Broadcast 27th June

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Training Special ■ Production:

Grass roots training at Glastonbury Page 28 ■ VFX: Closing the skills gap Page 26 ■ Behind the scenes: Opening doors in drama Page 32

27 June 2014

ALSO INSIDE ■ Comment:

Diversity – can Tony Hall break the cycle? Page 20 ■ Interview: Theresa Wise on opening up the RTS Page 24

BBC3 wins Channel of the Year

BY PETER WHITE AND JAKE KANTER

BY ROBIN PARKER

Warner Bros believes the combination of US reality television pioneer Mike Darnell and Shed Media Group IP can make the UK superindie a major force in America.

The US giant took full control of Shed last week and rebranded the company Warner Bros Television Productions UK in a deal intended to hand its seven indies, including Wall To Wall and Twenty Twenty, increased opportunities in the US. Warner Bros has recently reorganised its US non-scripted division, bringing together Shed Media US, The Bachelor producer Warner Horizon and The Ellen DeGeneres Show indie Telepictures Productions under the leadership of Mike Darnell, the former Fox reality chief who joined last August.

The UK Shed indies will have increased access to Darnell, Warner’s president of unscripted and alternative television, and will be encouraged to co-develop ideas with the Kitchen Nightmares and American Idol commissioner.

Ricochet TV chief executive Nick Emmerson has been promoted to joint managing director of Warner Bros Television Productions UK alongside Shed chief operating officer Claire Hungate.

She will report to Emmerson, who will in turn report to Warner Bros Television Group chief content officer Peter Roth, and will work closely with Darnell.

“We’d like to create more of a group sense and have the indies

BBC3 was the big winner at this week’s Broadcast Digital Awards, picking up five gongs including Channel of the Year.

The youth digital channel beat CBBC, Dave, Discovery Channel, E4 and ITV2 to the prize, and was also named Best Factual Channel and Best Entertainment Channel.

Meanwhile, its zombie drama In The Flesh picked up Best Scripted Programme and The Call Centre (below) was named Best Popular Factual Programme. The success comes as the BBC Trust weighs up whether to rubber-stamp plans to take the channel online next year.

Judges praised the breadth of its output across comedy, drama, factual and entertainment.

Broadcast editor Chris Curtis said: “BBC3’s multiple win at the Broadcast Digital Awards is a clear sign that the TV industry believes it is in rude health. Its challenge is to maintain that level of excellence as an online channel next year.” ➤ See broadcastnow.co.uk for details of the other winners

Styled To Rock: producer Twenty Twenty will benefit from greater US access

We’d like the indies to feel much more connected to the mothership in LA Jeffrey Schlesinger, Warner Bros

all feel much more connected to the mothership in Los Angeles,” said Warner Bros Worldwide Television Distribution president Jeffrey Schlesinger.

One senior Shed source said as well as closer ties with Warner’s Burbank headquarters, there have been hints of more development investment.

The full takeover also means Shed indie bosses are now “postearnout”, the source added,

meaning there will less focus on hitting short-term targets and more on creating bigger shows.

This was echoed by Schlesinger, who said this was one of the reasons behind Warner accelerating its full takeover after buying 55.8% of Shed for £100m in 2010.

Warner is also planning to boost the rollout of US formats to the UK. Its UK indies will now have access to Darnell’s growing slate of reality series, including I Slept With A Celebrity.

The takeover was announced to 60 of Shed’s most senior staff at Warner’s London headquarters last week, where Schlesinger and Roth spoke. Shed chief executive Nick Southgate also revealed his departure and told Broadcast he may move out of TV.

£4.99

WB lines up rebranded Shed for major US push

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

Chris Curtis, Editor

Top News

Big BBC1 debate on horizon Trust criticism is fair, but it must be nuanced to make a difference

I

s BBC1 boring? That, with only a little paraphrasing, was the suggestion from Diana Coyle this week, when she delivered her first major speech as acting chair of the BBC Trust.

Given that she has stated her interest in the role on a permanent basis, it was quite an audition. She warned the government to back off from the BBC, backed Tony Hall’s diversity plans, supported the principle of the licence fee, and still found time to take a pop at the corporation’s main channel.

‘BBC1 is very far from a channel in crisis and any criticism needs to be nuanced and smart’ The latter is likely to rankle, and director of television (and erstwhile BBC1 controller) Danny Cohen quickly responded.

He cited the 44 million people a week who watch the channel, and stated that “these audiences are clearly finding a huge amount that informs, educates and entertains them”.

In general, the BBC is being more robust in tackling criticism under Tony Hall – but it’s been dealing more often with the Daily Mail rather than its own governing body.

Coyle caveated her criticism with an acknowledgement of BBC1’s strengths, but was still pretty blunt.

“Our research shows an audience concern that BBC1 plays it too safe in parts of its peak-time schedule. The industry experts we’ve spoken to echo that view,” she said.

Drama came in for particular attention, but the 2 | Broadcast | 27 June 2014

verdict also covered factual and entertainment. It feels a bit harsh, but in each case there’s something in it.

The consensus among drama indies seems to be that BBC1 could be a bit spikier. Happy Valley (below) won almost universal acclaim and it wouldn’t be too hard to imagine much of BBC2’s drama, especially the likes of Line Of Duty, playing on the main channel.

At Sheffield DocFest, both Alison Kirkham and Emma Willis mentioned the almost intimidating power BBC1 has when it comes to producers developing factual or formatted ideas, and the relative lack of ideas with the scale to play at 9pm.

In entertainment, it’s hard to argue that Question Of Sport Super Saturday is particularly distinctive, or that The Guess List doesn’t have more than a hint of Blankety Blank about it.

But with ITV eyeing revivals of Stars In Their Eyes and Name That Tune to sit alongside Through The Keyhole and Surprise Surprise, it’s important the Trust doesn’t go too far. BBC1 is very far from a channel in crisis and the Trust’s criticism needs to be nuanced and smart – rather than a political move designed to shed its tag as a cheerleader for the corporation.

A wider debate about BBC1 will happen next month when the Trust publishes its full findings, and the majority of indies I’ve spoken to have been supportive of controller Charlotte Moore. Those wanting to hear from her directly should head to Broadcast’s Commissioning & Funding Forum at Kings Place on 1 July – more information is available at www. broadcast-forums.com/ home. See you there.

è Gordon Ramsay is to quit Optomen’s Kitchen Nightmares after 10 years.

è C4’s Jay Hunt (pictured) has made a plea for young women to persevere in the industry, adding that she was “devastated” by the number leaving the sector.

è Acting BBC Trust chairman Diane Coyle has criticised BBC1 for not taking enough risks in the highestprofile areas of its schedule.

Ratings Top Five 1 BBC1’s A Question Of Sport spin-off launched with just 2.7m viewers on Saturday, as the World Cup continued to dominate the schedules.

2 England’s miserable defeat to Uruguay was the most-watched game of the World Cup so far on Thursday, peaking with 20m viewers on ITV. 3 Jeremy Paxman (pictured) went out with a bang on Wednesday evening as Newsnight pulled in its biggest audience in more than two years.

4 Friday Night Dinner returned for a third series with more than 1 million viewers.

Channel 5’s Benefits Britain remained popular in the face of strong competition from Brazil’s final group game of the World Cup on Monday.

5

Talking TV Podcast è Visit broadcastnow.co.uk or iTunes to download the latest edition of the Talking TV podcast, featuring a discussion about the return of classic children’s television shows.

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News & Analysis

BBC diversity plan under fire It will not modernise, nor revolutionise the current situation

BY Alexandra Chapman

Tony Hall will come under increased pressure to introduce commission­ ing quotas after his blueprint to ensure the BBC reflects modern Britain left many industry diversity champions underwhelmed.

The director general took to a stage at Elstree Studios last week to reveal a package of initiatives to tackle BBC diversity, including a £2.1m development fund, tougher staff representation targets, mentoring schemes and the crea­ tion of an independent board to monitor progress.

But key advocates for black, Asian and minority ethnic (BAME) issues have been left cold by the plans. Many said the pro­ posals were a “good start”, but were unlikely to have a transform­ ative effect.

“Tony Hall’s announcement is something but it will not modernise, nor revolutionise, the current situa­ tion,” actor Lenny Henry told the Culture, Media and Sport Commit­ tee (CMSC) this week. He insists that his plan to ring-fence a percentage of the BBC’s annual commissioning budget for BAME programming remains the best solution.

Lenny Henry, actor

CMSC: Pat Younge, Lenny Henry and Marcus Ryder speaking to MPs

Marcus Ryder, RTS diversity com­ mittee chair and head of current affairs at BBC Scotland, agreed, telling MPs that “what drives change is ring-fencing money”.

TV Collective founder Simone Pennant told Broadcast: “I would ask Tony Hall: has not having quotas and penalties worked in the past? While we would all like to have faith in people changing, it hasn’t worked before.”

Simon Albury, former RTS boss and chair of the Campaign for Broadcasting Equality, claimed

that the ‘Henry Plan’ is not com­ pletely off the agenda, despite Hall telling journalists it was “not appropriate” for the corporation.

Hall said commissioners should be left to use their own “good sense” when making creative decisions.

Negative reactions to the plan have been exacerbated by confu­ sion over the £2.1m annual fund the BBC has roped off for the devel­ opment of BAME-led TV projects.

It will help support development of television projects across all genres, fast-tracking independent

and in-house ideas from diverse writers, talent and production staff.

It was immediately compared with the BBC’s 2013 commission­ ing budget of £1.8bn, but the broadcaster later stressed it was a development pot and would not fund commissions.

This did not prevent acting BBC Trust chair Diane Coyle describing the diversity money as “funding for commissioning”, while former BBC in-house boss Pat Younge compared the £2.1m fund to the budget for just a few episodes of The Musketeers.

Hall has admitted that results “won’t be achieved overnight”, but argued the blueprint “will make a tangible difference” and will “help set the pace in the media industry”. The BBC’s progress will be reviewed “regularly” to ensure its record is “beyond reproach”, he added.

Dave commissions Curb-esque Hoff The Record It cements Dave as the place to be for risk-taking comedies

BY Peter White

Baywatch and Knight Rider actor David Hasselhoff is to star in a Curb Your Enthusiasm-style comedy for Dave that was origi­ nally piloted for BBC2.

The UKTV-owned channel has commissioned a 6 x 30-minute series of the semi-improvised sitcom, Hoff The Record, from An Idiot Abroad indie Me & You Productions.

The show is shot in a documen­ tary style and centres on the life of Hoff, a fictionalised version of Hasselhoff, 30 years after rising to fame on Knight Rider.

Following five divorces and some misguided career decisions, Hoff has moved to the UK to try to www.broadcastnow.co.uk

Steve North, Dave

Hasselhoff: own sitcom on Dave

get his career back on track.

It will film locally and overseas, with a transmission date set for next year.

Hoff The Record was com­ missioned by UKTV director of commissioning Richard Watsham

and Dave general manager Steve North.

It will be executive produced by UKTV commissioning editor Iain Coyle, Hasselhoff ’s manager Eric Gardner and Me & You Productions’ Richard Yee and Krishnendu Majumdar. Misha Manson-Smith, who made BBC3’s Pramface, will direct.

BBC Worldwide co-developed and co-funded the project and

will take the international distri­ bution rights.

Coyle said the show was “funny, clever and bizarre – in a good way”. North added: “To have The Hoff on the channel is a great coup. It cements Dave as the place to be for risk-taking comedies.”

Hasselhoff joked: “When I made Baywatch, I dreamed of one day having my own show on a channel named after me. Hoff The Record is coming soon to the UK, only on Dave. They did name the channel after me, right?”

Me & You Productions was set up by Yee and Majumdar in 2012 and, as well as An Idiot Abroad, the indie produced Karl Pilking­ ton spin-off The Moaning Of Life for Sky 1.

27 June 2014 | Broadcast | 3

News & Analysis

C4 unveils first online shorts If you have innovative, creative ideas, then we want to talk

BY Matthew Campelli

Monkey Kingdom, The Connected Set and Lemonade Money are among the first indies to win business from Channel 4’s short-form content platform.

The commercial broadcaster has soft-launched its 4Shorts hub and will populate it with a raft of original commissions over the summer.

The first project being lined up for the site is Monkey’s Educating Binky, a 4 x 3-minute series following the Made In Chelsea star as she explores iconic fashion eras.

The Connected Set, which produces London Live’s Drag Queens Of London, will make 12 x 4-minute series Craic Addicts. Hosted by YouTube stars Chris Greene and Peter Ganley, it takes an irreverent look at how online and popular culture trends affect society.

Zad Rogers’ indie Atomized has won a 12 x 4-minute order for its Daughters And Fathers series exploring family relationships, while Lemonade Money’s 12 x 4-minute show Two Players captures celebrities playing video games.

In addition to the launch offerings, C4 head of online Richard

Richard Davidson-Houston, C4

Made In Chelsea: reality star Binky is to get her own series on 4Shorts

Davidson-Houston said “a number of other titles” were being developed and will be announced over the next few weeks. He is keen to have “more conversations with indies” about further expanding 4Shorts.

“The message we want to get to indies is: if you have innovative, creative ideas and want to be part of what we’re doing, then we want to talk. There is increased potential for us to work with com-

panies we haven’t worked with before,” he said.

Davidson-Houston also stressed that ad-funded content will have a “significant presence” on the platform. Educating Binky will be funded by Rimmel London, while several other projects have been put together with commercial partners.

Atomized has teamed up with British Gas for its other commission, 24 x 3-minute lifestyle series

Home Truths, while North One Tele­vision has partnered with Alfa Romeo for a 4 x 6-minute collection of shorts starring Guy Martin.

C4 has also agreed to licence 60 episodes of shows on Jamie Oliver’s Fresh One YouTube channel Food Tube.

Davidson-Houston said content will be commissioned with 16 to 24 year-olds in mind and stressed that it had to be “fit for consumption on smartphones, tablets and laptops”, to be watched in “untraditional places at untraditional times”.

It comes as 4oD prepares for a full mobile launch, enabling viewers to stream video via 3G and 4G on iOS and Android devices.

4Shorts will initially be promoted via 4oD and C4’s website, with a wider marketing campaign set for later in the summer.

Producers donate £1m to Creative Skillset fund To ensure a sustainable future, we must invest in the talent of tomorrow

BY Robin Parker

Production levies on a total of 61 high-end TV dramas and animations have returned more than £1m to Creative Skillet’s Skills Investment Fund since it was set up in April last year.

Drama series including Shetland, By Any Means and Downton Abbey, and forthcoming productions Cilla, Wolf Hall and Mapp & Lucia, have contributed £1.2m to the fund up to 1 June, Creative Skillset has revealed. Animations such as CBeebies’ Sarah & Duck and CBBC’s Shaun The Sheep have brought in a further £151,000.

Producers that receive a tax break for making high-end TV and animation are encouraged to contribute 0.5% of their core UK 4 | Broadcast | 27 June 2014

Bryan Elsley, Creative Skillset

Cilla: ITV drama has contributed

expenditure – up to £40,412 – to the scheme, with Creative Skillset matching this pound-for-pound from its treasury pot.

