Broadcast 11 October 2013

www.broadcastnow.co.uk

11 October 2013

INTERVIEW

RATINGS

BEHIND THE SCENES

Page 26

Page 28

Page 30

TalkSport’s Liam Fisher on his new signings

Are men driving Sky Living’s growth?

Ross Noble makes it up as he goes

BBC free to sell indie content

BBC Store gets green light to strike deals with production companies after agreement with Pact

BY JAKE KANTER

The BBC has paved the way for independently produced programming to be sold via its downloadto-own portal BBC Store after agreeing terms with Pact.

BBC Store, which will enable viewers to “buy, watch and keep” archive content, was a key plank of director general Tony Hall’s speech this week on his vision for the corporation in the run-up to its centenary in 2022.

Convincing indies to hand over online rights to their shows has been tricky for the BBC, with some speculating that Store could initially launch with content produced in-house only.

Production companies were particularly worried that the download service, initially codenamed ‘Project Barcelona’, would result in a fall in DVD sales, and cut the size of advances paid by distributors accordingly.

However, after more than 18 months of talks with Pact, changes have been agreed to the terms of trade. The new framework will clear the path for indies to do deals with the BBC for Store to carry their programming. The Pact deal is likely to include guidelines on how revenue should be split between the BBC and rights-holders.

Pact chief executive John McVay declined to go into detail about the deal ahead of a wider announcement on BBC trading arrangements, including Store, next week. The extension of BBC iPlayer’s catch-up window from seven days to 30 and the launch

THE BBC’S DIGITAL FUTURE BBC Store A download-to-own portal opening up the BBC archive

BBC Playlister Music-tagging service in partnership with Spotify, YouTube and Deezer

Open Minds On-demand intellectual speech radio service for ‘curious people’

Coding scheme Plan to get the nation coding from 2015 Peaky Blinders: indie content could be available on a download-to-own basis

People shouldn’t be saying ‘the BBC’ but ‘my BBC’ or ‘our BBC’ Tony Hall (below), BBC

of BBC1 +1 are also tied up in the agreement.

BBC director of strategy and digital James Purnell told Broadcast that Store is expected to launch in mid-2014, but declined to provide any further information on how the VoD service will look and operate.

As Broadcast has previously reported, it

is expected to be a standalone platform, “separate, but adjacent to” iPlayer, with deep archive and recent content that viewers can pay to download and keep. It will be a non-exclusive service, existing alongside the likes of iTunes.

In a Netflix-style approach, the service will use sophisticated algorithms to recommend shows based on users’ previous downloads. The BBC also plans to incorporate social media tools.

BBC Store is part of a number of new digital services the BBC is preparing to launch over the next two years, including plans to supercharge iPlayer

with exclusive content and programming premieres.

Other services outlined by Hall include BBC Playlister, which will work in partnership with Spotify, YouTube and Deezer to allow audiences to tag any music they hear on the BBC and listen later.

Furthermore, the corporation said its Open Minds project will “unlock” speech radio programmes and independent intellectual events, such as the Hay Festival, and make them available on any device.

It is all designed to increase audiences’ sense of ownership of the BBC, making their experiences more personal.

“People shouldn’t be saying ‘the BBC’ but ‘my BBC’ or ‘our BBC’, said Hall. “Our audiences demand to be involved and expect to participate.” ➤ See page 3 for more

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

British drama makes its mark Mipcom highlighted global demand for homegrown productions

T

here was plenty of drama on the Croisette at Cannes this week – and I don’t mean the fallout from drunken Mipcom indiscretions.

Instead, British drama was the order of the day: Shine International was pushing Broadchurch (100 territories and counting) and premiered the very-obviouslyinternational The Tunnel to 500 delegates; Atlantis was front and centre of BBC Worldwide’s busy stand; and ITV Studios

to buyers at the market. If Danish drama can conquer the world, why not Welsh?

Elsewhere, Jeff Ford’s search for a soap for TV3 had a number of producers and distributors licking their lips, and there was talk that the success of The Mill has prompted Channel 4 to consider playing more drama at 8pm. It will be a challenging balancing act – C4’s sensibilities tend to be more Utopia than Waterloo Road – but an intriguing prospect.

If all that wasn’t buoyant enough, there’s an expectation that the high-end tax ‘While there was a shortage breaks will make the picture even rosier – of jaw-dropping announceespecially if Film London has anything to ments, drama was at the do with it. The organisation has launched forefront of a positive Mip’ a charm offensive to convince the big US networks of the value and potential for GE coaxed buyers from their beds for an filming in London, and has had a major 8.15am Monday morning screening of win in the shape of Fox’s 24: Live Another Breathless. The room was packed.

Day, which will shoot later this year.

The latter has been compared to Mad It is also targeting UK productions and Men, largely because of its early 1960s it will be interesting to see where ITV’s setting, but creator Paul Unwin has also Great Fire Of London is made when it goes weaved multiple storylines and a fair into production next year. The four-part degree of complexity into the series. It’s series will definitely be in tax-break terria project he first mentioned to me a few tory in terms of budget – reconstructing years ago at a Directors UK event – when the 17th-century capital and then burning the BBC was making positive noises it down won’t come cheap. about it – and proves that talent and perSo while there was a shortage of jawseverance can be a powerful combination. dropping announcements, drama was at Other drama sales offered a glimpse the forefront of a positive Mipcom, with of the future. All3Media has sold seven exhibitors reporting healthy footfall. A handful of British execs also series to a VoD service in China and reiterated their enthusifinds itself with an unlikely asm for the 30-minute hit in that territory in the meeting, enjoying the shape of Skins. brevity and businessIt also has high hopes like attitude at the for Hinterland.. The market.

Which S4C and BBC Wales seems like a good drama has already place to stop – been sold to BBC4 Left to right: The Tunnel, Breathless, Atlantis there’s work to do. and was screened 2 | Broadcast | 11 October 2013

è BBC1 is to revive classic sitcom Open All Hours for a one-off Christmas special.

Original writer Roy Clarke will pen the episode, while David Jason will reprise his role as Granville (below).

è Comedy Central has ordered a pilot of The Almost Impossible Gameshow, a Wipeout-style format from Initial.

è Sky’s Stuart Murphy has slammed BBC1 show The Big Picture as “derivative”. The former BBC3 controller claimed on Twitter that it bore similarities to Sky Arts’ upcoming Portrait Artist Of The Year.

Ratings Top Five 1 Channel 4’s candid talk show Sex Box put in a sub-par performance, pulling in just over 1m viewers on Monday.

2 Citizen Khan’s (pictured) return to BBC1 on Friday entertained a community of 2.9m, around 500,000 fewer than the first series opener.

3 Homeland returned to Channel 4 with 2.2m on Sunday, its lowest series debut audience to date.

Strictly Come Dancing waltzed off with a 9.3m series high on Saturday, despite the absence of Sir Bruce Forsyth.

4

5 Channel 4’s US acquisition Masters Of Sex failed to rise to the occasion on Tuesday with 1.4m.

Team Tweets è Early Mipcom update: China loves British telly, Zig Zag loves magic, ITV’s Breathless screening packed out. Creator Paul Unwin is top chap. @ChrisMCurtis

www.broadcastnow.co.uk

News & Analysis

Unpicking Hall’s BBC vision Commentators respond to plans to boost audience ownership, with emphasis on digital

BY Jake kanter

Tony Hall’s first major address as BBC director general “laid the ground” for charter renewal – but industry commentators have quibbled with his plans to increase audience ownership of the corporation.

The former Royal Opera House chief executive’s ‘Where Next?’ address this week set out a vision for the BBC as it approaches its centenary in 2022, with the central aim of forging a “much closer relationship with audiences”.

Digital innovation was at the heart of his broad-brush plan (see page 1), while he made a passionate case for the BBC’s values and attempted to paint a picture of an organisation emerging from the shadow of the Savile and payoffs crises.

Key industry figures including Wall to Wall boss Alex Graham and Arts Council chair Sir Peter Bazalgette were in attendance at New Broadcasting House, alongside the majority of the BBC’s top management. The speech was also broadcast to the corporation’s 20,000 staff over internal networks.

It was greeted warmly by BBC insiders, who described the speech as “inspiring”, “ambitious” and “sure-footed”. One said: “It was very clear and the VTs helped make the digital innovations feel tangible.”

Sir John Tusa, a former BBC World Service boss and director of the Barbican Centre, said the “brave and daring” vision would be a “large plank” of the corporation’s negotiating position for charter renewal in 2016. Enders Analysis’s Toby Syfret said it “gently laid the ground” for these discussions and stated “why it is that we need the BBC”.

However, it is understood there was an audible groan in some sections of New Broadcasting House when Hall revealed that £100m a year of savings will be required to help fund the digital initiatives, such as BBC Store.

This is on top of the 20% cuts that www.broadcastnow.co.uk

Hall: In his first major address, BBC director general set out plans to forge “closer relationships with audiences”

We should be treating users like owners, not just licencefee payers Tony Hall, BBC

need to be delivered under efficiency programme Delivering Quality First.

The digital plans are aimed at increasing audiences’ personal interaction with the BBC by improving their access to content.

At the heart of it all is the iPlayer, which Hall hopes will become the “front door” to the corporation’s services over the next decade.

The VoD service will relaunch in the first three months of 2014 and encourage users to become “their own schedulers” by inviting them to sign in to rate and discuss programmes, and receive recommendations on what to watch.

Hall said: “We should be treating them like owners, not just as licence-fee payers. People should

not be saying ‘the BBC’, but ‘my BBC’ or ‘our BBC’. Our audiences demand to be involved and expect to participate.”

But Nigel Walley, managing director of digital media consultant Decipher Media Consultants, said this showed the BBC had “lost touch” with consumers, who he said access the majority of the corporation’s content through commercial platforms such as Sky. He added that the plan paved the way for people potentially opting out: “Does the concept of ‘my BBC’ allow for the concept of ‘your BBC’? ie: ‘I don’t want to pay a licence fee’.”

Risk of alienation Lis Howell, director of broadcasting at City University, said Hall’s “obsession” with technology risked alienating large chunks of the BBC audience.

Although innovation was at the core of Hall’s address, he insisted that the corporation “won’t lose sight of what’s already working” and said linear TV channels “will

be here for a long time to come”.

This was evidenced by plans to launch a BBC1 +1 service.

BBC director of strategy and digital James Purnell also batted away concerns about how a more personalised, web-centric offering will have an impact on people’s sympathy for the licence fee.

“By personalising things and giving people more from the BBC, you hopefully make them believe that the BBC is good value for money,” he said. “If you think that people are spending 19-20 hours with us every week and they get more from that, more personalisation, we hope that supports the licence fee, rather than taking away from it.”

Tusa argued that Hall’s biggest hurdle will be “ungluing” the BBC’s “ghastly internal bureaucracy”. Simplifying the corporation is a priority for the director general and he is working with management consultant McKinsey & Co to cut duplication and decision-making hurdles, and reduce complex management processes.

11 October 2013 | Broadcast | 3

News & Analysis

Elmo comes to MediaCityUK This is the coming together of two of the premium children’s brands

BY liSa campBEll

The Furchester – the kids’ series resulting from a unique tie-up between Sesame Workshop and CBeebies – will help the north-west of England become the “home of British puppeteering”, according to the BBC. US and UK teams will share their specialist expertise on the 52 x 11-minute series, with Sesame producer Dionne Nosek based at MediaCityUK’s Dock10 studios during production. Auditions are currently taking place for puppeteers, and US execs will provide additional coaching.

“There’s going to be sharing; there’s going to be learning in both directions. We’re really proud of that collaborative spirit,” said Sesame president Mel Ming.

Alison Stewart will be one of the executive producers on the series for the BBC, alongside lead creative Tony Read and Sesame exec CarolLynn Parente. Stewart said: “Puppets in the UK have been a little out of fashion, but the north-west will be the home of British puppeteering, with series such as Strange Hill High for CBBC and this series.

Mel Ming, Sesame Workshop

Elmo: Sesame Street character will stay at the Furchester Hotel

It will be produced here and it will be a great thing for visitors to the site to know it’s one of the centrepieces.”

The series will have its world premiere on CBeebies, with Ming describing plans for its international rollout as “really creative and imaginative”.

The series, which will play out over two years from 2014, stars Sesame Street’s Elmo, who comes to stay with his English cousin Phoebe at London’s Furchester

Hotel, and Cookie Monster, who has found his dream job as room service and dining room waiter.

The show uses slapstick comedy to encourage the development of problem-solving skills among preschoolers as its characters deal with an assortment of mishaps, as well as teaching them to think positively about difference as a variety of guests check in.

“This is the coming together of two of the world’s premium

children’s brands, who are using their expertise to help young children understand that being different doesn’t necessarily mean it’s better or worse,” said Ming. “The Workshop has desired to do something with CBeebies for a number of years, and as its influence around the world has increased, we think this is a natural alliance.”

Stewart, who is also head of in-house production, animation and acquisitions for CBeebies, said there would be a large interactive element to the series.

“We’ll be developing it big time on all our platforms,” she stressed.

“There are some interesting ideas in development for online, and children will be able to do things that the characters do: helping to run the hotel, slamming doors, problem solving. And The Furchester will be on CBeebies radio.”

YouTube launches Upfronts to woo advertisers Hopefully the Upfronts will attract brands to include YouTube in advertising plans

BY alEx FarBEr

YouTube kicked off a charm offensive aimed at TV advertisers at its first UK Upfronts event this week.

The Google-owned video-sharing giant hosted a glitzy event in Syon Park featuring presentations from Dove and Red Bull on the effectiveness of the site, plus musical performances from Susan Boyle and Ricky Gervais, whose Equality Street song became an online hit.

Google vice-president Europe, northern and central, Matt Brittin said the total duration of content viewed on YouTube in the UK had doubled in the past two years.

“We complement what people are watching on TV because YouTube’s different,” he said. “We 4 | Broadcast | 11 October 2013

Content executive

Gervais: song was YouTube hit

indulge passions because you’re able to find content about just about anything.”

Jamie Oliver, whose Spirit Digital-managed Food Tube channel has more than 420,000 subscribers and won a Broadcast Digital Award this year, said the site acted as a “litmus test” for content.

“I can present a TV show and get 1.8 million viewers, which is great, but I know nothing about them,” he said. “YouTube gives me proper analytics, which allow me to change what I’m filming tomorrow based on feedback from today.

“A big part of the future is about being agile and quick.”

Media agency executives were urged to run pre-roll ads, sponsor existing channels and launch their own profiles. After the

presentations, buyers were directed to stands promoting channels, including Base79’s urban sports channel Flow, Bigballs Films’ football channel Copa90 and two from All3Media’s Little Dot Studios.

One content executive said it was strategically vital to have a presence on the site, but it remained tough to generate significant profit.

“It’s hard to make money from YouTube today,” he said. “But users expect you to be there. Hopefully, the Upfronts will help attract more brands to include YouTube as part of their advertising plans.”

He added that traditional TV buying metrics, such as viewing figures, were not the best way to measure the success of an ad campaign on YouTube, where engagement figures can be critical. www.broadcastnow.co.uk

News & Analysis

VoD sales increase sharply Distributors Shine and Zodiak shake up businesses as influence of OTT services grows The challenge is navigating our way through the changes and models

BY CHRIS CURTIS

Sales to VoD services have surged to account for 10-15% of major distributors’ revenues – although uncertainty remains about whether the rapid growth rate can be maintained.

Shine International and Zodiak Rights revealed that 10-15% of their total revenues now come from digital, a figure believed to be in line with the industry average, and they are shaking up their businesses in response to the shift.

Zodiak has sent its sales staff on three external training days over the past nine months to help them get to grips with new terminology and better understand the array of emerging VoD models.

Zodiak chief executive Matthew Frank said digital sales were taking place at “pretty good rates” and in decent volumes, and were beginning to generate “big numbers”.

The company is hopeful of landing a single digital kids’ deal that would account for around 20% of overall sales in that genre.

Frank added: “Comedy, drama and kids are predictably the most sought-after genres, but Netflix is starting to eye up factual content, particularly series with a long shelf life, such as wildlife programming.”

Shine International chief executive Nadine Nohr said the impact of the digital platforms was “huge”.

“It’s actually disproportionate to their financial contribution so far.”

Nadine Nohr, Shine International

House Of Cards: Netflix series demonstrated growing power of platforms

She added that rights windows are being compressed and some linear broadcasters are rethinking their acquisitions strategy because of the growing influence of OTT services.

Shine Group chief executive Alex Mahon pointed to the move

by Nordic broadcasters, following the launch of Netflix, to ask for changes to contracts in terms of hold-backs and windows.

Exclusivity is also an issue.

“Exclusive content can really transform and define a service,” Nohr said. “The challenge for a distributor is navigating our way through the changes and models.”

The feeling within All3Media International is that the OTT market for catalogue content will

remain consistent, but there is set to be a fresh push on securing bespoke and premium shows.

All3Media has toured the major players in LA to spell out its credentials and help them think of the distributor as a major studio – and a potential source for “the next House Of Cards”.

The view is shared by Frank.

