Broadcast April 18th

www.broadcastnow.co.uk

18 April 2014

INTERVIEW

PRODUCTION

BEHIND THE SCENES

Page 18

Page 21

Page 24

Richard Watsham’s vision for UKTV

Wales: on an upward curve

The Jesus Mysteries: Nat Geo’s drama-doc

Shillinglaw set to woo indies Science and natural history commissioner ready to prove her credentials in other genres

BY JAKE KANTER

Incoming BBC2 controller Kim Shillinglaw is set to launch an indie charm offensive as she bids to get to grips with unfamiliar genres and make her mark on the channel’s schedule.

The BBC’s head of science and natural history commissioning was unveiled as Janice Hadlow’s replacement last week following a two-month recruitment process, in which she was the clear favourite from a relatively small pool of credible candidates.

Shillinglaw, who will also oversee BBC4, has not yet been handed a start date as the corporation seeks a successor to take over her genre brief. Adam Barker will remain in place as interim controller of BBC2 and BBC4.

The Stargazing Live and Frozen Planet commissioner’s appointment has been well received, with many praising her sharp creative instincts, decisiveness and enthusiasm for innovative programming.

Some have also commented on her direct, “un-BBC-like” approach.

An indie source described her as “plain-talking and approachable”, while a senior insider said she was “clear, robust and decisive”.

“That might be a shock to the system for some BBC2 suppliers. She’s much more of a real person. She doesn’t feel very BBC,” said the source.

Although BBC2 is in good health, Shillinglaw is expected to bring more of an “entertainment sensibility” to 9pm, where Hadlow tended to favour more traditional factual programming.

The Challenger: award-winning factual drama about the space shuttle disaster was ordered by Shillinglaw

She will find the things she hasn’t done more interesting than the stuff she has BBC source

Another area of focus on BBC2 will be shoulder peak, sources have claimed, where ratings have been damaged by the removal of daytime programming. The 7pm slot is not as well funded as 6pm, but the corporation is working to

find innovative financing models for new commissions to keep early evening viewers with the channel.

Some have commented on Shillinglaw’s close ties to the BBC Natural History Unit and in-house science producers, raising questions over whether her indie relations are as established as they could be. “The test will be if, with a massively enlarged brief, she is able to embrace the best ideas regardless of provenance,” said one factual producer.

Another prominent indie boss

expects Shillinglaw to launch a charm offensive once in post. Broadcast spoke to a number of drama, comedy and entertainment producers who have never had contact with the incoming BBC2 controller, and one pointed out that in Shillinglaw and BBC1 boss Charlotte Moore, the corporation has “two controllers from similar backgrounds”.

But a BBC insider said that Shillinglaw will “find the stuff she hasn’t done more interesting than the stuff she has”, and an in-house scripted producer argued: “As long as she trusts her scripted commissioners and doesn’t try to do their job for them, she’ll be fine.

Charlotte Moore doesn’t know scripted, but trusts Ben Stephenson and Shane Allen, and it works really well.”

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

BBC3 chief: what’s the criteria?

Candidates will have to prove their online ambitions to land job

W

hen the job of BBC2 controller became available in February, drawing up the list of potential candidates didn’t take long. A handful of BBC factual specialists and the odd external candidate were quickly being talked about, and before too long Kim Shillinglaw’s name was on everyone’s lips.

“It’s Kim” became the standard (and slightly dull) answer to queries about who would succeed Janice Hadlow.

‘The BBC has the opportunity to appoint a channel controller with a vision that genuinely looks to the future’ And there’s nothing wrong with that.

She seemed to quickly establish herself as the outstanding candidate and will apparently relish the opportunity to expand her experience beyond her natural history and science background. It may have been a predictable appointment, but the reaction has been overwhelmingly positive.

There is nothing predictable about who will be the next BBC3 controller, given its monumental shift next autumn. Zai Bennett, named this week as the director of Sky Atlantic, has had a successful tenure at BBC3 since April 2011 and was understandably gutted when the rug was pulled from under him in the shape of savage budget cuts and a move online. The sizeable challenge for his successor is to make that work.

That individual will be tested with running both BBC3 and iPlayer, and will require skills beyond the norm for TV execs. They 2 | Broadcast | 18 April 2014

will need a flexible approach to commissioning, and some experience of short-form content would probably go a long way.

Scheduling is also going to take on new significance. Should an online BBC3 release content in Netflix-style blocks, seek to replicate the weekly drop of traditional linear TV, or settle somewhere in between?

Releasing stripped daily content and attempting to create appointment-to-view content online is an intriguing prospect.

How to stagger content through the year will also be important, and the new BBC3 controller will have to decide whether to mirror the traditional TV launch schedules.

Much BBC3 viewing will likely be done on mobile devices, so will that alter the way that its content is made? Thumbnail images and close-ups could become part of the language of the way its shows are presented and shot.

Delivering interactive content and pushing engagement will likely be key priorities. It’s perfectly conceivable that candidates will be asked to outline their strategy for building a sense of community online, as much as their vision for factual and comedy. In essence, a whole new skill set is required. All of which means it’s far harder to immediately come up with a highly plausible list of candidates – which is no bad thing.

The BBC has the opportunity to appoint the next generation of channel controller – someone with a vision that genuinely looks to the future rather than relying on warm baths, noisy programming or all the other traditional buzz phrases. Who it chooses – and the criteria it uses to make that decision – will be fascinating.

Top News è Channel 5 owner Richard Desmond (below) promised to buy director of programmes Ben Frow a Ferrari, if the channel hits ratings designed to impress the broadcaster’s prospective buyers.

è Ingenious Ventures chief executive Patrick Bradley has exited the company to establish a £150m media and entertainment investment fund.

è BBC Productions boss Mark Freeland has pledged that his division will be on the “front foot” in underlining its value during the BBC Trust’s review of commissioning quotas.

Ratings Top Five Britain’s Got Talent (below) returned for a seventh series on Saturday with 11m, its biggest launch rating on record.

1

2 ITV2 travelogue Tom Daley Goes Global held off competition from BBC3 doc Porn: What’s The Harm? to draw 400,000 viewers on Thursday.

3 Weekend Escapes With Warwick Davies got under way with 2.7m on Friday – below his previous ITV outing.

4 Bubba Watson’s victory in the Masters helped BBC2’s golf coverage peak with an audience of 2.4m on Sunday.

5 Game Of Thrones continued on Monday with nearly 820,000 viewers for Sky Atlantic.

Team Tweets è True Detective final is too much. Though airing it with ads is a crime #SkyAtlantic @alexfarber

www.broadcastnow.co.uk

News & Analysis

Merger on cards for BBC3 role The BBC3 post will be combined with the proposed ‘fifth channel’ controller for iPlayer

By Jake Kanter

The BBC3 controller post will likely be merged with the yet-tobe-filled role of iPlayer content boss following Zai Bennett’s decision to join Sky Atlantic.

The controller of the BBC’s youth channel will work at the corporation until June before becoming director of Sky Atlantic, home of Game Of Thrones and Mad Men, in August.

Broadcast understands that director of television Danny Cohen is seriously considering combining the BBC3 job with the proposed ‘fifth channel’ controller for iPlayer, creating the most powerful online commissioning role the BBC has ever had.

The iPlayer controller plans were initially mooted by Cohen in October. He said it would have the “same status and standing” as the bosses of BBC1 and BBC2. The plan was also to hand the controller a commissioning budget of “a fair few millions every year”.

The hope is that this remit will sit comfortably alongside BBC3, which will become an online-only brand in autumn 2015 if the BBC Trust

The Call Centre: BBC3 factual series was commissioned by Zai Bennett

frontline of serving young viewers with changing content consumption demands. Kavanagh also temporarily oversaw BBC3 following Stuart Murphy’s departure to RDF in 2005.

Meanwhile, Cohen is readying an interim management structure

greenlights the move following a public value test over the summer.

BBC daytime controller Damian Kavanagh is currently working up proposals for BBC3 that will be put before the governing body. He is drawing on his three years’ experience at CBBC, where he was at the

to oversee BBC3 prior to Bennett stepping down in June.

No decisions have yet been made, but it could be that the interim controller role becomes a channel editor post, mirroring Cassian Harrison’s responsibilities at BBC4.

Bennett’s departure comes as no surprise. He has done little to hide his displeasure at the BBC’s decision to move BBC3 online and halve its £75m budget last month. The controller, who has overseen the channel since April 2011, said he was “deeply shocked” and “hugely disappointed” by the move.

At Sky, the Call Centre and Bad Education commissioner will report to director of entertainment channels Stuart Murphy, who said Bennett will be backed in making the channel his own.

ITV to fill football void with in-house formats ITV plans to use the funding and space in the schedule freed up by its loss of the Champions League to test in-house formats.

The commercial broadcaster carried nearly 40 hours of live Champions League coverage on its flagship channel in 2013, with its last deal with Uefa said to be worth around £53m a year.

But ITV will lose the competition to BT Sport in August 2015 after the pay-TV operator swooped for the rights in a £897m deal last year.

ITV is now set to turn to internal programme-makers to fill the void. The company’s 2013 annual report states: “From the second half of 2015, we will no longer hold the live rights for the Chamwww.broadcastnow.co.uk

Getty Images

By Jake Kanter

The question is: will ITV try to stem that potential loss of male viewers?

ITV insider

Champions League: deal ends 2015

pions League, but this will potentially open up parts of the schedule, which will give us an opportunity to invest more in ITV Studios content.”

It is rare for ITV to make a public commissioning commitment to ITV Studios, with chief executive Adam Crozier preferring

to make clear that ideas are ordered on merit. But there appears to be a view that investing the Champions League money internally could reap rewards in the long term.

When asked about the plans, one ITV insider said: “The football delivers a great male audience for a channel that is traditionally female-skewing. The question is: will ITV try to stem that potential loss of male viewers?”

The loss of football rights will also have a big impact on ITV4, where domestic interest in the Europa League delivers important audiences. This is all the more pertinent after Crozier described ITV4’s performance in 2013 as “disappointing” – despite Premier League teams performing well in the competition.

ITV will also suffer the loss of the FA Cup later this year. The tournament’s ability to deliver big audiences was underlined at the weekend, when Arsenal’s semifinal victory over Wigan peaked with 10.6 million (48.5%) viewers.

This did not prevent FA chairman Greg Dyke complaining that the competition has not enjoyed the same exposure on ITV as it will on the BBC later this year.

18 April 2014 | Broadcast | 3

News & Analysis In Brief Discovery poised for C5 Discovery Communications and BSkyB were poised to announce a deal to acquire Channel 5 from Richard Desmond’s Northern & Shell as Broadcast went to press.

Several sources told Broadcast that the global factual giant had agreed the move in principal, but a C5 spokeswoman said a deal had not been done. “We have a number of bids as expected, which we will evaluate with our advisers over the next few days,” she said.

Netflix in Hinterland deal Netflix has picked up Welsh crime drama Hinterland (left) to stream in the US after striking a deal with All3Media International. The VoD service will carry the 8 x 60-minute series in the US and Canada, as well as in Scandinavia, where it has also been picked up by Dan­ ish public broadcaster DR. The first series of Hinterland will debut on BBC4 later this month, having aired on S4C last year.

McIntyre show to return The Michael McIntyre Chat Show is set to return for a second series on BBC1. The Open Mike Productions programme is close to being recommissioned by BBC1 controller Charlotte Moore, despite a mixed critical reception. The show has aver­ aged an overnight audience of 2.1 million (18.1%), while the first five episodes consolidated up to 2.3 million (17.5%).

Dickson exits Dragonfly Simon Dickson is to leave Shineowned indie Dragonfly Film and TV after three years. Dickson joined the factual indie from Channel 4, where he was deputy head of documentaries and became managing director following the departure of Sanjay Singhal in 2012. It is not clear whether Dickson, who will leave next month, has lined up another role.

For the latest breaking news www.broadcastnow.co.uk 4 | Broadcast | 18 April 2014

UKTV makes indie pledge in commissioning rethink BY robin parker

UKTV is pledging to provide a full response to indies’ pitches within two weeks of submission as part of a wide-ranging overhaul of commissioning.

In an interview with Broadcast, UKTV’s recently appointed direc­ tor of programmes Richard Watsham outlined a new strategy to premiere all commissions on flagship channels Watch or Dave, with a view to repeating them on the appropriate genre channel within its portfolio, such as Good Food or Really.

He also revealed plans for more location-based entertainment shows, including Gogglebox Enter­ tainment format Singing In The Rainforest, a 5 x 60-minute series for Watch in which musicians record music with remote tribes, drawing on both cultures’ musical heritage. It will air in early 2015.

Meanwhile, Simon Lupton, a drama exec who has worked for Left Bank Pictures, Comedy Central and the BBC, has joined as a scripted content commissioner.

Choccywoccydoodah: all UKTV commissions will premiere on Dave or Watch

The changes come as UKTV compiles its first indie charter in a bid to improve how it works with producers.

It will commit to fund ideas that it wants to take forward within a month and will task a member of its senior team to act as an informal ‘enforcer’ to put pressure on com­ missioners if they miss deadlines.

All ideas will be acknowledged within two days.

Watsham told Broadcast that the support also extends to a web

commissioning portal, featuring briefs and wishlists from commis­ sioners and details of its legal, business and compliance policies.

“It’s important that we are as transparent about it as we can be,” said Watsham.

“Commissioning is incredibly important to the future of this business and the commissioning charter is a philosophy and a promise to the indie community, which is important to us.” ➤ See Interview, page 18

Universal Music eyes TV push after indie deal BY peter white

Record label Universal Music is to ramp up its move into tele­ vision following the acquisition of London-based indie Eagle Rock Entertainment.

The record company, which is home to Rihanna, Mumford & Sons and Bon Jovi, bought Eagle Rock, which produces live concert footage, documentaries and feature films, last week.

Eagle Rock produces docs such as Ladies And Gentleman… The Rolling Stones, which aired on Sky Arts, and has a catalogue of nearly 2,000 hours of programming.

Bill Gagon, senior vice-presi­ dent of business development at Universal Music, told Broadcast that it wanted to do more in the

Rihanna: content for digital platform

TV space to complement the content that is already produced by its record labels.

“We want to be a leader in the [TV] market,” he said. “We see the audio-visual format continu­ ing to grow, particularly in digital.

We see it as an opportunity not just for today, but over the next two or three years.”

Universal Music Group will work with Eagle Rock to produce original content for traditional broadcasters.

Universal already produces series such as Launched At Red Bull Studios for Channel 4 and docu­ mentaries including Queen – Days Of Our Lives through its UK pro­ duction arm Globe Productions.

It will now look at producing more traditional series rather than artists profiles.

Universal is also keen to exploit live content and documentaries of its artists on digital platforms. “We see the trends in the digital markets and we’re asking if we are able to participate. We look at platforms like YouTube, Netflix and Hulu, and we’re going to continue to develop content,” said Gagon. www.broadcastnow.co.uk

News & Analysis

Sundance Channel set for UK

BY Peter White

The global arm of AMC Networks is readying plans to launch the Sundance Channel in the UK Broadcast understands that AMC/Sundance Channel Global is in carriage negotiations with pay-TV platforms including Sky, with a view to launching in 2015.

The plans follow parent firm AMC Networks’ $1bn (£600m) acquisition of Chellomedia, which operates around 40 channels around the world, last year.

The company is home to major global programme brands such as Mad Men and The Walking Dead.

Its channels include AMC, which aired Breaking Bad in the US, female-skewing WEtv and comedy network IFC. It has been keen to establish a presence in the UK for some time and a number of sources have told Broadcast that it has now selected the Sundance Channel as its first launch.

