Broadcast March 7

www.broadcastnow.co.uk

7 March 2014

EXPERT WOMEN

BBC ACADEMY

BEHIND THE SCENES

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Page 28

Two years of putting the pressure on

Survival skills for freelancers

Emergency care in the ‘golden hour’

BBC3 on brink of move online Celebrity concerns about ‘axing’ channel mask the real strategy of shifting it to iPlayer

BY JAKE KANTER

The BBC wants to change BBC3 from a traditional TV channel to an online-only brand that will super-charge the iPlayer.

BBC director general Tony Hall has made it clear that evolving the VoD platform is one of his highest priorities, and broadcastnow.co.uk revealed on Wednesday that making BBC3 online-only has been discussed at executive board level.

An announcement of the plan is now imminent but it will have to be ratified by the BBC Trust.

Hall’s Oxford Media Convention speech was full of hints about scaling back services and initial reaction focused on the axe falling on BBC4. But multiple top-level execs dismissed the idea that the former Royal Opera House chief executive would ditch the arts channel, and instead revealed the emergence of the proposals surrounding BBC3.

Repurposing BBC3 could achieve two aims at once: contributing to Hall’s plans to save £100m by 2016, and boosting his vision to make iPlayer the “front door” to the corporation’s television and radio services.

Sources agreed that the addition of an online-only BBC3 would increase iPlayer’s firepower, but there are concerns about a wholesale transition.

One senior BBC insider said it would be “premature”, pointing to BBC3’s loyal television audience, which saw the channel grow its share of 16 to 24 year-olds by 3% to 7.7% last year.

Bad Education: second series debut of the BBC3 comedy was fourth most-watched show on iPlayer last year

Moving BBC online would contribute to Hall’s plan to save £100m and supercharge the iPlayer “This demographic is worth 10 times any other audience. It’s the next generation of licence fee-payers,” the source added.

A senior industry executive agreed: “There will be a problem with the BBC connecting with young people. Most of the traffic broadcasters get from young people still comes in an old world way.”

Another BBC insider said axing the channel would be “madness”, while a fourth executive questioned how much the initiative would save if content remained a focus for BBC3 online. BBC3’s content budget was £89.7m in the 12 months to 31 March 2013, compared with infrastructure and support costs of £27.4m and distribution costs of £4.6m.

Others saw sense in the strategy.

One source said tent-pole brands such as Bad Education could be used to drive viewers online, while an insider added that BBC3 talent is “very savvy” about the digital space.

The channel’s genre mix, especially its focus on new comedy,

is particularly suited to the online world, and premiering scripted comedy on iPlayer has been a success. BBC3 is also behind three original, high-quality, 15-minute dramas that will be available exclusively on iPlayer this month.

Online strategy dominated Hall’s first major speech in October last year and featured heavily in his Oxford address last week, when he called for the licence fee to be “modernised” to ensure that it covers catch-up viewing on iPlayer.

He is planning another speech on the future of the VoD service next week at New Broadcasting House.

Editor’s Choice

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

Online this week www.broadcastnow.co.uk

Chris Curtis, Editor

Top News

The revolution will not be televised BBC3’s imminent move reveals DG is not afraid to make tough calls

W

hen word reached us that the BBC wants to make BBC3 an online-only channel, a few things fell into place. Not least how important iPlayer has become to the corporation.

There had already been clear signs: Tony Hall used his first major strategy speech as director general in October to identify iPlayer as the “front door” to the corporation over the next decade. At the time it felt like a soundbite, and the future in question a long way off. Not any more.

‘Is dropping BBC3’s TV presence the best way to achieve significant savings without salami-slicing?’

Already, iPlayer accounts for 40% of all catch-up viewing in the UK and is the envy of both UK rivals and international broadcasters. Imagine how much stronger it will become when it has a raft of new and exclusive BBC3 content as well. BBC3’s shows punch above their weight on iPlayer, and the trials of previewing scripted comedy have been successful.

Another boost for iPlayer will be BBC Store, which was ratified by the Trust last week and will be heavily linked to the VoD service. It may not quite launch to its original mid-2014 timescale, but a download-to-own service that can offer up the cream of the BBC’s archive will be another major part of the corporation’s online presence. Search for content 2 | Broadcast | 7 March 2014

in iPlayer, buy it (for between 50p and £1 an episode) in BBC Store.

So far, so exciting. But questions remain, especially around what is driving the thinking on BBC3. Is dropping its TV presence the best way for the corporation to achieve significant savings without salami-slicing, or is a move online in the best strategic interests of the BBC and its younger licence-fee payers? One senior exec told me “this feels like a way of addressing a financial problem that will be presented as a strategic move”.

I’m not so sure, but that doesn’t mean there aren’t serious risks and significant reservations inside and out of the BBC. There is no children’s block on BBC1 and it, like BBC2 and BBC4, skews old.

That means there would be huge pressure on iPlayer to deliver the next generation of BBC devotees and transfer their allegiance to 1, 2 or 4 as they get older.

And it’s not as though young people are rejecting TV outright. Viewing figures for E4 and ITV2 remain strong, so it’s easy to imagine execs at Horseferry Road or the South Bank greeting BBC3’s move with cheers. In other words, is the BBC pre-empting a revolution in viewing habits that hasn’t quite happened yet?

Perhaps it is – but it’s better to be in the vanguard of a new era of broadcasting than playing catch-up.

There are plenty of questions about the impact of the move on BBC3’s content spend, but none about Hall and James Purnell’s willingness to embrace the future. How about giving the service a new name: BBC3.0?

è BBC director of television Danny Cohen is to make Match Of The Day (below) the next target of his diversity mission after banning all-male comedy panel shows.

è Channel 4 has hired Nutopia co-founder Laura Franses to head its £20m indie investment fund. Franses will lead C4’s push to take stakes of up to 25% in small- and medium-sized indies over the next three years.

è Discovery has struck a deal to buy Gold Rush producer Raw TV. Broadcast revealed in January that the US broadcaster was in takeover talks with the UK indie.

Ratings Top Five The Voice UK’s audience took a tumble as it entered its battle rounds on Saturday – down around 300,000 from the previous week to 7m.

1

2 Dragons’ Den ended its latest run with a series high of 3.2m on Sunday.

3 The latest run of BBC1 detective drama Inspector George Gently bowed out with 5.6m, a series high.

4 BBC1’s Jonathan Creek returned for its first full series in a decade with 6.3m viewers on Friday.

5 The Great British Bake Off judge Mary Berry (right) served up more than 3m viewers for BBC2 on Monday.

Team Tweets è Panel shows, Match Of The Day... How long until Top Gear ends its monopoly on white male presenters...? @robinparker55

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News & Analysis

Lee named C4 number two

By ChRiS CuRtiS

Ralph Lee has been made Jay Hunt’s number two at Channel 4, adding the role of deputy chief creative officer to his head of factual brief.

Lee will deputise for chief creative officer Hunt across the board and will be handed specific responsibility to develop major programming seasons.

He will also be the lead on C4’s new short-form brand 4Shorts, working closely with head of online Richard Davidson-Houston and his team, who will commission the content. 4Shorts will target 16 to 34 year-olds and has two aims: to reach young audiences with innovative and nontraditional content, and to deliver additional AFP revenue.

Lee’s appointment formalises the way he and Hunt have been working for some time, with the former running the broadcaster’s biggest, and arguably most successful, division.

He will assume some externalfacing tasks – similar to his role as the face of C4 during the Benefits Street controversy – as well as internal responsibilities. He is likely to chair C4’s weekly breakfast

Lee’s appointment effectively rules him out of becoming the next controller of BBC2

Benefits Street: Ralph Lee acted as the face of C4 during row over show

meeting of commissioners once a month, for example, and attend C4 board meetings once a quarter.

Lee’s promotion is understood to have been in the works for some time, but it also effectively rules him out of becoming the next controller of BBC2, which had been mooted by some industry executives.

It is also an acknowledgement that the scale of Hunt’s role requires a deputy, so that some responsibilities are shared out.

Lee will not gain any new reports and will continue to oversee David

Glover and Nick Mirsky, who were recently promoted to head of specialist factual and head of documentaries respectively.

Lee has been C4 head of factual since 2011, having previously run specialist factual.

Shows his team have delivered in recent years include 24 Hours In A&E, Gogglebox, Educating Yorkshire, The Murder Trial, Benefits Street and Richard III: The King In The Car Park.

Another change to C4’s commissioning structure is the promotion

of commissioning editor David Sayer to head of daytime. He will report to head of features Gill Wilson rather than head of formats Dominic Bird, as previously.

The change is being described as a “common-sense” move by C4 and is intended to extract maximum value from features across the daytime and More 4 schedule.

It will also bring greater clarity to Bird’s wide-ranging role, allowing him to increase his focus on C4 peaktime and on younger-skewing programming, such as E4 nonscripted programming, music and education (see story below). ➤ C4 has hired Nutopia cofounder Laura Franses to head up its £20m indie investment fund. She will report into group finance director Glyn Isherwood and work alongside the Growth Fund advisory board, which will be chaired by Film 4 controller Tessa Ross.

E4 heads to New York for next Made In Chelsea

By JakE kantER

E4 is looking to build on the success of Made In Chelsea with a scripted reality series based in New York City.

The youth channel has commissioned Twofour to make 8 x 60-minute series Taking New York, which will follow a group of twenty-something Brits as they bid to achieve the American dream.

Some of the friends will already be established in the US, while others will be filmed as they adjust to life in the Big Apple.

The show goes into production later this year.

Taking New York was commissioned by Channel 4 head of www.broadcastnow.co.uk

Made in Chelsea: E4 is looking to build on the success of the series

formats Dominic Bird and formats commissioning editor Jilly Pearce.

It will be executive produced by David Clews and Sharyn Mills.

Sticking with the US theme, Bird has also ordered Techs In The City (w/t) for C4. The 60-minute Connected Set doc follows British

entrepreneurs making and spending their fortunes in Silicon Valley.

Techs In The City was co-commissioned by C4 education editor Bec Milligan and will be executive produced by Jason Mitchell.

Finally, C4 has teamed up with Dazed & Confused magazine for a 5 x 30-minute series charting the rise and fall of the UK’s seminal music scenes over the past 20 years.

Each film will be made up of personal stories and archive, focusing on genres from trip-hop to grime.

Music Nation (w/t) was ordered

by Jonathan Rothery and will be executive produced by Ravi Amaratunga for Dazed Vision, the in-house production arm of Dazed & Confused.

7 March 2014 | Broadcast | 3

News & Analysis

Acorn mulls ‘Sherlock’ take on Christie tales

BY Peter WhIte

Hercule Poirot could become a hacker or Jane Marple swap her tweed coat for a onesie after Acorn Productions revealed plans to contemporise the Agatha Christie franchise.

Hilary Strong, managing director of the indie, which owns the rights to the author’s novels, told Broadcast it could give Christie’s work “the Sherlock treatment” by moving the properties into a “new world”.

“We are looking contemporary,” said Strong. “We’re in discussions at the moment about how we can do that. We can absolutely see the opportunity for bringing the plotlines into the modern day.”

Last week, the BBC announced two traditional adaptations, its first under a deal with the Christie estate: And Then There Were None, produced in association with Mammoth Screen and written by Great Expectations’ Sarah Phelps; and Partners In Crime, a six-part series made in conjunction with Endor Productions, starring David Walliams as one half of 1950s crimefighting duo Tommy and Tuppence.

Partners In Crime: Christie (left) adaptation will star David Walliams (right)

In contrast with the previous ITV deal, the BBC deal is not an exclusive UK arrangement, meaning Acorn can sell contemporary versions to rival broadcasters including ITV, Channel 4 and Sky. Acorn Productions, the UK division of RLJ Entertainment, acquired Chorion’s 64% stake in the Agatha Christie estate in February 2012, with Agatha Christie Limited, run by Christie’s grandson Mathew Pritchard, retaining the remaining 36% share.

It is working on a TV adaptation with a US broadcaster after taking

on WME agent Rick Rosen, as well as teaming up with Target Entertainment founder and Raydar Media boss Alison Rayson on foreign-language adaptations of Christie novels.

Acorn also benefits from data captured by its publishing division.

“Because we publish in-house, we know where Agatha Christie sells. Brazil is a huge market for Christie, for instance, and a great country for drama,” Strong said. “I can’t think of another TV production company that has a publishing business within the same four walls.”

Core Media forms joint venture with UK’s Big Minded Core Media, the US owner of American Idol producer 19 Entertainment, has struck its most significant UK deal to date.

The company, run in the UK by former ITV director of television Simon Shaps, has established a joint venture with formats firm Big Minded, which was launched in 2012 by Chris Graves and Jolene Ellis.

Graves was previously head of development at Remedy Productions and Whizz Kid Entertainment, while Ellis worked at MTV, Pulse Films and Shed-backed Yalli Productions. Their collective credits include co-creating Celebrity Juice and Geordie Shore.

“Big Minded has a really impressive development slate, from factual entertainment and doc series to ambitious formats and shiny-floor entertainment,” said Shaps.

“This is a company that is entirely based around creating formats. It is production-agnostic.

If you can have R&D or manufacturing, which would you choose?

Big Minded is pure R&D.” Core Media launched a UK division of Man v. Food and Extreme Couponing indie Sharp Entertainment last year, run by Amelia Pulsford. It will look to buy production companies in due course.

Moore eyes real-life stories for ‘provocative’ drama BY jake kanter

BBC1 controller Charlotte Moore wants to tap into her factual roots to adapt real-life stories into “provocative” new dramas for the channel.

The former BBC documentaries boss said there is a “real appetite” among audiences for true stories, adding that she would encourage writers and indies to come forward with ideas that “confront the rich complexities of life”.

She told a BBC drama event last week: “We want to be the people who push the boundaries and, because of my background, some of that will include more real-life 4 | Broadcast | 7 March 2014

There’s a real appetite for drama that has that power behind it of being a true story Charlotte Moore, BBC

Five Daughters: award-winner

stories. There’s a real appetite among audiences for drama that has that power behind it of being a true story.”

Broadcast can reveal that Moore has commissioned the BBC

in-house team behind awardwinning drama Five Daughters to create a series based on the experiences of the girls groomed in Rochdale between 2004 and 2014.

The project is in its early stages and no writer has yet been attached, although it will be execu-

tive produced by Susan Hogg and Simon Lewis.

Moore added that it was important that BBC1 has “the courage and the balls” to surprise its audience, pointing to shows such as Common, Jimmy McGovern’s upcoming single on the controversial joint-enterprise rule used to combat gang violence.

Other factually anchored projects announced by Moore include The C Word, an adaptation of the late Lisa Lynch’s account of living with cancer. Lenny Henry has also written his first-ever drama for BBC1, a semi-fictionalised account of growing up in 1970s Dudley and his road to fame. www.broadcastnow.co.uk

News & Analysis

C5 sale close as bidders circle Discovery favourite to acquire broadcaster as US heavyweights vie with European rivals

BY PETER WHITE

Channel 5 could be sold in a matter of weeks as a slew of US broadcasters vie with European media groups to take control of the broadcaster.

