Broadcast 14 June 2013

www.broadcastnow.co.uk

14 June 2013

INTERVIEW

BEHIND THE SCENES

PRODUCT PLACEMENT

Page 22

Page 28

Page 24

Malcolm Gerrie: live TV must up its game

Four days to make a date go right

Where is the promised windfall?

Discovery to end BBC tie-up Corporation’s natural history shows at risk as US broadcaster calls time on co-pro deal

BY JAKE KANTER AND LISA CAMPBELL

Discovery Networks International (DNI) is set to pull the plug on its £150m co-pro partnership with the BBC, putting funding for the corporation’s blue-chip natural history programming at risk.

Broadcast understands that the US broadcasting giant is about to end the relationship, under which it has formally co-produced landmark factual series including Africa and Brian Cox’s Wonders Of The Solar System with the BBC since 1998.

The agreement, which also gives DNI first-refusal on some BBC programming, was extended to 2014 in 2010, but negotiations about it being discontinued are said to have been all but concluded.

Although no value was attached to the deal at the time of the extension, with then BBC director of television Jana Bennett arguing it provided “exceptional value for licence fee payers”, it is thought to be worth around £35m a year.

One source close to the corporation said the partnership had “made the BBC a world leader in science and natural history programming”, adding: “Discovery paid a very good percentage of the budget that went above and beyond the usual co-pro. Although the BBC will try to protect these crown jewels, it’s hard to see how the sheer number of hours can be supported at this level, and some projects will fall by the wayside.”

It is understood that Discovery wants to walk away because it now believes the BBC gets the lion’s share of value from the partnership.

DNI is also reviewing its content-

Africa: landmark series with David Attenborough was one of many co-produced by the BBC and Discovery

It’s hard to see how the number of hours can be supported.

Some projects will fall by the wayside Industry source

acquisition strategy, with one source suggesting there is now “a mismatch of content needs” between the company and the BBC. DNI has begun to see more success with character-led observational documentaries, such as Gold Rush, rather than in its former heartland of landmark factual series, such as Frozen Planet, one industry exec said. “The view is that Gold Rush has become the gold standard and the channel would rather invest in more of these longrunning reality series because they

have such a positive impact on Discovery’s performance.”

Another source added: “Discovery has pulled the plug, thinking that the BBC is getting all the benefit and it is not.”

However, Bennett, who is set to join A+E in the US, said the move was “a natural parting of the ways”, citing the restrictions on the rights each partner could exercise globally. “Both now have big global ambitions but the BBC would find it difficult to launch its own branded VoD channel around BBC Earth, for example, despite being famous for natural history and science. But we shouldn’t forget the many amazing series this partnership gave birth to.”

DNI has also shown an ambition to go it alone on major natural history programming after commissioning Silverback Films to make seven-part series North America.

Sources have suggested the BBC will look to bridge any gap in financing created by DNI’s exit by working more closely with BBC Worldwide to provide extra windowing opportunities for players such as Netflix, or by striking a similar deal with another broadcaster, such as National Geographic.

The BBC and DNI have collaborated since the Discovery Channel launched in 1985, but formalised their relationship in 1998 by signing what the New York Times described as a “$565m alliance” to create programmes and cable channels around the world.

The BBC pulled out of the channels business in 2010, selling its 50% share in Animal Planet and Liv to Discovery for $156m (£117m).

The BBC said it would continue to make “landmark” factual content, but refused to comment on the deal.

Discovery also declined to comment.

Editor’s Choice

Broadcast, 101 Finsbury Pavement, London EC2A 1RS or email lisa.campbell@broadcastnow.co.uk

Online this week www.broadcastnow.co.uk

George Bevir, Facilities and Technology Editor

Top News

Learn and move on from DMI BBC must not let failure force it to shy away from taking risks

is moving to Australia to become head of commissioning for SBS, responsible for the public broadcaster’s two channels.

è Left Bank Pictures is producing

T

he writing was on the wall for the BBC’s Digital Media Initiative (DMI) soon after it was launched five years ago. From the start, the project to enable BBC staff to share work and access the broadcaster’s archive from any BBC desktop had an air of doom about it.

Only a year after the Trust signed off £81m in funding, the project had already been rebranded ‘Don’t Mention It’ by some BBC staff; one Future Media & Technol-

tion of its content in-house, and it needs to connect key sites in London, Salford, Bristol and its archive in Perivale, along with many more regional outposts.

Perhaps most worryingly, at a House of Commons Public Accounts Committee meeting in Salford, BBC Trust member Anthony Fry conceded that “there was not enough technological expertise around either the Trust table or the executive board table to actually go ahead on something of this scale and complexity”.

Whatever the outcome of PriceWaterhouseCoopers’ investigation into DMI, what we don’t want to see is the BBC pulling back from potentially tricky projects. You’ll struggle to find an easierto-use catch-up service that serves as much content to as many people as iPlayer, and its multiplatform coverage of the Olympics was faultless. But if the broadcaster is to avoid another costly failure, it needs to plug that gap and make sure that when the alarm bells are ringing, someone is listening.

‘Whatever the outcome of the DMI investigation, we don’t want the BBC to pull back from tricky projects’ ogy figure told Broadcast it was a “steaming pile of shit”. Despite ditching Siemens in 2009, DMI never recovered.

If the ambition was laudable, the timing was questionable. When the BBC canned DMI last month, it defended the aims of the project, saying it needed to build the tools because off-the-shelf solutions didn’t exist. But if the manufacturers whose sole purpose was to build products for the sharing and manipulation of media weren’t able to build what the BBC wanted, perhaps that should have been an indication that the broadcaster’s aims and ambition had outstripped its abilities.

Looking to the likes of ITV, Channel 4 and Sky to see what the BBC could have done differently doesn’t really help, because other broadcasters don’t have the same needs as the BBC. It has an enormous CRE ATIVE and valuable archive to CAPITAL which it needs ready access, it produces a large proporFor the latest

technology

Broadcast TECH Soho special

industry news

THE PAST, PRE OF POST-PR SENT AND FUTURE ODUCTION IN SOHO

CLOSE-UP

Before the advent of file-based working, sharing media used to mean picking it up and carrying it to wherever it needed to be. So it made sense for companies that worked on the same programmes to be grouped together, and there’s no greater example TECH of this than the UK’s oldest media hub, Soho. In the latest issue of our bi-monthly magazine Broadcast TECH, which is bundled with this issue, we take a look at the past, present and future of the country’s pre-eminent centre of post-production.

June/July 2013

READY FOR

HOW BT SPOR KICK-OFF A PRODUCTIO T AND TIMELINE TV JUST SEVE N HUB FROM SCRA BUILT N MONTHS PAGE 30 TCH IN

2 | Broadcast | 14 June 2013

è Ex-ITV exec Alison Sharman (below)

WITH ATTE

NBOROU

BEHIND THE GH MONSTERS SCENES OF MICRO 3D, SKY’S LATES HISTORY DOCU T NATURAL MENTARY PAGE 26

OVER THE

US network Starz’ adaptation of Diana Gabaldon’s Outlander series of fantasy novels in association with Tall Ship Productions.

è Exec producer Gub Neal said The Fall’s ’s open-ended climax will “change the nature” of TV crime stories, adding that stars Gillian Anderson and Jamie Dornan are lined up for series two.

Top Ratings Stories 1 Channel 4’s French zombie thriller The Returned (below) was the highestrated subtitled drama since 2002 after it scored more than 1.5 million viewers on its Sunday night launch.

2 The Britain’s Got Talent final dipped to a six-year low of 11 million on Saturday for ITV, despite an onstage protest against Simon Cowell.

BBC1’s Panorama about corruption in the House of Lords attracted just 1.3 million viewers on Thursday, the doc’s second-worst overnight performance since 2006.

3

4 The first live round of BBC1’s The Voice UK was beaten by Emmerdale and Coronation Street on Friday night after drawing an audience of 4.2 million.

New This Week Our expanded ratings pages now focus on non-terrestrial digital channels. See page 37

TOP

SKY’S CHIEF DIDIER LEBR TECHNOLOGY OFFIC AND ACHIE AT ON ITS CHALLENGER VEMENTS PAGE ES 18

www.broadcastnow.co.uk

News & Analysis

Hall to unveil ‘radical’ plans There will be fewer five-year plans and more flexible decision-making

BY jaKe Kanter

Tony Hall is preparing to set out what has been dubbed a “radical” vision for how he will shape the BBC over the next decade in a wide-ranging speech in October.

The BBC director general has “drawn a line in the sand” over setting a date for revealing his plans, with insiders expecting him to formally address staff in four months’ time.

Hall made clear after his arrival in April that he would not set out his stall until he had spent time meeting BBC employees from across the country and getting to grips with the corporation’s governance and financial structures.

However, there is growing anticipation about the director general’s first address, with key themes for his message emerging.

Hall is expected to look ahead nearly 10 years to the BBC’s centenary in 2022 to examine the role of public service broadcasting in the modern media landscape.

Collaboration has become a key mantra at the corporation since Hall arrived in April, with director

Hall: anticipation is growing for the DG’s first address, expected in October

of television Danny Cohen asking his division members to include it among formal objectives as part of their business plans last week, and Radio 2 controller Bob Shennan claiming it had become the “mood music” at the broadcaster.

One senior insider described Hall’s plans as “radical”, although it is understood they will not

include a major organisational reshuffle.

The BBC directors of television, news and radio are all pulling together their strategies for October, while director of digital and strategy James Purnell is also heavily involved in the work after establishing himself as Hall’s right-hand man.

It is understood that Hall is also keen for the corporation to be clearer about the way the licence fee spend benefits the UK, both economically and creatively.

There is also a desire to make the BBC more nimble strategically, which will mean fewer ‘fiveyear plans’ and more flexible decision-making.

Elsewhere, the director general has been swift to end the Digital Media Initiative, a hangover from the Mark Thompson era, and is said to be scrutinising other legacy projects that may not fit in with his vision for the BBC. Hall has already appointed his top team and is now only waiting for the arrival of director of news and current affairs James Harding in September, after Anne Bulford began work as managing director, finance and operations, last week.

MPs slam BBC over DMI but praise relocation The thing that shook me is we were told bits of the DMI were working, and that wasn’t true

BY BaliHar KHalSa

The BBC was praised for its move to Salford, but drew sharp criticism over the failure of its £100m Digital Media Initiative (DMI) at a meeting with the Public Accounts Committee (PAC) this week.

Ian Swales, one of seven MPs from PAC to attend the meeting in Salford, said it was clear that former director general Mark Thompson, technology chief Erik Huggers and BBC trustee Anthony Fry, who were overseeing the initiative, had been overly optimistic when reporting back on its progress.

“I think it was the right decision [to scrap it],” Swales said. “It seems they weren’t anywhere nearer clearing the big part of the problem and that they stopped it.” www.broadcastnow.co.uk

Margaret Hodge MP, PAC

MediaCityUK: relocation to Salford was praised by Hodge for its efficiency

The committee is now calling for Thompson to appear to discuss the DMI failures at a hearing in July, which will also focus on severance payouts.

BBC trustee Fry, who attended the meeting alongside BBC North director Peter Salmon and chief financial officer Zarin Patel, admit-

ted that the initiative had been a complete catastrophe.

PAC chair Margaret Hodge told the BBC attendees: “The thing that really shook me is we were told there were bits of this system that were working and you were using and running programmes with them, and that wasn’t true.”

The scheme had been put in place to digitise archive and footage, but was scrapped by new director general Tony Hall last month.

But the BBC was praised by Hodge over its relocation of staff to its MediaCityUK base, as well as its future plans for the region.

“You’ve managed the transfer of a lot of programmes into a new facility away from London efficiently,” commented Hodge.

14 June 2013 | Broadcast | 3

News & Analysis In BrIEF Neumann to exit Viasat Daniela Neumann, vice-president of content and development at Viasat, will leave the European broadcaster later this year and is eyeing a return to the UK TV industry. Neumann was responsible for all original content and international acquisitions for the company’s 11 freeto-air channels.

C4 lines up Essex dealers Channel 4 has commissioned a three-part series about Essex car dealers, which will be broadcast later this year.

Dealers, being made by Platform Productions, will feature the family-run Essex Car Company.

The 3 x 60-minute series was commissioned by deputy head of factual Nick Mirsky.

World Service budget cut The BBC World Service’s budget has unexpectedly been cut by more than £2m by the government. The Foreign & Commonwealth Office will reduce the service’s funding by around 1% from £240.2m to £238.5m in its 2013-14 financial year.

ITV Player brings in fee ITV has begun charging consumers a monthly subscription fee to stream ITV3 and ITV4 after updating its ITV Player iOS app. For £3.99 a month, subscribers can simulcast the two multichannels, and watch its entire portfolio of catch-up content without advertising.

BBC3 puts Fresh online BBC3’s new documentary director initiative Fresh is being extended online as a place for short-form documentaries.

Aspiring factual film-makers are being invited to submit their work to be posted on Fresh Online, which is due to go live later this summer. BBC3, BBC Documentaries and BBC Learning have collaborated on the website.

For the latest breaking news www.broadcastnow.co.uk 4 | Broadcast | 14 June 2013

Flynn takes creative reins in Endemol UK reshuffle

BY Balihar khalsa

The Million Pound Drop creator David Flynn has taken the creative reins at Endemol UK, as the indie shuffles its senior management.

Flynn has been made chief creative officer after four years as joint managing director of Remarkable Television, the Endemol indie behind The Million Pound Drop.

The role was previously held by Tim Hincks, but has not been occupied since he was promoted to president of Endemol Group in May 2012. The indie’s creative directors have been sharing the responsibilities of the role.

Flynn will oversee creativity across the UK group, which comprises Remarkable, Initial, Zeppotron, Tiger Aspect and Darlow Smithson.

Flynn joined Endemol’s UK division in 1999 as a creative intern, working his way up to become managing director of Brighter Pictures in 2007.

His credits include co-creating Pointless, The Bank Job, Seven

Flynn: Million Pound Drop creator will oversee creativity across the group

Days On The Breadline and The Common Denominator.

As part of the changes, Endemol UK controller of entertainment and formats Nick Mather is to become joint managing director of Remarkable TV, alongside Colette Foster. Mather joined Endemol from the BBC entertainment format development department in 2005 and became the indie’s entertainment and formats controller in 2011. He co-created BBC game-

show Pointless with Flynn. His other credits include 101 Ways To Leave A Game Show, The Kids Are All Right and Golden Balls.

Endemol UK chief executive Lucas Church said: “David has developed and produced some of the most successful entertainment formats to come out of the UK. He and Nick represent the very best in the business.”

The two take up their positions immediately.

Whizz Kid chief to host Sky Arts musician series BY jake kanter

Whizz Kid Entertainment chief executive Malcolm Gerrie is to step out from behind the camera to present a Sky Arts series celebrating the careers of influential musicians.

The former producer of classic Channel 4 music show The Tube will interview a different star each week, taking an in-depth look at their career and inspirations, as well as casting light on their songwriting processes.

Boy George and Blondie’s Debbie Harry are among those to have signed up for the 10 x 60minute series, …Talks Music, which will be produced by Whizz Kid. Showcasing a diverse range of musical stars and genres, ...Talks Music has also secured appearances from guitarists Nile Rodgers

Debbie harry: ...talks Music guest

...Talks Music will take an in-depth look at musicians’ careers and inspirations

and Jeff Beck. Other guests will be confirmed closer to the show’s TX this autumn. ...Talks Music will be filmed in front of a live studio audience of aspiring music students, who will have the chance to put their own questions to each week’s guest.

Gerrie has fostered a close association with the music industry during his career as a TV producer, which began on The Tube in 1982.

He has also produced The Brit Awards, The UK Music Hall Of Fame and The Pepsi Chart Show. ...Talks Music was ordered by Sky Arts channel director James Hunt and commissioning editor Barbara Lee. It will be executive produced by Gerrie, Sally Atkins and Lisa Chapman, while Shawn Tesser is the producer. Jeff Wurtz is director and executive producer. ➤ See Interview, page 22 www.broadcastnow.co.uk

News & Analysis C4 strengthens fact ent and features teams Channel 4 has boosted its factual entertainment and features teams with the hire of Channel 5 exec Ian Dunkley and former C5 exec Alex Menzies.

Dunkley joins Liam Humphreys’ fact ent team having worked across a string of C5 series, including The Hotel Inspector, Cowboy Builders and The Gadget Show. He will work alongside Tina Flintoff, Rich Evans and Lucy Leveugle.

Humphreys said Dunkley’s energy and enthusiasm will strengthen the team.

Meanwhile, former C5 features and entertainment deputy controller Menzies joins the features team. His appointment comes as Nick Hornby is made a permanent features commissioner and Katie Boyd departs for a career break.

Menzies left C5 in 2008 to become a factual formats and features commissioning executive at the BBC, with credits including Delia Through The Decades, Rick Stein’s Far Eastern Odyssey and Grow Your Own Drugs.

C4 head of features Gill Wilson said: “This is a hugely exciting time for C4 features, with many new commissions starting to appear on screen over the summer.”

Last week, it emerged that features commissioner Karoline Copping, who had been on a fixed-term contract with C4, was also leaving.

Monterosa set for US push after NBC deal BY alex farBer

Second-screen specialist Monterosa is planning a US push after striking a deal with NBC to support upcoming gameshows The Winner Is and Million Second Quiz.

The business has opened an office in Los Angeles, with plans to expand into New York later this year.

The move comes after Monterosa agreed a licensing deal with NBC to adopt its second-screen platform, dubbed ‘Lvis’.

Singing competition The Winner Is, which launches next week, will feature a playalong game in which viewers can win $10,000 by predicting who will progress.

Monterosa is also working with the US broadcaster, All3Media America and Studio Lambert to provide the interactive elements of Million Second Quiz, which is due to air in September.

The details are being closely guarded, but Monterosa commercial director Tom McDonnell said viewer engagement is vital.

“The second screen will be integral to the show,” he revealed.

“Without it, you wouldn’t have the format as it stands.”

The deals follow a partnership with NBC, forged by McDonnell, to provide second-screen support

The Winner Is: $10,000 prize for predicting successful contestants

for the recent series of Talpa Media format The Voice.

As part of its growth strategy, Monterosa is dividing its business into entertainment, sport and advertising divisions. The company is also close to appointing a USbased head of sport following the success of the Grand National Horse Tracker app for Channel 4.

A US presence is a critical part of Monterosa’s growth plan.

“The [US] market is many times bigger, both in population and number of broadcasters,” said McDonnell. “It also gives us

more credibility globally. You can’t become the de facto second-screen provider unless you’re in America.”

