Broadcast 18th October Issue 2013

www.broadcastnow.co.uk

18 October 2013

EXPERT WOMEN

BEHIND THE SCENES

PRODUCTION

Page 8

Page 24

Page 22

A breakthrough for BBC News at 10

Taking fixed-rig to the depths of Antarctica

Sky and BBC NHU on trialling Ultra-HD

Merger puts Boom on map Deal with Twofour creates nations and regions supergroup with turnover close to £100m

BY CHRIS CURTIS

Boom Pictures executive chair Lorraine Heggessey believes the company’s merger with Twofour Group has created the “go-to producer in the nations and regions”.

Broadcastnow.co.uk revealed details of the emerging super-indie’s latest and biggest deal yesterday, which Heggessey said would put it “firmly on the map”. She added that Twofour’s fact ent and entertainment credentials meant the group now had every genre covered.

“We wanted to create a company of scale, but not so big it felt disparate or corporate,” said Heggessey.

“Twofour grew up in Plymouth and Boomerang in Cardiff, with a similar ambition to be a powerful network supplier. People are going to sit up and take us seriously.”

She said the Twofour merger was the equivalent of buying three or four smaller players, indicating that Boom would now go through a period of bedding down and organic growth, rather than chasing more deals.

Twofour chief executive Charles Wace agreed, but flagged that the enlarged group was highly ambitious. “We see ourselves as being part of a major, fast-growing business – we’ll have a turnover closing in on £100m,” he said.

“Twofour Rights, for example, has been transformative for us. It’s there at the development stage and really understands our shows, and we’ll now have a much bigger catalogue we’ll make the most of.”

Accelerating the growth at Twofour’s offices in Los Angeles and Abu Dhabi is also on the agenda.

Twofour and Boom had a shared ambition of being a powerful network supplier Lorraine Heggessey, Boom Pictures

Boom’s new team (l-r): Wace becomes non-exec chair and Leach joins Heggessey and Eurig Davies on the board

Wace will step back to become non-executive chairman of Twofour and a non-exec director at Boom, and plans to take on other advisory roles, most likely outside of TV. His relationship with Boom deputy chair Huw Eurig Davies also helped pave the way for the deal.

Davies said: “I’ve known Charles for years, from our time on the Pact N&R Council, and we’ve swapped stories and had similar experiences over the years. The two companies have different skills and contacts, but similar cultures.”

He added that a deal of this scale had been “at the front of our minds since we did the Boomerang MBO with Lloyds Development Capital 15 months ago”.

Twofour Broadcast managing director Mel Leach and Twofour Digital and Rocket Science manag-

ing director Mark Hawkins will both join the wider Boom board as a result of the deal.

Leach said she was hopeful the Boom portfolio of companies would pool expertise. “It will be exciting to tap into the drama and comedy knowledge that Delightful and MainStreet have,” she said. “I could see us collaborating on a big drama doc, and we’d have a better chance with a comedy idea if we had Graham [Linehan] alongside us.”

She also expects to invest significantly in the US in the next 12 months, where Twofour is currently working with the likes of Discovery and History.

Wace was Twofour’s majority shareholder prior to the deal.

Eureka Partners, which held a minority stake, has also realised its investment.

BOOM PICTURES THE INDIE PORTFOLIO Twofour Factual, fact ent and entertainment

Delightful Industries Comedy

MainStreet Pictures Drama

Boomerang Sport and branded content

Oxford Scientific Specialist factual

Indus Films Factual

Boom Pictures Cymru Welsh-language programming

Editor’s Choice

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

Online this week www.broadcastnow.co.uk

Lisa Campbell, Editor

Top News

Fortune does favour the brave Charles Wace’s gamble on Devon-based Twofour has paid off

S

everal colleagues told Charles Wace he was insane when he announced he was leaving his BBC news production job to launch his own indie. As is the case for all those stepping off the career ladder and away from a guaranteed income to go it alone, it was a brave move.

But some 25 years later, and with a multimillion-pound deal on the table with Boom Pictures, it’s a risk that has more than paid off.

‘It creates a powerhouse in the nations and regions, providing the scale to compete with super-indies’ It was a doubly brave move for Wace, given his determination to build a media hub far from the metropolis, in Devon.

With an economy greatly influenced by shipbuilding, Plymouth was hardly teeming with experienced media professionals. Wace first had to find them, train them and, importantly, retain them, at the same time as convincing Londoncentric commissioners to give him the time of day.

One of the solutions was putting more staff on permanent contracts, building a talented – and loyal – team. Those local faces also gave Twofour an important point of difference – a creative perspective away from the seat of power.

Gradually, the indie began to build in size and stature, producing more content for a wider range of broadcasters, with fewer one2 | Broadcast | 18 October 2013

offs and more 20- and 30-episode series.

Its reach and impact was such that in 2010, Twofour was crowned Broadcast’s Indie of the Year, with turnover approaching £25m and output including Channel 5’s ratings-busting Hotel Inspector (below left) Big Chef, Little Chef for Channel 4 and Are You Smarter Than A 10 Year Old? for Sky. Currently, Twofour is a £47.3m-plus business with one of C4’s biggest hits of the year, Educating Yorkshire (below right), a superb follow-up to the Baftawinning Educating Essex.

It may have taken some time for Twofour to finally strike a deal, but Boom is an ideal partner, creating a powerhouse in the nations and regions and providing the scale to allow the new business to compete with established super-indies. It is also ideally placed to tap into the raised BBC quota for out-of-London output, although the two also share global ambitions, not least US expansion.

We often hear how mergers and acquisitions can have a negative impact on a creative culture. Boom is backed by private equity player LDC, and the pressure, as ever, will likely be on to meet targets and see a return on investment. But culturally, the two players are closely aligned, sharing a similar heritage in their respective locations, a common preference for flat management structures and an entrepreneurial, can-do attitude.

This, combined with a digital and rights division and talent-led comedy and drama units, should put this new company firmly on the map.

è ITV and Lime Pictures have reached an 11th-hour, out-of-court settlement with Brian Belo, Sassy Films and Massive TV after they claimed The Only Way Is Essex infringed their copyright.

è BBC1 has poached The Great British Bake Off (pictured) following its success on BBC2. The fifth series will air on the flagship channel in 2014.

è BBC director of television Danny Cohen aims to make the iPlayer the corporation’s “fifth channel” by appointing a dedicated controller of the VoD service.

Ratings Top Five The first live X Factor of the year hit a dodgy note, with 8m viewers on Saturday – almost 2m fewer than BBC1’s Strictly Come Dancing.

1

2 ITV’s gynaecology drama Breathless and BBC1’s Truckers both got off to a slow start on Thursday – pulling in 3.7m and 2.9m respectively.

3 A Madeleine McCann special drew 6.7m on Monday – the most-watched Crimewatch in at least seven years.

4 The second episode of Homeland (below) registered its lowest overnight audience ever for Channel 4 on Sunday, with fewer than 2m tuning in.

5 England’s final World Cup qualifying match against Poland peaked with 11m for ITV on Tuesday.

Talking TV podcast è Visit broadcastnow.co.uk or iTunes to download the latest edition of our podcast, which assesses Tony Hall’s first major address as BBC director general and features Breathless creator Paul Unwin.

www.broadcastnow.co.uk

News & Analysis

BBC agrees new Pact terms Reducing repeat fees will allow the BBC to invest more in new programming

BY JAKE KANTER

The BBC has struck a “groundbreaking” new terms of trade agreement with Pact to reflect the rapid growth of digital content in the UK. Production companies will benefit from improved terms for exploiting their digital rights, while the BBC is likely to save millions on repeat fees and will be able to include indie-made content in the BBC Store download-to-own service.

The deal has been more than two years in the making and Pact chief executive John McVay believes it will help indies reap the benefits of the increasingly influential digital market. “I hope this will be viewed as quite important in years to come,” he said.

There are four key updates, including the BBC’s announcement last week that it will extend the iPlayer catch-up window from seven to days 30.

What was not made clear last week was that the corporation will no longer ‘series stack’ its programmes on the VoD service.

Instead, viewers will be able to

John McVay, Pact

Bad Education: indie-made content will be available in the BBC Store

watch only those episodes of series that fall within the 30-day window.

Pact’s initial agreement on Store – as reported by Broadcast last week – will also have wider benefits for producers, who will be able to sell their shows on other platforms, such as iTunes, from the point of TX. More detailed financial terms are still being negotiated on how indies will be remunerated for their content on BBC Store. Pact will be part of the governance

structure for the platform, which will give it oversight of the financial operation.

Furthermore, the BBC will reduce the length of time production companies have to wait before they can exploit their shows in the UK TV market. Previously, the corporation could ‘hold back’ programming rights for up to 24 months, but the new agreement means single episodes will now be held back for only six months, and returning series for 18 months.

This will give producers clearer timeframes for when they exploit their shows in the UK secondary market, helping them secure financing for further series.

Finally, Pact has agreed to reduce its BBC repeat fees from 4% to 2% to enable the corporation to balance the 2010 licence fee agreement and sustain its investment in original content. McVay said: “By reducing repeat fees, it will allow the BBC to invest more in new programming, which is the lifeblood of the independent sector.”

BBC commercial director Bal Samra said: “This deal will provide real value for licence-fee payers, as well as increased access to the BBC content they love, with more opportunities to watch BBC content for longer, find and buy digital programmes to keep, and discover gems from the archive.”

YouTube MCN to run comedians’ web channels Comedy is so popular on YouTube that it makes sense to have a niche network

BY AlEx fARBER

Two former United Agents and Rightster executives have launched a YouTube multichannel network (MCN) that will manage comedy channels for the likes of Jack Whitehall and The Rubber Bandits.

The Wagon, which does not have a consumer-facing site but will create and manage channels, cross-promote content and help produce videos where required, has been established by Freddie Waters and Joss Freestone. It claims to be the first comedyspecific MCN. For example, it will launch a channel for Whitehall that will initially feature a range of behindthe-scenes footage promoting his forthcoming tour. www.broadcastnow.co.uk

Freddie Waters, The Wagon

Rubber Bandits: YouTube showcase

The channel will also act as an official profile for the comedian, used to curate existing content, such as his best stand-up routines.

The Wagon is also in production with a series of music videos from

comedy hip hop duo The Rubber Bandits, who featured in Channel 4 online series Comedy Blaps and have amassed more than 50 million YouTube views.

Waters said the scale of YouTube meant that the opportunity to launch a genre-specific network had now emerged.

“We have seen networks established that have launched a lot of channels, which are designed to

build as many views as possible.

But we have now got to a point where comedy is so popular on YouTube that it makes sense to have a niche network,” he said.

He added that The Wagon aimed to encourage comedians to produce regular pieces of online content and secure profitable advertising and sponsorship deals.

“Comedians often have a lot of ideas that either never get made, get stuck in development or air but get lost in broadcasters’ schedules,” he said. “Our philosophy is that comedy doesn’t need enormous production values a lot of the time.”

The Wagon is aiming to release around 100 videos a month across 30 separate channels by the end of the year.

18 October 2013 | Broadcast | 3

News & Analysis

‘Titan’ Graham steps down I’d be slightly amazed if this was the last film or television thing I ever did

BY Alex fARBeR And liSA CAmpBell

Alex Graham is stepping down from Wall to Wall after more than 25 years at the indie he established with Jane Root.

Graham will be replaced by Leanne Klein, who joined the Shed Media-owned business in 1995, rising to become creative director in 2011.

Graham will remain an executive producer on the US version of Who Do You Think You Are? (WDYTY?) to help the show with its transition from NBC to TLC, but will no longer take an active managerial role in the company.

“I’m not calling this retirement; I’m taking a break and stepping down to hand over to a team who have earned the right to have a go themselves,” Graham said. “It’s been the most fantastic time and I’m incredibly proud of our people, our work and our awards, but I feel I’ve reached the end of this particular job.”

Graham, whose proudest achievements include “influential shows” such as The 1900 House, The Media

Alex Graham, Wall to Wall

Wall to Wall: company co-founders Jane Root and Alex Graham in 1995

Show, Man On Wire and WDYTY? – “the one decent idea I’ve had in my life” – said he would not rule out a return to the industry. In the meantime, he will continue as chair of Sheffield Doc/Fest and on boards including that of The Scott Trust.

He added: “The hardest part is that I still really love it, which is why I was keen to exec WDYTY? in the States. The idea of waking up on Monday morning and knowing you’re not going to make TV any more is really scary.

“I’d be slightly amazed if this was the last film or television thing I ever did.”

Klein said Graham, with whom she has worked for more than 20 years, was a “titan”.

He steered the business through its £25m acquisition by Shed Media in 2007 and built on the hugely successful BBC1 hits New Tricks, WDYTY? and The Voice UK, as well as ITV’s Long Lost Family.

Klein said Graham had been gradually handing over the reins for the past few months to ensure a smooth transition.

She added that the business was well positioned across drama, factual and fact ent, and she had no plans to shake up its strategy.

“Wall to Wall is mainstream quality and high-end, and that’s where we will stay,” she added.

BBC Worldwide eyes global role for BBC Store There is a natural, unforced collaboration between the whole corporation

BY peteR White

The BBC Store could be rolled out around the world via BBC Worldwide, according to president of global markets Paul Dempsey.

The forthcoming service to enable viewers to buy and keep archive content was a key part of Tony Hall’s first major address since taking over as director general.

Dempsey told Broadcast that BBC Store “may be an asset around the world” alongside the global iPlayer service, and that it could help the commercial arm of the BBC realise Hall’s ambition to double the BBC’s global audience to half a billion by 2022.

Dempsey, who was interim chief executive of BBCW while Tim Davie was acting director general, said Hall’s appointment had 4 | Broadcast | 18 October 2013

Paul Dempsey, BBC

Strictly: available on BBC Store

increased the alliance between BBCW and the BBC. “There seems to be a natural, unforced collaboration between the whole corporation. That’s very much a shift since Tony Hall and Tim Davie have been in their positions. I’ve been here 16 years and I’ve never seen it as good. It’s because no one said ‘play nicely

together’ that everyone realises it’s in their own interests,” he said.

Dempsey was at Mipcom last week overseeing the first major sales market since BBCW finalised its global restructure, which saw it ditch its five previous global divisions in favour of local management structures in seven regions.

Sales are now being initiated across all platforms on a territory basis, rather than splitting programme sales, digital sales, home entertainment and channels.