The money will be invested into training initiatives such as bursaries, training schemes, internships and shadowing and mentoring programmes.

Creative Skillset is currently taking applications for £50,000 worth of TV bursaries, with a further £50,000 available later in the year. Producers can also appeal to the organisation’s Challenge Fund, which matches government investment in training schemes.

“To ensure that the rapid expansion of high-end scripted tele­ vision translates into a sustainable future, we must invest in the talent of tomorrow,” said Skins

co-creator and Creative Skillset’s high-end TV skills council head Bryan Elsley.

“The work of Creative Skillset through the Skills Investment Fund is providing exciting opportunities through training, structural assessment of needs and matched financial support. The Skills Levy will become an important resource, sitting alongside government initiatives to provide the platform for innovation and a secure skills base to help develop new ideas and encourage our dreams to come to fruition.”

Creative Skillset’s comparable fund for the film industry has funded more than £9m worth of training initiatives through more than 800 films since it was set up in 1999. www.broadcastnow.co.uk

News & Analysis

BBC lines up female comics We wanted to put our commitment out in the public domain

BY Alexandra Chapman

A number of female comedians have put themselves forward to appear in BBC comedy entertainment shows following the corporation’s pledge to ban all-male panels, according to Mark Linsey.

Broadcast revealed the commitment last year and director of television Danny Cohen formally announced it in an interview with The Observer in February.

The announcement drew some criticism, with Mock The Week host Dara O Briain claiming it appeared “tokenistic”.

But controller of entertainment Linsey argued that the BBC’s pledge had been rewarded with fresh female faces putting themselves forward to appear in the corporation’s established formats. “We wanted to put our commitment out in the public domain for that reason,” he told Broadcast.

“The world of comedy and stand-up entertainment is quite hard and aggressive. It’s a difficult profession to go into whoever you are,” Linsey added. “Hopefully, with a commitment such as ours

Mark Linsey, BBC

Mock The Week: panel formats are to feature more female comedians

and the BBC’s diversity agenda, we can help this.”

Linsey added that he was keen to develop more standalone projects for female comedians. He noted his admiration for ventriloquist Nina Conti, who fronted a Burning Bright Productions Mr & Mrs-style comedy pilot for BBC1 in November last year. The Great British Bake Off host Sue Perkins is also on Linsey’s radar for upcoming projects.

BBC entertainment’s commitment to female representation on air is reflected behind the scenes, Linsey said, adding that there was a “strong female presence across the whole of entertainment”. His commissioning team includes Jo Wallace, Rachel Ashdown, Pinki Chambers and Ruby Kuraishe, while Strictly Come Dancing and The Voice UK are executive produced by Louise Rainbow and Moira Ross respectively. Katie

Taylor also heads up the genre for BBC in-house.

Separately, Linsey explained that BBC1 is interested in exploring more interactive formats, but is unlikely to follow ITV and Channel 4’s lead in commissioning a talent contest involving realtime voting. C4 has lined-up Endemol’s The Singer Takes It All for August, while ITV launches Rising Star next year.

“We already have a very successful singing talent show [in The Voice UK] and I’d like to do something in a different area,” he said.

Linsey highlighted STV and Wild Rover Productions’ playalong quiz You Vs The Nation, which pits a contestant against the viewing public and will be piloted next month behind closed doors. He added that the BBC is developing a new take on an adventure gameshow.

BBC correspondent to ramp up disability coverage We want to look into how the cuts are affecting people with disabilities

BY Alexandra Chapman

BBC News hopes to increase awareness of disability issues with a number of on-air and digital projects after hiring its first disability correspondent.

The corporation announced in April that Nikki Fox would join to report on the subject across news bulletins and BBC Breakfast. She has been tasked with engaging audiences both affected and unaffected by disability.

Wheelchair user Fox has previously appeared on BBC1’s The One Show and Rip Off Britain, and has made docs for Radio 4 and Radio 5 Live, including Beyond Disability: The Adventures Of A Blue Badger.

“It’s important to get as many stories as we can on BBC Breakfast www.broadcastnow.co.uk

Nikki Fox, BBC

Fox: looking at impact of cuts

and BBC News at 6pm and 10pm that address themes and topics within disability,” Fox told Broadcast.

She will tackle wide-ranging issues such as the closure of the Independent Living Fund, as well as reporting on disabled people in

sport. This will include the Invictus Games in London this year, where injured service men and women will compete in sports such as athletics.

“We want to look into how the cuts to benefits are affecting people with disabilities and how the changes to the education system may impact children with disabilities,” said Fox, who will work alongside three broadcast journalists in Salford dedicated to disability issues.

“We will make sure we always shoot extra footage when putting a news piece together, which will be made available online and through the new disability index on the BBC News website.”

The index is yet to be launched, but forms part of BBC News’ efforts to make content accessible online for people with various disabilities. It will bring together the broadcaster’s disability news and specialist programming, such as See Hear and Radio 4’s In Touch, as well as links to disability blogs and monthly podcast Ouch!.

Fox, who reports to BBC News UK news editor Gary Smith, said representation of disabled people in the media was “not perfect”, but she is confident that the situation is improving.

27 June 2014 | Broadcast | 5

News & Analysis

Ent revivals in the spotlight

BY Matthew Campelli

The rush to revive entertainment classics has been criticised by producers, with ITV coming under particular scrutiny as it prepares to add to its portfolio of returning formats.

Broadcast revealed last week that the commercial broadcaster is piloting a fresh version of musical gameshow Name That Tune through Natalka Znak’s new indie. It was also reported that Harry Hill is to revive Stars In Their Eyes with Endemol for ITV. If the shows return, they will sit alongside other formats ITV has revisited over the past 18 months, including Through The Keyhole, Catchphrase, Surprise Surprise and the upcoming Celebrity Squares.

Its other existing remakes include All Star Mr & Mrs and All Star Family Fortunes.

ITV can point to contemporary hits like The X Factor, Britain’s Got Talent and Big Star’s Little Star, but since Surprise Surprise was relaunched in October 2012, almost 85 hours of its schedule has been handed over to revived brands.

Elsewhere, Channel 4 has brought back quiz Fifteen To One and tweaked existing formats to create shows such as 8 Out Of Ten Cats Does Countdown. The BBC is also eyeing a fresh take on The Generation Game and at the weekend launched Question Of Sport spin-off Question Of Sport Super Saturday.

One entertainment indie boss said the trend was “depressing”,

6 | Broadcast | 27 June 2014

Through The Keyhole: entertainment format hosted by Keith Lemon is one of several revisited by ITV

By recommissioning old classics, they are giving themselves the best chance of airing a show that won’t tank Indie boss

and it was a “shame for the industry” as new formats are not getting commissioned. He added that it was “understandable” broad­ casters were returning to old formats as they are a “safe bet”.

“To be fair to commissioners, they are more at risk of criticism than ever before. By recommis-

sioning old classics, they are giving themselves the best possible chance of airing a show that won’t tank,” the source said.

An ITV Studios insider said ITV was “right in bringing back some formats”, pointing to Catchphrase as a “good decision”, but stressed it was not due to a lack of new ideas.

The source said: “The biggest risk for ITV is pairing new talent with a new format. It’s much easier to place an ITV-friendly face with a new format and try new talent in an old format, such as Warwick Davis on Celebrity Squares.”

A third source argued: “If you’re risk-averse, which is an accusation that could be levelled at ITV entertainment, then why

wouldn’t you go with something battle tested – particularly if you’re a commercial broadcaster?”

An ITV insider defended the trend, arguing that ITV always puts a fresh twist on returning formats to ensure they appeal to new audiences. “Tonally, they’re very different,” the source said.

This was echoed by BBC entertainment controller Mark Linsey, who said that if the BBC decides to bring back The Generation Game with Miranda Hart, it will be distinct from the format made famous by Bruce Forsyth.

“If we were going to do a revival, we would bring it back with a very different talent and make it feel very different and fresh,” he said.

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Commissioning News

Sky 1 sows seeds to grow 8pm The show will give viewers a chance to peek over the hedge into some of Britain’s most amazing private gardens

BY JAKE KANTER

Sky 1 director Adam MacDonald has lined up a Come Dine With Mestyle gardening format as the latest part of his push to rejuvenate the 8pm slot.

The pay-TV broadcaster has commissioned Outline Productions to make 6 x 60-minute Welcome To My Garden (working title), which will go into production this summer.

In each episode, three gardening enthusiasts will take turns to visit and judge each other’s outdoor spaces. The show will be “warm” and “fun” in tone, and will provide advice for viewers as the enthusiasts share their experiences along the way.

MacDonald is targeting 8pm as a potential area of growth, and this commission comes hot on the heels of his order for Sky 1’s first fixed-rig show, for the same slot.

Twofour’s 8 x 60-minute The Sun Set (w/t) will follow a variety of families as they share a holiday in a luxurious European villa complex that has been rigged with cameras.

Daley’s Splash! unlikely to be back for third run ITV celebrity diving show Splash! (pictured) is unlikely to return for a third series as coach Tom Daley focuses on his preparations for the 2016 Olympic Games in Rio. The second series of the Twofour and Eyeworks show ended in February, and although ITV said “no decision has been made”, a third run appears unlikely.

ITV2 to follow Blue bar launch in Ibiza Noughties boyband Blue and Apprentice star Luisa Zissman are to launch a bar in Ibiza for ITV2.

ITV Studios-owned label Potato is understood to be making the series. Still in its early stages, it will reunite Zissman with Celebrity 8 | Broadcast | 27 June 2014

Laura Mansfield, Outline Productions

Great British Garden Revival: Outline’s BBC2 show is set for a return

Welcome To My Garden was developed by Outline head of development Shona Baldwin.

Laura Mansfield and Helen Veale are the executive producers, and Alan Boyle will series produce.

Sky commissioning editor for factual and features Siobhan Mulholland ordered the show alongside

MacDonald. It will be distributed

by Hat Trick International.

“Welcome To My Garden will give viewers a chance to peek over the hedge into some of Britain’s most amazing private gardens – from quirky, wild country estates to stunning contemporary urban spaces – and be inspired by what

Big Brother housemate and Blue member Lee Ryan as they aim to set up their venue on the party island. The show had been rumoured to be lined up for new female-skewing channel ITVBe, but the broadcaster has confirmed that once commissioned, it will air on ITV2.

Both are 1 x 60 minutes and will TX later this year.

Shiver and Testimony to mark WW1 centenary for ITV ITV will mark the centenary of the outbreak of World War I with three factual commissions. Shiver’s 4 x 60-minute The Great War: The People’s Story will bring to life authentic wartime accounts and will TX in August. Shiver will also make The Pity Of War: The Lives And Loves Of The War Poets, while Testimony Films will produce The Pals Army (w/t).

Sky 1 commissions After Hours from Jellylegs Sky 1 has ordered After Hours, a sitcom centred on a small Northern town, from Craig Cash’s indie Jellylegs. Father Ted’s Ardal O’Hanlon, Jamie Winstone and John Thompson head the cast for the 6 x 30-minute series. It’s the first TV commission from comedy performer Molly Naylor and radio comedy writer John Osborne.

C4 pilots weightloss challenge Embarrassing Bodies presenter Dr Christian Jessen (pictured) has been lined up to front Channel 4 TX pilot Fatonomics – a Maverick Television

ordinary people have created,” Mansfield said.

Welcome To My Garden builds on Outline’s existing BBC2 show Great British Garden Revival, which was recently commissioned for a second series, and is the indie’s first major series for Sky 1 since Fat Families.

The company now produces more than 40 hours of primetime factual programming a year for networks in the UK and beyond.

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

production pitting two overweight people against each other in a weight-loss challenge. The pilot, which tests motivational theories behind weight loss, is in pre-production and is likely to air next year. It was commissioned by C4 head of features Gill Wilson.

C4’s Boyd joins London Live for original content push Former Channel 4 commissioner Katie Boyd has joined London Live as part of an original content push in factual entertainment and features. She will report to director of programming and commissioning Jonathan Boseley. Boyd left C4 last year to take a career break, after working across features, factual and entertainment, with credits including Location, Location, Location and Superscrimpers. www.broadcastnow.co.uk

International News

Warner Bros looks to France

BY PETER WHITE

Warner Bros is eyeing acquisition opportunities in France and other territories after completing its takeover of Shed Media Group and Eyeworks.

The Hollywood studio last week rebranded Shed Media as Warner Bros Television Productions UK after taking full control of the super-indie, while its £160m deal for Dutch producer and distributor Eyeworks closed earlier this month.

Jeffrey Schlesinger, president of Warner Bros Worldwide Television Distribution, said the takeovers will lay the groundwork for its next chapter of growth outside the US. He ruled out any further large acquisitions in the UK – dismissing bids for companies such as Zodiak Media Group and Tinopolis – but said there were “white spots” of interest around the world.

“If you look at the world map, we’re happy with the UK. We now have Eyeworks that covers a lot of the map, but there’s a couple of countries that still have white spots

Lionsgate appoints Europe and EMEA sales directors ITV Global Entertainment sales director for south-east EMEA Fabio Etienne-Tinchant has joined Lionsgate International as director of sales for Greece, Turkey, Africa, Middle East, Spain and Portugal.

Lionsgate has also hired CBS exec Mark James as director of sales for Central and Eastern Europe. Both recruits will be based in London. Lionsgate International boss Peter Iacono said the appointments reflected the “extraordinary growth” in the company’s programming.

CITV to air Playmobilinspired series Super 4 ITV will launch and merchandise a Playmobil-inspired children’s comedy-adventure series that www.broadcastnow.co.uk

We’re happy with the UK, but there are a couple of countries that still have white spots Jeffrey Schlesinger, Warner Bros

Gotham: deal close for prequel, which could fetch £500,000 an episode

that we’ll look at and either licence or build or buy. For instance, Eyeworks doesn’t have an operating company in France and that’s a pretty big country,” he said.

Schlesinger added that it would also consider opportunities in Japan, China and Russia, although he admitted these territories are not priorities. “Our focus in this next chapter will be to properly

integrate [Shed Media and Eyeworks] and spread the magic that is Warner Bros to help them feel part of one of the best production companies in the world,” he said.

Schlesinger was in London last week alongside Warner Bros Television president and chief content officer Peter Roth and Craig Hunegs, the company’s president of business and strategy.

will air on CITV later this year.

Super 4 (pictured), a CGI series following the characters Alex the Knight, Ruby the Pirate, Agent Gene and Twinkle the Fairy, has secured a 52 x 11-minute commission. CITV will broadcast 26 episodes this year and a further 26 in 2015. ITV Studios Global Entertainment has also inked a deal with the toymaker and Super 4 co-producers Morgen Studios and Method Animation to develop consumer products including books, toys, clothes and accessories.

conditions in the country. The Writers Guild of America (WGA) claimed ITV had been reminding employees that their contracts include non-disclosure agreements by threatening them with “multimillion-dollar lawsuits”. But the WGA argued that staff were free to divulge information about their working hours and benefits, ahead of the City Council meeting on Wednesday.

