25 June 2014, The Brewery, London
Winners and f inalists
France’s scripted reality hit format
The ultimate parenting show via the USA Network
Celebrating the Unconventional
The entertainment format that’s got over 100 million views in China in just three weeks
The romantic comedy drama that’s big down under
When it comes to relationships, parenting, counselling… what is the new normal? A global view.
all3mediainternational.com
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Broadcast Digital Awards 2014
Contents 05 Best Entertainment Programme 07 Best Programme Acquisition 08 Best Game 09 Best Sports or Live Event Coverage 11 Best Popular Factual Programme 12 Best Social Media & Digital Marketing Campaign 13 Best App of Website for a Programme 15 Best Entertainment Channel 16 Best Digital Children’s Content 17 Best Specialist Channel 18 The Judges 21 Best Platform Innovation 23 Best Factual Channel 25 Best Content Partnership or AFP 27 Best App or Website for Channel, Strand or Genre 29 Best Scripted Programme 31 Best Multiplatform Project 33 Original Web Channel 35 Channel Of The Year
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n the race to predict a bold new future for how we interact with our TVs, our second screens and any other devices, it’s sometimes easy to overlook the content itself. Where once digital channels and online services were synonymous with US shows and cheap repeats, now they’re positively overflowing with stunning commissions. The ramping up of Netflix and Amazon in the commissioning sphere appears to be having a galvanizing effect on what are now becoming the ‘traditional’ players beyond the core PSB channels. From niche operators to general entertainment channels, everyone represented here is using their positioning and remit to do exciting things. From global operators commissioning from their London hubs to UKTV joining Sky in boosting its original commissions, producers have never had so many hungry mouths to feed. Add to this new adventures in technology, from audio watermarking to in-app voting, and it’s clear that it is an exciting time for innovation too. Our judges were overwhelmed by the quality of entries this year – and by broadcasters’ and producers’ determination to work with the best partners to deliver compelling, rich content. Whether that means letting a child doodle on their parents’ smartphone, giving crime drama fans a chance to play detective or even enabling armchair astronauts to discover a new galaxy, the sky’s literally the limit. Congratulations to all our nominees – and the very worthy winners. Chris Curtis Editor
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Broadcast Editor Chris Curtis Supplement Editor Robin Parker Production Editor Dominic Needham Contributors George Bevir, Alexandra Chapman, Matthew Campelli, Alex Farber, Jake Kanter, Peter White Group Art Director, Media Peter Gingell Senior Commercial Director, Media Alison Pitchford Sales Manager Sonya Jacobs Business Development Director Patricia Arescy Business Development Executive Donogh Hurley Recruitment & Classified Executive Paul Martin Events Manager Dee Adeosun Events Marketer Louise Lenzi
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27 June 2014 | Broadcast Digital Awards | 3
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Best Entertainment Programme
Award sponsored by
Shortlisted Made In Chelsea Monkey Kingdom for E4 The sixth series of the trials and tribulations of rich and privileged youth in south-west London reached its highest ever audience with 4.7 million viewers. Made In Chelsea also reached more 16-34s than ever: 2.2 million was a 23% increase on series five. The nonscripted constructed-reality programme was the ‘most tweeted’ show on E4 last year.
Release The Hounds Gogglebox Entertainment for ITV2 Forging new ground, ITV2 mixed horror and entertainment in its Halloween special Release The Hounds. Spooking and gripping audiences, it won a series deal both for ITV and US network Fox. The gameshow won a 5.2% share and will be remade in Europe, Asia and South America.
The Revolution Will Be Televised Hat Trick Productions for BBC Three Last year’s winner in the category returned for more stunts on the likes of David Cameron, Ed Miliband and Nick Clegg. At its peak, Jolyon Rubinstein and Heydon Prowse’s series reached 510,100 viewers, with a third series earmarked to keep bringing entertainment and politics to the BBC’s youth channel.
Tricked ITV Studios for ITV2
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he star of the winner of this year’s Best Enter tainment Programme Award, Ben Hanlin, was described by one judged as a “fresh, engaging new talent bringing panache and innovation to a familiar genre”. The show, which boasts a distinct lack of actors and stooges, features magician Hanlin entertaining the general public and celebrities with 16 different magic tricks per episode. Each person on the show is pushed to breaking point for laughs and then brought back to reality by Hanlin through his use of openly filmed magic. Key moments include Hanlin escaping being buried alive under two tonnes of earth and being pushed off a 10-storey build ing by an unsuspecting celebrity. The ITV2 hit captivated an average of 881,000 viewers throughout its 6 x 60-minute run last October. At its peak, 1.2 million viewers tuned in to the fourth episode, which fell on Halloween. Tricked boosted Thursday night on ITV2 and pro vided a strong inheritance for Keith Lemon’s Celebrity Juice, generating much noise on Twitter along the way. A second season was commissioned by ITV director of digital channels and acquisitions Angela Jain, who said in March: “The versatility and enduring appeal of magic and Ben’s hidden-camera stunts have paved the way for a new breed of magic shows.”
www.broadcastnow.co.uk
‘Tricked boosted Thursday night on ITV2 and provided a strong inheritance for Keith Lemon’s Celebrity Juice’
Sexy Beasts Lion Television for BBC Three The two-part dating show, which challenges traditional superficial rules of attraction, reached 1.4 million viewers on its debut on 11 February. Participants are made up in prosthetics and filmed on dates in full view of passers-by in London, with the production team going to great lengths to avoid contributors coming into contact with each other.
Troy Zig Zag Productions for E4 The E4 series follows London magician Troy Von Scheibner as he performs tricks in front of an unsuspecting public, showcasing a mix of studio close-up magic and street magic, and ending with a spectacular stunt. The non-scripted, UK original series attracted a peak audience of 1.1 million for the opening episode and a series average of 722,000.
27 June 2014 | Broadcast Digital Awards | 5
THE WORLD IS WATCHING Beyond Distribution has been proudly representing UK producers worldwide since 1985.
Michael Murphy: General Manager 0207 323 3444 Yvonne Body: Head of Acquisitions 0207 079 0451 Munia Kanna-Konsek: Head of Sales 0207 079 0459 41/42 Berners Street, London, W1T 3NB, United Kingdom
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Best Programme Acquisition
Award sponsored by
Shortlisted The Big Bang Theory E4 The Chuck Lorre-produced multicamera comedy, which follows the adventures of a group of male and female geeks, remains E4’s biggest show, with an average audience of more than 2.6 million. The series has grown each year and has helped Channel 4 launch a slew of other US shows, such as Brooklyn Nine-Nine and How I Met Your Mother.
The Bridge BBC Four The judges stated that the BBC’s acquisition of The Bridge showed that its purchase of The Killing was no fluke as it continues to find the best of European television. The show, produced by Shine’s Filmlance, averaged just under 1 million live viewers on Saturday nights, consolidating close to 1.5 million.
Brooklyn Nine-Nine E4 The police comedy, starring Andy Samberg and Chelsea Peretti, was one of the most critically acclaimed US acquisitions and arrived in the UK fresh from two Golden Globes. The 22 x 60-minute series, distributed by NBC Universal International Tele vision Distribution, helped build E4’s Thursday comedy block.