Broadcast understands that DRG owner Modern Times Group has joined bidders including Discovery, UKTV owner Scripps, MTV backer Viacom and Power Rangers parent firm Saban Capital.

It has been speculated that BSkyB could have some involvement in Discovery’s bid, largely with a view to taking over C5’s adsales operation.

“There’s an endless march of American companies trekking across to the UK and figuring out how to internationalise their businesses,” said Enders Analysis founder Clare Enders.

Discovery is the favourite to snap up the broadcaster from Richard Desmond’s Northern & Shell, with its deep pockets fuelling a free-to-air push that has already seen it snap up broadcasters in Italy and Scandinavia.

But it is expected to face tough competition from both Scripps and Viacom, which could benefit from a free-to-air window for Nickelodeon, as well as MTG, which has been acquisitive in recent months, purchasing Scandi producer Nice Entertainment Group and lifestyle broadcaster Trace.

PEOPLE POWER C5’S LIVE DEBATES

Can’t Pay? We’ll Take It Away: C5 show follows work of debt collectors

There’s been lots of investment in OTT services but the real bread is in advertising Clare Enders

The dark horse is Saban Capital, run by influential US political broker Haim Saban, who also owns growing US Spanishlanguage broadcaster Univision and previously held a stake in Germany’s ProSiebenSat.1.

While Saban Capital is not expected to win an outright bid,

C5 SALE A BOON FOR INDIES? The sale of Channel 5 is expected to provide an investment boon for the indie community.

The next owner will want to boost its 4.5% all-hours rating share to further compete with Channel 4. It is also likely to increase its programming budget – currently thought to be around £80m, with additional top-up funds provided by GroupM Entertainment.

Some suggest C5 could move back closer to the £200m per

www.broadcastnow.co.uk

year it was spending prerecession in 2006.

“These companies will definitely want to scale up investment at C5,” said one source. “They’re going to invest a significant amount of money in programming.”

While a deal appears imminent, one source warned: “Remember, Richard Desmond [right] is impossible to predict.”

there are suggestions that it could join up with a rival bidder.

As a result of the competition and the scarcity of major free-to-air opportunities, a deal is expected to fetch more than £600m.

The sale process has been rapid after investment bank Barclays began exploring opportunities at the start of the year, with multiple sources stating that a final decision is likely to be made within weeks.

A liquidity boom in the financial markets has also given the bidders confidence that they can structure a good deal. “You can finance this deal in two minutes,” said one source.

A deal by Discovery, Scripps or Viacom – all of which operate multiple pay-TV channels in the UK – would give them a dramatically increased footprint and an opportunity to leverage growth through the free-to-air advertising market.

“This is a bet on linear television,” said Enders. “There’s been lots of investment in OTT services but the real bread is in advertising. None of these other pockets of viewing make a dent in linear advertising.”

C5 could also provide an opportunity for a new owner to trial and showcase

C5 has ordered a raft of live debates following the success of The Big Benefits Row: Live (below). The broadcaster has commissioned six more from ITN Productions on topics including debt, obesity, crime, education and the NHS. The move is part of director of programmes Ben Frow’s drive to give the channel a populist feel, highlighting issues that directly affect Britons.

The next two debates to air are The Big ‘Can’t Pay’ Debt Debate: Live and The Big Fat Row Live, which address family debt and obesity respectively.

Subsequent debates will include Is The NHS Broken Beyond Repair?, Does The Punishment Fit The Crime?, How Safe Are Our Children? and The Crisis In Our Schools.

The one-hour shows were ordered by Frow and factual commissioning editor Guy Davies.

Frow said: “The issues we are discussing are at the heart of today’s society and have a real resonance with our audience.”

factual entertainment formats that could then be rolled out around the world.

The bidders could use C5 in the same way that John de Mol uses Holland’s SBS6, which he part owns, to trial formats such as Utopia. Endemol also plans to test out shows on Israeli network Reshet after acquiring a stake last year.

None of the bidders has previous experience of owning a UK public service broadcaster and the associated obligations.

7 March 2014 | Broadcast | 5

News & Analysis

BBC gets tough on diversity I feel that for charter renewal, diversity will be one of the central questions

By Jake kanTer

The BBC is to ramp up the social profiling of its workforce and could introduce the ‘Rooney Rule’ into its recruitment processes under plans to radically boost diversity.

The suggestions were made during a BBC event, where director of strategy and digital James Purnell said that improving diversity at the corporation both on and off screen is a key priority going into charter renewal talks in 2015.

He said that changes to the BBC’s HR systems will allow it to collect data on its employees’ social background, enabling it to monitor a raft of information, such as whether a member of staff ’s parents went to university. It is hoped this could provide valuable insights into the BBC’s workforce and improve the way it recruits from different backgrounds.

“It feels to me that of all the diversity issues, social background and ethnic minorities are the two biggest issues we have with staff representation,” Purnell told a Reflect and Represent session at New Broadcasting House last week.

Asked if diversity should be written into the BBC’s public pur-

James Purnell

Match Of The Day: Cohen claims the show should reflect football’s diversity

poses, Purnell added: “We need to go even further than that. Diversity has always been one of those things you add on or people talk about because they feel like they should. I genuinely feel that for charter renewal, it will be one of the central questions.”

Speaking on the same panel, BBC director of television Danny Cohen voiced his admiration for the Rooney Rule, which compels

National Football League teams in the US to interview diverse candidates for senior positions.

Since being introduced in 2003, 12 black head coaches have been hired within the NFL. “I would love us to be a place where we are making sure that every candidate list we have has a diverse candidate on it. That will be quite transformative,” Cohen said. He added that this

could also feed into freelance contracting, with production teams “widening the pool” of producers they work with.

Although nothing is set in stone, it chimes with Cohen’s ambition to bring about tangible change on diversity. The former BBC1 controller has already banned all-male comedy panel shows and claimed that Match Of The Day should better reflect the diversity in football.

“For some reason, we have found improving diversity harder than we thought. This is a core thing we have to do,” Cohen said, revealing that getting some panel shows to increase their number of female guests was like “pushing water up a hill”.

Reflect and Represent was an inaugural week-long series of events organised by the BBC to discuss its approach to diversity. If it is a success, the corporation hopes to repeat it in 2015.

BBC2 goes back to school for student vet series Our filming gives an insight into the incredible training undertaken by young vets

By Jake kanTer

BBC2 has ordered a Vet Schoolstyle series following a group of students in their final year at the Royal Veterinary College.

The 10 x 60-minute series will be made by ITN Productions, which has already started production. It will follow trainees around the country for 12 months as they get hands-on experience for the first time.

Young Vets (w/t) will provide a window on the lives of students conducting critical operations and working in the field, as well as telling the stories of the animals they care for.

“Our filming gives an insight into the incredible depth of training 6 | Broadcast | 7 March 2014

Emma Read, ITN Productions

young Vets: production under way

undertaken by remarkable young vets, with an abundance of heartwarming and compelling stories about the terrific characters of the students as well as the animals they’re treating,” said ITNP head of factual and features Emma Read.

The series, ITNP’s biggest yet for the BBC, was ordered by head

of commissioning for factual features and formats Alison Kirkham, and Tanya Shaw, who left the corporation earlier this year to join Shine TV. Read is the executive producer, while Isobel Williams is series producing.

Although the producers are keen to distance Young Vets from BBC1’s 1996 Vet School, the two series cover similar ground. Vet School was a big success, spawning Vets In Practice and launching the careers of Steve Leonard and Trude Mostue.

ITNP’s other BBC commissions include BBC2’s Broadcast Awardwinning Climbing Great Buildings and Martha Kearney-fronted The Joy Of Honey for BBC4. www.broadcastnow.co.uk

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News & Analysis

Raw scales up with Discovery Raw believes there is logic to the deal and that it will help it realise its creative ambitions

BY chRis cuRtis

Discovery Communication’s acquisition of Raw TV is the latest highprofile example of the trend for transatlantic consolidation in the production sector.

The deal links an acquisitive buyer with one of its key suppliers and was prompted, like ITV’s recent indie buying spree in the US, by the cable market’s growing desire for original scripted and unscripted content.

Raw is growing rapidly, but the financial contribution of a £35m-turnover indie will have little tangible impact on the vast Discovery business. Instead, the UK indie will have an even more secure pipeline of high-quality content to play around the world.

Raw’s Gold Rush is among the most successful shows Discovery has ever commissioned.

The UK indie also makes highprofile content for other US broadcasters, such as Nat Geo’s American Blackout and Miracle Landing On The Hudson.

Discovery has no first-look or exclusivity arrangement with

Gold Rush: Raw series is among Discovery’s most successful commissions

Raw, whose latest major project is understood to be an epic twoparter called Revelation for rival broadcaster History. It is thought to be a drama mini-series based on the biblical Book of Revelation.

Raw believes there is genuine logic to the deal and hopes it will help it realise its creative ambitions, which run from multimillion-pound feature films to

finding more reality formats akin to Gold Rush.

About Corporate Finance represented Raw in the transaction. President and chief executive Thomas Dey said the sector was “right in the middle of a new wave of consolidation”, prompted by the growth of the unscripted business in the US. He added: “It’s been a slow, steady recovery and the market has finally

shaken off all the effects of the recession. There’s more demand than there are M&A opportunities – it is a seller’s market.”

Dey said there is some commonality to what buyers are seeking.

“They want profitable, growing companies that make returning series rather than one-offs, and are not reliant on one brand. Plus they want management with great creative track records.

“But beyond that, it’s about finding the right fit – and each buyer is different.”

ITV’s US production investment includes DiGa and Thinkfactory Media, while Welsh super-indie Tinopolis has also acquired US producer Magical Elves. European group Red Arrow bought Half Yard last month.

Indie start-up 7Wonder wins Aussie backing

BY Alex FARBeR

Australia’s Seven Network has invested in a UK indie co-founded by former Maverick boss Alex Fraser that aims to produce “noisy, factual programming”.

The broadcaster’s production chief Brad Lyons has backed 7Wonder, which has been launched

by Fraser and former Maverick commercial director Liza Abbott.

The partnership, which follows Seven’s expansion into the US last year via production company 7Beyond, is intended to grow the broadcaster’s output. At present, Seven’s in-house arm only produces for its parent network in Australia.

The fledgling indie will produce a variety of shows, from one-off docs to formats.

8 | Broadcast | 7 March 2014

Abbott and Fraser: 7Wonder co-founders will develop international shows

“It’s logical for us to expand into new markets,” Lyons said. “There are only a certain number of slots available for us on our own network. We will own the content produced by 7Wonder and can exploit it in a number of ways.”

7Wonder will aim to secure original commissions from UK broadcasters, and remake existing Seven formats such as reality series House Rules.

“We need people on the ground in the market,” said Lyons. “They

[7Wonder] are fine programmemakers who are able to execute ideas well and have a track record in producing the kind of programming that is interesting to us.”

Fraser and fellow co-founder Abbott will also work with Seven’s Sydney-based development team to secure commissions from the broadcaster itself.

Fraser said: “The content industry has changed beyond recognition from when I started out and is now truly global and multiplatform. Alongside a creative partner like Seven, there is a clear opportunity for 7Wonder to have the space, time and freedom to develop and execute ideas that work anywhere in the world, on any platform.”

7Wonder will open offices in Somerset House next month. It also plans to hire a creative director. www.broadcastnow.co.uk

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Expert Women

Women still without a voice Two years after the launch of our campaign, more women experts are appearing on TV – but broadcasters must do more if we are to see real, lasting change, says Lis Howell ‘Two years on, the average rate of expert men to expert women is still 4:1. It’s hard to get excited about the big picture’

10 | Broadcast | 7 March 2014

I

nternational Women’s Day on 8 March marks two years since we launched the Expert Women campaign.

When we started monitoring the ratio of male to female experts on news programmes, Radio 4’s Today programme regularly went more than an hour without airing a female voice, never mind that of a female authority figure.

We started the campaign with a pledge for broadcasters, asking them to commit to improving the ratio of male to female experts. We then set up a petition to gain public support, led by students from City University London.

Channel 4 News and Sky News signed this pledge, promising to improve the ratio from nearly 5:1 to 3:1. Within three months, thousands of people had signed the petition.

Since then, 164 women have received media training under a BBC Academy initiative. Radio 4’s The Media Show dedicated an edition to the campaign and another of the station’s shows, Feedback, used Expert Women stats to support Caroline Criado-Perez, who criticised Today and went on to start The Women’s Room, a website set up to help women experts get on TV. Since then we have seen the rise of Sound Women (a network of more than 1,000 women working in audio) and the launch of other training initiatives. More commercial agencies sympathetic to women have also launched, such as Kerry Hopkins’ Broadcast Ready.

The strength of the campaign is the data, and the transparent way it is collected: students from City University London’s postgraduate broadcast journalism courses count the number of women experts on four or five programmes a month, usually in the same week.

It’s a simple process, but not infallible, and it has only been challenged once by a broadcaster, who ultimately backed down.

Caroline Criado-Perez: launched The Women’s Room; below: C4 News presenter Cathy Newman

When we started, it was a bit ad hoc and there was some stray data – we tended to monitor any programme we fancied. Now the analysis is more robust and, at present, we are monitoring the same five programmes in the same week every month.

Who is the expert?

We’ve also been challenged about the definition of an expert. Our criterion is simple: an expert is any interviewee used for her or his knowledge, expertise or achievement, but not if it is a ‘one-off ’ personal experience or they are a generic example. We include politicians as experts unless they are talking about a scandal in their personal lives, which sometimes causes problems (is Andrew Mitchell MP an expert or a victim in the Plebgate story?). But we categorise people as experts where there is doubt, so we can’t be accused of stacking the cards against women.

We don’t class case study or vox pop contributors as experts. Nor do we count celebrities, unless they are talking about their expertise. The system isn’t perfect, but it works.

No matter how much you raise awareness, however, no campaign is successful unless you can demonstrate that things have changed. When we began publishing the figures in 2012,

MALE/FEMALE RATIO Today 3.7:1 ITV News At 10 3.75:1 Sky News 4.5:1 BBC News At Ten 4.7:1 C4 News 5:1 Period covers January and February 2014

the ratio of male to female experts on TV and radio news across the first three months was 4.5 expert men to every expert woman interviewed.

Since then, we have amassed data on at least 13 different programmes and 231 editions. Some data has been lost because students failed to deliver, but we have clear, robust records of everything on spreadsheets.

I’m now on a sabbatical crunching numbers and writing (hopefully) erudite academic articles. The Expert Women campaign has reached the ears of everyone from Tony Hall to the average Twitter troll.

But guess what? The average ratio of expert men to expert women is still 4:1. That’s not quite as bleak as it looks – it has moved in the right direction overall by about 0.4%, and the programmes we measured at the www.broadcastnow.co.uk

EXPERT WOMEN

CAMPAIGN TAX BREAK

CAMPAIGN beginning are not necessarily the programmes we are measuring now. But if you crunch all the numbers over two years, it’s hard to get excited about the big picture.

Take the figures for January and February this year. On a selection of evening hours, Sky News’ ratio stood at 4:1 in January and 5:1 in February.

