Broadcast 2 August 2013

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2 August 2013

RATINGS ANALYSIS

IN FOCUS

BEHIND THE SCENES

Page 24

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Page 28

BBC1 holds firm as C4 and Meet BBC1’s new C5 fall – but by how much? Saturday night stars

Southcliffe: the catharsis of grief

ITV indie deals to yield £100m Acquisition of Big Talk Productions takes number of deals completed in past year to seven

BY JAKE KANTER

ITV’s indie acquisition spree is set to boost its turnover by as much as £100m this year as it bids to become a serious global player in the production sector.

The commercial broadcaster remains on the hunt for further purchases after wrapping up its seventh deal in less than a year, bringing Big Talk Productions into the ITV Studios fold last week for at least £12.5m.

ITV has made an initial outlay of more than £103m on seven indies in the past 12 months – a figure that is likely to rise significantly if they hit growth targets.

That investment is providing an immediate fillip for ITV Studios’ revenues, which increased by 11% to £395m for the first half of 2013, and the new additions are forecast to add £100m to its top line this year.

ITV chief executive Adam Crozier expects £70m of this to be generated in the US, where the company has bought Gurney Productions, High Noon Entertainment and Thinkfactory Media.

ITV Studios is now one of the top five independent production outfits in the country, where its biggest rivals are Fremantle Media, 19 Entertainment, Mark Burnett Productions and Endemol.

The remaining £30m will be made in the UK, where ITV’s initial £10m deal for Graham Norton’s So Television in August 2012 was followed by acquisitions of The Garden Productions and Big Talk Productions.

SPLASHING THE CASH ITV’S DEALS ■

So Television August 2012, £10m

■

Tarinatalo October 2012, financials undisclosed

■

Gurney Productions December 2012, £26.2m for 61.5% stake

■

The Garden Productions April 2013, £18m

■

High Noon Entertainment May 2013, £16.8m for 60% stake

■

Thinkfactory Media June 2013, £19.6m for 65% stake

■

Big Talk Productions July 2013, £12.5m

Note: All values are upfront payments

Chickens: ITV swooped for producer Big Talk last week for £12.5m

Now we’re a creator of content. There’s no doubt, given the demand, it was a good decision Adam Crozier, ITV

Its other deal, for an undisclosed sum, was for Finnish indie Tarinatalo, which now forms part of ITVS Nordic. There are suggestions that ITV could look to make greater inroads in this region after joining the race for Scandinavian super-indie Nice Entertainment Group.

The acquisitions illustrate a key strategy for ITV, and Crozier said

the company is changing the way it perceives itself.

“If you go back a few years, ITV had begun to think of itself almost entirely as a broadcaster, whereas now with equal force we’re a broadcaster and a creator of content,” he said. “There’s no doubt, given the sheer level of demand for content, that was a good decision.”

He also stressed that ITV had secured “good-value deals” that had been structured in a way that would incentivise growth.

“The multiples that we’ve paid for production companies are between six and eight times [their earnings],” he added. “If you go back a few years, people were paying between 10 and 12 times.”

ITV is not specifically targeting a transformational deal for a super-indie on the scale of Endemol, which the company examined briefly in 2011, although other purchases are on the cards.

“What’s much more important to me is the quality of the companies and the quality of the content, rather than scale,” Crozier said on an earnings call for ITV’s half-year results this week.

ITV intends to provide its new production partners with access to broadcasters and platforms around the world, greater commercial clout, talent and rights expertise, and development cash.

ITV Studios’ EBITDA jumped 26% in the six months to 30 June to £63m.

Editor’s Choice

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

Online this week www.broadcastnow.co.uk

Chris Curtis, deputy editor

Top News

Game on to top the subs table Sporting rivalries will be put in the shade by BT Sport and Sky

A

re you ready for kick off? By the time you’ve read this, BT Sport will have most likely launched on 1 August to much fanfare – and with much to prove. Elbowing your way into the TV sports market is not easy (ask ESPN and Setanta), and BT Sport’s first live football is a less-than-barnstorming Scottish Professional Football League clash between Partick Thistle and Dundee United.

There are more positive signs. BT’s vast studios on the Olympic Park have serious

‘BT has spent £738m to land the rights – no one seems to think it will come anywhere close to recouping that sum’ wow factor, Grant Best is a top director, and the likes of Jake Humphrey and Clare Balding are major signings who will help give its channels genuine personality.

And while Sky may have scooped Jamie Carragher, who proved an astute analyst for ITV during Euro 2012, BT’s line-up of Michael Owen, David James and Steve McManaman looks promising.

But no one takes out a subscription for pundits or hosts.

The reality is that BT Sport has two main weapons in its bid to win customers: exclusive rights to Aviva Premiership rugby for four years, and the more potent prospect of 38 Barclays Premier League games a season.

Is one game a week enough for BT to generate a serious number of subscribers? And how many subs represents a good result when the newcomer is pitched against the 2 | Broadcast | 2 August 2013

Sky Sports steamroller? There are lots of questions and it’s becoming clear that gauging the success or failure of BT Sport is going to be a tricky business.

It has spent £738m to land the rights (£246m a season) and no one I’ve spoken to seems to think it will come anywhere close to recouping that sum. Instead it’s a play to scoop up new broadband customer from rivals and hang on to existing customers in the face of greater competition (not least from Sky).

These media giants are on a collision course that dwarfs the rivalries of traditional TV. Remember when it was Sky and Virgin Media at loggerheads, with Sky 1 and shows such as Lost pulled from the cable platform? This battle for customers could get even more fierce, with new subs packages being created and claim and counter claim about the quality of fixtures.

BT has already proven its fighting credentials by taking on Sky and is proving no pushover in carriage negotiations with Virgin, reiterating on 31 July that it has not yet struck a cable carriage deal.

Forget Moyes v Mourinho or the battle between Spurs and Madrid for Gareth Bale’s (left) signature – the real drama is off the pitch.

Podcast launch Separately, please have a listen to our new podcast, which is available on broadcastnow.co.uk and will be on iTunes shortly.

We’ve wanted to talk telly in a podcast for some time and have created a pilot to test the water. The plan is to make it a fortnightly feature, and we’re after great ideas and high-quality guests – so let us know what you think.

è Steve Gowans is to join North One Productions as managing director, five months after leaving Channel 5.

Gowans, who worked at C5 for almost 10 years, will join the All3Media-owned indie in September.

è Channel 4 is to open the door to the toilets of a Crawley nightclub for a oneoff fixed-rig documentary. Firecracker Films is making the film, which is being shot over four nights from 30 July.

è BBC3 is to premiere all of its scripted comedy on iPlayer as the corporation ramps up its online-first strategy. The project will kick off with the second series of Bad Education (right).

Ratings Top Five 1 The Mill was C4’s biggest drama series launch in three years with 2.8m on Sunday.

Usain Bolt’s victory at the London Anniversary Games on Friday helped BBC1 to a peak audience of 4m.

2

3 Zombie thriller The Returned bowed out on Sunday with a series average of more than 1m for C4.

4 E4’s Phoneshop (below) returned for a third series on Thursday with 400,000, twice as many as the series two debut.

5 The tenth series opener of New Tricks easily won the slot with 7.5m viewers on Tuesday, broadly in line with the previous series debut.

Team Tweets è Netflix UK will be airing the final eps of Breaking Bad the day after they air in the US. THIS is how you prevent piracy. @peterzwhite

www.broadcastnow.co.uk

News & Analysis

Cohen scraps BBC4 controller The new role will help BBC4 continue to grow its own tone, character and output

BY jAke kAnTer

The role of BBC4 controller has been formally scrapped and will be replaced with a channel editor.

The corporation will advertise the new role this week and the successful candidate will report to BBC2 controller Janice Hadlow.

Broadcast first reported in June that director of television Danny Cohen was considering the change, which he hopes will increase collaboration between the two channels and reduce costs. It should also open up genres on BBC4 that were closed as a result of the Delivering Quality First (DQF) cuts.

BBC4’s budget has been slashed by £10m to a total of £26m and Cohen believes that by working with BBC2, it could free up cash for the return of history content, as well as boosting science and comedy, which were cut by a third under DQF. Drama remains off the table due to the high tariffs associated with the genre.

Although Cohen will welcome ideas that would work across both channels, he is clear that the channel editor must retain BBC4’s

Danny Cohen, BBC

After Life: The Science Of Decay: BBC4 science could be set for a boost

distinctiveness. The person who takes up the post will also oversee the station’s day-to-day management and commissioning.

There will be little change for Hadlow, who has been overseeing BBC4 since former controller Richard Klein left for ITV in May. She is said to be enjoying the additional responsibility and is no stranger to the role, having looked

after the channel between 2004 and 2008.

Cohen said: “I’m keen for BBC2 and BBC4 to collaborate more across their programmes, scheduling, marketing and digital innovation. Janice has made real progress in these areas and I want to build on the foundations.

“The new role of BBC4 channel editor will help ensure that the

channel continues to grow its own distinctive tone, character and output.”

The position will be advertised internally and externally. Candidates to lead BBC4 are said to include Adam Barker, commissioning executive producer for arts, music and events, and his science and natural history equivalent Cassian Harrison. Both are currently working with Hadlow.

BBC arts commissioner Mark Bell and music and events commissioner Jan Younghusband are also thought to be in the frame, while science and natural history commissioner Kim Shillinglaw has been talked of as a contender.

Dominic Crossley-Holland, BBC in-house’s head of business and history, is another name to be linked with the post.

Vice hires Franses to become fully fledged indie Our strong production team has an ear to the ground for great stories

BY PeTer whiTe

Vice has effectively become an indie after hiring Nutopia cofounder Laura Franses to ramp up its television business.

The youth-skewing online media company has brought in Franses to lead its plans to begin producing original content for UK broadcasters, with an initial focus on Channel 4 and Sky. Franses said: “We’ve got a strong UK production team [which makes content for Vice’s website] that have their ear to the ground for great stories, so producing content for broadcasters doesn’t seem a million miles away.

We’re opening up conversations.”

The move replicates Vice’s strategy in the US, where it recently received an Emmy nomination for www.broadcastnow.co.uk

Laura Franses, Vice

Vice: series visited north korea

its eponymous magazine series, made for HBO. In the 10-part series, co-founder Shane Smith and colleagues travel to dangerous countries such as North Korea. It is due to air on Sky Atlantic later this year.

Franses said Vice was keen to produce similarly-styled UK programming to build on online docs such as Rose Boy & Friends and the Rule Britannia series.

Vice, which was created in 1994 by Smith, Suroosh Alvi and Gavin McInnes, has previously packaged 6 x 30-minute series Vice World, a collection of its online back catalogue, for C4-owned 4Music.

Separately, Vice is launching a number of online channels later this year including a news channel, a fashion channel based on its acquisition of i-D magazine, electronic dance music site Thump and MMA network Fightland.

Franses said Vice was also looking for further opportunities in the digital space and to increase its branded content unit, particularly in the hotel and leisure sectors.

Franses, who has also worked at Zodiak Media, Raw TV and Film 4, left Nutopia in June 2012, having helped found the company with former BBC2 controller Jane Root in 2008.

She said she was looking forward to taking Vice to the next level. “Vice has exploded over the past few years so I’m helping it grow up. What was frustrating at an indie was that you were dependent on your relationships with the broadcasters. At Vice, you communicate directly with consumers. The breadth of opportunities feels unrecognisable, and there’s a sense of fearlessness and world domination.”

2 August 2013 | Broadcast | 3

News & Analysis

C4 ties in digital developers We don’t want to create a closed door. We will continue to nurture emerging agencies

BY alex faRBeR

Channel 4 has guaranteed digital agencies Numiko and Rckt £100,000 of business each in the next 12 months to improve its online programme support.

The broadcaster has agreed the year-long retainers with the respective Leeds- and Sheffield-based businesses to bolster the multiplatform support content it requires for around 100-150 shows a year.

Numiko and Rckt have previously worked with C4 on a range of multiplatform projects, including Easter Eggs Live and Foxes Live, and won the investment following C4’s online winter briefing in December.

C4 said Aerian Studios, Chunk, Corporation Pop, Fish in a Bottle, The Connected Set and The Project Factory have also been selected to form a “trusted pool of suppliers” that are likely to win more work from the broadcaster.

C4’s programme support division is led by online production manager Jodie Morris. Recent projects include the Ramadan website, Child Genius quizzes and The Plane Crash online check-in.

It is distinct from C4’s multiplatform division, which co-commissions shows with highly integrated digital elements.

Jodie Morris, Channel 4

The Plane Crash: Rckt worked with C4 on interactive website for the doc

Morris said that committing to investment with the agencies would allow them to work more efficiently together.

“We aren’t trying to do more projects, but we are trying to make what we do more impactful and distinctive,” she said. “It made sense to look at different working procedures to see if they would benefit us and our suppliers.”

Morris added that the contracts would allow the agencies to employ more staff and also reduce

the contractual wranglings that can negatively affect projects, which will sometimes have lead times of as little as eight weeks.

She added that the pilot could be extended if it proved mutually beneficial, although funds will remain for other companies.

“We don’t want to create a closed door,” she stressed. “It’s important that we continue to nurture emerging agencies.”

Separately, Littleloud, the digital agency behind some of C4’s Educa-

tion projects, such as mobile game Sweatshop, has ceased operations.

The Brighton-based indie, which was co-founded in 2000

by David Jacklin and Darren Garrett, closed this week.

In a message posted on the Littleloud website, Garrett said he still hoped to release the company’s final project, an antibullying game ordered by C4 Education in July 2012, dubbed Sticks And Stones.

He also paid tribute to the agency’s head of animation Nik Faulkner, who died in June following a long illness.

“As anyone who’s done it can tell you, it’s hard work running a studio, and after a year of ups and downs, it felt like the right time to let it go and explore other creative ventures,” said Garrett.

Littleloud has worked with a variety of clients, including the BBC, Disney, MTV, Hat Trick, Lion Television and So Television.

Twitter links up with Kantar to offer TV insight Twitter has become a live companion to TV for millions around the world

BY jake kanTeR

Twitter has struck a partnership with audience measurement firm Kantar Media to provide broadcasters with information about how their shows are being talked about online.

The social media giant has teamed up with Kantar to develop a range of tools that will give broadcasters and media agencies detailed information and analytics about trends and opinion patterns.

Kantar hopes to have the tools ready for 2014. It will integrate the data with its existing Barb ratings service to provide clients 4 | Broadcast | 2 August 2013

Ali Rowghani, Twitter

Geordie Shore: Twitter phenomenon

with richer information on how their programming and advertising is performing.

The relationship adds to Kantar’s existing partnership with

SecondSync, which publishes data on how shows perform on Twitter, with the latter helping Kantar develop some of the tools it is hoping to launch.

Although Kantar’s Twitter partnership will be primarily business-to-business, the audience measurement firm is planning to

publish headline figures from its research on an ad hoc basis.

Nick Burfitt, a global director at Kantar Media Audiences, said the relationship – the first of its kind that Twitter has forged in the UK – will provide data that is “robust, relevant and correctly attributed”.

Twitter chief operating officer Ali Rowghani said: “Twitter has become a live companion to the TV viewing experience for millions of people in the UK and around the world, and we’re thrilled that Kantar will be bringing its considerable audience measurement experience to bear to develop tools and standards for the industry.” www.broadcastnow.co.uk

News & Analysis Broadcast kicks off podcast with C4 ratings debate Broadcast has launched a podcast showcasing TV’s biggest new shows and featuring high-profile producers and executives.

The pilot episode is available in full on broadcastnow.co.uk and features Broadcast editor Lisa Campbell, Knickerbockerglory boss Jonathan Stadlen and Whizz Kid Entertainment creative director Steven D Wright.

Channel 4’s ratings decline is discussed in detail, as well as the future of BBC in-house productions, and there is a look ahead to upcoming shows, including BBC1’s I Love My Country and Channel 4’s The Dealership.

Stadlen also talks about the challenges in making his new unscripted BBC3 sketch show Boom Town.

The podcast can be accessed via the broadcastnow.co.uk homepage or by visiting: soundcloud.com/ broadcastnow. Listeners will also be able to subscribe via iTunes.

The Broadcast Podcast will launch in full later this year and episodes will be published on a fortnightly basis. Willing contributors and those wishing to have shows featured should contact jake.kanter@broadcastnow.co.uk.

The pilot was recorded at Maple Street Studios and was produced

by Matt Hill.

Sky in PSB talks over retransmission fees BY jakE kanTEr

BSkyB is hoping to hammer out commercial agreements with each of the public service broadcasters in a bid to defuse the row over retransmission fees.

The Department for Culture, Media & Sport (DCMS) this week said it “does not expect” Sky to “charge the PSBs any costs associated with transmission” and threatened to change broadcasting legislation if the matter is not resolved.

However, Sky is hopeful that legislation will not be required and is in talks with the BBC, ITV, Channel 4 and Channel 5 over an agreement whereby retransmission charges are subsumed into wider commercial partnerships.

The pay-TV giant has sophisticated relationships with the broadcasters and while it insists there are necessary costs associated with transmitting their services, it is prepared for these to become part of the wider flow of commercial conversation.

This extends to the BBC, with, for example, Sky carrying iPlayer programming as part of its ondemand services and supporting

The White Queen: Sky says there are costs for retransmission of PSB shows

the broadcaster’s 24 Olympic channels with an extensive marketing campaign.

“Collectively, the PSBs now pay less than £10m a year in regulated platform charges, and this figure continues to fall,” a Sky spokesman said. “We will continue our discussions with the PSBs about how the charges can be brought down further.”