WGA hits out at ITV for ‘gagging’ US employees ITV was accused of gagging employees in the US with nondisclosure agreements ahead of a New York City Council hearing this week examining its working

France to revive The Weakest Link BBC quiz The Weakest Link (pictured) is to be remade for a second time in France – seven years after it originally ended. French digital network D8 has commissioned a new version of the gameshow, which will be produced

by BBC Worldwide Productions

In addition to completing the Shed Media deal, the trio held meetings with broadcasters – including ITV, C4, C5 and Sky – about noir Batman prequel Gotham, which Warner launched at last month’s LA Screenings. Broadcast understands the drama could fetch more than £500,000 an episode and that a UK deal is close.

“Other than the BBC, as you’d expect, every network is interested in Gotham,” Schlesinger said.

“Bidding is very frothy and then you have the overlay of Netflix and Amazon right in the middle of it. I can’t remember ever being in a position in the UK where a show has created so much enthusiasm.”

France and Banijay Productions France. An earlier French adaptation – titled Le Maillon Faible – ran on TF1 for six years, ending in 2007. It will relaunch with the same title on the Canal+ owned station and will be hosted by French personality Julien Courbet.

Soderbergh to executive produce call girl series Hollywood director Steven Soderbergh is to executive produce a 13-part Starz series inspired by his 2009 film Magnolia Pictures.

Produced by Transactional Pictures, The Girlfriend Experience explores the relationships of exclusive call girls, who provide their clients with more than just sex.

Philip Fleishman will executive produce the series.

27 June 2014 | Broadcast | 11

£3 BILLION of commissioning budget in one room

wHere are You GoING to be? proGramme 8.30 REGISTRATION OPENS 9.20-9.30 CHAIR OPENS FORUM 9.30-10.30 PETER FINCHam dIRECTOR OF TElEVISION, ITV

With Steve November and Richard Klein bringing new sensibilities to ITV’s commissioning team, how is its programming evolving? We’ll ask Peter Fincham to discuss its return to comedy, why crime dominates its drama slate, and which parts of the schedule need most attention.

1 JULY 2014 Kings Place, 90 York Way London, N1 9AG

10.30-11.30 CHaRlOTTE mOORE CONTROllER, bbC1

After a year in charge of BBC1, we ask Charlotte Moore for a progress report – and discuss how the flagship channel is shaping up under her watch.

What are her plans for factual programming and especially documentaries, and how is she working with Ben Stephenson and Mark Linsey to revamp drama and entertainment?

11.30 -12.00 COFFEE BREAK 12.00 -12.50 FUNDING IN 2014 bEN baRETT CO-maNagINg dIRECTOR, dRIVE TV NICOlE FINNaN COmmERCIal dIRECTOR/EXECuTIVE PROduCER, ElEVENTH HOuR FIlmS CHRISTINE CORNER PaRTNER aNd HEad OF TV & FIlm, gRaNT THORNTON uk

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14.40-15.30 FACTUAL PANEL ElIzabETH mCINTyRE VP PROduCTION aNd dEVElOPmENT FaCTual, dISCOVERy NETWORkS INTERNaTIONal RaCHEl JOb CHaNNEl EdITOR, HISTORy & H2, a+E NETWORkS uk Ed SayER COmmISSIONINg EdITOR, NaTIONal gEOgRaPHIC CHaNNElS INTERNaTIONal TRaCy FORSyTH VP COmmISSIONINg, bbC WORldWIdE

In a crowded factual marketplace, how can producers better understand what differentiates the major channels and shape their development accordingly? We ask commissioners from Discovery, Nat Geo and History what they’re looking for, the role that international markets play in their commissioning, and how they can stand out from their rivals.

15.30 - 15.50 COFFEE BREAK 15.50-16.30 RICHaRd WaTSHam dIRECTOR OF COmmISSIONINg, ukTV

Richard Watsham sheds more light on UKTV’s new strategy of focusing originations on three channels: Watch, Dave and Gold. How will those channels evolve as a result and what does it mean for genre programming? Watsham will also discuss how entertainment and scripted programming will complement UKTV’s traditional factual foundations.

16.30-17.30 Jay HuNT CHIEF CREaTIVE OFFICER, CHaNNEl 4

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A factual renaissance has delivered a raft of innovative hits for Channel 4 – how can the channel build on this? What’s next after the fixed rig and where are the opportunities for new formats? Plus, Jay Hunt discusses plans to build momentum in comedy, drama and entertainment, and the opportunities for both new indies and new on-screen talent.

13.50-14.40 SKY COMMISSIONERS PANEL

17.30 CHAIR CLOSES FORUM

luCy lumSdEN HEad OF COmEdy, Sky CamERON ROaCH HEad OF dRama, Sky CElIa TaylOR HEad OF FaCTual, Sky CHRIS bROgdEN HEad OF ENTERTaINmENT, Sky

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We dig into Sky’s plans for comedy, drama, entertainment and factual and ask the commissioners to talk us through their vision for their genres across the Sky 1, Sky Atlantic, Sky Living and Sky Arts channels.

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Multiplatform News In Brief Netflix to air talk show Netflix has signed a deal with US comedian Chelsea Handler to launch a late-night talk show.

The move marks the streaming service’s entry into near-live, scheduled daily programming.

The show will launch in all Netflix markets in 2016. Handler, who will produce the series through her Borderline Amazing indie, is known for her raunchy and blunt style. The format of the new show has not been revealed but it will include guest interviews.

UKTV Play uses viewer data to boost personalisation

Stars line up for Feeds Ashley Walters, Kayvan Novak (left) and Tom Rosenthal are to star in the latest round of Comedy Feeds pilots for BBC iPlayer. Comedy controller Shane Allen has ordered nine pilots for the BBC3 scheme, which is now in its third year, and they will be made available on iPlayer next month. Comedy Feeds has given rise to full series of Roughcut TV’s People Just Do Nothing and Nick Helm’s Heavy Entertainment, made by BBC in-house. Full details of the pilots are available on broadcastnow.co.uk.

Monterosa nets Sky vote Digital agency Monterosa has renewed its partnership with Sky 1 to provide in-app voting on the fifth series of Got To Dance in August. The show will again use Monterosa’s LViS system, through which 84.7% of the votes on the fourth series were registered last year.

AOL strikes Atomized deal Video aggregator AOL On has agreed to host multiplatform indie Atomized’s library of River Café films. Atomized has recorded around 80 episodes of the cooking show based at the London restaurant. Separately, Zodiak Rights has agreed to distribute the second series of modelling show New Face, which Atomized makes for Hulu.

For the latest breaking news www.broadcastnow.co.uk 14 | Broadcast | 27 June 2014

Dave Gorman: Modern Life Is Goodish: UKTV Play users will be able to catch up with content and access boxsets BY jake kanter

UKTV plans to mine audience data in the same way as Channel 4 via its soon-to-launch VoD service, introducing personalisation and, ultimately, using it to help inform commissioning decisions.

The multichannel broadcaster set out plans this week to create UKTV Play, which will replace its existing channel-led VoD services with a single online platform.

The service, which was largely developed in-house and will initially be available on iOS devices, PCs and YouView, will launch in its most basic form later this summer.

Users will be able to catch up with UKTV content, such as Dave’s Dave Gorman: Modern Life Is Goodish, and access boxsets for shows including Lizard Lick Towing and Black Ops. Once UKTV Play is more established, the broadcaster will introduce increased functionality aimed at personalising the service. Users will be able to create a personal schedule, while the recommendations they receive will improve.

We can use the breadth of content we offer to move people around and give audiences more Darren Childs, UKTV

UKTV chief executive Darren Childs said the data strategy offered “another return path” to viewers, helping the broadcaster build a better picture of their needs. He hopes this will give UKTV a “competitive advantage”, as well as helping to inform future commissioning decisions.

The plan echoes C4’s strategy of getting users to log in to 4oD. The C4 service has more than 10 million registered users, who receive personalised emails about forth­ coming shows and increasingly sophisticated recommendations.

UKTV Play will also offer ‘staff picks’, with commissioners and producers making recommendations about particular shows in a bid to make the brand less “faceless”.

The VoD player will also premiere content before it is aired on linear television, starting with the second series of Tiger Aspect’s Dave format Crackanory later this year.

Childs accepted that UKTV’s current VoD offering, which includes standalone platforms for channels such as Dave and Really, was “fragmented” and said broadening the offer would be a simple step that would improve discoverability. “If I’m a Dave fan, I might fancy a bit of Attenborough on Eden,” Childs said.

He added: “This puts the UKTV brand right back in the consumer space. There are huge benefits to the brand standing on its own two feet, because we can use the breadth of content we offer to move people around and give audiences more.”

UKTV Play will be run by director of commercial and business development Dan Fahy and Emma Boston, the recently promoted general manager for VoD. Head of VoD Kim Morris will oversee editorial content. www.broadcastnow.co.uk

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20/06/2014 16:30

Technology & Facilities

Manufacturers sign up to DPP-certified kit scheme

BY George Bevir

Digital Production Partnership (DPP)-certified kit for the filebased delivery of programmes could be available by the end of July, after 23 manufacturers signed up to the cross-broadcaster group’s compliance programme.

The DPP is working with the Advanced Media Workflow Association (AMWA) on the scheme that will allow the use of the AMWA and DPP brands on certified kit. It is an effort to help the industry identify “trusted” products ahead of the shift to file delivery in October.

Broadcast understands that Sony, Adobe and Avid are expected to join the 23 firms that have signed up to the programme, which will address file integrity and tools for AQC (automated quality control). A full list of the signatories is available on broadcastnow.co.uk.

DPP technical standards lead and chief technology officer for broadcast and distribution at Channel 4 Kevin Burrows said: “At

SMPTE to merge with Hollywood Post Alliance The Society of Motion Picture and Television Engineers (SMPTE) is set to merge with the Hollywood Post Alliance (HPA). The US partnership will begin with SMPTE providing administrative support to HPA, with the unification of the two organisations expected to be completed by May next year. SMPTE president Wendy Aylsworth said: “For these and many other reasons, we look forward to extending the HPA brand to a broader global audience.”

Encore recruits Baftawinning sound designer Encore has appointed Karl Mainzer to the position of senior sound designer and mixer.

16 | Broadcast | 27 June 2014

QC suite: part of the compliance programme will address tools for AQC

the moment, manufacturers can say their kit is DPP-compliant, but that doesn’t necessarily mean anything – that is why we are specifying what those criteria are. It is important that files will work across playout servers and move between asset management servers.”

The DPP will host a manufacturer interoperability day on 30 June where the criteria of around 100 checks will be tested before the certification process begins.

“The hard work is getting the criteria in place,” said Burrows. “It will probably be the end of July before we are able to put a stamp on products, but before that we should be able to say whether kit is compliant or not, and we will keep a list of compliant products on the DPP website.”

Burrows added that he expected to see a “flurry” of certified equipment on show at IBC in September.

Mainzer (pictured), who picked up the Sound Factual Award at this year’s Bafta Tele­vision Craft Awards for his work on David Bowie – Five Years, will start work at the Soho facility on 7 July. He joins Encore from his role as managing director at United Audio Project (UAP), which is being wound down.

Fellow UAP managing director and Baftas Craft winner Rowan Jennings will continue to work as a freelance sound designer across factual and drama programmes.

in the Caribbean in July. Video Europe will provide two outside broadcast units, comprising 25 cameras, including Sony HDC-2500 and HDC-3300s and Grass Valley’s recently released XtremeSpeed 6X Ultra Motion camera, along with six EVS XT3 servers and 12 Canon XJ95 box lenses.

IMG to use Video Europe’s flypack kit for T20 cricket Video Europe is supplying flypack kit for IMG’s coverage of the CPL T20 cricket tournament, which takes place across eight islands

Halo upgrades to Pro Tools HDX and Pro Tools v11 Halo has completed the upgrade of its seven TV sound suites and two Dolby Digital stages with Pro Tools HDX hardware and Pro Tools v11 software. Recent Halo Group acquisition Hacken­backer’s three mix rooms and five edit suites have also been upgraded. Halo chief

Broadcast TECH kick-starts search for Young Talent Broadcast’s bi-monthly sister magazine Broadcast TECH has begun its annual search for the industry’s brightest young talent.

Nominations are now open for the Broadcast TECH Young Talent Awards, which recognise outstanding individuals under 30 who work with technology in the fields of production, post and delivery.

The categories include: Engineer, Camera Operator/Grip, Lighting Technician, Sound Production, Colourist, Sound Post, Online Editor, Producer, Runner, VFX and Women in Technology.

Last year’s winners include BBC Natural History Unit’s Duncan Parker, who triumphed in the Engineer category, and Molinare dubbing mixer Nicholas Ashe, who picked up the Sound Post Award.

Candidates must be under 30 years old on 5 November. The awards ceremony will take place during the Production and Post Forum at Bafta on the evening of 5 November. For more information or to request an entry form, email jane.maguire@mb-insight.com. The deadline for entries is 12 August.

executive John Rogerson said: “We replaced everything lock, stock and barrel and it went very smoothly thanks to our brilliant technical team and the expertise of the team at Media Pros.”

Panasonic’s AG-AC90 successor goes on sale Panasonic has released the successor to its AVCCAM AG-AC90 camcorder. The AG-AC90A (pictured) has the same three 1/4.7-type CMOS sensors as its predecessor, but includes two new recording options: PM mode, which captures video at 1280 x 720 and 8Mbps and is intended for use in environments such as sports analysis, and CS mode, which records at 720 x 480 and 3.5Mbps for IP. www.broadcastnow.co.uk

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

BBC ramps up Ultra HD trials

BY Adrian Pennington

The BBC will achieve the world’s first live Ultra HD (4K) production over IP at next month’s Commonwealth Games in Glasgow.

Unlike the broadcaster’s behindclosed-doors experiments of Ultra HD transmission of three World Cup matches, screens in Glasgow will allow the public to watch some of the games in 4K. The Commonwealth Games trials will also allow the BBC to introduce a 4K live IP production element for the first time, using a suite of technologies dubbed ‘IP Studio’.

BBC Research & Development, which is leading the trials, will produce a series of Ultra HD outside broadcasts and conduct a separate test taking the live multicamera feed from trackside to a viewing environment.

Just as with the World Cup trials, which begin on Saturday, there will be DTT and IP distribution of the 4K coverage, in conjunction with Arqiva and BT, to the BBC and partner sites in London and Salford.

“The concept is to introduce software and IP into the overall chain

Hampden Park: the Games’ opening ceremony will be shown in 4K

so it can be used alongside existing technology like DTT,” said BBC R&D controller Matthew Postgate.

“IP will enable us to be more flexible with services we already produce, and introduce new kinds in the longer term.”

This greater flexibility of infrastructure will enable the BBC to deliver “a 4K service to people around high-volume, concurrent events over DTT and, equally, 4K on-demand over IP,” he added.