Channel 4 News was 4:1 in January but an appalling 7:1 in February. And these are the two channels that pledged to try to reach 3:1.

Sky News argues that surveying its bulletins across 24 hours makes its ratio much better. But we are not measuring breakfast or lunchtime shows at the moment, and on a comparative basis for evening news, it doesn’t score as well.

Channel 4 News is erratic. In the week in January that we monitored, it interviewed 79 experts (an average of 15 a night) and in the February week it interviewed 60 (12 a night). It has a much more varied format than the other programmes we measured.

Equal interest Other programmes show better figures. ITV News At Ten’s 4.5:1 ratio in January was disappointing, but in February it was 3.5:1. BBC News At Ten is another erratic performer. In January it achieved a ratio of 2.5:1, but in February it went back to its old ways at 7:1.

The main stories in January and February were the UK floods, Syria, the ivory trade, redundancies at Barclays, the death of Shirley Temple, the trials of Joanna Dennehy and Dave Lee Travis, Scotland and the pound, Northern Ireland, Lizzy Yarnold winning gold in the winter Olympics, and Helen Mirren becoming a Bafta fellow. More than half the stories on the 10 days monitored were of equal interest to both genders, or featured a strong female interest or protagonist.

If the Expert Women campaign has, in a small way, helped to achieved anything, it is the improvement at Today. We measured the 6am to 7am hour, and in January it achieved a male-female expert ratio of 3.9:1, which isn’t great. But in February it achieved 3.5:1, which means that overall it is the best of the programmes monitored. And we should not forget last December, when it achieved a ratio of 2.5:1, which would have been unheard of in 2012.

Encouragingly, Today is reasonably consistent too, keeping the figure at under 4:1. Two years ago, who would have thought it? www.broadcastnow.co.uk

EXPERT WOMEN CHALLENGING THE MYTHS the BBC advertised its training Since the campaign began, broadcasters have challenged us days for women, 2,000 applied with two arguments: that they are for 30 places. This would indicate that women want to appear, but merely reflecting society, as men lack confidence, and therefore outnumber women as authority want training. figures in the real world; and I suspect it is not the training that in any case, women don’t they want but the affirmation. want to appear.

Appearing on TV is very different As part of my academic to appearing in court or the lecresearch, I have been trying to ascertain if this is true. The cam- ture theatre as you are displaying your authority to the public. paign acknowledges that in the Television has enormous real world, more authority figures power. To be on TV is to display are male than female. But is the oneself in a unique and powerful number comparable? No. On TV and radio news, the ratio is 4:1 – way. Of course, many people say that women won’t go on TV 80% male and 20% female. But because they are worried about in society, the figure is probably how they look. But in questionmore like 70% to 30%. naires I sent out to female Of course, you cannot come experts, the main issue was up with an absolute figure. about being thought of But two agencies I have as ‘pushy’. The fear spoken to that of being criticised, provide expert ridiculed, trolled, witnesses for The number of or challenged by courts said they women who applied colleagues is a big provide 70% male for 30 places on barrier. Journalists and 30% female BBC training days tell me that men experts, and are invited onto proseeing more expert grammes do not seem to women witnesses in feel this to the same extent. So court cases. perhaps we need to acknowledge The ratio of male to female that we are in a transitional MPs is 3.4:1, and even in the phase, where women have to be Cabinet it’s 4.5:1. So David persuaded to appear.

Cameron has achieved a better Finally, there is the problem male/female ratio than both of news values. The evidence Channel 4 News and BBC News points to journalists believing At Ten in the past two months. that evening news programmes, The Shadow cabinet has a with a larger proportion (but rarely ratio of 1.5:1. If you combine a majority) of male viewers are the Cabinet and the Shadow the ‘serious’ programmes with Cabinet, arguably Britain’s top the ‘real’ news values. This is politicians, the ratio is 2.3:1 – nonsense – news values are exactly the figure quoted by relative. But the evening shows the expert witness agencies. have more male reporters, more On the boards of companies male experts and interand in the world of top sport, viewees, and more the ratio of men to women late-night sport is obviously greater than results. Their whole 3:1, but that could be ethos is male. equalled out by areas There is no reason such as HR and communifor this except cations, where the ratio tradition and of women is higher. So macho why are TV and radio thinknews failing to ing. If reflect society? news The question editors of whether were women want to appear links in to this. When

2,000

‘David Cameron has achieved a better ratio than Channel 4 News and BBC News At Ten in the past month’ brave enough to revisit – or even just reflect on, their news values, we might see a huge difference.

For example, do we have to have so much football? Or blasts from the Westminster Bugle? Or business news that is more about the corporate world than the consumer?

This is one of the reasons why the Expert Women page is going to look different from now on. We want to talk to the news editors to find out what they honestly feel about the campaign to use more women experts. Is it fair to these editors? Are they being asked to do something cosmetic that’s just another pressure? Do they really have a duty to represent women as authority figures, or is it okay to lag slightly behind the societal norm because it’s the best they can do and, anyway, the situation isn’t that bad – look at Shami Chakrabarti (below), she’s always on TV… That’s another problem. When women do appear, they get noticed. So the impression is that there are more of them than the figures confirm. It all comes back to the figures. Without them, all this is opinion. But the figures have made the case.

We’re also looking at rolling out this sort of monitoring to cover ethnic diversity. Of course, the argument there is different.

Women are not part of the diversity debate. Women are a majority.

The real problem is not the lack of women and ethnic minorities on TV and radio news but the overwhelming dominance of white men, not just interviewed experts, but also general interviewees, presenters and, most strikingly, reporters. The current situation neither reflects society as it is, nor as it ought to be, and surely it’s the duty of news editors to do both.

7 March 2014 | Broadcast | 11

Commissioning News

For more projects in development and the latest commissions, visit

http://greenlight.broadcastnow.co.uk

Q&A AdAm bArker Adam Barker Channel executive, BBC2 and BBC4.

Previously worked as commissioning executive for Arts and Music What’s your most recent commission?

Mary Beard’s lecture from the British Museum on ‘The Public Voice of Women’ for BBC4.

How much has the programme changed from what was initially pitched?

It wasn’t pitched, we spotted it was happening and asked to film it.

What was it that grabbed you?

The idea of a strong and clear account from one of our leading historians on the voice of women through history.

What would you like more of?

Substance and originality from producers who really know their subject.

What’s a definite no for you?

Cynical or derivative shows.

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

“Would you be interested in a film with the Rolling Stones…?”

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

“If you don’t want to commission it, Sky/Channel 4/ITV will.”

What’s your riskiest commission and why?

Scrapheap Orchestra for BBC4. Love Productions created an orchestra from scrap to play the 1812 Overture at the Proms and we only

realised 20 minutes before the live show that they might not be able to keep the instruments in tune.

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

Charlie Brooker.

What’s your guilty pleasure?

Alison Kirkham’s food programmes on BBC2.

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

Try to work with people you trust.

How would you like to be remembered?

As more man than desk – [radio/TV producer and former TV reviewer] Victor Lewis Smith once described me as “half-man, half-desk” in the London Evening Standard.

How quickly do you aim to respond to an idea?

Pretty quickly to one-liners; full commissioning decisions can take more time.

Who has final sign-off?

The channel controllers and the individual genre commissioners.

How should producers pitch to you?

Via genre commissioning.

What’s your top pitching tip for producers?

Don’t pitch things you don’t really have access to.

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

recent commissions

THe BriTs WHo BuilT THe Modern World

THe sTory of WoMen And ArT

Indie Oxford Film & Television Duration 3 x 60 minutes TX From Thursday 13 Feb 2014, BBC4 Summary Series about a generation of British architects who have had unparalleled success around the world.

Indie Matchlight Duration 3 x 60 minutes TX TBC, 2014 Summary Historian Amanda Vickery offers a different take on the history of art and reveals some fascinating work by previously unknown women artists.

12 | Broadcast | 7 March 2014

www.broadcastnow.co.uk

We don’t just shoW oscar Winning films

We make them too academy award wins: Best Film Best Supporting Actress - lupita nyong’o Best Writing, Adapted Screenplay - john ridley Bafta wins: Best Film Best Actor - chiwetel ejiofor

congratulations to all those involved in the aWard Winning 12 years a slave

film4.com

International News

Nat Geo: UK shows key to edging rivals

BY PeTer WHITe

US broadcaster Nat Geo believes a strong pipeline of UK shows can help it distinguish itself from its cable rivals The factual broadcaster will air ambitious event Live From Space, produced by UK indie Arrow Media, next week, and National Geographic Channels US chief executive David Lyle is keen to hear pitches from international producers to keep its slate fresh.

“The challenge is to find great things that stand out” he told Broadcast. “By looking outside of the US you can be inspired and not be ‘me-too’.”

At the Realscreen Summit earlier this year, Lifetime executive vice-president and general manager Rob Sharenow said that non-scripted programming in the US had reached a “creative crisis”, because there were too many similarities between shows.

Lyle rejected the idea of a crisis but said it is important broadcasters don’t just produce copycat shows.

He has been shepherding the 21st Century Fox-backed broadcaster over the past few years, moving it away from purely factual

Hustling America: Icon Films series is a previous Nat Geo commission

content towards formats in the vein of Brain Games, produced by Jerry Kolber’s Atomic Entertainment.

“We’re trying to take the core values that Nat Geo has always had and express them in a different form. We want to make sure that the shows are entertaining as well as full of information,” he said.

Nat Geo is in talks to launch more live event shows after Live From Space and Lyle said that two of its forthcoming proposals would have UK components.

The broadcaster’s previous UK series include Icon Films’ 3 x 60-minute Hustling America, which featured The Real Hustle’s Alex Conran tracing the history of American con man Titanic Thompson, and Renegade Films’ school science test format None Of The Above.

It also recently acquired the format of Duck Quacks Don’t Echo, which was originally produced by Magnum Media for Sky 1 and is distributed by Sky Vision.

Turkey’s Star TV orders remake of The Kumars The Kumars is heading to Turkey after a local broadcaster struck a deal with Hat Trick International to remake the resurrected comedy.

Star TV has commissioned a sixpart remake of The Kumars, which has been revived by Sky 1. The series will be produced by Turkish indie Yirmibes Film and will launch later this month as Kim O. It will feature a Turkish family who host a talk show in their home.

The Kumars, which is produced

by Hat Trick and The Indian Doctor indie Avatar Productions, relaunched on Sky 1 in January after seven series on the BBC. The deal comes ahead of Mip TV, where Hat Trick will launch The Kumars as a scripted format.

“The new UK version of the series on Sky 1 HD has been very well received, almost doubling the slot average,” said Hat Trick International head of sales Sarah Tong.

The Kumars: resurrected by Sky 1

Sky Vision boosts UK indie links with Back2back deal

BY PeTer WHITe

Sky Vision has inked a development deal with Jews On Bikes producer Back2back Productions as it aims to build its standing in the UK indie community.

Under the deal, the firms will co-develop factual programming with international appeal.

Sky Vision recently signed a development deal with US indie Ugly Brother Studios, the House Of Food producer set up by former Zodiak exec Mike Duffy and his brother Tim. Sky Vision commercial director Connie Hodson said that the Back14 | Broadcast | 7 March 2014

This partnership aims to bring our innovative factual programming to a wider audience Connie Hodson, Back2back

Memory Palace: Back2back doc

2back deal would “kickstart” the company’s ambitions to work with other UK indies “Back2back Productions is renowned for creating innovative

factual programming and this partnership aims to bring it to a much wider audience,” she added.

Sky Vision already distributes Back2back titles including Ignition: Memory Palace, a one-off documentary for Sky Arts based on a

book by Hari Kunzru. It was recently sold to New Zealand broadcaster Sky TV. The factual indie also produces series including History’s 4 x 60minute Shaun Ryder On UFOs and Sky Arts’ 6 x 60-minute Lily Cole’s Art Matters, as well as one-offs such as My Phone Sex Secrets for Channel 4 and Channel 5’s The Royals.

Back2back is run by managing director David Notman-Watt, who described Sky Vision as “an influential partner”. “Joining forces with Sky Vision creates an important opportunity for us to build on our success to date, both nationally and internationally,” he added. www.broadcastnow.co.uk

3... that’s the magic number.

Shepherds Bush.

Soho.

bookings@clearcut.cc www.clearcut.cc

Bloomsbury.

Multiplatform News IN BrIef Trust approves BBC Store The BBC’s plans to launch a download-to-own portal for archive programming have been approved by the BBC Trust. BBC Store, which will enable viewers to “buy, watch and keep” archive content, will launch with 6,000 hours of programming that has been on air in the past year, plus 4,000 hours of archive content.

Spirit in talks with talent for boutique MCN launch

Lift-off for C4 Space site Channel 4 has launched a website to support its Live From Space season (pictured), which calls on visitors to submit questions via a webcam or the Vine app to be put to astronauts on the International Space Station. The site also features an Earth vs Astronauts zero gravity-themed catapult game. Finally, a How Astronaut Are You? quiz tests if visitors have what it takes to visit space.

LazyTown launches app Turner International kids’ brand LazyTown has partnered with app business Castle Builders to launch a digital storybook app, BooClips, designed to encourage children to live healthily. The Android and iOS app, which is available as a free or paid-for expanded download, includes a read-along storybook based on an episode of LazyTown, more than 20 minutes of HD video and a smoothie recipe section.

R1 duo set up Social Life BBC Radio 1 digital producers Alistair Parrington and LauraMay Coope are leaving the station to launch social media agency Social Life. The duo are targeting clients with a youth focus across the entertainment, music and fashion industries. They also plan to offer social media best practice training. “The time is right to take my expertise on to a new level and bring the internet and people together in ever more strange and brilliant ways,” said Parrington.

For the latest breaking news www.broadcastnow.co.uk 16 | Broadcast | 7 March 2014

#WT4: Channel 4 News presenter Jon Snow hosted the first online debate with The last leg’s Alex Brooker

BY Alex FArBer

Spirit Digital Media is developing a “boutique multichannel network” (MCN) based around a diverse crop of talent, including reality TV star Michelle Heaton and Britain’s Got Talent dog Pudsey.

After helping Fresh One Productions create the Jamie Oliverfronted Food Tube channel, Spirit hopes to launch up to five channels this year. Talks are under way with talent including Zoe Ball and South African zookeeper and ‘lion whisperer’ Kevin Richardson.

Wildlife, business, fitness and health are among the verticals that Spirit plans to use to attract brands, but cooking is not on the agenda – to avoid competition with Food Tube.

Spirit will produce videos and offer channel-management services for the talent, with whom it will work on a revenue-share basis.

Spirit co-founder Peter Cowley said the business was targeting talent agents with clients who would appeal to a variety of consumers and advertisers.

“Developing digital projects around talent is key because they attract brands and an audience,” he said. “But we need to be picky about the sectors we appeal to. After you have produced a successful

It’s quite an obvious step for news to open itself up for live debate Matt Campion, Spirit

channel and built up your credentials, you can move from five-figure to seven-figure branded deals.”

Debby Lee, former head of Argonon’s talent and brand partnership division Connect, is helping Spirit with the push.