Bundling retransmission fees into a wider commercial relationship may not satisfy ITV’s ambition to charge Sky and other

platforms to carry its channels, but the government was clear that it wants there to be “zero net charges” either way.

The DCMS’s intervention came in a policy paper that is the starting point for changes to the 2003 Communications Act. Also on the agenda is preserving PSB prominence on new content platforms and scaling back Ofcom’s responsibilities. The DCMS said it wants to make a “decision in principle” on digital switchover for radio before the end of the year.

BBC strikes deal with US indies to adapt The Great Escape The BBC is in the early stages of the project, which has been developed as a serial

BY PETEr WhiTE

The BBC is developing a TV series based on iconic Steve McQueen film The Great Escape.

The broadcaster is in the early stages of the project, which is being developed as a serial, after striking a deal with GK-TV and Open Circle. The latter is a US indie set up by former Lionsgate exec Craig Cegielski, who acquired the rights to The Great Escape.

The agreement is understood to be part of the BBC’s deal with Cegielski to remake Anne Holt’s detective novels. BBC1 is www.broadcastnow.co.uk

The Great Escape: TV series plan

currently developing the novel 1222 from the book series, in which wheelchair-bound female detective Hanne Wilhelmsen investigates the deaths of survivors from a train crash in the Norwegian mountains.

All3Media’s Company Pictures will produce the project.

Cegielski set up Open Circle after he left GK-TV, the television arm of Graham King’s film firm, earlier this year. He has subsequently joined Fremantle Media North America as executive vicepresident, scripted programming and development, but Fremantle is not currently involved in the two projects.

The Great Escape is a 1963 film about Allied soldiers who escape from a German prisoner of war camp during World War II. The film, which was produced by the Mirisch Company and United Artists, is based on the book by Paul Brickhill.

2 August 2013 | Broadcast | 5

News & Analysis

BBC staff weary of change, Hall warned BY jaKe KaNTer

Tony Hall has been warned that he may encounter ‘change fatigue’ among the BBC’s 20,000 staff if he attempts to radically overhaul the corporation’s structures.

The director general was told during an executive board meeting in June that BBC employees could be weary of further major changes and that he should keep that in mind when involving them in strategy sessions or communicating changes.

Hall’s wide-ranging BBC strategy review is well under way and the DG will reveal his conclusions in a speech in October.

He has drafted in consultancy McKinsey & Company to help declutter what he termed “overly complex” management structures, while collaboration and positioning the BBC for the digital future are prominent in his thinking.

Articulating what globalisation means for the broadcaster and its approach to openness and transparency are also under consideration. On the latter, the BBC is planning to review its approach to responding to freedom of information requests.

Hall: drafted in McKinsey & Company to declutter ‘overly complex’ BBC

Hall is also giving great thought to the BBC’s public service remit and wants the corporation to reflect the increasingly diverse UK population, particularly in London, where its reach with some minority audiences is not as strong as it could be.

High-level talks about the corporation’s direction of travel under Hall have been taking place for several months.

The warning over change fatigue comes against the back-

drop of a series of divisional shakeups and cost-cutting schemes, such as Delivering Quality First.

When former DG George Entwistle outlined his vision for the BBC in September 2012 – setting out plans to unravel the corporation’s three main content hubs of TV, radio and online – some staff bemoaned the prospect of another restructure. However, others agreed that readying the corporation for digital changes was vital.

Former ITN chief exec Purvis joins Channel 4 board Former ITN chief executive Stewart Purvis has been appointed to the Channel 4 board, which has been refreshed following the departure of Tony Hall to the BBC. Hall, who stepped down as C4 deputy chairman this year after becoming the BBC director general, will be replaced by Waitrose managing director Mark Price.

Price, a non-executive member of the C4 board since 2010, has been appointed for a threeyear term. He will report to C4 chairman Lord Burns.

Purvis, currently a professor of TV journalism at City University London, is a former partner for content and standards at Ofcom, which is responsible for making the C4 board appointments.

He will work alongside C4 nonexecutive board members Alicja Lesniak, Monica Burch and Richard Rivers, all of whom have been reappointed for further threeyear terms.

Ofcom chair Colette Bowe said Price and Purvis would both bring considerable depth of experience, while Lord Burns said the changes had helped to create “a strong board with a broad range of skills and experience”.

The appointments take effect on 1 September.

North One hires former C5 factual head Steve Gowans North One is a hugely respected company in a broad range of genres

BY alex farBer

Steve Gowans is to join North One Television as managing director, five months after leaving Channel 5.

Gowans, who worked at C5 for almost 10 years before departing in April, will join the All3Mediaowned indie in September to head its programming divisions and help grow the business internationally.

He will report to chief executive officer Neil Duncanson, who launched Chrysalis Sport together with Gowans in the early 1990s.

North One’s previous managing director Heather Jones left the 6 | Broadcast | 2 August 2013

Steve Gowans, North One Television

The Gadget Show: North One series

broadcaster in March 2012 after the indie lost an £8m-peryear contract as a result of the collapse of World Rally Champ-

ionship rights-holder Convers Sports Initiatives.

Duncanson said Gowans would bring the business more “programming muscle”, adding that there were no plans for it to look to diversify its output.

“We plan to become much more focused on what we’re good at:

male-skewing shows about technology, adventure, sport and motoring,” said Duncanson. “As the industry becomes increasingly homogenised, it’s even more important for us to play to our strengths.”

Gowans said: “North One is a hugely respected company in a broad range of genres and Neil is one of the best operators in the business.”

In his role as C5 head of factual entertainment, features and sport, Gowans ordered shows including North One’s The Gadget Show and Fifth Gear, plus Extreme Fishing With Robson Green and Eddie Stobart: Trucks & Trailers. www.broadcastnow.co.uk

DELUXE NUTRITION built for perfect performance

News & Analysis

Children’s pilot uses Kickstarter funding BY alEx farBEr

Bafta-nominated director Ed Kellie has raised £16,000 via crowd-funding site Kickstarter to create a children’s animation pilot narrated by Chris Packham.

Kellie has established Moon Studio to produce the 6 x 5-minute series Wildlife Jack & His Animal Adventures. The nature show is aimed at pre-schoolers and features an animated boy who encounters and talks to a series of real animals.

Production begins in September, with six weeks of writing followed by six months of animation, ahead of the launch of a Wildlife Jack DVD and website early next year.

The campaign exceeded its £15,000 target after 30 days, supported by more than 200 backers, who will receive rewards, including an invitation to attend writers’ meetings, attending a UK wildlife animal tracking event and a signed Chris Packham poster.

Kellie, who directed the 2011 series of The Apprentice and Mary Queen Of Shops, turned to the funding platform to help get the project off the ground.

“It’s difficult because kids’ shows need about six different

Wildlife Jack: £16,000 raised by director Ed Kellie from crowd-funding site

investors on board to get off the ground and I’m not a well-known children’s producer,” he said.

“By making six episodes, we are hoping to establish a following and a brand, which makes it easier for broadcasters to tap into.”

Kellie added that the Kickstarter campaign will fund half the budget, with the remainder generated through personal investment and via an animation tax break.

“Kids’ animations usually costs up to £5,000 per minute; we are aiming for closer to £1,000,” he said.

Early discussions about the series were kicked off with broadcasters including CBeebies, Nickelodeon, Italy’s Di Agostini and the Canadian Broadcasting Corporation at the Children’s Media Conference earlier this month.

Kellie is exec producing Wildlife Jack with his wife Abi Kellie, a former journalist for The Guardian and The Times, and director of photography Martin HaywardSmith, who has filmed David Attenborough’s Life Of Birds, The Natural World and Wild Britain.

The Garden to make ob-doc for C5 in debut order The Garden Productions has landed its debut commission from Channel 5, an ob-doc series following a family-run bus service in Yorkshire.

The 8 x 60-minute On The Buses, produced in association with GroupM Entertainment, will follow East Yorkshire Motor Services as it operates during the summer of 2013.

The company, located in Hull and Scarborough, operates a fleet of more than 300 buses that transport passengers to destinations across the North Yorkshire coast and North York Moors.

The series was ordered by C5 commissioning editor Emma Westcott and will be series produced by Rob Rawlings with The Garden’s Spencer Kelly, while GroupM Entertainment’s Tony Moulsdale and Melanie Darlaston will exec produce.

The show will air in early 2014.

The Garden head of programmes David Wise, who joined the indie from Fresh One Productions at the start of this year, said: “We’re thrilled to be making our first series for C5, to work with GroupM Entertainment and with East Yorkshire Motor Service’s warm and welcoming team”.

The Garden’s primary customers are Channel 4, BBC2 and BBC4.

BBC3 to premiere scripted comedy on iPlayer ahead of TX Premiering our comedies on BBC iPlayer is an exciting step forward

BY JaKE KantEr

BBC3 is to premiere all of its scripted comedy on iPlayer from next month as the corporation bolsters its online-first strategy.

The youth-skewing channel will make a handful of episodes of its sitcoms available on the VoD platform for seven days before the first episode airs on linear television.

The selected shows will then be removed from iPlayer, with individual episodes reposted after they have aired on TV, in the VoD service’s usual model.

The project will kick off this month with the second series of 8 | Broadcast | 2 August 2013

Zai Bennet, BBC

Him & Her: iPlayer series premiere

Tiger Aspect’s Bad Education and extend to BBC3’s other comedies, including Cuckoo, Bluestone 42 and Him & Her.

Comedy is one of the key planks in controller Zai Bennett’s strategy for BBC3 and he believes the channel can build on other online initiatives, such as iPlayer pilot scheme Comedy Feeds.

“BBC3 audiences are digitally savvy, and view our programmes in a number of different ways

online and on the go. We’ve already been experimenting with online,” he said.

“Premiering our scripted comedies on BBC iPlayer is an obvious and exciting step forward, and yet another innovative way to give our viewers more choice.”

Victoria Jaye, head of BBC TV content online and IPTV, said 42% of iPlayer users visit the service with no particular show in mind to view, while more than a third are happy to try new content.

The comedy strategy is part of a 12-month experiment to showcase up to 40 hours of new programming on iPlayer before it airs on TV. www.broadcastnow.co.uk

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Commissioning News

Channel 5 calls in the RSPCA These guys are heroes – they go where even policemen wouldn’t go alone

BY Peter White

Channel 5 has ordered a 10 x 30-minute documentary series from Middlechild Productions that follows a group of RSPCA workers who protect dogs from abusive owners and unscrupulous breeders.

The Northern & Shell-owned broadcaster has commissioned The Dog Rescuers from the indie and GroupM Entertainment.

The series will follow a group of inspectors from the RSPCA across England and Wales as they ensure animals are being treated properly.

Middlechild founder David Sumnall, who is also series producer, said the company had gained access to the inspectors after it produced Emergency Animal Rescue for Sky 1. Sumnall has also directed a number of the RSPCA’s television adverts.

The company initially pitched the show to cover a range of animals, but after speaking to commissioning editor, entertainment, daytime and soaps Greg Barnett and director of programmes (and dog lover) Ben Frow, it decided to refocus the series.

David Sumnall, Middlechild

the Dog rescuers: show was initially pitched to cover a range of animals

“Dogs are the country’s favourite pet and these RSPCA guys are heroes – they go into places where even policemen wouldn’t go alone,” said Sumnall.

Dog programming also rates well, as seen by the ratings success of Paul O’Grady’s For The Love Of Dogs on ITV.

The Dog Rescuers is set to go out in a 7pm or 7.30pm slot and Sumnall hopes it will be a returnable format.

Barnett said: “This series will have a tremendous impact on all those who watch. Some of the circumstances and conditions in which the RSPCA inspectors find

Firecracker peers inside the nightclub toilet for C4

Nutopia explores Algerian terror attack for C4 and PBS

Channel 4 is to open the door to the toilets of a Crawley nightclub for a one-off fixed-rig doc. Big Fat Gypsy Weddings producer Firecracker Films is behind the 60-minute special, which is being filmed over four nights from 30 July. Cameras in the male and female toilets of JJ Whispers will capture clubbers’ conversations and grooming habits. It was ordered by C4 documentaries commissioner Emma Cooper and will be produced by Laura Smith.

Cooper also commissioned The Fried Chicken Shop: Life In A Day (above) from Mentorn for Cutting Edge. The hour-long doc served up 2.44 million viewers and has gone to series.

Nutopia and the Bafta-winning director of Our War are making a documentary about the terrorist attack on Algeria’s In Amenas gas facility for Channel 4 and PBS in the US. Terror In The Desert (w/t) is a 60-minute film combining firstperson interviews with hostage survivors and their families, and dramatic reconstructions of key events during the fourday attack, which took place in January. Almost 40 foreign hostages from Britain, the US, France, Japan and Norway died when the facility was stormed by militants.

series from Sweet TV. Travel Channel has commissioned Luxury Uncovered and Man Vs World, while Food Network has ordered Jenny Morris Cooks The Riviera. The series were ordered

by Scripps UK and EMEA vicepresident of commissioning and original content Sue Walton, and senior vice-president of content and marketing Nick Thorogood.

The channels’ parent Scripps Network International is seeking more shows from UK indies for its portfolio of channels.

10 | Broadcast | 2 August 2013

Scripps channels order a batch of Sweet treats Food Network and the Travel Channel have commissioned three

Rory Kinnear to star as Lord Lucan in ITV biopic ITV has confirmed that Jeff Pope will pen a major biopic on Lord Lucan, the playboy aristocrat who vanished in the 1970s after his children’s nanny was murdered.

Pope will base his script on John Pearson’s book The Gamblers, which features interviews with those closely connected to Lucan

dogs is unbelievably horrible.

We’re trying to get as many dogs rehoused in loving homes as possible across the series run.”

Middlechild has had a positive experience working with GroupM Entertainment, whose head of programming Tony Moulsdale previously produced Animal Hospital. Sumnall said that striking a deal with the company had been “uncomplicated”.

The companies are currently in discussions over international distribution of The Dog Rescuers, which will launch in October.

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

at the time of the murder. The 2 x 90-minute drama, called Lucan, will be produced by ITV Studios and GroupM Entertainment. Rory Kinnear (below) will play Lucan, while Christopher Eccleston and Michael Gambon will also star.

Lucan will be produced by Chris

Clough (Strike Back, Skins) and exec produced by Francis Hopkinson, Jeff Pope and Quentin Curtis. Richard Foster and Tony Moulsdale are the GroupM exec producers, while Adrian Shergold (Mad Dogs) is the director. It was commissioned by ITV director of drama Steve November. www.broadcastnow.co.uk

For more projects in development and the latest commissions, visit

http://greenlight.broadcastnow.co.uk

Q&A SARAh dAVIeS Sarah Davies Vice-president, programming and development, factual, Discovery Networks international

What kind of shows would you like more of?

More great entertaining science – we’ve been working with Objective Productions on the Breaking Magic series. We’re also asking which other entertainment spaces we can invade with science take-out. We also want more true adventure/ survival ideas and more landmark/live – how can we push the boundaries?

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

Always ask: “Why are we doing this series?” Being a commissioner gives you incredible clarity about your channel and its brand and what will and won’t work – and it always starts with asking why. The proposition is key.

How would you like to be remembered?

For being honest, not being scared to have a laugh, and for crediting the brilliant people I work alongside. Never forget that you’re part of a team. That and my brilliant Take That singing.

How quickly do you aim to respond to an idea?

We always aim to acknowledge it within 48 hours if we can. And I try to pass on things straight away if I know they aren’t right for us.

What’s a definite no for you?

Competition programmes aren’t on my wishlist, nor are one-off science series. We need formats or true landmarks.

Who has final sign-off?

Julian Bellamy, senior vice-president and creative director, Discovery Networks International.

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

“We can get you Bruce Willis, but we need to do it tomorrow.”

How should producers pitch to you?

UK-based producers can email my development producer Rob Holloway at rob_holloway@discovery.com. US-based producers can contact my development associate producer Marion Said at marion_said@discovery.com.

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

“We’ve tracked down a former Nazi who’s sleeping with animals.”

Another one that left me cold was: “We have these two crazy guys and they’ll do anything, go anywhere, on a world adventure.”

We don’t want to make shows about gap-year students.

What’s your riskiest commission and why?

I think landmarks are always the riskiest as there’s so much invested in them.

Which TV character would you most like to be?

Nessa from Gavin & Stacey.

What’s your guilty pleasure?

Anything with Ruth Jones, Take That and Prosecco.

What’s your top pitching tip for producers?

Know the brand. Watch Discovery and have a sense of why an idea would make a great proposition for us. Also, be succinct. Don’t write a long pitch – tell me the idea in a headline and be very clear about what makes this different. Why should we be doing this? And show creative. If you have characters or talent that are key to the idea then we need to see them.

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

ReCeNT CommISSIoNS

THe Unexplained Files

Bear Grylls: escape From Hell

Indie Raw TV Length 6 x 60 minutes TX August 2013 Summary The series will investigate phenomena that science seemingly cannot explain.

Indie Betty TV Length 6 x 60 minutes TX Autumn 2013 Summary Bear reveals the incredible stories of ordinary people stranded in devastatingly dire situations.

www.broadcastnow.co.uk

2 August 2013 | Broadcast | 11

International

Cineflix steps back from drama Restructure places priority on unscripted shows for US and UK markets as Canada dries up

BY Peter White

Cineflix is gearing up for a new phase in which it eschews highcost drama programming for a focus on unscripted content.

The company, which is headquartered in Canada, is prioritising the UK and US markets as its traditional base of Canadian broadcasters reduce their reliance on local programming.

The producer and distributor announced last week that it was scaling back its Canadian division and that chief executive Simon Lloyd, the former Outline Productions boss, was leaving to set up his own indie with programming exec Joe Houlihan.

