Peer-to-Peer Review on PSM Values - RTBF by European Broadcasting Union

PEER-TO-PEER REVIEW ON PSM VALUES NOVEMBER 2015

PEER-TO-PEER REVIEW ON PSM VALUES

Peer-to-peer review on PSM Values CONTENTS Peer review conducted by: Ruurd Bierman Director Dutch Media Fund and consultant, Netherlands Pascal Crittin Director of General Affairs, RTS, Switzerland Eva Hamilton Former DirectorGeneral, SVT, Sweden Dermot Horan Director of Production & Acquisitions, RTE, Ireland Hélène Rauby-Matta Business Development Manager, Eurovision Academy, Switzerland

The following report assesses the management practices and content quality of Radio-télévision belge de la Communauté française (RTBF) according to the public service values defined by the EBU in Strasbourg in 2012. The report is based on RTBF’s self-assessment combined with the on-site visit by an international group of peers in Brussels on April 20 & 21 2015. The objectives of the report are to: 1. Provide RTBF with a statement on its current situation, including highlights on best practices and suggestions for improvement 2. Give other media organizations comparative tools to improve their in-house processes, develop best practices, and improve their own understanding of public service values RTBF is the fourth EBU Member to undertake the public service values review. This report reflects the peers’ observations, opinions and suggestions after their visit. It starts with general comments and then outlines RTBF’s performance on all of the six public service values (universality, independence, excellence, diversity, accountability, and innovation). It highlights best practices (actions, ideas, activities, programmes) that could be used as a model by all EBU Members.

Hans Laroes Project leader PSM values review, EBU Nathalie Labourdette Secretary Head of Eurovision Academy, Switzerland

The report is structured into six chapters that correspond to the six public service (PSM) values defined by the EBU: universality, independence, excellence, diversity, accountability, and innovation. The report focuses on key issues related to each public service value to provide EBU Members with a comparative toolkit. For each public service value, the report describes the current situation, and when relevant, stresses the best practices implemented by RTBF, along with suggestions for improvement.

PEER-TO-PEER REVIEW ON PSM VALUES

KEY FIGURES FOR

Reach vs. national population

Budget in 2014 EUR

4.6

338.3

In-house production

Number of channels

1998

million (100% of the targeted area; 43% of Belgium inhabitants)

million

(5 radio stations and 3 TV channels)

Staff in 2014

% 11,291 hours for TV and 38,872 hours for radio in 2014

Proportion of independent producers vs. all producers

23.2

employees

Proportion of total income from advertising and sponsorship

20.63

% (EUR 69.8 million in 2014)

Number of professional journalists

293

(2013)

Proportion of on-line consumption in total TV consumption

full-time equivalent

Proportion of programmes on internet vs. all programmes

N/A

Social media (number of followers vs. overall reach)

1.4

million for all RTBF Facebook pages combined; 0.5 million of followers on Twitter (2014)

PEER-TO-PEER REVIEW ON PSM VALUES

universality We want to change the mindset about values: from something static to something dynamic, ongoing, that is on the agenda. It is not only a definition, it is a dynamic. Jean-Paul Philippot, General Administrator, RTBF

PEER-TO-PEER REVIEW ON PSM VALUES

universality SUMMARY RTBF is well positioned on its broadcast territory (French-speaking Belgium), despite the competition from commercial channels (RTL group mainly) and French radio and television stations. RTBF is leader on the radio market (35% market share), and second on the television market (22.2% share). The traditional platforms remain predominant, which matches the profile of RTBF audiences. The generations over 45 years old represent the main audiences, whereas the generations under 20 are barely interested in RTBF’s offer. In this respect the challenge for RTBF is to develop a real multimedia and multiplatform offer, based on synergies and close collaboration between radio, television, and digital teams, as well as to innovate and propose new kind of formats and content that meet the expectations of the younger audiences. RTBF addresses all kinds of audiences with the aim of universality and diversity. There is a constant effort made to extend the offer toward disabled audiences, on all platforms – beyond the objectives set out in the RTBF Management contract. RTBF also aims to foster social cohesion and help educate audiences to become informed and participative citizens – this is especially the objective of the media literacy programme launched by RTBF in 2014.

PEER-TO-PEER REVIEW ON PSM VALUES — UNIVERSALITY

Audience reach Current situation

RTBF includes 3 TV channels, 5 radio stations, and several websites. All media and platforms combined, RTBF reaches 84% of its potential audience each week. In television, RTBF holds 22.2% of the market share (2014), which is average compared to other European public service organizations. The trend since 2009 is an increase (from 19.4% to 22.2%). By way of comparison, RTBF’s main competitor, the RTL group, has 24.4%. * Identity and detailed market share by TV station in 2014: –– La 1 – general interest channel: 15.4% –– La 2 - originally a sport channel, but now mixed content: 5.5% –– La 3 – launched in 2010, targeting kids and young people during the day, and from 6 pm focusing on culture: 1 to 1.5%. As advertising is not allowed during programmes for children under 12 years old, RTBF decided to concentrate all contents targeting young audience on La 3, and offer a channel without any advertising. RTBF lost its leadership in the radio sector in the mid-1990s, when deregulation allowed RTL and NRJ to enter the market. Since 2010, RTBF has succeeded in regaining its position. All radio stations combined, RTBF currently holds 35% of the market. * Identity and detailed market shares by radio station: –– VivaCité – focus on regions with disconnected regional offers: 14% –– Classic 21 – classic rock and pop music: 8–10% –– La Première – general interest, focus on news and culture: 7% –– Pure FM - focus on new and local artists: 3% –– Musiq’3 – classical music: 2% to 3% RTBF’s penetration varies according to the age of the audience: RTBF gets its best results among the 45+ population; however, RTBF has great difficulty attracting younger generations, especially children (4–14 years), and young adults (15–20 years). All websites combined, RTBF had 251,368 unique viewers in 2014 (yearly average). The trend is upward, since RTBF allocated more financial resources to the web, but still not matching RTBF expectations. In social media, RTBF exceeds 1.5 million “fans” on all its Facebook pages combined, and is close to 0.5 million followers on Twitter.

Best practice(s)

Hybrid and visual radio RTBF has managed to develop a hybrid radio offer that combines traditional radio programmes, internet/mobile content, and visual radio. The goal is to reach out to additional audiences among TV viewers at a low cost, and take advantage of the radio advertising market.

PEER-TO-PEER REVIEW ON PSM VALUES — UNIVERSALITY

At the outset, RTBF decided to record (sound and image) some radio programmes to distribute on the web; from web it went on to TV. As a result some of the best radio shows are also TV programmes. Radio stations have a dedicated TV studio since March 2015 that was set up to record radio (also see chapter 6). The objective is not to mix TV and radio, but to offer a high quality visual radio (image quality, good looking background). The first experience of visual radio happened in 2013, when Pure FM decided to offer a visual version of its content on the internet, under the brand Pure Vision: 6 HD cameras recorded live sessions and talking sections, whereas video clips were shown during the musical sections. Even if Pure FM maintains its highest reach on traditional radio, Pure Vision attracts 36,000 viewers/listeners a day. And Pure FM is the first French-speaking radio station in the country in terms of audience on internet and social media.

Suggestion(s)

–– RTBF has a real opportunity to increase its TV market share up to 30%, mainly by working on the identity of each channel and related content (especially clarifying the differences between La 1 and La 2). Television should follow the example of RTBF radio stations that have built strong brands with specific profiles and audiences, and thus have been able to regain their leading position in the radio sector. –– TV scheduling should be improved too, to maximize the audience (programmes begin and end at odd times; as a result the audience is already watching a competitor’s channel and doesn’t switch). Each channel needs at least three or four flagship programmes that are consistently scheduled, and reflect the identity of the channel. –– La 3 could be dedicated to children (at least during the daytime, instead of switching to culture when children are able to watch TV). If so, La 3 would have to offer much more locally produced content, innovate in terms of formats, interactivity, and cross-media content to meet the expectations of digital natives. This would involve a strategic change of direction and dedicated financial resources. The first step is to develop a coordinated but different children’s offer on TV and on the internet. The existing children website, Ouf Tivi, mainly distributes TV content on the web, but gets fewer visitors than expected.

PEER-TO-PEER REVIEW ON PSM VALUES — UNIVERSALITY

–– The most innovative in-house and local productions should be scheduled as prime-time programmes (probably with an enhanced budget). –– RTBF needs to attract young people. The average age of its audience is high, which is soon going to be a problem if RTBF doesn’t renew its audience. Part of the solution is to develop cross-media content, which would also boost the number of RTBF website users (also see below). –– RTBF radio stations cover the whole music spectrum, except for the music of the younger generations. There might be room for RTBF to create an ‘urban brand’ that would rely on a web format to attract the audience under 25 years old. –– RTBF needs a strong and innovative communication department to promote the public service and RTBF as a brand, communicate about the identity of each TV channel, radio station, and websites, as well as foster the interconnectivity of all platforms (including cross-promotion).

Platform reach Current situation

RTBF is technically accessible to all the citizens of the Wallonia-Brussels Federation (4.6 million people or 43% of the Belgian population). The formal penetration is 100% for radio (FM) and 98.5% for television, since 2% of households do not own television sets. The on-going migration of radio from FM to digital (DAB+ mainly) may affect the penetration rate, and represents a real challenge for RTBF (so far radio has been free of charge, as Belgium has not introduced a license fee for public service radio and television). RTBF penetration rate by platform: –– Radio: 44% weekly (spring 2014) –– TV: 84% weekly (November 2014) –– Satellite: 2% of households –– Analogue cable: 50% of households –– Broadband/digital: 100% of households with internet –– Mobile services: 91% of individuals –– Tablets: 30% of households. As cable operators pay for RTBF content, it strategically decided not to compete with them, and only offers some of its programmes by streaming (including all news programmes) with a dedicated application. Another app allows the audience to access 70% of the programmes (catch-up). The profile of platform users varies according to their age. The generations under 20 years old are not attracted by traditional media platforms (radio and TV) and content. But most RTBF web/digital programmes come from radio and TV, and are not specially designed for digital platforms. RTBF teams are also used to working on content for adult audiences.

PEER-TO-PEER REVIEW ON PSM VALUES — UNIVERSALITY

Average audience age per platform 64

58 53

purefm.be

LaTrois

rtbf.be/tv

Web

39 38 38 38 38 37 37 36 32

Pop.BXL

Classic21.be

Pure FM

vivacite.be

Total radio

Classic 21

Total TV

La Deux

RTBF Radio

RTBF TV

LaTrois (18:30 - 24:00)

VivaCité

La Une

La Première

Musiq`3

rtbf.be (portal)

50 50

rtbf.be (groupe)

La Deux

lapremiere.be

56 56 56

RTBF set up its new i-RTBF department a few years ago to develop interactivity and interconnectivity. I-RTBF is on the same level as radio and television departments in the organization chart, and has its own production capacity. The idea, though, was to foster collaboration by having i-RTBF turn existing radio and television content into content for the web and social media, and having radio and television departments use i-RTBF skills to develop cross-media content. The results don’t meet expectations. Radio and television are still working in silos.

