techiaith/cofnodycynulliad_en-cy huggingface dataset:
English: Well, I think there's a need to establish a body to provide news, certainly, in Wales, in order to ensure that news is provided on all platforms, and that should be an organisation that should, obviously, be impartial. Because what you have currently, in terms of news, is the BBC news in Wales, but that is also the news that you will see on S4C. People don't get that much news from newspapers anymore, and, also, digitally, it's very, very difficult to establish a news service. So, I feel that one of the most important things that should be established now in Wales would be some sort of organisation that would be providing a news service that is impartial and for anyone who would like to use that news in whatever means.
Welsh: Wel, rwy'n meddwl bod angen sefydlu corff i ddarparu newyddion, yn bendant, yng Nghymru, er mwyn sicrhau bod newyddion yn cael eu darparu ar bob platfform, a bod hwnnw yn gorff a fyddai'n amlwg yn un fyddai'n ddiduedd, yn sicrhau - . Achos, ar hyn o bryd, beth sydd gyda chi o safbwynt newyddion yw bod gyda chi newyddion y BBC yng Nghymru, ond dyna'r newyddion hefyd dŷch chi'n eu gweld ar S4C. Dyw pobl ddim yn cael cymaint â hynny o newyddion bellach o'r papurau. Yn ddigidol hefyd mae'n anodd iawn, iawn sefydlu gwasanaeth newyddion, felly dwi'n teimlo mai un o'r pethau pwysicaf y dylid ei sefydlu nawr yng Nghymru yw rhyw fath o gorff a fyddai'n darparu gwasanaeth newyddion diduedd ar gyfer unrhyw un fyddai eisiau defnyddio'r newyddion hynny ym mha bynnag ffordd.
English: Just to echo what you say in terms of competition, yes, that's fair enough, but in commissioning companies in Wales to create content for BBC Wales, for example, then that funding stays in Wales and it helps the economy. It is so very important to the Welsh economy that we do have broadcast companies and production companies and so on here in Wales, because if all of the funding goes outside of Wales, or a high percentage of the funds goes out of Wales, then that isn't good for the economy either. Because broadcasting, I think, is an important part of the economy of Wales, and work for young people and opportunities, and I think we need to look very carefully at the importance of commissioning people working in Wales.
Welsh: I ategu at yr hyn rwyt ti'n ei ddweud hefyd, o safbwynt y gystadleuaeth, ydy, mae hynny'n ddigon teg, ond o gomisiynu cwmnïau yng Nghymru i greu cynnwys ar gyfer BBC Wales, er enghraifft, mae'r arian hwnnw yn help i'r economi hefyd. Mae mor bwysig i economi Cymru fod gennym ni gwmnïau darlledu, cwmnïau teledu ac ati yng Nghymru, achos os yw'r arian i gyd yn mynd mas o Gymru, neu ganran uchel o'r arian yn mynd mas o Gymru, wel, dyw hynny ddim yn dda i'r economi, chwaith. Achos mae darlledu, rwyf i'n meddwl, yn rhan bwysig o'r economi, gwaith pobl ifanc, cyfleoedd ac ati, ac rwyf i'n meddwl bod angen edrych yn ofalus iawn ar bwysigrwydd comisiynu pobl sydd yng Nghymru.
English: I know that Ofcom have been looking at this recently - the three particular conditions that you have to meet to described as an out-of-London production. I think there have been examples where people may have been on the margins, and there has been some creative analysis taking place, but I think that some of those productions may not have been as out of London as was claimed. So, I think that's important. As Angharad said, if we are to develop the workplace, the opportunities for young people to enter the industry, and to get these incredible opportunities that we've had in a variety of productions for a variety of broadcasters, we do need to take care, and we need to be honest about that as well.
Welsh: Mae Ofcom, dwi'n gwybod, wedi bod yn edrych ar hwn yn ddiweddar iawn - yr amodau, y tri amod arbennig sydd yn rhaid ichi gyrraedd er mwyn cael eich categoreiddio fel eich bod chi'n out-of-London production, ac mae yna enghreifftiau, dwi'n credu, lle mae pobl wedi bod yn agos iawn i'r ymyl, gyda bach o ddadansoddi creadigol iawn, ac mae yna rai yn honni efallai fod rhai o'r cynyrchiadau yna ddim mor out of London a bydden nhw'n honni. Felly, dwi'n credu bod hwnna'n bwysig. Fel mae Angharad yn dweud, os ydym ni'n mynd i ddatblygu'r gweithle a chyfleoedd i bobl ifanc ddod mewn i'r diwydiant a chael profiadau anhygoel, fel rydym ni wedi'u cael, yn gwneud amryw o gynyrchiadau i amryw ddarlledwyr, mae eisiau bod yn ofalus ac yn onest am hwnna, dwi'n meddwl.
