Broadcast 28 June 2013 by Media Business Insight

www.broadcastnow.co.uk

28 June 2013

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How technology is Carey and Lewis on transforming factual Cineflix’s bold plans

Women detectives at work and play

Moore to reinvent BBC1 factual Flagship channel’s factual offering will be a key priority for new controller, says Danny Cohen Factual is ripe for the next turn of the wheel, particularly at 8pm

BY LISA CAMPBELL

Charlotte Moore’s appointment as BBC1 controller signals the start of a reinvention of factual on the channel, according to director of television Danny Cohen. Cohen confirmed Broadcast’s exclusive this week that Moore had landed the job. He said her ability to stretch her documentary remit across a broad portfolio of programmes had helped her secure one of the most important roles in the TV industry. Her commissions range from factual series The Great British Bake Off and Inside Claridge’s to landmark shows such as Our War and high-end singles including Terry Pratchett: Choosing To Die. Cohen described Moore as “an outstanding candidate”, adding that she has “an extremely good reputation as someone who collaborates well with indies and in-house. She champions docs and allows those around her to improve on that range and do very different things”. Cohen, who as BBC1 controller introduced shows such as The Voice UK and Last Tango In Halifax, had wanted to inject more factual into peak time, something he is keen for Moore to continue. “Factual on BBC1 is ripe for reinvention and the next turn of the wheel,” he stated. “The channel will always be driven by drama and entertainment, but there is room for reinvention, particularly in the 8pm to 9pm slot.” Moore has been acting BBC1 controller for two months following Cohen’s appointment as director of television in April. Cohen

Danny Cohen, BBC

Moore: becomes BBC1 controller after holding acting role for two months

MOORE’S CAREER ■ Charlotte Moore has commissioned documentaries at the BBC since 2006. She took over running the genre in 2009. ■ She was previously director of contemporary factual at IWC, responsible for the likes of Stephen Fry: Secret Life Of The Manic Depressive (BBC2). ■ Before that, she was a freelance series producer/director, with credits including C4’s Lagos Airport (2000).

said she had been working well alongside key genre heads Ben Stephenson in drama and Mark Linsey in entertainment. Both were contenders for the role, although Stephenson pulled out before the interview stage. Linsey made it to the final round, but was informed last week that he had been unsuccessful. It is not known which other candidates applied. Moore, who takes up the position with immediate effect, commented: “BBC1 has a unique role to play in this country. I’m incredibly excited by Danny’s vision for

BBC television and what the future holds in the digital age.” Appointed in 2006 as commissioning executive for documentaries, Moore has worked across all four main BBC channels. She spent the first part of this year as acting controller of daytime before taking up the acting BBC1 controller post in May. Prior to joining the BBC, she was director of contemporary factual at IWC Media. Many in the doc-making community welcomed her appointment. “Charlotte has a lot of experience: she’s worked at indies, she knows how the BBC works and she’s got really good instincts for docs and is prepared to back film-makers in the riskiest situations,” said Century Films director Brian Hill. “She’ll have ideas about how to broaden their appeal, but be smart enough to get the balance right.” However, there were concerns from some within the entertainment community, with one senior exec saying: “You don’t build a popular channel out of factual. The jury’s out on how well she’ll lead entertainment and deal with talent. There’s also a question of how hands-off Danny will be.” Moore’s total remuneration goes from £174,800 to £240,000, some £30,000 less than Cohen earned in the role.

Editor’s Choice

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

Online this week www.broadcastnow.co.uk

Lisa Campbell, Editor

Top News

Controller with a point to prove Charlotte Moore’s appointment could be just what the BBC needs

t Sheffield Doc/Fest earlier this month, then BBC head of documentaries Charlotte Moore led a session called ‘The Art of the Interview’. Judging by her success this week, it’s an art she herself has mastered. “An outstanding candidate,” declared Danny Cohen of his new BBC1 controller, referring to the reputation she enjoys among factual indies and in-house production. Widely credited for being smart, collaborative and creative, with a strong

‘A commissioner willing to back bold ideas and view entertainment with fresh eyes could be a winner’ instinct for documentaries, Moore has produced a wide range of factual content, from formatted series such as The Choir and The Great British Bake Off (below right), through awarding-winning landmarks such as Our War and Welcome To Lagos (below left), to bold, single films such as Terry Pratchett: Choosing To Die. She is credited with backing film-makers even when the outcome is unpredictable, the journey dangerous or the access erratic. That trust and confidence in the abilities of programme-makers, combined with her unwavering support, has meant Moore’s name is always on the list of ‘best commissioners to deal with’ – a question asked in Broadcast’s annual Indie Survey. It’s a trait that should stand her in good stead when it comes not only to broadening the range of factual output on the main channel, but across other key genres such as 2 | Broadcast | 28 June 2013

è UKTV is to close its British-themed pay-TV channel Blighty after four years, ahead of the launch of its forthcoming scripted channel Drama.

è Ten Alps more than doubled its losses entertainment. Like other broadcasters, the BBC is struggling to find a homegrown show that will prove to be the game-changer everyone is crying out for. A commissioner willing to back bold ideas and view entertainment with fresh eyes could prove to be the winning formula. For some in the industry, that is a tall order and they would have preferred someone with core competencies in either drama or entertainment – the channel’s most important genres – taking the lead. Others claim she lacks the dynamism required for a BBC1 controller. Moore may have stretched the boundaries of doc-making, but will this new role prove a stretch too far, not least when the entertainment head she will have to lean on is Mark Linsey, the man she pipped to the post? Moore may have everything to prove – but those who know her are in no doubt that she’s ready to meet the challenge.

Expert Women It’s great to see another expert woman take a top job in BBC television, where stats on gender balance seem healthier than within its news counterpart – where all recent top jobs have gone to men and senior female correspondents are outnumbered by men 11:1 (Lis Howell, page 11). The good news is that from the 92 women trained through the BBC Academy on our Expert Women days, there have been 97 media appearances. Several series are in development or production and one woman, Emily Sidonie, is to be the resident science expert on Sky’s Duck Quacks Don’t Echo. Congrats to all our experts.

to £8m over its last financial year, amid difficult economic conditions and a significant internal restructure.

è Sky is to combine its factual and factual entertainment commissioning teams in a restructure in which Michele Kurland (pictured) will leave her role as head of factual entertainment commissioning.

Ratings Top Five 1 Factual series First Dates failed to impress on Thursday, pulling in fewer than 850,000 viewers for C4. 2 BBC1’s The Voice UK (below) bowed out with a peak of almost 9m on Saturday, just below last year’s performance. 3 Channel 4’s late-night music show pilot Smells Like Friday Night failed to strike a chord on Friday night as fewer than 120,000 viewers tuned in.

BBC1’s The White Queen shed 850,000 viewers on Sunday but retained the slot crown with 4.5m. 4

5 ITV doc series Secrets From The Workhouse won the 9pm slot on Tuesday with 3.5m viewers.

Team Tweets è BBC confirms Charlotte Moore as BBC1 controller. Before all you producers start ordering bubbles, remember there’s a £50 cap on BBC gifts ;) @LisaCampbell

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News & Analysis

ITV reveals survey feedback ITV has kicked off a new commis sioning era under Peter Fincham by pledging to independently assess its commissioning pro cesses every year. The broadcaster, which has new commissioning heads for drama, factual and daytime, wants to improve its supply of ideas, and revealed the findings of its first YouGov commissioning study at its annual Producers’ Forum in London last week. Producers said ITV has a strong understanding of its audience and is clear and straightforward to deal with, but that its commissioners are riskaverse and favour shows from production arm ITV Studios. There were also concerns that ITV flouts the terms of trade. Director of television Fincham told programmemakers that improving its indie relationships “really does matter” if it is going to secure the best ideas, and that the recent changes to his team had thrown this into sharp focus. Drama commissioners Laura Mackie and Sally Haynes have left to launch MainStreet Pictures, paving the way for the promotion of Steve November to director of drama. Director of daytime and factual Alison Sharman left her

PeTeR SeaRLe

BY Jake kanter

Judge us, and if we can improve the way we do business, we will Peter Fincham, ITV

Fincham: change of personnel has thrown indie relationships into focus

role in February and her responsi bilities have been split between in coming factual boss Richard Klein and Helen Warner, who started as director of daytime this month. Finally, comedy has become a genre in its own right under enter tainment director Elaine Bedell, with the appointment of Myfanwy Moore as comedy commissioning editor last year. Fincham acknowledged the changes: “After quite a long period of stability, we’ve got some important changes to the team. I wanted to take a look at the way

we commission. Are we doing it right or wrong? Can we improve? How do we compare with our competitors?” YouGov interviewed 85 indies – which had turnovers ranging from less than £1m to more than £100m a year – and found that 42% thought ITV was “unadventurous and riskaverse”. Some 29% said the company ignored agreed con tracting standards when negotiat ing programming deals, while 14% complained that efforts to bolster ITVS meant the production busi ness was favoured.

Fincham stressed that ITV will “listen to the concerns”, but pro vided a firm rebuttal of much of the criticism. On ITV being unadventurous, he said the broad caster’s remit is not in “quirky, leftfield ideas”, but “brilliant ideas that deliver big audiences”. He added that ITV is “unambigu ous” about its commercial priori ties, but insisted it wants to do business on terms that “make sense” to all concerned. Fincham was supported by ITV chief executive Adam Crozier in attempting to dispel the myth that ITVS shows are prioritised. “In the end, it’s all about the quality of the programmes,” Crozier said, adding that “Peter and the team make all their choices on merit”. Fincham said the research would be continued “every year”, adding: “We weigh judgement on your ideas, your scripts, your formats and proposals. Judge us in return, and if we can improve the way we do business, we will.”

Lion TV to produce Confucius doc for China This project with one of the country’s leading channels marks a stepchange in our work in China

BY Peter White

Chinese broadcaster CCTV has commissioned Lion Television to produce a major international coproduction based on the life of philosopher Confucius. The public broadcaster has ordered Confucius for its science and education network CCTV10 and is working with its global marketing division CITVC to develop the series with the All 3Mediaowned indie. The doc will explore the life and legacy of the philosopher, who lived in the 5th century BC, around the same time as Socrates and Buddha. www.broadcastnow.co.uk

Chinese School: Lion show for BBC

Lion will produce a multimillion pound twopart series for the inter national market and a longer ver sion for the domestic Chinese mar ket. It is the latest Chinese project for Lion, which has previously

Richard Bradley, Lion TV

produced C4 and Discovery copro First Emperor, Discovery’s China Atlas and the BBC’s Chinese School. It will be exec produced by Lion TV head of history Bill Locke and was commissioned by CCTV10

controller Yue Jin, who said: “This is a fascinating story about the great sage and how he transcends time. China can provide the world with exciting stories; in return, the world can provide China with experience and expertise in telling these stories.” Lion TV joint managing director Richard Bradley added: “The oppor tunity to coproduce with one of the country’s leading channels marks a stepchange in our work in China. Ambitious TV projects like this offer a real chance to help broaden the world’s understanding of China.” The other copro partners are yet to be announced. 28 June 2013 | Broadcast | 3

News & Analysis

ITV execs reveal wishlists New commissioning team outlined their plans at the annual Producers Forum last week BY JAKE KANTER

Indies were keen to hear from the new-look ITV commissioning team at the broadcaster’s annual Producers’ Forum in London last week. Findings from the broadcaster’s first supplier survey (see page 3) suggest the broadcaster has been commissioning with confidence and in the past year has had a clear idea of its needs. The producers in attendance stressed that the onus will be on the refreshed commissioning team to continue this. Producers heard from director of drama Steve November and daytime director Helen Warner for the first time, as they prefaced their visions and programming needs. But factual indies will have to wait until Richard Klein arrives to get a full sense of the new direction for the genre. What follows is the first insight into the new team’s requirements.

Steve November Director of drama

In his first speech since succeeding Laura Mackie in April, November said he was on the hunt for dramas about contemporary life that are not “soft and whimsical”. He said there was space for an Auf Wiedersehen Pet-style, blue-collar workplace story, while romantic drama remains a priority. He explained that “dramas with humour” were also on his wishlist, but that they must have “satisfying, credible” stories like Doc Martin (above). “Crime rarely fails to deliver,” November said, but new series must provide a “fresh approach”, not just “another dead girl on the pathologist’s slab”. Single films and events remain desirable, while ITV is constantly on the lookout for dramas that can be stripped across a week, but these must be “standout reputational pieces”. “There might be a slight change in taste [for ITV drama], but there won’t be a change of direction. Laura and Sally left ITV with great confidence,” November said. “Our biggest push is for a hit away from crime. It’s got to have a very clear and compelling proposition up front.”

4 | Broadcast | 28 June 2013

Dancing On Ice: filling the gap left by the show is a priority for ent controller John Kay Cooper

John Kay Cooper Controller of entertainment

Kay Cooper talked in some detail about finding ITV’s next big entertainment hit, explaining to producers that it is likely to be a format with a “simple twist” on a familiar show. The broadcaster has a Dancing On Ice-sized hole to fill from winter 2015, which Kay Cooper said has opened up a “big opportunity” for as many as two major Sunday series. “We want ideas as soon as possible,” he stressed. In spring 2014, there are slots following Ant & Dec’s Saturday Night Takeaway and the Britain’s Got Talent auditions for a gameshow, a crossgenre experiment, a quiz or a “smart piece” of comedy entertainment. Wednesdays at 8pm remains a priority, where ITV wants to build on the success of All Star Mr & Mrs, while the broadcaster is interested in a format that puts ordinary people centre stage. He also revealed that ITV wants to widen its entertainment talent pool. “Over the next 18 months, we plan to accelerate the progress of some up-and-coming names, whether they’re on smaller channels, daytime or the fringes of primetime. Feel free to suggest some newer names,” he said, adding that ITV also needs to improve the “balance of ethnicity” among its presenters. www.broadcastnow.co.uk

For all the latest commissions, check out our commissioning index. Visit http://greenlight.broadcastnow.co.uk

Helen Warner Director of daytime

Warner took up her role this month and said she will be aiming to “strengthen and improve” ITV’s daytime schedule rather than overhaul it, emphasising that “it’s in pretty good shape – it’s not a train wreck”. The afternoon will be a particular focus for the former Channel 4

daytime boss, who wants to commission shows that “people will feel they’ve missed out on if they don’t watch”. She added that humour is important and, away from the stronghold of factual and quiz formats, drama is an area she is keen to explore. She also backed Daybreak, arguing that the much-criticised breakfast show has “turned a corner” since the arrival of Aled Jones and Lorraine Kelly (left).

Vicious: question mark over whether the sitcom will get a second outing

Angela Jain Director of digital channels and acquisitions

The former E4 boss is on the hunt for a new ITV2 drama after cancelling her first effort Switch (below) last year, despite record ratings. “It was a really painful decision not to recommission. Switch did show us that viewers like contemporary British drama, so I take some comfort from that,” Jain said. She remains keen on a rude and funny clips show for ITV2’s 10pm slot, while she admitted she was envious of the success of BBC3’s The Call Centre. Jain told indies that ITV2 “likes the people” in its programmes and “making it funny” is vital. Elsewhere, Jain would “love” a comedy for CITV, but warned that the broadcaster cannot fully fund projects for the children’s channel.

www.broadcastnow.co.uk

Jo Clinton-Davis Controller of factual

Promoted following the exit of Alison Sharman in February, Clinton-Davis called for “clear, bigscale and direct propositions” in the factual space, adding that “the shock of the familiar” resonates with ITV viewers. She stressed that 9pm is a priority and finding another returnable brand such as Long Lost Family (below) is important, while ambitious access pieces are desirable. Finding a landmark 56 Up-style series that “tells the story of us as a nation” is also crucial. ITV, she added, is also piloting pre-watershed formats that may bring a “bit more grit” to the schedule. Clinton-Davis confirmed that new director of factual Richard Klein will make changes and bring a “rich blend of flavours” to ITV’s factual output.

