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Credits are important to programme-makers, broadcasters, talent and funders and sometimes the press, but of limited interest to audiences. The Â鶹ԼÅÄ's credit policy balances the desire to reflect significant creative contributions with the reality that lengthy credits make viewers switch off. It's also important that the editorial use of credits across Â鶹ԼÅÄ output is consistent, fair and justified.

Guidance must be followed to maintain the strength of the Â鶹ԼÅÄ brand and ensure consistency among all producers of programmes for the Â鶹ԼÅÄ.

Please note, The Department for Culture Media and Sport scheme credit requirement does not apply to Â鶹ԼÅÄ commission and should not be included in the programme delivered to the Â鶹ԼÅÄ.

Productions granted permission from the Â鶹ԼÅÄ to deliver non-standard end credits should ensure that this information is noted in both the ‘Video Comments’ field in the programme file metadata and the eyeball report when they submit the final programme file. Find out more about file delivery.

The Â鶹ԼÅÄ’s contracts with production companies give the Â鶹ԼÅÄ the final say on credits. The Â鶹ԼÅÄ requires all productions credit proposals to meet the terms of this guidance. Any queries or exceptions to closing credits should be referred to the Â鶹ԼÅÄ commissioning editor for the relevant programme.

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 accommodate promotional messages.

Credits should be based solely on the principles set out on this page, the end card page and the further branding page.

Credits A-Z guide

Archive credits

Archive suppliers may be credited for their significant creative contribution (see below) if the credit is approved by the Â鶹ԼÅÄ commissioning editor. 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 significant creative contribution, for example archive research, a credit may be given to an individual or to the archive supplier but not to both.

Â鶹ԼÅÄ personnel

A credit for any relevant Â鶹ԼÅÄ person shall be at the commissioning editor’s discretion to request provided always that such a credit is commensurate with their input into that particular production.

Charity references

References must not be made in end credits to charities without prior referral to editorial policy.

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On CÂ鶹ԼÅÄ, credits for key talent and writers should always be over action.

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. See also Multiple names under one credit.

Co-commissions between Â鶹ԼÅÄ Network and Nations

The Â鶹ԼÅÄ corporate masterbrand logo (Â鶹ԼÅÄ blocks) should be used for all Â鶹ԼÅÄ Nations/Â鶹ԼÅÄ Network co-commissions on the end card.

Co-producers

Co-producer is a generic industry term which can be broadly divided into two categories for purposes of credits on Â鶹ԼÅÄ end cards or penultimate cards on Â鶹ԼÅÄ public services. It may be applicable for:

1. production companies with a significant role in the production, and/or
2. broadcasters/platforms/organisations taking rights in the programme in return for investment.

Such co-producers may potentially be credited on the end card or a penultimate card. Please see the end card page for further information. 

Credit documentation

Productions granted permission from the Â鶹ԼÅÄ to deliver non-standard end credits should ensure that this information is noted in both the ‘Video Comments’ field in the programme file metadata and the eyeball report when they submit the final programme file. Find out more about file delivery.

Distributors credits 

• where the distributor is funding more than 25% of the production budget and then it can be credited on the penultimate card as a text ‘Distributed by’ credit
• any other credit only in exceptional circumstances

Gender neutral credits

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

Grammar and spelling

Credits and captions should be checked for spelling or grammatical mistakes. Typical pitfalls to avoid are misplaced apostrophes and lower case letters for names or the beginnings of sentences. See also Name style below.

Group companies

Group organisations should only be credited once.

Helplines/action lines

Productions requiring a Â鶹ԼÅÄ Action Line should make a request via their Â鶹ԼÅÄ executive producer or commissioning editor, who will liaise with the Action Line team to arrange the relevant support. The Action Line team will agree the on air trail with Media Planning, or with production, depending on circumstances. Â鶹ԼÅÄ Action Lines should not automatically be included within programmes. For further information, please email Capita. Information about other public service support material should not be included in end credits. Production should contact Media Planning to arrange for the information to be presented over the end credits during playout using the credit squeeze process. Find out more about helplines and action lines on the production resources page. 

Honours and qualifications

Honours, titles, decorations, and professional or academic qualifications should not normally be included in credits (or captions) unless they are relevant to the circumstances in which the person appears. See also Name style below.

In memoriam

If there has been significant editorial/production loss on a production and you would like to include an in memoriam credit on an exceptional basis only, please discuss appropriate credit and placing with commissioning editor.

Live

In certain circumstances credits can be shorter for live shows and can be horizontal credit scrollers.