BEST PRACTICE(s)

SUGGESTION(s)

–– To reach more people, and particularly the younger ones, RTBF needs to develop a real cross-media offer. One of the main hurdles to cross-media development is the lack of integration between radio, television, and the internet. Crosspromotion (internet for radio and television, radio and television for each other and internet) is essential, now that the legal context has changed (beginning of 2015) and allows the internet to be exploited. –– RTBF needs a real ‘digital world’ strategy that gives priority to the distribution of content everywhere, mainly through apps and the internet, as well as to social networks (building communities around strong programmes/brands).

PEER-TO-PEER REVIEW ON PSM VALUES — UNIVERSALITY

Accessibility Current situation

RTBF provides visually-impaired and hearing-impaired audiences with dedicated services on radio and television, as well as on other platforms. Mainly: –– Sign language for all newscasts (365 days a year), including the news programme for children (Les Niouzz - 247 days in 2013), as well as for significant events. –– 1,488 hours of programmes subtitled in 2013 (subtitles accessible via Teletext, the website or digital television), which is above the target fixed in the RTBF management contract (1,000 for 2013, 1,200 for 2015). –– Audio description for 4 works broadcast in 2014. –– Tending to the anysurfer label for all websites, meaning subtitles and audio description files available on the internet (for hearing-impaired audiences), sites adapted to the use of reading software (visually-impaired audience), ‘pause’ buttons to stop scrolling (people with epilepsy). Formally RTBF will probably never get the anysurfer label, as it would involve having descriptive subtitles for each and every item of content (sound and video) available on the websites.

BEST PRACTICE(s)

CAP48 operation RTBF launched the CAP48 operation in 1967. Its aim is to collect funds for associations working with disabled people and youth, as well as promoting a better awareness of people with disabilities, and encouraging their inclusion in society. RTBF has a proactive policy in terms of recruitment, in line with its CAP48 action; for instance disabled individuals have been hired for most of the work to digitize RTBF’s audiovisual archives

Suggestion(s)

Social cohesion Current situation

According to RTBF Qualimat 2013, more than three-quarters of the audience agree with the following assertions: “RTBF ... encourages the participation of everyone (79%) ... shares our emotions, lives and reflects our strong moments (78%) ... creates links, connects individuals, communities and towns (75%).” These figures result from a general perception of RTBF’s programme offer. It is supported by some specific RTBF programmes, and actions that impact social cohesion, including:

PEER-TO-PEER REVIEW ON PSM VALUES — UNIVERSALITY

–– Long-term RTBF support for disabled people (mainly through the Cap48 operation – see above – but not only) and underprivileged young people. In December 2013 for instance, VivaCité radio station launched a 6-day telethon to collect funds in favour of the 40,000 babies living under the poverty line in Belgium. The operation, called Viva for Life, was a success and was repeated one year later.

–– Preservation and digitisation of all RTBF audiovisual archives (in collaboration with the Wallonia-Brussels Federation) in order to make them available to media professionals and citizens. Some programmes in particular play a role in social cohesion, as they show the life of ‘normal individuals’. For instance: –– Alors, on change: monthly television coproduction that focuses on citizens’ testimonials about their own original/creative ways of addressing the challenges of daily life (consumption, environment, etc.). –– Livrés à domicile: each week the production spends 12 hours in the house of a television viewer who becomes a book critic. A writer is invited to join them. The camera records both the viewer’s way of life and the dialogue between the writer and the viewer. Another programme, Le beau vélo de RAVel, started out on radio but is now also broadcast on television. It invites everybody to join in on the Saturday and visit beautiful regions of Wallonia and Brussels by bike. A competition about sport and culture adds some interest to the journey. All together 3,000 to 8,000 people take part each Saturday.

best practice(s)

Media literacy programme RTBF wants to help its audiences access and use all kinds of platform, and be able to analyse and sort all the information/data they obtain from radio, television, and other media. The goal is to help create educated, creative citizens that take part in society. This is in line with the public service educational mission. The media literacy programme was actually launched in 2014. It is renewable after a yearly evaluation.

PEER-TO-PEER REVIEW ON PSM VALUES — UNIVERSALITY

It consists of various activities: dedicated website, introduction of the media literacy aspect in some existing programmes, workshops on media education open to the public, etc. The concept is great. RTBF still needs to find the most efficient ways to meet the programme’s objective. In this context RTBF has developed its RTBF lab: it organizes workshops (open to anybody from 8 years old) during which participants can help create programmes. It’s learning by doing. Everything is recorded and RTBF can potentially use some of the outcome for its programmes.

Objectives: analyzing media fallout

Media literacy strategy 2015

Suggestion(s)

–– RTBF mainly targets a French-speaking audience that is educated, aged between 45 and 65. The programmes don’t sufficiently reflect the social, cultural, generational, and ethnic diversity of the population (see also chapter on diversity). As a result they promote social cohesion, but among certain groups. –– Belgium is a divided country in terms of culture and language. RTBF’s remit only targets the French-speaking part of Belgium. Though some cooperation exists with VRT, it remains limited to very few programmes. RTBF should try to develop more shared and/or cross-content with VRT. This is all the more relevant if the intention is to blur boundaries within Europe.

PEER-TO-PEER REVIEW ON PSM VALUES

Independence We must produce content that our audience trusts, we must improve it more and more. In a converging world, the stamp of trust must be found on every piece of content. Jean-Paul Philippot, RTBF Director-General

PEER-TO-PEER REVIEW ON PSM VALUES

Independence SUMMARY RTBF is an autonomous State-owned corporation. Its board of directors is representative of the political parties present in parliament. The government of the Wallonia-Brussels Federation appoints its director-general (CEO). Every five years a new Management Contract between the government and RTBF defines the broadcaster’s strategy and plans for the next period, together with the related budget. Each year the Parliament must nonetheless vote on RTBF’s budget, and this has often resulted in less than forecast. This situation forces efficiency, but generates a lack of financial visibility that harms RTBF’s development. RTBF’s audience highly values its content, but only half consider the broadcaster to be really independent from political powers. And yet, editorial and content independence is embedded in RTBF funding decree, and is particularly visible in its investigation programmes that handle any topic of general interest and defend consumers’ rights. Such programmes serve democracy, as many others also do.

PEER-TO-PEER REVIEW ON PSM VALUES — INDEPENDENCE

Governance Current situation

RTBF is a public service organization established by law (1997) and ruled by a 5-year management contract. Consequently RTBF and the government of the Wallonia-Brussels Federation review and negotiate RTBF’s strategy and related budget every 5 years. The management contract leaves the door open to flexibility, though, as long as changes/new ideas don’t require any budget increase. The next management contract will cover the period 2018–2022. Usually it takes 18 months for both parties to agree on a final version, and involves strong debates in parliament. RTBF is run by a board of directors, and managed by a director-general. RTBF is subject to ministerial supervision, as well as supervision from two government commissioners and two auditors. The board of directors comprises 13 members elected by the parliament of the Wallonia-Brussels Federation for the duration of the legislature, and proportionally representative of the parliament’s own composition. The directors cannot have any elective or governmental position. The government appoints the RTBF director-general for a 6-year term after a strict selection process that includes the participation of experts, and a hearing before the Audiovisual Council (CSA). The board of directors appoints RTBF directors and editors-in-chief for a 6-year term. The director-general can formally express his opinion.

Best practice(s)

SUGGESTION(s)

The process to appoint RTBF top management still depends on political decisions, though the involvement of experts within the selection process reduces the pure political component. We suggest that RTBF lobbies in favour of two changes to put more distance between the broadcaster and the political powers: a. Change the composition of the board of directors, to favour expertise instead of political obedience (also see below) b. Give the general administrator the mandate to put the names of directors and editors-in-chief to the board

Funding Current situation

RTBF’s funding doesn’t come from license fees, but from a public grant - unlike many European public service media organizations. Every five years RTBF has to (re)negotiate its Management Contract with the government of the WalloniaBrussels Federation; in theory, the budget for the next five years is defined at the same time. Nonetheless the Parliament has to confirm (or not) RTBF’s budget each year for the coming year. Consequently RTBF has no real financial visibility and security, but depends on an annual political decision.

PEER-TO-PEER REVIEW ON PSM VALUES — INDEPENDENCE

Three times in recent years – in 2009, 2013 and 2014 – the government did not fulfil its commitment, and RTBF’s budget ended up lower. The broadcaster reduced its staff altogether from 3,000 to 2,000 employees (partially through early retirement) without cutting any content programmes. Such a situation forces to efficiency – digitization helps. Cuts in RTBF’s budget don’t result from a political will to weaken RTBF or question its mission. They reflect the general post-2008 austerity policy. Anyway this is a real issue for RTBF as it cannot plan long-term developments. State funding corresponds to 70% of RTBF’s budget. The remaining 30% come from advertising (25%) and other services (5%, including fees paid by cable companies to carry RTBF’s programming). All platforms together, the advertising market has been stable for several years. It is tending to decrease slightly for television, but increase for radio and internet. Internet advertising only brings in EUR 1 million, however, out of the total of EUR 69 million advertisers pay RTBF (whereas television earns EUR 40 million). RTBF wants to remain a content producer. Currently 90% of Belgian productions broadcast are made in-house. The remaining 10% are mainly coproductions (EUR 7 million, 2% of budget). To reduce its production costs, RTBF also uses two mobile studios (trucks). RTBF nevertheless maintains five different production sites for political reasons (social and regional cohesion). Most facilities are subcontracted. RTBF rents TV studios to VRT for instance. RTBF has also explored the possibility of sharing the cost of facilities in the new building with VRT, but so far without result.

Best practice(s)

SUGGESTION(s)

–– Securing its budget to have medium-term financial security (5 years at least) is a main issue for RTBF. We suggest RTBF should lobby in favour of a guaranteed multi-year budget that would for instance match the time frame of the Management Contract. We also suggest lobbying for an extension of the Management Contract from 5 to 10 years. A longer timeline would allow RTBF to engage in real strategic planning and long-term investments. It would also free RTBF from short-term political issues, and reinforce the broadcaster’s autonomy. –– Though RTBF is not allowed to earn more than 30% of its budget from advertising, there still is room for an increase, and also to diversify its advertisement revenue. RTBF should push advertising on its internet offer (including mobile devices). This goes along with pushing original internet content and cross-media content (see chapter on diversity). –– RTBF should review its global advertisement model, as advertising within movies, product placement and internet advertising are less and less distinctive. –– RTBF should think about reviewing the income model for television: cable operators pay to distribute RTBF programmes and this reduces RTBF’s possibilities for live-streaming and other services. At the same time the number of people watching RTBF on cable is going to drop with the emerging ways of consuming media content. –– RTBF should take advantage of the new building to subcontract more facilities. We also suggest working on VRT to share some costs (facilities, dissemination rights, IT, production equipment, etc.).

PEER-TO-PEER REVIEW ON PSM VALUES — INDEPENDENCE

Editorial decision-making Current situation

RTBF’s editorial independence is part of its founding principles, and is guaranteed by law. Editorial decision-making is totally separate from commercial interests. A separate company, a subsidiary of RTBF, is currently in charge of advertising. Editorial liability lies with the broadcaster. RTBF protects its journalists’ freedom of expression and information, and doesn’t hesitate to appeal to the European Court for Human Rights to protect these freedoms. The programmes themselves are the best evidence of RTBF’s editorial independence. RTBF broadcasts investigative programmes that handle topics of public interest, or defend the citizen-consumer (see below: On n’est pas des pigeons), whereas other programmes offer a satirical vision of politics.

