Broadcast 20th June

www.broadcastnow.co.uk

20 June 2014

MASTERCLASS

INTERVIEW

BEHIND THE SCENES

Page 24

Page 22

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What makes a Andy Culpin: 12 good show title? Yards’ strongest link

Sun, sea & karaoke: OAPs Behaving Badly

Kids’ classics set for TV return Nostalgia boom and race to squeeze value from rights behind glut of children’s show remakes

BY PETER WHITE

A nostalgic commissioning boom and a rush to wring value out of rights is behind a glut of revivals of iconic British children’s TV shows, according to industry experts.

In the past week, the BBC has announced that both Teletubbies and Danger Mouse will return, while Turner Broadcasting revealed that animation series The Powerpuff Girls will be remade in the US. It builds on previously announced plans to bring back Thunderbirds, The Clangers and The Wombles. Some industry sources also pointed to the possibility of new versions of SuperTed, Sooty and In The Night Garden.

Another title that could soon find a new UK home is Bob The Builder, which is currently being reimagined by Hit Entertainment.

“There are some shit-hot UK kids’ brands – we’ve been brilliant at creating original IP for a long time,” said Darrall Macqueen founder Billy Macqueen.

“You get nostalgic.”

Macqueen is producing the remake of Teletubbies for CBeebies after striking a deal with DHX Media, which acquired Ragdoll Worldwide last year for £17.4m.

“We see it as being similar to Doctor Who – it’s such a global phenomenon. The last thing we want to do is mess it up. If we get this wrong, that’s 15 years of our reputation down the drain,” he added.

DHX Media, which is also remaking Inspector Gadget for Canadian network Teletoon,

Clockwise from top left: Thunderbirds, Danger Mouse, Teletubbies and Bob The Builder are all set for a revival

It’s not about rehashing them, it’s about making them more up to date Joe Godwin, BBC

looked at several options for Teletubbies, including an animated series, but decided on a mix of liveaction and CGI. “As much as we like to create new content, rethinking a classic series is a fun assignment for people who grew up with those

shows,” said DHX president Steven DeNure.

Danger Mouse’s return follows a successful performance on CITV’s ‘Old Skool’ repeats weekend last year. Fremantle Media is producing a 52 x 11-minute series for CBBC following the updated secret agent and his sidekick, Penfold.

“These old shows will be reimagined for the 21st century,” said Joe Godwin, director of BBC Children’s (left). “It’s not about rehashing them, it’s about making them more up to date but as funny and as good quality as they were before.”

A handful of children’s producers voiced concerns that the glut of revivals means there’s less money for original ideas, with one branding it “ridiculous”.

Godwin shrugged off the concerns, pointing to a number of original CBeebies and CBBC commissions, including Sesame Street spin-off The Furchester and Jacqueline Wilson’s Hetty Feather.

Elsewhere, ITV revealed last year that it is bringing back Thunderbirds in 2015 to celebrate the 50th anniversary of the Gerry Anderson series. Executive producer Giles Ridge said the brand spanned generations, making it ideal family viewing. He admitted that major licencing opportunities were also a big factor behind the remake.

Editor’s Choice

Broadcast, Zetland House, 5-25 Scrutton Street, London EC2A 4HJ or email chris.curtis@broadcastnow.co.uk

Online this week www.broadcastnow.co.uk

Jake Kanter, News Editor

Top News

All to play for, despite own goals World Cup coverage has been strong, apart from a few slip-ups

Y

ou’ll be familiar with that old football adage: it’s a funny old game. Well, it will have a ring of truth for the BBC and ITV this week.

The two broadcasters are tirelessly churning out hours of high-quality World Cup coverage but, as England captain Steven Gerrard knows only too well, all the good work can unravel in a single slip-up.

Putting excitable commentator Jonathan Pearce to one side, the BBC’s biggest own goal so far has been the

‘ITV has failed to learn the lesson of past tournaments that – shock! – quite a few people want to watch online’ selection of Phil Neville (below) as summariser during England’s opener against Italy. Mercilessly mocked on Twitter, novice Neville’s “monotone” style prompted nearly 500 complaints.

I can see the logic in his call-up. Neville is not long retired and has good links to the England camp. The BBC will also have hoped for some reflected glow from brother Gary, who is hailed as a god among pundits over at Sky Sports.

The error the BBC made was not protecting its asset.

Neville, although wellresearched and trained, should have been blooded elsewhere before being thrust into the most-watched television event of the year. It smacks of an urgency to find talent to supplement the often anodyne Alan Shearer, Mark Lawrenson and Robbie Savage.

2 | Broadcast | 20 June 2014

è The UKTV management restructure that handed Dave boss Steve North new powers will also result in the redundancy of around 10 staff.

è ITV’s production team paid the bar Away from the heat of the Amazon, the BBC has shown that the clamour for fresh faces works brilliantly when handled with a little more care. Thierry Henry, Clarence Seedorf and Rio Ferdinand have impressed, as have Patrick Vieira and Gus Poyet over on ITV. The commercial broadcaster’s own Brazilian balls-up, however, is less forgivable than the Neville nightmare. ITV’s VoD service crashed during Brazil’s curtain raiser due to “unprecedented” traffic – a reality for football fans that is becoming as much a World Cup tradition as England losing on penalties.

If that’s not enough, ITV Player users – me included – have been greeted with a message that basically says: “We hope it all goes smoothly, but if not, go watch on Sky or Virgin.” What an embarrassment.

Investments in ITV Player in recent years have clearly not been enough and ITV has failed to learn the lesson of past tournaments that – shock! – quite a few people want to watch games online.

There is no doubt that over traditional platforms, ITV is a world-class broadcaster. But if it is to continue to thrive, ensuring its VoD service meets the same standards must be a priority. Getting ITV Player to work when it really matters would be a good start.

To quote another football cliché, it’s a game of two halves, and ITV may yet progress without any further hiccups.

Hosting coverage of England’s final two group games will be the broadcaster’s next big test. Here’s hoping both emerge victorious.

tab for a group of students during a Tonight investigation into binge-drinking.

è BBC1 has axed World War I drama The Crimson Field to create space for new shows.

Ratings Top Five 1 Mary’s Silver Service continued to struggle for Channel 4 on Wednesday with 470,000 viewers.

2 Channel 5’s new dating show Stand

By Your Man located an audience of 600,000 on Friday.

Channel 5 outperformed ITV, BBC2 and Channel 4 at 9pm on Monday with Benefits Britain: Life On The Dole, which peaked with 2.3m viewers.

3

4 The World Cup kicked off in Brazil on Thursday with more than 12.5m viewers as the hosts overcame Croatia.

5 England’s opening World Cup defeat to Italy peaked with 15.6m viewers on Saturday for BBC1, helping the channel score a massive 78.5% share.

Team Tweets è The BBC’s unveiled another music awards show – hosted by Fearne Cotton and Chris Evans – just what the world needs. @peterzwhite

www.broadcastnow.co.uk

News & Analysis

C4 defends BBC Productions Viewers benefit from a system of broadcasters each with different remits

BY Jake Kanter

BBC Productions has found an unlikely ally in Channel 4 after the corporation faced further calls to scrap its in-house programmemaking division.

C4 has claimed that the BBC’s production presence is good for the ecology of the industry, providing an important training ground for producers who go on to establish their own indies.

The broadcaster’s intervention comes after Pact argued that the BBC should become a “publisher broadcaster” during a Culture Media and Sport Committee (CMSC) hearing this week.

Chief executive John McVay told MPs that abolishing in-house would be “liberating” for BBC commissioners, and would help to ensure the licence fee is spent on the best ideas. Pact is working on a report that will set out its argument in more detail later this year.

“When I talk to [BBC] commissioners, their view privately is that they groan whenever in-house come in the room because they’re going to have to commission whatever they bring them because it’s in

C4 spokeswoman

Antiques Roadshow: BBC Productions has a 50% commissioning guarantee

the guarantee. That can’t be the best way to get value for precious licence fee-payers’ money,” McVay said.

He added that it would stop the BBC from focusing its management resources on “discussing HR issues for standing armies in barracks scattered across London”.

But the Pact chief executive was challenged by Labour MP and committee member Paul Farrelly, who said C4 was “very nervous” about BBC in-house being abolished. McVay said he was “completely bemused” by C4’s position, claiming the broadcaster would

benefit from increased talent in the production market.

A C4 spokeswoman said: “As a publisher broadcaster, C4 is a significant supporter of the independent production sector.

However, we believe that viewers benefit from the plurality provided by a system of public service broadcasters each with different remits, business and production models. BBC in-house production is an important part of this mix.”

Nine Lives chief executive Cat Lewis, who is vice-chair of Pact, also gave evidence at the CMSC

hearing on Tuesday. She said that former BBC Productions boss Pat Younge’s suggestion to make in-house a subsidiary of BBC Worldwide was an “excellent idea”.

There is a lot of “wasted creativity” at the production arm, Lewis added, because producers can only pitch to one buyer.

She has joined a growing list of prominent television executives who have called for a fresh approach to BBC production guarantees. Others that have put their head above the parapet include Shed Media, ITV and Sherlock producer Hartswood Films.

BBC in-house bosses Mark Freeland and Natalie Humphreys told Broadcast last month that the “status quo is not an option” in terms of commissioning quotas, but argued the division is “one of the BBC’s best-kept secrets”.

Hall set to reveal BBC plans to boost diversity Reflecting modern Britain will be central to the BBC’s ambitions

BY Jake Kanter

BBC director general Tony Hall is preparing to reveal the corporation’s plans to improve diversity both on- and off-screen in the run-up to charter renewal.

Broadcast understands that the former Royal Opera House chief executive has been considering a number of initiatives to boost black, Asian and minority ethnic (BAME) representation at the corporation over the past few months, and will make a personal address on the issue.

Sources have indicated that the BBC is gearing up for an announcement on Friday 20 June, but the date is not yet set in stone as the finishing touches are still being applied to Hall’s proposals. www.broadcastnow.co.uk

Tony Hall: diversity announcement

The director general is expected to make clear that ensuring the BBC reflects modern Britain will be central to the corporation’s ambitions going into charter

renewal negotiations with the government next year.

There has also been some suggestion that the BBC may look to write diversity into its core public purposes, but sources argued that Hall’s plans will be more farreaching than that.

Hall has met with comedian Lenny Henry on more than one occasion to discuss his idea of ring-fencing BBC commissioning cash for BAME programming. It is not yet known if Hall will adopt

the proposal, and there is resistance to quotas among some BBC commissioners, who believe it may hamper creativity.

Another suggestion is introducing a scheme that replicates the Rooney Rule, which compels National Football League teams in the US to interview diverse candidates for senior positions.

BBC director of television Danny Cohen is an admirer of the initiative, telling a conference this year: “I would love us to be in a place where we are making sure that every candidate list has a diverse candidate on it.”

A BBC spokeswoman said: “Tony Hall is expected to shortly announce new diversity initiatives to tackle the BBC’s on- and offscreen BAME representation.”

20 June 2014 | Broadcast | 3

News & Analysis

Sky aims to 'demystify' PMQs For some people, the way PMQs is conducted must feel like a gentlemen’s club

BY alex farber

Sky News executive editor John McAndrew is masterminding a plan to help “demystify” Prime Minister’s Questions (PMQs) for viewers.

McAndrew is working closely with director of Sky News John Ryley to draw up a list of changes to David Cameron’s weekly grilling, which it plans to put to House of Commons speaker John Bercow over the coming few weeks.

Sky News contacted Bercow last year with some initial suggestions but other priorities meant that little progress was made. The broadcaster is now revisiting the idea and is keen to collaborate with MPs to discuss ways in which PMQs could be made more accessible.

Potential changes could include asking MPs to introduce themselves and the party they represent before speaking, as well as ending some of the more “arcane” procedures, including the prime minister’s lengthy introductory speech and MPs’ habit of standing to attract the speaker’s attention.

Sky News, which spearheaded initiatives to hold the election debates in 2010 and put cameras

John McAndrew, Sky News

Prime Minister's Questions: Sky is drawing up a list of possible changes

in court, also hopes to beef up the level of context provided by its deputy political editor, Joey Jones.

McAndrew, a former BBC producer who has worked at Sky News since 2005, said PMQs was “ripe” for a revamp.

“PMQs is entertaining to watch but it does need demystifying and modernising,” McAndrew said.

“There is such a lot of politics around at the moment, from the forthcoming general election to the Scottish referendum and

recent European elections. We felt it was the right time to revisit.”

McAndrew hopes to make PMQs more appealing both for new viewers and its existing audience. “For some people, the way it is conducted must feel like a gentlemen’s club and is quite off-putting,” he said.

Earlier this year, a study into the perceptions of PMQs by political research charity Hansard Society found the public was “deeply dissatisfied” with the culture and

conduct of politics. PMQs was a significant factor in this disenchantment, according to the study.

Sky hopes that changing the format and adding more context to PMQs will make it easier to consume on digital platforms.

Sky News chief Ryley gave a speech last week at the RSA titled Rolling News: Backbone of a Digital Future, in which he underlined the importance of innovation.

“The range of technology avail­able for gathering news continues to grow at a breath-taking pace,” he said. “It means that we have more tools at our disposal than ever, not just to report events as they happen, but to analyse and explain them and put them into context.”

Vice invites external film-makers on board As we’re expanding, we need to open our doors to the best directors

BY peter white

Vice is opening its doors to external film-makers for the first time to deal with its growing demand for content.

The digital company has commissioned one documentary and put two additional films into development following its inaugural Rule Britannia open pitch session at Sheffield DocFest last week.

Vice has ordered Cadet from San San F Young, a Scottish/ Chinese director who has previously worked on Welcome To Hong Kong for Al Jazeera English and Mickey Junior, which formed part of BBC3’s Fresh documentary strand. The ob doc looks at young cadets before they start a career in the army.

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Lina Prestwood, Vice

Debt Collector: Rule Britannia doc

Vice is also developing female bodybuilding film Bigorexia from Jack Newman, a commercials and music video director. Meanwhile, Rachel Millar is developing a project about landlords that take on council housing tenants.

All three films will air as part of its Rule Britannia strand, which

covers stories about modern Britain and has previously carried documentaries including Swansea Love Story, The Debt Collector and Rose Boy And Friends.

Vice executive producer and former Channel 4 documentary commissioner Lina Prestwood said the pitch session received around 80 entries.

“Traditionally, everything we’ve done at Vice has been in-house but as we’re expanding, we’re making

more and more content, and we need to open our doors to the best and most interesting directors,” she said.

Prestwood added that Vice is looking for people from TV backgrounds, and those with no industry experience, to make up to four documentaries a year for the Rule Britannia strand.

“I love new directors and we’re keen to attract new film-makers from all kinds of backgrounds so we’re setting out our stall: come and make films with us,” Prestwood added.

It follows reports that media giant Time Warner is in talks to acquire Vice, in a deal that values the company at more than $2bn (£1.2bn) and could give it access to widely distributed cable news channel HLN. www.broadcastnow.co.uk

News & Analysis

Woolcock defends Dogs doc Part of my mission is to reveal things about society we don’t want to look at

BY Matthew Campelli

Penny Woolcock has shrugged off personal abuse and criticism over her Channel 4 illegal dog-fighting film – claiming she is “unrepentant” about tackling the subject.

Going To The Dogs has generated almost 5,000 complaints since it was broadcast on 12 June. Ofcom has received 1,765 complaints – making it the most complained about show of the year – while C4 has had a further 3,100 messages from disgruntled viewers, 600 of which were registered before the film aired.