Live international filming

Foreign broadcasting organisations which supply or relay live programmes to Â鶹ԼÅÄ Television may, at our discretion, receive an end credit which should appear before the final card, thus:

• for national broadcasters the country and the channel eg Presentation by TF1 France
• for regional or local broadcasters the city or town together with the company eg NDR Hamburg
• a general acknowledgment is occasionally appropriate when several national services co-operate, eg a German Television Presentation

This should usually be agreed up front at commission/contract stage.

Locations (named)

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, logos or house colours cannot be used. Find out more.

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 reflected by different type sizes. For example, a senior role would appear in larger type than a junior one. See also Choice of credits.

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 reference in the credits must be non-promotional and must be limited to the title of the piece and either the composer or the performer, not both.

Name style

Generally people's names should appear in credits (and captions) in the style their owners prefer. See also Honours and qualifications.

News programmes

There should be no credits for news bulletins or nations and regions news magazines.

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 function, they 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. See also Referrals and advice.

Opening titles and credits

There should be no opening credits other than those exceptions listed below under Presentation credits. Opening credits should not be repeated in closing credit sequences except credits for performers.

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 contributors 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 relevant commissioning head.

Preview trails and promotions

Preview trails edited by production into end credits (ie ‘next week...’) are not permitted. If productions wish to trail the next in the series this should be done before the end credits. 

Presentation credits

No presentation credits are allowed unless agreed and approved by the Â鶹ԼÅÄ in exceptional circumstances. Where there are exceptions agreed, presentation credits should be kept to a minimum and not mislead.

Referrals and advice

Referrals should be made where indicated. For further advice consult your Â鶹ԼÅÄ business affairs contact and Â鶹ԼÅÄ commissioning editor in the first instance.

Screen agencies

If directly funding the programme budget, an appropriate credit, provided it is agreed up front at point of commission/contract, may appear on the penultimate card.

Significant creative contribution

To ensure we recognize those with the greatest creative contribution to a specific programme we must be consistent about our definitions 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 creative one. See Suppliers and facilities below. Any exceptions to this require previous agreement with the Â鶹ԼÅÄ commissioning editor

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 Â鶹ԼÅÄ commissioning editor. 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.

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 sponsors must be referred to editorial policy before commitments are made.

Talent owned (or co-owned or agent owned) production companies

Programmes which may be produced by or co-produced by talent or agent owned production companies are a mandatory referral to Director, Editorial Policy and the relevant divisional director well in advance. Any production credit for the company must be agreed with the commissioning editor and must reflect genuine demonstrable creative input into the production by the company (and should be clear in its agreement with the production company). See the .

Theatrical organisations

Credits should not be given to theatrical organisations whose performers appear in television programmes unless required contractually. Where this occurs the inclusion of a credit must be referred and agreed in advance. Typical wording is ‘Beverley Smith appears by permission of XYZ theatre company’.

Third party alternative funders

Also known as external or alternative funding. This is funding of the production from third parties (public or private) who are not co-producers or distributors taking rights and have no editorial input into the programme. Such funders may only be credited on the penultimate card and the credit and form of credit must be agreed up front in the commissioning specification. For funders to be credited in text on the penultimate card an indicative investment of at least 15% is required. 

Third party commitments

The Â鶹ԼÅÄ person responsible for a production must tell anyone who makes a programme for or in association with the Â鶹ԼÅÄ that they should not make crediting commitments to third parties, eg contributors and co-producers, without checking first with the Â鶹ԼÅÄ that any proposed credit is permissible.

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 reassuring 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.

Varying credits in a series

It may not always be necessary to include every credit-worthy individual in each programme. Depending on what people have contributed it may be more appropriate, for example in a six-parter, to credit some individuals in programmes one, three and six only and others in the remainder only.

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 without 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.

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

Credit categories

Download information about . Programme-makers may choose from the two credit lists only.

End credit durations

End credit sequences must not exceed the following durations, which should be taken into account when commissioning any accompanying music or graphic:

They may be longer for first and last editions provided they do not exceed the programme duration guidelines. This must be agreed in advance with the commissioning editor.

These durations are not targets to be achieved, but maximum durations which must not be exceeded. There may be occasions when the credits can be shorter, bearing in mind the need to ensure credits are fully legible. There may even be occasions when credits are not necessary.

End credit technical guidelines

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Acquisition credits

This means programmes acquired by the Â鶹ԼÅÄ where there is no Â鶹ԼÅÄ branding on the programme end card.

