Broadcast 5 July 2013

www.broadcastnow.co.uk

5 July 2013

STUDIOS

INTERVIEW

IN FOCUS

Page 20

Page 18

Page 26

Who’s spending the money?

YouView chief exec Richard Halton: the future is now

Top Of The Lake: Jane Campion’s vision for TV

Frow: ‘no formats, no twists, no nonsense’

ITV2 wins Channel of the Year

BY JAKE KANTER

BY PETER WHITE AND CHRIS CURTIS

Director of programmes Ben Frow is to radically overhaul the Channel 5 schedule, shifting acquisitions to 10pm and playing new kinds of original commissions at 8pm and 9pm.

Frow told Broadcast’s Commissioning & Funding Forum that C5 would reduce its reliance on onscreen experts, and shy away from heavily formatted shows, which he claimed were dominating TV but leaving viewers cold.

“I don’t want programmes that are tricksy or derivative. I don’t want formats, unless the format is so light it doesn’t distract, and I don’t want any experts,” he said. “Nowadays there are so many experts, the experts have become gameshow hosts, participants in reality shows or are advertising yoghurt.”

He later clarified that ob docs featuring professionals in their work environment would remain on the channel, but that experts using their skills to redesign a property or rejuvenate a struggling restaurant would no longer feature.

C5 is also dropping long-running factual strands Revealed and Extraordinary People, although history and shock docs – or pop docs as Frow prefers to call them – will remain key to the schedule.

“There will always be room for programmes about people with incredible stories, and we will be doing more history across the year.

I just want more flexibility within the schedule, particularly in peaktime,” he said.

Frow: pledge for intelligent programming, and original commissions in peak

But he pledged to credit his audience with intelligence, and said he wouldn’t have commissioned Channel 4’s recent ratings smash The Man With The 10-Stone Testicles.

“There’s a line we won’t cross at Channel 5. We may not be the most exciting channel at the moment, but we do what we do very well. I wouldn’t undermine that good work by going downmarket, doing sex, doing dogging.”

He added that he was fascinated by audiences watching subtitled Danish drama or waiting eight weeks to discover the killer in Broadchurch. “Intelligent programming needs a great title to suck you in, but that doesn’t mean you shouldn’t dig deeper. There’s a hunger out there for intelligence, and viewers are prepared to put the effort in if there’s reward at the end.”

He cited examples of a forthcoming C5 season on money and a doc about Anne Boleyn, which will form part of a love season.

The key peaktime change is that US imports, plus shows bought from Ireland and Australia, will air every day of the week at 10pm, with originations at 8pm and 9pm.

“The days when you could pile up ratings by double-banking US crime dramas or stacking movies are fast disappearing,” he said.

Frow also made it clear that 1.2 million viewers was a clear marker of success for C5 shows, and said he was on the brink of commissioning the channel’s first original drama in many years. ➤ For more on Broadcast’s Commissioning & Funding Forum, see pages 2, 4, 5 and 10

ITV2 was crowned Channel of the Year at the Broadcast Digital Awards as its breakthrough comedy Plebs also picked up a top award.

ITV’s youth channel took home the biggest prize of the night after the success of shows including ITV Studios’ The Big Reunion and The Magaluf Weekender, which is produced by Twofour.

Its other hit, Rise Films’ Ancient Rome sitcom Plebs, was named Best Scripted Programme at the ceremony at the Lancaster London Hotel on Wednesday.

ITV2 last clinched Channel of the Year in 2011 – before director of digital channels and acquisitions Angela Jain had really made her mark on its output.

Elsewhere, E4 won the Best Entertainment Channel title as brands including Made In Chelsea and The Big Bang Theory came into their own, while Channel 4 swept the board for its multiplatform content, with the likes of Foxes Live and The Great British Property Scandal named winners. ➤ For a full list of winners, see broadcastnow.co.uk and awards book inside

Plebs: Best Scripted Programme

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

Keep commissioner debate alive The conversation must continue to improve indie relationships

I

ssues around the commissioner/ indie relationship may have been kickstarted by grumblings about Channel 4, but the debate is widening to other channels.

At Bectu’s bullying debate last month, Dinah Rose, who oversaw the BBC’s Respect at Work Review, said she was surprised at the way people in television communicated with each other, noting a lack of respect and an often basic failure to treat people like human beings.

‘Cohen may say the system is not broken, but the cracks are undeniable. This debate should not be shut down’ The issue was debated further last week at a Respect at Work event, where BBC director of television Danny Cohen (centre) revealed commissioners were receiving BBC Academy training to help them “get the tone and balance right”.

During the same session, Betty TV chief executive Liz Warner warned that a “masterand-servant” relationship had developed between commissioning editors and those working for them, which meant she too had introduced training for staff “so they can better handle commissioners”.

Then came former BBC factual boss Tom Archer. Speaking at a university lecture, Archer said the growing power of commissioners was killing creativity. His views have had a considerable impact (see page 9).

Writing in this week’s issue and speaking yesterday at Broadcast’s 2 | Broadcast | 5 July 2013

Commissioning & Funding Forum, Cohen described Archer’s statements as “gross generalisations”. He said: “What he was asking for was more respect for programme-makers, and that’s absolutely right, but respect has to go both ways.”

And why didn’t Archer raise it when he was at the BBC? asked Cohen. Perhaps because, as the Dinah Rose report identified, the corporation has suffered from a “culture of fear” and a view that rocking the boat means career suicide.

That is something new DG Tony Hall is at pains to change, meaning those who share Archer’s concerns should feel confident about raising them.

Cohen is right when he says there are many decent commissioners out there, and he may be right to say the system is not broken – but the cracks are undeniable. That is why this debate should not be shut down by any of the broadcasters.

Separately, Sky’s Stuart Murphy (below right) in his keynote said: “It isn’t about being a de facto exec producer or… being in the edit if you’re a channel head, it’s about helping and supporting indies.”

And Peter Fincham (below left) promised to learn from ITV’s first commissioner survey and use the opportunity of a new team to make changes.

Meanwhile, Broadcast is set to launch a survey into commissioning across the industry, which will be debated at Edinburgh. We urge you to fill it in honestly, knowing that it’s in the strictest confidence. Helping us identify best practise should lead on to positive changes.

è Danny Cohen has written to an on-screen BBC star to warn them about their inappropriate behaviour. Speaking at last week’s BBC event Respect At Work, Cohen said bullying at the BBC would not be tolerated.

è ITV chief executive Adam Crozier is planning to continue the broadcaster’s indie acquisition drive as a key element of its five-year transformation plan.

è Roger Mosey (right) is to leave the BBC to join the University of Cambridge just two months after becoming the corporation’s editorial director.

Ratings Top Five 1 The BBC’s battle to broadcast The Rolling Stones’ Glastonbury show paid off after its coverage peaked with 2.6m on Saturday – the festival’s biggest headline audience in seven years.

ITV’s new celebrity singing contest Your Face Sounds Familiar entertained 4m earlier on Saturday evening.

2

3 BBC1’s detective brand Luther returned on Tuesday with 5m, its lowest series debut audience to date.

4 Top Gear returned to BBC2 for its 20th series with 4.7m on Sunday.

5 Channel 4’s Undercover Boss dipped below 2m for its return on Monday.

Team Tweets è Big thanks to speakers, delegates and MBI team at yesterday’s Broadcast Commissioning Forum for making the day such a success. #CFForum @conordignam

www.broadcastnow.co.uk

News & Analysis

Lifetime reveals UK launch Lifetime UK will support the UK indie sector with original commissions

BY PeTer whiTe

Female-skewing US channel Lifetime is to launch in the UK this autumn and has ordered its first origination: a factual entertainment format called The Proposers.

The A+E Networks UK-owned broadcaster has also acquired a selection of US content including Jennifer Love Hewitt’s The Client List, Lindsay Lohan’s Elizabeth Taylor biopic Liz & Dick and legal drama Damages.

The launch will ramp up competition in the female-skewing pay-TV space, following the April debut of Discovery’s TLC and Sky’s increased investment in Sky Living.

Lifetime UK’s first original commission is the fly-on-the-wall wedding series from Alaska, the indie behind ITV’s James Nesbitt’s New Zealand and Crime & Investigation’s Gangs Of Britain With Gary & Martin Kemp.

The Proposers follows two businesswomen – Daisy Amodio and Tiffany Wright – who help arrange unusual ways to ‘pop the question’.

The pair run the UK’s only proposal planning agency and have organised proposals including a

Tom Davidson, A+E Networks

The Proposers: show will delve into UK’s only proposal planning agency

flash mob choir on the London Eye and a Bollywood performance.

Alaska co-founder Ian Lamarra said: “As soon as I met Daisy and Tiffany, I knew they would make for great TV. It’s great that Lifetime has the same faith in new talent and is giving them this amazing launch platform. Lifetime is a great channel in the US and I’m excited to see its impact here.”

The 6 x 60-minute series was commissioned by Koulla Anastasi,

head of acquisitions and commissioning for Lifetime and Crime & Investigation Network.

The broadcaster has also struck a volume deal with Hollywood studio Sony Pictures Television, which distributes much of the content that is aired by Lifetime in the US. Lifetime UK has picked up Sony’s The Client List, which stars Love Hewitt as a masseuseturned-prostitute; the fourth season of Glenn Close-fronted

Damages; and TalHotBlond, a TV movie about an internet lovetriangle-turned-murder, directed

by Courteney Cox. The UK will become the first European territory in which Lifetime launches. A+E Networks UK managing director Tom Davidson said it would “bring viewers bigname Hollywood talent, both on and off screen, as well as supporting the UK indie sector with original UK commissions”.

The company has secured carriage with Sky and Virgin Media but has not confirmed the slots. It is thought Lifetime may take the EPG position currently occupied

by Bio – channel 156 on Sky and 242 on Virgin Media.

It is also searching for an executive to run the channel, as A+E Networks UK vice-president of programming Adam MacDonald is heading to Sky 1 later this summer.

Fraser exits Maverick after 20 years at the helm Fraser has a deservedly brilliant reputation for creativity and nurturing talent

BY Ann-MArie Corvin

Alexandra Fraser is to step down as joint chief executive of Maverick Television after nearly 20 years at the company.

Fraser led the All3Media-owned company with Jim Sayer and was responsible for many of its flagship shows, including Embarrassing Bodies, How To Look Good Naked and Ten Years Younger.

She returned to work earlier this year after a period of illness, but has since decided to step back from the industry.

Fraser will leave Maverick in August but will continue to work with All3Media in a consultancy role. Group chief executive Farah Ramzan Golant said she www.broadcastnow.co.uk

Jim Sayer, Maverick

Fraser: All3Media consultancy role

was “looking forward to collaborating with Fraser so that the group benefits from her expertise and input”.

Ramzan Golant added that Fraser’s creative DNA remained

imprinted on the next generation of Maverick talent.

Sayer said Fraser would be greatly missed, having earned respect from across the industry after almost two decades in charge of the indie. “She has a deservedly brilliant reputation for creativity and nurturing talent,” he said.

Following Fraser’s departure, Mark Downie – currently Maverick’s head of factual – will step up

to the role of chief creative officer and work alongside Sayer.

Downie joined Maverick Television from Channel 4 in 2006, where he commissioned hit formats Come Dine With Me and Deal Or No Deal. At Maverick, he exec produced the first series of Embarrassing Bodies as well as Billy Connolly’s Route 66, Children’s Hospital, Bizarre ER and the forthcoming BBC2 documentary series Stephen Fry: Out There.

In another appointment, Maverick head of development Paul Woolf has been promoted to director of development and will join the company’s executive team alongside director of programmes Ben Gale and creative director of digital Dan Jones.

5 July 2013 | Broadcast | 3

C&F Forum News

Murphy seeks Sky’s Miranda Sky is searching for celeb-driven sitcoms and reality entertainment formats as it enters the second phase of its original commissioning push.

The pay-TV broadcaster has also reshaped how its commissioning process works, giving more control to individual commissioners, with channel bosses focusing more on overall strategy.

Speaking at Broadcast’s Commissioning & Funding Forum, Sky director of entertainment channels Stuart Murphy said that despite around three-quarters of its original comedies returning, he is looking for more.

“We’re still looking for a couple of things; on Sky 1 we’re looking for an audience sitcom with a big star at the centre. I love Miranda and Not Going Out, so a Sky version of those shows would be bigger, funnier, probably a longer run and higher quality,” he said.

The broadcaster is also looking for more comedy series in the vein of Charlie Brooker’s A Touch of Cloth. “We also like the silly and physical humour that you get in Airplane or The Man With Two Brains. We definitely want more of that silly stuff,” he said.

PhIl Weedon

BY PeTer WhiTe

Channel heads will have more time to curate, with commissioners responsible for their own shows Stuart Murphy, Sky

Stuart Murphy: seeking sitcoms, comedy and the next big reality show

Sky 1 ordered 14 x 60-minute Lee Mack-fronted panel show Duck Quacks Don’t Echo earlier this year and Murphy said it was hoping to order more entertainment formats through Phil EdgarJones’ team. “We’re looking for big entertainment formats. I don’t know what it looks like, but Sky could be the home of the next big reality series.”

Murphy also revealed that its commissioning team had been revamped this week. “We’re devolv-

ing decisions to the heads of commissioning,” he said. “That should mean that the channel heads have more time to curate, to look at strategy, marketing and press coverage, and to look beyond the next mountains, with commissioners having direct responsibility for the success of their shows.”

The former BBC3 controller said Sky needed to be quick and nimble in commissioning and wanted to “embrace the madness a bit more”.

“Bad commissioners deaden and constrain and great commissioners inspire,” he said. “We want to put [indies] front and centre of the process rather than sideline them as some kind of pain in the ass.”

Sky is also likely to cut down the number of US acquisitions it makes following the LA Screenings as it focuses on homegrown dramas such as The Smoke and The Tunnel. “We’re going to be buying fewer US shows. Our roster of returning US series has grown so we’re only looking for a couple more from the Screenings. Instead, our focus is to build up our original series,” he said.

However, he admitted that while Sky isn’t interested in ratings for Sky Atlantic and Sky Arts, he is “obsessed” with ratings for Sky 1 and Sky Living, where spot advertising plays a more important role.

Fincham: ITV wants more evergreen formats We’re all looking for the next big trend and it’s hard to find

BY PeTer WhiTe

ITV would consider resurrecting more evergreen formats following the successful return of Saturday Night Takeaway and Catch Phrase.

Director of television Peter Fincham told the Commissioning & Funding Forum there was no harm in producers pitching new takes on existing formats and that the return of Saturday Night Takeaway was a “significant moment” for the broadcaster.

It regularly recorded more than 7 million viewers and benefited, Fincham said, from being a variety show with humour, rather than a contestant competition. “We all 4 | Broadcast | 5 July 2013

Peter Fincham, ITV

Saturday Night Takeaway: still fresh

know the grammar of those, with an elimination at the end. Here was a show that wasn’t that at all – and it felt like the freshest thing around,” he said.

Fincham reiterated that ITV is still searching for “juggernaut”

entertainment formats and admitted it was the hardest genre for broadcasters to crack. “Everybody is engaged in this. We’re all trying to look around the corner for the next big trend and it’s hard to find,” he said.

He outlined plans to secure a replacement for Sunday night entertainment format Dancing On

Ice, following its conclusion after next year’s season. The broadcaster is looking for formats to launch in winter 2015.

“It could be two series that we’re looking for or it could be one, it depends on what’s the right thing to do. It’s a great slot that has a huge audience,” he said. “We get a surprising number of ideas for early and late slots, but I need formats for the middle part of the evening. That’s what we need to be.”

The broadcaster is also searching for shows that can help define Friday night. Fincham said it was open to either entertainment formats or scripted series. www.broadcastnow.co.uk

C&F Forum News

Cohen hints at BBC4 future More people will come to arts and music if you give them other things too

BY jake kanter

Danny Cohen has revealed that the genre mix for BBC4 is still up for grabs and has pledged to supercharge development within inhouse production.

In his first public address as director of television, Cohen told Broadcast’s Commissioning & Funding Forum that the corporation could “regret” making BBC4 a music and arts station, adding that closer working ties with BBC2 might help restore certain genres to its schedule.