“Before, you’d have conflict between our own channels, thirdparty clients and digital players,” Dempsey said. “I’m not saying the conflicts are [completely] gone, but we can do it as one team.

“Perhaps customers are being polite, but they say it’s making a difference to them. Previously we had different BBCW representatives having different conversations with the same business on the same day. Now we can go in together.”

The distribution arm reported strong growth for series such as Atlantis, which has already been picked up in major territories including France and Canada, Fleming: The Man Who Would Be Bond, biopic Burton & Taylor and natural history series Hidden Kingdoms. www.broadcastnow.co.uk

News & Analysis

BBC: we’ll curb WWI fatigue Very little money has been set aside to go into this – it is money already intended for programmes

BY Jake kanter

The BBC will carefully map out its four years of World War I (WWI) centenary programming across a number of different events to avoid audience fatigue.

The corporation this week unveiled details of 130 commissions that will form the backbone of 2,500 hours of coverage of the anniversary (see broadcastnow.co.uk). But Great War Centenary controller Adrian Van Klaveren is mindful of overkill.

He said the broadcaster did not want to “overwhelm people at a particular moment, where everything is happening all at once”, and that TV content will be “very deliberately” focused around certain peaks.

This will kick off with Jeremy Paxman’s BBC1 series Britain’s Great War and other content in early 2014.

Other peaks next year will include the anniversary of the start of WWI in August, as well as Remembrance Week. Beyond that, significant moments from the conflict, such as the Battle of the Somme, are likely to be marked.

Adrian Van Klaveren, BBC

Britain’s Great War: Paxman series will kick off centenary programming

Radio coverage will be centred on “reliving” the events as they happened. For example, BBC radio will chronicle the road to war in 1914 through daily real-time news flashes from the point Archduke Franz Ferdinand was assassinated to the outbreak of war five weeks later. The series, 1914 – Day By Day, will be presented by professor Margaret MacMillan.

Van Klaveren argued that audiences “expect” the BBC to carry comprehensive coverage of the centenary and said it will be geared at helping people find a personal connection with the conflict. He added that the project is the “biggest and most ambitious” collaborative season of programming the corporation has ever undertaken.

Van Klaveren estimated that the cost of the programming push will run into “tens of millions of pounds” but stressed it is being funded from already existing commissioning budgets. “There is very little money that has been set aside to go into this – it is money the BBC was already intending to spend on programmes,” said Van Klaveren.

The BBC will also launch an online portal that will bring together all of its TV and radio programming, news and features, alongside exclusive, in-depth and interactive online content.

It is also considering launching a dedicated WWI channel on iPlayer, grouping shows together as well as potentially housing unique content, such as interactive documentaries.

Starz in talks to bring back White Queen for US The White Queen did exactly what we wanted: brought a female audience to the channel

BY Peter White

US cable network Starz is set to recommission Company Pictures period drama The White Queen despite the BBC’s decision to drop the show.

The US broadcaster is in negotiations with Company Pictures over a follow-up, and hopes to develop The White Princess, a standalone mini-series also based on Philippa Gregory’s novel series The Cousins’ War. Starz Media managing director Carmi Zlotnik told Broadcast that the show, which debuted with more than 2.5 million viewers in the US, had been a ratings boon for the channel.

Starz aired a slightly more risqué cut of the drama, which www.broadcastnow.co.uk

Carmi Zlotnik, Starz Media

the White Queen: 2.5m debut in US

helped it attract much-wanted female viewers.

“The White Queen was phenomenal for us,” said Zlotnik. “It’s grown over the last few episodes [amid] stiff competition. It did exactly what we wanted, which was to bring a female audience to the channel. There was a dearth of

programming that told women’s stories and The White Queen proved [they work].”

Starz’s decision to go ahead without involvement from the BBC echoes the deal Cinemax struck with Kudos Film and Television for a 4 x 60-minute spin-off of Melissa George spy drama Hunted.

The show was originally a BBC co-pro, but the corporation decided against renewing it.

“There’s a lot of details and intricacies to work out but we’re considering it and working out the options,” Zlotnik added.

He said the audience in the US was more forgiving of apparent historical inaccuracies than British viewers and that The White Queen was, in essence, an entertainment series.

The White Queen was designed as a 10 x 60-minute mini-series, and the BBC has said it was never intended to go beyond a single series. But Broadcast understands both broadcasters looked at separate, standalone follow-ups based on Gregory’s other books.

The White Princess is the fifth novel in Gregory’s collection and tells the story of Elizabeth of York, wife of Henry VII. 18 October 2013 | Broadcast | 5

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News & Analysis Emily Mortimer: King Bee not just a vanity project The Newsroom star Emily Mortimer has declared that her indie King Bee Productions is not a vanity project and has lined up a number of new TV and film projects.

King Bee is run by Mortimer, her husband Alessandro Nivola and Stacia Peters, who has produced series including Showtime cancer drama The Big C. It will not limit itself to shows in which Mortimer appears and is developing a TV series based on Kathy Lette’s comedy novel The Boy Who Fell To Earth, about the author’s relationship with her son, who has Asperger’s.

It is also working on films including The Man Who Never Died, which it is co-producing with Paranormal Activity producer Blumhouse Productions, and Respectable, written by Sexy Beast writer Louis Mellis.

King Bee’s first project is forthcoming Sky Living comedy Doll & Em, which tells the story of a British star in Hollywood (Mortimer) who hires her best friend (Dolly Wells) as her assistant. Sky Vision has already sold the show to HBO in the US. “The show’s quite fucked up, in a good way, and we were exploring this bizarre relationship, which was awkward and funny,” said Mortimer.

BBC payoffs cost a third more than C4’s

BY JAKE KANTER

The BBC spent an average of 37% more on senior management payoffs than Channel 4 over the past four years, according to figures obtained by Broadcast.

The data raises further questions about the BBC’s severance packages following its tense encounter with the Public Accounts Committee last month.

Following a Freedom of Information Act request, C4 revealed it had spent £14.4m on payouts to 118 senior managers (those earning £60,000 or more a year) between January 2008 and September 2013. This means the average settlement was £122,000.

By contrast, the BBC agreed deals with 229 top executives from April 2008 to the end of March 2013 totalling £38.2m. Its average individual payoff stood at £167,000 – more than a third more than C4’s.

However, the average length of service for the BBC’s 229 staff stood at 16.6 years, double that of the C4 executives’ 8.1 years.

A BBC spokesman said: “Director general Tony Hall made clear that past severance payments were wrong and has capped future pay-

Public Accounts Committee payoff hearing: Lord Patten comes under fire

ments. However, it is misleading to compare payments between different organisations due to variables such as length of service and seniority of the individuals affected.”

Scrutiny of BBC payoffs was sparked by George Entwistle stepping down as director general last year with a £450,000 golden goodbye. Others include ex-deputy director general Mark Byford’s near £1m package and former marketing director Sharon Bayley’s £390,000.

At C4, three executive board members received payoffs totalling

£1.5m between January 2008 and December 2012. Chief executive Andy Duncan left with £731,000 in 2009, while director of future media and technology Jon Gisby and business director Rod Henwood picked up significant severance packages in 2010 and 2008 respectively.

Stripping out those board payoffs, 115 other C4 senior managers picked up £12.9m between them from 2008 to 2012, averaging out at £112,000, almost exactly in line with their average annual salary of £111,006.

CBeebies sets date for theme park launch and revives Clangers CBeebies Land will launch in spring 2014 following a deal between BBCW and Merlin

© 2013 SMALLFILMS LTD AND PETER FIRMIN

BY JAKE KANTER

CBeebies has had a busy week: revealing a theme park deal with Alton Towers, a revival of Clangers and a licence deal to continue airing In The Night Garden until 2020.

CBeebies Land will launch at Alton Towers in spring 2014 following a deal between BBC Worldwide and Merlin Entertainments.

The five-acre site will include rides, play areas, live experiences and character appearances. It will be designed as a space for preschool children to play and learn.

Construction costs and BBCW’s revenue share have not been www.broadcastnow.co.uk

Clangers: returns after 45 years

revealed. The idea has been on the cards for at least five years, with Broadcast first reporting the BBC’s interest in December 2008.

The Clangers revival after 45 years follows a £5m deal with the indie behind the original show, Smallfilms, IP vehicle Coolabi and US children’s network Sprout, which will provide co-pro financing alongside BBCW. The series, created by Peter Firmin and Oliver Postgate

(Bagpuss, Ivor The Engine), will be made in stop-motion by specialist Factory Transmedia (Strange Hill High) and puppet-maker and producer Mackinnon & Saunders (Fantastic Mr Fox, Chicken Run).

Firmin will be executive producer, along with Postgate’s son Daniel. The series will return in 2015, with BBCW distributing it internationally.

CBeebies has also struck a deal with DHX Media to continue airing 100 x 30-minute episodes of In The Night Garden. The Canadian firm inherited the rights when it acquired Ragdoll Worldwide for £17.4m in September.

18 October 2013 | Broadcast | 7

Expert Women

EXPERT WOMEN

CAMPAIGN TAX BREAK

CAMPAIGN

Positive signs at BBC News

News At Ten and Today are moving in the right direction so credit where it’s due, says Lis Howell

8 | Broadcast | 18 October 2013

BBC/Jeff OverS

I

t was a real mixed bag of results this month, with some very unexpected figures.

BBC News At Ten seems to have suddenly changed for the better. The editions we looked at had only twice as many male experts as females – an astonishing 2.5:1 male to female authority figures. Though as they keep telling us, our figures are just a snapshot.

Looking at the amount of time women spoke for gives us a ratio of 4:1 males to females. The reasons for this discrepancy can be found in the detail. On Wednesday 11 September, a two-minute feature on the German elections featured Angela Merkel in a soundbite as well as two other female German politicians, who were counted as experts but spoke for only 31 seconds between them.

The German elections cropped up again on Friday 13 September, with Merkel again boosting the number of women experts, though she was only featured in a short clip. When items feature pooled material or clips from international press conferences, the experts aren’t selected by the in-house journalists so the programme featured more authoritative women despite itself. But credit where it’s due.

The ratio was also boosted the previous day by a two-minute and 45-second piece on veils, with three Asian women experts, though an item on nurses by Dominic Hughes featured two male experts and no women – aren’t the majority of nurses women? Still, the item on the Commonwealth Heads of Government meeting in Sri Lanka featured a female former Tamil Tiger.

This was all much better from BBC News At Ten. It will be brilliant if this continues – though only five reports came from women compared with 38 from men. How can that be? Where are the women reporters? Count them

Today: strong all-female line-up with Alison Mitchell, Corrie Corfield, Mishal Husain and Sarah Montague

This is much better from BBC News At Ten. It will be brilliant if this continues yourself next time you are watching BBC coverage. You’ll only need one hand.

Radio 4’s Today programme had a good week, improving to a ratio of nearly 3.5:1 male to female experts. We monitored between 6am and 7am and this welcome change can be almost entirely explained by the absence of the British parliamentary slot.

On Tuesday 10 September, Today had an equal number of men and women in this hour, including a female expert on arms sales, and the non-executive chairman of Gasol, Cornelia Mayer.

Great news – now let’s see this happen between 7am and 8am.

Fast forward to 10 October, meanwhile, and there’s the small

matter of Today’s first all-female presenting line-up. Next month’s figures will be interesting.

Sky News At 10pm was really disappointing this month with seven men to every woman expert, one of Sky’s worst scores. Friday 13 September really was an unlucky day for women. There were no female experts at all on the Sky News programme, compared with 17 men.

So why was it that it failed to engage representatives of 51% of the population? The stories covered were Syria, the fatal fire in Leicester, cyber bank fraud, house prices, rape in India and the Twitter flotation. Male-dominated stories? I don’t think so. There was just one woman correspondent, who talked about charges for plastic bags.

Shame on you, Sky News.

Channel 4 News was also disappointing, with a ratio of 5:1. On Tuesday 10 September, a 10-minute item on Syria featured eight interviewees, none of them women.

That day, there was a shocking ratio of 11:1 male to female experts.

Male/feMale ratio BBC News At Ten 2.5:1 Today 3.5:1* Channel 4 News 5:1 Sky News At 10pm 7:1 Period covers week beginning 9 Sept *monitored between 6am and 7am

Luckily, on Wednesday 10 September, it had a series of interviews about the NHS, featuring three women, while correspondent Sarah Smith interviewed a woman in her HS2 package.

Overall then, a better score for the BBC. But let’s hope it continues with real interviews with real experts, not just soundbites with politicians. And please could we have more women journalists? We really do seem to be seeing evidence that when more women experts are used, the number of women journalists goes down.

What sort of improvement is that? 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

Commissioning News Q&A Nerys evANs Nerys Evans Deputy head of comedy, Channel 4 What’s your most recent commission and why?

London Irish. It’s one of those brilliant projects that feels as fresh and funny as it is original and brave. A show that celebrates a highly authored view of the world, brought to life by a fantastic cast of brand new talent.

How quickly do you aim to respond to an idea?

It can vary with how many shows we have in production, but we try to get back swiftly, especially if something doesn’t feel like a good fit for us. We aim to acknowledge a submission within three weeks.

What would you like more of?

A good rule of thumb is that if it feels as though we don’t have anything else like it on the channel, there’s a good chance we’ll like it.

What’s a definite no for you?

Scripts that don’t feel original. Everything we commission really needs to feel unique in some way. When we’re pitched top-line ideas, it can be instantly off-putting when people describe them as being just like another show. We strive to back originality and highly authored writing, so we are constantly hoping to be surprised.

Who has final sign-off?

Head of comedy Phil Clarke and head of programmes Jay Hunt.

What’s your riskiest commission and why?

Every comedy commission is risky as there are so many variables involved in making them work. It’s impossible to predict which show will explode in popularity in the way that, say, The Inbetweeners did.

There are also brilliant shows that deserve to have bigger audiences that we’re no less proud of making, such as PhoneShop.

What’s your top pitching tip for producers?

Only send us scripts you really love and make sure the writer has done your feedback notes before we see it. Be selective and don’t carpetbomb us with scripts you don’t fully believe in, or that you know are still 10 pages too long. Unfortunately, we don’t have time to give basic notes that a producer should have picked up on first. You never get a second chance to give us a strong first impression on a script.

What do you wish you’d commissioned?

The Office or Vic Reeves’ Big Night Out. What’s the best line you’ve heard in a pitch?

“I’ve brought some Welsh Cakes.”

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

“I’ve got eight script ideas I’d like to talk you through. I’ll do the different voices.”

What are you watching?