The drive is being led by Harold Gronenthal, executive vicepresident of programming and operations at AMC/Sundance Channel Global, who has been responsible for launches across

AMC Networks has been keen to establish a presence in the UK for some time

at a glance Sundance BBC co-pros One Child – Family drama from Complicit’s Guy Hibbert The Honourable Woman – Maggie Gyllenhaal-fronted political thriller Top Of The Lake – Jane Campion-directed thriller Restless – Adaptation of William Boyd novel The Village – US remake of Peter Moffat’s drama

Rectify: post-prison thriller is distributed internationally by ITVS Global

Asia and in France, Belgium, Poland and Hungary.

Sundance Channel, which was originally set up by actor Robert Redford in 1996, airs a mix of scripted and non-scripted programming, as well as indie films.

In the US, its non-scripted programming includes Dream

School, a remake of Channel 4’s Jamie’s Dream School; Push Girls, a reality series about a group of strong, powerful disabled women; and TV-focused talk show The Writers’ Room.

It has increasingly moved into drama over the past few years (see box), co-producing a slew

of high-profile BBC series such as Top Of The Lake and The Honour­ able Woman.

The UK launch is expected to focus on film, non-scripted content, some US drama and a handful of local commissions, but AMC will have to acquire the UK rights to many of its own series.

Post-prison drama Rectify, for example, is distributed inter­ nationally by ITV Studios Global Entertainment, while police drama The Red Road is distributed by Entertainment One as part of a wider, exclusive output deal between the two companies.

Sundance has been increasing its profile in the UK and Europe over the past couple of years, launching Sundance London, a UK version of the Sundance Film Festival, in 2012.

MipTV outing boosts Educating’s global appeal

BY Peter White

Channel 4 and Twofour’s Edu­ cating… franchise is set to be remade in several new territories after Shine International held a producers’ workshop at last week’s MipTV. The distributor is selling the format globally as The School and the first international version, Holland’s De School, has already aired.

Shine International chief executive Nadine Nohr told Broadcast that the fixed-rig format was making inroads into new territories and further deals will be confirmed shortly.

The company staged an event in Cannes for international broadcasters and producers interested in optioning the show. www.broadcastnow.co.uk

Educating Yorkshire: franchise to be sold to new territories following MipTV

Nohr said: “We had a workshop at Mip about how to produce The School. There were roughly 20 people there and we’ve got other versions in the making.

People assume that it’s easy to

produce, but it’s not – there’s the technology, the access, the consent and the casting.”

Shine International has also recently found success with a number of scripted formats.

Kudos’s breakout hit Broadchurch has been remade as Gracepoint in the US with Fox; Swedish format Real Humans is being remade

by Channel 4 and Xbox; and versions of Scandi drama The Bridge have been produced in the US, and UK and France.

“We’ve had more requests to remake The Bridge, which is about two cultures being forced together.

It’s quite transposable,” Nohr said.

She added that Broadchurch, which has been sold into 170 markets, was the turning point for its drama division. “We talk about the Broadchurch factor – life before BC and life after BC,” she said.

“We’ve had people who weren’t interested in British drama at all coming to see us. It’s had a massive impact.”

18 April 2014 | Broadcast | 5

News & Analysis

UK indies land major deals for US projects

BY Peter White

UK indies led by Stephen Lambert’s All3Media America have won at least seven series orders from US broadcasters, as well as three major development projects.

All3Media America has scored three deals, including a commission for 100 Dates for female-skewing Bravo, Restaurant Confidential for CNBC, and a remake of Peter Moffat’s The Village in development with Sundance.

100 Dates, which is being produced in association with Hollyoaks indie Lime Pictures, follows a group of young, successful, single New Yorkers as they search for love. Each episode will be shot and aired during the same week.

Restaurant Confidential, meanwhile, follows the ups and downs of several restaurants in ultracompetitive New York City.

In terms of other UK-owned producers, news network CNBC has also ordered party format Filthy Rich Guide from Leopard USA and entrepreneurial format Restaurant Kickstart from Shine America.

The Village: All3Media America is to remake the BBC1 drama for the US

Bravo is developing Tour Group with NBC Universal’s Monkey Kingdom. It is a luxury travel documentary series that takes a group of wealthy characters on a glamorous vacation. The Coach Trip-esque format is produced by Will Macdonald and David Granger.

The cable broadcaster, which is owned by NBC Universal, has also ordered full series of One Potato Two Potato’s Best New Restaurant, Ladies Of London from BBC Worldwide’s Adjacent Productions

and ‘pageant wife’ format Game Of Crowns from Shed Media US, after announcing their development last year.

Jago Lee’s Nerd TV also scored a TX pilot with A+E Networksowned lifestyle network FYI, which is run by former BBC exec Jana Bennett. It is producing longlost-love format You’re The One. More deals are expected as an increasing number of cable networks hold their up-fronts over the next few weeks.

Ofcom rebukes ITV for Jeremy Kyle guest treatment ITV has been censured by Ofcom for the “humiliation and distress” caused to a 17-year-old guest on The Jeremy Kyle Show.

The regulator also stated that the daytime show was at the “limits of acceptability” in other areas of the 23 September 2013 edition, which featured an item on warring sisters.

During the show, the older sister accused her 17-year-old sibling of stealing a camera and other items from their mother’s house. A liedetector test was carried out, which indicated that the younger sister was culpable for the theft.

This prompted a complaint from a viewer, who questioned the reliability of the test because of the distress caused to the teenager during the recording of the programme.

The media regulator decided that “due care was taken particularly before and after production of the programme to support the 17-year-old”, but raised concerns about the teenager’s treatment during the show.

Ofcom accepted that The Jeremy Kyle Show is “highly confron­ tational” by nature, but said at times the teenager’s “distress appeared to render her unable to defend herself ”.

Youngers takes on apprentices in boost to diversity

By Jake Kanter

Big Talk Productions hopes to play a part in boosting industry diversity after completing an “old-fashioned apprenticeship scheme” on the second series of Youngers.

The ITV Studios-owned indie gave five aspiring TV producers from black, Asian and minority ethnic backgrounds in Southwark the opportunity to work on the 10-week Youngers shoot.

Big Talk secured funding from Channel 4 director of creative diversity Stuart Cosgrove to pay the apprentices a full working wage. They were recruited through Big Talk’s relationships with youth 6 | Broadcast | 18 April 2014

It would have been a dereliction of duty to not use Youngers as a clarion call for diversity Luke Alkin, Big Talk Productions

Youngers: returns to E4 shortly

enterprise organisation Latimer Creative Media, Southwark Council, Theatre Peckham and C4’s 4Crew.

Reuben Braithwaite worked in camera and lighting, Senait

Gheezehey joined the costume department and Terry Nii Odoi helped the E4 show’s assistant directors. Elsewhere, Stephen Pratt was stationed in the production office and the art department took on Joshua Douglas-Bagley.

“We gave them a break – if they’re good and prove themselves,

they have something great on their CV and have a relationship with a head of department,” said Youngers’ executive producer Luke Alkin. “Before you know it, they’ve got contacts and experience.

“It would have been a dereliction of duty to not use Youngers as a clarion call for diversity, given the nature of the show and its young black cast. It would have been a massive missed opportunity.”

Alkin added that he hoped to extend the scheme if a third series of Youngers is commissioned by E4, and suggested it is something Big Talk may look to build on through other productions. www.broadcastnow.co.uk

NOW WITH AND

Introducing HyperDeck Studio, the broadcast deck that uses solid state disks!

Now you can get the incredible quality broadcast deck that records and plays using low costs solid state disks. HyperDeck Studio works like a regular broadcast deck, and supports dual disk slots so the moment one disk is full, recording can continue to the next disk! Thats unlimited recording! HyperDeck Studio supports 10 bit uncompressed as well as compressed DNxHD™ and ProRes™ recording so you can simply mount the disks and edit media directly without any file copying!

HyperDeck Studio is perfect for live production, instant replays and disk server use!

Solid State Disk (SSD) Recording Simply plug in a fast 2.5” solid state disk into HyperDeck Studio and start recording! SSD’s are used in desktop and laptop computers so prices are constantly falling while sizes are getting bigger! Plug the SSD into your computer and the disk will mount right on your computer’s desktop! Files are stored in standard QuickTime or MXF file formats so you can use the media in Mac™, Windows™ and Linux software!

Absolute Perfect Quality HyperDeck Studio works with both compressed and perfect quality uncompressed video. You can select between 10 bit ProRes, DNxHD MXF, DNxHD QuickTime™ and 10 bit uncompressed QuickTime recording and playback. With uncompressed you get a mathematically perfect “clone” recording between capture and playback so you can always trust your recording because there is absolutely no higher quality possible!

Use Cameras, Switchers and Monitors With SDI and HDMI inputs and outputs, HyperDeck Studio works with virtually every camera, switcher or monitor!

Plug into televisions or video projectors for instant on set preview or get exciting live action replay with ATEM production switchers. Even use it for digital signage. Just press play twice for loop playback! Imagine using pristine broadcast quality 10 bit recording on your next live event!

Familiar Broadcast Deck Design!

HyperDeck Studio has a familiar broadcast deck style design with transport buttons, jog/shuttle knob, deck control port and build in LCD! You get unlimited duration recordings because HyperDeck Studio includes dual SSD slots, so when recording, if your disk fills, it will automatically continue recording to the other disk.

*SRP is Exclusive of VAT.

HyperDeck Studio

715*

£

Learn more today at www.blackmagicdesign.com/uk/hyperdeckstudio

International News

UK shows primed for the US Projects from Red Arrow, BBC and Tiger Aspect among those tipped to be ordered to series

BY PETER WHITE

Next month, the likes of ABC, CBS, Fox, NBC and The CW will decide which of the US studios’ 100 pilots, including 15 foreign adaptations, will be taken to series.

The pilots are evenly split between drama and comedy, and include several high-profile British projects. Those selected will be shown to buyers at LA Screenings.

In 2013, Gavin & Stacey remake Us & Them, The Syndicate remake Lucky7 and The Tomorrow People all made it to series, and the best prospect to follow them this year is Tiger Aspect’s Bad Education.

It is a hot commodity for ABC, with Jack Whitehall’s Alfie Wickers moving to San Diego for An American Education. In the pilot, produced in association with ABC Studios, Whitehall and his British accent are joined by Americans Rosie Perez and Brittany Snow.

Other potential pick-ups include BBC Productions sitcom Dead Boss (below), created by Sharon Horgan and Holly Walsh, about a woman wrongfully imprisoned for murdering her employer.

The pilot has been made by Warner Bros Television and Kapital Entertainment for Fox, with stars including 30 Rock’s Jane Krakowski and Strangers With Candy’s Amy Sedaris.

A number of original projects from Brits are also brewing. NBC is developing Odyssey from London-based Red Arrow Entertainment. The global conspiracy thriller was originally developed

by Simon Maxwell, who recently joined Channel 4 as head of international drama.

The same network has already taken ITV Studios America’s Aquarius to series. NBC has ordered 13 episodes of the David Duchovny-fronted crime drama, about the hunt for a young Charles Manson.

Aquarius represents one of the most significant trends of the season, with several broadcasters commissioning high-profile drama series rather than taking them 8 | Broadcast | 18 April 2014

Bad Education: Tiger Aspect’s BBC3 comedy starring Jack Whitehall has been piloted as An American Education

NBC has ordered 13 episodes of the David Duchovnyfronted crime drama Aquarius through the traditional process of making a pilot.

Other examples include Battle Creek, a CBS detective drama from Breaking Bad creator Vince Gilligan; ABC period drama The Astronaut Wives Club, from the team behind Gossip Girl; and Gotham, a Batman prequel for Fox from the British creator of The Mentalist, Bruno Heller.

NBC’s Wizard Of Oz remake Emerald City and Kudos’s Gracepoint, the UK indie’s adaptation of Broadchurch for Fox, are other examples of

shows that have been taken straight to series.

However, despite Fox chairman Kevin Reilly’s recent declaration that the channel would move away from the expensive piloting process – drama pilots generally cost around $6-7m per hour – there are still a number of traditional pilots coming through that will be of interest to UK broadcasters.

Galavant, a musical comedy from Tangled’s Dan Fogelman, centres around a handsome prince attempting to find a bride. It was shot in the UK, with Disney using UK production division Abbey C Studios to take advantage of the high-end tax breaks.

How To Get Away With Murder is a legal drama for ABC from Shonda Rhimes, creator of Grey’s Anatomy and Scandal, while Cabot College for Fox is a femaleskewing university comedy from 30 Rock creator Tina Fey.

ABC’s procedural Agatha, the Katie Holmes-fronted reboot of Dangerous Liaisons, and Selfie, starring Karen Gillan, are also much talked about.

There are also a large number of spin-offs, including How I Met Your Mother spin-off How I Met Your Dad and new versions of the CSI and NCIS franchises.

In terms of pilots from other parts of the world, Israel is well represented with Irreversible, based on comedy Bilti Hafich, medical soap Ran Quartet and Homeland-esque Coercion, which is based on The Gordin Cell.

Australia has a number of hot projects, including straight-toseries Secrets & Lies, a crime drama starring Ryan Phillippe and Juliette Lewis, and quirky cop drama The Strange Calls.

Turkish psychological thriller Runner is based on ATV’s The End, while Scandinavia’s Exposed is a crime drama based on a Liza Marklund novel.

Sea Of Fire is a disappearance drama from Holland, based on Vuurzee, and Spain is the origin of The Mysteries Of Laura and cancer drama The Red Band Society. www.broadcastnow.co.uk

SAVE THE DATE

1 JULY 2014

Kings Place, 90 York Way, London, N1 9AG This one-day event brings you face-to-face with the biggest names in broadcasting as well as new digital players that have the power and pounds to get your shows made.

Last year’s event sold out in 3 weeks, check broadcastnow.co.uk for details of when tickets go on sale Join the conversation @MBIEvents #CFF

Multiplatform News In Brief Lionsgate sticks with Sky Lionsgate UK has announced an extension of its existing subscription VoD deal with Sky. The deal includes the rights to the first two series of country music drama Nashville. All six seasons of Mad Men will continue to be available for Sky customers on demand, along with the final, seventh series, which is due to air on Sky Atlantic this month.

S4C gives go-ahead for multiplatform kids’ series

CBBC takes pole position CBBC is launching a Mario Kartstyle racing game featuring characters including Hacker and Dodge and Wolfblood’s Rydian. All Star Racing, developed by Shed Media and created in collaboration with Plug-In Media, involves players racing around a series of show-themed tracks in personalised vehicles to unlock upgrades such as improved speed.

From Zeebox to Beamly Zeebox, the second-screen TV service headed up by former iPlayer chief Anthony Rose, has rebranded as Beamly. The service, in which Sky bought a 10% stake in 2012, has been revamped with a focus on offering visitors more editorial information about TV shows. Visitors are directed to ‘follow’ their favourite shows and actors to receive relevant information. A series of virtual TV Rooms have also been set-up to allow fans to discuss particular shows.

ITV expands on YouTube ITV has expanded its deal with YouTube to grow the number of channels it operates from four to 18. The multi-year agreement follows the launch of ITV channels for Ant & Dec’s Saturday Night Takeaway, The Big Reunion and The Chase. ITV controller of pay and distribution Neale Denett said: “A key part of our strategy is to ensure we serve our fantastic content to audiences whenever and wherever they want it.”

For the latest breaking news www.broadcastnow.co.uk 10 | Broadcast | 18 April 2014

Madron: Manga-style adventure will launch on S4C before continuing as a digital comic book for mobile and tablet

BY Alex Farber

S4C has greenlit an interactive multiplatform children’s series that will launch on TV before concluding as a four-part digital comic book.

Madron is an animated apocalyptic story, produced by factual and multiplatform indie Glasshead. It tells the story of a young girl and her geeky friend as they attempt to save the world from a virus. The fast-spreading disease locks those who have become infected into a state of repeating whatever they were doing at the moment they caught it.