BBC4’s budget was slashed by £10m to a total of £26m under Delivering Quality First and it was shorn of genres including drama and history, while comedy and science were cut by a third.

“Part of BBC4’s strength is [that it’s] multi-genre and you get more people coming to arts and music if you give them other things too. It’s the classic Reithian model. We’re looking at financing and whether it’s the right idea to take those genres off BBC4,” Cohen said.

He confirmed Broadcast’s story last month that he is considering ditching the BBC4 controller role in a bid to bring the channel closer to BBC2. But he stressed that it

Danny Cohen, BBC

Holy Flying Circus: BBC4 has lost drama under the DQF budget cuts

Cohen explained to a packed room of producers.

The former BBC1 controller said he would “really encourage” indies to come forward with programming pitches that could work across both channels, as it would help the BBC clarify how a closer relationship between the stations would work.

“It seems easier to figure out if you’re working with real ideas,

must remain “distinctive” and that the idea of appointing a channel editor to work alongside Janice Hadlow is being carefully thought through.

“I don’t want BBC4 to become a BBC2 Extra – that would completely waste what has been built over the past few years. The ambition is to have two distinctive channels but to increase collaboration, seasons and moments,”

rather than with theories,” he said, adding that he liked the notion that BBC2 “takes a more universal approach to a subject”, while on BBC4, “the degree of specificity increases”.

Separately, Cohen promised to significantly boost the BBC inhouse production arm’s development processes, and to make those responsible for devising new content as important as they are in the indie community.

“My experience is that at indies, heads of development are pretty much the next most important person after the managing director, because they’re the future of the business. I’m not sure development shares that degree of status and importance [inhouse],” he said.

“One of the things I’m pushing quite hard on is how we invest in development, the status of it and how much we pay people to do it.”

YouTube to stop funding original UK channels YouTube’s investment in UK-based original content channels is effectively over because the videosharing platform believes it has proved that it can support sustainable content businesses.

YouTube awarded advances of up to £500,000 to multiple UK indies last year as part of its Original Channels strategy, but content partnerships manager Rachel Ball called time on the initiative at Broadcast’s Commissioning & Funding Forum.

Asked if the company was still funding new channels, Ball caveated her answer with a “never say never”, but acknowledged: “We want to be www.broadcastnow.co.uk

Phil WeeDon

BY CHris Curtis

The originalprogramming push has allowed people to look at YouTube as a real business Rachel Ball, YouTube

Ball: called time on funding

out of the funding business. That’s not a place we want to be.”

She suggested there had been some misunderstanding of YouTube’s strategy, and that it had always been planning its investment in terms of proof of concept.

“It used to be that if I told producers they could create a business on our platform, they would be just polite enough not to laugh in my face. The original-programming push has allowed people to look at YouTube as a real business.”

Ball said YouTube provided channel operators with “so much

data, you need a PhD from MIT to sift through it”, but that the company does not offer specific IP information. “You won’t know people’s names and birthplaces, but you will know how many people are watching in California, or in Oregon, or on the east coast.”

She also urged producers to make use of YouTube’s Content ID tool, which allows it to identify illegally uploaded content and offer the IP owner the option of taking it down or monetising it through ad sales around the content.

Finally, Ball described YouTube users as “Generation C”, saying they were defined by their desire for curation, creation, community and connection.

5 July 2013 | Broadcast | 5

News & Analysis

BBC puts spotlight on payoff processes

BY JaKe KaNteR

The role of the BBC’s non-executive remuneration committee is set to come under scrutiny as the corporation bids to clamp down on senior management payoffs.

The committee was chaired by senior independent director Marcus Agius from 2006 until November last year, during which time it sanctioned many of the BBC redundancy deals criticised in a report by the National Audit Office (NAO) this week.

The group of non-executives is tasked with approving severance and benefits procedures for BBC bosses and ensuring the broadcaster complies with its own policies. It is also required to carry out “ad hoc activity” to ensure BBC remuneration policies are effective.

The NAO’s 42-page report made clear that the BBC breached its own policies on payouts “too often and without good reason”.

It is understood that the BBC Trust accepts there were significant failings in oversight from the remuneration committee and that some payoffs, even when they

Roly Keating: former BBC2 controller returned his £375,000 payoff

complied with policy, were badly judged by the non-executives.

The BBC’s Royal Charter prevents the Trust from intervening in matters of executive remuneration and it only has formal input into the DG’s salary. However, the Charter makes clear that the independent pay committee must “determine the remuneration of executive members in accordance with a strategy approved by the Trust”.

A Trust spokeswoman said: “The measures that Tony Hall has announced will deliver most of the changes, but we will look at

the executive’s new remuneration strategy in the round when it comes to us later this year. The Trust wants to ensure that processes are put in place to ensure this doesn’t happen again.”

It is understood that the Trust views a changing of the guard on the remuneration committee as a timely development. Agius, who earned £47,000 a year, stepped down in November, while Robert Webb and Val Gooding left the committee in 2011, the same year that former BT executive Sally Davis and former Amazon boss Brian McBride joined.

Dawn O’Porter to reinvent vintage fashion for C4 RDF Television West is to produce a vintage-fashion makeover show for Channel 4 fronted by Super Slim Me presenter Dawn O’Porter.

The 6 x 60-minute This Old Thing aims to show viewers how to repair and revive old clothing to bring it up to date, and cure the nation of its addiction to fast fashion chains.

O’Porter will take a ‘vintage virgin’ each week and introduce them to the alternative world. She will be joined on her quest by fashion expert William BanksBlaney, who will hunt for high-end clothing items in cities including London, Miami and Paris.

The show, which will TX later this year, will also explore the history of fashion as O’Porter casts her eye over iconic items including Coco Chanel’s little black dress.

This Old Thing was commissioned by head of features Gill Wilson and will be executive produced by Andrew Anderson.

O’Porter: reviving vintage fashions

Nations and regions indie revenues grow 20% year on year It is vital that London-based commissioners support indies in the nations and regions

BY aNN-maRIe CORvIN

The indie TV sector outside London grew by 20% year on year from 2011 to 2012 – but the level of success varied considerably from region to region.

According to a Pact report compiled by Oliver & Ohlbaum, the revenue generated by commissions from UK broadcasters for non-London indies grew from £132m in 2011 to £161.6m in 2012.

In 2010, non-London indies generated £114.4m. Employment spend by regional indies also rose, from £60.7m in 2010 to £83.5m in 2012.

Thriving areas included Manchester and the North, while 6 | Broadcast | 5 July 2013

Cat Lewis, Nine Lives Media

School Of Hard Sums: made in NI

Bristol and Wales also benefited from broadcasters’ investment.

However, spend fell in the Midlands, following the BBC’s exit to its factual hub in Bristol, while growth in Northern Ireland was low compared with other areas.

Across the nations and regions, Channel 4 was responsible for the bulk of commissioning, accounting for 36% of revenue, followed by the BBC with 29%. A further 21% came from commercial multichannel broadcasters.

Pact vice-chair and Manchesterbased Nine Lives Media chief executive Cat Lewis said the report

confirmed that TV production was vital to the economy throughout the UK. “This is why it’s vital that London-based commissioners continue to support independent production companies based in the nations and regions,” she said.

Pact Council’s Northern Ireland representative and Doubleband Films managing director Dermot Lavery added that more work needed to be done to support the regions.

“This is an opportunity for the BBC and C4 to find out why they can and should do more in a central role that helps weave together our cultural fabric.” www.broadcastnow.co.uk

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Commissioning News

ITV orders October trauma doc

BY Jake kanter

This is a series that reveals the fragility of life and the struggle to save it

ITV will become the latest broadcaster to delve into the world of a medical emergency unit with a series from October Films.

The broadcaster has commissioned 2 x 60-minute Trauma: Level One (working title), which will go behind the scenes at University Hospital Southampton – one of 12 specialist major trauma units for adults and children in the UK. The series will follow the stories of patients, their families and the emergency teams treating injuries sustained in a variety of accidents, including motorway crashes, paragliding incidents and motorbike and cycling collisions.

October Films managing director Denman Rooke said: “This is a series that graphically reveals the fragility of life and the struggle to save it. For the patients, their families and the medical staff, being in the Level One Trauma unit is an intensely emotional experience.”

Rooke will executive produce Trauma: Level One, while Jane McGoldrick is series producer and

Rebecca Hayman is the producer.

The show was commissioned by ITV controller of current affairs and news operations Ian Squires.

“This is the story of the day that life changes forever and we have been privileged to see it from all

sides. It is an insight into the modern approach to emergency medicine – as well as the power of the human spirit,” Squires said.

The series follows Channel 5’s newly recommissioned Trauma Doctors. The Cineflix series

Michael Palin set for dramatic return to BBC2

C5 to receive another visit from The Hotel Inspector

Michael Palin is to return to TV drama in a story set on the battlefields during World War I. The Monty Python actor (pictured) will star alongside Ben Chaplin in BBC2 single The Wipers Times, which centres on the true story of a satirical newspaper produced by soldiers in the trenches. The Wipers Times, which is penned

by Ian Hislop, will be produced by Trademark Films. The cast also includes Julian Rhind-Tutt (The Hour), Steve Oram (Sightseers) and Emilia Fox (Silent Witness).

BBC history commissioner Davidson ordered the 90-minute single, alongside BBC2 controller Janice Hadlow.

Channel 5 has renewed The Hotel Inspector for a tenth series. The Northern & Shell-owned broadcaster has struck a deal with Twofour to bring hotelier Alex Polizzi back later this year.

Polizzi has fronted Channel 5’s longestrunning features format for the past six years and series nine doubled the network’s slot average during its premiere. The series was ordered by outgoing factual entertainment commissioning editor Ian Dunkley and is exec produced

by Melanie Leach and Dan Adamson. It is series produced by Kent Upshon. Twofour managing director Melanie Leach said: “Alex is a unique talent whose expertise and no-nonsense approach strikes a

real chord with the audience. We’re thrilled to be working with her and Channel 5 on another series.”

8 | Broadcast | 5 July 2013

Denman Rooke, October Films

trauma: Level One: offers an insight into emergency medicine

BBC and C4 link up for indie push in Scotland The BBC has teamed up with Channel 4 to bolster the indie factual community in Scotland, as part of a number of new Network Supply Review initiatives. The broadcasters plan to strengthen ideas, development and formatted factual skills, to encourage the development of more returning series in the country. Both broadcasters will create a team of specialist commissioning execs who will share insight and expertise, with the specific aim of maximising Scottish production companies’ ability to win commissions.

ITV to embarrass celebs for charity in 12 Yard format ITV has commissioned celebrity entertainment format Big Star’s

secured access to The Royal London Hospital’s trauma centre and director of programmes Ben Frow has high hopes for the second series.

Channel 4 has also enjoyed success with The Garden’s accident and emergency franchise 24 Hours In A&E. Trauma: Level One will sit alongside Trauma Doctors in Cineflix Rights’ distribution catalogue after October appointed the company as its sales agent for the show.

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

Little Star from 12 Yard Productions. The series, which will be presented by Catch Phrase host Stephen Mulhern (below), will feature celebrities attempting to win money for charity as they team up with their children, who reveal embarrassing stories

about their famous parents. The 6 x 60-minute-part series was commissioned by entertainment commissioner Kate Maddigan and director of comedy and entertainment Elaine Bedell. It will be executive produced by 12 Yard’s Paul McGettigan, Matt Walton and Michael Mannes. www.broadcastnow.co.uk

For more projects in development and the latest commissions, visit

http://greenlight.broadcastnow.co.uk

‘Respect is a two-way street’ Former BBC executive Tom Archer’s criticisms of commissioning last week sparked much debate among our readers. Danny Cohen and Delissa Needham have their say Danny Cohen Director of television, BBC

I was surprised to read the gross generalisations and animus from Tom Archer with regard to commissioning. Like everyone else, commissioners should always strive to improve the way they work and the quality of their relationships. They should also be open to feedback.

At the same time, there are very many great relationships between commissioners and producers within the BBC and across our industry, based on creative partnership and a shared goal to make the best possible programme.

It’s also true that a good commissioner has a talent for spotting ideas that audiences will love and their perspective can often

Delissa needham Producer

The bit in Tom’s rant that really rang my bell was the stuff about schedulers and the “digitally precise consumption” – decisions based on gathered information. Producers think it’s a simplistic process: work your guts out, bet the kids’ holiday money on a one-off production or first series and if the commissioner is pleased, more are bound to follow.

But a commission is not based on the number who actually watched the programme but the

www.broadcastnow.co.uk

TOM ARCHeR InduSTRY VIewS

Danny Cohen: relationships must be based on a shared goal

help make a programme even better. All of us need to have huge respect for programme-makers,

number that the statisticians claim watched it.

The measuring device is the most ludicrously faulty system – what we watch is governed by a small number of people, not the entire country of viewers. So, I blame our industry’s difficulties firmly on the thorn in my side: Barb. This is the cloacae through which all of the TV world passes.

Advertising revenue, boring schedules, desperately needed recommissions, production companies staying afloat: all are governed by 5,100 Barb-registered panellists. You live or die by the Barbed sword.

If you are a robust terrestrial channel, your larger slice of that pie means automatically that your stats are more reliable – whereas the lower-viewed digital channels are probably represented by one or two people.

But things are changing.

Those essential money men – the advertisers – now rely more on Twitter feed information.

but the respect needs to go both ways and I saw little of that in Tom’s comments.

I blame our industry’s difficulties firmly on the thorn in my side: Barb We are seeing growth in the launch of online channels and with the likes of Google and Yahoo!, measurement is accurate and fast. I wonder if the day will come when Barb is a blunt sword.

Later in the summer, Barb will introduce computer tracking into 700 homes, again it is not much of a measurement and a somewhat slow response to a changing market. Cross-platform measurement of content should be happening right now.

But do we really need this reliance on measurement?

Shouldn’t we just be making good, watchable programmes for the few as well as the many?

In particular, isn’t that what the licence fee is for?

“A committee culture is threatening to kill creativity at every step. There are some great commissioners who really want to provide the space to make great shows, but that is often undermined by a stream of contradictory notes that can send edits into meltdown.

“If shows are struggling to pull in ratings after a process of intensive and extensive meddling, how might the audience react to programmes made the oldfashioned way: by producers and execs rather than tiers of commissioners swept up by concerns that have little to do with making great content?”

Producer “tom’s analysis is spot-on, though some commissioners display real creative crust and become channel controllers. We must hope that Charlotte Moore’s successor in documentaries allows that creativity to shine.”

Producer “It’s odd that many TV commissioners have adopted the medieval concept of Papal infallibility. I guess it helps them feel OK about not replying to emails, but the schedules suggest their decisions have more to do with formulaic imitation than divine intervention – which of course may be the only way to bring commissioning folk down to our level.”

Producer “a commissioning editor will often oversee 20 or more hours of programming within his or her genre and tends to have the same editorial approach to all those programmes, leading to a ‘sameness’ in style. But the culture of fear means no one challenges them.”

Indie boss “If I was starting out in the industry now I’d try to get in as an administrator for a commissioner, as it seems if you work yourself up that pole you’ll earn very good money indeed. Meanwhile, production staff have to do more and more and more for less and less and less.”

Producer

5 July 2013 | Broadcast | 9

International

ITV looks to make another Splash!

We think of ourselves as exporters of formats but we’re also significant importers

BY PeTer WHITe

ITV is hunting for international entertainment formats to sit alongside its locally originated series as it seeks long-term replacements for shows such as Dancing On Ice and The X Factor.

The broadcaster wants to build on the global formats it has already reversioned such as Splash!, which is based on Eyeworks’ Dutch format Sterren Springen; Take Me Out, based on Fremantle Media’s Australian format Taken Out; and Off Their Rockers, a UK version of Red Arrow’s Belgian format Benidorm Bastards.

ITV director of television Peter Fincham, speaking at Broadcast’s Commissioning & Funding Forum, said it would continue to look around the world for ideas.

“It’s a little-noticed trend in the UK; we think of ourselves as exporters of formats but we’re also quite significant importers of formats.

Splash!, Take Me Out and Off Their Rockers are all international formats,” he said. “It’s not easy to come up with an original idea that has the breadth of The X Factor.”

Peter Fincham, ITV

Splash!: show based on a Dutch format was a hit for ITV earlier this year

There was much talk at the event about the role international distributors and global broadcasters can play in helping producers find funding.