Myfanwy Moore Comedy commissioning editor

Moore reaffirmed ITV’s commitment to comedy, calling on producers to pitch ideas for 30-minute multi- and single-camera sitcoms, as well as 60-minute series for the Friday night “Benidorm slot”. “It’s the white heat of primetime – we have to play things in punchy places, so we know there’s nowhere to hide,” she said, stressing that ITV was committed to getting shows right in the “long term”. Moore explained that ITV sitcoms are not “rarefied and cynical”, but “warm and enjoyable”, with the best starting point being a “brilliant script written with an authentic voice”. She added that Vicious and The Job Lot (right) have been a “learning curve” and that ITV was “really proud” of both sitcoms. However, there is no decision yet on whether they will be recommissioned. 28 June 2013 | Broadcast | 5

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News & Analysis

Horrocks: threats result of ‘effective journalism’ BY Jake kanter

BBC journalists have become a “lightning rod” for intimidation in countries experiencing political and social volatility, according to Peter Horrocks. Commenting on a wave of threats against BBC reporters and their families in Iran and Turkey, the director of global news said the hostile behaviour was a sign of the effectiveness of the corporation’s journalism. Earlier this month, the BBC condemned “unprecedented levels of intimidation” against the relatives of its Persian Service staff living in Iran, while this week Horrocks personally criticised a “threatening” Twitter campaign by senior Turkish politician Ibrahim Melih Gökçek over reporter Selin Girit’s coverage of protests in the country. Horrocks, who oversees the BBC World Service, World News and a number of digital services, said intimidation tends to come in “phases” and the BBC has to make a careful judgement as to whether to make the threats public. “If you turn up the temperature, there is a danger the threats will be carried out, but if we’re seen to accept them, then there is a risk that it will encourage the government [in question],” he told Broadcast.

BBC Persia: 256 million people worldwide tuned into BBC’s global services

However, Horrocks suggested that the intimidation is not entirely unwelcome, because it indicates that his journalists are making their mark. “The BBC’s journalism is taken seriously around the world. In a funny way, if governments stop caring, then the BBC is not being effective,” he said. Horrocks pointed to the record 256 million people worldwide tuning in each week to the BBC’s global news services over the past year as a sign of the corporation’s growing reach.

In a funny way, if governments stop caring, the BBC is not being effective Peter Horrocks, BBC

There have been no further threats to Persian Service journalists’ families since the Iranian election on 14 June, and Horrocks added that reporters are well equipped and supported by the corporation when experiencing intimidation.

Former BBC factual head hits out at commissioners Former BBC controller of factual production Tom Archer has claimed the growing power of TV commissioners is threatening creativity in the industry, and that they have been elevated to the status of “minor gods”. In his first lecture as a visiting professor at the University of the West of England in Bristol, Archer said the increasing influence of commissioners had left British TV in “a rotten state”, describing them as an “uncreative crust” at the top of the industry. He outlined the problem as “the elevation of the status of commissioning, and commissioning’s mission creep into all aspects of programme-making.” Archer went on to condemn the “surprisingly large” bureaucracy that surrounds channel controllers. “It’s quite a regular sight in TV Centre to see a BBC channel controller sat in a meeting with a dozen advisers and not a single one of them, sometimes [not] even the channel controller, has made a programme,” he said. He was also broadly critical of channel controllers becoming so busy that they could not form direct relationships with producers. Archer said he was only able to speak out on these issues because he had no intention of staying in the industry, and that it would be “suicidal” for active producers “to make a fuss about behaviour”.

“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

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28 June 2013 | Broadcast | 7

News & Analysis

VM back in Sky Atlantic talks BY peTer wHiTe

The prospect of Sky Atlantic becoming available to Virgin Media’s 3.8 million TV subscribers has moved closer after it emerged that talks between the two companies have reopened. The channel had a high-profile launch in February 2011, but the UK’s two biggest pay-TV operators never really got close to agreeing a cable carriage deal at the time. Sources have indicated that the operators have now reopened negotiations and, although a deal is not imminent, they are significantly closer to agreeing a price for Sky Atlantic than they were two years ago. One source said a “degree of realism” had entered the talks. Sky Atlantic launched with a number of flagship series from US premium broadcaster HBO, including Boardwalk Empire and The Sopranos, after BSkyB struck an output deal with the Time Warner-owned network. It was designed as an exclusive home for premium content, including shows such as AMC’s Mad Men and Showtime’s House

Sky could be persuaded that an additional 4 million potential viewers would be a positive move

The Sopranos: HBO hit was one of Sky Atlantic’s flagship programmes

Of Lies, and was conceived as a way to attract and hold on to subscribers who were less interested in sport and movie content. Dramas The Following and Game Of Thrones now regularly deliver consolidated audiences of more than 1 million. The channel had a reach of around 11.1 million viewers in the

first three months of 2013, according to Barb research, a year-onyear increase of 1.3 million. This puts it level with channels such as Fox and Discovery. It is thought that Sky could be persuaded that an additional 4 million potential viewers for Sky Atlantic would be a positive move, boosting ratings for its

content, which is often accused of rating poorly relative to its quality. Carriage negotiations for Sky’s other channels on Virgin Media are due to be renewed this month, at which time a deal for Sky Atlantic is likely to be discussed. Virgin Media could also be looking to replace ESPN, which will close this summer, in its premium XL package. It will want to ensure it keeps churn low for its top bundle and has not yet struck a deal for BT’s forthcoming sport channels. A move for a high-profile channel such as Sky Atlantic could help it retain customers. The cable operator’s outgoing chief executive Neil Berkett has previously said that Sky had initially asked for an “unrealistic price for the product”.

Mary Beard to explore life of Caligula for BBC2 Caligula will find out if the myths – including making his horse a consul and prostituting colleagues’ wives – are true

BY peTer wHiTe

BBC2 has commissioned a raft of history documentaries about the world’s greatest empires and their leaders, including one about Roman emperor Caligula, fronted by Mary Beard. The broadcaster has ordered four new series produced by indies including Lion Television and Back2Back, as well as its inhouse division. In the 60-minute doc Caligula, Beard, host of Pompeii: Life And Death In A Roman Town, will travel across the former Roman world, from Germany to Capri in the Bay of Naples, to discover more about the notorious Roman leader. She will find out how many of the myths – including making his 8 | Broadcast | 28 June 2013

Mary Beard: unravelling the myths

horse a consul and prostituting his colleagues’ wives – are true, and what actually happened during his four-year reign. The doc will be produced by All3Media indie Lion TV and exec produced by Caterina Turroini.

Three-part series Napoleon, which will be produced by Memory Palace producer Back2Back, follows historian Andrew Roberts as he investigates the major European battlefields on which Napoleon’s army fought. It will be exec produced by David Notman-Watt and directed by David Barrie. Meanwhile, the BBC’s in-house production arm has produced the

3 x 60-minute The Marches: How A Border Made Us and single film The Mystery Of Rome’s X Tombs. The Marches looks at Hadrian’s Wall and how the Romans divided Britain 2,000 years ago. It will focus on the stories of individuals who lived in the area around the wall and will be presented by Rory Stewart. In The Mystery Of Rome’s X Tombs, historian Dr Michael Scott examines the famous Roman catacombs, which contained more than 2,000 skeletons piled on top of each other and were found by accident after a roof collapsed. Both docs will be exec produced by the BBC’s Chris Granlund. All four docs were ordered by Martin Davidson, commissioning editor, history and business at the BBC. www.broadcastnow.co.uk

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Channel 4 keeps its promise Broadcaster maintains its ratio pledge, but others fail to give women airtime, says Lis Howell

n May, we decided to check on the good guys who pledged, more than a year ago, to increase their ratio of female to male experts, aiming for one woman to every three men. Sky News and Channel 4 signed up back in March 2012. How are they doing now? We also monitored Newsnight on BBC2 and the PM programme on BBC Radio 4. For the week beginning 13 May, Sky News at 9pm with Anna Botting had sadly slipped to a ratio of more than five to one. The best evening was Tuesday, when two dominant stories were potentially female-oriented: Angelina Jolie’s mastectomy and the Oxford grooming story. Other evenings were disappointing. The worst was Friday, when a staggering seven-and-a-half minutes of the half-hour bulletin were spent on David Beckham’s retirement – a story broken earlier that day. Sky News’ report was male dominated, bar three female vox pops. It would be interesting to find out if the dominance of football stories in our news is just the result of traditional assumptions and newspaper thinking (hold the back page) or whether Beckham really is of more interest to Sky News viewers than any other story in that half hour. It certainly doesn’t help the representation of women.

Meeting targets Now for some good statistics: Channel 4 News retained its ratio. It produced three male experts to every female expert and also, interestingly, an equal number of male and female journalists – indeed, just after this monitoring period it was to make history with two female presenters for the first time ever. This is remarkable, especially when compared with the BBC, which has far more male on-screen or on-mic journalists. Given that www.broadcastnow.co.uk

Channel 4 News: equality for experts, as well as in the number of male and female journalists on air

On to Radio 4’s PM, where we monitored four days in the bank holiday week. It scored a pretty poor average ratio of 6:1 male to female experts. The worst was Tuesday 28 May’s 12:1, when stories ranged from the aftermath of the Woolthe Channel 4 News audience is wich murder (two male newspaper more likely to be ABC1 male journalists); the coronavirus in than, say, that of BBC News At Ten, Saudi Arabia (a male university it’s interesting that having so professor); and the embargo on many female journalists and con- arms to Syria and the Russian reaction (four male pundits). They tributors is perfectly acceptable. What excuse does BBC News couldn’t even find a woman to have for being so male-gender discuss the Duchess of Cambiased? Perhaps we need look no bridge’s visit to France or High further than the number of men Street shop closures. In each case, the pundits were in the top-heavy BBC news management team: head of TV current there for their expert opinions not affairs Jim Gray will report to for their achievements. So why Ceri Thomas, head of news pro- were they all men? Women have grammes, who will report to James informed opinions too. Finally, Newsnight. On the four Harding, head of news, who (I can’t really work this one out) will days monitored, the ratio of male possibly report to Roger Mosey, to female experts was 4.5:1. It is interesting (or depressing) that the new editorial director.

C4 News made history with two female presenters for the first time ever

Male/feMale ratio Sky News 5:1 Channel 4 News 3:1 Newsnight 4.5:1 Radio 4 PM 6:1 Period covers week beginning 13 May

in an item on the NHS on Wednesday 19 May, which lasted more than 10 minutes, there were six males experts and one victim – a woman. This is classic bad old casting. There was also a staggering self-serving item on Doctor Who, another lengthy piece, that featured 13 male contributors and one woman. Talk about stereotyping the show’s fans. By any standards, this is a disgrace. I find myself wishing the Daleks had won. At least they were gender neutral. 28 June 2013 | Broadcast | 11

Commissioning News

C5’s Frow chases ‘killer’ ratings Crime, whether drama or documentary, is something C5 viewers find fascinating

BY suzanne Bearne

Channel 5 has commissioned a six-part docu-drama series from Crackit Productions depicting and analysing some of Britain’s most notorious murders. Countdown To Murder will reconstruct the last days leading up to the high-profile killings from the viewpoint of the murderers and their victims. The 6 x 60-minute series, set to air in the autumn, will examine six murder cases, including the killer on steroids who stabbed his girlfriend 71 times and the former royal aide who murdered her boyfriend as he slept in their bed. Titles for the episodes include Stalked To Death, Killer In The Royal Family, The Brothers Who Butchered Their Parents and The Facebook Killer. One of the cases featured will be the 1985 murder of five family members by adopted son Jeremy Bamber. Each episode will feature testimonies from witnesses who have never spoken out before, detailed crime reports, forensic

evidence and commentary from criminologists, detectives, pathologists and journalists. Countdown To Murder was commissioned by C5’s recently appointed director of programming Ben Frow. The series will be exec produced by Fintan

Maguire. Nick Aarons will be the series producer. Frow said: “Crime, whether drama or documentary, is something that Channel 5 viewers find fascinating. This new commission combines both forms in a compelling docu-drama series

Food Network tucks into third series from chef Bates

ITV2 conjures up magic show with hidden camera

Sumi Connock is the exec producer and Andy Scott is series producing.

Food Network UK has ordered a third Andy Bates-fronted series from Sweet TV. The free-to-air broadcaster has commissioned Andy Bates Brazilian Street Feasts, a 15 x 30-minute series in which the chef ( pictured) will journey into the Amazon and north-east Brazil, as well as Rio and Sao Paulo. He will look at the culinary tastes of the country that will host the 2014 World Cup and the 2016 Olympics. The series was commissioned by Nick Thorogood, senior vice-president of content and marketing, and Sue Walton, vice-president of commissioning and original content. It will be exec produced by Sweet TV’s David Nottage and Sarah Freethy.

ITV2 has commissioned a hiddencamera magic show from ITV Studios featuring a mystery magician. The broadcaster is keeping the name of the “irreverent” trickster under wraps to fool unsuspecting members of the public and celebrities over the course of the 6 x 60-minute series. Tricked will feature a wide range of stunts, including the magician being pushed off a 10-storey building by an unsuspecting celebrity, as well as bailing out of a moving taxi and teleporting himself back into the driver’s seat. Tricked, which will air on ITV2 in the autumn, was ordered by Angela Jain and entertainment commissioner Kate Maddigan.

12 | Broadcast | 28 June 2013

Ben Frow, Channel 5

Bamber: case will be one of six featured in Countdown To Murder

C4 goes undercover on the high street with Betty Something For Nothing presenter and journalist Harry Wallop is to front a Betty-produced series for Channel 4 that will uncover the secret sales techniques used by shops and restaurants across the UK. The 4 x 60-minute series, Secrets Of The High Street, will follow a team of expert salespeople as they visit high streets to expose legal and illegal practices including upselling, flattery and manipulation. The show, due to air later this summer, has been ordered by features commissioning editor Nick Hornby and will be exec produced by David Emerson.

Don Letts to look at royal photography for Sky Arts Sky Arts has ordered Royalty Close Up, a 4 x 30-minute doc series

that tells the stories of some of Britain’s most infamous killings.” Crackit creative director Elaine Hackett said: “Ben has an instinct for programming that delivers killer ratings. We look forward to producing an unflinching, yet compelling docu-drama series that delivers storytelling in a fresh and intelligent new way.” Crackit has previously created The Fat Fighters for Channel 4, Kym Marsh: Teen Mums And Me for Channel 5 and The Dark Side Of Fame with Piers Morgan for BBC1.

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

from Brassneck TV in which film-maker Don Letts explores the work of Daily Mirror royal photographer Kent Gavin. Gavin, who worked for the paper for 40 years, had unprecedented access to the Royal Family, shooting events including Prince William’s

christening and last year’s Diamond Jubilee celebrations (pictured). Royalty Close Up will launch next month and includes interviews with Piers Morgan, Sir Michael Parkinson and Anne Robinson. It will be exec produced by John Osborne for Brassneck TV and Chris Wilson for Sky. www.broadcastnow.co.uk

For more projects in development and the latest commissions, visit

http://greenlight.broadcastnow.co.uk

Q&A ADrIAN wILLS adrian Wills General manager, Yesterday What’s your most recent commission and why? Perfect Storms: Disasters That Changed The World, produced by Entertainment One, is a coproduction for Yesterday with History Canada about events that changed the course of history. It’s fast-paced, glossy and full of great storytelling. How much has the programme changed from what was initially pitched? A few of the episodes switched around, but basically we bought into the idea from day one.

Which TV character is most like you? Spock. Which TV character/personality would you most like to be? Kirk. What’s your guilty pleasure? Box sets of Californication. What’s been your biggest disappointment? All Blacks. Cardiff. 2007. What’s the most important lesson life as a commissioner has taught you? Don’t believe the hype. How would you like to be remembered? It would be nice to be remembered at all.

What was it that grabbed you? The combination of history and science, and that ‘OMG’ feeling you get when you hear the stories.

How quickly do you aim to respond to an idea? We can give an initial response within a week or two. If we’re interested, a green light might take a further week or two.

What would you like more of? Factual storytelling that grabs you by the throat with entertainment at its heart.

Who has final sign-off? UKTV controller Emma Tennant and myself.

What’s a definite no for you? Basket weaving, candle-making… anything traditional.

How should producers pitch to you? Email treatments to Emma Sparks (acquisitions and pre-sales) or Catherine Catton (commissions).

What’s the best line you’ve heard in a pitch? Yet to hear it, to be honest.

What’s your top pitching tip for producers? Familiarise yourself with the channel output before getting in touch.