English: Yes. We employ over 100 people in Llanelli, which is a very poor town. Without our work there, those opportunities wouldn't exist for young people to remain in their own area and to work, and also work through the medium of the Welsh language, which is also very important. I do think that it is so important as part of the solution to poverty in Wales, too.
Welsh: Oes. Rŷn ni'n cyflogi dros 100 o bobl yn Llanelli, sy'n dref mor dlawd. Heb ein gwaith ni yno, ni fuasai'r cyfleoedd yna i bobl ifanc, i allu aros yn eu hardal eu hunain i weithio, hefyd drwy gyfrwng yr iaith Gymraeg, sydd mor bwysig. Dwi'n meddwl ei bod hi mor bwysig fel rhan o ateb i dlodi yn economi Cymru.
English: - we really are stretched for time. And not everyone has to respond to every question. Sorry. David Melding.
Welsh: - diffyg amser eithriadol. A does dim rhaid i bawb ateb pob cwestiwn. Sori. David Melding.
English: I think I've heard that their advertising income is down, but their online income has increased. And I think what was responsible for some 30 per cent of their profits last year was the activities of ITV Studios. ITV Studios is responsible for producing some of the most prominent BBC programmes. Think of Line of Duty and Bodyguard - these are produced by companies that are under the ownership of ITV Studios. It's ITV Studios that distributes and sells those. That ecology, at one point, I'm sure, would not have existed at all. It is again an example of where these broadcasters identify various strengths and opportunities and work together on selling each other's product. I don't know what the latest is about the figures of BBC Studios, but that's what they're aiming for also - to grow the commercial opportunities for them, and to take their share of the market where they see that there is an opportunity for them to do so. And ITV Studios has been investing very much in a number of production companies, including some of those drama companies.
Welsh: Dwi'n meddwl fy mod i'n iawn i ddweud bod eu hincwm hysbysebu nhw ar i lawr, ond mae eu hincwm hysbysebu ar-lein nhw ar i fyny. A'r hyn oedd yn gyfrifol am, dwi'n credu, rhyw 30 y cant o'u profits nhw llynedd oedd gweithgareddau ITV Studios. Mae ITV Studios yn gyfrifol am gynhyrchu rhai o gyfresi mwyaf blaengar y BBC. Meddyliwch am Bodyguard, Line of Duty - mae'r rhain yn cael eu cynhyrchu gan gwmnïau sydd dan berchnogaeth ITV Studios. ITV Studios sydd yn dosbarthu a gwerthu'r rheini. Byddai'r ecoleg yna, ar un adeg, dwi'n siŵr, ddim wedi bodoli o gwbl. Mae e eto yn enghraifft, dwi'n credu, o le mae'r darlledwyr yma yn adnabod cryfderau gwahanol, yn adnabod cyfleoedd gwahanol, ac yn cydweithio ar werthu cynnyrch ei gilydd. Dwi ddim yn gwybod beth yw'r diweddaraf o ran ffigurau BBC Studios, ond dyna maen nhw'n anelu ato fe hefyd - i dyfu'r cyfleoedd masnachol yna iddyn nhw, a chymryd eu siâr nhw o'r farchnad fel maen nhw'n gweld lle mae cyfleoedd iddyn nhw wneud hynny. Ac mae ITV Studios wedi bod yn buddsoddi'n helaeth iawn mewn niferoedd o gwmnïau cynhyrchu, gan gynnwys rhai o'r cwmnïau drama yna.
English: ITV in Wales is an important part of the broadcast ecology, because they have a news service, not in competition with the BBC, but it just means that there is a broader range of stories, and there's the factual commissioning in Wales. Again, that increases the number of stories and areas of Wales that are covered. So, they are under pressure but they are a crucial part of that ecology of corresponding on our country in both languages.