In addition, the RSPCA branded the Latimer Films programme “illconceived and irresponsible” in a blog that has been shared 28,000 times on Facebook. The blog generated 8,000 messages of support and the animal welfare charity has passed these on to C4, but the broadcaster has rejected its request for footage from the film.

Director Woolcock was unmoved by the criticism. She told Broadcast the film aimed to put illegal dogfighting in a “social context” and implored critics to “watch all the material” before condemning her

Penny Woolcock, film-maker

Going To The Dogs: generated more than 5,000 viewer complaints

work. “This film wasn’t designed to tell people what to think, it was just asking people to think,” Woolcock said. “People think I enjoy being controversial, but I don’t.

Part of my mission is to reveal things about society we don’t want to look at.”

Going To The Dogs, which was watched by 470,000 viewers (2.5%), followed Dylan Duffus – who worked with Woolcock on her award-winning 2013 documentary One Mile Away – as he explored

Birmingham’s underground dogfighting culture.

The Cutting Edge documentary was made to explore “our entire relationship with animals”, according to Woolcock, and delved into the practices of battery farming, killing lame racehorses and hunting game.

“I hope my documentary shone a light on these issues. I didn’t revel in it – it was an upsetting film to make and it was brave of C4 to commission it,” she added.

Woolcock admitted she had received personal abuse online after Going To The Dogs aired last week, but said C4 deputy chief creative officer Ralph Lee and factual commissioner Emma Cooper had been “very supportive”.

“I’ve been getting messages saying I’m evil, I’m scum, and I’m disgusting. I don’t even know how to respond. It’s hysterical,” Woolcock said, adding that she is considering taking a break from making films. She plans to concentrate on writing fiction after finishing directing The Pearl Fishers at the English National Opera.

A C4 spokeswoman said: “C4 is proud of this authored film, which sheds light on an underground activity believed to be on the increase. The film raises important issues about animal welfare and blood sport in general.”

BBC in talks to find ‘wider audience’ for Mobos We are currently exploring ways to bring the Mobos to a wider audience

BY Alexandra Chapman

The BBC is in talks to bring the Mobo Awards to a “wider audience” after omitting the celebration of black pop music from its ambitious music strategy this week.

The Mobos’ absence from director general Tony Hall’s announcement on Monday was noted by former in-house boss Pat Younge – appearing at odds with the corporation’s desire to boost diversity on and off air.

“Comprehensive announcement from BBC press re BBC Music –but no mention of the Mobo Awards?” said Younge on Twitter. BBC Productions’ former chief creative officer left the corporation in 2013.

The Mobo Awards has been broad­cast on BBC3 since 2006 and www.broadcastnow.co.uk

BBC spokeswoman

Mobo Awards 2013: aired on BBC3

the corporation is currently in discussions with organisers about future coverage.

A spokeswoman stressed the BBC’s commitment to the event,

but would not confirm if BBC3 will continue to host the coverage ahead of its proposed move online next year. “We are currently exploring ways to bring the Mobos to a wider audience,” she said.

A Mobo spokeswoman would not comment, but suggested an announcement could be made soon.

Under his music vision, Hall set out plans for BBC1 to launch a music awards show to rival the Brits in December. The “extravaganza”

will be hosted by Fearne Cotton and Chris Evans at Earls Court and was the centrepiece in a raft of commissions, including a BBC2 documentary on the band Genesis.

The announcement also included plans for a major classical music push in schools across the UK and ambitions to boost BBC Playlister, the cross-platform service that allows audiences to pick and tag any music they hear on the BBC and listen to it later.

It was outlined by Hall in a similar way to the arts push earlier this year and will aim to establish BBC Music as a brand in its own right.

Hall said the initiatives were “about putting music right at the heart of the BBC and supporting young British talent”.

20 June 2014 | Broadcast | 5

News & Analysis In Brief Multichannel spending up UK multichannel broadcasters spent £597m on original commissions in 2013, with new entrants such as Fox and Lifetime adding to the total. Data from the Commercial Broad­ casters Association shows spending increased by 10% on 2012 and was more than £200m up on 2009. Smaller indies gained the most, winning 69% of UK-originated spend.

Javid hints at fee change Culture secretary Sajid Javid (pictured) has hinted that the BBC licence fee will be overhauled during charter renewal negotiations next year. He argued that changes to viewing habits, fuelled by technological developments and on-demand platforms, should be “taken into account”.

He added that the £145.50 fee is “a large amount of money”.

Jack Bootle joins Raw Raw has hired RDF Tele­vision’s popular factual development boss Jack Bootle as its head of UK development. Existing UK development boss Tom Wardle has been promoted to executive producer and director. Bootle, who has been at RDF since 2007, will work alongside Raw’s head of US development Adam Hawkins. Raw creative director Bart Layton said: “The combination of Jack and Adam Hawkins, two of the best in the business, marks the beginning of an exciting new chapter for Raw.”

New Pictures hires Nelson Former BBC Drama finance manager Richard Nelson has been unveiled as New Pictures’ chief operating officer. Nelson joins the drama indie from Company Pictures, where he spent 13 years as finance director. He will work alongside New Pictures founder Charlie Pattinson, who launched Company Pictures in 1998, and former Sky Atlantic boss Elaine Pyke.

For the latest breaking news www.broadcastnow.co.uk 6 | Broadcast | 20 June 2014

C5 management team to move over to Viacom BY peter white

Viacom is firming up plans to bring over Channel 5’s existing management team, including key Richard Desmond lieutenant Paul Dunthorne, ahead of final­ ising its £450m acquisition of the broadcaster.

The US media giant has been assessing its options around C5’s management structure ahead of the deal’s completion, which is expected to take place in the next couple of months.

While the company, which operates MTV, Comedy Central and Nickelodeon, has stressed that the C5 commissioning team, led by director of programmes Ben Frow, is doing a good job, it was not clear whether Desmond’s close management execs would move to Viacom.

C5 chief operating officer Dunthorne is one of Desmond’s longest-serving employees, having run Desmond’s Portland TV, which included a portfolio of adult channels, since its launch in 1995.

He is now understood to be paving the way for the smooth transition of C5 between Northern &

On The Yorkshire Buses: produced for C5 by The Garden Productions

Shell and Viacom. Viacom declined to comment ahead of the completion of the deal.

It remains business as usual at the Big Brother broadcaster, which has just ordered a “landmark” series on multi­culturalism from The Garden Productions, the indie behind C5’s On The Yorkshire Buses.

Titled 100% British, the 3 x 60-minute series is set in Manchester’s Cheetham Hill, one of the most diverse locations in Britain. More than 30 languages are spoken in its two square miles, which feature a

mixture of mosques, churches, synagogues and Sikh gudwaras catering for the diverse community.

The series will look at what it means to live in Britain in 2014 through the weddings, shops and schools of the area.

The series will air later this year and was ordered by factual commissioning editor Emma Westcott.

The Garden’s Danny Horan is the executive producer.

“The series really gets to the heart of the multicultural Cheetham Hill community,” said Westcott.

Forces TV’s Nick Pollard invites indie pitches BY jake kanter

Forces TV, the newly launched armed forces channel run by former Sky News executive Nick Pollard, has thrown open its doors to indie pitches.

Pollard, who oversaw a scathing review of Newsnight’s ditched Jimmy Savile investigation in 2012, said he would welcome ideas from producers as Forces TV looks to bolster its schedule.

Pollard said 80-90% of the channel’s undisclosed budget will be spent in-house, but the remainder will be used for original commissions and acquisitions. He is particularly open to ad-funded content and is prepared to hand over rights to new formats.

Nick Pollard: looking for content

“We’re hungry for content and we’re keen for people to bring us clever proposals,” said Pollard, who runs Services Sound and Vision Corporation, which backs Forces TV. Factual content about soldiers, sailors and military kit is a priority, he added, as well as military

history documentaries.

But Pollard said “there’s no reason” why producers shouldn’t come to the channel with drama ideas, pointing to its production of injured soldiers play The Two Worlds Of Charlie F. Its recent acquisitions include Channel 5 series Royal Navy Caribbean Patrol, produced by Uppercut Films.

Producers should pitch ideas direct to Pollard, who said Forces TV has been a “labour of love” over the past three years.

Forces TV launched last week and is available on Sky channel 299, Virgin 244 and Freesat 652.

It does not currently have carriage on Freeview because the cost of access is too high. www.broadcastnow.co.uk

Business Breakfast

Sponsored by

BBC on hunt for riskier docs Head of doc commissioning Emma Willis outlines plans at Broadcast Business Breakfast

Emma Willis is on the hunt for an innovative format on the scale of Stephen Lambert’s controversial 2007 series The Verdict as she looks to boost risky and provocative documentaries across her BBC channels.

Speaking at a Broadcast Business Breakfast in London last week, the head of documentary commissioning for BBC1, BBC2 and BBC4 (below) said she would “love to do something” as bold in its ambition as RDF’s courtroom format, which aired across BBC2 and BBC3.

The show followed the deliberations of a celebrity jury as they presided over a recreated trial. It was improvised by actors, contested by real barristers and overseen by a real judge.

“The Verdict was all about risk and provocation,” said Willis. “We are open for business in terms of things that might seem a bit risky or provocative for the BBC.” Programmes that “illuminate” the social forces at work in Britain today are among Willis’s priorities.

She marked out immigration, social mobility and the gap between rich and poor in the UK as three key areas of focus.

The Great British Bake Off commissioner said she was keen to find shows that can bring together different types of people, while identifying “precincts without walls” is also a priority.

“We are interested in putting the rich and poor together in one programme rather than putting a ring-fence around different parts of Britain,” she said.

She pointed to Wild Pictures’ upcoming BBC1 access series Inside KFC and Minnow Films’ BBC2 show The Detectives, which follows a Manchester sexual crime unit, as examples of using precincts to tell bigger stories.

“It’s about using a particular community or institution as a way of moving outwards, rather than just staying within four walls,” Willis told a room of indies, adding that the KFC doc will provide an “insight into modern Britain”.

8 | Broadcast | 20 June 2014

THEODORE WOOD

BY ALEXANDRA CHAPMAN

Business Breakfast: Willis marked out immigration, social mobility and the gap between rich and poor as key areas

We are open for business in terms of things that might seem a bit risky or provocative for the BBC Emma Willis, BBC

Willis remains interested in access documentaries, and this week BBC2 announced The Fifteen Billion Pound Railway, Windfall Films’ inside look at Crossrail.

Shows depicting high society remain on the agenda following the success of BBC2’s Inside Claridge’s.

ITV Studios-owned indie The Garden now plans to open up the luxury Taj Mahal Palace hotel in Mumbai for a 4 x 60-minute BBC2 series later this year, which will contrast the lives of India’s rich and poor. The indie is also making Tatler (w/t) for BBC2 in

2015, which Willis said will provide a “hilarious” portrayal of the magazine and its readers.

“I could fill all the channels tomorrow with perfectly good TV but we are in an age of extremes – audiences want to book into Claridge’s or to see what’s happening at the bottom of society, in case they fall down there,” she said.

Willis admitted that BBC1 can be unforgiving for both producers and commissioners. “It’s a tough channel for factual and is always looking for projects of a large scale,” she said, adding that there is “nowhere more intimidating on TV” than the BBC1 9pm slot.

At Sheffield DocFest, Willis told producers to “pretend” their idea was for BBC2 when pitching for BBC1 because it can seem less daunting. At the Business Breakfast, she added that not attaching a channel at all can help, leaving commissioners to decide where to place an idea.

Willis said it was early days under new BBC2 controller Kim Shillinglaw, but the channel will not be attempting to find a replacement for Love Productions’ hit The Great British Bake Off when it moves to BBC1.

She revealed that The Great British Sewing Bee will return for a third series, however, arguing that the show was “a massive risk” when it was originally commissioned last year.

Over on BBC4, Willis is keen to pull the channel out of its comfort zone of retrospective documentaries. “There are realities about how much money we’ve got, but our central job on BBC4 is to bring Britain into the present and future tenses, ensuring that it looks out of the window every now and again and not just backward,” Willis said.

The Tube commissioner added that she was fascinated by the success of Scandinavian factual programmes, particularly the Norwegian phenomenon of “slow TV”. Willis said: “They did a 24-hour knitting thing, and they put cameras on a boat, to just sail around a fjord for a couple of hours with no commentary.

There’s something in that.” www.broadcastnow.co.uk

LET’S HEAR IT

LOVES FOR THE TV BRITAIN

It’s been a year of brilliant British telly and radio, and we were swamped with entries for the Freesat Free TV Awards 2014. Thank you to everyone, but there can be only one winner in each category.

So congratulations to this year’s champions: FREESAT CHANNEL OF THE YEAR

BEST CHILDREN’S TV PROGRAMME OR SERIES

BEST OF BRITISH: TV PROGRAMME OR SERIES

BEST DIGITAL RADIO CHANNEL

BEST FACTUAL TV PROGRAMME OR SERIES

BEST SPECIALIST CHANNEL

BEST TV SITCOM

BEST NEWS CHANNEL

BEST TV DRAMA

PUBLIC VOTE: PERSONALITY OF THE YEAR

BEST LIVE TV PROGRAMME OR SERIES

PUBLIC VOTE: BEST BRITISH TV SOAP

BBC TWO

KATIE MORAG

DOCTOR WHO: THE DAY OF THE DOCTOR

ABSOLUTE 80s

EDUCATING YORKSHIRE

TRAVEL CHANNEL

THE WRONG MANS

BBC RADIO 5 LIVE

LINE OF DUTY

ANT AND DEC

ANT & DEC’S SATURDAY NIGHT TAKEAWAY

Coronation Street ITV

Doctor Who BBC One

Line of Duty BBC Two

CORONATION STREET

Educating Yorkshire Channel 4

The Wrong Mans BBC Two

To find out more about the Freesat Free TV Awards 2014 and the winners, visit freesat.co.uk/awards In association with:

Broadcast winners ad 2014 AW.indd 1

With thanks to:

18/06/2014 11:55

Commissioning News

Sky 1 orders first fixed-rig doc Families in all their diversity are central to what we’re doing on Sky 1

BY peter white

Sky 1 is to enter the world of fixedrig factual with a Twofour series described as “Gogglebox by the sea”.

The Sun Set (w/t) is an 8 x 60-minute series that will follow families as they holiday together in a luxurious European villa complex rigged with cameras.

Each episode will include a new set of British and Irish families.

Twofour will look to use its experience gained on ITV2 series The Magaluf Weekender, which used fixed-rig camera techniques to follow young people in the infamous clubbing resort.

The indie is working with GroupM Entertainment (GME) on the Sky 1 show – the first time the channel has collaborated with the production financier. BSkyBowned Pick TV ordered 10 x 60-minute Bodycam: Britain Caught On Camera from GME and Leopard Films earlier this year.

Sky’s first attempt at the documentary technique comes hot on the heels of Channel 4’s decision to commission another 30 episodes of 24 Hours In A&E. The

Martha Kearney takes loves of bees to BBC2 Martha Kearney is transporting her love of bees to BBC2 with a documentary from Impossible Factual. Hive Alive explores the secrets of the honey­bee “during one of it’s busiest periods” and follows the journalist’s BBC4 series The Wonder Of Bees, produced by ITN Productions. The 2 x 60-minute series marks Impos­ sible Factual’s debut commission since its management buyout from Impossible Pictures last year.

BBC2 series to look at the logistics of moving animals BBC2 will explore the trans­ portation of rare and dangerous animals in a 2 x 60-minute series.