The Cardiff-set manga-style adventure kicks off as an eightminute animated TV show, which will air as part of S4C’s kids’ strand TAG, before continuing as a digital comic book distributed via mobile and tablet.

The 140-panel comic, developed by interactive entertainment business Cube Interactive, will be released in four instalments, each of which offers a series of inter­active options, audio voice­ overs and semi-animated elements.

Each comic also contains two mini-games, which include racing, self-defence and puzzlestyle challenges.

S4C commissioning editor of children’s, learning and digital Sioned Roberts said that while she had originally been keen to order an apocalyptic eight-part drama, developing the idea as an interactive project was a more affordable option.

“As a small broadcaster, it is important that S4C tries out new things and works with companies that have different ideas. We need to compete with broadcasters including CBBC, and one way of doing this is by coming up with innovative ideas,” she added.

“We are also thinking about how our content can work across a range of platforms, whether that is mobile devices, games consoles or YouTube.”

Madron will initially be produced in Welsh, with an English-language version, dubbed The Visor, also due to be produced. The Visor is being part-funded by S4C, which has bought a stake in the format through its £4m digital fund and is hoping to generate interest from international broadcasters.

Roberts said The Visor also had the potential to be launched as a direct-to-consumer product.

Madron is the latest interactive project for S4C’s kids’ division

after it greenlit futuristic playalong game Y Lifft (The Lift) in 2012.

The show, produced by Boom Pictures and Cube Inter­active, was subsequently picked up by CBBC for an English-language remake, which is also due to air later this year on S4C. Separately, the broadcaster has relaunched its VoD service, Clic.

The service has been revamped with a responsive design to ensure it automatically works across a range of platforms including Apple and Android devices.

Along with a responsive design, the VoD site has integrated social media elements for the first time to allow viewers to share what they are watching with friends.

S4C chief executive Ian Jones said the service was the “central pillar” of the broadcaster’s digital presence. “We’re acutely aware that technological developments will mean that we have to play catch-up with devices and platforms that prove popular with the public.

“But with this new responsive site, that task becomes a bit easier to cope with as it’s practical and affordable for us to adapt our service to incorporate new ways of watching.” www.broadcastnow.co.uk

BROADCAST

NETBALL & 5-A-SIDE FOOTBALL

FIVES 2014 5M 9 £PE4 A R TE

SATURDAY 17 MAY 2014

THE BIGGEST EVENT FOR THE BROADCAST INDUSTRY

TO REGISTER, CALL 0208 201 1200 OR EMAIL broadcast5s@powerleague.co.uk Powerleague Mill Hill, Pursley Road, Mill Hill, London NW7 2BB.

powerleague.co.uk

Technology & Facilities CREATIVE REVIEW

AKA CHANNEL REBRAND

TOM DALEY GOES GLOBAL

HOW TO GET A COUNCIL HOUSE

Client Universal Music/All Around The World Creative Shameless Brief Idents and on-screen packages as part of a broad rebrand of urban entertainment channel AKA, which focuses on grime, hip hop, dubstep and R&B music.

How it was done Creative agency Shameless won a three-way pitch to produce the complete rebrand for the Universal Music/All Around The World-owned urban channel AKA. A new logo was created that features heavily in the new brand and gives prominence to the silhouette of a rapper. Specific idents were created for UK and US music programming, in addition to a complete on-screen package of creatives. Executive creative director Ed Scott and senior animator Corey Houston used After Effects, Maya, Photoshop and Illustrator to complete the work.

Watch it Now on AKA

Design Hello Charlie Client Twofour for ITV2 Brief Design the title sequence and maps for the 6 x 60-minute series about the back-packing adventures of diver Tom Daley and his best friend Sophie.

How it was done The conceptual approach for the graphics was based within a world of visual adventure, using vibrant colour, texture and contemporary animation techniques. The overall aesthetic takes the form of a multi-layered scrapbook or diary. Animated maps feature stylised Polaroids that were created using real stills taken by the backpackers, which helped to emphasise the reality of their cultural encounters.

Alongside, and in the spirit of the maps, bespoke Aston straps were designed and animated to showcase the locale of each episode in the series. All graphics were designed, animated and composited using After Effects.

Watch it Thursdays, 9pm, ITV2

Post The Farm Client Studio Lambert Brief Picture and audio post-production for the 3 x 60-minute second series. The doc explores the impact of welfare reforms and how the cap on benefits and soaring rental prices are putting a strain on unemployed households, and how Tower Hamlets Council is preparing for the potential crisis.

How it was done Shot on Sony PMW-200 and Canon C300 cameras, colourist Colin Peters graded the series with the Nucoda Film Master, giving the scenes that focus on the search for a council house an optimistic warmth. Using shapes, vignettes and grading layers, Peters was able to focus the audience eye on specific parts of the frame. Dan Evans completed the online edit with Avid Symphony and Laurence Gale mixed the audio for the series with Pro Tools 11.

Watch it Wednesdays, 9pm, Channel 4

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

Red adds 4K broadcast to Scarlet and Epic cameras Red has introduced 4K broadcast functionality for its Epic and Scarlet cameras. Red said its 4K Broadcast Module would provide the ability to capture and view action in real-time, up to 4K and at 60 frames per second. Compatible with the Epic Dragon and Scarlet Dragon cameras, the Broadcast Module uses four 3G-SDI output connections to broadcast 4K video at up to 60fps.

AmberFin chief technology officer Bruce Devlin (below) said the editing of material shot at a variety of frame rates was a growing problem for post houses and broadcasters. “This is a real-world problem.

Keeping mixedcadence media clean throughout a file-based workflow can be a nightmare and can seriously impact on its final quality when viewed on a wide range of progressive devices such as HDTVs, tablets and smartphones,” he said.

AmberFin launches Adaptive Cadence Corrector

Vitec Videocom acquires Autocue from Root

AmberFin has unveiled its Adaptive Cadence Corrector (ACC), a software-based system for correcting mixed-cadence material.

Vitec Videocom, a division of Vitec Group, has agreed to acquire prompter (right) manufacturer Autocue from venture capital firm

12 | Broadcast | 18 April 2014

Root Capital. Vitec Videocom said that Autocue, which was established in 1955, would complement its portfolio of products for the broadcast, pro-videography, corporate and public sectors. It said: “The acquisition will help to ensure that customers receive a broader range of technologies and solutions that address the entire spectrum of requirements for studio and outside broadcast applications in terms of size and functionality.”

Root Capital bought the company from Autocue International for around £2m in 2005.

Skype TX builds on Cat and Mouse technology Skype has unveiled the first product

to result from its acquisition of gameshow control firm Cat and Mouse. Skype TX, which builds on existing Cat and Mouse technology, is a hardware and software system that delivers Skype integration into a studio environment. It adds full-frame Skype video and audio via SDI, is free of potential distractions such as call notifications and ads, and offers automatic aspect ratio conversion.

Unveiled at last week’s NAB, it will be available “in the coming year”.

Digital Vision partners Sundog Media Toolkit Digital Vision is to partner with Sundog Media Toolkit to make its DVO (Digital Vision Optics) tools available on demand in the cloud. A selection of DVO tools will be made www.broadcastnow.co.uk

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

Coffee & TV reunites Prime Focus’s Clarke and Briggs

BY GEORGE BEVIR

Coffee & TV has recruited Prime Focus creative director Simon Clarke to help lead the Soho-based VFX company’s newly formed broadcast division.

Clarke joins ex-Prime Focus managing director Simon Briggs, who has taken on a permanent role with Coffee & TV ahead of the opening of a 20-seat facility in Bristol.

Briggs became a director at the end of last month, having previously worked as a consultant for the business, and will work across commercials, branding and broadcast. Creative director Clarke will focus on VFX for drama and factual programming.

“This part of our strategy wouldn’t make sense in Soho,” said Briggs. “There is a huge talent pool in Bristol, and having a facility there enables us to set up a decent-sized studio that will provide opportunities for rapid growth and incentives in terms of cost-effectiveness.”

The Bristol facility will combine Maya, NukeX and Adobe work-

available in Sundog Media Toolkit, such as DVO Clarity for automatic noise management, and DVO Twister, a tool for motion-compensated standards conversion for format, frame rate and resolution.

Colorfront unveils Express and On-Set Dailies Colorfront Express Dailies 2014 and On-Set Dailies 2014 were unveiled in Las Vegas. The 2014 versions of the on-set dailies processing systems introduce Colorfront Engine, a new colour pipeline that includes UltraScaler and Dynamic Enhancer, which can be used to grade and finesse 4K and Ultra HD footage.

Grass Valley’s Stratus Playout debuts in Vegas Grass Valley’s cloud-based GV Stratus Playout for regionalised playout made its debut at NAB in Las Vegas. The playout software www.broadcastnow.co.uk

Clarke and Briggs: Coffee and TV is opening a new facility in Bristol

stations for a long-form VFX pipeline predominantly for broadcast projects, but will also work on Coffee & TV’s full range of commercials and branding work. It is expected to open in June.

Clarke, who joins the company next week, said: “The co-location model with London and Bristol in the UK and our extended partners in Canada provides an easily scalable model and cost advantage for our clients across a range of projects, from broadcast and com-

mercials to live events and installation projects.”

Clarke’s recent credits include Supersized Earth and Wonders Of The Solar System, both for the BBC, and The History Channel’s World War II From Space, which won an Emmy for Outstanding Graphic Design and Art Direction and an RTS Award for Graphic Design – Programme Content Sequence.

Coffee & TV was set up by copartners Derek Moore, Phil Hurrell, John Trussler and Chris Chard.

service handles playlist preparation, distribution, control and monitoring of playout devices.

Designed for national broadcasters, speciality channel providers and playout service providers, GV Stratus Playout uses Microsoft’s Azure cloud service.

module is interchangeable with Panasonic’s new 35mm 4K VariCam camera module. The VariCam HS will launch in the autumn for around £37,000.

Panasonic set for autumn launch of VariCam HS Panasonic has introduced the VariCam HS (right), incorporating its AVC-Ultra codecs and high-speed 1080p image capture.

Featuring a modular design, the VariCam HS 2/3 type camera head docks with the AVC-Ultra recording module to provide the full functionality of a conventional production camera/recorder. The recording

G-Technology adds two drives to Evolution Series G-Technology has added to its Evolution Series family with the G-Drive ev SSD and the 500GB G-Drive ev external drive modules. Both can be used with the currently shipping Thunderboltenabled G-Dock ev swappable drive system. The G-Drive ev SSD offers up to 400MB/s transfer rates via USB 3.0, while the G-Drive ev provides transfer speeds of up to 125MB/s. G-Technology vice-president and general

Shoreditch’s Splice snaps up Air Post Production Shoreditch post firm Splice has acquired Air Post Production.

Around six Air Post staff will join Splice, which will now move its admin team and eight edit suites from one of its smaller Shoreditch buildings to the new Air facility at Old Street.

The 8,000 sq ft Air Post premises currently houses 18 offline suites, online, grading and audio facilities.

Splice co-founder Duncan Western said the deal would help it win more business from local clients and attract higher-end factual entertainment and drama productions.

Splice will give the Air building a technical overhaul, which will include the installation of a 10Gbps pipe between the two sites to provide access to each facility’s Isis.

Western said Splice also plans to build a Dolby-certified audio suite in the former Air premises, which will be used for finishing and offline for short-form work and offline for long-form projects.

Splice operates 30 edit suites and has an 11-seat grading theatre as well as offline, online, audio, VFX and content repurposing facilities.

manager Mike Williams said: “With the Evolution Series family, we continue to deliver the latest technology with the most flexibility to meet the changing needs of the professional digital content-creation market.”

Autodesk Flame 2015 offers end-to-end 4K workflow Autodesk debuted Flame 2015 with new tools and an end-to-end 4K workflow at NAB. Flame 2015 supports industry standard 4K formats and the real-time monitoring and playback of 4K/UHD material at 50P and 60P via SDI. The company also announced two additions to Flame Premium, the combo solution of Flame and Lustre. Flare is a shot-based visual effects application, while Flame Assist is a Mac-based, timelinecentric assistant station. Flame Premium 2015, Flame 2015, Lustre 2015, Flare 2015 and Flame Assist 2015 begin shipping this month.

18 April 2014 | Broadcast | 13

Will Cohen

Richard Scott

Philip Dobree

Managing director & executive producer Axis

CEO Jellyfish Pictures

CEO Milk

Tim Haines

Stuart Aitken

Matthew Bristowe

THE VFX SUMMIT

IMAGINATION UNLIMITED Wednesday 4 June | BAFTA 10:00 UK VFX – A POWERHOUSE FOR IDEAS How the UK punches above its weight on the world stage – a celebration of how VFX created here has won awards in film, TV and commercials. Plus, a look at how developments will likely shape the coming year.

10:15 VISIONARY VFX What possibilities are there for VFX in harnessing cutting-edge technology and techniques? We take a look at light field rendering, extended depth of field imaging, HFR, UHD, highly complex VFX scene relighting and cloud-based services. How do you best adapt to these advances?

11:15 CREATIVE CROSS-POLLINATION How can partnering with specialist facilities and productions for digital pre-production and virtual production services help? How can this be expanded upon? What are the opportunities for mixing it up with the other creative industries such as SFX, gaming, venue entertainment, concert backdrops, interactive storytelling and experiential art/advertising?

Speaker: Stuart Aitken, Axis

PASSES Headline Events Q&A Sessions and Networking

SVP VFX production Prime Focus

Creative director Axis

Creative director ITV

12:00 CHANGING THE VIEW Broadcast and commercials budgets are tight, so how can VFX studios tackle squeezed budgets yet deliver quality work? Join in the discussion about special techniques, including virtual environments and stock libraries mixing 2D and 3D pipelines. Plus, HDRI lighting, using LIDAR/3D scanning, 3D printing/rapid prototyping, in-house greenscreen and motion capture, and more.

Speaker: Will Cohen, Milk

expanding into overseas markets? And what is the benefit to the community of foreign companies opening here?

Speakers: Matthew Bristowe, Prime Focus; Richard Scott, Axis 16:45 CASE STUDY 17:30 CLOSING REMARKS

EXCLUSIVE TO CREATIVE WEEK PASSHOLDERS ONLY

12:45 LUNCH & NETWORKING 13:45 CASE STUDY 14:30 THE SQUEEZED MIDDLE It’s 2014, so why are some clients still having a problem understanding the mechanics of VFX? How can we help bridge the gap in understanding? How can VFX studios take advantage of the screen industry tax breaks in the UK? What are the benefits for VFX studios in combining forces on larger shows, through streamlined workflows, part investments and tax breaks?

Speakers: Will Cohen, Milk; Phil Dobree, Jellyfish; Tim Haines, ITV Studios 15:30 TEA & COFFEE 15:45 UNREALITY CHECKED Is there a skills gap in the UK? How can this be addressed? Are VFX studios asking too much of their staff? Does that dream job really offer nightmare conditions? How have UK studios benefited from

THURSDAY 5 JUNE EVENING EVENT Creative Week is delighted to be hosting Screen International’s ‘Stars of Tomorrow’ exclusive party, with drinks and canapés included.

Now in its 11th year, this annual feature spotlights up-and-coming UK actors and filmmakers that will be making waves in the years to come.