Welsh: Mae ITV yng Nghymru yn rhan bwysig o'r ecoleg o ddarlledu cyhoeddus, achos mae gwasanaeth newyddion ganddyn nhw, nid yn gystadleuaeth efo'r BBC yn unig, ond mae hefyd yn golygu bod fwy o ystod o straeon yn cael eu gwneud am ein gwlad ni, a'r comisiynu ffeithiol maen nhw'n gallu gwneud hefyd yng Nghymru. Eto, mae hwnnw'n cynyddu'r straeon a'r ardaloedd yng Nghymru sydd yn cael y sylw. Felly, mae o dan bwysau ond mae'n rhan allweddol yng Nghymru o'r ecoleg yna o ohebu am ein gwlad ni yn y ddwy iaith.
English: I think there's a very positive example of a programme about Portmeirion that Slam produced, and it appeared on the ITV network - I think I'm right in saying that. But ITV Wales do see opportunities to have their products going beyond Wales, in terms of joint funding with the main ITV channel, that is.
Welsh: Dwi'n credu bod yna enghraifft reit bositif o gyfres am Bortmeirion y gwnaeth Slam ei chynhyrchu - gwnaeth honno fynd i rwydwaith hefyd. Fe wnaeth hi ymddangos ar ITV rhwydwaith - dwi'n credu fy mod i'n iawn i ddweud hynny. Ond mae ITV Cymru yn gweld y cyfleoedd hefyd i gael eu cynnyrch nhw i gael ei weld y tu hwnt i Gymru, wrth gyd-fuddsoddi â phrif sianel ITV, felly.
English: What I think they fear losing is that prominence on the EPG, so that people can view their productions prominently. And if you can imagine the screen and you see the linear lines saying what's on the various channels, and the more contemporary ways of selling a product, where it's simply production - they're in boxes. They don't think in a linear manner, they simply throw them at you and say 'Choose, binge, watch.' I think they're hugely concerned about losing that prominence. And that prominence goes hand in hand with the commercial income from advertising, which is very valuable to them, because they know that's the brand, we know when it's on, and that's where we'll target our advertising. So, if they lose that prominence that comes with their status as a public service broadcaster, that would be a concern to them.
Welsh: Beth fi'n credu maen nhw'n ofn ei golli'n fawr yw'r amlygrwydd yna sydd yn dod gyda'r EPG, y safle yna. Mae pobl yn gweld eu cynnyrch nhw, ac maen nhw'n gweld hwnna yn y byd. Os ŷch chi'n gallu dychmygu'r sgrîn ac rŷch chi'n gweld y llinellau llinol yna'n mynd, yn dweud beth sydd ymlaen nesaf ar yr amryw sianelau, a'r ffyrdd mwy cyfoes o werthu cynnyrch, lle jest y cynnyrch yw e - maen nhw mewn bocsys. Nid ydyn nhw'n meddwl fel yna, maen nhw'n meddwl am daflu nhw atoch chi - dewiswch, dewiswch, 'binge - wch', gwyliwch. Maen nhw'n poeni'n fawr, dwi'n credu, am golli'r amlygrwydd. Ac mae'r amlygrwydd yna law yn llaw gydag incwm masnachol hysbysebu gwerthfawr iawn, iawn iddyn nhw, achos bod pobl yn gwybod am y brand, a dyna le mae e, a dyna pryd mae e ymlaen, a dyna le ni'n targedu'n hysbysebu ni. Felly, i golli'r amlygrwydd yna sydd yn dod gyda'i statws nhw fel darlledwr cyhoeddus, dwi'n credu y byddai hwnna'n bryder iddyn nhw.
English: And that is why we need to devolve broadcasting now, of course, and establish something like an authority on broadcasting for Wales, in order to regulate these things better within Wales, because of the specific deficit we have here.
Welsh: Dyna pam, wrth gwrs, mae angen datganoli darlledu erbyn hyn, dwi'n meddwl, a sefydlu rhywbeth fel awdurdod darlledu i Gymru, er mwyn gallu rheoleiddio'r pethau yma yn well oddi mewn i Gymru, achos y deficit sydd yma'n benodol.
English: I know that time is running out -
Welsh: Dwi'n gwybod bod amser yn rhedeg mas gyda ni -
English: We did start quite late, so you can take that into consideration.
Welsh: Fe wnaethon ni gychwyn bach yn hwyr, so ni'n mynd i fynd ymlaen tamaid bach.
English: May I ask about commissioning more than anything? We know that S4C has seen a reduction in their funding over the years. What kind of impact has that had on commissioning from your perspective as production companies? Also, we know that the world has changed a great deal over the past 20 years in terms of the challenges that there are in the digital sphere and the fact that so many people are now watching programmes on catch-up rather than watching them live, apart from the news and sport, as last night showed. So, what are the challenges for you, and in what way has the terrain shifted in terms of what types of programmes are commissioned now compared to 20 years ago, or 10 years ago?