What’s the worst line you’ve heard in a pitch? Having explained that Yesterday is a factual channel, I was asked: “Have you ever heard of a little animated dog called Poochini?.”

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

reCeNT CommISSIoNS

Professor HuTTon’s CuriosiTies Duration 12 x 30 minutes Producer Yesterday and Indigo Films & Television

www.broadcastnow.co.uk

PerfeCT sTorms: DisasTers THaT CHangeD THe WorlD Duration 8 x 60 minutes Producer Entertainment One

28 June 2013 | Broadcast | 13

International

Comedy Central strikes LA deals The shows are part of CBS’s drive to expand its comedy roster

BY PeTeR WhiTe

Comedy Central UK is set to acquire US comedies The Millers and We Are Men after entering exclusive negotiations with CBS Studios International. If concluded as expected, the deals would be the first by a British broadcaster following last month’s LA Screenings. The Hollywood studio had received offers for multicamera comedy The Millers from several broadcasters but informed all parties last week that it was moving into exclusive talks with the Viacom-owned channel. The deal, which is expected to be finalised in the coming weeks, is being brokered by Stephen Tague, senior vice-president, Europe, CBS Studios International. The Millers is a family sitcom that stars Arrested Development’s Will Arnett as a recently divorced man whose life becomes complicated when his parents move into his house.

The Millers: Comedy Central UK is in exclusive negotiations with CBS

The pilot, which also stars Curb Your Enthusiasm’s JB Smoove, was directed by Cheers co-creator James Burrows. The series, which was the brainchild of My Name Is Earl creator Greg Garcia, launches on CBS at the end of September. CBS Global Distribution Group president and chief executive Armando Nuñez told Broadcast last month: “It’s got

a premium timeslot, following The Big Bang Theory.” Meanwhile, Comedy Central will also take We Are Men as part of the package deal. The half-hour sitcom stars Tony Shalhoub (Monk), Jerry O’Connell (Jerry Maguire) and Kal Penn (Harold And Kumar), who take Paranormal Activity 3 star Chris Smith under their wing after he is jilted at the altar.

The Entourage-esque show was created by How I Met Your Mother showrunner Rob Greenberg and produced by Two And A Half Men’s Eric and Kim Tannenbaum. The shows are part of CBS’s drive to expand its comedy roster and fit in with Comedy Central’s current range of multicamera comedies, including Two And A Half Men and Anger Management. The deal will also likely shepherd in a number of post-LA Screenings agreements. Other titles expected to be sold soon to UK broadcasters include The Blacklist, for which a number of British broadcasters are negotiating with Sony Pictures Television, and superhero drama S.H.I.E.LD., which is distributed by Disney Media Distribution.

LoveLive takes a stake in US indie Show Cobra We are already an international business. But this deal means we are a proper transatlantic business

BY PeTeR WhiTe

Multiplatform producer LoveLive has joined a growing number of UK producers snapping up their US counterparts after agreeing a deal to purchase Show Cobra. The move comes a week after ITV bought a controlling stake in Hatfields & McCoys indie Thinkfactory Media for £19m. LoveLive, set up and run by Transgressive Records founders Toby Langley and Tim Dellow, and former Perform exec Rich Cohen, has bought a majority stake in Show Cobra, the US indie behind 50 Cent-fronted music series Music Is My Sport. The company was set up by Jason Ross, the producer of MTV series Made. “It’s unusual for a British company to buy an American company, but it’s great,” said Cohen. “Shoreditch comes to Williamsburg.” 14 | Broadcast | 28 June 2013

Rich Cohen, LoveLive

Rihanna 777: LoveLive production

LoveLive, which produced the recent live tour doc Rihanna 777 for Fox and C5’s McFly On The Wall, bought Show Cobra to start a production base in the world’s

largest live music market. The company says it will import its rights framework, which allows it to produce live streaming concerts for artists on all of the major labels, plus some of the larger independent labels. It is already working on its first project in the US with Blurred Lines singer Robin Thicke, which is being produced in Los Angeles. Cohen said it was keen to do further deals in other parts of the world as part of a global expan-

sion. He highlighted entry to Latin America and Canada and said he was also starting to think about mainland Europe. “We are already an international business and music travels very well. But this deal means we are a proper transatlantic business now,” he added. Eventually, Cohen said, Show Cobra will be rebranded as LoveLive TV in the US, but the brand may be kept alive for certain projects where it has resonance. While the company sees itself as a digital rights firm with a production arm, it is keen to produce more documentaries and music specials. It has two Random Acts commissions from Channel 4, including one featuring 22-piece female choir Gaggle. Cohen said he believed TV was missing a trick in the music genre: “I would love to see more music slots on primetime television,” he added. www.broadcastnow.co.uk

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

PROFILE REIGN

American period drama with Irish roots Exec producer Laurie McCarthy talks to Peter White about shooting the series in Galway

S networks have traditionally never looked very far when it comes to creating distant lands. However, with the rising cost of domestic production, coupled with complicated and oft-changing local tax breaks, they have started producing series outside of the States. Youth-skewing broadcaster The CW is at the forefront of this movement after filming two of its latest pilots in Europe: action drama The Selection in Budapest and period drama Reign in Ireland. The Selection wasn’t picked up, but Reign, which tells the story of the early years of Mary Queen of Scots in France in the 16th century, received an initial order of 13 episodes. The pilot for the drama, produced by CBS Television Studios in association with Irish production companies Octagon Films and World 2000 Entertainment, was shot in Galway and at Christ Church Cathedral in Dublin. Exec producer Laurie McCarthy says it’s a new model for Hollywood, one that has advantages, both creatively and commercially. The show tells the story of Mary’s rise to power amid sexual intrigue and supernatural

Cinemax orders fourpart Hunted spin-off HBO-owned US pay-TV broadcaster Cinemax is developing a four-part spin-off of Kudos Film and Television’s Hunted (pictured). The move comes after the BBC, which commissioned the original series, decided against renewing the Melissa George-fronted show for a second run in November. Cinemax has subsequently ordered scripts for Sam Hunter, a 4 x 60-minute series that will follow George’s character as she goes on the run from her former spy colleagues and attempts to protect her young daughter. The spin-off is expected to be slightly grittier than the original as it will air on a premium cable channel. The mini-series will be written by Frank Spotnitz, The www.broadcastnow.co.uk

Reign: Toby Regbo (Prince Francis), Adelaide Kaine (Mary Queen of Scots), Torrance Coombs (Sebastian); Mary and Francis

scenarios. Although Mary is played by Australian actress Adelaide Kaine, the rest of the cast are primarily Brits, including Toby Regbo and Anna Popplewell. The drama, which has been given the postVampire Diaries slot this autumn, will be penned by McCarthy, who has written on series including CSI: Miami, Ghost Whisperer and Good Christian Bitches. She says it’s the right time for an ambitious historical period drama on a US network. “It’s a period in history that you can comprehend but it still feels exotic and the stakes are bigger.”

X-Files writer who created the series. It will be produced by Spotnitz’s Big Light Productions in association with Shine-owned UK indie Kudos.

Magician Impossible signs talent deal to break into US Magician Impossible star Dynamo is heading to the US after striking a deal with talent agency Management 360. The US talent firm, which represents stars including Channing Tatum, Matthew Fox and Rooney Mara, will aim to secure a US TV series for the magician, whose real name is Steven Frayne. Management 360 will hope to replicate the success of Phil McIntyre Entertainment and Inner Circle Film’s Dynamo: Magician Impossible, which starts its third series on UKTV channel

The network is also looking to broaden out its young female audience, something that McCarthy hopes Reign can help achieve. “They have people who started watching shows 10 years ago and aren’t teenagers anymore; I don’t think they want to build up viewers and then hand them off to another network,” she said. Reign, which is distributed internationally by CBS Studios International, was well received by British buyers at last month’s LA Screenings and a sale to a UK broadcaster is expected imminently.

Watch on 11 July. The series airs in the US on Discovery-owned network TLC.

Comedy Central buys latest run of Two And A Half Men Comedy Central UK has acquired the forthcoming season of Two And A Half Men after striking a deal with Warner Bros. The Viacom-owned broadcaster has agreed a deal with Warner Bros International Television Distribution that will give it first-run rights to the 11th series of the show, which airs in the US this autumn. The latest series will again feature Ashton Kutcher, who replaced original star Charlie Sheen in 2011. The show continues to perform well for Comedy Central and regularly records more than 400,000 viewers. The channel is expected to air the series close to its US TX date.

Game Of Thrones heads list of most pirated shows Fantasy drama Games Of Thrones (below) was the most pirated show around the world in the three months to June 2013. The research, provided by online piracy tracker Torrentfreak, found that each episode of the HBO series, which airs on Sky Atlantic in the UK, was downloaded illegally more than 5 million times during the period, a 25% increase on the same period last year. “Even before the third season started there was already a lot of talk about Game Of Thrones piracy. Interestingly, many of the people connected with the show saw it as a compliment rather than a major threat,” said Torrentfreak founder Ernesto Van Der Sar. The other shows in the top 10 illegal downloads include The Big Bang Theory and Vikings. 28 June 2013 | Broadcast | 15

Multiplatform News In brIef BBC revamps Good Food BBC Worldwide has revamped its Good Food site with a beefedup video section and improved cross-platform design. The site, which attracts 8 million unique users per month, was redeveloped using Drupal, an open content management platform, to optimise content across platforms automatically. There is also more video content and improved search and navigation functions.

ITNP scores EPL deal ITN Productions has won the contract to produce fastturnaround online clips of the Barclays Premier League for News International. ITN will package up to eight 30-second clips of key moments, including goals and sendings off, for every Premier League match for the online and mobile platforms at The Sun, The Times and The Sunday Times. The new season kicks off in August.

Nismo drives up content Welsh producer Boomerang and content agency Grand Central are to co-produce more than 100 pieces of content over the next six months for Nissan Motor Sport’s new YouTube channel. Under the content deal, the companies will create a range of programming, including international racing coverage, stunts and live broadcasts for Nismo TV.

Lovefilm to air CBS shows Lovefilm has signed a deal with CBS Studios to stream series including The Good Wife, Californication and Dexter in the UK. As part of the agreement, the Amazon-owned streaming service will offer subscribers the original 1960s Star Trek series and Star Trek: Voyager. Other shows that form part of the deal include cop drama Blue Bloods and edgy medical drama Nurse Jackie.

For the latest breaking news www.broadcastnow.co.uk 16 | Broadcast | 28 June 2013

Wildseed launches with alternative to TV route BY alex farBer

Former Aardman Animations TV boss Miles Bullough and BBC Children exec Jesse Cleverly have criticised the TV industry for being too “slow and stifling” in its approach to backing multiplatform content. The pair have spoken out after launching Wildseed Studios, a digital firm with a war chest of £500,000 to invest in multiplatform ideas. The business, which was unveiled last week, has received more than 100 pitches to secure one of the estimated 50 investments of up to £10,000 it is planning to make over the next three years. Cleverly said the next generation of content creators were self-starters. “If you’re an emerging creator, then the idea of going into a broadcaster or indie at the bottom and working your way up feels slow and stifling,” he said. “The way the industry approaches innovation isn’t in sync with the ambition of a generation.” The rules governing who is able to become a content producer have shifted, according to Cleverly.

Wildseed: Cleverly (left) and Bullough have a £500,000 war chest

“Buy a laptop and you’re a producer; plug it into YouTube and you’re a broadcaster,” he said. “The level of finance we’re providing would traditionally buy one week’s catering, but it can prove gamechanging in the emerging world.” Bullough added that TV’s time as the primary media channel was over. “TV remains a hugely important client for our work and still the best way to secure a mass audience,” he said. “But it’s in a period of contraction rather than growth.”

The way the industry approaches innovation isn’t in sync with the ambition of a generation Jesse Cleverly, Wildseed Studios

Wildseed licenses the rights of a content creator’s IP before splitting the revenue generated by a project.

Web WaTch memory bank

ky Arts has partnered with the Victoria & Albert Museum to create an app and website designed to encourage people to share their favourite memories. Memory Bank has been created as part of Sky Arts Ignition: Memory Palace, an exhibition at the V&A that examines the nature of memory. Visitors to the exhibition, which brings to life Hari Kunzru’s book Memory Palace through an experiential exhibition from 20 artists, will be encouraged to add their favourite memories to a dedicated app. Each week, graphic designer Johnny Kelly will turn these collections of memories into a poster, which will be displayed at the exhibition and made available to download. People will also be encouraged to add their favourite memories directly online, where there will be links to share memories via social media sites. Sky Arts director James Hunt said: “The results will represent the public’s favourite memories.”

Developers Sky Arts, V&A URL www.sky.com/memorypalace

www.broadcastnow.co.uk

The equipment you need to get the shots you want While we wait for 1â&#x20AC;? to make a comeback we have invested in some of the newer stuff - The Newtek Tricaster range, JVC GY650 cameras and the ABonAir wireless camera system.

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Technology & Facilities CREATIVE REVIEW

YOUR MONEY THEIR TRICKS

UTV: PART OF U

BIG BROTHER

Client BBC Titles Light Creative Brief Create titles for the new four-part consumer affairs show that exposes the relationship between large businesses and their customers. The opening episode investigates how children can be cheated out of their money by the entertainment industry. How it was done Light Creative created an eye-catching, Saul Bass-inspired title sequence to counterbalance the hard-hitting content of the show. The opening titles focus on the word ‘money’, which is attacked in a variety of fun and comical ways. The attacks are meant to represent the cheeky and sometimes misleading methods employed by large businesses to relieve unsuspecting consumers of their money. Motion graphic designer Max Joseph animated the titles using Cinema 4D and After Effects. Watch it Wednesday 3 July, 8pm, BBC1

Creative UTV in-house team Client UTV Brief Develop an on-air campaign to remind viewers of the role UTV plays in the community, while also reﬂecting the changing ways audiences consume media across TV, online and on mobile devices. How it was done UTV creative manager Trevor McCormick developed the strapline ‘UTV: Part of U’ for the promo, which is part of a campaign that includes idents and brand promos. The on-screen imagery shows surrounding landscapes and architecture and promotes UTV’s heritage in Northern Ireland and the role it plays in viewers’ lives. Where previous promos showed on-screen content, this concentrates on the people who watch UTV and use the channel’s website and app. The footage was shot with a Canon 5D by Tommy Hassan and graded in After Effects by McCormick. Watch it Now on UTV

Creative Shop Client Brighter Pictures Brief Give the long-running show’s iconic eye logo an overhaul. How it was done Creative directors Neil Harris and Tom Hodgkinson styled the eye logo to echo the ‘upcycledchic’ look of the house. A key element in the construction of the logo was the multiple doors that are used in the series as part of its ‘Secrets and Lies’ theme. The eye also needed to be used across broadcast, web and print media throughout the series. It was built in Cinema 4D by Giacomo Cavalletti and composited in After Effects by Charlie Davies. Shop created on-air indents that were aired in the build-up to the show’s launch and worked on-site at Elstree alongside DDF Post in the days leading up to the ﬁrst episode, to deliver multiple wraparound elements. Watch it Mon-Fri, 10pm, and weekends, Channel 5

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

Camera Corps hires business development director Camera Corps has appointed Shaun Glanville (pictured) to the role of business development director. Glanville joins from London-based Supponor, where he was head of broadcast technology. “Shaun brings the right combination of focus and dynamism we are looking for as we progress our broadcast production support, equipment rental and product design activity,” said Camera Corps founder and managing director Laurie Frost.

Forbidden aims to raise £9m with share placing Cloud video platform developer Forbidden Technologies is to raise 18 | Broadcast | 28 June 2013

up to £9m through a share placing. The company said the funds would be used to support distributors providing after-sales service and to provide additional working capital to help pursue new business. Forbidden also intends to make new appointments to its senior management team. Chief executive Stephen Streater said: “This transforms the opportunities available to us by providing a muchincreased pool of funds from which to invest in marketing and development.”

Sony unveils HXR-IFR5 Sony has launched its HXR-IFR5 interface unit (pictured) for 2K and 4K RAW recording for the NEX-FS700 camcorder. The unit

connects the camera to Sony’s new AXS-R5 RAW recording system to use the FS700’s 4K imager. Sony Europe strategic marketing manager Bill Drummond said: “Highly affordable recording of 2K and 4K RAW images and highframe-rate capture adds another dimension to the camcorder’s capabilities, once a firmware upgrade has been made.” Users can record 4K on the AXS-R5 while recording HD on the NEX-FS700.