Past talents recognised at this event include James McAvoy, Benedict Cumberbatch and Emily Blunt (2004); Robert Pattinson, Samantha Barks, Tom Holland and Nico Mirallegro (2012)

CREATIVE WEEK PASS

SESSION PASS

SESSION PASS

Full Access

Media Summit OR International TV Forum

VFX Summit OR HD Evolved

ALL EVENTS

1 EVENT

1 EVENT

FULL PRICE £250 +VAT

FULL PRICE £180 +VAT

ALL Q&A SESSIONS AND NETWORKING EVENTS

Screen UK Stars of Tomorrow Exclusive Party PRICE

FULL PRICE £529 + VAT

Book your place today: +44 (0) 20 3033 2889

EARLY BIRD £153 +VAT

Headline partner For sponsorship details contact Broadcast: sonya.jacobs@mb-insight.com | 020 3033 2935 or patricia.arescy@mb-insight.com | 020 3033 4287 Screen International/shots: andrew.dixon@mb-insight.com | 020 3033 2928

Presented by:

VFX & HD *EARLY BIRD RATE | £153 + VAT | ENDS 25 APRIL

2-6 JUNE | LONDON www.creativeweek.co.uk

MEDIA SUMMIT

Wednesday 4 June | BAFTA

HD EVOLVED

INTERNATIONAL

TV FORUM

Thursday 5 June | BAFTA

4K AND BEYOND

Thursday 5 June | BAFTA

For the full speakers list and programme visit www.creativeweek.co.uk Join the conversation

@MBIEvents #creativeweeklondon

Book your place today: +44 (0) 20 3033 2889 | www.creativeweek.co.uk *Save 15% off standard ticket price £180 + VAT when you book your HD Evolved and VFX Summit session passes by 25 April 2014.

Comment

If we couldn’t get the son of God, we could try to get the son of a rock god Justin Hardy, Behind the Scenes, page 24

Zetland House, 5-25 Scrutton Street, London EC2A 4HJ Editor Chris Curtis 020 3033 2718 Features Editor Robin Parker 020 3033 4202 News Editor Jake Kanter 020 3033 4205 Web Editor Alex Farber 020 3033 4204 International Editor Peter White 020 3033 4271 Senior Reporter Andreas Wiseman 020 3638 5066 Technology and Facilities Editor George Bevir 020 3033 4207 Production Editor Dominic Needham 020 3033 4201 Group Art Director, MBI Peter Gingell 020 3033 4203 Head of Production and Art, MBI Mark Mowbray 020 3033 2817 Contributors Kate Bulkley, Stephen Price Group Commercial Director, MBI Alison Pitchford 020 3033 2949 Conference Director, MBI Charlotte Wheeler 07702 381809 Events Manager, MBI Mai Le 020 3033 2950 Sales Manager Sonya Jacobs 020 3033 2935 Business Development Director Patricia Arescy 020 3033 4287 Business Development Executive Donogh Hurley 020 3033 4232 Recruitment Sales Executive Hannah Grix 020 3033 2889 Sales Administrator Justyna Zieba 020 3033 2694 Marketing Executive Sheryl Rood 020 3033 2872 Production Manager, MBI Jon Cooke 020 3033 4296 Chief Executive, MBI Conor Dignam 020 3033 2717 Advertising Fax 020 3033 2604 Subscription Enquiries 01604 828706 Customer Services Email help@subscribe.broadcastnow.co.uk 0203 033 2620 The formula to email individual members of staff is: firstname.surname@broadcastnow.co.uk The formula to email individual members of staff with MBI after their job title: firstname.surname@mb-insight.com

To subscribe to Broadcast simply follow one of these steps ISIT V www.subscription.co.uk/ broadcast/bmla Or Call 01604 828705 (UK) or +44 (0)1604 828705 (international) and quote BMLA Broadcast is part of Media Business Insight Ltd (MBI), publisher of Screen International & shots www.mb-insight.com

16 | Broadcast | 18 April 2014

The rise of the ‘instamentary’ Ian Russell describes making six docs for nine territories in four weeks

T

hree days after flight MH370 went missing, Jason Wells, Channel 5 commissioning executive, factual and factual entertainment, had a request. C5 wanted the first in-depth look at the story.

Deadline? Two-and-a-half days.

Fast-turnaround producers are used to a two-week cycle, but we are seeing greater demand for faster delivery. We’ve coined a name for this sub-genre: ‘instamentary’. Viewers today expect deeper, standalone analysis of the biggest news stories, delivered immediately. ITN Productions has made super-fastturnaround documentaries on the findings of the Hillsborough inquiry, the Philpot house fire, and the horrific attack on Sandy Hook Elementary School.

To meet the tight deadline, The Plane That Vanished – Live took on a hybrid format of live studio expert interviews and VTs. By the end of the first day of production, the producer was directing our first set of interviews and had four parallel edits up and running.

ITN’s HQ has a wealth of archive material and we made use of its newsgathering capabilities. With the story developing on an hourly basis, it was vital to view the latest news footage and transfer it into the edit in a matter of minutes – both to keep on top of the story and to deliver it on time.

The finished programme rated well and in the following week, there came a second order to update and develop the VT elements into a full documentary. This time we had four days – luxury.

The Disappearance Of Flight MH370: 14 Days That Gripped The World examined whether previous air disasters such as Lockerbie and Air France flight 447 could shed any light. By then, the original doc had attracted significant international attention. The

MH370 Mystery (International Version 1) was delivered to German, Canadian, Norwegian, Danish, Austrian, Belgian and Spanish broadcasters shortly after the second C5 doc transmitted.

A third C5 commission, Lost At Sea: Flight MH370, updated the rapidly developing story, tracking the ongoing search efforts, investigating theories and examining the latest evidence. Then came The MH370 Mystery (International Version 2) for German, Canadian and Austrian audiences. The US wanted in too: the Smithsonian Channel gave us seven days to do a wideranging version of the first C5 film, but tailored to incorporate extra scientific and historical content.

Thanks to ITN’s Washington bureau and its network of affiliated local stations, we were able to get the US rushes back quickly.

Why is there such demand for multiangled instant analysis? At MipTV in Cannes last week, the post-TX consensus among the broadcasters was that in an age when we are all subjected to many short bites of information, a global story like MH370 creates a desire for the more substantial, informative experience that can be delivered by long-form documentary.

Today’s audience expects this content delivered fast.

My advice for instamentary production: use an experienced and confident edit team – you won’t get many chances to go back on decisions. Always check for picture duplication, a perennial risk when running multiple edits in parallel. And finally, an aversion to sleep wouldn’t go amiss. ➤ Ian Russell is head of international programmes at ITN Productions

‘Viewers expect deeper analysis of the biggest news stories immediately’

www.broadcastnow.co.uk

Comment How to get ahead in TV Lesson 36

The 10 phrases you need to know Baffled by the doublespeak spouted by commissioners? Help is at hand from Steven D Wright

L

ike everyone working in telly, I have been glued to BBC2 sitcom W1A, set in the glorious home of British television at New Broadcasting House. But unlike the viewers chortling away at the inanities and doublespeak spouted by the fictional BBC characters, I haven’t laughed once.

Not that I’m not a fan of rubbishing the BBC or lampooning Alan Yentob (a real-life character no writer would dare make up for fear of being ridiculous); it’s just that it’s so painful to watch.

You see, the hyper-management-speak bollocks, the obfuscation and the furious buckpassing are what we genuine telly types have to endure every day – and no one wants civilians spouting our secrets for all to hear. Like someone who studied ancient Sanskrit at Oxford, I don’t want just anybody knowing the secret language of commissioning without at least three years of hard study and plenty of blood, sweat and tears.

There’s a reason that Will the idiot intern says “yeah, no, right, cool, no, yeah” in W1A: junior staff just don’t have fluency in the way senior telly people really speak. It normally takes at least five years before you can understand when a commissioner is telling you to ‘fuck off ’. www.broadcastnow.co.uk

But now that the cat is out of the bag, I suppose it is my duty to all you aspiring telly types to do a Buzzfeed-style ‘10 phrases you need to know in Telly’ list. Bear in mind that almost everything you hear in TV has more than one meaning – and like Cold War spies meeting on a park bench, understanding these killer phrases means you can be trusted (but still violently killed, of course).

‘It takes at least five years before you can understand when a commissioner is telling you to “fuck off”’ 1) Ratings aren’t important. Classic telly doublespeak. Ratings are the only thing that counts in TV, and anyone who doesn’t know this should stop reading now.

2) We are going to pass. Like a Dignitas for ideas, this ‘pass’ is a euphemism for ‘death’ and is a polite way for a commissioner to kill off a perfectly healthy idea they can’t be bothered with. The correct response is a minute’s silence, a quick rewrite to replace ‘BBC1’ with ‘ITV’ on the treatment, and then a quick email. No tears, ever.

3) We love it and would like to commission it immediately. The real commissioner has

been taken over by an alien lizard creature.

Smile and walk out backwards very quickly in case they suddenly jump across the desk and eat you.

4) We’d love to pay you more but, well, the budget… A catch-all excuse used by indies for keeping the wages bill below the chief executive’s monthly lunch expenses. But that weasel sentence, coupled with a (fake) kindly smile from the hard-faced production manager normally stops any rebellion.

5) Does anyone know a good AP/director?

Often seen on Facebook, this shoutout actually means ‘does anyone know someone we know’ – i.e. ‘one of us’. This thankfully keeps strangers and newcomers out of telly (shudders at thought of meeting new people).

6) We don’t keep normal office hours here.

We will work you until you drop.

7) Congratulations on your Bafta nomination. I hate you and envy your success.

8) The reaction on Twitter is amazing. The ratings are rubbish but a few malcontents and socially awkward types have tweeted the name of the show with a bloody hashtag added to it.

9) Paedophile. TV celebrity of yesteryear.

10) We are so sad to see Bruce Forsyth go.

We are delighted to see Bruce Forsyth go. ➤ Steven D Wright is an entertainment producer 18 April 2014 | Broadcast | 17

The Broadcast Interview RichaRd Watsham UKtV

Bigger, bolder, stronger UKTV’s new director of commissioning wants to shift the focus of its originations from lifestyle to entertainment and improve its relationship with indies. Jane Marlow reports

B

igger, bolder, stronger, clearer.

These are the ideas central to Richard Watsham’s ambition in his newly confirmed role as director of commissioning at UKTV. That’s not to say that predecessor Jane Rogerson left the portfolio of channels in a pickle; far from it. After acting in the role for six months, Watsham stepped up last month to build on a period of growth: programming spend hit a record £110m, viewing figures rose by 10% and its Share of Commercial Impact (SOCI) reached 9.2%, an all-time high.

To push things on, Watsham is planning bigger budgets, bolder formats, stronger audience figures and clearer ways of doing business with suppliers.

He says the all-important programming budget is “north of £120m” for 2014. “It’s my job to represent commissioning and be really passionate and evangelical about the ideas we get in,” he says. “We don’t have hard and fast ring-fenced budgets around acquisitions. If we have brilliant ideas and can fight for more funds, we will.”

With this bigger pot comes a refocusing of the commissioning strategy, with originated content now premiering exclusively on Watch and Dave.

Repeats will then air on a suitable channel – comedy on Gold, lifestyle on Really or Good Food.

“We’ve moved away from the lifestyle channels towards the entertainment channels,” he says. “That doesn’t mean we won’t commission lifestyle programmes, but they will come through the entertainment channels first, so they’ll have to have a much bolder entertainment spin on them.”

For example, Twofour’s Choccywoccydoodah originated on Good Food but will now be been seen first on Watch. “Our biggest audience volumes are on those entertainment channels,” says Watsham. “It makes sense that originations, which are big jewels, are on the channels that can make best use of them and really drive big audiences.”

In 2015, Dave’s commissioning spend will increase by 70% as budgets are channelled across from factual and 18 | Broadcast | 18 April 2014

caREER

features. Watsham wants his content to compete with the best on the terrestrial channels. With lots of long-running entertainment strands on the top five channels, he sees opportunities for UKTV to create a buzz in this genre.

“We’re not going to commission The X-Factor, for obvious reasons,” he says. “Our future is outside the studio, but once you’re outside the studio, I’d say bring us the shows that have as much scale, or more, as you would take to any other broadcaster.”

Singing In The Rainforest, a new format from Sony-backed entertainment indie Gogglebox Entertainment, is representative of this scale as well as a desire for programming to live beyond the screen. Scheduled to air on Watch in early 2015, the 5 x 60-minute

Mar 2014-present Director of commissioning, UKTV Oct 2013-Mar 2014 Acting director of commissioning, UKTV Nov 2011-Oct 2013 Senior commissioning editor, UKTV Jan 2011-Nov 2011 Commissioning editor, UKTV Jan 2010-Jan 2011 Commissioning editor, Bravo 2001-2009 Freelance series producer

series will give music stars the chance to live for a week with a remote tribe that has music at the heart of its culture. The artist and the tribe introduce each other to their music and then collaborate on a track, which will be released, with some proceeds going to charity.

The idea clearly excites Watsham.

“We will back big entertainment shows with a terrestrial-size budget,” he says. “The geographic scale, the sheer ambition of doing something so crazy, and the size of the talent make it a clever, modern fact ent piece for us.”

Scripted plans Scripted comedy and drama is another priority and commissioning editor Simon Lupton, formerly of Comedy Central and the BBC, has joined the team as part of this commitment.

Again, the scale and ambition of the programming is paramount. Watsham says: “On scripted, we fund things at the same level as terrestrials. We have to. It’s really important that we compete with them and we can only do that if we are prepared to put our money where our mouth is.”

He acknowledges that cost might limit the number of shows in this genre, but co-production is an option to create the right content. For example, co-funding is currently being sought for Legion, Tony Jordan’s drama series for Watch.

RichaRd Watsham ON...

Jane Rogerson “Jane had a brilliant effect at shifting this business onto a more commissioning-based model. That’s part of the journey and it’s about continuing down that road even further and faster.”

Comedy “Dara O Briain, Alexander Armstrong and

some of the comics who have appeared in Dave’s One Night Stand have had a huge impact in terms of allowing us to go and talk to other people. Now there isn’t a single person in that comedy space whose door

we wouldn’t feel confident knocking on and asking if we can work with them.”

The Dynamo effect “I want to make programmes that will do what Dynamo did: to debut on Watch and then move to BBC1. That felt like a huge achievement for us and every time we do something similar, it feels like a step in the right direction.”

www.broadcastnow.co.uk

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

Choccywoccydoodah: new runs of the Twofour show will air first on Watch

Dave Gorman’s Modern Life Is Goodish

As confidence in the commis­sioning model grows, so does the desire for stronger audience figures. Watsham says that when he first joined UKTV three years ago, the target for Dave was to compete with the audiences that the acquired panel shows and gameshows were getting – typically around 400,000. Now, with Crackanory, Ross Noble: Freewheeling and Dave Gorman’s Modern Life Is Goodish, the ambition is that every commission pushes the 600,000-700,000 mark.

Watsham says the SOCI figures are up 20% for the first quarter of 2014, but there’s still a lot of the year to go.

One of the most pressing tasks on Watsham’s ‘to do’ list is to put in place a commissioning charter that will improve transparency and communication with indies. This is off the back of research conducted in August 2013 www.broadcastnow.co.uk

Crackanory

‘We don’t have hard and fast ring-fenced budgets.

If we have brilliant ideas and can fight for more funds, we will’

Ross Noble: Freewheeling

that questioned suppliers about their experience of working with UKTV’s network of channels.

“Our relationship with producers is fundamental,” says Watsham.

“Without them, we don’t get the brilliant ideas in through the door. Commissioning is incredibly important to the future of this business and the commissioning charter is a philosophy and a promise to the indie community, which is important to us.”

Although it’s not yet been published, Watsham says a timeline will be a part of this set of pledges. “It’s our promise that we will acknowledge ideas within two days, and feed back within two weeks to either decline or develop the idea further.

Then at four weeks, we’ll either put some development money in, decline the project or move forward

with it. That’s what we’re going to be held to.”