Produced by Betty, Animal Movers 10 | Broadcast | 20 June 2014

Alan MacDonald

Magaluf Weekender: producer Twofour has previous fixed-rig experience

Garden Productions brand is being moved from King’s College Hospital in Denmark Hill to St George’s Hospital in Tooting for its seventh run.

The Sun Set will air in an 8pm slot, which was highlighted by recently installed Sky 1 director Adam MacDonald as one of his priorities.

“I have a real sense that 8pm has become quite settled, that channels have relaxed into what’s

working for them,” MacDonald told Broadcast last year.

“There are more soaps and long-running dramas on BBC1 and ITV, so BBC2, Channel 4 and Channel 5 have settled into appealing to non-soap viewers. There’s a lot of shows that have been on for years and are working okay, so channels are looking elsewhere and have forgotten about them.

I smell that the time is right for some fresh thinking.”

unravels the stories of zoos, aquariums and specialist companies as they put together unique transport requirements and navigate logistical challenges to move the creatures. David Emmerson is the executive producer, while Lucinda Axelsson is the commissioner.

Victory Television wins National Lottery show

C4 explores US gun culture The lives of children caught up in America’s gun culture are to be explored in a Minnow Films doc for C4. Kids ‘n’ Guns will follow children as young as four who are exposed to weapons as part of their daily lives. The film, ordered by C4 doc commissioning editor Anna Miralis and executive produced by Morgan Matthew and Ruth Kelly, will air later this summer .

Sony’s Victory Television has scooped a BBC1 National Lottery gameshow in which contestants choose their own prizes. BBC1 has ordered Win Your Wishlist, which will involve pairs of contestants facing categories of questions based on their shared history, to air on Saturday night around the lottery draw. The 8 x 60-minute format was created by Victory head of entertainment Stuart Shawcross.

Shane Richie to host BBC1 daytime gameshow BBC1 has beefed up its daytime slate with a bigmoney CPL Productions gameshow, hosted by Shane Richie (right). Decimate will film in August and launch in the autumn for a 25 x 45-minute run, with the former EastEnders star presiding

The Sun Set was ordered by commissioning editor for factual Chris Wilson and will be executive produced by Twofour’s David Clews and Richard Marson, and GME’s Melanie Darlaston.

“Families in all their diversity are central to what we’re doing on Sky 1,” said MacDonald. “The annual family holiday is always one to remember – with moments of joy, laughter, playfulness and, often, sheer embarrassment.

We can’t wait for our customers to slap on the factor 30 and come and join us.”

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

over contestants working together to win a £20,000 jackpot. For each incorrect answer, the £20,000 pot will be reduced by 10%.

Windfall Films to make Crossrail doc for BBC2 BBC2 is taking a look behind the scenes at London’s £15bn Crossrail development. The broadcaster has commissioned 3 x 60-minute doc series The Fifteen Billion Pound Railway from Windfall Films. It will examine the construction of a huge train station at Canary Wharf that is as long as the Gherkin skyscraper is tall, and meet the team burrowing out the new train line’s twin tunnels beneath the Thames. www.broadcastnow.co.uk

International News

RTÉ: Format Farm is secure We see it growing so we absolutely will be investing more in Format Farm

BY Peter White

Irish broadcaster RTÉ has pledged its commitment to its international formats initiative Format Farm following the departure of Tonyia Dowling.

Dowling, who was head of format development at RTÉ and ran the scheme, will become director of the broadcaster’s long-running primetime soap Fair City.

RTÉ’s Format Farm, launched in 2012, is designed to pilot new projects, largely entertainment and lifestyle formats, from Irish indies in association with international distributors, including Warner Bros International Television Production, Sony Pictures Television and Fremantle Media, which all co-funded pilot development.

RTÉ is now “recutting” Dowling’s role, moving it to RTÉ Global – the recently rebranded international sales division of the broadcaster – to give it more commercial clout. The post was previously housed within the broadcaster’s commissioning team.

The move has been designed to boost the international fortunes of RTÉ Global, which hired former

Michelle Spillane, RTÉ Global

The Hit: the Irish talent show was one of Format Farm’s first pilots

Microsoft and ITV executive Michelle Spillane as its director in January.

It will also allow RTÉ to commission formats on a rolling 12-month basis rather than once a year, which gave the channel’s commissioners little flexibility with new projects.

Spillane told Broadcast there will be a number of changes to how it proceeds with Format Farm, which will be explained to producers next week. The goal is to increase investment in formats that have inter­national appeal.

“Format Farm is a huge success for RTÉ, for the independent

sector and for Ireland, in terms of positioning the country as a creative hub,” said Spillane. “We see it growing and expanding, so we absolutely will be investing more in Format Farm and we’re going to walk the sector through what that will look like. There are some key changes with how the initiative will work, but they’re all positive.”

There were some concerns that RTÉ Global’s increased involvement would alienate international distributors involved in funding formats, but Spillane denied this would happen. “The distributors want us to do more, and this will benefit every­body. It’s actually trying to grow the industry and be more inclusive.”

RTÉ will this week inform producers that entered the 2014 scheme if they have successfully scored a pilot, with the broadcaster understood to be testing four new projects.

DRG seals deals for Dutch format Out Of The Silence We are delighted to see how much attention the format is getting

BY Peter White

Out Of The Silence, a format in which deaf people are given the chance to hear again, is being remade around the world after UK distributor DRG closed a raft of deals.

The format, which will travel to countries including Ireland and Australia, follows deaf people given a cochlear implant as they begin to hear for the first time, including going to their first pop concert.

The series was created by Dutch indie Tuvalu Media and Amsterdam-based Format Kitchen. It is one of the first formats to be developed by Tuvalu following its management buyout from Sony 12 | Broadcast | 20 June 2014

Taco Zimmerman, Tuvalu

Out Of The Silence: global deals

Pictures Television at the end of last year.

DRG picked up the format for international distribution at MipTV following the launch of its standalone formats division,

headed by Andrea Jackson. It has subsequently closed eight options globally.

Irish indie Loose Horse, which produces series The Naked Election and Heat, and Go Back To Where You Came From producer Cordell Jigsaw Zapruder, which works across Australia and New Zealand, have both taken the rights.

The format has also been picked up by production firms in France,

Israel, Norway, Sweden, Denmark and Finland.

“Out Of The Silence is a unique format that captures viewers and takes them on an emotional journey. Anyone can relate to just how remarkable watching someone hear for the first time is, so we are delighted to see how much attention the format is getting from all corners of the world,” said Tuvalu managing director Taco Zimmerman.

DRG’s Jackson added: “When I saw the promo for Out Of The Silence at MipTV, it blew me away. We are delighted to have secured production partnerships in these major markets where development of this extraordinary format is happening.” www.broadcastnow.co.uk

Silence fell across the island at 5pm each day as every pensioner retired to watch Deal Or No Deal Eddie Stafford, Behind the Scenes, page 28

BBC Worldwide rejigs senior content team

BY PETER WHITE

BBC Worldwide has completed the restructure of its senior content team – filling its vacant commissioning roles with the promotion of two senior executives.

The commercial arm of the BBC has promoted Tracy Forsyth to genre director of factual entertainment and Mark Reynolds to genre director of factual ahead of the roll-out of its new entertainment channels later this year.

Forsyth and Reynolds will work alongside Liam Keelan, who was promoted earlier this year to director of scripted, overseeing drama, comedy, music and kids. They will also collaborate with former RTÉ One controller George Dixon, who joined in April as global editorial director.

Forsyth, who was previously vice-president of commissioning, will now be responsible for brands such as Top Gear, The Great British Bake Off, Dancing With The Stars and Tumble, and will order for forthcoming channel BBC Brit.

Galavant to return to The Bottle Yard for full series Disney’s musical comedy Galavant is set to return to The Bottle Yard after it was ordered to series. ABC Studios used the Bristol facility as a production base for the making of Galavant’s pilot, meaning it was the first US network show to film in the UK since the introduction of high-end TV tax relief in April last year. Pre-production for the series began this week, while shooting will take place from August to the end of October.

Sky close to creating a Euro mega-broadcaster Sky’s plans to create a European mega-broadcaster have moved a step closer after the pay-TV operator engaged investment banks Morgan Stanley and Barclays to www.broadcastnow.co.uk

Having a genre focus will ensure BBC Worldwide content stands out across the board Helen Forsyth, BBC Worldwide

Forsyth and Reynolds: genre director of fact ent and factual respectively

The channel will roll out later this year, starting in Australia in August, before launching in Russia and other markets.

Meanwhile, former factual commercial director Reynolds will oversee brands including Hidden Kingdoms, Brian Cox’s Human Universe and David Beckham Into The Unknown, looking after natural history, science, history,

help with the complex transaction.

The Rupert Murdoch-run Hollywood studio behind the deal, 21st Century Fox, could receive up to $8.5bn (£6.8bn) from a deal to merge BSkyb, Sky Italia and Sky Deutschland. The three firms began talks last month to create a “worldclass multinational pay-TV group” that would have around 20 million subscribers.

ITVS GE closes deals in Central and Eastern Europe Surprise Surprise (above right) is to be remade in Slovakia after ITV Studios Global Entertainment (ITVS GE) struck a deal with TV Joj. The commercial broadcaster has ordered a local version to air later this year. Separately, Romanian broadcaster Antena is remaking reality cooking series

documentaries and current affairs.

He will be in charge of BBC Earth Productions and will commission for the new BBC Earthbranded channel.

Both will have access to BBC Worldwide’s growing investment pot, which now stands at more than £200m a year, and will report to chief content officer Helen Jackson, who said Forsyth

and Reynolds’ combined experience would “benefit the breadth of our business”.

“The creation and financing of premium content fuels all that we do, from driving international television sales to bringing our new global genre brands to life. Having a genre focus will be invaluable to ensuring BBC Worldwide content stands out across the board,” she added.

Hear more about BBC Worldwide’s commissioning strategy from Tracy Forsyth at Broadcast’s Commissioning & Funding Forum on 1 July at Kings Place.

Visit www.broadcast-forums.com to book your place.

will air on Australia’s Nine Network’s digital channel Go! after a 2015 UK launch. It is produced by ITV Studios and Pukeko Pictures in association with Lord Of The Rings VFX firm Weta Workshop.

Hell’s Kitchen, while Serbia’s RTS has recommissioned another 28 episodes of gameshow The Chase. These Central and Eastern European deals were closed ahead of Natpe Europe, which is being held in the Czech capital Prague later this month.

Thunderbirds Are Go! in Australia ITV’s remake of Thunderbirds is to launch in Australia after ITVS GE closed its first international licensing deal. The 26 x 30-minute Thunderbirds Are Go!

Cartoon Network orders remake of Powerpuff Girls Cartoon Network is bringing back animated kids’ series The Powerpuff Girls (below) after a 10-year absence. The international children’s broadcaster has ordered a remake of the action-adventure animation, one of the Turnerowned channel’s most successful shows, from its in-house studio. The series, which follows three female superheroes, was launched in 1998 and ran to 2004.

20 June 2014 | Broadcast | 13

Multiplatform News In Brief Ex-C4 boss joins NFTS Channel 4’s former multiplatform boss Louise Brown is to head up an NFTS course that will give graduates skills to help build audiences and drive engagement around online video. The year-long Producing Digital Content and Format Development diploma, run in partnership with Sky, starts in September and will teach practical production and project management skills.

Video producers warned against shunning Android

DreamWorks on YouTube DreamWorks Animation is to work with Awesomeness TV, the multichannel network it acquired 12 months ago, to produce an original YouTube channel. DreamWorks TV will showcase live action and animated short-form content from characters such as Shrek (pictured), Puss In Boots and Kung Fu Panda.

BBCW to gauge reactions BBC Worldwide’s audience research team has agreed a partnership with CrowdEmotion, a facial recognition service backed by the BBCW Labs programme. The technology, which uses webcams to measure viewer’s responses to what they are watching, will gauge the reactions of 200 participants as part of a BBC trial. A UK study will be followed by Russian and Australian versions before a third wave rolls out in six other countries.

ITV sorry for Cup gaffe ITV has apologised after its online coverage of the opening World Cup match between Brazil and Croatia was affected by problems. The broadcaster received a barrage of complaints via Twitter after the live stream, hosted on ITV Player, failed during the game, leaving viewers unable to watch the coverage. ITV blamed the issue on “unprecedented” demand.

For the latest breaking news www.broadcastnow.co.uk 14 | Broadcast | 20 June 2014

Penny Dreadful: services like Sky’s Now TV, which airs the gothic horror series, are helping to shift viewer habits BY alex Farber

Content producers must distribute video across Android devices and connected TVs or risk losing out on a substantial volume of viewing, according to a study from Ooyala.

The digital video provider, which works with partners including the BFI, ESPN, Vice and News UK, has released its latest Global Video Index.

It shows that Android devices accounted for 45% of video plays in the first three months of 2014 in Europe, the Middle East and Africa, compared with 55% for iOS devices.

Ooyala head of marketing for EMEA Sarah Kiefer said the fragmentation issues that have traditionally hobbled the Googlebacked operating system are slowly being addressed.

“If you don’t make your content available on Android, then you risk missing out on around half of your potential video views,” said Kiefer. “The main concern has been to make sure content plays correctly on the huge variety of Android devices, but Google has been doing a lot of work to simplify the process.”

People are increasingly comfortable using a mobile to view long-form content Sarah Kiefer, Ooyala

Ooyala found that consumers are increasingly watching longform video via mobile devices.

The study, which analysed viewing habits from 239 countries, shows that almost 20% of mobile viewing sessions were for content of 60 minutes in length or more.

In comparison, long-form content accounted for just 10% of viewing sessions on desktops.

Overall, accessing content on mobile and tablet devices accounted for 21% of total video viewing in the first quarter of 2014, up from 9% in the same period the previous year.

“People are increasingly comfortable using a mobile to view long-form content during their commute or when someone else is watching the TV,” Kiefer said.

“The total growth is being driven by increased access to more powerful devices, content pro­

ducers coming up with more interesting ways to post content, and better access to wi-fi and mobile broadband.”

While consumption remains low on connected TVs, they are also being used to stream relatively high levels of long-form content.

Almost 40% of video sessions are 60 minutes or more in length, with Kiefer arguing that the emergence of services such as Sky’s Now TV has helped to shift consumer habits.

“The ability to access Now TV via a set-top box rather than through the TV takes away the initial barrier to entry and helps people to transition onto connected TV services,” she said.

Kiefer also pointed to the emergence of niche services, such as the Vienna State Opera’s part­ nership with Samsung to livestream concerts in 4K from the Austrian venue.

She explained: “Strategic partnerships such as these are important because the device manufacturer takes on some of the risk and allows content producers to push the frontiers of what is possible, and really showcase what the technology can do.” www.broadcastnow.co.uk

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Technology & Facilities Creative review

Countryfile

Mr Sloane

T20 titles

Post Evolutions Client BBC Brief Provide picture and audio post services for the long-running BBC1 series about the people and places of the British countryside.

How it was done As with other location-based shows, audio presented some challenges. Evolutions Bristol head of audio Will Norie used Avid Pro Tools to create a bright, rounded sound, with Izotope RX3 Advanced used to tackle numerous artefacts that are inherent with radio mics hidden in clothing and noisy locations.

He also used Waves’ WNS noise suppressor. With some of the GVs arriving at the mix with little useable sync sound, Norie filled background tracks with accurate birdsong and farm machinery. Online editor Jo Curtis used Avid Symphony to finish the show, accentuating the natural beauty of the landscape.

Watch it Sundays, 7.25pm, BBC1

Post The Farm Client Big Talk Brief Complete picture and audio post-production on Sky Atlantic’s six-part comedy drama series.