McDonnell added that innovation in the UK market had stalled following the success of C4’s The Million Pound Drop, but he expected more in the future.

“There’s been some dithering in the UK,” he said. “We like to be different, so when someone scores a hit there’s a reluctance for others to just copy it, whereas the mentality in other countries is to do lots more of a successful format.”

Fox partners with Broadcast forum in search for UK content BY chrIs curTIs

Fox will be the official pitching partner of Broadcast’s Commissioning and Funding Forum (CFF) next month and plans to use the event to meet selected new producers.

The pay-TV broadcaster is commissioning original UK content for the first time and has placed its first orders: Ricochet will make an ob doc series about wealthy Russians who have moved to London, while Betty will produce Man Up, a makeover show that will “turn mummy’s boys and geeks into real men”. www.broadcastnow.co.uk

It’s about emotional journeys and sexy, edgy, funny, neverseen-before TV Nicole Streak, Fox

Fox is keen to order three more shows this summer and to forge relationships other fact ent suppliers. It has teamed up with CFF to offer delegates attending the event

the chance to apply for a meeting. It will then sift through the applications and select the indies it wants to meet in a series of briefings that will take place during the event.

Fox International Channels Europe fact ent commissioning

editor Nicole Streak is leading the commissioning push.

She said: “We’re looking for shows to capture the spirit of our time that will attract co-viewing audiences of 25 to 44 yearolds. It’s about exciting new characters, emotional journeys and sexy, edgy, funny, never-seenbefore TV.” FX relaunched as Fox at the turn of the year and is pushing into new genres and audiences. It is best known for its high-profile US dramas such as The Walking Dead, True Blood and Dexter.

14 June 2013 | Broadcast | 5

News & Analysis

French drama comes calling The success of Channel 4’s The Returned proves subtitled series have a place in the schedule

BY PETER WHITE

Channel 4’s move to air French zombie thriller The Returned (Les Revenants) in a primetime slot has paved the way for broadcasters to look across the Channel for further acquisitions.

The eight-part drama attracted more than 1.5 million viewers for its Sunday debut, making it the highest-rated subtitled drama in at least 10 years, beating the likes of BBC4’s The Killing (Forbrydelsen), Borgen and Spiral (Engrenages).

The gamble to air a Frenchlanguage drama in a 9pm slot on a flagship channel looks to have paid off. C4 chief creative officer Jay Hunt told Broadcast: “It’s a big risk putting a subtitled show on a terrestrial channel because it will inevitably put off some viewers, but we believed passionately in the quality of this drama and wanted to take a chance on bringing it to the same audience who enjoyed Homeland on a Sunday at 9pm. The reaction from viewers and critics suggests it was the right call.”

But will the success of the Haut et Court-produced drama, made for French premium pay-TV broadcaster Canal+, lead to a new raft of Gallic concepts being bought by British broadcasters?

The move certainly means UK broadcasters are more willing to consider French-language series such as No Limit, a Breaking Badesque action adventure series created by Luc Besson and his indie Europacorp, and coma cop drama Falco, an Audiovisuel Beaubourg production, based on a format that has already been optioned in the US by TNT and Sylvester Stallone.

“British broadcasters are becoming more interested in international drama content. They are looking around a bit more, trying to get in early and are particularly looking at what’s coming out of France,” said John Peek, director at consultancy Tape, which recently launched a report looking at scripted content outside of the US. There are a number of recent precedents: BBC4 kicked off the 6 | Broadcast | 14 June 2013

The Returned: French zombie thriller’s 1.5 million viewers made it the highest-rated subtitled drama in 10 years

The challenge is to find out what the next big international hit will be. We need to be boxing clever James Hunt, Sky Arts

trend with Spiral, followed by Sky Arts, which bought period drama Maison Close and adult comedy Hard.

Sky Arts director James Hunt said the acquisition of world drama was an extension of the international opera and art-house cinema that its audience loves.

He added that Sky Arts scours the globe for quality drama and is careful not to buy foreign drama for the sake of it. “We’re always looking for new things and the challenge is to find out what the next

big international hit will be. We always need to be boxing clever.”

Multichannel rival Fox bought edgy police series Braquo (below) in 2011 and, more recently, acquired Jean Reno-fronted cop drama Jo. However, the latter was shot in English, an approach that could make it easier for French dramas to make the leap across to the UK. Sky Atlantic has already teamed up with Canal+ on English-language projects including heist drama The Panthers, a co-production by Haut et Court and Warp, plus The Bridge remake The Tunnel, which is produced by Kudos and Shine France.

The script for The Lost Patrol (La Patrouille Perdue), a supernatural World War I series, has been creating a buzz, while other notable projects include Capa Drama’s Versailles.

Other Canal+-backed shows include The Pelican Brief-inspired Brief ¤10m (£8.5m) miniseries Flight Of The Storks and Super Productions’ crime procedural The Big Sky. Sky

The TV remake of Jane Fonda movie Barbarella is also a hot tip for UK broadcasters. Hannibal and Hemlock Grove producer Gaumont International Television, which is behind the 13-part series, has already kicked off talks with US and UK networks.

C4 also has its eyes on landing further French fiction. Its rights division 4Rights, in association with French indie Helion Pictures, is developing an English-language adaptation of Pigalle, the Hervé Hadmar-directed stripper thriller that aired on Canal+.

It is not only Canal+ that is producing English-language French drama. Besson’s Europacorp TV has a first-look deal with TF1 to produce series including Brooklyn South, a spin-off of Besson’s Taxi film franchise set in New York.

“Since the international sales success of Les Revenants, there are many more broadcasters interested in French fiction,” said Chloe Horgues, international sales manager at French distributor Calt Distribution. “It has helped start many new conversations with English-language broadcasters in the UK and beyond.” www.broadcastnow.co.uk

News & Analysis

A tribute to Dilnott-Cooper Senior execs hail former head of Carlton, who brought eccentricity and intellect to the industry He was very good at new concepts and ideas. He had charm, integrity and knowledge

BY Lisa CampBeLL

Senior industry figures have paid tribute to the “sharp, shrewd, charming eccentric” who was at the helm of “one of the most aggressive and progressive inter­ national distributors of its time”.

Former head of Carlton Inter­ national Rupert Dilnott­Cooper lost his battle with leukaemia earlier this month at the age of 59. He enjoyed a successful career involving land­ mark deals, building a thriving international business and shaping Pact and British Television Distribu­ tors’ Association (BTDA) policy.

Dilnott­Cooper was educated at Eton and Oxford and began his career in licensing at Warner Bros.

He then joined ITC Entertainment before working at Central Televi­ sion for seven years as head of con­ tracts and copyright.

He became general manager/ director of business affairs at Central Television Enterprises (later Carlton International) in 1988 and was the founder director of its international TV arm.

He was made chief executive of Carlton Content in 2000, a year after securing the ‘jewel in the crown’ in Carlton’s library: the acquisition of ITC’s film and TV titles from Universal Studios for £90.5m. It was a landmark deal that created one of the world’s

Clive Jones

Dilnott-Cooper: helped to put international distribution on the map

largest film libraries and strength­ ened Carlton’s position as the biggest commercial distributor of UK programmes.

He also had the idea of reviving the Thunderbirds franchise, which, according to former ITV executive Clive Jones, was something few thought would work.

“He was very good at new concepts and ideas and he proved everyone wrong when Thunderbirds became an amazing success.”

Jones added: “He had enormous charm, integrity and knowledge.”

Channel 4 director of com­ mercial affairs Martin Baker, who

worked with Dilnott­Cooper at Carlton and Central said: “As an individual, there is no comparison.

He was eccentric, intellectual and the best mentor and leader of people you could imagine. He inspired a lot of affection in a lot of people.”

Another former colleague, All­ 3Media’s Louise Pedersen, said: “He was a fantastic communicator – with a large dose of classic English eccentricity thrown in, which meant he was particularly loved by the North Americans.”

Fellow All3 executive Jules Burns added: “People enjoyed his arche­

typal, slightly mad English eccen­ tricity. It was quite seductive.”

Dilnott­Cooper was also founder director of the BTDA, fre­ quently lobbying ministers at the Department for Culture, Media & Sport. Former Fremantle Media chief exec Tony Cohen said: “He was one of those guys who put British distribution on the inter­ national map.”

He was as passionate about film as TV, and most recently was UK director of the Canadian Film Centre. He was also non­executive director of a wide range of compa­ nies including Base79 and, as a former non­exec of Darlow Smith­ son, is credited by John Smithson for playing a “crucial role” in its sale to TNI/IMG in 2006.

A memorial will take place in November, with further details to be announced. His wife of 34 years, Kate, and his sons William and Edward, ask that any dona­ tions be sent to Cancer Research UK, c/o Leverton and Sons Ltd.

“using the aleXa has been a really good call on my recent projects; it is versatile and allows me to get theatrical quality on even the toughest schedule.” cinematographer John Pardue

The Girl director J Jarrold, The Bletchley Circle director a de emmony, Endeavour ‘Rocket ‘ director c Viveros, An Adventure in Space and Time director T mcDonagh

Truly cinemaTic www.arri.com/alexa

www.broadcastnow.co.uk

14 June 2013 | Broadcast | 7

News Review Keys and Gray quit talkSPORT show for TV

BROADCASTERS

Cohen appeals for more collaborative culture at BBC BBC director of television Danny Cohen has demanded “measurable change” on internal collaboration and asked each TV team to include it in their strategic plans. In an internal staff email, the former BBC1 controller said working together will be key to the future success of the corporation’s television output and insisted that collaboration must be improved across the board. Cohen is keen to foster more productive relations between programming genres, commissioning and production teams and channels, and between radio and other areas of the BBC.

BBC resigned to strikes over pay and settlements The BBC is braced for further strike action over pay and redundancy terms, but has reached a compromise with unions over job cuts and working conditions linked to Delivering Quality First.

Leaders at broadcasting unions Bectu, the National Union of Journalists and Unite have already rejected the offer of a £650 raise for staff earning less than £60,000, along with other allowances. It will now be put to a members’ vote, closing on 4 July.

Separately, the BBC agreed to a four-month review into the effect of DQF on employees.

Sky gives short shrift to Xbox One set-top rumours Sky has dismissed reports that it is to use the forthcoming Microsoft Xbox One games console (above) as a set-top box platform.

Its denial follows a report in video game publication MCV that Sky was looking to work with the console manufacturer to allow subscribers to use it in place of their set-top box. The console, revealed in May, will allow users to view live TV channels and the company is talking to international producers and distributors 8 | Broadcast | 14 June 2013

Yahoo! and Sky News are to produce three original co-commissioned video series and create an online hub for Sky News morning show Sunrise. The on-demand shows, which run for 12 weeks, will be Joey Jones-hosted current affairs debate Thinking Aloud, personal finance show Loose Change, presented

by Poppy Trowbridge and Ursula Errington, and The Lab – a series of shorts about young British inventors. about launching original programming on the service.

PROGRAMMING

Lovefilm to stream Stephen King’s Under The Dome UK streaming service Lovefilm will offer subscribers Stephen King’s thriller Under The Dome after coming on board the CBS Studios-produced series. The deal between Lovefilm owner Amazon and CBS Studios was part of the drama’s original commission, with the online retailer also distributing it via its subscription VoD service in the US. As reported in Broadcast last week, Channel 5 has already acquired the free-to-air rights to Under The Dome, which is produced by Steven Spielberg’s Amblin Television. The series will air in the autumn, ahead of the Lovefilm release.

Logan takes baton for Olympic legacy show Gabby Logan (right) will present a BBC1 magazine show examining the legacy of the London 2012 Olympics as part of the corporation’s objective of boosting participation in sport. Logan will

front Inspire: The Olympic Journey, which will air monthly on Saturday afternoons from 27 July – exactly a year after the Olympic opening ceremony in London. The BBC in-house series will take a detailed look at the stories behind the Olympic sports, explore the big issues and introduce Britain’s most promising young sportspeople.

Richard Keys and Andy Gray are to end their mid-morning show on talkSPORT to return to television more than two years after the sexism scandal that forced them out of Sky. The football pundits will quit their three-hour Sony Radio Academy Award-winning weekday show, but have signed up to front a new Friday evening football preview programme for the commercial radio station. The pair have also reportedly signed up to present a range of football programmes for English-language channel Al Jazeera.

Up The Women moves to BBC2 for second run Jessica Hynes’ BBC4 suffragette comedy Up The Women will return for a second series on BBC2.

Controller Janice Hadlow commissioned an extended 6 x 30-minute run of the sitcom, which centres on a 1910 suffragette movement in Banbury, before its current series ended on BBC4. Up The Women will again be produced by Baby Cow Productions and the BBC in-house comedy unit. Hadlow ordered the second run alongside comedy controller Shane Allen.

BBC2 orders arts docs from Bragg and Gatiss A Melvyn Bragg-fronted doc about radical political thinkers John Ball and Thomas Paine and a Mark Gatiss reimagining of MR James’ The Tractate Middoth are among a raft of new arts shows ordered by BBC2. Melvyn Bragg’s Radical Lives will be produced by indie Directors Cut. Gatiss’s James adaptation will be accompanied by a single doc, presented by Gatiss, about the horror writer’s life. Separately, art historian James Fox will front a three-part in-house series exploring the British Renaissance. The channel has also commissioned a four-part BBC America co-pro exploring science fiction called My God, It’s Full Of Stars: A Journey To The Edge Of Fiction.

Science Fiction

PEOPLE

Bauer’s Richard Maddock completes R5 Live team BBC Radio 5 Live has hired Bauer Media executive Richard Maddock (above) to lead commissioning as new controller Jonathan Wall completes his senior management team. Maddock joins as commissioning editor after 20 years at commercial rival Bauer, where he was latterly programme director for the north-west. He will be responsible for ordering a range of content from indies as well as overseeing planning for major events. Wall, who was named as Adrian Van Klaveren’s successor in February, has also promoted assistant editor Heidi Dawson to the role of editor. www.broadcastnow.co.uk

BAFTA, 195 Piccadilly

S ST ET FA CK G TI IN LL SE

2nd July 2013

£3bn of commissioning money in one place.

Where are you going to be?

Danny Cohen, Director of Television, BBC Peter Fincham, Director of Television, ITV Stuart Murphy, Director, Entertainment Channels, Sky DANNY COHEN

Ben Frow, Director of Programmes, Channel 5 Rachel Ball, Manager, Content Partnerships, YouTube Anthony Rose, Co- founder & CTO, zeebox David Ellender, CEO, FremantleMedia International and Kids & Family Entertainment

PETER FINCHAM

Darren Devitt, Head of Commercial Partnership Development, EMEA, Machinima Alex Graham, CEO, Wall to Wall Robert Ramsey, Partnership Leader, Channel 4 Leo Ryan, Head of Social, Ogilvy Selma Turajlic, Co-founder & COO, Little Dot Studios

STUART MURPHY

Ashley Mackenzie, Founder & Chief Executive, Base 79 Zoe Collins, Managing Executive Producer, Fresh One Productions Gary Woolf, Senior Vice President, Digital & Business Development, All3Media Derren Lawford, Head of Content, Livity Pitching Partner

BEN FROW

for updates #CFForum

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Commissioning News

Victory goes to school for BBC3 The series will follow the trainees as they battle crumbling buildings and apathetic students

BY caroline ParrY

BBC3 is building on the success of acclaimed documentary series Junior Doctors with a look at the lives of six trainee teachers during their first year at three challenging London schools.

The 6 x 60-minute Brand New Teachers (working title) from Victory Television has been granted unprecedented access to TeachFirst, a fast-track training scheme that takes the brightest young teaching graduates and places them in tough schools after just a few weeks’ training.

The series will follow the trainees as they battle with crumbling buildings and insolent, apathetic students, while also examining the tough issues facing young people in education today.

Brand New Teachers is executive produced by David De Haney for Victory and Fiona Campbell for the BBC. It is Victory’s second commission from BBC3 this month after the channel ordered one-off film Suicide: Sport’s Dark Secret, which will take a look at the other side of some of the UK’s

Channel 5 checks in for Hotel Inspector spin-off Channel 5 has ordered a spin-off of its successful long-running franchise The Hotel Inspector. The Northern & Shell-owned broadcaster has commissioned Twofour to make The Hotel Inspector Returns, in which host and hotelier Alex Polizzi (pictured) returns to some of the hotels and guesthouses that have featured in the previous nine series of the show.

The 4 x 60-minute series was ordered by Channel 5 commissioning editor for factual entertainment Ian Dunkley, and was executive produced by Twofour’s Melanie Leach and Dan Adamson. Kent Upshon is the series producer.

“Alex has visited some challenging hotels in the past, and this series 10 | Broadcast | 14 June 2013

Stacey Dooley: BBc3 has ordered three episodes of drugs documentary

biggest sports. The doc will be fronted by former footballer Clarke Carlisle and will air as part of the channel’s mental health season.

BBC3 has also commissioned Shoplife (working title), a 6 x 60-minute in-house fact ent series following staff from Newcastle’s MetroCentre, the UK’s largest shopping centre.

The 18 to 25 year-old retail assistants have been brought together by the show, which will follow their exploits as they form

relationships, in a bid to give the series a soap opera edge.

A spokesperson said the series aims to offer “a thought-provoking reflection of real youth life in 2013”. It is exec produced by Elliot Reed for the BBC. Meanwhile, the channel has ordered a further three episodes of Watershed Television’s Stacey Dooley Investigates.

Stacey Dooley Investigates: New Drug Frontiers (working title) is a 3 x 60-minute series in which

will give viewers a chance to see if they’ve continued to follow her advice,” said Upshon.

the BBC alongside Andrews and Mammoth’s Damien Timmer.

BBC1 hands second outing to Mammoth’s Blandings BBC1 comedy Blandings has been handed a second series. The show, starring Timothy Spall and Jennifer Saunders, is based on PG Wodehouse’s Blandings Castle books, adapted by writer Guy Andrews, and is produced by Mammoth Screen. It will return for a 7 x 30-minute run early next year and will be filmed in Northern Ireland with the support of Northern Ireland Screen. Blandings was commissioned by director of television Danny Cohen and comedy controller Shane Allen. It will be exec produced by Kristian Smith for

Channel 4 tackles ballet in raft of arts series Channel 4 has ordered a raft of arts series including a Swan Lakethemed ballet series from Rare Day. Big Ballet is 3 x 60-minute Wayne Sleep-fronted series that follows a group of plus-size dancers looking to produce their own version of Swan Lake. Rebuilding The World Trade Centre is a one-off doc produced by Lion Television in association with director Marcus Robinson.

