their background.
Consider a strong type face, block colour, and minimal GFX.

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FILE SIZE AND QUALITY

To make your programme stand out then the imagery you delivery must be of the
best quality. Low resolution, badly lit and out of focus images won’t be used by us.

The minimum image size for episodics is 4600 x 3450 pixels (45mb file size) and
5300 x 3975 pixels (60mb file size) for Key Art and Portraits.

Files should be delivered as high quality JPGs and RAW files. This size will work for
everything from front covers to posters and pick of the days.

Screen grabs are not acceptable unless agreed beforehand and only in exceptional
circumstances

For poster design, the usage mainly for digital platform. Below are the size required
for posters:

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Poster SIZE AND QUALITY

For poster design, the usage mainly for digital platform. Below are the size required
for posters.

Platform Size
Poster A4 3508 x 2480
300 DPI
Format : Jpeg, PSD (layerd) or ai
Facebook Image post size: 1200 x 630
Event image size: 1920 x 1080

Story ad size: 1080 x 1920

Instagram Photo sizes: 1080 x 1080 (square), 1080 x 566
(landscape), 1080 x 1350 (portrait)

Stories size: 1080 x 1920

We always ask that you hire a professional photographer to shoot your publicity
stills. However if this impossible due to location/filming
restraints here are some technical tips:

Use a minimum 8 Shoot RAW files if the Shoot lots and lots of
megapixel resolution option is available frames to edit down
camera on the finest from.
setting is used

Try to keep shutter The best lighting Be aware that auto

speeds above 1/100 conditions are good focus may focus on the
second or faster to quality continuous background.
avoid blur and avoid light or daylight, as control
movement in low light. flash can be harder to

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ASTRO MALAYSIA HOLDINGS

Code of Business Ethics for
Third Parties

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PERSONAL DATA PROTECTION

NOTICE AND STATEMENT
TO THIRD PARTIES
(CONTRACTUAL, AGREEMENT OR ARRANGEMENT WITH ASTRO)

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Production progress reporting

ICB ( Indian Channel Business) is entitled to monitor the pro-

duction to assess any material risks that it may not be delivered
in accordance with the Commissioning specification.

Production (progress) reports should be submitted in the ap-

proved form to the Creative Producer. ICB may reasonably request
production reports at any stage.
Notify the ICB team of any problems that could jeopardise the pro-
duction or delivery of the programme in accordance with the Com-
missioning specification.

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Production progress reporting Form

Independent Production House Weekly Report

Date:

Production Company:

Working title of Programme(s):

Programme(s) Log Line:

Name of Producer:

Name of Channel Manager:

Report Stage:

Please provide detailed note of the

current status of your production,
describing:

o progress against your production

schedule.

o details of activity undertaken (eg

Script status, interviews, what’s
been filmed, location, cast,
subject matter)

o any anticipated risks to delivery

and what steps you are taking to
mitigate against it

Remarks and Notes

**Please attach your latest production schedule.

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Vendor
registration

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Vendor Checklist

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Required Documents for New Vendor Registration

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