Suits Dave
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lossy legal drama Suits was a savvy purchase by UKTV; not only did the US series deliver ratings to male-skewing network Dave, but it opened the gates for US scripted drama on the channel. Suits, which airs on cable channel USA Network, stars Patrick Adams and Gabriel Macht as a pair of talented but sassy lawyers with a secret. It was created by Everybody Loves Raymond writer Aaron Korsh. UKTV acquired the series from NBC Universal International Television Distribution and launched it at the start of 2012. The drama grew over the course of the 12-episode run. The second series recorded average ratings of 467,000, up more than 50% on the channel’s slot average, helping Dave achieve 20% year-on-year growth. It also helped UKTV become a serious player with the major Hollywood studios. The judges applauded the ability of UKTV’s acquisitions team to snatch the show from under the noses of rivals including Channel 4, Channel 5 and Sky. “A surprising acquisition for Dave but one that has really helped define the channel’s identity,” said one judge. “A great buy that has helped change the direction of the channel and what Dave means,” added another. The drama launched its third run on Dave in January and its fourth series launched earlier this month in the US. The challenge for UKTV will be keeping the show against increased competition as it continues to grow.
www.broadcastnow.co.uk
‘A great buy that has helped change the direction of the channel and what Dave means’
Sleepy Hollow Universal Channel The supernatural police drama, a modern retelling of Washington Irving’s short story, was the most successful show to launch on the Universal Channel, or its predecessor Hallmark, in more than 15 years. The drama, distributed by 21st Century Fox Television Distribution, was the centrepiece of the channel’s rebrand last year.
Storage Hunters Dave The non-scripted acquisition was commended for breaking out in a tough genre. The show, produced by US indie T Group for truTV in the US, was Dave’s highest-rated programme of 2013, regularly attracting more than 1 million viewers, and a UK version is on the way. The show also paved the way for more US factual content on Dave, including Lizard Lick Towing and Flip Men.
27 June 2014 | Broadcast Digital Awards | 7
Best Game
Shortlisted Ludus Cube Interactive/Boom Kids for CBBC The first CBBC playalong app to use audio watermarking technology, the Ludus game was part and parcel of the show’s commission. As well as playing along in real time, earning ‘power up’ rewards along the way, children can play 24 games in their own time. Cube and Boom have scored more than 110,000 downloads to date.
Midsomer Murders iPad App Utinni Games, Bentley Productions and All3Media International for ITV Fans get to play detective in this spin-off of the long-running murder mystery drama, helping Inspector Barnaby to solve cases in authentic Midsomer locations. Successfully solving clues unlocks further story elements as players progress through to arresting a suspect.
Reflex Mobile App Swipe Entertainment, Objective Productions and All3Media International for ITV
Made In Chelsea Game PaperSeven and Monkey Kingdom for E4
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he spin-off game from the E4 reality series proved an instant hit with fans, shooting to third in the App Store on launch, before overtaking football juggernaut Fifa 2014 to move up to second the next day. The 3D game, developed by PaperSeven with series producer Monkey Kingdom, tasks users with becoming the ultimate virtual socialite by gaining 1 million social media followers, after starting the game as a ‘nobody’. Guided by Made In Chelsea star Binky, players must climb the social media ladder by meeting and dating the show’s stars while uncovering gossip. PaperSeven created 14 3D models of cast members, who roamed three separate environments, with a focus on ensuring the glamour and high production values of the series were maintained. The premium game, which was sold at a variety of price points, generated an average of £8,000 per day in revenues, while interstitial adverts encouraged users to catch up with the show on 4oD. A built-in survey of users, completed by 9,000 people, found that 95% were more likely to watch the show after playing the game. The game also proved addictive – each player launched it an average of eight times, while 20% played it to completion. Judges were impressed. “It captures the zeitgeist and is well executed,” said one, while another added that it “connected with the audience” and had a “brilliant understanding of who the viewer is”.
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‘It connected with the audience and had a brilliant under standing of who the viewer is’
Based on the hi-tech BBC gameshow, this app offers six high-speed games to test reflexes, culminating in the Showdown Round. Players can practise solo or compete with an imaginary opponent on challenges including tapping the lights of a beating drum or swiping paint across the screen as quickly as possible.
Sherlock: The Network The Project Factory and Hartswood Films Stars Benedict Cumberbatch, Martin Freeman and Mark Gatiss recorded exclusive video messages and voicemails for this game in which players join Sherlock Holmes’ trusted ‘homeless network’ to solve 10 cases. Bespoke mapping ensures authentic London journeys can be taken on foot or by tube or taxi.
Wolfblood 2: Leader Of The Pack CBBC Interactive and Chunk for CBBC Drawing on the supernatural drama’s story lines, this game allows players to challenge friends and race against them (in ‘wolf packs’) through the woods. A staggered release of missions ensured anticipation built throughout the series, culminating in 110,000 unique browsers at its climax.
www.broadcastnow.co.uk
Best Sports or Live Event Coverage
Shortlisted Crufts 2013 Sunset + Vine for More 4 The iconic dog show recorded a leap of 152% in share and 157% in volume on slot average for More 4. Audience participation was at the heart of the Sunset + Vine-produced event, as viewers were invited to contribute questions, stories and photographs via Twitter.
Glastonbury 2013 BBC Music TV for BBC Four A real digital emphasis was placed on the flagship music festival by the BBC as viewers were able to watch live across a range of devices. All performances were available for 30 days on-demand, while BBC4 offered an alternative take on events with a focus on black American music.
Isle of Man TT Races North One Television for ITV4 The North One production registered an impressive series average of 593,000 for ITV4, with a series peak of close to a million (931,400) – well above slot average and offering strong leads into ITV4’s 10pm movies. Viewers were treated to daily highlights shows featuring interviews, behind-thescenes access and documentaries.
BBC Sport Digital Winter Olympics BBC Online and BBC Red Button
Live@Wimbledon 2013
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Designed to give a fresh, youthful edge to the tennis tournament, IMG Productions’ coverage represented the alternative viewing required by The All England Tennis Club. With a series peak of 1.6 million and a series average of 10,000 concurrent streams, IMG gave fans behind-the-scenes stories, inter action and detailed insight.
he BBC’s coverage from Sochi was hailed as “world-class” and “excellently executed” by the judges. Live-stream requests hit 12 million, while 13.3 million viewed the spectacle via the red button. A peak of 1.1 million online streams were requested on Friday 14 February when Lizzy Yarnold brought home gold in the skeleton. Encapsulating the “breath-taking scale” was the BBC’s ability to cope with 750,000 online stream requests and 830,000 red button hits a day. Timeshifted viewing also recorded big numbers, with 10 million clip requests on the BBC Sport website and 4 million on BBC iPlayer. BBC’s objective for its Winter Olympics coverage was to build on the unprecedented feeling of engagement generated by the London 2012 Olympic Games. Social media played its part, with Twitter campaigns including #lovecurling and #sochitrolley helping to increase engagement. The Games were available to view on more devices than ever before as a re-engineered BBC Sport app was made compatible with Sony, LG, Samsung and Panasonic TVs, as well as games consoles. Judges lauded the “broad appeal” of the coverage, with a “standard of excellence that surpasses itself year on year”.
www.broadcastnow.co.uk
IMG Productions for wimbledon.com
‘A peak of 1.1 million online streams were requested when Lizzy Yarnold brought home gold in the skeleton’
Highly Commended Tour de France 2013 VSquared TV for ITV4 ITV4 recorded a peak of 1.1 million on the final day’s coverage as Chris Froome raced home to win the Tour. The free-to-air channel got a series average of 322,000, while highlights averaged 519,000 – boosting the slot average by 300%.
27 June 2014 | Broadcast Digital Awards | 9
Best Popular Factual Programme
Award sponsored by
Shortlisted David Attenborough’s Natural History Museum Alive Colossus Productions for Sky 3D Attenborough’s night at the museum, a centrepiece of Sky’s Christmas schedules, picked up a Bafta earlier this year after providing an innovative 3D twist on a natural history show. Natural History Museum Alive received Sky 1’s highest ever factual audience and the highest enjoyment score of any new Sky 1 programme.