The company is mothballing its move into scripted programming, which began with the high-profile period drama Copper, ordered by US cable network BBC America.

Copper was BBC America’s highest-rated drama, but was expensive to produce and was largely deficit-financed through the Cineflix Rights division. While it was moderately successful internationally, with sales to broadcasters including FX in Australia and HBO in the Netherlands, the financial constraints of producing such a big-budget series are thought to have hit the company’s cash flow.

It is now clarifying its plans around Cineflix Studios, the scripted division it launched in 2010. The company expanded quickly, hiring Christina Wayne, who worked at US cable network AMC while it was developing Mad Men and Breaking Bad, as president. Then in 2012 it appointed former NBC Universal International president Peter Smith as chief executive.

However, it is now reversing this expansion and is in talks with both Wayne and Smith about their roles.

Cineflix still has a number of scripted projects at various stages of development with US and UK broadcasters, and was recently commissioned by US cable network Pivot to produce Will, a 10 12 | Broadcast | 2 August 2013

Copper: big budget caused cash flow problems for Cineflix; below: Cineflix Studios chief exec Peter Smith

Wood, the former creative director at Lime Pictures.

Wood, who produced Hollyoaks, The Only Way Is Essex and House Of Anubis, launched the company earlier this year to produce scripted programming. He is currently working on an adaptation of The Strange Case Of Dr Jekyll And Mr Hyde with Eddie Izzard.

Buccaneer Media will continue to develop and produce scripted programming, but Cineflix’s longterm participation in the venture is unclear. x 60-minute period drama about the life of a young William Shakespeare in Elizabethan London.

The drama is from the pen of Craig Pearce, who co-wrote the film adaptation of The Great Gatsby with Baz Luhrmann, and is being produced in association with Hilary Bevan Jones’ Endor Productions. The company is currently in negotiations with a British broadcaster for the series.

Wayne will continue to shepherd these projects as part of Cineflix’s scaled-back scripted unit, which is unlikely to develop any new series following the restructure.

Smith, meanwhile, was integral to the launch of Buccaneer Media, Cineflix’s joint venture with Tony

London boost The restructure could boost the company’s UK division, run by Camilla Lewis and Rob Carey.

Investment will be focused on the London office, which will be expected to win more factual and factual entertainment commissions like Trauma Doctors, which performed well for Channel 5, and Sky 1’s All Aboard: East Coast Trains. It will also seek to produce more returning series like Discovery’s Salvage Hunters and CBBC’s Pet School.

Additionally, Jodi Flynn will be heading up Cineflix’s unscripted development and programming for the US and Canada, and will

A restructure could boost the UK division, with investment focused on the London office be expected to build on commissions such as Investigation Discovery’s Murder In Paradise and Mayday.

These types of programmes have worked well for international division Cineflix Rights, run by chief executive Chris Bonney. The former Warner Bros executive will now focus on distributing these shows and picking up thirdparty rights to factual programming, such as Finestripe Productions’ The Day Kennedy Died and LMNO Productions’ The Bear Whisperer, rather than acquiring scripted content such as Hoodlum’s Australian drama Secrets & Lies.

Cineflix co-founders Glen Salzman and Katherine Buck are also set to become more hands-on, with Salzman taking over all production financing and Buck leading strategic planning as they aim to ensure long-term stability. www.broadcastnow.co.uk

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

First-look competition heats up The competition for indies is crazy at the moment

BY Peter White

Competition for British content is intensifying as global distributors put a greater focus on beating their UK counterparts to first-look deals with indies.

German distributor ZDF Enterprises’ deal with Talking To The Dead producer Bonafide Films earlier this week is one example, demonstrating how the likes of BBC Worldwide, Fremantle Media International, ITV Studios Global Entertainment and Shine International are having to fight off global media firms for local content.

As well as ZDF, Canadian firms Entertainment One (eOne) and Cineflix Rights, France’s Banijay International and US producer Lionsgate have been circling UK firms to strike first-look deals, development agreements and co-production-friendly distribution arrangements, a trend that looks set to continue.

“The competition for indies is crazy at the moment; producers that don’t even have shows on air

UK distributor

are up for grabs as long as they are seen to be commissionable,” said one UK distributor.

ZDF Enterprises (ZDFE), the international sales arm of the German public broadcaster, is keen to strike further deals in the UK following its Bonafide Films tie-up, which will give it access to sell forthcoming Sky

Living supernatural thriller Talking To The Dead.

Chief operating officer Fred Burcksen said ZDFE, which distributes doc series and Scandi crime dramas such as The Killing and The Bridge, could offer UK producers access to new markets.

The Bonafide deal comes after eOne, which distributes zombie

thriller The Walking Dead, struck a first-look agreement with Glue producer Eleven Film earlier this year. Under the deal, eOne will sell Eleven’s programming internationally and work with the indie on global co-pros. Executive vicepresident of global television Carrie Stein said it would try to strike a few more deals this year.

Cineflix Rights, which has a first-look deal with Rude Tube producer October Films, is still keen to strike similar deals despite its recent restructure, while Banijay International has resurrected plans to enter the UK. Mad Men producer Lionsgate, which has a first-look deal with Most Haunted indie Antix Productions, has also dipped its toe into the UK market.

Cable network CNBC puts its chips on gambling format

Channel 4 picks up rights for The Returned series two

H2 orders invention format from Jenny Daly indie

Netflix to air Breaking Bad finale in line with the US

US cable network CNBC has commissioned All3Media America to produce gambling format Money Talks. The US arm of the super-indie will produce the series, which is set in Las Vegas, in association with US producers Turn Left Productions and Lost Tribe Productions.

The series is part of CNBC’s move into reality programming and was commissioned

by Jim Ackerman, senior vice-president of primetime alternative programming. Money Talks follows Steve Stevens, an agent who runs VIP Sports, which helps its high-rolling clients gamble in Vegas. CNBC has also renewed The Car Chasers, from ITV Studios America, for a second, 16 x 30-minute series.

Channel 4 has acquired the rights to the second series of Frenchlanguage drama The Returned (below). The show is produced

by Haut et Court for French pay-TV network Canal+, and C4 bought it from Zodiak Rights. However, it is not clear whether this is a new deal or whether C4 had struck a twoseason agreement for the series from the outset. C4 will air the 8 x 60-minute second series, which goes into production at the start of 2014, later the same year. The eight-part supernatural thriller averaged 1.17 million (5.24%) on Sunday nights. The drama follows the return of a group of people who have died to their small mountain town home.

US cable network H2 has ordered a new invention format from T Group, the production company set up by former Target Entertainment executive Jenny Daly. The A+E Networks-owned broadcaster has commissioned 10 x 60-minute Thing-a-ma-bob, in which eccentric inventor Bob Partington will create a strange object from a box containing three things. The series, which will air on History’s sister channel in the US, is produced

by T Group in association with digital agency 1st Avenue Machine, which represents directors including Partington.

It will be exec produced by Daly, Bill Rademaker, Andrew Geller, Sam Penfield, Arvind Palep and Serge Patzak.

The series conclusion of Breaking Bad (pictured) will be available in the UK hours after its US broadcast after Netflix extended its deal with Sony Pictures Television.

The move is one of the most highprofile examples of a US show being made available in the UK hours after its domestic TX. Netflix will launch the final eight episodes of the drama, which airs on AMC in the US, on Mondays from 12 August.

The scheduling strategy represents the first time that Netflix has offered a show in weekly instalments, rather than making the full series available at once.

Cult show Breaking Bad will conclude this summer after five series.

www.broadcastnow.co.uk

Gee Gee: Film 4 feature by Bonafide Films, which has linked up with ZDFe

2 August 2013 | Broadcast | 13

Multiplatform News IN BRIEF Littleloud shuts up shop Littleloud, the digital agency behind Channel 4 Education projects such as mobile game Sweatshop, closed earlier this week. The Brighton-based company was co-founded in 2000 by David Jacklin and Darren Garrett.

“As anyone who’s done it can tell you, it’s hard work running a studio, and after a year of ups and downs, it felt like the right time to let it go and explore other creative ventures,” said Garrett.

BoxNation releases app Boxing channel BoxNation has launched a mobile and tablet app that allows fans to watch live and on-demand fights.

The app, available via Android and Apple devices, has been developed by Simplestream and costs £9.99 per month. The emerging pay-TV channel, available via Sky and Virgin, is keen to extend its reach to new platforms.

iPlayer requests stutter BBC iPlayer requests fell to 239 million in June, their lowest level since the start of the year and down from May’s 257 million. Requests from mobile and tablet devices accounted for 32% (79 million) of total usage in June, up 2% month on month, while PC-based requests fell by 3% to 44% (106 million).

Lovefilm inks Scripps deal Lovefilm is moving into cooking and lifestyle programming after striking a deal with Scripps Network Interactive to offer a raft of shows from the Food Network and Travel Channel.

The likes of Man v Food Nation and House Hunters International will be available to stream via the multiplatform Lovefilm Instant service. Chief marketing officer Simon Morris said: “There’s no doubt we’re a nation of foodies and it’s great that this will enable us to meet increasing viewer demand for this type of content.”

For the latest breaking news www.broadcastnow.co.uk 14 | Broadcast | 2 August 2013

BT Sport to ramp up web presence after launch

BY ALEX FARBER

BT Sport’s website will launch with a simple proposition before being ramped up to include innovative features such as multicamera streaming of events.

The website, which is due to launch later this month, has been developed on the same platform as the recently overhauled BT.com. Subscribers will have access to a live stream of programming and a raft of ondemand highlights.

Non-subscribers will be able to view a range of sport-related news, galleries and video clips.

A mobile app developed for iOS and Android devices will offer similar content and functionality.

BT Sport’s digital presence will evolve to include more innovative features, such as allowing visitors to choose from a variety of camera angles when viewing events.

Head of digital production Mark Coyle joined BT Sport in December from the BBC, where he oversaw the broadcaster’s online London 2012 coverage. He said it was important to guarantee a good user experience.

“We didn’t want to dive in with a digital proposition that hadn’t

BT Sport: doesn’t want to ‘dive in’ with untested digital functionality

been done before and run the risk of things not working,” he said.

“But we’re already thinking about adding in some features to our live coverage.”

Coyle added that the fledgling broadcaster’s MotoGP coverage could be used as an early testing ground for developing new functionality before scaling any innovations across all of its sports coverage.

Social media has been earmarked as a vital part of BT’s digital activity, supported by the

launch of a BT Sport hashtag, #bts, which doubles as an acronym for ‘behind the scenes’.

“Our social media voice will help to define us as an accessible, light-in-tone and fun channel,” Coyle said.

He added that one of the challenges at BT Sport, compared with his time at the BBC, was its nonbroadcast background.

“It’s a challenge to build a sports operation within a telco,” he said. “We don’t have many of the broadcast processes in place.”

WEB WATCH 4OD

C

hannel 4 has improved its 4oD mobile app to allow offline viewing. The upgrade to the iOS and Android app, available to registered users, allows shows to be downloaded to a device via Wi-Fi to view offline for up to seven days before expiring from the service automatically.

C4 has struck a deal with car manufacturer Nissan to sponsor the new mobile download feature for six months. Nissan’s agency partner, Manning Gottlieb, brokered the deal.

The addition of offline viewing functionality follows similar moves from the BBC and Sky. C4 director of commercial and business development Sarah Rose said: “This is the latest development in our viewer engagement strategy to reward our 8 million registered viewers with exclusive benefits.”

She added that growing C4’s database has enabled it to offer brands more innovative and targeted advertising solutions.

In June, C4 revealed plans to launch second-screen app 4Now to its registered user base to encourage more people to sign up.

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Technology & Facilities CrEaTIvE rEvIEw

The Mill

STephen Fry’S Key To The CiTy

Caribbean preMier league

Audio post Jumbuck Film and Television Client Darlow Smithson Brief Audio post-production on the historical drama about workers at Quarry Bank Mill in Cheshire, in 1833.

How was it done A big challenge was to characterise the sound of the mill and to create a believable, oppressive and dangerous environment. Many layers of intricate spot sound effects were required for the machines, while also leaving room for the dialogue to be clear, and for Peter Saville’s innovative score to drive the mood.

The soundtrack is characterised by the presence of the mill operation, as well as the clacking of heavy wooden clogs on the cobbled paths, where Foley supplemented the production sync sound (cut by Keith Mariner and Michelle Woods). Mixed solely within Nuendo, using an Avid/Euphonix MC-Pro desk, dubbing mixers Richard Davey and Will Chadwick told the story using wild tracks.

Watch it Sundays, 8pm, Channel 4

Post Envy Client Sprout Pictures Brief Full post on a one-off documentary in which Stephen Fry explores the square mile of The City, using his new status as a freeman to gain access to all areas.

How was it done The documentary was shot in varied light conditions and often on the move. Senior colourist Blair Wallace enhanced the colours, created depth and ‘improved’ the weather where he could in Baselight 2. Sequences shot on board a helicopter needed a little more attention to keep Fry lit, while adding contrast to his aerial view of the city. The senior dubbing mixer on the project was Matt Skilton and the senior online editor was Andrew Mitchell, while Michael Waldman produced and directed. Gina Carter was the executive producer.

Watch it Tuesday 6 August, 9pm, ITV

Agency Liquid Client IMG Brief To create a strong brand for the CPL international feed that expresses the vibrancy and carnival nature of the event.

How it was done Using super-wide dynamic camera angles and vibrant flowing colour, Liquid melded together the ‘crop over’ carnival and the explosive nature of Twenty20 cricket. The environment was created in Maya 3D using a low-polygon technique that gives an abstract, contemporary feel and movement. The characters were created using traditional animation techniques, while the energy lines were created in 3D but with a 2D feel to tie the styles together. The work was designed and directed by Harry Handyside, with Salva Gimenez working on the 3D elements and Simon Clarke on traditional animation.

Watch it From Thursday 1 August, BT Sport

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

BT Sport limbers up for kick-off at production hub BT Sport has opened the doors of its production studio (pictured) at the former Olympic International Broadcast Centre, the core of which is a hub designed by Timeline Television. Timeline has a five-year managed service contract for technical operations at the hub, including studios, master control room (MCR), post-production and workflow support. The three studios are fitted with Sony cameras and LED lighting. The MCR will manage more than 150 incoming and outgoing HD vision lines plus inbound satellite traffic from BT’s Madley earth station. EVS, Harmonic and Avid technology is also imple16 | Broadcast | 2 August 2013

mented into the fully file-based operation. The technical build was sub-contracted to Megahertz Broadcast Systems.

Directors Cut Films adds Object Matrix storage Soho’s Directors Cut Films has a new nearline storage system based on a 60 terabyte MatrixStore from vendor Object Matrix. The system, supplied

by Object Matrix and Avid partner Tyrell, will be implemented into an Avid Interplay workflow with content transferred to and from the MatrixStore using an InterConnect archive plug-in. “More of our client’s projects are now file-based, from ingest to delivery, so we have been keeping an eye on the broad-

cast technology market for solutions that allow us to build secure, cost-effective and repeatable workflows,” said technical director Andy Nicholson.

Eyevis rear-projection cube to make debut at IBC The first 70-inch LED-lit rearprojection cube will debut at IBC in September. The technology from Germany’s Eyevis is used to create videowalls in television studio backgrounds (illustrated above). Its resolution is the WQXGA standard (2560 x 1600 pixels), but the company also has a professional 4K-resolution, 84-inch LCD for post-production.

With a native display resolution of 3,840 x 2,160 pixels, the EyeLCD-8400-QHD slots alongside Eyevis’s existing 31.5-inch and 60-inch monitors. Further novelties on the stand include 55-inch super-narrow bezel LCD screens

for videowalls and 46-inch and 55-inch LCD monitors with EdgeLED backlight.

Milk completes kit rollout at Fitzrovia facility Boutique VFX outfit Milk has completed the initial technical roll-out at its new facility in Fitzrovia. With leasing arranged by Azule Finance, the company has invested in a range of kit including Autodesk Maya 3D animation software, Nuke X from the Foundry, Arnold render licences, CandIT Warp hard disk storage and Fat Twin render nodes. Milk has www.broadcastnow.co.uk

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

CTv orders 4K-ready truck for England cricket on Sky

BY AdriAn Pennington

CTV has ordered a 4K-ready outside broadcast vehicle to cover England’s home cricket internationals for Sky Sports.

The truck, which is planned to launch around May 2014, would be the UK’s second multi-camera 4K unit following Telegenic’s launch of T25 in June.

CTV international director Barry Johnstone said specifications would be nailed down post-IBC, when more is known about the types of cameras needed to shoot 4K live. “We are working with Sony and Sky for the truck to come on stream in the second quarter of next year, but we have to make sure that what we put on board will stand the test of time,” he said.

The truck will be used to fulfil CTV’s ongoing contract for Sky Sports’ cricket, but it would be premature to infer that BSkyB is timing a 4K (Ultra-HD) channel launch for mid-2014.

Live Ultra-HD jobs are virtually non-existent at present and the pro-

already begun work on the 50th anniversary episode of Doctor Who, the third series of Sherlock and the BBC’s forthcoming Jonathan Strange & Mr Norrell.

SNK Studios merges with red apple Creative Tottenham Court Road-based audio post and voiceover recording facility SNK Studios has merged with neighbouring production company Red Apple Creative. Both brands will maintain their own identity and also create a specialist radio and online audio media department, called Radio Results.

SNK director Seb Juviler said: “We already have one of the best recording facilities in London.