Portlandia on Netflix and Danger 5 on YouTube.

What are you inspired by/bored by?

Inspired by working with such a variety of funny people; bored by people on Twitter judging new comedy before the opening titles have finished rolling.

Tell us one that thing producers should know about you I am allergic to horses, so please don’t send in scripts attached to a horse, or invite me to a farm for a meeting.

What’s your secret talent?

I see dead people.

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

receNt commissioNs

Man DoWn

LonDon IrIsH

Production company Avalon Television Length 6 x 30 minutes, plus a Christmas special TX Fridays, 9.30pm, Channel 4 Summary Greg Davies writes and stars in this semi-autobiographical sitcom as Dan, a ‘man-child’ still living at home. With a job he hates and a broken relationship, he tries to make sense of his lot with his two best friends Brian and Jo, while literally fighting off his overzealous dad (Rik Mayall).

Production company Company Pictures Length 6 x 30 minutes TX Tuesdays, 10pm, Channel 4 Summary We follow the exploits of a group of 20-something friends who have left Northern Ireland for the bright lights of London; well, a dingy south London flat share. Written by Lisa McGee, who happens to be Northern Irish, lives in London and is in her twenties.

10 | Broadcast | 18 October 2013

www.broadcastnow.co.uk

International News

US to remake Norway thriller

BY Peter White

Norwegian conspiracy thriller Mammon is to be remade in the US after UK distributor DRG sold the format rights to 20th Century Fox Television and Chernin Entertainment.

The deal, struck on behalf of Norwegian public broadcaster NRK, is likely to mark the first time a Norwegian scripted format has been remade in the US. All The President’s Men-esque Mammon is a 6 x 60-minute drama that follows six days in the life of ambitious journalist Peter Verås (Jon Øigarden), whose attempts to get good stories begin to have fatal consequences. When he has the chance to redeem himself, matters get worse.

The term Mammon comes from the Bible and refers to material wealth with an evil influence.

The drama was made in-house

by NRK. It was produced by Vegard Stenberg Eriksen and is based on an original idea by his brother Gjermund.

“It’s about journalists and how they work and influence people,”

We both love conspiracy thrillers like All The President’s Men and Three Days Of The Condor Vegard Stenberg Eriksen

Mammon: Jon Øigarden stars as journalist Peter Verås in original series

said Eriksen. “It’s about the networking process between journalists, the financial world and their own families. In Norway, who you know is more important than what you know.”

Eriksen added that he and his brothers were influenced by 1970s feature films and series such as the BBC’s State Of Play.

“We both love conspiracy thrillers like All The President’s Men

and Three Days Of The Condor,” he added.

Mammon will launch in Norway at the start of January.

NRK head of format development Ole Hedemann said the broadcaster was keen to replicate the international success of shows such as The Killing, The Bridge and Red Arrow’s Lilyhammer.

Chernin Entertainment, which is run by former News Corp boss Peter

Chernin, will produce the series in association with Fox and is set to begin pitching to US broadcasters.

The drama will be executive produced by Katherine Pope, the former NBC exec who produces New Girl.

Anke Stoll, head of drama at DRG, expects it to find a cable home such as HBO or Showtime.

“Chernin’s view is that it’s an upmarket piece and will probably go down the premium cable route,” she said. “We decided Peter was the best person to work with because he has the juice to get it made.”

The Eriksen brothers are expected to exec produce the US version. “They are buying the idea and the story and we could be counsellors if they require,” Eriksen said.

RTÉ invites in-house pitches for global push

BY Peter White

Irish public broadcaster RTÉ is asking in-house staff to come up with formats like Undercover Boss and Don’t Tell The Bride as part of an initiative designed to create an ITV Studios-style division.

The move is an extension of the broadcaster’s Format Farm event earlier this year, at which around 90 indies and international distributors, including Warner Bros, Sony Pictures Television and Fremantle Media, pitched entertainment and lifestyle formats.

It recently snagged a number of international deals including a Russia 1 remake of Laura Whitmore-fronted musical format The Hit, which was produced by Vision Independent Productions and distributed by Warner Bros.

12 | Broadcast | 18 October 2013

Don’t tell the Bride: rtÉ wants similar youth-skewing fact ent series

In an internal memo seen by Broadcast, RTÉ said: “We are looking for original, innovative TV format ideas and our preference is for programmes that can work for our audience but also be developed internationally for the US and Europe. The sale of ideas internationally will raise the profile and

reputation of RTÉ in-house production and will potentially bring much-needed revenue back to RTÉ, which in turn can be reinvested into programme-making.”

RTÉ has outlined a number of slots and formats, including prewatershed family gameshows and Undercover Boss-style post-water-

shed factual formats for RTÉ One. Don’t Tell The Bride-style youthskewing factual entertainment formats and Have I Got News For You-style studio-based formats are sought for RTÉ Two. The broadcaster is keen to boost its domestic production division and international sales revenues to cover recent financial troubles.

However, sources warned that the move could have a significant impact on Irish independent producers, which are pitching shows for the same slots. It may mean that the more experienced producers bypass Irish broadcasters to pitch ideas directly to UK broadcasters, particularly Sky. The latter is keen to work with Irish indies following its success with Chris O’Dowd comedy Moone Boy. www.broadcastnow.co.uk

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

Dome exec eyes UK series Neal Baer on the global success of Under The Dome and the possibility of working in the UK

BY Peter White

Neal Baer, exec producer of Channel 5’s recent US acquisition Under The Dome, is considering producing a TV series in the UK. He was in London last week, getting tips from The X-Files showrunner Frank Spotnitz, who produced Melissa George-fronted thriller Hunted for BBC1.

“I’m thinking about it,” Baer said. “I remember when Frank left the US [to work on Hunted] he said, ‘I’m done, I’m going to work in Europe,’ so we’re talking. I’m always interested in looking at what new models we can work on.”

While Baer has no concrete projects in development, the success of Under The Dome on the Northern & Shell-owned broadcaster will make it easier if he does decide to push ahead with a project.

The sci-fi drama recorded 2 million (11.8%) live viewers when it launched in August, consolidating north of 3 million, while its first eight episodes averaged 1.3 million (7.6%) in overnights, well above C5’s 1 million (5.84%) slot average on Mondays at 10pm.

This makes it Channel 5’s third most-watched show of the year after Celebrity Big Brother and CSI: Crime Scene Investigation.

The 13 x 60-minute series tells the story of the residents of a small Maine town that is suddenly and inexplicably cut off from the rest of the world by a transparent dome.

It is based on a Stephen King novel and took a long time to get on screen. Dreamworks purchased the rights to the book as a project for Steven Spielberg to work on with the horror writer in 2009, before getting graphic novelist and Lost exec producer Bryan K Vaughan on board.

The series was developed with US premium network Showtime, which passed it to its sister broadcast network CBS, and was subsequently commissioned by CBS Entertainment president Nina Tassler as 13 episodes to air in the summer, traditionally the preserve of cable dramas. www.broadcastnow.co.uk

Under the Dome: sci-fi drama netted 2 million viewers for C5 launch in August, consolidating to 3 million-plus

I thought the show could grapple with issues in an intense way Neal Baer

“The shorter 13-episode run has not been done on broadcast television, but all these cable shows were starting in the summer and were leaving the broadcast networks in the dust,” said Baer. “Nina said ‘we just can’t do that anymore. No more standing back while the cable shows get entrenched’.”

Baer got involved through his production deal at CBS Television Studios, which made the show in association with Dreamworks Television and Amblin Television.

He had worked his way through the ranks as a writer on hit medical drama ER and long-running police drama Law & Order: SVU, and was keen to branch out.

“I wanted to do a non-procedural show. ER had some procedure, in that they were solving medical problems, but it relied on a large number of storylines involving lots of characters. I like Under The Dome’s sci-fi themes and I thought the show could grapple with issues in an intense way,” he said.

Adapting a novel brings its own challenges, such as working with the writing team to decide

which material to use, which to leave out and what new material to bring in.

“The book is set over seven days and to sustain a series we had to go beyond that. Steven King was very supportive,” Baer said.

In fact, King is writing the first episode of the second series, on which Baer is just starting work.

CBS has recommissioned it for another 13 x 60-minute summer run in 2014, helped by distributor CBS Studios International’s sales into 200 international territories, including to Germany’s ProSiebenSat.1, France’s M6, Italy’s Rai Due and Australia’s Network Ten. Baer, who is also working on The Three Bears, a medical pilot with CBS, said Under The Dome could run for a number of seasons, but the team has already come up with an ending that it hopes will satisfy the fans. “We have an end in mind – and it’s different from the book,” he added.

18 October 2013 | Broadcast | 13

Let your production take flight Day 1, 16.30-17.20 – Andrew Jackson, EVP, Discovery Channel US, talks natural history programming

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Multiplatform News In BrIef Sony sets up anime VoD Sony is launching a subscription VoD service for its anime channel Animax and has struck a deal with Viz Media to provide content. The standalone UK service will launch online later this year before being rolled out to more connected devices and other platforms. Titles available from launch will include Black Lagoon, Bleach and Vampire Nights.

Classic Doctor reappears The BBC has released nine long-lost episodes of Doctor Who on iTunes after they were discovered in a TV relay station in Nigeria. BBC Worldwide has remastered episodes from the Patrick Troughton serials The Enemy Of The World and The Web Of Fear (above), which were wiped from the BBC archive in the 1960s.

The episodes were uncovered by director of Television International Enterprises Archive Philip Morris.

Netflix orders SPT series Netflix has commissioned its first original series from a major Hollywood studio, a psychological thriller from the team behind legal drama Damages. The online streaming service has ordered a yet-to-be-titled 13 x 60-minute series from Sony Pictures Television and will launch the series internationally in 2014. The drama follows a family whose secrets and scars are revealed when the black sheep of the family returns home.

TVCatchUp’s court rap The High Court has ordered TVCatchUp to remove ITV, Channel 4 and Channel 5’s digital channels from its online streaming service and pay £200,000 towards legal costs.

The service, which has 9.5 million active monthly users, can, however, continue to stream the commercial PSBs’ main channels, along with 11 BBC channels.

For the latest breaking news www.broadcastnow.co.uk 16 | Broadcast | 18 October 2013

CBBC commissions first playalong gameshow

BY Jake kanter

CBBC has ordered its first secondscreen playalong gameshow – a futuristic spin-off of S4C show Y Lifft (The Lift).

The children’s channel has commissioned Boom Pictures to make 20 x 30-minute sci-fi series Ludus, in which contestants battle a space villain to win back their family, and eventually a ticket home.

Viewers will be able to play along at home across the six levels via a companion app, which CBBC will distribute on mobile devices and online.

“Our new fantasy adventure game allows viewers who prefer a more immersive experience to join in the fun and play along at home,” said CBBC controller Cheryl Taylor.

“Ludus is compelling and charismatic, with a big thrill factor for those who just want to view too.

We’re confident that this will be the first of many such sophisticated experiences for CBBC.” Boom executive producer Rob Hyde added: “We have given the show a vintage sci-fi feel that we hope will appeal to both children and their families. When

the Lift: S4C show’s spin-off Ludus offers playalong options via an app

We’re confident that this will be the first of many such sophisticated experiences for CBBC Cheryl Taylor, CBBC

designing the interior of the space ship, we imagined how it might look if it had been designed for kids by Apple and Nasa.”

The format was co-created by Boom Pictures and Cube Interactive. The executive producers for Boom are Hyde and Angharad Garlick, while the CBBC showrunners are Melissa Hardinge and Mario Dubois.

Ludus will air early in 2014 and the playalong games will be made available prior to transmission.

Welsh-language broadcaster S4C’s The Lift, ordered in July 2012, was the UK’s first secondscreen playalong game aimed at children.

WeB WatCh World War I portal

T

he BBC is launching an online portal to host its World War I centenary coverage. The site, which will remain live throughout the four-year anniversary, will pull together relevant BBC TV and radio shows, together with news, features and interactive content.

It is designed to act as an introduction to those with little knowledge of the Great War, as well as a thorough resource for expert visitors.

The mobile-optimised hub will be linked with third-party websites such as the Imperial War Museum’s Lives of the First World War and The Open University’s free web resources site to allow users to easily access more information.

The content, which will grow throughout the four-year period, will include original online programming, such as behind-thescenes footage and insight from BBC experts.

Meanwhile, BBC Learning will launch an extensive digital resource designed to help teachers explore the war with their pupils.

Developer In-house URL http://www.bbc.co.uk/ww1

www.broadcastnow.co.uk

Technology & Facilities CREATIVE REVIEW

NATIONAL LOTTERY OPENING SEQUENCE

BEN AND HOLLY’S LITTLE KINGDOM PROMO

Titles Hello Charlie Client The National Lottery Brief Create an opening sequence that demonstrates the scale and breadth of The National Lottery.

How it was done The sequence focuses on scenes from around the country linked by beams of light, which emerge at speed from a graphic representation of the Lotto draw ‘button push’. The light streaks were created in After Effects by generating a 3D particle trail travelling in space. Stephen Ryan and Dan Blore used After Effects to composite lighting effects to enhance the real look, adding in reflections, shadows and lighting effects to bed the streaks into the background shots. The lighting and texturing of the end title frame, created in Maya by Andy Power and Andy Budd, gave a sumptuous, polished finish to the text.

Watch it Saturdays, 9.15pm, BBC1

Audio post Jungle Client Nick Jr Brief Bring to life Nick Jr’s Ben And Holly’s Little Kingdom promo through creative sound design.

How it was done Promo creator Jon Preston secured the original Game Of Thrones music rights, which formed the basis of the sound design. He aligned the sequence with the Nick Jr audience, paying homage to the original but making it less frightening. Noises were added to the music, in keeping with the general rule of Nick Jr promos that if something moves on screen it makes a light, cute sound. To soften the sound, sound designer Hass Hassan added wind chimes to the shots of magic and light mechanical sounds to the clockwork animation.

These changes and Nigel Lambert’s voiceover warmed up the piece and pulled the promo into Nick Jr territory.

Watch it Daily on Nick Jr

ALL AT SEA Post Timeline TV Client CBBC Productions Brief Post-produce the 13 x 30-minute series about the escapades of 10-year-old Charlie, whose family have relocated to the seaside.

How it was done The series, which was filmed on location in Scarborough and at studios in Manchester, was shot with an Arri Alexa to give the pictures a cinematic quality.

The sound design, ADR and dub were completed in Pro Tools and the project was onlined using Avid Symphony.