Fremantle Media International chief executive David Ellender said an increasing number of US broadcasters were coming on board UK series, particularly drama projects, earlier than ever

before. Previously, he added, only public broadcaster PBS and BBC America were interested in taking British drama.

“We’re looking at the US,” said Ellender. “They’re now investing more in UK drama, be it at an early stage as a co-production or cofinance, or as an acquisition. In the past year, we’ve had seven or eight places to sell, whereas three or four

years ago, I couldn’t have thought about that.”

He added that on-demand platforms such as Netflix and Hulu were also interested in UK series. “They’re very open for content coming from anywhere in the world so there are real opportunities.”

Wall to Wall chief executive Alex Graham said UK producers now exist in a global marketplace and it is important to calculate the overall value of each project, whether it’s The Girl, which was a co-production between the BBC and HBO, or Long Lost Family, which was based on a Dutch format.

“As a producer, you need to understand the value of each show that you’re making,” he said.

NGCI signs up for T Group’s Divine Intervention

BY PeTer WHITe

National Geographic Channels International (NGCI) has come on board US religious makeover series Divine Intervention and is eyeing a number of international versions of the format.

Under the deal, the T Group Productions format could be remade around the world on NGCI’s bouquet of channels, and broadened out to include different religions.

NGCI is co-funding the 6 x 60-minute series, which will air on Nat Geo in the US and around the world on NGCI’s channels. The international networks arm of the US factual broadcaster has also taken the format rights.

Divine Intervention follows three people who travel across the US 10 | Broadcast | 5 July 2013

Storage Hunters: T Group show has been a success around the world

looking for churches and other faith-based organisations in need of help. They will look at their finances and see if they can improve their sales and marketing strategies.

It is produced by Storage Hunters producer T Group Productions, which is run by former E! Entertainment exec Jenny Daly and was originally formed as the

US division of bankrupt distributor Target Entertainment.

“National Geographic Channels International has taken a piece of the pie and is really excited about the international potential,” said Daly.

“It’s an inside look at different religions and how people promote religion, which is incredibly global.”

This is the latest international agreement struck by the US producer following a deal with international formats group Eccho Rights to produce a US version of Japanese format Hide And Seek with Jack Black’s indie Electric Dynamite.

In return, Eccho will get the rights to T Group’s Oxygen format Secret Celebrity. “We’re moving aggressively into this area,” said Daly. www.broadcastnow.co.uk

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

INTERVIEW LARS THUNØ

Success is all in the mind for Denmark’s DR Lars Thunø tells Jake Kanter how monitoring viewers’ brainwaves will shape its shows

D

anish public broadcaster DR is testing viewers’ neurological responses to its new drama as it bids to repeat the success of The Killing and Borgen.

The organisation’s research department is piloting a small number of specially designed tests to monitor how viewers react to its latest project The Legacy.

The study, believed to be among the first in Europe, monitors viewers’ brainwaves and provides a reading on how attentive they are as they watch the show. Although the work is at an early stage, DR head of research Lars Thunø said it had produced more compelling and accurate data than similar tests, such as examining eye movement.

It also provides a good platform for postscreening interviews, Thunø added, enabling researchers to ask how viewers were feeling at the moments when they were most attentive or disengaged.

DR’s head of research has a team of four working on the experiment and claimed the equipment that measures brainwaves only cost $5,000 (£3,800). Thunø said DR’s drama production teams are fully engaged with the

Sundance Channel backs The Honourable Woman US broadcaster Sundance Channel has come on board the BBC’s Middle Eastern political thriller The Honourable Woman. The 6 x 60-minute drama will begin filming on location in the US, UK and the Middle East next month ahead of a 2014 broadcast on BBC2 and Sundance Channel. The Hugo Blick-directed series, starring Maggie Gyllenhaal, follows the daughter of a UK Zionist arms dealer who reinvents her father’s business as a high-tech company laying cables between Israel and the West Bank.

The Honourable Woman is the first order for fledgling indie Drama Republic and Blick’s Eight Rook Productions. Originally announced in August last year, it www.broadcastnow.co.uk

Left to right: The Killing; Borgen

research and prepared to use the findings to help shape storylines, change dialogue and hone characters. “They see it as supplementary information and a useful tool to get more insight into how attentive viewers are. It is working as intended and they are curious – they have trust in us,” Thunø told Broadcast.

He added that neurological tests “need more piloting” across other genres of programming before they are introduced more formally, but stressed that you “don’t have to get many respondents” to see patterns of

was ordered by BBC drama controller Ben Stephenson with BBC2 controller Janice Hadlow.

BBC Worldwide will distribute the series internationally.

BBC2 strikes co-pro deal for Martin Luther King doc BBC2 has commissioned an international co-production about Martin Luther King’s (left) 1963 march on Washington – where he delivered his famous ‘I Have A Dream’ speech – in association with US network PBS and French broadcaster France 3.

The March is produced

by Smoking Dog Films in association with Robert Redford’s Sundance Productions and US indie Cactus Three. It was commissioned by BBC history commissioning editor Martin Davidson and controller of

engagement. Thunø admitted “the pressure is on” DR to repeat the success of The Killing and Borgen, which is part of the reason why The Legacy is being subjected to the new tests.

The 10 x 60-minute series will be directed

by Swedish actress Pernilla August and centres on four siblings coping with growing up as children of the permissive 1968 generation. Although DR is among the first to pilot the research, it is understood the BBC has expressed interest in the work and carried out similar experiments on viewers.

BBC2 Janice Hadlow. It will be directed by John Akomfrah.

NBC commissions a sequel to The Bible US network NBC has commissioned a follow-up to Mark Burnett’s epic The Bible from Lightworkers Media. The order for A.D: Beyond The Bible (working title) follows the huge success of the 10-part series earlier this year for History, where it premiered with more than 13 million viewers.

AD: Beyond The Bible, which has not yet had its run confirmed, was commissioned by Jennifer Salke, president of NBC Entertainment, and Bob Greenblatt, chairman of NBC Entertainment.

Lightworkers will

produce the series in association with Hearst Productions and Universal Television.

GSN orders second series of The Chase before first TX US network GSN has commissioned a second series of ITV Studios’ The Chase ahead of the launch of its first season. The cable network has ordered eight episodes of the quiz show, which airs on ITV in the UK, to be produced by ITV Studios America.

The first series launches in August and the second is expected to air later this year. The US version of the gameshow is hosted by Baywatch and Melrose Place actress Brooke Burns (pictured). It was commissioned by GSN’s Amy IntrocasoDavisis and exec produced by Bob Boden, Martin Scott and Michael Kelpie.

5 July 2013 | Broadcast | 11

Multiplatform News IN BRIEF A fifth of viewing via VoD Catch-up or on-demand services now account for a fifth of all TV viewing, according to a YouView census into national television habits. The study of more than 2,000 people also found that while the average home records around 10 programmes in a typical week, they delete four of those on average without watching them, with entertainment the mostly likely to be binned (36%), followed by films (32%) and documentaries (32%).

C4 rolls out Horse Tracker Channel 4 has rolled out its second-screen app Horse Tracker, for use across all its televised horse races over the summer, following its debut success during the Grand National, when it attracted 150,000 downloads. The app, sponsored by Paddy Power and powered by technologies from Monterosa and Civolution, allows viewers to track the position and speed of the horses and to access live race information synchronised with TV coverage.

C4 offers Ramadan site Manchester-based Corporation Pop has produced a bespoke website to support Channel 4’s forthcoming Ramadan season.

The site features a countdown to the Calls to Prayer and a sentiment gauger in the form of a Twitter word cloud. The digital agency’s designs for the site will also be incorporated into the broadcaster’s on-air package.

Yahoo! unveils gameshow Yahoo! has launched a live online gameshow featuring six Made In Chelsea and TOWIE stars as part of a strategy to feature more original content on the site. The live, six-part, monthly show, called #SpinTheBottle, is produced by Spirit Digital and features members of the reality shows taking part in a series of Twitter-led challenges.

For the latest breaking news www.broadcastnow.co.uk 12 | Broadcast | 5 July 2013

Crozier: brands will drive ITV second-screen push

BY ALEX FARBER

Chief executive Adam Crozier expects ITV’s push into secondscreen content to be helped by demand from brands.

Speaking at the RTS Early Evening Event last week, Crozier said that offering viewers interactive experiences around shows was an important strategic opportunity for the broadcaster.

“Growing demand from advertisers is one reason why offering second-screen experiences is a great opportunity for us,” he said.

“What ITV does really well is to offer brands mass marketing.

Fragmentation of audiences has been great for us because we are the antidote to that – and offering targeted advertising is a real opportunity.”

But he acknowledged that activity remains at an early stage and is still mainly focused on younger audiences.

While the level of viewer engagement remains relatively low, Crozier said advertisers were still in the trial phase. “At the moment, the numbers don’t stack up, but it might make a lot of sense in 10 years time,” he added.

Crozier: second-screen experiences are strategically important for ITV

Fragmentation of audiences has been great for us because we’re the antidote to that Adam Crozier

Crozier admitted that initial assumptions around what TV audiences wanted to consume online had been wrong. “Three years ago, I would have said

people wanted interviews with the cast and notes about the script, but it turns out they don’t really want that at all.”

He added that ITV’s VoD service ITV Player is now performing as well as the BBC iPlayer or 4oD after a history of poor reliability, and said he expects further catchup growth from YouView.

“For the non-techies, which comprise 99% of the population, it’s a huge reassurance to know that brands like the BBC and ITV are backing this service,” he said.

WEB WATCH LIVE@WIMBLEDON

T

ennis fans who have missed out on Wimbledon tickets are experiencing what it would be like to be there through live video stream Live@Wimbledon.

A 25-strong team at IMG Sports Media takes fans behind-thescenes with seven hours of daily coverage hosted on the main Wimbledon website.

Presenters Mats Wilander and Annabel Croft provide detailed analysis of each match from an open-air rooftop studio, while a team of reporters bring colour from the grounds; live coverage of crucial moments; and discuss issues including injuries and the quality of the courts.

The broadcast-quality show is designed to offer a more relaxed view of the game to complement the more formal coverage provided by the BBC. The free channel is bidding to drive awareness of the championship around the world.

The site received 120,000 streams on its first day, with an average dwell time of 25 minutes, up from last year’s two to three-minute average.

Developer IMG Sports Media URL http://www.wimbledon.com/index.html

www.broadcastnow.co.uk

TECHNOLOGY ● DEBATE ● TRAINING ● NETWORKING

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Post The Farm Client Company Pictures Brief Picture and audio post-production on the 6 x 60-minute final series of the iconic drama. Series seven follows Cassie, Cook and Effy on their journey from adolescence to adulthood.

How it was done Sonny Sheridan’s brief was to emphasise Effy’s jump from her adolescent years into the cold, hard world of City life. Using glossy, steely hues, steeped in high contrast, he was able to highlight the affluent nature of the financial domain. Sheridan pushed the colours and contrast to a heightened level, showing the step that Effy has made into a new and unknown world. Clyde Kellet onlined with Symphony and Andrew Godwin mixed with Pro Tools. The Farm post-producer Portia Napier collaborated with Company Pictures for this final series.

Watch it Mondays, 10pm, E4

Post Envy Client RDF TV Brief Provide picture and audio post for the 4 x 60minute series in which Daisy Donovan gets to grips with some of the most popular television shows in the world.

How it was done Head of grading Vicki Matich said the most important aspect of the grade was to keep everything looking authentic. The archive had to look like archive, so it wasn’t “graded up” to seamlessly integrate with the shot footage. The aim was to have a contrast between the sequences shot with a Canon C300, which was by nature very filmic, and the often poor-quality archive. Matich was careful not to grade out the atmosphere of the locations; the market scene shot in Cairo had a heavy yellow cast to it, so she pulled it back only enough to recover the skin tones. She used Baselight Blackboard with Baselight 2 plug-in.

Watch it Mondays, 10pm, C4

Titles and GFX Shop Client Objective Productions Brief Create titles and GFX for the Stephen Fry show.

How it was done Shop creative directors Neil Harris and Tom Hodgkinson worked closely with Objective executive producer Nick Parnes to create the title sequence and content graphics for this hidden-camera show exposing the truth behind headline stories about the British public. The show’s branding had to balance several key elements, such as the nature of Britishness and the salaciousness of tabloid headlines, with a quirky sense of humour. To do this, CGI artist Garreth Hughes created and animated an old-style signpost in Cinema4D with directions to destinations such as ‘Racism’ and ‘Homophobia’. The final sequence was composited in After Effects by Stephen Gull and edited in Final Cut Pro by Neil Harris.

Watch it Thursdays, 10pm, C4

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

Teddington Studios to be replaced with housing

HotCam promotes staff for day-to-day running

Jo Griffin to head up Prime Focus content services

Teddington Studios is likely to be transformed into a housing development when current tenant Pinewood Shepperton exits next year. Owner Haymarket Media Group said it would consider viable commercial offers, but felt that “a future studio operation is unlikely in view of the level of significant investment required”. ITV show The Chase has already relocated to The London Studios, while a spokesperson for Avalon show Not Going Out said it was not yet clear where the show would be rehoused to. Teddington Studios has eight studios ranging up to 8,900 sq ft in size.

HotCam has promoted general manager Vicky Holden to the role of managing director, and technical manager Dan Studley to technical director, with the long-serving duo taking joint responsibility for the day-to-day running of the broadcast equipment hire company. HotCam founders and chief executives Trevor Hotz and Ali Grapes will remain involved with the company on a strategic board level. HotCam is also due to move to new and larger premises in East Acton this week.

Its television credits include The X Factor and The Only Way Is Essex (pictured).

Prime Focus has promoted Jo Griffin to the position of head of content services and restoration.

The newly created role will allow the long-form producer to look after the firm’s content services department, which is in the process of merging with its broadcast division. Two positions are being made redundant as a result of the consolidation. The content services division, which offers film and video restoration, duplication, encoding, 2D and 3D QC and deliverables, recently completed an 18-month digitisation project for AP, for which almost 4 million assets were created from 32,000 hours of archive material.

14 | Broadcast | 5 July 2013

Coach House Studios kits out DIT vehicle for drama Post-production kit rental firm Coach House Studios has kitted

out a second dedicated DIT Vehicle (pictured) that can be hired for tapeless drama shoots. Operating as a mobile online editing suite, the vehicle allows for fast-turnaround disk or memory-card recycling; RAID, hard drive and LTO insurance backups; and transcoding for editing/review.

The souped-up van can also be used for first and secondary colour grading, quality control and edit assemblies on location. The first of Coach House’s DIT vehicles was built for the production of the Shane Meadows cinema documentary Made Of Stone. www.broadcastnow.co.uk

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

ericsson: red Bee bought for skills BY will strauss

Ericsson has revealed it was Red Bee Media’s skills and expertise that prompted it to buy the London-based media services firm, rather than its multimillion-pound playout and distribution contract with the BBC. The Swedish mobile communications giant announced its intentions on Monday 1 July, asserting that the purchase would allow it to provide improved managed services to its broadcast and telecoms clients around the world.

“This was a skills and competence-based acquisition,” said head of broadcast services Thornsten Sauer. “It’s obviously great to have great customers, but we look at this in terms of how their skillsets complement our ambitions.”

Known as BBC Broadcast until 2005, when it was sold to affiliates of Australia’s Macquarie Bank Group for £166m, Red Bee Media still provides the corporation with outsourced playout, publication, access and creative services.

An exclusive 10-year contract, worth an estimated £500m, was

envy updates audio and grading suites Envy has upgraded the technology in its audio and grading departments. All 11 of the post house’s Avid dubbing studios now use the latest ProTools HDX hardware, while two more Dolby PRM-4200 Professional Reference Monitors are now available to the company’s colourists, bringing the total to four. At the same time, Envy has added former Prime Focus senior sales executive Anne Marie Phelan to its business development team.

JCa upgrades programme archive interface for Shine JCA has upgraded the user interface that Shine International staff use to access their managed programme archive. Media Window version 3.0 provides web-based access so that users can see, extract, place orders for and reverwww.broadcastnow.co.uk

red Bee now has the backing of a major multinational that clearly sees this as a strategic acquisition William Cooper, Informtiv

red Bee Media: purchase is Ericsson’s second foray into playout market

recently extended for a further 18 months to 2017, to give the corporation time to review its distribution and publishing agreements. The BBC spent £208m on service distribution in 2011/12.