“The feeling in the UK is that there are a lot of services and they’re all a little too similar,” he said. “They’re starting to want to differentiate themselves with tentpole content that is exclusive for, say, a year.

That’s a good thing, as generally they’re prepared to pay for it.”

But distributors also talked of an OTT “glut” or “bubble” and said they felt the growth could

plateau. Shine’s Mahon is upbeat about the sector as a whole, but summed up the feeling: “There is a question as to whether this is a temporary aberration as [the likes of Netflix and Lovefilm] are building brands.”

Some content owners are building their own services as well as selling content to third parties. Disney’s ABC Studios VoD portal has launched on 27 platforms in 15 territories, serving 10 million viewers.

Walt Disney Company general manager of media distribution EMEA Catherine Powell said the umbrella brand helps consumers navigate the huge breadth of content. She added that viewers attracted to the portal by flagship shows such as Lost and Greys Anatomy were also watching additional lower-profile content.

She said: “The VoD market isn’t a revolution but it is a major disruption. There’s been a massive boost in content investment, and more energy and enthusiasm.

After a difficult economic backdrop and a few markets that were a bit depressing, to have new players is incredibly positive.”

VoD service Blinkbox ‘ready to fly’ on the back of push by Tesco Blinkbox is poised to exploit the power of its parent company Tesco and “start to fly”, according to director of content acquisition and sales Douglas Davis.

Its two services – the paid-for download premium content platform Blinkbox, which shows Game Of Thrones (right), and the ad-supported Clubcard TV – are benefiting from promotional activity in stores that began at

www.broadcastnow.co.uk

the start of the month. Shoppers are now able to buy Blinkbox gift cards, which can be spent on content by users of the service.

The push coincides with the launch of Tesco’s tablet, Hudl, which comes with the VoD company’s services pre-installed. A new TV ad campaign to boost brand awareness is also planned.

Davis said that since the instore push and Hudl launch, film

sales on Blinkbox were up 300-400%, while TV sales were up 1,000%. He added: “This is the most significant period for Blinkbox in the six-and-ahalf years I’ve worked here.

Tesco is a great fit as an owner and we can leverage its data –

there is going to be a real step change for the service.”

Blinkbox users set up an account that allows them to buy content permanently or rent it for 30 days. It trades on offering major films much sooner than they appear on rival subscription VoD services.

11 October 2013 | Broadcast | 5

News & Analysis

Milburn champions equality C4 roundtable attendees agree initiatives to help socially disadvantaged into employment

BY LISA CAMPBELL

Internships and work experience have become a new rung on the career ladder, social mobility tsar Alan Milburn declared last week. The industry has to do something, he said, about hiring on the basis of “who you know, not what you know”.

Speaking at a Channel 4 roundtable event on social mobility, Milburn told the 40 delegates, which included indie chiefs and bodies such as the BFI and Pact, that the industry needs to provide more opportunities for young people from disadvantaged backgrounds.

“What worries me more is not what’s happening at the top, but what’s happening at the bottom, and whether there are equal opportunities for people from a variety of backgrounds to get access to good-quality employment,” he said.

“That matters more in this industry than any other, as it relies more on the talent and the creativity of its people. The more diverse an industry, the more creative it is.”

Milburn suggested that there was more for the government to do, but recommended four key areas for employers to address (see box).

Attendees also heard about diversity initiatives from speakers including Shine chief executive Alex Mahon and Stephen Sly of law firm DLA Piper, but the consensus was that Milburn’s view of a lack of joined-up thinking was correct.

It was agreed that, as a first step, the industry must audit good work that is already happening and then identify the gaps that require a strategic, industry-wide approach.

The room also voted overwhelmingly that the Creative Diversity Network (CDN) was best placed to galvanise organisations, particularly through its Diversity Pledge.

It was also suggested that media organisations should make a specific commitment to improving social mobility.

The example from the legal sector was a pledge to ensure that half of all new work placements and internships go to people from 6 | Broadcast | 11 October 2013

Channel 4 roundtable: Milburn said diversity is vital to fulfil broadcasting industry’s need for creativity

low-income backgrounds. The meeting agreed that this proposal should be considered.

As Broadcast reported last week, C4 chief executive David Abraham is taking the issue to top brass at other broadcasters via the CDN, and is keen that social mobility access is linked to wider issues around training.

■ Oona King, Bettany Hughes and Penny Woolcock are among the speakers set to speak at Diversify, Broadcast’s own event on diversity, which we are holding jointly with sister title Screen International at Bafta on 13 November.

See broadcastnow.co.uk for more details. For tickets, email events@mb-insight.com.

It worries me when we’ve got more than 150 universities and The Times Top 100 recruit from 19 Alan Milburn

ALAN MILBURN FOUR KEY AREAS FOR EMPLOYERS TO ADDRESS 1 “There are lots of initiatives around trying to raise aspirations in schools, but they tend to be fragmented and ad hoc. There is something about how you co-operate together and undertake proper, structured outreach programmes. The industry’s got a problem because, unlike law or medicine, it doesn’t have a sense either of collectivism or an overarching architecture that allows these initiatives to be anything other than individualistic.”

2 “Dealing with internship schemes is really important. It’s self-evident that some families have the ability to sponsor their child to spend six weeks or six months working for free. In politics and elsewhere, internships are becoming more openly advertised and fairly paid.”

3 “It worries me when

we’ve got more than 150 universities in this country and The Times Top 100 recruit from 19. Nobody’s telling me that talent and creativity

exists only in 19, so spreading the net wider geographically and socially is the best way to ensure a range of talent is caught within it.”

4 “The media industry, like others, has suffered qualification inflation – it used to be possible to start out as a messenger boy and end up as an editor. Some industries are reinventing non-graduate entry routes – the BBC and ITV have some apprenticeships – but inventing new routes of entry, as the legal profession has done, is an important means of opening up opportunities to a broader range of talent.” www.broadcastnow.co.uk

Business Breakfast

Sponsored by

Ovation set for drama push US cable network tells Broadcast Business Breakfast it is on the hunt for the right project

US cable network Ovation is looking to commission two highprofile international drama series a year to help grow its catalogue of original content.

Speaking at the Broadcast Business Breakfast at Mipcom in Cannes, chief creative officer Robert Weiss said he had kicked off talks with indies from the UK, the US and Europe ahead of a move into original scripted development.

“2014 is going to be the year that we do our first multi-part scripted co-production; we’re on the hunt for the right project,” Weiss said. “Ideally, we’d like to do two next year. The right project will be eight or 10 episodes and can hopefully run for at least three series.

“I’m almost positive it will be with an international partner. I’ve always been an Anglophile; for me, it’s a natural move to look outside of the US for ideas.”

Weiss added that given the chance, he would have snapped up Carnival Films’ Downton Abbey, ITV Studios’ Mr Selfridge or BBC drama Sherlock, giving a clear indication of the type of projects he plans to order.

Ovation, which has distribution in 50 million US homes and currently orders 240 hours of original content a year, has this year made its most significant commissions to date: 10 x 60-minute doc series James Franco Presents and Anna Wintour-fronted unscripted series The Fashion Fund.

“We want to make Ovation the home for these people’s passion projects. We’re hoping in 2014 a few more producers will come to us with such projects,” Weiss said.

Ovation’s current audience are mostly in their late 40s and one of Weiss’s key targets is to lower its age demographic. He is expecting that the projects from the star of Freaks And Geeks and the editor of Vogue will help it do that.

The cable operator is also hunting for more factual and fact ent series.

8 | Broadcast | 11 October 2013

DENISE DEMARZIANI

BY PETER WHITE

Top: the Broadcast Business Breakfast; below: Ovation’s Robert Weiss with Peter White

I’ve always been an Anglophile; it’s a natural move to look outside of the US for ideas Robert Weiss

“Pitch us an idea that has great talent attached or unprecedented access to somewhere fascinating,” said Weiss.

The network’s expansion in original programming follows its hottest acquisition – it premiered Big Talk Productions’ four-part Sky Arts series A Young Doctor’s Notebook earlier this month after striking a deal with BBC Worldwide.

Weiss revealed that it saw off a number of rival channels to acquire the Jon Hamm and Daniel Radcliffe-fronted drama,

and welcomed the move by VoD service Netflix to pick up the second window of the series.

“I’m thrilled that Netflix has the second window. I look at these companies like my new best friends,” said Weiss. “I’m convinced that the second season of A Young Doctor’s Notebook will be more commercially successful than the first because, with the Netflix audience, many more people saw it.”

At Mipcom, Ovation also announced the purchase of Canadian drama Murdoch Mysteries,

which airs in the UK on UKTV’s Alibi and is produced by Shaftesbury, in association with ITV Studios Global Entertainment.

The channel is owned by The Weinstein Company and Hubbard Media Group. Weiss said that having Harvey Weinstein as partowner gives it some negotiating clout. “Harvey’s a busy man so he doesn’t come in the office every day,” he added. “However, we’re fortunate to have a great relationship with Harvey – and it’s always good to have a Weinstein on your side.”

Weiss said his team, which includes head of programming and content strategy Doug Strasnick, is aiming to boost the distribution of the channel by 10 million homes following its aggressive commissioning push. www.broadcastnow.co.uk

Skills Investment Fund (SIF)

What is the Challenge Fund?

What is the Challenge Fund?

The Challenge Fund offers employers in film, TV, animation, games and VFX access to grants of up to £1 million to deliver creative and practical ways to boost skills and develop talent in their industry.

As part of Creative Skillset’s Skills Investment Fund (SIF), the Challenge Fund will help keep the UK at the forefront of innovation and positioned as a hothouse of creativity by placing funds and training delivery in the control of industry.

What size grants are available?

Applications of between £10,000 and £1 million are welcome from small, medium and large employers, either as individual companies or in consortia. Bids can cover one or more industries and we are keen to see proposals addressing innovation, diversity and development of the skills base across the UK.

Which employers are eligible?

The Challenge Fund is accessible to those employers contributing to the Skills Investment Fund. Applicants must match 50% of the money needed for their proposal with non-public funds.

For application guidelines visit www.creativeskillset.org/challengefund

The SIF is administered by Creative Skillset and funded by industry contributions with Government match funding to support skills, talent and business development in the film, TV, animation, games and VFX industries.

Each industry determines how it contributes to the SIF and employers who make a contribution gain access to the SIF’s talent, grants and training resources.

SS7119_Challenge_Fund_A4ad_v2.indd 1

Supported by the Department for Culture, Media & Sport

27/09/2013 14:49

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Commissioning News

For more projects in development and the latest commissions, visit

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Q&A cheryl tAylor

Cheryl Taylor Controller of CBBC

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

Elsbeth Tascioni, the dizzy attorney from The Good Wife.

What’s your most recent commission and why?

All At Sea. Grab your kids and have a watch. You’ll see why it was commissioned – it’s a funny family comedy.

What’s been your greatest achievement?

The Salford Sitcom Showcase. It’s become an annual event and spawned Hebburn and Citizen Khan – and I love both those shows.

What’s been your biggest disappointment?

That Hacker T Dog hasn’t yet been knighted for services to the realm.

How much has it changed from what was initially pitched?

The scripts (and Connal Orton the exec) promised sun, silliness and deep-fried seagulls – and that’s exactly what’s been delivered.

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

Producers who bring iced buns don’t always make the best shows.

What was it that grabbed you?

The writer Brian Lynch’s understanding of, and passion for, the world of his young protagonist Charlie (think Just William meets Jack Black).

How would you like to be remembered?

As the person who commissioned the even more staggeringly successful successors to Horrible Histories and Deadly 60.

What would you like more of?

Strong factual ideas with a palpable sense of wonder and adventure, and new ways for our audience to consume, such as mobile content.

How should producers pitch to you?

Visit our website, which tells you all you need to know.

What’s a definite no for you?

How quickly do you aim to respond to an idea?

In Children’s we’re PDQ, with occasional longueurs.

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

Who has final sign-off?

Me, with input from director of Children’s Joe Godwin.

Shows like ones already on the channel. We have a glut of pets and vets.

“We’ve brought iced buns.”

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

“I’m not familiar with the CBBC output, but…”

What’s your riskiest commission and why?

All of the wonderful My Life docs. They tread a fine line between celebrating inspiring children and overexposing vulnerable young lives.

Which TV character is most like you?

Probably Janice, Chandler Bing’s ex-girlfriend from Friends. We share an irritating cackle.

How should producers pitch to you?

Cheerfully and politely – and preferably via our top-class indie exec team comprising Melissa, Hugh, Kez, Anita, Sue and Mario.

What’s your top pitching tip for producers?

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

recent commissions

All AT SeA

DNN

Production company In-house Length 13 x 30 minutes TX 25 September 2013 Summary A 10-year-old boy moves to a seaside B&B with his mum and dad, his 14-year-old sister and seven-year-old brother. His adventures include roaming the beaches, arcades and fish-and-chip shops of Scarborough.

Production company In-house Length 13 x 30 minutes TX 30 May 2013 Summary Set in a spoof news studio, the cast of larger-than-life news anchors and correspondents put their own unique spin on topical stories through irreverent sketches and hilarious archive clips, as well as plenty of silly physical comedy.

www.broadcastnow.co.uk

11 October 2013 | Broadcast | 11

International News

Relativity eyes scripted TV It’s a Moneyball approach to creating TV; it’s a much more accurate model

BY peteR white

US film producer Relativity is to use data gathered from its hit films, such as Mirror Mirror and Shark Night 3D, to move into scripted TV, in what chief executive Ryan Kavanaugh described as a “Moneyball approach to creating television”.

The company is developing two projects based on its existing film properties – Limitless and Act Of Valor – but aims to adapt five or six of its movies to series.

Limitless, an action thriller about an unsuccessful writer who discovers a ‘smart’ drug that allows him to become a perfect version of himself, starred Bradley Cooper and Robert De Niro. A small-screen adaptation will be exec produced by Cooper for National Geographic.

Act Of Valor, which follows operatives tasked with the recovery and medical treatment of personnel in humanitarian and combat environments, is another Nat Geo commission. Both shows are likely to be sold through newly launched international film sales division Relativity Foreign.

“We had so much data on these films. I recognised that we can take our movie model – and that’s the

Ryan Kavanaugh, Relativity

Limitless: Robert De Niro and Bradley Cooper starred in the original film

greatest pilot – and take that into television,” said Kavanaugh. “I know exactly what the fans like and why they like it, and we need to take this right to series.

“It’s a Moneyball approach to creating television; it’s a much more accurate model. What was always hard in scripted TV was the unlimited risk reward, so you have to hope you can hit it out of

the park. With this, we have a built-in audience. We know what they want and we know it won’t be a failure.”

Relativity’s move will see it grow its TV slate and, importantly, reap rewards from international sales rather than selling world distribution rights to third parties.

The company has been successful in unscripted television,

producing more than 30 series for 20 networks, including Catfish for US network MTV. While Catfish grossed just $242,000 at the box office worldwide, outside of the US it was an international TV sales hit for Viacom International Media Networks.

“We spent many years looking at the right model to get into scripted television. There’s a lot of people who have come into television and deficit-financed shows, so we looked at the right model to get into this business,” Kavanaugh explained.

He added that he is taking a global approach to reversioning the movies and will look at international distribution opportunities.

“When I go to meetings in Geneva or London, people love it [Limitless and Act Of Valor] and tell me these are very global shows,” he said.

Mind Candy lines up companions for Moshi Monsters BY peteR white

Mind Candy, the company behind hit kids’ franchise Moshi Monsters, is developing a number of properties to launch on tablets.

Founder Michael Acton Smith told Broadcast the digital firm is working on kids’ projects that skew slightly more male, with one idea targeting boys and the other targeting mothers.

“We’ve got three exciting ideas bubbling away in our workshops at various stages of development and we only want to put them out when we’re ready,” he said. “We’ll start in the tablet space and if they’re successful, we’ll look at creating different media, producing cartoons, toys and books.

12 | Broadcast | 11 October 2013

Moshi Monsters: owner Mind Candy has three projects in the pipeline

“If they’re not successful, we’ll never talk of them again.”

The latest developments come after the company unveiled plans to launch a 52 x 11-minute Moshi Monsters series. The animated

show will be distributed on linear TV as well as via digital platforms, and follows the recruitment of former Jim Henson Company exec Jocelyn Stevenson last year.

Acton Smith admitted that the venture capital-backed company had received investment offers numerous times.

“We’ve had a lot of interesting conversations and we could sell the company and sail off on our yachts,” he said. “But I think it would be a shame to watch from the sidelines, so we definitely want to double down and keep building.

“We’d like to turn from being a one-product company into a multiproduct company.”

The most recent consolidation in the kids’ market was the sale of Teletubbies owner Ragdoll Worldwide, a joint venture between BBC Worldwide and Anne Wood’s indie Ragdoll Productions, to Canadian firm DHX Media. www.broadcastnow.co.uk

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Mipcom Round-up Chinese programming revenues up 90% to £12m China was the biggest growth market for UK programming last year, with revenues up 90%, according to research by UK Trade & Investment and Pact. The annual UK Television Exports Survey shows that £12m was generated from British programming in China last year, up from £6.5m in 2011, making it the fastest growing source of international business for producers and distributors. The figures form part of a wider growth story for UK programming around the world – with annual sales worth £1.22bn, up 4% from last year’s £1.18bn.