The BBC’s experimental UHD shows will be produced from the

opening ceremony on July 23 and from each day of events at The Hydro arena.

4K signals at frame rates of 55p from four Sony F55 cameras will be taken straight into specially configured PCs containing video processing cards for conversion into IP. The data will then be fed over Virgin Media’s dark fibre network to an IP-operated production gallery built by the BBC at the Glasgow Science Centre.

Within the exhibition centre, members of the public will be

invited to see the results encoded in H.264 and HEVC, the proposed compression format to the home.

A sound mixer and commentator for the output will be based in London so that production collaboration over IP can be tested across several different locations.

“One of the benefits of live IP over a national network is that production teams could be distributed differently,” said principal technician on the project Phil Tudor. “IP changes our capacity for tackling an event and means we can produce more content, more economically.”

To facilitate the multi-site workflow, data will be transported from Glasgow to BBC R&D in London and to a second gallery at Media­ City­UK over the Joint Academic Network at 100Gb/s.

“This is not a complete system,” stressed Tudor. “It is research designed to feed into the BBC’s future broadcast strategy and standardisation efforts [of video over IP being made by the European Broadcasting Union and others]. You need these sorts of live field trials to prove whether ideas work.”

Pinewood Shepperton sites set for expansion The UK is struggling to provide capacity and this is a clear remedy

BY George Bevir

Pinewood Shepperton will embark on a major expansion of its London sites over the next 18 months after the government granted planning permission for the £200m development of its Buckinghamshire base.

Last week’s decision clears the way for the facilities company to fulfil its long-held ambition to double the size of the Pinewood site with the addition of 12 large studios with supporting workshops and production offices.

Three of the new studios will be around 40,000 sq ft in size.

Pinewood Shepperton chief executive Ivan Dunleavy said construction work at Pinewood would begin as soon as “process matters” had been agreed with local planwww.broadcastnow.co.uk

Ivan Dunleavy, Pinewood Shepperton

Pinewood: green light for expansion

ning authorities, and that he envisaged productions using the new stages “by the back end of next year”.

During the same period, the company will also build two new studios at its Shepperton site. “We have to make sure we are able to

service ongoing productions. It does no one any good to turn [Pinewood and Shepperton] into building sites, and we are very sensitive to that,” said Dunleavy.

Pinewood Shepperton has been trying to expand its Buckinghamshire site since 2007, but the proposals to build on green-belt land have always met with stern opposition from locals.

“It’s clearly right that they put forward their point of view,” said Dunleavy. “Across the whole com-

munity, I don’t think anyone disagrees with the importance of Pinewood. Through the whole process, we have sought to let them know what we are doing and take account of their views as we develop the plan as best we can.

“What’s clear is that for highend TV and film production, the UK is one of the most popular destinations in the world. But it is struggling to provide capacity and this [expansion] is a clear remedy to that challenge.”

Dunleavy said increasing the size of the Buckinghamshire site would create 3,100 additional jobs.

“What’s also important from the government’s point of view is that we are putting up £200m to make it happen. We are delighted with the decision but now the real work starts.”

27 June 2014 | Broadcast | 17

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We should make it economically viable for everyone to be able to enter the industry Theresa Wise, Interview, page 24

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20 | Broadcast | 27 June 2014

On-screen diversity: Tony Hall visits the EastEnders set at Elstree before setting out his plans

BBC must be bolder on diversity Mistakes of the past should not be repeated, says Barnie Choudhury

W

hen you are drowning, a line to a rescue boat is better than none at all.

But I am disappointed by the lack of ambition in Tony Hall’s diversity plan, the emphasis again on recruitment and the missed opportunity to deal with root causes.

I deeply love the BBC; I worked there for almost a quarter of a century. But organisations need capacity, capability and confidence to succeed. Things do not happen for two main reasons: political will and funding. And £2m is nothing when the BBC’s content budget is almost £1.8bn – it is 0.1%. What change could even just 1% funding make?

Hall wants one in six people on screen to be BAME within three years – an increase of 5% on the current 12%. An excellent suggestion, but my research suggests that for the past 15 years, BBC News has not been able to reach the existing level.

On-screen representation is important, but it is window dressing. It gives false hope and a false impression. We went through this during the Dyke era. If I had a pound for every person who has told me the BBC is diverse because we now see so many nonwhite faces on screen, I could afford to retire.

The BBC needs to do the unthinkable and audit forensically the career of every BAME staff member and its top 100 leaders, and draw out themes from both groups that could point to true, genuine and workable solutions.

If we do not do this simple thing, we are doomed to repeat past mistakes. My fear is that we will have the same debate in another 13 years knowing we did not dare take a creative risk, were too scared to be different and made the excuse

that it was too difficult, politically inconvenient and too expensive.

Six people from BAME backgrounds will get work experience at the top level of the BBC – including a placement with Hall himself. I hate to say this, but this is at least the third such scheme. I should know, I was on the previous two: ASCEND and the Mentoring and Development Programme. Different names, but essentially the same failed strategy.

Hall rightly says he’s not guaranteeing a job at the end.

But past schemes failed because they raised and dashed expectations. The gatekeepers did not buy into it.

When I wanted to become a BBC leader, to use all my learning to influence and drive forward the organisation, I was told three times by very senior managers: “Barnie, we see you as a very successful onscreen talent and are confused why you should want to stop doing that.

Don’t be disappointed, but we have people who’ve spent their whole careers on this path. Why should we risk giving you a chance?”

Perhaps I should point out something attributed wrongly to Einstein: “Insanity is doing the same thing over and over again and expecting different results.” Or the clichéd phrase: “Plus ça change, plus c’est la même chose” – the more things change, the more they stay the same. Perhaps I should whisper in Tony’s ear: “Please DG, dare to be different.” Surely we must do better? ➤ Barnie Choudhury is a former BBC news correspondent.

He is currently undertaking a Master’s by Research, investigating diversity in BBC News. These are his personal views. A longer version is available at broadcastnow.co.uk.

‘Past schemes failed because they raised and dashed expectations’

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Grit and determination are Interactive shows demand more important than CV new ways of thinking Look beyond back­ground and education to find untapped talent, says John Brennan

Training in digital skills and TV formats is key for the next generation, says Louise Brown

I

MAMA Youth Project: giving young people broadcasting experience

E

very day, CVs drop through the door at Procam, nearly always from university graduates looking for an entry level job.

But many of those who come to us wanting to get a foot on the broadcast career ladder have been blinded by the glamorous end product we see on our screens. All too often they don’t realise how tough the broadcast industry really is.

Over the past 25 years, we’ve found that a university education doesn’t prepare young people for the realities of the industry. This has changed my approach to finding new trainees. I no longer read CVs; instead, I prefer to meet candidates in person to judge their merit. I will actively seek out those with the grit and determination to succeed, over university qualifications. If they can show me they have the willingness to learn and commitment to succeed, then they deserve a chance.

We have an in-house training programme at Procam. Apprentices start as drivers in our ware­house and over two years, they can gain the experience and training they need to progress to camera operator level. One new employee said he had learned more in three months with us than in three years at www.broadcastnow.co.uk

‘University doesn’t prepare young people for the realities of the TV industry’ university, which says a lot about the empowering nature of practical work experience.

This is one of the key reasons Procam decided to partner with MAMA Youth Project, a charity dedicated to giving young people aged 16-25 from minority and disadvantaged backgrounds hands-on training and real-world broadcasting industry experience.

One of the main problems we find is that graduates lack technical know-how. Often, this is due to training with old equipment, so we donated £100,000 worth of HD cameras, lighting and sound equipment to the project.

The project has found full-time employment for more than 80% of its trainees. The broadcast industry would benefit from previously untapped talent if we all looked beyond formal qualifications and background, to see the passion and ability young people can offer. ➤ John Brennan is group chief executive of Procam.

For a longer version of this article, visit www.broadcastnow.co.uk

was thrilled to read a recent Broadcast story about The Singer Takes It All, Channel 4’s new totally interactive entertainment show.

Aside from multiplatform power­houses such as Big Brother, Springwatch and Million Pound Drop, the world of multiplatform has been a little quiet of late.

ITV/Keshet’s Rising Star is due to arrive in January 2015, and the battle for the biggest and best interactive show is rumoured to be joined by a big new BBC format. It finally seems technology and ideas are matching the depth of inter­activity audiences want, and channels have the confidence to back them.

This holy trinity of audience needs, technology and great ideas can produce some of the most entertaining TV. Keshet’s Rising Star got more than 49% of the audience on its debut in Israel, while ABC’s Rising Star app is currently the biggest free entertainment app in the US. Against this background, I’ve taken on the role of senior tutor for the new NFTS Digital Content and Formats course. With the help of top multiplatform talent from the UK and beyond, we’re hoping to breed a new generation of talent that can learn from current shows and past experiments and create

the future ratings hits, Bafta winners and revenue generators.

With the help of seasoned multiplatform producer and project manager Kim Plowright (D-Day: As it Happens) and some of the brightest and best from TV and online, we’ll be teaching how to make content that addresses audience needs and behaviour, is developed and managed in as agile a manner as possible, is appropriately researched and tested and, most importantly, is entertaining.

‘Technology and ideas are finally matching the depth of inter­activity audiences want’ In the past, I’ve often felt like the voice of doom on multiplatform projects. Perhaps the data’s not secure enough, the servers aren’t robust enough, the idea just isn’t appealing to enough of the audience – so I’m delighted to be playing my part in this latest positive wave of ideas and talent. ➤ For more info on the NFTS Producing Digital Content and Format development course that Louise Brown is leading, go to http:// bit.ly/1nNxdgQ For a longer version of this article, visit www.broadcastnow.co.uk

Rising Star: interactive Israeli show got almost 50% of the audience on debut 27 June 2014 | Broadcast | 23

The Broadcast Interview training Theresa Wise, Royal Television Society

Levelling the playing field The RTS chief executive talks to Robin Parker about overhauling the society’s education brief and nurturing the next generation of TV talent through its new bursary scheme

W

ith diversity once again at the heart of industry debate – not just along ethnic lines but the perennial issue of class too – it’s apposite that the Royal Television Society is about to decide on the recipients of its first student bursaries.

Chief executive Theresa Wise is sifting through 100 applications for the 20 places, and expects to announce the successful candidates next month. Up for grabs is a year’s membership of the RTS, including membership of The Hospital Club, plus targeted networking, mentoring and work-placement opportunities.

“It’s a real commitment to the next generation of talent,” she says. “We suffer from a lot of people having to work for free to get on, which favours a more middle-class, connected set of people.”

The initiative, which is also designed to show something more “tangible” to potential corporate patrons, chimes with one of Wise’s chief passions. The society started as an organisation for engineers at the birth of broadcasting, yet while engineering has paid internships as standard, TV still trails behind.

“I know it’s a challenge for small indies but if we believe in our young talent, we should make it economically viable for everyone to be able to enter the industry,” she says. “At the RTS, we lead by example. We only have 11 full-time staff but often have graduates working, particularly on the digital side, and always pay them more than the minimum wage.”

24 | Broadcast | 27 June 2014

Fact File

The scheme is the culmination of Wise’s first year in office, in which she has set about tackling its education brief and improving its ability to connect with wider changes in tele­ vision. Frankly, she says: “Our membership proposition wasn’t appealing.”

It became a question of maintaining the RTS’s relevance and vibrancy. “We had a strong brand with longevity, a financial footing, amazing patrons and a strong regional presence, but as an educational charity, we weren’t necessarily being consistent,” she says.

“It’s a question of what TV means.

Today, it’s about any storytelling via video on any platform, and that’s where the skills are needed now.”

Since March last year, the RTS has grown its membership by a third to 2,150 and she has observed more under-40s joining. “Our core is still in TV, but members are defining themselves more broadly,” she

says. “We have lots of freelancers and having a social club in London [members automatically join The Hospital Club] is very important for them.”

Networking away from the physical space has also been very much on her mind. Noticing that the RTS lacked a significant presence online, she started a 20-month project to address this, and promises “major changes” before the end of 2014. At its core, this will include space for special-interest groups, particularly for technical issues such as spectrum allocation or broadcast technology for local TV. Any group with 30 or more members will get RTS support in arranging at least one event per year.

Career March 2013-present Chief executive, Royal Television Society 2010-present Founder, T Wise Consulting 2008-2010 Senior vice-president, corporate strategy and business development, The Walt Disney Company 1996-2008 Partner, media and entertainment, Accenture 1993-1996 Manager, telecoms and media strategy, Deloitte

Crafting skills

RTS Futures events (left to right): Speed Date The Entertainment Gurus; Danny Cohen, director of BBC Television, spoke at a Crafts Masterclass; panellists at the Making It In TV Design talk

One area where Wise has been keen to get people talking is craft. Her efforts have included a Crafts Masterclass held in October last year, where students wanting to work in sound, editing or behind the camera heard from the likes of BBC director of television Danny Cohen, Fremantle Media chief executive Cécile Frot-Coutaz and outgoing Sky managing director of content Sophie Turner Laing.

“We have a big skills shortage in craft,” she says. “The industry has been a victim of its own success – there is a decent skills base, but it’s attracted a lot of high-end drama rather than across the board. We’ll be doing more masterclasses and we’re holding a facilities day with Creative Skillset to help graduates

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RTS Futures RTS Futures was established by the Royal Television Society in 2007 to offer careers advice and networking opportunities to young people interested in working in television. The RTS Futures committee is chaired by Camilla Lewis, managing director of Cineflix Productions UK. Two recent members reflect on how it helped them in their careers.

Frances Beere Researcher, Great Continental Railway Journeys

“After a couple of years in radio, I was looking to move into factual TV, but I wasn’t sure how to make the jump. I attended an RTS Futures event in November 2013 with the promising title ‘How to get a job in TV’. After an opportunity to chat to other wannabe employees and industry experts over a glass of wine, and a thought-provoking panel session on what it took to get that important lucky break, a friend and I were very surprised to be awarded ‘best networkers’ of the night.

“The prize was the chance to have a one-on-one meeting with members of the panel at that evening’s event – all top industry professionals. Emily Gale, head of talent at Fremantle Media UK, very kindly met me and we had a really helpful session discussing how I could tailor my CV and make best use of my past experience for work in TV. “A couple of months later, Emily put me forward for a researcher role on Great Continental Railway Journeys for BBC2. Series producer Alison Kreps was willing to take a chance on someone who hadn’t worked in TV before, and I’ve been on the series ever since.”

Industry meet-up: RTS Futures Summer Party

be more industry-ready and meet industry figures.”

The society’s main networking strand, RTS Futures, is expanding too.

On top of its ‘speed-dating’ events, it recently held its first event centred on make-up and design, which hosted three panels of people who have either made a career for themselves or put their region on the map.

As for how to get ahead, she is adamant that it’s not just about hearing from the big names and tailoring your pitch to them accordingly.

“People who network with their own peer group do better,” she says. “RTS Futures is as much about meeting each other as it is about speaking to senior industry people.”

