Despite Low Budgets and Rising Prices: The Resilience of Overseas Travel Variety Shows Amidst a Weak Yen

Is the production budget okay? Surprisingly, there are many overseas location shooting programs.

Many travel and location shooting programs continue to air on commercial terrestrial networks. The COVID-19 pandemic now feels like a distant memory, and travel to and from overseas has become smooth. However, it’s often heard that production budgets for commercial programs are still not abundant, and the trend of a weak yen continues. Additionally, reports of exorbitant prices in certain countries are also common.

Despite these circumstances, it can be somewhat surprising to see a relatively high number of overseas location shooting programs.

For instance, popular shows like “Sekai no Hate made Itte Q!” (Let’s Go to the Ends of the Earth) likely have strong sponsorship backing, and single-sponsor programs like “Sekai Fushigi Hakken!” (World’s Mysterious Discoveries) make sense in this context. On the other hand, even programs aired late at night or during weekend afternoons—time slots that presumably don’t command high broadcasting fees—often feature overseas location shoots and travel segments.

So, why is this the case? How are these programs managing to secure funding?

I asked a television writer who works on popular variety and information programs.

In the television industry overall, it’s said that the production budgets for TV shows are generally low. Given this premise, for overseas location shooting programs—except for a few shows with abundant sponsorship—the writer revealed the secret:

“Many times, we manage to reduce costs through tie-ups.”

 He reveals.

 

The key is to make full use of tie-ups and local staff.

According to the aforementioned television writer, overseas location tie-ups can be categorized into two main types:

– Partnerships with local tourism boards

– Partnerships with airlines and local facilities

Sometimes these partnerships are combined. By broadcasting the “images” that the tie-up partners seek and introducing information about them, production budgets for shoots can be reduced.

“In the case of commercial networks, finding ways to keep costs down is a fundamental consideration, not just for overseas shoots. If we have to cover all travel expenses ourselves, it becomes quite challenging,” the writer explains.

Cost reduction also heavily relies on minimizing labor costs. 

“To cut expenses related to airline tickets and hotel costs, we often try to limit the number of staff sent from Japan and hire local staff. In many cases, it’s just the director and the on-screen talent, along with local staff.”

In terms of budget, some one-off programs aired on weekend afternoons may surprisingly have significant budgets allocated to them.

 

 “It can be seen as a so-called trial slot, but within that, there are local station productions that are quite well-made. In some cases, these programs are crucial for the company’s future, so a substantial budget may be allocated.

In contrast, large-scale dramas or special anniversary dramas produced by key networks, which are truly pivotal for the company’s success, may involve extensive overseas location shoots. However, I don’t think variety shows or regular travel programs receive budgets that special.”

In an age when solid footage is no longer necessary

What about the circumstances on the talent side?

“Sometimes, talent and actors even film themselves. However, this self-filming style has become a well-established method in location shooting programs, both overseas and domestically, so there’s likely no resistance from either the performers or the viewers.”

One of the ultimate forms of this stripped-down approach can be seen in NaSu D’s program, where the director, despite being a staff member, films everything himself while appearing on screen.

“The increase in streaming services has also had a significant impact on both viewers and participants. 

Of course, talents and directors aren’t professional shooters, but modern viewers are not necessarily looking for perfection; they often prioritize what happens during the experience. 

While high-quality, breathtaking shots are one thing, with the evolution of smartphone cameras, viewers don’t mind if a street shoot is slightly shaky or if the angles are a bit off. 

As long as the shots of the food are captured well in separate cuts, the key is to convey a sense of fun and enjoyment.

By leveraging the low budget, staying in cheap accommodations, and navigating local markets or public transport while communicating with locals can lead to funny mishaps, making the program enjoyable for viewers who expect that kind of content.”

However, what about the ongoing issues with the weak yen and high local prices, which have settled down somewhat but still persist?

“In this regard, it seems that countries like South Korea, Taiwan, and Thailand—where the exchange rate with the yen isn’t too different, and prices are relatively low, plus they are closer to Japan—are often chosen as destinations. 

It’s more enticing to viewers to think, ‘I got to eat this much for such a price!’ rather than ‘Wow, this is so expensive!'” (laughs)

While it appears that there haven’t been major changes to the television stations’ budget circumstances, the combination of wisdom, ingenuity, and a style adapted to the times allows enjoyable scenes of overseas landscapes, cuisine, and the expressions and atmosphere of the people to be delivered even on terrestrial broadcasts.