Welsh: Gaf i ofyn ynglŷn â chomisiynu mwy na ddim byd? Rŷn ni'n gwybod bod S4C wedi cael toriad yn ei chyllideb dros y blynyddoedd. Pa fath o effaith mae hwnna wedi'i chael ar gomisiynu o'ch safbwynt chi fel cwmnïau cynhyrchu? A hefyd, rŷn ni'n gwybod bod y byd wedi newid lot dros y 20 mlynedd diwethaf ynglŷn â'r heriau sydd yna ynglŷn â'r digidol a'r ffaith bod sut cymaint o bobl nawr yn gwylio rhaglenni ar catch-up; dŷn nhw ddim yn gwylio pethau yn fyw, heblaw am y newyddion a'r chwaraeon, fel roedd neithiwr yn dangos. So, beth yw'r heriau chi, ac ym mha ffordd mae'r tir wedi newid ynglŷn â pha fath o raglenni sy'n cael eu comisiynu nawr, efallai o gymharu â fel roedd pethau 20 mlynedd yn ôl, neu 10 mlynedd yn ôl?
English: The cut in budget has impacted on a number of levels, not just on the programming budget, but how many staff are working on programmes, so that there is more pressure on them. They have less time, and so people are leaving because of the pressure and don't choose that as a career. It does, then, limit where you can go to film, for example; you do have to be quite pragmatic as to where you go. So, those are the practicalities that are impacting us as companies and the individuals working in the sector. But I think S4C has been very skilled in the way that they have commissioned to keep budgets at a level where it is possible to produce these programmes and to compete, in Wales and beyond.
Welsh: Mae'r toriad yn y gyllideb wedi effeithio ar sawl lefel, dim jest cyllideb y rhaglen, ond hefyd faint o staff sydd yn gweithio ar raglen, felly mae yna fwy o bwysau ar y rhai sy'n gweithio yna. Mae gyda nhw lai o amser i weithio yn fanna, felly mae'r pwysau ar y rheini, ac mae yna ddewis i bobl sy'n gweithio yna fel gyrfa - mae pobl yn gadael oherwydd y pwysau yna. Wedyn, mae o'n effeithio ar le dŷch chi'n gallu teithio - felly, mae'n cyfyngu, ar adegau, lle rydych chi'n gallu mynd i ffilmio; mae'n rhaid bod yn eithaf pragmatig o ran lle rydych chi'n gallu mynd. Felly, dyna ydy'r pethau ymarferol sy'n effeithio arnom ni fel cwmnïau ac ar unigolion sy'n gweithio yn y diwydiant yn y fan yna. Ond dwi'n meddwl bod S4C wedi bod yn ddeheuig iawn yn y ffordd maen nhw wedi bod yn comisiynu i gadw'r cyllidebau ar lefel lle mae'n bosibl gwneud y rhaglenni, a chystadlu yng Nghymru a thu hwnt.
English: Where they have done well is that they have seen an opportunity in investing in something like Hansh, but they need to invest more on that, I think, in order to have the full impact because it's still a relatively small percentage of their budget. In terms of audience, well, what they see is an increase in repeats. When the linear timetable is under pressure, that's what tends to happen is that you see more and more repeats. And I know that S4C itself is concerned about that. And for us, that means there are fewer original hours of content, and we can't compete for those hours. So, that is one way of responding to the pressures of reducing budgets and increasing costs per hour. But they have identified opportunities: joint productions are an opportunity; leveraging funding from Celtic partners in Scotland and Ireland are opportunities; jointly funding dramas that have a valuable distribution income provide opportunities. And I'm sure that there are opportunities beyond that too.