Desperate Housewives set for Nigerian makeover Desperate Housewives (below) is set for a move to downtown Lagos following a deal between Disney and Nigerian broadcaster EbonyLife TV. A 23-part adaptation, with a pan-African cast, will begin airing next summer. Mo Abudu,

chairman of EbonyLife TV, said: “The media still thinks of Africa as a place where disease and poverty are rampant. But there is a very different Africa and our version of Desperate Housewives will depict it.”

Viacom to showcase MTV EMAs to Twitter followers Viacom is to deliver highlights of the MTV EMAs to the broadcaster’s 10.8 million Twitter followers as part of a wider deal with the social network. The international partnership will launch on 10 November, when MTV will feature sponsors’ messages around video highlights of the awards. The posts will also be flagged to other users likely to be interested in the content via Twitter’s ‘promoted tweets’ service.

Twitter exec Glenn Brown said: “It helps broadcasters to open up a revenue stream that wasn’t previously available.” www.broadcastnow.co.uk

Shine International. Africa (M-NET), China (Youku), Canada (Shaw Media), Brazil (Globo SAT 1), Israel (Hot TV), Iceland (365 Media) Finland (MTVOy/ MTV3) and Belgium (VMMA) are among

Fremantle Media International has signed a multiyear digital deal with Youku, the Chinese equivalent of YouTube. Under the deal, more than 200 hours of the super-indie’s content, including Total Blackout, The X Factor USA and drama Hit And Miss, will be made available to Youku’s 200 million monthly users in the first year. Fremantle chief executive Cecile Frot-Coutaz said: “Our revenue from digital is double-digit, but it is still too small.”

Discovery orders magic show from Zig Zag

Core Media eyes move into international distribution

Zig Zag is to produce Close Up Kings, an eight-part magic series for Discovery Networks. The show will follow a trio of New York street magicians and air across Europe, the Middle East and Africa next year. Zig Zag exec Leila Monks, who brokered the agreement with Discovery’s Adam Jacobs, director of factual programming, said: “The Close Up Kings’ form of entertaining and astonishing illusions is a perfect fit for Discovery Channel.”

American Idol (pictured) owner Core Media is planning a move into international distribution to exploit its growing programming pipeline.

The company, which owns US indie

European broadcasters sign up for Dragons’ Den Broadcasters in Germany and Spain have inked deals with Sony Pictures Television (SPT) for local versions of Dragons’ Den (pictured) – bringing the tally of international versions to 24.

SPT Productions Germany will make Dragons’ Den for commercial broadcaster VOX, while Spanish public service broadcaster Television Española has commissioned the format from Pulso TV.

Sharp Entertainment, is seeking to acquire or invest in a global sales business. Core head of US television Jennifer O’Connell said: “We are evaluating a few options on the distribution side and are fairly sure that we’ll have that figured out soon.

We feel we need to have our own distribution [business]. We should be in control of rights.”

Broadchurch sells to 100 markets Kudos drama Broadchurch (top right) has been sold to 100 territories, according to the show’s distributor

the countries to buy the hit, which scored record ratings when it aired on ITV earlier this year.

Tuesday’s Child to go on road trip for Travel Channel Travel Channel has ordered a road trip series from Karen Smith’s (below) fledgling indie Tuesday’s Child. RV Rampage is a 10 x 60-minute series that takes in the landscapes, cities and coastline of New Zealand as five couples travel

from Auckland to the tip of South Island. The show was commissioned by Nick Thorogood, senior vice-president of content and marketing, and Sue Walton, vice-president of commissioning, Scripps UK and EMEA.

Mip turns focus to digital Mip is beefing up its commitment to digital with plans to showcase original online programming and web series at next year’s event. The market, which will run from 7-10 April, will include a Mip Digital Fronts event featuring 45-minute curated screenings from platforms, digital studios and online channels.

Reed Midem director Laurine Garaude said: “We are simultaneously building a market for digital studios, while creating a platform for traditional TV and film studios to leverage their digital programming and production assets during the market.”

11 October 2013 | Broadcast | 15

Cooking up a storm in factual entertainment Don’t get left behind...

Day 2, 15.45 – 16.30 Sound On Location with Richard Meredith, sound supervisor for The Great British Bake Off

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● Leading colourists discuss techniques, share tips and consider the future of grading

hannel 4 has launched an iOS game to support scripted reality series Made In Chelsea ahead of its sixth series, and this week’s confirmation of three further series next year.

The freemium game, in which users can pay to unlock certain features more quickly, invites players to explore Belgravia and Mayfair and visit locations including The Bluebird, Beaufort House, Amika and The Henry Root, to build up relationships and attempt to score as many dates as possible.

Users can also upgrade their wardrobes and hear tracks from a variety of unsigned artists, as well as music associated with the series.

Cast members including Cheska, Binky and Proudlock have lent their voices to the game, which makes use of 3D animation to offer an immersive experience.

C4 games commissioning editor Colin Macdonald said it was “an engaging game that enables users to have fun and hang out with the cast”.

Commissioner Colin Macdonald Developer PaperSeven URL iTunes

Thomas Urbye Senior colourist

● Q&A session with Gareth Neame, executive producer of ‘drama of the decade’ Downton Abbey Gareth Neame Executive producer, Downton Abbey

● Polar bears, bison, killer whales – our panellists discuss breaking the boundaries in natural history programming Vanessa Berlowitz Series producer, BBC NHU

● An interview with the team behind BBC natural history spectacle Survival – filmed in 4K Mike Gunton Creative director, BBC NHU

● A VFX masterclass from the industry’s leading artists, who have worked on shows from Parade’s End to Doctor Who and Sherlock Will Cohen VFX CEO, Milk

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● Go behind the scenes of The Tunnel with Jane Featherstone and Lars Blomgren Jane Featherstone Chief executive, Kudos

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www.broadcast-forums.com 18 | Broadcast | 11 October 2013

C4 orders Comedy Blaps Channel 4 has launched the next wave of Comedy Blaps, its shortform online videos. Comedy commissioning execs Nerys Evans and Rachel Springett have ordered Daniel, a three-part series about social awkwardness, and the two-part Still Reeling. Comedy Blaps shows, which are also distributed via YouTube, Vimeo and podcast, have attracted more than 2.6 million views in two years.

ZigZag conjures up magic channel for YouTube ZigZag has partnered with VoD specialist Diagonal View to launch a magic-themed YouTube channel. All Time Magic will

feature tricks from up-andcoming magicians from around the world. ZigZag plans to upload around 30 minutes of new content every week to the channel, which is due to launch this month. “YouTube is crucial when it comes to content consumption, particularly within certain demographics, who watch less and less programming via linear channels,” said ZigZag exec Leila Monks.

iPlayer to show R1 videos The BBC is to launch a video channel for Radio 1 via the iPlayer. It will feature interviews and performances and is expected to carry live events www.broadcastnow.co.uk

Channel 4 trials use of Facebook data

BY ALEX FARBER

Channel 4 is to integrate real-time data from Facebook into its programming, including Channel 4 News and NFL coverage.

The broadcaster is to trial displaying Facebook data on screen and will use comments posted online to enhance its programmes.

The data has been made available via two of Facebook’s APIs to give broadcasters detailed information on the site’s TV-related conversations.

C4 social media marketing manager Ally Branley said it would make C4’s relationship with viewers “more inclusive”.

C4’s live NFL coverage is earmarked to lead the push because of the sport’s highly engaged fan base.

The data will allow the broadcaster to display anonymous, aggregated information about the audience’s Facebook chat, split by gender, age and location data. It could show, for example, that more teens, or more Londoners, are discussing the Dallas Cowboys than the San Francisco 49ers.

Programme hosts will also have access to publicly made relevant comments, which can

23rd & 24th October BFI Southbank, London NFL: highly engaged fan base

be displayed on screen or fed into commentary or analysis.

“It’s exciting to explore new ways to engage with viewers,” said Branley. “It’s important for people to feel like we’re listening when they discuss our shows online.”

She added that while Twitter would continue to play an important role in supporting C4’s shows, “some viewers prefer Facebook”.

Multiplatform commissioners including James Rutherford (sport) and Vicky Taylor (news) will manage the activity.

Scripps Network’s Food Network UK will also make use of the data. Sky Sports was the first broadcaster to trial the service in September.

such as the Radio 1 Teen Awards.

Radio 1 is the most popular radio network on YouTube, with around 600,000 subscribers.

“Radio 1 has always pioneered innovative ideas and led the way in engaging with young people,” said Ben Cooper, controller of BBC Radio 1 and 1Xtra.

Weather Channel launches short-form films site The Weather Channel is to launch a short-form video website called The Weather Films. It will initially feature six series of 6 x 3-minute films covering topics ranging from the effect of climate change on animals (pictured) to the world’s most stunning natural locations. www.broadcastnow.co.uk

Brink, the first series, sponsored

by BMW, will be distributed via the Weather Channel site and app, which has been downloaded more than 100 million times globally, and Telegraph TV. Weather Company International president Patrick Vogt said: “Weather Films is a prime example of rich content in a more engaging and immediate medium.”

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www.broadcast-forums.com 11 October 2013 | Broadcast | 19

Technology & Facilities CREATiVE REViEw

Tubular bells: The Mike Oldfield sTOry Post 422.tv Manchester Client Tigerlily Films Brief Post-production of a 60-minute show about the creation of Mike Oldfield’s seminal 1973 album and the subsequent effect it had on British music, culminating in the opening ceremony of the 2012 Olympics.

How it was done The documentary was made using a combination of contributor interviews, including Oldfield, along with a mix of archive from the period.

The offline edit was completed using Avid and Isis.

The online edit in Avid Symphony HD and the grade in Baselight were completed by Alex Howells. One of the challenges was to seamlessly mix a lot of disparate archive material with new interviews. Neil Haggerty used Pro Tools HD for the dub and Oldfield supplied snippets from Tubular Bells to help with the mix.

Watch it Friday, 9pm, BBC4

sTephen fry – OuT There

bear Grylls: escape frOM hell

Post Molinare Client Maverick Television Brief Picture and audio post-production of the 2 x 60-minute series in which Fry meets people around the world who work to improve the rights of LGBT communities and confronts opponents of gay rights.

How it was done Colourist Andrew Daniel used Baselight 4 to create a look that gave each location its own identity. Rio was given a warmer hue and Russia made to look colder. Daniel upped the contrast and worked on the shadows to create greater colour separation in each location. The audio mix was completed by George Foulgham using Pro Tools HD5 running version 9 software. His brief was to impart some of the flavour and character from the countries visited while maintaining the clarity of the dialogue from interviews recorded in confrontational circumstances.

Watch it Monday 14 and Wednesday 16 Oct, 9pm, BBC2

Post Clear Cut Pictures Client Betty TV Brief Picture and audio post of the six-part series in which Bear Grylls recounts dramatic escapes from extreme situations.

How it was done To differentiate the reconstruction footage from Grylls’ visit, senior colourist Graeme Hayes created a rugged, gritty look for the footage of Grylls as he talks to the viewer about how to survive in each terrain. Blurred vignettes were then placed on all reconstruction footage to create a haze, adding to the confused state of those who are suffering. In the ‘Snow’ episode, Hayes reversed the vignettes to ensure the crisp whiteness of the snow came through to enhance the sense of being alone. Senior dubbing mixer Ben Newth used atmospheres to enhance the tension and additional sound design to accompany the graphics.

Watch it Mondays, 9pm, Discovery Channel

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

Milk begins to work its VFX magic on BBC1’s Mr Norrell Visual effects facility Milk has started work on BBC1 drama Jonathan Strange & Mr Norrell, a 7 x 60-minute series set in England during the Napoleonic Wars. Shooting begins at the end of this month in locations including Leeds, Canada and Croatia. Milk is currently looking to expand its team of CG environment artists and digital matte painters and compositors to enable it to deliver the project, which is due to air in 2015.

Deluxe Entertainment Services, as executive producer. She will report to senior vice-president, global production, Gabby Gourrier and will be responsible for the continued expansion of Method in London following its recent move into a purpose-built studio.

Phillips held senior positions at MPC and Passion Pictures and worked on Pirates Of The Caribbean and G.I. Joe. “Her ability to create compelling and creative pitches for global clients will be an essential element of her success at Method,” said Gourrier.

Method appoints Phillips to lead London team

RRsat Europe signs Supponor billboards deal

Emma Phillips (above) has joined Method Studios, a division of

RRsat Europe has signed a deal with sport media and technology

20 | Broadcast | 11 October 2013

company Supponor for the global rollout of its digital billboard replacement system. The DBRLive system digitally inserts replacement images into different broadcast feeds of a match or event, which allows rights holders and broadcasters to tailor billboards to regional audiences. RRsat Europe will provide back-end infrastructure, including an online digital archive facility.

Alchemy snaps up NTP converters for upgrade Alchemy Mastering has bought four NTP Technology DAD AX24 analogue-to-digital and digital-toanalogue audio converters (below) as part of an upgrade to its facilities in Shepherd’s Bush. “We’ve tested pretty much everything in

terms of mastering grade digital/ analogue converters over the past five years,” said engineer Matt Colton. The kit was supplied by NTP’s UK distributor, eMerging.

Endemol opts for Riedel MediorNet media network Endemol is using Riedel’s MediorNet real-time media network and Artist digital matrix intercom system for its communications, A/V and data link in the Netherlands. The system connects Ericsson, the distribution provider in Hilversum, with the Endemol Group headquarters in Amsterdam, where the studios and control room are located. The Fox Eredivisie football channel will be broadcast by the system, using MediorNet to deliver live HD feeds for all matches to Endemol and the production facility outputs back to the Ericsson MCR and playout facility. www.broadcastnow.co.uk

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

Avid promises 4K mastering as DS development ceases

BY AdriAn Pennington

Avid has pledged its commitment to developing tools for high-resolution mastering as post-production facility owners come to terms with the manufacturer’s decision to end development of its DS software.

Avid’s decision to halt development of DS at the end of last month has left many facilities contemplating critical changes to their workflow, with no obvious like-forlike replacement on the market.

A key factor is the ability of new finishing systems to complete projects at 4K, as facilities brace themselves for an increase in Ultra HD deliverables. While Avid supports 4K ingest, post-DS it no longer has a product to support 4K finishing.

Crow TV head of post Andy Briers said: “We’re expecting to see an increase for 2K and 4K mastering, and this will drive our move to enhance our Ultra HD conforming capabilities, which we’ll be losing with the end of DS.” StormHD co-founder Paul Ingvarsson added: “An admission of

MovieTech invests in vintage Canon lenses Rental outfit MovieTech has purchased a set of Canon K35 PL Mount lenses that are more than 30 years old. The lenses were used on numerous feature films, including Aliens, and are intended for use with MovieTech’s Arri Alexa and Sony F55 and F65 cameras. Managing director John Buckley said: “This was a valuable investment for us. These lenses have a look and feel that can’t be replicated, and we’re seeing huge appetite among film-makers and creatives seeking to achieve a different look.” The purchase was arranged through Azule Finance.

Chello DMC hires Matthijs Zwart for operations role Chello DMC has appointed Matthijs Zwart to the position of linear operations director. In his new role, Zwart will be in www.broadcastnow.co.uk

Avid: the manufacturer is ending its development of the dS software

not having a 4K delivery product for new customers after 1 October will damage Avid’s reputation because most people won’t differentiate between 4K acquisition and 4K delivery.”

Avid senior director, broadcast storage and editor product management, Dave Colantuoni told Broadcast the company was working to address any demand for UHD finishing. He said: “Although relatively few productions are finishing in 4K at this

time, we are taking steps to stay ahead of that need. We’re exploring ways to implement hi-res delivery from Media Composer as the demand for greater-than-HD masters begins to take shape.”

Competing systems under review at post houses include Autodesk Smoke and Flame, SGO Mistika, Adobe software and Da Vinci Resolve. Avid is encouraging customers to buy Eyeon Fusion software alongside Symphony licences as a DS alternative.

charge of content management, media operations, post-production, scheduling and playout (below). Zwart joins Chello DMC from Dutch telecommunications company KPN, where he was director of product management and innovation television, telephony and internet.

music at ad agency RKCR/Y&R, will aim to expand Jungle’s music services into areas such as music supervision and sync for broadcasting and TV ads. Managing director Graham Ebbs said: “Dan’s reputation is second to none and his appointment highlights Jungle’s dedication to working with the best talent in sound design and music.” Native is housed at Jungle’s Wardour Street HQ, which recently underwent a £500,000 refurbishment.

Aspera earns Emmy for Fasp

Jungle takes on Dan Neale as Native creative director Soho sound house Jungle has appointed Dan Neale as creative director of its relaunched music offering, which has been branded Native. Neale, previously head of

Aspera will be presented with an Emmy for Outstanding Achievement in Engineering Development by the Academy of Television Arts & Sciences at a ceremony on 23 October. The award is for Aspera’s high-speed data transfer software Fasp. It is one of five engineering Emmys for developments that are “so innovative in nature that they

Bazzaco adds to tech role as Shed reshuffles Shed Media has restructured its IT and post-production departments to create a strategic director of technology position, following the departure of head of post-production Adam Downey to Sky. Matt Bazzaco, previously group head of IT, will take on the new role, which unites IT and postproduction. He also joins the Shed Media management group.