Fifa gauges interest in 3D for World Cup in Brazil Fifa is reviewing plans to broadcast next year’s World Cup in 3D. At a briefing in Brazil during the Confederations Cup, Fifa director of television Niclas Ericson was

reported to have described ESPN’s decision to close its 3D channel as a setback for the technology. He said: “It’s clear when a big sports broadcaster like ESPN makes an announcement like that it creates a lot of extra tension.” Fifa has now sent questionnaires to rights holders of next year’s tournament to gauge interest in 3D. At the 2010 World Cup in South Africa, 25 out of 64 matches were broadcast in 3D.

Sony in 4K Wimbledon first Sony has shot part of this year’s Wimbledon Championships in 4K for the first time. The footage, which was captured on Centre Court and No. 1 Court on the first day of the tournament this week, is being shown in the Sony 4K Experience centre, which has been set up at the event. It is the first time matches have been captured in the high-resolution format. Sony’s F55 www.broadcastnow.co.uk

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

TSL launches low-budget subsidiary as job losses loom BY george Bevir

TSL Systems has launched a subsidiary outfit to target cost-conscious customers as the company prepares for a restructure that is likely to result in redundancies. The systems integrator (SI) has worked on some of the UK’s biggest broadcast projects, including upgrading BBC Nations’ playout operations to HD and MediaCityUK’s studio set-up. But managing director David Phillips said its traditional client base was growing increasingly “cautious and risk averse”. He said: “All SIs and resellers will agree that the sales cycle, from an initial opportunity through to closing a deal, has got longer and longer.” The subsidiary, StudioExpert, will run in parallel to TSL Systems, with both companies under the umbrella of parent TSL Holding. TSL Systems is now in consultation with staff and redundancies are likely to follow, while some employees are expected to transfer

and an NEX-FS700 with the HXRIFR5 unit were used to capture the action in 4K.

Prime Focus World seals Macquarie investment Prime Focus World (PFW), which handles 2D to 3D conversion, visual effects and animation, has secured a $53m (£34m) equity investment. Macquarie Capital has provided advisory services to PFW’s parent company, Prime Focus, and the capital will, in part, be used for strategic acquisitions. “We are delighted to have found a likeminded financial partner in Macquarie as we continue to execute our strategy of global growth,” said Prime Focus founder and chief executive Namit Malhotra.

IMG Studios selects Miranda kit for London facility IMG Studios has selected Miranda Technologies’ NVision routers and www.broadcastnow.co.uk

TSL Systems: restructure will see creation of subsidiary Studioexpert

to StudioExpert. “For the future health of the business, we have to get costs in line with what the market will pay,” Phillips said. StudioExpert will provide smallscale and non-broadcast studio projects with turnkey SI services, and will target installation projects that do not have the kind of budgets traditionally associated with large broadcast installations, such as universities and corporate clients. Peter Knowles, who spent 13 years as a BBC sound supervisor

before starting his own broadcast sales and SI business in 1996, has been recruited from CVP as StudioExpert general manager. TSL Systems is two thirds of the way through the implementation of a file-based workflow for Singapore national broadcaster MediaCorp and Phillips said he was keen to pursue more opportunities in the region. “If there is a poorly performing market, it’s logical to divert attention to those that are more attractive.”

Kaleido-X multiviewers for its new west London facility (pictured). The studio and post-production arm of IMG Sports Media is currently outfitting a 107,000 sq ft facility that will include four

Technicolor and Portrait to offer 4K certification

studios totalling 6,000 sq ft, 13 production galleries and 72 edit suites. An NVision 8576 enterprise-class router will provide a 576 x 1152 matrix for all incoming and outgoing lines. A separate NVision 8576 Plus enterpriseclass router will anchor all routing for IMG’s production galleries and studios via an 1152 x 1152 matrix.

Technicolor has partnered with Portrait Displays to introduce two certification schemes to guarantee the colour quality of computer or mobile displays. Technicolor said the certification programmes would help to address issues including inconsistent colour accuracy and the lack of content for viewing on 4K televisions. The first 4K image certificate has been awarded to Marseille Network for its technology, which upscales content from 2K to 4K.

ERA launches on-demand management platform ERA has launched ERA Cloud, an on-demand platform for services including IaaS, servers on demand, security and continuity, and media management. ERA said the service would allow content owners to distribute assets

Avid releases Pro Tools 11 amid plug-in concerns Avid has started shipping the latest version of Pro Tools, although two major plug-in developers say they are not yet able to support the overhauled software. Pro Tools 11 includes a 64-bit architecture and offline bounce, which Avid says delivers mixes up to 150 times faster than real time. But developer Waves said it is still working with Avid to prepare AAX native support, while Celemony said it was unable to support Pro Tools 11 on release because of a bug preventing its Melodyne plug-in playing back audio at 96 or 192 kHz. Avid said it was working with Celemony to fix the problem and that “hundreds” of Pro Tools 11-compatible 64-bit plug-ins are available. “Avid provided Pro Tools 11 support and materials to developers well in advance of scheduled releases and there have been no other compatibility issues reported to date,” a spokesman said. “We plan to announce and deliver a solution to our customers shortly.”

through a branded web interface, allowing visitors to watch, search and buy clips for private viewing or commercial use. “We’ve created ERA Cloud to help businesses manage digital assets more efficiently, without additional hardware expenditure or IT headaches,” said ERA commercial director Sean Baker.

Hireworks recruits Newton to co-ordinator post Editing equipment hire company Hireworks has recruited Cat Newton from Fifty Fifty Post Production. Newton joins the firm as hire co-ordinator. Meanwhile, Sam Benwell has been promoted to senior hire co-ordinator to head the company’s hire desk. Hireworks, which is based at Pinewood and in Soho, also offers technical support and workflow solutions to clients who have their own editing kit. 28 June 2013 | Broadcast | 19

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Comment Your saY

Bectu’s code splits opinion Broadcast’s story ‘Bectu sets factual TV code of practice’ started a heated debate on broadcastnow.co.uk. Here is an edited selection of comments: n Bectu has been running its cam-

paign for more than six months. It’s clear that substantial wins will be slow to come, but there has been progress. The fact that some people, including seniors, recognise the need for the campaign is key. But hordes more are in denial and anonymous postings have pointed to the biggest problem: fear. A fragmented, deregulated sector, largely reliant on freelance labour, being afraid to speak out means that change will take time. What is astonishing is that parts of this successful sector, under the veneer of TV glamour and respectability, will act so unethically, cutting corners on production and exploiting workers. Next time you sit down to watch a popular-factual programme, ask yourself how it was made and if people were harmed during its making. The production season is probably now very intense and this will continue for months, but that work should (and can) be done without putting people in danger due to long hours and reckless demands. As always in TV, money talks and the commissioners, in-house and independent producers, if only for

self-interested reputational reasons, should be asking what is being done in their name. For more on the background to Bectu’s campaign, visit www.bectu.org.uk/ no-to-tv-abuse. Sharon Elliott, communications officer, Bectu

‘Industrial relations by press release does not inspire me to think this is likely to be about best practice’ Indie boss

n For decades, [Bectu] attempted

to ruin Britain’s creative industries with their pettifogging regulations that left productions filming on the road having to pay for technicians to sit in a hotel while others did the work. I’d have thought most people would run from Bectu, as joining them is like turkeys signing up for Christmas. This [initiative] is nothing to do with helping those working in TV attain better conditions. It’s all to do with a huge organisation attempting to regain its power by signing up ‘workers’ to improve its finances. Ask yourself what really lies behind it and why it is happening now and not several years ago. Producer n [To the producer, above] While what you say could be possible, why don’t you also reserve that level of questioning for indies and broadcasters to make sure all employees are, at the very least, able to work in safe conditions? If empathy and compassion are impossible qualities for a lot of sociopathic bosses,

then perhaps look at it through a self-preservation lens: production staff who are valued, trained and who aren’t being exploited work harder for their employers. And those at the top look better and increase their chances of winning awards and being ‘worshipped’. Production staff who are looked after morally are less likely to have a serious accident – and therefore to sue bad employers. That means no lawsuit and bad press. Producer n The days of technicians sitting in a hotel room with nothing to do are long over. I’m hoping you were actually around during those good old days, or are you just spouting unsubstantiated, wildly anti-union guff? Nobody wants to go back to ridiculously large teams going out to film a man with his dog, but I think it has swung too far the other way. We have self-shooting APs or PDs on their own, looking after tough contributors, producing and directing them, looking after the www.broadcastnow.co.uk

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IN MY VIEW CoDE oF PraCTICE For EMPLoYErs IN FaCTuaL TV ProDuCTIoN DEParTMENTs Maximum length of working day of 11 hours. v Two days off each week (either the traditional Sat/Sun or two consecutive days). w Minimum break between turns of duty of 11 hours. Meal and mileage allowances in line with HMRC rules. y Holiday pay expressed separately from basic rates for freelancers (where contract length does not permit holiday to be taken during the contract period). z A normal working week of five days. Where it is unavoidable to work on the sixth or seventh day, this is to be paid at one fifth of the weekly five-day rate or as compensatory TOIL, according to preference of the worker. { Health and safety risk assessments to take account of lone working and crewing levels. | Written contracts to be issued as soon as terms are agreed between parties. } Acceptance that Bectu is the recognised union to represent the interests of workers in factual programmemaking and as such a preparedness to meet with them on a regular basis to discuss issues of concern to their members. Source: Bectu

camera work and audio (yes, this really happens) and they may also have to drive miles or even drive contributors to and from locations. I am not a member of Bectu, but I do think some regulations are needed to protect production folk from occasionally unscrupulous bosses and channels reducing budgets and time frames to achieve, by that point, the impossible. I’m hoping Bectu will give the lesserpaid and the overworked a helping hand and make their managers (some of whom wouldn’t even know which way to point a www.broadcastnow.co.uk

camera) more considerate to their health and financial needs. Producer n This press release is the first

we’ve heard of the Code of Practice. Industrial relations by press release does not inspire me to think this is likely to be about best practice, but rather a publicity stunt. Indie boss n I have worked in the industry since 1992 and don’t recall any instance of overstaffing. If there were abuses by unions and staff, they are long gone. As a member of Bectu’s WPD committee, I endorse Sharon’s response. The measures in our code are not pettifogging and restrictive. They were framed by an experienced executive producer so no reasonable person could disagree with them. We know they would be observed in the breach by people who want the best possible outcome for their films, including trade union activists who are often among the most dedicated of film-makers. But as a framework for the most sensible way of organising the working week, what is wrong with an 11-hour day, proper rest, contracts, dialogue and health and safety, all in accordance with legislation? This is an attempt to institute working conditions that allow sufficient rest. If you’re knackered through overwork, you’re not going to be giving your best. Terry Messenger, producer n I have seen one very nasty accident caused by a production company putting too much pressure on crew. Accidents do happen, but one in 15 years is still one too many. However, instances that have come very close to accidents are increasing – because “we need one more shot”. Larger production companies often have the same or larger commissioning budgets than small indies’ – but much less money to spend in the field, which means more pressure and the ‘need’ for crews to do extended hours. Often run by accountants or producers who probably haven’t been ‘on the road’ for many years, they are disconnected from real programmemaking. It’s about time somebody makes a stand, and I for one fully support Bectu. I might even join… Freelance camera operator

The director’s vision is key at every stage of a project Edit producers have their place, but shouldn’t be used just to cut costs, says Paul Elston

t Sheffield Doc/ Fest, I told the audience at a Directors UK debate that guns, Stanley knives and cudgels were to be left outside. It was, of course, a joke, though the role of edit producer is generating a lot of passion on either side of the fence. We at DUK know this because many are our members. The edit producer’s job is usually to supervise the edit of another director’s rushes, without having shot them. On fast-turnaround current affairs, where edits have to be run concurrently with shoots to deliver to tight deadlines, this is often a necessity. Likewise, on multicamera reality and ‘rig’ shows, particularly when shot ‘as live’, it would be absurd to expect directors to be editing all their own rushes. However, there has been a proliferation of cases where these examples do not apply. Four-part single doc series that could have directors editing their own material are now using edit producers instead. More worrying still, we’re seeing examples of directors’ contracts being terminated immediately after the end of shoots, just before the edit. It’s clear in these examples that the caveat of tight deadlines doesn’t apply: edit producers are being used to cut costs, and to wrest creative control from the director. It can hardly be in the interests of a project to have someone who has had nothing do to with the shooting of the rushes putting them together in the cutting room. It rarely produces the most satisfying results, and in the worst instances can lead to the misrepresentation of interviewees, and even expensive lawsuits. It’s almost always in the interests of a film to have the same person running the edit, and across all the sensitive issues of the production, as directing the shoot.

So why would anyone do anything else? Edit producers have lower rates than directors and, in general, are less likely to argue with the powers that be about editorial line. They are simply less emotionally invested in the project. There are, of course, some excellent edit producers who care passionately about protecting the integrity of their colleagues’ work. But the real danger is that if directors are eventually squeezed out of the cutting room, they’ll never be

‘It’s in the interests of a ﬁlm to have the same person running the edit as directing the shoot trained to understand the needs of the edit – or how to shoot for it. This is already causing massive wastage through overshooting and edit overruns. The irony, therefore, is that the economic imperative for using edit producers is a selfdefeating argument. One view put forward in favour of edit producers is that they offer a career lifeline to women in the industry (particularly mothers) who would otherwise not be able to remain in TV because of directors’ prohibitively long hours. In terms of the training dimension, however, edit producers have the potential to shut out young female directors from the cutting room, just as much as they do young males. One thing that came across at Sheffield is that the vast majority of edit producers – most of whom are directors – support the principle of DUK’s creative rights agreement: the best way to make a film is to have the director see it through from pre-production through the shoot to the edit. I for one believe it’s time for this consensus to be accepted industry-wide. We at DUK are working hard to ensure that it is. ➤ Paul Elston is factual chairman of Directors UK 28 June 2013 | Broadcast | 21

The Broadcast Interview Cineflix ProduCtions rob Carey and Camilla lewis

ready to take on the world Cineflix’s Rob Carey and Camilla Lewis talk to Balihar Khalsa about their ambition to crack as many genres as possible – and the benefits of having creatives in charge

ineflix Productions’ London office could not be better located. In the heart of King’s Cross, one of the capital’s most up-and-coming areas, lies a producer at a turning point. The company can boast success in the US and is now ramping up its UK presence with an ambitious attempt to crack as many genres as it can. Crucial to these plans was the appointment of Camilla Lewis last year from what was previously known as Talkback Thames. When we meet, Lewis has held the position of UK managing director for just over a year and, in her own characteristic style, can’t wait to start talking about her new domain. Lewis’s energy and enthusiasm for the industry remains one of her defining characteristics. Along with global creative director Rob Carey, the UK division had been brainstorming with its international counterparts – one of many regular meet-ups. Although Carey’s duties are global, the pair are on an even keel within the group, which has the UK at its heart. “Our global development is something of a British affair,” says Carey. “Development might be US-led, but it’s centralised and executed in London. “There’s a really efficient ratio of ideas to commissions. Versions of many of our shows can be pitched not just to three people in the UK, but to 15 or 20 networks in the US and Canada. US networks will listen to you if you have expertise and success with a particular show. They’ll want to know how you made it and why it worked and figure out if they can tap into that success.” Central to this, adds Lewis, will be the public profile of Cineflix as a creative force. “You’re looking at the suits. It doesn’t get more suited and booted than us,” she says. “This is how formal Cineflix gets, in the sense that obviously we’re commercial, but we’re creative at the top. “It’s owned by two creative programme-makers who have created 22 | Broadcast | 28 June 2013

this world that is suit-less. The buck stops with us, which is great in the sense that, creatively, we’re very free – but equally we’ve got to be on top of it a little bit.” In short, Lewis and Carey have the freedom to try new things and defy expectations. Lewis’s first project was 4 Goes Mad – a unique attempt to highlight mental health in the UK. The stunt, in which people with mental health issues were cast in high-profile Channel 4 shows and viewers were challenged to spot them, was Cineflix’s chance to really announce itself to the UK market. “It was as out there as you can get with a programme idea,” Lewis says. “We’ve proven that the infrastructure here was ready to cope with that kind of creativity.” However, that sort of noisy project is only one string in their bow. “The thing with me and Rob,” continues Lewis, “is that we’re both creatively quite broad, in that we do think about really crazy, out-there stunts; but we also think about really fabulous returners in daytime and what we can do that’s new in the format area.” Cineflix productions CBBC’s Pet School, BBC daytime series Claimed And Shamed and Discovery’s Salvage Hunters have all been recommissioned, and it’s poised to announce

faCt file Rob Carey 2007-present Global creative director, Cineflix Productions 2006-07 Head of fact ent, at It Productions 2001-06 Creative director, fact ent and features, Mentorn Media 1997-98 DV director, Chapter One Productions 1994-97 assistant producer, Action Time Camilla Lewis 2012-present MD, Cineflix Productions UK 2005-12 Head of factual features, talkback thames 2003-05 exec producer, BBC Specialist Factual 2002-03 Head of factual, CBBC 2001-02 Deputy editor, Tomorrow’s World Early career Producer on The Big Breakfast, Thursday Night Live and Watchdog

more new shows, all of which signal the direction the company is moving towards, but Lewis refuses to be blasé. “It’s very hard to get commissions and it’s a privilege. My peers say to me, ‘oh, you find it easy to get commissions’, but no one finds it easy,” she says categorically. “I pitch a lot and don’t get every commission. And if you mess it up, you’re not just messing it up for you, but for the rest of the industry. One black mark on one genre and you can’t get a commission away for years. I feel a responsibility to deliver.”