BEST PRACTICE(s)

TV Programme: On n’est pas des pigeons On n’est pas des pigeons [We are not duped] is a daily television (52 minutes, 40 weeks a year) and radio (2 hours) talk show that defends consumers’ interests. It relies on the quality of the journalists’ investigations into the products (names and brands are shown) and practices (false advertising, and so on) – and on the checks made by the legal team in the background. Quality here means credibility and independence thanks to the strong support of the management. 16 journalists – in total 40 people - work on the programme. The show combines information and entertainment. The journalists may disagree and debate; they receive guests, and are often harsh on them. On n’est pas des pigeons is broadcast on prime time (TV) and has a market share of 14%. The programme’s Facebook page is the most popular of all RTBF pages (almost 140,000 friends in 2015). Between 2011 and 2014 the journalists of On n’est pas des pigeons carried out 3,500 investigations for over 700 shows.

PEER-TO-PEER REVIEW ON PSM VALUES — INDEPENDENCE

A quality survey in a 600-participant panel results in a very high assessment of the programme: ONDP got one of the best ‘quality’ scores of RTBF programmes. The audience sees it as very informative and educational. The programme also generates a proximity feeling: it is close to the concerns of the audience. In the peers’ opinion, the show On n’est pas des pigeons is among the best investigative shows in Europe, and fully serves the goals of the public service media offer.

SUGGESTION(s)

trust Current situation

Though the audience assesses the quality of RTBF programmes as high, as well as their diversity and universality, 48% still believe RTBF is not truly independent from politics. Some RTBF staff have the same feeling according to internal focus groups.

PEER-TO-PEER REVIEW ON PSM VALUES — INDEPENDENCE

How RTBF values are perceived (2012) -RTBF staff

-Extermal Qualimat

-Differences

100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

l ra ve

lit

a qu

to nt

n ar

i oc

t s e e e e n n it ts ld es m ss ent ity on us is nc ne nc ldre dre nc enc ar or elv th r i rs i a e e t Tr ral l e i i r e i e w d s h d h ta u iv iff le nd nd fy w e ol th D Pl au or c B ec rc th hem r d To d pe epe ti p o e n f e u n f g t a d o e th ity Ex in ss nd nt s in id re li w nd re ’m ual c re n i a I tu a o l e p a c u m Q x st iff iti Sh Ic C D er o e no ol d o t P n Ec U ne yo r e ev s w llo

it er

a ev

l Re

This assessment has its roots in the history of RTBF: a time when managers were appointed according to their political obedience and network. Nowadays the hiring process follows strict and fair rules. But half of RTBF staff still have civil servant status. The RTBF legal office is in charge of protecting RTBF’s independence from any influence - political and public authorities, as well as private interests. This applies not only to advertising contracts, purchasing, or coproduction agreements, but also to journalists’ work (protecting source, for instance) and to any broadcast content. For instance RTBF won a 10-year procedure against the Belgian government relating to a preventative ban on broadcasting a programme.

Best practice(s)

suggestion(s)

–– The fact that some RTBF staff have civil servant status creates an unfair situation between regular employees and civil servants. It also reduces RTBF’s flexibility in staff management in a media world in transition and facing strong competition. Last but not least, it impedes RTBF independence. We suggest gradually turning all employment contracts into private contracts as employees retire. –– The last step towards finalizing RTBF independence is to change the composition of the board of directors and make it less political. This will require a decision from parliament.

PEER-TO-PEER REVIEW ON PSM VALUES — INDEPENDENCE

Serving democracy Current situation

RTBF offers a range of content that serve democracy in many ways: news, investigative programmes, focus on political and civic institutions, information and debates on topics of general interest, voice given to all parties (including parties that are not represented in parliament), and more. Additionally RTBF’s media literacy activities are directly aimed at developing educated and critical citizens (see page 16). Before each election period, RTBF’s board of directors, in collaboration with management and journalists, defines the rules for guaranteeing objectivity and pluralism in campaign coverage.

BEST PRACTICE(s)

Coverage of the 2014 general elections In 2014 RTBF developed a new, interactive way to cover the general elections: it decided to focus on the internet, to broaden both coverage and perspectives. Internet had the lead, and radio and television used web content for their own programmes, along with other material. Internet coverage included: –– Internet studio: RTBF set up a dedicated studio with automated cameras in the middle of the radio patio. This made it possible to receive many more guests than in a regular TV studio, and consequently also give a voice to local candidates, and emerging parties. Hundreds of interviews were recorded. –– Votomaton: for 5 weeks a vehicle equipped with a camera visited various places in Belgium and recorded citizens’ testimonials and concerns; all videos were published on the internet, and some were also broadcast on prime-time TV. –– Crash test: 5 citizens met 5 politicians in their cars and interviewed them. This resulted in five 15-minute programmes. –– Electoral test on mobile app and website: the user would get his/her political orientation by answering a few questions developed in collaboration with VRT, La Libre, De Standaard, and the universities of Antwerp and Louvain.

SUGGESTION(s)

PEER-TO-PEER REVIEW ON PSM VALUES

Excellence Quality is judged very severely by the audience [...]. Each person has their own definition of quality. The audience looks for a specific relationship with RTBF and expects RTBF to have understood its needs. Laurence Lorie, Strategic Marketing & Audiences, RTBF

We have to change our way of thinking. Thatâ&#x20AC;&#x2122;s why we launched RTBF Academy. We want to improve medium- and longterm thinking, and strategic processes. We invite our staff to look further ahead. Jean-Paul Philippot, RTBF Director-General

PEER-TO-PEER REVIEW ON PSM VALUES

Excellence SUMMARY Improving efficiency is part of RTBF’s strategic plan 2013-2016. The challenge is to produce high-quality content with less resources. From a programme perspective this makes innovation essential. RTBF mainly counts on cross-media production, new internet formats and technologies but also visual radio to reduce the production costs. It involves being able to apply the same type of quality control to internet production as to traditional programmes – which is not the case yet. Strategic analyses of the audience support RTBF’s choices, whereas RTBF’s newly launched academy trains staff to work with new technologies and differently, transversally. Organization-wise, RTBF has been developing and improving its internal workflows and processes for a few years. RTBF introduced management by objectives, KPIs, and other ways to control costs vs. results. All technical and technology-related activities are concentrated in one department that consequently has an overview of each project involving technology (i.e. almost all), and is in charge of evaluating its added value for the business.

PEER-TO-PEER REVIEW ON PSM VALUES — EXCELLENCE

Improvement process and quality control Current situation

The search for (higher) efficiency is part of RTBF’s strategic plan 2013-2016, including through the development and/or improvement of its internal processes. The budget cuts that RTBF has had to face in recent years have already prepared the PSB for a wise and efficient use of available resources. The budget cuts did not affect the number of programmes produced by RTBF, but only the resources. It also made innovation essential. The visual radio concept, for instance, makes it possible to produce high-quality content at lower production costs (see chapter on Innovation p.59). RTBF works with defined workflows and internal processes. Each manager has proper objectives that reflect the department objectives, which are in line with the corporate objectives. Each department has KPIs, and the internal audit team controls the efficiency of the resources used. From a content perspective RTBF regularly assesses its radio and television programmes according to various criteria: production cost vs. audience is only one of these; other criteria include quality of content and relevance to the public service mission. Quality control is done after broadcast by the production teams and the platform management. Once a year the TV producers have to undergo a deeper assessment of their programmes, and improvements are defined together with the TV management. Radio stations go deeper and use qualitative and quantitative audience analysis along with the production teams’ self-assessment, and with the comments of the managerial teams of the 5 stations. The results directly impact radio content programming.

Best practice(s)

SUGGESTION(s)

–– RTBF has developed several tools to measure and improve the efficiency of its processes at all levels (production, use of financial resources, individual performance, and so on). It’s important to systematically ensure the follow up of each issue detected with an action plan, and further assessment of the progress made. It’s also important to combine all existing measures and tools in a corporate quality and improvement system. –– There is no systematic quality control and analysis of web content in general, or of the content produced by the internet creation department. To a certain extent internet content must meet the same quality criteria as traditional platform content. The difficulty lies in the way to do it, as web content evolves, it is replicated and it never disappears.

PEER-TO-PEER REVIEW ON PSM VALUES â&#x20AC;&#x201D; EXCELLENCE

Audience research and audience satisfaction Current situation

In 2012 RTBF changed the name of the department in charge of audience research from Strategic Studies to Strategic Marketing. The new name matches the mission of the department: better understand audiences to support strategic choices, and better market RTBFâ&#x20AC;&#x2122;s identity and offer. Strategic marketing combines quantitative (market share, penetration) and qualitative audience measurement in comparison to: competition, proper objectives, objectives set up by the Management Contract. Target audience 12+

"Grand Bruxelles" (26% vs social groups 1-4 (50%) % d'habitants du Gd Bruxelles dans les auditoires de... Nostalgie NRJ LP C21 Pure M3 Bel Contact Viva Fun

50% 45% 40% 35% 30% 25% 20% 15% 10% 5% 0%

% de GS 1-4 dans les auditoires de... 20%

40%

30%

50%

60%

70%

80%

Enrichment

Audiences discover new innovative, interactive, provocative things. Can live in another universe. For those who like detail.

Fun and laughter. Enliven the day. Fast-paced, exciting.

Easy to understand. No need to thing too much. Fast relevant information. For the whole family.

Easy to understand. Do not require too much thought. Help audiences pass the time.

Specialized. Nice look and feel. For those who like to stand out from the crowd.

Enable audiences to learn and take time to consider subjects in detail. Critical and objective. Provide background to current events.

Facing their own reality

Reality check

Community and integration

Identity and distinctiveness

Enriching their own reality

PEER-TO-PEER REVIEW ON PSM VALUES — EXCELLENCE

In 2014 RTBF’s penetration rate was higher than its compulsory objectives for all genres (culture, sport, etc.). Such figures are nonetheless too global to be useful for the production teams. They are passed on to the government once a year.