How it was done Colourist Sonny Sheridan graded the series with the Nucoda Film Master. He used a mixture of desaturation and high contrast to maintain a vibrancy and energy in colour, while recreating the time period.

This contradiction reflects the theme of the programme, as the characters make the transition into the 1970s.

Sheridan twisted hues and isolated colours, using varied vignettes to create a unique overall look. Nick Fry mixed the audio with Pro Tools 10, paying close attention to recreating the sounds of 1960s Watford. Using reference points from director Robert B Weide, he ensured that all sound effects were of the time. Barney Jordan completed the online with DS Nitris.

Watch it Fridays, 9pm, Sky Atlantic

SFX Artem Client BSkyB Brief Help create a colourful new title sequence for the T20 Blast cricket season, which includes cricket balls exploding as they are hit by batsmen and bursts of paint as balls hit stumps.

How it was done Artem technicians produced a range of different viscosities of liquid and a number of devices for the shoot. These were used to fire, splash and pour the ‘paint’ over cricket equipment that had been sealed with a coating so it could be wiped clean to allow for quick resets between takes. They also created 10 cricket balls made from thin shatter plastic to create a key high-speed shot of a ball exploding into a shower of colour on impact with a cricket bat. To speed up the shoot, Artem carried out research with its in-house high-speed analysis camera.

Watch it Now on Sky Sports

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

Sargent pays tribute to ‘universally loved’ Marshall The Farm audio engineer Stewart Marshall (below) has died aged 41.

Marshall, who was one of the founding employees of the Soho post company, suffered a brain aneurism last week. The Farm cochair Nicky Sargent paid tribute to the Baftanominated sound mixer. She said: “Stewart was, without doubt, one of the most universally popular and loved members of our team. He was a warm, funny, generous, loveable soul with a passion for his work but a larger passion for his wife Nicola and two young children, Gabriel and Juliet. Stewart will be greatly missed by everyone at The Farm.” Marshall’s recent credits 16 | Broadcast | 20 June 2014

include Nixon’s The One, Made In Chelsea, Peep Show and Live At The Apollo.

BBC S&PP extends Elstree studio deal for two years BBC Studios and Post Production (BBC S&PP) has extended its deal with Elstree Studios for two years until 2017.

BBC S&PP relocated to Elstree last year while Television Centre (TVC) is redeveloped. The BBC commercial subsidiary currently hires Stage 8, Stage 9 and George Lucas production gallery space from Elstree Studios, as well as operating studios at BBC Elstree. BBC S&PP chief executive Anna Mallett said it remains on course to return to TVC in Spring 2015, when it will operate Studios 1, 2 and 3.

Matthew Shell exits Imagine for Pebble Beach Matthew Shell has joined Pebble Beach Systems as proposals and solutions manager. He comes to the automation and channelin-a-box systems provider from Imagine Communications, where he held product marketing and business development roles for products including video server, storage and integrated channel playout solutions. He has also worked with Philips Broadcast, Grass Valley, Leitch and Tektronix.

Service to commemorate IBC president John Wilson IBC president John Wilson (above right) has died. As well as playing a leading role in the broadcast equipment trade show and conference, Wilson was most recently sales director at Link Electronics.

He also founded displays business Anna Valley. TSL founder David

McGregor said Wilson’s chairmanship “transformed IBC into the well-drilled organisation it is today”. A memorial service will be held at 2.30pm on 24 June, at All Saint’s Church, Upper Clatford, near Andover.

BBC Academy training to ease shift to file delivery The BBC Academy is hosting training events to help producers, production managers, editors and engineers prepare for the upcoming shift to file-based delivery. Aimed at those working within UK broadcasters, indewww.broadcastnow.co.uk

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

NEP Visions invests £4m in flypack kit for Wimbledon

BY George Bevir

NEP Visions has made its biggest investment in flypack kit to date – spending around £4m on equipment to cover next week’s Wimbledon tennis tournament.

It is the first time NEP Visions will provide host outside broadcast (OB) services at Wimbledon, having taken over from SIS Live.

Last year, NEP Visions provided OB services for ESPN’s US Wimble­ don coverage and, in conjunction with the BBC and Sony, an OB truck to support 3D production.

NEP Visions commercial and technical projects director Brian Clark said Wimbledon now ranked as the company’s main event in the UK. “The only thing close would be something of the level of coverage for the Olympics, or the upcoming Commonwealth Games,” he said.

The company will provide more than 100 camera channels for the BBC and around 25 for ESPN. Wimbledon will also provide the setting for one of the first UK uses of Grass Valley’s new LDX 6X high-

pendent production companies, post-production houses and freelancers, the ‘File Delivery Made Real’ events will include demonstrations of creating, reviewing and delivering files.

The first event is on 30 June in Salford and will be followed by further sessions in July in Glasgow, Belfast, Cardiff and London.

Wimbledon 2013: NEP Visions is to give production teams more options

frame-rate camera, which was unveiled at NAB earlier this year.

NEP Visions will also use Grass Valley’s recently released LDX 4K camera to conduct closed 4K tests during the tournament. The manufacturer’s LDK 8000 Elite and Sony’s HDC-1500 and HDC-2500 cameras will make up the remainder of the camera channels.

“Our main aim is to provide a seamless transfer from the previ-

ous OB supplier,” said Clark. “But we want to provide production teams with more options and have a more tightly integrated production and technical operation.”

The company’s flypack investment includes Imagine Communications (formerly Harris Broadcast) routers, Grass Valley vision mixing desks, Calrec and Digico sound desks and a Telex communications system.

Shepperton chief executive Ivan Dunleavy said PIMS would play a “strategic part in Pinewood’s everexpanding international offering”.

Molinare upgrades audio suites with Soundminer

Pinewood officially opens Malaysian studio facility Pinewood’s South East Asia studio facility (right) was officially opened this week. Pinewood Iskandar Malaysia Studios (PIMS) is a 50-acre site that contains 100,000 sq ft of film stages and 24,000 sq ft of television studios, along with post-production facilities and production space. In April, the studios signed a deal with The Weinstein Company to shoot upcoming television series Marco Polo at the facility. Pinewood www.broadcastnow.co.uk

Racing UK to deliver best ever coverage from Ascot Racing UK is gearing up for its biggest race coverage to date at Royal Ascot this week. Through OB provider RaceTech, Racing UK will use 15 cameras instead of six, along with two radio and two paddock cameras. Racing UK will also take feeds from Channel 4’s 49 cameras to provide 50 hours of predominantly live coverage.

Scrub has supplied Molinare’s audio suites with a Soundminer v4.5 Pro installation and Pro Tools HDX upgrades. The HDX hardware has been integrated with the Soundminer Pro effects engine in all of the facility’s dubbing theatres and support suites across both of its Soho locations. Molinare technology general manager Richard Wilding said: “We have merged our existing sound libraries with Soundminer, but this is only the beginning for us. It also allows us to continually acquire new sound libraries with fresh sound effects.”

3TS Capital invests £4.2m to grow Visual Unity OTT platform and multiscreen system provider Visual Unity has received a £4.2m investment from 3TS Capital Partners.

Sony unveils most compact device in XDCam range Sony has unveiled a new camcorder, which the manufacturer said would be its most compact XDCam device.

Previewed at Broadcast Asia in Singapore this week, the unnamed camera – which is still in development – features a 1.0-type Exmor R CMOS sensor and can record XAVC Long GOP, enabling 422, 10-bit sampling.

Sony said the camcorder would be its most affordable XDCam device to date, and it would support broadcasters as they overhaul their workflows and focus on increased data transfer speeds.

Sony added the PXW-X160 and the PXW-X180 to its range of XDCam devices earlier this year.

Sony Professional Solutions Europe product marketing manager Robbie Fleming said there was momentum across the industry in adopting the XAVC format, adding: “This new compact addition to the XDCAM line-up will bring the benefits of XAVC to an even broader audience, whether it’s in education, videography or news.”

The funds will be used to support the growth of an international customer base for vuMedia, Visual Unity’s OTT platform.

Visual Unity founder and chief executive Tomas Petru said the investment would be “instrumental in fuelling our sales, marketing and expansion”.

BroadStream acquires software firm Oasys BroadStream Solutions has acquired automated playout software firm Oasys. BroadStream provides systems integrators, dealers and broadcasters with linear playout systems and news production tools. Both companies are owned by Mark Errington and Herbert Brenninkmeijer.

Errington said: “Now we are well placed to ensure that our customers gain maximum return on investment, with better flexi­ bility of products.”

20 June 2014 | Broadcast | 17

Best Entertainment Programme Sponsored by Pinewood Studios Group

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25 June 2014 | The Brewery | London

Shortlist Channel of the Year Sponsored by Sargent Disc

-

BBC Three CBBC Dave Discovery Channel E4 ITV2

Best Content Partnership or AFP Sponsored by IMG Sport Video Archive

- David Attenborough’s Natural History Museum Alive 3D, Colossus Productions for Sky 3D - The Fox Problem Powered by HP, Telegraph Hill - Hollyoaks: This is Abuse, Lime Pictures and Sassy Films for E4 - Kellogg’s Krave Tweet When You Eat, ChannelFlip Media - Stargazing Live, BBC Productions for BBC Two - The Support Group, Bwark Productions Best Scripted Programme - Crackanory, Tiger Aspect for Dave - Horrible Histories series 5, Lion Television and Citrus Television for CBBC - In The Flesh, BBC Productions for BBC Three - Moone Boy series 2, Baby Cow Productions, Sprout Pictures, Hot Cod Productions and Grand Pictures for Sky 1 - My Mad Fat Diary series 2, Tiger Aspect Productions in association with Drama Republic for E4 - The Tunnel, Kudos and Shine France Films for Sky Atlantic Best Programme Acquisition Sponsored by Beyond Distribution

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The Big Bang Theory, E4 The Bridge, BBC Four Brooklyn Nine-Nine, E4 Sleepy Hollow, Universal Channel Storage Hunters, Dave Suits, Dave

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- A Field in England Master Class & Multiplatform Release, Maverick Television and Rook Films for Film 4 - D-Day: As It Happens, Windfall Films and Digit London for Channel 4 - Easter Eggs Live, Windfall Films and Numiko for Channel 4 - Ludus, Cube Interactive and Boom Kids for CBBC - The Spirit Of ‘45, The Project Factory and Syndicut Communications for Film 4 - The Voice UK, Wall to Wall for BBC One

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BBC Three BBC Four Discovery Channel History Horse & Country TV

Best Game - Ludus, Cube Interactive and Boom Kids for CBBC - Made In Chelsea Game, PaperSeven and Monkey Kingdom for E4 - Midsomer Murders App, Bentley Productions, Utinni Games and All3Media International for ITV - Reflex Mobile App, All3Media International and Objective Productions for ITV - Sherlock: The Network, The Project Factory - Wolfblood 2: Leader of The Pack, CBBC Interactive and Chunk for CBBC Best Platform Innovation - Grabyo.com - In-App Voting on The X Factor, Tectonic, FremantleMedia and Tellybug for ITV - Perception for Vision247 - The Freesat App for Freesat - YouView Best Specialist Channel - Animal Planet - BoxNation - Horse & Country TV

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Comment

The best thing about being an ITV Studios-owned indie is feeling that we can have our cake and eat it 12 Yard’s Andy Culpin, Interview, page 22

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20 | Broadcast | 20 June 2014

TV news is about to change Adjusting to consumer habits will be imperative, says Kate Bulkley

W

e all love a full-on, noholds-barred fight about the future of television. So the Sambrook v Ryley slagging match about the future of TV news – particularly rolling news channels like Sky News, which John Ryley heads up – has become a cause célèbre.

As the former head of BBC News and a 30-year veteran of TV news, Richard Sambrook (now vice-chair and head of content at PR giant Edelman) has form.

He says instant access to news, supplied by a growing number of online providers, propelled by social media sites and accessed via smartphones and tablets, underlines the cost inefficiencies of 24-hour rolling news channels. Why, he wonders, do we need endless and sometimes pointless crosses to “our man in the field” – who often knows less than the Twittersphere?

Ryley, unsurprisingly, thinks differently. He believes that rolling TV news is still a good business and forms the “backbone” of a well-rounded 24/7 service.

In some ways, they are both correct. The Reuters Institute Digital News Report, published last week, offered insights across 10 countries about how news consumption is changing. Although largely focusing on print, it carries huge implications for TV news.

It says that 24% of people in the UK already use a mobile device as their primary access point for news (rising to 36% of 18 to 24 year-olds) and 16% of those surveyed share a news story via social media or email every week. In the UK, traditional brands, led by the BBC, Mail Online and Sky, beat MSN and Yahoo! in overall digital news consumption, but in several countries including the US, search engines are ahead.

Accessing news on smartphones narrows consumers’ range of sources: in the UK, 55% of smartphone

users say they use only one news source each week compared with 45% for computer users. Naturally, they’re less predisposed to TV news. Facebook (22%) and Twitter (12%) dominate UK social media sites for news, with YouTube coming in at 6%. The rise of Whats­App for news has been strong in Spain, Germany, Italy and Brazil, but it is used far less in the UK (2%).

News consumption is changing faster than many have predicted. Digital news sites are using more video and the likes of Sky News will feel increasingly under pressure as connected TVs become the norm.

“Broadcasting is about to go through what print went through over the past ten years,” says Sambrook. “Once you have an internet connection to the TV, everything changes. It’s no longer a closed, one-way system.”

Newspaper websites’ videos are way beyond simply having two journalists debriefing each other on a story they wrote earlier. “Our criteria will be how can video tell a story in a more interesting way,” says Robert Shrimsley, managing editor of FT.com. The Guardian is also upping its video and audio: witness the inter­ active documentary of the Tasmanian bush fire Firestorm (pictured); the Edward Snowden story in NSA – Decoded; and The Shirt On Your Back – its report on the Bangladeshi garment industry. Clearly, the story of how best to make and deliver the news is changing fast. ➤ Kate Bulkley is a print and TV journalist and awards secretary of the Broadcasting Press Guild. Follow her on Twitter @katecomments

‘Digital news sites are using more video and the likes of Sky News will feel increasingly under pressure

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Comment

Solving the multi-channel equation Volume can be more crucial than rights in a multi-channel world, says Tern TV’s Ed Crick

H

elping my eldest son with his maths, I discovered the symbol ‘≥’, meaning ‘greater than or equal to’. It might not prescribe an absolute outcome like the trusty ‘=’ sign, but it does describe the parameters of an equation very neatly. It enables analysis and forces a decision within a bit of a grey area.

That’s the business side of the creative industry we’re in. So now, armed with my son’s homework, I can say that from a producer’s point of view, when dealing with multi-channel international broadcasters such as AETN, Discovery and National Geographic, the commercial equation is Volume ≥ Rights.

Sure, it would be great to have both volume and rights, but that’s rarely – if ever – possible. Highvolume series with rights attached are exceptionally hard to come by, even on terrestrial TV. To expect them from an international multi-channel operator is, to be frank, daft. It also entirely ignores the value of volume.

With a big series, volume really is greater than or equal to rights. Returning series create scale and stability for creative renewal and financial returns, both for channel and producer. Just ask AETN’s History Channel USA and Pawn Stars (pictured) producer Leftfield how they feel about being bedfellows. If, on top of decent volume, www.broadcastnow.co.uk

you can retain remake rights, then so much the better. But you don’t need to own it.

If it’s a co-pro, is it worth the hassle? If so, rights must reflect the effort put into getting them. And if it’s a one-off special, rights might be handy, but only if there’s an inter­national market beyond the lead commissioning channel; otherwise, what have you fought for?