Supporting its brand-led business, Spirit has also been appointed as the European production partner for US fashion and beauty-focused MCN StyleHaul. It will work with brands including L’Oréal to produce content for StyleHaul to distribute to its 15 million-strong subscriber base, which delivers 50 million monthly video views.

Talks are under way about Spirit producing original content for the online business, which agreed a multi-year, multi-series partnership with Fremantle Media North America in December. Spirit would retain the IP. Spirit is also waiting to discover if Channel 4 will commission a series of online Channel 4 News

spin-off #WT4 after co-producing two pilots. Presenter Jon Snow hosted the live debates with The Last Leg’s Alex Brooker and Conservative MP Jacob Rees-Mogg, the latter of which trended on Twitter nationally after it was aired immediately following the TV bulletin last week.

Spirit co-founder Matt Campion said that news providers including C4, The Huffington Post, Sky and Vice were all looking at engaging audiences online.

“It’s quite an obvious step for news to open itself up for live debate,” said Campion. “Broadcasters shouldn’t worry about waiting to secure big-name guests but educate their production teams and get something going with a low cost. Over time, things will build and those viral moments will arrive.”

Elsewhere in original content, the multiplatform production company has picked up its first TV order: Jeff Leach +1, a 6 x 60-minute series for London Live.

Comedian Leach, who will exec produce with Campion, will tour tattoo parlours, burlesque clubs and underground venues in a look at the capital’s alternative scene.

The show was ordered by London Live’s Jonathan Boseley. Spirit’s Georgie King will series produce. www.broadcastnow.co.uk

audience data system

569 tweets between 20:10

and 20:11

Technology & Facilities Creative review

Poker

TiPPing PoinT

How To geT AHeAd

Titles and GFX Jump Client Halfords Media/PokerStars Brief Design and produce the titles and refresh the in-show graphics for the latest season of PokerStars’ European Poker Tour.

How it was done The titles needed to reflect the aim of the show, which is to be at the forefront of content for poker coverage. Art directors Nicky Thompson and Lee Jacobs shot some of the tournament’s top professional players using a variety of techniques to illustrate tension, including using the static from a balloon to make the hairs on one players arm stand up. The players were then comped into a 3D arena, which was created using Cinema4D. A cool blue look was built in the grade and light effects were added in After Effects

by Duncan Tune and Mark Fairless to reflect the slick, dark and stylish feel synonymous with the tournament.

Watch it Wednesdays, 12.05am, Channel 4

Post Evolutions Client RDF Brief Provide location and post-production services for the fourth series of the quiz that pits contestants against a penny falls-style machine.

How it was done Evolutions’ locations team designed a system that recorded eight streams and audio for instantaneous playback to the gallery. It also provided non-linear tools and other tapeless playback systems, such as slow motion and the ability to cue and play back from any timecode. LTO versions were generated each day, with the on-site operator creating Avid projects for use at the facility each night. Dubbing mixer Richard Ashley used Pro Tools for the final audio mix, finessing effects where necessary and returning to the original ISO tracks for the contestants, as well as enhancing the coin drops with a metallic sound to emphasise the action.

Watch it Monday to Friday, 4pm, ITV

Post The Farm Client BBC Arts Brief Full post-production on the 3 x 60-minute factual series in which writer and Newsnight arts correspondent Stephen Smith finds out what it takes to survive and prosper in the most artistic, decadent and dangerous royal courts in history.

How it was done Colourist Colin Peters graded the series using Nucoda Film Master. His brief was to create a rich and naturalistic environment, using vignettes and grads to complement the stunning cityscapes and landscapes. Peters highlighted the richness of the artworks, further emphasising the beauty of the work of the painters, sculptors, poets, tailors and weavers that feature in the programme. Dubbing mixer Nick Fry mixed the audio with Pro Tools 10. Online editor Tam Osman finished the programme with Avid Symphony.

Watch it Wednesdays, 9pm, BBC4

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

Peirson-Hagger joins TSL as general manager TSL Systems has appointed Russell Peirson-Hagger (pictured) as general manager. He joins from Harris Broadcast, where he led the global bid management and project management teams. Peirson-Hagger will report to managing director David Phillips, who praised his “vast experience in leading highly effective engineering and sales teams to success”.

SMPTE makes series of board appointments The Society of Motion Picture and Television Engineers (SMPTE) has appointed a raft of new directors to its board. Standards 18 | Broadcast | 7 March 2014

consultant Bob Edge, Metaglue Corporation founder Oliver Morgan and Walt Disney Studios vice-president of production technology Howard Lukk were all appointed to serve as standards directors. Amberfin chief technology officer Bruce Devlin, Tektronix senior video systems engineer Karl Kuhn and technical standards consultant William C Miller will serve as membership directors.

C&W’s Crawford to head up Arqiva satellite operations Arqiva has appointed former Cable & Wireless exec David Crawford as managing director of satellite.

Chief executive John Cresswell said Crawford had “years of senior

strategic experience across key global markets”, and would build on the satellite operation’s recent expansion into Singapore and Hong Kong.

Ericsson given green light to buy Red Bee Media Ericsson’s proposed acquisition of Red Bee Media has been given the go-ahead by the Competition Commission. Ericsson counts ITV and NBC Universal among its clients, while Red Bee’s customers include the BBC and UKTV. The Competition Commission’s majority decision found that the merger was unlikely to weaken ITV’s position or have an adverse effect on the BBC.

London Live chooses Nikon DSLRs for news service London Live will use Nikon DSLRs for newsgathering and in its studios. Nikon’s D4 cameras will

be used in the local TV station’s news and interview studios, along with a robotic system (above) developed by Mark Roberts Motion Control. London Live journalists will use Nikon D800 devices for field-based newsgathering. Nikon said the cameras would give the channel “a fullframe 35mm cinematic effect”.

BDA builds TV studio for bookmaker William Hill BDA has completed work on William Hill’s £1m broadcast facility at its offices in Leeds. The studio, which also houses green www.broadcastnow.co.uk

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

Clear Cut adds to capacity with Station Post buyout

BY GeorGe Bevir

Clear Cut Pictures has acquired central London facility Station Post. The latter’s Bloomsbury site joins Clear Cut’s Shepherd’s Bush facility and its Newman Street base, taking the total number of edit suites operated by the company to 60.

Clear Cut managing director Scott Holmgren said the post firm’s clients had been “crying out” for more capacity in W1 and the deal will allow the company to increase the amount of factual work it takes on. Holmgren said: “This purchase means we can increase the client base, while taking on more projects both in number and scale.”

He added that Clear Cut is also keen to take on more film, corporate and commercial projects.

Station Post’s recent credits include offline, online, grade and audio for Channel 4’s The World’s Weirdest Weather and Sky Living’s Ladyboys 2. Station Post managing director Phill Clarke has left the

screen facilities, will broadcast a minimum of 50 hours of live TV programming each week, including a Cheltenham Festival preview, which will be streamed on William Hill’s website, mobile and social media platforms.

Weirdest Weather: Station Post worked on doc presented by Alex Beresford

company but all other staff have transferred to Clear Cut, with facility manager Jenny Field continuing to run the Bloomsbury site.

Station Post spans three buildings and comprises 22 suites, including 10 Media Composer suites for offline editing, an Avid Symphony for online work, a Baselight grading suite, a GFX and VFX studio, and two Pro Tools suites with a voiceover booth.

More offline stations will be added and a fibre connection to link all three locations will be installed, which Clear Cut said would allow for 70 ingest stations for overnight bookings.

Holmgren did not rule out further acquisitions. “If an opportunity is presented to us, we would consider it, but for now we are working on integrating the building [with our other sites].”

Atomos unveils HDMI Ninja Blade recorder and monitor

cameras”. The Ninja Blade is available for £595.

Atomos has launched a cameramounted recorder and monitor.

The HDMI Ninja Blade (below) features a 1280 x 720 touchscreen

Doghouse turns to Digital Garage for extra 64TB

Panasonic to launch two Varicam models at NAB Panasonic will introduce a 4K version of its Varicam at NAB next month. The camera was unveiled as a prototype at NAB 2012. It incorporates a newly developed super 35mm MOS image sensor.

Another 2/3-inch Varicam with high-speed 1080p image capture at up to 240fps will also be launched in Las Vegas. Both new models have separate camera heads that dock with the recording module, enabling users to switch between super 35mm and 2/3-inch. They also include Panasonic’s AVC-Ultra family of advanced video codecs. www.broadcastnow.co.uk

that is calibrated to Rec 709 and can record 10-bit images from the camera sensor to HDD or SSD drives. Atomos founder and chief executive Jeromy Young said the device delivered “fantastic, professional-grade monitoring functionality and recording codecs straight from the multitude of DSLRs, mirror-less and HDMI video

Bristol’s Doghouse Post Production has added 64TB of Avid Isis 5500 storage to its Belgrave Road facility, giving it a total of 200TB. Digital Garage was appointed to perform the storage install in preparation for the 2014 series of Gardeners’ World, which goes into post-production this week. Doghouse owner Jules Barton Hill said: “This latest installation is part of an expansion that will also see the addition of two more edit suites in the next couple of months.”

Video Europe ships kit to West Indies for cricket tour Video Europe is supplying the broadcast equipment for the Ten Sports cricket production of the

Look Listen Experience to kick off in Glasgow Broadcast’s Look Listen Experience roadshows begin in Glasgow next week, with kit demonstrations from top manufacturers and seminars on the latest production and postproduction techniques.

Serious Facilities managing director Simon Cull and Savalas managing director Kahl Henderson will discuss the state of the postproduction sector in Glasgow, while DoP Jonathan Harris will deliver a session about lighting on the run.

Earlier in the day, Shed Media production executive Margaret Scott and post-production supervisor Martin Coyle will be joined

by DoP Oliver Cheesman to talk about the production and postproduction processes used on BBC1 drama Waterloo Road.

The roadshows, hosted by Broadcast in association with Visual Impact and Root6, visit Glasgow on 11 March, Salford on 13 March, Bristol on 18 March, Cardiff on 20 March and London on 25 March. Exhibitors include Panasonic, JVC, Cirro Lite and Adobe. ➤ For more information, visit looklistenexperience.com

England tour of the West Indies.

Ten tonnes of equipment was shipped to Antigua for the 15-camera set up, including Sony HDC-2500 system cameras, EVS XT3 video servers and Canon XJ95 lenses. The matches will be broadcast on Sky Sports.

Root6 bolsters sales team Richard Hayter-Gare has joined the sales team of Root6 in a newly created business development role.

He joins the Soho-based reseller and integrator from ERA, where he served as sales and account manager. Root6 director Rupert Watson said: “I have known and admired Richard for some time, so when the opportunity of adding him to our sales team presented itself, I seized it immediately.”

In addition to selling the Root6 portfolio, Hayter-Gare will specialise in PixIT network and storage solutions.

7 March 2014 | Broadcast | 19

Creative Scotland

Flying the flag for Scotland Representatives of Scottish film and TV came down to London last week for a drinks reception at Kettners with some of the capital’s top production, post and facilities firms

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www.broadcastnow.co.uk

PHOTOGRAPHY BY JEREMY ENNESS

In association with

Who’s who

In pictures (left to right) 1 Chris Curtis, Broadcast editor 2 Joanna Clements, Editworks; Phil Mews, Procam; Victoria Finlay, Editworks & Halo 3 Rosie Ellison, Edinburgh Film Office; Stuart Burrage, Airborne TV

3

4 Elizabeth McIntyre, Discovery Networks International; Murray Ferguson and Wim de Greef; Clerkenwell Films

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5 Sally Hibbin and Bruce Abrahams, Foundation TV 6 Mark Brownlie and Lucy Cooper, the Foundry; Kevin Phelan, Phelan Good; Carola Ash, Capa Pictures 7 Jennifer Burgis, Clearcut Pictures; Eileen Byrne, Visual Impact Scotland; Anna Rathband, National Trust of Scotland 5

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8 Shriya Patel and Stephanie Eccles, Ecovis Wingrave Yeats; Rachel Tracy, White Rabbits Films 9 Helen Alexander, Warner Bros De Lane Lea; Sarah Mackey, UK Screen Association; Jennifer Burgis, Clearcut Pictures 10 Brian Wood, director; Andy Harris, designer; Sylvia Kasel, Iris Productions; Iain Brown, Brown Film 11 Catherine Gosling Fuller, Utterly Lovely Productions; Sarah Mackey, UK Screen Association

11

12 Louise Harris, Creative Scotland; Sonya Watts, British Film Commission 13 Hamish Allison and Tamsin Ansell, Freakworks 14 Bruce Webb, Whatever Pictures; Victoria Richards, production designer 15 Mark Lo, Asylum Giant; Ben Gosling Fuller, Utterly Lovely Productions

15

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7 March 2014 | Broadcast | 21

Comment

We had to be ready to shoot at any second because the doctors weren’t going to wait for us to catch up Dov Freedman, Behind the Scenes, page 28

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22 | Broadcast | 7 March 2014

Rising above the inner circle If television is to remain fresh, don’t stifle creativity, says Dynamo

E

ver since Paul Daniels left our screens, people have been trying to reinvent magic on television. But in the process, they made the mistake of trying to be too clever and change it too much.

That’s made the audience cynical, looking for trickery and deceit.

In some ways, what’s happening to magic could be seen as a predictor for the TV industry as a whole. For too long, it’s been in the hands of a small group of professional people who think they should have the last word on what works on television and what doesn’t.

When I started trying to get onto TV, I was always being told the ideas I had wouldn’t work, that I needed to think of a different format and get a more professional team. Walk on water across the Thames? Don’t be ridiculous, they said, it’s never going to happen.

Well, I’ve wanted to do that since I was 11 – I wasn’t going to be deterred by a bunch of high-powered suits.

From the start, I’ve had a vision in my mind of how I want my magic to be perceived. Because I couldn’t get anyone in TV to listen, I had to do it my own way: getting my friends to film me, learning as we went how to get the effects we wanted. Being forced to take the outside curve turned out, in the end, to be the best route to success, and the TV companies ended up coming to me.

Social media was my only outlet in the early days, when I got a start-up loan from the Prince’s Trust and bought a camcorder and laptop. As videos in which people interviewed celebrities were big on YouTube, I thought if I could get to meet celebrities on one of their press junket days and surprise them by doing magic tricks, I’d have some great footage to post.

When my tricks on celebrities got millions of hits on YouTube, at last I was noticed by the television people, but they still wanted me to do things their way. I stuck to my vision. At one point, thinking it was time I graduated to doing things more professionally, I did try hiring a proper cameraman, but I found the magic came across better if I worked with a friend who knew my style and how I liked to do things.

It took six or seven years of hard graft but perseverance paid off and the right sort of deals started to come through. By then, I had a great team of creative people behind me, and I thought ‘now I’ve come this far, what’s the point of paying a production company to make the shows?’ So I set up my own, Inner Circle Films.

It takes courage and persistence to stick to what you think is right when everyone else is telling you that you know nothing. But that’s what creativity is all about: having the confidence to stick to your vision. A few years ago, none of that would have been possible.

But the rise of social media has opened these closed worlds to outsiders.