Welsh: Lle maen nhw wedi bod yn graff, dwi'n credu, yw eu bod nhw wedi gweld cyfle gyda gwasanaeth fel Hansh, ond mae angen buddsoddi mwy mewn pethau fel yna iddo fe gael yr impact llawn, achos mae'n ganran gymharol fach o'u cyllideb nhw o hyd, onid yw e? O ran y gynulleidfa, beth maen nhw'n ei weld, wrth gwrs, yw cynnydd yn yr ailddarllediadau. Pan mae'r amserlen linol dan wasgedd, dyna sy'n dueddol o ddigwydd yw bod yna batrwm o ailddarllediadau'n dod. A dwi'n gwybod bod S4C eu hunain yn ofidus am hynny, ac wrth gwrs, mae hynny, i ni, yn llai o oriau gwreiddiol o gynnwys, onid yw e? Mae'n llai o gyfle i gystadlu am yr oriau gwreiddiol yna. Felly, mae hwnna'n un ffordd o fod wedi ymateb i'r straen ariannol sy'n dod o gyllideb sydd wedi lleihau a chostau'r awr sy'n cynyddu ar yr un pryd. Ond maen nhw yn gweld cyfleoedd: mae cyd-gynhyrchu yn gyfle; mae 'leverage-o' arian o bartneriaid Celtaidd, er enghraifft, yn yr Alban ac Iwerddon yn gyfle; mae cydariannu dramâu sydd ag incwm dosbarthu gwerthfawr yn dod i mewn i ariannu'r prosiectau yna yn gyfle. A dwi'n siŵr bod mwy o gyfleodd y tu hwnt i hynny hefyd.
English: Just one question from me - that's all, Chair. In relation to the opportunities abroad, there was a period when many programmes commissioned by S4C were broadcast internationally. There was a period when films were made in the Welsh language - well, very few have been made recently; I can't name one. For example, we had Hedd Wyn and we had Solomon and Gaynor, but that doesn't seem to be happening anymore. We see other nations, in Scandinavia and Iceland, that have been successful in selling some series, which, as a rule, are stories in relation to crimes and murders, and that's in nations where they've got a lower crime rate than anywhere else, but they like to live in this Nordic noir world. Now, looking at Iceland specifically, they have much fewer Icelandic speakers than we have Welsh speakers. So, in terms of your perspective as producers, what kind of opportunity exists abroad to be able to make programmes that can travel successfully - and Hinterland is an example of that - and are the resources available to do something like that as they were only a short period of time ago?
Welsh: Jest un cwestiwn arall - dyna'i gyd, Cadeirydd. Ynglŷn â chyfleon tramor, roedd yna gyfnod lle roedd llawer o raglenni a oedd wedi cael eu comisiynu gan S4C yn cael eu darlledu mewn llefydd eraill. Roedd yna gyfnod lle roedd ffilmiau'n cael eu gwneud yn y Gymraeg - gallaf i ddim enwi un yn ddiweddar sydd wedi cael ei gwneud yn Gymraeg. Roedd gyda ni Hedd Wyn a Solomon a Gaynor - dyw hynny ddim yn digwydd rhagor. Rŷn ni'n gweld gwledydd eraill, yn Sgandinafia a Gwlad yr Iâ, sydd wedi bod yn llwyddiannus ynglŷn â gwerthu ambell i gyfres ynglŷn â, fel rheol, throsedd, mwy neu lai, gyda gwledydd lle mae lefel y troseddau llawer yn is nag unrhyw le arall - maen nhw'n hoffi byw yn y byd Nordic noir hyn. Maen nhw wedi bod yn llwyddiannus dros ben a, gyda Gwlad yr Iâ, er enghraifft, llawer llai o siaradwyr na Chymraeg. So, o'ch safbwynt chi fel cynhyrchwyr, pa fath o gyfle sydd yna dramor i wneud rhaglenni sy'n mynd i fod yn llwyddiannus dramor - ac mae Y Gwyll yn enghraifft o hynny - ac ydy'r adnoddau yna i wneud rhywbeth fel yna nawr o'i gymharu â fel oedd pethau efallai amser byr yn ôl?
English: There are opportunities. The series that was based here, Byw Celwydd, has sold in America, Canada, and throughout Europe, the three series -
Welsh: Mae yna gyfleon, yn sicr. Mae'r gyfres oedd wedi cael ei lleoli fan hyn, Byw Celwydd, wedi gwerthu yn America, Canada a thrwy Ewrop, y dair gyfres -
English: Well, I don't know if that's a good thing. [ Laughter.]
Welsh: Dwi ddim yn gwybod os yw hynny'n beth da. [ Chwerthin.]
English: - and it's been translated into a range of languages, and that was sold as the Welsh language version initially. There is a job of work for us to do as companies there to get in touch with distributors and to sell our productions abroad, and it does happen - there are several examples of it. And it's a way for companies to generate income for themselves in order to strengthen and stabilise a company. Certainly, there are opportunities, but it's all about relationships with foreign distributors.