Timeline entered into a collaboration with Dock10 colourist Jamie Parry, who graded the first four episodes in Baselight. The offline edit for All At Sea was completed by freelance editors Russell Beeden and Rachael Hoult.

The sound design and dub were by Timeline’s Richard Lee and Dan Piggott, while Timeline’s Eben Clancy and freelancer Ian Brown completed the online edit.

Watch it Wednesdays, 5pm, CBBC

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

Cinelabs extends services with Loft London tie-up

Sohonet hires sales exec to lead US push

Decimator releases DMON-4s converter

Loft London and Cinelabs International have entered into a partnership to provide customers with restoration and content management. Loft’s Chiswick facilities will be linked to Cinelabs’ labs, where film content from Loft’s clients can be restored and stored on Loft’s Cubix platform.

Cinelabs’ clients will now be able to extend their content to broadcasters and OTT service providers using Loft’s platforms. Cinelabs chief technology officer Adrian Bull said: “This partnership will extend our specialist services, providing impressive asset management and file- and tape-based services to our clients.”

Sohonet has appointed Phaedra Pardue (pictured) to the role of sales executive for North America.

Pardue’s appointment is aimed at helping the company expand in the US. Her most recent roles include a stint as a technology strategist at XO Communications and a strategic account director at Level 3 Communications.

Sohonet chief executive Dave Scammell said: “Phaedra has a solid understanding of new technologies such as cloud services and 4K, which makes her a real asset in terms of communicating the benefits of a range of new, flexible services that Sohonet will be launching.”

Decimator Design has begun shipping its DMON-4S SDI-HDMI converter (pictured).

The converter includes four independent 3G/HD/ SD-SDI inputs and four independent HDMI outputs. It also features an LCD screen and button control system. “The DMON-4S offers users the flexibility to convert their sources or monitor their feeds as needed,” said Mike Wattley, sales manager at distributor Symbiosis.

18 | Broadcast | 18 October 2013

Union VFX expands into bigger space on Noel Street Soho-based Union VFX has moved from its Wardour Street base to a larger facility on Noel Street.

“We’ve continued to grow our client base and are expanding our resources ready for the exciting projects lined up for the coming year,” said VFX producer and Union co-founder Tim Caplan.

“Crucially, this larger facility allows us the flexibility to scale up when necessary.” The new studio will house a review theatre with a 4K projector. Union is currently working on the second series of Fox’s Da Vinci’s Demons.

Kalua moves operations to MediaCityUK’s Greenhouse Manchester-based audio company Kalua has moved into a new office in The Greenhouse at Salford’s MediaCityUK. The company, which creates musical idents, promos and radio commercials, www.broadcastnow.co.uk

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

Halo Post ‘knocks through’ to add 3,000 sq ft of space BY george Bevir

Halo Post Production has taken on another 3,000 sq ft of space in central London to house its recently launched film and drama department.

The post-production outfit has taken two floors of the building at 179 Wardour Street in its latest phase of expansion.

Halo chief executive John Rogerson said the new premises would contain three online suites, two smaller graphics and prep areas, two track-laying rooms and a 2K TV and theatrical grading room, as well as more office space.

The building backs onto Halo’s Noel Street headquarters, so the post company will connect the two properties to maintain a ‘singlebuilding’ feel.

“Being able to knock through and physically connect to Noel Street means we can avoid the problems of an entirely new building, like a new IT system, a new phone system and a separate reception,” Rogerson said.

counts the BBC and Blinkbox Music among its clients. Kalua director Gav Matthews said: “To be right at the heart of the UK’s creative nerve centre is perfect for our business. As Manchester’s dedicated radio creative agency, we felt it was only right to have a base here at MediaCityUK.”

Lennon Naked: Halo completed post on BBC4 Christopher eccleston film

Building work will begin this week and Rogerson expects the additional facility to be up and running by early December.

Halo is moving into floors previously occupied by boutique outfit 179 Post Production, which will maintain a presence in Soho but intends to move the bulk of its operation to Kentish Town over

the next month. “Our customers are quite spread around; our need to be in Soho is not what it used to be,” said 179 Post managing director Neil Harris.

Halo has also lined up another central London property, which Rogerson said was “likely to come online very soon”. It will be used to house more cutting rooms.

entertainment era, demand for access to live sport from around the world continues to escalate, yet the majority of streaming efforts fall far short of the experience consumers demand.”

the BBC, Cowan designed, built and ran the BBC Sport post-production operations for Euro 2012 in Warsaw and the Olympics in Stratford. Timeline operates and maintains the BT Sport managedservice contract in Stratford. ➤ Cowan will speak about the BT Sport facility at Broadcast’s Production & Post Production Forum, which takes place on 23 and 24 October at BFI Southbank.

Rushman adds nous to Streamworks board Live streaming company Streamworks has appointed Nigel Rushman to its advisory board as it bids to grow its presence in the international sport market.

Rushman founded international sport consultant Rushmans, which specialises in working with governments and event organisers to maximise the profitability of major events, and was a member of the team that led Qatar’s bid for the Fifa 2022 World Cup Finals.

Rushman said: “In the global www.broadcastnow.co.uk

Television Set gives new life to Stanley Productions Timeline woos Cowan for BT Sport head of tech post Timeline Television has recruited former BBC lead editor Malcolm Cowan (above) to the role of head of technology for BT Sport. He will run the technical facilities at the broadcaster’s production hub in the former Olympic International Broadcast Centre. As lead editor at

Liquidated facilities firm Stanley Productions has been revived by The Television Set. The Wardour Street business, which supplied tapes, drives and duplication and conversion services to the TV and film industries, went into voluntary liquidation earlier this year.

The Television Set owner Terry Bettles said most of Stanley’s services would be available.

Directors Cut upgrades with Avid Interplay Directors Cut has invested in an Avid Interplay Production facility package. The £120,000 investment will enable the London-based post facility to provide clients with remote access to content on its central storage for review or collaboration with editors.

“After discussions with clients and editors, it was clear that Interplay will be at the core of future Avid technical developments for post houses like ours,” said Directors Cut technical director Andy Nicholson. “It will provide clients with remote viewing facilities and seamless integration with Avid editors, with the advantage of better time and cost management.”

The set-up includes Interplay Production software, 10 Interplay Base client connections, four Media Composer editing software licences, one Media Composer editing with Symphony software licence, Interplay Central media tools software and Isis 5000 32TB real-time shared storage. It was sold by Tyrell CCT and installed by Absolute Cad, and includes MatrixStore nearline storage from Object Matrix.

UK Screen Association adds brace of directors Members of facilities trade body the UK Screen Association have voted two new directors onto its board. WB De Lane Lea director of operations and business development Helen Alexander and Deluxe Media chief operating officer Lesley Marr will sit alongside re-elected directors Cinelabs International chief technology officer Adrian Bull, post-production consultant Neil Hatton and Artem managing director Mike Kelt in the five contested board slots. They join Panavision managing director Jeff Allen, ITV Studios managing director of resources Paul Bennett, Pinewood chief executive Ivan Dunleavy, Double Negative managing director Alex Hope, Weinreich Company director Dennis Weinreich and producer and consultant Steve Norris (chair).

18 October 2013 | Broadcast | 19

Comment

We knew to expect 100-mile-an-hour winds and waves up to 10 metres tall that could easily capsize our boat Ed Wardle, Behind the Scenes, page 24

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20 | Broadcast | 18 October 2013

Mr Dreamworks’ digital design YouTube and Netflix deals point to clear objective, says Kate Bulkley

J

effrey Katzenberg, aka Mr Dreamworks, is the man who gave us big-screen favourites such as Shrek and Kung Fu Panda.

So what was he doing at Mipcom?

Well, Dreamworks and its newly acquired YouTube channel AwesomenessTV both had sales booths at the market for the first time and Katzenberg (pictured) was picking up the Mipcom Personality of the Year Award. At the dinner honouring his win, he joked that he was surprised to win an award for his personality – having been variously described as “impatient, obsessive, abrasive, aggressive, grandiose, pushy, hyper-controlling and egotistical”. Clearly the man recognises that he’s pretty intense.

He’s pretty smart, too, having struck a 300-hour original programming deal with Netflix and purchased Awesomeness for $33m (£20m), putting digital distribution front and centre. This is not because the film model is broken (of the 20 CGI Dreamworks movies, 19 have been profitable and the average box office gross is more than $500m), but because the deals put Dreamworks “directly in touch with the teen audience in a way that movies and TV can’t”.

He had some nice things to say about TV, including the fact that Awesomeness just sold a block of programming to Nickelodeon. He also predicted that both linear TV and digital programming will “explode globally within the next decade”.

But the point is that Katzenberg sees many of the opportunities in TV starting in the digital space. Under the Netflix deal, for example, Netflix gets the SVoD rights in the relevant markets, but Dreamworks builds a library it can exploit elsewhere, including on TV. Plus, Awesomeness, despite its name, is on YouTube.

When I interviewed Katzenberg on stage (the voice of Eddie Murphy, aka Donkey from Shrek, introduced

me), he dismissed the idea of launching a linear TV channel as “too hard”. Instead he enthused about how Awesomeness is the harbinger of big things for the TV business, not least moving into “bits, bytes and snacks” of content to fill up waiting times that used to be filled by either boredom or Tetris.

He has a roadmap for Dreamworks’ non-film content business that predicts creating 1,100 episodes of TV over the next five years and doubling TV revenue from $100m (£63m) this year to $200m (£126m) by 2015. A big part of that will be reimagining the 450 characters (including Lassie, Casper the Friendly Ghost and The Lone Ranger) that are part of the Classic Media library Dreamworks bought last year for $155m (£97m). Many of these will have their first airing on Netflix – and perhaps Awesomeness.

All this is a reminder of the changing TV landscape, with Netflix, YouTube, Amazon and Hulu at its heart.

Just after the market ended, Sony announced its first original series for Netflix – an untitled project from the creators of Damages, and demand for Netflix’s Orange Is The New Black was one of the big talking points of the market.

But not everything changes. The awards dinner was moved forward so Katzenberg’s private jet could take off for his next stop in China (Dreamworks has a joint-venture animation studio there), just before the French air controllers’ strike kicked in. TV trends come and go, but everything stops for Hollywood. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘Dreamworks’ deals put it in touch with teens in a way TV can’t’

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In mY vIew Comment on broadcastnow.co.uk regarding BBC2’s documentary series Stephen Fry: Out There Shame this series is only two episodes. Each encounter could have easily lasted five times as long and gone more in-depth to really try to understand the core motivations/roots of the anti-gay protagonists. That minister for ethics and integrity was a piece of work...

TV executive

Hall: plans for digital expansion

Reader comments on broadcastnow. co.uk’s coverage of BBC director general Tony Hall’s speech last week Myopia reigns supreme. Read the transcript of Hall’s speech carefully and it is obvious that he is preparing the BBC for a Royal Mail-type sell-off.

The £100m a year savings to pay for his digital, global expansion will not come from managers and their empires, it will come off programme budgets. This will help the argument to end the licence fee. If the Conservatives form a government [at the next general election], the thought of a renewed charter could be pie in the sky. No political party will be prepared to raise the licence fee when the public is battling cost-of-living rises just to keep warm.

The obvious way to deal with this is to sell off another national treasure. It beggars belief that the London media set have not started asking the hard questions of politicians and the leaders of the BBC. Producer/director Why doesn’t he [Hall] mention the elephant in the room? The BBC needs to axe in-house’s guaranteed production quotas if he really wants to do something useful and give the licence payer value for money. All this talk of fiddling about with the iPlayer. Whatever.

Producer Response on broadcastnow.co.uk to our story ‘BBC2 plots holographic stats doc’ How many more ‘Pepper’s Ghost’ formats will we have to suffer before people realise that it doesn’t work on telly.

In the room, amazing; at home via the telly, totally unimpressive.

Bore off.

TV executive www.broadcastnow.co.uk

Comment

Response on broadcastnow.co.uk to our story ‘YouTube launches Upfronts to woo advertisers’ Stuff and nonsense. All this “it’s the future” rubbish is just a way of getting brands with far more money than sense to spend bucketloads on having a presence/ content when that means absolutely nothing for their product – all with no real metric of measuring the effectiveness of their spend as related to the site.

The minute ads are strewn all over the dumb clips and content on the service is the minute people won’t see this as an alternative and will click elsewhere in droves.

Producer Response on broadcastnow.co.uk to our story ‘Daybreak braced for latest overhaul’ Hopefully they’re doing some quantitative research to find out what viewers want and not what they think they want. Get rid of those tired old faces, smarten up the set so it doesn’t look like a living room from Made In Essex and ditch the silly competitions and promotions. See what BBC is doing right and then do it better.

Producer The ‘living room’ idea is so old hat now, and the way breakfast shows started back in the 1980s. Time for a refreshing change and hit those morning audiences and not the daytime crowd.

Executive

Daybreak: ‘take lead from BBC’

Seek out training initiatives to keep pace with change There are plenty of options for freelancers to hone their skills, says Anne Morrison

A

s BBC director general Tony Hall’s announcements about the future ambitions of the BBC showed last week, technology continues to change the face of conventional broadcasting – both the way the audience consumes it and the way we produce it.

These changes mean that there is a constant need to keep your skills up to date, whether you want to learn how to use the latest kit, get to grips with how social media can help promote your next production, or need to become increasingly multi-skilled to keep up with the demands of your existing role.

I firmly believe that training has a key role to play. Learning on the job is, of course, important, but taking a day out of the relentless round of work to focus on upgrading your skills is something I’d really encourage people to do. You will certainly reap the rewards.

It’s probably fair to say that staff at big broadcasters such as the BBC have most opportunity to do this, with big rollouts of new technology generally supported by dedicated training programmes.

But there are still plenty of options for freelancers.

Those based in Scotland and Wales should check out the popular and free Fast Train training days coming up in Glasgow and Cardiff.

Details of how to apply to take part in these events are available online at the BBC Academy website (bbc. co.uk/academy).

This site is also a great openaccess resource for anyone seeking to brush up on almost every aspect of production, including technology, and includes content on everything from product management to demystifying music copyright, to using unmanned aircraft systems for aerial footage without the need for a full-sized helicopter.

The website of Creative Skillset (creativeskillset.org), the creative industries sector skills council, is another good place to look. You can have confidence that its ‘ticked’ courses are up to scratch, and it also offers bursaries to freelances for training via the TV Skills Fund.