Plus, the channel might happily give you the rights if it’s a local commission to them but ask you to work on reduced budgets. Worth it?

Maybe; look at the numbers.

‘It would be great to have both volume and rights, but that’s rarely – if ever – possible’ Like many producers, Tern has different rights models and partners in every production it makes. For our eight biggest shows in production right now, we have a variety of all rights, shared rights and none at all. We have fully funded and part-funded shows with a mix of distributor, agency, tax credit and even deficit finance. We’re producing for local, national and international audiences.

It is simply about engaging maturely at every step with the wide-ranging creative and commercial ecology of which we’re a part.

The UK hubs for NGI, DNI and AETN, now joined by BBC Worldwide & Scripps, are actively engaged with UK producers. This spectrum of broadcasters – plus the US networks – enables us to shape an idea or piece of access or talent to find the right creative discussion. If from there we end up with something really strong that everyone wants and it goes ahead to contract, we know we’ll encounter different rights models, and we embrace that.

The days of surrendering all rights to make a poorly funded three-part series are long gone.

If you’re giving up all rights for a big-budget series with a massive marketing campaign behind it and a global audience, what’s wrong with that? Alternatively, you might be retaining them because you brought it to the channel as a pre-sale or made it for a smaller, local budget.

We love finding, creating and telling stories. It would be disingenuous to say we don’t on occasion prefer doing so under UK terms of trade, but the multichannel international market is a core part of our business. Agreeing on the right commercial equation to bring a story to screen is just one part of the creative process. ➤ Ed Crick is creative director of Tern Television Senior executives from Nat Geo, History and Discovery will be speaking at Broadcast’s Commissioning & Funding Forum next month. To book a place, visit www.broadcast-forums.com 20 June 2014 | Broadcast | 21

The Broadcast Interview Andy Culpin 12 yArd

‘it’s a new direction for us’ 12 Yard’s managing director talks to Matthew Campelli about keeping the indie spirit alive under ITV Studios – and meeting audience demand for lighter, funnier formats

S

igning the £35m cheque to acquire 12 Yard at the end of 2007 was a turning point for ITV Studios. The deal, agreed by the company’s then managing director of global content, Dawn Airey, was the first step in a major expansion strategy for ITVS, which has since snaffled up several independent producers at home and, more recently, in the US. David Young, founder of 12 Yard, who is best known for conceiving The Weakest Link while at the BBC, left the company following the deal, but protégé Andy Culpin stayed on as managing director. He continues to create new formats and maintain those that propelled 12 Yard, which was previously part-owned by Hat Trick, to the front of ITVS’s thoughts.

“The best thing about being an ITV Studios-owned indie is the feeling that we can have our cake and eat it,” says Culpin. “I know it’s an oxymoron, but we feel very much like we have the spirit of an independent production company as our objectives are the same as they have always been.”

Different perspectives Culpin cuts a relaxed figure, taking short sips of coffee in between enthusiastic chatter. In the meeting room where we sit, recent hits such as ITV’s Big Star’s Little Star and BBC1’s The Guess List were born. The table we’re occupying is where he and his team brainstorm for hours, playing games and devising questions. Two televisions in the room hang vertically, sandwiching a set in its traditional horizontal position, so the team can judge questions and formats from different perspectives.

Apart from these curiously positioned TVs, the room is unremarkable.

The walls are all white with navy blue glass doors, although the wall adjacent to the entrance is covered with scores of mounted plaques depicting the logos of some of 12 Yard’s most successful shows.

If it’s long-running household names you’re after then, boy, what a line-up. As well as its recent hits, 22 | Broadcast | 20 June 2014

FACT FilE Career 2011-present Managing director, 12 Yard 2001-2010 Head of development, 12 Yard 1999-2001 Head of development for light entertainment, BBC 1998-99 Development intern, Bazal (now Endemol UK)

shows like Coach Trip, National Lottery: In It To Win It and Eggheads still regularly attract large numbers of viewers. It’s no wonder that ITV was so keen to acquire such a certified hitmaker, but Culpin talks of a relationship with reciprocal benefits.

“We’re creatively free to do what we want, but what I like to call the ‘plumbing’ – jobs like business affairs, international distribution and payroll – is all taken care of by ITV,” he says.

“That enables me and my team to spend as much time as possible coming up with ideas, producing them and keeping our long-running brands feeling fresh and successful.”

For Culpin, ITV’s skill and scale in international distribution is one of the most constructive parts of the

relationship. He says the broadcaster’s Global Distribution arm does “much of the leg work” of “championing” 12 Yard’s formats to increase their global reach.

As an example, Culpin cites the deal ITVS recently brokered with broadcasters in Finland, Belgium, Korea and Ukraine for international versions of Big Star’s Little Star.

Seeing the Korean version of the Stephen Mulhern-fronted programme for the first time was “surreal”, he says.

“It looks like our show, the vibe is the same, but of course they’re laughing at some revelations about a celebrity you’re not familiar with in a language you don’t understand.”

Format sales like that are the “holy grail” for the former BBC light entertainment chief, though in the same breath he highlights the success of Eggheads, which sells well as a finished programme in Englishspeaking countries.

BBC2’s popular quiz has been on our screens for more than a decade and in some ways encapsulates 12 Yard as a company very well. The indie has long been known for creating, and crucially sustaining, longrunning programmes.

“We’ve found a good way of making high-quality shows in volume and at a really good price,” says Culpin. “As budgets become more challenging, it’s more and more important that we’re

Andy Culpin On...

Ideas “I’m really lucky that I work with fabulously creative people.

All our ideas are our own, so having a strong pipeline of them is the lifeblood of what we do.

We come in to work to find the next big format.”

ITV’s acquisition spree “The acquisitions ITV has made are helpful to us because we’re not

the only child any more.

I think the acquisitions have been smart ones.”

12 Yard’s name “In our previous life, David Young and I came up with The Weakest

Link (pictured). The end game was based on a penalty shootout, and the penalty spot is 12 yards out. The name is really a nod to The Weakest Link.”

Diversity “In the interests of good entertainment, we need to be looking at diversity. Diversity is not just ethnicity, it’s about putting on as wide a range of people as possible.”

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Clockwise from top: John Barrowman hosts BBC1 daytime show Pressure Pad; Rob Brydon and guests on Saturday night BBC1 series The Guess List; Stephen Mulhern on ITV’s Big Star’s Little star

able to do that because no one wants a daytime show to look substantially worse than a peak-time one.”

Keeping long-running formats fresh is a “challenge”, Culpin concedes, adding that it is dangerous to assume “they can just run themselves”. He emphasises the quality of questions for its gameshow formats, the personalities of con­ testants on Coach Trip, and hosts like John Barrowman (Pressure Pad) and the Lottery’s Dale Winton, who “fits Saturday night like a glove”.

So can 12 Yard’s new formats achieve the same longevity?

Culpin appears hopeful and although neither Big Star’s Little Star nor The Guess List has yet been recommissioned, the signs are good, especially for the latter, which has had a www.broadcastnow.co.uk

‘The best thing about being an ITV Studiosowned indie is the feeling that we can have our cake and eat it’ Andy Culpin

chance to cement its place in a coveted Saturday night primetime BBC1 slot.

Culpin says: “It’s been well received by the channel and it’s rated well, so we’re hoping for another series. Likewise with Big Star’s Little Star. It’s just finished its run, but once things become more established, it makes it easier to get people to take part in it.”

Funny business As the appointment of Paul Mc­Gettigan in February last year illustrates, the comedy quiz format is of increasing interest to 12 Yard.

Although Culpin says his company will never dabble in scripted, he is open about the opportunities he’s identified in lighter formats.

“It’s a new direction for us to take formatted entertainment and make

it funny,” he says. “I also think there’s something in the tone of the times at the moment that people want softer, warmer, friendlier formats as opposed to the hightension, dramatic-sums-of-money genre we’re very good at.”

Although nothing definitive can yet be announced, Culpin says 12 Yard is close to having “two or three” new series commissioned, one of which could be a daytime format.

“It’s always a juggling act between managing the existing slate and spending enough time focusing on new things. Getting the balance right is tough,” he says. “Anyone in broadcast can say they have a strong pipeline, but it means nothing. If it’s not in the Radio Times, it might not happen, so don’t count your chickens.”

20 June 2014 | Broadcast | 23

Masterclass PROGRAMME NAMING

How to come up with a killer title

‘Ex On The Beach was such a good title that we retro-fitted the show format to suit the beach location’ Steven D Wright

The right programme name can make all the difference when it comes to standing out from the crowd. Lucy Hooper of the BBC Academy gets some top tips from industry experts 1 MAKE A NOISE Ben Frow Director of programmes, Channel 5

A great title is one that punches through, gets the viewers’ attention, tells them what they’re going to get and makes them think “ooh, that sounds good, I will watch that”.

On Benefits And Proud (originally titled Superscroungers) was a good one because it had attitude. GPs: Behind Closed Doors (pictured below) sounds much more accessible than Medicating Lewisham, its original title.

And what sounds more exciting? Bailiffs or Can’t Pay? We’ll Take it Away!?

2 SOMETHING DIFFERENT WILL

CATCH THE COMMISSIONER’S EYE Steven D Wright Executive producer and Broadcast columnist

TV bosses think viewers will particularly notice an arresting, attention-seeking or grabby title when they are flicking through the EPG – so will always respond to a clever title when it’s attached to a pitch. A title that teases, tantalises or promises more is the Holy Grail.

In fact, a good title is often better than a good idea – as the title is always what you respond to (a bit like a striking book cover). Of course, that does ignore the fact that some of the best shows ever have had the most mundane titles, like The Wire or Coronation Street.

24 Broadcast | 20 June 2014

3 WHAT COMES FIRST:

THE TITLE OR THE IDEA?

SDW Whizz Kid Entertainment’s MTV dating format Ex On The Beach was such a stunningly good title that we actually retrofitted the show format to suit the beach location (making the exes come out of the sea for the surprise reunions). As soon as I heard my colleague say it, I knew it was perfect – short, snappy, funny – and best of all, it actually explained the show.

BF Quite a few things are commissioned on title alone: Blinging Up Baby, Too Fat To Fly, Hercules The Human Bear, He Left Me For My Mother. It’s pretty clear what they are, so the only question is: are they right for our channel?

4 AUDIENCE APPEAL Tom Edwards Commissioning editor for features and formats, BBC1 and BBC2

We’re charged with bringing in large, mainstream audiences, so we need to grab attention. Some other channels and genres can be a little less direct, as viewers are more likely to invest energy in seeking them out.

The key thing is that a title must drive an audience to a show. The extent to which it relates to the content is arguably secondary, as long as it’s not so distant as to annoy viewers once they’ve tuned in.

Our titles are usually succinct, intelligible and direct rather than oblique or mysterious.

Recently we made The House That 100K Built. The title instantly captures a surprising and exceptionally timely thought: that a house could be built or bought for that sum. It was perhaps the most immediately compelling proposition we’ve been

pitched in the past couple of years, and it was fantastic that it could be captured in the title. There was no way we could fail to commission it.

On BBC2’s Alex Polizzi: The Fixer (right), the word ‘fixer’ suggests real action but is also quite playful, with gangster film connotations.

This worked well with the marketing campaign, which centred on a recreation of The Godfather’s iconic film poster and use of the film music in the trail.

5 SAME RULES – DIFFERENT GENRES Cat Lynch Head of development, Initial

Quizzes are tricky because the formats are often quite complicated, so the title needs to isolate the USP or one point of difference that really sells it. BBC1’s Pointless works really well as it nails that point of difference but also flags up the tone of the show – clever without taking itself too seriously. www.broadcastnow.co.uk

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CHOOSING THE RIGHT TITLE GRAB VIEWERS’ ATTENTION

A GOOD TITLE SHOULD…

I like a title that works on a few levels. Look at ITV’s Take Me Out: on the one hand, it refers to eliminating the girls; on the other, taking them out on a date. When our team is looking for titles, we look at idioms – well-known phrases that we twist and manipulate. We get the thesaurus out, think of things that rhyme, basically get everyone in a room and think of as many titles as possible, however awful. You have to go through that process.

SDW From trashy reality shows to features shows to serious docs, telly is full of snappy titles and fun names that bear no resemblance to the genre or whether it’s a good show or not. www.broadcastnow.co.uk

■

Be simple, memorable, descriptive and intelligible.

■

Grip, intrigue and offer a sense of what it is to come.

■

Drives audience to the show.

■

Fit the channel brand.

■

Not date.

■

Work well written down as well as when spoken.

■

Be EPG-proof.

6 AUDIENCE APPEAL Emma Cooper Commissioning editor of documentaries, Channel 4

Watch what we do at 9pm and 10pm and see how our tone is different from other channels, then look at your development and titles through those eyes.

We want simple but eye-catching titles like Skint and Benefits Street. How To Get a Council House worked really well. It was a quirky title for what was essentially a brilliant access series with council housing departments.

Broadcast’s Commissioning and Funding Forum will offer tips on pitching, funding and producing shows. Speakers at the event include BBC1 controller Charlotte Moore, ITV director of television channels and online Peter Fincham and Channel 4 chief creative officer Jay Hunt. For more details, visit www.broadcast-forums.com

Ben Frow reckons the right title can have a big impact on how many people tune in to watch C5’s programmes. “By changing the title of Animal Hoarders to The Woman With 40 Cats, I think we probably added a million viewers,” he says.

Recently, file-sharing website Buzzfeed.com inadvertently conducted a revealing piece of research when it published the same article with two different titles. One hooked in 7,000 readers, the other 750,000.

Development producers can learn a few tricks from websites like Buzzfeed and Upworthy. Upworthy’s headlines are loved and loathed in equal measure for being so stylised. Look at these: These Kids Literally Swim With Sharks. But What’s Really Scary Is How Their Parents Make A Living; Want To Solve America’s Race Problem? Here’s A Big, Bold, Uncomfortable Solution.

The site quickly went from obscurity to prominence thanks in part to its enticing headlines.

BREAK THE RULES For all the rules, sometimes breaking them produces the really standout titles. Copywriters in advertising face the same challenges to hook consumers as TV programme developers do with their titles. A great advertising endline (similar to a good programme topline) is often unexpected.

Mark Fairbanks, executive creative director at Havas Worldwide, has been responsible for brands such as Guinness, The Economist, Eurostar and PepsiCo. He sees no difference between endlines and anything else in advertising.

“It has to cut through the clutter of a thousand other endlines on a thousand other pieces of work. Only then will it be remembered, talked about and acted upon,” he says. “The way that happens is by making it different. If everyone is writing pithy threeword endlines, write a seven-word one.

If everyone is writing little ‘Englishisms’ (‘Every little helps’, ‘Just do it’ etc), look for something like ‘Vorsprung Durch Technik’.

“I’m not saying do these things for the sake of it, I’m just saying there is always a fresher way of writing an endline.

“Sometimes an endline doesn’t even feel like an endline. One of my favourites is for a US snack brand that features a guy dressed as a mum. The endline simply says: ‘What your mom would feed you if your mom was a man’. There is only one rule to remember: break the rules.”

20 June 2014 | Broadcast 25

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Behind the Scenes OAPs Behaving badly

Sex, prescription drugs and rock and roll Filming OAPs having a good time in Tenerife sounded fun, says Eddie Stafford. But keeping up with these hard-partying Brits abroad wasn’t easy Eddie Stafford Producer/director/ writer

“F

ancy a few weeks in the sun?” is never a bad opening line from a production company, especially when the invitation arrives in February. So when Barcroft Productions called to see if I was interested in directing their latest doc, I was immediately hooked.