We’re looking at a future in which television will no longer be run by an inner circle – we can become the inner circle, we can keep artistic control, we can be the future. That’s what will keep television fresh and powerful… and magical. ➤ This is our second edited extract from 2024: The Future of Television, a book edited by UKTV chief executive Darren Childs. It is available to download from www.corporate.uktv.co.uk

‘Creativity is about having the confidence to stick to your vision’

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Bringing a Western eye to Georgia’s news Launching a show in Eastern Europe has been an eye-opening experience for Alice Morrison

L

aunching a substantially different news programme in Georgia, in the middle of a nascent civil war in nearby Ukraine, is quite something.

Broadcaster Maestro TV called in our little gang of four – three editorial and one HR – to work on developing a killer 9pm news programme and an improved daily news and current affairs offering around it.

Maestro is a small but highly regarded, privately owned commercial channel. Commercially sustained by popular Turkish soaps, Maestro’s news punches way above its weight, coming a regular third – and sometimes second – in the ratings.

The relationship between Georgia’s government and journalists is combustible.

Even in the short time I was there, Maestro was publicly chastised by both the current prime minister and his predecessor for its line of questioning.

www.broadcastnow.co.uk

Maestro is seen as an unbiased champion of fair reporting; during the previous administration, it did not flinch from highly critical reports on government activities and gave the opposition airtime. This cost it dear. Two of its rivals received large dollops of government aid, while the parents of some Maestro interns were threatened with dismissal from their government jobs. The owner was barricaded into one floor of the building for several days but continued to broadcast reports that were hoisted up and down by rope.

This hardship has served to foster an unshakeable sense of identity and pride. From the cleaners to the head of news and co-anchor Nino Zhizhilashvili, everyone values Maestro’s editorial independence and reputation for representing the people and asking the difficult questions.

‘The parents of some Maestro interns were threatened with dismissal’

TV news in Georgia is much more politicsled than in the UK. An average bulletin may have 25 minutes of news in which the only pictures are suited and booteds going into and coming out of meetings, interspersed with soundbites. Packages are never repeated and most of the news is gathered that day.

Timing is infinitely flexible. Want 15 more minutes? No problem. But presentation might call the gallery with five minutes to go for 55 minutes rather than 25. We’re trying to get more exclusives and social agenda items into the news, to make packages and bulletins pacier and to relax the daytime bulletin presenters’ rapid-fire, stern-demeanoured delivery.

The aim is to make the 9pm show an indepth political and social round-up of the day’s events. If the two hosts can bring a percentage point of ratings with them, Maestro will be nearly there. ➤ Alice Morrison is director at AMO Media Associates. For a longer version of this piece, visit www.broadcastnow.co.uk

7 March 2014 | Broadcast | 23

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Margaret Scott and Martin Coyle reveal tales from behind the scenes of the award-winning BBC1 schooldrama series.

Insight into the production challenges, innovations and developments of Coronation Street’s move to a new site.

VFX supervisor, Murray Barber joins series producer, Marcus Wilson and post- production supervisor Nerys Davies to give a behind-the-scenes look into the cutting-edge visual effects of Doctor Who.

Fixed-rigged productions offer a new way of capturing real-life action without using an intrusive camera crew.

The Garden discusses filming challenges, engineering highlights and the new techniques.

HIGHLIGHTED SPEAKERS

NEW SPEAKER

Marcus Wilson Series producer Doctor Who

Nick Curwin CEO The Garden

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Murray Barber VFX supervisor Milk

Andie Clare Director of production Icon Films

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Niels Stevens Adobe TV

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David Williams Post production supervisor ITV

Alison Lewis Production executive Blakeway North

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David Klafkowski Managing director and technical director The Farm

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Glasgow 11th | Manchester 13th | Bristol 18th | Cardiff 20th | London 25Th

Masterclass FREELANCER TRAINING

How to move your career forward What are your career options as a freelancer? The BBC Academy’s Lucy Hooper puts the spotlight on new training schemes to hone existing skills and ease the move into new areas of production

“T

here’s a mini gold rush for British TV right now,” declares executive producer Fiona Pitcher.

“It’s great for business, but everyone’s in a rush – to create the next show, to get to the next level, and to keep to tighter schedules and budgets. That leaves little or no room for training.”

Pitcher spent 12 years in the BBC’s Natural History Unit creating primetime hits such as Springwatch. As well as continuing to make programmes, Pitcher, now freelance, delivers training herself.

“In the freelance world, training off the job can be seen as a dispensable luxury,” she

1 STORYTELLING In partnership with DV Talent and the Indie Training Fund, the BBC Academy is opening up its storytelling training, led by Hazel Marshall and Frank Ash. “Story is the best way to engage an audience with your idea,” says Ash. “These courses range from a half-day introduction to the universal elements of a story, to two-day courses focusing on both short- and long-form documentary. The aim is not only to introduce programme-makers to a set of key rules, but to push the story to the heart of every production.”

And this applies beyond traditional notions of storytelling, says Natural History Unit head Wendy Darke: “Great natural history storytelling that combines imagery, narration and sound design, that has the ability to captivate both the heart and mind, is the key to its success. Natural history storytelling takes inspiration from the very best comedy, drama, entertainment and other factual genre story areas.

“Training is an essential part of each of us becoming better story26 Broadcast | 7 March 2014

says. “It’s tough on people coming into the industry to have to learn publicly from their mistakes. It’s also expensive: every extra week of an edit because you’ve had to pull sequences for technical, legal or compliance reasons, or because the storytelling was never there, usually adds £4,000. Add up a few of those and you’ve bought yourself a lot of training.”

Thanks to funding from Creative Skillset and the Department for Culture, Media and Sport, the BBC Academy plans to offer freelancers a series of training initiatives that address recognised skills shortages either for free or at reduced cost.

tellers as it allows us to learn from past experiences. In the NHU, we have worked with talented storytellers in the BBC Academy who are fantastic at sharing their knowledge and helping us all to refine our skills in the art and craft of natural history storytelling.”

Darke’s sentiments are echoed by BBC director of television Danny Cohen. “Whatever the format, whatever the genre, knowing how to tell a great story is vital,” he says. “I hope this initiative means every freelancer – whether a craft or editorial professional – will be able to get themselves on one of these storytelling courses around the country.”

2 CREATIVE LEADERSHIP There is huge pressure to generate creative ideas and output. Linda Green established the BBC’s highly acclaimed Creative Leadership Programme, from which many senior leaders within the BBC have graduated.

One-day creative pop-ups will offer “top creative thinking tools that have been tried and tested through major creative projects,

Clockwise from main pic: TV crew; BBC’s Lisa Ausden on the set of Lambing Live; Stargazing Live hosts Brian Cox and Dara Ó Briain

and have led to ground-breaking idea development,” promises Green.

“These new ways of working can mean the difference between an idea making it on screen or in the marketplace, and an idea not even making it out of the meeting room.”

3 LIVE FACTUAL EVENTS

‘I hope every freelancer will be able to get onto one of these storytelling courses around the country’ Danny Cohen

Meanwhile, Pitcher will be running a four-day course aimed at creating a wider pool of series or day producers to make live factual events created on location.

Lisa Ausden is the BBC’s creative director, consumer and live programmes, a department whose hit live shows include Lambing Live and the original series of Stargazing Live.

“For Lambing Live, the human narrative is as important as that of the animals, so we start filming the summer before the series, to tell the story of the sheep farming year through our featured family,” she says.

“The series producer will be thinking about how and where to weave this ob-doc narrative into the live shows. And when it comes to the live event, our ‘precinct’, the lambing shed, www.broadcastnow.co.uk

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

FANCY A CHANGE? CAREER SHADOWING If none of these training options floats your boat, the launch of a new industry-wide career-shadowing programme in sought-after genres and departments offers a chance to try your hand at another job.

Moving to a different part of the industry can be tough as freelancers won’t be considered for a new position without the relevant experience and contacts. But how do you get the expertise if no one will give you a break? This is where the Career Shadowing Scheme, in partnership with the RTS, comes in: 30 freelancers will receive a £1,000 bursary and spend two weeks getting to know a different job, exploring whether a career move is for them.

BBC Academy exec Sarah Wood says: “It will hopefully be careerand maybe even life-changing for those selected. Freelancers often feel that training opportunities aren’t shaped with them in mind, but this scheme is just that.”

is where the life and death drama plays out.”

These are extraordinarily complex productions, she says, with a team of 70-80 on location. And after the first show transmits, there is no relaxing.

“The series producer has to judge and juggle an influx of viewers’ comments and questions, which may be addressed in the next show. Add to that any action that’s happened and been filmed overnight, plus the tweaks and views of the channel or commissioner.

It’s such a diverse role.”

4 HIGH-END CRAFT The skills gaps aren’t restricted to editorial roles.

There’s a recognised shortage of high-end craft skills, perhaps a result of the concentration on multi-skilling over the past few years.

Sound, in particular, is under scrutiny, with TV audio improving www.broadcastnow.co.uk

all the time, says Simon Bishop, chairman of the Institute of Professional Sound. “The listeners are becoming more discerning, and we have to raise our game to satisfy them.”

Studio sound, lighting, camera and vision mixing are all covered in five-day courses.

5 STUDIO

COMEDY

Comedy is enjoying a boom period across all broadcasters, and nowhere more so than in the north of England, so there’s a need for the craft workforce – currently skilled in live studio in front of audiences and multi-camera studio drama – to develop the particular skills that sitcom requires.

The BBC Academy is partnering with Dock10 in Salford, home to sitcoms such as Citizen Khan (left), to give experienced studio craft freelancers in the

North the chance to hone their skills. Delegates will have the chance to record a programme in front of a live studio audience for the first time, using professional artists and a new sitcom script from comedian Justin Moorhouse.

Perfect timing

‘In the freelance world, training off the job can be seen as a dispensable luxury’ Fiona Pitcher

These courses come at just the right time for an expanding TV industry. Learning on the job is undoubtedly a great way of developing skills, but the benefit of good training cannot be underestimated. It offers people the chance to develop and hone new skills in a safe environment with zero risk, instilling confidence that staff can be taken back into production.

For more information, contact the BBC Academy. Advisers are available to help 9am-5pm Monday to Friday.

Email: bbcacademy@bbc.co.uk Or visit: www.bbccacademy.com Calling from the UK: Tel: +44 (0)370 010 0264 Fax: +44 (0)370 010 0265 All training is free or offered at less than 10% of cost 7 March 2014 | Broadcast 27

Behind the Scenes AN HOUR TO SAVE YOUR LIFE

The drama of the golden hour The first hour after a medical emergency is a crucial time when lives can be lost or saved. But it took an iron will to stick to our unique proposition, say Patrick Holland and Fiona Caldwell AN HOUR TO SAVE YOUR LIFE

Product company Boundless TX Tuesdays, 9pm, from 4 March, BBC2 Length 3 x 60 minutes Commissioner Tom McDonald Executive producers Fiona Caldwell; Patrick Holland Series producer Dov Freedman Producers/directors Tom Currie; Jamie Seal; Matthew Smith; Martin Webb Post house Envy Programme summary Series following the stories of three patients minute by minute, as frontline medical staff battle against the clock to treat their injuries.

Patrick Holland and Fiona Caldwell Tricks of the trade ■ Patience is key. We got

consent for some of our best stories after giving people space to come to their own decisions.

■ Be honest and open.

This was all about building trust and keeping it.

■ Document everything. No one can remember what they said six months ago.

■ Good editors are worth their weight in gold.

■ Most problems can be solved with gritted teeth and a bit of hard work.

28 | Broadcast | 7 March 2014

Patrick Holland Fiona Caldwell Managing director, Executive Boundless producer

W

e were talking with consultants at the London Chest Hospital about the remarkable survival of the footballer Fabrice Muamba. He had arrived at the hospital after collapsing during a game at White Hart Lane, and was kept alive by CPR. We learned that what was being portrayed in the media as a miracle was actually something that happened on a weekly basis for Londoners suffering heart attacks and cardiac arrest.

The chances of surviving a cardiac arrest have doubled for patients in London over the past five years because a quiet revolution has been taking place in the way the most critically ill patients are responded to.

The first hour of care is critical.

Ambulances are told to bypass local A&Es and head straight to specialist centres like the London Chest Hospital. There are fast-response cars, manned by specialist doctors. The hospital itself has a dedicated A&E, where doctors perform major emergency heart interventions outside of the operating theatre. The lessons are the same in major trauma cases: get expert treatment to the patient as

quickly as possible, and then take them to a specialised centre.

As producers, our question was: how could we follow what happens in the crucial first 60 minutes of care?

How could we show the vital decisions and interventions – ones that could make the difference between life and death?

We discussed it with the commissioning team at BBC Science. This was a science story, and the decisions being made were at the cutting edge of medicine. If we could follow the

‘We wanted the audience to understand the decisions and dilemmas of the clinicians. It was the drama of the story’ crucial first hour of emergency care from the point of view of the clinicians who venture out into the field, we could show the audience the extraordinary range of dilemmas and decisions they face.

There were huge logistical challenges. To have any hope of following these extraordinary interventions, we would need access to myriad organisations. We had to be on the shoulder of the trauma consultant as they received the emergency call, and in the specialist reception hospital, where the most challenging cases would be taken.

We sought access to three major hospital trusts across the UK, and to the specialist helicopter and car units that served them. We needed to be in all the right places if we could have any hope of telling the story. Capturing that first golden hour of care was the programme’s unique proposition.

Focusing our resources on just that first hour, rather than following interesting stories that developed outside of this framework, required

an iron will. However, as a result of this rigour, I believe the series has a unique focus, telling the medical story of emergency care in ways other series haven’t been able to.

We made the decision early on that we needed to foreground the medical science. In many medical documentaries, the actual medicine becomes an unintelligible background noise while the more understandable and relatable human story plays out. We wanted the audience to understand the decisions and dilemmas of the clinicians from their point of view.

This was the drama of the story.

Life-or-death decisions For example, in episode one, Rumen suffers major trauma after being hit by a car. When MJ, the specialist trauma doctor, arrives she has to decide whether to intervene or get him to hospital as soon as possible. To understand her dilemma you need to understand the science: Rumen could be bleeding internally. If he has been bleeding but a clot has stemmed the flow, moving him could dislodge the clot and he could bleed to death. But stabilising him on the scene means paralysing him and taking over his breathing, which is a hugely risky procedure (as anyone who has had a general anaesthetic in the more controlled environment of a hospital will know).

These medical decisions were the drama of the stories, so we interviewed the clinicians after the event about exactly what was going on and why they did what they did.

The stories told in An Hour to Save Your Life are by their nature dramatic.

As far as possible, we tried to give a 360-degree picture of each patient’s story, showing the crucial handovers and continued questioning, examination and treatment that goes into saving people at the very edge of life.

The way we have made the films has been to bring these most extraordinary of dramas into people’s living rooms so they can grasp the decisions being made. It has been a very humbling experience. www.broadcastnow.co.uk

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

Air Ambulance: patient arrives at the Royal London Hospital

AN HOUR TO SAVE YOUR LIFE TIMING IS EVERYTHING Dov Freedman Series producer

Top down: Dr MJ Slabbert swings into action; Dr Slabbert at the scene of an emergency; Lincs & Notts Air Ambulance crew; hospital staff

www.broadcastnow.co.uk

We wanted to be able to capture the first hour of a patient’s story from the moment a doctor arrived on the scene, and follow the chain of care seamlessly through to A&E and beyond. The drama of the situations our producer/directors found themselves in unfolded very quickly, so we had to work out how best to deploy our teams to cover each stage of the patient’s journey.