Now we’re just making things simpler for advertisers and cementing our position as the go-to place for everything broadcast creative-related.” www.broadcastnow.co.uk

international cricket: CtV is set to launch its 4K oB truck in Q2 next year

duction technology to achieve them is patchy, but OB suppliers have to invest ahead of the market. All the main suppliers are testing kit for developers Sony and Grass Valley.

SIS LIVE sales director Simon Bowler said: “There will be a major push into Ultra-HD, but we’re not there yet. Broadcasters must make a significant commitment to make that happen. Ultra-HD will definitely feature in the next trucks we build.”

OB supplier Arena, meanwhile, is not committing to the format for at least six months. “We will review that position as we believe there is work for a medium-sized truck to be added to our fleet,” said managing director Richard Yeowart.

Sony claims to have proof of concept that 4K is operationally and technically feasible following tests at the Confederations Cup in Brazil last month.

Imagem sets up film and Tv venture with ex-EMI exec

said: “Jonathan is at the forefront of music and media. He has made producers, broadcasters and film studios understand the value of music and IP ownership.”

Channon will be the venture’s managing director.

Music publisher Imagem is forming a joint venture focused on film and TV with former EMI Music Publishing executive

witbe to test video robot user experience at IBC

vice-president Jonathan Channon (pictured). Imagem is launching with a global deal to manage and exploit the music libraries of Avalon Distribution, which represents Avalon Television, Flame TV, Topical Television, Tinderbox Television and Liberty Bell Productions. Imagem Music UK chief executive John Minch

Witbe is introducing its 4402 Video Quality Robot at IBC next month. It claims the machines, designed for testing and monitoring up to eight HD video services in parallel, can replicate end-user actions on any viewing devices, including set-top boxes, smartphones, tablets, games consoles and connected TVs. “The video delivery market is moving to a world where content is accessed via applications available on any device and over any network,” said Witbe co-founder Jean-Michel Planche. “This creates so many

University makes strides in HDR development Researchers at Warwick University claim to have made a significant step in High Dynamic Range (HDR) by developing a £325,000 camera system comprising two DSLRs. HDR is the technique of capturing a far wider range of colour and lighting detail than is possible with existing camera technology.

Development in this area has been limited because of the extreme amount of data required for processing. A single uncompressed HDR frame requires 24Mbs, which results in 42Gb for a minute of footage at HD 30fps, compared with just 10Gb for a minute of normal HD footage.

Warwick University’s GoHDR research group said it has devised the first complete low-cost HDR video solution including camera, encoder and viewing software.

It recorded a recent Florida space rocket launch in 20 f-stops and 30 frames per second. The results of the test, and a full post processing and display pipeline, are on show at IBC’s R&D section Future Zone.

combinations that it is becoming very complex to control user experiences. Testing and monitoring quality of experience is the key to enabling transactions that will drive new sources of revenue.”

Sky Deutschland and Sony to demo live Ultra-HD Sky Deutschland and Sony are to demonstrate a live satellite transmission of 4K Ultra-HD content at IBC to promote the consumer benefits of the highresolution broadcasting format.

A special trailer of 4K highlights will be shown, including documentary clips from 3net, features from Sony Pictures and Bundesliga football from the German pay-TV operator. Also involved on the technical side are satellite operator SES Astra, encoder developer Harmonic and Pace, which has a prototype Ultra-HD-ready set-top box.

2 August 2013 | Broadcast | 17

Comment

They liked it so much they said, ‘Why don’t you think primetime, Saturday night, BBC1?’

Brian Henson, In Focus, page 20

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Social media shows it power All3Media is taking the lead in testing new formats, says Kate Bulkley

M

aybe it was the birth of the royal baby. Perhaps the sunshine. Or could it just be that TV’s relationship with social media has matured naturally?

Broadcasters and TV producers are starting to understand that Facebook and Twitter are more than just bolt-ons for shows’ marketing plans. Speak to the right people and they’ll tell you social media is a beast that can beat down PVRs and the likes of Netflix, while also creating more moments that can capture viewers’ attention before, during and after a show airs.

All3Media is one such company, and NBC’s The Million Second Quiz, the new 24/7 gameshow created

by Studio Lambert, is a good example.

From the outset, a 12-day live quiz broadcast from an hourglass-shaped box in New York City is a good idea, but not a great one. But when you realise that viewers could be playing the game at home one evening via social media and be in NYC playing live on TV the next, it starts to get more interesting.

NBC has signed the ubiquitous Ryan Seacrest to front The Million Second Quiz, and other programmes on the network will ‘check in’ to the show all day as contestants play 24/7 for 12 days straight – including during the ads – to win up to $10m. It is not a given that social media will help make the show a winner, but the network is pulling out all the stops.

And it is not just gameshows that are getting the social media makeover. Another All3Media show, Midsomer Murders, is in its 15th season and might not appear to be a prime candidate for social media change. Yet its Facebook community is now contributing questions for on-set interviews with the characters that are posted on the social network. Midsomer

Murders also has a Facebook game, and All3Media recently let gamers create their own new levels with which to challenge their friends. The idea is to tap into the super-fans, who have boundless amounts of energy and ideas for shows they love. Talk about power to the people.

Many shows have also tapped into Twitter for promotion and All3Media plans to take that to the next level. For crime drama Hinterland, which is set to air on BBC Wales this year and BBC4 next year, All3Media International is constructing a Twitter ‘conversation plan’, so that instead of random cast or crew members tweeting before, during and after the show, producers can create and send out ‘timed tweets’ that a local broadcaster can load onto Twitter while the show is on air, timed to coincide with certain moments in the show.

All3Media senior vice-president of digital and head of business affairs Gary Woolf says it’s about finding ways the broadcaster and producer can co-own the social experience.

“It’s about trying to spot things that will trend and that will keep people engrossed in the show both during and between transmissions,” he explains.

The lines between marketing and production are blurring and are only going to become even more intertwined. Perhaps by the time Prince George is grown up, social media won’t be called social media any more – just simply entertainment. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘Viewers can play from home one night and be in the studio the next’

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

YouR saY

In mY vIew than a department working together to do simple things really well. It is motivated by internal politics, and isn’t about creating the best experience for the viewer.

Pitching popular factual to C4 is a waste of time for my company and I find it really demoralising.

They have their mates and we’re not in the gang, therefore no work for us, whatever the pitch.

Producer

Bectu campaign: respect for all

Comments on broadcastnow.co.uk about the launch of Broadcast’s commissioning survey Will the survey and the follow-up debate in Edinburgh address the ethics of production? Both indie producers and commissioners came in for strong criticism in Bectu’s Say No to Exploitation in TV survey earlier this year. Excessive hours and generally poor working conditions on factuals are due in large part to the seeming inability or unwillingness of indies to challenge the commissioners on price. Similarly, commissioners are accused of unreasonable and late changes to programme briefs, which only intensify the already high pressures on those working in production and post-production.

Respect at work for all should be central to commissioning and production practice. Business is only ethical if it delivers high standards in the way staff are treated and allows the workforce to express their concerns without fear of backlash. Find out more about Bectu’s survey at www.bectu.org. uk/no-to-tv-abuse.

Sharon Elliott, communications officer, Bectu.

It’s a shame you’ve asked only the top 100 production companies, as some of the problems that are being cited by producers are exacerbated in smaller companies not owned by a super-indie or a larger company.

Indie producer Responses on broadcastnow.co.uk to the story ‘Channel 4 ratings tumble 10%’ (Broadcast, 26.07.13) If the team at C4 commissioned simple shows about stuff people wanted to watch, they would get their viewers back very quickly.

Commissioning at C4 now seems to be one big in-house intellectual TV format talent contest, rather www.broadcastnow.co.uk

Comment

Broadcast, Greater London House, Hampstead Road, London NW1 7EJ or email bcletters@emap.com

I disagree. David Abraham is one of the best TV execs I have ever worked with. Very creative/original and a great businessman. I think that running one of the terrestrials, if you’re brave enough to drop a big schedule filler like Big Brother, is a challenge.

Producer The Treasury will soon be looking for easy ways to raise a few hundred million here or there.

There are already questions about C4’s current performance. If it’s not succeeding either creatively (it is not) or in terms of reach or share (it is not), then why would any government, blue or red, not then decide to raise some cash by selling it off? So, if something isn’t done fast – starting with a clearout and the recruitment of some really able commissioners – the current regime’s legacy will have been to open the door to C4’s full-scale privatisation. Bonuses all round, eh?

Producer Responses on broadcastnow.co.uk to the story ‘C4 orders nightclub toilet doc’ (Broadcast, 26.07.13) Channel 4 ratings even beaten by Channel 5. No surprise with this sort of commissioning. The Metropolitan elite taking the piss out of out of their lessers, if you’ll pardon the pun. It just continues.

Producer

Big Brother: rating well for C5

Replace the BBC licence fee with tax for a fairer system Does Finland hold the key to how to fund our national broadcaster? asks Tony Ballard

T

he BBC embodies decades of aspirational thinking about public service broadcasting, but little of it has been applied to the unreformed annual TV licence fee.

The DCMS’ strategy paper, published this week, offered no proposals for reform.

Linear scheduled broadcasting is no longer the only game in town.

On-demand viewing is growing in popularity and does not require payment of the licence fee, so the BBC’s income is under threat.

One way to stem the haemorrhage of funding is simply to stop making it matter when and how a programme is viewed. A broadcaster is ultimately a provider of programmes, whatever the mode of delivery, and is in the business of making content available.

The fee itself fails to respond to the BBC’s changing audience share, and it cross-subsidises radio, new media and non-programme activities.

The first of the BBC’s public purposes, as enshrined in the Charter, is to sustain citizenship and civil society. It would be absurd to suggest this is designed to benefit only the TV licence fee-payers. The case for the BBC to be funded from general taxation would be overwhelming were it not for significant concern about independence from government, and the stability and security of its funding.

One country that has found a novel way around that problem is Finland, where the fee has been replaced by a mandatory PSB tax, payable at 0.68% of taxable income, but not less than ¤50 (£43) nor more than ¤140 (£121).

The tax will fund an appropriation from the state budget to a TV and Radio Fund to finance the PSB, maintaining a degree of independence by keeping funding at least one step away from government.

Should this be a way forward for the UK? It has potential benefits. It would end the 10-year cycle of Charter negotiations, which offer no guarantee of independence. It would take the distinction between linear and on-demand viewing out of the debate. It would make collection efficient and reduce the regressive element of the licence fee by linking payment to ability to pay.

It would also be consistent with the principle of public service broadcasting as a service in the

‘Adapting to today’s world would ensure the vitality of the PSB principle’ national interest. And – last but not least – it might foster the perception that rather than being a statesponsored means of supporting the BBC, the funding contributes towards the cost of sustaining citizenship and civil society generally.

It is perhaps not widely known that, in its constitutional documents, the BBC has no unqualified right to the licence fee revenue. It is entitled either to the net revenue or “such lesser sums as the Secretary of State may, with the consent of the Treasury, determine”. It depends on the government; the Finnish system looks a more effective guarantee of independence than this.

Achieving PSB aspirations depends on adequate, stable and secure funding, and that in turn depends on public consensus.

Suitably designed, the Finnish solution could strengthen the BBC’s slender hold on its source of funding and its independence.

Adapting the funding mechanism to today’s world would foster the vitality of the public service principle, not only in passive broadcasting, but also in the active world of search and demand for PSB content. ➤ Tony Ballard is a partner with law firm Harbottle & Lewis and a former adviser to the BBC 2 August 2013 | Broadcast | 19

In Focus that puppet game show

Stars in the making: the cast of That Puppet Game Show

‘it’s unlike anything else on tV’ A jaded armadillo and a talking hotdog will be among the colourful characters helping BBC1 in the Saturday night ratings war over coming weeks. Olly Grant meets the show’s creators CREDITS Producer BBC In-House Entertainment; The Jim Henson Company Length 8 x 40 minutes TX tbc, BBC1, Saturdays from August Commissioners Danny Cohen; Karl Warner Lead writers George Jeffrie; Bert Tyler Moore Writers Toby Davies; Andrew Dawson; Steve Dawson; Tim Inman; Tom Leopold; Daniel Peak Executive producers Derek McLean; Brian Henson; Martin G Baker Series producer Jamie Ormerod Script producer Tom Miller Games producers Keith Cotton; Ant Carr Director Richard Valentinen

I

t looks, at first glance, like a typical Saturday evening sitcom.

A standing set at the BBC’s Elstree Centre. A plywood stage dressed with open-plan desks and stationery clutter. In a TV production office, a jaded American presenter called Ian is scheming about his next career move.

“Maybe this is the year that I finally cut loose from all these putzes,” he hisses. Which, in itself, would not seem unusual – were it not for the fact that Ian is an armadillo.

Pan down and you glimpse the familiar arm sticks. Below that, mostly hidden by desks, a wisp of silvery hair leads down to the angular figure of Brian Henson, puppeteer and chairman of The Jim Henson Company. For a run of Saturday nights this summer, BBC1 is entrusting primetime to a Hensoninspired quiz format called That Puppet Game Show (formerly known by the working title No Strings Attached).

20 | Broadcast | 2 August 2013

As everyone on set acknowledges, it’s somewhat eccentric. Front of show is the titular element, with pairs of celebrities pitted against each other in a series of silly studio challenges (shot as live but without an audience, à la The Muppet Show). Each game is hosted by a puppet ‘expert’, from armadillo Ian to Jemima Taptackle, a matronly sports coach.

The second element is a behindthe-scenes sitcom, with cutaways to the puppet crew running the production.

Fuse The Muppet Show with Saturday Night Takeaway and Moving Wallpaper and you might get something approximating That Puppet Game Show.. But series producer Jamie Ormerod,

who helped devise the idea in-house at the BBC, says this show ploughs its own furrow.

“I don’t think anyone has ever done a gameshow with a backstage narrative before, let alone a gameshow with puppets,” he explains a fortnight later when the office has been replaced by a glitter-laden studio with psychedelic lights. From a filming point of view, Ormerod admits, it has been slightly schizophrenic.

“What we’ve tried to do is make the two things bleed into each other so that things happening backstage will affect what’s happening in the gameshow. We’re effectively flipping between two styles of programme-making.

So on the same day we might go from briefing a contestant www.broadcastnow.co.uk

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‘I don’t think anyone’s ever done a gameshow with a backstage narrative before, let alone a gameshow with puppets’ Jamie Ormerod, series producer

about the rules of a game to checking the eyeline of a puppet for a greenscreen comedy sketch. That’s two very different programme mindsets.”

Anyone with puppet experience will know how challenging the dynamics of shooting can be. For backstage scenes, the sets had to be raised on 3ft stilts to give the puppeteers room to manoeuvre – leading to the odd spectacle, if you happened to be touring the studio floor, of doors and desks that appeared to be hanging in mid-air. Cameras were raised to their highest settings and the operators stood on crates.

Logistical challenge EVS editing allowed the crew to review and cut as they went, sitcomstyle. But monitors also had to be clustered around the cast to provide live playback. “A puppeteer is essentially blind without a monitor, because whatever we’re filming is positioned about a foot above their heads,” Ormerod explains. “At some points, we had 30 different monitors rigged around the studio. So we had a dedicated team whose job was to get them all rigged and moved around at the right time and in the right places.”

Paradoxically, Ormerod found that the limitations imposed by the puppets presented them with ideas.

Take the game Nosy Neighbour, for instance, in which – and this will take some visualising – a celebrity uses a trampoline to peek over a fence into a garden filled with puppet sausages.

“That was inspired by a puppeteer play board [the screen used to conceal the human actor]. Nosy Neighbour uses the fence as a part of the formatting of the game. So the restrictions actually informed the games.”

That Puppet Game Show has been through a relatively long gestation.

The initial seed was sown in 2006, when Ormerod saw Henson’s improv show Puppet Up! at the Edinburgh Fringe. Five years later, when he had moved from Endemol to BBC comedy entertainment development, he and ➤ www.broadcastnow.co.uk

Clockwise from left: Dougie Colon; Dr Strabismus; Jemima Taptackle; plus Amber O’Neill (facing page)

elstree studios building on a global heritage

The Muppet Show: filmed at Elstree

BBC Elstree Centre has a longstanding relationship with puppets – and particularly The Jim Henson Company. In the 1960s, it housed Tom Jones’ variety show, which booked Jim Henson for a cameo.

“I have an early memory of him walking up the stairs of Elstree & Borehamwood station carrying his two puppet boxes,” recalls the floor manager, Martin G Baker of Baker Coogan Productions, who, four decades on, is exec producing That Puppet Game Show.

Famously, Henson’s break came via ATV boss Lew Grade, who picked up The Muppet Show after it had been rejected by several US networks. “Part of the reason Jim ended up coming to the UK was that in America he was too closely aligned with Sesame

Street,” Baker explains. “People thought The Muppet Show was another kids’ show.”

Success was not a given. “Before it aired, I remember how we all said our farewells in this very studio,” says Baker. “No one knew if we were going to come back.” But the show was an overnight sensation and celebrities from both sides of the Atlantic poured into Studio D at Elstree to film skits with the puppets.

Five series followed, and The Jim Henson Company cemented its British link with non-Muppet films like Labyrinth and The Dark Crystal, and by basing the first, now defunct, Creature Shop in Camden Town.

Brian Henson, interestingly, is keen to see the shop re-established. “The industry went into such recession over the past 10 or 12 years that it became impossible to stay open in London, but I’d like to see that change,” he says. “Production is certainly picking up in Britain and if we could set up another shop here again I would be very pleased.”

Back at Elstree, the BBC has designs on selling That Puppet Game Show internationally. “We are looking at the idea of BBC Worldwide doing a live production, where people come and film on our set, with their own celebrities, and then redub the backstage stuff,” says exec producer Derek McLean.