2014

70 Objectifs

2014 Q1 Sem 1-17

57.1

2014 Q2 Sem 18-35

2014 Q3 Sem 36-52

2014 Sem 1-52

57.7 55.9

53.1

51.5 50.4 47.7

45 40.9 40.4 39.7 37.9

38.2

36.7

34.5 30

28.3 25

30.4

28.9

27.5 25

21.9

33.7

23.3 19.5 18.118.718.8 15

0 Culture

Perm Educ

News

Sports

Entertainment

Fiction

Children (4-12 yrs)

Qualitatively, RTBF analyses its audiences in three different ways: –– Values: level of identification with the 6 values by which RTBF defines itself (actor and motivator, independent, impertinent, generator of links, accessible, unique) –– Motivation: why the audience watch/hear/read RTBF –– Societal trends: analysis of the latest developments in Belgian society, including interests and concerns Values 2012+

(This graphic is available in French only)

UNE POSTURE / UNE FIERTE Unique

UNE ASPIRATION / UNE AUTHENTICITE DE TON Créatrice de liens

Dynamise la société

UNE CONDITION / UN OBJECTIF TECHNOLOGIQUE Accessible

UN HERITAGE / UNE SINGULARITE Impertinence

UN FONDEMENT Pas toujours reconnu à l’extérieur Indépendante

NOTRE RÔLE Acteur et révélateur

PEER-TO-PEER REVIEW ON PSM VALUES — EXCELLENCE

The combination of these three types of analysis results in sophisticated macro data that direct RTBF strategy. For instance among several possible combinations, 64% of the audience look for positive messages from television, and 39% look for expertise. RTBF positions its 3 television offers accordingly. Each week RTBF questions a representative panel on the television programmes of the past week. It uses 7 criteria: level of audience satisfaction with the programme, originality of the programme, audience attachment to the programme, quality of content, how positively the audience talk about the programme, vision, and loyalty to the programme. In 2015 RTBF is going to add trust and transparency. Programme assessment based on 7 criteria ONPDP 97.8

95.8

N= 1.001 respondents

Channel: La Une* 93.1

93.5 75.9

83.3 74.1

68.7

71.9

63.8 51.7

42.1 42.5 28.5

Satisfaction

Originality Attachment**

Quality

Positive talks

Vision

Future broadcast

* Average for programmes on La Une - waves from 101 to 106 - not incl. repeats ** Questions about attachment and future broadcasts were not asked for recurrent programmes

BEST PRACTICE(S)

SUGGESTION(S)

–– Audience research provides RTBF with a lot of data, both quantitative and quantitative. They help define the strategy and positioning of the channels and radio stations. There is a need, though, to go one step further and use the data at programme level as systematic input for both programme development (objectives) and improvement (feedback). Strategic marketing should be part of or deeply related to content production. –– Even though audience research goes beyond direct media consumption analyses, RTBF would benefit from a deeper analysis of its audience profiles. Better mapping of Belgian audiences according to their age, education, socioprofessional level, media consumption habits, etc. would allow it to better match content and target audience, and also prioritize the development of digital and internet content.

PEER-TO-PEER REVIEW ON PSM VALUES — EXCELLENCE

–– Channel positioning is not measured against clear targets and objectives. Besides it stays at society level, and doesn’t consider the individual level. –– In terms of content quality, RTBF mainly assesses its programmes after broadcast. At the time of commissioning or production, specifications and expectations should be better defined in terms of targeted audience, reach, return on society, etc.

Transmission and technical facilities Current situation

Six years ago RTBF decided to create a unique technology centre to support radio, TV, and i-RTBF activities: the Direction Générale des Technologies et de l’Exploitation. It includes all technical and IT services (networks and TV broadcast, IT front office desk, production support and development, archives/documentation, maintenance and operations, management of RTBF mobile resources, such as satellite truck, and mobile studio). The aim is to offer a transversal and 360° approach in order to better meet demands, as well as to have a global overview of all projects and ensure their efficiency. Transversal organization

Directorate general

Strategy and governance

Handling incident & issues Support Handling service request

Handling demand Handling digital workflow

Technonological developments

Security and risk management Information governance Technical harmonization

Human resources management Business processes and scheduling

Supporting services

Financial management Site coordination (Charleroi, Mans, Liège) DGTE pole

Front Office

Maintenance & developments

Networks

Archives

Operations

PEER-TO-PEER REVIEW ON PSM VALUES — EXCELLENCE

The technology centre targets efficiency and continuous improvement. It is managed according to a quality system based on three pillars: well-defined processes and workflows, assessment of each project’s added-value (in terms of alignment with the strategy, risks, KPIs, and IT security), and quality services (reactivity and adapted support). A dedicated project manager officer is in charge of the project coordination and management, and a second one is about to be hired to take care of users’ needs. The technology centre provides a catalogue of all its services and tools. Easing team mobility is a priority (connected devices). When a request is not part of the catalogue (20% of the requests), it has to meet a strategic and priority need, as well as be compatible with existing internal security protocols. The technology centre budget only covers equipment maintenance (EUR 5 million). Depending on the project, it gets additional budget. For the rest, the centre has a client-supplier relation with RTBF’s other departments. In recent years the structure of technological investment has changed: less hardware, but software solutions (leasing, open source, cloud, etc.), and fewer customized solutions (too costly in terms of upgrades and support) – workflows are adapted to the software/operating system, instead of the opposite. This allows a more efficient allocation of resources, in terms of both finances and manpower. The technology centre is working on implementing a new ERP (entreprises ressources planning), to boost efficiency and automate a lot of back office and administration functions relating to technology, services, and human resources.

BEST PRACTICE(s)

SUGGESTION(s)

–– RTBF has not set up the tools to measure and monitor the full cost of a programme (including team productivity by programme, news as well). With the new ERP, RTBF will technically be able to do it, and potentially increase its efficiency. –– RTBF has not finished its migration to digital – in technical terms, as well as in terms of work processes (organization and production). The new building allows it to take full advantage of the available technologies, and to facilitate cross-media production. But to be really efficient once in the new building, RTBF should start making content in new/different ways. –– RTBF still has five regional production centres (Brussels, Liège, Namur, Mons, and Charleroi). This is not efficient, but follows a political and sociological logic: RTBF, as a public service media organization, has to take account of the regional sensitivity of the audiences (in a very decentralized country), and be where its main audience is (Brussels – 1.5 million of French speakers vs the Wallonia region 3.5 million). The development of technologies, mainly digitization and dematerialization, should allow RTBF to fully integrate the regional centres into the workflows, and reduce their operating costs to a minimum.

PEER-TO-PEER REVIEW ON PSM VALUES — EXCELLENCE

Training Current situation

RTBF set up RTBF Academy three years ago to support its strategic plan, and change the way of working and thinking within the organization. The key concepts are mobility, multi-tasking, and transversality (how to cooperate together). As a strategic priority, RTBF Academy has a budget of EUR 1.2 million in 2015. RTBF Academy is well organized and enjoys strong internal support thanks to its steering committee that is representative of RTBF’s various departments. The committee members are interested in staff development and consider training a priority. They help identify the business needs in a short-term 2–3 year future. Priorities are to improve the marketing of the three television channels, strengthen technical, editorial, and managerial skills (all managers have to attend management training), and support the evolutions of production modes (in times of radical technological change, 50% of courses are on technology). The training catalogue is organized into four learning domains or campuses: Media & Journalism, Production & Technology, Management & Change, Generic Skills and ad hoc trainings. RTBF Academy: take your own development in hand

Tomorrow

Prendre son développement en main !

Digitalization

Change Adaptability Multiskills Creativity

Positive Flexibility

Agility

PEER-TO-PEER REVIEW ON PSM VALUES — EXCELLENCE

RTBF Academy is growing rapidly: 965 people were trained in 2012 and 3,084 in 2014. The satisfaction rate is 83%. On average this means 1.5 training days per year and per employee. Activity report

3084

Eurovision Academy training courses 2014-2015

2012

2013

2014

3'084 participants in 2014 Satisfaction rate = 83%

RTBF Academy encourages creativity in a dedicated biannual seminar on how to manage creativity as a team leader. It addresses the top 200 managers. The academy also delivers ad hoc creativity sessions on media literacy. Last but not least, it launched an internal call for new projects (Allumons les idées): at the end of the selection, 2 or 3 projects are shortlisted, and the first episode of the winner’s project receives funding. RTBF Academy works in collaboration with Eurovision Academy, and sends its staff to attend the best programmes (Executive Programme, HEST, Shooting for News with an iPhone).

Best practice(s)

Changing corporate culture through training Thanks to a clear leadership, RTBF Academy has managed to introduce a new strategic plan that aims to prepare staff to think and work differently, no longer in silos, in a digital and cross-media perspective. Training programmes and initiatives combine RTBF staff and departments. The results after three years are very positive, and are helping to change RTBF culture. RTBF Academy is wisely doing it step by step: the first people trained were managers; RTBF Academy is now targeting people in the field. Though RTBF Academy only trains RTBF staff, it collaborates with Mediarte (www. mediarte.be). Mediarte is a Belgian association for encouraging and stimulating all training and education initiatives in the audiovisual sector. RTBF Academy and Mediarte plan to work together with media schools and private television stations on a dedicated programme to improve the training of technicians and give them the skills broadcasters need.

Suggestion(s)

PEER-TO-PEER REVIEW ON PSM VALUES

Diversity I am a field person and I try to take concrete action. […] The public service must reflect the society in its broader form and must be a fighter and promoter [of diversity]. It is important to change the DNA and rejuvenate forces, to have a fairer organization.

Safia Kessas, Producer, Head of Diversity, RTBF

PEER-TO-PEER REVIEW ON PSM VALUES

Diversity SUMMARY Diversity is part of RTBF’s public service mission. The approach is different for radio and for television, though. The radio stations reflect the diversity in their own identities and targeted audience, whereas the television channels express the diversity in the multiple and rich types of content they offer – without targeting any population in particular (except children). RTBF decided to reinforce the diversity in its offer, as well as the diversity within its own organization, and appointed a head of diversity in 2014. So far, nonetheless, there is no strategic plan for diversity, just several ad-hoc initiatives. RTBF doesn’t have a defined strategy relating to interactivity with its audiences, and development of cross-media production, either. RTBF innovates a lot in both areas, though, and has been experimenting with really creative and successful formats/content, as well as new ways to work together between platforms, and with the public. It’s time now to structure all these initiatives and turn them into a real strategic plan. To go further RTBF would also have to go on fostering diversity within the organization itself (mainly a broader range of staff in terms of age, background, gender), and make some changes in the way it works, mainly get rid of the ‘silos’.

PEER-TO-PEER REVIEW ON PSM VALUES — DIVERSITY

Programming Current situation

RTBF targets all audiences without any discrimination. To go further and be proactive, RTBF has developed the concept of ‘inclusive diversity’: every programme must take diversity into account at all times, and particularly the individual in his/her diversity, regardless of origin, beliefs, social status, gender or disability. The concept is powerful in theory, but it is not clear how RTBF will implement and measure it. From a television perspective, RTBF does not believe in programmes for specific communities, but in creative and attractive programmes that reach out to the largest possible audience. Consequently the three TV channels offer programme genres (culture, fiction, sport, entertainment, and education), and refuse niche programmes. RTBF plans to go on this way, and enrich the variety of its TV offer in its next strategic plan (2017-22). On the other hand RTBF radio stations place the emphasis on regional and social diversity. This is embedded in their own identity. Among the 5 radio stations, VivaCité is the regional channel. It is present in 6 different regions of Belgium, and offers 6 disconnected programmes in the morning and 4 in the afternoon. Three programmes are also in the Walloon language. At the same time, it is the sports and sports event channel. VivaCité defines itself as a popular station that addresses the lower educated social groups. There are mostly talk-shows in the morning, and music in the afternoon. RTBF audiences feel that RTBF promotes diversity. According to the survey in 2013 (Qualimat), 73% to 87% of the audience fully or partially agrees with the following assertions: “RTBF… targets all audiences (87%) …belongs to everyone (80%) …takes into consideration multiple cultures (80%) …encourages everyone to participate (79%) …values and carries the diversity of our opinions (73%) …values the richness of our talent (73%)"s the richness of our talent (73%)" Reinforcing diversity at all levels – not only relating to content, but also to the organization itself – has been a priority for RTBF since 2013. In November 2014, the broadcaster appointed Mrs Safia Kessas, RTBF producer, as head of the transversal “diversity project”. She directly reports to the CEO. Her mission consists of developing a diversity strategy within RTBF in order to capture a broader and more diverse audience, and also to aim for better representation of all the populations in terms of content, and within the company. This is very ambitious. So far her action has been based on ad-hoc initiatives.