Other series include hour-long doc Chopin Saved My Life, produced by Oxford Film and Television, Fresh One’s James Rhodes: Notes From The Inside, and previously announced Bjork And Attenborough: The Nature Of Music from Pulse Films and Seneca Productions’ Grayson Perry – Who Are You?. All of the docs were ordered by arts commissioning editor Tabitha Jackson.

Dooley will travel to remote and hostile regions including Peru, Thailand and Ukraine to focus on the new battles being fought in the global war on drugs.

Speaking to producers, traffickers, addicts and locals, she will examine the impact drugs have on people’s lives, and what lawenforcement agencies are doing to stop their spread. Executive producers are Mark Rubens for Watershed and Campbell for the BBC. The shows were ordered by BBC3 controller Zai Bennett.

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

Robson Green goes back to his roots for ITV Robson Green (below) is to front two factual series for ITV that will draw on the actor’s northern roots.

Shiver will produce 8 x 30-minute Robson Green’s Northumberland (w/t), in which Green returns to

the county where he was born. He will also feature in Silver River’s 2 x 60-minute How The North Was Built (w/t), telling the story of how the region became the workshop of the world after the industrial revolution. Both shows were ordered

by ITV controller of factual Jo Clinton-Davis. www.broadcastnow.co.uk

For more projects in development and the latest commissions, visit

http://greenlight.broadcastnow.co.uk

Q&A IAIn Coyle iain coyle commissioning editor, UKTV What’s your most recent commission and why?

Give me a chance, I’ve only been here 10 minutes. Currently, I’m looking after Dave Gorman Modern Life Is Goodish, (commissioned by Richard Watsham).

Gorman is the sort of top comedy talent with whom we want to work.

How much has the programme changed from what was initially pitched?

The challenge was to help the good people at Liberty Bell turn the brilliance of Gorman’s Powerpoint Presentation into a unique telly proposition.

What’s the worst line you’ve heard in a pitch?

“And then if they fail to get laid, we’ll take them to see a prostitute.”

Not my best idea.

What’s your riskiest commission and why?

Ross Noble Freewheeling: its USP is that neither Ross nor the production team know what’s going to happen.

What’s your top pitching tip for producers?

Be honest.

Which TV character is most like you?

Spender.

Which TV character/personality would you most like to be?

Jeff Stelling.

What was it that grabbed you?

The genius of Dave Gorman’s distinctive voice.

What’s your guilty pleasure?

As any lapsed Catholic will tell you, there is no pleasure in guilt.

How quickly do you aim to respond to an idea?

As quick as I can, but sometimes: “It’s complicated.”

What has been your greatest achievement?

Getting through another day without getting found out.

What would you like more of?

Time, money and quiet.

What has been your biggest disappointment?

Police Academy 7: Mission To Moscow.

What’s a definite no for you?

Aubergine.

What is the most important lesson life as a commissioner has taught you?

There’s actually quite a lot to do.

Who has final sign-off?

Jane Rogerson and Emma Tennant.

How should producers pitch to you?

Any way they want.

What’s the best line you’ve heard in a pitch?

“Sorry, I’ve just been sick.”

How would you like to be remembered?

As 70% Stalin, 30% Angela Lansbury.

Further information and programming tariffs available at: http://greenlight.broadcastnow.co.uk

ReCenT CoMMIssIons

Ross Noble FReeWHeeliNg (DaVe)

DaVe goRmaN moDeRN liFe is gooDisH (DaVe)

Duration 6 x 60 minutes Indie North One Commissioners Richard Watsham and Steve North

Duration 6 x 60 minutes Indie Liberty Bell Commissioners Richard Watsham and Steve North

www.broadcastnow.co.uk

14 June 2013 | Broadcast | 11

International

Sony hires head of acquisitions Sony Entertainment Television is looking to acquire more high-profile series and movies

BY Peter WHIte

Sony Pictures Television is to boost investment in its UK general entertainment channel Sony Entertainment Television with the hire of former Chello Zone and Lovefilm acquisitions boss Steve Cole.

The channel, which launched in April 2011, is looking to acquire more high-profile series and films.

Last year, it picked up three seasons of Betty White-fronted US sitcom Hot In Cleveland, which previously aired on Sky Living.

Cole joined last week in the newly created position of director of acquisition and programming for the UK channels. Along with the flagship channel, he will be responsible for buying all linear and digital content for Sony’s channels, which include the Sony Movie Channel, Movies 4 Men, More> Movies and its VoD services.

Cole spent more than 11 years at Chello Zone, the channels and content arm of Liberty Global, where he was senior vice-president of channels. He was responsible

for 12 channel brands, including the Horror Channel, Food Network, kids’ station JimJam and Extreme Sports, as well as networks including Reality, Drama and Action, which form part of its joint venture with CBS. After leaving in December 2010, he worked in acquisitions for

Amazon streaming service Lovefilm, where he negotiated secondpay and library movie deals for the subscription VoD platform, and Vodafone, where he acquired content for its digital television services in Germany.

Female-skewing channel Sony Entertainment Television airs on

BBC Worldwide revs up for Top Gear week

BBC HD and BBC Entertainment in Latin America.

Geo senior vice-president of programming and development Alan Eyres and president Howard T Owens. The series will be exec produced by Nutopia founder Jane Root, Peter Lovering and Nat Geo’s Erik Nelson, while Fred Hepburn will be supervising producer.

BBC Worldwide is scheduling a week of Top Gear programming across its network of channels.

Shows such as Top Gear’s Top 41, Top Gear Top Fails, Top Gear Festival – Sydney and The Worst Car In The History Of The World will all be broadcast from 19 to 26 August across the BBC’s channels globally. Top Gear’s Top 41, presented by Richard Hammond (pictured), will count down the show’s best moments over the years. Meanwhile, Top Gear Top Fails will include some of the most iconic “ambitious, but rubbish” challenges the team have taken on. The shows will screen across BBC Knowledge (Nordics, Poland, Asia, Australia and South Africa) and 12 | Broadcast | 14 June 2013

Hot In Cleveland: the former Sky Living sitcom was picked up by Sony

Nat Geo heads back to the ’90s with Nutopia National Geographic is heading back to the ’90s with a follow-up to Nutopia’s hit mini-series The ’80s: The Decade That Made Us. The international factual broadcaster has ordered the follow-up to the three-night, six-hour miniseries that aired earlier this year. It will look at the popularity of email, the Human Genome Project, grunge, the Clinton era and the Friends phenomenon. The ’90s: The Last Great Decade? will air on US cable network Nat Geo in 2014 as well as its international portfolio of channels. It is Nutopia’s latest high-profile commission in the US and was ordered by Nat

Sky 157 and Virgin Media 193. It has a mix of Sony library series, including Community and ’Til Death, US acquisitions such as MGM’s Will & Grace and NBC Universal’s Crossing Jordan, British series such as Spooks, Hustle and Holby City, as well as movies from Hollywood studios.

Separately, its classic film network Sony Movie Channel airs on Sky 323, while Movies 4 Men and More>Movies both air on Sky and free-to-air satellite platform Freesat.

Cole will report to Kate Marsh, senior vice-president, Western Europe, who oversees the Sony Pictures Television networks in the UK, Italy, Iberia, the Netherlands, Scandinavia and France.

series will be exec produced by Markus Davies, who exec produced Nat Geo’s Battleground Afghanistan, and series produced by Paul Yule. It is expected to air from September through to December.

Jamie’s Dream School opens in South Africa South African broadcaster e.tv has commissioned a local version of Fresh One factual entertainment format Jamie’s Dream School. It comes after Jamie Oliver’s production company secured a six-episode order for the series in the US with the Sundance Channel, which will feature celebrities including rapper 50 Cent. The South African terrestrial broadcaster has ordered 13 x 30-minute episodes of the show, which follows celebrities as they teach kids a variety of subjects. The South African celebrities will include former Leeds United footballer Lucas Radebe. The

ITV’s Mr Selfridge makes a splash in 99 territories ITV hit period drama Mr Selfridge (above) has been sold to 99 territories after the broadcaster’s international sales arm closed deals in Africa, Italy and the Netherlands.

ITV Studios Global Entertainment has sold the Jeremy Piven-fronted drama to BBC Entertainment across Africa; to the Diva Universal www.broadcastnow.co.uk

For all the latest breaking news, updated daily, visit www.broadcastnow.co.uk

INTERVIEW JENNY DALY

Indie boss on the hunt for more Storage T Group’s Jenny Daly talks to Peter White about her biggest hit and international ambitions

U

S production company T Group has grown from being the Los Angeles arm of defunct international distributor Target Entertainment to one of America’s hottest indies, with hits including Storage Hunters. It is now working with A-list names such as Jack Black, moving into new content areas and expanding its international business.

The company was formed by former E! Entertainment development exec Jenny Daly to produce US versions of Target’s international formats. Between 2008 and 2010, Daly rebranded the business as T Group and began producing her own cable-focused shows after Target collapsed during the global recession.

Auction format Storage Hunters, which airs on Turner-owned truTV in the US and Dave in the UK, was T Group’s first breakthrough.

Daly says she is keen to produce more returnable series, pointing to Storage Hunter’s 35 existing episodes, with the potential for many more. “I want to make original content that’s broad. I want to grow T Group into a house that can do any genre,” she says.

The indie has also succeeded where many US producers have failed by retaining its

Channel, which is owned by NBC Universal, in Italy; and Dutch public broadcaster NPO. This follows deals in Australia with Seven Network, in New Zealand with TVNZ, in Canada with Vision TV, with Sundance across Asia, and with MBC across the Middle East. It also comes after ITV recommissioned the Andrew Davies-penned drama for a second 10 x 60-minute series.

Zodiak signs deals for Beeny property show Sarah Beeny (right) is heading to Australia and Scandinavia after Zodiak Rights closed deals for Double Your House For Half The Money.

The primetime property series, which is produced

by Zodiak-owned Red House Productions for Channel 4, has been sold to TV Norge www.broadcastnow.co.uk

Left to right: Storage Hunters; Jenny Daly

lucrative ancillary rights. Daly says: “For most companies, it’s difficult to retain international rights, but I was able to have more success in this because of my experience, so I could retain back-end rights to shows like Storage Hunters.”

T Group’s latest series is National Geographic’s Divine Intervention, in which a group of renovators give places of religious worship a physical makeover.

“It’s an inside look into different religions and how people promote them,” says Daly.

(Norway), TV2 (Denmark), Viasat (Sweden), Foxtel (Australia) and Shaw Media (Canada), as well as to House Channel across Englishspeaking Africa. The show follows Beeny as she helps families supersize their homes at a fraction of the cost of moving to a new dream house. The international deals come after Channel 4 renewed the series for a second 10 x 60-minute series, an increase of four episodes from its first run. The first season, which aired at the end of last year in a Tuesday 8pm slot, averaged 1.7 million (6.58%) viewers, up slightly on the channel’s 12-month slot average of 1.56 million (6.7%).

T Group is also swapping formats with international producers as it looks to expand.

It struck a deal with international formats group Eccho Rights to produce a US version of Japanese format Hide And Seek with Jack Black’s indie Electric Dynamite. In return, Eccho will get the rights to T Group’s Oxygen format Secret Celebrity.

“We’re moving aggressively into this area,” says Daly. “I want to do more of it. I’m talking to UK partners and hopefully it will become a sustainable business model.”

BBCW sells Incredible Mr Goodwin internationally

Alison Sharman heads Down Under to join SBS Former ITV director of factual and daytime Alison Sharman (above) is moving to Australia to join public broadcaster SBS as head of commissioning. Sharman left ITV in February after seven years at the broadcaster. She will be responsible for commissioning across SBS’s two channels and will work on genres including drama, comedy and factual.

SBS is Australia’s second-largest public broadcaster after ABC, and airs series including dramas East West 101 and Danger 5.

Sharman will take up her new role in August.

The Incredible Mr Goodwin will take his elaborate stunts around the world after BBC Worldwide made a number of international sales. The distributor has sold the UKTV series into 11 territories including the US, Germany and Australia. US cable network BBC America has bought the five-part series, which airs on Watch in the UK, along with ABC (Australia), Antena 3 (Spain), Channel One (Russia), MTV (Finland), VPRO (Holland), Screen One (Iceland), TV3 (Denmark), Viasat (Norway) and TV4 (Sweden). German commercial broadcaster ProSiebenSat.1 has also bought the series, but will produce its own Goodwinfronted content around the show.

ProSiebenSat.1 is working with BBCW and UKTV to turn the series into 2 x 180-minute specials, and has filmed new material in Munich in association with German indie Tango Film.

14 June 2013 | Broadcast | 13

Multiplatform News IN BRIEF Renault hires Little Dot All3Media’s YouTube-focused indie Little Dot Studios has landed a content-production deal with Renault. Little Dot has partnered with advertising agency Publicis Entertainment to produce around three videos per week for the Renault TV channel. The content is focused predominantly on YouTube, along with wider distribution via mobile and tablet apps.

BGT draws 1m downloads ITV’s Britain’s Got Talent mobile app was downloaded more than 1 million times during the series, while the finale on Sunday drew 820,000-plus tweets from more than 320,000 viewers. The final episode was by far the most tweeted-about, with just under 3% of the 11 million live viewers commenting on it on Twitter, according to data from SecondSync.

Chello installs VoD chief Channel manager Chello DMC has appointed its first director of VoD services as it ups its focus on non-linear content. Mike Riegel, former KPN head of online strategy, will help to develop VoD services for Chello’s portfolio of more than 70 channels from its Amsterdam base.

“With a focus on execution and fulfilling commercial promises, we’ll create a more powerful VoD service for our clients,” he said.

BBC unveils weather app BBC Weather has launched a free iOS and Android app following a big rise in the number of users accessing the service via mobile devices. The app automatically locates a device before serving relevant data, including a five-day forecast, pollen count and UV and humidity levels. Android users are able to share favourite locations with another device by touching the two together.

For the latest breaking news www.broadcastnow.co.uk 14 | Broadcast | 14 June 2013

Fremantle’s Allen to lead TV push at Digital Animal

BY ALEX FARBER

Fremantle Media chief operating officer Dan Allen has joined social media engagement company Digital Animal to lead its push into TV. Allen, who worked at Fremantle for 17 years, has joined as managing director of Digital Animal’s media, music and entertainment division, with a remit to convince broadcasters and producers to adopt its FanDistribution service.

The service tracks the way content is shared by users across social media platforms, including Twitter and Facebook, and allows media companies to target optedin fans to boost exposure.

Allen said the self-service platform enables content owners to target key influencers.

“Some people have a lot more power than others to get the word out there about new shows,” he said. “You’re then able to reward or incentivise those people to continue to share the things they love with their network.”

He added that tickets to screenings and live events, or the opportunity to meet the stars of shows, could be offered to fans who help to generate views of an

Dan Allen: remit to convince broadcasters to use FanDistribution service

TV hasn’t yet cracked having a direct relationship with the audience Dan Allen, Digital Animal

online trailer or new subscribers to a YouTube channel, for example.

Digital Animal was established in 2011 by music industry entrepreneur Martin Heath, who designed the platform to help promote bands, before it was adopted by brands including BT, Domino’s and Tesco.

Allen said the TV industry has evolved sufficiently to give him the confidence to leave the super-indie and bring his experience to the emerging platform.

“TV hasn’t yet cracked having a direct relationship with the audience,” he said. “Producers have a relationship with broadcasters, which have a relationship with advertisers. No one has a direct relationship with the viewers.”

Heath added: “Dan will bridge the gap between the brave new world of technology and the power of mass-distribution broadcast systems, creatives and the brands that support them.”

WEB WATCH IN LIMBO

A

n interactive iPhone film that allows viewers to browse a scene panoramically has been produced by 360º video specialist Full Circle.

In Limbo is part of a new wave of films being produced using technology similar to Google Street View.

While recent high-profile 360º projects have included music videos and live fashion shows, In Limbo is thought to be the first that allows viewers to eavesdrop on a variety of conversations.

The short, filmed at Imperial College London, is set in a busy airport departure lounge. Viewers are able to swipe around the scene to listen to the characters, including café manager Baldeep, pensioner Frank and chess-playing pilot Geoff.

Co-writer Leo Bridle said there is no correct way to experience the film.

“360º films have huge potential as a way of telling complex, non-linear stories,” he added. “There’s no single focus, and the viewer becomes the editor, creating their own journey through the film.”

Developers Full Circle Interactive, Theworkers.net, Hammersnail URL www.inlimbofilm.com

www.broadcastnow.co.uk

Technology & Facilities CREATivE REviEW

Airport Live

pLAyhouse presents: Gifted

dAtes

Titles and GFX Light Creative Client BBC Brief Create a modern and sleek look for the four stripped shows that chart the day-to-day running of Heathrow Airport. The graphics needed to illustrate the programme’s complicated scientific explanations, which are used to offer an insight into the juggling act required to run Heathrow.

How it was done Creative director Ant James’ concept involved creating a 3D representation of Heathrow and giving it a graph-paper feel to soften the scientific content. The titles show a plane traversing from the real world into the graphical, introducing the graphic theme that will be used within the show. The core team that designed more than 10 minutes of animation comprised Max Joseph, James Taylor and Duncan Dix, all of whom used Maxon’s Cinema 4D. Watch it Monday 17 June, 8pm, BBC2

Post The Farm Client Baby Cow Brief Provide finishing post on the Sky Arts drama about a man who is crippled by a secret ability.

How it was done Senior colourist Colin Peters graded the drama on the Nucoda Film Master, creating a cool, industrial and futuristic guise for the Docklands locations. Nucoda’s secondary colour-correction tools allowed cyan and blue tones to be injected into the drama. Peters also used the Nucoda’s auto tracker of shapes to retain flesh tones, as well as applying vignettes and grads. Dubbing mixer Tom Corbett mixed the programme using Pro Tools 10. With Rhys Ifans’ character locked in an isolated world, Corbett’s brief was to bring the outside in, removing everything apart from the calls of a flock of seagulls as he stands alone in his office, highlighting his isolation.

Watch it Thursday, 9pm, Sky Arts

Picture and audio post Deluxe 142 Client Balloon Brief Complete picture and audio post for the nine-part drama, which is part of the Channel 4’s Mating Season.

How it was done With a different creative team working on each film, colourist Paul Staples used Nucoda Film Master to develop a coherent visual style for the series, which was shot with an Arri Alexa.

Dubbing mixer Mathew Knights created a sparse soundscape that focused on the dialogue, requiring him to justify every sound that was placed. Online editor Adam Eddy modified some images on the London Underground to fit the narrative of the story. This involved some complex tracking and the creation of images with a backlit look. Eddy used a combination of Mocha and After Effects to piece the sequences together.