“I’ve seen BBC in-house lose ground to places like Endemol, which created the assault course for Total Wipeout then sold it to different territories. This is a way for us to do something international.”

2 August 2013 | Broadcast | 21

In Focus that puppet game show then-colleague Andy Brereton sent Henson a speculative email suggesting they collaborate on ideas.

“The show developed organically,” says Henson. “When we first started talking, it was going to be a sketch comedy. Then it was going to be a more adult, late-night talk show, with sketch comedy around it.”

This went as far as a taster with Stephen Fry as guest human. In a recurring segment, he was spoofed in the real world by a miniature puppet of himself. “The idea was that, throughout the show, we would cut to the puppet version of our celebrity, who would be trying to live their life.”

Thinking primetime The taster went down well with the entertainment commissioning department under Karl Warner. “We were thinking late night, 11pm, 12pm, something fun but small,” says Henson. “But they liked it so much they said, ‘Why don’t you think primetime, Saturday night, BBC1?’ And that’s when it all got... bigger.”

When Warner suggested meshing the sketch concept with a gameshow, the series began to take shape. Henson flew to London with a batch of boxes containing 50 different puppets, to begin brainstorming characters for the cast. “The only puppet we made for this show was the host, Dougie,” he explains. “All the others were preexisting and came out of improv.”

In the meantime, a non-transmission pilot with Dara O Briain and Charlotte Church seemed to indicate that the show had legs. The writer at this point was Danny Baker. When Warner commissioned an eight-part series, however, Baker opted to pass.

Executive producer Derek McLean says this was to do with workload rather than creative differences.

“It was a huge writing job for one person,” says the former BBC creative entertainment director, recently appointed head of non-scripted at Lime Pictures. “Danny is a creative genius but he’s a writer who, at the time, didn’t want to write with anyone else. So that was great and when you’ve one pilot to do, it’s fine. With a whole series, we realised that the writing had to be a much more collaborative and broader experience. When we talked to him about that, we just couldn’t make it work.”

The new writing team reflects the cocktail of genres in the show: George Jeffrie and Bert Tyler Moore have extensive sketch show experience 22 | Broadcast | 2 August 2013

The Amazing Ian: voiced by Henson

(Star Stories, Armstrong And Miller), as has Toby Davies (That Mitchell And Webb Look, School Of Comedy); Daniel Peak has a sitcom background (Not Going Out); and the Dawson Brothers have spanned drama, sketch and gameshows (Skins, Total Wipeout).

A particular coup was Tom Leopold, the American novelist and performer who has written for everyone from Bob Hope and Lucille Ball to Jerry Seinfeld.

‘Everything we make is unlike anything else on TV’ Brian Henson

“We talked to him about what this was, that we were the BBC and had no money,” McLean jokes. “He said, ‘I love this idea. I don’t care. I’ll come even if I have to sleep on the floor.’ We were really lucky to get him.”

The question now is whether the show’s disparate parts will come together to produce Saturday nightfriendly ratings or if it will suffer a similar fate to Don’t Scare The Hare.

The experiment certainly feels like the sort of thing the BBC was designed for.

And that makes it an appropriate fit for the creators of The Muppet Show, says the man beneath the armadillo.

“TV is a very fickle business, but I’m not like producers on other shows,” says Henson. “They’ll say things like, ‘I’m pretty confident this one will work because it’s very much like Game of Thrones’ or whatever else is already out there and is a big success.

“Everything we make is unlike anything else on TV. So I never know.

Pretty much everything we do is critically acclaimed and wins awards – and sometimes isn’t as popular. But I think this one has a really strong chance of being creatively excellent and also a big success.”

celebrity guests keeping it real

Striking a pose: host Dougie Colon (right) with Vernon Kaye

Perhaps the trickiest technical aspect of puppet filming is maintaining the correct eyeline – no mean feat when, for example, six puppeteers are working a row of singing sausages in a confined space.

“It’s a totally normal camera rig,” explains series producer Jamie Ormerod. “But your cameramen and director have to be in sync with the puppeteers. As soon as you show a bit of sleeve

or head, the shot’s gone and you’ve lost it. With tiny bits, you can compensate in post. But basically, once you’ve set a shot, everybody has to stick to it.”

When it comes to interacting with (often bemused) celebrities, the principle trick is keeping the pretence of reality, so the puppets generally stay in character on and off camera, from addressing the director to chatting with the guests. “Obviously it gets harder

for the celebrities if the puppets just pop up the moment the director calls ‘action’ and then drop right down,” says Brian Henson.

“So you want to try to show them that the puppets are alive.”

For the puppeteer team – which includes long-time Henson collaborators Nigel Plaskitt, Victor Yerrid and Louise Gold – this means treating the job like regular acting, with added improv.

“Puppetry basically requires three skill sets: manipulation of the puppet, voices and acting,” says Yerrid. “Acting is by far the most important; if you can’t create a believable, interesting, three-dimensional character, people are very quickly going to lose interest in you. Finding the character flaws and things that people can identify with is what makes them real.

“As wacky as the puppets are, the more grounded in reality you keep them, the funnier it is.

Because you believe in the characters; you buy into them.”

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Ratings Analysis PSBs

A tough act to follow With the Olympics boosting last year’s figures, maintaining volume was always going to be difficult, but for the BBC and ITV, the signs are encouraging so far. Stephen Price reports

A

year ago, the country was going Olympics crazy. In broadcaster terms, the year-on-year figures are about to go crazy too, as ordinary 2013 can’t compete with 2012’s mad levels of everyone watching everything.

So it’s a good time to have a look at how the PSB channels are performing before 2012’s runnin’, jumpin’ and tae kwon do-in’ obscures it all.

The top line is that it’s good news for BBC2. Despite all-day falls, down to the lack of original daytime content, it’s showing very strong increases in peak. ITV is showing small increases in peak and alltime share, while main rival BBC1’s peak is slipping, despite extra daytime content helping to deliver increases in overall share.

Channel 4 and Channel 5, meanwhile, are both showing significant declines in all-time and peak.

In all time (0600 to 2600), BBC1 is showing increases of 1% for the year to 16 July 2013 on the same period last year. Peak is down by 4%, despite first-quarter increases in share of nearly 2% in peak up to the end of March. This

116%

Increase in BBC1 share between 3pm and 5.15pm on weekdays

Escape To The Country: BBC1 daytime is benefiting from the loss of CBBC content

is countered by daytime growth – specifically where CBBC used to be. Between 3pm and 5.15pm on weekdays, BBC1 has increased its share by 116%.

With 9pm showing a modest increase of 1%, the focus is on pre-watershed. Weekday 8pm9pm’s share is down 5%, while EastEnders is declining by more than 6%. A crucially important task

for new BBC1 controller Charlotte Moore will be to fix the soap quickly as well as addressing prewatershed in general. In 2014, there won’t be unfeasibly big daytime increases to disguise any slippages.

ITV is sailing in tranquil waters with peak share up 0.6% and all-time up 0.3%. With the huge hit Broadchurch averaging 9.4 million/32% and Britain’s Got

Talent up by around 5% in share terms on 2012, ITV had a good second quarter, despite the comedy laments of Vicious (3.9 million/15%) and The Job Lot (3.2 million/12%).

But what makes everything so much easier is the performance of the soaps: Coronation Street is up more than 4% in share terms, while Emmerdale is all but level.

PSB CHANNELS 1 JAN-16 JUL, ALL DAY (0600-2600) Channel

2012 YTD volume (m)

2012 YTD share (%)

Commercial share (%)

2013 volume YTD (m)

2013 YTD share (%)

Commercial share (%)

Change y-o-y volume (%)

Change y-o-y share (%)

Commercial share change y-o-y (%)

BBC1

2.38

21.14

21.35

0.70

6.23

-

2.36

BBC2

0.64

5.80

-

ITV

1.85

16.38

25.81

1.82

16.43

25.67

-1.59

0.29

-0.55

C4

0.74

6.58

10.37

0.64

5.75

8.98

-14.27

-12.61

-13.37

C5

0.52

4.65

7.32

0.50

4.48

7.00

-5.42

-3.66

-4.42

Other

5.06

44.93

70.77

5.10

46.10

72.02

0.70

2.60

1.76

2013 volume YTD (m)

2013 YTD share (%)

Commercial share (%)

Change y-o-y volume (%)

Change y-o-y share (%)

-5.45

-3.50

4.01

6.11

-0.88

0.99

-8.60

-6.90

-

PSB CHANNELS 1 JAN-16 JUL, PEAK (1900-2230) Channel

2012 YTD volume (m)

2012 YTD share (%)

Commercial share (%)

Commercial share change y-o-y (%)

BBC1

5.53

22.57

21.78

1.72

7.04

-

5.23

BBC2

1.79

7.47

-

-

ITV

5.20

21.26

33.35

5.13

21.37

33.36

-1.46

0.56

0.02

C4

1.64

6.69

10.50

1.44

5.98

9.34

-12.35

-10.61

-11.04

C5

1.19

4.87

7.64

1.11

4.62

7.21

-6.98

-5.13

-5.59

Other

9.22

37.66

59.09

9.34

38.94

60.78

1.34

3.40

2.86

BBC2 includes BBC2 HD from 26 March 2013

24 | Broadcast | 2 August 2013

www.broadcastnow.co.uk

Data supplied by Attentional

Source. BARB

When these shows are strong, the pressure on the rest of the schedule to deliver impacts eases significantly. But, as ever, ITV’s year might still be defined by The X Factor – and whether it can buck the recent declines.

BBC2 is still a channel of two halves. All-time is showing a hefty 7% decline because of the removal of its daytime schedule and budget, but peak is up by 6%.

Some of this increase may be down to 2012’s pale share (7% – a 10% decline on 2011’s year-to-date share of 8%). But 2013 (8%) is recovering, helped by strong drama numbers, such as The Fall’s 4.3 million/16% and The Politician’s Husband’s 2.8 million/11%.

Rosy picture In factual, good numbers came from The Great British Bake Off spin-off Paul Hollywood’s Bread (2.5 million/9%) and the six-part The Route Masters: Running London’s Roads (2 million/8% for the first three). With history helping (The Last Days Of Anne Boleyn’s 3.7 million/14% was the best of the crop), most genres have contributed. A summer series of Top Gear that didn’t happen in 2012 also helps to paint a rosy BBC2 peak-time picture.

Comedy, that most fickle of beasts, remains tricky, as evidenced by Count Arthur Strong’s recent travails. The struggling sitcom has now moved from the Monday 8.30pm slot, where hits such as Miranda were born but where Corrie proves irresistible, to Tuesday at 8pm. Right now, the most popular sitcom on BBC2 remains Dad’s Army (2.8 million/12%).

Channel 4’s 0600-2600 share is down 13%. In 1900-2230 peak time, it’s down 11%. Part of the trouble is the bankers, those returning schedule tent poles that are on over many weeks. One Born Every Minute’s average was not too shabby (3.3 million/12%), but this was 26% behind the 2012 series (4.4 million/16%); the 71 episodes on 4seven averaged 69,000/0.4%. So far, 24 Hours In A&E, at 3.9 million/14%, is down 10%; 72 episodes on 4seven www.broadcastnow.co.uk

‘C4’s Run was 24% higher than 2013’s weekday slot average, while The Mill’s first episode was double the slot’s average for this year’

BBC1 TOP 10 1 JAN 2013-16 JUL 2013 Rank

Programme

Date

Day

Start time

Volume (m)

Share (%)

1

Call The Midwife

3 Feb

Sun

20.00

10.85

32.36

2

Miranda

1 Jan

Tue

21.00

10.47

33.31

3

Wimbledon

7 Jul

Sun

12.50

10.34

66.95

4

Comic Relief: Funny For Money

15 Mar

Fri

19.00

10.28

39.37

5

EastEnders

1 Jan

Tue

20.00

10.03

33.56

6

Mrs Brown’s Boys

1 Jan

Tue

21.30

9.78

31.40

7

The Voice UK

20 Apr

Sat

20.20

9.50

36.45

8

Jonathan Creek

1 Apr

Mon

21.00

8.75

28.68

9

Africa

2 Jan

Wed

21.00

8.52

28.08

Doctor Who

30 Mar

Sat

18.15

8.44

35.82

Start time

Volume (m)

10

BBC2 TOP 10 1 JAN 2013-16 JUL 2013 Rank

Programme

Date

Day

Share (%)

1

Top Gear

10 Mar

Sun

20.00

5.89

17.21

2

Horizon

13 Jun

Thu

21.00

5.15

20.87

3

Comic Relief: Funny For Money

15 Mar

Fri

22.30

4.79

25.16

4

The Fall

10 Jun

Mon

21.00

4.65

17.83

5

The Great Comic Relief Bake Off

22 Jan

Tue

20.00

4.44

16.54

6

Wimbledon

28 Jun

Fri

17.50

4.24

23.59

7

The Last Days Of Anne Boleyn

23 May

Thu

21.00

3.71

14.42

8

University Challenge

14 Jan

Mon

20.00

3.46

12.75

9

The Mary Berry Story

5 Feb

Tue

20.00

3.41

13.43

The Politician’s Husband

25 Apr

Thu

21.00

3.35

13.38

Programme

Date

Day

Start time

Volume (m)

1

Britain’s Got Talent

8 Jun

Sat

19.30

12.85

53.12

2

Coronation Street

21 Jan

Mon

20.30

11.26

38.04

3

Broadchurch

22 Apr

Apr

21.00

10.46

34.59

4

Uefa Champions League Live

5 May

Tue

19.30

9.39

33.48

5

Mr Selfridge

6 Jan

Sun

21.00

9.36

31.06

6

Dancing On Ice

6 Jan

Sun

18.15

8.66

32.34

7

Foyle’s War

24 Mar

Sun

20.00

8.58

29.15

8

Ant & Dec’s Saturday Night Takeaway

23 Mar

Sat

19.00

8.52

34.63

9

Emmerdale

14 Jan

Mon

19.00

8.41

35.18

Lewis

7 Jan

Mon

21.00

8.21

26.16

10

ITV TOP 10 1 JAN 2013-16 JUL 2013 Rank

10

Share (%)

Stong performers: Broadchurch (left) scored a massive 9.4 million for ITV; while BBC2’s Paul Hollywood’s Bread attracted 2.5 million viewers

2 August 2013 | Broadcast | 25

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Ratings Analysis

Data supplied by Attentional

PSBs averaged 75,000/0.4%. Better news hails from a newer format, The Undateables, which showed an 11% increase in 2013.

Weekday 8pm-9pm remains sticky, as Hollywood Me and Compare Your Life found out: both were pulled before the end of their runs. Share for the weekday hour is currently down 11% and all week is down 10%.

However, there are signs of life in drama. Stripped at 10pm, recent drama Run averaged 1.7 million/9%, which is 24% higher than the 2013 weekday slot average. And the first episode of The Mill gathered 2.8 million/12% (incl +1) on Sunday at 8pm – double the slot’s average share for the year so far.

Big Brother boost Channel 5’s share is down 4% between 0600 and 2600 and 5% in peak. Proving there’s life in the old dog yet, Big Brother’s main 9pm and 10pm transmissions are currently showing an 11% increase in share.

As usual with beasts like this, what happens when it’s not on is key to performance and channel strategy.

During the winter’s Celebrity Big Brother, C5’s peak time share was at 6%; afterwards, and before the new Big Brother in June, it averaged 4%.

New director of programmes Ben Frow recently suggested that there would be less reliance on acquired drama at 9pm, moving it to 10pm. It’s a bold move, given the success of CSI, NCIS and The Mentalist at 9pm. But if that slot can be made to work with home-grown content perhaps more attuned to a younger audience, and 10pm is strong with acquired shows, C5 might be able to keep more of those Big Brother viewers between series.

Richard III: King In The Car Park

‘As usual with beasts like Big Brother, what happens when it’s not on is key to performance and channel strategy’

Celebrity Big Brother

CHANNEL 4 TOP 10 1 JAN 2013-16 JUL 2013 Rank

Programme

Date

Day

Start time

Volume (m)

Share (%)

1

My Big Fat Gypsy Valentine

11 Feb

Mon

21.00

5.05

16.45

2

Richard III: King In The Car Park

4 Feb

Mon

21.00

4.87

17.57

3

The Man With 10-Stone Testicles

24 Jun

Mon

21.00

4.49

17.77

4

Film: Red

24 Mar

Sun

21.00

3.90

15.15

5

24 Hours In A&E

10 Apr

Wed

21.00

3.86

14.39

6

Peter Kay: The Tour That Didn’t Tour

5 May

Sun

21.00

3.83

15.86

7

Skint

20 May

Mon

21.00

3.81

14.17 13.88

8

The Undateables

5 Feb

Tue

21.00

3.78

9

One Born Every Minute

2 Jan

Wed

21.00

3.75

12.37

16 Kids & Counting

11 Jan

Fri

21.00

3.47

11.87

Start time

Volume (m)

10

CHANNEL 5 TOP 10 1 JAN 2013-16 JUL 2013 Rank

Programme

Date

Day

Share (%)

1

Celebrity Big Brother

3 Jan

Thur

21.00

3.83

16.04

2

CSI: Crime Scene Investigation

20 May

Mon

21.00

2.98

10.94

3

CSI: New York

21 May

Tue

21.00

2.68

10.87

4

NCIS

10 Jul

Wed

21.00

2.38

8.90

5

Film: The Goonies

24 Mar

Sun

18.45

2.31

8.66

6

Help! I’m 16 But Look 60

27 Jun

Thu

21.00

2.24

9.52

7

Celeb BB: Live From The House

4 Jan

Fri

22.00

2.16

9.81

8

The Mentalist

1 Mar

Fri

21.00

2.12

7.93

Film: Spider-Man 3

27 Jan

Sun

18.20

2.03

8.07

World’s Strongest Man 2012

1 Jan

Tue

20.00

2.01

6.70

9 10

audience data system

Measuring success has never been easier...