Taking up the rest of Wise’s time in the first year has been her mission to visit all of the regions.

“It felt like uncovering a lot of hidden treasure,” she says. “The hightech companies of Thames Valley, the huge creative hub of MediaCityUK – these places often have differently positioned aims and we want to www.broadcastnow.co.uk

‘We should make it economically viable for everyone to be able to enter the industry’ Theresa Wise, RTS

celebrate that. There’s a lot going on in Scotland, where there are some natural hubs for high-end production, which is fantastic. With the referen­dum and the Commonwealth Games, we wanted to make something around the growth of production there, with the first RTS Scotland Awards this month.”

Virgin Media and YouView have joined as patrons, as Wise will be targeting more technology companies to broaden the conversation around shifts in viewing and production.

“Technology is allowing the industry to remain in good health,” she says. “A lot of leadership is responding to new entrants – Sky has innovation in its DNA and the BBC has done extraordinary things around iPlayer.

These are really exciting times.”

Arazou Baker In-house producer, Channel 4; host, ITV2’s The Hot Desk

“RTS Futures has been invaluable in helping me progress in my career. By providing access to industry leaders – from channel controllers and commissioners to talent managers and exec producers – RTS Futures has paved the way for meetings with those people who can provide a stepping-stone towards new opportunities. I have passed many milestones in my career with help from the people I have been able to meet, and who continue to support my career.”

Great Continental Railway Journeys: lucky break

27 June 2014 | Broadcast | 25

Production Training VFX

VFX:a better working model A mismatch between academic courses and the skills required in practice is inhibiting UK VFX graduates at a time when jobs are in relatively high supply, says Adrian Pennington Floating effect: Artem built a giant sculpture of a swimmer from 3D digital artwork to launch the 2013 PruHealth Triathlon Grand Final

T

he prevalence of digital visual effects in blockbuster movies and TV dramas such as Game Of Thrones has started to put the sector on the career map, but it’s still somewhere near the back of the queue when it comes to choosing media training.

“Awareness of visual effects as a career option remains a challenge and it frustrates me that enormous numbers of students choose media courses,” says Cath Spruce, head of recruitment at Prime Focus World.

Matters are exacerbated because the industry’s traditional entry-level jobs of rotoscoping, matching-moving and tracking have, with rare exception, been offshored to Asia.

Artem chief executive Mike Kelt suggests the problem stems from secondary education. “There’s still a lack of knowledge about options in our industry,” he says. “While there’s more awareness of post-production,

26 | Broadcast | 27 June 2014

‘Often UK students don’t spend enough time on the things we need them to know, and too much time on things that are only necessary for them to get a degree’ Amy Smith, Framestore

thanks to making-of DVDs, I don’t think many want to become effects technicians, and still less have knowledge of physical effects at that stage.”

Kelt highlights a particular need for training that covers digital and physical modelling. “There’s a pronounced gap in the crossover between computer modelling and the physi­cal rendering of that object by robotic machine,” he says. “There are very few courses to expand on these skills, so virtually all the training we do is in-house.”

There’s little difference in the skill sets required for TV and film visual effects, but with a fraction of the budget of most features, TV projects allow artists to showcase their abilities in several disciplines.

“An artist with a TV show on their reel will have more output to show and can demonstrate that they did more on a particular shot,” says Will Cohen, chief executive of Milk VFX. He sug-

gests budding talent can be identified more easily in mid-sized studios rather than being lost in the production pipeline of larger organisations.

There is no shortage of students emerging from UK colleges armed with Honours or Masters degrees in film technology, VFX or animation, but the quality – with the notable exception of Bournemouth – is considered variable.

Quality control “Because of the way universities are financed, there’s a ‘bums on seats’ mentality to running a course,” says Amy Smith, head of VFX recruitment at Framestore. “People are selected to fill a seat rather than on their quality.”

Smith raised the issue on a panel on the VFX skills gap at Broadcast’s recent VFX Summit, where she vented frustration at the lack of teaching of skills such as entrepreneurship and innovation. www.broadcastnow.co.uk

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By contrast, she notes, graduates by running graduate schemes in the from French and German private expectation of retaining their loyalty, institutions are not bound by the same post-academia, as runners. Frameacademic requirements. “They have store, for example, inducts 10 juniors more vocational training and thereacross Europe into an eight-week fore tend to be more successful on placement. The facility hopes to entice graduation,” she says. “Often UK stuthem back into its employ, but also dents don’t spend enough time on the aims to spread new techniques. things we need them to know, and too “Hopefully they can pass on what much time on things that are only they’ve learned to their training group necessary for them to get a degree.” so that more of them are of a standard The emphasis should be switched, we could potentially hire,” says Smith. she says, from learning specific software to developing softer skills like Career prospects time management, problem-solving Twenty young professionals have and interpreting a brief. emerged from Prime Focus’ three“Software is just a tool,” she argues. month runners scheme over the past “For example, if someone undertwo years (alongside four internstands the principles of aniships), to become core to the mation, it doesn’t matter London facility’s 3D, lightwhether they use a ing and production pencil, a plasticine departments.

Proportion of VFX workforce who puppet or Maya. Lectur“Three months is long are women, as ing staff understand enough to get to know registered by this, but the deans at them and evaluate what Creative Skillset most institutions do not.” they can do,” says Spruce.

Tom Beattie, head of pro“Once they join an estabduction, animation and chillished house, there’s a good dren’s at Tiger Aspect, agrees that chance their career will flourish.” teamwork is vital: “With more and The situation is reversed further more UK productions with big teams, up the food chain where, due to their it’s important to work together in a limited supply, experienced VFX group and not go off on a tangent.” supervisors and senior producers can While Prime Focus prefers candicommand rising salaries and get dates with strong technical ability, caught up in bidding wars to lure Framestore hunts students with “left them to London or overseas to lead brain, right brain” acumen and visits projects, oversee teams and complete recruitment fairs across Europe to the most complex shots. find them. “The trick is to find people “We have to be quite creative who combine maths, physics or comabout where we spread our search, puter science with creative and artistic and this includes related industries ability,” explains Smith. “The end like gaming,” says Spruce. “We do product of what we do is an image, but poach some from rivals, but the busito achieve that, there’s often compliness in London is still quite small so cated technical challenges to be solved.” the talent are burning bridges with a Since facilities need to recruit anycompany if they do decide to move.” where between 50 and 250 crew at Production management at a midshort notice when a major project to-senior level is also lacking. This lands, they will search worldwide for problem is especially acute since largethe best available freelancers. Many scale VFX projects tend to have their ensure a ready supply of green talent work spread among several facilities.

19%

CLOSing THE gaP inVESTing in THE inDUSTrY “Students don’t know how to approach people like me for a job,” claims Prime Focus World’s Cath Spruce. One solution is for colleges and facilities to forge closer links to foster workplace skills.

Top-up courses at Ravensbourne and NFTS, plus independent academies like Escape Studios, go some way towards filling the gap. Some facilities use VFX training specialist CgCoach to augment their in-house programmes and vet applicants’ CVs. CgCoach also runs an annual awards showcase for students.

Creative Skillset administers the Skills Investment Fund (SIF), in which the government will co-invest up to £16m to match industry investment over two years. The SIF currently has £700,000 in matchfunding for the VFX sector, available until April 2015.

‘There’s a big skill set shortage across all disciplines, but it ebbs and flows’ Will Cohen, Milk VFX

Game Of Thrones: use of VFX has put sector on the career map www.broadcastnow.co.uk

This pot is split between four different strands, “allowing industry flexibility in addressing its skills gaps and shortages”, says Creative Skillset VFX partnership manager Phil Attfield.

Attfield is also confident that Creative Skillset’s lobbying of government on behalf of the VFX industry will soon boost the available funding further.

When the government funding expires, one way to continue investment is for the VFX Skills Council to adopt a levy. This model already exists in the film, high-end TV and animation sectors, where each qualifying production submits 0.5% of UK core expenditure, payable on the first day of principle production and capped at £39,500. Levy funds are administered by Creative Skillset on behalf of the sectors.

“There’s a big skill set shortage across all disciplines, but it ebbs and flows,” says Cohen. “If everybody is in delivery on massive features, compositors are hard to get hold of. When a movie is beginning production, then 3D artists and modellers are thin on the ground.”

Those likely to excel in production are valued for their interpersonal, co-ordination, negotiation and clientfacing skills.

“There’s a general lack of confidence among younger people in dealing with others,” observes Cohen.

“This is a wider society issue, not just confined to VFX. Perhaps it’s the educational focus on numbers and tests.

Perhaps it’s caused by a generation growing up interacting with screens rather than people.”

While Milk’s production staff are coincidentally entirely female, the proportion of women in the VFX workforce is just 19%, as registered by Creative Skillset in 2012. It would be a generalisation to suggest the industry’s shortage of production expertise can be solved with positive discrimination, but altering the perception among school-leavers that the sector is all about coding explosions on computer screens in darkened rooms may help.

27 June 2014 | Broadcast | 27

Production Training Glastonbury

Tuning up for a career in TV A tie-up between Glastonbury and Southampton Solent University is a ‘win-win’ – with students learning their trade live and the festival gaining extra coverage, says Tony Steyger

T

his weekend’s Glastonbury Festival will, as ever, receive blanket coverage across the BBC’s TV and radio channels. The annual music event has a lowerkey second media partner too: Southampton Solent University.

Every year since 2006, Solent has sent around 40 media students to Worthy Farm to produce outside broadcast coverage, make documentaries for Glastonbury’s website and shoot news packages for international agencies and broadcasters.

This unique collaboration with the university allows the festival to showcase less mainstream artists and areas, while Solent is able to provide its undergraduates with career-enhancing experience. It is, as Ben Challis, executive producer of the festival’s own Glastonbury TV, says, “a win-win situation”.

Solent in turn works directly with the BBC, operating a digital media distribution hub throughout the festival, from which quick-turnaround highlights of headline acts are sent around the world.

This year, Solent will be filming artists such as Fat Boy Slim on the Sonic Stage. Last year, footage of Rudimental’s show-stopping antics were featured on BBC3 that same evening, and the university aims to deliver the same highspeed, high-quality delivery this time around.

Hands-on experience At its roots, the relationship between Solent and Glastonbury encapsulates the university’s approach to media education.

By working closely with partner organisations to develop demanding real-world projects, the university gives its students a chance to build practical experience and skills – a valuable head start for entry into the TV industry.

One engine driving this ‘employer engagement’ is Solent 28 | Broadcast | 27 June 2014

‘This unique collaboration allows Solent to provide its undergraduates with career-enhancing experience’

Beyond the mainstream: students film less well-known acts and areas

Partnerships that enable engineering and IT companies to develop their own media production capabilities – which in turn provide employment for graduates and growth for industry.

Extending this core principle of students working with employers is Solent Creatives, an in-house media agency for projects ranging from web design to animation.

More than 600 firms have so far commissioned student work through the agency, kickstarting new creative start-ups along the way, while Solent says early evidence from its pioneering Five by Five initiative – embedding creative graduates into five companies and measuring the benefit to these firms – is highly promising.

Award-winners

Guiding hand: Solent’s Tony Steyger (back) helps students build skills

Productions, the university’s in-house media production centre. Established in 2007, this innovative agency manages large projects such as Glastonbury and Bestival, while its stable of student talent produces a wide range of commissioned work for real-world clients.

Creative Skillset has recognised Solent Productions as exemplifying best practice in realworld student support, helping students take advantage of professional opportunities and develop their expertise in live broadcasting,

and with emergent tech­nologies such as 4K. The university has drawn recognition from Creative Skillset in other ways, too. Its TV prod­uction, advertising and computer and video games courses are all Skillset accredited, while Solent is partnering with the industry body on a multi-university bid to the Higher Education Funding Council for England to pilot higher apprenticeships and fast-track degrees.

Working with the Technology Strategy Board, Solent has run a number of Knowledge Transfer

The university is reaping the benefits of this ongoing emphasis on nurturing professional talent. The 2014 Royal Television Society award for Best Student Documentary went to Sam Clarke and Matt Farrant for Birdman, while my film The Last Taboo won Best In-House Production at the Learning on Screen Awards 2014.

For now, though, all thoughts are on Glastonbury, where a second OB unit from Solent will shoot the weekend of pop and politics at Billy Bragg’s Leftfield stage. In the tenth anniversary year of the stage, its performances and debates will reach more people than ever before. ➤ Tony Steyger is principal lecturer in film and TV at Southampton Solent University www.broadcastnow.co.uk

AWARD

Congratulations to the Birdman team, 2014 RTS award-winning student documentarians.

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Behind the Scenes Training Marvellous

Opening doors to young people Peter Bowker’s BBC2 drama Marvellous gave young trainees from a range of backgrounds a chance to gain experience alongside the crew on a real TV production. Will Strauss reports Marvellous

Production companies Tiger Aspect; Fifty Fathoms Productions Length 1 x 90 minutes TX TBC, 2014, BBC2 Commissioners Ben Stephenson; Janice Hadlow Writer Peter Bowker Producer Katie Swinden Executive producers Peter Bowker (Tiger Aspect; Fifty Fathoms); Patrick Spence (Tiger Aspect; Fifty Fathoms); Lucy Richer (BBC) Director Julian Farino Summary Drama centring on the life of Neil Baldwin: circus clown, lay preacher and kit man at Premier League football club Stoke City.

Left to right: Senait Ghezzehey on the set of Peaky Blinders; Marvellous trainee Sanaa Masud; Tom Thompson and Matthew Anjanuka on the set of Marvellous

32 | Broadcast | 27 June 2014

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art biopic, part musical and part fantasy, upcoming BBC2 single drama Marvellous defies description.

Penned by Peter Bowker (From There To Here; Blackpool; Eric And Ernie) and co-produced by Fifty Fathoms and Tiger Aspect, the 1 x 90-minute film is set in Stoke-on-Trent and tells the true story of Neil Baldwin, a man labelled with ‘learning difficulties’ who refused to let it define or restrict him.

Inspired and led by the show’s producer Katie Swinden, the pro­ duction was the setting for a unique work experience scheme. Eight young people from around the UK, plus three students from nearby Keele University, shadowed and worked alongside the crew on weeklong apprenticeships.

For six days, the trainees spent a morning with one department and an afternoon with another, giving them the sort of insight into television production that very few young people get, especially those from under-represented communities.

Having done something similar on her previous drama Peaky Blinders, is Swinden on a mission?

“I want to work with people who are not like me,” she says in a modest, matter-of-fact way. “We are missing a range of voices in the industry. I think you can become introspective, and we need to open doors.”

On Peaky Blinders, those doors were opened for 15 specially selected people

from disadvantaged backgrounds.

Two have since secured jobs in TV: Senait Ghezzehey is now the full-time post-production runner on Left Bank’s Strike Back, while Rahab Lubab is working for Idris Elba’s company Green Door Productions.