A member of the senior team dubbed ‘The Enforcer’ will be informally tasked with monitoring the processes and empowered to chivvy commissioning editors if targets aren’t being met.

An online commissioning portal will also be created that will provide details of UKTV’s commissioning structure and procedures, compliance, legal and business affairs, and digital team. It will include passages from the general managers about the tone of their channels, specific genre briefs and information about the slots up for grabs.

“It’ll give people a better understanding of the processes of different departments; how decisions are made around commissions,” says Watsham.

“It’s important that we’re as transparent about that as we can be.”

18 April 2014 | Broadcast | 19

Production WALES

Take two for Welsh TV Inward investment is creating a strong platform to rebuild the Welsh television sector, but local indies say sustaining it over the long term is the challenge. Adrian Pennington reports

W

ith some strong performers in Broadcast’s Indie Survey 2014 and a growing international profile on the back of inward investment, the Welsh TV sector would appear to be flying high.

However, the nation has a way to go before most indigenous producers feel the benefit of the resurgence.

“We’ve not had a strong production base here since the demise of ITV Wales and HTV [in 2004],” argues Tinopolis founder Ron Jones. “There was a more vibrant community then, working across all genres. There are positive moves to rebuild that base, but it needs sustaining for the long term.”

Jones argues that the cutback in PSB funding has had a more profound impact in Wales than in Scotland or Northern Ireland because of the desire to sustain programming in both the English and Welsh languages.

“So much of the industry was overly dependent on the relationship and some indies are unable to break out of it,” he says. “Others, though, are www.broadcastnow.co.uk

‘There are positive moves to rebuild the production base, but it needs sustaining for the long term’ Ron Jones, Tinopolos

being successful in getting a relatively significant amount of work.”

Tinopolis Wales is one of those and its relaunch of S4C daily shows Heno and Prynhawn Da contributed to a 410-hour output last year and a £15m turnover. But it’s outranked in Broadcast’s Indie Survey by Cardiff-based Boom Pictures Wales (part of Boom Pictures), which turned over £22.4m.

“We’re past the stage of having to show that work can be done in Wales to a high standard,” says Rich Moss, managing director of Boom Picturesowned post firm Gorilla. “But people still need convincing that geography is no barrier to coming here.”

The third regular Welsh high performer in Broadcast’s survey, with a 2013 turnover of £14.5m, achieved independently of a parental backer, is Rondo Media. Chief executive Gareth Williams describes the sector as “fairly buoyant” with “huge opportunities” for smaller indies.

“Broadcasters are more open to regular discussion to help some of these companies get their first network commission,” says Williams, attributing the commission of Channel 4’s returning series My Tattoo Addiction (left) – kickstarted by C4’s Alpha Fund – as part of a wider commitment by C4 to look beyond singles.

Rondo’s founding pillar is soap Rownd A Rownd, broadcast twice weekly on S4C. The producer reckons the drama, filmed in Anglesey, has contributed £55m to the regional economy since 1995.

“That bulk has helped us to land network drama commissions,” says Williams – notably three series of The Indian Doctor (above) filmed in Blaenavon and Llantrisant, with hopes for a fourth. “It’s integral to freelance opportunities for first-time actors and production crew in that part of Wales.”

C4’s nations quota will triple to 9% from next year, commanding an additional £12m for production, but ➤ Welsh TV producers’ trade body 18 April 2014 | Broadcast | 21

Production WALES Teledwyr Annibynnol Cymru remains concerned about S4C’s future beyond licence fee renewal. The broadcaster’s budget has been cut by more than a third since 2012, from £101.6m to £74.5m for 2016-17.

“We’ve been weathering the storm,” says chair Iestyn Garlick. “Combined with the overall financial situation, the lost funding has had a knock-on effect, with some companies scaling back, some going out of business [such as animation specialist Dinamo] and others looking for work.”

S4C drama commissioner Gwawr Martha Lloyd has a different perspective. “The indie sector is thriving as S4C’s budget for 2016-17, down far as ideas and talent are from £101.6m concerned, but finding in 2012 enough outlets is challenging,” she says.

To counter that, S4C is seeking partners to tap its £1m-a-year co-production fund, a widely praised strategy credited to chief executive Ian Jones.

The template for success is Hinterland, co-produced by S4C and Tinopolis indie Fiction Factory, with distribution by All3Media International. Shot in Aberystwyth, the detective series aired on BBC Wales and BBC4 and was bought by Danish broadcaster DR. A second run is in production with the BBC as a full co-pro partner.

Top down: Crimewatch is produced at Roath Locke; Export targets Da Vinci’s Demons is Other co-pros that have received filmed in Wales; investment from the fund include Hinterland was shot in Deserts from Green Bay, distributed by Welsh and English Sky Vision, and Royal Wreck Of Gold from TiFiNi, with ITV and Australia’s Foxtel partnering S4C. To better target export markets, Hinterland/Y Gwyll was shot in Welsh and English. Going the same route, but largely narrated, is a £1.6m adaptation of Dylan Thomas’s Under Milk Wood from S4C, Tinopolis and fFatti fFilms.

“We’d like to think that at some point all Welsh dramas will air with subtitles to sell across territories,” says Lloyd.

S4C has decided to shift its HQ west to Carmarthen at the same time as a critical mass of creative industries is being established within one square mile of the capital. The move “will create tangible economic, cultural and linguistic benefits”, says S4C’s Jones.

Back in central Cardiff, ITV Cymru Wales will open HD and post studios across the water from the BBC drama village in June. It makes 300 hours for ITV and S4C and says it is in competition with the BBC and S4C for ideas.

Gwawr Martha Lloyd, S4C

production environment in Wales, and Pinewood is well placed to deliver that,” says Williams.

Yet there are concerns that such initiatives, fuelled by tax breaks for highend TV, will mainly serve non-Welsh producers or facilities that establish an office across the Severn bridge to meet the criteria for funding, only to take the money back to London.

“I don’t want to see producers coming in for individual productions just to tick boxes then take the rest of the work away once investment is met,” says one indie managing director.

The BBC is cementing a factual hub at Roath Locke (currently blocked out with dramas Casualty, Holby City and Doctor Who) by relocating Bargain Hunt and Coast from Bristol to join Crimewatch there. This work, however, is likely to remain inhouse, doing little to help local indies.

£74.5m

‘The indie sector is thriving as far as talent and ideas are concerned, but finding enough outlets is challenging’

22 | Broadcast | 18 April 2014

Building foundations

“The award of a new, 10-year broadcasting licence from 2014 has given us renewed stability and we’ve been putting a lot of effort into reengaging with the indie sector,” says Phil Henfrey, head of news and programmes. “In the past, indies have not seen ITV as a potential customer, but we’re hoping to change that.”

Enticing Pinewood to erect a fourstudio complex, opening in 2015, between Newport and Cardiff was a coup for the Welsh National Assembly.

Unlike a rival Scottish bid, the Assembly dangled the carrot of a £30m-a-year investment fund for TV and film projects to base there.

The danger of Pinewood Wales suffering the same fate as Bridgend’s Dragon Studios, partially mothballed shortly after opening in 2008, is considered remote, given the company’s track record in attracting international projects.

“You need highvolume, quickturnaround studiobased shows to firmly establish the

Most producers, though, are emphasising the positive aspects of inward investment, which they say lays the foundation for a strong ancillary skills base. “You can’t stop companies from outside Wales coming here, and nor should we,” says Williams. “It’s up to Welsh companies to have strong ideas and to be far more proactive about network co-productions rather than bemoaning their lot.”

“A few years ago, we wouldn’t have found crew with the skill level we do now,” says Sara Hamill, head of production at Urban Myth Films, currently shooting Atlantis near Chepstow.

“There’s a fantastic infrastructure here, which is growing every year.”

Tinopolis’s Jones adds: “What is key from the Welsh government’s point of view is to create jobs. Inward investment is not primarily there to take Welsh creative talent and give them a platform. Our local labour is now part of a global industry that competes for productions such as Da Vinci’s Demons, shows that can leave a significant economic footprint.”

ITV’s Henfrey agrees. “We have got to keep the right skills here and create the right environment to attract talent. There’s a lot of competition from other countries, so the question for Wales is how we take it to the next stage and make it more sustainable.” www.broadcastnow.co.uk

CORPORATE SUBSCRIPTIONS STRUGGLE TO GET YOUR HANDS ON BROADCAST EACH WEEK?

THREE MAJOR OBSTACLES BETWEEN YOU AND BROADCAST‌ 1 Having to fight your colleagues to get hold of the one office copy.

2 Coming back to your desk to find your copy, the one you left momentarily unattended, missing.

3 Not having individual logins meaning you can't access exclusive online content or receive email updates of your choosing.

SOUND FAMILIAR? THERE IS A SOLUTION Corporate accounts are ideal for 5 plus users, enabling everyone to get their own printed copy and individual online logins.

Plus, our discounted corporate rates mean your team will get the resources they need, at great value.

CONTACT US ABOUT A CORPORATE SUBSCRIPTION TODAY

corporatesubscriptions@mb-insight.com

+44 (0) 203 033 2872

Behind the Scenes THE JESUS MYSTERIES

A challenging angle on the story of Christ We didn’t need a miracle to create this innovative take on the Jesus story, but what we achieved on a modest TV budget wasn’t far off, says Justin Hardy Justin Hardy Drama director

H

amish Mykura is one of the bravest commissioning editors I know. As head of specialist factual at Channel 4, he let me make factual dramas about a surgeon’s story of the Battle of Trafalgar, the doctors’ take on Belsen, the harlot’s point of view of Hogarth, and a cop drama, City Of Vice, set in the 18th century. His innovation was recognised with many awards.

As head of commissioning at the UK hub of National Geographic, he seems to be in similarly bullish mood.

For a more global audience’s recognition, the subject matter has to be more iconic, so you might as well go for Jesus. Hamish has not changed his spots: his request was for a freshness of approach to surprise and challenge the audience, and The Jesus Mysteries was to look unlike anything gone before.

The mysteries themselves were to be intellectually bold. Samir Shah, head of Juniper TV, was given the task of reinterrogating the most famous man on earth. The results are astonishing. Seven mysteries decode the life of the Messiah, showing that the Nativity is not a joyful tale of birth, but a premonition of death; Mary Magdalene was never written as a repentant prostitute, but is a victim of medieval slander; and that a plausible answer to Jesus’ whereabouts in his missing ‘teenage’ years is that he came to England.

24 | Broadcast | 18 April 2014

My job was to place all of these innovative concepts into an equally innovative, visualised world.

I knew that a two-hour TV movie on a documentary budget for was not going to be filmed in a hot climate with swaying palm trees. So I proposed we create a mostly Middle Eastern Biblical world in a greenscreen studio, and gave the dizzying task to my long-term CGI guru Jon Underwood and his team. What he has concocted has been something to behold. He has produced more than 230 shots across the two hours. This is a movie number, and yet it has been applied to a modest TV budget.

Art of effects In the words of Mykura, the effects are “simply beautiful”. Jon has created a look best described as a ‘renaissance diorama’. The Druidic glades of Glastonbury are a rich tapestry of lush plant life, luminescent with the back light of a permanent sunset. Wait till you see Jesus punting upstream across the flooded plains of the Somerset levels. The desert landscape of Jesus’ miracles, the stonings and the crucifixion are all overexposed arid paintings.

What Jon did is a dark art, so all I can tell you is that the rest of us filmed for two weeks in the green screen studio in Wimbledon, surrounded by Jo Manser’s reversible sets, a cast of young actors brought in by Muireann Price, and a crew led by Malcolm McLean and Matt Wicks. Jon would sit at the back and within minutes of shooting a scene, he would have 90% inserted that scene into his diorama.

Immediate gratification that encourages the troops no end.

‘The brief was of a freshness of approach to surprise and challenge the audience.

And it was to look unlike anything gone before’ Justin Hardy

THE JESUS MYSTERIES

Production company Juniper Communications TX Nat Geo UK, Sunday 20 April, 8pm; Easter Monday 21 April, 4pm Commissioning editor/executive producer Carolyn Payne Drama director Justin Hardy Writer/producer/director David Caldwell Evans Executive producers Samir Shah; Justin Hardy Line producer Paula Prynn Production designer Jo Manser Editor Damian Knight Post-house West Digital VFX I-BOX Summary Factual drama reexamining the story of Jesus Christ.

Justin Hardy Green screen tricks ■ Green screen shoots are laborious

and suck up time and money. Ensure you have a second unit.

■ A nice smooth studio floor cries out for track, dolly and crane. But these can come back to bite you when the CGI takes twice as long to complete the moving shots.

■ A wind machine brings the artifice of a studio to life. When shot at 50 or 100 frames, it can be poetry in motion.

■ Keep your CGI expert close by.

■ Try to keep your cast at roughly the same height.

www.broadcastnow.co.uk

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

All of this is the gloss on top of Samir’s rock of intellectual thought.

Much of the TV movie is held together by the ‘documentary’, ably constructed

by David Caldwell Evans and his AP, Catrin Evans. Anybody who has dealt with Nat Geo’s standards and practices department knows how hard this must have been. I mean – prove Jesus came to England! Well, these two fought hard over many months, justifying every line, every word, to bring us a vivid and compelling new view of Jesus – the man, the Messiah.

Which brings me to the casting of the big man. I had foolishly said to Hamish that if we couldn’t get the son of God, we could try to get the son of a rock god. He held us to it. It’s not really a brief that a casting director is used to.

Our indefatigable line producer Paula Prynn set out a list of sons of rock stars, and boy did she land one.

Nick Simmons is the son of Gene – he of Kiss and the long tongue. Nick is also 6’8”, which meant that quite a lot of the green screens needed to be recut to fit him in.

But fit him in we did. And after many months of editing by Damian Knight at West Digital post house, and the integration of some haunting music

by Guy Dagul, we had our TV movie – just in time for an Easter release. www.broadcastnow.co.uk

Clockwise from bottom left: crucifixion scene; studio set; green screen filming; Nick Simmons as Jesus

THE JESUS MYSTERIES CREATING THE MIRACLE Jon Underwood Managing director, I-BOX Juniper decided that it wanted to create a beautiful, stylised look using VFX that would transport us back to first-century Palestine, eschewing a more literal desert shoot. It made sense to bring me in right at the planning stage.

Some of the story ideas under discussion, such as Jesus walking on water, would obviously require some VFX work. I was brought on for my experience with shooting for VFX and compositing VFX, and I started by creating some mood boards in Photoshop for the drama sequences.

We shot on an Arri Alexa, using a Dolly, 50ft of track, and around 200ft of green back cloth. After an initial assembly edit of each sequence, our VFX team tracked the camera movement for each shot in 3D space.

Using this virtual camera data, we composited 2D and 3D elements with live action to build up a bigger, wider scene. Photos of the physical flats in the foreground were used as an initial

guide for creating the layered matte paintings of the bigger scenes.

Generally, we were looking to give an impression of a much deeper scene going way back into the distance. The advantage of shooting these in a studio is that we can put just about anything we can dream up back there in the distance.

We set up a VFX workstation at the side of the studio, taking a live feed from the camera. As each set-up was rehearsed, we tested the key and the 3D track. The After Effects 3D Camera Tracker can give a fast analysis of a rehearsal and shows up any problems, such as having our markers in the wrong place, and reveals when actors wiping too close to camera are going to spoil the track.

18 April 2014 | Broadcast | 25

Marketplace REPAIRS

AUCTIONS

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

TRANSFERS & SALES

BUSINESS OPPORTUNITY

SPECIALIST CAMERA EQUIPMENT the world’s leading specialist camera company

ELSTREE STUDIOS

Aerial Camera Systems ACS Tracks

The London Marathon 2014

Please mention Broadcast when replying to adverts

TO LET AT ELSTREE STUDIOS Fully equipped audio post facility with two mixing areas, foley suite, voice over booth and avid edit system.