Overnights.tv is home to our class-leading research engine, AQUA, and to our UK Overnights services, delivered every morning 7-days-a-week to clients around the world.

AQUA offers multiple search options and interactive reports, including 5-minute data, Day-part reports, Transmission reports, Programme and Series Profiles and Top Ratings.

www.overnights.tv www.broadcastnow.co.uk

+44 1823 322829

enquiries@attentional.com 2 August 2013 | Broadcast | 27

Behind the Scenes southcliffe

Exploring the aftermath of a tragedy Unlike other dramas about crime, we were more interested in the impact on those left behind than the details of the investigation, says Tony Grisoni

Tony Grisoni Writer

S

outhcliffe began with a desire to look at the poignant, very human relationship between the dead and those still living, a relationship at once both comforting and disquieting.

It was something producer Peter Carlton and I were both interested in.

Rather than start with invention, I wanted to be guided and informed by true stories and memories. Our lead researcher, Susannah Price, placed ads inviting people to share their experiences of sudden bereavement.

The resulting recordings and texts were humbling. People you will never read about in the style magazines or see on TV responded with heart­ rending, courageous accounts of how their lives were smashed. The truth was so much richer and stranger than our fictions. These tales of loss were not without poignancy and humour.

The deceased refused to vanish. They argued; they interrupted waking reality and mocked our logic. In the face of tragedy, time and space disin­ tegrated – which informed our non­ linear, dove­tailed narratives.

Gradually, characters emerged, not portraits of existing people, but com­ binations of what we found in reality.

A journalist in a fractured marriage, who had escaped his small­town roots, became our guide and Virgil; the publican who never left town; the 28 | Broadcast | 2 August 2013

brusque social worker; the young soldier; the odd­job man, living with his mother and nurturing an interest in guns and military training. Anony­ mous places, invisible lives.

The scripted characters and events in Southcliffe were not locked on the first day of principle photography. A large part of the joy of working on this project was the agreement that we – Peter, director Sean Durkin, producer Derrin Schlesinger and myself – should continue to develop the piece into the shoot and beyond. It meant viewing rushes, responding to how an actor was playing a part, to the questions raised by the reality of the shoot, and to Sean’s inspired and confident direction.

There was always a sense of change and development; the characters and narratives were alive with possibility right through to the final edit. The idea of a drama where a number of people suffer fallout from the same tragedy suggests a natural or industrial disaster – or to something even more bewilder­ ing and inexplicable. Thankfully, there have been very few rampage shootings in the UK – Dunblane, Hungerford and Whitehaven come instantly to mind – but the reverberations ripple on into the future. Although in part a device, it was important to explore and embrace such distressing events.

We did our research: the details of shattered lives, the weapons used, the police activity, witness reports, the questions, the crisis management groups and the bereavement groups.

One of the most hurtful and con­ founding aspects of such terrible events is that the perpetrator is one

‘Part of the joy of this project was the agreement that we should continue to develop the piece into the shoot and beyond’ Tony Grisoni

southcliffe

Producer Warp Films commissioner Piers Wenger length 4 x 60 minutes tX Sundays, 9pm, from 4 August, C4 Director Sean Durkin Producers Peter Carlton; Derrin Schlesinger Writer Tony Grisoni summary Drama exploring the impact of a shooting rampage on a small Kent community.

of the local community; people know him, or think they do. In Southcliffe, what Stephen does is beyond under­ standing and his acts are monstrous, but he is still a human being.

This was always to be set in a place outside the city, somewhere no one had ever heard of until visited by a series of tragic events. The market towns on the Kent coast have a strong sense of self: the historical centres, the traditional pubs, the salt marshes, the ever­present expanse of sky and North Sea. Particu­ larly in the autumn and winter months, www.broadcastnow.co.uk

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

southcliffe working with the landscape Peter Carlton Producer

Clockwise from bottom left: Kaya Scodelario (Anna) with director Sean Durkin; filming a scene with Anatol Yusef (Paul Gould) and the police; shooting on the marshes; Durkin with Joe Dempsie (Chris Cooper)

www.broadcastnow.co.uk

some of the towns feel isolated, besieged by sea mist and ghosts.

The area is my quick escape from the metropolis – another world just over an hour from Kings Cross – and it became a stand­in for the fictitious town of Southcliffe. Every scene was anchored in a real location: a pub, the boatyard, the poly tunnels, the marshes. When Sean came on board, we took him there. He proved an instant natural match, both for loca­ tion and for the material.

The genius of creative producing was in making it possible for us to shoot in and around the town. It helped give the piece a powerful sense of place.

Southcliffe is a fictional market town inhabited by fictional characters, but with similarities to many people and places in Britain today. To out­ siders, the town is doomed to be forever linked with banal violence.

But we are allowed into the lives of those living there and glimpse a more complex and human reality. Rather than analyse or moralise about our characters’ actions, we share in them.

We went into prod­ uction on Southcliffe almost in parallel with Broadchurch. Both shows were aware of each other, but we quickly realised we were doing different things. Broadchurch is a whodunit much more in the line of The Killing.

Southcliffe is not a crime show; it’s a drama with a crime in it, but with no police to speak of – and it doesn’t seek to answer all the questions.

We toyed with setting it in northern England but we didn’t want to fall into the ‘it’s­grim­up­north’ trap. The Kent coastline (below) offers quite an atmosphere. We thought ‘let’s allow the landscape to be a character’ and set about writing it for a place rather than inventing a typical town. We walked director Sean Durkin around Faversham and neighbouring villages – telling him where Stephen lived, which pub Paul ran. In the end, 75% of our main locations are those that Tony had in mind when he wrote the script.

With a narrative that plays with time, you don’t need to add a lot of clever colourising or effects. Sean is able to create an extraordinary narra­ tive tension and sense of dread, but also films simply. He doesn’t use the normal language of the thriller: fast cuts and music. A lot of Southcliffe was shot in one or two set­ups.

Even though there was a plan of how to shoot, a scene could develop when the actors came in. They stayed close to the lines in the script, but the action was often very different from what was on page. A lot was worked out on the day. It’s all about finding truth in the moment. Not a hurried,

snatched camera style, but one that’s considered and responds to land­ scape and setting.

For the scene when David and his sidekick are setting off to investi­ gate the terrible crime, word came that the mists were down, so we moved to a different location. It com­ pletely changed the way it was shot and played. It’s an extraordinary image with mist and big pylons stick­ ing out at odd angles.

There’s not much room for humour in Southcliffe but there is a lightness of touch, for human moments before the tragedy strikes. We wanted it to be like life, not self­consciously gritty.

‘it’s not a crime show; it’s a drama with a crime in it, but with no police to speak of – and it doesn’t seek to answer all the questions’ Inevitably, because people die, the overwhelming emotion is sadness.

But I find it affirmative: it’s not about ‘isn’t life shit?’, it’s ‘isn’t it incredible that life goes on and people find ways for it to go on?’ The majority of the show is about how people deal with this tragic event, and what they go on to do with their lives.

We had to be really true to the expe­ rience of grief then build a real world around it. We had to make the killer part of the community, and make them real, to make it believable.

It’s impossible to answer the ques­ tion of why these things happen, but you can ask how people live with it.

It’s a really good subject for drama, and if we have done it right, we will be honouring the extraordinary people who survive these tragedies.

2 August 2013 | Broadcast | 29

Marketplace EQUIPMENT AUCTION

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

DUBBING

TV KIT AUCTION

Bidding closes Tues 6 Aug! Sony HDV, P2, DV cameras; DVW & SRW recorders; Avid HD Adrenalines; Prospect 4-wire boxes; Atto FC-41ES 4Gb/s Fibre PCIe adapters; DSLR Cage & shoulder rigs, follow focus, Matte boxes; LED lighting kits; HDMI camera monitors, Fresnel lights, blondes, dimmers, redheads; Motorola GP300 radios; PPM audio meters; HD/SD-SDI to HDMI converters, distribution; BVM grading & production monitors, etc.

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FILMING AND PRODUCTION SERVICES

TRANSFERS! Tape Dubbing Tape to Drive Drive to Tape FCP Archive formats Rushes Editing & QC 50i, 60i etc 24hr service bookings@tvset.com TV SET 10-11 Percy St, W1

TV STUDIO

ASSETS PURCHASED

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

To advertise in Marketplace please contact Jonathan Thornley 020 3638 5065

30 | Broadcast | 2 August 2013

www.broadcastnow.co.uk

Appointments

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

EMS

technical personnel are looking for: Broadcast Project Managers: Hants or Bucks EVS Support Engineers: East London Playout Project Engineer West London

In readiness for upcoming projects, we are seeking to expand our freelance roster and are keen to hear from senior broadcast designers with extensive branding project experience and senior creatives with experience of originating and running high profile campaigns across all media. A proven freelance track record is a must as is the eligibility to work in the United Kingdom.

Please apply on-line with CV and link to examples of your work to Lauren.Cardoe@bdacreative.com

Call us, e-mail your CV or register online. +44(0)20 8948 9400 recruit@ems-tp.com. www.ems-tp.com

www.broadcastjobs.co.uk

‘Great service provided with plenty of candidates. We have had a good success rate through using Broadcast.’

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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

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

Lighting: Gaffers Electricians

Scenic: Scenic Painters and Carpenters Supervisors and Operatives Construction Management

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

www.broadcastnow.co.uk

CHANNEL EDITOR, BBC FOUR £COMPETITIVE + BENEFITS LONDON JOB REF: BBC/TP/7179/385 BBC Four aims to be British television’s most intellectually and culturally enriching channel, offering an ambitious range of UK and international Arts, Music, Culture, Factual, Comedy and Entertainment programmes. With content spend of £49m a year and over 14% of the UK using the channel’s services each week, BBC Four plays an important role in offering intelligent and diverse broadcasting.

As Channel Editor for BBC Four you’ll be responsible for the day-to-day management and running of the channel.

Through commissioning and programme scheduling you’ll enhance BBC Four’s distinctive identity within the BBC’s channel portfolio.

Reporting to the Channel Controller for BBC Two and BBC Four, you will be expected to collaborate closely with BBC Two to create a complementary offering across content, scheduling, marketing and digital innovation.

We are looking for a recognised industry figure with extensive programme-making experience, sharp editorial judgment and a collaborative approach. This is a significant leadership role and the successful candidate will be able to lead and inspire a team as well as creating and aligning people around an artistic vision.

To find out more and apply, visit bbc.co.uk/careers using reference BBC/TP/7179/385.

Closing date: 25 August 2013.

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.

Post Production Manager This role will report to the General Manager – Post Production, and will be an integral part of the Post Production Management team. The role will involve building long term relationships with clients so the candidate must have excellent customer service skills and attention to detail is essential. The candidate must have previous experience of working as a Post Production Manager in a post facility, and must be knowledgeable in all aspects of post production workflows.

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 9th August 2013

2 August 2013 | Broadcast | 31

Ratings Mon 22 July – Sun 28 July

Pointless leaves ITV in a Twist BBC wins battle of the quiz shows, while Who Do You Think You Are? is back with a bang

BY Stephen price

With heat like we had in July, I was hoping for a prolonged and corking thunderstorm of Cecil B De Mille proportions to end the scorchio summer.

One cacophonous Vulcan roar last week set off car alarms and rattled windows; I happily settled in for my very own storm watch, anticipating wave upon wave of purpleladen clouds rolling in. But I was to be disappointed. It may have been Armageddon-like elsewhere, but here the heatwave has just flopped over with a sigh. A constant drizzle, like a massive, damp net curtain, draws heavily across London Town.

As I waited for a huge thunderstorm, so news crews waited and reported on nothing, while photographers took dozens of pictures of a door and looked longingly for the merest glimpse of an easel.

Meanwhile, the country carried on as best it could.

ITV’s new 5pm quiz, Take On The Twisters, launched on Monday to 2 million/17% (243,000 +1). Opposite, BBC1’s Pointless won with 2.5 million/20% from 5.15pm, while Channel 4’s repeat of Come Dine With Me languished on 700,000/6% (178,000 +1). By Friday, Twisters had slipped to 1.4 million/13% (82,000 +1).

At 8.30pm, BBC1 downed tools for a 90-minute news special, averaging a less than special 2.9 million/13%. Opposite from 9pm, ITV joined the baby-announcing act with its own news special, winning with 3.4 million/16% (79,000 +1). Total viewing between 9pm and 10pm was up 700,000 on 32 | Broadcast | 2 August 2013

BroadcasT/BarB ToP 100 neTwork Programmes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 21 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 38 40 41 42 43 44 44 46 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Coronation Street Coronation Street Coronation Street Coronation Street EastEnders Emmerdale Coronation Street Emmerdale Emmerdale Emmerdale Emmerdale EastEnders Countryfile Emmerdale ITV News & Weather BBC News At Ten EastEnders BBC News At Ten Who Do You Think You Are? BBC News At Six Luther EastEnders Holby City Law & Order: UK Top Gear BBC News At Six BBC News At Ten BBC News At Ten Antiques Roadshow BBC News At Six Mrs Brown’s Boys BBC News BBC News BBC News At Six BBC News At Ten BBC News The National Lottery: Break The Safe Indiana Jones And The Temple Of Doom Your Money, Their Tricks The Zoo BBC News At Six Tipping Point: Lucky Stars The Sheriffs Are Coming F1: Hungarian Grand Prix – Highlights All Star Family Fortunes Your Face Sounds Familiar The White Queen The Sheriffs Are Coming ITV News The Dales

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

19.30 20.30 19.30 19.30 20.00 20.00 20.30 19.00 19.00 19.00 19.00 19.30 20.00 19.30 18.30 22.00 20.00 22.00 21.00 18.00 21.00 19.30 20.00 21.00 20.00 18.00 22.00 22.00 19.00 18.00 22.00 22.00 21.40 18.00 22.00 18.35 20.50 19.00 20.00 20.00 18.00 19.00 19.00 17.05 20.45 19.30 21.00 19.00 21.00 20.00

7.79 7.78 7.28 7.08 6.74 6.67 6.50 6.29 6.23 6.22 6.17 5.69 5.48 5.45 5.41 5.29 5.24 5.05 4.94 4.88 4.83 4.83 4.68 4.63 4.56 4.55 4.54 4.41 4.39 4.17 4.15 4.12 4.11 4.10 3.99 3.95 3.85 3.79 3.79 3.77 3.75 3.69 3.66 3.64 3.64 3.61 3.54 3.53 3.52 3.40

40.07 34.96 39.42 40.80 32.45 34.32 33.60 38.77 35.61 36.33 36.12 30.91 23.04 26.65 28.63 28.50 28.85 25.55 23.10 29.85 21.71 23.47 22.76 20.29 19.14 29.39 23.07 23.81 23.01 28.61 22.97 21.03 21.03 27.93 20.66 23.09 19.32 21.44 19.70 19.62 28.19 19.35 20.56 23.97 18.33 19.75 15.49 19.10 16.49 16.36

ITV ITV ITV ITV BBC1 ITV ITV ITV ITV ITV ITV BBC1 BBC1 ITV ITV BBC1 BBC1 BBC1 BBC1/Wall to Wall BBC1 BBC1 BBC1 BBC1 ITV/Kudos FIlm & TV BBC 2 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1/Box-Pix/RTÉ BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV/Wild Pictures BBC1 ITV/RDF Television BBC1/Screenchannel Television BBC1 ITV ITV/Initial BBC1/Company Pictures BBC1/Screenchannel Television ITV ITV/Shiver

Figures include HD and +1 where applicable

Who Do You think You Are?

the Sheriffs Are coming www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 56 57 58 59 59 61 62 63 64 65 66 67 68 69 70 70 72 73 74 74 76 77 78 79 80 80 82 83 84 84 84 84 88 89 90 91 92 92 94 95 96 97 98 98 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

ITV News & Weather All Star Mr & Mrs Doc Martin BBC News Special ITV News & Weather Athletics: London Anniversary Games Crimewatch ITV News & Weather ITV News & Weather You’ve Been Framed!

BBC News Harbour Lives Britain’s Favourite Supermarket Foods Love Your Garden Tonight: Kate’s Baby Bounce You’ve Been Framed!

BBC News Special Crimewatch Update ITV News & Weather BBC News At One The Mill Pointless Married To The Job Pointless A Question Of Sport Pointless BBC News At One The One Show – Best Of Britain BBC News At One Pointless ITV News & Weather ITV News & Weather Panorama: Jungle Outlaws– Chainsaw Trail BBC News At One Pointless Would I Lie To You? Hunting The Doorstep Conmen F1: Hungarian Grand Prix – Qualifying...