On Marvellous, the selected candidates – two per week – were equally keen to take advantage of the oppor­ tunity. One of the chosen ones was Tom Thompson, a 22-year-old from Derby, now living in Streatham. He arrived on set with no degree and “no experience in what you’d perceive as a proper job”, but a strong desire to “be in the creative world”.

“What I got from the experience was a three-dimensional understanding of what goes into making TV,” he says.

“I was always told that it was tough.

There are so many different people with different talents and skills working together to make the process work smoothly. If anything, it showed me that you have to work harder than I had previously thought.”

Pursuing a career The hard work hasn’t put him off; quite the opposite. As a result of his work experience, Thompson has decided he would like to pursue a career in script editing. “Before Marvellous, I didn’t even realise that script editing was a thing,” he admits.

Other participants include Sanaa Masud, Matthew Anjanuka and 20-year-old Emily Pearce, who is in

her second year at Keele, reading history and media. She ultimately wants to work in production.

Alerted to the opportunity by the head of the university’s media department, she secured her place thanks to her photography portfolio. While on location, she was asked to take behindthe-scenes stills that will supplement those shot by the official photographer.

The experience also gave her the chance to chat with the Marvellous crew.

“Even though that wasn’t the reason I was there, they were willing to answer my questions,” she says. “I got a sense that you need to love what you’re doing. But if you’ve got the enthusiasm, it doesn’t matter about the degree, as long as you’ve got the focus to learn new skills.”

The under­graduates’ involvement came about after Swinden made direct contact with the university. To find Thompson and the other apprentices, however, the producer worked with Latimer Group, a production company that has Channel 4’s recent controversial Cutting Edge doc Going To The Dogs on its CV, as well as a pilot for ITV. “We co-create content directly with young people,” explains founder Matt Hay, who produced the Cutting Edge doc. “Instead of pontificating in our ivory towers about what we think young people want, we work directly with them. Because of that, we get more authentic stories and connect with youth audiences in a way traditional production companies cannot.”

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Marvellous: the real Neil Baldwin watches a football match in a photo taken by trainee Emily Pearce

Alongside the content-creation side of the business, Latimer provides young people, particularly those from BAME backgrounds, with networking and work experience opportunities.

Partnering with Swinden on Marvellous and Peaky Blinders (below) is an example of the latter, and makes use of Latimer’s 10,000-strong network of creative people. Its schemes are not always perfect, Hay acknowledges, but they yield results.

“Things do go wrong,” he admits.

“During Peaky Blinders, one guy smoked a spliff in the hotel and set the alarm off, forcing Cillian Murphy and the rest of the cast out onto the streets of Leeds at 3am with a shoot the next day. But if you set high expectations on young people and don’t pander to them, you do get some really quite remarkable results. That is what we’ve been most excited by. The TV industry needs to be far more proactive in reaching the fantastic talent that hasn’t come through traditional routes.”

While it still has an important role to play www.broadcastnow.co.uk

in preparing people for the TV industry, university is considered one of the traditional routes that need propping up.

“I would question some of the media courses,” says Swinden. “Learning the craft has its place, but ultimately what is going to get you through the door is having a passion for storytelling – and you don’t necessarily need a degree to get that. Having experience of life and genuine passion is the cornerstone of being a success in media.”

Taster session In an era when TV work experience can still be tainted with accusations of exploitation, it is refreshing to report that Marvellous was as genuine and law-abiding as it was worthwhile.

“The team was fully crewed up so we didn’t need the extra pairs of hands to run the show,” says Swinden. “But if they showed real interest then the head of department would ask them to lend a hand. It was more of a taster session for them.”

Executive producer Patrick Spence, managing director of Fifty Fathoms Productions, praises Swinden’s dedication to the initiative. “I’m not sure there

‘I genuinely like working with young people who have a different perspective on life, because they can teach me so much’ Katie Swinden

is another set-up like this, initiated by an individual,” he says. “There are broadcaster schemes driven by their public service remit, but I don’t know of any run by people who do it because they can, rather than because they should.”

Swinden says there are two reasons she loves doing this. “One is selfish: I genuinely really like working with young people who have a different perspective on life, because they can teach me so much. I can give them guidance but they have a fresh energy.

“The other thing is that many people fail to realise that the glory jobs [producer, director, actor] are so dependent on a great team. We need really good people and we need to invest in them.”

Swinden is going out of her way to expose these young people to the full remit of television, introducing new voices to the industry, and benefiting from their energy and enthusiasm.

But she isn’t trying to take over the world. She has simple goals.

“If there is one thing I hope people take away from this, it is a belief,” she says. “A belief that if they are really interested in something, then the world is open to them. It is hard work, but it is open to them.”

27 June 2014 | Broadcast | 33

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27 June 2014 | Broadcast | 35

Ratings Mon 16 June – Sun 22 June

Dole doc does the job for C5 Benefits Britain beats C4, BBC2 and ITV as World Cup continues to dominate elsewhere

BY Stephen Price

Initially, it had seemed careless.

I’d accepted a dinner invitation with a group of broadcasters from China’s Tianjin TV on the evening of Uruguay V England. It turned out to be a wise move. If you wish to avoid sporting calamities, I can recommend performances of The Owl And The Pussycat, The Philosopher’s Song, an aria from a Chinese opera, an unspeak­ably powerful drink boasting a 56% proof, and a Chinese audience.

And so, to those crucial footie stats. Monday brought Iran V Nigeria – 5 million/23% from 7.30pm – to BBC1, peaking with 6.2 million/27% at 9.45pm. At 8pm, BBC2’s Tigers About The House achieved 2.3 million/10% – not bad as it was also opposite the week’s best soap performance: ITV’s Coronation Street’s 7.5 million/34% (230,000 +1).

At 9pm, Channel 5’s Benefits Britain: Life On The Dole (2.1 million/9%; 193,000 +1) was ahead of BBC2’s A Very British Airline (2.2 million/10%) and Channel 4’s 24 Hours In A&E (1.7 million/7%; 348,000 +1). ITV’s The Dentists netted 1.8 million/8% (150,000 +1).

BBC1’s coverage of Brazil V Mexico was the most-watched nonEngland game with 8.5 million/ 39% from 7pm on Tuesday, peaking at 11.3 million/46% at 9.45pm. ITV’s Endeavour repeat achieved 2.1 million/9% (159,000 +1) from 8pm. At 9pm, BBC2’s Horizon: Where is Flight MH370? drew 2.4 million/10%.

On Wednesday, BBC1’s coverage of Spain V Chile averaged 36 | Broadcast | 27 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 18 19 20 21 22 23 24 25 26 26 26 29 30 31 32 33 34 34 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*

Fifa World Cup: Uruguay V England MOTD Live: Brazil V Mexico MOTD Live: Spain V Chile Coronation Street Coronation Street Emmerdale BBC News At Ten BBC News At Ten EastEnders MOTD Live: Germany V Ghana EastEnders Emmerdale EastEnders EastEnders Countryfile BBC News At Ten MOTD Live: Iran V Nigeria BBC News Antiques Roadshow BBC News BBC News Fifa World Cup: Germany V Portugal Emmerdale BBC News At Ten BBC News At Six BBC News At Six BBC News Fifa World Cup: Switzerland V France The Graham Norton Show Casualty ITV News & Weather MOTD Live: Belgium V Russia BBC News At Six ITV News & Weather BBC News At Six MOTD Live: Italy V Costa Rica Celebrity MasterChef BBC News At Ten Fifa World Cup: Australia V Holland MOTD Live: Colombia V Ivory Coast National Lottery Saturday Night Draws ITV News & Weather Fifa World Cup: South Korea V Algeria ITV News & Weather MOTD Live: Ghana V USA Fifa World Cup: Argentina V Iran All Star Mr & Mrs Fifa World Cup: Belgium V Algeria MOTD Live: USA V Portugal ITV News & Weather

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

19.00 19.30 19.30 20.00 19.30 19.30 22.05 22.05 19.00 19.30 19.00 19.30 20.00 19.00 19.25 22.05 19.30 22.10 20.15 19.05 22.05 16.00 19.00 22.00 18.00 18.00 19.05 19.30 22.35 21.15 19.15 16.30 19.05 19.15 18.00 16.00 20.30 22.00 16.00 16.30 22.30 18.30 19.25 19.15 22.40 16.00 20.00 16.00 22.30 18.30

13.07 8.48 8.02 7.76 6.70 6.61 6.05 5.93 5.82 5.81 5.71 5.64 5.32 5.14 5.06 5.05 4.97 4.88 4.87 4.79 4.61 4.51 4.49 4.45 4.37 4.36 4.36 4.36 4.32 4.24 4.17 3.96 3.94 3.92 3.92 3.91 3.82 3.78 3.77 3.76 3.53 3.52 3.48 3.32 3.24 3.19 3.16 3.14 3.06 3.02

54.91 39.08 38.69 34.63 37.48 34.27 33.66 32.70 32.50 33.55 29.96 30.57 28.88 30.17 26.80 27.49 22.72 27.62 22.80 28.58 24.54 33.54 27.49 24.28 28.91 25.50 26.70 23.33 30.09 19.54 21.70 30.85 22.64 22.87 26.14 34.46 19.38 18.03 32.01 29.11 21.91 21.59 16.88 18.30 38.62 28.18 15.68 26.16 34.44 19.29

ITV BBC1 BBC1 ITV ITV ITV BBC1 BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 ITV ITV BBC1 BBC1 BBC1 BBC1 ITV BBC1/So Television BBC1 ITV/ITN BBC1 BBC1 ITV BBC1 BBC1 BBC1/Shine TV BBC1 ITV BBC1 BBC1/12 Yard Productions ITV/ITN ITV ITV/ITN BBC1 ITV ITV/CPL Productions ITV BBC1 ITV/ITN

Figures include HD and +1 where applicable

Fifa World Cup: Uruguay V England

Horizon: Where Is Flight MH370? www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 51 53 54 55 55 57 57 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 74 76 77 78 78 80 80 82 83 84 84 86 87 87 87 90 90 92 93 94 95 96 96 98 99 99

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Pointless Pointless A Question Of Sport: Super Saturday Catchphrase Celebrity Special The Hunger Games Pointless ITV News & Weather MOTD Live: Russia V South Korea ITV News & Weather MOTD Live: Nigeria V Bosnia F1: Austrian Grand Prix Highlights BBC News At One Horizon: Where Is Flight MH370?

Holby City BBC News At One Tigers About The House Benefits Britain: Life On The Dole Endeavour BBC News At One ITV News & Weather A Very British Airline Ultimate You've Been Framed!

BBC News At One BBC News At One The Chase BBC News Celebrity MasterChef ITV News At Ten & Weather ITV News At Ten & Weather 24 Hours In A&E The Trouble With Mobility Scooters Benidorm Tigers About The House Tigers About The House Fifa World Cup: Cameroon V Croatia The Dentists Antiques Road Trip Fifa World Cup: Honduras V Ecuador Bargain Hunt MOTD Live: Japan V Greece Antiques Road Trip Antiques Road Trip Bargain Hunt ITV News & Weather ITV News At Ten & Weather Our Queen The Chase Bargain Hunt Breakfast Bargain Hunt

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

17.15 17.15 18.50 18.25 21.00 17.15 22.30 22.40 19.20 22.40 19.30 13.00 21.00 20.00 13.00 20.00 21.00 20.00 13.00 22.15 21.00 19.30 13.00 13.00 17.00 18.30 21.00 22.00 22.00 21.00 22.45 21.00 20.00 20.00 22.35 21.00 19.00 22.35 12.15 22.35 19.00 19.00 12.15 22.15 22.00 20.30 17.00 12.15 6.00 12.15

2.80 2.80 2.71 2.62 2.52 2.52 2.51 2.51 2.50 2.46 2.45 2.41 2.37 2.31 2.30 2.27 2.25 2.21 2.19 2.18 2.17 2.14 2.08 2.07 2.07 2.05 2.04 2.03 2.03 2.02 2.02 1.98 1.95 1.92 1.92 1.91 1.83 1.83 1.83 1.82 1.82 1.81 1.74 1.73 1.72 1.71 1.71 1.68 1.67 1.67

19.82 22.76 19.79 16.40 15.66 20.73 16.87 32.65 18.02 26.23 12.20 37.70 10.03 8.73 39.37 10.13 9.88 9.80 38.37 12.40 9.52 14.13 36.32 35.65 17.44 15.31 7.34 11.08 10.98 8.87 16.53 8.69 9.65 8.89 23.23 8.38 9.77 20.17 32.85 22.94 9.47 9.95 34.03 9.72 9.39 9.26 15.13 32.39 40.95 32.39

BBC1/Remarkable Television BBC1/Remarkable Television BBC1 ITV/STV Productions C4 BBC1/Remarkable Television ITV/ITN BBC1 ITV/ITN BBC1 BBC2 BBC1 BBC2 BBC1 BBC1 BBC2 C5 ITV/Mammoth Screen BBC1 ITV BBC2/Lion Television ITV BBC1 BBC1 ITV BBC1 BBC1/Shine TV ITV/ITN ITV/ITN C4/The Garden BBC1/Nine Lives Media ITV/Tiger Aspect BBC2 BBC2 ITV ITV/Keo Films BBC2/STV Productions ITV BBC1 BBC1 BBC2 BBC2 BBC1 ITV/ITN ITV/ITN ITV/Oxford Film And Television ITV BBC1 BBC1 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.

Benefits Britain: Life On The Dole

www.broadcastnow.co.uk

Tigers About The House

8 million/39% from 7.30pm, peaking at 10.8 million/45% at 9.50pm. At 8pm, ITV’s All Star Mr & Mrs achieved 3 million/15% (141,000 +1), followed by a Beni­ dorm repeat (1.7 million/9%; 206,000 +1) at 9pm.

Thursday’s Uruguay V England game on ITV averaged 13.1 million/55% (47,000 +1) from 7pm, peaking at 9.45pm with 20.2 million/70%. At 8pm, BBC1’s Holby City averaged 2.3 million/ 9%, followed by Celebrity Master­ Chef’s 2 million/7% at 9pm.

ITV’s Friday coverage of Swit­ zerland V France averaged 4.4 million/23% (38,000 +1) from 7.30pm, peaking at 5.8

‘Thursday’s Uruguay v England game on ITV averaged 13.1 million/55%’ million/29% at 9.45pm. The second of BBC1’s Celebrity Master­ Chefs rose to 3.8 million/19% at 8.30pm.

BBC1’s coverage of Germany V Ghana averaged 5.8 million/ 34% from 7.30pm, peaking at 8.2 million/41% at 9.50pm. ITV’s best was a repeat of Ultimate You’ve Been Framed with 2 million/13% (94,000 +1) at 7.30pm, followed at 8.30pm by a repeat of doc Our Queen (1.6 million/9%; 86,000 +1). C4’s movie The Hunger Games achieved 2.1 million/13% (400,000 +1) from 9pm.