Best practice(s)

PEER-TO-PEER REVIEW ON PSM VALUES — DIVERSITY

Bang Bang From 2004 to 2015, PureFM offered a specific programme for the gay community called Bang Bang. The programme ended on June 19, 2015.

Post-Charlie Hebdo campaign at school After the terrorist attacks in Paris in January 2015, RTBF, together with other media organizations and the Ministry of Education, took part in the “A l’école je suis” campaign. Journalists visit secondary schools (3rd and 4th grades) to discuss the role of broadcasters in reporting on terrorism. They explain their job, and how to make articles and stories. They ask the children to draft articles that will be published on RTBF’s website, and could be used as inspiration by RTBF to explore new topics.

SUGGESTION(s)

–– The appointment of a head of Diversity shows that diversity is among RTBF’s priorities. Nonetheless we don’t expect it to be enough to get significant results. The head of Diversity needs more support and resources (increased permanent staff, commitment and backing from senior managers, 360° pilot committee, etc.). –– Though RTBF targets all audiences, figures show that parts of Belgian society are less or not interested in RTBF’s offer. RTBF should review its offer and propose contents and formats that address younger generations and audiences whose profile is different from the “mainstream”. –– RTBF should concentrate on “less, bigger, better” content, i.e. give more weight to the strong programmes, reinforce them, and use them as “flagships” for each channel. Additionally RTBF needs to invent new, value-based “Belgian style” entertainment formats. A strategy could be to develop relations with independent producers in Belgium who also want to explore the Walloon market. The cooperation with EBU Members in format development would be part of the strategy, too. –– RTBF doesn’t have any benchmark to measure its performance relating to diversity. RTBF is currently working on criteria to set up a benchmark on content

PEER-TO-PEER REVIEW ON PSM VALUES — DIVERSITY

(taking into account gender, origin, handicap, age, social category), inspired by VRT, FTV and the CSA (Audiovisual Council). The objective is to assess where RTBF stands, and also to identify improvement and training needs. –– Programme-makers should have diversity as a KPI.

Interaction with the audience Current situation

Interaction with the audience doesn’t derive from a clear strategy from RTBF. It is the result of a collection of opportunities provided by the development of social media, and the will of some producers to make new types of programmes. RTBF gets in touch with its audiences through social media networks (exchange and idea sharing). RTBF mainly uses Facebook (145 pages) and Twitter (40 accounts). RTBF also has a presence on Pinterest, Instagram, Tumblr and Google+. Pure FM radio station is the most advanced in this respect.

VivaCité radio station has developed interactivity over the past year through several programmes, and mainly C’est vous qui le dites, which will also be on TV from September 2015. It is a daily interactive debate around a topic, recorded by an automated multi-camera system. Its Facebook page has 27,399 likes but most posts are from the show’s moderator.

PEER-TO-PEER REVIEW ON PSM VALUES â&#x20AC;&#x201D; DIVERSITY

In the last three years, RTBF has been experimenting with new content formats, mainly web series but not only, that include a participative dimension. For instance, the radio-web-TV-press magazine Le Prince Charmant (2012) handled the topic of love and all related issues, and used audience testimonials and reactions to develop the next parts of the magazine. Same principle for the web series What the fake that talks about teenagersâ&#x20AC;&#x2122; lives. The original web series Euh! (10 episodes) resulted from the choice of the public that could propose stories and decide through Facebook what project should be produced (see www.rtbf.be/webcreation/webseries, and below).

PEER-TO-PEER REVIEW ON PSM VALUES â&#x20AC;&#x201D; DIVERSITY

RTBFâ&#x20AC;&#x2122;s policy is to respond to any reaction or question from the public. Whenever there is a question the relevant department is in charge, and the answer may include an explanation, correction, excuse, clarification, deletion, or an improvement in the content or service.

Best practice(s)

Web creation: Call for projects RTBF decided to launch a first call for web series projects in 2014. The objective all together was to promote a new generation of producers, to develop a specific form of narration for the web, and to meet audience expectations. The public voted on which projects would be produced. The quality and diversity of the applications showed the interest in such projects among Belgian-French producers, and the interest of the public, too. It resulted into the web series Euh! After that success, RTBF launched a new call for projects in spring 2015.

PEER-TO-PEER REVIEW ON PSM VALUES — DIVERSITY

suggestion(S)

–– RTBF has been experimenting with various ways to develop interaction with its audiences. It has managed to be really innovative and to escape from the “social media only” box. It’s now time to integrate all these initiatives, and structure them into a strategy, with a vision, goals, milestones, budget, and tools to measure their impact. –– The same recommendation applies to cross-media: it cannot only be initiatives from the radio stations or the web creation team. RTBF should develop and implement a real strategy in this respect, and make the necessary changes to make it successful. The main challenge is to break down the walls between web, radio, and television at all levels (budget, teams, mind-sets).

ORGANIZATION Current situation

RTBF managers are aware of the importance of fostering diversity within the programmes to attract all types of audiences. They are also aware that their content offer is rather mainstream. Changing that situation involves promoting diversity within the staff, rejuvenating it, giving a chance to women (only one of the top managers so far), and to young talent. In the last 5 years, RTBF has been rebuilding its HR strategy to promote gender diversity, and to optimize people development (see the chapter on training), as well as management abilities. The first results in terms of gender diversity are varied. Altogether there are only 37% of women. The figure is 40% for journalists, and 15% for technology production. Attracting women is rather easy, but keeping them is more difficult, even though RTBF has a crèche. The current HR focus is on a “high-potential talent development” programme aimed at promoting women in-house to top management positions. In terms of recruitment, RTBF is welcoming a growing number of younger interns, and from more diverse backgrounds.

BEST PRACTICE(S)

suggestion(S)

–– In terms of staff diversity, RTBF’s current focus is on women. It’s important, but not enough. An even greater effort has to be made on diversity regarding staff’s age, origins, cultural and social community, etc. The same policy should apply to experts and other people being interviewed and/or invited to participate in debates and magazines, or in any other programme. In order to make it possible, we suggest developing a conscious and strategic recruitment policy that targets, among others, community radios, schools, suburbs, cultural areas - so that journalism and production creativity can be enriched by a wide range of experience and knowledge. Diversity should be part of the KPI for HR and recruiting.

PEER-TO-PEER REVIEW ON PSM VALUES — DIVERSITY

–– There is an urgent need for a strong, supportive structure/committee to endorse diversity throughout the company, in all departments and management groups, both behind and in front of the camera. Such a structure should involve top management, HR, training, and communication, and rely on some tools to measure and communicate on the improvements (for instance a diversity barometer). –– A significant number of managers have been in the same position for more than ten years. Even if they are very competent, it’s important to renew or at least rotate the talent to boost creativity and innovation. It is also time to promote the younger promising persons who have become more senior, but are still waiting to be given some responsibilities. –– We also suggest RTBF develops a unit in charge of discovering (potential) new talent. Its tasks would include recruiting interns from more diverse areas, building bridges and partnerships with universities and schools, as well as with community radios, etc.

PEER-TO-PEER REVIEW ON PSM VALUES

Accountability […] audiovisual public service, because its existence itself is justified by the trust of the public, is forced to excellence and reliability. Jean-François Raskin, Chairman of RTBF Board of Directors, RTBF Annual Report 2014

PEER-TO-PEER REVIEW ON PSM VALUES

Accountability SUMMARY RTBF is forced by its public service mandate to be accountable, not only to the competent authorities (government, parliament, Audiovisual Council), but also to its audience and Belgian citizens – at least this is what RTBF management feels. Each year RTBF issues a very detailed report on its activities and finances that is available to anybody (website). The report also focuses on RTBF’s initiatives and environmental policy, and community involvement. A yearly qualitative analysis of RTBF activities vs audience’s satisfaction (Qualimat) completes the assessment exercise. RTBF takes the dialogue with its audiences very seriously, whether through social media, direct mail (letters and e-mails), on-air dedicated time, surveys, and any other means. RTBF has its own department in charge of the relationship with the public, including mediation. Any message – whatever its nature – gets an answer. All data related to RTBF’s relations with its audiences are compiled, analysed, and made available in house, with consequent recommendations for improvement. A shorter version is available to anybody on RTBF’s website.

PEER-TO-PEER REVIEW ON PSM VALUES — ACCOUNTABILITY

Transparency Current situation

RTBF journalists and employees follow strict rules regarding professional ethics; these rules are available both on RTBF’s website and intranet. Other guidelines, such as the Guide to Good Practices about social media are also available on the intranet. A group of private and State-appointed experts is in charge of auditing and certifying RTBF’s financial management. Each year RTBF’s mediation service issues a rather detailed report on its activities: number of letters and reactions received and handled, type of reactions, topics (content, sorted by categories, technical issues, etc.) (also see below). The report is available on RTBF’s website.

Mediation and relations with the public RTBF’s service for mediation and relations with the public is autonomous and directly reports to RTBF’s general administrator. It collects the reactions and questions from the audience. It has its own page on RTBF’s website. The answers are directly passed on to the person who has made the request, and are not available to the public, unless they are handled in the TV programme Medialog (broadcast 10 times a year). Medialog is a mixed programme in two parts: one is about media literacy and highlights an aspect of content-making, while the second part deals with a topic raised in the questions from the audience (for instance: broadcasting issues, comments and moderation on RTBF Facebook pages, respect for diversity, etc.). The mediation service provides annual statistics on the most common topics, and recommendations to improve the practices according to the concerns expressed by the audience. Each year the mediation service receives around 6,000 letters and emails, and treats 5,000 cases of which 49.5% are questions and requests, and 4% complaints. The remaining cases are mainly negative comments about RTBF programmes (31.5%), congratulations (2%), and suggestions (13%). 52% of all reactions received are about content, and 26% about technical issues. Each request follows the same procedure (analysis, forwarding to the right department for answering, checking by or transferring to the Legal Department if necessary, etc.) and in theory a detailed answer is given within 30 days after receipt. Main topics of complaints 2014 35 30

Top 10 complaints in 2014

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Best practice(s)

PEER-TO-PEER REVIEW ON PSM VALUES — ACCOUNTABILITY

It should be noted that each radio station offers a dedicated time on air during which the audience can put questions to the station director. The audience also can put questions to RTBF (and get answers) through social media networks.

SUGGESTION(S)

–– The main principles and guidelines used by RTBF should all be available on line. What is already on line is hard to find. –– The Mediation Department should also coordinate questions-answers that come to RTBF through the social media networks, in order to guarantee the same quality of service, and also to include these data in the analysis and statistics of the department (as social media are usually used by younger people, their concerns, questions, and claims may be slightly different). –– The analysis and statistics from the Mediation Department should also feed RTBF audience research/analysis.

reporting CURRENT SITUATION

RTBF management first reports to its Board of Directors. The reporting takes the form of a set of indicators three times a year on results vs objectives, and audience performance. Once a year RTBF provides its Board with a qualitative analysis of its performance, Qualimat (content vs audience satisfaction and perception), from an independent organization. The Board appoints four external experts to assess the performance of RTBF’s director-general twice during his/her term of office. If the results are not satisfactory, the government may decide to replace the director-general.