We had a PD to cover the unfolding story at the roadside, who would hand over to another PD based at the hospital. We had to be ready to move and shoot at any second because, faced with time-critical life or death injuries, the doctors weren’t going to wait for us to catch up.

As well as shooting on the Canon XF305 (pictured), we used the GoPro Hero Cam 3 because of its inbuilt wi-fi. We mounted the GoPros wherever we could – as bodycams on our lead clinicians, around the Resus beds, inside the helicopter. The PDs were able to switch them on and off remotely, meaning we could operate discreetly without interrupting the lifesaving work of the doctors and paramedics.

We developed a communications system with our lead clinicians. Our PDs had to hang back on arrival at the scene while the clinicians made a decision about whether we could film.

If it was a yes, they would tell the PD over their radio mics, so they could then start the GoPros recording immediately while they got ready to follow with the XF305.

All our cameras were synched at the start of each shift so we could forensically unpick

each story in post, moment by moment – essential when interweaving each patients’ real-time narrative.

We did time-and-motion-type studies of the pathways that patients followed through our hospitals. We gathered statistics on the number of helicopter callouts per day, the number of serious traumas, cardiac arrests and strokes. We even worked out what times of day and year there were likely to be more callouts in each of our locations: Nottingham, Birmingham and London.

It all sounded good on paper but, of course, the reality was very different. Some days, the helicopter didn’t fly at all or was suddenly sent off for servicing. Then there’d be four callouts in a row, stretching our resources to the limit. And it was impossible to predict how each story would unfold.

Sometimes we filmed four or five stories in a day and none of them made it into the edit because of consent issues or the serious nature of the injuries. It was stressful for our PDs, and sometimes disappointing that a huge effort had gone into gathering stories that, in the end, we couldn’t use.

In the edit, the first hour of each of our stories was laid out in a detailed timeline and we worked out on paper how to cut between them to capture the most dramatic moments while staying true to the ticking clocks.

We were aiming to capture some specific scientific innovations and treatments in emergency medicine, which, alongside the logistical difficulties of filming and the constraints of the clock, made life difficult. But the tight focus on medical decisions being made against the clock has given the series a rigour and drama that feels unique.

7 March 2014 | Broadcast | 29

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Appointments

To advertise here, contact Hannah Grix on 020 3033 2889 email hannah.grix@broadcastnow.co.uk

DCS Sales Executive

“I want to let you know how delighted we have been with the response to the recruitment advertisements we have recently been running in Broadcast.

As you know we do not typically need to advertise, but we had to fill numerous roles pretty quickly. These roles were varied and outside our normal area of expertise and knowledge. The responses came in thick and fast and the vast majority were of a very high quality. We have now filled most of the roles with people who applied to the advertisements in Broadcast”.

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Pinewood Studios is looking for an exceptional sales person to drive its Post Production business and help realise its full potential as a resource to the UK media industries including Television, film, commercial and games.

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WE’RE HIRING

Lead Resource Manager Timeline TV are seeking an experienced Resource/Studio/Engineering Manager to lead the planning and delivery of Resource solutions to Productions at the BT Sport Hub in iCity, Stratford.

Timeline’s Managed Service team run the facilities on a 24/7 365 days operation for BT Sport. The Lead Resource Manager is a core role in this team and will be responsible for forward planning, customer liaison, quoting, and ensuring delivery of appropriate technical and crewing solutions. They will also contribute to the continuous improvement of the business division as it evolves to match BT Sport’s development.

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BROADCAST IS GROWING AND WE HAVE A NUMBER OF EXCITING ROLES TO FILL ACROSS THE BUSINESS.

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7 March 2014 | Broadcast | 31

Ratings Mon 24 Feb – Sun 2 Mar

BBC puts ITV up the Creek Return of detective drama hits ITV’s Edge Of Heaven but DCI Banks gets the better of Silk

BY Stephen price

The fear of all middle-managers is the dreaded call to attend an executive training course involving role-playing.

I remember one set in a hypothetical lifeboat with six hypothetical survivors with only enough food for five. The dilemma: which of the survivors had to sacrifice themselves, hypothetically, for the rest to make it? It was all going smoothly as a volunteer was chosen and the pub beckoned – until someone (possibly me) demanded a democratically accountable system rather than just ‘you’ll do’.

I was reminded of this at 9pm on Friday, when ITV found itself, almost literally, up a creek with barely enough people to argue over whether to censure the clown who’d forgotten the paddle. Meanwhile, BBC1 had some kind of non-soapy drama every day and Saturday’s lofty battle between Kylie and Ant & Dec got interesting.

On Monday, BBC1’s Silk returned for a third series with 4.7 million/ 19%, behind 2012’s series live average (4.9 million/21%; all but one episode on a Tuesday) but in a tougher slot. Opposite was ITV’s DCI Banks on 4.5 million/19%, which needed its 409,000 +1 to win.

Over on Channel 4, One Born Every Minute returned with 2.3 million/10% (374,00 +1).

ITV’s coverage of Olympiakos V Manchester United’s Champions League tie on Tuesday averaged 4.9 million/21% (50,000 +1) from 7.30pm. Opposite, BBC1’s best was EastEnders (7.3 million/33%), followed by Holby City, which delivered 4.8 million/21% from 8pm.

32 | Broadcast | 7 March 2014

BroadCasT/BarB Top 100 neTwork programmes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 40 42 43 44 45 46 47 48 48 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Call The Midwife Coronation Street Coronation Street Coronation Street Coronation Street EastEnders EastEnders Coronation Street Emmerdale The Voice UK EastEnders Ant & Dec’s Saturday Night Takeaway Countryfile Emmerdale Emmerdale Death In Paradise EastEnders Jonathan Creek Emmerdale Emmerdale Dancing On Ice Inspector George Gently BBC News At Six BBC News At Six BBC News At Six BBC News At Six BBC News At Six The National Lottery Live BBC News Casualty BBC News At Ten Top Gear The One Show Pound Shop Wars Champions League: Olympiakos V Man Utd DCI Banks BBC News At Ten Holby City The One Show BBC News At Ten Mr Selfridge The Musketeers Silk BBC News BBC News At Ten BBC News Pointless Celebrities All Star Family Fortunes Dancing On Ice: The Results The One Show

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

20.00 19.30 19.30 20.30 19.30 20.00 19.30 20.30 19.00 19.00 20.00 19.00 19.00 19.00 19.00 21.00 19.30 21.00 19.00 18.45 18.15 20.30 18.00 18.00 18.00 18.00 18.00 21.10 22.00 21.20 22.00 20.00 19.00 20.00 19.30 21.00 22.00 20.00 19.00 22.00 21.00 21.00 21.00 18.05 22.00 22.10 18.15 19.45 20.30 19.00

8.93 8.51 8.34 7.97 7.92 7.50 7.25 7.15 7.00 6.95 6.90 6.87 6.76 6.72 6.60 6.51 6.40 6.33 6.26 5.85 5.68 5.60 5.49 5.40 5.38 5.29 5.25 5.19 5.18 5.15 5.12 5.10 5.02 4.99 4.93 4.91 4.85 4.82 4.80 4.76 4.76 4.68 4.66 4.63 4.61 4.57 4.52 4.49 4.49 4.36

32.85 38.28 38.84 33.86 37.35 32.15 32.93 31.45 33.24 30.40 31.15 29.78 28.73 33.38 33.12 27.19 29.19 29.18 29.91 28.03 25.21 24.61 29.70 29.92 30.59 29.53 28.89 24.60 26.35 25.17 28.78 18.77 24.01 23.66 21.07 20.39 27.11 20.48 22.78 25.75 20.29 19.95 19.37 22.72 25.42 24.51 24.13 17.30 16.35 21.26

BBC1/Neal Street Productions ITV ITV ITV ITV BBC1 BBC1 ITV ITV BBC1/Wall to Wall BBC1 ITV BBC1 ITV ITV BBC1/Red Planet Productions BBC1 BBC1 ITV ITV ITV BBC1/Company Pictures BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC 2 BBC1 BBC1/Nine Lives Media ITV ITV/Left Bank Pictures BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1/Remarkable Television ITV/Thames ITV BBC1

Figures include HD and +1 where applicable

Jonathan creek

Silk www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 56 56 58 59 60 61 62 63 64 65 66 66 66 69 70 71 72 73 74 75 76 77 78 79 80 81 81 83 84 85 86 87 88 89 89 91 92 93 94 95 96 97 98 99 99

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Outnumbered BBC News At Ten The One Show Match Of The Day Mrs Brown’s Boys Inside Out The One Show The Cube Midsomer Murders ITV News & Weather A Great Welsh Adventure... Griff Rhys Jones Pointless The Graham Norton Show ITV News & Weather Pointless Blandings Pointless Pointless ITV News & Weather Pointless ITV News & Weather The Chase Room 101 The Chase The Chase ITV News & Weather The Chase The Chase Pointless Celebrities Europa League: Spurs V FC Dnipro Dragons’ Den Waterloo Road BBC News BBC News At One ITV News & Weather A Question Of Sport University Challenge Student Nurses: Bedpans And Bandages BBC News At One BBC News At One BBC News At One One Born Every Minute You’ve Been Framed! Best Of The Best Question Time The Great British Sewing Bee BBC News At One ITV News & Weather The Jonathan Ross Show Traffic Cops Match Of The Day 2

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

21.00 22.00 19.00 22.30 21.30 19.30 19.00 20.20 20.00 18.30 20.00 17.15 22.35 18.30 17.15 18.30 17.15 17.15 18.30 17.15 18.30 17.00 20.30 17.00 17.00 18.15 17.00 17.00 17.15 19.45 21.00 20.00 17.55 13.00 18.00 19.30 20.00 20.00 13.00 13.00 13.00 21.00 18.00 22.35 20.00 13.00 22.00 21.20 22.35 22.25

4.33 4.28 4.27 4.15 4.14 4.08 4.08 4.05 4.00 3.93 3.91 3.82 3.80 3.78 3.77 3.75 3.75 3.75 3.72 3.67 3.66 3.63 3.61 3.48 3.44 3.43 3.40 3.34 3.32 3.31 3.23 3.23 3.16 3.09 3.08 3.04 2.94 2.90 2.83 2.83 2.75 2.70 2.67 2.66 2.57 2.54 2.50 2.46 2.44 2.44

18.43 23.95 21.20 29.44 18.34 18.38 19.85 18.11 18.01 19.71 16.76 25.08 28.02 19.39 24.89 17.15 24.92 24.87 19.70 25.12 19.11 24.79 15.88 23.92 24.58 18.25 23.59 23.07 17.87 15.02 13.78 15.10 19.63 42.77 15.52 14.17 12.60 13.10 40.75 39.62 39.78 11.21 14.66 23.39 10.94 39.34 12.73 12.17 20.61 19.17

BBC1/Hat Trick Productions BBC1 BBC1 BBC1 BBC1/Boc-Pix/RTÉ BBC1 BBC1 ITV/Objective Productions ITV/Bentley Productions ITV/ITN ITV/Modern Television BBC1/Remarkable Television BBC1/So Television ITV/ITN BBC1/Remarkable Television BBC1/Mammoth Screen BBC1/Remarkable Television BBC1/Remarkable Television ITV/ITN BBC1/Remarkable Television ITV/ITN ITV BBC1/Hat Trick Productions ITV ITV ITV/ITN ITV ITV BBC1/Remarkable Television ITV BBC2 BBC1/Shed Productions BBC1 BBC1 ITV/ITN BBC1 BBC2 ITV/Twofour BBC1 BBC1 BBC1 C4/Dragonfly Film & TV ITV BBC1/Mentorn BBC2/Love Productions BBC1 ITV/ITN ITV/Hot Sauce BBC1/Folio BBC1

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

Student nurses: Bedpans And Bandages www.broadcastnow.co.uk

One Born every Minute

Death In Paradise averaged 6.5 million/27% at 9pm.

On Wednesday, ITV’s Midsomer Murders’ repeat achieved 3.8 million/17% (206,000 +1) from 8pm. It was too much for BBC1’s Waterloo Road (3.2 million/15%) but Outnumbered rode to the rescue at 9pm (4.3 million/18%), as did a Mrs Brown’s Boys repeat at 9.30pm (4.1 million/18%).

The finale of BBC1’s Inspector George Gently at 8.30pm on Thursday was this series’ best on 5.6 million/25%, following Pound Shop Wars, which averaged 5 million/24% at 8pm. ITV’s Europa League coverage of Tottenham V

‘The Voice UK has helped BBC1 be much more competitive on Saturday nights’ Dnipro delivered 3.2 million/15% (106,000 +1) from 7.45pm.

On Friday, BBC1’s Jonathan Creek returned with a slot-barging 6.3 million/29% at 9pm, leaving the second episode of ITV’s comedy drama Edge Of Heaven with a rather jarring 1.8 million/8% (141,000 +1). ITV had slightly better luck with Student Nurses: Bedpans And Bandages, though this tumbled more than 1.5 million to 2.8 million/13% (117,000 +1).

On Saturday, the first of The Voice UK’s battle rounds averaged 7 million/30% across its 130minute slot for BBC1. From 7pm to 8.20pm, ITV’s Ant & Dec’s Saturday Night Takeaway achieved 6.4 million/28% (456,000/2%). Head to head, The Voice averaged 6.4 million/28% too; ITV+1 made the difference. Post Takeaway, The Voice leaped to 7.8 million/34%. After seeing off ITV’s Splash!, the show has helped BBC1 be much more competitive on Saturday nights; in the same week in 2013, BBC1’s Let’s Dance For Comic Relief achieved 4.5 million/20% at 7pm in overnights, beaten by ITV’s Takeaway with 6.7 million/30% (430,000 +1).

On Sunday, BBC1’s The Musketeers achieved 4.7 million/20% opposite ITV’s Mr Selfridge’s 4.5 million/19% (259,000 +1). Mr Selfridge is falling 1.3 million short of 2013’s average; The Musketeers’ January launch of 7.4 million/29% seems rather distant too.

See over for digital focus, plus channel and genre overviews 7 March 2014 | Broadcast | 33

Ratings Mon 24 Feb – Sun 2 Mar Channel Overview

Hastings wins battle of docs

BY Stephen price

Appositely, as sabres rattle in Eastern Europe, BBC2 played two programmes on the outbreak of the First World War. The Pity Of War, with my old professor and his withering gaze I remember so well, and The Necessary War. Elsewhere, the Dragons helped make BBC2’s Sundays strong.

Max Hastings’ The Necessary War achieved 1.6 million/6.5% on Tuesday at 9pm, beating C4’s The Taste (800,000/3%; 93,000 +1) and Channel 5’s The Mentalist (1.1 million/5%; 188,000 +1).