Watch it Tuesdays and Wednesdays, 10pm, Channel 4

You can view clips at broadcastnow.co.uk/techfacils/creative-review To include your work email george.bevir@broadcastnow.co.uk

Sohonet launches cloud media storage service Sohonet has launched a storage service, described as the first private cloud service platform optimised for the media sector.

Accessed via Sohonet’s Media Network, the pricing of the service is designed for businesses that work on shortterm projects. The service allows users to pay per terabyte on a monthly basis, with prices ranging from £45 per terabyte per month, to £28 per terabyte for businesses committing to using 100TB of storage over 18 months. Sohonet chief operating officer Damien Carroll (pictured) said: “The new service will enable content producers to manage more projects and internal 16 | Broadcast | 14 June 2013

resources without having an impact on capital expenditure.”

BBC boosts live tennis coverage for Wimbledon The BBC has increased its live coverage of this year’s Wimbledon tennis tournament, with 10 live streams to be made available to PC, tablet, mobile and connected-TV viewers. The 127th championship will also be broadcast on BBC1 and BBC2 in SD and HD.

Entries open for RTS Young Technologist Award Entries are now open for the RTS Young Technologist Award 2013.

The award is open to early-career engineers in the broadcast or related industries. Judges will seek

applicants who can demonstrate how the award would enhance their understanding of technology’s role in television and its allied fields, and how they will share their understanding. The winner will receive a trip to the IBC trade show in Amsterdam in September. The deadline for entries is 1 July.

True North links with Flix for MediaCityUK facility Leeds-based indie True North has joined forces with Manchester post facility Flix to open a production hub at MediaCityUK in Salford.

The two companies will set up a facility with 10 edit suites at The Pie Factory (above right), with Flix providing an in-house edit service for True North. True North currently has 19 edit, dubbing and online suites in its in-house post set-up at its Leeds HQ. True North managing director Marc Allen

said: “We could have stayed in Leeds and kept our head down or gone further afield, and we decided to reach out towards the talent and commissioning base at MediaCityUK.” GB Labs’ network storage system will be used for Avid project-sharing and media archiving across the Salford and Leeds sites.

Broadcast teams swing into action at charity golf day A charity golf day for the broadcast industry has raised £400 for First Touch, a charity that supports St George’s Hospital’s neonatal unit www.broadcastnow.co.uk

For the latest technology and facilities news, updated daily, visit www.broadcastnow.co.uk/techfacils

Evolutions launches Bristol hub to meet post demand BY george Bevir

Evolutions is expanding with the launch of a 30-suite post-production facility in Bristol.

The London-headquartered firm is spending £1m kitting out the building on Whiteladies Road, which will house 20 Avid Media Composer editing suites plus Avid Symphony online suites, two Pro Tools 11 dubbing theatres and a colour-grading suite.

“There is so much work in Bristol,” said Evolutions managing director Simon Kanjee. “Having had discussions with our existing indie clients in London and local producers in Bristol, we believe there is significant demand for the scale, speed and quality of post-production service that we can offer.”

Kanjee said he already had some “very interesting jobs” lined up, but was unable to reveal further details. The facility’s first job is scheduled to start on 24 June, with a full launch of the facility due to take place around mid-August.

evolutions: post facility will spend £1m kitting out new Bristol base

The Whiteladies Road operation will be run by 20 staff, most of whom will be new recruits. Evolutions started recruiting for the facility this week.

“There haven’t been any new post-production companies in Bristol for a long time, so it will be exciting for the talent down there and I expect to see quite a few applications,” said Kanjee. “In the short term, we will bring staff from London to make we sure hit the

ground running, but we will start interviewing immediately.”

Kanjee said opening the Bristol base would not result in a reduction in capacity at its London premises and there would be no change to the 80 picture suites at its Berners Street, Great Pulteney Street and Wells Street facilities.

Evolutions’ credits include The Apprentice for BBC1, One Born Every Minute for Channel 4 and The Only Way Is Essex for ITV2.

in London. Six teams of golfers made up of figures from post-production, hire, recruitment, finance, OB and manufacturing firms were sponsored by Fineline Media Finance, Miranda Technologies, Tektronix, Sony, Panasonic and Wohler. The Fineline team scooped the overall prize. Individual winners were LipSync financial director Norman Merry and Deluxe Media Europe chief operating officer Lesley Marr. Jack Rice of Caspian One took the longest drive prize and Laurie Reed of Hireworks was the recipient of the endurance prize.

cuts, mixes or wipes, and display a keyer with DVE functions. The ability to add in up to four additional mix effects is built into the HVS-390HS (below), and FOR-A is offering a wireless LAN interface for configuration and control from tablets.

spectrum launch. The issue, caused by the rollout of 4G at 800 MHz, is likely to affect homes with Freeview as their main TV service. Last year, chairman of the Culture, Media and Sport Select Committee John Whittingdale said as many as 2.3 million homes could be affected.

FOR-A adds features to HvS-390HS mixer

At800: 90,000 face service disruption from 4G upgrade

FOR-A has added a number of features to its HVS-390HS production mixer. The new functionality includes an extension of the aux bus system that allows operators to deploy aux bus transitions with

At800, an organisation that is funded by the UK mobile operators with licences to provide 4G mobile services, has estimated that 90,000 households will experience disruption from the new

www.broadcastnow.co.uk

JCA restores Prime Suspect catalogue for iTvS GE JCA has restored all seven series of Prime Suspect for ITV Studios Global Entertainment. JCA commercial director Matt Bowman said it was a challenging series to work on. “The hundreds of hours stored on uncut rushes reels needed conforming and eyematching to the SD TX master,” he said. “Originally shot on 16mm and delivered in a number of formats, we had to handle the material with great care. By handpainting and applying grain treat-

Deluxe relocates northern office to MediaCityUK Deluxe is relocating its access services operation with the launch of a facility at MediaCityUK. Deluxe is shifting its north of England office from Gateshead to Salford to be closer to ITV’s burgeoning MediaCityUK operation.

From July, a 15-strong team will be based at MediaCityUK’s The Landing to work on live and prerecorded subtitles, as well as audio description services. The Salford base will also act as a disaster recovery facility for Deluxe’s Acton-headquartered access services team.

Managing director of Deluxe Media Europe Chris Higgs said the initial focus would be on access services, but Deluxe viewed the move as a “first step” towards offering a wider range of services to media firms in the area.

“We see an opportunity to offer transcoding and digital content management services to producers and to help move their content to different platforms,” he said. “The move to Salford is part of our strategic vision to align our media management services with the creative hubs around the country.”

ments in a delicate manner, we managed to get an HD master of a similar quality to a 35mm film production, which is therefore suitable for HD transmission and Blu Ray distribution.”

Framestore opens in LA Framestore’s LA operation has opened for business. Framestore co-founder and chief executive William Sargent said: “We’re a flexible company, where talent from different locations comes together on larger projects, which means we have a greater capacity to explore areas of innovation like real-time CG and second-screen opportunities.” The studio in Culver City will be led by creative director Aron Hjartarson, senior flame and VFX supervisor Alex Thomas, with Kati Haberstock as executive producer, Ben West as head of CG and Mary Nockles as producer.

14 June 2013 | Broadcast | 17

Comment

You need more than a couple of great productions if you’re going to smash through the glass ceiling Malcolm Gerrie, Interview, page 22

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18 | Broadcast | 14 June 2013

TV is a window on the world Whither our Chaucerian poetry X Factor? asks Daisy Donovan

“W

e get 70 million viewers on Millions Poet. Seven zero.”

This was music to a broadcaster’s ear, but not to mine. I was silent.

Yes, 70 million people across the Arab world were about to see me perform a self-penned poem translated into a Bedouin dialect, which I learned the night before. I do not speak Bedouin, nor am I a poet.

But this was all in a day’s work for my Channel 4 series The Greatest Shows On Earth (pictured). As we had discussed in the pitch meeting for the pilot: “If it’s not brave, if it doesn’t feel different, it’s not worth doing.” It felt different alright; insane might be a better word. But as I walked on stage, having been trained by a niqab’d poetess, tracked by a Jimmy Jib, in full Arabian garb, staring at a segregated live audience of men and women, I knew it was worth it.

The premise of the series was to try to look at countries around the world from a different angle, through their television. TV serves a nation by delivering its cultural mores and makes people connect with the things they care about. The temperature of a nation can be gauged via its TV. That was the premise, but we didn’t know whether that would truly be the case. It turns out that it was resoundingly so.

Imagine, if you will, British and US viewers turning out in droves for an X Factor-type show of Chaucerian poetry. Who knew that alongside the fighting, the money and the oil, verse fuels the Arab world? It’s part of their vernacular and is so well loved they can make a massive hit TV show out of it (they also love a bit of gun-dancing, but that’s another story).

I hadn’t done anything on camera for five years. I never thought I would go near another TV studio again. It wasn’t for me. It was too stressful, too judgemental and too demanding.

That’s not to say TV wasn’t my lifeblood. I had kids, worked as a writer, never went out and watched TV so much I actually thought I was friends with the real housewives of Beverly Hills. I was a viewer par excellence.

But this idea was so enticing I couldn’t let it pass me by. I found that TV production is a universal language: the mics, the cameras, make-up rooms, the running orders… they’re all much of a muchness wherever you go.

It’s the content that differs wildly. In Brazil, there are live crime shows showing real murders, but with a nice product placement for a slimming aid wheeled out when they need a two-minute break.

In India, just as they’re getting ready to go live for a huge dance show, everybody offers up prayers to the goddess of dance. I offered up quite a few myself before I went on that show.

In South Korea, though, they’re ahead of us all. With the fastest internet in the world, it’s clear that the future of TV is in mobile devices and self-broadcasting.

There, anyone can make a show and broadcast it to millions of adoring live viewers; one of the most popular ones is a boy eating his dinner loudly. So if all else fails, I’m pretty confident my dinner and I have a very exciting future in South Korea. ➤ Daisy Donovan presents RDF’s The Greatest Shows On Earth, which is expected to start on 20 June on Channel 4

‘TV production is universal.

It’s the content that differs wildly’

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IN MY VIEW Responses on broadcastnow.co.uk to the story ‘BBC planning £40m Maida Vale redevelopment’ Oh dear. Were there not a number of artists that enjoyed performing and recording at Television Centre?

Between this and the massive overspend on Salford, NBH and DMI, the public could have had a goldplated TVC, thus addressing the TV studio shortfall in London, not to mention avoiding the destruction of a cultural gem.

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The Call Centre: Twitter talk

Responses on broadcastnow.co.uk to the story ‘BBC3’s Call Centre jams Twitter’ I’m sure all producers, including me, totally love the instant viewer feedback on their TV shows Twitter offers, and it’s starting to be easy to predict the ratings via the number of tweets your programme generates on TX. Cat Lewis, Nine Lives Media I’m not sure it is that easy to predict the number of viewers from the number of tweets. I made a show that attracted quite a lot of instant feedback recently. In fact, it was (apparently) the ‘fourth most tweeted show launch in Europe’ (now that’s an accolade).

Unfortunately, most of the thousands of tweets were saying how much the viewers hated it (and that I should be killed in a lingering and ideally very painful way for making it). They didn’t just tweet about it once, but several times over. So imagine my surprise when I saw the figures and... hardly anyone had tuned in.

Damon Pattison, managing director, Lucky Day Productions

!

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It does seem extraordinary that the BBC is spending more money on radio studios while effectively abandoning its responsibilities to providing suitable TV studios in the capital for all the indies who make programmes for it. Why not sell Maida Vale, keep the studios at TVC and maybe dedicate the smaller ones (TC5, TC7) to radio?

Anonymous Response on broadcastnow.co.uk to the story ‘The Fall producer defends series finale’ The series ending of The Fall was much stronger and more realistic than other detective and crime series where all the strands are brought together in a neat conclusion. Fiction is based on reality and in real life, serial killers are rarely captured in a fast timeframe. It was an excellent series in writing, directing, acting and parallel stories, as well as the disturbing main theme. Waiting for series two will be hard, but worth it I am sure.

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Second screen interactivity potential must be explored TV isn’t on its death bed, but we can do more to engage viewers, says Phil Wilce

T

he final chapter had been written. A few years ago, as the Grim Reaper of broadband lurked, it felt as if the death of TV was announced more often than Dave repeated Top Gear.

But today cries of its demise are less frequent. We spend 45% of our day staring at a screen of some sort, says Ofcom: for nearly four hours, our eyeballs point boxwards, even though watching TV isn’t as easy as it was. In the past, your brain was pumped with panel shows, salacious dramas and cosy sofa chat, but since the advent of social media, Twitter has become oxygen for broadcasters.

TV puts you to work. You comply. Whether you’re following ubiquitous hashtags or selecting alternative angles during the Super Bowl, I put money on you having a second screen in the hand that once held the remote. So, how will this evolutionary twist in the tale rewrite the way stories are told?

The second screen is no extra.

It plays a leading role in engaging audiences. The device sits in your world, unlike the one in the corner, which is a portal to another. It makes a story more tangible, peeling back its layers. Sit forward, not back.

We took this principle to heart when establishing Utopia as Channel 4’s first multiplatform drama. We threaded themes and plot lines through social media, simultaneously tweeting links referring to the script’s links to real-world stories such as ‘tsunami bombs’, making the seemingly fantastical drama deafeningly real (they actually happened, look them up).

We posted Utopia artwork (the bad guy’s favourite raisin box was downloaded 6,000 times); and 3,000 people called a phone line that featured in one episode, once Twitter discovered it was real – a

kind of multiplatform Easter egg: callers heard a chilling message from a character driving them to our site, explaining how long ‘The Network’ would take to find them based on their digital breadcrumb trail.

The second screen also takes your story from TV to… wherever.

That’s really exciting. After all, linear stories aren’t linear any more with on-demand TV. The potential to engage an audience between broadcasts is huge. Imagine people discovering episodes like treasure,

‘It’s all been a bit lazy so far. Let’s see the two screens truly talking to each other’ or stories finding their way to people through tagging.

I can’t wait to see second screens taking interactivity by the scruff of the neck. It’s all been a bit lazy so far. Let’s see the audience influence the story, help solve crimes, evolve the plot, create the soundtrack via their phone, write the dialogue as it’s spoken and even feature in the episode. Let’s see the two screens truly talking to one another.

Second screens are already loved-up with connected TVs, where poker players see the cards they’re holding on their phone while playing on TV. And broadcasters are using audio recognition that lets TV talk to devices even through time-shifted viewing. Imagine a time when your tablet affects the broadcast, bringing new meaning to remote control.

Our love affair with TV isn’t ending. Our old companion has warmly welcomed new technology.

The stories it’s about to share will keep you at the edge of your seat, behind the sofa and awake at night, as they always did. But in the future, it might be because you’re writing the next chapter. ➤ Phil Wilce is creative director at digital agency TH_NK 14 June 2013 | Broadcast | 19

Comment How to get aHead in tV lesson 27

Just stick to the day job, will you?

Commissioners: stop dreaming of an indie career and read my pitch, says Steven D Wright

I

t’s late at the office and I’m typing furiously, putting the finishing touches to my latest killer idea: a fastturnaround, warts ’n’ all access doc featuring Michael Douglas entitled How I Licked Oral Cancer. Just as I’m about to email it to the commissioner, the inevitable happens. “Oh, you do know they’ve left the channel, don’t you?” says a colleague leafing through Broadcast.

FFS! Yet another commissioning editor leaving the warm bosom of their network job to take a leap of faith into the indie sector.

“What’s wrong with that?” I hear you ask.

Well, lack of channel continuity aside, the ballache is that commissioners aren’t leaping for ‘faith’ anymore. It’s all about cash and, specifically, the ridiculous idea that somehow seems to be gaining currency among TV types: that quitting that cosy network job guarantees you’ll become a media millionaire overnight.

But, to quote the commissioner’s exact words, when they finally read my treatment on carcinogenic cunnilingus: “This is utter bollocks.”

“But why?”, you ask, suddenly aware that the fantasy of cashing in your indie shares, retiring to Monaco and shagging teen models is evaporating. “Isn’t that what always happens in TV?” 20 | Broadcast | 14 June 2013

Sadly, no. And as commissioner-turnedpoacher, it’s my duty to reveal the shocking truth of what happens once you shake off your PSB duties and embrace the crazy world of indies. First, unlike at a channel, no one really gives a fuck about ratings or awards; it’s all about the budget, the production fee and any international format sales. As Jessie J would sing, it’s all about the money, money, money...

‘Unlike at a channel, no one really gives a fuck about ratings or awards... it’s all about the money’ Of course, this is nothing new, though to a commissioner used to the atmosphere of casual overspends, constant smiles and OTT obsequiousness from everyone they meet, it is a shock.

You see, big wages are only paid in the expectation of big results and your new bosses expect these instantly, via your old mates at the channel – who, consumed with envy at your salary, hate you and won’t greenlight anything of yours.

Even more gallingly, all your new colleagues in the indie community also hate you, after you spent years ignoring their emails, ripping off their ideas and making them wait weeks for a

meeting only for your assistant to cancel it 30 minutes beforehand with some bullshit excuse.

One commissioning editor told me recently she couldn’t wait to get back to commissioning as the indie she went to “was just so mean”.

Ah yes, the meanness, the stress and the unreasonable demands of life in an indie that expects you to sell your soul and generate cash non-stop until you die, sorry, cash out. Perhaps this is why so many ex-commissioners quietly slip back into a channel gig a few months later.

So, dear commissioner, before you quit your network job, please take a look around first.

Now, you are treated like a god, can skip work when you like (“working from home”); you can treat people like dirt and watch them smile pathetically as you crush their dreams. Surely that’s better than any big cheque?

So forget that sexy-sounding job offer and concentrate on your own, much more important work: open your bloody inbox and read my latest idea – a confessional/comedy/cooking show by the egg-throwing violinist off of Britain’s Got Talent entitled Dear Dairy – The Yolk’s On You. It’ll definitely rate, and now there’s a ‘reality and constructed factual’ category, it might even be a contender for a Bafta… ➤ Steven D Wright is creative director at Whizz Kid Entertainment. This column appears monthly www.broadcastnow.co.uk

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The Broadcast Interview MalcolM Gerrie

connected king of live TV Whizz Kid Entertainment’s chief exec talks to Jake Kanter about ‘punching through the glass ceiling’ to grow the indie – and getting on the wrong side of Russell Crowe

M

alcolm Gerrie is never shy of an anecdote. Whether basking in the glow of his “TV mentor”, the late Andrea Wonfor; bailing Jarvis Cocker out of prison; or being pinned to a wall by Russell Crowe, the Whizz Kid Entertainment chief executive has got a story.