Hungry for more The diversity of content demonstrates Cineflix’s ambition. “We still feel like we’re really, really hungry and we want to take on the world,” stresses Carey. “We’re not just ambitious to make shows for one broadcaster, we’re ambitious to make shows for lots of different ones.” The former At It Productions head of factual entertainment joined the company in 2007 and has since been an instrumental part of Cineflix’s concerted efforts to grow organically. The strategic plan has been to grow in one area at a time: first in North America and then in the UK. For each area, the idea was to find the right person to lead each division, which

Carey and lewis on… What makes Cineﬂix different Rob Carey “there are lots of companies out there that are trying to reclaim former glories and we see ourselves as a company of the future. that’s what makes us so exciting.”

The US Camilla Lewis “Cineflix has cracked america. the level of respect Cineflix commands there is lovely. I think I’ve got a lot to learn from that creatively, to under-

know already that if we almost did nothing and said ‘go and find some nice characters’, we’d have Access docs a show, but we wanted to CL “there’s no fun doing give the viewer some something that works added value. Our inteneasily. We’re making a tion is to show the 360° show for Sky – an ob of everything that doc series on a train. happens. Instead We got access all of fixed-rigging it areas to east up for the sake Coast trains. For of a fixed rig, we’re us, from a going to show you cynical perspecAmerican Pickers: the relevant and tive, we kind of key things.” Cineflix US show stand the North american market – it feels fresh and different.”

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Clockwise from main pic: Rob Carey and Camilla Lewis; Claimed And Shamed (BBC1); Pet School (CBBC); Trauma Doctors (Channel 5); World’s Maddest Job Interview (Channel 4)

might be why some struggle to place Cineflix in the production community. Lewis says she had to be forced to meet Cineflix initially, as she had not heard of them. But, once she had met Carey and the rest of the team, she knew it was the right place for her. Carey says the company has chosen to “purposely fly under the radar a bit, and that’s why it seems like we were not really well-known and then appeared. It was very much a conscious decision. We want to grow organically and to carry on growing, but it’s all about chemistry and the right people working together.” She says that one of the most refreshing things she has identified since joining the company is a lack of fear. “We’re not scared. We’re not jaded,” she declares. “We desperately want to crack a range of channels. We’ve got six www.broadcastnow.co.uk

‘We’re not scared. We’re not jaded. We desperately want to crack a range of channels’ Camilla Lewis, Cineflix

things that were made in the past few months for six different broadcasters. That’s amazing, because it means we’re really thinking about who we’re targeting when we go in to see them and it’s bespoke – we’re not taking one idea that fits all. I don’t think it really works like that – we rarely walk out of a meeting without paid development pilots or potential for series.”

Delivering the goods She vows: “We’ll never under-deliver to somebody, however hard it is. And it has been very hard on some productions since I’ve been here.” Lewis points to Channel 5’s Trauma Doctors, which has juts been recommissioned for a second series: “It’s a very ambitious way of making a TV programme and although it sounds like another ‘let’s film people in A&E’ –

and I’ve done nearly 160 hours of medical trauma, so I really understand what medical programmes can be like – this is different. It was a vanity project. The company financed and backed a tape. We threw resources at it. “The minute the company starts cutting margins, I’m not interested. I wanted to come here and not set up my own indie because I love making lots of TV. I’d hate to feel I was stuck on one programme, one broadcaster and relying on one commissioner who might get fired or decide they don’t like me.” That is where things are at with Cineflix. Rather than over-strategise, the company is aiming to become a best-in-class factual producer. And with the sheer amount of Lewis’s energy and determination, and Carey’s steady guidance, it could well be on its way to achieving it. 28 June 2013 | Broadcast | 23

Production KIT HIRE CAMERAS

A fresh look for factual As factual shows attempt to capture a style that was once only possible on a drama budget, hire companies are taking a genuine stake in productions, writes Adrian Pennington

ver the past year, the so-called ‘filmic look’ associated with drama has filtered further into factual productions thanks to new budget-friendly camera technology. There’s no definitive show that started it all. Some point to Made In Chelsea, which established the look with Sony F3s in 2011 and has switched to F55s, supplied by Procam, for its fifth series. Others suggest food formats like Jamie’s 30 Minute Meals (via S+O Media), or The X Factor and Britain’s Got Talent, which in their latest runs featured interview inserts shot on Canon C300s to contrast with the standard broadcast kit for audience/ crowd shots (all supplied by Hotcam). Channel 4’s The Boy Who Can’t Forget was an eye-opener for Shaun Wilton, head of facility Shooting Partners. “Studio Lambert was nervous about using the C300 because it was just released, but they knew that for a lot of scenarios they would be shooting interviews in stark white medical offices and wanted to blow the background to focus attention on the person’s face.” Broadly, the ‘filmic’ look is achieved by shooting on 35mm-sensor cameras with shallow depth of field, sending the background out of focus and bringing the subject in the foreground sharply into view. “Ten years ago, kit choices were simple,” says Wilton. “There were Digibeta workhorses for on-the-shoulder ENG-style shoots, or high-end cinestyle cameras for drama. They were two completely different price points and competences, and they didn’t mix. Even 18 months ago, most people wouldn’t have dreamed of taking out an Alexa or a Red on a factual show.” The arrival of affordable shooters with 35mm sensors capable of the 50Mb/s data rates required of HD deliverables and of accepting top-ofthe-range glass from Zeiss, Cooke or Angenieux has changed the picture entirely. Canon’s 5D DSLR series first 24 | Broadcast | 28 June 2013

broke ground, superceded by the hugely popular C300 and latterly Sony’s F5. In turn, these have forced down the hire cost of the cinematographer’s favourite, the Arri Alexa, and even the Red Epic. Despite the camera’s reputation for a trickier workflow, Oxford Scientific Films selected the Red from Onsight for its shows The Secret Life Of Dogs and How To Win The Grand National. “The low cost of the technology and a saturated market, including many Alexa owner-operators, has had people falling over each other for the business,” says Alex Trezies, joint managing director of camera and crew supplier Shift-4. Where a full Alexa set, including ultra Primes, O’Connor head and Matte boxes, might have cost £1,300 per day a year ago, it is now ratecarded at £850-£900, and will probably go out for £650 to £700. A body-only C300, meanwhile, can be

‘Even 18 months ago, most people wouldn’t have dreamed of taking out an Alexa or a Red on a factual show’ Shaun Wilton, Shooting Partners

hired for just £150, though lens choices may push it to £500 – still well within daytime budgets. “With the wealth of inexpensive and specialist stills lenses that can be used via the C300’s EF mount, the camera can produce impressive results in the right hands,” says Will Wilkinson, production director at hire firm Cruet Company.

Filmic not glossy Filmic doesn’t necessarily mean ‘glossy’, a look generally associated with a particular highly saturated colour, lighting style and/or stylised grade. “You could say that The Apprentice has a ‘glossy’ look, but it is achieved through a combination of 2/3-inch-sensor F800s and a grade that has a steely, greeny-blueish feel that makes it very corporate and glossy,” says Cruet business development manager Adam Brown. The C300 is more commonly used for supplementary or single-camera shows and records to Compact Flash. For multi-camera shoots, the Sony www.broadcastnow.co.uk

Life-or-death illness can make for great drama, but it’s the wrong sort of drama for an ob doc Tanya Stephen, Behind the Scenes, page 26

PDW-F800 remains the workhorse because of the workflow safety that XDCAM disks provide against juggling with card-based media. Princess Productions’ The Face, fronted by Naomi Campbell for Sky Living, is shooting an F800/HJ22 lens package supplied by S+O; TOWIE employs standard HJ22 and HJ14 lenses on F800s, yet manages to create a filmic style by creating soft, naturalistic lighting using Chimera Pancakes (below), Dedolight Octodomes or Joker Bugs instead of HMIs. Self-shooters can use pop-up Lite Panels for similar effect. “Turnaround defines the workflow of TOWIE,” says Dan Studley, technical director at Hotcam. “Lime Pictures looked into C300s, but the data management needed for a show with just three days to edit and grade proved unmanageable.” Indeed, the shootfrom-the-hip action of traditional docs would seem at odds with technology designed for stop-start takes on tripods. “You can’t move at the same speed as a run-andgun camera with a video-style zoom lens, so it’s important to factor that in and choose the right format for the job,” says Wilkinson. “Budget is why the PMW800 still has a lot of life left,” says Sam Higham, rental facilities manager at Onsight. “It just works with one operator and you don’t need additional crew.” Not that this stops producers who want a dramatic sheen to their show. For Sky Living’s Styled To Rock, for example, TwentyTwenty asked Hotcam to devise custom rigs for five C300s, all timecode-synched and fed into a gallery. Some productions mix and match actuality with a filmic feel. Ricochet’s Russians In The City is mostly shot on a PMW200 but features slick general views shot on F5 with Cabrio lenses (kit supplied by S+O). Attempting to capture a look previously the domain of DoPs has given hire shops a genuine stake in productions. Far from shifting boxes, the expertise they have in-house can help producer-directors get the most from the kit. Most rental companies arrange training as part of the hire contract. “We aim to give everyone an understanding of essential terminology – phrases like ‘peaking’, ‘ramping’ and ‘breathing in’ lenses,” says Shooting Partners’ Wilton. www.broadcastnow.co.uk

“We often teach the basics of camera technique: how to frame, to white balance, and to set up a camera properly,” says Shift-4’s Trezies. “We get involved in lighting and shooting techniques. It’s a huge amount of information to teach in often very short timeframes.” “The biggest issue is focus,” says Hotcam managing director Vicky Holden. “If you take your eye off the ball for a second, you get soft shots.” “On top of this, poor data management can lead to huge mistakes and additional costs, especially when shooting a lot of footage. We always try to impress on clients the value of a digital imaging technician,” says Holden. “The additional cost of a DIT will often put clients off, but they can save huge amounts of money at the back end by avoiding mistakes.” S+O head of operations Jessica Reece says: “I can’t stress how important it is to feel comfortable with the kit in the field. There is so much information that sometimes you need to boil it down and say: ‘These are the five things you need to know’.”

‘The F55 will come into its own because it can record HD and 4K simultaneously – and DoPs love it’ Ryan Lester

Changing fashions Shallow depth of field is currently in vogue, but this trend could soon become over-exposed. The wobbly shots of a second camera, perhaps in black and white, were fashionable a few years ago but now border on parody. So what’s next? “The F55 will come into its own because it can record HD and 4K simultaneously. It has a global shutter to eliminate blurring on fast pans, and DoPs love it,” says Procam business development manager Ryan Lester. There’s considerable interest in a forthcoming firmware upgrade to the F5 and F55. Where the C300 is limited to 60 frames a second, the Sony cameras will be able to shoot 120fps at 4K and, later, 240fps at 2K. “High frame rates might be used to produce slow-motion sequences of high emotion – an X Factor winner’s victory punch, for example,” says Reece. “You could also use one camera [F5] to do everything rather than having to hire a separate slow-motion camera. “The 35mm look is a high-cost look on a low budget – but everyone is looking for the next style and how they can make their shows stand out.”

Top down: Jamie’s 15 Minute Meals; The Boy Who Can’t Forget; The Secret Life Of Dogs; The Only Way Is Essex; The Face; The Apprentice; left: Made In Chelsea 28 June 2013 | Broadcast | 25

Behind the Scenes married to the job

Watching the detectives at work and play Following four women police officers on duty was fascinating, but their lives outside the force were just as compelling, says Tanya Stephan married to the job

Production company Landmark Films tX Tuesday 11 July, 8.30pm, ITV Commissioner Ian Squires director Sasha Djurkovic executive producer Nicholas O’Dwyer Series producer Tanya Stephan head of production Selina Kay Post house Envy Summary Ob-doc series following the lives of four senior female detectives at work and home.

tanya Stephan my tricks of the trade n Lift a gritty ob doc series with

stunning aerials and glossy GVs.

n Use music to shift the tone

away from dark subject matter to warmth and humour. n Mix and match the cameras you shoot with to get the best results for particular scenes. n Even detectives sit behind computer screens a lot. Film the principal characters on the move whenever possible and emphasise movement in the film by using nicely shot driving POVs and tracking shots.

26 | Broadcast | 28 June 2013

Tanya Stephan Series producer

he unique selling point of this unprecedented series about senior women detectives was that we would film them at work and home. Hertfordshire Constabulary had granted access to Landmark Films based on its track record of working in emotionally charged and ethically complex environments, and with four great women prepared to allow us into their home lives, we had a flying start. But it didn’t take long for the challenges of real life to play mischief with our best-laid plans. Life-or-death illness can make for great drama, but it’s the wrong sort of drama for an ob doc, threatening access and making filming a sensitive matter to negotiate. Between the recce and the start of the shoot, one of our DIs, Jo, was left reeling from the news that her husband Graham had been diagnosed with a life-threatening cancer. It took patience on our part and, more importantly, real courage and generosity from Jo and Graham to allow us to capture their story. Another challenge on the home front was that our DCI Julie’s daughter Sarah has learning disabilities – and a strong dislike of change. Bringing even a small crew into her house was a leap of faith, but our shooting director sensitively bonded with Sarah and tapped into her infectious sense of humour (see box, right).