It turned out I was to self-shoot an observational documentary about partying pensioners living it large on the island of Tenerife. Nice.

My generation, in our thirties, are told that if we do retire (in our eighties), it’ll be in poverty and we’ll be unable to afford even a tot of Bells in our afternoon tea. But this film explores the baby boomer generation that retired on final salary pensions, paid off their mortgages and are now blowing their kids’ inheritance on partying like it’s 1969.

Company boss Sam Barcroft had witnessed the ‘saga lout’ phenomenon while on holiday, which was the inspiration for this film. Like many great commissions, there was a brilliant title, but no casting, a limited budget and a tight schedule.

We chose to cast in Tenerife as it boasts one of the highest densities of elderly British holidaymakers.

The island’s cheap booze fuels their lives of sex, anti-inflammatory drugs and rock and roll. (Think Club 18-30 for geriatrics.)

Our AP Sophia Lightfoot trawled for contributors and I joined her in 28 | Broadcast | 20 June 2014

Tenerife for a week’s casting. We searched for outrageous characters that defied our expectations of OAPs as routine-loving Horlicks drinkers. We were concerned that we might not find pensioners behaving badly enough on such a tight schedule, but we were met with great warmth by the locals.

OAPs holiday in Tenerife to lose their inhibitions, so few had reservations about being filmed. We had the pick of a pickled bunch. We chose a Scouse couple in their seventies, hardcore partying granny Cheryl, former pop star ‘Leapy Lee’, and grandad Pete, who’d already blown his own inheritance.

We drew up a filming protocol for the three-week shoot. We were mindful that our contributors might abuse alcohol, which could influence informed consent. We would not induce any drunken behaviour (not that we needed to) and we also had a duty of care to our pensioners to avoid any broken hips.

We wanted to make a funny doc that captured the devil-may-care attitude of our contributors, who broke all the rules of how the elderly should behave. We cast strong char­ acters easily, but the real challenge was to find storylines to sustain the narrative drive of a Channel 5 hour.

And we were filming on a tight schedule with no budget for pick-ups in a foreign location.

Much of the filming was in bars, but these scenes became repetitive.

Every evening inevitably culminated – or deteriorated into – a pensioner karaoke session with power ballads too expensive to clear copyright on. I am now word-perfect on The Best and Folsom Prison Blues.

‘We hadn’t fully anticipated the OAPs’ stamina for drinking and partying. It proved tough keeping up with them every night until the early hours’ Eddie Stafford

OAPs Behaving Badly

Production company Barcroft Productions TX TBC, Channel 5 Commissioning editor Guy Davies Producer/director/writer Eddie Stafford Line producer Carolyn Carter Assistant producer Sophia Lightfoot Executive producers Sam Barcroft; Nina Davies Editor Ian Hughes Post-production In-house; Clear Cut Summary Doc following British OAPs as they blow their children’s inheritance on living it up in Tenerife.

Eddie Stafford My tricks of the trade n If you’re shooting a documentary

around excessive behaviour, be sure to maintain a professional distance from your contributors. n Make sure the camera suits your environment. The budget allowed for a Canon XF305, but low-light conditions in bars and clubs required a switch to a C300. n Get clear advice on how and where to place filming notification boards when shooting in crowded environments, including the provision of a place where people won’t be filmed.

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EDDIE STAFFORD

www.broadcastnow.co.uk

There was a potential new storyline when Leapy Lee mentioned his girlfriend Bettina was visiting. We still can’t believe our luck. Bettina is an outrageous, sex-mad Scandinavian, 25 years his junior, whose bedroom demands drove Lee to Viagra.

Then Pete Lackey, a grandad working as a bar promoter who was partial to Jäger shots for breakfast, received a final warning from his boss.

So we followed his attempts to save his job by filling the bar with OAPs out for a good time. Inevitably, this involved more karaoke.

We hadn’t fully anticipated the pensioners’ stamina for drinking and partying. It proved tough for a twoperson shoot, keeping up with them every night until the early hours.

An enforced hour’s rest came at 5pm each day. Silence fell across the island as every pensioner retired to watch Deal Or No Deal, which is screened in the bars.

During the six-week offline edit, our editor Ian Hughes worked to make the Leapy and Bettina storyline the acceptable side of vulgar, and Pete’s character the comedy side of tragic.

But despite the challenges, the great personalities of the characters helped us deliver the funny and revealing doc we’d set out to make. www.broadcastnow.co.uk

Left to right: Pete Lackey enjoys a Jäger shot; ‘hardcore’ granny Cheryl Williams; Leapy Lee and girlfriend Bettina Pedersen

OAP’S BehAving BAdly MUSiC CleARAnCe Sophia Lightfoot Assistant producer

When OAPs behave badly, they do it to music. And usually to a track that’s not clearable for use worldwide.

Following our recce in Tenerife, we knew that to capture our pensioners in all their ‘ageing disgracefully’ glory, we’d have to follow them throughout the evening until the early hours. Karaoke is hugely popular in Tenerife, so we researched clearable songs – songs only enter the public domain 70 years after the death of the composer.

Though we did manage to shoot a unique rendition of Amazing Grace, the pensioners stuck to their favourites.

The big issue was how to film in the bars with commercial tracks audible in the background. Here, our preparation was invaluable.

We burned our own CDs with soundalike tracks from broadcast music libraries. Fortunately, our relationship with the bar owners was

good, so they were happy for their DJs to swap their global super hits with our library versions of the floor-fillers.

Also crucial to success was choosing the right moment to play these soundalike tracks. Too early and the floor cleared – our pensioners liked to fist-pump to the real Black Eyed Peas, rather than our budget versions.

But a bit later when the night was rocking and the Malibu and lemonade was taking hold of their auditory senses, they didn’t seem to mind our budget bangerz.

So watch out for scenes of OAP party madness, with up-sync whenever we chose.

20 June 2014 | Broadcast | 29

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30 | Broadcast | 20 June 2014

www.broadcastnow.co.uk

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The headquarters of the UK division is located in Bracknell and the successful Audio and Vision Engineers will be working on location and at our base there. The Head of Vision and VT and the OB Facilities Coordinator will work at our base. Competitive salaries and benefits for all positions will be offered. If you are interested in any of the above posts, please send your CV, together with a covering letter to

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20 June 2014 | Broadcast | 31

Ratings Mon 9 June – Sun 15 June

England win it for BBC1 In a week dominated by the World Cup, England v Italy tops the table while Brazil v Croatia is ITV’s best

BY Stephen Price

World Cup opening ceremonies are traditionally pretty terrible, but at least you can normally hear them. Judging by Jennifer Lopez’s exhorted expressions, she was giving it her all but it was mostly in vain; thanks for that J-Lo, whatever it was.

Once past this hurdle, the World Cup has so far proved to be by miles the best tournament for ages. Even England lost in a weirdly encouraging way, while the Dutch dismantling of the Spanish empire was an extraordinary epic. Elsewhere, the soaps got moved about, repeats abounded and every other documentary had a Brazilian flavour.

On Monday at 8.30pm, BBC1’s David Beckham Into The Unknown achieved 4.6 million/ 21%. While behind ITV’s Coronation Street at 8.30pm (6.7 million/30%; 250,000 +1), it beat 9pm’s Road Rage Britain: Caught On Camera (2.8 million/12%; 170,000 +1).

After Holby City at 8pm (4 million/20%), BBC1 kicked off a new series of Celebrity MasterChef at 9pm with 4.4 million/22%, which compared favourably with July 2013’s series launch: 4.7 million/22%. ITV’s repeat of Endeavour achieved 2.4 million/12% (275,000 +1).

At 8pm on Wednesday, ITV’s All Star Mr & Mrs returned with 3.9 million/21% (220,000 +1), in line with May 2013’s series launch and ahead of BBC1’s Watchdog (3.6 million/19%) opposite. At 9pm, a spare episode of ITV’s Law & Order: UK (3.6 million/18%; 32 | Broadcast | 20 June 2014

Broadcast/Barb Top 100 network programmes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 17 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 (m) (all homes)

Share %

Broadcaster/ Producer*

MOTD Live: England V Italy MOTD Live: Spain V Netherlands Fifa World Cup: Brazil V Croatia Coronation Street MOTD Live: France V Honduras Coronation Street Coronation Street BBC News EastEnders Emmerdale Emmerdale Coronation Street Emmerdale BBC News At Ten Fifa World Cup: Uruguay V Costa Rica BBC News EastEnders BBC News At Ten Emmerdale Emmerdale MOTD Live: Colombia V Greece BBC News At Ten Countryfile David Beckham Into The Unknown BBC News At Six EastEnders Celebrity MasterChef BBC News At Six BBC News At Six BBC News BBC News At Ten All Star Mr & Mrs Pointless Celebrities Holby City EastEnders ITV News & Weather Law & Order: UK Casualty BBC News At Six MOTD Live: Argentina V Bosnia The National Lottery: In It To Win It Fifa World Cup: Switzerland V Ecuador BBC News At Six Watchdog Celebrity MasterChef The One Show Fifa World Cup: Mexico V Cameroon The One Show BBC News At Ten ITV News & Weather

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

22.20 19.30 19.00 19.30 19.30 19.30 20.30 22.05 20.00 19.00 19.00 20.30 19.00 22.10 19.30 22.00 19.30 22.00 19.10 20.00 16.45 22.00 18.30 20.30 18.00 19.30 21.00 18.00 18.00 19.10 22.00 20.00 19.30 20.00 19.00 19.45 21.00 21.10 18.00 22.30 20.20 16.00 18.00 20.00 20.00 19.00 16.00 19.00 22.00 19.20

11.51 8.22 8.20 7.80 7.65 7.22 6.91 6.65 6.48 6.14 5.82 5.81 5.71 5.62 5.50 4.96 4.94 4.94 4.92 4.87 4.83 4.72 4.63 4.60 4.54 4.53 4.42 4.38 4.34 4.31 4.28 4.15 4.11 3.99 3.97 3.91 3.90 3.89 3.86 3.82 3.81 3.70 3.62 3.55 3.48 3.45 3.38 3.35 3.32 3.20

68.37 38.73 40.28 39.86 35.50 40.76 30.75 34.35 31.43 34.26 31.72 25.27 34.92 30.91 28.77 25.34 26.21 28.21 28.54 23.93 35.41 26.41 25.27 20.72 30.56 23.33 21.62 30.12 29.12 26.49 24.61 22.03 23.51 20.37 23.14 22.42 19.32 19.00 28.50 39.39 19.83 25.25 27.05 18.84 15.95 19.90 27.97 18.71 14.87 16.73

BBC1 BBC1 ITV ITV BBC1 ITV ITV BBC1 BBC1 ITV ITV ITV ITV BBC1 ITV BBC1 BBC1 BBC1 ITV ITV BBC1 BBC1 BBC1 BBC1/DBrazil TV BBC1 BBC1 BBC1/Shine TV BBC1 BBC1 BBC1 BBC1 ITV BBC1/Remarkable Television BBC1 BBC1 ITV ITV/Kudos TV BBC1 BBC1 BBC1 BBC1/12 Yard Productions ITV BBC1 BBC1 BBC1/Shine TV BBC1 ITV BBC1 BBC1 ITV

Figures include HD and +1 where applicable

David Beckham Into The Unknown

Celebrity MasterChef www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 51 53 54 55 56 57 58 58 60 61 62 62 64 65 66 67 68 68 70 71 72 73 74 75 76 76 78 79 79 81 82 82 84 85 85 87 88 89 90 91 92 92 94 95 95 97 97 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

The One Show ITV News & Weather ITV News & Weather Fifa World Cup: Chile V Australia Gail & Me: 40 Years On Coronation Street Del Boys And Dealers The Graham Norton Show Pointless ITV News & Weather Road Rage Britain: Caught On Camera Pointless Pointless Mrs Brown’s Boys BBC News The One Show ITV News & Weather Endeavour Pointless BBC News At One The Cube ITV News & Weather Pointless Panorama Undercover: Justice For Sale?

Benidorm News At One The Chase Springwatch 2014 BBC News The Chase Springwatch 2014 Question Time MOTD: World Cup Preview The Chase The Chase The Suspicions Of Mr Whicher BBC News At One Springwatch 2014 BBC News At One One Born Every Minute ITV News At Ten & Weather Lineker In Brazil: The Beautiful Game Trooping The Colour BBC News At One Trooping The Colour: Highlights ITV News & Weather You’ve Been Framed! Top 100 Talent A Very British Airline Springwatch 2014 ITV News At Ten & Weather Bargain Hunt

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

19.00 18.30 18.30 22.35 20.00 21.00 22.45 17.15 18.30 21.00 17.15 17.15 21.30 18.00 19.00 18.30 20.00 17.15 13.00 19.30 22.15 17.15 19.30 21.30 13.00 17.00 20.00 13.05 17.00 20.00 22.35 22.35 17.00 17.00 20.30 13.00 20.00 13.00 21.00 22.00 22.35 10.30 13.00 18.30 23.15 18.30 21.00 20.00 22.00 12.15

3.17 3.17 3.16 3.07 3.03 3.00 2.99 2.94 2.94 2.92 2.87 2.84 2.84 2.79 2.75 2.69 2.67 2.59 2.59 2.57 2.55 2.42 2.40 2.36 2.32 2.31 2.31 2.29 2.28 2.28 2.26 2.25 2.25 2.23 2.22 2.22 2.20 2.18 2.14 2.11 2.02 2.01 2.01 1.99 1.93 1.93 1.92 1.92 1.90 1.87

19.81 19.58 19.97 31.00 14.69 14.90 21.00 25.13 19.81 13.22 22.96 24.34 11.82 17.12 16.13 18.70 13.33 23.79 41.77 12.88 13.27 22.56 12.27 10.36 39.48 20.64 11.78 29.74 20.44 10.57 15.06 19.17 21.49 21.81 10.20 37.85 11.54 36.87 10.62 11.20 17.22 27.64 36.67 12.20 20.80 12.13 8.69 9.24 11.01 34.67

BBC1 ITV ITV ITV ITV/Shiver BBC1/RDF Television BBC1/So TV BBC1/Remarkable Television ITV ITV/ITV Productions BBC1/Remarkable Television BBC1/Remarkable Television BBC1/Boc-Pix/RTÉ BBC1 BBC1 ITV ITV/Mammoth Screen BBC1/Remarkable Television BBC1 ITV/Objective Productions ITV BBC1/Remarkable Television BBC1/Vera ITV/Tiger Aspect BBC1 ITV BBC2 BBC1 ITV BBC2 BBC1/Mentorn BBC1 ITV ITV ITV/Hat Trick Productions BBC1 BBC2 BBC1 C4/Dragonfly ITV BBC1 BBC1 BBC1 BBC2 ITV ITV BBC2/Lion TV BBC2 ITV 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.

One Born Every Minute www.broadcastnow.co.uk

Lineker In Brazil

300,000 +1) saw off the final of the four Del Boys And Dealers (3 million/15%).

On Thursday, the World Cup opened on ITV at 7pm. The coverage of the ceremony and Brazil v Croatia averaged 8.2 million/ 39% (63,000 +1), peaking at 12.6 million/53% at 9.30pm. Opposite, BBC1’s best was EastEnders (4.9 million/26%), with Celebrity Master­Chef averaging 3.5 million/ 16% for 90 minutes from 8pm.