Debt Collector Vice for vice.com Vice described Debt Collector as an “exemplar” of its film-making capability: “Premium quality, long-form video content, made by young people for a young global online audience.” Following underworld criminal Shaun Smith, it notched up more than 9 million views, making it the most-watched video on Vice YouTube in the UK over the past year.
Great Canal Journeys Spun Gold TV for More 4
The Call Centre BBC Productions Wales for BBC Three
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BC3’s glimpse inside a Swansea call centre was a breakout hit for the youth channel. David Brent-style boss Neville Wilshire and his energised cold callers helped The Call Centre launch with 1.2 million viewers (4.8% share) in 2013. It remained strong for its second series this year. The Call Centre was a typical fly-on-the-wall documentary, but it hit home with a relatable topic for BBC3’s young audience. Each hour-long show had three or four interweaving narratives that viewers could watch in isolation, or as part of the unfolding story. The BBC’s in-house production team shot the show like a doc, but built it like a drama in the edit. With nearly 900 hours of footage and more than 40 central contributors, producers worked to create coherent storylines. The programme was held together by Wilshire, whose unique management style kept viewers talking – not least Ricky Gervais, who tweeted: “I honestly don’t remember writing it, but I must have, surely? I think it’s my best work.” ITV director of digital channels and acquisitions Angela Jain has previously confessed her admiration for the show and it was praised by the judges. “Great characters opening the doors to an unfamiliar world. Well-crafted and told with heart,” said one. Another added: “A gem of a programme, where warmth and natural hilarity have helped it become a mainstream hit.”
www.broadcastnow.co.uk
‘Great characters opening the doors to an unfamiliar world. Wellcrafted and told with heart’
Prunella Scales and Timothy West’s travels launched with 901,000 viewers in March, making it the highest origination in More 4’s nine-year history. “This ‘portrait of England from the backside’, as Scales puts it, leaves us with a great admiration,” declared The Independent. “What a fine advert for the benefits of an active old age.”
Harrow: A Very British School ITN Productions for Sky 1 ITN Productions’ documentary tripled the average ratings for Sky 1’s 8pm slot and helped the channel achieve its best Wednesday since 2011. The series had a clear and simple premise: to show the workings of one of Britain’s most famous schools through the eyes of the boys and staff, and the prism of one house.
Keane & Vieira – Best Of Enemies LoveSport for ITV4 ITV4’s insight into one of the greatest-ever Premier League rivalries generated plenty of column inches and was the most-watched documentary in the history of ITV4. It brought former Manchester United captain Roy Keane and Arsenal’s Patrick Vieira together to discuss why they had hated each other – revealing along the way that there was more than a little respect between them.
27 June 2014 | Broadcast Digital Awards | 11
Best Social Media & Digital Marketing Campaign
Shortlisted Dynamo Unlocked Red Bee Media and Phil McIntyre for Watch Fans of the street magician could watch exclusive online content and see the premiere of the third series of Dynamo: Magician Impos sible before TX by collecting cards via a second-screen app. Some 5,000 fans watched the web premiere, with nearly 200,000 page impressions for the app.
Hollyoaks #fallofsienna Lime Pictures for E4 The #fallofsienna digital push, which was centred around the demise of villain Sienna Blake – the climax of a year-long storyline – was Hollyoaks’ biggest social media campaign to date. A made-for-online trailer recorded more than half a million views and helped the show top C4’s Facebook page in December, while a second-screen app extended the campaign’s reach.
Made In Chelsea #imready
Utopia: This Is A Warning Viral Channel 4
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hannel 4 stalked a slew of celebrities including Times columnist Caitlin Moran, T4 presenter Rick Edwards and Heat editor Lucie Cave to promote its graphic novel-esque conspiracy thriller Utopia. The broadcaster recreated the feeling of being watched, similar to the show’s main character, conspiracy theorist Wilson Wilson, through a series of personalised videos sent to the celebrities and “key influencers” via Twitter. C4’s team of researchers was asked to obtain personal information and “freak them out” to encourage them to share the video. More than half of those targeted talked about the show on social media, with a reach of 1 million, thousands of views on YouTube and more than 500,000 people seeing the #utopia hashtag. Utopia, written by Pulling writer Dennis Kelly, follows a group of people who find themselves in possession of the sequel to a manuscript of a comic that predicted the worst disasters of the last century. It launched in January 2013 with 1.1 million (7%) live viewers and a 1.9 million (10.1%) consolidated audience. The judges applauded the channel for creating a social media campaign that fit the tone of the Kudosproduced show. “They really understood the brand and their target audience,” said one digital executive. “It showed great social influence, targeting and execution,” added another.
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‘They really understood the brand and their target audience. It showed great social influence, targeting and execution’
Monkey Kingdom for E4 Channel 4 and Monkey Kingdom set up the #imready social media campaign to generate a constant presence between series four and five of the constructed-reality show. It used a series of online comedy videos, with the help of superfans, that gently mocked some of its cast’s notorious habits, leading to more than half a million video views.
#mtvhottest MTV MTV’s social music stunt, launched in July 2013, was designed to encourage viewers to vote for their favourite artists. The stunt generated 166 million votes via Twitter using the #mtvhottest hashtag across 11 countries, and marked the first time the company had integrated a live Twitter vote into the MTV UK channels.
Was It Something I Said? Maverick Television and Mint Digital for Channel 4 Was It Something I Said?, hosted by David Mitchell with team captains Richard Ayoade and Micky Flanagan, was the first panel show to use Twitter as a playalong app. Twitter followers were able to provide content that was fed directly into the show and Channel 4 operated a successful +1 playalong.
www.broadcastnow.co.uk
Best App or Website for a Programme
Shortlisted The Box+ Simplestream for Box TV The Box+ allows viewers on-demand, on-thego access to 4Music, The Box, Kiss, Magic, Kerrang!, Smash Hits and Heat. It has an interface showcasing content from all seven channels as well as a ‘Now or Next’ EPG giving an overview of the live programmes airing across the Box portfolio. The app has been downloaded 100,000 times
Fresh Meat Unlocked Objective Productions, Maverick Television and Numiko for Channel 4 Fresh Meat Unlocked was an immersive online experience that set out to digitally explore storylines and education themes from series three of the hit comedy-drama. Since the site launched, it has had 437,000 visits, 293,000 unique visitors and close to 2 million page views.
Live from Space Arrow Media and Rckt for Channel 4
The Voice UK HomeCoach Wall to Wall and Tellybug for BBC One
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he Voice UK HomeCoach app allowed fans of the show to compete against each other to win points for correctly guessing the views of coaches including Kylie Minogue and Tom Jones. Developed by Tellybug and available on Apple and Android devices, it gave users access to exclusive previews of blind audition audio clips before allowing them to decide if they would back each contestant. If the coaches on the Wall to Wall Television and Talpa Media show turned their chairs around for the same contestant, the user earned points, which could be compared with those of friends and other players. The app was downloaded 800,000 times, with usage during this year’s series rising by 42% on 2013 as 150,000 people played along each week. It achieved an audience appreciation score of 81 – and 81% of people polled by the BBC heard about the app via the calls to action within the show. The Voice UK’s second-screen service got a 4.5 star App Store rating, with some people commenting on how it brought them closer to the BBC1 series and added value to their communal viewing experience. This was picked up by the judges. “A great example of connecting the audience with the show and heightening the viewer experience,” said one. Another added: “Good use of getting the audience to engage with the show through voting.”
www.broadcastnow.co.uk
‘A great example of connecting the audience with the show and heightening the viewer experience’
The Live from Space website aimed to provide a rich accompaniment to the series, showcasing original content that closely complemented the programmes and allowed the audience to get closer to space. It achieved 428,000 visits, with 288,000 unique visitors.