At the point of contract Â鶹ԼÅÄ business affairs and the commissioning editor is required to carry out due diligence on all funding partners with reference to Â鶹ԼÅÄ editorial policy depending on circumstance.

For acquired single documentaries, animation or filmed music, due to the range and complexity of credits on acquired programming there is a degree of flexibility in respect of the Â鶹ԼÅÄ guidelines on opening and closing credits, however:

• the Â鶹ԼÅÄ will always require the right to edit the credits to ensure they comply with 30 second end credit rule, and
• all credits will require sign off by the Â鶹ԼÅÄ commissioning editor

For acquired feature documentaries with a theatrical release:

• approved opening credits may be included if an organisation has made a substantial contribution to the production budget and have been agreed up front with the Â鶹ԼÅÄ prior to contracting
• notwithstanding the above, it is understood that at the point of delivery the credits may not be compliant to Â鶹ԼÅÄ specification in terms of duration or graphic safe areas

Pre-buy licence credits

This means programmes where the Â鶹ԼÅÄ is a co-producer and provides editorial input and the Â鶹ԼÅÄ masterbrand logo (Â鶹ԼÅÄ blocks) appears on the end card.

At the point of contract Â鶹ԼÅÄ business affairs and the commissioning editor is required to carry out due diligence on all named executives and funders (including other broadcasters/platforms) with reference to Â鶹ԼÅÄ editorial policy depending on circumstance.

For features (ie programmes that use a film production rather than a TV funding model, is listed by UK Film Distributors Association or has a BBFC classification), provided it is clear that this is acquired content then the credits can be left as delivered provided the following checks are undertaken:

• the Â鶹ԼÅÄ commissioning editors approval is required for specific sign off that the opening sequence is not excessive and will keep the audience engaged on transmission
• any credit given in the opening sequence is not repeated at the end
• logos on the end card may only be given for co-producers funding more than 25% of the budget
• logos must be static and share same board if more than one logo
• opening presentation credits should be appropriate and proportionate to the content
• where there are a mix of roles being credited under the executive producer banner, the executive producers representing an organisation but without responsibility for the film are credited as ‘Executive Producer for (name of organisation)’ and/or executive producers with overall responsibility are designated as ‘Executive Producer/s in Charge of Production’ or similar to delineate the roles

Strand credits and strand end cards

At the point of contract Â鶹ԼÅÄ business affairs and the commissioning editor are required to carry out due diligence on all funding partners, with referral to editorial policy depending on circumstance.

and note specifications for strand credits/ penultimate cards and end-cards below.

Additional Â鶹ԼÅÄ strand branding and other non-standard credit and end card requirements may apply. Please check the relevant dropbox folder above or find contact details for further technical support creating strand end cards.

Acquired programming for a Â鶹ԼÅÄ strand:

Due to the range and complexity of credits on acquired programming there is a degree of flexibility in respect of the Â鶹ԼÅÄ guidelines on opening and closing credits, however:

• the Â鶹ԼÅÄ will always require the right to edit the credits to ensure they comply with a varied duration (27-29 seconds) end credit rule
• all credits will require sign off by the Â鶹ԼÅÄ commissioning editor
• no producer (or other) opening credits are allowed
• relevant Â鶹ԼÅÄ strand branding usually required as opening credit
• relevant Â鶹ԼÅÄ strand branding and further information is required on either the programme end card or an additional strand card, depending on the strand. Please check the relevant dropbox folder above for details or find contact details for technical support

Pre-bought and/or commissioned programming for a Â鶹ԼÅÄ strand:

Any credits for third party (alternative) funders or distributors if applicable must be agreed at the point of commission and the penultimate and end card requirements should be discussed with the commissioning editor or Â鶹ԼÅÄ business affairs at the point of contract.

• relevant Â鶹ԼÅÄ strand branding usually required as opening credit
• relevant Â鶹ԼÅÄ strand branding and further information is required on either the programme end card or an additional strand card, depending on the strand. Please check the relevant dropbox folder above for details or find contact details for technical support

Penultimate cards

Some investors may receive a credit on the penultimate card if agreed up front with the Â鶹ԼÅÄ. These may include:

• third parties investing directly into the production budget for rights in another territory, or
• third party (alternative) funders taking no rights in the programme, provided there is a significant indicative investment of at least 15% into the production budget
• screen agencies
• distributors (with indicative significant funding of at least 25% of the production budget)

These credits should be discussed with the business affairs contact and agreed at the point of commission/contract.

Open University credits

See the OU production page for full information.

End cards

Visit the end cards page for full specifications.