On Thursday, C4’s The Storms That Stole Christmas averaged 1.9 million/8% (378,000 +1), ahead of BBC2’s Jumbo: The Plane That Changed The World (1.3 million/5.6%) and C5’s The Hotel Inspector (1.1 million/5%; 126,000 +1).

BBC2’s The Pity Of War, with Niall Ferguson, achieved 1 million/ 5% on Friday opposite, incongruously, a repeat of C5’s Booze, Bust-ups And Brothels: Soho Blues, which matched the history doc’s figure before adding 86,000 on +1. C4’s 8 Out Of 10 Cats Does Countdown won the slot with 1.9 million/9% (330,000 +1).

On Sunday, BBC2’s Dragons’ Den finale achieved a series high of 3.2 million/13.8% at 9pm after Top Gear’s 5.1 million/19% at 8pm.

C4’s film Salt managed 1.2 million/6% (229,000 +1) at 9pm.

Source: BARB

Week 9 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 24.02.14 Peaktime share (%) w/c 25.02.13 yeAr TO DATe Average hours per viewer Audience share (%) Audience share (2013)

BBC1 5.98 20.01 25.08 22.23 BBC1 6.27 22.23 21.58

BBC2 1.44 4.15 7.29 7.77 BBC2 2.09 7.42 5.80

ITV1 4.16 15.02 20.13 20.39 ITV1 4.35 15.41 16.27

C4 1.49 5.66 6.03 6.22 C4 1.67 5.93 6.18

Day

Start

Viewers (m) (all homes)

Share %

34 | Broadcast | 7 March 2014

Total 26.00 100.00 100.00 100.00 Total 28.21 100.00 100.00

TOP 30 BBC2, CHANNel 4 AND CHANNel 5 Title

Broadcaster

1

Top Gear

Sun

20.00

5.10

18.77

BBC2

2

Dragons’ Den

Sun

21.00

3.23

13.78

BBC2 BBC2

3

University Challenge

Mon

20.00

2.94

12.60

4

One Born Every Minute

Mon

21.00

2.70

11.21

C4

5

The Great British Sewing Bee

Tue

20.00

2.57

10.94

BBC2

6

Food & Drink

Mon

20.30

2.30

9.78

BBC2

7

24 Hours In A&E

Wed

21.00

2.28

9.91

C4

7

The Storms That Stole Christmas

Thu

21.00

2.28

10.03

9

Line Of Duty

Wed

21.00

2.23

9.67

10

8 Out Of 10 Cats Does Countdown

Fri

21.00

2.19

10.09

11

Mastermind

Fri

20.00

2.17

9.81

12

The Hairy Bikers’ Asian Adventure

Thu

20.00

2.05

9.30

BBC2

13

The Restoration Man

Wed

20.00

2.02

9.41

C4

14

Can't Pay? We'll Take It Away!

Mon

21.00

2.00

8.32

C5

15

Kirstie’s Best Of Both Worlds

Tue

20.00

1.75

7.44

C4

16

Supersize vs Superskinny

Thu

20.00

1.61

7.30

C4

17

Dad’s Army

Sat

19.15

1.59

6.89

BBC2 BBC2

C4 BBC2 C4 BBC2

18

The Necessary War

Tue

21.00

1.56

6.52

19

Horizon: How You Really Make Decisions

Mon

21.00

1.50

6.23

BBC2

20

Permission Impossible: Britain’s Planners

Tue

19.00

1.47

6.85

BBC2

21

Strippers

Tue

22.00

1.46

9.06

C4

22

Mock The Week Looks Back... Science/Tech...

Sun

22.00

1.45

7.80

BBC2 C4

23

Grease

Sun

16.25

1.44

7.99

24

The Restaurant Man

Wed

20.00

1.40

6.54

BBC2

24

Grand Designs

Fri

20.00

1.40

6.23

C4

26

Salt

Sun

21.00

1.39

6.96

C4

27

Food Unwrapped

Mon

20.30

1.36

5.76

C4

28

Permission Impossible: Britain's Planners

Thu

19.00

1.34

6.32

BBC2

28

Darcey's Ballerina Heroines

Sat

20.15

1.34

5.94

BBC2

28

Jumbo: The Plane That Changed The World

Thu

21.00

1.34

5.89

BBC2

Figures include HD and +1 where applicable

Multichannel 37.88

C4’s Time Team Special: Britain’s Bronze Age Mummies fell short of the 1.6m Sunday 8pm slot average

Others 11.94 50.89 37.88 39.66 Others 12.68 44.94 46.11

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

DAyTIMe SHAre (%) w/c 24.02.14

PeAkTIMe SHAre (%) w/c 24.02.14

1.1m

C5 0.99 4.27 3.59 3.73 C5 1.15 4.08 4.06

BBC1 25.08

ITV1 20.13

C5 3.59 C4 6.03

BBC2 7.29

Multichannel 50.89

1.0m Niall Ferguson’s BBC2 WWI doc The Pity Of War was in last place at 9pm on Friday

BBC1 20.01

ITV1 15.02

C5 4.27

BBC2 4.15

C4 5.66

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 7 9 10

The Dumping Ground Topsy And Tim The Dare Devil Newsround Topsy And Tim Topsy And Tim Deadly Pole To Pole My Life: Born Lucky Newsround Jessie

top 10 factual proGraMMes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Fri Thu Thu Thu Tue Mon Thu Tue Fri Tue

17.30 17.30 16.30 8.15 17.30 17.30 7.45 17.30 8.15 16.55

237,000 226,000 208,300 206,500 205,900 200,900 198,400 198,400 196,600 196,400

14.65 12.06 13.23 16.70 11.86 12.49 15.74 11.23 15.89 12.10

CBBC CBeebies CBBC CBBC CBeebies CBeebies CBBC CBBC CBBC Disney Jnr

Title

1 2 3 4 5 6 7 8 9 10

Countryfile Top Gear The One Show Pound Shop Wars The One Show The One Show The One Show The One Show A Great Welsh Adventure...

Dragons’ Den

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Sun Tue Thu Mon Thu Fri Wed Mon Sun

19.00 20.00 19.00 20.00 19.00 19.00 19.00 19.00 20.00 21.00

6.76 5.10 5.02 4.99 4.80 4.36 4.27 4.08 3.91 3.23

28.73 18.77 24.01 23.66 22.78 21.26 21.20 19.85 16.76 13.78

BBC1 BBC2 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC2

➤ the dumping Ground rocketed to the top of the table after managing only ninth place last week. It topped a strong week for CBBC, which scooped up six places, three more than any other channel. Disney Junior posted a rare entry in the shape of Jessie.

➤ countryfile and top Gear dominated the factual line-up again, despite the fact that both shows lost viewers. Elsewhere, the series finale of dragons’ den drew its biggest audience of the run, while the one show secured its usual five places.

top 10 draMa proGraMMes

top 10 entertainMent proGraMMes

Title

1 2 3 4 5 6 7 8 9 10

Call The Midwife Death In Paradise Jonathan Creek Inspector George Gently Casualty DCI Banks Holby City Mr Selfridge The Musketeers Silk

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Tue Fri Thu Sat Mon Tue Sun Sun Mon

20.00 21.00 21.00 20.30 21.20 21.00 20.00 21.00 21.00 21.00

8.93 6.51 6.33 5.60 5.15 4.91 4.82 4.76 4.68 4.66

32.85 27.19 29.18 24.61 25.17 20.39 20.48 20.29 19.95 19.37

BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 ITV BBC1 BBC1

➤ call the Midwife delivered a near-identical audience to last week and was followed again by death in paradise. Jonathan creek returned for its first series in a decade with strong figures. Elsewhere in the table, Mr selfridge beat the Musketeers.

up Death In Paradise gains 90,000

down The Voice UK loses 300,000

1 2 3 4 5 6 7 8 9 9

Outnumbered Mrs Brown’s Boys Blandings Dad’s Army Mock The Week Looks Back At...

The Perfect Morecambe & Wise The Simpsons The Simpsons The Simpsons The Simpsons

The Voice UK Ant & Dec’s Sat Night Takeaway Dancing On Ice The National Lottery Live Pointless Celebrities All Star Family Fortunes Dancing On Ice: The Results The Cube Pointless The Graham Norton Show

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Sat Sun Sat Sat Sun Sun Sat Mon Fri

19.00 19.00 18.15 21.10 18.15 19.45 20.30 20.20 17.15 22.35

6.95 6.87 5.68 5.19 4.52 4.49 4.49 4.05 3.82 3.80

30.40 29.78 25.21 24.60 24.13 17.30 16.35 18.11 25.08 28.02

BBC1 ITV ITV BBC1 BBC1 ITV ITV ITV BBC1 BBC1

➤ the Voice uk slumped to a series low as the competition reached the battle rounds, but it still managed to hold off ant & dec’s saturday night takeaway. the cube returned with its lowest series debut yet, while there were two places for pointless.

up Saturday Night Takeaway up 390,000

down Top Gear down 490,000

up The Dumping Ground gains 44,200

top 10 Music & arts proGraMMes

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Wed Sun Sat Sun Sat Tue Thu Wed Mon

21.00 21.30 18.30 19.15 22.00 19.45 18.00 18.00 18.00 18.00

4.33 4.14 3.75 1.59 1.45 1.33 1.32 1.27 1.12 1.12

18.43 18.34 17.15 6.89 7.80 5.72 7.28 7.11 6.40 6.06

BBC1 BBC1 BBC1 BBC2 BBC2 BBC2 C4 C4 C4 C4

➤ outnumbered only just managed to fend off competition from a repeat of Mrs Brown’s Boys, as Sunday’s instalment of Blandings grabbed third place. In the rest of the table, it was a story of BBC2 repeats and the simpsons, which snatched four entries. next week sport and current affairs www.broadcastnow.co.uk

1 2 3 4 5 6 6 8 9 10

down The Cube draws lowest-ever debut

up Inspector George Gently adds 260,000

top 10 coMedy proGraMMes Title

Title

Title

1 2 3 4 5 6 7 8 8 10

Darcey’s Ballerina Heroines Culture Show: Forget The Oscars...

TOTP2: Status Quo Top Of The Pops: 1979 Talking Pictures Classic Albums What Do Artists Do All Day? The Joy Of The Single Sounds Of The Sixties Sounds Of The Sixties

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Mon Fri Thu Sat Fri Tue Mon Sun Sun

20:15 22:00 22:20 19:30 12:30 23:05 20:00 21:00 21:00 21:35

1.34 0.69 0.43 0.36 0.28 0.26 0.25 0.24 0.24 0.23

5.94 3.79 2.78 1.63 3.95 2.63 1.10 1.01 1.00 1.00

BBC2 BBC2 BBC4 BBC4 BBC2 BBC4 BBC4 BBC4 Yesterday Yesterday

➤ darcey’s Ballerina Heroines was nearly 700,000 viewers ahead of any competition. Yesterday secured two precious entries in the top 10 as sound of the sixties registered twice. Otherwise, BBC4 dominated the line-up.

See over for demographic and digital focus 7 March 2014 | Broadcast | 35

Ratings Mon 24 Feb – Sun 2 Mar Demographic focus Channels

Individuals Share (%)

Source: BARB

Adults ABC1 Share (%)1

Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

Female Profile (%)2

BBC1

23.08

27.64

48.10

13.81

10.25

22.60

44.51

23.48

55.49

ITV

16.35

14.96

36.74

13.46

14.10

14.00

38.94

18.31

61.06

C4

5.65

6.10

43.36

7.73

23.43

5.28

42.48

5.96

57.53

BBC2

5.46

7.13

52.48

3.50

10.99

6.13

51.06

4.90

48.94 60.56

C5

4.15

3.65

35.35

3.94

16.29

3.60

39.44

4.60

ITV3

2.32

1.99

34.41

0.60

4.43

1.83

35.85

2.73

64.16

ITV2

2.31

1.87

32.48

4.19

31.10

1.70

33.46

2.81

66.51

E4

1.89

1.83

38.73

5.50

49.73

1.86

44.68

1.92

55.30

Film 4

1.52

1.20

31.68

1.58

17.76

1.92

57.17

1.20

42.82

Dave

1.40

1.32

37.70

2.30

28.04

1.87

60.74

1.01

39.26

BBC 3

1.39

1.29

37.32

3.48

42.86

1.43

46.78

1.36

53.21

More 4

1.33

1.41

42.54

1.10

14.19

1.25

42.54

1.40

57.44

Sky Sports 1

1.23

1.50

49.17

1.66

23.22

1.90

70.48

0.66

29.51

ITV4

1.07

0.89

33.58

0.98

15.70

1.52

64.74

0.69

35.25

Sky 1

0.98

1.00

41.07

2.02

35.17

1.13

52.06

0.86

47.91

5 USA

0.88

0.71

32.30

0.67

13.07

0.87

44.77

0.89

55.25 44.38

BBC4

0.83

1.13

54.54

0.30

6.09

1.01

55.62

0.68

Yesterday

0.69

0.65

37.79

0.22

5.51

0.87

57.40

0.54

42.65

Drama

0.67

0.57

34.00

0.26

6.56

0.65

44.38

0.68

55.60

28%

More than one in four viewers of BBC3 sitcom Pramface was in the AB1 demographic, up from the 19% slot average. BBC3 commanded a 2.2% share of all AB1s for the half hour, up from the 0.9% 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

New Hair suits BBC3 BY stephen price

When the Oscar nominations were first announced, one strong contender was American Hustle.

Although a sharp, funny, smart film, winning was not to be – and anyway, the talk was about the outstanding recreation of the worst 1970s crimes against hairdos.

BBC3’s new series Hair, a sort of ‘Crimping Idol’, began on Tuesday at 9pm and achieved 800,000/ 3.3%. The best of the six repeats in the week was Thursday at 8pm, with 600,000/2.5%. In total, repeats added another 1.4 million.

BBC4’s Salamander perked up from last week’s series low, with 900,000/4% at 9pm on Saturday and 800,000/4.1% at 9.45pm. The best live rating remains the opener: 1 million/5% on 8 February.

The best non-sport performer was E4’s Hollyoaks on Thursday at 7pm, with 1 million/5%.

Endeavour was the ITV family’s best, with 900,000/4.6% on Saturday at 9pm on ITV3. ITV4’s best was 700,000/3.9% for Napoli vs Swansea on Thursday at 5.30pm.

36 | Broadcast | 7 March 2014

Source: BARB

digiTal HomES

Top 30 mulTicHaNNEl programmES Title

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

Live Capital One Cup Saturday Night Football Hollyoaks Uefa Champions League Hollyoaks Hollyoaks Endeavour Hollyoaks The Big Bang Theory The Only Way Is Essex Salamander How I Met Your Mother Hollyoaks The Big Bang Theory Ant & Dec’s Sat Night...

Salamander Doc Martin Hair Midsomer Murders The Big Bang Theory The Big Bang Theory Storage Hunters Europa League Live...