PRIMETIME EMMY AND BAFTA AWARD WINNER www.acsmedia.com

AUDIO PRODUCTION

Open to rental offers and possible profit sharing.

Most recently used for ITV’s Your Face Sounds Familiar.

Please call 020 8953 1600 info@elstreestudios.co.uk www.elstreestudios.co.uk

To advertise in the Marketplace section please contact: Hannah Grix 020 3033 2889 hannah.grix@mb-insight.com 26 | Broadcast | 18 April 2014

“I have to say that working with you guys was a really good experience. You made it easy from start to finish and delivered immediate, plentiful and quality results.

I will not hesitate to use you again, should the need arise. Rest assured that I will recommend your services liberally.

Dominic Lobo; Head of Production

www.broadcastnow.co.uk

Appointments

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

Presteigne Broadcast Hire

EXPERIENCED PROFESSIONALS NEEDED TO JOIN OUR TEAM IN CRAWLEY

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

As you know we do not typically need to advertise, but we had to fill numerous roles pretty quickly.

These roles were varied and outside our normal area of expertise and knowledge. The responses came in thick and fast and the vast majority were of a very high quality. We have now filled most of the roles with people who applied to the advertisements in Broadcast”.

Nicky Sargent; CEO

technical personnel are looking for: Support Engineers West London Playout Solution Engineer Lead West London Production Tech. Operators London

PRESTEIGNE is looking for three talented and experienced individuals to help grow our business globally: îSales Manager who is primarily responsible for managing client relationships; maintaining and increasing sales with new and existing customers and managing our Dry Hire and Field Sales Teams îBid Engineer who can turn customers’ ITTs into innovative and competitive bids îHire Desk Co-ordinator who can listen to our customers’ needs and provide “best fit” dry hire solutions Competitive salary and benefits package on offer (including pension and BUPA).

For more information about the roles, please call Fiona on 01293 651300 or send your CV to fionaw@presteignecharter.com PRESTEIGNE is a leading dry hire and complete multi-production solution provider with extensive experience in RF, Audio, Video, EVS, HD and 3D with the expertise to offer worldwide solutions to meet a wide range of production needs.

www.presteignecharter.com

Call us, e-mail your CV or register online. +44(0)20 8948 9400 recruit@ems-tp.com www.ems-tp.com

Please mention Broadcast when replying to adverts

For the perFect candidate place your advert with Broadcast

connect with over 36,000 career-minded professionals – online and in print to advertise here, contact hannah Grix on 0203 033 2889 hannah.grix@broadcastnow.co.uk

www.broadcastnow.co.uk

18 April 2014 | Broadcast | 27

Ratings Mon 7 Apr – Sun 13 Apr

BGT back with a bang Cowell talent show and brand new Amazing Greys give ITV bragging rights for Saturday night

BY Stephen Price

Sporting events can be a boon or a curse, depending on whether your schedule has them or not.

But if you do and a crucial football match goes to extra time and penalties, then, in the parlance of schedulers, it delivers gobs of ratings and stuffs the opposition. So ITV will have been willing neither Arsenal nor Wigan to score the winner in extra time as dragging out the match presented a huge boost to the launch of not just the Vaudeville fun of Britain’s Got Talent, but also helped get its new Angela Rippon/Paddy McGuinness show off the ground.

Sure enough, ITV dominated Saturday night, gaining its first win this year in peak time. BGT’s biggestever launch was the cherry on top.

On Monday, ITV’s dramatic grip on 9pm tightened some more as episode one of the two-parter Undeniable launched a long way ahead of all and sundry, on 5.9 million/26% (275,000 +1). Its nearest challenger was BBC1’s own two-parter: documentary The Treasure Hunters, which averaged a distant 2.8 million/12%.

On Tuesday, Chelsea served ITV a double-whammy of a treat, defeating Paris St Germain against the odds and guaranteeing British interest in the Champions League semi-finals, scoring 5.2 million/ 23% (85,000 +1). Opposite, BBC1 managed to get a slight lift for both Holby City (4.6 million/ 20%) at 8pm and Shetland (4.4 million/19%) at 9pm.

The seventh episode of MasterChef achieved 4.5 million/ 20% at 8pm on Wednesday, 28 | Broadcast | 18 April 2014

Broadcast/Barb Top 100 network programmes 1 2 3 4 5 5 7 8 9 10 11 12 13 14 15 16 17 18 19 20 20 22 22 24 25 26 27 28 28 30 31 32 33 34 35 36 37 38 39 39 41 42 43 43 45 46 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Britain’s Got Talent Coronation Street Coronation Street Coronation Street EastEnders Coronation Street Emmerdale EastEnders Coronation Street Emmerdale Emmerdale EastEnders Undeniable EastEnders Emmerdale Countryfile Emmerdale Emmerdale The Crimson Field Uefa Champs L’gue: Chelsea vs PSG Antiques Roadshow FA Cup Semi-Final: Arsenal vs Wigan Endeavour BBC News At Ten BBC News At Six BBC News At Ten BBC News Have I Got News For You Amazing Greys Holby City BBC News At Six MasterChef BBC News At Six BBC News BBC News At Six Shetland BBC News At Ten MasterChef The One Show BBC News At Ten Law & Order: UK Off Their Rockers Pointless Celebrities BBC News At Six MasterChef BBC News At Ten Big Star’s Little Star Casualty Catchphrase ITV News & Weather

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

20.00 19.30 20.30 19.30 20.00 19.30 19.00 19.30 20.30 19.00 19.00 20.00 21.00 19.30 20.00 19.00 19.00 19.00 21.00 19.30 20.00 16.30 20.00 22.00 18.00 22.00 22.00 21.00 21.15 20.00 18.00 20.00 18.00 18.35 18.00 21.00 22.00 20.00 19.00 22.00 21.00 19.30 19.00 18.00 20.30 22.00 20.00 20.40 18.45 18.30

11.07 8.56 7.93 7.44 7.16 7.16 6.61 6.58 6.51 6.38 6.36 6.24 6.13 6.11 5.91 5.82 5.81 5.75 5.42 5.24 5.24 5.03 5.03 4.97 4.94 4.92 4.86 4.71 4.71 4.60 4.56 4.54 4.46 4.38 4.37 4.35 4.34 4.32 4.23 4.23 4.13 4.10 4.02 4.02 3.95 3.85 3.83 3.79 3.76 3.67

47.32 40.59 33.84 35.91 31.35 37.59 34.03 32.15 28.97 34.18 34.28 30.19 26.84 31.00 27.43 28.70 31.32 33.37 22.95 23.48 22.46 30.26 21.42 25.38 29.12 26.84 24.28 22.07 22.82 20.10 29.05 20.45 28.06 25.06 28.27 19.14 23.83 20.21 22.84 23.62 19.07 19.26 19.68 27.20 17.59 21.28 17.26 16.21 19.93 20.43

ITV/Syco TV/Thames ITV ITV ITV BBC1 ITV ITV BBC1 ITV ITV ITV BBC1 ITV/TXTV BBC1 ITV BBC1 ITV ITV BBC1 ITV BBC1 ITV ITV/Mammoth Screen BBC1 BBC1 BBC1 BBC1 BBC1/Hat Trick Productions ITV BBC1 BBC1 BBC1/Shine TV BBC1 BBC1 BBC1 BBC1/ITV Studios BBC1 BBC1/Shine TV BBC1 BBC1 ITV/Kudos Film & TV ITV BBC1/Remarkable TV BBC1 BBC1/Shine TV BBC1 ITV/12 Yard Productions BBC1 ITV ITV/ITN

Figures include HD and +1 where applicable

Britain’s Got Talent

Panorama: Don’t Cap My Benefits www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 56 57 58 59 60 61 62 63 63 65 65 67 68 69 70 71 72 72 74 75 75 77 78 79 80 81 82 82 84 85 86 87 88 89 90 90 92 93 94 95 96 96 98 99 99

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

The National Lottery: In It To Win It BBC News Panorama: Don’t Cap My Benefits The One Show ITV News & Weather ITV News & Weather ITV News & Weather The Chase Pointless The One Show The One Show ITV News & Weather The One Show University Challenge The Chase The Chase BBC News At One The Cube: Celebrity Special The Guess List Pointless Outnumbered Tonight: Schools Out I Never Knew That About Britain The Chase Pointless The Chase BBC News Pointless Pointless Weekend Escapes With Warwick Davis The Graham Norton Show It'll Be Alright On The Night 2 A Question Of Sport Athletics: London Marathon Match Of The Day Match Of The Day 2 The Treasure Hunters The Great British Sewing Bee Final ITV News & Weather ITV News At Ten & Weather Monkey Planet Bang Goes The Theory Mary Berry Cooks BBC News At One Ade At Sea Question Time Have I Got A Bit More News For You Gogglebox Mastermind Panorama: Don’t Take My Car: Bailiffs...

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

19.50 22.10 21.00 19.00 18.30 18.30 18.30 17.00 17.15 19.00 19.00 18.30 19.00 20.00 17.00 17.00 13.00 21.00 21.30 17.15 21.30 19.30 20.00 17.00 17.15 17.00 18.40 17.15 17.15 20.00 22.35 21.00 19.30 8.30 22.30 22.25 21.00 20.00 18.30 22.00 21.00 19.30 20.30 13.00 20.30 22.35 22.35 21.00 20.00 20.30

3.64 3.63 3.59 3.56 3.53 3.47 3.43 3.41 3.39 3.35 3.31 3.25 3.24 3.24 3.16 3.16 3.14 3.12 3.10 3.08 3.05 3.04 3.04 3.01 3.00 3.00 2.99 2.96 2.93 2.91 2.88 2.85 2.85 2.83 2.81 2.77 2.75 2.74 2.72 2.71 2.71 2.68 2.66 2.54 2.52 2.47 2.47 2.45 2.40 2.40

16.13 19.63 17.41 18.36 20.95 20.43 20.34 24.86 23.78 18.05 16.83 20.60 18.77 14.16 25.36 26.07 38.53 14.84 15.25 23.58 14.74 15.44 13.32 25.26 23.63 25.78 16.50 24.16 23.44 14.09 21.44 13.83 14.95 32.15 21.60 19.13 12.06 11.99 15.90 14.24 12.52 12.69 11.34 36.63 11.90 20.80 19.73 11.64 11.63 10.26

BBC1 BBC1 BBC1/Films Of Record BBC1 ITV/ITN ITV/ITN ITV/ITN ITV BBC1/Remarkable BBC1 BBC1 ITV/ITN BBC1 BBC2 ITV ITV BBC1 ITV/Objective Productions BBC1/12 Yard Productions BBC1/Remarkable BBC1/Hat Trick Productions ITV ITV/Potato ITV BBC1/Remarkable ITV BBC1 BBC1/Remarkable BBC1/Remarkable ITV/Love Productions BBC1/So Television ITV BBC1 BBC1 BBC1 BBC1 BBC1 BBC2/Love Productions ITV/ITN ITV/ITN BBC1 BBC1 BBC2/Love West BBC1 ITV BBC1/Mentorn BBC1/Hat Trick Productions C4/Studio Lambert BBC2 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.

The Guess List www.broadcastnow.co.uk

Weekend Escapes With Warwick Davies

significantly ahead of ITV’s Big Star’s Little Star on 3.7 million/ 17% (160,000 +1). Swapsies at 9pm as ITV’s Law &Order: UK won without doing anything spectacular – its 3.9 million/18% (227,000 +1) was slightly behind last week’s but still well ahead of the second of BBC1’s Monkey Planet (2.7 million/13% is 650,000 short of last week). For half an hour at 9pm, Sky Sports 1’s coverage of Bayern Munich v Manchester United averaged 2.4 million/11%.

On Thursday, the top 9pm performance was BBC1’s Panorama: Don’t Cap My Benefits

‘ITV dominated Saturday night, gaining its first win this year in peak time’ (3.6 million/17%), ahead of ITV’s repeat of It’ll Be Alright On The Night (2.7 million/13%; 156,000 +1).

ITV’s celebrity edition of The Cube achieved 3 million/14% (160,000 +1) for an hour at 9pm, behind BBC1’s Have I Got News For You (4.7 million/22%), but ahead of 9.30pm’s repeat of Outnumbered (3.1 million/15%).

On Saturday, The FA Cup semifinal averaged 5 million/30% (50,000 +1), peaking at 10.3 million/47% at 7.45pm. It pushed Britain’s Got Talent to 8pm, where it launched with a best-ever 10.5 million/45% (529,000 +1). BBC1’s best was Pointless Celebrities at 7pm (4 million/20%). Meanwhile, Casualty, incommoded by ITV’s slipped schedule, achieved 3.8 million/16% at 8.40pm.

BBC1 panel show The Guess List launched with 3.1 million/15% at 9.30pm. But round one of the brand new Saturday night shows went to ITV’s Amazing Greys: 45 minutes later than billed, at 9.15pm, it lost more than half BGT’s audience, but 4.5 million/22% (200,000 +1) is not to be sniffed at.

On Sunday, BBC1’s Antiques Roadshow achieved 5.2 million/ 22% at 8pm, while at 9pm, episode two of The Crimson Field lost 670,000 on launch, with 5.4 million/ 23%. Opposite, the third episode of ITV’s Endeavour achieved 4.7 million/20% (400,000 +1); 380,000 short of last week.

See over for digital focus, plus channel and genre overviews 18 April 2014 | Broadcast | 29

Ratings Mon 7 Apr – Sun 13 Apr Channel Overview

C4 quiz drops off the pace

BY Stephen Price

William G Stewart first introduced us to 15 contestants, 14 of whom were destined to be unlucky, in January 1988. More than a quarter of a century on, and 10 years off the air, his former show has had a bumpy return.

Channel 4’s rebooted daytime quiz Fifteen To One, now hosted

by Sandi Toksvig, landed straight after the previous Saturday’s Grand National and achieved 1.6 million/11% (incl +1) at 5.15pm.

However, on Monday at 4.30pm, the first edition in its permanent weekday berth, it fell to 700,000/ 6% (incl +1). Over the week, it averaged 500,000/5% (incl +1).

On Monday, C4’s One Born Every Minute achieved 1.8 million/8% (221,000 +1) at 9pm, ahead of Channel 5’s Shops & Robbers: Britain’s War On Shoplifters (900,000/4%; 68,000 +1) and BBC2’s Coffee Shop Hot Shots’ 1.5 million/7%.

On Tuesday at 9pm, C5’s Can’t Pay? We’ll Take It Away (1.5 million/7%; 157,000 +1) beat BBC2’s The Battle For Britain’s Breakfast’s 1 million/5%. But C4 lost out to BBC3 and BBC4 with its ailing drama New Worlds (411,000/2%; 79,000 +1).

On a good Wednesday night for BBC2, Ian Hislop’s Old Days: The Power Of The Past In Britain trumped the 1.4 million 9pm slot average with 1.9 million/9%.