Psychopath Night Rckt for Channel 4 The website companion to Channel 4’s special night of programming offered a Spot the Psychopath game, demonstrating how many historical figures owe their fame (or infamy) to traits associated with psychopathy. Another feature, allowing users to test their own psychopath traits, was accessed by 1.5 million people.
The X Factor Fremantle Media UK Interactive and Tellybug for ITV The app featured the Fifth Judge game, which allowed viewers to participate in the talent show from home and prove their judging skills by rating each contestant, giving them a yes or no, making predictions and answering trivia questions. It attracted 1.6 million users, registering 22 million user sessions and 8.4 million video views.
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British Cinematographer POSTER_British Cinematographer A1 poster (A2 origination) 15/05/14 9:20 am Page 1
Film & Television Drama at Elstree Studios "Elstree Studios was the perfect home for The World's End. We needed three large stages with good height and excellent lighting grids. We required spacious, fully serviced production offices, a huge variety of workshops and first class dressing rooms. All of these needed to be easily accessible from Central London by public transport and within reach of the excellent locations in Hertfordshire. As always the team at Elstree bent over backwards to help us at every stage of the process, and no request was ever too much to ask. We look forward to returning very soon!” James Biddle, Executive Producer: The World’s End
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"I am always very happy at Elstree Studios. All the team really looked after the Bear and we had a very successful shoot over half a year. The team at Elstree will always bend over backwards and really try to change things when plans change (which they always do) and I have been so grateful many times for the professional, friendly and flexible approach they have. There is never 'we can't do that’, it is always 'how can we make it work' which with the pressures of film making you just need to know that key spaces like the stages will help out if they can. Our offices in the Enigma building were excellent and Elstree allowed me to tailor them to my designs to make them function really efficiently. I'll be back!” Tim Wellspring, UPM: Paddington Bear
Paddington
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"We have had a longstanding relationship with Elstree Studios and when we started working with Working Title Television on Yonderland we felt that it would be an ideal production to be based there. Elstree utilize every space available and provide offices, workshops and studios that have met our needs on each TV series or film. This time we were based in two studios as well as using the Enigma building for one of our show running sets, which resulted in us shooting exactly what was required. The studio team fully understand the production process and with their support and can do attitude this allows us to concentrate on filming, which can only be a good thing! We look forward to producing more at Elstree Studios into the future.” Pete Coogan, Co-producer: Yonderland
ng Limited and WTTV
© British Sky Broadcasti
Limited, 2013
London’s No.1 TV & Film Studio Elstree Studios, Shenley Road, Borehamwood, Hertfordshire WD6 1JG +44 (0)20 8953 1600 • info@elstreestudios.co.uk • www.elstreestudios.co.uk
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Best Entertainment Channel
Award sponsored by
ELSTREE STUDIOS
Shortlisted Dave The ‘home of witty banter’ served up a diverse yet complementary slate of original commissions and acquisitions throughout 2013, including Ross Noble Freewheeling, Crackanory and Dave Gorman Modern Life Is Goodish. 2013 marked the channel’s first US acquisition, Suits, the popularity of which was boosted by a bus advertising campaign.
E4 E4 broke free from the safety blanket of its sibling C4 in 2013 with a wide menu of exclusive content. Award-winning My Mad Fat Diary proved the channel was in tune with its young audience and clued in to the sensitive issue of mental health. The channel brought new talent to the screen via Troy, Drifters and Youngers, and won rights to US imports The New Normal, The Mindy Project and Brooklyn Nine-Nine.
Fox
BBC Three
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BC Three maintained its entertainment edge in 2013 with new shows and the return of some old favourites. Bad Education’s second series was the first comedy to premiere on iPlayer, and secured a 58% audience share of under-34s. BBC Three content as a whole received more than 3 million iPlayer requests a week. Young comedy talent were also given opportunities, with online comedy feeds serving as “a rich breeding ground” for new talent and Live At The Electric, hosted by Russell Kane, giving young comics a TV platform. BBC Three pulled off an ambitious production of Bollywood Carmen (pictured), updated and altered from the Bizet classic, which aired live from Bradford City Centre. It drew more than 1 million viewers across TV and iPlayer, with a notable BAME share of 10%. The channel continued to provide extensive coverage of major music festivals, such as Radio One’s Big Weekend, Reading, Glastonbury and T in the Park. New factual entertainment, from Barely Legal Drivers to Hotel Of Mum And Dad and Don’t Just Stand There, I’m Having Your Baby, complimented returning sitcom Some Girls and chat show Jack Whitehall’s Backchat, with Bafta-winning Him And Her back for a wedding special and The Revolution Will Be Televised returning. BBC Three was the most-watched digital channel during its TX hours throughout 2013, and our judges said it “stands out above the others”, with strong vision and content, proving itself “a force for good for young British audiences”.
www.broadcastnow.co.uk
‘BBC Three pulled off an ambitious production of Bollywood Carmen, which drew more than 1 million viewers across TV and iPlayer’
A coming-of-age year for FX, in which it became Fox – and grew not only in letters but in content too. In a record year of UK premieres, including True Blood, The Walking Dead, American Horror Story: Coven, Eastbound & Down and Louie, the channel’s rebrand night brought in its largest ever live audience of 560,000.
ITV2 A shiny new rebrand and an objective to become well-rounded for both male and female viewers attracted plenty of social media coverage for Crazy Beaches and Tricked, alongside the introduction of awardwinning Plebs, which drew 1 million viewers for its first episode. ITV2 continued to offer a home to TOWIE, which grabbed a peak 16% share of young viewers.
TLC The US import channel “with a British twist” grabbed the UK’s attention in 2013 with a 60-second spot during Britain’s Got Talent. Here Comes Honey Boo Boo and Breaking Amish boosted the launch, and contributed to the overall 10 million-plus monthly reach. Devious Maids pulled in a series average of 296,000, with the channel becoming a UK home to Oprah Winfrey.
27 June 2014 | Broadcast Digital Awards | 15
Best Digital Children’s Content
Shortlisted CBeebies Radio The popular audio version of the BBC’s flagship digital pre-school channel had a huge year, with downloads of its shows up by 33% and unique browsers reaching almost 66,000 a week. Winning shows among its core audience include Sarah & Duck and Postman Pat.
Dipdap Cube Interactive for CBeebies Mirroring the animated CBeebies series, this drawing app encourages children to draw in the missing objects – from their own imagination – that will help the titular character complete 16 adventures. With no words or instructions, the children are in the driving seat and get to watch Dipdap respond to their additions to his story.
Dixi Kindle Entertainment for CBBC CBBC’s first ever online drama is a cyber mystery series set in a social networking website. Two daily three-minute webisodes update the story in the language of the invented site Dixi, using a hacked account to explore issues of safety and cyber-bullying via videos, bespoke pop songs, photos and conversations between characters.