ITV News At Ten & Weather Ray Mears’ Close Encounters Take On The Twisters Harry Potter And The Chamber Of Secrets 24 Hours In A&E BBC News At One ITV News At Ten & Weather The Mystery Of Rome’s X Tomb Kirstie's Fill Your House For Free University Challenge Nigel Slater’s Dish Of The Day X-Men Origins: Wolverine

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

18.30 20.00 21.00 19.15 18.30 20.30 21.00 18.30 18.15 19.00 18.40 20.00 20.00 20.00 19.30 18.30 20.30 22.35 18.30 13.00 20.00 17.15 20.30 17.15 19.00 17.15 13.00 19.00 13.00 17.15 18.45 22.00 19.00 13.00 17.15 22.35 21.00 17.15 22.00 21.00 17.00 15.05 21.00 13.00 22.00 21.00 20.00 20.00 19.30 21.00

3.38 3.36 3.35 3.33 3.31 3.30 3.24 3.21 3.19 3.19 3.10 3.04 3.02 3.01 2.99 2.96 2.91 2.87 2.83 2.80 2.80 2.76 2.70 2.69 2.69 2.65 2.64 2.63 2.61 2.55 2.55 2.49 2.48 2.47 2.47 2.47 2.47 2.41 2.34 2.31 2.28 2.24 2.24 2.21 2.20 2.18 2.15 2.05 2.05 2.03

20.18 14.10 16.59 16.70 20.75 16.58 15.83 20.42 21.67 19.90 20.27 16.72 15.78 14.64 16.22 19.34 13.44 17.41 19.70 35.68 11.76 21.66 14.34 23.03 16.56 23.18 37.73 13.55 35.37 23.41 14.52 12.70 14.52 35.21 20.29 17.34 11.08 17.47 12.18 10.80 19.43 21.18 10.47 34.15 11.40 9.53 10.45 9.89 11.79 11.40

ITV ITV/Thames ITV/Buffalo Pictures BBC1 ITV BBC1 BBC1 ITV ITV ITV BBC1 ITV/Shiver BBC1 ITV/Spun Gold ITV ITV BBC1 BBC1 ITV BBC1 C4/Darlow Smithson BBC1/Remarkable Television ITV/Landmark Films BBC1/Remarkable Television BBC1 BBC1/Remarkable Television BBC1 BBC1 BBC1 BBC1 ITV ITV BBC1 BBC1 BBC1/Remarkable Television BBC1/Zeppotron ITV/Tiger Aspect BBC1 ITV ITV ITV/12 Yard ITV C4/The Garden BBC1 ITV BBC 2 C4/Raise The Roof BBC 2 BBC1 C4

*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.

take On the twisters www.broadcastnow.co.uk

the Mystery Of rome’s X tomb

the previous week and the news channels waxed infantly lyrical in front of much bigger audiences than usual (BBC1 and Sky News combined achieved 860,000 for the hour, up from 192,000 last week).

At 10pm, BBC News achieved 4 million/21%; 270,000 more than last week, while ITV’s News At Ten’s 2.1 million/11% (143,000 +1) was 550,000 fewer than last week.

At 9pm on Tuesday, Luther exited stage left with 4.8 million/ 22%, the second best live rating of the series after the launch episode’s 5 million/22%. ITV’s Hunting The Doorstep Conmen averaged 2.3 million/10% (172,000 +1).

‘The news channels waxed infantly lyrical in front of much bigger audiences than usual’ At 7pm on Wednesday, the second of BBC1’s new twice-weekly series The Sheriffs Are Coming achieved 3.7 million/21% – slightly better than Monday’s launch (3.5 million/19%). Opposite, ITV’s Emmerdale achieved 5.9 million/ 35% (224,000 +1), with Coro­ nation Street on 6.9 million/38% (346,000 +1) at 7.30pm. At 9pm, BBC1’s Who Do You Think You Are? returned with 4.9 million/ 23%, more than double ITV’s Ray Mears’ Close Encounters (2.1 million/10%; 218,000 +1).

In a sort of lacklustre law-andorder flap on Thursday, BBC1’s Crimewatch at 9pm achieved 3.2 million/16%, seeing off ITV’s second episode of The Briefs (1.8 million/9%; 131,000 +1).

A year after London 2012 exploded into life, BBC1 returned to the Olympic stadium for Athletics: London Anniversary Games at 8.30pm on Friday in front of 3.3 million/17%. ITV’s alternative from 9pm, a repeat of Doc Martin, was in the same ballpark with 3.2 million/16% (195,000 +1).

BBC1’s best show on Saturday night was 10pm’s repeat of Mrs Brown’s Boys (4.2 million/23%); ITV’s best was All Star Family Fortunes with 3.6 million/18% (incl +1) at 8.45pm.

On Sunday at 9pm, The White Queen achieved 3.5 million/15%, again shy of ITV’s Law & Order: UK (4.3 million/19%; 331,000 +1).

See over for digital focus, plus channel and genre overviews 2 August 2013 | Broadcast | 33

Ratings Mon 22 July – Sun 28 July Channel Overview

Misery is good for C4 BY stephen price

Whatever the opposite of trouble at t’mill is (shindig at t’mill perhaps?), Channel 4 will have been toasting poor, oppressed child labour on Sunday evening. And at 9pm, more grim tales as BBC2’s diseaseriddled tombs drew ’em in too.

On Tuesday at 8pm, Channel 4 launched Kirstie’s Fill Your House For Free to 1.9 million/9% (287,000 +1), which was 1 million more than the slot’s previous occupant, Gok Live: Stripping For Summer. It also defeated BBC2’s Raymond Blanc: How To Cook Well (1.5 million/7%) at 8pm, accompanying, for the final time before being shipped off to Mondays, The Cruise: A Life At Sea (1.4 million/7%) at 8.30pm.

C5’s The Hotel Inspector Returns achieved 1.5 million/7% (61,000 +1) on Thursday at 9pm, ahead of C4’s First Dates (900,000/4%; 195,000 +1) but behind BBC2’s Hebrides: Islands On The Edge (1.9 million/9%).

On Sunday, C4’s The Mill drew in 2.5 million/10% (340,000 +1) at 8pm, double the channel’s year-todate slot share and a cracking start for a drama. Opposite, Top Gear achieved 4.6 million/19%. At 9pm, BBC2’s The Mystery Of Rome’s X Tomb gained 2.2 million/10% against C5’s Big Brother (1.4 million/6%; 230,000 +1) and the final of C4’s The Returned (900,000/4%; 117,000 +1).

Source: BARB

WEEK 30 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 22.07.13 Peaktime share (%) w/c 23.07.12 YEAR TO DATE Average hours per viewer Audience share (%) Audience share (2012)

BBC1 4.78 18.39 21.36 29.87 BBC1 5.76 21.14 21.16

BBC2 1.20 3.71 6.78 6.34 BBC2 1.57 5.75 6.12

ITV1 3.60 13.75 19.28 15.29 ITV1 4.37 16.07 15.96

C4 1.37 5.61 6.21 6.00 C4 1.57 5.76 6.55

Start

Viewers (m) (all homes)

Share %

34 | Broadcast | 2 August 2013

Total 24.00 100.00 100.00 100.00 Total 27.22 100.00 100.00

TOp 30 BBC2, CHAnnEL 4 AnD CHAnnEL 5 Title

Day

Broadcaster

1

Top Gear

Sun

20.00

4.56

19.14

BBC2

2

The Mill

Sun

20.00

2.80

11.76

C4

3

24 Hours In A&E

Wed

21.00

2.24

10.47

4

The Mystery Of Rome’s X Tomb

Sun

21.00

2.18

9.53

C4 BBC2

5

Kirstie’s Fill Your House For Free

Tue

20.00

2.15

10.45

6

University Challenge

Mon

20.00

2.05

9.89

7

X-Men Origins: Wolverine

Sat

21.00

2.03

11.40

8

Athletics: London Anniversary Games

Fri

19.30

1.97

11.10

9

8 Out Of 10 Cats Does Countdown

Fri

21.00

1.95

9.68

10

Hebrides: Islands On The Edge

Thu

21.00

1.85

9.03

BBC2

11

The Route Masters: Running London’s Roads

Tue

21.00

1.84

8.25

BBC2 BBC2

C4 BBC2 C4 BBC2 C4

12

Gardeners’ World

Fri

20.30

1.80

9.29

13

Big Brother: Live Eviction

Fri

21.00

1.78

9.09

C5

14

Rick Stein’s India

Mon

21.00

1.70

7.99

BBC2

15

CSI: Crime Scene Investigation

Tue

21.00

1.69

7.57

C5

16

Springwatch Guide To Butterflies And Moths

Fri

21.00

1.64

8.10

BBC2

17

Undercover Boss

Mon

21.00

1.62

7.61

C4

18

Big Brother

Sun

21.00

1.61

7.05

C5

19

Big Brother

Thu

22.00

1.60

9.11

C5

20

Big Brother

Wed

21.00

1.59

7.43

C5

21

Big Brother

Mon

22.00

1.55

8.71

C5

21

The Hotel Inspector Returns

Thu

21.00

1.55

7.56

C5

23

Raymond Blanc: How To Cook Well

Tue

20.00

1.45

7.25

BBC2

24

Dad’s Army

Sat

19.40

1.44

7.97

BBC2

25

Restoration Home

Wed

20.00

1.42

7.38

BBC2

26

Big Brother

Tue

22.00

1.39

7.90

C5

27

The Cruise: A Life At Sea

Tue

20.30

1.38

6.53

BBC2 BBC2

28

The Real White Queen And Her Rivals

Wed

21.00

1.34

6.28

29

RHS Flower Show Tatton Park 2013

Thu

19.30

1.33

7.22

BBC2

30

Dara O Briain’s Science Club

Thu

20.00

1.32

6.90

BBC2

Figures include HD and +1 where applicable

Multichannel 41.96

C4’s When Björk Met Attenborough proved a hard sell, falling short of Saturday’s 7pm 868,000 average

Others 11.98 53.93 41.96 38.56 Others 12.85 47.20 45.88

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

DAYTIME SHARE (%) w/c 22.07.13

pEAKTIME SHARE (%) w/c 22.07.13

528k

C5 1.07 4.62 4.41 3.95 C5 1.11 4.08 4.34

BBC1 21.36

ITV1 19.28

C5 4.41 C4 6.21

BBC2 6.78

Multichannel 53.93

1.3m

Dara O Briain’s Science Club couldn’t match series one’s 1.4 million debut, but its share was up: 6.9% v 5.4%

BBC1 18.39

ITV1 13.75

C5 4.62 BBC2 3.71 C4 5.61

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

Big Barn Farm Tinga Tinga Tales Horrid Henry Horrid Henry Blue Peter _ You Decide!

Sadie J Alphablocks Revolting World Of Stanley Brown Officially Amazing Gigglebiz

top 10 factuaL proGraMMeS

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Tue Sat Thu Sat Mon Thu Tue Fri Mon Sat

09.25 12.15 12.15 9.40 17.00 08.25 09.40 08.55 16.30 10.45

200,300 179,300 168,100 166,800 165,100 164,400 162,400 161,200 159,700 157,600

25.63 16.05 14.76 15.45 12.04 15.93 21.61 16.85 14.09 13.61

CBeebies CBeebies CITV CITV CBBC CBBC CBeebies CBBC CBBC CBeebies

Title

1 2 3 4 5 6 7 8 9 10

Countryfile Who Do You Think You Are? Top Gear Antiques Roadshow Your Money Their Tricks The Zoo The Sheriffs Are Coming The Sheriffs Are Coming The Dales Harbour Lives

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Wed Sun Sun Wed Wed Wed Mon Mon Fri

20.00 21.00 20.00 19.00 20.00 20.00 19.00 19.00 20.00 20.00

5.48 4.94 4.56 4.39 3.79 3.77 3.66 3.53 3.40 3.04

23.03 23.10 19.14 23.01 19.70 19.62 20.56 19.10 16.36 16.72

BBC1 BBC1 BBC2 BBC1 BBC1 ITV BBC1 BBC1 ITV ITV

➤ As the holidays began, CBeebies pulled off a rare coup in the children’s table, picking up the top two entries in the shape of Big Barn farm and tinga tinga tales. CITV, also unusually, featured with two places for Horrid Henry. CBBC secured four spots.

➤ who Do You think You are? returned with a number two spot, although it was not enough to fight off the imperious countryfile, which secured an audience of nearly 5.5 million. ITV managed three places, with its afternoon and early evening brands performing solidly.

top 10 DraMa proGraMMeS

top 10 entertainMent proGraMMeS

Title

1 2 3 4 5 6 7 8 9 10

Luther Holby City Law & Order: UK The White Queen Doc Martin The Mill CSI: Crime Scene Investigation The Americans Burton And Taylor Lewis

Day

Start

Viewers (millions)

Share (%)

Channel

Tue Tue Sun Sun Fri Sun Tue Sat Mon Sat

21.00 20.00 21.00 21.00 21.00 20.00 21.00 21.45 21.00 21.00

4.83 4.68 4.63 3.54 3.35 2.80 1.69 1.33 1.17 1.07

21.71 22.76 20.29 15.49 16.59 11.76 7.57 7.26 5.60 5.83

BBC1 BBC1 ITV BBC1 ITV C4 C5 ITV BBC4 ITV3

➤ The final Luther of the series topped the table, but it was some way short of its previous series bow, which picked up 5.74 million viewers in 2011. the white Queen continued to struggle against Law & order: uk, while the Mill became Channel 4’s best new drama launch in three years.

up National Lottery adds 110,000

Down Luther down 910,000 on 2011

up Countryfile rises 960,000

1 2 3 4 5 6 7 8 8 10

Mrs Brown’s Boys Benidorm Dad’s Army Family Guy The Simpsons The Simpsons The Simpsons Family Guy Pramface The Simpsons

Start

Viewers (millions)

Share (%)

Channel

National Lottery: Break The Safe Tipping Point: Lucky Stars All Star Family Fortunes Your Face Sounds Familiar All Star Mr & Mrs You've Been Framed!

You've Been Framed!

Pointless Pointless A Question Of Sport

Sat Sun Sat Sat Sun Sat Sat Tue Thu Fri

20.50 19.00 20.45 19.30 20.00 19.00 18.30 17.15 17.15 19.00

3.85 3.69 3.64 3.61 3.36 3.19 2.96 2.76 2.69 2.69

19.32 19.35 18.33 19.75 14.10 19.90 19.34 21.66 23.03 16.56

BBC 1 ITV ITV ITV ITV ITV ITV BBC 1 BBC 1 BBC 1

➤ The new national Lottery format Break the Safe topped the table, just nudging ahead of the performance of sister show in it to win it last week. Otherwise, it was a virtual whitewash for early evening formats, with tipping point remaining strong.

up The Zoo rises 100,000

Down Law & Order: UK sheds 2,000

up Tipping Point gains 330,000

top 10 MuSic & artS proGraMMeS

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Mon Sat Sun Tue Thu Wed Sun Fri Fri

22.00 22.35 19.40 22.00 18.00 18.00 18.00 22.25 23.05 18.00

4.15 1.50 1.44 1.30 1.19 1.17 1.10 1.06 1.06 1.05

22.96 9.87 7.97 6.81 7.26 8.05 7.52 6.70 10.17 7.94

BBC1 ITV BBC2 BBC3 C4 C4 C4 BBC3 BBC1 C4

➤ The repeat of Mrs Brown’s Boys was the highest-rated show on television on Saturday, which translated into an easy victory in the comedy table. It was nearly 3 million viewers ahead of any rival on a quiet week for the genre. BBC3’s family Guy also featured twice. next week Sport & current affairS www.broadcastnow.co.uk

Day

Down All Star Mr And Mrs down 190,000

top 10 coMeDY proGraMMeS Title

1 2 3 4 5 6 7 8 9 10

Title

Title

1 2 3 4 5 6 7 8 9 10

Imagine... Woody Allen...

Imagine... Woody Allen...

Cleopatra: Film That Changed...

Random Acts Proms Extra 2013 Notes From The Inside...

Old Grey Whistle Test: 70s Gold Culture Show: Who Are You Calling...

Random Acts Random Acts

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Tue Tue Fri Sat Wed Fri Wed Thu Mon

22.35 22.40 21.00 23.05 19.00 22.00 22.00 22.00 23.05 23.05

1.08 0.88 0.64 0.48 0.47 0.44 0.43 0.42 0.41 0.37

9.97 9.70 3.24 4.04 2.91 2.76 2.93 2.29 3.35 3.13

BBC1 BBC1 BBC4 C4 BBC2 C4 BBC4 BBC2 C4 C4

➤ Both parts of imagine’s Woody Allen doc garnered prominent entries in the music and arts line-up. Channel 4’s short arts film strand random acts featured three times, while there were two shows in the table for BBC4, including cleopatra: the film that changed Hollywood.

See over for demographic and digital focus 2 August 2013 | Broadcast | 35

Ratings Mon 22 July – Sun 28 July Demographic focus Channels

Source: BARB

Individuals Share (%)

Adults ABC1 Share (%)1

Adults ABC1 Profile (%)2

BBC1

20.26

24.63

47.13

ITV

15.24

13.18

33.55

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

Female Profile (%)2

12.10

11.05

20.08

45.37

20.42

54.64

10.96

13.31

11.89

35.74

18.06

64.26

C4

5.62

5.97

41.16

7.28

23.94

5.45

44.34

5.77

55.66

BBC2

4.93

6.31

49.66

3.20

12.01

5.55

51.60

4.40

48.38

C5

4.72

4.15

34.12

4.95

19.41

3.95

38.34

5.37

61.66

ITV2

2.59

2.19

32.80

3.94

28.18

2.25

39.81

2.87

60.19

ITV3

2.52

2.26

34.80

0.45

3.30

2.10

38.20

2.87

61.75

Film 4

2.02

1.92

36.78

1.94

17.73

2.57

58.18

1.56

41.88

E4

1.89

1.95

40.07

5.21

51.07

1.73

42.07

2.02

57.93

BBC3

1.83

1.79

37.77

3.49

35.23

2.27

56.66

1.47

43.41

Dave

1.56

1.52

37.63

2.35

27.80

2.18

63.82

1.04

36.26

5 USA

1.14

0.90

30.71

0.84

13.64

1.01

40.80

1.24

59.20

ITV4

1.07

0.96

34.91

0.91

15.80

1.51

64.86

0.69

35.26

More 4

1.06

1.17

42.65

1.10

19.19

1.08

46.45

1.05

53.44

BBC4

1.03

1.54

58.04

0.35

6.38

1.14

50.80

0.93

49.08

Sky 1

0.75

0.79

40.70

1.54

38.02

0.87

52.93

0.65

47.07

Yesterday

0.74

0.75

39.49

0.21

5.30

0.96

59.49

0.55

40.51

Sky Spts 1

0.64

0.67

40.59

0.82

23.76

0.96

69.11

0.36

30.69

Sky Living

0.62

0.68

42.74

0.96

28.83

0.49

36.61

0.72

63.39

64%

Channel 4’s historical drama The Mill attracted more female viewers than the 51% slot average.