Shed Media chief operating officer Claire Hungate said: “It no longer makes sense to think about IT and post-production separately; they are part of the same environment. As file-based technology and cloud computing begin to dominate post-production, an IT professional such as Matt can add real depth of knowledge to inform the new workflows that will emerge.”

Meanwhile, in his new role as Sky Production Services’ head of post-production, Downey will be responsible for editing, audio dubbing and associated post services for news, sport, entertainment, corporate and indie production.

He will report to director of production services Darren Long.

materially affect the transmission, recording or reception of television”. The other companies to be honoured are YouTube, Digital Dailies, iZotope RX Audio Repair Technology and Previzion Virtual Studio System.

Panasonic to receive tech award at CES in Las Vegas Panasonic will be presented with a Technology and Engineering Emmy in recognition of its development of technology for correcting chromatic aberrations in camera lenses. “This technology has helped us maintain highquality imaging while making improvements in size, weight and affordability,” said Michael Bergeron, business development manager, Panasonic System Communications Company of North America. The award will be presented in January next year at CES in Las Vegas.

11 October 2013 | Broadcast | 21

Comment

I thought Colin Murray was a fantastic presenter and felt he was undervalued by the BBC TalkSport’s Liam Fisher on his star signing, Interview, page 26

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Radio 4 needs northern lights What’s good for TV must also be good for radio, says Philip Reevell

“T

his must be the first time in the 65 years of Reith Lectures that a crossdresser has been the lecturer,” said Sue Lawley, introducing this year’s Reith lecturer in Liverpool’s St George’s Hall. “As far as we know,” added Grayson Perry (pictured).

Humour in the Reith Lecture? Surely as rare as northern independent radio producers at this year’s annual Radio Festival in Salford next week.

Perry’s lecture reflects Radio 4’s commitment to improve its audience share among northern listeners.

In-house programmes such as You And Yours come from MediaCityUK, and indies have been commissioned to make docs, such as our recent series The New North, about new cultural buildings of the North.

But the question of northern programmes has to be linked to northern production, and there’s a deeper issue there. When the BBC Trust reviewed independent radio supply in 2010, it rejected a 25% quota that would have brought radio into line with TV. For Radio 4, it opted for a 10% WoCC on top of the 10% quota – a maximum of 628 potential hours. Radio 4’s figures say the total commissioned this year is 442 hours – 14%.

This compares with the 46% of network TV hours the BBC commissioned from indies in 2011/12.

So why aren’t indies competing with in-house rivals in radio, as they are in TV? There is growing interest in being a radio indie – Radio 4’s supplier day attracted 100 new potential suppliers. If each won a 30-minute doc, that’s 50 hours.

The WoCC should be able to stand it with comfort.

Which brings us back to the North. Both for indies and in-house, radio production is skewed disproportionately towards London and the South. According

to the Trust in 2009, 70% of Radio 4 indies were based in London and the South. Big London indies also account for major volume commissions such as Gardeners’ Question Time.

Radio 4’s annual spend on independent production is £7m, less than 8% of the £91m budget. As almost half is spent on the top 10 indies, you might think there’s not much room to develop a business outside London.

Despite these challenges, there’s no shortage of talent outside London. There’s an interesting cluster of companies based around Manchester. Janet Graves of Pennine Productions has organised a pop-up meeting on the fringe of the Radio Festival where local indies and freelancers will be discussing ideas to help Radio 4 continue to develop its appeal to northern listeners.

However, the catch-22 of northern production remains.

Without a commitment to significant volumes of production, northern indies cannot invest in the development of ideas and talent. A northern commissioning editor based in MediaCityUK could help; indeed, Radio 5 Live already has such a post. Likewise, a development fund for major ‘North-based’ projects could stimulate more innovative and ambitious ideas from the North.

There’s nothing like the BBC when it does something innovative, and this year’s Reith Lectures are a case in point. There’s great potential for it to benefit from the ideas, enthusiasm and value for money that indies can bring. The curious thing is that it’s worked for TV – so why not give it more of a try in radio? ➤ Philip Reevell is managing director of City Broadcasting

‘For indies and in-house, radio production is skewed towards the South’

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

YouR sAY

In mY vIew They are both derivative. Anyone remember the ITV series A Brush With Fame? It was made with the National Portrait Gallery to hunt down Britain’s top amateur portrait painter…

Producer

BBC Arabic: extensive investigation

BBC Arabic: there’s no evidence of bullying BBC Arabic provides an invaluable source of impartial news and has seen growth in audiences of 28% over the past year to 32.5 million.

We are building on our success by ensuring that we have the right editorial structures in place to develop our multimedia services.

With reference to last week’s article, ‘Major Changes at BBC Arabic’ (Broadcast 04.10.13), the BBC would like to restate that to date, it has found no evidence for allegations of bullying made against Saleem Patka and Faris Couri, despite extensive investi­ gation. Although we were unable to comment at the time of publication, we would also like to make it clear that the recent change programme at that service was not instigated as a result of any such allegations.

The BBC would also like to put on the record that neither Patka’s nor Couri’s change of role was linked to allegations of bullying.

Liliane Landor, controller, languages, BBC Global News Response on broadcastnow.co.uk to our story ‘BBC4 channel editor named’ Cassian Harrison’s digital know­ how will bring something new to BBC4, and he’s one of the sharpest minds in BBC Television. He’ll have a tough job defending the history and science output though, given that the BBC seemed to have removed those genres from the BBC4 origination slate last year.

Krishan Arora, producer/consultant Response on broadcastnow.co.uk to our story ‘Sky’s Murphy slams BBC arts show as “derivative”’ Damn it, he’s right. If I’d come up with a format as groundbreaking as “some amateur painters do some portraits”, I too would be furious.

Broadcast executive www.broadcastnow.co.uk

Comment

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

Response on broadcastnow.co.uk to our story ‘The Face stumbles on debut’ Who, outside glass TV towers, realistically thought yet another model show hosted by the much­ disliked Naomi Campbell would possibly pull in viewers? We pro­ ducers are constantly told not to bring in derivative proposals. Isn’t this the ultimate example?

Producer Er, wasn’t Stuart Murphy just slating the BBC for ‘being deriva­ tive’ and having a portrait show on at the same time as Sky Arts?

Talk about pot and kettle.

Producer

Sex Box: failed to excite

Response on broadcastnow.co.uk to our story ‘Sex Box fails to perform’ Wasn’t this whole Sex Box/Real Sex thing etc mooted back in 2006 with ‘Wank Week’? I think Channel 4 has spent so much time trying to think ‘outside the box’ that it has inadvertently built the box around itself. In this case, quite literally...

Producer Had to go to a meeting at C4 in a sort of café booth in the basement where they offered children’s sweets from a fairground dis­ penser. The encounter had all the dignity of a public prostate exam from Dr Pixie.

That sort of juvenile crap became the new orthodoxy in TV years ago – so now C4 has to subvert itself or sink without trace.

Can we all behave like adults and do some serious work now, please?

Producer

Radio 1 should be building ecosystems, not channels The content strategy must help the BBC stay ahead of the game, says Chris Gorell Barnes

B

BC Radio 1’s YouTube success is a no­ brainer. Its target audience fits the video­sharing site’s user profile down to the ground, so the 2.8 million views the channel notched up for the Miley Cyrus Wrecking Ball video alone comes as no surprise.

However, rather than building on this popularity, the station’s next move takes its content strat­ egy in a very different direction.

Radio 1 is to start distributing its video content via the BBC iPlayer – a platform that predomi­ nantly serves 35 to 54 year­old audiences, according to the corpo­ ration. Seeing as girls aged 13 to 17 are Radio 1’s biggest target audience, shifting its content onto iPlayer is like making your mum sit through a bunch of private Snapchat videos.

The move marks the first step in a plan to expand the iPlayer from a TV catch­up destination to a digital entertainment hub, so Radio 1 is likely to be followed by a raft of other channels and services, all trying to future­proof their offerings with pop­up broadcasts, exclusive content and further schedule­tailoring opportunities.

The BBC has correctly realised the importance of making content available and optimised across a range of devices, and is encourag­ ing interactivity and ‘conversation’ between user and broadcaster as it rightly moves away from the traditional ‘one to many’ broad­ casting approach.

Positioning iPlayer as a digital hub is an interesting idea, and will no doubt gain traction among some audiences. But the BBC should be wary of putting all its content eggs into a one­size­fits­all basket.

A brand – particularly such a uniquely positioned one as the BBC – should take control of its own content; that’s essential.

Whether you are a broadcaster or a business, you have to host your own content on your own site and use it as a hub to build from and point audiences towards.

But broadcasters shouldn’t stop there. They must consider the opportunities that different digital outlets provide.

Radio 1 is a powerful sub­brand with a young, dynamic audience that the BBC is keen to maintain, and it should be treated that way.

For example, why doesn’t it create a mobile­first Radio 1 content hub – an rPlayer?

‘There’s no reason why the BBC can’t be a digital content leader, rather than a follower’ This rPlayer could then be inte­ grated into the Radio 1 website to increase its relevance and tie it closely to the channel brand.

It’s great that the BBC has found some perfect Radio 1 video content formats such as Live Lounge. But video content must not stop at the iPlayer, YouTube or even tradi­ tional TV. Instagrams, Keeks, Vines, gifs, photos from videos and audience reactions all need to be curated alongside video to attract and cater to all audiences. Building eco­ systems is more important now than building channels.

The BBC has fought to keep Radio 1 relevant in recent years. To maintain its position in the digital space, it should be looking to embrace new online developments and platforms. Study how tweens are interacting with video and online channels – they are your future audience – and don’t be afraid to test new content formats.

There’s no reason the BBC can’t be a digital content market leader, rather than a follower. ➤ Chris Gorell Barnes is chief executive and founder of Adjust Your Set 11 October 2013 | Broadcast | 23

‘This event will be one of the most significant of its type and is a mustattend for anyone concerned POWERED BY with improving equality in the workplace.’

I

Baroness Oona King, life peer, C4 diversity executive, BFI board member and Diversify chair

Improving diversity in film and T V 13 November 2013 | bAF TA A one-day conference bringing together key policymakers, leading industryinfigures, majorTtalent Improving diversity film and V and the biggest pressure groups to tackle the lack of diversity in the UK film and TV industries.

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A diversity deficit in UK film and TV, both in front of and behind the camera, remains a major problem.

The eighth Creative Skillset Employment Census, published this year, revealed a significant decline in the number of people from ethnic minority backgrounds working in the creative media industries. For example, black, Asian and minority ethnic representation in film production dropped from 12% in 2009 to 5.3% in 2012. Women still only account for 36% of creative industries employees. As ever, nepotism and geography still decide too much. Despite gains in some sectors, there is a long way to go to improve equality.

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For more information contact: events@mb-insight.com

Supported by

The Broadcast Interview LIAM FISHER PROGRAMMING DIRECTOR, TALKSPORT

‘It’s been like a Berocca shot’ TalkSport programming director Liam Fisher talks to Jake Kanter about refreshing the network’s presenting team with wild cards Colin Murray and Johnny Vaughan FACT FILE TalkSport career 2013 Programme director 2008 Head of production 2006 Senior breakfast producer 2000 Producer, Hawksbee and Jacobs show Listens to “I’m a big fan of Radio 4’s PM and I like a bit of Chris Evans and Christian O’Connell.”

Supports Tottenham Hotspur

“I

t’s been like a Berocca shot to the station at times,” jokes TalkSport programming director Liam Fisher of his prize signing, Colin Murray (below). The Northern Irish presenter put pen to paper not long after Fisher got the job, and his arrival has been pivotal to a refresh at the network.

“He lives for it. He’s got such a thirst and energy that other producers and presenters feed off,” says Fisher, adding that Murray’s weekday 10am to 1pm show has given TalkSport added authority. “He’s so well-honed with the radio medium.”

Murray was one of Fisher’s first signings after taking up the reins as TalkSport’s editorial leader on 2 April. Soon after stepping into predecessor Moz Dee’s shoes, he was presented with the challenge of replacing Richard Keys and Andy Gray. The pair had reinvented themselves on TalkSport as Sony awardwinning radio presenters following an acrimonious departure from Sky, where they left under the cloud of sexist remarks they had made about a female assistant referee.

“We made them a good offer, but they wanted to give TV another shot,” Fisher says. The duo were spoken to “at length”, but an offer to front Al Jazeera’s Premier League coverage was too big a pull.

They have not severed ties with TalkSport completely, however, and now host a Friday evening show for the station.

With the mid-morning slot open, Murray was an obvious first choice. Fisher had known the BBC Radio 5 Live presenter for some time and had made clear to him that the door was always open at the commercial network if he wanted to jump ship.

“I thought Colin was a fantastic presenter and felt he was undervalued by the BBC. He was worthy of a daily show and I didn’t feel 5 Live really let

26 | Broadcast | 11 October 2013

History has shown with these jobs, they like someone from outside to bring a fresh pair of ears.”

The former head of production readily admits to being different to the “exuberant, extrovert” Dee, but he has a clear plan for the station.

He says: “I knew the staff and presenters and didn’t have to earn their respect, and that enabled me to make changes quicker.”

Fisher has been as good as his word, starting with the Alan Brazil Sports Breakfast. The programme director opted not to renew co-host and former cricketer Ronnie Irani’s contract because he was keen to bring in a variety of fresh voices to the morning show.

After experimenting him loose. We could over the summer – even offer him more TalkSport’s weekly freedom than the audience reach in the handing the mic to pop star Olly Murs one BBC,” Fisher says. last set of Rajars, an all-time high morning – Fisher decided He admits that it was time for consistency Murray “took a fair bit and has introduced a strucof convincing”, but the tured rota of partners for Brazil. volume of work on offer at Former Sheffield United manager TalkSport helped make up his mind.

Stephen Warnock is in the hot seat on Mondays and Fridays, former ‘Stupid mistake’ England bowler Dominic Cork Fisher says Murray’s occasional flirt takes on Tuesday presenting duties, with controversy wasn’t a deterrent David Ginola joins Brazil on Wedneseither, even after a special episode of days and rugby pundit Brian Moore is 5 Live’s Fighting Talk on 1 June when on hand on Thursdays. the presenter invited contestants to “It’s going to take a bit of time to advance reasons why if, “given 20 bed in, but it gives us credibility to minutes with her, I’m pretty sure I have good guest hosts in the studio,” could turn around Clare Balding”.

Fisher says. “They ask fantastic “He was foolish and made a stupid questions of guests, who may feel mistake,” Fisher says. “He speaks they have less of an agenda than his mind and can occasionally say a journalist.” things that get misconstrued. He’s His other eye-catching move was not malicious.” to bring in Johnny Vaughan on Satur5 Live controller Jonathan Wall told day mornings. Fisher shunted the Broadcast last month that Murray’s weekend breakfast show forward move “worked out for everyone”, a an hour to 7am and pushed Match theory with which Fisher does not Day Live back to 1pm, freeing up argue. The two programming bosses a two-hour slot for the former were confirmed in their posts within two months of each other, having both Capital FM DJ. The show is aimed at listeners prespent well over a decade at their paring to watch their team and gives respective stations.

Vaughan the opportunity to “relate an This is not lost on Fisher; like Wall, audience with one of his many thouhe says he was prepared when the call sands of anecdotes”. The TalkSport came. “I felt ready, but was surprised.

3.25m

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LIAM FISHER ON...

5 Live “It has made big strides, but it could be doing more. For most listeners of 5 Live [presenter Mark Chapman, pictured], they will say football far outweighs anything else.”

Premier League deal

Clockwise from main picture: Gray and Keys swapped mid mornings for Friday evening; Brian Moore joins Alan Brazil; Johnny Vaughan hosts a Saturday show

programming boss says: “He’s wild.

He’s difficult for a producer to control on air, but it’s a hugely entertaining show for us.”

It’s too early to say whether Fisher’s changes are working, with the next set of Rajars not expected until later this month, and he freely admits he’s “a bit” nervous about how the audience will respond. He has a tough benchmark too: in the last round of radio audience figures, TalkSport’s weekly reach stood at an all-time high of 3.25 million (including record ABC1s).

Fisher had barely got his feet under the desk and jokes he nearly “immediately quit” on the high.

TalkSport needs to be strong for parent company UTV, which suffered www.broadcastnow.co.uk

‘It gives us credibility to have good guest hosts in the studio’ Liam Fisher

a 43% dip in pre-tax profits to £6.1m in the first half of 2013. The broadcaster’s UK radio division, which houses TalkSport, suffered a 14% fall in turnover to £24m over the same period.

“Things are better now,” Fisher says, without revealing any new figures. “I feel like we’ve equalised.”

International wins Fisher says TalkSport’s international Premier League offering is starting to contribute to the bottom line. It landed the radio rights to Premier League football outside of Europe in 2012 and the agreement was extended earlier this year to include Europe. It now broadcasts in 10

“We were always looking for more. We offered what we believed was competitive, but you’ve got to draw a line in the sand at a certain stage.”