Spend 90 minutes in his company and you’re walked through a dizzying history of the past 30 years of entertainment, where Gerrie has spent his career revelling in innovation and hobnobbing with the biggest stars on the planet.

He’s a jovial force – proclaiming more than once that his glass is always “half full” – and talks with enthusiasm about the business and his company. It’s no wonder Sky Arts has coaxed him out from behind the camera to front 10-part music show …Talks Music, interviewing some of the biggest names in the business.

Seven years since launching Whizz Kid, Gerrie believes it’s time to “punch through the glass ceiling” and push for a second period of growth.

Whizz Kid is owned by Ingenious Media Active Capital, which has put its money where its mouth is in supporting Gerrie’s ambition. In March, Patrick McKenna’s finance house agreed to plough £951,600 from its Media Opportunities Fund into creating a new Whizz Kid subsidiary, Whizz Kid Productions.

The idea is that the division will focus on the development of new programmes, while Whizz Kid Entertainment oversees the indie’s returnable entertainment brands, including the Bafta Film and Television Awards and BBC1 show Let’s Dance.

Little will change on the surface, with Gerrie and his team, including managing director Lisa Chapman, becoming the face of both companies.

Behind the scenes, however, the former Initial chief executive says the financing could have a transformative effect.

It has already enabled Whizz Kid to take on former Shine executive Steven D Wright as creative director.

Wright, a regular Broadcast columnist

22 | Broadcast | 14 June 2013

FacT File Career 2006-present Chief executive, Whizz Kid entertainment 1988-2006 Chief executive, Initial 1987-1988 executive producer, Zenith North 1982-1987 executive producer, The Tube

(see page 20), came on board two months ago to broaden Whizz Kid’s production slate into factual and factual entertainment.

“He’s been a breath of fresh air,” says Gerrie, soon after Wright stops by, looking energised by his new surroundings. The two clearly enjoy a good rapport, with Gerrie hooting at a number of Wright’s pithy programming pitches. Vicars On The Pull is a particular favourite.

“Channels want good programmes made by good television people – if you can’t get them to understand the show just through the title, you have lost them,” Wright says, turning to

Precious Media Whizz Kid also owns advertising funded content specialist Precious Media, which helps producers create content for multimedia platforms and develop relationships with brands looking for sponsored content.

Gerrie oN...

The X Factor “It felt like the buzz had gone, it felt stale. I’m a huge fan, but they’re going to have to do something with it.”

Competition “When eric Fellner and I set up Initial, there were 11 indies in the UK; now there are more than 1,000. So while there’s

more opportunity, there’s more competition.”

Precious Media “Peter Christiansen has pioneered bringing tV, social media and brands together. the best example is the Diageo Voyager, following a 1920s-style yacht on its maiden voyage to celebrate the launch of triple malt John Walker & Sons Odyssey.”

Gerrie to sum up their professional relationship: “You’re blue-chip entertainment and I’m more blue collar.”

As well as investing in people, the pot of cash will enable Whizz Kid to finance its own projects, the first of which was ITV pet awards show Animal Honours. Gerrie says any profits from these programmes will be returned to the central fund.

“It lifts us to a very strategic position: we don’t depend on broadcasters or anyone else for development money. We can do it ourselves and save ourselves a raft of fees.”

It’s not just good news for Whizz Kid either. The chief executive argues that he operates an “open-door policy” as far as co-productions are concerned. “It’s folly to do the opposite. The next Who Wants To Be A Millionaire? could be sitting around the corner and it’s our job to make it a reality,” he adds.

Live and kicking Gerrie senses it’s time to kick on, mainly as a result of his experience at Initial, which he sold twice to jumpstart new stages of growth. “You have to have more in your quiver than a couple of great productions if you’re going to smash through the glass ceiling and grow the company.”

Whizz Kid has hit the bullseye with live events coverage, which forms the backbone of the business. It has produced the Bafta Film and Television Awards since 2007, Bestival for three years, the Turner Prize since 2011, as well as countless showpiece specials, such as last year’s Titanic: A Commemoration In Music And Film for BBC2.

Gerrie says this strength goes back to his days on Channel 4’s iconic music show The Tube, which he helped launch in 1982. “There’s a grammar and vernacular to producing live events, which are rare in the industry,” he says. “It’s quite a skillset to bring them in on budget or, indeed, under budget.”

As the Olympics proved, events are in demand. Gerrie argues that they provide broadcasters with a stage to www.broadcastnow.co.uk

For all the latest breaking news, updated daily, visit

getty

www.broadcastnow.co.uk

Clockwise from top left: Bestival; Titanic: A Commemoration; Stand Up To Cancer; Let’s Dance; the Bafta TV Awards

cut through and attract audiences they wouldn’t otherwise reach. He’s passionate about staging them the right way and does not mince his words when others get it wrong.

He would evidently like to get his hands on The Brit Awards. The ceremony achieved 10-year high ratings in February, but was mauled by the critics and artists such as Robbie Williams.

“My god, it was so bland,” Gerrie argues. “We’re probably the music capital of the world and I don’t think the programme reflected that. I would want to rip it up and start again.”

Yet he’d be the first to admit that he hasn’t always got it right. The producer famously riled Russell Crowe by cutting his Bafta acceptance speech short in 2002; the Australian’s ensuing four-letter tirade is one of Gerrie’s most abiding memories.

However, exposure to the stars means Gerrie claims to have “one of the best little black books in the business”. This came into its own for www.broadcastnow.co.uk

‘The biggest enemy to entertainment is complacency: if you think you’ve cracked it, you’re going to end up with a bloody nose’

Channel 4’s Stand Up To Cancer last year, where he helped deliver names including The Rolling Stones, Gwyneth Paltrow and Lewis Hamilton for the fundraiser. “Look at who ITV delivered for Text Santa: Alesha Dixon.

That says a lot,” he says playfully.

The former Live Aid and Soccer Aid producer says no other broadcaster was prepared to support the event as C4 did, adding that Jay Hunt’s offer to dedicate a week of programming to the cause was the best he’d had in 35 years of working in the industry.

The event raised £6.5m and mixed C4 sensibilities of science and entertainment, but did not deliver a huge audience, peaking with 2.4 million (10.5%). “The joy of having an entire night is great, but the downside is: how do you really get a peak audience?

That’s something we need to look at.”

There is every chance that C4 will go for it again this year; Gerrie says the “appetite” is there, but a lot of research is going into viewers’ impres-

sions. He’s examining, for example, whether involving other C4 brands, such as Chatty Man, confused viewers.

“The biggest enemy to entertainment is complacency: as soon as you think you’ve cracked it, you’re going to end up with a bloody nose.”

Another event Whizz Kid is likely to return to is Bestival. Last year, it covered the event for YouTube; he compares working with the site to the “early days of MTV”.

“It was pioneering, exciting and we were getting instant feedback,” he says, though his view of its long-term value is heavily tempered. “The incentive for a content creator to make a buck isn’t clear and that’s why there’s nervousness about it. Until that’s figured out, we won’t see a gold rush.”

You sense that if anyone can make it work, it will be Gerrie. “It’s a brilliant time to be in the business because of the range of opportunities. What a thrill, what a brilliant time to be at the eye of the tornado. My glass doth overflow.”

14 June 2013 | Broadcast | 23

Production PRODUCT PLACEMENT THE NEXT STEPS Clockwise from top left: Schwarzkopf dye is used on Big Brother; Hollyoaks features Nokia phone; close-up of Nokia Lumia; Channel 4’s ad-funded New Look Style The Nation

A big deal in the making?

Product placement was talked up as a multimillion-pound industry when it became legal in the UK two years ago. Has it lived up to expectations? Ann-Marie Corvin reports

W

hen Ofcom relaxed the rules on product placement (PP) in February 2011, the industry welcomed the news with gusto – which, appropriately, was the name of the first product to receive paid-for airtime on a UK TV show.

ITV’s reported £100,000 deal with Nestlé, which placed its Dolce Gusto coffee machine on This Morning for three months, hailed the dawn of a new era. Pact predicted that paid-for PP opportunities in TV shows would inject more than £72m into the UK television market “in the short term”, while Barclays Corporate forecast it would be worth £150m a year by 2016.

More recent evaluation by market research company WARC, however, suggests far more modest sums: PP deals in UK television were thought to be worth £2m in 2011 and £5m in 2012.

Most of these deals have focused on established behemoths such as Coronation Street, This Morning, The X Factor, Big Brother and Hollyoaks – shows on 24 | Broadcast | 14 June 2013

‘It’s almost impossible to move to a monetised system when a nonmonetised system still works’ John Nolan, North One

Nolan believes PP deals are less which broadcasters can test new busicommon among smaller companies ness models as they have already because it’s easier for producers to use proven to be commercially lucrative. the established prop-placement model, According to Laurence Jones, in which brands (usually via propdirector of Endemol-owned Initial, placement agencies) supply TV shows the company has more than doubled with their products for no profit. its PP deals this year, which He says: “It’s almost has brought in “over six impossible to move to a figures”. He attributes monetised system when a this to the work it has non-monetised system been doing with C5 on WARC’s estimate of value of PP still works. Producers Big Brother: tie-ins market in UK are suckers for free stuff, with the likes of Morrilast year and with paid-for, it’s cursons, Schwarzkopf and rently just too much hard Touchstone Pictures. work to make it work.”

“Big Brother has been the One of the big challenges for main driver for us,” he says. “One those involved in PP is to ensure there or two shots of a product on that daily is joined-up thinking between the show has enabled us to show brands media agency, the broadcaster’s creawhat PP can do for them.” tive, commercial and marketing For lower-profile productions, teams, and the production company. however, or new series, some argue While Initial does have one new that PP is not yet worth the effort. series that has attracted PP (ITV’s “We haven’t done one deal,” says John forthcoming tropical quiz show Prize Nolan, head of commercial programIsland), Jones acknowledges that it ming and digital content at North One.

£5m

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Viewers will be able to respond immediately and be dining in the restaurant with their chosen date just two days later

PRODUCT PLACEMENT DEALS TIMELINE February 2011 ■ Ofcom revises its broadcasting code to allow paid-for product placement on UK television for the first time.

■ ITV’s This Morning becomes the UK’s first paid-for product placement when Nestlé pays a reported £100,000 to place the Dolce Gusto coffee machine onto the daytime show for 13 weeks.

rice and Yeo Valley yoghurt, both of which feature in Jamie’s 15 Minute Meals.

July 2012 ■ ITV signs a deal with Welcome to Yorkshire to feature its promotional material in contextually relevant places around Emmerdale.

September 2012 ■ Galaxy Note 2 has a presence on The X Factor Estimated number following a deal of PP deals between Syco, in the UK Fremantle and ITV.

50

March 2011 ■ Channel 4 signs first product-placement deal with New Look clothes and branding to appear in T4 fashion show.

remains a challenge. “It’s complicated,” he says. “It’s about forming creative partnerships with the commercial world and getting them to understand what we’re trying to do.”

For a handful of bigger deals, it may be worth the sweat, but Nolan argues that it is too much effort for the sake of a few grand. “I don’t spend much of my working day shoring up budgets with PP. No one is writing big cheques at the moment, so why bother?”

The whole package Darryl Collis, director of product placement agency See Saw (which undertakes both paid-for and prop placement deals for brands), says that typically, brands wanting paid-for placements would be advised to commit around £100,000 for guaranteed exposure on a main terrestrial channel. “For anything less, it’s not worth the effort for all those involved,” he says.

However, Jones points out that prop placement is ad hoc – there’s no guarantee the product will be featured – and, unlike paid-for PP, it’s not an ad platform that can trigger an integrated marketing campaign.

For Lime, producer of Hollyoaks and TOWIE (both of which have attracted substantial PP deals), this type of integration is key. PP usually forms part of a bigger package around sponsorship or ad-funded programming (AFP). www.broadcastnow.co.uk

Lime joint managing director Kate Little says: “While they do exist, it is incredibly rare to come across a pure product placement deal. Typically, it may be entered into as part of a sponsorship arrangement.”

However, none of Lime’s deals would have been possible had Ofcom not relaxed its guidelines on PP. An AFP sponsor can now, for the first time, feature its product in the show it wants to fund, a move Nolan welcomes. “We’ve secured around 100 AFP deals and PP regulations have helped provide a contractual framework for everyone. It’s definitely given us some structure from a compliance point of view.”

Little adds that overall, PP deals tend to be much lower value than AFP. “As a producer, AFP represents a reasonably significant programme funding opportunity, whereas PP revenue is more likely to bridge a more modest gap in an overall programme business plan, or to represent an ancillary or secondary revenue opportunity for the producer/broadcaster.”

C4 partnership leader Rob Ramsay agrees that PP is “central” to the broadcaster’s AFP work. In 2011, New Look and BlackBerry became ➤

August 2011 ■ Touchstone Pictures signs product-placement deal to feature movie Fright Night on C5’s Big Brother ahead of its theatrical release.

November 2011 ■ Nationwide cashpoint features in Coronation Street for four months; then renewed for 12.

May 2012 ■ Hollyoaks signs Nokia productplacement deal. The soap will feature Nokia Lumia smartphones on screen in a four-month deal.

June 2012 ■ Supermarket chain Morrisons becomes first Big Brother shopping supplier in what is reported to be a “six-figure deal” with Initial and C5.

■ C4 agrees “major product-placement deals” for Uncle Ben’s

■ ITV and B&Q announce an agreement that includes a new B&Q kitchen on the set of This Morning.

October 2012 ■ Digital-PP company MirriAd and brand-evaluation company Repucom launch new partnership technology for Deal Or No Deal in the UK. Jan 2013 ■ Maximuscle signs PP deal for Celebrity BB. ■ Very.co.uk products, including branded dressing gowns, are set to feature in the Big Brother house with click-tobuy placement on the Channel 5 website.

■ DFS sofa makes its first appearance on This Morning.

The deal, understood to be worth a low six-figure sum, was brokered by DFS’s media agency MediaCom’s Beyond Advertising division.

■ Highland Spring becomes first brand to feature in ITV’s Dancing On Ice. May 2013 ■ ITV, Lime Pictures and the7stars announce an agreement with Ministry of Sound for the first paid-for placement of a brand in TOWIE (left).

14 June 2013 | Broadcast | 25

PICTURE CREDIT

Meredith Chambers on First Dates, Behind the Scenes, page 28

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Production PRODUCT PLACEMENT THE NEXT STEPS two of the first brands to take advantage of a PP opportunity on C4 with the ad-funded New Look Style Nation and Live And Lost With BlackBerry.

Ramsay estimates there have been around 50 PP deals since the rules were relaxed; C4 has been responsible for “approximately half of them”.

As a publisher-broadcaster with little in the way of programme IP, it’s not surprising that C4 is keen to own a stake in PP deals. To this end, the broadcaster has invested in research and staff to make sure that PP happens.

Six months ago, C4 interactive sponsorship manager Laura Cottrell was promoted to partnership business manager for AFP/PP, and the broadcaster is currently seeking a controller to focus solely on AFP and PP deals.

“We think this market will grow and we are investing real resources,” says Ramsay, who likens PP to the early days of sponsorship at C4 “but growing at a faster rate”.

Changing brand perception The broadcaster conducted research to calculate the exact value of PP following its first slew of deals, and identified brand perception as its biggest impact.

Following Nokia Lumia’s appearance in Hollyoaks over a three-month period, for instance, viewers were more likely to see the smartphone as the best for their social networks; the easiest for one click-pictures and shoot-share; and to have the best range of apps.

The research, which polled around 200 viewers, found PP was welcomed “because it enhanced content credibility by making it more realistic and reflective of everyday life”.

“PP produces a halo effect with brand positivity caused by its association with this new ad format,” Ramsay concludes. When it comes to deals with indies, the split is done on “a fairly substantial basis”, he adds.

Trying to ascertain what PP is worth to a brand, and how to measure it, is something with which broadcasters and brands are still experimenting. ITV is using agency Repucom to monitor and evaluate product placement in its programmes. Metrics include the size of the product, where in the shot it appears, its duration on screen and the number of exposures, the degree of character interaction and whether the brand name is visible.

Repucom has joined forces with digital PP company MirriAd, which places products and signage into TV shows after they have been made. www.broadcastnow.co.uk

Clockwise from top left: Deal Or No Deal inserted a PG tips logo over the question mark on Noel’s mug after filming; Nestlé Dolce Gusto coffee machine on This Morning; NERF blaster in the German version of The Office; Jamie’s 15 Minute Meals featured yoghurt and rice brands

According to MirriAd chief executive Mark Popkiewicz – a former BBC Ventures director – the service aims to automate the PP process as much as possible, linking finished programmes to brand opportunities. This is then linked to media rates, and finally, a value is attributed to this once the campaign has run its course.

Last year, this technology was used

by C4 and Endemol on Deal Or No Deal, which inserted the PG Tips logo onto a mug of tea. The system is also being embraced by broadcasters in the US, Brazil and Italy. The UK market, Popkiewicz observes, is more conservative.

“Most broadcasters in the UK consider PP a dark art where one negotiates a single placement in a single series for nondescript money for unknown frequencies with multiple stakeholders. That’s a lot of work.

Broadcasters need to get digital in their thinking so they can create sizeable opportunities,” he says.

Popkiewicz argues that it will be a long time before PP becomes a serious part of a brand’s media plan.

Conversely, James Morris, head of MediaCom’s Beyond Advertising division, which looks at content opportunities for brands, argues for a more strategic, less automated approach.

“In terms of the planning process, PP is definitely considered in the mix of a brand’s media plan, but it requires media agencies to be creative on their own to come up with those ideas. Increasingly, we will work more proactively with broadcasters to do this.”

Morris says the most common PP model is for broadcasters’ commercial houses to approach agencies

with a package of commercial value to put the product in their show.

“It is generally focused around the big entertainment formats, and they tend to come without the programme commissioners or production companies involved. It’s more of a saleslabelling exercise.”

Morris would like to see a more editorial-style PP that requires producers, broadcasters and advertisers to work more collaboratively. Beyond has already achieved this in Germany for its client Hasbro, which wanted to target its foam gun, the NERF blaster, at a young male audience.

“The second series of the German version of The Office was being filmed and we identified an opportunity for the product to appear within this – in scenes when the characters are messing around with the gun at their desks,” says Morris.

Germany sold out of NERF blasters half way through the second series, although the product appeared throughout the run.