The Only Way Is Essex Little Fockers Storage Hunters FA Cup Replay: Hull V Brighton Family Guy The Big Bang Theory Family Guy

Figures include HD and +1 where applicable

Day

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

Start

12.30 17.00 19.00 19.00 19.00 19.00 21.00 19.00 18.30 22.00 21.00 20.30 19.00 18.30 16.25 21.45 20.00 21.00 20.00 18.30 18.30 20.00 17.30 22.00 21.00 20.30 19.30 23.25 18.30 22.40

Viewers (millions)

Share (%)

1.23 1.17 1.02 0.97 0.97 0.91 0.89 0.88 0.86 0.86 0.85 0.85 0.84 0.82 0.81 0.80 0.79 0.78 0.77 0.77 0.76 0.75 0.74 0.73 0.72 0.72 0.70 0.67 0.65 0.65

10.06 6.39 5.00 4.53 4.62 4.56 4.58 4.16 4.51 5.02 4.02 3.70 4.16 4.19 4.82 4.11 3.46 3.27 3.24 3.85 4.00 3.26 3.86 4.38 3.53 2.99 2.98 7.22 3.31 4.62

Channel

Sky Sports 1 Sky Sports 1 E4 Sky Sports 1 E4 E4 ITV3 E4 E4 ITV2 BBC4 E4 E4 E4 ITV2 BBC4 ITV3 BBC3 ITV3 E4 E4 Dave ITV4 ITV2 BBC3 Dave ITV4 BBC3 E4 BBC3

Channels

Share (%)

BBC1 ITV C4 BBC2 C5 Total multichannel ITV3 ITV2 E4 Film 4 Dave BBC3 More 4 CBeebies Sky Sports 1 BBC News ITV4 Sky 1

23.08 16.35 5.65 5.46 4.15 45.31 2.32 2.31 1.89 1.52 1.40 1.39 1.33 1.27 1.23 1.10 1.07 0.98

Figures include HD and +1 where applicable

83k

BBC4’s Storyville doc Coach Zoran And His African Tigers proved a tough sell at 10pm on Thursday www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

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

Title

Day

Start

Viewers (000s) Share (all homes) %

Broadcaster/ Producer*

Live Capital One Cup Live Ford Saturday Night Football Live Uefa Champions League Storage Hunters Storage Hunters Live Ford Super Sunday Hawaii Five-0 The Walking Dead Stella Modern Family Live Championship Dynamo: Magician Impossible The Simpsons Criminal Minds Storage Hunters The Simpsons Gillette Soccer Saturday Live Uefa Champions League The Simpsons The Simpsons NCIS NCIS: LA The Simpsons Dynamo: Magician Impossible Sheriff Callie's Wild West Elementary The Simpsons Have I Got A Bit More News For You Bones The Simpsons The Simpsons The Simpsons The Simpsons Arrow The Smoke Top Gear The Simpsons Storage Hunters Ross Kemp: Extreme World Dynamo: Magician Impossible Storage Hunters Live International Cricket The Simpsons QI XL Live International Cricket QI XL Storage Hunters Live Spanish Football Jonathan Creek Mock The Week

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

12.30 17.00 19.00 20.00 20.30 16.00 21.00 21.00 21.00 20.30 12.00 21.00 19.00 21.00 16.30 18.30 12.00 19.30 19.00 19.00 21.00 22.00 18.30 15.00 17.20 21.00 18.30 22.00 21.00 18.30 19.30 19.00 19.00 20.00 21.00 17.00 19.30 10.30 21.00 18.00 16.00 18.00 19.30 21.00 17.00 21.00 19.00 15.55 21.00 22.00

1,230,800 1,171,400 972,000 753,300 717,400 611,700 512,900 507,100 483,800 476,100 469,400 456,900 413,100 412,800 406,400 401,400 399,900 396,900 381,800 367,000 363,800 363,000 360,000 358,600 355,000 354,900 352,000 346,400 344,400 339,500 339,400 337,100 336,200 334,000 332,600 331,200 330,600 329,300 328,100 322,500 319,600 318,200 316,500 315,800 314,100 301,600 296,800 293,100 292,700 289,700

Sky Sports 1 Sky Sports 1 Sky Sports 1 Dave/T Group Dave/T Group Sky Sports 3 Sky 1 Fox Sky 1/Tidy Productions Sky 1 Sky Sports 1 Dave/Inner Circle Films/Phil McIntyre Sky 1 Sky Living Dave/T Group Sky 1 Sky Sports News Sky 1 Sky 1 Sky 1 Fox Sky 1 Sky 1 Dave/Inner Circle Films/Phil McIntyre Disney Junior Sky Living Sky 1 Dave/Hat Trick Sky Living Sky 1 Sky 1 Sky 1 Sky 1 Sky 1 Sky 1/Kudos Film & TV Dave Sky 1 Dave/T Group Sky 1 Dave/Inner Circle Films/Phil McIntyre Dave/T Group Sky Sports 2 Sky 1 Dave/Talkback Sky Sports 2 Dave/Talkback Dave Sky Sports 4 Drama Dave/Angst Productions

10.06 6.39 4.53 3.26 2.99 3.36 2.19 2.11 2.23 2.02 6.19 2.11 1.97 1.71 2.56 2.13 4.19 1.80 1.81 1.82 1.68 2.20 1.85 2.60 2.38 1.48 1.77 2.16 1.50 1.78 1.53 1.64 1.69 1.52 1.46 1.84 1.54 4.14 1.37 1.77 2.15 1.52 1.44 1.35 1.38 1.26 1.31 1.76 1.22 1.64

Figures include HD and +1 where applicable

Hawaii Five-0 www.broadcastnow.co.uk

Sheriff Callie’s Wild West

175k Audience for the return of Sky 1’s US drama import Revolution

Sheriff blows away Smoke

BY StepHen priCe

If Dave ever decides to put a magician inside one of an array of cupboards and then get some assertive Americans to shout about them before buying the one they think he’s in, the channel could have a hit on its hands. In the meantime, it has to manage with a repeated illusionist doing his stuff separately from those coveted storage units.

Elsewhere, Sky 1’s The Smoke billowed on as a new Disney Jr sheriff strode into town the way only a cartoon cat in cowgirl gear can.

The best non-sport performer was Dave’s Storage Hunters with 753,000/3% on Tuesday at 8pm.

The same channel’s repeat of Watch hit Dynamo: Magician Impossible on Friday at 9pm achieved 457,000/2%; two more repeats added another 680,000 over the weekend.

Sky 1’s best was US drama Hawaii Five-0 on Sunday at 9pm; its 513,000/2% was 70,000 up on last week. The second episode of the channel’s homegrown The Smoke slipped 50,000 on launch to 333,000/1.5% on Thursday at 9pm. Recording will be key.

While it waits for the PVR to whirr its magic, The Smoke’s live rating this week was below that of Disney Junior animation Sheriff Callie’s Wild West, which achieved 355,000/2% on Thursday at 5.20pm; another 156,000 watched the Sunday repeat.

7 March 2014 | Broadcast | 37

Ratings Mon 17 Feb – Sun 23 Feb

All BARB ratings supplied by: Attentional

Consolidated Ratings

Line Of Duty fights back

BY Stephen price

It’s likely that series two of BBC2’s Line Of Duty was dispatched into the world with robust hopes after the dramatic denouement of series one. The overnights, though, may have caused some trouser fluttering down NBH way. Overnights gripped by knuckle-whitened paws, execs might have muttered: “This is less isn’t it? By quite a bit.”

But Line Of Duty is fighting back; you can’t keep a good story down.

Elsewhere, ITV’s shopkeeper Mr Selfridge is fending off BBC1’s The Musketeers increasingly well, while the first big entertainment battle of 2014 is shaping up nicely.

BBC2: Line Of Duty Line Of Duty launched on 26 June 2012 with 3.1 million/14%. On Wednesday 12 February 2014, the

Source: BARB

second series began with a live rating of 1.8 million/7% – nearly 1.4 million fewer. PVR added 985,000, the best to date for the drama, growing it to 2.7 million/9%; closer but still more than 1 million short of series one’s launch, which consolidated to 3.8 million/15%.

Episode two on 19 February fared better with 2.2 million/9%.

After 993,000 recorded and watched, it finished on 3.2 million/11%; 630,000 short of the 3.8 million/15% for series one’s second episode. Episode three’s live rating on 26 February (2.2 million/10%) ticked up a fraction, just as episode three of series one slipped.

BBC1: The Musketeers On 19 January, BBC1’s The Musket­ eers began with a towering consolidated rating of 9.3 million/31%, well ahead of ITV’s Mr Selfridge, which began its second series the same night on 6.8 million/22% (incl +1). By 23 February, The Mus­ keteers had dropped to a low of

5.9 million/21% after 1.3 million recorded and watched, behind Mr Selfridge (6.4 million/23% after 1.5 million recorded and watched) for the second time.

BBC1: The Voice UK BBC1’s The Voice UK faced ITV’s Ant & Dec’s Saturday Night Take­ away for the first time on 22 February at 7pm. The Voice UK averaged 8.3 million/33% after 1.1 million recorded and watched.

That’s the lowest of this series but still ahead of Takeaway’s consolidated 7.5 million/29% after 808,000 watched via PVR, its lowest in share terms since returning last year.

Sky 1’s new drama The Smoke more than doubled its 371,000 overnight audience

Sky Atlantic: True Detective Sky Atlantic’s latest US acquisition is the taut True Detective, which launched on 22 February after an on-demand preview. Its live rating was 294,000/1.4% but after more than 480,000 recorded and watched, it ended on 777,000/3.3%. The late night repeat added another 136,000.

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 21 22 23 24 25 26 27 28 29 30

853k UP Line Of Duty up 500,000 DOWN Outnumbered down 540,000

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Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Death In Paradise Call The Midwife Outnumbered Mr Selfridge The Musketeers DCI Banks Inspector George Gently The Voice UK Casualty Line Of Duty Coronation Street Top Gear Coronation Street Celebrity Juice Mrs Brown’s Boys EastEnders Ant And Dec’s Saturday Night Takeaway Coronation Street Waterloo Road EastEnders EastEnders Britain’s Great War Elementary The Following Arrow 8 Out Of 10 Cats Does Countdown Benefits Street: The Last Word Coronation Street Emmerdale Stella

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

21.00 20.00 21.00 21.00 21.00 21.00 20.30 19.00 21.20 21.00 20.30 20.00 19.30 22.00 21.30 19.30 19.00 19.30 20.00 20.00 19.30 21.00 21.00 22.00 20.00 21.00 20.30 20.30 19.00 21.00

8.27 10.49 5.46 6.36 5.91 7.33 6.57 8.33 5.87 3.21 7.86 6.53 9.32 2.40 4.62 7.92 7.47 9.16 3.59 8.72 8.38 3.72 1.14 0.90 0.98 2.76 3.60 9.07 7.50 1.04

28.56 33.65 18.45 22.72 21.41 26.26 25.68 32.74 24.70 11.23 30.93 21.08 38.86 11.81 16.56 31.79 29.04 37.89 14.78 33.50 33.75 13.55 3.90 4.58 3.80 11.20 13.69 34.44 33.91 4.21

1.83 1.59 1.58 1.46 1.35 1.29 1.13 1.09 1.04 0.99 0.91 0.90 0.84 0.83 0.82 0.81 0.81 0.74 0.74 0.73 0.73 0.72 0.70 0.65 0.64 0.64 0.62 0.62 0.61 0.61

28.40 17.80 40.80 29.70 29.60 21.40 20.70 15.10 21.50 44.80 13.10 16.00 9.90 52.40 21.50 11.40 12.10 8.80 26.00 9.10 9.50 23.90 162.30 266.50 187.00 29.90 20.90 7.40 8.80 140.70

Broadcaster BBC1 BBC1 BBC1 ITV BBC1 ITV BBC1 BBC1 BBC1 BBC2 ITV BBC2 ITV ITV2 BBC1 BBC1 ITV ITV BBC1 BBC1 BBC1 BBC1 Sky Living Sky Atlantic Sky 1 C4 C4 ITV ITV Sky 1

Figures include HD and +1 where applicable

38 | Broadcast | 7 March 2014

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25 June 2014 | The Brewery | London

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ALL A TWITTER BBC3 SPECIAL

screens, no scores and, crucially, no tower. Warm-up guy Fin Taylor earned his stripes with a marathon 90-minute set and, in a golden marketing opportunity, the production team engaged the captive audience in a playalong of the show’s new app.

It seems on BBC3 The Revolution Will Not Be Televised.

AND FINALLY ...

Ralph Turner Head of client development, Premier

Luck on cards at London Live

@saltbeefTV (Jeremy Salsby) Creative director, Saltbeef TV Pointless: studio meltdown

Scoring a marketing point

BBC plans: BBC3 axed; BBC4 becomes a touring puppet show presented by Uncle Alan Yentob; both Dimblebys merged into a single SuperDimbleby.

It was a tough day at the office for the Pointless team this week. First, Richard Osman had to cope with a Twitter barrage as Nirvana’s Territorial Pissings was declared exempt as an answer on daytime TV. Then the entire studio went into meltdown as the computer failed: no podium

Meanwhile, London Live has been trumpeting its distinctive approach to commissioning – but its latest strategy really is the business. The forthcoming channel had cards printed for its execs with various images on the reverse, including this pic of a drag queen. A few months later, said drag queen is part of The Connected Set’s 8 x 60-minute series for the channel.

@simonblackwell (Simon Blackwell) Writer, Veep

#bbc3 and #bbc4 good deeds in the naughty digital world.

We are lucky to have them…

Problem is no politician or Daily Mail editor has ever watched #bbc3 or anything except news. @daisygoodwinuk (Daisy Goodwin) Head girl, Silver River

BBC3 axed, BBC4 moves up to BBC3 slot, nation’s youth start getting into canals, Venetian art and Rory Gallagher. Careful what you wish for. @mattleys (Matt Leys) Writer

The BBC flew Huw Edwards into Kiev on Monday to bring viewers the latest on Russia’s increasing hostility. But with space at a premium, viewers saw the news anchor cosy up with Gavin Hewitt in a lift-like box. The efforts to avoid accusations of “phoning it in” were somewhat undone when Edwards was pictured with mobile clearly in hand.

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

After showing Mick Jagger a 90minute cut of a programme, I found that the one-inch VTR had spewed tape all over the room. I said that we would just wind it back on. It took 12 hours to re-edit.

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

Many years ago, I put a runner in a box, taped it up and left it in the street.

Tell us one of your most hilarious faux pas Getting on a train home at Marylebone my shoe came off onto the tracks. They had to move the train out to retrieve it.

How do you get your own way?

See the other person’s side and then explain why they have to do it my way.

What keeps you awake at night?

The emails bleeping on the phone under my pillow.

Who or what would you put into Room 101?

People who speak just to hear their own voice.

What TV shows would be in your fantasy schedule?

NCIS, Person Of Interest and Spooks [pictured].

What’s the best thing about working in TV or radio?

Meeting new people every day.

What’s the one thing you couldn’t live without?

Radio 4.

It’s still not too late to attend the world’s content development market…

7-10 April 2014 Palais des Festivals, Cannes, France miptv.com

It’s still not too late to advertise online or in the MIPTV daily news

Contact Peter Rhodes on: 020 7528 0086 /peter.rhodes@reedmidem.com MIPCOM_broadcast 186x47.indd 1

40 | Broadcast | 7 March 2014

20/02/14 12:44

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