Ludus Cube Interactive and Boom Kids for CBBC
I
n a CBBC first, Ludus emerged fully formed as a gameshow and playalong game. The 20 x 30-minute Boom Pictures series is set on a spaceship. Three contestants must try to rescue their family and friends from alien baddie Ludus, who has turned them into holograms, by winning a series of games. Through innovative use of audio watermarking, viewers at home can play along on tablets and smartphones – whether watching it live, on a PVR recording or via iPlayer – from whichever point they turn it on. The games, which were released prior to the show’s debut in January, are designed to reward strategic thinking, memory, teamwork and maths skills. Fans can play away from the show in a standalone arcade mode where all 24 games can be accessed, with players able to use ‘power ups’ collected through the live playalong game. Judges praised Ludus for successfully marrying gamechanging product innovation with strong content. “Creating a genuine quality TV series with at-home companion made the whole experience better,” one said. Ludus has had more than 110,000 downloads and at its peak drove 10% of traffic to CBBC’s interactive services. Twofour Rights is taking it to the international market at Mipcom Junior later this year. The success of the playalong game has given CBBC the confidence to look at audio watermarked games for other properties, including Horrible Histories Gory Games.
16 | Broadcast Digital Awards | 27 June 2014
Tee And Mo
‘Creating a genuine quality TV series with at-home companion made the whole experience better’
Plug-in Media for CBeebies Tee And Mo, which follows the adventures of a pair of monkeys, was CBeebies’ first original, digital-first commission from a digital indie. The project includes 10 online games and 10 animated broadcast interstitials. The pre-school channel received more than 100,000 unique clicks per week, with nearly 1 million requests for the interstitials on iPlayer. CBeebies is now developing a full animated TV series.
Wizards vs Aliens: Eye of Bashtarr Aardman Animations for CBBC Fans of the CBBC fantasy show get to play as its heroes Tom and Benny in this puzzle platform game that spans 30 levels. They’re tasked with picking up collectables as they race to beat alien race the Nekross to recover the Eye of Bashtarr. The game had 200,000 unique plays in its first month.
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Best Specialist Channel
Shortlisted BoxNation In 2013, specialist boxing channel Box Nation aired some of boxing’s most prized fights, including Amir Khan’s return to the UK with a win against Julio Diaz, which put him back in the mix for the world title, and the biggest fight of the year: Floyd Mayweather’s defeat of Saul Alvarez. The subscription channel peaked with 150,000 subscribers, with an average of 90,000 per month.
Horse & Country TV Horse & Country TV is aimed squarely at the equestrian sector and produced a raft of orig inal content including Badminton: A Rider’s View at the May trials, Petplan Masterclass, a safety series fronted by iconic horse rider Lucinda Green, and competition series Arena UK. The channel also acquired its first scripted drama, The New Adventures Of Black Beauty, and launched a Horse & Country TV Everywhere app that allows fans who do not have Sky to watch its content.
Animal Planet
A
nimal Planet had its most successful year in five years in 2013, with ratings up 22% and a reach of 3.4 million people each month. The Discovery-owned broadcaster’s refresh, which included a new ‘Surprisingly Human’ tag, helped it to its biggest Monster Week since 2008, with successful ratings for Shark Week and Big Cat Week too. It moved into mockumentary for the first time with Mermaids: The New Evidence and Finding Bigfoot. Mermaids was one of two mermaid shows to reach more than 100,000 viewers, alongside Tanked, Fatal Attractions, Drug Kingpin Hippos and Blink Films’ Meet The Sloths. The pay-TV channel worked with more British indies than ever before last year, commissioning more than 25 UK firms including Off The Fence, which makes its Wildest… franchise; Icon Films, which produces Animal Airport; and Pupish Productions, which makes Snow Leopards Of Leafy London. Other big Animal Planet hits include another Blink commission, The Elephant Who Loved Too Much, plus blue-chip doc series Rhino Wars, Spun Gold’s Swimming With Monsters and Icon Films’ River Monsters. One judge said: “Animal Planet is making an ambitious and creative attempt to create stories and fresh narratives in this area of programming. It has clear branding, innovative scheduling and great content.”
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‘Animal Planet has clear branding, innovative scheduling and great content’
27 June 2014 | Broadcast Digital Awards | 17
The Judges
Aaqil Ahmed Head of religion & ethics BBC
Jonathan Almond Channel manager Fresh One Productions
Koulla Anastasi Channel editor A+E Networks UK
Alex Ayling
Sam Barcroft
Kate Barnes Executive producer, TV in EMEA Microsoft Xbox Studios
Cecilia Beacon Director of broadcasting & marketing Fox Int’l Channels
Jane Beacon Commissioning editor ITV Studiios
Paul Bennun Chief creative officer Somethin’ Else
Dan Biddle Head of broadcast partnerships Twitter
Hannah Blake Programme manager BBC Worldwide Labs
Peter Cowley Chief executive Spirit Digital Media
Jon Davenport Director Fable Media
Richard DavidsonHouston Head of online Channel 4
Hannah Demidowicz Commissioning executive Nat Geo Channels Int’l
Sarah Edwards Head of international creative development Sony Pictures Television
Danny Fenton Chief executive Zig Zag Productions
Morwenna Gordon Executive producer, digital entertainment Sky
Kat Hebden Head of digital Fremantle Media
Ben Hine Director of operations, technology & innovation UKTV
Patrick Holland Managing director Boundless
Kirsty Hunter Head of int’l creative development, digital Sony Pictures Television
Syeda Irtizaali Commissioning editor, entertainment Channel 4
Dan Jones Creative director, digital Maverick
Richard Kingsbury General manager PBS America
Dan Korn Senior vice-president and head of programming Discovery
Derren Lawford Commissioning executive London Live
Matt Locke Director Storythings
Laura Mansfield Managing director Outline Productions
Huw Marshall Digital manager S4C
18 | Broadcast Digital Awards | 27 June 2014
YouTube network manager BBC Worldwide
Chief executive Barcroft Media
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Gwawr Martha Lloyd Content commissioner S4C
Tom McDonnell Chief executive Monterosa
Simon Meek Creative director Secret Entertainment
Matt Millar Chief executive Tellybug
Emma Morgan Creative director Watershed
Siobhan Mulholland Commissioning editor, factual Sky
Pasa Mustafa Founder & chief executive Pasa Entertainment
Dani Neumann Creative director Spun Gold TV
Helen Nightingale Head of factual Gogglebox Entertainment
Ailsa Orr Creative director Pioneer Productions
Helen Orton Head of factual Betty TV
Faraz Osman Creative director Lemonade Money
Kate Quilton Former multiplatform commissioning editor Channel 4
Hilary Rosen Commissioning editor UKTV
Kerry Taylor Senior vice-president, youth and music MTV Networks
Martin Trickey Group head of digital Shed Media
Selma Turajlic Co-founder & chief operating officer Little Dot
Jo Twist Chief executive UKIE
Claire Zolkwer Commissioning editor, comedy entertainment ITV
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27 June 2014 | Broadcast Digital Awards | 19
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Best Platform Innovation
Shortlisted Grabyo.com Used by Sky Sports for the Champions League and Heineken Cup, and by Channel 5 for Celebrity Big Brother and The Big Benefits Row Live, Grabyo helps broadcasters and content holders share video clips across social media in real time, and offers commercial opportunities including sponsor bumper, adverts and promoted tweets, or branded Facebook updates.
Perception for Vision247 Cloud-based live streaming and VoD platform Perception has generated more than 300,000 users for Slovenian company T-2’s IPTV service. As well as live-streamed, linear digital TV and radio channels, it offers catchup across all channels and a PVR that enables users to switch between mobile, tablet and TV viewing.