Next week, there’s Broadcast’s Production & Post Forum. Hearing from the experts can save a lot of time and money, while networking with new people can lead you down interesting avenues you may

‘There are many ways to keep up to date. The key thing is to be proactive’ not have thought to research yourself. Informal learning between peers can be a fantastic way to exchange knowledge.

While we continue to move towards a more multi-skilled workforce, there is still room for specialists, particularly with the new UK tax breaks for high-end TV production.

People hoping to take their existing skills to the next level could look into the specialist postgraduate courses provided by the National Film and Television School, which is supported by the BBC. Bafta Crew, which supports 200 crew members out of London with a development programme to increase their skills, is also worth investigating.

So whether you’re looking for new skills to keep competitive in a changing market, or just want help finessing what you know, there are many ways to keep up to date. The key thing is to be proactive and seek out those opportunities. ➤ Anne Morrison is director of the BBC Academy. She is speaking at Broadcast’s Production & Post Forum at BFI Southbank on 23 October. Tickets available from www.broadcast-forums.com 18 October 2013 | Broadcast | 21

Production 4k

Lessons from the 4k frontline Ahead of next week’s Broadcast Production & Post Forum, Will Strauss speaks to the Sky and BBC technology experts testing Ultra HD about what they’ve learned so far liVE sPort

4K trials: sky tested the technology at a stoke City v West ham united Premier league match in august; the nhu is using it on a forthcoming series

robin Broomfield 3D operations and development manager, BskyB

As a renowned early adopter of technology, BSkyB is likely to be fastest out of the 4K broadcasting blocks in the UK. Sky was quickly into digital, then HD and then 3D; 4K should be next. But no channel will be launched without due consideration.

“We have to be cautious,” says 3D operations and development manager Robin Broomfield. “The timing has to be right, or we could put something on the market that isn’t very good.”

The technology itself is nothing new. Dramas and movies are already shot in 4K, even if they’re not being mastered or transmitted that way. What Number of cameras is new is doing live Ultra Sky uses for each HD TV, particularly sport.

Premier League Sky is undertaking a series follows play during match of tests in that area. In the action sequences. most recent, in August, it proved “When the images that it could deliver, via satellite, a were nicely framed and the live signal four times the size of HD. action was happening, it wasn’t offFor the four-camera private ‘broadputting,” he says. “But because footcast’ of a Premier League match ball is a moving game, it is there to between West Ham United and Stoke see. It would be nice to improve on it.

City, on-screen graphics and instant Using a higher frame rate is one of the replays were also tested. areas we should be looking at.”

“We were looking at whether we A higher frame rate per second cover 4K in the same way as HD,” says would solve a lot of potential quality Broomfield. “We haven’t answered that issues, but as 4K is not yet an agreed question fully yet, but it does look as industry standard, there is still debate though it’s going to be the same. over how many frames are required.

Unlike 3D, 4K is a quality uplift rather “I would hope it would be at least 50p than a different viewing experience.”

[50 full frames per second, progresWhile the test proved that live 4K sive], which would be a step forward broadcasting is technically possible, for us in the UK,” Broomfield says. there are still hurdles to overcome.

“We should test higher frame rates “When it’s looking good, it’s excepand it would be nice if all the broadtional, but there are limitations curcasters could agree on a single format.” rently,” says Broomfield, pointing not On-screen graphics won’t be a just to a lack of 4K lenses on the market problem in 4K, he says, but because of and the need for agreed industry comthe amount of data involved, replays pression standards, but also the motion still need some development as one blur that occurs when the camera EVS XT3 server is currently required

24

22 | Broadcast | 18 October 2013

‘When it’s looking good, it’s exceptional, but there are limitations currently’ Robin broomfield

for each camera channel. With 24 cameras used for each Premier League match, each server costing £200,000, and finite space in an OB truck, that’s not realistic. “EVS is working on two in, one out, but in principle we would still need 12 servers,” he says.

There’s some work to be done as far as final delivery is concerned. Broomfield says it’s “not a big issue” but, again, it comes down to the large amounts of data being moved around.

“In our tests, we delivered the signal as four HD files,” he says. “That’s not a particularly efficient way of doing it.”

Broomfield is cautiously optimistic that a 4K roadmap will be put in place once all the issues are ironed out. But there’s still a chance that 8K, which is 16 times HD, could crash the party.

Japan’s NHK, for one, is planning domestic 8K satellite tests to coincide with the 2016 Olympic Games, ahead of a service launch in 2020.

“And where does that leave us?” he asks, half in jest. “That’s only a couple of World Cups away.” www.broadcastnow.co.uk

23rd & 24th October BFI Southbank, London

The only event for TV production and post in the digital age

Theo Webb

For more information visit: www.broadcast-forums.com

60-150

natural history

Mike Gunton Creative director, BBC nhu

The BBC may still be some years away from broadcasting 4K but that isn’t stopping some departments, notably the Natural History Unit (NHU), shooting in higher resolutions.

A new six-part wildlife epic is already doing just that. The as-yet-untitled series will document the struggles animals go through at pivotal stages in their lives – and in greater picture detail than any previous NHU show.

“It’s slightly mad,” admits NHU creative director Mike Gunton. “We weren’t commissioned as a 4K series and it probably won’t transmit in 4K. On Africa, we used something like 53 types of camera to satisfy the needs for different speeds, locations and activities. When we started on this latest series, we realised that doing that was ridiculous so we looked for a camera that could satisfy more of our needs.”

The camera chosen was a Red Epic, a high-resolution digital camera with excellent dynamic range that can comwww.broadcastnow.co.uk

‘I cannot see us going back. Any high-end project will be shot in 4K from now on’ Mike Gunton

Frames per second that can be shot on the Red Epic

fortably shoot between 60 and 150 frames per second, which is sufficient for most wildlife requirements, with the exception of special effects shots.

“Low-light sensitivity and dynamic range are important because we often operate in difficult circumstances, like in jungles where you have dark undergrowth and a bleached-out sky,” says Gunton, who also embraces the richness and the crisp, smooth pictures that 4K produces.

“Animals in nature are beautiful things. The higher the resolution of the image, the more beautiful they look. Even the apparently mundane can appear utterly extraordinary when you start shooting in super high-resolution. The textures jump out at you.”

Shooting in 4K provided some unexpected editorial benefits. “The shallow depth of field meant we could isolate our animal ‘stars’ out of a group or the landscape,” he says. “This allows us to draw the audience’s eye to that particular animal. This wasn’t something we had considered; we just stumbled across it.”

While shooting in 4K has plenty of plus points, there are various mountains that need to be conquered too – not least cost. “You have to reconfigure your cameras,” says Gunton. “We also

realised that the ENGtype lenses we had weren’t good enough so we had to upgrade to Cine lenses, which are significantly more expensive.”

That wasn’t all. “We are cavalier when it comes to acquisition,” he admits. “We will shoot 1,500 to 2,000 hours to generate six. The storage and post you need for that is going to be more expensive so you have to factor that in.

Overall, I would say it’s more expensive – but not outrageously so.”

There’s also “unsympathetic” camera focus to deal with and entirely new workflows to conjure up but, all said, Gunton is convinced that 4K is the way forward.

“I cannot see us going back,” he says. “Any high-end project will be shot in 4K from now on. There are lots of interesting commercial elements to this too as we’re starting to do theatrical and giant-screen presentations. Plus, if you’ve shot in 4K, you’re future-proofing to some degree.

I am sure it won’t be that long before people start broadcasting in 4K.”

Robin Broomfield and Mike Gunton will be speaking at the Production & Post Forum on 23-24 October at London’s BFI. For tickets, visit www.broadcast-forums.com 18 October 2013 | Broadcast | 23

Behind the Scenes Shackleton: Death or Glory

Uncharted waters for fixed rig Stuck on a tiny boat battered by monstrous waves, our attempt to recreate Sir Ernest Shackleton’s famous rescue mission at times seemed an impossible task, says Ed Wardle shackleton: death or glory

Production company Raw TV tX 24 October, 9pm, Discovery Channel commissioners Elizabeth McIntyre (Discovery); Donald Thoms (PBS) executive producers Kathryn Taylor, Sam Maynard and Dimitri Doganis (Raw); Helen Hawken (Discovery); Donald Thoms (PBS) series producer Ed Wardle location series producer Jamie Berry doPs Simon Wagen; Joe French Post house Clear Cut summary Documentary following an attempt to recreate Sir Ernest Shackleton’s epic journey.

ed Wardle My tricks of the trade for shooting at sea n Mics need protection.

Never leave port without a Rycote Softie and a condom. n The long end of the lens might seem like the wrong way to go with all that movement, but on a boat it will give you the most dramatic shots. n Expect camera losses and take spares. I used water repellent on the lenses – but without a waterproof housing, one wave and the game’s over. n Plan for massive logging times. Someone’s got to watch and listen to it all. n Don’t be afraid to ask your contributors for help shooting the film. Some great footage came from the expedition team.

Ed Wardle Series producer

T

wo hundred miles from land, in the middle of the roughest ocean on the planet, we were hit by the biggest wave I’ve ever seen. A fixed-rig camera mounted on top of the mast captured the spectacular scene as several tonnes of freezing cold water crashed down on our tiny wooden boat and almost washed me overboard.

I was in the Southern Ocean with a team of five others attempting to be the first to successfully retrace the epic journey of polar explorer Sir Ernest Shackleton. In 1914, he was one of 28 men trapped in Antarctica thousands of miles from help after their ship was crushed and sunk by pack ice. Incredibly, after two years in the most hostile environment on Earth, surviving on penguin meat and seal blubber, he brought them all back alive.

Shackleton’s rescue mission has gone down in history as the toughest journey ever completed. He and five men managed to sail 800 miles across the world’s roughest ocean in a tiny wooden lifeboat and then cross an uncharted, 3,000-metre mountain range to reach a remote whaling station and find help. It was a journey so impossible that they should have died.

When Raw TV and Discovery Channel asked me if I would produce a TV series based on an expedition led by explorer Tim Jarvis to recreate this journey in every detail, I couldn’t believe anyone was seriously contemplating such a mission. However, it was an opportunity to record for the first time exactly what it had been like for Shackleton and his men a century ago.

Shackleton had taken a cameraman with him but the rescue mission was not filmed or photographed. Frank Hurley’s original photographs are what made Shackleton and his expedition legendary, but he was left behind for the rescue. The most exciting

24 | Broadcast | 18 October 2013

chapter had only been recorded in writing from memory, and that was one reason why we had to attempt it.

To be completely authentic, we would wear the same clothing, eat the same food and sail in an exact replica of Shackleton’s 21 foot-long makeshift wooden lifeboat. The space inside was barely big enough for six men and we would be trapped on board with little or no chance of rescue. We knew to expect 100-mile-

‘If we wanted to be sure of capturing the worst moments, we would need a fixed rig of water­ proof cameras’ Ed Wardle

an-hour winds and waves up to 10 metres tall that could easily capsize our boat. The last team to attempt this sea crossing capsized three times in one night before being rescued.

The possibility of losing cameras and footage at any point was a very real danger that we discussed at length with Discovery. If the boat capsized, we could lose everything. In such high-risk circumstances, the insurance wouldn’t cover the rushes until they had been taken off the boat.

We had to design a camera and recording system that would be selfsufficient as there was no guarantee that anyone could get near us to replace lost or damaged cameras, batteries or stock. We also had to allow for a large part of the expedition to be filmed while submerged under freezing water.

Underwater cameras and housings are generally too large and clumsy for the space we had available, and we were working to a tight budget. Our best option was to take enough small cameras to allow for several to be destroyed by the salt water and rough conditions. These included five Sony GW55 handycams, which could be used by any expedition member, and

three Sony NX70 cameras in bespoke polythene housings.

I knew that the main storylines would come from the handheld footage but if we wanted to be sure of capturing the ‘worst’ moments, we would need a fixed rig of waterproof cameras that could get the shots we couldn’t, rolling constantly day and night.

The solution to powering the system came from the original expedition.

Shackleton had insisted that his men load a tonne and a half of rocks and shingle into the bottom of his boat to act as ballast and stop them being capsized by giant waves. We replaced this with 12 x 56kg forklift-truck batteries.

The risk was whether they would leak if immersed in sea or come loose and puncture the side of the boat.

The boat’s interior space was only two metres wide, three metres long and a metre high. Changing camera position was a team effort and often involved passing the camera to someone in a better position.

Weathering the storm By day three, we had ridden out our first Southern Ocean storm. Skipper Nick Bubb and I already had the first symptoms of trench foot: numb and swollen feet. Navigator Paul Larsen could barely concentrate on the charts without throwing up. As most of us hadn’t eaten in 48 hours due to nausea, we all lacked the energy to keep warm in soaking wet, freezing clothes. I was beginning to doubt the possibility of what we had taken on.

With a bit of luck, and some extraordinary navigation, after 12 days of torturous conditions we made land.

But we still had to cross 20 miles of glaciers and mountains. By the end, six of our cameras were damaged beyond repair, and five members of our expedition team were unable to complete the journey due to injury or incapacity.

However, just like Shackleton 100 years before, three men made it to the final destination at Stromness Whaling Station. We had achieved our objective of documenting the full expedition for the very first time. www.broadcastnow.co.uk

23rd & 24th October BFI Southbank, London

ALEX KUMAR

Hear more on fixed rig from speakers including Twofour’s David Clews and The Garden’s Nick Curwin and Magnus Temple. Last remaining tickets at www.broadcast-forums.com

Main pic: the 21-foot Alexandra Shackleton; left from top down: Ed Wardle (right) with expedition team member Seb Coulthard; crew below decks; reaching dry land; crew on South Georgia

Shackleton: Death or Glory rIGGInG the caMeraS Kathryn Taylor Executive producer for Raw TV

We knew from the outset that the key to filming on the boat would be a fixed-rig system that could keep running with minimal input from the crew. Ed Wardle was on board as producer but had to play his part as one of the six-man expedition team, taking his turn on a three-hour shift pattern: steering the boat, cooking food and sleeping, as well as shooting handheld footage, communicating with the production team and keeping on top of storylines.

We mounted mini-cams on each mast with a birds-eye wide-angle view of the boat, another framing the cockpit position to film whoever was steering, one inside and two more moveable mini-cams on the exterior, all in waterproof housings. The rig of six cameras, two HD and four SD, fed four NanoFlash recorders housed inside the boat. Using massive 136-gigabyte memory cards, we could record for 24 hours between card changes.