Welsh: - ac i ystod o ieithoedd, a'r fersiwn Gymraeg oedd wedi cael ei werthu yn fanna. Mae angen i ni fel cwmnïau gysylltu efo dosbarthwyr ac yna mynd a gwerthu'n cynnwys dramor, ac mae o'n digwydd - mae yna sawl enghraifft ohono fo. Ond mae'n ffordd i'r cwmnïau hefyd fod yn creu incwm eu hunain i drio sefydlogi a chryfhau'r cwmnïau. Yn bendant, mae yna gyfleon, onid oes, ond mae o i gyd i'w wneud efo perthnasau gyda dosbarthwyr tramor.
English: There are opportunities, because we did produce Y Gwyll/Hinterland, which has been sold to many nations and has been a big success, also to Netflix. But, I do think that we are returning to the question of money. When you compare the Hedd Wyn period and the ability to make a film that could specifically go on to compete in the Oscars, for example, it is much more difficult these days, in a climate where funding is so short, because S4C has to run a channel. Yes, it's great to have these dramas, they're popular, and they can sell, and they can sell in a minority language, but also, I think that the solution returns to having sufficient funding in order to be able to compete, and I think that's important as well.
Welsh: Mae yna gyfleon, achos ni a wnaeth gynhyrchu Y Gwyll/Hinterland sydd wedi cael ei gwerthu i sawl gwlad â llwyddiant mawr, a hefyd i Netflix. Ond, dwi yn meddwl ein bod ni'n dod nôl at yr arian. Hynny yw, pan rŷch chi'n cymharu cyfnod Hedd Wy n, a'r gallu i wneud ffilm a oedd yn benodol yn gallu mynd ymlaen wedyn i gystadlu mewn gŵyl fel yr Oscars, mae'n llawer anoddach y dyddiau yma, dwi'n meddwl, mewn hinsawdd lle mae'r arian mor brin, achos mae S4C yn gorfod rhedeg sianel. Hynny yw, mae'n grêt cael y dramâu, maen nhw'n boblogaidd, ac maen nhw'n gallu gwerthu, ac maen nhw'n gallu gwerthu mewn iaith leiafrifol, ond hefyd, dwi'n meddwl bod yr ateb yn dod nôl at gyllid digonol, er mwyn gallu cystadlu hefyd, a dwi'n meddwl bod hynny'n bwysig.
English: I'm sorry, I said it would be just one question, but another brief one. Is there an opportunity for there to be joint productions with other companies, to share what funding we have? We've seen it and we've heard evidence that that is happening, and there's a tradition of that happening in the Scandinavian nations. So, is there an opportunity to work with producers in Ireland - I don't know how many there are in Scotland who work through the medium of Gaelic - and perhaps with some of the minority languages in Europe? Is there a way of looking for a means to share the burden, as it were, in terms of the financing, in order to create programmes that can be broadcast in many nations?
Welsh: Sori, dywedais i 'dim ond un', ond jest un yn fyr iawn. Oes yna gyfle, felly, i gyd-gynhyrchu gyda chynhyrchwyr mewn gwledydd eraill, i rannu peth o'r gyllideb? Rŷn ni'n gweld e, rŷn ni wedi clywed tystiolaeth bod hynny'n digwydd, ac mae traddodiad o hwnna'n digwydd yng ngwledydd Sgandinafia. A oes yna gyfle, efallai, i weithio gyda chynhyrchwyr yn Iwerddon - dwi ddim yn gwybod faint sydd yn yr Alban sy'n gweithredu drwy'r Gaeleg - ac efallai gyda rhai o'r ieithoedd lleiafrifol yn Ewrop? Oes yna ffordd i edrych ar ffordd i rannu'r baich, mewn ffordd, ariannol, er mwyn creu rhaglenni sydd yn cael eu darlledu mewn sawl gwlad?
English: Yes, there are a number of examples from Rondo and ourselves of series produced jointly with companies in Ireland and Scotland - in the north and south - as well as Korea and China, as I mentioned earlier. You have to get out there, and you do have to find people to work with, but it increases the skills and strengthens talent.
Welsh: Oes, mae yna sawl enghraifft gan Rondo a ninnau o gyfresi sydd yn digwydd ar y cyd gyda darlledwyr a chynhyrchwyr o Iwerddon a'r Alban - y gogledd a'r de - a fel roeddwn i'n sôn yn gynharach, Corea a Tsiena hefyd onid yw e? Mae'n rhaid ichi fynd allan; mae'n rhaid ichi gysylltu efo pobl a'i wneud o, ond mae o'n cynyddu'r sgiliau a chryfhau talent.