The Freesat App for Freesat
In-App Voting on The X Factor Tectonic, Fremantle Media and Tellybug for ITV
B
roadcasters have been trying to crack how to offer premium in-app voting since the birth of the app market. Not only does the voting mechanism appeal to viewers as increasing numbers of people watch their favourite shows with a show-specific app open, but it also unlocks a new revenue stream. With the text voting scandal of 2007, in which viewers were charged for votes that were not counted, still casting a long shadow over the space, it was vital for the industry to develop a mechanism that was robust and trusted. Appropriately, The X Factor, one of the most popular talent contests on TV, was the showcase for in-app premium voting. For the first time, viewers of Fremantle Media’s juggernaut were able to cast a vote in real time via their tablet or mobile device. Suddenly a new audience who watched the show with the app open was able to influence its outcome. The platform was developed by Tectonic Interactive before being integrated with the Tellybug-created app. To thoroughly road-test the service, which comes under significant pressure from massive spikes in traffic, 750,000 virtual votes were cast ahead of launch. Viewers were then invited to buy bundles of vote packs, priced from 69p to £1.99, before casting them via the app, after which they were registered by ITV within seconds. The app’s success led one judge to declare: “This will change the broadcast landscape.”
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The mobile app companion to the subscription-free satellite TV service doubles up as a remote control with added ‘remind and record’ capability, on-demand content and Freesat’s roll-back seven-day TV guide. Within four weeks of launch, the app was downloaded more than 160,000 times.
YouView
‘For the first time, viewers of Fremantle Media’s juggernaut were able to cast a vote in real time via their tablet or mobile device’
The fastest-growing TV service in the UK is now in more than 1 million connected UK homes, with on-demand viewing peaking at more than 3 million views each week and half a million each day. YouView has also innovated with an app, a high-contrast EPG and internet channels.
27 June 2014 | Broadcast Digital Awards | 21
Life. Frame by Frame Discover rare and inspiring footage from around the world. We'll help you ďŹ nd the story you've been looking for. Over 2.7 million video clips 20 hours of digitised content added every day Most diverse commercial archive in the world www.itnsource.com
Best Factual Channel
Award sponsored by
Shortlisted BBC Four The revival of The Sky At Night with Maggie Aderin-Pocock, plus new presenting talent Dr Olivia Horsfall and Professor Catherine Edwards, breathed new life into BBC Four’s output. A renewed commitment to history delivered shows such as Byzantium, Medieval Lives and A Very British Murder, while arts had a boost with Secret Knowledge and What Do Artists Do All Day?.
Discovery Channel Judges praised the channel’s mix of strong characters like Bear Grylls and big-scale productions like Klondike, as well as its willingness to play with formats on shows like Naked And Marooned With Ed Stafford and Shackleton: Death Or Glory. “It’s exciting that a pay-TV channel is not shackled by what the US is doing,” said one judge.
History Channel A winning mix of big US shows such as Duck Dynasty, Mountain Men and Counting Cars, and UK commissions such as Shaun Ryder On UFOs, drama-doc The Great Martian War 1913-1917 and an adaptation of Pawn Stars, helped keep History fresh in 2013.
BBC Three
I
t’s been a brilliant year, creatively and in ratings terms, for BBC Three, and factual has been at the heart of it. From Our War to the It’s A Mad World mental health season and a fast-turnaround Oscar Pistorious doc, judges declared its output “relevant and topical – completely of the moment”. One declared: “It’s become the go-to channel for us as programme-makers, even before Channel 4, because it’s nimble and reactive.” BBC Three’s ability to present tough issues to a young audience in a relevant, accessible and unpatronising way resonated with judges, who felt that its international coverage in particular, fronted by the likes of Stacey Dooley and Reggie Yates, often goes unsung. “What other channel so regularly takes its reporters to other countries to investigate serious subjects in primetime?” one wondered. The Fresh strand also came in for praise as a shining example of BBC Three’s willingness to take risks and give a break to new talent on films such as Growing Up Downs (pictured). The strand got its own short doc web spin-off last year, Fresh Online. The channel has brought “light and shade” to factual, judges declared, with a broad range of subjects and treatment. Tough subject matter, often from a young person’s perspective, regularly jostles with lighter formats such as The Call Centre. One judge marvelled: “In a quiet way, they manage to do it all.”
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‘It’s become the go-to channel for us as programmemakers because it’s nimble and reactive’
Horse & Country TV As well as acquiring The New Adventures Of Black Beauty, this specialist channel mixed up its factual output with new shows such as Badminton: A Rider’s View and sixpart series Petplan Masterclass. It also extended its reach with the launch of onthe-go streaming and catch-up service H&C TV Everywhere.
27 June 2014 | Broadcast Digital Awards | 23
Best Content Partnership or AFP
Award sponsored by
Shortlisted David Attenborough’s Natural History Museum Alive 3D Colossus Productions for Sky 3D “An incredible piece of TV and a ground breaking use of technology” declared one judge of Attenborough’s ambitious project, which depended on a close relationship with the museum and its experts to pull it off. The show was just one part of a multi-layered project that encompassed an app, a book, a website and an IMAX experience.
The Fox Problem Powered by HP Telegraph Hill “Clever and buzzy” was the judges’ verdict of these live broadcasts from Shoreditch, where celebrities and guests discussed themes such as space, sex and fame. The series was devised to bring HP to a younger audience and the company estimates it brought in at least £150,000 worth of sales to this demographic.
Hollyoaks: This is Abuse Lime Pictures and Sassy Films for E4
Stargazing Live BBC Productions for BBC Two
T
he BBC’s astronomy show took its relationship with ‘citizen science’ group Zooniverse to new heights with its hunt for ‘gravitational lenses’ that point the way to previously unknown galaxies. Judges marvelled at the central tenet of this relationship: a drive to put scientific endeavour into the hands of ordinary people – who responded in droves. Within minutes of announcing the ‘SpaceWarps’ project live on air, thousands of people had signed up – and by the end of the series, one ‘gravitational lens’ had been discovered and discussed with its finder live on air via Skype. To date, 51,000 people have made more than 8 million classifications and Stargazing Live’s website became the BBC’s most popular programme site after EastEnders in the first week of January 2014, with more than 297,000 unique browsers. Judges loved the show for its core Reithian values and respect for scientific tradition. Putting genuine scientific endeavour in the hands of “passionate amateurs” and “armchair citizen scientists” delivered true viewer engagement, they declared. The direct results of the partnership were clear: “This is a credible partnership resulting in impressive viewer participation and actual success with new galaxy discovery,” noted one judge. Another put it more simply: “This is the BBC at its best.”
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‘This is a credible partnership resulting in impressive viewer participation and actual success with new galaxy discovery’
Judges praised the “proper purpose” and “editorial integrity” that Hollyoaks brought to a hard-hitting storyline. The Home Office cal culates that the youth brand took its mes sages about domestic abuse and bullying to 2.3 million people via TV, social media, advertising and online extras such as You Tube videos featuring Hollyoaks characters.
Kellogg’s Krave Tweet When You Eat ChannelFlip Media ChannelFlip used its established relationship with YouTube content creators to reach teen agers on behalf of the cereal company. Iden tifying 14 stars, it uploaded weekly videos of them each taking on a bespoke challenge. The videos attracted more than 6 million views during the campaign and Krave’s sales were up 32%.
The Support Group Bwark Productions Each episode of Chris Little and Jonathan Stern’s online football comedy is drawn from the week’s football action and turned around in days. Aligning the show with Domino’s Pizza, they successfully targeted the core male 16-34 audience and linked to other football blogs and news sites.