Source: BARB

WEEK 15 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 07.04.14 Peaktime share (%) w/c 08.04.13 Year to date Average hours per viewer Audience share (%) Audience share (2013)

BBC1 5.09 20.17 20.85 21.22 BBC1 6.01 22.16 21.38

BBC2 1.38 3.79 7.27 7.29 BBC2 1.83 6.75 5.60

ITV1 4.20 14.28 23.07 22.04 ITV1 4.22 15.55 16.30

C4 1.27 5.04 5.32 5.57 C4 1.57 5.80 6.10

Start

Viewers (m) (all homes)

30 | Broadcast | 18 April 2014

Total 24.78 100.00 100.00 100.00 Total 27.14 100.00 100.00

Top 30 bbc2, channel 4 and channel 5 Title

Day

Share %

Broadcaster

1

University Challenge

Mon

20.00

3.24

14.16

BBC2

2

The Great British Sewing Bee Final

Tue

20.00

2.74

11.99

BBC2

3

Mary Berry Cooks

Mon

20.30

2.66

11.34

BBC2

4

Gogglebox

Fri

21.00

2.45

11.64

C4

5

Mastermind

Fri

20.00

2.40

11.63

BBC2 BBC2

6

Gardeners’ World

Fri

20.30

2.34

10.41

7

One Born Every Minute

Mon

21.00

2.04

8.95

C4

8

Under Offer: Estate Agents On The Job

Wed

20.00

2.02

9.07

BBC2

9

Ian Hislop’s Olden Days

Wed

21.00

1.87

8.66

BBC2

10

Golf: The Masters 2014

Sun

18.30

1.78

9.63

BBC2 BBC2

11

Great British Menu

Tue

19.30

1.77

8.64

12

Great British Menu

Thu

19.30

1.68

8.53

BBC2

13

Gypsies On Benefits And Proud

Fri

21.00

1.67

7.93

C5

14

The Nightmare Neighbour Next Door

Tue

20.00

1.66

7.26

C5

15

Can't Pay? We’ll Take It Away: Final Demand

Tue

21.00

1.65

7.26

C5 C4

16

Alan Carr: Chatty Man

Fri

22.00

1.63

10.01

17

Natural World: Africa’s Giant Killers

Fri

21.00

1.55

7.35

BBC2

18

Grown Ups

Sun

21.00

1.54

7.68

C5

19

Coffee Shop Hot Shots: Business Boomers

Mon

21.00

1.51

6.59

BBC2

20

Great British Menu

Fri

19.30

1.49

7.81

BBC2

21

Great British Menu

Mon

19.30

1.44

6.81

BBC2

22

The Hoarder Next Door

Thu

20.00

1.43

6.69

C4

23

Spider-Man 3

Sun

18.30

1.39

6.64

C5

24

The Three Musketeers

Sun

21.00

1.36

6.90

C4

25

Shop Secrets: Tricks Of The Trade

Mon

20.30

1.34

5.70

C4

26

15,000 Kids And Counting

Thu

21.00

1.29

6.26

C4

27

Golf: The Masters 2014

Sat

19.30

1.28

6.89

BBC2

28

Rev

Mon

22.00

1.27

6.58

BBC2

29

Eggheads

Mon

18.00

1.22

7.18

BBC2

29

Flog It!

Sat

17.45

1.22

7.51

BBC2

Figures include HD and +1 where applicable

Multichannel 39.34

BBC2’s ob doc Under Offer: Estate Agents On The Job launched in line with 9pm Wednesday slot average

Others 11.77 52.43 39.34 40.23 Others 12.41 45.74 46.61

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

daytime share (%) w/c 07.04.14

peaktime share (%) w/c 07.04.14

2.0m

C5 1.07 4.30 4.15 3.65 C5 1.08 4.00 4.01

BBC1 20.85

ITV 23.07

C5 4.15 C4 5.32

BBC2 7.27

Multichannel 52.43

670k

C4 found it hard to get an audience for cloning doc The £60,000 Puppy (Weds, 10pm)

BBC1 20.17

ITV 14.28

C5 4.30

BBC2 3.79

C4 5.04

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

Let’s Play Tiny Tumble Let’s Play My Story Something Special: We’re All...

Chuggington: Badge Quest Grandpa In My Pocket Sarah & Duck Mr Bloom: Here And There Grandpa In My Pocket

Top 10 Factual programmes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Title

Mon Mon Mon Wed Mon Wed Wed Mon Mon Mon

14.05 10.25 10.05 17.15 13.45 17.10 17.30 17.20 10.30 17.30

192,500 189,200 182,800 182,000 180,700 180,600 174,900 173,500 172,900 169,800

20.41 18.75 17.56 14.25 20.51 14.50 13.47 12.27 17.96 11.67

CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies CBeebies

1 2 3 4 5 6 7 8 9 10

Countryfile Antiques Roadshow MasterChef MasterChef The One Show MasterChef Panorama: Don’t Cap My Benefits The One Show The One Show The One Show

Day

Start

Sun Sun Wed Thu Tue Fri Thu Mon Thu Wed

19.00 20.00 20.00 20.00 19.00 20.30 21.00 19.00 19.00 19.00

Viewers (millions)

5.82 5.24 4.54 4.32 4.23 3.95 3.59 3.56 3.35 3.31

Share (%)

Channel

28.70 22.46 20.45 20.21 22.84 17.59 17.41 18.36 18.05 16.83

BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1 BBC1

➤ Let’s Play topped the table in an imperious week for CBeebies. The pre-school channel completed a whitewash, blocking out all competition from sister channel CBBC and Disney, which occasionally features. Other new entries included Mr Bloom: Here And There.

➤ BBC1’s Panorama investigation Don’t Cap My Benefits featured in the all-BBC1 factual table ahead of three instalments of The One Show.

Otherwise, MasterChef performed well again, but was not strong enough to topple the Countryfile/Antiques Roadshow double act.

Top 10 Drama programmes

Top 10 Entertainment programmes

Title

1 2 3 4 5 6 7 8 8 10

Undeniable The Crimson Field Endeavour Holby City Shetland Law & Order: UK Casualty Marvel’s Agents Of S.H.I.E.L.D. The Mentalist Foyle’s War

Day

Start

Viewers (millions)

Share (%)

Channel

Mon Sun Sun Tue Tue Wed Sat Fri Tue Thu

21.00 21.00 20.00 20.00 21.00 21.00 20.40 20.00 22.00 20.00

6.13 5.42 5.03 4.60 4.35 4.13 3.79 1.11 1.11 1.02

26.84 22.95 21.42 20.10 19.14 19.07 16.21 5.13 6.83 4.84

ITV BBC1 ITV BBC1 BBC1 ITV BBC1 C4 C5 ITV3

Title

1 2 2 4 5 6 7 8 9 10

➤ ITV’s Undeniable made a strong start and knocked The Crimson Field off top spot. The BBC1 drama lost nearly 800,000 viewers, but still managed to hold off competition from Endeavour and stalwarts such as Holby City. Channel 4 and Channel 5 scooped rare entries.

UP Britain’s Got Talent up 700,000 on 2013

DOWN The Crimson Field loses 800,000

1 2 3 4 5 6 7 8 9 10

Off Their Rockers Outnumbered The Big Bang Theory Rev How I Met Your Mother W1A The Trip To Italy The Simpsons The Simpsons The Simpsons

Viewers (millions)

Share (%)

Channel

Sat Fri Sat Sat Wed Sun Sat Mon Mon Mon

20.00 21.00 21.15 19.00 20.00 18.45 19.50 17.00 17.15 20.00

11.07 4.71 4.71 4.02 3.83 3.76 3.64 3.41 3.39 3.24

47.32 22.07 22.82 19.68 17.26 19.93 16.13 24.86 23.78 14.16

ITV BBC1 ITV BBC1 ITV ITV BBC1 ITV BBC1 BBC2

UP Shetland gains 170,000

DOWN Countryfile drops 1.3m

UP Thursday’s MasterChef rises 3,000

Top 10 Music & Arts programmes

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Fri Thu Mon Thu Wed Fri Mon Wed Tue

19.30 21.30 20.00 22.00 20.30 22.00 22.00 18.00 18.00 18.00

4.10 3.05 1.73 1.27 1.15 1.11 1.08 1.04 1.01 0.97

19.26 14.74 8.03 6.58 5.43 6.30 6.01 6.11 6.55 6.19

ITV BBC1 E4 BBC2 E4 BBC2 BBC2 C4 C4 C4

➤ The second series of Off Their Rockers continued with more than 4 million viewers, putting it ahead of a repeat of Outnumbered.

Elsewhere, the final instalment of W1A managed sixth in a decent week for BBC2, which also registered Rev and The Trip To Italy. next week Sport and current affairs www.broadcastnow.co.uk

Start

➤ Britain’s Got Talent returned for its seventh series with its best debut audience on record. As well as averaging 11 million viewers, the ITV show peaked with 12.3 million, putting it comfortably ahead of its rivals in the entertainment table, including new format Amazing Greys.

DOWN Endeavour down 390,000

UP Monday’s Pointless adds 170,000

Top 10 comedy programmes Title

Britain’s Got Talent Have I Got News For You Amazing Greys Pointless Celebrities Big Star’s Little Star Catchphrase National Lottery: In It To Win It The Chase Pointless University Challenge

Day

Title

1 2 3 4 5 6 6 8 9 10

The People’s Portrait The Olivier Awards 2014 Rule Britannia! Music, Mischief...

Top Of The Pops: 1979 Arena: Amy Winehouse – The Day...

Ultimate Irish Music At Royal Hall...

The Richest Songs In The World Britpop At The BBC Random Acts Random Acts

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Sun Mon Thu Fri Sun Tue Fri Tue Wed

17.35 22.15 21.00 19.30 21.00 20.00 22.50 22.00 0.25 0.00

2.35 0.79 0.41 0.35 0.30 0.29 0.29 0.26 0.21 0.19

15.16 6.16 1.81 1.75 1.40 1.25 3.41 1.56 4.98 3.13

BBC1 ITV BBC4 BBC4 BBC4 BBC4 BBC4 BBC4 C4 C4

➤ BBC1’s The People’s Portrait was more than a million viewers ahead of any of its rivals in the music and arts line-up, while The Olivier Awards failed to perform for ITV. BBC4 was predictably strong, registering six places, with Random Acts featuring twice.

See over for demographic and digital focus 18 April 2014 | Broadcast | 31

Ratings Mon 7 Apr – Sun 13 Apr Demographic Focus Channels

Source: BARB

Individuals Share (%)

Adults ABC1 Share (%)1

Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

Male Profile (%)2

Female Share (%)1

Female Profile (%)2

BBC1

20.84

24.93

48.19

11.65

9.86

20.56

44.87

21.07

55.13

ITV

17.27

16.60

38.71

14.22

14.52

15.37

40.49

18.85

59.50

BBC2

5.55

7.43

53.95

2.95

9.39

5.87

48.07

5.29

51.93

C4

5.01

5.17

41.57

6.84

24.11

4.48

40.68

5.45

59.34

C5

4.66

3.77

32.59

5.13

19.40

4.14

40.36

5.10

59.63

ITV2

2.48

1.96

31.95

4.28

30.51

1.89

34.71

2.96

65.29

ITV3

2.38

2.09

35.37

0.53

3.89

1.88

35.94

2.80

64.03

E4

1.94

1.94

40.47

5.36

48.84

1.89

44.38

1.98

55.62

Sky Sports 1

1.72

2.03

47.68

2.51

25.83

2.69

71.43

0.90

28.58

Film 4

1.30

1.03

31.83

1.47

20.04

1.54

53.79

1.10

46.20

BBC3

1.26

1.20

38.32

3.40

47.64

1.40

50.54

1.14

49.43

Dave

1.26

1.29

41.26

2.25

31.63

1.71

62.10

0.87

37.88

More 4

1.18

1.21

41.48

1.10

16.52

1.11

42.93

1.23

57.02

5 USA

0.95

0.74

31.19

0.66

12.18

0.91

43.33

0.99

56.67 37.36

ITV4

0.94

0.78

33.41

0.84

15.77

1.29

62.64

0.64

Sky 1

0.90

0.95

42.52

2.01

39.32

1.04

52.57

0.79

47.45

BBC4

0.88

1.23

56.31

0.28

5.72

1.04

53.69

0.75

46.31

Yesterday

0.79

0.73

37.06

0.16

3.57

1.06

60.55

0.57

39.41

Drama

0.70

0.67

38.54

0.26

6.56

0.70

45.67

0.70

54.28

29%

ITV’s Amazing Greys pitted young against old but it was the over-65s who tuned in. They accounted for 29% of viewers, up from the 17% average. Under-24s remained in line with slot average. The biggest drop was among 35-44s: down from 16% to 11%.

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

BBC4 finds TV gold in Eden

BY Stephen Price

In an unlikely contest this week, it turned out that suburban gardens can hold their own in a stand-off with a backpacked Olympic bronze medallist and porn.

On Tuesday at 9pm, BBC3 played Porn: What’s The Harm, achieving 325,000/2% (with another 315,000 from two repeats that night). Opposite, ITV2 served up Tom Daley Goes Global on 401,000/2% (Saturday’s repeat achieved 226,000/3%). The 9pm winner, however, was BBC4’s Everyday Eden: A Potted History Of The Suburban Garden, with 404,000/2% and another 43,000/ 4% for the late-night repeat.

ITV2’s Britain’s Got More Talent, hanging around for the football-delayed Britain’s Got Talent, achieved 1.3 million/6% at 9.15pm; slightly more than the first show of 2013 (1.2 million/5%).

E4’s best was The Big Bang Theory on Thursday at 8pm with 1.7 million/8%. Hollyoaks on Tuesday at 7pm was its next best with 1.2 million/6%.

32 | Broadcast | 18 April 2014

Source: BARB

digital homes

Top 30 multichannel programmes Title

1 2 3 4 5 6 6 6 9 10 10 12 13 14 15 15 17 18 19 19 21 21 21 21 25 25 27 27 29 30

Live Ford Super Sunday The Big Bang Theory Uefa Champions League Live Ford Super Sunday Britain’s Got More Talent Hollyoaks How I Met Your Mother Hollyoaks Celebrity Juice Hollyoaks Foyle’s War The Call Centre Hollyoaks Hollyoaks Midsomer Murders Made In Chelsea Toy Story 2 Family Guy Britain’s Got More Talent Game Of Thrones The Big Bang Theory The Big Bang Theory A Touch Of Frost Brooklyn Nine-Nine Ford Monday Night Football Celebrity Juice Britain’s Got Talent Paul O’Grady: For The Love...