Asked how Red Bee would benefit from the deal, Sauer pointed to Ericsson’s technology know-how: “We have 1,500 people who work with media-related

R&D,” he said. “That is one clear benefit.”

The Red Bee Media deal, which is still subject to regulatory approval, is Ericsson’s second foray into the playout and distribution market, having bought Technicolor’s Broadcast Services Division in 2012.

Consultant and founder of Informitv William Cooper, a

sion content from all of Shine’s master materials, tapes, files and audio content. Shine operations and programme director Abigail Hughes said: “It enables us to view an inventory of our assets at any

facility in Edinburgh at the end of July. The new facility on Stafford Street will provide Apple and Avid editing services for TV and film producers, but also look to work on music promos, commercials, digital projects and corporate videos. Editor and managing director Matt Williams, who hails from the Scottish capital, will run the new base while continuing to oversee the London operation.

time, as well as giving us the ability to see not only the UK’s content but also Australia’s.” Shine International shows include Broadchurch (pictured).

Film Cut opens boutique outpost in edinburgh London-based Film Cut Post Production will open a boutique

Dock10 boosts grading options with Baselight Two Dock10 is adding a Baselight Two grading suite to its range of facilities. The MediaCityUK-based firm, which services BBC North’s studio requirements, as well as offering picture and sound postproduction, currently offers grading on an Avid Symphony.

The new suite will feature a Sony OLED BVM-series monitor,

former head of interactive at BBC Broadcast, said the deal could be a major positive for Red Bee: “It now has the backing of a major multinational that clearly sees this as a strategic acquisition and part of a broader expansion. It would appear to be in a significantly stronger competitive position to retain the business of the BBC.” On completion, Red Bee Media will be incorporated into Ericsson’s Business Unit Global Services, where current operations will be reviewed before the new owners look to “find some areas of improvement”.

Red Bee Media employs 1,500 people and turned over £135m in the year to May 2012.

40 terabytes of storage and a Blackboard control surface. Currently under construction, the suite will be driven by colourist Jamie Parry, who joined Dock10 from rival Sumners in May.

arena and Telegenic win OB contract for BT Sport Arena Television and Telegenic have been awarded the contracts to provide outside broadcast facilities for BT Sport’s coverage of top-flight English football and rugby union matches. Arena will provide trucks for the English Premier League, working on a minimum of 38 matches, with the majority kicking off on Saturdays at 12:45pm. The contract begins in August and lasts for three seasons. At the same time, Telegenic will facilitate coverage of Aviva Premiership Rugby. That contract covers 69 live matches and will run for four seasons.

5 July 2013 | Broadcast | 15

Comment

We really are constructing the future of the way people watch TV YouView’s Richard Halton, Interview, page 18

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16 | Broadcast | 5 July 2013

4oD: monitoring of viewing on online platforms as well as TV is being trialled by Barb and US firm Nielsen

Ratings take a leap forward Cross-platform tracking will change the game, writes Kate Bulkley

Y

ou may not know it, but there’s a revolution going on in how advertisers, brands and programme-makers track what you and I are watching.

That includes where we happen to be watching it and exactly what device we are watching it on, be it online or on a TV set.

Of course, a lot has been said about the granularity of online data and the targeting potential of online campaigns. Yeah, yeah, we get it. But the real undiscovered country here is going beyond click-throughs and impressions.

It’s about marrying up the online bit with the gold standard of TV ratings in all its professional panel glory. The Holy Grail is making sure there isn’t double-counting or, on the other hand, that some things aren’t measured at all.

The key here seems to be how to combine the reach and richness of social media data from Facebook with the robust panel TV ratings from Barb.

According to US ratings giant Nielsen, that is exactly what its newly launched, cross-platform campaign ratings solution is going to do. Launched in the US in October last year, Nielsen began testing the system in the UK last week. Using data primarily from Facebook and Barb, Nielsen is pulling the two worlds together.

Companies such as Unilever – which is participating in the UK trial – are hoping that this will give them better insight into how many people see their adverts on both TV and online platforms, even if they are small campaigns.

Brands including AOL are also happy to see this leap forward. “Consumer behaviour is changing

whether we like it or not and we all just need to keep up,” says AOL general manager for lifestyle brands and women’s content Maureen Sullivan.

But here is an interesting twist. The ratings are still important because until media agencies are really comfortable with how this is all being measured, they are going to stick with what they know.

Similarly, Barb itself has to be careful about leaping into a new approach to its panels, given that about £4.5bn of advertising revenue rests on its ratings. Barb is running its own online pilots, under project Dovetail, and is moving into phase two soon, but it hasn’t moved into the hybrid data field yet, and is not likely to for some time, giving Nielsen a competitive opportunity.

It’s a balance of not rocking the Barb boat and yet not losing the long-term game.

And, of course, the vast majority of TV viewing is still done via the TV set, despite the rise of other screens in many of our lives.

But there is also this: AOL’s Sullivan says that even though people are starting to ask the right questions about ratings data and demand the right measurement, the biggest challenge may be ahead. That is what to do with it once you’ve got it. “How is all this data going to change our overall planning and how we create content and how brands integrate into it?” she asks.

But that’s for another column. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘How is this data going to change how we create content?’

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Post your comments online at www.broadcastnow.co.uk

YOUR SAY

IN MY VIEW

Peter Fincham: ‘ready to listen’

Response on broadcastnow.co.uk to our story ‘ITV reveals survey feedback’ (Broadcast 28.06.13) ITV’s first rebuttal is hard to contest: it is all about delivering big audiences and it is doing this well. The second barely disguises more than a touch of arrogance.

I’m sure the terms “make sense” to ITV in its dominant position, but that thinking is exactly what led to the terms of trade being created, and agreed, in the first place.

Producer Responses on broadcastnow.co. uk to our story ‘Roly Keating returns £375k payoff’ An exceptional exec when I worked for him, and it is truly the mark of a man to turn his back on a mountain of cash on the grounds of principle. Very impressive.

Producer

Comments on broadcastnow.co.uk to our story ‘Avid releases Pro Tools 11 amid plug-in concerns’ (Broadcast 10.06.13) Waves came to the AAX table very late, but it only needs to change the Waveshell plug-in as it has already taken all its plug-ins across to 64 bit. The Waves betas were on show as far back as NAB when Pro Tools 11 was announced.

The main issue with plug-in vendors being ‘caught out’ was a change in the way the plug-ins integrate with iLok and a change made by Avid at the 11th hour.

Also, the iLok migration saga has not made the process any easier.

Anonymous Response on broadcastnow.co.uk to our story ‘Blighty closes as Drama opens for UKTV’ Hey UKTV: open a documentary channel. You can do it. The UK has such a strong documentary production tradition but possibly the least slots to see great international stories. Docs are getting more popular and are good value.

I know you tried it before but it went the way of Blighty because you focused on UK stories.

Think more Vice and less Fred Dibnah.

Factual producer Response on broadcastnow. co.uk to our story ‘NBC snags The Bible sequel’ Can’t wait. The Bible [left] was the most hilariously awful piece of TV I can remember from the last 20 years.

Producer

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Viewers must be protected in the UK's airwave lottery The rise of mobile should not limit the future of Freeview, says Caroline Thomson

I

f you are a UK programmemaker, there’s a good chance most viewers watch your programme via Freeview. New apps, devices and platforms may capture the headlines but aerials still deliver nine out of 10 of the UK’s most-watched shows – no gatekeepers, no subscription, simple to use, great telly.

No wonder viewers love it.

Digital terrestrial TV, with Freeview at its heart, is a success story for the whole industry: regulators, manufacturers, broadcasters and producers. It’s the number one choice on people’s main TVs and is watched on at least one set in around three-quarters of homes.

But we can’t take Freeview’s universal coverage and channel line-up for granted. The platform, the technology underpinning it and its possible uses are constantly evolving. There are big decisions on the horizon about whether to take more of the airwaves currently used to broadcast Freeview and give them over to mobile broadband. Far from being a dry and dusty debate confined to technical specialists, this is an issue in which all of us who care about TV have an interest.

Over many years, mobile operators have been very successful in arguing for more airwaves on which to launch new services. The latest 4G mobile signals become available this month on spectrum freed up by digital TV switchover – the last major reorganisation of airwaves co-ordinated by Digital UK and costing around £1bn. Less than a year on from the completion of switchover, discussions are under way to reallocate more capacity to mobile as soon as 2018.

The debate around how and when to allocate more airwaves to mobile takes place at national, European and international levels.

Ofcom represents the UK in many

of these discussions and has a tricky balance to strike between competing interests. I’m pleased that it has stated from the outset its belief in the importance of terrestrial TV and the risk of starving the platform of the broadcasting spectrum it needs. It’s Ofcom’s job to act in the interests of consumers and citizens – Freeview viewers and mobile users alike.

As chair of Digital UK, which manages the day-to-day operation of the Freeview platform, I believe

‘We can’t take Freeview’s universal coverage and channel lineup for granted’ it’s vital that we maintain a strong and competitive service that can continue evolving to deliver for viewers, UK broadcasting and our creative industries. That’s why in the coming months we will work with Freeview, broadcasters and Ofcom to explore how best to enable the platform to evolve so mobile and Freeview can flourish alongside each other.

We are about to submit a joint broadcaster submission to Ofcom, arguing that the UK’s 40 million Freeview viewers must not see their TV service suffer in terms of channel choice or coverage.

Should there be another shakeup, viewers will want accurate information about how they will be affected and should not be expected to bear the cost of any new aerials or reception equipment needed to continue receiving their current channels.

The debate is just getting started so there will be time for those who share our views to get involved. I hope we can work together to make the case for Freeview and ensure it continues serving viewers and showcasing our creative sector. ➤ Caroline Thomson is chair of Digital UK 5 July 2013 | Broadcast | 17

The Broadcast Interview RichaRd halton youview

‘we’re constructing the future’ YouView’s chief executive talks to Alex Farber about overcoming the hurdles to launch, dealing with tricky shareholders – and taking the platform to the next stage

S

potify is not a business to which many TV companies would compare themselves, but YouView chief executive Richard Halton draws parallels with his emerging IPTV platform. And he is hopeful that it will go on to have the same seismic impact on the media industry as the Swedish-based musicstreaming service.

“Spotify has seven media-owning shareholders,” he says. “They’re rivals but came together to build a customer-facing interface that surfaces their content. When I met its founder, Daniel Ek, I asked him how he managed the shareholders and he said: ‘Simple: by owning the majority of the equity’.”

The anecdote is typical of the easygoing Halton, who is one of the few people to have had regular meetings with the chief executives of YouView’s joint shareholders – the BBC, ITV, Channel 4 and Channel 5, along with ISPs BT, TalkTalk and Arqiva. “They were all quite involved,” he says. “It wasn’t like they were a million miles away and I saw them once a year.”

While not owning any equity himself and unable to pull rank accordingly, Halton readily acknowledges he was in a fortunate position to be surrounded by the band of industry leaders. “When you’re developing a marketing campaign, to have the likes of Adam Crozier, who ran Saatchi & Saatchi, and David Abraham, who founded St Luke’s, say ‘we will act as a sounding board’ is fantastic,” he says.

“At one point, Adam said I had probably learned more in one year than most people do in 10, to which I replied that I had also aged five.”

The light-hearted remark does nod towards YouView’s somewhat beleaguered beginnings. Initially slated to launch in 2011, the TV platform did not go on sale until July 2012, after Alan Sugar had been brought in as a replacement for chairman Kip Meek.

Halton disputes that the business was in any form of turmoil and says the delays were due to having to manage three separate challenges: overcoming 18 | Broadcast | 5 July 2013

Fact File

the regulatory hurdles, establishing a business and building a product.

“In retrospect, we underestimated the size of the challenge and thought we could do all those things in parallel,” he says. “But while the industry was fretting, confidence in the team and among shareholders was high because we kept hitting our milestones. The only pressure cooker was about the timing as we had to get the product in-store before the Olympics.”

Crucially, as an industry issue, Halton took the view that no consumer harm was done by the delayed launch, which has been borne out by the subsequent sales figures.

Career September 2010-present Chief executive, YouView October 2008-August 2010 Controller of business strategy, BBC April 2005-April 2006 Strategy leader, creative future, BBC 2003-April 2006 Controller of TV strategy, BBC 1999- 2003 New media and TV strategy, BBC 1997-1999 Andersen Consulting Watches The Fall; Broadchurch; MasterChef: The Professionals; Strictly Come Dancing

More than 400,000 boxes have been installed in the 12 months since the launch event, with viewers watching an average of around seven shows, or three hours of content, on-demand each week.

Halton expects the sales to continue to grow – his target market is the 6.5 million Freeview homes with broadband connectivity – and is planning to kickstart a second marketing campaign this autumn.

“Last autumn, we launched and established the brand; what we have to do this autumn is establish the product.

We have to make YouView a hugely desirable product that people understand. We are in the middle of tackling that communications challenge.”

Attracting broadcasters The promotion will support a roadmap that revolves around content, device developments and functionality upgrades. Opening up the main EPG to enable live-streaming of free-to-air and premium channels is set to attract more broadcasters, strengthening the consumer proposition.

Halton says the first channels to launch will be the ISPs’ existing partners, which include Disney, Sky and UKTV, with more operators to follow.

The number of VoD providers will also extend from the current offering

RichaRd halton on...

Freeview’s future “Freeview has been a massive success and taken those who want linear TV, HD and recording to a great place. YouView can now take that on. It’s the first platform in the UK that’s ever had a really strong commitment and been resourced to develop and evolve.”

Lord Sugar “Alan Sugar [pictured] put his own reputation on the line by telling the shareholders to step away and let us build the box.”

Managing shareholder expectations “You have to agree up front about the strategy for the business.

If you spend every week trying to reconcile seven points of view, you die.”

Lacking a tech background “I’ve launched digital channels, worked with programme-makers and looked at the size of the BBC production

base. I’m not a guy who has some bizarre view of the world that no one in mainstream TV buys into. Part of my calling card was to be able to say to the BBC director general that YouView is about how your channels persist into the future. This isn’t a fork in the road where VoD and the techies go one way and oldschool TV goes the other and we see who wins.”

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YouView: the people behind the catch-up service; launch promotion

400k

The number of YouView boxes installed since launch

of the terrestrials’ VoD players, Sky’s Now TV and UKTV’s three forthcoming catch-up apps.

“There’s three or four more I want to see to feel like we really have the full set,” says Halton. “But 85% of viewing is to the PSBs’ players, so for most consumers today who don’t want to pay for content, we’re in a great place.”

Halton claims the platform generates up to five times the level of VoD viewing as its rivals, arguing that it’s a great opportunity for the emerging crop of online video specialists.

“The likes of Netflix and Lovefilm have lacked access to the screen, which people spend 25 hours a week in front of,” he says. “Tablets may outsell TVs, but if you’re a big player considering www.broadcastnow.co.uk

‘In retro­ spect, we under­ estimated the size of the challenge’ Richard Halton

VoD, you need to have a good slice of the time people spend watching TV. YouView is important because of the scale of VoD usage as well as its reach.”

Planned device improvements include a cheaper, smaller, non-PVR set-top box that relies wholly on VoD for catch-up, as well as embedding the platform into TV sets.

And further to the launch of its remote-record Android app earlier this month, mobile channel-switching technology is on the agenda, along with other set-top box-based improvements, such as creating playlists and starring favourite shows.

While supportive of his 150-strong, developer-led staff, Halton does voice concerns about the number of people

with the skills necessary to tackle the converged world.

“The really important people in this industry are those who understand how mainstream media and its economics works, the products and technology, and how to get all those things to work together. The pool of people who have done all those different things is still quite small.”

This will undoubtedly change as products such as YouView mature and Halton is rightly proud to be leading his team into an unknown connected world.

“Like a baby, it doesn’t come with a handbook when it is delivered,” he says. “We really are constructing the future of the way people watch TV.” 5 July 2013 | Broadcast | 19

Production STUDIOS INVESTMENT PLANS

28k

The size in sq ft of HDS Studios in Hayes, part of The Collective facilities

Watch this space...