27 June 2014 | Broadcast Digital Awards | 25
CREATIVE We specialise in creating compelling and entertaining sports films. As well as working with some of the UK’s biggest sports brands like The Premier League, BT Sport, and IMG, we have just completed our first overseas production for CICC in China, ‘Hopes and Dreams’. Look out for Hopes & Dreams on our website and in festivals this summer.
Contact our Team: Director of New Business: Natasha Aksenova 020 7148 4777 dunlopgoodrich.com
Best App or Website for Channel, Strand or Genre
Shortlisted CBeebies Playtime Games based on popular pre-school shows including Tree Fu Tom, Octonauts and Something Special all feature on this CBeebies app, which has been downloaded 2.2 million times since its launch in August last year. The app now accounts for almost 40% of viewers’ interaction with the channel and its shows.
E4.com The youth channel relaunched its website last October with a simple mission: to focus more clearly on its shows. Out went games and the ‘WTF’ section, and in came better links to 4oD and live simulcasts, more clips and fan extras, plus an integrated Twitter stream.
www.horseandcountry.tv The specialist channel broadened its reach beyond the Sky Platform with the launch of H&C TV Everywhere, which offers live streaming and seven-day catch-up. Subscriptions are sold through its site, which now has more than 1,800 short-form videos, plus news, events, blogs and viewers’ galleries.
The Nick App
S
pongebob Squarepants rubs shoulders with the Teenage Mutant Ninja Turtles and Sam & Cat in this elegantly designed app from the kids’ broadcaster. Developed in-house by Nickelodeon Digital, the iOS app features an innovative ‘massive movable tile layout’, which allows users to navigate more than 200 pieces of content by swiping in any direction. Along with short-form videos, mini-games, polls and galleries, the app features eight full-length episodes of shows such as Sanjay & Craig and The Haunted Hathaways. It has also been used to introduce forthcoming TV shows to the Nickelodeon audience. The launch of animated series Rabbids Invasion was previewed on the app as part of a marketing push that helped make it the broadcaster’s best ever launch. It has also been used to help strengthen viewers’ relationship with familiar shows, such as posting regular updates about the stars of Sam & Cat during their recent UK trip. A ‘Do Not Touch’ button, which serves short app take overs including covering the entire screen with green slime or a video of a cat with laser eyes, helps to maintain an irreverent tone. The app has been downloaded more than 150,000 times and the judges agreed that the design is superb and perfectly encapsulates the brand. “Nickelodeon punched above its weight with this app,” was the verdict of one judge, while another added that it helped “move the Nick brand on”.
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itv.com/news
‘Nickelodeon has punched above its weight with this app’
Last year’s winner has continued to make huge strides, scoring more than a million views of the footage of the Woolwich killer within 24 hours and hosting first-hand reporting of the ‘kidnapping’ of the UN envoy to Ukraine. Its strengths as a local news service came to the fore during the storms that wrecked Dorset and Aberystwyth.
27 June 2014 | Broadcast Awards 2011 | 27
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VP commissioning, BBC Worldwide
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Best Scripted Programme
Shortlisted Crackanory Tiger Aspect for Dave An all-star cast made this inspired adult take on Jackanory sparkle, with Harry Enfield, Sally Phillips and Kevin Eldon among those introducing new writing to Dave viewers. A second series is on its way.
Horrible Histories Lion Television and Citrus Television for CBBC In its swansong year, the sketch show dipped deeper into the Twentieth Century to look at the space race and Rosa Parks. In writing and production, it went from strength to strength, with memorable highlights including Charles Dickens channelling Morrissey and Simon & Garfunkel’s ode to the Vikings.
Moone Boy Baby Cow Productions, Sprout Pictures, Hot Cod Productions and Grand Pictures for Sky 1 With co-writer Nick Murphy, Chris O’Dowd continued to mine his childhood for the second series of this charming comedy, with lead character Martin Monroe encountering new dilemmas as he enters secondary school. Surreal visual flourishes added to its distinctiveness.
In The Flesh BBC Productions for BBC Three
A
fter Being Human and The Fades, viewers could have been forgiven for thinking BBC Three had exhausted all viable supernatural storylines. But theatre writer Dominic Mitchell’s first TV commission delivered a fresh take on the zombie genre. The horror aspect is just one part of his multi-layered story, which is ultimately a drama about family and community that cleverly uses the reintroduction of zombies (or “rotters”, as they’re known here) into society to comment on prejudice of every hue. Another relative newcomer, Luke Newberry, excelled in the lead role of Kieren Walker, a ‘partially deceased syndrome’ sufferer returning to his family after the uprising and struggling to rehabilitate himself into the rural community of Roarton. Garlanded with Baftas for its first three-part run, its success was a feather in the cap for the BBC Writers room, where the series took shape over three years. A second, six-part series, which aired this spring, added further young writers to the mix. One judge praised an “original idea in a zeitgeist subject area”, describing it as a “very clever British take on what is usually just a gore-fest”. Another said it was exactly right for BBC Three’s young audience, and singled out its commitment to new talent, and faith in the creative process, as “an inspiration to all broadcasters”.
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The Tunnel
‘The horror aspect is just one part of this multilayered story, which cleverly uses the reintro duction of zombies into society to comment on prejudice’
Kudos and Shine France Films for Sky Atlantic A true Anglo-French co-production, right down to the writing team, The Tunnel was far more than a straight adaptation of Scandi hit The Bridge. Strong leads and an authentic – and logistically complex – location lent huge credibility to the script, which was shot three times: in English, French and a mixture of the two.
Highly Commended My Mad Fat Diary Tiger Aspect Productions and Drama Republic for E4 Writer Tom Bidwell and star Sharon Rooney impressed with their sensitive, funny and truthful adaptation of Earl Ray’s memoirs, effortlessly capturing the awkwardness and joy of life as a teenager.
27 June 2014 | Broadcast Digital Awards | 29
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Best Multiplatform Project
Award sponsored by
Shortlisted A Field in England Masterclass & Multiplatform Release Maverick Television and Rook Films for Film 4 Film 4 broke new ground with the simultaneous cinema, DVD, on-demand and linear-TV release of Ben Wheatley’s English Civil War drama. An added bonus for film fans was an open-source resource of call sheets, schedules, kit lists and production commentaries. It also provided, in the month up to release, a daily alphabetical guide to the film’s 17th century setting, via Twitter.
Easter Eggs Live Windfall Films and Numiko for Channel 4 In the week running up to Channel 4’s live event, viewers were invited to watch any of the 24-hour video streams of the hatchery and discuss their observations in real time. The team responded to higher-than-expected mobile use with the option to save elements to their phone’s home screen.
D-Day: As It Happens
Ludus
Windfall Films and Digit London for Channel 4
The playalong puzzle game for the CBBC show, powered by audio watermarking, also worked via catch-up, with viewers able to freeze, fast-forward and rewind. Such is its popularity, the game now drives 10% of traffic to CBBC’s interactive services.
C
hannel 4 pioneered a new form of storytelling to pay tribute to the World War II heroes who risked their lives 70 years ago. The 24-hour project, produced by Windfall Films, was a comprehensive and immersive experience, book-ended by two hour-long TV docs. The digital experience allowed viewers to follow a moment-by-moment account of the day’s events through the eyes of seven people via a dedicated website and Twitter. After analysing thousands of hours of film footage, the movements of the ‘D-Day Seven’ were logged and plotted on a mobile-optimised website, developed by Digit London, along with relevant video clips, images, documents and testaments. Real-time updates were posted throughout the period on dedicated Twitter accounts using the actual words of the D-Day Seven, sourced from diaries and interviews. The site clocked up around 100,000 visitors, with 70% of visits taking place during the 24-hour period when the project was live. Engagement was high, with an average visit length of 11 minutes, driven by more than 200,000 video views. “At last, a true example of transmedia storytelling that works,” said one judge. “In a genre where ‘bringing history to life’ is often talked about, this genuinely delivered 360-degree storytelling that created compelling viewing and interaction,” said another.