Left to right: DI Jo Walker, DI Kay Lancaster, DI Lynda Coates and DCI Julie Wheatley

And then there was our location. Fortunately for the real detectives of Hertfordshire, they don’t deal with a murder every week; in fact, while we were with them, they didn’t deal with any. We had to be creative in exploring what could make compelling viewing, embracing the less familiar territory where our detectives worked. We found a busy Child Protection team, dealing with a 400% increase in reported cases of child abuse since the Jimmy Savile enquiry began. The Offender Management Team had the unenviable task of persuading some of the county’s most wanted burglars to wear GPS tags. And we discovered a team dedicated to catching those who prey on vulnerable, elderly people. Cue another sticking point: how to capture live cases and show enough detail to make them vivid, but without being either in contempt of court or too graphic for a pre-watershed slot. In one case, a groomer had just been arrested and the detectives had to www.broadcastnow.co.uk

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to pay for high-quality aerial shots of Hertfordshire. The aerial team captured all the shots we needed, from wide rural landscapes to close tracking shots of streets and houses. This gave the series a sense of place without identifying anywhere particular. Crucially, it enhanced the visual quality of the films and gave us a unifying language across the series. Having to treat each case with a lighter touch meant we could spend more time on the real purpose of the series: to understand the impact these women’s jobs had on their lives. Finding humour and warmth in their stories was essential: the squabbles between couples who are both cops, the sharp-witted office banter, and Jo and Graham seizing any opportunity to make light of a horrendous time as he undergoes his cancer treatment. As Jo says: “We have to be professional, that’s what our victims want… If anyone asks, I’m really tough, but you know none of us are, we’ve all got hearts.” Their humanity in all its shades was a story we could only tell by filming real-life detectives.

married to the job ShootiNG the CoPS Sasha Djurkovic Director

‘Life-or-death illness can make for great drama, but it’s the wrong sort of drama for an ob doc’ Tanya Stephan

www.broadcastnow.co.uk

gather enough evidence in one night to justify keeping him locked up, but we couldn’t identify him. His case was unexpected, not least because he was a young man and not, as DC Carey put it, “the stereotypical image of a paedophile as an old fat man with glasses.” To search his car for evidence, the cops used torches while our shooting director used a toplight on her camera. In the grade, we could capitalise on what was otherwise the constant headache of keeping cases anonymous. We darkened the edges of each shot to further spotlight specific details without revealing the make and colour of his car – giving the scene a more dramatic effect. Many locations in the series also had to be kept hidden: where our detectives lived, where arrests were made, and where victims lived. Here, our exec producer Nick O’Dwyer made a decision for which we were eternally grateful:

We wanted this series to look like more than gritty realism, not least because the visual language of detective programmes has been set so high by dramas. This meant using four different cameras, depending on what was most suitable and practical for the scene. Filming with detectives, we had to be able to respond quickly across long and unpredictable days – the arrests being made, the hunt for a prisoner on day release, gathering evidence through a night shift. For this, we used the Canon XF305 (below) as our principal camera. One problem was the shifts in custody, where there is no natural light. We used the Canon C300, which copes better in low light, to shoot visuals of cells and corridors. I also used it to capture more glamorous moments,

like DI Kay putting on her lipstick and heels before a press conference. Our other challenge was that detectives spend a lot of time sitting at their desks and in cars. To bring as much movement into the films as possible, we used a 5D on a suction mount fixed to the detectives’ car bonnets to give us front-on portrait shots and a good choice of POVs moving through Hertfordshire. We also had to be ﬂexible with the needs of our contributors, particularly Sarah, DCI Julie’s 16-year-old daughter, who has learning disabilities. I was never allowed to sit in the passenger seat next to her mum when they were in the car together; that was her place. The solution was to mount a Go Pro on the dashboard while I lay on the back seat recording sound. Although we compromised on picture quality here, we gained something that we wouldn’t otherwise have captured: the real companionship and joy between them, laughing and often singing together on their daily car journeys.

28 June 2013 | Broadcast | 27

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

Hire & Equipment Focus

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Marketplace

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KIT AUCTION

Events, News and Sports

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FILMING AND PRODUCTION SERVICES

Studios and Production Facilities

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28 June 2013 | Broadcast | 29

Marketplace specialist camera equipment

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FILE UPLOADS

REPAIRS

the world’s leading specialist camera company

Aerial Camera Systems ACS SMARThead™

Please mention Broadcast when replying to adverts in this section

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PRIMETIME EMMY AND BAFTA AWARD WINNER www.acsmedia.com

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Appointments

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

Now hiring: Studio Tech Admin Manager

EMS

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 30 | Broadcast | 28 June 2013

We are a multi studio facility whose position in the market place has expanded. We are a privately owned company and we pride ourselves in providing a first class service and our ethos is nothing is too much trouble to provide. We need a team player, self-motivated, to complement our existing committed and closely knit crew who is willing to go “the extra mile” to ensure that our client experience is second to none. The role will require a strong background in either technical facilities management or broadcast engineering. Duties will include: • Being responsible for production hire requirements and overall broadcast equipment administration • Oversee the general maintenance of building and studio equipment • Eventually playing an active part in the pricing element for all new production quotations and budgeting • Generally adding to the existing facilities team and assisting with production admin duties such as call sheets and staff rotas Salary up to £40k + bonus Please contact hr@maidstonestudios.com or ring 01622 600000 to apply

“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. Dominic Lobo; Head of Production

To advertise in the Appointments section please contact: Jonathan Thornley 020 3638 5065 jonathan.thornley@broadcastnow.co.uk

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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

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! 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

COMMISSIONING EDITOR – FACTUAL Channel 5 is seeking an experienced Commissioning Editor of factual programmes to work across our family of channels. To join our busy and hardworking team you will have a proven track record of working with independent production companies, developing factual programmes and seeing them through to production. Taking the lead on factual commissions, you’ll show good editorial judgement and a thorough understanding of TV audiences and the TV landscape. You will combine a competitive, energised approach to commissioning with a responsibility for managing production schedules & budgets as well as legal, compliance and rights issues. The successful person will join us with previous experience of commissioning at other UK broadcasters where your passion for broad, populist programming will demonstrate your ability to generate new ideas that are on brand for the Channel 5 family. Closing date: Friday 28 June. Candidates are also asked to include their salary expectations and notice period Please send a CV and covering letter to: recruitment@channel5.com

MGM Worldwide Television Group International Television

MGM Worldwide Television Group seeks dynamic administrative assistant to support executives within our London-based International Television Distribution team. The ideal candidate will be comfortable managing core office tasks and helping manage all aspects of international client relationships. Full literacy in Microsoft Word, Excel and PowerPoint is essential. Language fluency in French, German or Spanish a plus. Please forward cover letter and CV to Amanda Millett, Human Resources and Administration at amillett@mgm.com

Following a successful year, Molinare is looking to expand their Senior Management and Sales teams with a number of new positions. These are integral roles working within one of the most creative and ambitious post production houses in the industry. We are keen to meet enthusiastic and dynamic people who will be an asset to our existing team. Experience within the post production sector is desirable but not essential: General Manager – Sales This role will head up Molinare’s sales team and report directly to the Managing Director. The candidate will be responsible for setting and delivering sales targets, have significant input into the sales strategy and will also be expected to investigate new business opportunities. The successful candidate will have strong people management experience and will have a proven track record of running a successful sales team. The individual must have a strong commercial mind-set and have excellent customer focus. They must be a self-starter as well as being able to motivate the sales team to deliver the results expected. Key Account Manager – Drama This role will report to the Head of Drama Sales and will be an integral part of the sales team. The ideal candidate must be a team player and have excellent customer service skills. Attention to detail is also essential in the role, and the candidate must have previous experience of working within a sales team. The role will involve building long term relationships with clients, discussing detailed requirements and quoting, through to the handover of a project to a Post Production Manager. General Manager – Operations The successful candidate will become part of the senior management team, and as such the applicant must be able to work at both a strategic and operational level. The ideal candidate must have excellent people management skills and a strong background in technical operations. Please send your CV and covering letter (stating the role you are applying for, salary expectations and notice period) through to hr@molinare.co.uk by Friday 5th July 2013

‘Great service provided with plenty of candidates. We have had a good success rate through using Broadcast.’ Adam Luckwell, CEO Unit Post Production

www.broadcastnow.co.uk

28 June 2013 | Broadcast | 31

Ratings Mon 17 Jun – Sun 23 Jun

ITV finds Long Lost viewers Series returns with a record-breaking audience, as BBC1’s The Voice UK fails to improve on last year BY Stephen price

Now the druids have done their thing and the summer solstice has come and gone, it’s a sure sign that the dog days are not far behind. Other indicators include loads of out-ofoffice replies to emails, being able to park within three miles of your own house, the amount of Pimms still on the shelves, and silly season stories about fugitives on the run. Another sign is the shape of the TV schedules. As the amount of money spent declines, so the repeat rate increases; the shows that may be ‘vulnerable’ elsewhere get a summer berth, while broadcasters begin slowly to mollify us with promises of autumn riches. After a few weeks airing comedies to a general shrug of indifference, ITV will be delighted with the return of Long Lost Family at 9pm on Monday. It achieved a series best-ever live rating of 5.2 million/23% (328,000 +1) – manna from ROI heaven after the slot’s previous incumbents’ expensive disappointments. It was also enough to dispose of BBC1’s New Tricks repeat (3.1 million/14%). Tuesday dawned and BBC1’s final episode of Frankie recorded its second-best live rating of the series (4.2 million/20%) at 9pm, following Holby City’s 4.3 million/21%. Opposite, ITV found little cheer with Animal Heroes’ 1.9 million/9% (108,000 +1) at 8pm, while Royal Windsor’s Big Week managed a piffling 1.5 million/7% (140,000 +1). Over on BBC2, The Route Masters: Running London’s Roads averaged 2.3 million/11%. 32 | Broadcast | 28 June 2013

BroadcasT/BarB Top 100 neTwork programmes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 14 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 44 46 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Coronation Street Coronation Street Coronation Street Coronation Street The Voice UK Coronation Street EastEnders Emmerdale EastEnders EastEnders Emmerdale The National Lottery Draws Emmerdale Emmerdale The Apprentice EastEnders Emmerdale Emmerdale Long Lost Family Countryfile BBC News Paul O’Grady: For The Love Of Dogs Antiques Roadshow Casualty BBC News At Six The White Queen BBC News At Ten Pointless Celebrities Agatha Christie’s Marple Holby City BBC News At Ten Frankie BBC News At Six BBC News At Ten BBC News At Six BBC News At Ten The One Show Watchdog BBC News BBC News The One Show The One Show BBC News At Ten All Star Mr & Mrs BBC News At Six BBC News At Six Mrs Brown’s Boys Fake Britain BBC News Tipping Point: Lucky Stars

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

19.30 20.30 19.30 19.30 19.15 20.30 20.00 19.00 19.30 19.30 19.00 21.20 19.00 20.00 21.00 20.00 19.00 19.00 21.00 19.00 22.00 20.30 20.00 21.30 18.00 21.00 22.00 18.20 20.00 20.00 22.00 21.00 18.00 22.00 18.00 22.00 19.00 20.00 22.20 18.30 19.00 19.00 22.00 20.00 18.00 18.00 21.30 19.30 18.05 19.00

8.40 8.16 7.62 7.36 7.24 7.13 7.06 6.77 6.64 6.55 6.43 6.33 6.20 6.14 6.14 6.11 6.07 5.96 5.57 5.55 4.91 4.78 4.58 4.55 4.52 4.48 4.46 4.42 4.36 4.31 4.25 4.24 4.22 4.20 4.16 4.15 4.03 4.02 4.01 3.98 3.92 3.86 3.82 3.81 3.81 3.69 3.64 3.59 3.57 3.53

40.50 35.23 40.68 40.92 34.77 33.53 32.19 35.56 33.74 35.17 33.93 28.77 35.09 28.72 26.96 31.37 36.89 35.04 24.96 25.68 23.90 22.19 19.16 21.52 27.95 18.53 22.84 26.24 18.11 21.38 22.62 19.53 26.14 21.54 27.54 21.53 21.30 20.97 21.79 21.18 20.61 21.85 19.63 19.87 26.09 27.07 17.11 17.28 23.50 16.34

ITV ITV ITV ITV BBC1/Wall to Wall ITV BBC1 ITV BBC1 BBC1 ITV BBC1 ITV ITV BBC1/Boundless BBC1 ITV ITV ITV/Wall to Wall BBC1 BBC1 ITV/Shiver BBC1 BBC1 BBC1 BBC1/Company Pictures BBC1 BBC1/Remarkable Television ITV/Agatha Christie Ltd BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 BBC1/Boc-Pix/RTÉ BBC1/Screenchannel Television BBC1 ITV/RDF TV

Figures include HD and +1 where applicable

Long Lost Families

Andy Murray: the Man Behind the racquet www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 53 55 56 57 58 59 60 61 62 63 63 65 65 67 68 69 69 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 94 96 96 98 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

ITV News & Weather Love And Marriage ITV News & Weather The Dales Harbour Lives The Graham Norton Show Miranda The One Show The One Show ITV News & Weather New Tricks The Chase Pointless ITV News & Weather Would I Lie To You? Life Savers The Chase ITV News At Ten & Weather The Chase Waterloo Road ITV News & Weather Pointless Pointless Question Time The Chase Pointless Tonight: Britain Likes A Bet Andy Murray: Man Behind The Racquet Rip Off Britain Happy Families Britain’s Secret Homes The Chase Airport Live Pointless BBC News At One Airport Live Airport Live Nature’s Newborns Rhys Jones’s Wildlife Patrol Rick Stein’s India The Route Masters: Running London’s Rds BBC News At One You've Been Framed! Celebrity Who Wants To Be A Millionaire? BBC News At One BBC News At One 24 Hours In A&E The Apprentice: You’re Fired ITV News & Weather Panorama: Elderly Care: Condition Critical?

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

18.30 21.00 18.30 20.00 20.00 22.35 21.00 19.00 19.00 18.30 21.00 17.00 17.15 18.30 20.30 21.00 17.00 22.00 17.00 20.00 18.30 17.15 17.15 22.35 17.00 17.15 19.30 22.25 19.30 21.00 21.00 17.00 20.00 17.15 13.00 20.00 20.00 19.30 19.30 21.00 21.00 13.00 18.45 19.15 13.00 13.00 21.00 22.00 18.00 20.30

3.49 3.42 3.41 3.41 3.35 3.30 3.28 3.26 3.19 3.11 3.09 3.02 2.95 2.95 2.93 2.93 2.90 2.87 2.82 2.82 2.81 2.78 2.76 2.74 2.73 2.70 2.68 2.63 2.62 2.61 2.59 2.58 2.55 2.54 2.52 2.51 2.50 2.49 2.38 2.36 2.32 2.31 2.30 2.25 2.25 2.24 2.24 2.20 2.19 2.16

19.95 15.01 19.43 15.55 17.19 22.53 15.75 19.14 19.38 18.80 13.85 24.03 21.94 18.97 13.77 14.01 22.50 15.05 23.44 13.15 19.09 22.05 21.95 21.54 22.63 20.42 13.60 18.88 13.97 12.49 12.32 23.34 11.30 22.10 35.42 12.46 11.64 13.36 13.22 10.55 10.68 33.55 13.18 11.34 35.73 36.40 9.82 11.33 14.62 9.32

ITV ITV/Tiger Aspect ITV/ITN ITV/Shiver ITV/Shiver BBC1/So Television BBC1 BBC1 BBC1 ITV/ITN BBC1/Wall to Wall ITV BBC1/Remarkable Television ITV/ITN BBC1/Zeppotron BBC1/Twenty Twenty ITV ITV/ITN ITV BBC1/Shed Productions ITV/ITN BBC1/Remarkable Television BBC1/Remarkable Television BBC1/Mentorn ITV BBC1/Remarkable Television ITV BBC1 BBC1 ITV/Twofour ITV ITV BBC2 BBC1/Remarkable Television BBC1 BBC2 BBC2 ITV/Wall to Wall BBC1/Wales & Co BBC2/Denhams BBC2/Blast! Films BBC1 ITV ITV/Victory Television BBC1 BBC1 C4/The Garden BBC2/Boundless ITV/ITN BBC1

*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.

happy Families www.broadcastnow.co.uk

the route Masters: running London’s roads

BBC1 got the better of Wednesday, with Watchdog at 8pm managing 4 million/21%, ahead of ITV’s All Star Mr & Mrs (3.7 million/ 19%; 129,000 +1). At 9pm, ITV’s comedy drama Love And Marriage dipped again, to 3.2 million/14% (189,000 +1), while The Apprentice scored 6.1 million/27%. On Thursday at 8pm ITV’s Emmerdale (6.2 million/29%; 300,000 +1) and Paul O’Grady: For The Love Of Dogs (4.5 million/21%; 264,000 +1) easily saw off BBC1’s Waterloo Road (2.8 million/13%). The 9pm slot is a sickly waif wheezing away in the corner, with BBC1’s Life Savers

‘The Thursday 9pm slot is a sickly waif wheezing away in the corner’ scoring the highest on just 2.9 million/14%, ahead of ITV’s 2.4 million/12% (200,000 +1) for Happy Families. Friday’s repeated comedy double-bill of Miranda (3.3 million/ 16%) at 9pm and Mrs Brown’s Boys (3.6 million/17%) at 9.30pm were too strong for ITV’s Britain’s Secret Homes (2.5 million/12%; 134,000 +1). On Saturday, BBC1’s finale of The Voice UK began at 7.15pm: for more than two hours it averaged 7.2 million/35%, the same as the 2012 finals. The climactic peak of 8.6 million/39% also matched that of 2012. While the BBC goes into its post-series huddle to see how that seven can be nearer to nine or more, some solace will be taken from the fact that it reduced ITV’s Celebrity Who Wants To Be A Millionaire? to 2.2 million/ 11% (71,000 +1) at 7.15pm and The Nation’s Favourite Dance Moments to a mere 1.9 million/9% (163,000 +1) from 8.15pm. Oof. The second part of the medievalish melodrama The White Queen fell by more than 850,000 to 4.5 million/19% on Sunday. From 8pm, ITV’s Agatha Christie’s Marple closed the gap a little with 4.1 million/17% (278,000 +1) – up 273,000 on last week. At 10.25pm, BBC1’s Andy Murray: The Man Behind The Racquet achieved a decent 2.6 million/19%. Advantage, BBC.