Demand from high-end TV shows and films is putting studio space under pressure.

Michael Burns finds out what the studio sector is doing to maximise its offering

W

ith a boom in homegrown and incoming high-end TV productions, plus Television Centre in White City undergoing redevelopment, UK studio space is at a premium. Yet at the same time, thanks to broadcasters’ squeezed budgets, studios are finding ways of offering more cost-effective solutions.

James Hanford, acquisitions manager for London-based location agency The Collective, notes several demands on space: Sky making a significant impact on the London studio landscape; US TV studios supplementing an already constant stream of enquiries from UK drama and comedy; plus ongoing feature films.

“In terms of TV production, the key issue is that £1m-plus per episode drama is being outmuscled by the feature film budgets, as they are competing for similar size space. Sub£1m-per-episode drama and comedy productions are being marginalised more and more, and considering alternative studio space,” says Hanford.

“The fear for us is that we cannot find viable homes for the US TV drama, and homes are found elsewhere in the UK, or even overseas, which would be a disaster. Feature film productions can last nine months, whereas the 20 | Broadcast | 5 July 2013

‘The key issue is that the £1m-plus per episode drama is being outmuscled by the feature film budgets’ James Hanford, The Collective

next Game Of Thrones (below) needs a home for six years. It’s a far more appealing project in terms of employment and economic contribution to the local areas they select to set up their base.”

Such demand has driven major investment in two vacant sound-stage properties with production facilities represented by The Collective: the 28,000 sq ft HDS Studios in Hayes, Middlesex, and the 70,000 sq ft space at Ealing’s London Metropolitan Studios.

Space issues Similar demand for space in an already busy facility prompted Riverside TV Studios to invest up to £500,000 in a second broadcast studio in Hammersmith. “The 4,400 sq ft studio was originally opened by the BBC but closed in 1968 when work at Television Centre was completed,” says technical director Duncan Stewart.

Due to open in early September 2013, it will be equipped with five HXC-100 HD Sony cameras – although it can accommodate

eight – and will have a new dedicated gallery suite and sound control room, featuring an Avid VENUE Profile mixing desk.

The new studio will also have access to Riverside’s existing facilities in the 6,000 sq ft Studio 1, including transmission lines to BT Tower.

Former White City tenant BBC Studios and Post Production has also been investing and has just completed a new gallery suite at the George Lucas stages at Elstree Film Studios to support large-scale TV productions.

It’s part of the relocation of the London studios business to Elstree, which, as head of studios and postproduction services John O’Callaghan explains, is making full use of existing assets. “The new galleries are equipped with the latest HD technology redeployed from BBC Television Centre, as well as new technology and a series of upgrades,” he says.

High-speed connectivity is at the forefront of the build, with a mixture of fibreoptic and copper cabling installed www.broadcastnow.co.uk

TV is a new frontier of freedom for writers and film-makers’ Jane Campion, In Focus, page 26

throughout. A new sound gallery has been fitted with an upgraded Studer Vista 8 digital live production console and a Studer OnAir 3000 digital mixing console transferred from Studio 1. Adjacent is a new production gallery, fitted with a Sony MVS-7000X vision mixer console, transferred from Studio 3.

“The room also has facilities for EVS and graphics operations, while the monitor stack layout is built around the trusted set-up from Television Centre,” says O’Callaghan.

Elsewhere at Elstree Film Studios, Stages 8 and 9, both of which are 7,500 sq ft HD studios, have been kitted out with permanent HD galleries and new floors. The dressing rooms have been renovated, while at BBC Elstree, the gallery at Studio D has been upgraded.

“Building the galleries at the George Lucas stages was initially driven by Strictly Come Dancing moving in for the 2013 series in the autumn,” says O’Callaghan. “However, installing permanent galleries enables us to provide services to other big productions that use the stages.”

High demand is not the only issue facing the studio sector. “Broadcasters are seeking more for less and pushing indies, studios and crew to the limits of what is possible,” says Mark Hackett, sales director for television at Pinewood Studios Group. “Pinewood is committed to driving new and efficient workflows and improving scheduling to help clients think big creatively while keeping their budgets down.”

Pinewood recently invested in two 9,000 sq ft studios (TV1 and TV2) and the purpose-built Richard Attenborough Stage, home to the live finals of The Voice UK. “We were confident that a significant investment in Pinewood’s TV business was the right decision,” says Hackett. “Recent demand for our facilities has helped demonstrate this.”

Pinewood was one of the beneficiaries from the TVC redevelopment.

“We have seen a number of producers move to Pinewood seeking a new home for established shows such as

Strictly Come Dancing www.broadcastnow.co.uk

HESLINGTON STUDIOS OUT-OF-LONDON OPPORTUNITY As a fully commercial enterprise that is situated within, and wholly owned by, the University of York, a £30m spend has allowed Heslington Studios to boast two HD broadcast TV studios, a 140seat preview cinema and a multipurpose sound stage, as well as professional sound and picture post-production facilities.

According to commercial director Carole Dove, the remit for the new studios was to offer costeffective professional facilities for film and television, and support to production companies. It also provides the university’s students with an environment in which they can work alongside industry. Dove believes the Heslington model provides a studio solution for outof-London production companies.

“We have about 320 small creative businesses around the York region,” she explains. “They benefit from being situated near us, and we benefit from having partnerships with them. Our income is gift-aided back to the university, and ploughed back into developing new facilities for the future. But it’s not all just tiny

10 O’Clock Live,” says Hackett. “We are also currently building TV3, a 3,000 sq ft studio with full HD 5.1 gallery and accommodation space that will open in September. Construction is advanced on a new 30,000 sq ft stage, suitable for both TV and film, which will be ready later this year.”

Investment projects Studio investment is not just happening in the south-east. Recent further investment by Dock10 in Manchester includes additional galleries, cameras and post facilities. The expansion was financed through equity funding and external asset funding, including using Fineline Media Finance.

“There are several high-profile studio projects currently in development,” says Fineline area sales manager Sam Arlow. “Other areas for investment for studios are in improving their general efficiency and the cost-effectiveness of their infrastructure and MCRs, increasing the storage

London Metropolitan Studios

‘There is a realisation within the industry that there is a real alternative to working in London’ Andy Waters, Dock10

creatives – we’ve done projects with Al Jazeera, The Other Planet Media, Digital Fiction Factory and the BBC. We’ve also just finished a feature film, The Knife That Killed Me, by Green Screen Productions, with Universal Pictures UK taking the rights. It was posted at Heslington and shot nearby at our partner studios at Bubwith.”

and sharing of data files, the addition of post facilities, replacing and upgrading camera channels and production gear, as well as upgrades to lighting infrastructure that take advantage of LED technology to greatly reduce power costs.”

“We made lots of investments to reflect our different customers,” says Dock10 head of studios Andy Waters.

“For example, The Voice UK and ITV’s relocation from Quay Street to Dock10 have both benefited from investment projects. We’ll soon announce our intention to convert our largest studio, HQ1, into a fast-turnaround space by fitting lighting and scenic hoists over the summer.

“There is a realisation within the industry that there is a real alternative to working in London. Having the latest technology enables productions to use new ways of working, helping them manage their ever-shrinking budgets while providing the very best in creativity.”

Dock10 5 July 2013 | Broadcast | 21

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Masterclass EVENT SAFETY

How to avoid an OB disaster As Glastonbury and Wimbledon have proved, outdoor events are a highlight of the summer.

But how do you ensure your team stays safe? The BBC Academy’s Nick Whatcott reports

W

ith summer here, the event season is well and truly under way. But even the smallest occasion comes with inherent hazards and risks. What can you do to ensure that the crews you send out to cover them are as safe as possible, and that the work of these crews doesn’t endanger those who are there purely to have a good time?

The key thing is to talk to the event organisers. It’s not your responsibility to manage their event, but it’s very important to understand their arrangements and how you and your activities fit in with them. Planning what you’re covering, and from where, will allow everyone to co-ordinate what they’re doing, helping to ensure that crew, event personnel and any public in attendance don’t inadvertently create hazards for each other.

Glastonbury: stewards minimise crowd risks at big outdoor events

Risk assessment Larger events will most likely have media arrangements in place and (hopefully) an event risk assessment.

Obtaining a copy of this document is a fantastic way of gauging the issues of which you need to be aware. It can also save a considerable amount of time, as you can refer to these arrangements in your own assessment, thereby avoiding repetition.

The key is that the hazards and controls fit what you are doing: if the actions don’t match the theory, it really is just a paper exercise. Sharing your final assessment with the event organisers will, in turn, allow them to pick up on any issues they have with what you’re doing, minimising the potential for surprises later on.

If things do change on the day, don’t forget to update your risk assessment. www.broadcastnow.co.uk

This doesn’t have to mean high-tailing it back to the office to retype it. It’s good practice to have a few hard copies of your form on the day, so consider leaving a bit of extra space for any last-minute ideas to be added.

Not only does this provide documented evidence for later, it also prompts you to consider what controls you need to put in place.

They say fools rush in, and incidents often occur when the excitement of getting that special shot takes over, and too little thought is given to what risks that might entail.

Don’t be afraid to do a piece to camera or voice recording to note any changes – it’s all evidence of good safety management and aids in thinking things through before it’s too late.

‘Don’t be afraid to do a piece to camera or voice recording to note any changes’

With any luck, the weather will be sunny and bright, drawing people out in droves to enjoy the day. Even if it isn’t, event organisers will hope for a good turnout regardless and, especially in the case of music festivals, will most likely get it.

Crowd hazards Crowds and crowd behaviour are hazards in themselves. The gentle pace of a country-produce fair doesn’t eliminate the potential for someone to trip over a trailing cable and, with so many distractions, collisions are highly likely. Children are especially at risk, as are the elderly and people who have disabilities. Nobody is immune though – particularly if you add alcohol and high spirits to the mix.

For static shots or pieces, consider setting up a safe area in which to operate. This might not necessarily mean putting up a fence – although, if practical, taping off an area isn’t a 5 July 2013 | Broadcast | 23

Masterclass

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

EVENT SAFETY bad option. Otherwise, having crew or event stewards to manage the surrounding crowd separates those at risk from the hazards, thereby eliminating the danger to them.

As an added advantage, curious members of the public have someone on hand to answer questions and explain what’s going on. Make sure you’ve chosen your location carefully and aren’t obstructing any emergency escape routes or traffic roadways.

If you do need to get in the mix and film within the crowd, make sure you plan what you’re doing beforehand.

Engage a steward or crew member to watch the crew’s movements, monitor the situation and warn of any hazards before they become an issue.

Large groups of people can be unpredictable – even more so when intoxicated – so always have an emergency escape plan in place in case things turn ugly. If the event and the crowd are large enough, perhaps even consider a Security Industry Authority (SIA) licensed contractor to accompany and advise you beforehand as well as on the day.

Those who regularly find themselves working in crowd situations might consider attending a specialist course for a more in-depth look at this area. Ideally, these will cover a range of topics, from pre-event planning, hazard awareness and choosing safe locations or routes to crowd behaviour, what to look out for, and how to retreat safely in an emergency.

Weather warning If it’s a hot, sunny day, remember that you could be working for long stretches without the opportunity for a break in the shade to cool down.

Hats and suntan lotion are a must, as is a ready supply of drinking water.

That said, a short break away from the heat of the sun can revitalise the team and increase production, so build breaks into your day.

What happens if it rains? Make sure you have appropriate wet-weather gear, such as raincoats and suitable, sturdy footwear. It doesn’t take long for lush, green grass to turn into a muddy mess (though Glastonbury seemed to have a miraculous escape this year). As well as affecting conditions underfoot, it will most likely have an effect on crowd behaviour too.

When the clouds burst, people will tend to flock towards the nearest cover – especially at smaller events, and if conditions change significantly 24 Broadcast | 5 July 2013

during the day. What will you do if this happens and how will it affect the coverage? Once again, forewarned is forearmed, so discuss and plan beforehand what you’ll do if conditions become less than ideal.

One final weather warning concerns wind. Temporary structures, such as tents and scaffold towers, may be seriously affected by strong gusts, so it’s worth asking the event organiser what precautions they are taking.

If you need to hire and erect such things for the day, use a competent contractor with the appropriate experience, risk assessments, method statements and insurance coverage.

Don’t be afraid to ask questions either – a reputable supplier should have the answers.

In the case of scaffold towers or other structures, consider safe-working-at-height practices, such as handrails and toe boards, safe access routes, and employing harnesses for crew if necessary. Setting up exclusion zones or arranging stewarding at the base of the structure will also help keep the crowd around it safe.

With every passing year, more and more musicians and artists admit to suffering from tinnitus and other forms of hearing damage after years of touring and recording. Even for

In the thick of it: a downpour can create hazards for public and crew

‘Large groups of people can be unpredictable so always have an emergency escape plan in place in case things turn ugly’ Nick Whatcott

people attending events with very high sound levels on an irregular basis, acoustic shock is a hazard.

One loud blast of noise can lead to permanent damage, so take precautions and use suitable ear plugs or headphones if working close to speakers or sound systems. Ideally, though, choose a location where levels are more reasonable.

The base requirement for any assignment is knowing where to go for help should an incident occur.

Make sure you’re aware of the event’s medical and first-aid arrangements, and who to contact in an emergency.

Accidents do sometimes happen, but such steps will ensure that they’re dealt with as quickly and effectively as possible.

Britain has a glorious tradition of summer fêtes and festivals. With the right planning and execution, we can broadcast the warmth and excitement of these events into people’s homes without any misfortune to dampen the day – regardless of what the weather does.

Nick Whatcott is project manager for health and safety and security training at The BBC Academy’s College of Production. Visit www.bbc. co.uk/collegeofproduction www.broadcastnow.co.uk

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In Focus TOP OF THE LAKE

The lure of the small screen Writers Jane Campion and Gerard Lee tell Jake Kanter about the growing constraints of film and being ‘liberated’ by the opportunity to unleash their creativity on television

CREDITS Production company See Saw Films Commissioner Ben Stephenson, Janice Hadlow TX BBC2, tbc Length 6 x 60 minutes Writers Jane Campion, Gerard Lee Directors Jane Campion, Garth Davis Executive producers Emile Sherman, Iain Canning, Lucy Richer Producer Philippa Campbell Cast Elisabeth Moss, Holly Hunter, Peter Mullan, David Wenham, Lucy Lawless Cinematographer Adam Arkapaw Editor Alexandre De Franceschi, Scott Gray Production designer Fiona Crombie Art director Ken Turner Costume designer Emily Seresin Make-up, hair and SFX designer Noriko Watanabe Composer Mark Bradshaw

‘Ben Stephenson was adorably excited about my story – that’s such a gift, it’s really great for creative people. I felt liberated by him’

I

t’s hard to believe that the dust bowl of 1870s South Dakota helped inspire Jane Campion’s haunting Top Of The Lake, which unfolds in the remote mountains of New Zealand.

David Milch’s HBO series Deadwood opened The Piano director’s eyes to the possibilities of television in an age when, she argues, film studios are “trying to cover their backs” and taking fewer financial risks.

“I was really stunned by what an amazing world Milch had created and the capacity to draw characters that were larger than life,” she tells Broadcast. “I thought: this is a new frontier of freedom for writers and film-makers’; I’ve been experiencing the feeling that film is becoming more conservative.”

For a woman with an Oscar to her name, it’s not surprising that the opportunity to return to the small screen – where she has previously experimented with projects such as Dancing Daze – opened up easily.

A conversation with head of BBC Films Christine Langan about her plans for the future resulted in a breakfast meeting with BBC drama controller Ben Stephenson. The rest, as Campion (above) explains, was academic.

“I told him about a story I’d been dreaming about that begins with a scandal or a mystery of a disappeared girl. He was adorably excited – that’s such a gift, it’s really great

It centres on pregnant 12-year-old Tui, who disappears from Queenstown soon after being spotted wading into an icy lake. Inexperienced detective Robin Griffin (Mad Men’s Elisabeth Moss) becomes caught up in the case after returning home to visit her ailing mother. In unravelling the mystery, Griffin is forced to confront long-buried secrets from her past.

Drama essentials

for creative people, they feel so encouraged,” she recalls.

“I felt liberated by him, he said ‘be as wild as you want to be, be untamed’.