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‘This delivered 360-degree storytelling that created compelling viewing and interaction’
Cube Interactive and Boom Kids for CBBC
The Spirit Of ’45 The Project Factory and Syndicut Communications for Film 4 A social media campaign directed people to cinemas to watch Ken Loach’s post-WWII documentary, follow this up with 60 video interviews, and then imagine themselves in the subject’s shoes by filling in a ‘My 1945’ questionnaire. Any TV discussion of the film was supported by ‘live’ tweeting from the official account.
The Voice UK Wall to Wall for BBC One The talent show was supported by a wealth of spin-off content including The HomeCoach playalong app, a major push on Twitter and Facebook, plus The Voice Louder, a web show that migrated to BBC2 and iPlayer to support the live shows. It also hosted Twitter Q&As, plus Vines and ‘What Do You Meme?’, a strand inviting viewers to caption images from the show.
27 June 2014 | Broadcast Digital Awards 2014 | 31
Best Original Web Channel
Shortlisted Bad Teeth Hat Trick Productions Cassetteboy’s take on Jeremy Kyle, plus spoofs centred on Rizzle Kicks and One Direction’s Harry Styles, created a buzz around Hat Trick’s original comedy YouTube channel. The indie also scored a coup with a blockbuster sketch featuring Warwick Davis, Idris Elba and Johnny Vegas that got an extra push as part of YouTube’s comedy week in May 2013.
Barcroft TV Barcroft Media This news channel has been a YouTube phenomenon, with several films earning more than 10 million views, securing it a place in Socialblade’s ranking of the top five news channels worldwide and a presence for its daily news shorts (all of its items are less than five minutes long) on partner sites such as Mail Online, Sun.co.uk and NewYorkPost.com.
Head Squeeze 360 Production and BBC Worldwide
Vice YouTube Vice Media
A
n “outstandingly courageous channel that defines 2014” was one judge’s glowing verdict of the Vice web channel. The 20-year-old youth publisher brand aggressively turned up the volume on its online video content last year – producing a raft of long-form documentary films that have amassed more than 400 million views, 4.5 million subscribers and 35 million hours of watch time. No wonder Time Warner has been sniffing around it. Standout films have ranged from Click, Print, Gun, a tech film focused on 3D printing of guns, to UK’s Scariest Debt Collector, a profile of Warrington’s Shaun Smith. Vice’s wide range of current affairs output has included dispatches from Afghanistan, Russia and Ukraine. In February, a dedicated Vice News channel was established. Vice points to the originality of its ‘experiential and action-led’ content, which is created to a length and format that fits each story rather than an appointed schedule slot. Built around unprecedented access, Vice tries to tell stories that would otherwise go unreported. The in-house productions have struck a chord with Vice’s audience and been recognised by mainstream media outlets, with several films appearing on the homepages of The Guardian and Mail Online. “Bold, confident, brave and savvy,” said one judge. “Vice is not afraid to follow its own path in defining and finding relevance for digital generations.”
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‘Vice is not afraid to follow its own path in defining and finding relevance for digital generations’
Science, technology and maths are all demystified across Head Squeeze’s five strands, each of which has its own tone and animation style. Highlights include live Google+ hangouts with astronauts at the European Space Agency, themed content around Pi Day and a Q&A with daredevil scientist Greg Foot.
Jamie Oliver’s Food Tube Fresh One Productions The chef has brought his infectious energy and culinary expertise to the web with live shows showcasing food from Oliver and fellow cooks, plus interactive videos such as Slap Jamie, food photography masterclasses and the Search for a Food Tube Star, which uncovered an Argentinian chef who has gone on to forge a TV career.
Mashed The Connected Set Together with Channel 4, channel manager Tom Jenkins has curated an eclectic mix of short funny clips aimed at 16 to 34 year-old men. On top of 40 Years of Gaming – inspired by Charlie Brooker’s C4 show How Videogames Changed The World – and the muchtalked about Putin’s Gay Adventures, Mashed secured C4’s first web-to-TV commission in the form of an end-of-year review show.
27 June 2014 | Broadcast Digital Awards | 33
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Channel of the Year
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Sargent-Disc
Shortlisted CBBC From Horrible Histories to Friday Download and Operation Ouch, a strong mix of shows across the genres helped CBBC maintain its distinctive edge in 2013. New shows to join its schedules included Henry Winkler’s Hank Zipzer, surreal animation Strange Hill High, gameshow The Daredevil and multi platform commission Ludus.
Dave UKTV’s comedy and entertainment channel enjoyed 20% year-on-year growth, propelled by strong US acquisitions Storage Hunters and Suits, and a boost to its original commis sions in the shape of Ross Noble Freewheeling, Crackanory and Dave Gorman Modern Life Is Goodish. All this plus two comedy podcasts with a combined 3 million subscribers.
Discovery Channel This was Discovery’s third successive year of double-digit share growth and its best year since 2007. Powering this were some dis tinctive UK commissions including Tigress’ Naked And Marooned With Ed Stafford and Raw’s Shackleton: Death Or Glory, plus the global live event Skywire Live.
BBC Three
T
his was the year that BBC Three showed just what it can do, firing on all cylinders in each of its key genres. In terms of servicing its target audience, judges agreed that no channel came close to matching it in 2013. BBC Three reached 93% of all 16-34s with access to a TV in the period and, in a sign of its likely online future, secured more than 3 million iPlayer requests a week. After 10pm, it’s now the number one channel for its age group, ahead of all the terrestrials. So what about the shows? In drama, it’s shown that there’s life beyond Being Human with the Bafta-winning In The Flesh, a distinctive series that hits the channel’s goal of breaking new talent, both in writing and acting. Comedy has come on in leaps and bounds, with Bad Education getting audiences of 3.7 million across TV and iPlayer, Uncle and Bluestone 42 winning critical plaudits, Him And Her (pictured) signing off in style and Some Girls and Pramface big hits with BBC Three viewers. And that’s before you get to homegrown satirical hit The Revolution Will Be Televised. But it’s in factual that BBC Three really shines, with programmes that are the envy of many of its commercial rivals: Our War, The Call Centre, the It’s A Mad World season of mental health documentaries, and international investigations from the likes of Stacey Dooley and Reggie Yates. If this is to be one of BBC Three’s last years as a linear digital channel, it’s certainly going out in style.
www.broadcastnow.co.uk
‘If this is to be one of BBC Three’s last years as a linear digital channel, it’s certainly going out in style’
E4 Comedy drama My Mad Fat Diary and sitcom Drifters brought strong new voices to E4, while Youngers continued to reach the younger end of its audience. The channel also added magic in the shape of Troy, which debuted to an audience of 1 million. The New Normal, Brooklyn Nine-Nine and The Mindy Project joined The Big Bang Theory in its US sitcom slate.
ITV2 ITV2 broadened its entertainment slate in bold new ways, not least with Halloween hit Release The Hounds. It too breathed new life into magic with Ben Hanlin’s Tricked, while Crazy Beaches brought interactivity to the Brits-abroad factual entertainment genre. Meanwhile, Plebs has become appointment-to-view comedy and The Big Reunion and Celebrity Juice continue to deliver big studio entertainment.
27 June 2014 | Broadcast Digital Awards | 35
25 June 2014, The Brewery, London