On Friday afternoon, ITV’s coverage of Mexico v Cameroon averaged 3.4 million/28% (45,000 +1) from 4pm. BBC1’s peak-time coverage of Spain v The Netherlands

‘BBC1’s coverage of England v Italy was still managing 13.3 million at 12.50am’ averaged 8.2 million/39%, peaking at 11.4 million/50% at 9.45pm.

ITV’s best against BBC1’s football was an hour of Coronation Street at 8.30pm (5.4 million/24%; 411,000 +1). From 10.35pm, ITV’s coverage of Chile v Australia averaged 3.1 million/31% (22,000 +1).

BBC1’s Saturday afternoon coverage of Colombia v Greece (4.8 million/35% from 4.45pm) was topped by ITV’s average of 5.5 million/29% (35,000 +1) for Uruguay v Costa Rica from 7.30pm. BBC News At 10 was the best non-football programme on either channel with 5 million/25%.

BBC1’s coverage of England v Italy averaged 11.5 million/68% from 10.20pm, peaking at 15.6 million/79% minutes ahead of halftime at 11.40pm; even at 12.50am, it was managing 13.3 million/86%.

Sunday afternoon’s Switzerland v Ecuador match on ITV averaged 3.7 million/25% (32,000 +1) from 4pm. After Countryfile at 6.30pm (4.6 million/25%), BBC1’s coverage of France v Honduras averaged 7.7 million/36% from 7.30pm, peaking at 8.9 million/39% at 9.10pm.

ITV News & Weather at 7.15pm was the best non-footy rating for the channel on 3.2 million/16% (44,000 +1). A repeat of The Suspicions Of Mr Whicher achieved 2.1 million/ 10% (142,000 +1) from 8.30pm.

BBC1’s coverage of Argentina v Bosnia Herzegovina averaged 3.8 million/39% from 10.30pm.

See over for digital focus, plus channel and genre overviews 20 June 2014 | Broadcast | 33

Ratings Mon 9 June – Sun 15 June Channel Overview

BBC2 top for sport avoiders

BY Stephen price

For the non-World Cup channels, it was a week of two halves; in the second half, they put their arms around the sport avoiders, saying: “It’s okay, forget about Rooney, Ronaldo, Messi and the offside rule, we’ve got programmes on nature, benefits and people stuck in a house.”

BBC2’s best Springwatch of the week was Tuesday’s 2.3 million/ 12% at 8pm, ahead of Channel 4’s Location, Location, Location (1.6 million/8%; 130,000 +1) and Channel 5’s The Dog Rescuers (1.2 million/6%; 140,000 +1).

At 9pm on Wednesday, C4’s One Born Every Minute began a new series on 1.9 million/9% (275,000 +1), ahead of both C5’s Football Hooligans & Proud (900,000/4%; 110,000 +1) and BBC2’s Coast Australia (1.7 million/9%) from 9.10pm.

On Thursday at 9pm, C4’s single doc Britain’s Benefits Tenants (1.3 million/5%; 260,000 +1) was ahead of BBC2’s Springwatch Unsprung (1 million/4%) and a QI repeat (800,000/4%), plus C5’s Trauma Doctors (800,000/3%; 80,000 +1).

At 9pm on Friday, C5’s Big Brother: Live Eviction achieved 900,000/4% (106,000 +1), behind C4’s 8 Out Of 10 Cats Does Countdown (1 million/4%; 300,000 +1) but ahead of BBC2’s Natural World: 700,000/3%.

Source: BARB

WEEK 24 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 09.06.14 Peaktime share (%) w/c 10.06.13 Year to date Average hours per viewer Audience share (%) Audience share (%) 2013

BBC1 5.93 20.42 25.00 21.61 BBC1 5.71 21.78 21.09

BBC2 1.34 5.97 6.81 8.15 BBC2 1.66 6.34 5.63

ITV1 4.10 14.48 22.48 18.04 ITV1 4.09 15.62 16.38

C4 1.15 4.93 5.33 6.22 C4 1.50 5.72 5.91

Start

Viewers (m) (all homes)

34 | Broadcast | 20 June 2014

Total 23.52 100.00 100.00 100.00 Total 26.20 100.00 100.00

Top 30 bbc2, channel 4 and channel 5 Title

Day

Share %

Broadcaster

1

Springwatch 2014

Tue

20.00

2.31

11.78

BBC2

2

Springwatch 2014

Mon

20.00

2.28

10.57

BBC2

3

Springwatch 2014

Wed

20.00

2.20

11.54

BBC2

4

One Born Every Minute

Wed

21.00

2.14

10.62

C4

5

Trooping The Colour: Highlights

Sat

18.30

1.99

12.20

BBC2

6

A Very British Airline

Mon

21.00

1.92

8.69

BBC2

6

Springwatch 2014

Thu

20.00

1.92

9.24

BBC2

8

Welcome To Rio

Tue

21.00

1.82

8.90

BBC2

9

24 Hours In A&E

Mon

21.00

1.81

8.19

C4

10

Coast Australia

Wed

21.10

1.74

8.68

BBC2 C4

11

Location, Location, Location

Tue

20.00

1.68

8.60

12

Antiques Road Trip

Fri

19.00

1.53

8.93

BBC2

13

Britain’s Benefit Tenants

Thu

21.00

1.52

6.33

C4

14

Gardeners’ World

Fri

20.30

1.49

6.65

BBC2

15

Antiques Road Trip

Thu

19.00

1.47

8.43

BBC2

16

Alan Carr: Chatty Man

Fri

22.00

1.42

8.11

C4

17

Sea City

Sun

19.30

1.38

7.27

BBC2

18

The Complainers

Tue

21.00

1.36

6.65

C4

18

CSI: Crime Scene Investigation

Tue

21.00

1.36

6.64

C5

20

I Bought A Rainforest

Sun

20.00

1.33

6.19

BBC2

20

Antiques Road Trip

Tue

19.00

1.33

7.26

BBC2

20

8 Out Of 10 Cats Does Countdown

Fri

21.00

1.33

5.74

C4

23

Big Brother: Power Trip

Tue

22.00

1.31

8.12

C5

24

The Dog Rescuers

Tue

20.00

1.29

6.61

C5

24

Big Brother: Power Trip

Sun

21.00

1.29

5.64

C5

26

Sea City

Fri

20.00

1.24

6.10

BBC2

26

Big Brother: Power Trip

Wed

22.00

1.24

7.89

C5

28

Big Brother: Power Trip: The Live Surprise

Mon

22.00

1.23

6.99

C5

29

Wildfires 2014: Inside The Inferno

Sun

21.00

1.22

5.35

BBC2

29

Big Brother: Power Trip

Mon

21.00

1.22

5.52

C5

Figures include HD and +1 where applicable

Multichannel 36.88

The return of BBC2’s Mock The Week was hit by the opening night of the World Cup (Thursday, 10pm)

Others 10.11 49.87 36.88 41.30 Others 12.21 46.62 46.97

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

daytime share (%) w/c 09.06.14

peaktime share (%) w/c 09.06.14

1.0m

C5 0.88 4.33 3.49 4.68 C5 1.03 3.92 4.02

BBC1 25.0

ITV 22.48 C5 3.49 C4 5.33

BBC2 6.81

Multichannel 49.87

597k Debut audience for Channel 5’s dating show Stand By Your Man (Friday, 10pm)

BBC1 20.42

ITV 14.48

C5 4.33

BBC2 5.97

C4 4.93

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Genre Overview

Source: BARB

Top 10 children’s programmes Title

1 2 3 4 5 6 7 8 9 10

Buzz And Tell Little Robots Everything’s Rosie Newsround Swashbuckle Junior Vets 2 Dinopaws 64 Zoo Lane Newsround Driver Dan’s Story Train

Top 10 Factual programmes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Sat Sat Mon Fri Sat Tue Wed Sat Tue Sat

08.35 08.25 17.30 07.40 17.00 07.45 07.40 18.00 08.15 18.10

176,500 166,700 157,200 156,500 151,300 148,100 147,700 146,900 146,000 145,500

17.37 17.76 14.10 15.50 14.16 14.42 13.09 12.07 15.58 11.81

CBeebies CBeebies CBeebies CBBC CBeebies CBBC CBeebies CBeebies CBBC CBeebies

Buzz And Tell

Title

Holby City Law & Order: UK Casualty Endeavour The Suspicions Of Mr Whicher CSI: Crime Scene Investigation Fargo Midsomer Murders Doc Martin Game Of Thrones

UP Pointless Celebrities adds 1.4m

Start

Viewers (millions)

Share (%)

Channel

Tue Wed Sat Tue Sun Tue Sun Sun Sat Mon

20.00 21.00 21.10 20.00 20.30 21.00 21.00 17.55 20.00 21.00

3.99 3.90 3.89 2.67 2.22 1.36 1.06 0.90 0.90 0.89

20.37 19.32 19.00 13.33 10.20 6.64 4.67 5.03 4.76 4.03

BBC1 ITV BBC1 ITV ITV C5 C4 ITV3 ITV3 Sky Atl’tic

DOWN Fargo loses 190,000

UP National Lottery: In It To Win It gains 1.1m

Start

Viewers (millions)

Share (%)

Channel

Sun Mon Tue Wed Thu Tue Mon Thu Mon Wed

18.30 20.30 21.00 20.00 20.00 19.00 19.00 19.00 20.00 21.00

4.63 4.60 4.42 3.55 3.48 3.45 3.35 3.17 3.03 3.00

25.27 20.72 21.62 18.84 15.95 19.90 18.71 19.81 14.69 14.90

BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1

Panarama: Justice For Sale?

Title

1 2 3 4 5 6 7 8 9 10

All Star Mr & Mrs Pointless Celebrities National Lottery: In It To Win It The Graham Norton Show Pointless Pointless Pointless Pointless The Cube Pointless

DOWN The Graham Norton Show sheds 120,000

UP CSI: Crime Scene Investigation up 210,000

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Sat Sat Fri Mon Fri Tue Thu Sun Wed

20.00 19.30 20.20 22.45 17.15 17.15 17.15 17.15 19.30 17.15

4.15 4.11 3.81 2.99 2.94 2.87 2.84 2.59 2.57 2.42

22.03 23.51 19.83 21.00 25.13 22.96 24.34 23.79 12.88 22.56

ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1

DOWN Holby City down 120,000

UP Watchdog rises 190,000

Top 10 Current affairs programmes

Title

Day

Start

Viewers (millions)

Share (%)

Channel

MOTD Live: England V Italy MOTD Live: Spain V Netherlands Fifa World Cup: Brazil V Croatia MOTD Live: France V Honduras Fifa World Cup: Uruguay V Costa R MOTD Live: Colombia V Greece MOTD Live: Argentina V Bosnia Fifa World Cup: Switzer’d V Ecuador Fifa World Cup: Mexico V Camer’n Fifa World Cup: Chile V Australia

Sat Fri Thu Sun Sat Sat Sun Sun Fri Fri

22.20 19.30 19.00 19.30 19.30 16.45 22.30 16.00 16.00 22.35

11.51 8.22 8.20 7.65 5.50 4.83 3.82 3.70 3.38 3.07

68.37 38.73 40.28 35.50 28.77 35.41 39.39 25.25 27.97 31.00

BBC1 BBC1 ITV BBC1 ITV BBC1 BBC1 ITV ITV ITV

next week COmedy and Music & ARts www.broadcastnow.co.uk

Countryfile David Beckham Into The Unknown Celebrity MasterChef Watchdog Celebrity MasterChef The One Show The One Show The One Show Gail & Me: 40 Years On… Del Boys And Dealers

Day

Top 10 Entertainment programmes

Day

Top 10 Sport programmes 1 2 3 4 5 6 7 8 9 10

1 2 3 4 5 6 7 8 9 10

All Star Mr & Mrs

Top 10 Drama programmes 1 2 3 4 5 6 7 8 9 10

Title

Title

1 2 3 4 5 6 7 8 9 10

Panorama: Justice For Sale?

Question Time Trooping The Colour Trooping The Colour: Highlights Britain’s Benefit Tenants The Andrew Marr Show Lifeline Crimewatch Roadshow Crimewatch Roadshow Crimewatch Roadshow

Day

Start

Viewers (millions)

Share (%)

Channel

Mon Thu Sat Sat Thu Sun Sun Tue Wed Mon

19.30 22.35 10.30 18.30 21.00 09.00 17.15 09.15 09.15 09.15

2.40 2.26 2.01 1.99 1.52 1.52 1.11 1.11 1.09 1.07

12.27 15.06 27.64 12.20 6.33 22.74 8.06 26.37 25.00 23.89

BBC1 BBC1 BBC1 BBC2 C4 BBC1 BBC1 BBC1 BBC1 BBC1

See over for demographic and digital focus 20 June 2014 | Broadcast | 35

Ratings Mon 9 June – Sun 15 June Demographic Focus Channels

Source: BARB

Individuals Share (%)

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

25.63

29.94

48.12

20.59

14.89

27.32

50.05

24.14

49.94

ITV

17.79

17.10

39.60

16.79

17.50

17.18

45.35

18.33

54.64 53.08

BBC2

5.74

7.07

50.76

2.85

9.20

5.73

46.92

5.74

C4

4.78

4.89

42.19

5.84

22.66

4.09

40.18

5.39

59.80

C5

3.96

3.48

36.12

4.18

19.56

3.10

36.78

4.73

63.22

ITV3

2.55

2.21

35.83

0.67

4.88

1.91

35.25

3.11

64.76

ITV2

2.00

1.63

33.57

3.07

28.45

1.47

34.36

2.48

65.64

E4

1.82

1.82

41.29

5.43

55.41

1.69

43.60

1.93

56.41

Film 4

1.36

1.07

32.42

1.41

19.17

1.62

55.81

1.14

44.15

Dave

1.33

1.21

37.66

1.97

27.51

1.70

60.00

1.00

39.99

BBC3

1.23

0.99

33.31

2.90

43.93

1.39

53.21

1.08

46.79

More 4

1.14

1.21

43.85

0.93

15.07

1.05

43.44

1.22

56.58

5 USA

0.97

0.62

26.15

0.58

11.03

0.90

43.22

1.04

56.78

Sky 1

0.83

0.83

40.75

1.85

41.08

0.91

51.08

0.77

48.92

ITV4

0.80

0.63

32.42

0.65

15.10

1.06

61.96

0.58

38.00

BBC4

0.79

1.10

56.96

0.26

6.12

0.88

52.19

0.72

47.83

Drama

0.73

0.75

42.07

0.25

6.39

0.61

38.85

0.84

61.12

Yesterday

0.67

0.61

37.62

0.22

6.18

0.82

57.47

0.54

42.58

5*

0.49

0.34

29.22

0.68

25.90

0.44

42.57

0.53

57.43

60%

C4’s fast-turnaround doc The Virgin Killer beat the 50% slot average for female viewers (Sun, 10pm)

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

Slow start for ITV Encore

BY Stephen Price

On Monday 9 June, ITV Encore launched on Sky, averaging 20,000/0.2% for its transmission hours (noon-4am) in its first full week. More significant perhaps is ITV entering pay-TV with a bespoke channel.

Here, subscription numbers, which generate a reliable and durable revenue stream, might be more important than ratings.

ITV is keen to loosen the creative straitjacket with stories that might not overcome the traditional ROI hurdle. The true worth of Encore will lie in the boldness of these commissions and whether they drive Sky subscriptions.

Top of the table once again was E4’s The Big Bang Theory with a nevertheless football-effected drop of 500,000 to 1.1 million/5%. Next came ITV3’s Midsomer Murders on Sunday at 5.55pm with 902,000/ 5%, followed by Doc Martin’s 896,000/5% on Saturday at 8pm.