ITV’s coverage of South Korea V Algeria got 3.5 million/ 17% (38,000 +1) from 7.25pm on Sunday, peaking at 4.8 million/22% at 9.45pm. Opposite, BBC1’s Countryfile achieved 5.1 million/27% at 7.25pm, followed

by Antiques Roadshow’s 4.9 million/23% and Casualty’s 4.2 million/20% at 9.15pm.

The best of the week’s afternoon matches was ITV’s Monday fixture, Germany V Portugal, with 4.5 million/34% (incl +1) from 4pm. Against ITV’s matches, BBC1’s highest-rated afternoon game was Friday’s Italy V Costa Rica (3.9 million/35%).

Opposite, ITV’s National News at 6pm performed best, averaging 3.3 million/23% (incl +1) on Thursday and Friday.

See over for digital focus, plus channel and genre overviews 27 June 2014 | Broadcast | 37

Ratings Mon 16 June – Sun 22 June Channel Overview

C4 puts in a winning bid BY stephen Price

For auction bidders, a misjudged twitch could result in taking home a stuffed python or a nest of formica tables. Channel 4’s new auctioneer series doesn’t have pythons, stuffed or otherwise, but there were a lot of lots left over, causing a bric-a-brac kerfuffle.

Meanwhile, BBC2 – maybe miffed at a hailed taxi sailing past – sent a cabbie abroad.

Channel 4’s new series The Auction House launched on Tuesday with 1.4 million/7% (230,000 +1), ahead of C5’s CSI (900,000/5%; 180,000 +1), but behind BBC2’s Horizon: Where Is Flight MH370? (2.4 million/10%).

On Wednesday at 8pm, the final episode of C4’s Mary’s Silver Service achieved just 340,000/ 2% (43,000 +1). Opposite, the final part of BBC2’s Tigers About The House won with 1.9 million/10%.

C5’s The 16 Year Old Baby was next (700,000/4%; 67,000 +1).

At 9pm, C4 scored a win with One Born Every Minute (1.4 million/6%; 260,000 +1), ahead of C5’s My Violent Child (1.2 million/5%; 184,000 +1) and BBC2’s Coast (1.4 million/6% from 9.10pm).

BBC2’s new series A Cabbie Abroad achieved 1.5 million/7% on Sunday at 9pm, ahead of C5’s Big Brother (1.2 million/5%; 122,000 +1) and C4’s Fargo finale (1.1 million/5%; 126,000 +1).

Source: BARB

WEEK 25 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 16.06.14 Peaktime share (%) w/c 17.06.13 Year to date Average hours per viewer Audience share (%) Audience share (2013)

BBC1 5.73 20.05 26.53 22.42 BBC1 5.71 21.89 21.06

BBC2 1.30 5.22 6.91 7.58 BBC2 1.65 6.32 5.65

ITV1 4.14 15.05 23.82 17.92 ITV1 4.10 15.70 16.31

C4 1.25 5.99 5.37 5.26 C4 1.49 5.71 5.88

Start

Viewers (m) (all homes)

38 | Broadcast | 27 June 2014

Total 22.98 100.00 100.00 100.00 Total 26.09 100.00 100.00

Top 30 bbc2, channel 4 and channel 5 Title

Day

Share %

Broadcaster

1

The Hunger Games

Sat

21.00

2.52

15.66

C4

2

Formula 1: The Austrian Grand Prix Highlights

Sun

19.30

2.45

12.20

BBC2

3

Horizon: Where Is Flight MH370?

Tue

21.00

2.37

10.03

BBC2

3

Tigers About The House

Mon

20.00

2.27

10.13

BBC2

5

Benefits Britain: Life On The Dole

Mon

21.00

2.25

9.88

C5

6

A Very British Airline

Mon

21.00

2.17

9.52

BBC2

7

24 Hours In A&E

Mon

21.00

2.02

8.87

C4

8

Tigers About The House

Wed

20.00

1.95

9.65

BBC2

9

Tigers About The House

Tue

20.00

1.92

8.89

BBC2

10

Antiques Road Trip

Thu

19.00

1.83

9.77

BBC2

11

Antiques Road Trip

Mon

19.00

1.82

9.47

BBC2

12

Antiques Road Trip

Tue

19.00

1.81

9.95

BBC2

13

The Auction House

Tue

21.00

1.65

7.01

C4

14

One Born Every Minute

Wed

21.00

1.64

7.19

C4

15

Antiques Road Trip

Wed

19.00

1.61

9.22

BBC2

16

Antiques Road Trip

Fri

19.00

1.57

9.71

BBC2

17

Gardeners’ World

Fri

20.30

1.56

8.16

BBC2

18

A Cabbie Abroad

Sun

21.00

1.48

6.77

BBC2

19

Pointless Celebrities

Thu

17.15

1.46

11.78

BBC2

20

8 Out Of 10 Cats Does Countdown

Fri

21.00

1.44

7.19

C4

21

Location, Location, Location

Tue

20.00

1.42

6.59

C4

21

My Violent Child

Wed

21.00

1.42

6.24

C5

23

Coast

Wed

21.00

1.37

6.17

BBC2

23

Big Brother: Power Trip

Mon

22.00

1.37

8.02

C5

25

Sea City

Fri

20.00

1.35

7.34

BBC2

26

Big Brother: Power Trip

Wed

22.00

1.34

7.90

C5 C5

27

Big Brother

Sun

21.00

1.31

5.99

27

Mock The Week

Thu

22.00

1.31

6.38

BBC2

29

Mr Popper's Penguins

Sun

18.15

1.27

7.68

C4

30

Pointless Celebrities

Fri

17.15

1.26

10.67

BBC2

Figures include HD and +1 where applicable

Multichannel 33.53

Newsnight netted its best audience in more than two years as Jeremy Paxman signed off on Wednesday

Others 9.66 49.58 33.53 42.55 Others 12.12 46.47 47.07

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

daytime share (%) w/c 16.06.14

peaktime share (%) w/c 16.06.14

1.1m

C5 0.90 4.10 3.84 4.27 C5 1.02 3.92 4.03

BBC1 26.53

ITV 23.82 C5 3.84 BBC2 6.91 C4 5.37

Multichannel 49.58

1.4m Audience for Channel 5’s documentary My Violent Child (Wed, 9pm)

BBC1 20.05

ITV 15.05

C5 4.10

BBC2 5.22

C4 5.99

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

Fit Newsround Everything’s Rosie Topsy And Tim Newsround Fit Dani’s Castle Officially Amazing 2 Copycats The Story Of Tracy Beaker

Top 10 Factual programmes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Thu Thu Tue Tue Wed Wed Thu Thu Sun Wed

07.45 08.15 17.30 17.20 08.15 07.45 17.00 16.30 09.00 08.25

201,300 201,200 181,900 180,100 179,200 178,300 159,400 153,200 151,000 144,800

18.48 18.48 14.27 14.18 16.81 16.08 13.01 14.54 15.34 19.92

CBBC CBBC CBeebies CBeebies CBBC CBBC CBBC CBBC CBBC CBBC

Fit

Title

Casualty Holby City Endeavour Fargo Game Of Thrones Midsomer Murders Midsomer Murders CSI: Crime Scene Investigation Midsomer Murders Doc Martin

UP The Graham Norton Show adds 1.3m

Countryfile Antiques Roadshow Celebrity MasterChef Horizon: Where Is Flight MH370?

Tigers About The House A Very British Airline Celebrity MasterChef 24 Hours In A&E Trouble With Mobility Scooters Tigers About The House

Title

Benidorm The New Statesman Friday Night Dinner Uncle The Big Bang Theory The Simpsons Episodes Gimme Gimme Gimme The Simpsons The Big Bang Theory

Start

Sun Thu Tue Sun Mon Fri Sun Tue Sun Sat

21.15 20.00 20.00 21.00 21.00 20.00 21.00 21.00 19.00 20.00

Viewers (millions)

DOWN Endeavour loses 460,000

Share (%)

4.24 19.54 2.31 8.73 2.21 9.80 1.24 5.82 1.15 5.14 1.12 5.78 1.09 5.64 1.03 4.35 0.95 4.94 0.83 4.98

UP Fargo gains 180,000

Channel

BBC1 BBC1 ITV C4 Sky Atlantic ITV3 ITV3 C5 ITV3 ITV3

Start

Viewers (millions)

Share (%)

Channel

Sun Sun Fri Tue Mon Mon Thu Mon Wed Wed

19.25 20.15 20.30 21.00 20.00 21.00 21.00 21.00 22.45 20.00

5.06 4.87 3.82 2.37 2.27 2.17 2.04 2.02 2.02 1.95

26.80 22.80 19.38 10.03 10.13 9.52 7.34 8.87 16.53 9.65

BBC1 BBC1 BBC1 BBC2 BBC2 BBC2 BBC1 C4 BBC1 BBC2

Battle For Stonehenge

Title

1 2 3 4 4 6 7 8 9 10

The Graham Norton Show National Lottery Sat Night Draws All Star Mr & Mrs Pointless Pointless A Question Of Sport: Super...

Catchphrase Celebrity Special Pointless Ultimate You've Been Framed!

The Chase

DOWN All Star Mr & Mrs down 990,000

UP Countryfile up 430,000

Day

Start

Viewers (millions)

Share (%)

Channel

Fri Sat Wed Mon Tue Sat Sun Wed Sat Thu

22.35 22.30 20.00 17.15 17.15 18.50 18.25 17.15 19.30 17.00

4.32 3.53 3.16 2.80 2.80 2.71 2.62 2.52 2.14 2.07

30.09 21.91 15.68 19.82 22.76 19.79 16.40 20.73 14.13 17.44

BBC1 BBC1 ITV BBC1 BBC1 BBC1 ITV BBC1 ITV ITV

DOWN CSI falls 330,000

UP Casualty rises 350,000

Top 10 music & Arts programmes

Day

Start

Viewers (millions)

Share (%)

Channel

Wed Sun Fri Fri Thu Mon Wed Sat Tue Tue

21.00 22.30 22.00 23.25 20.00 18.00 22.00 22.00 18.00 18.30

1.98 1.05 1.03 1.02 0.97 0.92 0.76 0.73 0.68 0.68

8.69 7.10 5.75 10.51 3.76 5.37 4.08 4.08 4.51 4.09

ITV ITV C4 BBC1 E4 C4 BBC2 BBC2 C4 E4

next week sport and current affairs www.broadcastnow.co.uk

Day

Top 10 Entertainment programmes

Day

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

1 2 3 4 5 6 7 8 8 10

The Trouble With Mobility Scooters

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

Battle For Stonehenge: A Culture...

Beatles: The Night That Changed...

Culture Show: Deller And Kane...

Totp 2 Presents The 90S Jigs And Wigs: Extreme World...

John Wayne: Talking Pictures Billy Joel: The Bridge To Russia Agnetha: Abba And After Sounds Of The Eighties Top Of The Pops: 1979

Day

Start

Viewers (millions)

Share (%)

Channel

Sat Sat Tue Sat Mon Mon Fri Mon Fri Thu

20.00 22.45 22.00 23.30 20.00 14.15 21.00 22.00 20.30 19.30

0.79 0.72 0.62 0.31 0.30 0.27 0.22 0.21 0.19 0.15

4.73 7.47 3.38 3.67 1.37 4.96 1.12 1.26 1.01 0.75

BBC2 ITV BBC2 BBC2 BBC4 BBC2 BBC4 Yesterday BBC4 BBC4

See over for demographic and digital focus 27 June 2014 | Broadcast | 39

Ratings Mon 16 June – Sun 22 June Demographic Focus Channels

Individuals Share (%)

Adults ABC1 Share (%)1

Source: BARB 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

25.48

29.17

47.16

20.87

15.96

27.90

52.53

23.25

47.47

ITV

18.48

18.62

41.51

18.32

19.31

18.72

48.60

18.26

51.40

BBC2

5.60

6.85

50.41

2.74

9.54

5.42

46.43

5.77

53.57

C4

5.36

5.49

42.17

5.95

21.64

4.91

43.97

5.77

56.02

C5

4.10

3.72

37.41

3.89

18.49

2.93

34.32

5.18

65.67

ITV3

2.78

2.47

36.57

0.68

4.75

1.99

34.36

3.50

65.64 62.88

ITV2

2.08

1.55

30.84

3.59

33.65

1.61

37.13

2.51

E4

1.84

1.89

42.29

5.28

55.87

1.64

42.83

2.02

57.12

Dave

1.56

1.56

41.01

2.56

31.88

1.88

57.58

1.27

42.44

Film 4

1.51

1.19

32.26

1.37

17.63

1.80

56.89

1.25

43.10

BBC3

1.21

0.91

31.01

2.80

45.23

1.23

49.10

1.18

50.91

More 4

1.03

1.06

42.44

0.97

18.45

0.89

41.41

1.16

58.59

5 USA

0.86

0.67

31.87

0.39

8.78

0.68

38.00

1.03

62.07

ITV4

0.75

0.58

32.05

0.53

13.88

0.96

61.89

0.55

38.21 52.10

BBC4

0.73

1.00

56.19

0.28

7.36

0.73

47.90

0.73

Sky 1

0.70

0.74

43.40

1.32

36.61

0.77

52.95

0.63

47.11

Drama

0.67

0.68

41.48

0.19

5.44

0.57

40.63

0.77

59.34

Yesterday

0.67

0.60

36.95

0.24

7.08

0.81

58.38

0.53

41.56

Sky Living

0.43

0.42

40.30

0.47

21.24

0.28

31.55

0.57

68.45

35%

More than one in three viewers of Channel 4’s The Auction House was over 65 – almost double the 18% slot average. Just 14% were under 35 – down from the 31% average (Tuesday, 9pm).

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

TOWIE back with a bang

BY Stephen Price

This week, shiny, tanned yoof passed the baton across the Great Metropolis as E4’s Chelsea made way for ITV2’s Essex (via Marbella) to keep the football avoiders happy. Elsewhere, ITV3 rumbled on murderously, while an unlikely film-off occurred on Sunday night.

On Sunday at 10pm, ITV2 launched The Only Way Is Marbs to 920,000/6%; the winter series averaged 866,000/5.2%. The next night, the final part of E4’s Made In Chelsea achieved 853,000/4% at 9pm, the second best live rating of the series after 7 April’s first episode (865,000/5%).

BBC3’s best was the film Streetdance on Sunday at 8.25pm with 558,000/3%, a fraction ahead of Film 4’s Columbiana (548,000/ 3%) at 9pm.

ITV3’s position as the alternative drama channel remains untarnished: its über stalwart, Midsomer Murders, was the best PSB digital performer, with 1.1 million/6% on Friday at 8pm.

40 | Broadcast | 27 June 2014

Source: BARB

digital homes

Top 30 multichannel programmes Title

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 19 21 21 21 24 24 26 26 26 26 30

Game Of Thrones Midsomer Murders Midsomer Murders The Big Bang Theory Midsomer Murders The Only Way Is Marbs Hollyoaks Made In Chelsea Doc Martin Foyle’s War Hollyoaks Lewis Live Austrian F1 Grand Prix Hollyoaks The Big Bang Theory Hollyoaks A Touch Of Frost Hollyoaks Streetdance Colombiana Colombiana Family Guy Only Connect R Howard’s Good News Wallander Rosemary And Thyme The Big Bang Theory Come Dine With Me The Big Bang Theory Educating Joey Essex...