He said: ‘We want to give creative people the platform to be themselves’.”

With Stephenson’s message of support, Campion crafted her vision into a 6 x 60-minute series in collaboration with Gerard Lee, with whom she worked on 1989 film Sweetie.

Top Of The Lake was developed with See Saw Films, the producer behind The King’s Speech, and is funded by the BBC, UKTV (Australia/New Zealand) and Sundance Channel, where it debuted to critical acclaim last year.

Local drug lord Matt Mitcham (Peter Mullan) is father to both the missing girl and Johnno, Griffin’s old boyfriend and a reformed criminal. Meanwhile, on her investigation she is assisted by long-term mentor and local sergeant Al Parker (David Wenham) and GJ (Holly Hunter), a mysterious soothsayer who has set up a women’s camp in a neighbouring town.

Lee explains: “We got the material from what we saw going on around us, rather than following a genre detective format – even though that is there, to hold it together. We look at places where people are suffering or not managing, which is always the stuff of drama.”

Campion adds: “We’re telling a story about trouble in paradise: what happens, what goes wrong.”

The director says there was no pressure from See Saw’s patchwork of financiers to have a significant input into the story, and Lee argues that they were “playing as freely as possible”.

Jane Campion 26 | Broadcast | 5 July 2013

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Top Of The Lake: story of the disappearance of 12-year-old Tui

JANE CAMPION ON… Downton Abbey

are so big you have to offer something really good.”

“I love Downton Abbey. Julian Fellowes is an amazing writer. I love all those characters Absolutely Fabulous and the way he moves “I would do anything to them around.” direct one of those. Just playing around with those ladies – I’d Punching just say ‘get through on with what “Doing drama you want to is tough do’, I would these days love to be there because with them.” reality shows

“It’s not about being crazy, it just means you have freedom. You want to be unleashed to speak in your way, in your language.”

This is not without its drawbacks, however. Campion confesses that she can never drop her standards and Lee says her expectations stretch beyond perfectionism. “It’s endlessly demanding,” Campion exhales at the thought of returning to other TV work.

Not that this represents a full stop.

She is open to the idea of Top Of The Lake returning in some form, potentially through Griffin or another character, but Campion rules herself out of directing duties. “I think writing is better suited to me now. If I did

television again, I wouldn’t direct it, I would just write. I would like to set the tone and the atmosphere,” she says.

Lee protests at this thought, even trying to excise her comment from the piece, and it seems at odds with Campion’s revelation about the creative freedoms of the TV industry. You sense she could be convinced to return, however, because just like her favourite Deadwood character and namesake Calamity Jane, Campion loves telling a story.

“A lot of people thought, ‘what’s she going to do? Something weird and arty? It’s not at all like that. It’s really compelling. All good writing tells very broad stories.”

Left to right: Mike (Cohen Holloway), Luke Mitcham (Kip Chapman), Matt Mitcham (Peter Mullan), Mark Mitchum (Jay Ryan); Bunny (Geneviève Lemon); GJ (Holly Hunter); Johnno (Thomas M Wright), Robin Griffin (Elisabeth Moss), Al (David Wenham)

www.broadcastnow.co.uk

5 July 2013 | Broadcast | 27

Studios Focus

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

www.heslingtonstudios.com

Production facilities at Heslington Studios

New ÂŁ30m complex | State-of-the-art equipment, studios and post-production facilities | Professional training Email: carole.dove@york.ac.uk Tel: 07919 293182 28 | Broadcast | 5 July 2013

www.broadcastnow.co.uk

Marketplace

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

TV Distribution & Playout

FILE UPLOADS

REPAIRS

Events, News and Sports

Television Distribution

TV Studio

Studios and Production Facilities

Filming in London?

Our fully equipped TV studio is ideal for down-the-line interviews, panel discussions, corporate videos and media training.

To find out more visit ft.com/tvstudio or contact us on 0207 873 4334 or studiosales@ft.com

cash for kit

FILMING AND PRODUCTION SERVICES

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

www.broadcastnow.co.uk

5 July 2013 | Broadcast | 29

Appointments

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

Now hiring: Studio Tech Admin Manager

Help us raise the bar for the UK Creative Industries Our Creative Industries are world-beating! But… we can’t be complacent. Creative Skillset leads the skills and talent drive to keep us at the top of our game.

We are looking for two exceptional industry professionals to join the team and lead a raft of exciting new industry-facing developments: • Executive Director – Industry Partnerships • TV Partnership Manager You will build and develop strategic industry partnerships and mutually beneficial relationships and act as an advocate and catalyst for talent development.

If you can use your networks to lead and motivate our industries to invest in future talent, we’d love to hear from you.

With your industry knowledge and skills, together we can help our industries continue to grow and thrive.

To read more about this position and for details on how to apply please visit: www.creativeskillset.org/jobs

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

Creative Skillset is an equal opportunity employer.

NoN-executive MeMbers, coNteNt board London

Focus Point 21 Caledonian Road London N1 9GB

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

MGM Worldwide Television Group International Television

MGM Worldwide Television Group seeks dynamic Sales Coordinator 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

30 | Broadcast | 5 July 2013

EMS

technical personnel are looking for: Broadcast Project Managers: London Project Engineer, Playout: London IT Support Engineers: East London Call us, e-mail your CV or register online. +44(0)20 8948 9400 recruit@ems-tp.com. www.ems-tp.com

‘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

Appointments

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

Leading lifestyle broadcaster Scripps Networks International is one of the fastest growing media businesses in the UK and EMEA. Broadcast in more than 130 countries, our brands are household names.

We’re home to Food Network UK, Britain’s number 1 lifestyle channel; Travel Channel, the world’s leading travel entertainment broadcaster; and Fine Living, the international lifestyle channel.

We’re currently recruiting talented people for the following roles: Vice President of Marketing and Communications Creative Director Senior Advertising Sales Executive Senior Research Analyst Marketing and Communications Manager Presentation Scheduler PA to the Legal Team For more information or to apply, please email ukrecruitment@scrippsnetworks.com

TALENT

___________________ L I M I T E D ___________________

As a result of winning new contracts, Key Talent Ltd are looking for key studio and location talent to add to our portfolio of bookable individuals in the following categories;

FILM & TV CREWS

Scenic: Scenic Painters and Carpenters Supervisors and Operatives Construction Management

Lighting: Gaffers Electricians

Also: Cameras Sound Studio Engineers

And many other crafts.

If you’re looking for work or for Key Talent to deliver your production needs, contact us today or drop us your CV. info@keylight.tv Tel: 020 8963 9931

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.

“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 www.broadcastnow.co.uk

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.

Business Software Integrator Reporting to the IT Manager, the candidate will liaise internally and with external suppliers to refine the current software systems in place and will work with suppliers to propose and implement further developments. The role requires a self-motivated candidate who has business analysis and project management skills, in addition to experience of scheduling systems (ideally CETA iCFM) and web based applications.

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 12th July 2013

5 July 2013 | Broadcast | 31

Ratings Mon 24 Jun – Sun 30 Jun

BBC has the balls to win Tennis triumphs for BBC1, while C4’s The Man With The 10 -Stone Testicles attracts an eye-watering 3.1m

BY Stephen price

Suddenly, it’s balls everywhere: tennis balls, cricket balls, rugby balls, even footballs.

There was briefly a big fiery yellow ball in the sky, making us think that maybe summer had arrived, and under it I jammed the ball of my foot while watering the garden.

So it was with appropriate timing, I suppose, that Channel 4 should show a documentary about the poor chap who carries the equivalent of a small person between his legs all the time.

Elsewhere, Alan Titchmarsh checked no one was disporting themselves on his bonnet before getting his spade out; some celebrities sang with stars in their heart; and the sorcerous queen stayed steady.

Despite a drop of 500,000, the second episode of ITV’s Long Lost Family proved robust, with a slot-winning 4.8 million/21% (268,000 +1), well ahead of BBC1’s New Tricks repeat (2.9 million/ 13%). However, squeezing in between was C4’s The Man With The 10-Stone Testicles, which achieved a leg-crossing, eye-watering 3.1 million/13% at 9pm, with a further 818,000 on +1.

ITV had a rare, shiny Tuesday moment with a win at 9pm: Secrets From The Workhouse achieved 3.1 million/14% (320,000 +1). Opposition was light (BBC1’s final Life Savers’ 2.8 million/13%) but a win’s a win, especially for a new series. Depending on part two, this just might have legs.

At 8pm, Holby City’s 4.3 million/21% saw off ITV’s Love Your Garden (3 million/14%; 32 | Broadcast | 5 July 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 33 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Coronation Street Coronation Street Coronation Street Coronation Street EastEnders EastEnders Coronation Street EastEnders Emmerdale EastEnders Emmerdale Emmerdale Emmerdale Emmerdale Wimbledon 2013 The Apprentice Emmerdale Countryfile Paul O’Grady: For The Love Of Dogs Long Lost Family Top Gear BBC News BBC News At Ten Antiques Roadshow Holby City MOTD Live: Spain V Italy The White Queen Wimbledon 2013 BBC News At Ten BBC News At Ten BBC News Your Face Sounds Familiar Mrs Brown’s Boys BBC News At Six BBC News At Ten The Man With The 10-Stone Testicles All Star Mr & Mrs Casualty The Graham Norton Show Formula 1: The British Grand Prix BBC News At Six The National Lottery: In It To Win It BBC News The One Show The Dales All Star Family Fortunes BBC News At Six Miranda The One Show Secrets From The Workhouse

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

19:30 20:30 19:30 20:30 20:00 20:00 19:30 19:30 19:00 19:25 19:00 20:00 19:00 19:00 19:00 21:00 19:00 20:00 20:30 21:00 20:00 22:00 22:00 19:00 20:00 19:55 21:00 17:50 22:00 22:00 18:35 19:30 21:30 18:00 22:00 21:00 20:00 20:50 22:35 12:10 18:00 20:00 21:40 19:00 20:00 20:45 18:00 21:00 19:00 21:00

8.31 7.82 7.37 7.28 7.18 6.97 6.88 6.87 6.64 6.55 6.29 6.16 6.07 5.99 5.99 5.85 5.75 5.44 5.09 5.03 4.72 4.67 4.49 4.38 4.33 4.28 4.25 4.21 4.17 4.16 4.14 3.98 3.93 3.93 3.92 3.87 3.85 3.79 3.75 3.72 3.69 3.63 3.56 3.53 3.52 3.50 3.48 3.47 3.46 3.42

39.34 34.49 37.62 33.81 34.25 31.72 32.28 36.19 34.11 32.02 32.17 28.90 34.42 33.54 29.13 24.99 29.02 23.33 23.61 21.97 20.27 23.12 22.62 22.60 20.95 20.76 18.70 23.99 21.37 22.29 24.96 21.58 18.89 23.44 20.83 16.91 18.75 18.65 26.60 35.89 24.64 19.02 18.42 18.14 16.02 17.32 22.66 16.92 17.83 15.58

ITV ITV ITV ITV BBC1 BBC1 ITV BBC1 ITV BBC1 ITV ITV ITV ITV BBC1 BBC1/Boundless ITV BBC1 ITV/Shiver ITV/Wall to Wall BBC2 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1/Company Pictures BBC2 BBC1 BBC1 BBC1 ITV/Initial BBC1/Boc-Pix/RTÉ BBC1 BBC1 C4/Firecracker Films ITV/CPL Productions BBC1 BBC1/So Television BBC1 BBC1 BBC1 BBC1 BBC1 ITV/Shiver ITV/Thames BBC1 BBC1 BBC1 ITV

Figures include HD and +1 where applicable

Your Face Sounds Familiar

the Man With the 10-Stone testicles www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 56 57 58 59 60 61 61 63 64 64 66 67 68 68 70 70 72 73 73 75 76 77 78 79 80 81 82 83 83 85 86 87 88 89 89 91 92 93 94 94 96 96 98 99 99

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Today At Wimbledon The One Show BBC News At Six The Chase ITV News & Weather Love And Marriage Fake Britain Tipping Point: Lucky Stars Michael Buble’s Day Off Would I Lie To You? Love Your Garden The Cube: Celebrity Special ITV News & Weather BBC News At Six Tonight: The Real Cost Of Beauty The Chase ITV News & Weather BBC News At Ten The One Show Wimbledon 2013 The Chase Harbour Lives ITV News & Weather The Chase Wimbledon 2013 New Tricks ITV News & Weather BBC News Die Hard With A Vengeance Life Savers ITV News At Ten & Weather ITV News At Ten & Weather The Chase Wimbledon 2013 You’ve Been Framed!

Nature’s Newborns Waterloo Road Wimbledon 2013 MOTD Live: Confederations Cup Final Wimbledon 2013 BBC News At One Rick Stein’s India Wimbledon 2013 The Apprentice: You’re Fired 24 Hours In A&E Panorama: Kids Lost In Care Britain’s Secret Homes Earthflight Have I Got Old News For You You've Been Framed!

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

20:25 19:00 18:00 17:00 18:30 21:00 19:30 19:00 21:00 20:30 20:00 20:00 18:30 18:00 19:30 17:00 18:30 22:50 19:00 18:30 17:00 20:00 18:30 17:00 17:50 21:00 18:30 18:10 22:00 21:00 22:00 22:00 17:00 14:20 19:00 19:30 20:00 17:50 22:25 13:20 13:00 21:00 17:50 22:00 21:00 20:30 21:00 17:35 22:35 18:30

3.39 3.38 3.33 3.30 3.27 3.25 3.23 3.20 3.19 3.17 3.13 3.13 3.09 3.03 3.03 3.02 3.01 2.99 2.99 2.98 2.98 2.93 2.90 2.90 2.87 2.86 2.83 2.82 2.78 2.77 2.69 2.66 2.63 2.63 2.60 2.57 2.46 2.38 2.37 2.37 2.34 2.31 2.26 2.25 2.25 2.24 2.24 2.22 2.15 2.15

16.17 19.13 19.63 24.02 18.23 13.86 15.29 16.51 14.07 14.73 15.18 13.42 17.19 17.52 14.88 25.95 18.21 22.84 16.72 18.36 21.67 13.96 17.69 21.63 16.36 12.51 15.37 20.69 19.36 12.62 13.89 13.75 20.70 26.27 15.95 13.55 11.97 12.80 26.80 28.02 32.03 10.09 12.28 11.54 9.61 9.90 10.84 15.70 15.71 14.52

BBC2 BBC1 BBC1 ITV ITV/ITN ITV/Tiger Aspect BBC1/Screenchannel Television ITV/RDF TV ITV BBC1/Zeppotron ITV/Spun Gold ITV/Objective ITV/ITN BBC1 ITV ITV ITV/ITN BBC1 BBC1 BBC1 ITV ITV/Shiver ITV/ITN ITV BBC2 BBC1/Wall to Wall ITV/ITN BBC1 BBC1 BBC1/Twenty Twenty ITV/ITN ITV/ITN ITV BBC1 ITV ITV/Wall to Wall BBC1/Shed Productions BBC2 BBC1 BBC1 BBC1 BBC2/Denhams BBC2 BBC2/Boundless C4/The Garden BBC1 ITV BBC1 BBC1/Hat Trick Productions ITV

*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.

Secrets From the Workshop www.broadcastnow.co.uk

Michael Bublé’s Day Off

152,000 +1), which nevertheless started relatively nicely.

With BBC1’s live football on Thursday, Waterloo Road got another go on a Wednesday, but at 8pm, 2.5 million/12% was no match for ITV’s All Star Mr And Mrs (3.7 million/18%; 183,000 +1).

At 9pm, ITV’s comedy drama Love And Marriage slipped once more to 3 million/13% (205,000 +1), its lowest live rating yet, beaten by BBC1’s The Apprentice, which itself fell to 5.9 million/25%.

BBC1’s live Thursday night coverage of the Confederations Cup semi-final between Spain and Italy achieved an average of 4.3 million/

‘Secrets From The Workhouse achieved 3 million: a win’s a win for a new series’ 21% from 7.55pm, dislodging BBC News At Ten and Question Time with a peak of 6 million/34% at 10.40pm as Spain won on penalties.

Meanwhile at 8.30pm, ITV’s barking hit Paul O’Grady For The Love Of Dogs achieved its bestever live audience with 4.9 million/23% (218,000 +1). At 9pm, Happy Families waved this audience goodbye with just 2 million/9% (189,000 +1) at 9pm; just behind BBC2’s Who Were The Greeks? (2.1 million/10%).