The larger HD cameras and their waterproof housings needed heavier mountings to stop them being ripped off by the waves. We

www.broadcastnow.co.uk

went with two HD cameras, one inside and one out, covering the main contributor positions on the boat. Each HD camera, recording onto two sequential 128Gb memory cards in a dedicated Nano flash, would run for 24 hours non-stop. The SD cameras allowed 48 hours run time and, being smaller, were more suited to the top-of-the-mast position.

Fixed gun mics in each of the main camera positions, plus a radio mic worn by whomever was at the helm at any time, provided four channels of audio.

We tied condoms around each gun mic, all of which lasted the duration. The radio mic was waterproofed using an Aquapac – and again a condom over the tie clip. Rycote Softies were placed over the top of the condoms to cut down the wind noise.

18 October 2013 | Broadcast | 25

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26 | Broadcast | 18 October 2013

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EDITOR – WATCHDOG £COMPETITIVE | 12 MONTH CONTRACT LONDON | REF: BBC/TP/7174/413 BBC in-house production is looking for a new Editor for Britain’s best known consumer show, Watchdog. The successful candidate will be leading and inspiring a large team, delivering two series a year (16 eps) of hour long shows for BBC1. You will need to be comfortable and experienced in a live studio environment, running a gallery under pressure, with all of the contentious ethical and legal issues that come with a programme like Watchdog. The secret filming brand, Rogue Traders, is an important part of Watchdog, so you’ll need to be familiar with all of the issues around privacy and door stepping without prior notification. You’ll be expected to have ambition and vision for a show which pulls its weight in the highly competitive 8pm slot.

To find out more and see a full job description, please visit: www.bbc.co.uk/careers.

If you meet the requirements of this senior role, please submit your CV and a covering letter to Helena Gardner at helena.gardner@bbc.co.uk.

Closing date: 27th October.

We’ll be holding interviews mid-November and the successful candidate will need to be in place by the 1st of March 2014.

Watchdog is always interested to hear from Producers, Directors, Assistant Producers and Researchers with both live and journalistic skills. Please email your CV to janezurakowski.kathrynpark@bbc.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.

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18 October 2013 | Broadcast | 27

Ratings Mon 7 Oct – Sun 13 Oct

Truckers fail to deliver BBC drama loses out to ITV rival Breathless – but both new shows struggle to pull in big crowds

BY Stephen price

The Not The Nine O’Clock News gang sang a song about truckers who liked to truck. I’ve never looked at a handbrake the same way since (nor a hedgehog). On Thursday this week, BBC1 tried trucking as a drama, but it probably felt like the song’s squashed hedgehog. Opposite, ITV launched its ‘trust me, I’m a gynaecologist’ yarn. Hoping for breath-catching excitement, it got a touch of emphysema instead.

Elsewhere, Britain remained just as proud of itself as it was last year; Strictly’s Saturday night domination is becoming clearer; The X Factor is turning increasingly to Sundays to recover its pride; and Downton rumbles on, but still Lady Mary won’t break a smile.

On Monday, the current run of BBC1’s Motorway Cops ended at 9pm with 2.6 million/11%, while ITV’s Doc Martin continued with 7.3 million/32% (212,000 +1).

On Tuesday, 8pm slot winner BBC2’s The Great British Bake Off achieved 5.9 million/25%. With numbers like this, it was inevitable that BBC1 would come poaching.

From 8pm to 10pm, ITV’s Daily Mirror Pride Of Britain Awards achieved 4.5 million/20% (362,000 +1), on par with 2012’s performance and ahead of BBC1’s 4.3 million/ 18% for Holby City at 8pm and 4 million/18% for DIY SOS at 9pm.

On Wednesday at 9pm, BBC1’s The Great British Year fell by 550,000 on last week’s launch to 3.2 million/15%. ITV’s Whitechapel finale took just enough advantage to scrape a win with 3.3 million/ 15% (205,000 +1).

28 | Broadcast | 18 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 19 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 40 42 42 44 45 46 47 47 49 50

Title

Day

Start

Strictly Come Dancing The X Factor Results Downton Abbey Coronation Street Coronation Street Strictly Come Dancing: The Results Coronation Street Coronation Street The X Factor Doc Martin Emmerdale Emmerdale Emmerdale Emmerdale World Cup Q’fying: England V Montenegro EastEnders Emmerdale Countryfile EastEnders Emmerdale The Great British Bake Off Antiques Roadshow EastEnders The Daily Mirror Pride Of Britain Awards Atlantis BBC News At Six BBC News At Six BBC News At Six BBC News At Six BBC News EastEnders Pointless Celebrities Watchdog BBC News At Six The One Show Holby City BBC News At Ten DIY SOS: The Big Build BBC News Casualty The One Show The One Show BBC News At Ten The Jonathan Ross Show Big Star’s Little Star ITV News & Weather The One Show BBC News At Ten BBC News At Ten Have I Got News For You

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

18.30 20.00 21.00 19.30 20.30 19.20 19.30 19.00 20.00 21.00 19.00 19.00 19.00 19.00 19.30 20.00 19.00 18.20 19.30 20.00 20.00 20.00 20.00 20.00 20.30 18.00 18.00 18.00 18.00 17.50 19.30 17.40 20.00 18.00 19.00 20.00 22.00 21.00 22.00 21.25 19.00 19.00 22.00 22.15 20.00 22.05 19.00 22.00 22.00 21.00

Viewers (m) Share (all homes) % 9.82 9.52 9.38 9.02 8.51 8.31 8.26 8.13 8.10 7.52 7.34 7.07 7.01 7.00 6.97 6.93 6.87 6.70 6.49 6.49 5.93 5.37 5.31 4.89 4.66 4.64 4.58 4.57 4.56 4.53 4.52 4.44 4.40 4.36 4.35 4.26 4.13 4.02 3.99 3.97 3.97 3.95 3.95 3.86 3.83 3.79 3.78 3.78 3.75 3.74

43.10 37.07 37.36 41.82 36.91 31.79 39.79 31.94 34.54 32.80 36.61 34.21 36.52 35.11 31.12 30.55 35.41 30.73 31.53 29.11 25.00 20.89 22.88 21.32 19.94 27.74 27.28 27.20 26.20 24.05 20.64 25.93 20.75 26.02 21.81 17.93 22.50 18.16 18.53 17.58 20.43 19.73 22.10 24.02 18.05 18.58 19.51 20.60 19.61 15.67

Broadcaster/ Producer* BBC1 ITV/Thames/Syco ITV/Carnival Film & Television ITV ITV BBC1 ITV ITV ITV/Thames/Syco ITV/Buffalo Pictures ITV ITV ITV ITV ITV BBC1 ITV BBC1 BBC1 ITV BBC2/Love Productions BBC1 BBC1 ITV BBC1/Urban Myth Films BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1/Remarkable Television BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV/Hot Sauce TV ITV/12 Yard ITV BBC1 BBC1 BBC1 BBC1/Hat Trick

Figures include HD and +1 where applicable

DiY SOS: the Big Build

Breathless www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 56 57 58 59 60 61 62 62 64 65 66 67 68 69 69 71 72 73 74 75 76 76 76 79 79 81 82 83 83 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100

Title

Day

Start

Breathless Ronnie’s Animal Crackers The One Show BBC News At Ten The Graham Norton Show ITV News & Weather ITV News & Weather Whitechapel ITV News & Weather ITV News & Weather Countrywise Miranda ITV News & Weather BBC News The Chase The National Lottery Live ITV News & Weather Inside Out The Chase: Celebrity Special The Chase Trust Me, I’m A Doctor Pointless The Great British Year The Chase Pointless The Chase

By Any Means University Challenge Waterloo Road Pointless The Chase Pointless Tonight: Courage In The Crossfire Pointless Educating Yorkshire BBC News Truckers Grand Designs Citizen Khan BBC News At One Motorway Cops ITV News At Ten & Weather BBC News At One ITV News At Ten & Weather BBC News At One BBC News At One Question Time Pat And Cabbage The Wrong Mans Fool Britannia

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

21.00 19.30 19.00 22.00 22.35 18.30 18.30 21.00 18.30 18.30 20.00 20.30 18.30 22.15 17.00 21.15 18.45 19.30 19.00 17.00 20.00 17.15 21.00 17.00 17.15 17.00 21.00 20.00 20.00 17.15 17.00 17.15 19.30 17.15 21.00 17.20 21.00 21.00 21.30 13.00 21.00 22.00 13.00 22.00 13.00 13.00 22.35 20.30 21.00 18.30

Viewers (m) Share (all homes) % 3.73 3.72 3.65 3.64 3.60 3.59 3.57 3.56 3.54 3.53 3.51 3.49 3.49 3.47 3.34 3.31 3.30 3.27 3.23 3.23 3.18 3.16 3.15 3.13 3.12 3.09 3.09 3.09 3.02 3.02 3.01 3.00 2.99 2.99 2.93 2.90 2.88 2.78 2.69 2.66 2.62 2.56 2.52 2.50 2.48 2.42 2.41 2.36 2.31 2.29

17.54 18.84 18.29 20.33 25.03 18.99 19.27 16.89 19.46 19.36 15.45 15.07 18.91 18.55 23.88 14.63 15.38 15.18 14.33 24.69 14.46 21.66 14.95 23.67 22.52 24.23 12.22 13.61 13.74 21.96 22.72 22.39 14.52 21.59 13.80 19.77 13.53 13.21 11.74 37.80 11.44 14.36 37.16 14.09 37.56 37.98 21.84 10.86 10.35 11.09

Broadcaster/ Producer* ITV BBC1 BBC1 BBC1 BBC1/So Television ITV/ITN ITV/ITN ITV/Carnival Film & Television ITV/ITN ITV/ITN ITV BBC1 ITV/ITN BBC1 ITV BBC1 ITV/ITN BBC1 ITV ITV BBC2 BBC1/Remarkable Television BBC1 ITV BBC1/Remarkable Television ITV BBC1/Red Planet Productions BBC2 BBC1/Shed Productions BBC1/Remarkable Television ITV BBC1/Remarkable Television ITV BBC1/Remarkable Television C4/Twofour BBC1 BBC1 C4/Boundless BBC1 BBC1 BBC1/Folio ITV/ITN BBC1 ITV/ITN BBC1 BBC1 BBC1/Mentorn ITV/Red Production Company BBC2 ITV

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

trust Me, i’m A Doctor www.broadcastnow.co.uk

truckers

On Thursday at 8pm, BBC2 launched Trust Me, I’m A Doctor and trust them they did – 3.2 million/14% beat BBC1’s Waterloo Road’s 3 million/14%.

While behind ITV’s Emmerdale (6.3 million/28%; 200,000 +1) from 8pm, the school drama beat ITV’s final Pat And Cabbage (2.3 million/11%; 77,000 +1) at 8.30pm.

At 9pm, ITV and BBC launched new dramas: ITV’s Breathless garnered just 3.4 million/ 16% (283,000 +1), although this was still enough to beat BBC1’s Truckers’ 2.9 million/14%.

‘The X Factor’s first live 2013 show was a million short of 2012’s first live show’ On Friday, the England football team’s win over Montenegro achieved 6.9 million/31% (77,000 +1) for ITV from 7.30pm, peaking at 8.9 million/38% at 9.30pm.

Episode two of BBC1’s Have I Got News For You? at 9pm slipped by more than a million from last week to 3.7 million/16%, while the second episode of Citizen Khan dropped to 2.7 million/12%; 200,000 shy of its launch. Keep an eye on recording for these two.

On Saturday, ITV’s The X Factor’s first live 2013 show achieved 7.8 million/33% (281,000 +1) from 8pm to 10.15pm, a million viewers and five share points short of the live ratings for 2012’s first live show. From 6.30pm to 8.30pm, BBC1’s Strictly Come Dancing averaged 9.8 million/43%, 2 million more than its rival and steady on the same show last year.

Better news for ITV came with the return of The Jonathan Ross Show. Its 3.6 million/23% (210,000 +1) put it ahead of all its live ratings last autumn.

The X Factor reversed its fortunes on Sunday with 9.2 million/36% (317,000 +1) at 8pm for the results show, on par with last year’s equivalent. At 7.20pm, Strictly’s 8.3 million/32% was slightly up on last year’s comparative show. At 9pm, ITV’s Downton Abbey scored 8.9 million/36% (420,000 +1), almost three times the live average of BBC1’s By Any Means (3.1 million/12%).

See over for digital focus, plus channel and genre overviews 18 October 2013 | Broadcast | 29

Ratings Mon 7 Oct – Sun 13 Oct Channel Overview

Watching the watchers BY stephen price

It’s easy to spend, nay, waste a Saturday afternoon watching men on TV watch football on their TVs telling you about what you’re missing. On Thursdays, meanwhile, Gogglebox gives you a snippet of the programmes being watched by Britons as you watch them on TV watching TV. On Monday at 9pm, Channel 4’s 999 What’s Your Emergency returned with 1.1 million/5% (357,000 +1); 1 million short of 2012’s autumn launch and behind BBC2’s The Midwives (1.7 million/7%) and Channel 5’s Inside Broadmoor (1.2 million/5%; 93,000 +1).

At 9pm on Tuesday, BBC2’s The Wrong Mans achieved a steady 2.3 million/10%. At 9.30pm, The Sarah Millican Television Programme slipped to 1.4 million/ 6%. Opposite, C4’s new US drama series Masters Of Sex launched with a muted 1.2 million/6% (240,000 +1).

On spring Thursdays at 10pm, the first series of C4’s Gogglebox averaged 1 million/5% (incl +1) in live ratings. This week, it achieved 1.4 million/8% (122,000 +1) on Wednesday at 10pm. Opposite, C5’s Australian prison saga Wentworth achieved 800,000/5%.

On Thursday, C4’s Educating Yorkshire achieved 2.5 million (393,000 +1) at 9pm – still ahead of BBC2’s Peaky Blinders (1.5 million/7%).