PEER-TO-PEER REVIEW ON PSM VALUES — ACCOUNTABILITY

RTBF issues an annual report on its activities and achievements in relation to the objectives of its Management Contract. This report is submitted to the government and the Belgian Audiovisual Council, CSA (independent administrative authority). The report is available on line on the RTBF website, and includes a detailed financial report. The CSA can apply sanctions on RTBF if the broadcaster doesn’t meet its legal obligations. It should be noted that RTBF’s main competitor, the RTL group, is no longer submitted to the CSA authority as it has decided to move its headquarters to Luxemburg.

best practice(S)

Environmental responsibility Since 2007 RTBF has been committed to environmental responsibility. In 20132014 and for the first time RTBF assessed its carbon impact (greenhouse gas emissions resulting from RTBF’s activities), as well as its environmental footprint (equivalent of land hectares used to produce and destroy what RTBF consumes). Purchasing and facilities had the highest carbon impact. As a result RTBF has integrated the environmental cost into the purchasing decision criteria. At the same time RTBF works on lowering the energy consumed by its buildings (work done in old buildings, low energy policy for the Reyers Project), and the carbon impact relating to transportation. RTBF encourages its employees to be environmentally responsible as well. 42 employees, organized in 10 eco-teams, have already suggested ways to improve RTBF’s environmental performance. The global objective is to lower RTBF’s carbon impact by 20% by 2025.

Environmental impact of RTBF in 2013 (This graphic is available in French only)

Calcul de l'impact écologique

Présentation des résultats

Deux diagnostics environnementaux ont été utilisés pour calculer l'impact écologique des 6 sites de la RTBF (Reyers, Namur, Mons, Charleroi, Liège et Rhisnes) :

Résultats du bilan Carbone® 2013 Le bilan Carbone® 2013 de la RTBF s'élève à 50.306 tonnes de CO2e, ce qui représente l'équivalent de la consommation annuelle en énergie (électricité et gaz) de 8.234 ménages belges.

Bilan Carbone® :

Types d'impact

Empreinte écologique :

Energie

Le bilan Carbone® comptabilise les émissions de gaz à effet de serre (GES) produites par la RTBF.

L'emprente écologique mesure le nombre d'hectares de terres nécessaires pour produire les biens et services consommés par la RTBF et absorber les déchets qu'elle produit.

Emissions de GES (tCO2e) 11.925

Fuites de gaz réfrigérants

2.855

Intrants

23.816

Déplacements

9.427

Immobilisations

2.231

Déchets et eaux usées

Résultas de l'empreinte écologique L'empreinte écologique 2013 de la RTBF s'élève à 16.139 “global hectares de terres". Il faudrait donc l'équivalent de la superficie de la région BruxellesCapitale pour produire ses biens et services et absorber ses déchets. Impacts environnementaux pris en compte : • Consommations d'énergie (électricité, gaz, fioul - chauffage et groupes électrogènes) et production d'électricité photovoltaïque (Liège) • Impact des systèmes de climatisation : fuites de gaz réfrigérants • Achats de biens et de services réalisés pour tous les sites RTBF • Déplacements domicile-travail et professionnels des agents et déplacements des visiteurs • Immobilisations : superficies des bâtiments, parkings et des terrains et parc de véhicules

Types d'impact Utilisation de l'espace (m2 de terrain) Energie Equipement de froid

Hectares globaux (haeg) 627 5.530 0.5

Achats de biens et services

6.738

Déplacements

2.781

Immobilisations

394

Déchets

168

PEER-TO-PEER REVIEW ON PSM VALUES — ACCOUNTABILITY

SUGGESTION(S)

On the RTBF website, as well as in the RTBF annual report, one page provides information about the environmental commitment and corporate social responsibility (CSR). The information stays very general, though. To go further and show its commitment (and resulting improvements), RTBF could draft some KPI and highlight its best practices in terms of CSR.

STAKEHOLDERS CURRENT SITUATION

RTBF is legally responsible for its content. The Belgian Audiovisual Council (CSA) checks RTBF’s adherence to its public service mission (see above), whereas the Council for ethical journalism (Conseil de déontologie journalistique - CDJ) addresses the issues related to journalistic content. The audience can complain directly to RTBF (mediation service), and both to the CSA and the CDJ. Each of these bodies handles around 10 litigations relating to RTBF a year. In most of cases, it rules in favour of RTBF. The CDJ was set up in 2009 and serves as a self-regulation body for the French and German language media organizations in Belgium. It consists of representatives of publishers, journalists, editors and civil society. Among other tasks, the Council plays the role of ombudsman between the public and the media organizations. The Court System receives around 20 claims a year against RTBF – all relating to privacy and defamation issues. 85% of the cases result in favour of RTBF.

BEST PRACTICE(S)

SUGGESTION(S)

We suggest RTBF should change the way it deals with remarks and complaints, and have its own independent ombudsman. This would have a positive impact on RTBF’s image as an independent media organization.

Fulfilment of public service (measurement) CURRENT SITUATION

At least once a year RTBF commissions a qualitative study (Qualimat) on its activities and audience satisfaction. Part of the study is based on statements that the interview panel has to assess. Most of the statements directly or indirectly relate to how RTBF fulfils its public service mission, as they cover universality, trust, participation, diversity, independence, originality, content quality, serving democracy, etc. The recurrence of the study allows RTBF to draw comparisons and measure the results of its actions from one year to another – through the audience perception, though.

PEER-TO-PEER REVIEW ON PSM VALUES â&#x20AC;&#x201D; ACCOUNTABILITY

best practice(S)

SUGGESTION(S)

Make sure that the Qualimat results are passed on to and taken into account by all the concerned departments, and first of all by audience research.

PEER-TO-PEER REVIEW ON PSM VALUES

Innovation

My job is to animate, coordinate, sometimes to make decisions. I try to make my staff come up with new ideas and innovations. I have the great advantage of being exposed to my European colleagues. Jean Pierre Jacqmin, News Director, RTBF

PEER-TO-PEER REVIEW ON PSM VALUES

Innovation SUMMARY RTBF’s strategic plan 2013-2016 includes “developing innovation”. RTBF’s Academy devotes 7–8% of its budget to creativity and innovation through dedicated training courses and seminars. And RTBF management promotes brain storming sessions and calls for innovation projects from the staff. RTBF is quite innovative at the programme level. It has developed new content formats adapted to web and mobile/tablet consumption, such as web series (see chapter 4), new ways of radio-making (hybrid and visual radio – also see chapter 1), participative programme development (calls for projects, active participation of the audience in the making of web series – see chapter 4). In news, RTBF has launched the web-first strategy that plays on cross-media complementarity, and allows RTBF to stay in first position regarding quality, reliability and rapidity of news. Innovation is not limited to content. Thanks to the merging of all IT and technologies services into one department, RTBF can develop transversal and cross-media projects in a more efficient way and with a global vision. Technology is at the core of innovation in terms of content production and dissemination, platform development and performance, working tools (for instance archive database), digitization, etc. RTBF mainly develops in-house innovation projects, but is also exploring strategic innovative partnerships.

PEER-TO-PEER REVIEW ON PSM VALUES — INNOVATION

Content Current situation

Though the main audience is still for radio and television programmes, RTBF wants to develop its web and cross-media offer to prepare for the future. Each media department (radio, TV, and internet) is invited to propose new types of programmes and content that serve this common goal. In radio RTBF appointed a head of production and technological innovation. One of the objectives is to further develop the visual radio offer (see chapter on Universality p.9). RTBF also set up a new department called Web Creation within the internet department (i-RTBF) in 2014. It aims mainly at creating new programme formats and developing interactivity with the audience, whether through calls for projects (see chapter 4) or through participation in programme-making (also see chapter 4). The first content created was successful. Similarly, the television department launched the TV Lab. It is a R&D unit specializing in global media. The TV Lab aims at proposing, helping develop, or supporting new formats and new programmes for the TV that include a trans-media approach (TV, radio, internet, social media in all possible combinations). News RTBF wants to remain a key player for news in the Belgian media environment. It has been adapting its news-making process to be able to face national and international competitors both on traditional news programmes, and on new platforms. “Our added value lies in being very fast, also in bringing explanations, context, perspective, distance.“ (Jean Pierre Jacqmin, News Director) Radio and television still have their own newsroom, and journalists are used to working for one platform. For the time being, only seven journalists are dedicated to internet news (over a total of 500 in-house journalists and staff working for news and sport news). After its first experience of dual-media (journalists turn an item they have already prepared for radio or TV into an article for publication on the internet), RTBF is implementing the internet-first strategy. It responds to the changes in news consumption: audience goes on-line first to get informed. It’s where the latest news and scoops have to be. Internet-first strategy means that any news item has to be posted on the website first. This allows RTBF to be first in delivering news that the Belgian news agency Belga or other media organizations will quote, and spread.

PEER-TO-PEER REVIEW ON PSM VALUES — INNOVATION

1. RTBF Info

3. Article in newspapers RTBF quoted

Web first

2. Belga press release

RTBF is at the beginning of the process. This involves adapting its workflows without losing quality and reliability, and developing complementary skills. RTBF is working on upgrading or training people for other jobs. Since May 2013 RTBF has trained 250 journalists and assistants in web production. The values for the news teams are clearly stated: “liability, reactivity, independence, relevance and accessibility”. The news-making process is well defined, and there is no tolerance for mistakes. The internet-first team has defined guidelines for journalists, based on an analysis of the 1.5-year experience of dual-media work. This has resulted in 25 concrete scenarios that are continuously discussed and improved. They detail how to act in daily journalist activities (covering demonstration, trial, etc., being in the field or working from radio, TV, or internet desk). The interaction between the 3 media (television-radio-internet) for cross-media coverage brings added value based on complementarity.

#18 - I cover international news events live

Timeline RTV Live

RTV Live

Info on 3186

RTV Live Info on 3186

@perso @newsroom

News coverage using press releases and other available information

Timeline

#23 - I interview a major figure

Interview RTV broadcast Transcription Webcast Highlighting website, RS, links

PEER-TO-PEER REVIEW ON PSM VALUES — INNOVATION

Best practice(s)

RTBF in-house news agency The dedicated internet-first team (6 or 7 people) works as an in-house news agency. Its staff sort, check, and disseminate the news sent by RTBF journalists (picture, video, text) on all platforms. Rapidity and reliability are the key elements. They also send breaking news alerts. Journalists in the field use a dedicated in-house app (Snapsend) to send their pictures to the news agency by SMS.