Figures include HD and +1 where applicable

Day

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

Start

21.00 20.00 21.00 20.00 19.00 22.00 19.00 21.00 20.00 21.00 19.00 20.00 12.00 19.00 18.30 19.00 20.00 19.00 20.25 21.00 21.00 23.25 20.30 22.00 21.00 18.25 18.00 19.30 18.30 21.00

Viewers (millions)

1.15 1.12 1.09 0.97 0.95 0.92 0.89 0.85 0.83 0.76 0.75 0.74 0.72 0.71 0.68 0.63 0.61 0.60 0.56 0.56 0.55 0.55 0.55 0.54 0.54 0.53 0.53 0.53 0.53 0.52

Share (%)

Channel

5.14 5.78 5.64 3.76 4.94 5.48 4.96 3.75 4.98 4.25 4.35 3.43 9.60 4.15 4.09 3.28 2.70 3.68 2.57 2.80 2.88 5.38 2.36 2.89 2.86 3.88 3.53 2.87 3.23 2.39

Sky Atlantic ITV3 ITV3 E4 ITV3 ITV2 E4 E4 ITV3 ITV3 E4 ITV3 Sky Sports F1 E4 E4 E4 ITV3 E4 BBC 3 Film 4 Film 4 BBC3 BBC4 BBC3 BBC4 ITV3 E4 More 4 E4 ITV2

Channels

Share (%)

BBC1 ITV BBC2 C4 C5 Total multichannel ITV3 ITV2 E4 Dave Film 4 BBC 3 CBeebies More 4 5 USA Sky Sports 2 Pick BBC News

25.48 18.48 5.60 5.36 4.10 40.99 2.78 2.08 1.84 1.56 1.51 1.21 1.17 1.03 0.86 0.84 0.82 0.75

Figures include HD and +1 where applicable

540k Audience for maverick detective Wallander’s swansong on BBC4 (Sat, 9pm)

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 Live Austrian F1 Grand Prix Storage Hunters Storage Hunters 24: Live Another Day Austrian F1 GP Qualifying Alan Davies: As Yet Untitled Alan Davies: As Yet Untitled Super League Full Time Storage Hunters NCIS Storage Hunters Live Test Cricket Storage Hunters Storage Hunters Live Test Cricket QI XL Alan Davies: As Yet Untitled Live International Rugby Union QI XL Storage Hunters The Simpsons Alan Davies: As Yet Untitled Modern Family Storage Hunters Storage Hunters Have I Got A Bit More News For You Criminal Minds QI XL Live Test Cricket Alan Davies: As Yet Untitled NCIS: LA Storage Hunters Storage Hunters Storage Hunters Futurama Have I Got A Bit More News For You Jonathan Creek Storage Hunters Bones New Tricks Live Test Cricket Storage Hunters Storage Hunters Storage Hunters Storage Hunters Have I Got A Bit More News For You The Simpsons The Simpsons Storage Hunters

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

21.00 12.00 19.30 19.30 21.00 12.00 22.00 22.00 18.00 19.30 21.00 19.00 14.00 19.00 19.30 15.00 21.00 22.00 8.00 21.00 12.00 19.30 22.00 20.30 14.00 11.30 22.00 21.00 21.00 15.00 22.00 22.00 19.00 19.30 13.30 20.30 23.00 21.00 11.00 21.00 21.00 10.30 19.00 14.30 12.30 13.00 23.00 20.00 19.30 19.00

1,151,000 720,900 502,900 467,000 448,300 441,600 411,800 398,200 397,100 386,100 384,900 382,500 371,200 356,700 348,900 341,100 334,600 334,500 333,200 333,100 332,100 331,500 331,000 327,800 326,600 320,500 317,500 314,900 306,400 305,400 300,900 296,400 295,300 294,100 292,800 292,700 290,000 288,700 287,200 286,500 285,300 284,500 279,000 278,600 278,000 277,600 268,900 263,900 263,600 261,100

5.14 9.60 2.72 2.31 1.97 6.86 2.42 2.37 2.22 2.43 1.92 2.22 3.91 2.10 2.46 3.06 1.47 1.87 5.76 1.52 5.09 1.72 1.95 1.42 4.25 5.08 1.86 1.38 1.35 3.34 1.78 1.77 1.81 1.59 3.79 1.37 2.84 1.32 4.75 1.26 1.09 4.67 1.56 3.59 3.94 3.61 2.88 1.30 1.42 1.91

Figures include HD and +1 where applicable

Game Of Thrones www.broadcastnow.co.uk

Storage Hunters

Broadcaster/ Producer* Sky Atlantic Sky Sports F1 Dave/T Group Dave/T Group Sky 1 Sky Sports F1 Dave/Phil McIntyre/Grand Scheme Dave/Phil McIntyre/Grand Scheme Sky Sports 2 Dave/T Group Fox Dave/T Group Sky Sports 2 Dave/T Group Dave/T Group Sky Sports 2 Dave/Talkback Dave/Phil McIntyre/Grand Scheme Sky Sports 1 Dave/Talkback Dave/T Group Sky 1 Dave/Phil McIntyre/Grand Scheme Sky 1 Dave/T Group Dave/T Group Dave Sky Living Dave/Talkback Sky Sports 2 Dave/Phil McIntyre/Grand Scheme Sky 1 Dave/T Group Dave/T Group Dave/T Group Sky 1 Dave/Hat Trick Productions Drama Dave/T Group Sky Living Drama Sky Sports 2 Dave/T Group Dave/T Group Dave/T Group Dave/T Group Dave/Hat Trick Productions Sky 1 Sky 1 Dave/T Group

412k Monday’s opener was the highestrating episode of Dave’s stripped series Alan Davies: As Yet Untitled

Dave scores Untitled hit BY stephen Price

Maybe it was an admin error. “Yes Mr Davies, we’d love a series.

Title? Let’s worry about that later.”

Suddenly, it is later and the nontitle title has become the title, delivering Dave a week-long strip of goodness. Meanwhile, Game Of Thrones ended on a high, while Penny Dreadful went Gothically on, with a second series in the bag.

Dave’s new series, Alan Davies: As Yet Untitled, stripped across the week at 10pm, averaged 355,000/2%. The best was Monday’s launch show (412,000/ 2%); by Friday, this was down to 301,000/2%. The channel’s best was Sunday’s edition of Storage Hunters with 503,000/ 3% at 7.30pm.

The fifth episode of Sky Atlantic’s Penny Dreadful achieved 251,000/1.1% on Tuesday at 9pm, with an extra 56,000 from the two repeats. The best live rating remains 20 May’s opener: 353,000/1.7%.

The final episode of Fox’s 11th series of NCIS on Friday at 9pm achieved 385,000/2%, just 20,000 short of last week. The best live rating of the series was 24 January’s 518,000/2%.

Sky Living’s best of the week was Monday’s Criminal Minds, with 315,000/1% at 9pm.

Sky Atlantic’s Game Of Thrones ended with the channel’s best-ever live rating: 1.2 million/5%.

27 June 2014 | Broadcast | 41

Ratings Mon 9 June – Sun 15 June

All BARB ratings supplied by: Attentional

Consolidated Ratings

Small returns for ITV Encore

BY Stephen Price

The Queen visited the Game Of Thrones set in Belfast this week. I fancy she gave the Iron Throne a wistful look, as if thinking: “One could have done with one of these during one’s annus horribilis.

Strapping one’s errant offspring to the sharp end of that would have learned them.”

Meanwhile out back, the writers were making notes for series five as their latest one ended in recordbreaking style. Elsewhere, more celebs got cooking and ITV Encore recorded its first toddler steps.

ITV Encore ITV Encore, the broadcaster’s pay-TV channel, launched exclusively on Sky on 9 June. Across its broadcast hours – 12pm to 4am – for its first week ending 15 June,

Source: BARB

Encore averaged a live rating of 20,000/0.2%. (This includes day one, which started at 7pm).

In comparison, Sky Atlantic, another Sky-only channel, averaged 25,000/0.2% across the same hours in 2014 up to 15 June. After recording, ITV Encore grew to 30,000/0.3% and Sky Atlantic hit 43,000/0.3%; a larger increase, probably because of its highly recorded HBO-heavy content.

ITV Encore’s best performer was its re-run of Broadchurch, which averaged 190,000/1% across all eight episodes; the best was episode one with 255,000/1% after 135,000 recorded and watched.

comers with a consolidated rating of 1.93 million/8% after 783,000 recorded and watched. This is a new record for Sky Atlantic; in fact, nine episodes of this series are the channel’s best achievers.

Sky Atlantic: Game Of Thrones

The latest series of Celebrity Master­ Chef, BBC1’s culinary balm to the football frenzy, launched on Tuesday 10 June at 9pm with 4.9 million/22% after 520,000 recorded and watched. The second episode on 12 June achieved 4.2 million/17% after 661,000 recorded and watched. Last year’s August series averaged 4.6 million/20% without surrounding football.

On Monday 9 July, the penultimate episode of Sky Atlantic’s Game Of Thrones achieved a consolidated rating of 1.82 million/7% after more than 800,000 recorded and watched; for a week, it was the second best ever for the programme and the channel, behind 2 June’s 1.87 million/7%. However, the finale on 16 June defeated all

E4: New Girl E4’s US comedy New Girl returned for a third series on Tuesday 10 June at 9pm. After 413,000 watched via PVR, it reached 1.16 million/5%; its second-best performance ever behind 2 April 2013’s 1.19 million/4%. Two repeats of 2014’s new series opener added another 389,000.

BBC1: Celebrity MasterChef

Top 30 Consolidated Ratings: ranked by gain

1 2 3 4 5 6 6 8 9 10 11 12 13 14 15 15 15 15 19 20 21 21 23 24 25 26 27 27 27 30

5.5m Final tally for BBC1’s David Beckham Into The Unknown, after 470,000 watched via PVR

UP Casualty up 290,000 DOWN Big Bang Theory down 510,000

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

Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Coronation Street Casualty EastEnders EastEnders Game Of Thrones EastEnders Law & Order: UK Coronation Street Celebrity MasterChef Coronation Street The Big Bang Theory Emmerdale EastEnders 24: Live Another Day Made In Chelsea Coronation Street Fargo CSI: Crime Scene Investigation EastEnders Bones Criminal Minds Celebrity MasterChef The Graham Norton Show Ex On The Beach David Beckham Into The Unknown Vikings Big Brother Modern Family Hawaii Five-0 24 Hours In A & E

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

20.30 21.10 19.30 19.309 21.00 20.00 21.00 19.30 20.00 20.30 20.00 20.00 19.00 21.00 21.00 19.30 21.00 21.00 01.30 21.00 21.00 21.00 22.50 22.00 20.30 22.00 22.00 20.30 21.00 21.00

7.30 4.86 5.53 5.89 1.82 7.42 4.69 8.42 4.16 8.20 1.87 5.72 4.65 1.14 1.42 8.84 1.70 1.99 0.78 0.91 0.96 4.94 3.38 0.80 5.07 0.59 1.84 0.81 0.95 2.32

28.42 21.74 26.33 29.25 6.94 33.42 20.16 44.08 17.32 32.91 8.30 25.83 25.14 4.87 5.48 42.35 6.92 8.65 20.98 3.92 3.70 21.62 22.12 4.28 19.97 3.09 9.77 3.26 3.85 8.92

1.20 0.97 0.87 0.82 0.81 0.74 0.74 0.68 0.66 0.64 0.63 0.62 0.60 0.56 0.55 0.55 0.55 0.55 0.54 0.53 0.52 0.52 0.51 0.48 0.47 0.46 0.45 0.45 0.45 0.44

19.70 24.90 18.70 16.20 79.80 11.10 18.70 8.80 18.90 8.40 51.40 12.20 14.80 98.80 63.90 6.60 47.40 37.70 228.30 136.90 118.40 11.80 17.60 150.90 10.20 367.40 32.60 125.30 89.10 23.60

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

Figures include HD and +1 where applicable

42 | Broadcast | 27 June 2014

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Off Cuts

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

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ALL A TWITTER

to run Telemundo in the US – and has headed to Brazil for the World Cup with his two sons.

Silberwasser has secured plenty of tickets and is currently enjoying watching his beloved Colombia significantly outperform England.

We’re all really pleased for him.

I’d rather go away with [Mason] McQueen than the celebrity traveloguers clogging the schedules with their tedious tours.

A COSMIC charity effort @nigelsleftboot (Sam Bagnall) Editor, This World, BBC Luis and sons: supporting Colombia

Lucky break for Luis

ITV punditry is bang on; if Suarez hadn’t been playing, England would have won!

How can we do without this level of analysis?

Is there a patron saint of gardening leave? If so, former Discovery exec Luis Silberwasser will be offering up a few prayers. He’s currently in between jobs, having left the global factual broadcaster

Another year, another sterling charity effort from UKTV: last weekend, 37 staff – 31 cyclists plus six support drivers – embarked on a 300-mile, three-day journey from London to Amsterdam, raising almost £16,000 to date for COSMIC (Children of St Mary’s Intensive Care). And it’s not over yet: there’s just time to recover before the 100km walk and a swimming relay later in the year.

@hattrickster (Jimmy Mulville) Managing director, Hat Trick Productions

Just realised I have an email trail with my parents called Friday Night Dinner, this is okay if you’re not Jewish right? @birdyjon (Jon Bird) International TV consultant

Monday. No Game of Thrones. #ihatemondaysagain. @mpeterdavidson (Martin Davidson) Commissioning editor, BBC History and Business

Spare a thought for ‘World Cup widow’ Imogen Edwards Jones, who lamented in the Mail that she was about to lose her husband to sofa, snacks and laddish banter during the tournament. Was this the same Kenton Allen (said husband) snapped the next day on Twitter larging it up in the Alps with Peter Fincham, Alexander Armstrong, Richard Bacon and Giles Coren? He’ll need a rest after that sort of hi-jinks.

AND FINALLY ...

Elizabeth McIntyre VP, production and development, factual, Discovery Networks International

Tell us one of your most hilarious faux pas Warmly welcoming a political aide to the studio, under the misapprehension it was the minister.

What law would you most like to break?

The law of averages.

What words or phrases do you most overuse?

Dashboard, reach out, dig deep.

Who would you put in the Celebrity Big Brother house?

Michael Gove and Theresa May. Could there be love interest?

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

Pick your battles.

What TV shows would be in your fantasy schedule?

The Killing and The Bridge. I love a bit of desaturated misery.

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

The Soho House group. Equally, Willesden Junction station. Both provide lattes (pictured).

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

Books.

Elizabeth McIntyre is speaking on a factual panel at Broadcast’s Commissioning & Funding Forum on Tuesday 1 July. For more details, visit www.broadcast-forums.com

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