Morris also notes that second-screen applications and connected-TV applications are part of Beyond’s clients’ media plans for next year – another development that could give PP an added boost. The possibility of using a second screen or a connected TV to buy or find out more about that coffee machine strategically placed behind Phil Vickery while he makes a shepherd’s pie may just be a click away.

Product placement will be among the issues discussed at Broadcast’s Commissioning & Funding Forum in July.

Visit www.broadcast-forums.com 14 June 2013 | Broadcast | 27

Behind the Scenes first dates

How we turned the tables on dating shows We’ll have earned our supper if we can turn around a show about the trials and tribulations of a first date in just four days, says Meredith Chambers Meredith Chambers Executive producer

W

hen I met Channel 4 commissioner Nick Mirsky for the first time about a year ago, it was supposed to be a simple meet and greet so we could find out what he was after. I didn’t intend to pitch anything, but the first thing he said after “hello” was that he wanted a big series that had a sense of event about it. So I told him what Ana, our head of development, told me one morning not so long before: that the fixed rig might be the perfect tool for capturing yet another moment in the drama of human life – when two strangers meet and hope that this is ‘The One’. The one they’ll kiss, go out with and with whom they’ll end up arguing over money and wall colours.

Nick responded immediately but set the bar higher in the same breath.

So a year later, we’re a week away from First Dates, a fast-turnaround rig show with 40 cameras filmed in a London restaurant on a Saturday night, where every half of the 15-plus couples is genuinely looking for love, – that is, real dates. How fast? Try four days from record to TX, five edits between Sunday morning and midnight on Wednesday.

Every week, three of the people who haven’t been successful on their first date will look down the lens and say to the British public: “That didn’t go well, could any of you lot do any better?”

28 | Broadcast | 14 June 2013

Viewers will be able to respond immediately and be dining in the restaurant with their chosen date just two days later. We’re excited about the interactive element and we want to make it a seamless fit with the documentary offering. We want this to be a show about dating, not a dating show.

Channel 4 asked for a taster as proof of concept. It’s a fair question: is there enough inherent drama in two people meeting, choosing wine and deciding how to split the bill?

We’ve all been there – desperate oneliners, fumbled compliments – but would all that internal anxiety translate to the screen?

Fortunately, that rubber-necking urge you get when you spot a couple on a first date works for the cameras.

One couple traded jokes about herpes and still exchanged numbers (hope for us all), while a car-crash date between a money-obsessed lawyer and a Buddhist would qualify as a major traffic accident with no chance of survival. And every tiny detail, from awkward goodbyes to the first look of love, delivered a fresh perspective on a TV staple.

The five-minute taster was delivered at 12 minutes; it didn’t seem right to cut flirty looks and mutual oyster appreciation too hard. We crossed our fingers. A year later, we’ve got a machine prepared and ready to go. We have a restaurant by St Paul’s that we’ve booked for every Saturday night.

I’m told it’s the first rig that has had to be re-rigged every week. We have to repaint the whole place top to bottom before service starts again on Sunday.

We help to choose the menu. And

‘We’re excited about the interactive element. We want this to be a show about dating, not a dating show’ Meredith Chambers

first dates

Production company Twenty Twenty Commissioners Nick Mirsky; Kate Quilton (multiplatform) tX C4, 9pm, Thursdays from 20 June executive producers Meredith Chambers, Kate Morey, Sam Whittaker Multiplatform executive producer Joanna Haslam series producer Sophie Leonard Post House Evolutions summary Interactive fixed-rig doc series following the thrills, fears and loves of modern dating.

Meredith Chambers My tricks of the trade n If you really want people to take

something important on board, say it three times. You’ll know you’ve connected when they ask you to stop repeating yourself. n Try not to pull punches when delivering a critique of an idea or a cut, as long as people know you’re focused on helping everyone achieve something of which they can be proud. n Appreciate the commissioner’s perspective. If you can work hard to be one of their best-behaved projects, you’ll earn the right to articulate your views with passion. n Go for broke. Be a triumph or a failure; there’s not much point in ‘fine’.

www.broadcastnow.co.uk

For all the latest breaking news, updated daily, visit www.broadcastnow.co.uk

we’ve got a gallery in the car park – so my summer weekends will be spent in a concrete basement watching couples flirting while I share Haribos with the crew.

We also have the channel4.com/ firstdates website, with our daters ready to be perused. There is a crew of around 70 people and the systems are in place, ready for the start. You may not want to, but you can always do some more pick-ups and go over in the edit on most factual shows – but not this one. It focuses the mind as we all want to make something that feels ‘made’ – not simply turned around.

Fortunately, we have a great team of people who have signed away their weeks for the cause, and I don’t underestimate the commitment they have made. A crew this size is hard to manage, but the series producer is a brilliant communicator and planner as well as an editorial wunderkind; and our line producer has handled the biggest reality shows. The budget is tight and every day brings a new bigticket item.

It’s going to be a challenge to make a doc in four days, but with Nat King Cole in the background, a splash of Brut and a bunch of carnations from the 24-hour garage, we’re about to go on a date with Lady Luck. www.broadcastnow.co.uk

Clockwise from bottom left: a member of the crew keeps an eye on proceedings; view from the gallery; some of the daters; split screens capture the date from the perspective of 40 cameras; the crew prepare for action

first dates iNteraCtiVitY Joanna Haslam Multiplatform executive producer

Interactivity and documentary aren’t always a natural fit. So why should a series about dating break the mould?

Online dating is now so commonplace that we needed to reflect this and provide a genuine motivation for viewers to get involved. Call me an old romantic, but what better motivation than love?

The interactivity will enhance the experience, turning the six-week run into a six-week event – constantly evolving editorially. If a dater is popular on channel4.com/firstdates or Twitter, they could return later in the run. For viewers, the interactivity offers the opportunity to not just sit back and watch, but to lean in and get involved.

My role has been two-fold: to oversee the build of a website that works with the programme, and to look at how its interactivity plays into the show. It’s important that the two things feel naturally intertwined without one dominating the other, just

like the mix of online and offline activity in our daily lives. Our aim is give people a programme in which they can take part if they choose – but thoroughly enjoy whether they are in the dating game or not.

It took some time to figure out how the online element should be realised. A full-on dating site? A simple casting tool? Should we incorporate a date predictor game or Twitter tag cloud to capture chatter? It’s better to execute one thing well, so the website has the look and feel of an existing dating site but is primarily all about casting. We worked with web agency Made, inheriting its infrastructure. The call to action for daters is focused, clear and from the mouths of the contributors on air.

The success of the online element will depend on whether the British public are prepared to throw themselves into the arena. All the scary unknowns are what makes it exciting.

14 June 2013 | Broadcast | 29

Marketplace

To advertise here, contact Jon Thornley on 020 3638 5065 email jonathan.thornley@broadcastnow.co.uk

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30 | Broadcast | 14 June 2013

Please mention Broadcast when replying to adverts in this section

TENDER

INDEPENDENT PRODUCTIONS BBC Sport is issuing an invitation to tender for the Television Production of England’s International home qualifying women’s football matches to be commissioned from a qualifying Independent Producer.

To register and to receive more information please contact Simon.Smith1@bbc.co.uk by 20th June 2013.

www.broadcastnow.co.uk

To advertise here, contact Jon Thornley on 020 3638 5065 email jonathan.thornley@broadcastnow.co.uk

Appointments

NoN-executive MeMbers, coNteNt board London Ofcom is the independent regulator and competition authority for the UK’s broadcasting, telecommunications and wireless communications sectors.

The Content Board is a Committee of the Ofcom Board with delegated responsibility for a range of activities including content protection, broadcasting sanctions and radio licensing.

As a result of a number of the Content Board non-executive members stepping down, Ofcom is seeking to recruit three new non-executive members; two of the new members should represent the interest of citizens in Northern Ireland and England.

Applicants for the posts will demonstrate a clear understanding of issues to be faced in present and future content regulation in the digital age. An understanding of broadcast and digital media is essential and knowledge of the wider media environment, including advertising markets, is highly desirable. Candidates will need to demonstrate clarity, rigour, and independence of thought, as well as impartiality and a participative approach to decision making.

The time commitment is up to three days per month.

Ofcom is an equal opportunity employer. It wishes to reflect the diversity of contemporary UK society and is therefore actively seeking to recruit colleagues from all cultural and ethnic backgrounds as well as those who have a disability.

Please apply for an application pack to ofcomned@zygos.com or call 02078812900.

Closing date: Thursday 11th July 2013

PRODUCTION EXECUTIVE/SENIOR PRODUCTION MANAGER / PRODUCTION MANAGER/ UNIT MANAGER / TECHNICAL DIRECTOR IMG is offering you a chance to be actively involved in an exciting and hugely successful 24x7 rolling football production that broadcasts to millions of people around the world.

Premier League Productions is a dynamic and challenging department looking after live match production for the international market; liaising with Premier League clubs to help manage on-site production; as well as producing a whole series of Premier League content distributed around the world. These are prestigious roles working with the Premier League and many of their international partners.

EMS ‘Great service provided with plenty of candidates.

We have had a good success rate through using Broadcast.’

Adam Luckwell, CEO Unit Post Production

technical personnel are looking for: Broadcast Project Managers: Hants Avid and EVS support engineers: East London Sales Director, Software: London Call us, e-mail your CV or register online. +44(0)20 8948 9400 recruit@ems-tp.com. www.ems-tp.com

Production Executive/Senior Production Manager - Reporting to the Head of Production the Production Executive/Senior Production Manager will take responsibility for operational management of programming from development to delivery. Working closely with key programme making teams they will push to ensure the programmes are produced efficiently, on spec and on budget and adhere to all compliance issues. The successful candidate will manage a team of PMs and PCs and other support staff.

Production Manager - The Production Manager will work alongside the Producer and assist the team working on production projects for the Premier League. The Production Manager will be responsible for all aspects of production: booking resources, managing a small team; cost reporting; budgeting new ideas; etc.

Unit Manager -The Unit Manager will be responsible for all technical aspects of the production around live matches and will take overall technical responsibility for ensuring programming gets to air; working with Host Broadcasters, International Broadcasters and the clubs; supervising rigs and de-rigs; dealing with power; booking lines and so on. Candidates must have previous experience as a Unit Manager in a football TV production environment.

Technical Director – The Technical Director will be the principle technical interface to Premier League Production staff and will responsible for all engineering and technical operations within Premier League Productions. Previous experience at management level in an operational or engineering support role within a live broadcast environment is essential. Candidates will also be expected to have excellent knowledge of all TV technical, studio and post-production operations and techniques, in addition to a good knowledge of Viz RT, Ardome, EVS and Avid systems.

If you have very strong experience in production, willing to work at the weekend and want to be part of a dynamic and hugely successful team then send your CV and covering letter (stating the role you are applying for, salary expectations and notice period) to: production.recruitment@imgworld.com

by Monday 24th June 2013.

At Evolutions we believe that our team are our biggest asset. We are talented, creative and committed but above all we enjoy what we do!

“I have to say that working with you guys was a really good experience. You made it easy from start to finish and delivered immediate, plentiful and quality results.

I will not hesitate to use you again, should the need arise. Rest assured that I will recommend your services liberally.

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www.broadcastnow.co.uk

We are now opening a brand new facility in Bristol and we are looking for the best local talent to join us. We are recruiting to a variety of roles and disciplines and are keen to meet experienced people who share a deep knowledge of post production and love of television.

If you would like to be part of the Evos family please send your CV to; HR@Evolutions.tv

www.broadcastnow.co.uk

14 June 2013 | Broadcast | 31

Ratings Mon 3 Jun – Sun 9 Jun

Egg-citing end for ITV’s BGT Cowell’s talent machine romps to victory as stage stunt brightens up an otherwise flat week

BY Stephen price

Some moons past, I was crossing campus, clutching a loaf and butter when I got caught up in a caterwauling and projectile-flinging demonstration by my fellow students. I was welcomed gleefully with the cry: “We’re chucking eggs; Stephen’s brought home-made sandwiches!”

I was reminded of this when the viola player ran on stage during the Britain’s Got Talent final, hurled eggs at the judges and then almost immediately apologised. A proper, refined agitprop would have included some cress, mayonnaise and pepper between two slices of (granary) bread. Amateur.

With BGT’s Saturday final dislocated from its live semi-finals because of a football surfeit, BBC1’s The Voice UK decamped to Friday.

Elsewhere, in a curiously flat week, new drama showed promise, while an off-centre anniversary resonated less powerfully than it ought.

After BGT week, ITV’s brave but now risky-looking 9pm sitcom combo returned on Monday.

Vicious’ 2.4 million/10% (259,000 +1) at 9pm and The Job Lot’s 1.8 million/8% (224,000+1) at 9.30pm were defeated by BBC1’s The People’s Coronation With David Dimbleby’s hardly barnstorming 2.8 million/12%. BBC2’s The Fall won the slot with 3.3 million/14%.

On Tuesday at 8pm, ITV’s Animal Heroes’ 1.8 million/9% was beaten by BBC1’s Holby City’s 4.2 million/21% and BBC2’s Springwatch (2.6 million/13%).

ITV lost transmission between 7pm and 8.30pm in some areas, but the 32 | Broadcast | 14 June 2013

BroadcasT/BarB Top 100 nETwork proGrammEs 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 31 33 34 35 36 37 38 38 40 41 42 43 44 44 46 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Britain’s Got Talent: The Live Final Coronation Street Coronation Street Coronation Street Coronation Street EastEnders Emmerdale Emmerdale The Apprentice Emmerdale Emmerdale Emmerdale EastEnders EastEnders Emmerdale Love And Marriage Agatha Christie’s Poirot EastEnders BBC News At Ten Formula 1: The Canadian Grand Prix BBC News BBC News At Ten Paul O’Grady: For The Love Of Dogs BBC News BBC News At Ten The Voice UK Holby City BBC News At Ten Frankie The Voice UK Results BBC News At Six BBC News At Six BBC News Watchdog The One Show All Star Mr & Mrs BBC News At Six BBC News At Six BBC News At Ten The One Show Fake Food: Fake Britain Special The Graham Norton Show BBC News At Six The Fall The Dales Tipping Point: Lucky Stars ITV News & Weather The One Show Countryfile The One Show

Sat Mon Mon Wed Fri Mon Mon Wed Wed Thu Thu Fri Fri Thu Tue Wed Sun Tue Mon Sun Sun Tue Thu Sat Fri Fri Tue Wed Tue Fri Tue Wed Sun Wed Tue Wed Fri Mon Thu Mon Mon Fri Thu Mon Mon Sun Mon Thu Sun Wed

19.30 19.30 20.30 19.30 19.30 20.00 19.00 19.00 21.00 20.00 19.00 19.00 21.00 19.30 19.00 21.00 20.00 19.30 22.00 18.15 18.00 22.00 20.30 22.00 22.00 19.00 20.00 22.00 21.00 21.30 18.00 18.00 22.10 20.00 19.00 20.00 18.00 18.00 22.00 19.00 19.30 22.35 18.00 21.00 20.00 19.00 18.30 19.00 17.00 19.00

11.12 8.21 8.08 7.66 6.76 6.59 6.52 5.99 5.96 5.89 5.60 5.57 5.55 5.47 5.30 4.87 4.80 4.77 4.65 4.61 4.55 4.46 4.41 4.28 4.23 4.21 4.18 4.15 3.92 3.91 3.83 3.83 3.82 3.80 3.77 3.76 3.72 3.69 3.69 3.60 3.43 3.42 3.41 3.27 3.27 3.20 3.18 3.15 3.05 3.01

51.43 42.24 36.05 40.34 33.89 31.57 36.76 35.74 25.55 30.10 35.36 31.97 26.33 31.37 29.86 20.86 21.67 25.48 24.83 23.63 31.93 24.34 22.35 22.03 23.59 21.67 21.48 21.26 18.29 19.34 28.05 26.36 21.20 18.98 22.44 18.80 26.64 25.00 20.45 20.29 17.63 24.58 25.94 14.37 15.66 16.89 19.69 19.89 23.93 16.85

ITV/Syco/Thames ITV ITV ITV ITV BBC1 ITV ITV BBC1/Boundless ITV ITV ITV BBC1 BBC1 ITV ITV/Tiger Aspect ITV/Agatha Christie Ltd BBC1 BBC1 BBC1 BBC1 BBC1 ITV/Shiver BBC1 BBC1 BBC1/Wall to Wall BBC1 BBC1 BBC1 BBC1/Wall to Wall BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1/So Television BBC1 BBC2/Artists Studio ITV/Shiver ITV/RDF TV ITV/ITN BBC1 BBC1 BBC1

Figures include HD and +1 where applicable

Love And Marriage

tipping point: Lucky Stars www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 56 57 57 59 60 61 62 63 64 64 66 67 68 68 68 71 71 71 74 74 76 77 78 79 80 81 82 83 84 85 85 87 88 89 89 91 92 93 94 94 94 97 98 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

BBC News ITV News & Weather Casualty ITV News & Weather You've Been Framed! Favourites Skint Tonight: Who’d Be A Teacher?

Vicious People’s Coronation With David Dimbleby Pointless Celebrities The Chase ITV News & Weather Gardeners’ World You’ve Been Framed!