On Friday, BBC1’s repeated comedy duo Miranda (3.5 million/ 17%) and Mrs Brown’s Boys’ (3.9 million/19%) beat off ITV’s Britain’s Secret Homes (2 million/9%; 189,000 +1).

On Saturday, ITV’s new, er, singing impersonation show Your Face Sounds Familiar achieved 3.8 million/21% (158,000 +1) on a quiet, warm night. Opposite, BBC1’s extended Wimbledon coverage averaged 3 million/18% from 6.30pm to 8.30pm. The National Lottery In It To Win It achieved 3.6 million/19%, ahead of ITV’s All Star Family Fortunes 3.4 million/17% (178,000 +1).

Unlike Ferris Bueller, Michael Bublé’s Day Off was hitch-free, but 2.9 million/13% (258,000 +1) at 9pm for ITV was undone

by BBC1’s The White Queen, which achieved 4.3 million/19%; 235,000 short in volume, but the same in share terms as last week.

See over for digital focus, plus channel and genre overviews 5 July 2013 | Broadcast | 33

Ratings Mon 24 Jun – Sun 30 Jun Channel Overview

BBC in tune with Glasto

BY Stephen price

The subject of Channel 5’s Extraordinary People doc this week was Help! I’m 16 But I Look 60. We’ve all had mornings like that, and it encapsulates nicely the prevailing split between mind and body among the 100,000-odd gathered to watch the Rolling Stones at Glastonbury.

Channel 4’s The Man With 10-Stone Testicles: A Bodyshock Special achieved a BBC1beating 3.1 million/13% (818,000 +1) on Monday, seeing off Channel 5’s Traveller Feuds (1 million/4%; 166,000 +1), while BBC2’s Rick Stein’s India survived on 2.3 million/10%, a tiny drop of 46,000 on launch.

On Thursday at 9pm, BBC2 launched its new series Who Were The Greeks? with 2.1 million/10%. It defeated C5’s best of the week, the aforementioned Extraordinary People (1.8 million/9%; 118,000 +1), and the second of C4’s First Dates (900,000/4%; 95,000 +1).

BBC2’s Saturday Glastonbury coverage (1.3 million/16% from 10.30pm) included the second half of The Rolling Stones’ performance, peaking at 2.6 million/18% as the band hit their stride at 10.55pm.

Sunday was men and their hobbies night: BBC2’s Top Gear returned with 4.7 million/20%; opposite, C4’s Time Team Special got 1.3 million/6% (423,000 +1).

Source: BARB

WEEk 26 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 24.06.13 Peaktime share (%) w/c 25.06.12 yEAR To DATE Average hours per viewer Audience share (%) Audience share (2012)

BBC1 5.32 22.14 20.32 27.70 BBC1 5.84 21.07 20.89

BBC2 2.15 8.00 10.51 7.66 BBC2 1.59 5.75 6.18

ITV1 3.63 13.54 18.41 15.76 ITV1 4.51 16.25 16.31

C4 1.18 4.31 5.44 6.43 C4 1.62 5.84 6.62

Viewers (m) (all homes)

34 | Broadcast | 5 July 2013

Total 24.92 100.00 100.00 100.00 Total 27.73 100.00 100.00

ToP 30 BBc2, cHAnnEL 4 AnD cHAnnEL 5 Title

Day

Start

Share %

Broadcaster BBC2

1

Top Gear

Sun

20.00

4.72

20.27

2

Wimbledon 2013

Fri

17.50

4.21

23.99

BBC2

3

The Man With The 10-Stone Testicles

Mon

21.00

3.87

16.91

C4

4

Today At Wimbledon

Wed

20.25

3.39

16.17

BBC2

5

Wimbledon 2013

Wed

17.50

2.87

16.36

BBC2

6

Wimbledon 2013

Mon

17.50

2.38

12.80

BBC2

7

Rick Stein’s India

Mon

21.00

2.31

10.09

BBC2

8

Wimbledon 2013

Thu

17.50

2.26

12.28

BBC2

9

The Apprentice: You’re Fired

Wed

22.00

2.25

11.54

BBC2

10

24 Hours In A&E

Wed

21.00

2.25

9.61

11

Pointless Celebrities

Sat

19.00

2.10

12.51

BBC2

12

Wimbledon 2013

Sat

20.00

2.09

10.67

BBC2

12

Who Were The Greeks?

Thu

21.00

2.09

9.75

BBC2

14

Rise Of The Continents

Sun

21.00

2.08

9.17

BBC2

15

Wild Shepherdess With Kate Humble

Fri

21.00

2.03

9.81

BBC2

16

The One Show

Fri

19.00

2.02

10.23

BBC2

17

Extraordinary People: Help! I'm 16 But Look 60

Thu

21.00

1.96

9.14

18

Today At Wimbledon

Mon

20.00

1.95

8.73

BBC2

19

Today At Wimbledon

Fri

20.00

1.82

8.54

BBC2

20

The Secret Of Lincoln Jail: A Time Team Special

Sun

20.00

1.77

7.59

C4

21

CSI: Crime Scene Investigation

Tue

21.00

1.76

8.02

C5 BBC2

C4

C5

21

The Route Masters: Running London's Roads

Tue

21.00

1.76

8.05

23

Mock The Week

Thu

22.00

1.74

8.93

BBC2

24

Today At Wimbledon

Tue

20.00

1.65

7.99

BBC2

25

Child Genius

Tue

21.00

1.57

7.15

C4

26

Today At Wimbledon

Thu

20.00

1.56

7.29

BBC2

27

NCIS

Wed

21.00

1.54

6.58

C5

28

Big Brother: Live Eviction

Fri

21.00

1.53

7.62

29

Glastonbury 2013

Sun

17.00

1.50

10.69

BBC2

30

Horizon: Swallowed By A Black Hole

Wed

21.00

1.45

6.18

BBC2

C5

Figures include HD and +1 where applicable

Multichannel 41.20

BBC2 Horizon doc Swallowed By A Black Hole finished behind C4 and C5 (Weds, 9pm)

Others 11.62 47.76 41.20 38.15 Others 13.05 47.05 45.64

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

DAyTIME SHARE (%) w/c 24.06.13

PEAkTIME SHARE (%) w/c 24.06.13

1.5m

C5 1.02 4.25 4.14 4.30 C5 1.12 4.03 4.36

BBC1 20.32

ITV1 18.41

C5 4.14 C4 5.44

BBC2 10.51

Multichannel 47.76

1.1m C4’s Eye Spy, fronted by Stephen Fry, launched just shy of the slot average (Thurs, 10pm)

BBC1 22.14

ITV1 13.54

C5 4.25

BBC2 8.00

C4 4.31

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

Day

Disaster Chefs The Scooby-Doo Show Newsround Chuggington: Badge Quest Disaster Chefs Sorry, I’ve Got No Head Grandpa In My Pocket DNN Sorry, I've Got No Head Newsround

Thu Thu Thu Thu Wed Wed Thu Thu Thu Wed

top 10 factuaL proGraMMes Start

Viewers (Age 4-15)

16.30 276,400 16.00 221,400 16.20 213,800 17.25 211,400 16.30 210,700 07.45 210,300 17.30 201,100 17.00 196,500 07.45 195,800 16.20 193,300

Share (%)

Channel

18.55 18.50 16.54 13.52 17.30 16.27 12.44 12.44 16.37 17.28

CBBC CBBC CBBC CBeebies CBBC CBBC CBeebies CBBC CBBC CBBC

Title

1 2 3 4 5 6 7 8 9 10

The Apprentice Countryfile Paul O'Grady: For The Love Of Dogs Long Lost Family Top Gear Antiques Roadshow Man With The 10-Stone Testicles The One Show The Dales The One Show

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Sun Thu Mon Sun Sun Mon Mon Mon Thu

21.00 20.00 20.30 21.00 20.00 19.00 21.00 19.00 20.00 19.00

5.85 5.44 5.09 5.03 4.72 4.38 3.87 3.53 3.52 3.46

24.99 23.33 23.61 21.97 20.27 22.60 16.91 18.14 16.02 17.83

BBC1 BBC1 ITV ITV BBC2 BBC1 C4 BBC1 ITV BBC1

➤ disaster chefs was a new entry for CBBC and went straight in at the top after serving up an audience of 276,000. The channel dominated proceedings, with popular titles including newsround and the scooby-doo show. CBeebies snagged two entries.

➤ the apprentice enjoyed another week at the top, fending off competition from a new series of top Gear, which endured its worst debut performance since 2006. Channel 4 made a rare appearance in the shape of the Man with the 10-stone testicles.

top 10 draMa proGraMMes

top 10 entertainMent proGraMMes

Title

1 2 3 4 5 6 7 8 9 10

Holby City The White Queen Casualty Love And Marriage New Tricks Waterloo Road CSI: Crime Scene Investigation NCIS The Americans The Returned

Day

Start

Viewers (millions)

Share (%)

Channel

Tue Sun Sat Wed Mon Wed Tue Wed Sat Sun

20.00 21.00 20.50 21.00 21.00 20.00 21.00 21.00 21.45 21.00

4.33 4.25 3.79 3.25 2.86 2.46 1.76 1.54 1.28 1.11

20.95 18.70 18.65 13.86 12.51 11.97 8.02 6.58 7.01 4.92

BBC1 BBC1 BBC1 ITV BBC1 BBC1 C5 C5 ITV C4

➤ the white Queen was again dethroned by one of the BBC’s medical staples in a week that did not contain any big new shows. Love and Marriage suffered another decline, while recent imports the americans and the returned featured.

up Holby City climbs 2,000

down Your Face Sounds Familiar down 1.6m on slot

up The Returned gains 100,000

1 2 3 4 5 6 7 8 9 10

Mrs Brown’s Boys Miranda Happy Families Benidorm The Big Bang Theory The Simpsons The Simpsons The Simpsons The Simpsons The Simpsons

Your Face Sounds Familiar All Star Mr & Mrs The Graham Norton Show National Lottery: In It To Win It All Star Family Fortunes The Chase Tipping Point: Lucky Stars Would I Lie To You? The Cube: Celebrity Special The Chase

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Wed Fri Sat Sat Thu Sun Fri Sun Tue

19.30 20.00 22.35 20.00 20.45 17.00 19.00 20.30 20.00 17.00

3.98 3.85 3.75 3.63 3.50 3.30 3.20 3.17 3.13 3.02

21.58 18.75 26.60 19.02 17.32 24.02 16.51 14.73 13.42 25.95

ITV ITV BBC1 BBC1 ITV ITV ITV BBC1 ITV ITV

➤ ITV’s new Stars In Their Eyes-style series Your face sounds familiar shot to the top of the table after becoming the highest-rating show on Saturday. Competition was not strong, however, and in the absence of big hitters such as The Voice UK, the Graham norton show was third.

up All Star Mr & Mrs up 4,000

down The White Queen drops 230,000

up Thursday’s The Chase adds 400,000

top 10 Music & arts proGraMMes

Day

Start

Viewers (millions)

Share (%)

Channel

Fri Fri Thu Mon Thu Thu Fri Tue Mon Wed

21.30 21.00 21.00 22.35 20.00 18.00 18.00 18.00 18.00 18.00

3.93 3.47 2.11 1.78 1.72 1.24 1.22 1.19 1.17 1.11

18.89 16.92 9.85 11.78 8.04 7.42 7.07 7.91 6.89 7.20

BBC1 BBC1 ITV ITV E4 C4 C4 C4 C4 C4

➤ Mrs Brown’s Boys repeats continue to pick up substantial audiences for BBC1, with the latest easily topping the comedy line-up. In the absence of any new shows, the Big Bang theory secured fifth place, just ahead of five episodes of the simpsons. next week sport and current affairs www.broadcastnow.co.uk

1 2 3 4 5 6 7 8 9 10

down The Apprentice falls 290,000

top 10 coMedY proGraMMes Title

Title

1 2 3 4 5 6 6 8 8 10

Title

Day

Start

Viewers (millions)

Share (%)

Channel

Glastonbury 2013 Glastonbury 2013 Glastonbury 2013 Imagine... Vivian Maier Glastonbury 2013 Glastonbury 2013 The World’s Most Beautiful Eggs Glastonbury: Dizzee Rascal/Foals Glastonbury: Prof Green/Bastille Glastonbury: TDC Club/Example

Sun Fri Sat Tue Sun Sat Tue Fri Fri Sat

17.00 22.00 22.30 22.35 22.00 16.00 21.00 21.00 20.00 21.00

1.50 1.41 1.30 1.25 0.85 0.80 0.80 0.74 0.74 0.69

10.69 7.57 15.47 11.31 9.33 7.50 3.63 3.72 3.48 3.59

BBC2 BBC2 BBC2 BBC1 BBC2 BBC2 BBC4 BBC3 BBC3 BBC3

➤ Sunday and Friday sessions from Glastonbury 2013 may have secured higher average audiences, but it was Saturday’s broadcast that picked up the biggest peak when The Rolling Stones took to the Pyramid stage. The coverage hit a high of 2.63 million viewers.

See over for demographic and digital focus 5 July 2013 | Broadcast | 35

Ratings Mon 24 Jun – Sun 30 Jun Demographic focus Channels

Individuals Share (%)

Adults ABC1 Share (%)1

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

BBC1

21.69

26.51

48.77

15.37

13.18

22.56

47.92

20.95

52.08

ITV

14.70

12.34

33.48

10.06

12.74

10.95

34.34

17.90

65.66

BBC2

8.75

11.90

54.25

7.47

15.88

9.59

50.48

8.04

49.52

C4

4.69

4.70

39.92

5.66

22.45

4.47

43.88

4.88

56.11

C5

4.29

3.67

34.14

4.55

19.73

3.53

37.96

4.93

62.03

ITV2

3.00

2.28

30.28

4.39

27.27

2.78

42.69

3.19

57.32

ITV3

2.74

2.32

33.79

0.61

4.18

2.25

37.92

3.15

62.08 43.14

BBC3

1.89

1.93

40.67

3.66

36.04

2.33

56.87

1.51

E4

1.73

1.73

39.88

4.59

49.49

1.59

42.53

1.84

57.47

Film 4

1.53

1.42

36.92

1.22

14.78

1.94

58.44

1.18

41.56

Dave

1.37

1.27

37.00

2.32

31.59

1.77

59.50

1.03

40.52

5 USA

1.26

0.95

30.27

1.04

15.42

1.28

46.72

1.24

53.27

More 4

1.13

1.21

42.68

1.02

16.82

1.05

42.78

1.20

57.22

ITV4

0.94

0.87

37.02

0.78

15.49

1.35

66.46

0.58

33.52

Yesterday

0.90

0.79

35.14

0.29

6.01

1.04

53.37

0.77

46.67

BBC4

0.87

1.19

54.55

0.35

7.42

1.05

55.55

0.72

44.47

Sky Sports 1

0.78

1.11

57.17

0.82

19.61

1.18

70.11

0.43

29.91

Sky 1

0.75

0.76

40.38

1.45

35.94

0.83

51.00

0.68

48.93

Sky Living

0.58

0.56

38.49

0.91

29.34

0.45

36.03

0.69

63.94

49.5% Almost half the viewers of BBC3’s broadcast of Dizzie Rascal and Foals at Glastonbury were aged 25-44, up from the 35.7% slot average (Fri, 9pm).

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

Cracking show for egg doc

BY Stephen price

After declaring himself the egg man, John Lennon sang ‘goo goo g’joob’ – the noise the eggs made when, as a nipper, I spilled the contents of our weekly shopping trolley into the road. I wonder if the same thing happened to Carl Fabergé; BBC4’s history of Russia’s eggman didn’t mention it, so probably not. Elsewhere, BBC3 did some good work between football.

BBC4 doc The World’s Most Beautiful Eggs: The Genius of Carl Fabergé achieved 800,000/ 4% on Tuesday at 9pm; two repeats took this up to 1.1 million.

On Monday, BBC3’s Don’t Call Me Crazy launched with 590,000/ 3% at 9pm, totalling 1.1 million after three repeats. Thursday’s India: A Dangerous Place To Be A Woman achieved 677,000/3% at 9pm; 950,000 after two repeats.