See over for digital focus, plus channel and genre overviews 28 June 2013 | Broadcast | 33

Ratings Mon 17 Jun – Sun 23 Jun Channel Overview

Airport Live off to a flier BY stephen price

BBC2 donned its anorak, flexed its adenoids and went plane and bus spotting – to decent effect. Channel 4 might want to avoid Thursdays for a bit, but its Wednesday stalwart provided some balm. The best day for BBC2’s Airport Live was Monday, with 2.6 million/ 11% at 8pm, well ahead of the next best, C4’s Dispatches (1 million/ 5%; 148,000 +1) at 8pm and Food Unwrapped (1.3 million/6%; 259,000 +1) at 8.30pm. On Tuesday, BBC2’s The Route Masters: Running London’s Roads’ 2.3 million/11% defeated C4’s 1.5 million/7% (279,000 +1) for Child Genius, which was level with Channel 5’s CSI (1.6 million/ 7%; 204,000 +1). C4’s best performer, 24 Hours In A&E, achieved 1.9 million/8% (353,000 +1) at 9pm on Wednesday, ahead of BBC2’s Horizon (1.3 million/6%) and C5’s NCIS (1.3 million/6%; 185,000 +1). The final of BBC2’s Airport Live on Thursday (2.5 million/12%) defeated C5’s new Cowboy Builders series (800,000/4%; 134,000 +1); both were streets ahead of part two of C4’s Compare Your Life (a lowly 400,000/2%; 76,000 +1). At 9pm, BBC2’s Flights And Fights: Inside The Low Cost Airlines’ 2.1 million/10% defeated C4’s First Dates, which began shyly with 700,000/ 3% (126,000 +1).

Source: BARB

WEEk 25 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 27.05.13 Peaktime share (%) w/c 28.05.12 YEAR To DATE Average hours per viewer Audience share (%) Audience share (2012)

BBC1 5.03 17.26 22.42 27.78 BBC1 5.86 21.06 20.76

BBC2 1.48 5.04 7.59 6.80 BBC2 1.57 5.65 6.18

ITV1 3.65 14.11 18.00 22.34 ITV1 4.54 16.32 16.42

C4 1.28 5.83 5.20 5.59 C4 1.64 5.88 6.64

Start

Viewers (m) (all homes)

34 | Broadcast | 28 June 2013

Total 24.78 100.00 100.00 100.00 Total 27.82 100.00 100.00

Top 30 BBC2, CHANNEL 4 AND CHANNEL 5 Title

Day

Airport Live

Mon

20.00

2.55

11.30

BBC2

Airport Live

Tue

20.00

2.51

12.46

BBC2

Share %

BBC2

Broadcaster

Airport Live

Thu

20.00

2.50

11.64

Rick Stein’s India

Mon

21.00

2.36

10.55

BBC2

The Route Masters: Running London’s Roads

Tue

21.00

2.32

10.68

BBC2

24 Hours In A&E

Wed

21.00

2.24

9.82

The Apprentice: You’re Fired

Wed

22.00

2.20

11.33

Flights And Fights: Inside Low Cost Airlines

Thu

21.00

2.07

9.91

BBC2

Airport Live

Wed

20.00

2.00

10.44

BBC2

Wild Shepherdess With Kate Humble

Fri

21.00

1.96

9.30

BBC2

Gardeners’ World

Fri

20.30

1.93

9.09

BBC2

Big Brother: Live Eviction

Fri

21.00

1.83

8.94

Calendar Girls

Sat

21.00

1.79

8.66

BBC2

CSI: Crime Scene Investigation

Tue

21.00

1.78

8.19

C5 C4

C4 BBC2

Child Genius

Tue

21.00

1.77

8.16

Mock The Week

Thu

22.00

1.68

8.78

BBC2

Rise Of The Continents

Sun

21.00

1.68

6.95

BBC2

The Million Pound Drop Live

Fri

21.00

1.63

7.99

Scientologists At War

Mon

21.00

1.59

7.11

Big Brother

Sun

21.00

1.55

6.42

Blackadder II

Sun

22.00

1.55

7.96

BBC2

Fri

22.00

1.55

7.97

BBC2

Dad’s Army

Sat

19.30

1.54

7.73

BBC2

Food Unwrapped

Mon

20.30

1.50

6.47

Big Brother: Secrets And Lies

Mon

22.00

1.50

8.57

Athletics: European Team Championships

Sun

14.25

1.49

11.05

C5 BBC2

Flog It!

Sun

18.15

1.47

7.93

BBC2

NCIS

Wed

21.00

1.43

6.27

Nature’s Microworlds

Fri

20.00

1.42

7.30

BBC2

Big Brother: Secrets And Lies

Tue

22.00

1.42

8.46

Figures include HD and +1 where applicable

Multichannel 42.57

The first C4 First Cut doc at 9pm, Scientologists At War, scored record ratings for the strand (Monday)

Others 12.28 53.15 42.57 33.67 Others 13.09 47.06 45.62

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

DAYTIME SHARE (%) w/c 27.05.13

pEAkTIME SHARE (%) w/c 27.05.13

1.6m

C5 1.05 4.61 4.22 3.82 C5 1.12 4.03 4.37

BBC1 22.42

ITV1 18.00

C5 4.22 C4 5.20

BBC2 7.59

Multichannel 53.15

1.2m

C5 doc The Girl With Seven Mums performed in line with slot average (Thursday, 9pm)

BBC1 17.26

ITV1 14.11

C5 4.61

BBC2 5.04

C4 5.83

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

Get Squiggling Let’s Play S’thing Special: We're All Friends Dani’s Castle Sorry, I've Got No Head The Koala Brothers Newsround Andy’s Wild Adventures Sorry, I’ve Got No Head DNN

toP 10 FactuaL ProGrammes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Sat Sat Sat Thu Wed Sat Thu Sat Thu Thu

09.30 09.10 09.45 16.30 07.45 09.00 16.20 10.05 07.45 17.00

263,700 263,300 227,300 220,800 206,000 199,400 198,700 194,400 172,000 170,700

19.23 19.04 17.66 17.62 15.36 15.42 16.12 15.93 13.85 11.95

CBeebies CBeebies CBeebies CBBC CBBC CBeebies CBBC CBeebies CBBC CBBC

Title

1 2 3 4 5 6 7 8 9 10

The Apprentice Long Lost Family Countryfile Paul O’Grady: For The Love Of Dogs Antiques Roadshow The One Show Watchdog The One Show The One Show Fake Britain

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Mon Sun Thu Sun Thu Wed Mon Tue Mon

21.00 21.00 19.00 20.30 20.00 19.00 20.00 19.00 19.00 19.30

6.14 5.57 5.55 4.78 4.58 4.03 4.02 3.92 3.86 3.59

26.96 24.96 25.68 22.19 19.16 21.30 20.97 20.61 21.85 17.28

BBC1 ITV BBC1 ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1

➤ The kids’ table was all change this week with animated drawing series Get squiggling replacing Horrible Histories at the top. Let’s Play and Mr Tumble-fronted something special: we’re all Friends were the other new entries in the top three. In fact, all 10 were BBC-aired series.

➤ the apprentice remained top factual programme, with its biggest audience of the series, while ITV’s Long Lost Family replaced countryfile in second spot. Fake Britain sneaked in at 10, and Paul o’Grady: For the Love of dogs recovered from last week’s Horizon cat doc’s surge.

toP 10 drama ProGrammes

toP 10 entertainment ProGrammes

Title

1 2 3 4 5 6 7 8 9 10

Casualty The White Queen Agatha Christie’s Marple Holby City Frankie Love And Marriage New Tricks Waterloo Road CSI: Crime Scene Investigation NCIS

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Sun Sun Tue Tue Wed Mon Thu Tue Wed

21.30 21.00 20.00 20.00 21.00 21.00 21.00 20.00 21.00 21.00

4.55 4.48 4.36 4.31 4.24 3.42 3.09 2.82 1.78 1.43

21.52 18.53 18.11 21.38 19.53 15.01 13.85 13.15 8.19 6.27

BBC1 BBC1 ITV BBC1 BBC1 ITV BBC1 BBC1 C5 C5

➤ casualty rose back to the top, replacing the white Queen, as the US/UK period co-pro lost nearly 1 million viewers on its second episode. new tricks re-entered with a repeat and Channel 5 US import ncis replaced Channel 4 half-hour drama dates at number 10.

uP The Voice UK adds 1.43m

down The White Queen loses 860,000

uP Casualty gains 120,000

1 2 3 4 5 6 7 8 9 10

MOTD: Conf’ Cup Highlights MOTD Live: Italy V Brazil Athletics: European Team Champs’ Athletics: European Team Champs’ MOTD Live: Spain V Tahiti MOTD Live: Italy V Japan MOTDLive: Nigeria V Spain MOTD Live: Brazil V Mexico Live International Rugby Union Royal Ascot: Channel 4 Racing

The Voice UK The National Lottery Draws Pointless Celebrities All Star Mr & Mrs Tipping Point: Lucky Stars The Graham Norton Show The Chase Pointless Would I Lie To You? The Chase

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Sat Sat Wed Sun Fri Mon Thu Fri Thu

19.15 21.20 18.20 20.00 19.00 22.35 17.00 17.15 20.30 17.00

7.24 6.33 4.42 3.81 3.53 3.30 3.02 2.95 2.93 2.90

34.77 28.77 26.24 19.87 16.34 22.53 24.03 21.94 13.77 22.50

BBC1 BBC1 BBC1 ITV ITV BBC1 ITV BBC1 BBC1 ITV

➤ The final of talent contest the Voice uk was well out in front, adding nearly 1.5 million viewers from last week. Meanwhile, Pointless celebrities made a top three appearance, knocking all star mr & mrs to number four. would i Lie to you? made an entry at number nine.

uP The Apprentice up 300,000

down CSI drops 130,000

uP The National Lottery Draws rises 2.05m

toP 10 current aFFairs ProGrammes Day

Start

Sat Sat Sat Sun Thu Wed Sun Wed Sat Sat

22.40 19.30 14.00 14.25 19.30 22.35 19.30 19.30 10.30 13.40

Viewers (millions)

Share (%)

1.90 14.41 1.64 7.75 1.56 14.47 1.49 11.05 1.45 6.94 1.42 17.13 1.28 5.48 1.21 5.96 1.16 14.04 0.83 7.83

Channel

BBC1 BBC3 BBC1 BBC2 BBC3 BBC1 BBC3 BBC3 Sky Sp’ts 1 C4

➤ The 2013 Fifa confederations cup secured six of the top 10 spots, with a BBC1 highlights package narrowly beating Italy v Brazil on BBC3. the european team athletics championships performed well over the weekend, while Sky’s rugby union and c4 racing snuck in. next week comedy and music & arts www.broadcastnow.co.uk

1 2 3 4 5 6 7 8 9 10

down Love and Marriage down 510,000

toP 10 sPort ProGrammes Title

Title

1 2 3 4 5 6 7 8 9 9

Question Time Britain Likes A Bet: Tonight Panorama: Elderly Care... The Andrew Marr Show Crimewatch Roadshow Lifeline Crimewatch Roadshow Dispatches:How Councils Waste... Crimewatch Roadshow Crimewatch Roadshow

Day

Start

Viewers (millions)

Share (%)

Channel

Thu Thu Mon Sun Mon Sun Thu Mon Fri Wed

22.35 19.30 20.30 09.00 09.15 16.45 09.15 20.00 09.15 09.15

2.74 2.68 2.16 1.45 1.31 1.27 1.24 1.19 1.10 1.10

21.54 13.60 9.32 20.38 25.44 8.84 24.79 5.43 23.33 24.10

BBC1 ITV BBC1 BBC1 BBC1 BBC1 BBC1 C4 BBC1 BBC1

➤ Question time, with comedian and movie star Russell Brand and London Mayor Boris Johnson, beat ITV’s Britain Likes a Bet. crimewatch roadshow made four appearances, while dispatches: How councils waste your money performed well for Channel 4.

See over for demographic and digital focus 28 June 2013 | Broadcast | 35

Ratings Mon 17 Jun – Sun 23 Jun Demographic focus Channels

Individuals Share (%)

Adults ABC1 Share (%)1

BBC1

20.49

ITV

14.91

Source: BARB 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

24.69

47.82

12.41

11.34

19.82

44.45

21.06

55.55

13.14

34.98

10.18

12.78

11.21

34.56

18.05

65.45

BBC2

5.96

7.93

52.78

3.45

10.84

6.53

50.31

5.48

49.69

5.15

5.31

40.87

5.89

21.41

5.21

46.44

5.11

53.55 61.90

4.57

4.05

35.19

4.85

19.87

3.79

38.12

5.23

ITV2

3.14

2.39

30.22

5.13

30.61

2.86

41.81

3.38

58.18

ITV3

2.73

2.32

33.77

0.73

5.03

2.30

38.69

3.09

61.30

BBC 3

2.44

39.79

4.72

36.26

3.48

65.68

1.55

34.30

1.96

2.08

42.09

5.45

52.08

1.88

44.15

2.03

55.85

Sky Sports 1

1.69

2.38

55.82

1.76

19.49

2.68

72.79

0.85

27.20

Film 4

1.62

1.35

32.95

1.87

21.64

1.91

54.17

1.37

45.83

Dave

1.38

1.36

39.04

2.46

33.35

1.83

60.89

1.00

39.09

More 4

1.34

1.44

42.56

1.25

17.46

1.21

41.44

1.45

58.58

5 USA

1.17

1.00

33.98

0.77

12.39

1.14

44.85

1.19

55.15

ITV4

1.06

0.88

32.80

0.95

16.72

1.55

67.25

0.64

32.76

Yesterday

0.83

0.71

34.02

0.24

5.40

0.97

53.62

0.71

46.41

BBC4

0.82

1.21

58.68

0.26

5.83

0.89

50.01

0.76

49.97

SKY 1

0.75

0.79

42.03

1.41

35.46

0.88

53.97

0.63

45.99

Sky Living

0.60

0.57

37.82

0.84

26.32

0.51

38.93

0.67

61.13

22%

The pilot of Channel 4’s music show Smells Like Friday Night failed to strike a chord with 16-34s, falling short of the 34.2% share of C4’s audience they typically enjoy in the post-pub slot. The biggest drop was in 25-34s; down from 21% to just 8.9%. The show averaged just 117,000, a 1.6% share.