BBC4’s penultimate Wallander achieved 589,000/3% at 9pm on Saturday – the lowest of the five episodes aired in this series so far.

36 | Broadcast | 20 June 2014

Source: BARB

digital homes

Top 30 multichannel programmes Title

1 2 2 4 5 6 7 8 9 10 11 12 12 14 15 15 17 18 19 19 21 22 23 24 24 26 26 28 28 28

The Big Bang Theory Midsomer Murders Doc Martin Game Of Thrones Hollyoaks Hollyoaks Mamma Mia! Hollyoaks Made In Chelsea The Big Bang Theory Foyle’s War Foyle’s War Hollyoaks The Big Bang Theory New Girl How I Met Your Mother Family Guy Family Guy Only Connect A Touch Of Frost The Big Bang Theory Family Guy Hollyoaks A Touch Of Frost Wallander The Big Bang Theory Family Guy Family Guy Family Guy American Dad!

Figures include HD and +1 where applicable

Day

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

Start

20.00 17.55 20.00 21.00 19.00 19.00 20.00 19.00 21.00 20.30 20.00 21.00 19.00 20.00 21.00 20.30 23.25 23.00 20.30 20.00 18.30 23.05 19.00 20.00 21.00 18.30 23.00 23.25 23.25 23.45

Viewers (millions)

Share (%)

Channel

1.07 0.90 0.90 0.89 0.87 0.86 0.85 0.82 0.80 0.79 0.77 0.76 0.76 0.74 0.70 0.70 0.69 0.67 0.64 0.64 0.62 0.61 0.60 0.59 0.59 0.57 0.57 0.56 0.56 0.56

5.38 5.03 4.76 4.03 5.03 4.81 3.86 5.00 3.62 3.90 3.45 3.82 4.75 3.91 3.42 3.23 7.46 5.25 2.86 2.93 3.89 6.24 3.52 2.69 2.95 3.51 5.39 4.89 6.91 8.59

E4 ITV3 ITV3 Sky Atlantic E4 E4 ITV3 E4 E4 E4 ITV3 ITV3 E4 E4 E4 E4 BBC3 BBC3 BBC4 ITV3 E4 BBC3 E4 ITV3 BBC4 E4 BBC3 BBC3 BBC3 BBC3

Channels

Share (%)

BBC1 ITV BBC2 C4 C5 Total multichannel ITV3 ITV2 E4 Film 4 Dave BBC3 CBeebies More 4 5 USA Sky Sports 2 Sky 1 ITV4

25.63 17.79 5.74 4.78 3.96 42.11 2.55 2.00 1.82 1.36 1.33 1.23 1.17 1.14 0.97 0.93 0.83 0.80

Figures include HD and +1 where applicable

121k A re-run of Broadchurch scored ITV Encore’s best launch night audience (Mon, 10pm)

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 (all homes)

Share %

Game Of Thrones 24: Live Another Day Hawaii Five-0 Live Test Cricket The Simpsons Lizard Lick Towing Storage Hunters Storage Hunters Room 101 Criminal Minds The Simpsons Live International Rugby Union NCIS QI XL The Simpsons Storage Hunters The Simpsons Live Test Cricket Lizard Lick Towing Storage Hunters Storage Hunters Bones Storage Hunters The Simpsons Salvage Hunters The Simpsons Storage Hunters Sin City Motors The Simpsons Mock The Week QI XL The Simpsons Live Test Cricket Storage Hunters Motorway Cops Mock The Week The Simpsons New Tricks Storage Hunters The Simpsons Modern Family Storage Hunters The Simpsons Storage Hunters QI XL NCIS: LA Death In Holy Orders The Simpsons The Simpsons Storage Hunters

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

21.00 21.00 21.00 15.00 19.00 20.00 14.00 14.30 22.00 21.00 19.30 8.00 21.00 21.00 19.30 19.30 19.00 10.30 20.30 13.00 13.30 21.00 12.30 20.00 21.00 19.30 19.00 20.00 20.00 21.40 21.00 18.30 14.00 19.30 15.00 21.00 18.30 21.00 19.00 19.30 20.30 19.30 19.30 11.00 20.00 22.00 21.00 19.30 20.30 12.00

891,600 506,000 456,300 448,700 446,800 437,100 435,800 434,800 410,600 406,000 399,000 396,300 395,500 381,500 373,100 370,400 369,000 368,700 366,600 362,200 359,600 350,200 350,000 349,900 348,600 344,700 337,600 322,500 321,300 319,800 318,800 318,400 316,800 316,400 308,600 306,700 305,100 305,000 304,400 302,000 300,200 297,200 295,500 295,200 294,400 293,800 289,000 287,000 286,800 284,300

4.03 2.51 1.99 3.42 2.49 2.41 5.07 4.85 2.44 1.84 2.04 6.37 1.71 1.67 2.11 1.95 2.31 4.73 1.88 4.45 4.41 1.74 4.56 1.93 1.73 1.78 1.95 1.65 1.53 1.60 1.56 1.97 3.70 1.84 3.25 1.38 2.12 1.29 1.88 1.76 1.34 1.53 1.57 4.26 1.37 1.69 1.61 1.51 1.47 3.82

Figures include HD and +1 where applicable

24: Live Another Day www.broadcastnow.co.uk

Lizard Lick Towing

Broadcaster/ Producer* Sky Atlantic Sky 1 Sky 1 Sky Sports 2 Sky 1 Dave Dave/T Group Dave/T Group Dave/Hat Trick Productions Sky Living Sky 1 Sky Sports 1 Fox Dave/Talkback Sky 1 Dave/T Group Sky 1 Sky Sports 2 Dave Dave/T Group Dave/T Group Sky Living Dave/T Group Sky 1 Quest Sky 1 Dave/T Group Dave Sky 1 Dave/Angst Productions Dave/Talkback Sky 1 Sky Sports 2 Dave/T Group Dave/Folio Dave/Angst Productions Sky 1 Drama/Wall To Wall Dave/T Group Sky 1 Sky 1 Dave/T Group Sky 1 Dave/T Group Dave/Talkback Sky 1 Drama Sky 1 Sky 1 Dave/T Group

456k

Sky 1’s US drama import Hawaii Five-O was up by 64,000 weekon-week (Sun, 9pm)

Lizard licks competition

BY Stephen Price

It’s good to get fired up. Sport can do that; a good book might; a political ding-dong certainly can.

But depositories? Some folk, and currently it seems to be Americans, get themselves into a frenzy at the sight of a big locked storage unit.

Elsewhere, those who tow and/or lick lizards did well, Jack was half way through his longest day, and competitors for the throne headed towards their endgame.

The penultimate episode of series four of Sky Atlantic’s Game Of Thrones achieved 892,000/4% at 9pm on Monday 9 June, 132,000 short of the previous week.

However, ratings are now in for the finale on 16 June: a whopping 1.2 million/5%. That’s Sky Atlantic’s highest ever overnight ratings.

Sky 1’s 24: Live Another Day achieved 506,000/3% on Wednesday at 9pm, the lowest live rating in that premiere transmission slot.

Lizard Lick Towing was top dog among Dave’s US reality oddities this week with 437,000/2% on Wednesday at 8pm, just ahead of the Sunday 2pm Storage Hunters repeat on 436,000/5%.

Sky Sports 1’s coverage of England’s narrow defeat to the All Blacks on Saturday morning averaged 396,000/6% from 8am, more or less the same as last week’s first match (412,000/6%). The channel’s afternoon of Live Test Cricket was 50,000 ahead with 449,000/3%.

20 June 2014 | Broadcast | 37

Ratings Mon 2 June – Sun 8 June

All BARB ratings supplied by: Attentional

Consolidated Ratings

ITV’s cats take the cream

BY Stephen Price

Owning a pet cat can be fraught with danger. My first one refused to move house with us, leaving my 12 year-old self distraught – for about 10 minutes. Subsequent replacements, encouraged by chickens no doubt, attempted to cross the road at the back of my parents’ new house with inevitable, squashy results. It was less The Secret Life Of Cats than some weird moggy massacre.

Still, as ITV has found, cats and their mysterious, otherworldly ways remain a fascination. Elsewhere, two BBC1 drama trios ended, while Channel 4 will be delighted with Bear Grylls’ deserted islanders.

ITV1: The Secret Life of Cats ITV’s documentary single The Secret Life Of Cats achieved 3.9 million/ 17% on Monday 2 June at 9pm.

Source: BARB

After more than 900,000 recorded and watched, it ended on 4.8 million/18%. It was only a year ago that BBC2’s Horizon offered The Secret Life Of The Cat, which achieved 5.1 million/21%. That’s a lot of feline fans.

million/21%. Overall, the three part series averaged 4.3 million/19%.

ABC1 adults made up more than half of viewers, averaging 2.4 million/22%.

BBC1: From There To Here

Channel 4’s The Island With Bear Grylls ended on Monday 2 June at 9pm with a live rating of 2.3 million/10%. After nearly 600,000 recorded and watched, it ended on 2.9 million/11%. The best was the third episode’s 3.3 million/14% on 19 May. The series averaged 3 million/11% and did well among the juicy advertiser-friendly audiences: 596,000/23% 16-34 year-old men and 400,000/18% 16-24 yearolds of both genders.

BBC1’s three-part drama From There To Here ended this week. The final episode on Thursday 5 June at 9pm achieved a live rating of 3.2 million/15%. After more than 770,000 watched via PVR, it settled on 3.9 million/17%, 1.6 million behind the opening episode’s 5.5 million/23%. The series averaged 4.3 million/17%.

BBC1: Quirke BBC1’s other three-part drama series Quirke ended on Sunday 8 June at 9pm with a live rating of 3.2 million/15%. After 573,000 recorded and watched, it ended on 3.7 million/16%, the lowest of the three. The middle episode achieved 4.3 million/18% while the best was the 25 May launch episode with 4.9

Channel 4: The Island With Bear Grylls

Total audience for ITV’s The Secret Life Of Cats, which added 910,000 via PVR

UP Game Of Thrones adds 140,000

E4: Made In Chelsea On Monday 2 June at 10pm, E4’s Made In Chelsea achieved 754,000/5% in live ratings. After nearly as many (718,000) watched via PVR, the final rating was 1.5 million/8%, making it the bestrated episode of all.

Top 30 Consolidated Ratings: ranked by gain

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 16 18 18 20 21 21 23 23 23 23 27 27 29 30

4.8m DOWN Quirke drops 560,000

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Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Happy Valley Casualty Coronation Street Secret Life Of Cats Britain’s Got Talent EastEnders Game Of Thrones Coronation Street From There To Here Made In Chelsea EastEnders Coronation Street Coronation Street Coronation Street The Island With Bear Grylls Quirke 24: Live Another Day EastEnders EastEnders Secret Life Of Babies The Big Bang Theory CSI: Crime Scene Investigation Bones EastEnders Bear Grylls: Surviving The Island Criminal Minds Vikings Coronation Street Ex On The Beach Hannibal

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

21.00 21.20 20.30 21.00 19.00 20.00 21.00 19.30 21.00 22.00 20.00 19.00 20.30 20.30 21.00 21.00 21.00 25.20 19.30 21.00 20.00 21.00 21.00 20.00 22.00 21.00 22.00 19.30 22.00 22.00

7.78 4.57 8.07 4.81 12.05 5.73 1.87 8.04 3.94 1.47 8.18 8.49 8.22 9.50 2.85 3.73 1.18 0.76 6.77 3.49 2.38 1.78 0.96 6.09 1.92 0.94 0.60 9.44 0.84 0.56

30.18 18.92 36.45 18.01 52.33 25.44 7.01 41.23 16.54 7.93 35.95 39.99 34.81 37.33 10.69 16.19 4.50 20.87 34.31 13.44 10.76 6.80 3.65 30.16 9.85 3.50 3.26 41.82 4.58 3.08

1.59 1.02 0.92 0.91 0.89 0.82 0.81 0.78 0.77 0.72 0.70 0.67 0.66 0.63 0.60 0.57 0.57 0.56 0.56 0.54 0.53 0.53 0.52 0.52 0.52 0.52 0.49 0.49 0.48 0.47

25.60 28.60 12.90 23.20 8.00 16.60 76.40 10.70 24.40 95.20 9.30 8.60 8.70 7.10 26.60 18.10 93.10 292.90 9.00 18.30 28.50 42.10 120.60 9.40 37.00 123.00 450.90 5.50 133.50 496.90

Broadcaster BBC1 BBC1 ITV ITV ITV BBC1 Sky Atlantic ITV BBC1 E4 BBC1 ITV ITV ITV C4 BBC1 Sky 1 BBC1 BBC1 ITV E4 C5 Sky Living BBC1 C4 Sky Living History ITV MTV Sky Living

Figures include HD and +1 where applicable

38 | Broadcast | 20 June 2014

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Off Cuts

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

robin.parker@broadcastnow.co.uk

ALL A TWITTER Shame that #bbcqt isn’t on tonight so we could get a definitive take on Pitbull’s Capri pants. @mrmarkroberts (Mark Roberts) Creative director, Mentorn

Divide and rule: N&S puts up wall

The great wall of Desmond

TFL’s journey planner site thinks Pinewood Studios is interchangeable with Pineapple Dance Studios.

What could possibly go wrong?

Richard Desmond is keen to put distance between his Northern & Shell empire and Channel 5 – literally. The media baron has erected a wall between his Northern & Shell staff at Number 10 Lower Thames

Street and C5 employees following Viacom’s purchase of the broadcaster last month. Staff are likening the colossal fortification to the one that stretches along the northern border of Game Of Thrones’ Seven Kingdoms, constructed to defend the realm against the White Walkers.

AND FINALLY ...

Sky subtitlers ham it up

Tell us one of your most hilarious faux pas Accidentally locking myself in a cupboard on the way to a meeting with Russ Abbot.

Who is your pin-up?

Zach Galifianakis (below).

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

That I turned down the ITV managing director job.

How do you get your own way?

Asking nicely, followed by asking not so nicely.

What’s the worst rejection you’ve had?

Dancing with Zara Phillips at a royal wedding. I asked her out. She stopped dancing with me.

Who would you like to play yourself in a movie?

Zach Galifianakis.

Who or what would you put into Room 101?

Our competition.

If you could be reincarnated, who or what would you come back as? Zach Galifianakis.

The perils of subtitling were revealed once again last week when LBC presenter James O’Brien went on to Sky News to discuss alleged Islamist extremism in schools. You’d think Sky’s subtitlers would have realised by now that the Trojan Horse row centred on Birmingham and not, as they put it, ‘burning ham’…

@jessbrammar (Jess Brammar) News editor, ITV News business, economics and consumer team

Hope by hanging out with BBC Sport I’ll work out the formula for their nickname rules i.e. in their world am I ‘Danners’, ‘Danno’ or ‘Danny’ @pdanahar (Paul Danahar) Former BBC Middle East bureau chief

Really don’t like the font ITV are using for the on-screen score graphic. #minority interestsportballcommentary @matlock (Matt Locke) Director, Storythings

Crossover fun courtesy of comedian Michael Spicer, who added a Phil Neville commentary to Game Of Thrones. Neville’s, erm, minimalist style is captured perfectly for Jamie Lannister’s fight with Eddard Stark: “Lannister… leaves on a horse… unorthodox… but you’ve got to hand it to the lad, he’s made his mark in this game… Stark… falls down in the area… nothing given.” See it at http://bit.ly/1pHNIeh

Ed Sayers Commissioning editor, National Geographic Channel

Ed Sayers is speaking at Broadcast’s Commissioning and Funding Forum. For more details, visit www.broadcast-forums.com

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