Suggestion(s)

–– RTBF is a public service broadcaster in transition: it combines really innovative formats and programmes, clever use of social media/audience participation in content making, lots of creativity, with some old-fashioned legacies. The radio and internet offer is dynamic and innovative, Television has started good initiatives, such as the 2013 tender on TV series in Wallonia and Brussels and the 2014 inhouse call for creative projects Allumons les idées on prime time entertainment and current affairs. However, the TV offer doesn’t renew its programmes enough and relies too much on former successes (the main example is entertainment that almost only relies on the programme The Voice - that is not going to be able to go on for more than 1 or 2 seasons). The creation of a TV Lab oriented toward global media is a first step toward renewal. Nonetheless for TV RTBF should rethink its offer, push new formats and new programmes in collaboration with the internet department, develop in-house and Belgian productions (for series, as well as for entertainment, magazines, and others), and favour independent and young producers to offer an innovative local touch that competitors don’t have, and last but not least, change the programming strategy to offer the best programmes in prime time. –– To reach a younger audience, RTBF needs to develop a real cross-media offer. Visual radio is a good start, but there is much more to do in this respect. Same for internet creation department and TV Lab. They target global media, but are still working for a specific media type. The lack of integration between radio, television, and the internet is a major challenge. A possibility among others to stimulate the collaboration could be to fix targets for the television producers and commissioning editors in terms of web content. We strongly recommend RTBF to proceed with a deep analysis of all its productions and its brands, in order to establish a truly 360° strategy, and thus avoid losses, while pooling the resources. –– The internet-first strategy is an important step ahead, but is not sufficient to meet the challenges of the digital world. RTBF needs a real cross-media strategy and news offer. This involves breaking down the silos and develop fully integrated newsrooms. When people start working at RTBF they sign a contract with RTBF and are allocated to TV, radio or the internet. The priority should now be given to an editorial team, not to a platform. This also means training journalists to work with the internet (a priority for RTBF Academy), and increase the web-journalists’ crew. The result should be a better on-line offer, and increased audience, but also increased efficiency in terms of internal performance. –– The internet-first strategy should apply not only to news, but also to sport, and to all informative content (for instance news programmes for children and teens). –– RTBF news on tablet and mobile phone suffers from a lack of customization: users in Liege should be able to find their local news or the results of their favourite soccer team on top of the site.

PEER-TO-PEER REVIEW ON PSM VALUES — INNOVATION

Technical innovation Current situation

The General Department of Technologies and Exploitation (in short technology centre – see chapter on Excellence p.29) works like a digital factory: it is part of any RTBF project that involves IT or digital technologies, meaning basically all of them, all the more with the growing convergence of platforms. Any of the 320 staff members can propose ideas/solutions to nurture the evolution of projects and technology. The technology centre is currently working on heavy projects with high added value. Among others: –– The Semantic Media Player: this intelligent database and search tool connects together several databases, internal (sound and image archives) and external, audio, video, and texts. The interface is user-friendly, and for each search shows related data. It’s fast and easy for a journalist to find any subject already handled by RTBF, immediately access the audio or audiovisual archive, and be offered complementary information by the system (for instance biography of the person quoted, reference to other sound and image file involving the same person, and much more). Users can add to the index of any entry, for instance.

https://www.youtube.com/watch?v=rkK6TouYEhc –– The Big Data Project: the project aims at collecting and analysing all possible data on audiences through the information they indirectly provide when they visit RTBF websites, connect to RTBF through social media, etc. The objective for RTBF is to better know its audiences, and consequently better meet their expectations. The project combines CRM function, marketing, and IT. No results are available so far. –– Reyers 2020: the technology centre is in charge of defining the technology and related room needed for the new RTBF building. The challenge is to build for tomorrow (20-year investment) without knowing what kind of platform(s) will be in use, and anticipating the technology evolutions (also see below).

Best practice(s)

“Studio visual talk” RTBF has built a dedicated television studio that meets the needs of the new visual radio concept (also see chapter 1). The studio combines the sound requirements of radio and the visual requirements of television. The objective is to keep the same quality of radio programme, but to make it look like television to reach out to TV viewers.

PEER-TO-PEER REVIEW ON PSM VALUES — INNOVATION

The radio-TV studio is almost fully automated (on-air graphics, studio display, camera framing, etc.), and run by the radio people (actually one person for the audio, one for the video, and the producer). The visual radio project shows that it’s possible to produce low-cost TV with quality content. A second “studio visual talk” is already in construction. It will also serve to produce dedicated morning TV shows In a medium-term perspective the “studio visual talk” will allow RTBF to fully integrate television and radio processes, and be completely platform neutral. It’s part of RTBF strategy to have all production processes on the same digital system, and consequently be able to disseminate the contents on any platform (Phoenix Project).

PEER-TO-PEER REVIEW ON PSM VALUES — INNOVATION

Suggestion(s)

Partnerships Current situation

RTBF’s ambition for the Reyers 2020 Project is to create more than a new operating building, but a media park, where public service broadcasters, audiovisual studios, production companies, school, and others will be located in the same place. The idea is to foster partnerships and media clusters, not only to reduce costs, but also to boost creativity. The new space is 450,000 m2 of which 55% is going to be housing, 10% stores, and the rest dedicated space for media development and production (42,000 m2 for RTBF, about the same for VRT, and the rest to rent). The total budget is EUR 110 million + EUR 40 million for equipment. Two-thirds are funded directly by RTBF, one-third comes from bank loans. RTBF has already concluded strategic partnerships in the past to rationalize its costs. In several cases the partnership turned into a commercial branch of RTBF that also offers its services to third-parties. For instance: –– Keywall: the company offers multiple audiovisual services that covers the complete production chain; its clients are media organizations, production companies, and communities. –– Casa Kafka Picture: created in November 2005, it aims to support Belgian production by finding investors interested in a secure product that allows them to benefit from the tax shelter.

Best practice(s)

Maradio.be - An innovative digital solution RTBF took an active part in the development and launch of a unique media player “maradio.be” that includes all the legally authorized French-speaking radio stations in Belgium. This joint initiative – available on line since March 2014 - also accelerated the digital migration of the radio offer, as well as the development of the on-line audience. DreamWall In 2007 RTBF associated with Dupuis (Groupe Média Participation) to create DreamWall. This animation and graphic design studio (2D and 3D animation, virtual sets, 3D visualizations, etc.) offers high artistic quality, and guarantees better monitoring of the production for RTBF.

As a result large sections of the production of animated series that had left for France or Asia are back in Belgium.

Suggestion(s)

–– RTBF has very little collaboration with VRT. Both public service media organizations could develop more synergies, and at all levels (production equipment/studios, purchasing, content, internet offer, investigative journalism, big data, etc.). –– Why not to open the media player “maradio.be” to all recognized radio stations in Belgium, including the non-French-speaking ones? Though RTBF is the public service broadcaster for French-speaking Belgium, its mission is to foster social and national cohesion. –– RTBF could develop more partnerships with young creators, high-tech start-ups, and others, to go on inventing the new public service in terms of content and products/ services. Such partnerships must follow a defined strategy in line with RTBF’s general strategic plan.

EXECUTIVE SUMMARY RTBF holds quite a strong position on its broadcast territory – Belgium. RTBF market share is rather high, especially as the public service broadcaster faces competition from both a major commercial media group, and French radio and television stations. Nonetheless RTBF is an organization in transition, like many public service broadcasters. The challenge is to turn a traditional broadcaster focused on radio and television programmes into a cross-media organization committed to digital and multi-platform content and products. This involves getting rid of silos, in terms of workflows, as well as mind-set, and re-thinking everything from media-consumption to interactive content, and relationships with the audiences. It’s a major shift in strategy, goals, and priorities that RTBF has only just started. In this perspective RTBF already has two deadlines. We encourage RTBF to use them as key moments to make the necessary changes to maintain its position/market share in the future. We also suggest that RTBF communicates about these milestones, not only within the organization itself (it’s very important to get everyone’s support), but also to the outside world: - 2017: the year of the new strategic plan that RTBF must submit to the government of the Wallonia-Brussels Federation; by that time RTBF needs to have a detailed strategy and clear implementation plan. - 2020: the year the Reyers Project must be completed. This innovative project is built on RTBF’s need for a new working environment. RTBF decided not only to build a new building but a kind of campus where RTBF staff will work together with production companies, creators, schools, etc. in order to better understand and respond to the needs and expectations of the digital age.

PEER-TO-PEER REVIEW ON PSM VALUES

MAIN FINDINGS RTBF content offer

RTBF’s radio offer has a strong position in terms of reach and market share. The peers were impressed by the way the radio staff had managed to build strong and different brands – though the name RTBF could be more prominent. Each of the five radio stations has a clear identity and vision, and targets a specific audience. Most importantly, RTBF radio stations have already started making changes in response to developments in both technology and media consumption habits. They are inventing a new type of hybrid radio that mixes sound and images, as well as the three media (radio, television, and internet) in visual radio. After the first successful experiments, RTBF has developed in-house software and a new television studio for radio programmes that will be fully operational in September 2015. As peers, we consider the visual radio to be one of the best practices we have observed within all EBU Members and a real step towards the sustainability of radio in the future. Unlike the radio stations, and despite very good audience ratings, RTBF’s television channels are suffering from a lack of clear identity and branding. RTBF is currently working on its television strategy to offer clearer and better positioning. So far, however, the profiles of the three channels are rather confused and partly overlap. Scheduling doesn’t help: programmes start at odd times, later than their competitors, which enables the latter to take advantage and build their own audiences. RTBF’s television channels have the potential to do better, and even to reach 30% of the market share by building strong identities, improving the schedules, and changing the approach in terms of programming. RTBF should concentrate on “less, bigger, better” content, i.e. give more weight to the stronger programmes, reinforce them, and use them as flagships for each channel. Additionally, RTBF needs to invent new, value-based entertainment formats ‘Belgian style’. The third TV channel, La 3, is hybrid. It focuses both on children (daytime) and culture (evenings), but doesn’t attract the expected audience. If RTBF’s choice is to have a dedicated offer for children, we strongly suggest turning La 3 into a real children’s channel. This would involve investing in some original in-house and local productions that bring added value (safe and educational environment) compared to commercial broadcasters, as well as developing an interactive and cross-media offer to address the expectations of internet natives. A children’s channel is a good way for public service broadcasters to help bring up future citizens, and attract their parents at the same time – who are also part of the internet generations that RTBF needs to reach.

Digital and cross-media strategy

RTBF is still organized in silos: radio, television, and digital are separated departments, budgets and teams. If cooperation exists, it is still far from what is required to develop a real trans-media approach. Constant interaction is needed between all platforms, and mainly between television and online (in this respect radio is more advanced). RTBF should consider appointing a media director, who would be in charge of all channels and platforms with the clear mission to implement a digital and cross-media strategy (in terms of content, technology, as well as cross-promotion). In this case, developing apps, websites, and social networks (communities) should be priorities.

PEER-TO-PEER REVIEW ON PSM VALUES

The internet-first approach for news developed by RTBF is right, as it encourages collaboration – and possibly integration – among all newsrooms. RTBF News and Sports are market leaders on the traditional media platform. The challenge is to maintain this position, and extend it to the digital world. RTBF must be everywhere at all times. Part of RTBF’s digital strategy is to engage in permanent dialogue (interaction) with the audiences. The digital world opens up multiple ways to be close to each individual (explaining, answering, creating content together, etc.). It helps build trust between the media organization and its audiences, and gives programmes and projects broader reach and impact. We encourage RTBF to continue in that direction.

Innovation

RTBF is creative in several respects (content, formats, facilities, and interaction with its audiences). We would like to emphasize some innovations we consider to be part of the best practices we encountered: –– RTBF 360 degrees glass studio: this innovative studio was first launched during the election campaign. It carries the feeling of openness and is perfectly suited to interviewing politicians, and conducting debates. –– RTBF Lab: encounter between the audience and RTBF staff on specific topics (such as image, sound, and editorial choice); it mainly takes the form of workshops. Everything is recorded and can be used in specific RTBF programmes. The RTBF lab enables a lot of young people to get acquainted with and participate in the work of a major broadcaster. –– Training: the recently created RTBF Academy (2012) combines both business needs and staff development with a strong priority given to new technologies, cross-media work, creativity, and management. This is important to meet the needs of the RTBF of tomorrow and to create opportunities for young talented people (all the more important because in-house mobility is low).