Source: BARB

WEEk 41 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 07.10.13 Peaktime share (%) w/c 08.10.12 YEar TO daTE Average hours per viewer Audience share (%) Audience share (2012)

BBC1 5.30 18.57 21.61 23.36 BBC1 5.58 20.90 21.54

BBC2 1.51 4.23 7.80 7.51 BBC2 1.52 5.71 6.06

ITV1 4.77 14.80 24.77 22.51 ITV1 4.27 16.00 15.50

C4 1.50 5.68 6.31 6.65 C4 1.55 5.81 6.55

30 | Broadcast | 18 October 2013

Total 26.08 100.00 100.00 100.00 Total 26.72 100.00 100.00

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster BBC2

TOP 30 BBc2, channEl 4 and channEl 5 Title 1

The Great British Bake Off

Tue

20.00

5.93

25.00

2

Trust Me, I’m A Doctor

Thu

20.00

3.18

14.46

BBC2

3

University Challenge

Mon

20.00

3.09

13.61

BBC2

4

Educating Yorkshire

Thu

21.00

2.93

13.80

C4

5

Grand Designs

Wed

21.00

2.78

13.21

C4

6

The Wrong Mans

Tue

21.00

2.31

10.35

BBC2

7

Gardeners’ World

Fri

20.30

2.15

9.25

BBC2 BBC2

8

QI

Fri

22.00

2.05

10.83

9

Location, Location, Location

Thu

20.00

2.03

9.22

10

The House That £100K Built

Wed

20.00

1.96

9.26

BBC2

11

Homeland

Sun

21.00

1.94

7.69

C4

12

Strictly Come Dancing – It Takes Two

Fri

18.30

1.93

10.19

BBC2

13

Angels & Demons

Sun

21.00

1.92

10.57

C5

14

Strictly Come Dancing – It Takes Two

Mon

18.30

1.91

10.30

BBC2

15

Tom Kerridge’s Proper Pub Food

Mon

20.30

1.86

8.05

BBC2

16

Hairy Bikers’ Bakeation

Thu

19.00

1.78

8.78

BBC2

17

Hairy Bikers’ Bakeation

Tue

19.00

1.73

8.37

BBC2

C4

18

Strictly Come Dancing – It Takes Two

Tue

18.30

1.72

9.42

BBC2

18

Flog It!

Sun

17.00

1.72

9.89

BBC2

20

Strictly Come Dancing – It Takes Two

Wed

18.30

1.68

9.22

BBC2

21

Strictly Come Dancing – It Takes Two

Thu

18.30

1.66

8.98

BBC2

Mon

21.00

1.65

7.19

BBC2

Fri

21.00

1.60

6.86

BBC2 BBC2

22

The Midwives – Delivery On Demand

23

Meerkats: Secrets Of An Animal Superstar

24

Hairy Bikers’ Bakeation

Mon

19.00

1.55

7.46

24

Alan Carr: Chatty Man

Fri

21.50

1.55

8.36

C4

26

The Adjustment Bureau

Sat

21.00

1.53

7.49

C4

27

Mock The Week

Thu

22.00

1.52

8.58

BBC2

27

CSI: NY

Tue

21.00

1.52

6.84

C5

29

Mastermind

Fri

20.00

1.51

6.51

BBC2

30

Dad’s Army

Sat

20.30

1.50

6.41

BBC2

Figures include HD and +1 where applicable

Multichannel 35.79

Extensive debate ahead of TX couldn’t lift C4’s Sex Box up to the 1.5m slot average (Monday, 10pm)

Others 11.88 51.58 35.79 36.53 Others 12.68 47.47 46.09

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

daYTIME SharE (%) w/c 07.10.13

PEakTIME SharE (%) w/c 07.10.13

1.1m

C5 1.11 5.14 3.72 3.44 C5 1.10 4.11 4.26

BBC1 21.61

ITV1 22.77

C5 3.72 C4 6.31

BBC2 7.80

Multichannel 51.58

1.3m

BBC2’s one-off doc Dan Snow’s History Of Congo inched above the 1.2m slot average (Weds, 9pm)

BBC1 18.57

ITV1 14.80

C5 5.14

BBC2 4.23

C4 5.68

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

All At Sea What's New Scooby-Doo? Horrible Histories Good Luck Charlie Good Luck Charlie The Slammer Returns Something Special – Out And About Horrible Histories Swashbuckle Dragons – Riders Of Berk

toP 10 FactuaL ProGrammes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Title

Wed Thu Wed Thu Wed Fri Sat Fri Sun Fri

17.00 16.00 07.45 17.20 17.20 17.30 09.45 07.45 17.00 17.00

253,600 236,500 215,000 203,300 200,700 194,700 189,200 187,900 187,500 184,700

16.44 23.37 16.99 13.38 12.05 11.02 13.09 14.59 9.95 12.14

CBBC CBBC CBBC Disney Disney CBBC CBeebies CBBC CBeebies CBBC

1 2 3 4 5 6 7 8 9 10

Countryfile The Great British Bake Off Antiques Roadshow Watchdog The One Show DIY SOS: The Big Build The One Show The One Show The One Show Ronnie’s Animal Crackers

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Tue Sun Wed Thu Tue Tue Mon Fri Fri

18.20 20.00 20.00 20.00 19.00 21.00 19.00 19.00 19.00 19.30

6.70 5.93 5.37 4.40 4.35 4.02 3.97 3.95 3.78 3.72

30.73 25.00 20.89 20.75 21.81 18.16 20.43 19.73 19.51 18.84

BBC1 BBC2 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1

➤ all at sea was a new entry at the top of the table, while what’s new scooby doo? held on to second place. There was a rare double entry for Disney in the shape of Good Luck charlie. Otherwise, there were two places for CBeebies.

➤ After topping the table last week, the Great British Bake off sunk to second place after being supplanted by countryfile. Elsewhere, the one show registered its usual four entries for BBC1 as the channel dominated proceedings.

toP 10 drama ProGrammes

toP 10 entertainment ProGrammes

Title

1 2 3 4 5 6 7 8 9 10

Downton Abbey Doc Martin Atlantis Holby City Casualty Breathless Whitechapel

By Any Means Waterloo Road Truckers

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Mon Sat Tue Sat Thu Wed Sun Thu Thu

21.00 21.00 20.30 20.00 21.25 21.00 21.00 21.00 20.00 21.00

9.38 7.52 4.66 4.26 3.97 3.73 3.56 3.09 3.02 2.88

37.36 32.80 19.94 17.93 17.58 17.54 16.89 12.22 13.74 13.53

ITV ITV BBC1 BBC1 BBC1 ITV ITV BBC1 BBC1 BBC1

Title

1 2 3 4 5 6 7 8 9 10

➤ downton abbey piled on 170,000 viewers to remain imperious in the drama line-up. Although not figuring in the top two, BBC1 took the lion’s share of the entries, with favourites including Holby city figuring.

Meanwhile, truckers and Breathless had underwhelming starts.

uP Downton Abbey rises 170,000

down Bake Off sinks 330,000

Viewers (millions)

Share (%)

Channel

Sat Sun Sun Sat Tue Sat Sat Wed Fri Fri

18.30 20.00 19.20 20.00 20.00 17.40 22.15 20.00 21.00 22.35

9.82 9.52 8.31 8.10 4.89 4.44 3.86 3.83 3.74 3.60

43.10 37.07 31.79 34.54 21.32 25.93 24.02 18.05 15.67 25.03

BBC1 ITV BBC1 ITV ITV BBC1 ITV ITV BBC1 BBC1

uP Strictly adds 570,000

down Atlantis loses 400,000

uP Countryfile up 800,000

toP 10 current aFFairs ProGrammes

Title

Day

Start

Viewers (millions)

Share (%)

Channel

World Cup: England V Montenegro F1: Japanese Grand Prix Replay F1: Japanese Grand Prix – Qualifying Football Focus F1: Japanese Grand Prix Saturday Sportsday World Cup Qualifying Highlights MotoGP: Sepang Qualifying MotoGP: Sepang MotoGP: Sepang

Fri Sun Sat Sat Sun Sat Fri Sat Sun Sun

19.30 14.00 13.20 12.00 06.00 12.45 22.45 14.35 12.30 08.25

6.97 1.92 1.73 1.42 1.30 1.22 0.98 0.84 0.63 0.55

31.12 15.27 18.77 17.86 30.47 14.16 7.96 9.03 5.71 7.55

ITV BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC2 BBC2

➤ England’s 4-1 thrashing of Montenegro was comfortably the highestrated sporting event of the week after peaking with 9 million viewers.

The rest of the table was dominated by motorsport, with motoGP snatching three entries. next week comedy and music & arts www.broadcastnow.co.uk

Start

➤ strictly come dancing topped the entertainment table for the second week in a row as the first x Factor live round failed to launch with a bang. the Jonathan ross show started well and the Pride of Britain awards inched ahead of last year’s six-year low of 4.8 million.

down X Factor down 1m on 2012

uP Pride of Britain Awards up 90,000 on 2012

toP 10 sPort ProGrammes 1 2 3 4 5 6 7 8 9 10

Strictly Come Dancing The X Factor Results Strictly Come Dancing: Results The X Factor Daily Mirror Pride Of Britain Awards Pointless Celebrities The Jonathan Ross Show Big Star’s Little Star Have I Got News For You The Graham Norton Show

Day

Title

1 2 3 4 5 6 7 8 9 10

Inside Out Tonight: Courage In The Crossfire Question Time The Andrew Marr Show The Agenda Unreported World This Week The Queen’s Baton Relay Launch Sunday Politics Newsnight

Day

Start

Viewers (millions)

Share (%)

Channel

Mon Thu Thu Sun Mon Fri Thu Wed Sun Fri

19.30 19.30 22.35 09.15 22.35 19.30 23.35 10.45 11.15 22.30

3.27 2.99 2.41 1.34 1.05 0.94 0.92 0.75 0.73 0.71

15.18 14.52 21.84 16.57 7.83 4.80 15.26 16.21 7.90 4.62

BBC1 ITV BBC1 BBC1 ITV C4 BBC1 BBC1 BBC1 BBC2

➤ the agenda returned with a solid audience for ITV, but it was not enough to unseat perennial favourites including inside out, tonight and Question time. Elsewhere, unreported world provided a rare entry for Channel 4.

See over for demographic and digital focus 18 October 2013 | Broadcast | 31

Ratings Mon 7 Oct – Sun 13 Oct Demographic focus Channels

Source: BARB

Individuals Share (%)

Adults ABC1 Share (%)1

BBC1

20.63

24.83

47.49

10.87

ITV

18.55

17.18

36.55

15.42

5.67

7.46

51.94

3.62

BBC2

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

9.43

20.47

14.87

15.50

44.71

20.77

55.29

37.68

21.04

11.40

5.83

62.31

46.37

5.54

53.63 55.44

C4

5.59

6.05

42.69

7.66

24.48

5.53

44.56

5.65

C5

4.63

3.99

34.02

4.23

16.33

4.55

44.26

4.70

55.74

ITV2

2.80

2.16

30.51

4.79

30.64

2.17

35.02

3.31

64.98

ITV3

2.45

2.09

33.62

0.58

4.25

2.00

36.77

2.82

63.23

E4

1.82

1.70

36.81

5.71

56.16

1.72

42.74

1.89

57.23

Dave

1.52

1.48

38.38

2.51

29.56

2.12

62.78

1.03

37.21

Film 4

1.43

1.24

34.25

1.57

19.52

1.79

56.25

1.14

43.73

BBC3

1.39

1.28

36.38

3.73

47.87

1.55

50.16

1.26

49.86

More 4

1.11

1.27

45.37

1.04

16.89

1.06

43.23

1.14

56.77 62.32

5 USA

1.01

0.86

33.62

0.78

13.72

0.84

37.66

1.15

ITV4

0.99

0.93

37.39

0.94

17.03

1.43

65.50

0.62

34.47

BBC4

0.91

1.36

58.81

0.45

8.75

1.01

49.89

0.83

50.07

Sky 1

0.77

0.76

39.05

1.26

29.34

0.89

52.39

0.67

47.61

Yesterday

0.72

0.69

37.55

0.20

4.85

0.90

56.49

0.57

43.58

Sky Sports 1

0.66

0.76

45.59

0.76

20.59

1.00

67.97

0.39

32.01

5*

0.65

0.56

34.16

0.86

23.53

0.63

43.67

0.67

56.38

27%

Channel 4’s US drama Masters Of Sex attracted an older audience than usual for 9pm on Tuesday.

Over-65s made up 27% of C4’s audience, up from the 15% average. In all, 64% of viewers were over 45, compared with the 46% 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

ITV2 magic’s just the trick BY stephen price

The days when stag nights were several dozen beers down the local and a strategically placed traffic cone in front of the police officer are long gone. Now it’s weekends away, where there’s every chance of pain, tricks and possibly murderous afterthoughts, which describes the rest of this week’s selection.

On Monday at 9pm, BBC3’s Sex, Stags And Prague averaged 640,000/3% for BBC3 with 300,000-plus from the two repeats.

Opposite, BBC4’s A Very British Murder With Lucy Worsley concluded with 726,000/ 3%. Two repeats added up to a total of 1 million, a whisker behind the launch episode.

ITV2’s Tricked, with magician Ben Hanlin and his bamboozling card chicanery, launched on Thursday at 9pm in front of a very handy 737,000/3%. Two repeats added another 230,000. On Thursday at 9pm, meanwhile, BBC4’s Pain, Pus And Poisons: The Search For Modern Medicines drew 695,000/3%.

32 | Broadcast | 18 October 2013

Source: BARB

digiTAL hoMeS

ToP 30 MuLTichAnneL ProgrAMMeS Title

1 2 3 4 5 6 7 8 8 8 11 11 13 14 15 16 16 16 19 20 20 22 22 22 22 26 27 28 29 29

Family Guy Only Connect The Only Way Is Essex Family Guy Celebrity Juice Midsomer Murders The Only Way Is Vegas Lewis The Big Bang Theory Foyle’s War Bad Education Storage Hunters EastEnders Hollyoaks Tricked You’ve Been Framed!

Agatha Christie’s Poirot A Very British Murder...

Storage Hunters Pain, Pus And Poison...

Hollyoaks Peter Andre: My Life Foyle’s War Hollyoaks Hollyoaks Don’t Tell The Bride The Xtra Factor Agatha Christie’s Poirot Family Guy Sex, Stags And Prague...