Social media “If people are constructive on Twitter, I do take it all on board. I’m never immune to feedback.”

languages around the globe from TalkSport’s Waterloo home.

Fisher’s primary focus remains the UK, and if the station is making its name internationally, the programming director is keen that it remains front of mind closer to home. “It’s important for the station to be out there more. We haven’t done a lot of marketing over the past couple of years, because we’ve invested in talent and rights. Further down the line, when the station is settled, we’ll be looking for advertising.”

With a new Premier League deal worth 64 games a season, and an increasingly authoritative voice, sprinkled with some star names, you wouldn’t bet against the station continuing to get noticed.

11 October 2013 | Broadcast | 27

Ratings Analysis SKY LIVING

Sharing is the new pink Sky Living’s bid to move away from niche programming towards shared viewing of US and homegrown drama is paying dividends. Stephen Price reports on a growth in share

A

t the recent Edinburgh International Television Festival, Sky Living programme director Antonia HurfordJones declared that the channel had become “a little bit too niche”. She wants to move it away from the idea of women watching shows “in their pink fluffy bedroom, wearing their pink fluffy negligee”. That must have been some focus group.

And so, on 30 September, the un-pinking of Sky Living officially began. The branding is now a cooler, silvery blue, an on-screen manifestation of Hurford-Jones’ avowed plan to widen its remit and increase shared viewing.

Sky Living’s share has been holding up well this year, showing signs of growth, perhaps perplexingly, among men – though whether they are wearing pink negligees, fluffy or otherwise, the numbers don’t reveal.

Like all Sky channels, it’s not just about ratings but rather its contribution to the growth of subscription to Sky TV services, especially now that the cash-draining battle with BT is being fought out.

So while drama matters for Sky Living, it is incontrovertible that TV and broadband subs are what matter to BSkyB. And ratings do offer a clue as to how the channel’s part of that plan is going.

The latest consolidated data available at the time of writing reveals that from 1 January to 25 September 2013, Sky Living’s share of viewing stood at 0.7% between 6am and 2am, representing a 5% increase on the same period in 2012. In peak, it was up 19%.

Share of viewing among 16 to 34 year-old men increased by 10% in all time while in 7-11pm peak, share was 21% up on 2012. Meanwhile, 16 to 34 year-old women declined by 5% in all time, with a modest increase of 1.6% in peak.

So far this year, twice as many programmes have rated above 300,000 as in 2012, while 16 28 | Broadcast | 11 October 2013

‘Sky Living’s share has been holding up well this year, showing signs of growth, especially among men’

Elementary

SKY LIVING TOP 10 1 JAN–25 SEP 2013 Rank 1 2 3 4 5 6 7 8 9 10

Programme Elementary Bones Criminal Minds Hannibal Greys Anatomy The Spa Mount Pleasant Oscars 2013: Highlights Chicago Fire Supernatural

Date

Day

Start time

Volume (m)

Share (%)

19 Mar 9 Jan 11 Mar 14 May 6 Mar 7 Feb 25 Sep 25 Feb 17 Apr 4 Sep

Tue Wed Mon Tue Wed Thu Wed Mon Wed Wed

21.00 21.00 21.00 22.00 22.00 21.00 21.00 22.00 20.00 22.00

1.25 1.09 0.99 0.91 0.65 0.59 0.59 0.57 0.57 0.52

4.55 3.53 3.38 4.79 3.42 2.12 2.32 3.34 2.40 2.91

19 March (197,000/ 8.4%), alongrated above 800,000, up from side good ratings for Hannibal just three in the same period (the best being 25 June at 10pm last year. Most of these were with 173,000/10%). Last year, episodes of US contemporary the top show for 16-34 Sherlock Holmes series men over the same Elementary, which period, America’s was launched on Sky Top Model All Star, Living in October Increase in share of reached just 98,000/ 2012, Hannibal viewing among 16 4% on 13 February and Criminal to 34 year-old men in all time (1 Jan(98,000/4%).

Minds, with a few 25 Sep) For all individuals, scattered Bones. the best-performing US dramas such as homegrown series so far these have already provided in 2013 was the 7 February launch the shared viewing experience episode of The Spa, with 588,000/ for Sky Living and help to explain 2%, enough to get it into the chanthe increase in share of men. The nel’s top 10 of unique programme top programme for 16-34 males titles. In its premiere slot, Tuesdays this year was Elementary on

10%

at 9pm, it averaged 377,000/1.5% across seven episodes, a full share point above average.

But comedy Mount Pleasant with Samantha Womack (right), which began life on Sky 1 and moved to Living for the second series, is faring better overall. Its best offering was the third episode of series three on 25 September, with 586,000/2%. The series average so far for its premiere on Wednesdays at 9pm is 554,000/2% – a fraction above slot average, and double its live rating.

Revamp Following the relaunch, on Monday 30 September came the negligee-friendly The Face with Naomi Campbell, showing how that catwalk jaunt is done. It launched to a live audience of 132,000/0.6%, about half the slot average. Three repeats added another 175,000.

On Tuesday 1 October, the homegrown narrative strand began with Drama Matters: The Psychopath, starring Anna Friel. It achieved not that much more than Ms Campbell with 142,000/0.6% – two repeats added another 108,000. Lawless, starring Scott & Bailey’s Suranne Jones, pipped it with 185,000/ 0.9%; with Saturday’s repeat adding another 21,000. Narrative is always heavily recorded and Living needs these new dramas to matter enough to do a Mount Pleasant and at least double.

Still, even after recording, and if at full production prices, these ratings would struggle on a traditional ROI basis, which must www.broadcastnow.co.uk

Data supplied by Attentional

Source. BARB

SKY LIVING YEAR-ON-YEAR CHANGE (INDIVIDUALS) Rank

2012 vol (m)

2012 share (%)

2013 vol (%)

2013 share (%)

Y-o-y vol Y-o-y share change (%) change (%)

0600-2600

70.80

0.63

71.40

0.66

0.85

4.76

1900-2300

150.80

0.64

171.70

0.76

13.86

18.75

SKY LIVING YEAR-ON-YEAR CHANGE (16-34s) Rank

Hannibal

October, the plan must be that US drama will underpin the homegrown stuff. Together, they can combine to materially affect subscription rates and keep share strong by encouraging shared viewing.

SKY LIVING TOP 10 1 JAN–25 SEP 2013 (ACQUIRED) 1 2 3 4 5 6 7 8 9 10

Programme Elementary Bones Criminal Minds Hannibal Greys Anatomy Oscars 2013: Highlights Chicago Fire Supernatural Nikita Ladyboys

2012 share (%)

2013 vol (%)

2013 share (%)

Y-o-y vol Y-o-y share change (%) change (%)

0600-2600

19.60

0.93

18.60

0.93

-5.10

0.00

1900-2300

45.70

1.01

47.00

1.10

2.84

8.91

SKY LIVING YEAR-ON-YEAR CHANGE (16-34 WOMEN)

mean that somewhere there’s a subscription calculation that makes it all worthwhile.

However, proving that it’s US dramas that tend to be the big share drivers, NBC thriller The Blacklist launched most strongly of all the new shows on Friday at 9pm with 497,000/ 2%. With Elementary returning later in

Rank

2012 vol (m)

Rank

2012 vol (m)

2012 share (%)

2013 vol (%)

2013 share (%)

Y-o-y vol Y-o-y share change (%) change (%)

0600-2600

13.10

1.14

12.00

1.08

-8.40

-5.26

1900-2300

30.30

1.23

29.40

1.25

-2.97

1.63

SKY LIVING YEAR-ON-YEAR CHANGE (16-34 MEN) Rank

2012 vol (m)

2012 share (%)

2013 vol (%)

2013 share (%)

Y-o-y vol Y-o-y share change (%) change (%)

0600-2600

6.40

0.67

6.60

0.74

3.12

10.45

1900-2300

15.40

0.75

17.60

0.91

14.29

21.33

SKY LIVING TOP 10 1 JAN–25 SEP 2013 (COMMISSIONED)

Date

Day

Start time

Volume (m)

Share (%)

Rank

19 Mar 9 Jan 11 Mar 14 May 6 Mar 25 Feb 17 Apr 4 Sep 16 Aug 25 Apr

Tue Wed Mon Tue Wed Mon Wed Wed Fri Thu

21.00 21.00 21.00 22.00 22.00 22.00 20.00 22.00 21.00 21.00

1.25 1.09 0.99 0.91 0.65 0.57 0.57 0.52 0.37 0.31

4.55 3.53 3.38 4.79 3.42 2.12 2.32 3.34 2.40 2.91

1 2 3 4 5 6 7 8 9 10

Programme The Spa Mount Pleasant Ladyboys Fat: The Fight Of My Life Stitch Me Lift Me Tuck Me Customs Uk Nothing To Declare Uk UK Border Force It’s Love Actually Four Weddings

Date

Day

Start time

Volume (m)

Share (%)

7 Feb 25 Sep 25 Apr 9 Sep 7 Mar 24 Mar 27 Jan 28 Apr 25 Apr 27 Jun

Thu Wed Thu Mon Thu Sun Sund Sund Thu Thu

21.00 21.00 21.00 21.00 20.00 17.30 15.00 19.00 20.00 20.00

0.59 0.59 0.31 0.29 0.25 0.23 0.22 0.21 0.20 0.20

2.12 2.32 1.24 1.09 1.04 1.18 1.71 0.91 0.87 0.89

audience data system

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Behind the Scenes ross noble freewheeling

No script, no plan – but one hell of a ride Taking direction from Twitter with no idea where we’d end up each day was daunting at first, but we learned to love the freedom, says Andy Devonshire Andy Devonshire Series director/ editor

I

t all started when John Quinn and James Woodroffe, executive producers at North One, bought me coffee and a cake (I’m a cheap date).

As they pitched the idea, they were honest about how it was potentially something very special, but that, by its very nature, no one knew quite how it would unfold. Once someone tells me an idea that I like, I find it hard to let go until I’ve worked out how to do it. Before I knew it, the cake was a memory and I was standing in a car park watching a porcelain pet show.

The pitch was so simple: Ross Noble, king of improvisational comedy, asks Twitter what to do and where to go.

Then he does it. So it’s a road trip, driven by Twitter – a ‘twitterlogue’. No camper vans or classic cars – that’s been done and it’s too easy. Ross is a biker, so bikes it would be.

But travelogues have been done too. They look at country houses, teapot collections and cheese rolling – and that’s not Ross. So this would be Ross looking at… whatever turned up on his Twitter feed. What could possibly go wrong?

Kudos is deserved here for Richard Watsham and Iain Coyle at UKTV, who believed and gave us the money to make them something – then waved us off with the kind of looks parents give as they watch their kids go into the shed to make them a surprise Christmas present with a chainsaw.

30 | Broadcast | 11 October 2013

But here’s where we discovered one of the fundamental reasons why the show would work: Ross was utterly fearless. He’d shown his confidence, insisting at every meeting simply that it would work. On stage, this is the man who can riff hysterically for two hours about a till receipt. No one, including Ross, knew quite how this would pan out for a TV series. Yet this belief paid off, and we ended up with a series that felt entirely different to anything any of us had done before.

Ross wanted a small team, but I knew that couldn’t work. My gut reaction was that we needed sharp and reactive cameras – and as many as possible. We needed a crack team that could cope with hordes of surprised members of the public and persuade them to sign release forms. But first and foremost, we needed two sound recordists, because for it to be funny, the audience needs to hear it.

Making it look great would help, too, so we used a large-sensor Sony F5 as the main camera. We also had a pair of XF305s, along with a DSLR with a fish-eye lens that we could use to underline the comedy, capture the crew shots and help the viewer ‘be there’.

The show is filled with examples of the joy of fearlessness. In the first week, Ross was invited by a man to come to a business meeting. We walked right through a large hotel (leaving the team to placate a trail of surprised and annoyed hotel staff ), right into the meeting.

‘No one, including Ross, knew quite how this would pan out for a TV series’ Andy Devonshire

ROSS NOBLE FREEWHEELING

Production company North One Television/Stunt Baby Productions Length 6 x 60 minutes TX 10pm, Thursdays from 29 October, Dave Commissioners Richard Watsham; Iain Coyle Series director/editor Andy Devonshire Executive producers John Quinn; James Woodroffe; Ross Noble Senior production manager Lucy Flynn Post Offline: in-house; online: Evolutions Summary Ross Noble embarks on a travelogue of Britain, basing all destinations and narrative on the suggestions of his Twitter followers.

Andy Devonshire My tricks of the trade ■ Trust your gut. Decisions made

during late night debates look very different in the morning.

■ Make decisions, good, bad or indifferent, then improve them.

■ Talk. Without endless brainstorming, this show would have remained badly parked in a Welcome Break, smelling faintly of Ginsters.

■ Eat. Bananas and water – proper filming food (supplemented with the entire contents of petrol stations’ fridges).

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It struck me that it might have been a joke tweet that could have got someone sacked, but Ross had no such doubt, even when we walked into the wrong room. The tweeter, we were told, was next door so the whole of this first room subsequently followed Ross, channelling a Geordie Pied Piper, to see what happened. Needless to say, Ross took over the business meeting and when the whole room erupted in laughter, I knew we were going to be OK. The joy of the show was the people we met. Ross sees the world as a cartoon, which allows him to spot characters suitable for his comedy, and he has the knack of drawing them in before they really know they are part of his world.

Ross’s manner was completely open, without edge; it was never about humiliation or cheap gags at someone else’s expense.

Show one was an unfolding joy, but across the series it only got better – and easier – as we all melted into a new way of conceiving and making a show. Where at first we were on edge, not knowing what we’d be doing the next day, after a couple of weeks we would feel dulled and complacent if we set out with any clue of what we were doing that afternoon. www.broadcastnow.co.uk

Clockwise from left: Ross Noble is confronted by what will and won’t make it into the show; director Andy Devonshire gives instructions at Weedon Bec; Noble and Johnny Vegas deliver a giant scarf from St Helens to London; Tim Mills and Mark Owen (just out of shot) on sound at Woodall services; Ross on his bike with a plastic hedge for Eddie Izzard

ross noble freewheeling embracing randomness John Quinn Executive producer

We’ve all worked on productions that take time to get from initial thought to finished product, but this was some gestation period. We first got a call from Richard Watsham at UKTV in April 2012. The brief was for something based on Twitter tour virals Ross had made with minimal kit and crew for Triumph the previous year, only more polished and mainstream.

We spent months trying to finesse formats, missions and ‘safety nets’ to guarantee content, but this simply wasn’t Ross. When he was finally free from his touring commitments (and the birth of his second child) and entered the ‘planning’ fray, he quickly persuaded us that we should take a leap of faith and embrace the randomness.

Initially, the main concern was how to get the best from this improvisational talent: giving him the freedom to do what he does

best, but still putting sufficient production heft around him to ensure the channel was happy with the end result – and we didn’t get sued.

When all the handbooks urge you to plan shoots, brief contributors and recce locations, working so reactively was a mildly terrifying prospect for everyone. Except Ross.

The content that emerged was spookily close to what we’d hoped for in initial proposals, but much funnier and refreshingly honest. It is broadcast in sequence, a week per episode, and all editorial is the result of genuine tweets – albeit processed via the psychedelic mincing machine that is Ross’s brain. So an invitation to pick up an industrial-sized bag of custard in Cardiff became a cookery segment by the time the team reached Tunbridge Wells – making ‘Custardcinos’ with Bob Mortimer. Obviously.

It’s arguably the first fully interactive TV series in the entertainment space. Though we doubt John Birt would have approved.

11 October 2013 | Broadcast | 31

Marketplace

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

BUSINESS OPPORTUNITY

Assets Purchased

ELSTREE STUDIOS

TO LET AT ELSTREE STUDIOS

FILMING AND PRODUCTION SERVICES

Fully equipped audio post facility with two mixing areas, foley suite, voice over booth and avid edit system.

Open to rental offers and possible profit sharing.

Most recently used for ITV’s Your Face Sounds Familiar.

Please call 020 8953 1600 info@elstreestudios.co.uk www.elstreestudios.co.uk Asset Sales

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

To realise the full value tied up in surplus kit, directly target the specialist buyers worldwide!

TECHBID MANAGED ONLINE AUCTIONS For an entry form or to arrange a bespoke sale from your own premises, contact us now:

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Facilities

COMPLIANCE HARDING TESTS FLASH/QC Reports

LIBRARY STORAGE Secure accessible storage

FILE - HDCAM DUBS • FCP & MXF Files to SR etc • 1”, D3 etc transfers to file • HD Frame-rate conversion • ProRes, QT encoding, FTP • Fast camcorder repairs + OVERFLOW EDIT ROOMS IN TV SET VILLAGE!

bookings@tvset.com 020 7637 3322

Audio Production

www.broadcastnow.co.uk

11 October 2013 | Broadcast | 33

Appointments

Now recruiting,

Business Development Manager If you’re Confident, Astute, Ambitious, and have some experience in the TV & Film Industry, we look forward to hearing from you! careers@hyperactivebroadcast.com www.hyperactivebroadcast.com

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

EMS

technical personnel Some large projects coming up.