The National Lottery: In It To Win It Springwatch 2013 David Walliams: Snapshot In Time Pointless: 500th Show Pointless 24 Hours In A&E Pointless Question Time ITV News & Weather The Chase Waterloo Road Pointless ITV News & Weather Springwatch 2013 F1: Canadian Grand Prix – Qualifying Pointless Britain’s Secret Homes Springwatch 2013 The Chase ITV News At Ten & Weather Have I Got A Bit More News For You The Chase D-Day: The Last Heroes ITV News & Weather The Americans The Apprentice: You’re Fired A Question Of Sport BBC News At One The Chase Operation Snow Tiger Have I Got Old News For You The Rock The Job Lot ITV News & Weather BBC News At One Springwatch Unsprung

Sat Wed Sat Thu Sat Mon Thu Mon Mon Sat Mon Fri Fri Fri Sat Tue Thu Thu Wed Tue Mon Thu Sun Wed Thu Fri Tue Mon Sat Tue Fri Thu Tue Wed Mon Fri Sun Sat Sat Wed Wed Mon Thu Sun Sun Sat Mon Sun Wed Wed

19.10 18.30 21.10 18.30 18.30 21.00 19.30 21.00 21.00 19.30 17.00 18.30 20.30 20.30 20.20 20.00 21.00 17.15 17.15 21.00 17.15 22.35 22.00 17.00 20.00 17.15 18.30 20.00 17.00 17.15 21.00 20.00 17.00 22.00 22.35 17.00 21.10 18.15 22.00 22.00 22.35 13.00 17.00 20.00 22.35 22.20 21.30 18.45 13.00 20.30

3.00 2.96 2.92 2.87 2.86 2.81 2.78 2.78 2.77 2.73 2.67 2.65 2.60 2.57 2.57 2.55 2.52 2.50 2.50 2.50 2.49 2.49 2.49 2.48 2.48 2.47 2.46 2.44 2.41 2.40 2.39 2.36 2.35 2.34 2.32 2.32 2.31 2.29 2.27 2.27 2.24 2.16 2.14 2.11 2.11 2.11 2.03 2.02 2.01 2.00

19.38 19.04 12.59 20.00 19.11 12.35 15.96 12.20 12.14 13.78 23.60 17.65 12.79 12.66 11.71 13.10 13.22 23.63 21.28 11.67 20.97 20.55 13.07 22.31 12.62 20.90 16.18 11.26 19.68 21.88 11.57 12.00 22.66 12.28 17.91 20.62 10.89 16.77 12.92 11.77 15.72 36.19 21.15 9.36 15.31 18.11 8.91 12.37 34.60 9.70

BBC1 ITV BBC1/ITN ITV ITV C4 ITV/Keo Films ITV/Brown Eyed Boy/Kudos BBC1 BBC1/Remarkable Television ITV ITV/ITN BBC2 ITV BBC1 BBC2 ITV BBC1/Remarkable Television BBC1/Remarkable Television C4/The Garden BBC1/Remarkable Television BBC1/Mentorn ITV/ITN ITV BBC1/Shed Productions BBC1/Remarkable Television ITV/ITN BBC2 BBC1 BBC1/Remarkable Television ITV BBC2 ITV ITV/ITN BBC1/Hat Trick Productions ITV BBC1 ITV ITV BBC2 BBC1 BBC1 ITV BBC2 BBC1/Hat Trick Productions BBC1 ITV/Big Talk Productions ITV/ITN BBC1 BBC2

*To include producer credits email robin.parker@emap.com by noon on Tuesday. Tables exclude programmes timed under 5 minutes long and omnibus editions, eg soaps.

D-Day: the Last heroes www.broadcastnow.co.uk

Operation Snow tiger

missing numbers wouldn’t have saved the day.

More woe for ITV at 9pm when Dirty Britain came fifth with just 1.6 million/7% (215,000 +1), behind BBC1’s Frankie (3.9 million/18%), Channel 4’s 24 Hours in A&E (2.1 million/9%; 408,000 +1), Channel 5’s CSI (1.7 million/8%; 100,000 +1) and BBC2’s Town With Nicholas Crane (1.6 million/8%).

On Wednesday, ITV’s 9pm drama Love And Marriage began with a decent 4.5 million/19% (275,000 +1). But BBC1’s The Apprentice still won with 6 million/26%.

At 9pm on Thursday, viewing on the myriad digital channels was at

‘ITV lost transmission, but the missing numbers wouldn’t have saved the day’ 56%; 10 points ahead of 2013’s average. Of the networks, ITV’s David Walliams: Snapshot In Time’s meagre 2.5 million/13% (incl +1) was best. BBC1’s Panorama rushed in to cover the cash-for-lobbying scandal, with 1.3 million/7%.

From 7pm to 9pm on Friday, BBC1’s The Voice achieved just 4.2 million/22%. ITV’s Coronation Street won with 6.4 million/32% (365,000 +1) from 7.30pm. At 9pm, EastEnders’ not huge 5.6 million/26% – 1 million more than Have I Got News For You might expect in the slot – demolished ITV’s Britain’s Secret Homes (2.2 million/11%; 198,000 +1).

On Saturday, ITV’s BGT final averaged 10.6 million/49% (556,000 +1) from 7.30pm; 760,000 less than May 2012’s final, but a better share.

At 10pm, acquisition The Americans managed just 2.3 million/ 13% (incl +1). Opposite, BBC News At Ten’s 4.3 million/22% was BBC1’s best rating of the night.

On Sunday, the first peak-time variation of daytime quiz Tipping Point: Lucky Stars achieved 3 million/16% (201,000 +1) at 7.30pm. At 8pm, Poirot attracted 4.5 million/20% (405,000 +1).

Opposite, the Canadian Grand Prix averaged 4.6 million/24% on BBC1 from 6.15pm. At 8pm, BBC2’s Operation Snow Tiger captured 2.1 million/9%. At 9.15pm, part one of BBC1’s D-Day: The Last Heroes had 2.3 million/11%.

See over for digital focus, plus channel and genre overviews 14 June 2013 | Broadcast | 33

Ratings Mon 3 Jun – Sun 9 Jun Channel Overview

The Fall slays them all BY stephen price

I thought the most dangerous Tudor was the twerp who suggested Henry VIII write a song about sleeves, but it’s really bible trans­ lator William Tyndale, according to BBC2’s Tudor season, which contin­ ued in an anniversary­heavy week.

At 9pm on Monday, the penulti­ mate episode of BBC2 hit The Fall won the slot with 3.3 million/ 14%. Channel 4’s Skint (2.4 million/10%; 451,000 +1) also scored more than ITV’s comedy hour average. Channel 5’s Why Did Oscar Pistorius Kill Our Daughter? didn’t fare badly either, with 1.2 million/5% (73,000 +1).

On the day before the 69th D­Day anniversary, C5’s repeat of D-Day: The Ultimate Conflict averaged 730,000/4% (49,000 +1) at 7pm on Wednesday. D­Day fans could then switch to C4 at 9pm for D-Day: As It Happens (863,000/ 4%; 109,000 +1). That’s more than BBC2’s The Iraq War (745,000/ 3%), but both lost to C5’s NCIS (1.5 million/6%; 140,000 +1).

On Thursday, part two of C4’s D-Day: As It Happens drew 1.3 million/7% (121,000 +1), but it still lost to BBC2’s The Most Dangerous Man In Tudor England (1.6 million/8%).

On Sunday at 9pm, C4 launched subtitled drama The Returned to 1.3 million/6% (267,000 +1).

Episode two will be the big test after this decent start.

Source: BARB

WEEK 23 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 03.06.13 Peaktime share (%) w/c 04.06.12 yEAR TO DATE Average hours per viewer Audience share (%) Audience share (2012)

BBC1 4.48 17.65 20.33 26.63 BBC1 5.92 21.12 20.63

BBC2 1.30 3.90 7.61 6.87 BBC2 1.57 5.60 6.21

ITV1 3.77 14.29 22.12 18.99 ITV1 4.61 16.45 16.38

C4 1.28 5.20 6.04 5.30 C4 1.66 5.91 6.67

34 | Broadcast | 14 June 2013

Total 22.85 100.00 100.00 100.00 Total 28.03 100.00 100.00

TOP 30 bbC2, CHANNEl 4 AND CHANNEl 5 Title

Day

Start

Viewers (m) (all homes)

1

The Fall

Mon

21.00

2

Skint

Mon

21.00

3

Gardeners’ World

Fri

4

Springwatch 2013

Tue

Share %

Broadcaster

3.27

14.37

BBC2

2.81

12.35

C4

20.30

2.60

12.79

BBC2

20.00

2.55

13.10

BBC2

5

24 Hours In A&E

Tue

21.00

2.50

11.67

C4

6

Springwatch 2013

Mon

20.00

2.44

11.26

BBC2

7

Springwatch 2013

Thu

20.00

2.36

12.00

BBC2

8

The Apprentice: You’re Fired

Wed

22.00

2.27

11.77

BBC2

9

Operation Snow Tiger

Sun

20.00

2.11

9.36

BBC2

10

Springwatch Unsprung

Wed

20.30

2.00

9.70

BBC2

11

Dad’s Army

Sat

19.00

1.82

11.59

BBC2

12

Springwatch 2013

Wed

19.30

1.81

9.47

BBC2

13

CSI: Crime Scene Investigation

Tue

21.00

1.78

8.31

C5

14

Channel 4’s Comedy Gala

Fri

21.00

1.77

10.33

C4

15

Rise Of The Continents

Sun

21.00

1.70

7.82

BBC2

16

Time Traveller’s Guide To Elizabethan England

Fri

21.00

1.69

8.16

BBC2

17

Town With Nicholas Crane

Tue

21.00

1.64

7.67

BBC2

18

Ramsay’s Kitchen Nightmares USA

Mon

22.00

1.62

9.89

C4

19

The Most Dangerous Man In Tudor England

Thu

21.00

1.61

8.48

BBC2

20

NCIS

Wed

21.00

1.56

6.70

C5

21

The Returned

Sun

21.00

1.54

7.20

C4

22

D-Day: As It Happens

Thu

21.00

1.47

7.71

C4

23

Nature’s Microworlds

Fri

20.00

1.46

7.06

BBC2

23

Food Unwrapped

Mon

20.30

1.46

6.52

C4

25

Embarrassing Bodies: Live From The Clinic

Tue

20.00

1.43

7.33

C4

26

Antiques Road Trip

Sun

18.15

1.40

9.03

BBC2

27

Terror In The Skies

Sun

20.00

1.35

5.97

C4

28

Ice Age 2: The Meltdown

Sun

18.20

1.34

7.58

C4

29

Why Did Oscar Pistorius Kill Our Daughter?

Mon

21.00

1.30

5.69

C5

30

QI

Fri

22.00

1.28

7.18

BBC2

Figures include HD and +1 where applicable

Multichannel 39.76

BBC2’s Rise Of The Continents took the shine off C4’s launch of The Returned (Sun, 9pm)

Others 11.05 54.52 39.76 38.44 Others 13.15 46.90 45.73

Daytime is 09.30-18.00. Peaktime is 18.00-22.30. Figures include HD and +1 where applicable

DAyTIME SHARE (%) w/c 03.06.13

PEAKTIME SHARE (%) w/c 03.06.13

1.7m

C5 0.97 4.44 4.14 3.78 C5 1.12 4.01 4.39

BBC1 20.33

ITV1 22.12

C5 4.14 C4 6.04

BBC2 7.61

Multichannel 54.52

897k

Average audience for C5’s all­in­ one­go TX of US mini­series Coma over 215 minutes (Thu, 9pm)

BBC1 3.90

ITV1 14.29

C5 4.44 BBC2 3.90 C4 5.20

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Genre Overview

Source: BARB

toP 10 chiLdren’s ProGrammes Title

1 2 3 4 5 6 7 8 9 10

Special: Jessie Horrible Histories Mike The Knight The Scooby-Doo Show Newsround Mike The Knight Newsround Sarah & Duck Newsround Sarah & Duck

toP 10 FactuaL ProGrammes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Title

Fri Tue Wed Wed Thu Thu Wed Wed Wed Thu

18.00 17.00 08.00 16.00 07.40 08.00 07.40 07.55 16.25 07.55

240,900 212,800 205,200 190,700 190,500 185,700 182,600 180,100 171,200 167,800

19.85 20.88 15.32 19.86 16.42 13.84 16.12 14.48 16.74 12.85

Disney CBBC CBeebies CBBC CBBC CBeebies CBBC CBeebies CBBC CBeebies

1 2 3 4 5 6 7 8 9 10

The Apprentice Paul O’Grady: For The Love Of Dogs Watchdog The One Show The One Show Fake Food: Fake Britain Special The Dales The One Show Countryfile The One Show

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Thu Wed Tue Mon Mon Mon Thu Sun Wed

21.00 20.30 20.00 19.00 19.00 19.30 20.00 19.00 17.00 19.00

5.96 4.41 3.80 3.77 3.60 3.43 3.27 3.15 3.05 3.01

25.55 22.35 18.98 22.44 20.29 17.63 15.66 19.89 23.93 16.85

BBC1 ITV BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 BBC1

➤ Disney hit the heady heights of top spot with a special Jessie episode.

The channel did not feature at all last week, but made an entry in a table in which CBeebies chalked up four places. The best of its line-up was mike the knight, while newsround featured three times for CBBC.

➤ the apprentice grew its audience by 600,000 and easily held on to first place. It was more than 1.5 million viewers ahead of For the Love of dogs, which returned after a week off for Britain’s Got Talent.

Otherwise, BBC1 dominated with the one show and watchdog.

toP 10 drama ProGrammes

toP 10 entertainment ProGrammes

Title

1 2 3 4 5 6 7 8 9 10

Love And Marriage Agatha Christie’s Poirot Holby City Frankie The Fall Casualty Waterloo Road The Americans CSI: Crime Scene Investigation NCIS

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Sun Tue Tue Mon Sat Thu Sat Tue Wed

21.00 20.00 20.00 21.00 21.00 21.10 20.00 22.00 21.00 21.00

4.87 4.80 4.18 3.92 3.27 2.92 2.48 2.27 1.78 1.56

20.86 21.67 21.48 18.29 14.37 12.59 12.62 12.92 8.31 6.70

ITV ITV BBC1 BBC1 BBC2 BBC1 BBC1 ITV C5 C5

➤ ITV’s new family drama Love and marriage went straight in at number one, topping Poirot, which bowed out with 4.8 million viewers. the americans remained consistent for ITV, but C4 import the returned just missed a place. Channel 5 picked up two entries.

uP Saturday’s BGT adds 2.53m

down Waterloo Road down 600,000

1 2 3 4 5 6 7 7 9 9

F1: Canadian Grand Prix F1: Canadian Grand Prix – Qualifying French Open Tennis 2013 RU: Argentina vs England Int’ Boxing: Degale vs Bozic French Open Tennis Highlights TT 2013 F1: Canadian Grand Prix – Practice French Open Tennis Highlights TT 2013

Britain’s Got Talent: The Live Final The Voice UK The Voice UK Results All Star Mr & Mrs The Graham Norton Show Tipping Point: Lucky Stars You’ve Been Framed! Favourites Pointless Celebrities The Chase You’ve Been Framed!

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Fri Fri Wed Fri Sun Sat Sat Mon Fri

19.30 19.00 21.30 20.00 22.35 19.00 18.30 19.30 17.00 20.30

11.12 4.21 3.91 3.76 3.42 3.20 2.86 2.73 2.67 2.57

51.43 21.67 19.34 18.80 24.58 16.89 19.11 13.78 23.60 12.66

ITV BBC1 BBC1 ITV BBC1 ITV ITV BBC1 ITV ITV

➤ The Britain’s Got talent final’s peak of 13 million was its lowest since the show launched in 2007, but it easily batted away competition from its nearest rivals. The show secured more than double the audience of the Voice uk’s low of 4.2 million, while quizzes dominated.

uP Holby City adds 720,000

down Tuesday’s One Show drops 170,000

uP The Americans gains 170,000

toP 10 current aFFairs ProGrammes Day

Start

Viewers (millions)

Share (%)

Channel

Sun Sat Sun Sat Sat Wed Mon Sat Sun Tue

18.15 17.00 13.30 19.30 21.30 22.35 21.00 14.55 22.15 21.00

4.61 2.41 1.02 1.01 0.85 0.70 0.68 0.68 0.67 0.67

23.63 19.68 9.91 4.69 4.57 6.89 3.00 9.47 5.25 3.11

BBC1 BBC1 ITV BBC2 C5 ITV ITV4 BBC2 ITV ITV4

➤ The canadian Grand Prix easily topped the sport line-up in the absence of any football. the French open final was next in line, but the tournament also clocked up four other entries, helping ITV to a strong week. Elsewhere, rugby featured for BBC2. next week comedy and music & arts www.broadcastnow.co.uk

1 2 3 4 5 6 7 8 9 10

down The Voice loses 1.46m

uP The Apprentice gains 600,000

toP 10 sPort ProGrammes Title

Title

Title

1 2 3 4 5 5 7 8 9 10

Tonight: Who'd Be A Teacher?

Question Time Panorama: Cancer: Hope For Sale?

The Andrew Marr Show Panorama: Cash For Questions...

Why Did Oscar Pistorius Kill...

Pistorius Trial: The Key Questions This Week Newsnight Dispatches: Woolwich, Boston...

Day

Start

Viewers (millions)

Share (%)

Channel

Thu Thu Mon Sun Thu Mon Mon Thu Wed Mon

19.30 22.35 20.30 09.00 21.00 21.00 22.00 23.35 22.30 20.00

2.78 2.49 1.98 1.63 1.30 1.30 1.16 0.94 0.85 0.80

15.96 20.55 8.81 23.88 6.85 5.69 6.91 14.46 6.34 3.84

ITV BBC1 BBC1 BBC1 BBC1 C5 C5 BBC1 BBC2 C4

➤ A tonight investigation into the teaching profession helped it win out in the current affairs battle. It fought off two Panorama probes and stalwarts Question time and the andrew marr show. Channel 5’s oscar Pistorius docs also featured.

See over for demographic and digital focus 14 June 2013 | Broadcast | 35

Ratings Mon 3 Jun – Sun 9 Jun Demographic focus Channels

Individuals Share (%)

Source: BARB

Adults ABC1 Share (%)1

Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

Female Profile (%)2

BBC1

19.74

23.71

48.43

12.64

11.79

19.59

45.74

19.87

54.26

ITV

16.69

15.43

37.28

12.01

13.26

13.25

36.60

19.63

63.40

BBC2

5.64

7.10

50.72

2.90

9.47

5.94

48.53

5.39

51.47

C4

5.57

5.70

41.25

6.71

22.17

5.51

45.54

5.63

54.47

C5

4.50

3.98

35.68

3.74

15.32

4.31

44.14

4.66

55.86

ITV2

3.04

2.37

31.40

4.79

28.98

2.47

37.50

3.53

62.48

ITV3

2.43

2.09

34.61

0.50

3.82

1.88

35.71

2.90

64.30

E4

2.01

2.07

41.65

5.61

51.49

1.86

42.81

2.13

57.19

ITV4

1.85

1.94

42.42

1.65

16.48

2.35

58.59

1.42

41.42

BBC 3

1.76

1.88

43.20

3.84

40.17

1.93

50.50

1.62

49.51

DAVE

1.38

1.48

43.23

2.20

29.22

1.87

62.13

0.97

37.85

Sky Sports 1

1.37

1.78

52.40

1.35

18.17

2.24

75.34

0.63

24.66

Film 4

1.36

1.22

36.42

1.21

16.48

1.77

60.05

1.01

39.98

More 4

1.19

1.35

45.65

1.23

19.04

1.06

40.95

1.31

59.02

5 USA

1.13

0.85

30.37

0.92

15.06

1.08

44.00

1.17

56.02

Sky 1

0.83

0.83

40.41

1.48

32.75

0.98

54.47

0.70

45.58

Yesterday

0.81

0.67

33.56

0.21

4.79

0.99

56.09

0.66

43.84

BBC4

0.77

1.06

55.27

0.29

6.97

0.87

52.07

0.69

47.86

Sky Living

0.58

0.56

38.40

0.79

24.93

0.46

36.41

0.69

63.55

34%

French drama The Returned delivered strong AB figures for Channel 4 – up from 26% slot average. However, it couldn’t quite reach the 36% average enjoyed by Homeland in the 9pm Sunday slot.