E4’s The Big Bang Theory’s Thursday 8pm episode topped the table with 1.72 million/8%, just shy of Star Wars: Episode III, which averaged 1.7 million/10% from 5.15pm on Sunday on ITV2.

36 | Broadcast | 5 July 2013

Source: BARB

DIGITAl hoMES

ToP 30 MulTIChAnnEl ProGrAMMES Title

1 2 3 4 5 6 6 8 8 8 11 12 13 13 15 15 15 18 19 20 21 21 21 24 24 24 24 28 28 28

The Big Bang Theory Star Wars: Episode III MOTD Live: Brazil V Uruguay How I Met Your Mother The Only Way Is Essex The Rock Lewis The Call Centre Agatha Christie’s Poirot Live Rugby Union Only Connect World’s Most Beautiful Eggs Foyle’s War The Big Bang Theory Glasto: Dizzee Rascal/Foals Glasto: Prof Green /Bastille The Only Way Is Essex The Expendables Star Wars: Episode II A Touch Of Frost New Girl Inspector Morse Family Guy Family Guy Hollyoaks Glasto: TDC Club/Example Pitch Black Family Guy Wycliffe Agatha Christie’s Marple

Figures include HD and +1 where applicable

Day

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

Start

20.00 17.15 19.30 20.30 22.00 22.00 19.55 21.00 21.00 10.00 20.30 21.00 20.00 18.30 21.00 20.00 22.00 21.00 16.30 20.00 21.00 20.00 23.25 23.00 19.00 21.00 21.00 23.00 21.00 19.00

Viewers (millions)

Share (%)

1.72 1.66 1.60 1.02 0.97 0.89 0.89 0.85 0.85 0.85 0.83 0.80 0.75 0.75 0.74 0.74 0.74 0.73 0.72 0.71 0.70 0.70 0.70 0.69 0.69 0.69 0.69 0.68 0.68 0.68

8.04 10.25 7.44 4.74 5.36 6.96 3.87 3.89 4.59 10.75 3.67 3.63 3.52 4.15 3.72 3.48 4.09 3.80 5.71 3.37 3.22 3.09 8.67 6.76 3.54 3.59 3.85 5.93 3.17 3.74

Channel

E4 ITV2 BBC3 E4 ITV2 BBC3 ITV3 BBC3 ITV3 Sky Sports 1 BBC4 BBC4 ITV3 E4 BBC3 BBC3 ITV2 5 USA ITV2 ITV3 E4 ITV3 BBC3 BBC3 E4 BBC3 ITV2 BBC3 ITV3 ITV3

Channels

Share (%)

BBC1 ITV BBC2 C4 C5 Total multichannel ITV2 ITV3 BBC 3 E4 Film 4 Dave 5 USA Pick TV CBeebies More 4 BBC News ITV4

21.69 14.70 8.75 4.69 4.29 45.88 3.00 2.74 1.89 1.73 1.53 1.37 1.26 1.15 1.15 1.13 0.95 0.94

Figures include HD and +1 where applicable

356k

The finale of series four of Modern Family was more than 1 million up on Sky 1’s slot average (Fri, 8.30pm) www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

NoN-PSB toP 50 1 2 3 4 5 6 6 6 9 9 9 12 13 14 14 16 17 17 17 17 21 21 21 21 25 25 25 25 25 25 31 31 31 31 31 36 36 36 36 36 41 42 42 42 45 45 47 47 47 47

Title

Day

Start

Live Rugby Union Storage Hunters Storage Hunters Storage Hunters Storage Hunters Storage Hunters Live International T20 Cricket Storage Hunters Storage Hunters Mad Dogs QI Criminal Minds QI XL Storage Hunters QI XL Red Dwarf X Mock The Week The Simpsons The Simpsons The Simpsons Revolution The Simpsons Russell Howard's Good News Modern Family The Simpsons Mrs Brown’s Boys Keeping Up Appearances New Tricks Mrs Brown’s Boys The Simpsons Mock The Week Mrs Brown’s Boys Mrs Brown’s Boys The Simpsons QI XL Keeping Up Appearances QI XL Gavin & Stacey The Simpsons The Simpsons QI Xl Not Going Out Border Security: Canada's Front Line Come Fly With Me The Simpsons QI XL Have I Got A Bit More News For You The Simpsons The Simpsons The Simpsons

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

10.00 20.00 20.30 20.00 20.30 20.00 18.00 20.30 20.30 21.00 22.40 21.00 22.00 20.00 22.00 21.00 22.00 19.00 19.00 18.30 21.00 18.00 22.00 20.30 19.00 21.40 20.20 21.30 21.40 19.30 23.00 21.40 21.40 19.30 23.00 20.20 21.00 21.40 19.00 18.30 21.00 22.20 22.00 21.00 18.00 21.00 21.00 19.30 19.30 18.30

Viewers (m) (all homes) 0.85 0.65 0.63 0.53 0.52 0.51 0.51 0.51 0.44 0.44 0.44 0.41 0.40 0.39 0.39 0.38 0.37 0.37 0.37 0.37 0.36 0.36 0.36 0.36 0.35 0.35 0.35 0.35 0.35 0.35 0.34 0.34 0.34 0.34 0.34 0.33 0.33 0.33 0.33 0.33 0.32 0.31 0.31 0. 31 0.30 0.30 0.29 0.29 0.29 0.29

Share %

Broadcaster/ Producer*

10.75 3.26 2.97 2.47 2.47 2.57 2.68 2.37 2.05 2.00 3.60 1.81 2.25 1.86 2.22 1.77 2.08 1.89 2.26 2.05 1.76 2.43 2.05 1.65 1.82 1.72 1.63 1.86 1.60 1.96 3.43 1.58 1.64 1.60 3.16 1.59 1.62 1.79 1.84 2.21 1.47 1.82 1.73 1.43 2.18 1.31 1.28 1.37 1.42 1.57

Sky Sports 1 Dave Dave Dave Dave Dave Sky Sports 1 Dave Dave Sky 1/Left Bank Pictures Dave/Talkback Sky Living Dave/Talkback Dave Dave/Talkback Dave/Grant Naylor Dave/Angst Productions Sky 1 Sky 1 Sky 1 Sky 1 Sky 1 Dave/Avalon Sky 1 Sky 1 Gold/Boc Pix/RTÉ Yesterday Yesterday Gold/Boc Pix/RTÉ Sky 1 Dave/Angst Productions Gold/Boc Pix/RTÉ Gold/Boc Pix/RTÉ Sky 1 Dave/Talkback Yesterday Dave Dave/Baby Cow Sky 1 Sky 1 Dave/Talkback Dave/Avalon Pick TV Gold Sky 1 Dave/Talkback Dave/Hat Trick Productions Sky 1 Sky 1 Sky 1

Figures include HD and +1 where applicable

red Dwarf www.broadcastnow.co.uk

russell howard’s Big news

0.4m The audience for Sky 1 US drama Criminal Minds (Mon, 9pm)

Pick TV breaks for the Border

BY Stephen price

What was once Sky 3 is now Pick TV, and the Canadian border that you imagine might have a mounted Captain Kirk on the final frontier has delivered nicely. Elsewhere, Lions couldn’t quite get over the line, Kiwis spoilt the preAshes party a bit, and dogs sashayed off for the final time.

Pick TV’s Border Security: Canada’s Front Line achieved 309,000/2% on Saturday at 10pm.

In terms of live ratings, that puts it in the top 10 for the channel in 2013 so far.

The last yarn in Sky 1’s Mad Dogs concluded on Tuesday at 9pm with 440,000/2%; the second best live rating of this series.

The British and Irish Lions came within a whisker of a series win in Australia on Saturday as Sky Sports 1 averaged 850,000/ 11% from 10am. On the same channel on Tuesday, New Zealand beat England’s cricketers in front of an average of 514,000/3% from 6pm.

Meanwhile, seven episodes of Dave’s Storage Hunters featured in this week’s top 10 – the best on Tuesday at 8pm: 653,000/3%.

The best-performing US drama of the week was Sky Living’s Criminal Minds, which bagged 410,000 from 9pm on Monday.

Sky 1’s Revolution was the next best with 360,000/1.8% at 9pm on Thursday.

5 July 2013 | Broadcast | 37

Ratings Mon 17 Jun – Sun 23 Jun

All BARB ratings supplied by: Attentional

Consolidated Ratings

Family affair boosts ITV

BY Stephen price

Does the god of news have a woeometer and is it cranked up to 10?

Everything seems full of woe, and now it seems the lights may go out because the donkey peddling the power stations is running out of hay.

This week’s episode of Revolution called The Night The Lights Went Out wasn’t helping. Still, Russell Howard found some good news from somewhere, while ITV induced even more tears than last time, but in a good way, while Syfy is just, well defiant. Be gone woe-ometer.

Sky 1: Revolution Sky 1’s US import Revolution, with its timely title, achieved 436,000/ 2% on Friday 21 June at 9pm.

After nearly 700,000 recorded and

Source: BARB

watched, that raced past the 1 million mark to 1.2 million/5%; only two episodes of the 14 premier transmissions so far consolidated have failed to break 1 million. The best ever remains the launch episode on 29 March 2013 with 2.1 million/8%.

ITV: Long Lost Family The irony of ITV’s Long Lost Family is that the schedule needs to find it more often. Now established as exactly the sort of long-running returnable hit ITV needed, this new series returned with the best of all numbers. On Monday 17 June at 9pm, it achieved 5.7 million/25%; after more than 550,000 watched via PVR, it finished on 6.3 million/25%. The previous best was 12 April 2012 with 5.6 million/22%.

All 10 episodes of BBC1’s Who Do You Think You Are? last autumn averaged 4.9 million/19%, with December’s 5.5 million/22% the best. An intriguing battle for top factual series dog has begun, and ITV is winning it at the moment.

BBC3: Russell Howard’s Good News BBC3’s Russell Howard’s Good News achieved 1.2 million/6% on 20 June at 10pm after 193,000 recorded and watched; the third best ever. It was helped no end by the Confederations Cup match between, improbably, Spain and Tahiti, the second hour of which averaged 1.8 million/ 8% beforehand.

Syfy: Defiance Syfy’s American series Defiance has a defiant quality about it.

The episode on 18 June at 9pm achieved 174,000/0.8%.

After 106,000 watched via PVR, it ended on 280,000/1%. It was repeated four times to total 525,000 for the week.

The best ever Defiance was 16 April’s feature-length launch on 482,000/2%. This was Syfy’s bestrating programme of 2013 and the best since V’s 601,000/2% in May 2011. An episode of Heroes in 2007 (763,000/5%) remains the channel’s best ever.

TOP 30 CONSOLIDaTeD RaTINGS: RaNkeD By GaIN

1 2 3 4 5 6 7 8 9 10 11 12 12 12 15 16 17 18 19 20 21 21 23 24 25 25 25 28 28 28

6.3m

ITV’s Long Lost Family adds 570,000 in catch-up to reach 6.3 million

UP The Voice UK up 1.4m

DOWN The White Queen loses 1.1m

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

Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

The Apprentice The White Queen Coronation Street Casualty Love And Marriage Coronation Street EastEnders EastEnders Frankie EastEnders Coronation Street The Voice UK Revolution EastEnders The Returned Coronation Street Waterloo Road Emmerdale Hannibal Paul O’Grady: For The Love Of Dogs Long Lost Family Agatha Christie’s Marple CSI: Crime Scene Investigation Coronation Street NCIS Season 10 Emmerdale The Big Bang Theory Dates The Americans Dates

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

21.00 20.59 20.29 21.34 21.03 19.31 19.59 19.29 20.59 19.59 19.30 19.15 21.01 19.29 21.01 20.29 20.00 19.00 22.00 20.30 21.00 20.02 21.02 19.32 21.00 19.59 20.02 22.03 21.48 22.03

7.48 5.70 8.75 5.55 4.42 8.91 7.00 7.41 4.98 7.93 8.60 7.95 1.12 7.55 1.79 9.43 3.45 6.76 0.82 5.55 6.26 5.11 2.45 9.48 0.99 6.99 2.43 1.47 1.55 1.63

28.22 20.64 36.78 23.56 16.54 43.25 32.89 37.29 20.12 33.57 44.34 35.42 4.71 36.38 6.48 37.48 14.63 36.76 4.24 23.23 25.08 19.14 9.72 42.95 4.19 29.42 10.13 6.88 6.97 7.93

1.34 1.23 0.98 0.94 0.93 0.84 0.78 0.74 0.73 0.72 0.70 0.68 0.68 0.68 0.65 0.63 0.62 0.61 0.59 0.58 0.57 0.57 0.56 0.50 0.49 0.49 0.49 0.48 0.48 0.48

21.90 27.40 12.70 20.50 26.60 10.30 12.50 11.10 17.10 10.00 8.90 9.40 156.40 9.90 56.80 7.20 21.80 9.90 254.60 11.80 10.00 12.50 29.40 5.50 99.60 7.50 25.20 49.10 45.70 42.20

Broadcaster BBC1 BBC1 ITV BBC1 ITV ITV BBC1 BBC1 BBC1 BBC1 ITV BBC1 Sky 1 BBC1 C4 ITV BBC1 ITV Sky Living ITV ITV ITV C5 ITV FOX ITV E4 C4 ITV C4

Figures include HD and +1 where applicable

38 | Broadcast | 5 July 2013

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ALL A TWITTER

boss last October, Frow recalled Desmond’s first words: “Fuck, you’re short.” Frow also revealed something of himself: “I’m emotional, demanding and prone to grumpiness”, while we learned how Desmond keeps his margins lean: “You won’t get biscuits when you come in for a meeting – unless you bring them yourself.”

Last night’s Horizon about black holes was infuriating: a finite amount of information stretched over an infinite amount of time. @Aiannucci (Armando Iannucci) Writer/executive producer, Veep

Desmond: bring your own biscuits

C5 takes the biscuit Among the star turns at Broadcast’s inaugural Commissioning & Funding Forum was Ben Frow in his first major public speaking event since taking up the reins as Channel 5 director of programmes in February. Delegates hoping he might shine a light on working for the mercurial Richard Desmond weren’t disappointed. Speaking about his first meeting with the

If Jo Whiley says “Glastonbury moment” one more time, me telly’s going through the fucking window.

Still waters run deep at Sky Meanwhile, Sky director of entertainment channels Stuart Murphy waxed philosophical about Sky’s added value. Telly is, he says, much like the water industry. “The public is seemingly happy with the water they get from their taps, much like the TV they get from the public service channels,” he said. “We are like Evian. The water we sell has to be better than what’s available for free.”

And, one must hope, not prone to leaks.

@jasonmarkcook (Jason Cook) Writer, Hebburn

Couldn’t make it to #writersfestival this time, but next year hoping to run workshop on Looking Out Of Windows and another on Sighing. @james_blue_cat (James Henry) Comedy writer

It wasn’t all spreadsheets at last week’s Kantar Media World Audiences Summit in Barcelona. Let out for good behaviour, Broadcast’s Jake Kanter (above) and ex-BBC journo Torin Douglas braved the rush-hour traffic in the beacons of tourism: the Go Cars. The not entirely inconspicuous vehicle drew crowds of which audience measurement experts would be proud.

It may well be that the Islamic world rising up is just the kick up the arse Channel 4 needs to make 4oD work. @JulianSimpson (Julian Simpson) Writer/director, New Tricks

AND FINALLY ...

Cerrie Burnell Children’s TV presenter

Who would you be on Stars In Your Eyes?

Tiffany (I Think We’re Alone Now) or Madonna (Like A Prayer).

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

That I could breathe underwater in a mermaid-esque way.

What do you do to relax?

Sitting in the garden in the summer with a glass of wine and a book helps. Going to the sea normally helps me unwind.

What keeps you awake at night?

Literally? My daughter. Plus the million-and-one projects I want to do in the future and the sinking guilt of living in the Western world and not doing enough to end the oppression of women in the developing world.

What law would you most like to break?

I’m not interested in breaking laws as much as changing them, to get better and equal rights.

What have you recently taken up?

Bikram yoga – which I love.

What’s your greatest extravagance?

My shoe collection.

What’s the best advice you’ve ever been given?

“Sometimes in life you have to go to bed with the devil.” It makes me laugh and never loses its relevance.

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