We need Project Managers and Engineers: Broadcast IT Telco Radio Smart Metering Call us, e-mail your CV or register online. +44(0)20 8948 9400 recruit@ems-tp.com www.ems-tp.com

Audio And Vision EnginEErs: CompEtitiVE sAlAry & BEnEfits NEP Visions is a premier OB Company supplying equipment, service and crews to broadcast producers and production companies in the UK, Europe and around the world. We equip, build and run trucks, fly-packs and edit facilities and are a subsidiary of NEP LLC, the largest OB Company in the world.

The Group’s continuing success, particularly in the fly-pack market has lead to significant growth and as a result we are looking to recruit staff, either permanently or on contract for the following positions:

sEnior Audio EnginEErs

Minimum of 5 years experience in outside broadcast engineering. Capable of acting as outside broadcast facilities guarantee. Extensive knowledge of comms., routing programme audio systems, surround sound, Dolby-E, simple audio mixing.

sEnior Vision EnginEErs

Dominic Lobo; Head of Production

As part of our planned expansion, we are seeking candidates for the following positions:-

PRODUCTION MANAGER

With a minimum of three years experience in multi-camera broadcast operations to join our team. Primarily office based, the role will be client facing, working closely with our Technical Managers and crew. The successful candidate will have a proven track record of working to deadlines in a fast moving production environment. They will have a well developed operational understanding of the production process, be able to create and manage budgets and be familiar with the financial reporting process.

JUNIOR PRODUCTION CO-ORDINATOR

Audio EnginEErs

Minimum of 2 years experience in outside broadcast engineering.

“I have to say that working with you guys was a really good experience.

You made it easy from start to finish and delivered immediate, plentiful and quality results. I will not hesitate to use you again, should the need arise. Rest assured that I will recommend your services liberally.

CTV Outside Broadcasts is the leading entertainment and sports OB Company in the UK providing high end, bespoke facilities and crew to the world’s TV Broadcasters and Producers. A member of Euro Media Group, CTV operates globally to deliver the largest TV events on earth.

Minimum of 5 years experience in outside broadcast engineering. Ability to act as outside broadcast facilities guarantee. Extensive knowledge of vision mixers, routing systems, general video systems and VTR.

Vision EnginEErs

Minimum of 2 years experience outside broadcast engineering.

The headquarters of the UK division is located in Bracknell and the successful candidates will be working on location and at our base there.

Head of Vision - neP Cymru

In addition NEP Cymru, the largest Regional Outside Broadcasting Company in the UK, is looking to recruit a Head of Vision. This position will be based at our regional offices in Cardiff. The successful candidate will have a minimum of 5 years’ guarantee experience and good project management and leadership skills. An ability to speak Welsh would be an advantage.

To join our busy Outside Broadcast Operation. Office based, the role will be in support of our Production Management team working across a broad spectrum of TV Production . The successful candidate will be a fast learner, have excellent communication skills and be a team player. A basic understanding of budgets and the production environment would be an advantage.

Both positions are based at our West London office and competitive salaries will be offered commensurate with experience and suitability.

Applications including CV and covering letter should be emailed to: Yvonne Berry HR Manager, CTV Outside Broadcasts yvonne@ctvob.co.uk Closing date Friday 1st November CTV Outside Broadcasts is an equal opportunities employer.

Competitive salaries for all positions will be offered. If you are interested in any of the above posts, please send your CV, together with a covering letter to dianne.france@nepuk.co.uk Closing date for applications is 14th October 2013

If you are a dedicated Broadcast Engineering Manager, highly competent and prepared to go the extra mile you’ll fit right into the PBG team, who have been working with the UK’s most prestigious broadcasters since 1996.

We are now looking for a Broadcast Engineering Manager to join our team. The Broadcast Engineering Manager will operate our SNGs/Flyaway and manage our Midlands-based workshop; duties will be split between time on location as an SNG Engineer and in our workshop repairing and maintaining equipment to the highest professional standards.

Key requirements for the Broadcast Engineering Manager are: •

A skilled Engineer with at least 3 years’ experience in a similar role.

•

Experience of managing clients’ requirements, ensuring clients’ needs are met.

•

Ability to problem-solve technical issues and schedule equipment and crews; able to manage conflicting operational requirements.

•

Operates well independently and as part of a team.

•

Leadership and excellent interpersonal skills to deputise for the Directors.

•

A job share would be considered for this role.

The successful candidates will work on location mainly in the Midlands and will be expected to travel in the UK and abroad.

If you can see yourself as part of the PBG team – we’d love to hear from you. Applications, CV & salary details should be sent to: mel@onlineresourcing.co.uk.

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.

‘Great service provided with plenty of candidates.

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

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

TALENT

___________________ L I M I T E D ___________________

FILM & TV CREWS

Lighting: Gaffers Electricians

Adam Luckwell, CEO Unit Post Production

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; Scenic: Scenic Painters and Carpenters Supervisors and Operatives Construction Management

Also: Cameras Sound Studio Engineers

And many other crafts.

Visit www.onlineresourcing.co.uk or www.pbgbroadcasting.com for more information

34 | Broadcast | 11 October 2013

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

Appointments

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

Broadcast Content Director, Magic 105.4. Based London UK Delighting the passionate audiences we serve and growing listener loyalty with relevant, compelling content and brilliant commercial campaigns are what we do best at Bauer Media. This is achieved and underpinned by our ability to deliver the highest quality programming for our award-winning stations across the UK.

Ideal candidates should be able to demonstrate: Exceptional creative skills that can inspire the Magic team, Bauer Media, and externally through to the wider industry and commercial partners.

We are now recruiting for the role of Broadcast Content Director for one of our most successful radio brands - Magic 105.4.

Experience, knowledge and understanding of relevant and comparable markets, radio formats and brands.

Magic serves one of the greatest cities in the world and we have determined ambition for this brand to be much bigger, not just in London, but nationally across the UK.

Strategic thinking balanced with the passion to ‘get stuck in’ when required.

The role is to provide strategic, creative and inspirational direction of all aspects of Magic 105.4’s programming output, driving transformational audience growth and engagement across all relevant platforms, which covers primarily London, but also nationally across the UK. The successful candidate will work seamlessly with the Bauer Radio London Managing Director and the programming team, and will have overall accountability for programming strategy and budgets in line with our strategic business objectives.

For this stand-out appointment we are seeking an individual with not only excellent creative vision but with a deep understanding of what make’s Magic’s audiences engage. This person will be a natural leader with well-honed influencing skills and great commercial instincts, who is completely comfortable working within an intensely competitive market.

A balanced outlook with experience of in-depth research interpretation coupled with natural, creative instinct.

Ability to lead from the front and both inspire and demand high standards of work in equal measure.

A proven track record of managing experienced talent.

A warrior spirit to win in one of the most competitive markets in the world.

This exciting position will report to Steve Parkinson, Managing Director, Bauer Radio London.

In the first instance, for a job description and/or to send your CV with covering letter, please email nicky.tranter@bauermedia.co.uk

by Wednesday 23rd October, 2013.

www.magic.co.uk | www.bauermedia.co.uk

SIS LIVE operates the largest fleet of satellite uplink trucks in Europe, providing the majority of satellite news gathering services in the UK. SIS LIVE also provides the majority of satellite capacity for UK broadcast contribution feeds, utilising this bandwidth to offer satellite IP services on multiple satellites. Adding the most significant new media teleport at MediaCity and one of the UKs most comprehensive fibre networks, allows SIS LIVE to deliver considerable expansion and growth.

Continuously innovating and redefining broadcast production solutions SIS LIVE also designs and manufactures cutting edge world leading satellite uplink products. SIS LIVE’s market- leading product portfolio ranges from small 60cm VSAT terminals weighing 13kg to large fully automated 1.8m vehicle mount antennas.

Continuing to lead industry innovation, SIS LIVE recently provided all of the satellite services to deliver Sky Sports successful 4K trials.

Sales Director, New Business

IP Sales Manager

An exceptional opportunity has arisen for a senior sales professional with excellent broadcast industry technical sales experience to join the SIS LIVE links division expanding sales team with responsibility for securing new business.

Maximising the substantial infrastructure available and working across the group, the Sales Director, New Business will utilise this to drive growth initiatives. Satellite IP services, teleport, fibre and new forms of live contribution will be areas of focus and continued expansion.

Location to be determined, although the Links development and sales team are based in Milton Keynes.

Salary based on experience with additional sales commission, other benefits include car allowance, holiday, pension, life assurance and private medical cover.

This role will support the Sales Director, New Business in driving growth in the extremely successful satellite IP division of SIS LIVE links. An experienced sales professional with a background in Internet, streaming satellite or wireless communication industry is required to join the team to plan and deliver a sales strategy for SIS LIVE IP Services.

In addition to developing and growing the sales pipeline, there is a requirement to act as account manager with allocated contract and ad hoc customers and support them in co-ordination of all commercial activities with other SIS LIVE departments.

Salary based on experience with additional sales commission, other benefits include car allowance, holiday, pension, life assurance and private medical cover.

To apply for either of these exciting opportunities, please send your CV and a covering letter, stating which position you are applying for and salary expectations to jobs@sis.tv The closing date for applications is 6th 21stOctober October 2013 2013

www.broadcastnow.co.uk

11 October 2013 | Broadcast | 35

Ratings Mon 30 Sep – Sun 6 Oct

Strictly waltzes to the top Brucie’s absence doesn’t stop BBC1 show from stealing a march on ITV rival The X Factor

BY Stephen price

On Sunday, Dame Nellie Melba, after whom chef Auguste Escoffier named his famous pudding, went all Maori as Kiwi virtuoso Kiri Te Kanawa played the famous Australian soprano. On she warbled upstairs while the grizzly scene that continuity warned us about, and which may have changed Downton Abbey forever, played out downstairs.

Such a jarring confluence may have explained Carson’s perplexed expression when he and I shared a Bakerloo Line tube journey the other day (obviously he didn’t know he was sharing it with me, such is the strange bubble of fame). Elsewhere, the Strictly/X Factor dingdong-erama is properly under way; even without Brucie (get well soon), the BBC won out.

On Monday at 9pm, ITV’s Doc Martin won at 9pm with 7.4 million/32% (223,000 +1), too much for BBC1’s Motorway Cops (2.7 million/12%). At 10pm, ITV’s 9pm lead didn’t help News At Ten; its 2.2 million/13% (116,000 +1) lost out to BBC1’s 10 0‘Clock News (3.7 million/20%).

On Tuesday at 8pm, BBC2’s The Great British Bake Off reached its highest ever live rating of 6.3 million/26%. BBC1’s Holby City came next with 4.6 million/19%, while ITV’s Champions’ League coverage of Celtic v Barcelona averaged 3.1 million/13% (42,000 +1) from 7.30pm. At 9pm, BBC1’s New Tricks conquered all with 6.8 million/30%.

At 8pm on Wednesday, ITV’s Big Star’s Little Star achieved 3.7 million/17% (207,000 +1), which 36 | Broadcast | 11 October 2013

BroadcaSt/BarB top 100 network programmeS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 32 32 35 36 37 38 39 40 41 42 43 43 45 46 47 48 48 48

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Strictly Come Dancing Downton Abbey Coronation Street Coronation Street The X Factor The X Factor Coronation Street Coronation Street Strictly Come Dancing: The Results Doc Martin Coronation Street Emmerdale EastEnders Emmerdale EastEnders New Tricks Emmerdale Emmerdale Emmerdale The Great British Bake Off EastEnders EastEnders Emmerdale Countryfile Antiques Roadshow Atlantis Have I Got News For You Holby City BBC News At Six BBC News At Six BBC News At Ten BBC News At Six BBC News At Six BBC News At Six The One Show BBC News At Ten Watchdog Casualty Pointless Celebrities Through The Keyhole Big Star’s Little Star The One Show BBC News BBC News At Ten ITV News & Weather The One Show BBC News The Great British Year ITV News & Weather The One Show

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

18.20 21.00 19.30 20.30 20.00 19.10 19.30 19.30 19.20 21.00 20.30 19.00 20.00 19.00 19.30 21.00 19.00 19.00 19.00 20.00 19.30 20.00 20.00 18.20 20.00 20.25 21.00 20.00 18.00 18.00 22.00 18.00 18.00 18.00 19.00 22.00 20.00 21.25 17.30 21.50 20.00 19.00 22.00 22.00 22.05 19.00 17.50 21.00 18.30 19.00

9.25 9.21 8.75 8.65 8.48 8.43 8.39 8.32 8.19 7.66 7.58 7.30 7.02 6.93 6.80 6.77 6.76 6.73 6.62 6.26 6.18 6.07 5.92 5.89 5.33 5.06 4.98 4.63 4.60 4.54 4.53 4.37 4.37 4.37 4.29 4.27 4.13 4.04 4.01 3.92 3.87 3.81 3.80 3.80 3.79 3.74 3.72 3.70 3.70 3.70

42.08 37.62 39.84 36.38 36.05 34.27 40.52 40.99 33.20 33.09 32.85 36.84 30.43 36.52 32.11 29.58 35.50 35.68 34.75 25.93 30.25 27.93 27.20 30.08 21.48 21.37 22.80 19.18 27.73 26.41 25.82 26.96 25.57 27.17 22.50 24.91 19.53 18.92 25.24 20.46 18.29 19.25 18.41 20.79 19.58 19.81 22.74 17.73 19.73 19.41

BBC1 ITV/Carnival Film & Television ITV ITV ITV/Thames/Syco ITV/Thames/Syco ITV ITV BBC1 ITV/Buffalo Pictures ITV ITV BBC1 ITV BBC1 BBC1/Wall to Wall ITV ITV ITV BBC2/Love Productions BBC1 BBC1 ITV BBC1 BBC1 BBC1/Urban Myth Films BBC1/Hat Trick BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1/Remarkable Television ITV/Talkback ITV/12 Yard BBC1 BBC1 BBC1 ITV BBC1 BBC1 BBC1 ITV BBC1

Figures include HD and +1 where applicable

have i Got news For You

the Great British Year www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 51 53 54 55 55 57 58 59 59 61 62 63 64 64 66 67 68 69 70 71 72 73 74 75 76 77 78 79 79 81 82 83 84 85 86 87 88 89 90 90 90 93 94 94 96 97 97 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

BBC News BBC News At Ten ITV News & Weather Surprise Surprise Match Of The Day ITV News & Weather ITV News & Weather The National Lottery Live The One Show BBC News At Ten Countrywise Gino’s Italian Escape Women Behind Bars With Trevor McDonald ITV News & Weather Inside Out Whitechapel Pointless Tonight: Bargains In The Sun Pointless The Chase Pointless The Chase Party Political Broadcast/Conservatives Pointless UEFA Champs League: Celtic V Barcelona University Challenge The Chase The Chase: Celebrity Special The Chase Pointless Citizen Khan

By Any Means BBC News At One BBC News At One The Chase P Morgan’s Life Stories: Brian Blessed BBC News At One The Wonder Of Dogs Mayhem & Mishaps: Britain Caught On...

Motorway Cops BBC News At One Waterloo Road Educating Yorkshire BBC News BBC News At One Question Time Match Of The Day 2 Miranda Grand Designs F1: The Korean Grand Prix – Highlights

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

22.15 22.00 18.30 18.10 22.30 18.30 18.30 21.10 19.00 22.00 20.00 20.00 21.00 18.30 19.30 21.00 17.15 19.30 17.15 17.00 17.15 17.00 18.25 17.15 19.30 20.00 17.00 19.00 17.00 17.15 21.30 21.00 13.00 13.00 17.00 21.00 13.00 20.00 21.00 21.00 13.00 20.00 21.00 17.10 13.00 22.35 22.25 20.30 21.00 14.00

3.68 3.68 3.65 3.55 3.54 3.54 3.49 3.47 3.46 3.46 3.43 3.42 3.40 3.37 3.37 3.34 3.32 3.31 3.28 3.26 3.21 3.17 3.13 3.10 3.06 3.01 2.99 2.98 2.97 2.97 2.94 2.91 2.89 2.86 2.85 2.84 2.76 2.75 2.72 2.70 2.70 2.70 2.68 2.64 2.64 2.62 2.53 2.53 2.46 2.44

19.43 20.33 20.20 19.08 24.93 19.13 20.02 15.26 17.45 19.11 14.88 15.72 15.82 18.93 15.35 16.02 24.53 16.22 23.78 24.65 23.03 23.19 18.50 21.86 13.29 13.05 22.60 13.43 23.03 22.02 14.29 11.81 41.20 40.94 22.07 13.41 39.52 12.74 12.64 11.68 40.77 12.51 12.45 20.24 39.80 22.11 22.08 10.97 11.76 22.07

BBC1 BBC1 ITV ITV BBC1 ITV ITV BBC1 BBC1 BBC1 ITV ITV ITV/Plum Pictures ITV BBC1 ITV/Carnival Film & Television BBC1/Remarkable Television ITV BBC1/Remarkable Television ITV BBC1/Remarkable Television ITV ITV BBC1/Remarkable Television ITV BBC2 ITV ITV ITV BBC1/Remarkable Television BBC1 BBC1/Red Planet Productions BBC1 BBC1 ITV ITV/Shiver BBC1 BBC2/Windfall BBC1 BBC1/Folio BBC1 BBC1/Shed Productions C4/Twofour BBC1 BBC1 BBC1/Mentorn BBC1 BBC1 C4/Boundless BBC1

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

citizen Khan www.broadcastnow.co.uk

pier’s Morgan’s Life Stories: Brian Blessed

was behind BBC1’s Watchdog (4.1 million/20%). BBC1’s new series The Great British Year won the 9pm slot with 3.7 million/18%: too much for ITV’s Whitechapel (3.1 million/15%; 224,000+1).