Figures include HD and +1 where applicable

Day

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

Start

22.00 20.30 22.00 22.25 22.00 20.00 22.00 20.00 18.30 20.00 22.00 20.30 22.30 19.00 21.00 19.30 19.55 21.00 20.00 21.00 19.00 21.00 14.55 19.00 19.00 21.00 21.00 20.00 00.00 21.00

Viewers (millions)

Share (%)

Channel

1.14 1.02 0.97 0.96 0.95 0.92 0.80 0.78 0.78 0.78 0.77 0.77 0.76 0.75 0.74 0.73 0.73 0.73 0.72 0.69 0.69 0.68 0.68 0.68 0.68 0.67 0.66 0.65 0.64 0.64

5.55 4.41 5.38 6.10 5.79 4.01 5.10 3.37 4.14 3.28 4.28 3.17 5.52 3.84 3.47 3.70 3.44 3.17 3.09 3.27 3.46 2.97 4.96 3.39 3.48 3.05 2.59 2.94 9.20 2.80

BBC3 BBC4 ITV2 BBC3 ITV2 ITV3 ITV2 ITV3 E4 ITV3 BBC3 Dave BBC3 E4 ITV2 ITV2 ITV3 BBC4 Dave BBC4 E4 ITV2 ITV3 E4 E4 BBC3 ITV2 ITV3 BBC3 BBC3

Channels

Share (%)

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

20.63 18.55 5.67 5.59 4.63 44.93 2.80 2.45 1.82 1.52 1.43 1.39 1.26 1.13 1.11 1.04 1.01 0.99

Figures include HD and +1 where applicable

350k

Audience for part one of BBC4 series The Art Of Australia (Tuesday, 9pm). Repeats added 102,000 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 42 44 45 46 47 48 49 50

Title

Day

Start

Storage Hunters Storage Hunters Storage Hunters Storage Hunters Storage Hunters Home And Away Home And Away Geordie Shore NCIS Home And Away QI XL The Simpsons Would I Lie To You? CSI: Crime Scene Investigation Storage Hunters NCIS Home And Away Sleepy Hollow Storage Hunters Storage Hunters The Simpsons Dave Gorman: Modern Life Is Goodish Lizard Lick Towing Mock The Week Live Football League The Simpsons Mock The Week Storage Hunters CSI: NY Home And Away QI XL Storage Hunters Jonathan Creek QI XL CSI: Miami Not Going Out Body Of Proof CSI:NY Storage Hunters Storage Hunters The Simpsons Mount Pleasant The Blacklist Not Going Out The Simpsons The Simpsons Live Football League The Simpsons Salvage Hunters NCIS

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

20.30 20.00 17.00 16.30 17.30 18.30 18.30 22.00 22.00 18.30 21.00 19.00 22.00 21.00 19.30 23.00 18.30 21.00 16.00 12.30 19.00 22.00 20.30 22.00 15.30 18.30 22.00 20.30 20.00 18.30 21.00 12.00 21.00 20.00 22.00 21.00 21.00 21.00 15.30 19.00 19.30 21.00 21.00 21.40 19.00 19.30 12.00 19.30 21.00 21.00

Viewers (000s) Share (all homes) % 766,900 718,600 573,000 547,400 547,000 513,400 499,200 483,400 478,200 446,700 430,500 418,400 412,300 403,200 397,300 397,100 396,500 394,600 392,500 392,400 390,600 390,000 377,800 377,100 376,500 376,200 374,400 373,600 369,200 368,300 366,100 363,500 361,700 355,500 354,900 352,700 346,900 346,300 345,400 344,500 344,200 340,500 340,500 338,300 334,100 331,500 325,900 322,900 321,800 321,000

Figures include HD and +1 where applicable

Storage Hunters www.broadcastnow.co.uk

Mount Pleasant

3.17 3.09 3.47 3.57 3.01 2.82 2.74 3.03 2.95 2.42 1.88 1.71 2.35 1.91 1.73 4.78 2.10 1.87 2.79 3.84 2.04 2.44 1.74 2.00 2.34 1.79 2.19 1.61 1.74 1.99 1.65 3.71 1.62 1.62 2.06 1.65 1.51 1.37 3.47 1.56 1.66 1.62 1.46 1.73 1.67 1.61 3.74 1.50 1.40 1.40

Broadcaster/ Producer* Dave/T Group Dave/T Group Dave/T Group Dave/T Group Dave/T Group 5* 5* MTV/Lime Pictures 5 USA 5* Dave/Talback Sky 1 Dave/Zeppotron 5 USA Dave/T Group 5 USA 5* Universal Dave/T Group Dave/T Group Sky 1 Dave/Liberty Bell Dave Dave/Angst Productions Sky Sports 1 Sky 1 Dave/Angst Productions Dave/T Group 5 USA 5* Dave/Talback Dave/T Group Drama Dave/Talback 5 USA Dave/Avalon 5 USA 5 USA Dave/T Group Dave/T Group Sky 1 Sky Living/Tiger Aspect Sky Living Dave/Avalon Sky 1 Sky 1 Sky Sports 1 Sky 1 Quest 5 USA

395k US drama Sleepy Hollow delivered more than five times Universal’s slot average (Weds, 9pm)

Perky start for Sleepy Hollow

BY StePHen Price

With no Premier or Champions’ League football this week, the floor was left open for Dave’s cupboardrummagers to dominate proceedings, and they didn’t disappoint.

Meanwhile, The Universal Channel will thank its lucky Ichabod Cranes, while Sky Living will look warmly upon Mount Pleasant, but more askew at The Blacklist.

Sky Living’s Mount Pleasant this week hauled in its best rating for the series so far. Its 341,000/1.6% on Wednesday at 9pm was 70,000 more than episode two, the previous best. One repeat on Saturday at 9pm added 55,000. Another plank in Sky Living’s new schedule, US import The Blacklist, fell by more than 200,000 at 9pm on Friday from last week’s launch to 341,000/1.5%. Repeats and recording have some ground to make up.

On Wednesday at 9pm, the latest adaptation of American classic Sleepy Hollow, this time from Fox in the US, hit our screens on Universal Channel. Its launch figure of 395,000/2% was hugely up on the slot average (0.3%) over the past year. Five repeats added another 330,000 to deliver a total of 728,000; more perky than sleepy.

But top of the pile, in fact all five places at the top, went to Dave’s Storage Hunters, the best of which was Tuesday’s 8.30pm episode with 767,000/3%.

18 October 2013 | Broadcast | 33

Ratings Mon 30 Sep – Sun 6 Oct

All BARB ratings supplied by: Attentional

Consolidated Ratings

Bake Off still rising

BY Stephen price

The buns are off to BBC1. Admittedly, it was probably just a matter of time – and timing is crucial on The Great British Bake Off, especially as every week it seems to rise just perfectly.

Goodness knows what figures next week’s final will pull in, but this week’s consolidated figure is the highest to date.

Holby City will obviously be relieved to lose the competition, but BBC1’s Wednesday and Thursday 8pm slots might be wrestling each other to the ground to be the beneficiaries of Bake Off’s benevolence, as it’s likely to be one or the other.

And, of course, BBC2 will be facing some chastening year-onyear declines next autumn, so it should enjoy it while it can.

Source: BARB

BBC2: The Great British Bake Off Bake Off’s 6.3 million/26% live rating for 1 October was converted to 7.8 million/29% via recording to make it the series’ best. Another 1.1 million/ 5% watched the Sunday repeat, pushing the total to nearly 9 million.

BBC1: Citizen Khan On Friday 4 October at 9.30pm, BBC1’s Citizen Khan began its second series. In its first run, in the lower-key 10.35pm slot on Mondays last autumn, it averaged 2.6 million/18% in live ratings.

In its new home, it launched with 2.9 million/14%, only 300,000 more than series one’s average.

However, it was recorded by 563,000, four times as many as series one, to deliver a final rating of 3.5 million/15%; that’s 700,000 more than series one’s consolidated figure of 2.8 million/17%.

Just a thought: in 2006, the Avalon-produced Not Going Out debuted with 3 million/14% in the exact same slot; and despite being cancelled once, it’s still going strong.

BBC1: By Any Means At 9pm on Sunday, BBC1 has to play something against ITV’s Downton Abbey (11.9 million/40% on Sunday after 2.3 million recorded and watched), and this year it is action spy thriller By Any Means.

This week, after a nerve-shredding 2.9 million/12% live rating, 1.1 million recording helped it recover some pride. Its 4.1 million/14% is better, but still the least strong of the series so far, which is averaging 4.6 million/16%.

Sky Living: The Blacklist The Blacklist, the NBC thriller starring James Spader, began on Sky Living on Friday 4 October in the channel’s relaunch week with 615,000/3%.

After 483,000 recorded and watched, that was boosted to 1.1 million/5%. Another 250,000 watched the Sunday repeat. n Attentional has reported that due to a problem with ITV’s transmission logs for 2 October, some ITV programmes are missing from the consolidated data, including Whitechapel.

TOP 30 CONSOLiDATeD RATiNGS: RANKeD By GAiN

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 20 20 23 24 25 26 27 28 29 30

3.3m

Audience for the return of Channel 4’s Homeland after 1 million caught up

UP Doc Martin up 180,000 DOWN Atlantis down 1m

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

Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Downton Abbey The Great British Bake Off New Tricks Atlantis Doc Martin The Wrong Mans

By Any Means Marvel’s Agents Of S.H.I.E.L.D. Strictly Come Dancing Educating Yorkshire Homeland Casualty The X Factor Under The Dome EastEnders Coronation Street CSI – New York EastEnders EastEnders The X Factor Coronation Street Marvel’s Agents Of S.H.I.E.L.D. Coronation Street EastEnders Geordie Shore Wentworth Prison Peaky Blinders Citizen Khan Strictly Come Dancing: The Results Celebrity Juice

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

21.00 20.00 21.00 20.30 21.00 21.00 21.00 20.00 18.20 21.00 21.00 21.25 20.00 22.00 20.00 19.30 21.00 20.00 19.30 19.10 20.30 19.00 20.30 19.30 22.00 22.00 21.00 21.30 19.20 22.00

11.86 7.76 8.26 6.37 9.17 3.24 4.07 3.67 10.33 3.85 3.31 5.03 9.92 1.96 7.07 9.47 1.93 8.01 7.68 9.53 8.91 1.53 9.87 7.15 1.03 1.48 2.31 3.50 8.85 1.54

39.68 29.16 30.49 23.86 34.42 11.49 13.89 14.52 42.93 15.48 11.39 20.86 36.98 10.80 29.55 43.56 7.07 32.18 34.76 35.87 34.48 6.16 38.15 32.97 5.77 8.43 9.34 15.11 33.66 8.14

2.26 1.48 1.47 1.39 1.28 1.15 1.14 1.10 1.08 1.06 1.03 0.96 0.94 0.87 0.77 0.71 0.69 0.68 0.67 0.66 0.66 0.66 0.65 0.62 0.61 0.59 0.58 0.56 0.55 0.54

23.60 23.50 21.60 27.90 16.20 54.70 39.10 43.10 11.70 38.10 44.90 23.50 10.40 79.90 12.10 8.10 54.90 9.20 9.50 7.50 8.10 76.80 7.10 9.50 145.00 66.10 33.90 19.20 6.60 53.50

Broadcaster ITV BBC2 BBC1 BBC1 ITV BBC2 BBC1 C4 BBC1 C4 C4 BBC1 ITV C5 BBC1 ITV C5 BBC1 BBC1 ITV ITV C4 ITV BBC1 MTV C5 BBC2 BBC1 BBC1 ITV2

Figures include HD and +1 where applicable

34 | Broadcast | 18 October 2013

www.broadcastnow.co.uk

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

Improving divers POWERED BY

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

POWERED BY

A one-day conference bringing together key policymakers, leading industry figures, major talent and the biggest pressure groups to tackle the lack of diversity in the UK film and TV industries.

Improving diversity in film and T V

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.

For more information contact: events@mb-insight.com In association with POWERED BY

Supported by

Off Cuts

Contact robin.parker@emap.com

ALL A TWITTER

And as he prepared for his address to the event, quantities of the caffeine-free version of Diet Coke – his breakfast tipple of choice – were specially flown into France just for him.

Can’t leave the house.

Grayson’s on the wireless. And I’ve heard it already. But it’s still brilliant. #reithlectures

Katzenberg: fizzy drinks for brekkie

Mipcom’s can-do attitude Dreamworks head honcho Jeffrey Katzenberg is a man of simple, but precise, tastes, Mipcom organisers learned. He’s partial to Fuji water; no problem, apparently.

Producers at The Garden were prepared to expect the unexpected as they filmed inside mental health care institutions for Channel 4 series Bedlam, but unwittingly recreating The Truman Show was not on their list. The irony was not lost on the crew when faced with a patient who believed her life was being filmed by a C4 film crew… only to see signs that confirmed it. The team made their own quiet retreat until she was discharged. See the full story in next week’s Broadcast.

Post-BBC1 move, those Bake Off tweaks in full: Educational bit: out. Miranda: in, as guest judge. Chris Evans to replace Mel every 3rd ep. @smavincent (Sam Vincent) Writer

My father-in-law just spent 10 minutes trying to describe a TV show. He was incredulous I’d never heard of The Clangers. #BitBeforeMyTime

Of the directors I’ve worked with this year, half of them were women. This is NOT representative of most people’s experience. It should be. @pryorandy (Andy Pryor) Casting director

AND FINALLY ...

Darren Musgrove Sales director, Evolutions

C4’s Truman Show moment

@TABULA4 (Tabitha Jackson) Arts commissioning editor, Channel 4

@mrjakehumphrey (Jake Humphrey) Presenter, BT Sport

£4.99

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

ITV News’ ‘dancing queens’ – including economics editor Richard Edgar (left) and science editor Lawrence McGinty (right) – waltzed off as winners of Newsroom’s Got Talent 2013. The event, which raised thousands for Leonard Cheshire Disability and Unicef, also hosted turns from Eamonn Holmes as Elvis and C5 News’ twist on Lionel Bart, News Glorious News. We’ve come a long way from Angela Rippon flashing a bit of leg on Morecambe And Wise…

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

I’ve never told a lie…

What’s the cruellest thing you’ve ever done?

Leaving a friend lying in the midday Las Vegas sun in nothing but a pair of shorts, with a coin on his forehead.

Who would you least like to share a taxi with?

David Cameron. I probably couldn’t resist the urge to throttle him.

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

Scorpion Martini. It tastes of pepper with the texture of balsa wood.

What words or phrases do you most overuse?

BOOM! It annoys everyone but me.

Who would you put in a Celebrity Big Brother house?

Kelly Brook (below) and me.

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

My dad told me: don’t do a real job. Get a job with a desk and an expense account. Thanks, dad.

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

The people, the deadlines, the flying by the seat of your pants, the expense account.

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

Soho House or The Crown and Two Chairmen.

23rd & 24th October BFI Southbank, London Last few tickets remaining - Book now at www.broadcast-forums.com Event partners

36 | Broadcast | 18 October 2013

Supported by

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