The channel was watched by 14% of the available female viewers – up from the 6% slot average (Sunday, 8pm, incl +1)

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

Star power wins for BBC4 BY stephen price

BBC4 proved old stars never lose it as Richard Burton and Elizabeth Taylor delivered nicely for the channel this week.

BBC4’s drama biopic swansong Burton And Taylor achieved 1.2 million/6% on Royal Baby Monday (as it should never be called). Two repeats added another 275,000.

ITV3’s Lewis, at 9pm on Saturday, was the channel’s best show this week, achieving 1.1 million/6%.

On Friday at 7.55pm, Agatha Christie’s Poirot achieved 407,000/2%, while at 9pm on UKTV’s new channel Drama, an episode of Jonathan Creek achieved 420,000/2%.

A year on and 830,000/4.5% had sufficiently vibrant withdrawal symptoms that they watched BBC3’s replay of the Olympic Opening Ceremony 2012 on Saturday at 7pm.

BBC News topped the charts with its royal baby coverage on Tuesday from 6.45pm with 1.5 million/8%.

36 | Broadcast | 2 August 2013

Source: BARB

digiTAL hOmes

TOP 30 muLTiChANNeL PrOgrAmmes Title

1 2 3 4 5 6 7 8 9 10 11 12 12 14 15 16 16 18 19 20 21 22 23 24 24 24 24 28 28 30

BBC News BBC News Family Guy Burton And Taylor Sportsday Lewis Family Guy Salt Only Connect Family Guy Foyle’s War BBC News At Six Robin Hood Olympic Opening Ceremony Jurassic Park: Lost World: Family Guy A Royal Son Family Guy The Big Bang Theory Dynamo: Magician Imp… Wall-E Iron Man Sky News At Six Hollyoaks Family Guy New Girl Hollyoaks Family Guy Live At The Apollo The Big Bang Theory

Figures include HD and +1 where applicable

Day

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

Start

18.45 19.00 22.00 21.00 18.30 21.00 22.25 21.00 20.30 23.25 18.45 18.00 21.00 19.00 18.35 23.25 19.00 23.00 18.30 21.00 20.30 21.00 18.00 19.00 23.00 21.00 19.00 23.25 21.30 18.30

Viewers (millions)

Share (%)

1.45 1.42 1.30 1.17 1.13 1.07 1.06 0.96 0.94 0.92 0.89 0.85 0.85 0.83 0.80 0.80 0.80 0.78 0.77 0.76 0.75 0.75 0.73 0.72 0.72 0.72 0.72 0.71 0.71 0.70

7.81 7.08 6.81 5.60 6.41 5.83 6.70 4.98 4.21 10.20 5.07 5.18 4.98 4.51 3.86 9.14 3.97 7.08 4.91 3.72 3.20 4.26 4.25 4.24 6.42 3.24 4.20 7.79 3.67 4.39

Channel

BBC News BBC News BBC3 BBC4 BBC News ITV3 BBC3 Film 4 BBC4 BBC3 ITV3 BBC News Film 4 BBC3 ITV2 BBC3 Sky News BBC3 E4 Watch BBC3 Film 4 Sky News E4 BBC3 E4 E4 BBC3 BBC3 E4

Channels

Share (%)

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

20.26 15.24 5.62 4.93 4.72 49.24 2.59 2.52 2.02 1.89 1.83 1.78 1.56 1.44 1.14 1.08 1.07 1.06

Figures include HD and +1 where applicable

1.4m

Audience across four showings – including two in peak – of BBC3’s Rachel Bruno: My Dad & Me www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

NoN-PSB toP 50 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

Title

Day

Start

A Royal Son Dynamo: Magician Impossible Sky News At Six With Jeremy Thompson Storage Hunters Mrs Brown’s Boys Storage Hunters Storage Hunters Storage Hunters Mrs Brown's Boys The Simpsons QI XL Storage Hunters QI XL Revolution Mock The Week Have I Got A Bit More News For You Mrs Brown’s Boys The Simpsons The Simpsons Geordie Shore The Simpsons QI XL Storage Hunters The Simpsons News, Sport, Weather Have I Got A Bit More News For You Storage Hunters Mock The Week Revolution Not Going Out Sky News At Nine Have I Got A Bit More News For You The Simpsons The Simpsons Live Darts: World Matchplay The Simpsons Storage Hunters Mock The Week Not Going Out Sister Act 2: Back In The Habit Futurama QI XL The Simpsons QI XL The Simpsons Sky News At Five With Jeremy Thompson The Simpsons Megatruckers Storage Hunters Who Do You Think You Are?

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

19.00 21.00 18.00 20.30 21.40 20.00 20.30 20.30 22.20 18.00 22.00 20.00 22.00 21.00 23.00 22.00 21.00 17.00 17.30 22.00 18.30 23.00 20.30 19.00 20.00 21.00 20.30 23.00 22.00 22.20 21.00 21.00 18.00 19.30 19.00 19.30 20.00 23.00 21.40 20.00 19.00 21.00 18.30 21.00 19.30 17.00 19.00 19.30 20.00 21.00

Viewers (000s) Share (all homes) % 797,000 761,000 732,000 573,000 548,000 532,000 501,000 499,000 494,000 492,000 467,000 453,000 444,000 434,000 426,000 423,000 415,000 413,000 411,000 408,000 406,000 403,000 400,000 397,000 393,000 390,000 388,000 367,000 361,000 359,000 358,000 357,000 355,000 351,000 348,000 343,000 342,000 342,000 341,000 340,000 338,000 336,000 336,000 335,000 332,000 328,000 328,000 327,000 325,000 325,000

Figures include HD and +1 where applicable

A Royal Son www.broadcastnow.co.uk

Sister Act 2

3.97 3.72 4.25 2.88 2.62 2.87 2.37 2.65 3.18 3.03 2.78 2.27 2.50 2.15 4.11 2.41 1.81 3.04 2.73 2.33 2.58 4.31 1.80 2.32 1.83 1.83 2.01 3.53 2.18 2.18 1.68 1.67 2.44 1.72 1.62 1.86 1.65 3.18 1.67 1.46 1.84 1.51 2.19 1.47 1.91 2.69 1.67 1.60 1.67 1.59

Broadcaster/ Producer* Sky News Watch/Phil McIntyre Ent/Inner Circle Sky News Dave/Avalon Gold/Boc-Pix/RTÉ Dave/Avalon Dave/Avalon Dave/Avalon Gold/Boc-Pix/RTÉ Sky 1 Dave/Talkback Dave/Avalon Dave/Talkback Sky 1 Dave/Angst Productions Dave/Hat Trick Productions Gold/Boc-Pix/RTÉ Sky 1 Sky 1 MTV/Lime Pictures Sky 1 Dave/Talkback Dave/Avalon Sky 1 Sky News Dave/Hat Trick Productions Dave/Avalon Dave/Angst Productions Sky 1 Dave/Avalon Sky News Dave/Hat Trick Productions Sky 1 Sky 1 Sky Sports 1 Sky 1 Dave/Avalon Dave/Angst Productions Dave/Avalon Watch Sky 1 Dave/Talkback Sky 1 Dave/Talkback Sky 1 Sky News Sky 1 Dave Dave/Avalon Yesterday/Wall to Wall

181k Sky 1’s The Café returned with less than half of season one’s debut – but double the slot average (Wed, 9pm)

Baby joy for digital news

BY Stephen pRice

After naming the new royal urchin George Alexander Louis, I wondered if there might be a ‘By George, it’s a GAL’ headline. But ‘Fresh Prince’ was about as good as it got.

Still, the announcement of a name gave the news channels a boost. Sky News benefited very nicely, but was still behind BBC News.

At 7pm on Tuesday, Sky News’ A Royal Son achieved 797,000/4% for an hour; the week before, when refusenik Georgie was but a stubborn lump, the channel averaged 41,000/0.2%. BBC News got more of a leg-up, with its 1.4 million/7% trumping last week’s 76,000/0.4%.

Sandwiched between baby news, the third episode of Watch’s latest Dynamo: Magician Impossible achieved 761,000/3.7%, the same as last week’s, but slightly better volume. The best of the series’ live ratings remains the launch episode’s 845,000/4%.

Dave’s Storage Hunters continued with four episodes in the top 10, the best on Wednesday at 8.30pm with 573,000/2.9%.

Discovery’s Gold Rush achieved 306,000/1.4% on Tuesday at 9pm, its second-best live ratings since 3 July last year (367,000/1.6%).

The third episode of MTV’s latest series of Geordie Shore achieved 408,000/2.3% at 10pm on Tuesday, the lowest of the series so far following last week’s record 529,000/3%.

2 August 2013 | Broadcast | 37

Ratings Mon 15 July – Sun 21 July

All BARB ratings supplied by: Attentional

Consolidated Ratings

Run walks off with share rise

BY Stephen price

Although August is the month of holidays and a time when the news goes a bit round the bend – Michael Jackson, Freddie Mercury and whistling llamas on the Today programme was the starting gun – television still entices viewers.

More than 20 million people watch some kind of telly in peak during August. So while the schedules can wind down a bit before September’s big push, good numbers can still be had. Before August shows up, July – hot and sometimes as unforgiving as a blacksmith’s anvil – threw up some interesting viewing itself, such as C4’s Run and Sunday’s drama ding-dong.

C4: Run Run, Channel 4’s short series of hour-long, self-contained but

Source: BARB

linked films played out over four consecutive nights from Monday 15 July at 10pm. It averaged 1.7 million/9% share after 600,000 watched via recording. The best was the opening episode’s 2.1 million/11% after 612,000 recorded and watched, and the most recorded was Tuesday’s episode, which consolidated to 1.9 million/9% after 647,000 recorded and watched. The least strong was Thursday’s 1.2 million/7%, including 460,000 recorded views.

Run boosted Channel 4’s share: it was up 25% compared with the Monday-Thursday 10pm slot in 2013 so far. Its 8.5% ABC1 share was 23% up on the slot average, though its 6.3% 16-34 share was behind the 2013 average of 11%.

C5: CSI The episode of Channel 5 staple CSI: Crime Scene Investigation on 16 July at 9pm achieved a live rating of 1.8 million/9%. After more than 700,000 recorded and watched, it finished on 2.5 million/ 10%, putting it in the top five of the

year so far; 2013’s best of all so far remains the 20 May episode, with 3 million/11%.

BBC1: Luther The penultimate episode of BBC1’s occasionally gruesome Luther achieved 5.6 million/23% after 1.2 million watched via recording. The best episode of this run so far is the 2 July opener: 6.4 million/24%. The best episode of all three series was on 5 July 2011: 6.8 million/26%.

BBC1: The White Queen ITV: Law & Order: UK BBC1’s The White Queen recorded strongly on Sunday at 9pm, transforming a 3.5 million/16% live rating to 4.6 million/18% after 1.1 million recorded and watched.

Opposite, however, ITV’s Law & Order: UK continued to hold the upper hand. Its live rating of 4.8 million/21% was recorded by marginally fewer than The White Queen, but 1 million was still easily enough to keep its winning margin, finishing with a consolidated rating of 5.8 million/22%.

TOP 30 CONSOLIDaTeD RaTINgS: RaNKeD By gaIN

1 2 3 4 5 6 7 8 9 9 11 12 13 14 15 15 17 18 19 20 21 22 23 24 25 26 27 27 29 29

6.7m With 1 million on catch-up, The Apprentice final was 1.5 million down on previous years

UP Top Gear up 500,000 DOWN Top Of The Lake down 800,000

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

Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Top Gear Luther The White Queen The Apprentice: The Final Law & Order: UK Casualty Coronation Street EastEnders Coronation Street Coronation Street CSI: Crime Scene Investigation EastEnders Run Top Of The Lake EastEnders EastEnders Run Coronation Street The Returned Family Guy Geordie Shore Run Revolution Coronation Street Run Long Lost Family The Americans Once Upon A Time Hannibal Top Gear

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

19.58 21.00 21.00 20.00 21.02 21.11 20.29 19.59 19.33 19.31 21.02 19.28 22.02 21.13 19.27 19.59 22.03 20.29 21.01 22.21 22.00 22.02 21.00 19.32 22.03 20.59 21.49 20.01 22.00 19.00

5.36 5.57 4.59 6.74 5.79 5.18 7.84 6.10 7.69 7.93 2.54 6.41 1.87 1.92 5.99 6.96 2.12 8.62 1.69 1.94 1.13 1.50 0.85 8.62 1.20 6.22 1.36 1.31 0.67 1.15

21.75 23.11 17.84 29.52 22.25 24.92 37.70 31.78 41.21 41.03 10.45 34.29 9.32 9.33 33.55 32.46 10.66 37.95 6.55 10.76 5.68 8.10 4.21 41.13 6.58 27.58 7.18 5.29 3.33 5.89

1.18 1.17 1.09 1.02 1.01 0.96 0.92 0.80 0.77 0.77 0.72 0.67 0.65 0.64 0.62 0.62 0.61 0.60 0.58 0.57 0.53 0.51 0.49 0.48 0.46 0.45 0.43 0.43 0.42 0.42

28.30 26.40 31.10 17.90 21.20 22.80 13.20 15.20 11.20 10.80 39.80 11.60 52.90 49.90 11.70 9.80 40.60 7.40 51.70 41.50 89.10 51.60 133.80 5.90 61.80 7.80 46.10 48.40 173.60 57.80

Broadcaster BBC2 BBC1 BBC1 BBC1 ITV BBC1 ITV BBC1 ITV ITV C5 BBC1 C4 BBC2 BBC1 BBC1 C4 ITV C4 BBC 3 MTV C4 SKY 1 ITV C4 ITV ITV C5 Sky Living BBC2

Figures include HD and +1 where applicable

38 | Broadcast | 2 August 2013

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to All3Media, Endemol, Hat Trick, Keo Films, Shed Media, Shine TV and Zodiak Media, which have all agreed to run the scheme for the next three years.

Squeaky door on the tube train this morning sounds like that creepy “waaaa” noise in soundtrack to The Returned.

Am now terrified, naturally.

AND FINALLY ...

Banks & Wag Music composers

Premiere spot for Partridge

@jessbrammar (Jess Brammar) Business, economics and consumer news editor, ITV News

Toast to the trainees: Pact success

Welcome to the industry How better for youngsters to celebrate joining the ranks of the TV industry than with a glass of plonk and some power networking? Seven indies took part in the first iteration of Pact’s Indie Diversity Scheme and 10 trainees have landed jobs as a result. The trade association held a reception with mentors last work to help the newcomers practise their schmoozing skills, and also raise a glass

Disappointed The Returned didn’t end with a card: THE RETURNED WILL RETURN IN THE RETURN OF THE RETURNED.

From Alan Carr to Stuart Murphy, Alan Yentob to Robert Popper, comedy stars and exec bigwigs revelled in Alan Partridge’s (below) siege mentality at the London premiere of Alan Partridge: Alpha Papa. Steve Coogan thanked those involved with Partridge-esque good grace, including: writing duo Neil and Rob Gibbons – “the boys” who “held the key to Alan’s renaissance”; Studiocanal, which “supported our rather chaotic process of film-making that looks to the untrained eye that we don’t know what we’re doing”; and BBC Films: “It would’ve been a bit rich if it hadn’t got involved, to be honest.”

@gralefrit (Joel Morris) Comedy writer

Maybe it’s watching #The Returned & #TopOfTheLake but I had freaky lake nightmares last night. Not sure I’ll ever swim in one again. @EmiliaDG (Emilia di Girolamo) Drama screenwriter

Children are putting Octonauts stickers on a Peppa Pig workbook. ANARCHY.

Even the marketing for Channel 4 drama Top Boy is staying true to its street credentials. ‘Experiential marketing agency’ Ambient has chosen EC1’s Whitecross Street as the site for this authentic tribute.

@james_blue_cat (James Henry) Comedy writer

What is your biggest regret in life?

Heckling the executive producer’s wrap party speech is probably up there. He took it well.

Which TV programme would you resuscitate?

The Professionals, but still set in the 1970s, with its casual sexism and drink-driving.

What do you do to relax?

Watch Bargain Hunt (below).

What law would you most like to break?

The laws of time. We’d get much more done in an eight-day week.

What’s the most unusual drink you’ve ever had?

A Colonel Dangerous cocktail, spiked with petrol.

Who or what would you put into Room 101?

Synth brass.

Who would you put in the Celebrity Big Brother house?

All 11 Doctors from Doctor Who. Who would you like to play yourself in a movie?

Danny Masterson [That 70s Show] actually played Wag in a Hollywood movie. It’s a long story.

What are the best and worst things about working in TV or radio?

Best: it’s ace.

Worst: finishing a project with nothing else in the diary and saying to your wife: “As it stands, I have no more work for the rest of my life.”

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