On Thursday, BBC1’s single doc Mayhem And Mishaps: Britain Caught On Camera achieved 2.7 million/13%. Opposite, the second and final part of ITV’s Women Behind Bars dropped to 3.1 million/15% (288,000 +1) but still won.

BBC1’s Have I Got News For You managed its almost spookily usual 5 million/23% on its return at 9pm on Friday. At 9.30pm, the

‘Citizen Khan was promoted to a more competitive slot, and numbers were up’ second series of Citizen Khan was promoted to a more competitive slot than its 10.35pm debut last year. Back then, it averaged 2.6 million/18% live ratings; this time, numbers were up to 2.9 million, but share was down to 14%. Still, it was enough to beat ITV’s Piers Morgan’s Life Stories with Brian Blessed at 9pm, which achieved 2.7 million/13% (156,000 +1) On Saturday, BBC1’s Strictly Come Dancing achieved 9.3 million/42% from 6.15pm, on par with last week, while from 8pm, ITV’s The X Factor hit 8.2 million/ 35% (297,000 +1) – 600,000 up. In the 25-minute head-to-head from 8pm, Strictly won with 9.5 million/ 38% against X Factor’s 6.8 million/ 27%. At 8.30pm, BBC1’s Atlantis dropped more than 500,000 on launch to 5.1 million/21%.

On Sunday, ITV sneaked X Factor on at 7.10pm, ahead of Strictly’s 7.20pm kick-off. But the BBC was already up: for those 10 minutes, Countryfile averaged 7.3 million/ 32% against X Factor’s 6.5 million/ 28%. From 7.20pm to 8pm, Strictly won with 8.2 million/33%. Overall, from 7.10pm to 9pm, X Factor averaged 8.1 million/33% (358,000 +1).

It was on top from 8pm, when BBC1 was on 5.3 million/21% with Antiques Roadshow.

At 9pm, ITV’s Downton Abbey’s 8.8 million/36% (386,000 +1) reduced BBC1’s By Any Means to 2.9 million/12%.

See over for digital focus, plus channel and genre overviews 11 October 2013 | Broadcast | 37

Ratings Mon 30 Sep – Sun 6 Oct Channel Overview

C4’s S.H.I.E.L.D. comes down BY stephen price

Superhero comics missed a trick when coming up with supervillains. Rather than death rays and disfigured minds bent on world conquest, all that was needed was a wheelbarrow full of compost and a trowel, if this week was anything to go by.

After The Great British Bake Off’s 6.3 million/26% at 8pm on Tuesday, BBC2’s The Wrong Mans dropped nearly 1 million on last week’s launch to 2.1 million/ 9%. Some of the blame can be laid at Champions’ League football (its share of men aged 16-34 nearly halved, for example). At 9.30pm, The Sarah Millican Television Programme slipped 100,000 on launch to 1.6 million/7%. Over the 9pm hour, C4’s My Big Fat Gypsy Christening achieved 1.9 million/ 8% (355,000 +1) and C5’s CSI: NY drew 1 million/4% (239,000 +1).

Thursday’s Educating Yorkshire achieved 2.3 million/11% (362,000 +1) for C4 at 9pm. BBC2’s Peaky Blinders (1.7 million/8%) came next, followed by C5’s NCIS (800,000/4%; 138,000 +1).

On Friday, C4’s Marvel’s Agents Of S.H.I.E.L.D. dropped by nearly 1 million from last week’s launch to 1.9 million/9% (470,000 +1) at 8pm. Opposite, in so many, many ways, BBC2’s Mastermind eclipsed this with 2.2 million/10%, as did Gardener’s World, with 2.4 million/11% from 9.30pm.

Source: BARB

WEEk 40 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 30.09.13 Peaktime share (%) w/c 01.10.12 YEAr TO DATE Average hours per viewer Audience share (%) Audience share (2012)

BBC1 5.37 19.94 22.34 23.13 BBC1 5.59 20.92 21.57

BBC2 1.47 4.00 7.92 6.99 BBC2 1.52 5.71 6.06

ITV1 4.40 14.71 22.91 22.26 ITV1 4.26 15.94 15.45

C4 1.47 5.24 6.49 6.04 C4 1.55 5.81 6.55

38 | Broadcast | 11 October 2013

Total 25.38 100.00 100.00 100.00 Total 26.72 100.00 100.00

Start

Viewers (m) (all homes)

Share %

Broadcaster

TOP 30 BBC2, CHANNEL 4 AND CHANNEL 5 Title

Day

1

The Great British Bake Off

Tue

20.00

6.26

25.93

BBC2

2

University Challenge

Mon

20.00

3.01

13.05

BBC2

3

The Wonder Of Dogs

Thu

20.00

2.75

12.74

BBC2

4

Educating Yorkshire

Thu

21.00

2.68

12.45

C4

5

Grand Designs

Wed

21.00

2.46

11.76

C4

6

Gardeners’ World

Fri

20.30

2.42

10.50

BBC2

7

Marvel’s Agents Of S.H.I.E.L.D.

Fri

20.00

2.31

10.29

C4

8

Homeland

Sun

21.00

2.21

9.04

C4

8

My Big Fat Gypsy Christening

Tue

21.00

2.21

9.64

C4

10

Mastermind

11

Tom Kerridge’s Proper Pub Food

Fri

20.00

2.17

9.95

BBC2

Mon

20.30

2.14

9.00

BBC2

12

The Wrong Mans

Tue

21.00

2.12

9.00

BBC2

13

Location, Location, Location

Thu

20.00

2.06

9.56

C4

14

QI

Fri

22.00

2.01

11.18

BBC2

15

Hairy Bikers’ Bakeation

Tue

19.00

1.90

9.43

BBC2

16

The House That £100K Built

Wed

20.00

1.87

8.86

BBC2

17

8 Out Of 10 Cats

Fri

21.00

1.85

8.71

C4

18

Peaky Blinders

Thu

21.00

1.74

8.08

BBC2

19

Strictly Come Dancing – It Takes Two

Fri

18.30

1.72

9.88

BBC2

20

Orangutans – Great Ape Escape: Natural World

Fri

21.00

1.67

7.88

BBC2

21

Strictly Come Dancing – It Takes Two

Thu

18.30

1.62

8.75

BBC2

22

Strictly Come Dancing – It Takes Two

Mon

18.30

1.59

8.47

BBC2

23

The Sarah Millican Television Programme

Tue

21.30

1.57

7.06

BBC2

24

My Tattoo Addiction

Thu

22.00

1.55

9.76

C4

24

Mock The Week

Thu

22.00

1.55

8.60

BBC2

24

Strictly Come Dancing – It Takes Two

Tue

18.30

1.55

8.57

BBC2

27

Hairy Bikers’ Bakeation

27

Strictly Come Dancing – It Takes Two

29

Alan Carr: Chatty Man

30

Hairy Bikers Everyday Gourmets

Fri

19.00

1.54

7.88

BBC2

Wed

18.30

1.54

8.62

BBC2

Fri

22.00

1.53

9.72

C4

Mon

19.00

1.47

7.04

BBC2

Figures include HD and +1 where applicable

Multichannel 36.94

C4 lost more than half of Homeland’s audience for new panel show Was It Something I Said?, from 10pm

Others 11.70 51.59 36.94 38.47 Others 12.70 47.52 46.10

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

DAYTIME SHArE (%) w/c 30.09.13

PEAkTIME SHArE (%) w/c 30.09.13

1.0m

C5 0.98 4.52 3.41 3.11 C5 1.10 4.11 4.26

BBC1 22.34

ITV1 22.91

C5 3.41 C4 6.49

BBC2 7.92

Multichannel 51.59

1.3m

Opposite Downton Abbey and Homeland, The Ottomans launched below the 1.7 million slot average

BBC1 19.94

ITV1 14.71

C5 4.52

BBC2 4.00

C4 5.24

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

Newsround What’s New Scooby-Doo? Dragons: Riders Of Berk Wolfblood Horrible Histories What’s New Scooby-Doo? Who Let The Dogs Out? Horrible Histories Horrible Histories Dennis & Gnasher

top 10 factuaL proGraMMeS

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Mon Mon Sun Mon Wed Wed Mon Mon Thu Wed

16.20 16.00 8.55 17.00 07.45 16.00 16.30 07.45 07.45 15.45

253,800 248,800 246,900 235,800 234,800 224,900 223,300 216,100 214,100 205,500

21.15 24.97 19.66 16.07 18.10 20.29 17.51 18.24 17.07 27.84

CBBC CBBC CBBC CBBC CBBC CBBC CBBC CBBC CBBC CBBC

Title

1 2 3 4 5 6 7 8 8 10

The Great British Bake Off Countryfile Antiques Roadshow The One Show Watchdog The One Show The One Show The Great British Year The One Show The One Show

Day

Start

Viewers (millions)

Share (%)

Channel

Tue Sun Sun Tue Wed Mon Fri Wed Thu Wed

20.00 18.20 20.00 19.00 20.00 19.00 19.00 21.00 19.00 19.00

6.26 5.89 5.33 4.29 4.13 3.81 3.74 3.70 3.70 3.46

25.93 30.08 21.48 22.50 19.53 19.25 19.81 17.73 19.41 17.45

BBC2 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1

➤ newsround cut an unusual figure at the top of the children’s table, holding off perennial favourite what’s new Scooby-doo?. It was a CBBC whitewash, with three places for Horrible Histories, while dennis & Gnasher was a new entry.

➤ the Great British Bake off rose to its biggest audience of the series and topped the factual line-up by more than 300,000 viewers. It was the only entry for a channel other than BBC1, which enjoyed a strong week with shows such as the Great British Year.

top 10 draMa proGraMMeS

top 10 entertainMent proGraMMeS

Title

1 2 3 4 5 6 7 8 9 10

Downton Abbey Doc Martin New Tricks Atlantis Holby City Casualty Whitechapel

By Any Means Waterloo Road Marvel’s Agents Of S.H.I.E.L.D.

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Mon Tue Sat Tue Sat Wed Sun Thu Fri

21.00 21.00 21.00 20.25 20.00 21.25 21.00 21.00 20.00 20.00

9.21 7.66 6.77 5.06 4.63 4.04 3.34 2.91 2.70 2.31

37.62 33.09 29.58 21.37 19.18 18.92 16.02 11.81 12.51 10.29

ITV ITV BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 C4

➤ downton abbey was comfortably the biggest drama of the week, despite losing more than 400,000 viewers. There were no new entrants, with only waterloo road and Marvel’s agents of S.H.i.e.L.d. swapping places. The latter lost 800,000 viewers.

up The Great British Bake Off rises 460,000

down Marvel’s Agents Of S.H.I.E.L.D. loses 800,000

up Doc Martin gains 80,000

1 2 3 4 5 6 7 8 9 10

Citizen Khan Miranda Pat And Cabbage The Wrong Mans Kevin Bridges – Story Continues Fool Britannia Sarah Millican Television Programme Father Figure The Simpsons The Simpsons

Strictly Come Dancing The X Factor The X Factor Strictly Come Dancing: Results Have I Got News For You Pointless Celebrities Through The Keyhole Big Star’s Little Star Surprise Surprise The National Lottery Live

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Sat Sun Sun Fri Sat Sat Wed Sun Sat

18.20 20.00 19.10 19.20 21.00 17.30 21.50 20.00 18.10 21.10

9.25 8.48 8.43 8.19 4.98 4.01 3.92 3.87 3.55 3.47

42.08 36.05 34.27 33.20 22.80 25.24 20.46 18.29 19.08 15.26

BBC1 ITV ITV BBC1 BBC1 BBC1 ITV ITV ITV BBC1

➤ Saturday’s episode of Strictly come dancing displaced the x factor as the top entertainment show of the week. It registered a series high, as both episodes of the ITV show were down year-on-year.

Otherwise, Have i Got news for You returned with nearly 5 million.

up Strictly Come Dancing up 60,000

down Atlantis falls 770,000

up Saturday’s The X Factor rises 670,000

top 10 MuSic & artS proGraMMeS

Day

Start

Viewers (millions)

Share (%)

Channel

Fri Fri Thu Tue Fri Sat Tue Wed Mon Wed

21.30 20.30 20.30 21.00 22.35 18.30 21.30 22.35 18.00 18.00

2.94 2.53 2.19 2.12 1.91 1.85 1.57 1.54 1.44 1.35

14.29 10.97 10.29 9.00 15.28 9.17 7.06 12.18 8.38 8.33

BBC1 BBC1 ITV BBC2 BBC1 ITV BBC2 BBC1 C4 C4

➤ citizen khan returned to BBC1 in a new Friday evening slot. Its audience of 2.9 million helped it top the comedy table, with a repeat of Miranda nestled just behind. Elsewhere, fool Britannia returned with a disappointing ratings haul for ITV. next week Sport and current affairS www.broadcastnow.co.uk

1 2 3 4 5 6 7 8 9 10

down Downton Abbey falls 400,000

top 10 coMedY proGraMMeS Title

Title

Title

1 2 3 4 5 6 7 8 9 9

Stephen Lawrence Unity Concert Later Live... With Jools Holland The Culture Show: Jon Ronson...

Later... With Jools Holland The Making Of Elton John...

Elton John In Concert 2013 Top Of The Pops: 1978 Forever Young: How Rock 'N' Roll...

Random Acts Classic Albums

Day

Start

Viewers (millions)

Share (%)

Channel

Tue Tue Wed Fri Fri Fri Thu Sat Fri Sat

22.35 22.00 22.00 23.05 22.00 21.00 19.30 23.30 00.40 22.40

0.95 0.80 0.48 0.44 0.39 0.38 0.35 0.31 0.30 0.30

8.75 4.61 2.81 4.58 2.36 1.78 1.71 3.37 6.29 1.98

BBC1 BBC2 BBC2 BBC2 BBC4 BBC4 BBC4 BBC4 C4 BBC4

➤ BBC1’s coverage of the Stephen Lawrence unity concert gave it top spot in the music and arts table, ahead of an episode of Later Live… with Jools Holland. BBC4 secured the most entries, with its Elton John programming performing solidly.

See over for demographic and digital focus 11 October 2013 | Broadcast | 39

Ratings Mon 30 Sep – Sun 6 Oct Demographic focus Channels

Individuals Share (%)

Source: BARB

Adults ABC1 Share (%)1

Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

Female Profile (%)2

BBC1

21.38

25.76

48.03

11.63

9.85

21.27

45.30

21.47

54.70

ITV

17.58

15.99

36.26

14.76

15.20

14.01

36.30

20.56

63.70

BBC2

5.66

7.44

52.38

3.69

11.81

5.64

45.38

5.68

54.61

C4

5.65

6.10

43.01

7.67

24.56

5.32

42.91

5.92

57.08

C5

4.16

3.45

33.07

3.70

16.08

3.93

42.98

4.36

57.02

ITV2

2.63

2.04

30.90

4.46

30.67

1.98

34.22

3.18

65.79

ITV3

2.23

1.96

35.09

0.50

4.10

1.88

38.34

2.52

61.65

E4

1.69

1.63

38.59

5.05

54.22

1.70

45.92

1.67

54.07

BBC3

1.58

1.33

33.77

4.00

45.92

1.71

49.40

1.46

50.60

Film 4

1.56

1.30

33.04

1.74

20.14

2.03

59.20

1.17

40.78

Dave

1.42

1.36

38.19

2.30

29.31

1.93

61.87

0.99

38.14

Sky Sports 1

1.32

1.61

48.38

1.94

26.60

2.06

71.00

0.70

29.01

ITV4

1.19

1.08

36.32

1.03

15.74

1.82

69.86

0.66

30.14

MORE4

1.14

1.29

45.19

0.89

14.09

1.09

43.51

1.18

56.51

5 USA

0.90

0.72

32.12

0.79

16.06

0.76

38.61

1.01

61.41

BBC4

0.89

1.17

52.87

0.39

7.95

0.96

49.16

0.83

50.84

Drama

0.73

0.61

33.42

0.28

6.87

0.68

42.32

0.77

57.70

Yesterday

0.70

0.67

38.11

0.18

4.61

0.94

61.26

0.50

38.79

Sky 1

0.69

0.77

43.93

1.18

30.88

0.82

54.06

0.59

45.94

24%

Proportion of audience for BBC3’s new factual series Unsafe Sex In The City aged 25-34, up from the 17% slot average. Its audience was more female – 62% against a 48% average.

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

Repeats work for Some Girls BY stephen price

Some girls, said the Rolling Stones, give money, clothes and heart attacks. They don’t mention the benefit of repeats, however. I can imagine that wasn’t terribly high on their agenda at the time; and also, it’s difficult to scan. Still, it’s true, as BBC3 discovered. Elsewhere, Essex terrorised Vegas.