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

BBC3 hits back of the net BY stephen price

I rang a call centre the other day. I was bamboozled into the wrong department by apparently not having enough choices to select, which, after pressing six on the third menu surprised me a bit. BBC3 won’t be grumpy, though, as its own call centre, plus gobs of footie, helped deliver its best-ever week for young audiences. E4 topped the list, with The Big Bang Theory achieving 1.7 million/ 8% on Thursday at 8pm for 30 minutes; more than four times C4’s audience at that time. BBC3 is having a whale of a time with The Confederations Cup; the best was Italy v Brazil on Saturday at 7.30pm with 1.6 million/ 8%, peaking at 2.6 million/12% at 9.45pm. The Call Centre’s top transmission on Tuesday at 9pm remains consistent for BBC3: its 900,000/4% was, by a whisker, the lowest of the three so far. ITV2 film Star Wars: Episode II – Attack of The Clones was the channel’s best, with 1.4 million/7% at 5.25pm on Sunday. 36 | Broadcast | 28 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 15 16 16 18 18 20 21 22 22 24 25 25 25 28 28 30

The Big Bang Theory MOTD Live: Italy V Brazil MOTD Live: Spain V Tahiti Star Wars: Episode II MOTD Live: Nigeria V Spain MOTD Live: Brazil V Mexico Live International Rugby Liar Liar The Only Way Is Essex R Howard’s Good News Storage Hunters Foyle’s War Star Wars: Episode I The Call Centre How I Met Your Mother Storage Hunters The Big Bang Theory Live At The Apollo The Only Way Is Essex Live At The Apollo Live At The Apollo Hollyoaks The Big Bang Theory Only Connect The Fast And The Furious Agatha Christie’s Marple MOTD Live: Nigeria V Uruguay The Reef The Big Bang Theory Agatha Christie’s Poirot

Figures include HD and +1 where applicable

Day

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

Start

20.00 19.30 19.30 17.25 19.30 19.30 10.30 20.15 22.00 22.00 20.00 20.00 18.15 21.00 20.30 20.30 18.30 22.00 22.00 22.30 22.15 19.00 18.30 20.30 21.00 18.55 22.30 21.00 18.30 21.00

Viewers (millions)

Share (%)

1.68 1.64 1.45 1.40 1.28 1.21 1.16 1.03 1.02 1.01 0.96 0.94 0.92 0.91 0.90 0.86 0.86 0.85 0.85 0.84 0.81 0.79 0.79 0.77 0.76 0.76 0.76 0.75 0.75 0.74

7.85 7.75 6.94 7.24 5.48 5.96 14.04 4.28 5.68 5.30 4.90 4.51 4.81 4.19 4.16 4.17 4.90 4.40 4.74 5.69 4.73 4.47 5.35 3.33 3.88 3.79 8.63 3.78 4.52 3.71

Channel

E4 BBC3 BBC3 ITV2 BBC3 BBC3 Sky Sports 1 ITV2 ITV2 BBC3 Dave ITV3 ITV2 BBC3 E4 Dave E4 BBC3 ITV2 BBC3 BBC3 E4 E4 BBC ITV2 ITV3 BBC3 Film 4 E4 ITV3

Channels

Share (%)

BBC1 ITV BBC2 C4 C5 Total Multichannel ITV2 ITV3 BBC 3 E4 Sky Sports 1 Film 4 Dave More 4 CBeebies Pick TV 5 USA ITV4

20.49 14.91 5.96 5.15 4.57 48.92 3.14 2.73 2.44 1.96 1.69 1.62 1.38 1.34 1.26 1.24 1.17 1.06

Figures include HD and +1 where applicable

225k Debut audience, across two showings, of new BBC4 sitcom Quick Cuts

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

NoN-PSB toP 50 Title 1 2 3 4 5 6 7 8 9 10 10 12 13 13 13 13 13 18 18 18 21 21 23 24 24 24 24 24 24 30 30 30 30 30 35 35 35 35 35 40 40 40 43 43 45 45 45 45 45 45

Day

Start

Viewers (m) (all homes)

Share %

Live International Rugby Union Sat 10.30 1.16 14.04 Storage Hunters Tue 20.00 0.96 4.90 Storage Hunters Tue 20.30 0.86 4.17 Live PGA Tour Golf Sun 19.00 0.71 3.26 Live Cricket – ICC Champions Trophy Sun 9.30 0.54 4.69 Mrs Brown’s Boys Sat 21.40 0.53 2.51 NCIS Fri 21.00 0.45 2.13 Mock The Week Tue 22.00 0.42 2.32 The Simpsons Tue 19.00 0.41 2.33 QI Thu 22.00 0.40 2.17 Mad Dogs Tue 21.00 0.40 1.84 Bones Wed 21.00 0.39 1.69 Revolution Fri 21.00 0.38 1.83 Modern Family Fri 20.30 0.38 1.79 The Simpsons Wed 19.30 0.38 2.11 Mrs Brown’s Boys Sun 21.40 0.38 1.72 QI XL Wed 22.30 0.38 2.96 The Simpsons Fri 19.00 0.36 2.10 Would I Lie To You? Wed 21.50 0.36 1.75 The Simpsons Mon 19.00 0.36 1.87 Gavin & Stacey Sat 21.40 0.35 1.68 An Idiot Abroad Sun 21.00 0.35 1.45 The Simpsons Wed 19.00 0.34 2.06 Gavin & Stacey Sat 22.20 0.33 1.99 The Valleys Tue 22.00 0.33 1.99 QI Tue 22.40 0.33 2.68 The Simpsons Mon 19.30 0.33 1.60 Have I Got A Bit More Election News For You Thu 21.00 0.33 1.59 Sofia The First Mon 17.25 0.33 2.47 Top 30 programmes QI XL TuemulTichannel 21.00 0.32 1.48 Live Cricket – ICC Champions Trophy Wed 10.00 0.32 4.53 Have I Got A Bit More News For You Mon 21.00 0.32 1.43 The Simpsons Thu 19.00 0.32 1.68 The Simpsons Fri 18.30 0.32 2.04 Russell Howard’s Good News Sun 21.00 0.31 1.29 The Simpsons Tue 18.30 0.31 1.89 Criminal Minds Mon 21.00 0.31 1.38 Live Cricket – ICC Champions Trophy Mon 12.30 0.31 2.42 Keeping Up Appearances Thu 20.20 0.31 1.42 Grimm Mon 21.00 0.30 1.36 The Simpsons Sun 18.00 0.30 1.77 Man v Food Tue 19.30 0.30 1.62 Stargate SG-1 Fri 20.00 0.29 1.44 Man v Food Sun 20.30 0.29 1.20 Man v Food Sun 20.00 0.28 1.20 Stargate SG-1 Thu 20.00 0.28 1.32 The Simpsons Thu 18.30 0.28 1.60 Storage Hunters Sat 15.00 0.28 2.99 Star Trek: Enterprise Thu 19.00 0.28 1.44 The Simpsons Sun 21.00 0.28 1.13

Figures include HD and +1 where applicable

Man v Food www.broadcastnow.co.uk

sofia the First

Broadcaster/ Producer* Sky Sports 1 Dave Dave Sky Sports 1 Sky Sports 1 Gold/Boc Pix/RTÉ Fox Dave/Angst Productions Sky 1 Dave/Talkback Sky 1/Left Bank Pictures Sky Living Sky 1 Sky 1 Sky 1 Gold/Boc Pix/RTÉ Dave/Talkback Sky 1 Dave/Zeppotron Sky 1 Dave/Baby Cow Pick TV/Risk Productions Sky 1 Dave/Baby Cow MTV/MTV/True North Dave/Talkback Sky 1 Dave/Hat Trick Productions Disney Junior Dave/Talkback Sky Sports 1 Dave/Hat Trick Productions Sky 1 Sky 1 Dave/Avalon Sky 1 Sky Living Sky Sports 1 Yesterday Watch Sky 1 Dave Pick TV Dave Dave Pick TV Sky 1 Dave Pick TV Sky 1

0.5m Mrs Brown’s Boys remains a solid performer for Gold with its Saturday night reruns

Sport is the winner BY stephen price

Someone said to me recently that 2013 was a non-sport year, which I found odd, because I’ve been watching a lot of it. A non-sport year on the PSB networks maybe, but elsewhere there’s loads, as those storage geeks discovered this week, sandwiched in the table between a ruck and a sand wedge. The first rugby union match between Australia and the British and Irish Lions delivered 1.2 million/14% for Sky Sports 1 from 10.30am. As the Lions squeaked home, its 12.45pm peak was 1.7 million/3%. The best of Dave’s storage hunters came at 8pm on Tuesday with 1 million/4%, while the second best was at 8.30pm with 860,000/4%. From 7pm on Sunday, Sky Sports 1 averaged 700,000/3% for the final round of the us open; the 8.25pm peak stood at 1.9 million/8% as the UK’s Justin Rose’s win was confirmed. Earlier in the day, live coverage of the icc champions Trophy averaged 500,000/5% from 9.30am. The endurance of mrs Brown’s Boys was emphasised this week. Repeats are doing handily on BBC1 (3.6 million/17% at 9.30pm on Friday), while series one’s first episode delivered Gold’s biggest audience this week (500,000/3% on Saturday at 9.40pm). 28 June 2013 | Broadcast | 37

Ratings Mon 10 Jun – Sun 16 Jun

All BARB ratings supplied by: Attentional

Consolidated Ratings

White Queen rules okay BY Stephen price

As demonstrated by the Live Aid performance, a Queen has a certain powerful aura. In Wonderland, the Queen of Hearts was a bit ranty – which you would be, I suppose, if you were a playing card. The less card-ish, more real, albeit equally cranky, Queen Elizabeth I had to crush warring factions to survive. Meanwhile, our very own monarch, who nowadays looks a bit like an old lady you might get stuck behind in the Post Office, clearly suffers fools not at all. And to the canon of fearsome queens, BBC1 has added the White Queen – a tenacious monarch in troubled times. I just hope those two princes don’t go near any towers.

Source: BARB

Channel 4, meanwhile, went dating and Graham Norton continued to hog Friday nights.

BBC1: The White Queen BBC1’s The White Queen, an adaptation of Philippa Gregory’s series of novels, landed on our screens on Sunday 16 June (the version for US cable network Starz goes out in August and is much ruder). BBC1 began with 5.3 million/ 23% at 9pm, including more than 3 million ABC1 adults. After recording, episode one rose to a very healthy 6.8 million/25%, nearly 4 million of them ABC1 adults. With 10 weeks staring back at you in the schedule, which is a long time, that’s a good start. If episode two, which dropped by 850,000, can match the level of recording, that might help those weeks fly by.

ITV: Agatha Christie’s Marple An hour earlier, ITV played Agatha Christie’s Marple. On live ratings, this achieved 4.2 million/18%; after almost 700,000 recorded and

watched, it fell just shy of 5 million at 4.9 million/19%. That’s not a million miles short of Marple’s best: 6 million/22% at Christmas 2010.

Channel 4: Dates As part of Channel 4’s Mating Season, the first of nine single films grouped as Dates launched on Monday 10 June at 10pm, followed by two more on Tuesday and Wednesday. The opener performed best, with a final rating of 2.4 million/12% after 663,000 recorded and watched. Wednesday’s part three was second with 1.6 million/8% after 500,000 recorded and watched. All three had a good young profile, with 16-34s making up nearly a third of the overall audience.

ITV’s broadcast of family movie Despicable Me added 1 million via PVR and catch-up.

UP The Fall ends 370,000 up week on week

BBC1: The Graham Norton Show So far in 2013, The Graham Norton Show has matched its 2012 average of 3.8 million/24%. On 14 June, it beat this, averaging 4.1 million/ 26% after more than 500,000 recorded and watched.

TOP 30 CONSOlIDATeD RATINGS: RANkeD By GAIN

1 2 3 4 4 6 7 8 9 10 11 12 13 14 15 15 17 18 19 20 20 22 23 23 25 26 26 26 29 30

4.7m DOWN Love And Marriage drops 1.1 million

Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

The White Queen The Apprentice Despicable Me The Fall Love And Marriage Casualty Frankie Coronation Street EastEnders The Voice UK EastEnders Revolution Agatha Christie’s Marple EastEnders Dates Coronation Street Coronation Street The Returned The Tudors The Americans Paul O’Grady: For The Love Of Dogs Coronation Street The Apprentice – You’re Fired! EastEnders Dates CSI: Crime Scene Investigation Hannibal NCIS The Graham Norton Show The Big Bang Theory

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

21.00 21.00 18.40 21.00 21.00 21.20 21.00 20.30 20.00 19.00 20.00 21.00 20.03 19.29 22.00 19.30 20.30 21.00 23.20 22.00 20.30 19.30 22.00 19.30 22.00 21.00 22.00 21.00 22.40 20.00

6.75 7.81 4.74 4.65 4.96 5.37 4.85 9.39 7.31 6.55 8.01 1.11 4.89 7.99 2.44 9.02 9.80 1.90 0.96 1.79 5.53 9.35 2.92 7.25 1.64 2.55 0.75 1.01 4.05 2.34

24.68 29.03 21.68 17.83 18.38 23.72 19.46 37.74 32.35 29.05 34.49 4.79 18.98 38.83 11.70 42.21 38.88 7.00 10.30 9.23 22.27 41.93 13.65 34.19 7.67 10.09 3.85 4.32 26.13 9.31

1.43 1.33 1.02 0.96 0.96 0.93 0.86 0.81 0.80 0.75 0.74 0.70 0.69 0.68 0.66 0.66 0.64 0.62 0.61 0.58 0.58 0.57 0.56 0.56 0.54 0.53 0.53 0.53 0.52 0.51

26.70 20.40 27.40 26.20 24.00 21.00 21.50 9.50 12.30 12.90 10.10 169.90 16.30 9.40 37.30 7.80 7.00 48.70 173.70 48.50 11.80 6.50 23.70 8.40 48.50 26.40 247.10 110.10 14.90 27.60

Broadcaster BBC1 BBC1 ITV BBC2 ITV BBC1 BBC1 ITV BBC1 BBC1 BBC1 SKY 1 ITV BBC1 C4 ITV ITV C4 BBC2 ITV ITV ITV BBC2 BBC1 C4 C5 Sky Living Fox BBC1 E4

Figures include HD and +1 where applicable

38 | Broadcast | 28 June 2013

www.broadcastnow.co.uk

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ALL A TWITTER

one from the soundtrack of Turbo.” Turbo is an animated movie about a snail.

I remember Russell Brand as an intelligent, erudite, articulate & funny man. Why is he pretending to be a verbally incontinent thicko? #Marr

Raw deal for Glasto crew

Has Dogg lost his bite?

Raw Cut is swapping gritty bluelight docs for the fields of Somerset this week to make a series of short films for Greenpeace to play on big screens at Glastonbury. Director Bill Rudgard admitted it’s a mixed bag: “While many festival goers are up all night at the Stone Circle, we’re up doing final edits. But I quite fancy seeing Mumford and Sons.”

Jostling for punters’ attention among the movies, technology displays and talks at Barcelona’s CineEurope conference, no less than Snoop Dogg made for an incongruous guest of honour. Dreamworks Animation gambled on its family image with a profanityladen run through his greatest hits before new material was unleashed with the slightly less gangsta announcement: “Here’s

Glastonbury: all-night sessions

@helencwarner (Helen Warner) Director of daytime, ITV Snoop: Turbo-charged tunes

I just typed, then deleted the line: ‘No shit, Sherlock’ in a script. That was a close one… The only place you can excuse writing ‘No shit Sherlock’ is on a placard outside the production offices of Elementary. @MathiesonJamie (Jamie Mathieson) Writer, Being Human

So there we have it, folks. Ch4 documentaries now commissioned on the basis of whether cheap jokes can be made about them on Twitter. @DavidHAllison (David Allison) Writer, Bedlam; The Case

Just been at a huge meeting of directors. What do you call a group of directors? ‘A Paranoid’. @JamesEHawes (James Hawes) Director, The Mill

Hats off to the UKTV cycling team – chief executive Darren Childs and Jane Rogerson among them – who raced home after completing the full 270-mile return trip from London to Paris (they’ve barely broken a sweat here, posed at the half-way point under the Eiffel Tower). They raised almost £34,000 for Pancreatic Cancer UK, smashing their £15,000 target, and they’re still hungry for more donations.

‘‘SON OF A B SOHONET_BROADCAST_SON_OF_A_AD.indd 1

AND FINALLY ... Matt Johnson TV presenter

What’s your biggest-ever lie? I told my old boss at ITV Wales that Slash from Guns N Roses was half Welsh so I could interview him at the Download Festival. Tell us one of your most hilarious faux pas I once smashed five bottles of red wine in Tesco and then fell in it. Which TV or radio programmes would you resuscitate? Wheel Of Fortune and Strike It Lucky. Who would you least like to share a taxi with? Hugh Grant [below]. Who would you be on Stars In Their Eyes? Johnny Cash. Who’s your pin-up? Julia Roberts. What law would you most like to break? Every parking law in London. Who would you like to play yourself in a movie? Denzel Washington. What are the best and worst things about working in TV? Best: I get to enjoy what I love every day. Worst: wondering where your next job’s coming from. What’s the best place to do some ‘meeja’ networking? I hate networking. The word goes through me. It’s definitely not on Twitter, that’s for sure.

Gone... before it gets frustrating. Join Sohonet! The world’s fastest, most reliable, secure and dedicated media network. The industry swears by it.

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