Independence Even though RTBF operates on a 5-year-plan, its budget is submitted every year

to a vote in parliament. In the past few years the budget often did not match the expectations. RTBF had to apply severe cost-cutting (staff as well as programmes), and develop a highly efficient management. As a result, RTBF suffers from a lack of financial visibility that is bad for its strategic planning at a time when digital transition requires long-term investments. We suggest RTBF should start lobbying in favour of a longer-term budget that would ideally match the duration of the RTBF agreement with the government of the Wallonia-Brussels Federation (5 years). The fact that the parliament discusses RTBF budget and performance every year also puts political and financial pressure on RTBF. Surveys show that the French speaking population of Belgium highly appreciates RTBF’s performance, but doesn’t trust it to be really independent from government institutions. We suggest RTBF should communicate clearly about public service values and position. And to develop a course that brings the organization a little further away from the government, for example, by connecting more with civil society (the Reyers Project shows the way in that respect). We also suggest RTBF should change the way it deals with remarks and complaints, and establish its own independent ombudsman. This would positively impact RTBF’s image as an independent media organization.

PEER-TO-PEER REVIEW ON PSM VALUES

Diversity

RTBF’s audience is mostly over 45 years old and rather well educated. RTBF needs to broaden and diversify its audience, targeting not only younger generations, but also all the various socio-economic, ethnic and cultural sectors of Belgian society. This involves renewing the content provided, which in turn involves bringing new and more diversified blood into RTBF staff. RTBF is aware of these issues and created a new position to stimulate diversity. The experiment stage is now over. We encourage RTBF to give more weight, visibility, and resources to the diversity project, and include diversity in its corporate strategic priorities.

Conclusion

RTBF’s overall performance impressed the peers. So did the loyalty of its staff and the lucidity of its leadership.

RTBF’s top management had already identified most of the challenges and necessary changes, and decided to give strategic priority to: –– Continuing to build trust among all its stakeholders, and audiences in particular. Part of this challenge includes developing media literacy within the population. –– Enlarging RTBF’s audience toward children and young adults, as well as developing a more diversified reach in terms of social, ethnic-cultural, and generational profiles. –– Supporting and extending in-house and local (French-speaking Belgian) production to help protect the country’s own culture and identity against foreign and global players which means developing innovation, and exploring new creativity and interactivity. These choices reflect real and major challenges. The next step is to turn them into a fine strategy, and start putting it into practice before moving to the new premises. We consider RTBF to be an asset in terms of public service media offer, and an important carrier of the French-speaking Belgian culture and identity. RTBF deserves strong social and political support, as well as long-term sustainable financing.

PEER-TO-PEER REVIEW ON PSM VALUES

Ruurd Bierman, Director Dutch Media Fund and consultant, Netherlands Ruurd Bierman is one of Europe’s thought leaders on the future of media. Via Media Futures, Ruurd is involved in strategy projects as consultant and, project manager. Ruurd is in demand as key note speaker and panelist. He is also coaching senior executives of broadcasting companies. Current activities: - Consultancy assignments for EBU, NPO and NTU (Ukraine). - Director of the Dutch Cultural Media Fund. - Key notes about media strategies, VISION2020, diversity and innovation, for more than 20 broadcasters and at international conferences. - Functions in Supervisory Boards of a.o. Prix Europa (radio and tv festival Berlin).

Pascal Crittin, Director of General Affairs, RTS, Switzerland Born in 1968, of Swiss nationality. After a degree in Literature and Musicology, Pascal Crittin worked in conducting, composition and teaching. Then as director of Editions St-Augustin, he became familiar with the media and communication market. In 2002 he was appointed head of Espace 2 programming where he developed the consistency of cultural and musical programmes. From 2008 to 2009 he took on the role of Secretary-General of RSR, in particular drafting strategy with the International Affairs Department and building partnerships with various players in the radio sector. He was also jointly in charge of the operational convergence project. Since January 2010, Pascal Crittin has been the Director of the General Affairs Department at RTS.

Eva Hamilton, Former Drector-General, SVT, Sweden Eva Hamilton was the CEO of Sveriges Television (SVT), Sweden's public service broadcaster, for eight years, 2006-2014. Eva transformed SVT from a traditional broadcaster to Sweden’s leading digital media provider. A radical makeover of the organization in 2008, staff-reductions, and a modernization of production led to a healthy economical situation for SVT. This ensured SVT’s strong national position with popular linear and online programming. SVT is the leading national broadcaster today with a total market share of 35%. Eva was appointed Sweden's "Leader of the Year" in 2009. In 2013 she received the "Change Management Award", another prestigious prize presented by KTH, the Royal Institute of Technology, and the Swedish Learning Association. Since Oct 2015 she holds the position of Honorary Doctor at Mittuniversitetet. Currently Eva is a senior advisor and gives lectures. She also holds board seats at a variety of Swedish companies. • Member of the Lindex board (2014-) • Member of the Fortum board (Helsinki) (2015-) • Member of the LKAB board (2015-) • Vice President of the Business Executives Council of the Royal Swedish Academy of Engineering (IVA) (2013-) • Member of the Nobel Center Committee (2015-) • Member of the Board of the Music Polar Prize (2015-) • Honorary Doctor Mittuniversitetet (Oct 2015-) • Former Chairman of Radiotjänst in Kiruna, the Swedish license fee organization (2006-2015)

PEER-TO-PEER REVIEW ON PSM VALUES

Dermot Horan, Director of Production and Acquisitions, RTÉ, Ireland’s Public Service Broadcaster, Ireland As such he sits on the board of the Television Division and represents the following areas: The delivery of programming from all genre heads to the schedules of RTÉ One, and RTÉ2, and the Acquisitions of all international programming including feature films. In his acquisitions role he has secured for RTÉ Desperate Housewives, Lost, Homeland, CSI, and The Sopranos among others, most of which have played ahead of all other Irish and UK channels. The department is also responsible for the acquiring of Irish feature films, and international co-productions, and pre-sales including the likes of The Fall, Quirke, and Dara and Ed’s Big Adventure. He co-ordinates RTÉ's partnerships with outside bodies and represents the Television Division in its dealings with the BAI (Broadcast Authority of Ireland), SPI (Screen Producers Ireland) and The Irish Film Board. He is also a member of TBIG, the Television Broadcasters in Ireland Group, members of which include all the Irish Television broadcasters in Ireland, north and south. He is former chairman and currently a member of TIF Broadcasting and Content Distribution Industry of IBEC, the Irish employers’ federation. He is a board member of the St. Patrick’s Festival. Dermot is married to Patricia and has three sons. His interests include history, travel, rugby, cricket and wine.

Nathalie Labourdette, Head of Eurovision Academy, Switzerland Nathalie joined the EBU to create a professional-to-professional model and international training programmes for Broadcast professionals. Eurovision Academy sets the standards for excellence and is a recognized leader in media training business. Previously, she spent some years in Brussels at the European Commission where she was administrator in the Audio visual Policy unit. Before, she had been for 10 years a very active producer of documentaries and works of fiction, moved on to film distribution and also produced programmes for Radio Sweden. Nathalie is secretary to WEM, the EBU Women Executives in the Media (WEM) network.

Hans Laroes, born in 1955, Middelburg, the Netherlands Hans has a journalistic background. He has been editor-in-chief of NOS-News between 2002 and 2011, and chair of EBU's News Assembly from 2007-2011. He lead NOS when it completely integrated radio, TV and the internet and went fully digital. Was connected with Julian Assange's WikiLeaks and likes these kind of ad hoc emerging powers and sources of information. At EBU he created, together with a small group op others, the declaration 'Empowering Society' on the six core values of public service media. At this moment he is leading the PSM Values Review-project for EBU, in which peers review their fellow organizations, help them improve and take back home best practices. In 2012 he published a book on the (r)evolutionary changes going on in journalism. Hans Laroes is also chair of the Ethical Board for Journalism in the Netherlands. Hélène Rauby-Matta, Business Development Manager, Eurovision Academy, Switzerland I joined the EBU in 2000. As a Business Development manager for Eurovision Academy, I contribute to the creation and delivery of educational programmes for the media professionals of EBU's 74 Members. Focusing mostly on the “News” and “Digital culture & technologies” domains, my job consists of monitoring trends and developments, both on the editorial and technology side, identifying skill gaps and needs and developing, together with internal or external partners, training programmes to meet these needs. The use of social media by broadcasters, data journalism, cross-media newsroom editorial organization and workflows, cross-media production, networked media infrastructures and the impact & opportunities of big data for broadcasters are some of the issues that I monitor. Prior to relocating in Geneva, she lived a few years in Abu Dhabi working in the domain of international cultural and education cooperation. Before she pursued her graduate studies at the University of Virginia, USA where she also worked for the Virginia Film Festival.

PEER-TO-PEER REVIEW ON PSM VALUES

Peer visit of RTBF

The Peer Review meeting of PSM Values 20 & 21 April 2015, rtbf, brussels

Reviewers Mr Ruurd Bierman, director Dutch Media Fund and consultant, Netherlands Mr Pascal Crittin, director of General Affairs, RTS, Switzerland Ms Eva Hamilton, former director-general, SVT, Sweden Mr Dermot Horan, director of Production & Acquisitions, RTE, Ireland Mr Hans Laroes, project leader PSM values review, EBU Ms Hélène Rauby-Matta, Business Development Manager, Eurovision Academy, Switzerland

EBU Secretary Ms Nathalie Labourdette Head of Eurovision Academy T +41 22 717 2146 labourdette@ebu.ch

Participants Sophie Berque, Webcréation & transmédia, i-RTBF Pascal Bodenghien, Gestion des réseaux, DGTE Pierre Bonte, Stratégie et organisation, département facilités Corinne Boulangier, Directrice, La Première Alexandra Daco, Contrôleur de gestion Simon-Pierre De Coster, Directeur juridique Hervé de Gellinck, Journaliste Eric Gilson, Directeur, VivaCité Francis Goffin, Directeur de la radio et du sponsoring Cécile Gonfroid, Directrice générale des technologies et exploitation Stéphane Hoebeke, Responsable de l’éducation aux médias Laetitia Huberti, Directrice, Musiqu’3 Jean-Pierre Jacqmin, Directeur, Information et sports Safia Kessas, Productrice, Responsable de la diversité Christophe Koelman, RH Corporate Rudy Léonet, Directeur, Pure FM Laurence Lorie, Responsable, Marketing stratégique et audiences Fabrice Massin, Directeur, i-RTBF Louise Monaux, Responsable médiation Frédéric Olivier, Responsable RTBF Academy Jean-Paul Philippot, Administrateur général Eric Poivre, Directeur-coordinateur de l’antenne et des programmes Emmanuel Robben, Directeur du département facilités Emmanuel Tourpe, Directeur de la programmation TV et VOD François Tron, Directeur de la télévision Sabine Vanderputten, Stratégies et partenariats, i-RTBF Chris Vandervinne, Directeur financier Stephan Van Lierde, Directeur général des ressources humaines Marc Ysaye, Directeur, Classic 21