BBC3’s Some Girls returned for a second series on Monday at 10pm with 344,000/2%, its second lowest ever in its premiere transmission slot. The power of repeats showed at 12.30am, when 327,000/ 10% watched. The biggest rating was Sunday’s 10.45pm repeat, with 396,000/3%. In total, seven repeats added 1.5 million.

The TOWIE crew returned with a trip to Nevada in ITV2’s The Only Way Is Vegas, which achieved 1 million/6% on Sunday at 10pm, on par with this spring’s and last autumn’s launches. On Monday, BBC4 continued A Very British Murder With Lucy Worsley, which drew 710,000/3% at 9pm, down from last week’s 830,000/4%.

40 | Broadcast | 11 October 2013

Source: BARB

dIGITAL hOMeS

TOp 30 MuLTIchAnneL prOGrAMMeS Title

1 2 3 3 5 6 7 8 9 10 11 12 13 14 15 16 16 18 18 20 20 20 20 24 25 26 26 26 29 29

Live Ford Super Sunday Ford Saturday Night Football Family Guy Uefa Europa League Live The Only Way Is Vegas Live Ford Super Sunday Only Connect Celebrity Juice Pirates Of The Caribbean...

Bad Education Family Guy Pirates Of The Caribbean...

Foyle's War Ford Monday Night Football A Very British Murder...

Family Guy Live UEFA Champions League Taken Family Guy Peter Andre: My Life Family Guy Family Guy Family Guy The Big Bang Theory Hollyoaks Family Guy Hollyoaks Agatha Christie’s Poirot Midsomer Murders Hollyoaks

Figures include HD and +1 where applicable

Day

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

Start

15.30 17.00 22.00 16.45 22.00 12.30 20.30 22.00 19.25 22.00 22.20 21.05 20.00 19.00 21.00 23.25 19.30 21.00 23.00 21.00 23.00 23.25 23.25 18.30 19.00 23.00 19.00 20.00 20.00 19.00

Viewers (millions)

Share (%)

1.46 1.19 1.02 1.02 0.99 0.94 0.93 0.92 0.90 0.89 0.85 0.80 0.76 0.73 0.71 0.70 0.70 0.69 0.69 0.68 0.68 0.68 0.68 0.67 0.66 0.65 0.65 0.65 0.64 0.64

10.67 6.46 5.09 5.54 5.94 9.44 3.89 5.45 3.64 5.17 5.41 4.19 3.29 3.51 3.06 9.32 3.32 3.60 7.15 2.94 7.04 9.12 9.14 3.56 3.34 6.65 3.40 3.06 2.71 3.35

Channel

Sky Sports 1 Sky Sports 1 BBC3 ITV4 ITV2 Sky Sports 1 BBC4 ITV2 BBC3 BBC3 BBC3 BBC3 ITV3 Sky Sports 1 BBC4 BBC3 Sky Sports 4 Film 4 BBC3 ITV2 BBC3 BBC3 BBC3 E4 E4 BBC3 E4 ITV3 ITV3 E4

Channels

Share (%)

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

20.47 17.68 6.14 5.35 4.05 46.33 2.74 2.44 1.86 1.71 1.53 1.39 1.33 1.28 1.26 1.13 1.07 1.04

Figures include HD and +1 where applicable

608k Michael Mosley’s BBC4 series Pain, Pus And Poison launched 150,000 above slot average

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

Viewers (000s) Share (all homes) %

Live Ford Super Sunday Live Ford Saturday Night Football Live Ford Super Sunday Live Ford Monday Night Football Live UEFA Champions League Live UEFA Champions League Storage Hunters Storage Hunters The Blacklist Live UEFA Champions League Home And Away Mrs Brown’s Boys Storage Hunters Mrs Brown’s Boys A League Of Their Own Home And Away Mock The Week Home And Away Storage Hunters Storage Hunters Home And Away Mrs Brown’s Boys The Simpsons Geordie Shore Live Manchester City V Everton Dave Gorman: Modern Life Is Goodish Storage Hunters Storage Hunters Would I Lie To You? Storage Hunters Gillette Soccer Saturday Home And Away Storage Hunters QI XL Mrs Brown’s Boys Mock The Week Lizard Lick Towing Jonathan Creek Mrs Brown’s Boys NCIS Lizard Lick Towing Not Going Out Have I Got A Bit More News For You CSI: Miami Storage Hunters Star Trek: Enterprise The Simpsons Salvage Hunters Storage Hunters The Simpsons

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

15.30 17.00 12.30 19.00 19.30 19.00 20.30 20.00 21.00 18.00 18.30 21.00 17.30 21.00 21.00 18.30 22.00 18.30 17.00 20.30 18.30 21.00 18.30 22.00 11.30 22.00 20.00 12.00 22.00 12.30 12.00 18.30 19.30 21.00 21.40 22.40 20.30 21.00 21.00 22.00 20.00 21.00 22.00 22.00 11.30 19.00 19.00 21.00 19.00 19.00

1,460,100 1,189,900 939,100 730,400 695,700 635,500 634,800 595,100 571,700 488,400 486,100 473,500 472,300 466,000 458,100 450,900 444,200 443,600 441,200 423,900 422,400 396,300 386,500 383,800 381,600 375,900 368,400 367,600 365,800 365,400 363,200 360,000 359,500 357,900 357,700 354,000 352,400 347,400 347,300 345,700 334,900 334,800 331,600 330,100 327,600 320,700 318,900 310,500 306,400 302,800

10.67 6.46 9.44 3.51 3.32 2.84 2.58 2.51 2.70 2.48 2.59 2.24 3.02 2.16 2.16 2.50 2.70 2.55 3.18 1.84 2.37 1.84 2.06 2.48 4.80 2.43 1.69 4.82 2.13 4.46 3.70 1.95 1.58 1.55 1.73 3.07 1.63 1.70 1.49 2.19 1.63 1.56 1.95 1.98 4.41 1.54 1.44 1.34 1.41 1.59

Figures include HD and +1 where applicable

Dave Gorman: Modern Life Is Goodish www.broadcastnow.co.uk

A League Of Their Own

Broadcaster/ Producer* Sky Sports 1 Sky Sports 1 Sky Sports 1 Sky Sports 1 Sky Sports 4 Sky Sports 2 Dave/T Group Dave/T Group Sky Living Sky Sports 2 5* Gold/Boc-Pix/RTÉ Dave/T Group Gold/Boc-Pix/RTÉ Sky 1 5* Dave/Angst Productions 5* Dave/T Group Dave/T Group 5* Gold/Boc-Pix/RTÉ Sky 1 MTV/Lime Pictures BT Sport 1 Dave/Liberty Bell Dave/T Group Dave/T Group Dave/Zeppotron Dave/T Group Sky Sports News 5* Dave/T Group Dave/Talkback Gold/Boc-Pix/RTÉ Dave/Angst TV Dave Drama Gold/Boc-Pix/RTÉ 5 USA Dave Dave/Avalon Dave/Hat Trick Productions 5 USA Dave/T Group Pick TV Sky 1 Quest Dave/T Group Sky 1

572k Sky Living’s new US drama The Blacklist looks set to be a strong performer

Dave’s Dave is goodish

BY STephen prIce

My PE teacher, with barely disguised sarcasm, frequently said that my javelin throwing was “in a league of its own” – more often, it ended up on the chemistry department’s roof. I suspect Sky 1 holds A League Of Their Own in higher esteem as the series continues on Friday evenings. Meanwhile on Dave, Dave Gorman pondered life, while footie proved its worth again.

Sky 1’s A League Of Their Own averaged 458,000/2% on Friday at 9pm, just above par for the series so far in live ratings. Another 300,000 or so will be added on recording.

Its best-ever final rating was 1.1 million/5%, after a live rating of 721,000/4%, in November 2011.

Dave’s Dave Gorman: Modern Life Is Goodish continued on Tuesday with 376,000/2%, slightly ahead of last week but still 100,000 short of the opener. Three repeats added 550,000 to this week’s total.

Sky Sports 1 showed the two most-watched football matches of the week. Top was Sunday’s West Brom v Arsenal tie, which averaged 1.5 million/11% from 3.30pm, ahead of the next best on Saturday night: Sunderland v Manchester United’s 1.2 million/6%.

Sky Living’s new import, The Blacklist, with James Spader, achieved 572,000/3% on Friday at 9pm, ending the launch week of the new Sky Living on a high note.

11 October 2013 | Broadcast | 41

Ratings Mon 23 Sep – Sun 29 Sep

All BARB ratings supplied by: Attentional

Consolidated Ratings

IT Crowd in seven heaven

BY Stephen price

One of the best gags ever was The IT Crowd’s notion that the entire internet was kept in a small box with a red flashing light on top, with Jen as its trusted custodian.

The final episode of Channel 4’s comedy reprised it and it remained just as thigh-slappingly amusing.

An hour earlier that night, flashier geeks unpacked that internet to save us (well, America) from supervillains in Marvel’s new TV series.

Meanwhile, in a very different, more sequined world, Strictly Come Dancing returned in its customary opening weekend double bill.

After the Saturday show, Pythagoras had a life-threatening adventure no mathematician fretting about triangles should have to endure in BBC1’s latest family adventure series Atlantis.

Source: BARB

Channel 4: Marvel’s Agents Of S.H.I.E.L.D. On Friday at 8pm, C4 launched Marvel’s Agents Of S.H.I.E.L.D., fresh from US network ABC. And it got off to a flyer: a live rating of 3.4 million/15% was converted into 4.5 million/18%. Its 16-34 share stood at 31%.

The Saturday repeat hoovered up another 1.7 million/7% after more than 700,000 recorded and watched. In its first week, with a further repeat on 4Seven, it totalled 6.3 million.

Channel 4: The IT Crowd The one-off special finale of C4’s The IT Crowd followed at 9pm, achieving a live rating of 1.9 million/9%, with an 18% share of 16-34s. If seven is a lucky number, then The IT Crowd got buckets of it, with 777,700 recording and watching, delivering a final rating of 2.7 million/10% – its third-largest audience ever.

The number of 16-34s increased to 1 million/21% after 366,000 of them recorded and watched.

The highest-rated episode remains the 3.5 million/16% for the Big Brother-sandwiched edition in August 2007.

BBC1: Strictly Come Dancing On Friday at 9pm, BBC1’s Strictly Come Dancing returned for its full 2013 series with a live rating of 7.8 million/35%. Consolidation added more than 1.5 million to that to deliver 9.3 million/36% – 100,000 and one share point more than last year’s launch.

Saturday’s show was recorded and watched by 1.4 million, delivering a final rating of 10.5 million/ 45%, 500,000 up on 2012’s equivalent edition.

Total audience for part one of BBC2’s The Wrong Mans, after 1.4 million caught up

BBC1: Atlantis BBC1’s Atlantis began straight after Strictly at 8.25pm on Saturday with a live rating of 5.7 million/26%.

After almost 1.7 million recorded and watched, that ballooned to 7.4 million/29%. In a similar slot last autumn, Merlin averaged 7.1 million/27% and on average was recorded by 1.4 million.

TOP 30 CONSOLIDATED RATINgS: RANkED By gAIN

1 2 3 4 5 5 7 8 9 10 11 12 13 14 15 16 16 18 19 20 21 22 23 23 25 26 26 28 29 30

4.5m UP Great British Bake Off up 330,000 DOWN

By Any Means down 740,000

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Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Downton Abbey Atlantis Strictly Come Dancing The Great British Bake Off Strictly Come Dancing The Wrong Mans New Tricks Marvel’s Agents Of S.H.I.E.L.D. Doc Martin Educating Yorkshire

By Any Means The X Factor Casualty Coronation Street Coronation Street EastEnders The X Factor Coronation Street The IT Crowd Marvel’s Agents Of S.H.I.E.L.D. Coronation Street EastEnders Coronation Street CSI – New York CSI – New York Geordie Shore CSI – New York EastEnders Emmerdale Emmerdale

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

21.00 20.30 21.00 20.00 19.00 21.00 21.00 20.00 21.00 21.00 21.00 20.20 21.25 20.30 19.30 20.00 19.30 20.30 21.00 19.00 19.30 19.30 19.30 21.00 21.00 22.00 21.00 20.00 19.00 20.00

12.10 7.36 9.33 7.32 10.53 4.45 8.42 4.52 8.89 3.81 4.49 9.22 4.99 8.75 9.26 7.13 10.80 9.82 2.69 1.73 9.55 7.27 10.01 1.96 1.81 1.02 1.78 7.85 7.21 7.22

41.67 29.08 35.65 29.83 44.81 16.31 31.92 18.01 34.80 15.65 15.77 36.47 21.76 33.48 43.93 30.19 40.51 38.59 10.18 7.38 42.54 35.31 43.45 7.36 7.01 5.69 6.75 32.43 37.98 31.47

2.04 1.69 1.52 1.51 1.36 1.36 1.27 1.12 1.10 1.03 1.02 0.98 0.97 0.96 0.91 0.86 0.86 0.82 0.78 0.72 0.70 0.64 0.61 0.61 0.60 0.59 0.59 0.58 0.56 0.54

20.20 29.80 19.40 25.90 14.90 43.70 17.80 32.90 14.20 36.90 29.60 11.90 24.10 12.40 10.90 13.70 8.60 9.20 40.80 71.40 7.90 9.70 6.50 45.00 49.80 138.00 49.30 8.00 8.40 8.10

Broadcaster ITV BBC1 BBC1 BBC2 BBC1 BBC2 BBC1 C4 ITV C4 BBC1 ITV BBC1 ITV ITV BBC1 ITV ITV C4 C4 ITV BBC1 ITV C5 C5 MTV C5 BBC1 ITV ITV

Figures include HD and +1 where applicable

42 | Broadcast | 11 October 2013

www.broadcastnow.co.uk

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Off Cuts

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ALL A TWITTER #SEXBOX Now, as I was out tonight and after looking at my timeline...

What the hell is #sexbox ?!!

Are they actually shagging in my Cube? @Schofe (Phillip Schofield) Presenter, The Cube

“I’m Mariella Frostrup.

Welcome…. TO DOGGING LIVE!” #sexbox

£4.99

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

that could have had more to do with the 90-minute running time.

AND FINALLY ...

A show by any other name

Rizzle Kicks: got the party started

Rizzle Kicks ’em into action A live performance of I Dreamed A Dream by Susan Boyle almost brought a standing ovation from the cynical bunch of media buyers at YouTube’s first-ever Upfronts.

Earlier, warm-up act Ricky Gervais and his band had got things going with online hit Equality Street. But it was the busload of kids who stormed into the room to clutch at Rizzle Kicks during the finale that finally got guests off their seats. Though

@neilgibbons (Neil Gibbons) Writer, Alan Partridge

If someone died in that #sexbox & when they opened it the other person wasn’t there, it’d be the greatest opening to a Jonathan Creek ever. @MattEdmonson (Matt Edmondson) DJ, Radio 1

Channel 4 should combine #Sexbox with #Gogglebox and create #GoggleSexbox – stick the posh couple in the box and let them review it. @chuckthomasuk (Chuck Thomas) Entertainment producer

BIGBIGBIG

US cable network Ovation is unveiling its latest crime drama The Artful Detective. But if the character below looks familiar, that’s because it’s known elsewhere – including Canada, from where it comes – as Murdoch Mysteries. Rumours that this was to curb expectations of a crime-fighting media baron have yet to be confirmed.

Tricked to be on song By day, Jonathan Rippon is head of programming at Horse & Country TV. But he’s heading for a bigger stage, with a move up the EPG. Eagle-eyed viewers of ITV2’s new entertainment series Tricked at 9pm tonight (Thursday) will see Rippon giving it his all as one of the London Contemporary Voices choir.

BBC Worldwide pulled out all the stops to plug BBC1’s Atlantis at Mipcom with what it claims is a first for La Croisette: a 3D ‘street art’ optical illusion.

Cast members Jack Donnelly and Aiysha Hart joined executive producers Howard Overman, Julian Murphy and Johnny Capps to unveil it.

Thankfully, relatively stable ratings have kept headlines about plummeting at bay.

Paul Chantler Radio consultant and co-founder of creative resource company Radio Ideas Bank

What’s the biggest lie you’ve ever told?

I used to say I worked for ITN to get upgrades on planes. It always worked.

Tell us one of your most hilarious faux pas As a rookie local radio newsreader, saying “the wife of the black South African nationalist leader Minnie Wandella...”

Which radio programme would you resuscitate?

James Whale’s LBC show.

Who is your pin-up?

Margaret Mountford.

What’s the worst rejection you’ve ever had?

The BBC, when I applied to be a journalist at the age of 18.

Who would you put in the Celebrity Big Brother house?

My old TalkSport boss Kelvin MacKenzie. Endlessly engaging, and entertaining.

Who would you like to play yourself in a movie?

Chris Moyles (pictured).

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

The best: the listeners.

The worst: the listeners.

Where’s the best place to do some ‘meeja’ networking?

The Ivy, of course – but also Adam Street private members’ club, which mixes ‘meeja’ people and entrepreneurs.

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44 | Broadcast | 11 October 2013

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