Share covers all hours. Figures include HD and +1 where applicable 1: Each channel’s share of total demographic. 2: Demographic as a percentage of the channel’s total viewers.

Digital focus

A good call for BBC3 BY stephen price

We’re on a new digital journey, with a new table breaking out those digital shows unconnected to PSB operators (page 37). But where they have breakout hits, they’ll still appear here; think of this as the definitive digital mirror to our top 100.

BBC3’s The Call Centre launched on Tuesday at 9pm to 1.1 million/5% – in live ratings, the channel’s best commissioned show this year so far. Six repeats added another 1.5 million.

ITV2’s Lemon La Vida Loca returned on Thursday at 10pm with 720,000/4%, 300,000 short of last August’s opener. Three repeats added another 530,000.

Two titles made up the best four movie performances this week, and the 23-year-old Pretty Woman was top, as it so often still is, with 900,000/6% on Saturday at 10pm on BBC3 (it also got 800,000/4% the previous Wednesday at 9pm).

E4’s The Big Bang Theory was the best of all with 1.7 million/9% on Thursday at 8pm.

36 | Broadcast | 14 June 2013

Source: BARB

digiTaL homes

ToP 30 muLTiChanneL Programmes Title

1 2 3 4 5 6 7 8 9 10 11 12 13 14 14 16 17 17 17 17 21 21 21 21 25 25 25 25 29 30

The Big Bang Theory BGMT: The Live Final The Only Way Is Essex The Call Centre The Only Way Is Marbs How I Met Your Mother Pretty Woman BGMT: Best & Worst...

Johnny English Russell H’s Good News Pretty Woman Storage Hunters Family Guy Lemon La Vida Loca Storage Hunters Sun, Sex And Suspicious...

Only Connect The Big Bang Theory Hollyoaks Johnny English TT 2013 BGT: The Live Final Family Guy Hollyoaks Family Guy Coyote Ugly The Big Bang Theory TT 2013 The Big Bang Theory The Big Bang Theory

Figures include HD and +1 where applicable

Day

Thu Sat Sun Tue Wed Thu Sat Sun Thu Thu Wed Tue Wed Thu Tue Thu Mon Mon Mon Sun Mon Sun Sun Wed Wed Wed Wed Tue Thu Fri

Start

20.00 22.00 22.00 21.00 22.00 20.30 22.00 21.00 20.15 22.00 21.00 20.30 22.55 22.00 20.00 21.00 20.30 18.30 19.00 19.10 21.00 13.45 22.25 19.00 23.20 19.55 18.30 21.00 18.30 18.30

Viewers (millions)

Share (%)

Channel

1.74 1.38 1.07 1.05 1.03 1.00 0.92 0.87 0.86 0.85 0.84 0.81 0.73 0.72 0.72 0.70 0.69 0.69 0.69 0.69 0.68 0.68 0.68 0.68 0.67 0.67 0.67 0.67 0.66 0.65

8.91 8.03 6.25 4.92 5.76 5.09 6.44 3.99 4.44 4.77 4.07 4.01 6.46 4.27 3.83 3.66 3.09 4.27 3.88 3.25 3.00 7.83 4.25 4.04 8.05 3.11 4.29 3.11 4.63 4.37

E4 ITV2 ITV2 BBC3 ITV2 E4 BBC3 ITV2 ITV2 BBC3 BBC3 Dave BBC3 ITV2 Dave BBC3 BBC4 E4 E4 ITV2 ITV4 ITV2 BBC3 E4 BBC3 ITV2 E4 ITV4 E4 E4

Channels

Share (%)

BBC1 ITV BBC2 C4 C5 Total multichannel ITV2 ITV3 E4 ITV4 BBC3 Dave Sky Sports 1 Film 4 CBeebies More 4 BBC News 5 USA

19.74 16.69 5.64 5.58 4.50 47.86 3.04 2.43 2.01 1.85 1.76 1.38 1.37 1.36 1.20 1.19 1.14 1.13

Figures include HD and +1 where applicable

330k BBC4 sitcom Up The Women held up well in week two, shedding just 10,000 viewers

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

NoN-PSB toP 50 1 2 3 4 4 4 7 7 9 10 11 11 11 14 15 15 15 18 18 20 20 20 20 20 20 26 27 27 27 27 31 31 31 34 34 34 37 37 37 40 40 40 40 40 45 45 47 47 49 49

Title

Day

Start

Storage Hunters Storage Hunters Game Of Thrones QI XL Mrs Brown’s Boys Mad Dogs The Simpsons Live Cricket - ICC Champions Trophy Mock The Week The Simpsons NCIS Revolution Special: Jessie QI XL An Idiot Abroad QI XL The Simpsons Would I Lie To You? QI XL QI The Simpsons New Tricks Hawaii Five-0 Have I Got A Bit More News For You Not Going Out Have I Got A Bit More News For You Live Rugby Union The Valleys The Simpsons Brit Cops: Rapid Response Have I Got A Bit More News For You Live ODI Cricket Mock The Week QI XL Modern Family Uefa Under-21 Championship The Simpsons Touch Criminal Minds The Simpsons Futurama The Simpsons The Simpsons The Simpsons Keeping Up Appearances Grimm The Simpsons Keeping Up Appearances Brit Cops: Frontline Crime Keeping Up Appearances

Tue Tue Mon Tue Wed Tue Mon Sat Tue Tue Fri Fri Fri Wed Sun Sun Tue Wed Sun Tue Mon Fri Sun Thu Sat Mon Sat Tue Wed Mon Wed Wed Thu Fri Fri Wed Fri Tue Mon Sun Fri Thu Mon Wed Sun Mon Tue Thu Sat Tue

20.30 20.00 21.00 21.00 21.00 21.00 19.00 10.00 22.00 19.00 21.00 21.00 18.00 22.25 21.00 22.00 19.30 21.50 21.00 22.40 19.30 21.00 21.00 21.00 22.20 21.00 10.30 22.00 19.00 21.00 20.55 13.30 22.00 21.00 20.30 19.15 19.00 20.00 21.00 18.00 19.30 19.00 18.30 18.30 18.45 21.00 18.30 20.20 22.00 20.20

Viewers (m) (all homes) 0.81 0.72 0.52 0.51 0.51 0.51 0.48 0.48 0.44 0.42 0.41 0.41 0.41 0.40 0.38 0.38 0.38 0.37 0.37 0.36 0.36 0.36 0.36 0.36 0.36 0.35 0.34 0.34 0.34 0.34 0.33 0.33 0.33 0.32 0.32 0.32 0.31 0.31 0.31 0.30 0.30 0.30 0.30 0.30 0.29 0.29 0.28 0.28 0.27 0.27

Figures include HD and +1 where applicable

revolution www.broadcastnow.co.uk

the Valleys

Share %

Broadcaster/ Producer*

4.01 3.83 2.32 2.40 2.18 2.37 2.73 6.15 2.51 2.51 1.98 1.98 2.86 2.95 1.75 2.32 2.01 1.81 1.71 3.05 1.87 1.75 1.64 1.87 2.22 1.52 5.55 2.07 2.02 1.48 1.43 2.57 1.89 1.56 1.57 1.53 1.80 1.58 1.34 2.08 1.57 1.89 1.83 1.90 1.65 1.25 1.82 1.39 1.59 1.36

Dave Dave Sky Atlantic Dave/Talkback Gold/Boc Pix/RTÉ Sky 1/Left Bank Pictures Sky 1 Sky Sports 1 Dave/Angst Productions Sky 1 Fox Sky 1 Disney Channel Dave/Talkback Pick TV/Risk Productions Dave/Talkback Sky 1 Dave/Zeppotron Dave/Talkback Dave/Talkback Sky 1 Yesterday/Wall To Wall Sky 1/Avalon Dave/Hat Trick Productions Dave Dave/Hat Trick Productions Sky Sports 2 MTV/MTV/True North Sky 1 Pick TV/Steadfast TV Dave/Hat Trick Productions Sky Sports 1 Dave/Angst Productions Dave/Talkback Sky 1 Sky Sports 2 Sky 1 Sky 1 Sky Living Sky 1 Sky 1 Sky 1 Sky 1 Sky 1 Yesterday Watch Sky 1 Yesterday Pick TV/Steadfast TV Yesterday

703k Total audience across three showings of the first in the latest run of Sky 1’s Mad Dogs

UP Dave’s Storage Hunters share up to 4% DOWN Sky 1’s Hawaii 5-0 drops 70,000

Hunters take the Throne BY stephen price

Here the other digital channels get their chance to shine in the first in a weekly series. It’s unlikely that in Game Of Thrones households anyone will suggest putting on the wedding DVD. A similar audience found Jessie’s escapades fun. While if cricket’s not your thing (are you ill?), I’d avoid Sky Sports for a bit.

Sky Atlantic’s penultimate Game Of Thrones (the one that melted Twitter and caused hordes to demand the Metro editor’s scalp) averaged 523,000/2% on Monday, eclipsed solely by Dave’s cheaper but increasingly epic Storage Hunters (Tuesday 8.30pm’s 807,000/4% was the best this week). Recording will close that gap.

Disney Channel’s Jessie served up a special episode on Friday, achieving 409,000/3%; its best live audience yet.

Cricket let Australia down on Saturday as England roundly thumped them in the ICC Champions Trophy in front of 481,000/6% on Sky Sports 1.

14 June 2013 | Broadcast | 37

Ratings Mon 27 May – Sun 2 Jun

All BARB ratings supplied by: Attentional

Consolidated Ratings

BBC’s slot swap fails

BY Stephen price

When Swap Shop burst onto our screens all those years ago, it was like a TV programme beamed from Mars. It was aimed at me, it was bogglingly multicoloured, it was on Saturday mornings when I was at my most supine, and tantalizingly, it seemed to offer the possibility that I could swap my sister for a train set.

I never did swap my sister, and the train set I eventually got was a grave disappointment.

Still, no such qualms at BBC1 this week as it went swaptastic, with the schedule dodging ITV’s big week.

BBC1: The Apprentice With ITV screening the live England international on Wednesday, BBC1 moved The Apprentice to

Source: BARB

Tuesday against a Britain’s Got Talent semi-final, where the audience was probably felt to be more compatible. The Apprentice’s live rating was 5.4 million/21%. After the series’ second-best recording rate of 1.5 million, it ended on 6.9 million/23% – much better, but the second-lowest performance of its current run. The best so far was 22 May’s 7.7 million/27%.

Since it’s directly linked, BBC2’s The Apprentice: You’re Fired! moved to Tuesday too – 2.1 million/11% at 10pm was the best live rating of the series so far. The highest recording of the run (670,000) ensured that its top-dog status was retained, with 2.8 million/12%.

place so far with 4.1 million/ 16%. The best of the series was the launch episode’s figure of 5.3 million/21%.

BBC1: Frankie

Channel 4’s stalwart series 24 Hours In A&E remains stalwarty to an increasing degree. This week’s live rating of 2.9 million/13% on Wednesday at 9pm was enhanced by another 379,000 to deliver a consolidated rating of 3.3 million/ 13%. The best-performing episode of this series was the 10 April launch with 3.9 million/14%.

BBC1 moved Frankie, with its female slant, from Tuesday to Wednesday’s unforgiving opposite-the-footie slot. This third episode achieved 3.3 million/ 14%, by some distance the worst to date.

Despite the highest recording rate (766,000), it remained in last

Sky Living: Hannibal Sky Living’s Hannibal continues to gobble up ratings after recording.

Watched resolutely via PVR more than live, its initial rating of 248,000/1.4% on Tuesday at 10pm was boosted by more than 620,000 through recording and catch-up.

The final rating of the premiere transmission was 868,000/4.2%, while two repeats got that over 1.1 million. The best premiere rating so far is 14 May’s 909,000/5%.

Channel 4: 24 Hours In A&E

TOP 30 CONSOLIDATED RATINgS: RANkED By gAIN

1 2 3 4 5 6 6 8 8 10 11 12 13 13 15 16 17 17 19 20 21 22 23 24 25 26 27 27 27 30

2.8m ITV’s US drama The Americans added 650,000 via PVR and catch-up

UP Corrie breaks 10 million barrier

DOWN The Fall dips by 200,000

Sign up to receive our ratings newsletter at broadcastnow.co.uk

Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

The Apprentice The Fall The Voice UK Britain's Got Talent Casualty Coronation Street Coronation Street EastEnders Coronation Street Coronation Street Britain’s Got Talent Result Britain’s Got Talent EastEnders Frankie Britain’s Got Talent EastEnders The Voice UK EastEnders CSI: Crime Scene Investigation Britain’s Got Talent Britain’s Got Talent Result The Apprentice – You're Fired!

The Americans Case Histories Hannibal Elementary Britain’s Got Talent Britain’s Got Talent Result Have I Got News For You Waterloo Road

Tue Mon Sat Sat Sat Thu Tue Thu Mon Fri Sat Tue Tue Wed Mon Wed Sun Fri Tue Fri Mon Tue Sat Sun Tue Tue Thu Tue Fri Wed

21.00 21.00 20.30 19.00 21.40 21.00 21.00 19.30 21.00 21.00 21.30 19.30 19.30 21.00 19.30 19.30 19.20 19.30 21.00 19.30 21.30 22.00 22.00 20.30 22.00 21.00 19.30 21.30 21.00 20.00

6.88 3.96 6.74 9.74 5.13 10.28 10.52 6.30 11.22 10.19 9.04 10.20 6.48 4.11 11.48 7.18 6.36 5.57 2.49 9.98 9.26 2.77 2.80 4.32 0.87 1.06 9.76 8.39 4.38 3.64

23.23 13.62 28.42 46.58 22.43 38.57 34.13 26.96 37.20 38.17 35.71 38.97 26.53 15.92 44.45 32.71 28.37 25.06 8.26 42.61 31.83 12.38 15.07 16.74 4.18 3.52 39.52 28.64 16.78 15.32

1.50 1.08 1.03 0.91 0.89 0.88 0.88 0.86 0.86 0.84 0.80 0.78 0.77 0.77 0.76 0.74 0.73 0.73 0.70 0.69 0.68 0.67 0.65 0.64 0.62 0.58 0.57 0.57 0.57 0.56

27.80 37.60 17.90 10.30 21.00 9.40 9.10 15.90 8.30 9.00 9.70 8.30 13.40 22.90 7.10 11.50 13.00 15.00 39.40 7.40 7.90 31.80 30.00 17.50 250.20 118.50 6.20 7.30 14.90 18.10

Broadcaster BBC1 BBC2 BBC1 ITV BBC1 ITV ITV BBC1 ITV ITV ITV ITV BBC1 BBC1 ITV BBC1 BBC1 BBC1 C5 ITV ITV BBC2 ITV BBC1 Sky Living Sky Living ITV ITV BBC1 BBC1

Figures include HD and +1 where applicable

38 | Broadcast | 14 June 2013

www.broadcastnow.co.uk

Off Cuts

Contact robin.parker@emap.com

Packham’s back on song

ALL A TWITTER A medal for the amazing Steadicam work on #bollywoodcarmen on BBC3.

A whole dance number live on one shot. Incredible…

Proper, mad TV ent. @garethmammal (Gareth Edwards) Comedy producer/writer Suchet (right): debut performance

Suchet’s brassy blonde

Broadcasting House, 9.42am.

Flap Level: Very High Indeed #QueenattheBBC

A hot new face in the world of classical music is set to wow the audience at the Liverpool Philharmonic on his debut this weekend – at the tender age of 69. Yes, Classic FM’s John Suchet has been persuaded to dust off his trombone (or, in his words, “my brassy blonde”) from the box in which it has been kept for 45 years. Word has yet to reach Off Cuts on whether he’ll belt out the ultimate trombone hit, the theme from Jonny Briggs.

He’s at it again. Chris Packham’s latest mission – to smuggle Clash song titles into his Springwatch patter – is reaching critical point.

He’s slotted in 64 to date, from the obvious (Life Is Wild, 48 Hours, One More Time) to the near-impossible (Drug Stabbing Time, Brand New Cadillac). There’s still much left untouched, though; Packham must surely be hoping at least one variety unleashes its Sex Mad Roar as it prepares to Rock The Casbah at the series’ climax.

Four gone conclusion In a case of ‘if you can’t beat ’em, hire ’em’, Broadcast bids adieu to star reporter and scourge of Channel 4 Balihar Khalsa as she leaves for… C4. Bali’s off to join the Dispatches trainee scheme, working with October Films on projects that will surely put her forensic investigative skills to good use – and all but banish the phrase ‘a C4 source said…’ from the Broadcast lexicon for some time.

@janegarvey1 (Jane Garvey) Presenter, Woman’s Hour

If I ever have the misfortune to meet the fish head who commissioned this shit on C5 about the moon landings, I WILL punch them. @ProfBrianCox (Brian Cox) Presenter

Just catching up with #thecallcentre. The opening 5 mins is the obs doc equivalent of an action movie blockbuster. Nev is gold but such craft. @edcrick (Ed Crick) Creative director, Tern TV

£4.99

Do you have a story that you’d like to share?

Broadcast deputy editor Chris Curtis lent his skills to a Sky Sports practice session at Lords last week, hosted

by England cricket coach Andy Flower. With tours of Oz and India under his belt, magazine vice-captain Curtis passed on some tips to Flower about pitches, scoops and managing difficult team members.

AND FINALLY ...

Steve Mould Science presenter

Which TV programme would you resuscitate?

I’d love to resurrect Local Heroes or The Secret Life Of Machines. I love how low-key they were. Though if we brought them back, we’d probably want to liven them up a bit.

Who would you least like to share a taxi with?

Creationist Walter L Bradley.

So awkward!

Who would you be on Stars In Their Eyes?

Beyoncé [below]. For the obvious reasons.

If you could perpetuate a myth about yourself, what would it be?

I’m going to be the next Doctor.

What would you do with a million quid?

I’d turn my collection of curiosities into a little museum.

What do you do to relax?

Watch Modern Family with my family or go on reddit.com. I also go geocaching. It’s like going for a walk, but with a secret mission.

What law would you most like to break?

I’d love to try my hand as a hacker. Just to see if I could do it.

What’s your greatest extravagance?

I haven’t let myself get into video games because I know it would take up too much time. I do have two exceptions though – Portal and Portal 2.

Brilliant nerdy gaming.

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