Doc Martin Family Guy

Figures include HD and +1 where applicable

Day

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

Start

12.30 20.00 19.00 15.30 21.15 19.00 20.30 19.00 22.00 19.00 20.00 21.00 19.00 19.00 20.00 22.00 20.00 23.25 17.40 21.00 18.30 18.30 20.00 21.00 19.00 22.20 16.25 21.35 20.30 23.00

Viewers (millions)

Share (%)

1.99 1.73 1.44 1.37 1.27 1.15 1.15 1.15 1.05 1.02 1.02 0.98 0.94 0.93 0.87 0.87 0.80 0.69 0.68 0.68 0.67 0.67 0.67 0.67 0.66 0.66 0.62 0.62 0.61 0.60

19.39 8.03 6.88 10.05 6.20 6.22 5.43 6.20 6.24 5.24 4.84 4.31 5.45 4.98 3.82 5.08 3.42 8.87 4.32 3.02 4.00 3.96 3.14 3.23 3.19 4.14 4.73 2.91 2.59 6.04

Channel

Sky Sports 1 E4 Sky Sports 1 Sky Sports 1 ITV2 E4 E4 E4 ITV2 E4 ITV3 BBC3 E4 E4 ITV3 E4 BBC3 BBC3 ITV2 Sky Atlantic E4 E4 ITV3 E4 Sky Sports 1 ITV2 ITV2 ITV3 ITV3 BBC3

Channels

Share (%)

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

20.84 17.27 5.55 5.01 4.66 46.67 2.48 2.38 1.94 1.72 1.38 1.30 1.26 1.26 1.18 1.17 0.95 0.94

Figures include HD and +1 where applicable

1.0m

BBC3’s The Call Centre returned with twice the overnight audience of Channel 4 (Tues, 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 43 45 46 47 48 49 50

Title

Day

Start

Viewers (000s) Share (all homes) %

Broadcaster/ Producer*

Live Ford Super Sunday Live Uefa Champions League Live Ford Super Sunday Game Of Thrones Live Ford Monday Night Football New Tricks Hawaii Five-0 Bones Live Uefa Champions League NCIS Modern Family Criminal Minds Gillette Soccer Saturday Storage Hunters Storage Hunters Arrow The Simpsons Storage Hunters Elementary Live Championship Modern Family The Simpsons Not Going Out The Simpsons Not Going Out The Masters – Live The Simpsons Gillette Soccer Saturday Live Hull City vs Sheffield United NCIS: LA The Simpsons The Simpsons The Simpsons Last Of The Summer Wine The Simpsons The Simpsons Castle The Simpsons The Simpsons Storage Hunters Baggage Battles The Simpsons QI XL The Simpsons The Simpsons The Masters – Live The Smoke Storage Hunters The Simpsons Last Of The Summer Wine

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

12.30 19.00 15.30 21.00 19.00 21.00 21.00 21.00 19.30 21.00 20.30 21.00 14.30 20.30 20.00 20.00 19.00 20.30 21.00 12.00 21.00 19.30 21.40 19.00 21.00 19.00 18.30 12.00 15.00 22.00 18.30 19.00 18.30 21.40 19.00 19.00 21.00 18.30 19.00 18.30 20.00 19.30 20.00 18.00 18.30 19.00 21.00 20.00 18.30 21.00

1,987,900 1,443,200 1,370,000 675,000 663,100 517,000 491,600 490,500 432,600 431,300 427,800 426,100 414,300 414,000 407,600 396,200 392,100 389,600 389,400 385,000 383,100 362,200 360,400 350,100 335,100 331,200 323,500 322,200 318,500 315,600 315,400 315,200 313,000 308,600 298,600 297,800 297,200 289,700 288,400 286,200 285,400 283,200 280,200 280,200 279,900 276,500 276,400 275,200 274,800 272,800

Sky Sports 1 Sky Sports 1 Sky Sports 1 Sky Atlantic Sky Sports 1 Drama/Wall To Wall Sky 1 Sky Living Sky 1 Fox Sky 1 Sky Living Sky Sports 1 Dave/T Group Dave/T Group Sky 1 Sky 1 Dave/T Group Sky Living Sky Sports 1 Sky 1 Sky 1 Dave/Avalon Sky 1 Dave/Avalon Sky Sports 4 Sky 1 Sky Sports News BT Sport 1 Sky 1 Sky 1 Sky 1 Sky 1 Yesterday Sky 1 Sky 1 Alibi Sky 1 Sky 1 Dave/T Group Quest Sky 1 Dave/Talkback Sky 1 Sky 1 Sky Sports 4 Sky 1/Kudos Film & TV Dave/T Group Sky 1 Yesterday

Figures include HD and +1 where applicable

NCIS www,broadcastnow,co,uk

Baggage Battles

19.39 6.88 10.05 3.02 3.19 2.57 2.08 2.27 1.99 2.05 1.83 1.87 4.08 1.78 1.81 1.85 2.27 1.73 1.71 4.80 1.66 1.90 1.85 1.89 1.58 2.02 1.84 3.23 2.50 1.79 1.86 1.69 1.74 1.54 1.55 1.53 1.44 1.83 1.56 1.81 1.25 1.34 1.31 1.76 1.66 1.71 1.34 1.33 1.63 1.22

25%

Sky Atlantic’s 2am simulcast of Game Of Thrones attracted one in four multi-channel viewers

Thrones roars ahead for Sky BY stephen price

The official motto of the (fictional) Westeros grand family House Lannister of Casterly Rock is, apparently, ‘hear me roar’. Fans of the fallout of George RR Martin’s vivacious imagination may not have been roaring in last Sunday’s small hours, but in a nocturnal gesture of devotion they watched, simultaneously with America, the opener of the fourth season of Game Of Thrones.

At 2am on Sunday 6 April, the simulcast of Sky Atlantic’s hit HBO saga drew 570,000/25% hardy souls. The 9pm Monday repeat just passed that with 675,000/3%. Two more repeats added another 75,000. The PVR took that to 1.9 million in total – a clearer picture will emerge by next week.

Behind Westeros’s finest as the second best non-sport show was Drama’s repeat of New Tricks on 517,000/2.6%.

Quest’s own pursuit of ratings via containers continues to do nicely. The channel’s best programme was Baggage Battles at 8pm on Sunday. It achieved 285,000/1%, four times the share average for the slot. The second half of the double bill achieved 216,000/1% at 8.30pm.

Without its wayfaring dead, Fox’s best was NCIS on Friday at 9pm, with 431,000/2%.

18 April 2014 | Broadcast | 33

Ratings Mon 31 Mar – Sun 6 Apr

All BARB ratings supplied by: Attentional

Consolidated Ratings

The Trip stays on course My school trips tended to be to places like Littlehampton or Eastbourne. All revolved around the same dreary experience: where to find shelter from the incessant wind-assisted rain to eat fish paste sandwiches and drink warm, weak squash out of a plastic beaker.

On their latest trip, Steve Coogan and Rob Brydon went to Italy, where it’s warm, and the fish isn’t so much pasted as fresh from the sea. Plus, the wine is chilled.

Elsewhere, BBC1 waved good­ bye to The Voice UK and gave ITV much food for thought.

BBC1: The Voice UK The third series of BBC1’s The Voice UK ended on 5 April with a consolidated audience of 7.2 million/ 31% after 567,000 recorded and watched. The series, which began on 11 January, earlier than the

Source: BARB

two previous spring outings, gave BBC1 a strategic advantage on winter Saturday nights, averaging 8.1 million/33%. This is more than series two got in 2013 (7.5 million/31%) and just behind series one’s 8.5 million/36% in 2012.

This third series averaged 1.5 million/33% for 16-34s, behind 2013 (1.7 million/36%) and 2012 (2 million/43%). ABC1s were steadier with 3.9 million/36%, ahead of 2013 (3.5 million/34%) and a smidge behind 2012 (4 million/41%).

ITV: Ant & Dec’s Saturday Night Takeaway The second series of ITV’s Ant & Dec’s Saturday Night Takeaway since its five-year hiatus also came to an end. The show achieved 7.1 million/30% after 818,000 recorded and watched.

The series averaged 7.6 million/30%, slightly behind 2013’s 7.9 million/33%, with 1.7 million/36% 16-34s, compared with 1.9 million/41% last year.

It also attracted 2.6 million/25%

ABC1s, down from 2.8 million/ 28% in 2013.

BBC2: The Trip To Italy BBC2’s The Trip returned, heading this time to Italy after series one’s Cumbrian jaunt. The first episode of series two began on Friday 4 April at 10pm and was recorded and watched by more than 420,000 to deliver a final rating of 1.6 million/8%, in line with the series one average back in the autumn of 2010 (1.6 million/7%).

The first ever episode remains the best with 2.3 million/11%.

Sky Atlantic: True Detective The penultimate episode of Sky Atlantic’s True Detective was watched live on Saturday 5 April by just 95,000/0.5%. However, after nearly 400,000 watched via PVR, it ended on 493,000/2%. The one consolidated repeat so far, later the same night, added another 106,000.

Of this, 92,000 came via recording.

The Saturday 9pm premiere transmission slot is averaging 607,000/ 3% with one left to consolidate.

Top 30 Consolidated Ratings: ranked by gain

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

7.8m Total audience for BBC1’s The Crimson Field after adding 1.7 million

UP The Widower adds 510,000 DOWN W1A down 320,000

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

Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

The Crimson Field The Widower Shetland Endeavour Silk Casualty Law & Order: UK Gogglebox Coronation Street Ant And Dec’s Sat Night Takeaway The Mentalist Coronation Street MasterChef MasterChef Have I Got News For You MasterChef W1A One Born Every Minute Celebrity Juice Marvel’s Agents Of S.H.I.E.L.D. The Following EastEnders Person Of Interest EastEnders Criminal Minds Elementary Hostages The Voice UK Revolution Coronation Street

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

21.00 21.00 21.00 20.00 21.00 21.15 21.00 21.00 20.30 19.00 21.00 19.30 20.30 20.00 21.00 20.00 22.00 21.00 22.00 20.00 22.00 20.00 22.00 19.30 21.00 21.00 20.00 19.00 22.00 19.30

7.83 7.94 5.53 6.89 5.33 6.02 5.17 3.89 8.58 7.07 2.06 8.75 4.20 5.02 5.50 5.41 1.61 2.99 1.79 1.95 0.88 8.10 1.36 7.19 0.93 1.01 1.24 7.15 0.66 8.64

28.61 26.60 20.59 25.86 18.24 26.69 21.13 16.20 33.35 29.68 7.56 42.11 16.65 20.56 22.47 23.01 7.91 10.14 9.19 8.00 4.77 33.10 7.22 33.76 3.16 3.71 5.28 30.60 3.31 38.40

1.70 1.69 1.36 1.23 1.23 1.09 0.93 0.90 0.86 0.82 0.81 0.75 0.75 0.72 0.71 0.68 0.68 0.67 0.66 0.64 0.64 0.63 0.62 0.60 0.59 0.58 0.57 0.57 0.56 0.55

27.70 27.10 32.80 21.80 29.90 22.00 22.00 30.10 11.20 13.10 64.20 9.40 21.90 16.80 14.90 14.50 72.40 28.90 58.30 49.20 265.20 8.40 84.10 9.10 167.70 138.40 85.80 8.60 560.20 6.80

Broadcaster BBC1 ITV BBC1 ITV BBC1 BBC1 ITV C4 ITV ITV C5 ITV BBC1 BBC1 BBC1 BBC1 BBC2 C4 ITV 2 C4 Sky Atlantic BBC1 C5 BBC1 Sky Living Sky Living C4 BBC1 Sky 1 ITV

Figures include HD and +1 where applicable

34 | Broadcast | 18 April 2014

www.broadcastnow.co.uk

Celebrating digital content and innovation EARLY BIRD DISCOUNT AVAILABLE ON TABLES Ends 8 May

BOOK NOW Contact Hannah Grix T 020 3033 2889 E hannah.grix@mb-insight.com @BroadcastDigi #broadcastdigitalawards

broadcastdigitalawards.co.uk Sponsored by

For sponsorship enquiries please contact Sonya Jacobs T 020 3033 2935 E sonya.jacobs@mb-insight.com

Off Cuts

robin.parker@broadcastnow.co.uk

The fastest woman in TV?

ALL A TWITTER Might just be me, but I feel that this series of Made In Chelsea is less spiritually nourishing than previous ones.

Coming in slightly ahead of Justin was Studio Lambert’s Ros Ponder, who must surely be the fastest woman in TV after crossing the finishing line in an incredible two hours 58 minutes – making her the 47th woman to finish Sunday’s race. Can anyone beat that?

@RichardAyoade (Richad Ayoade) Writer/director/actor

Shows that make a splash Marathon man: C4’s Justin Gorman

Going the extra mile Hearty congratulations to Channel 4 head of entertainment Justin Gorman, who completed his sixth London Marathon in four hours 25 minutes, raising more than £3,000 for mental health charity Mencap. And he then faced having to go an extra mile to find the team from the charity. Be gentle with him, Jay and David.

Today’s emails: BBC say they’re sad I’m not keen on their project, Beeb (diff dept) isn’t keen on mine. Score thus far. One all. Hurrah!

While most people at MipTV were talking about Rising Star or The Lie, a number of slightly stranger formats emerged from Spain. The Shower, from Secuoya Content Distribution, is The X Factor with bikinis and a loofah, while in Dolphins With The Stars, from La Competencia and Televisa, celebrities spend a month living with, yes, dolphins. Alan Partridge must be pinching himself.

@LucyGannon2 (Lucy Gannon) Writer

The Trip To Italy is unbelievably well made and performed and everything, but it’s a tiny bit Top Gear. And I don’t mean the Mini. @jfjford (Jack Ford) Script editor

It’s the question on everyone’s lips: ‘What would happen if they watched Gogglebox on Gogglebox?’

Last week’s episode came close, with the contributors bamboozled by Saturday Night Takeaway’s tribute, Ogglebox. But it was left to David Schneider and digital video producer HandFace to bring the ultimate scenario to life with a canny edit on Huffington Post. See http://huff.to/1nmCual.

Still thinking about #crimsonfield.

Character+plot+writer who understands subtext+prod values that supports all. That is indeed a lush thing. @YVONNEGRACE1 (Yvonne Grace) Development producer

20 September

cr nic Th .co.uk stnowRe www.broadca Tita of BEHIND THE SCENES 26 Page it INTERVIEW Pandas 3D: why

Page

part pays to look the Page 26 d rwar ay fo st w e be be th

lm of fi 20 Page

to akin stem n sy latio regu

Mark Damazer said handing Ofcom responsibility for the BBC could work, but warned: “If you go down this route, it would require Ofcom to have, deep in its remit, operating procedures and culture, an understanding of the BBC’s

2013

nt, inside Pullout suppleme

Technology

e labels’ and six ‘creativ uld s co for development push el 4’ £2m Plans nninclude Cha

and techniq

ue for

production, tionspost and playou t within BBC Produc

T EC H

August/Septem

ber 2013

COHEN’S VISION L CREATIVE OVERHAU

BY JAKE KANTER

into to plough £2m The BBC is to free up executives development, genres in “creative work across encourage senior labels” and back to the floor” a managers to “go in-house into t, in a bid to turn production outfi world-leading director of television according to Danny Cohen. the changes on Cohen outlined are He said they Wednesday. down working s aimed at breaking BBC Production structures at and creativity” that “stifle energy corporation the and will help “powerful” emercompete with ix. such as Netfl ging platforms vision feeds into his The move also n across the for greater collaboratio

ng wro l It’s into na has Status utiorelated to go stitbeen back y inmanag theement isis . I tooff c cr headrm to give it to want ecifi refo sp e people of a creativ

Which TV or radio programme would you resuscitate?

Challenge Anneka or Chockablock.

Who would you be on Stars In Their Eyes?

Madonna singing Material Girl.

Who is your pin-up?

Leonardo DiCaprio. Not only is he handsome, but he also cares about animal welfare. That’s a win-win in my book.

What keeps you awake at night?

Light. My husband has just bought a brand new alarm clock that glows like the Blackpool Illuminations.

What do you do to relax?

Unplug that alarm clock.

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

Baileybu – a Malibu and Baileys cocktail. It sounds funny and tastes great.

What’s the most embarrassing item in your wardrobe?

As a children’s television presenter, I have worn hundreds of absolutely ridiculous costumes. Very little embarrasses me any more.

I have no pride left. None.

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

That no two days are the same. I get to travel to amazing places, meet incredible people and do and see things that I wouldn’t ever have done on my own.

What’s your hidden talent?

I can do the Rubik’s Cube (right).

way Drama leads the£1.1bn as revenues hit

Pat Younge role split Younge’s CCO of factual between controller Humand daytime Natalie controller of phreys and a new nt. fiction and entertainme t £2m investmen into talent, £2m BBC to plough pilots. taster tapes and Creative labels to be freed At least six teams genres. up to work across oor Back to the fl a day the Bosses to spend with t working on a show. risky d” bu Trust k usly ure Stephen Lawrence people “serio struct knee-jer ethnic Black and minority to be ething C is launchpad. som the BB tion on seems but handed career g st, way ed cau hearin C Tru dy plan BB -floor’ his in ‘back-to-the o hea k on runner advis work as will . “T to “take bets for the to go intthe bac Dancing: Cohen Cohen plans Strictly Come as a tool to reformituary onglabels” TV division. within the use the labels overhaul, Pat “creative up wr orms off the end of syouth”, As part of the an obsix ays talent and free post before division said. creative officer alw in-house l ref ,” hewill g bythi attract external who can led berin Younge’s chief be na it’s they will geniuses”, ge s said sis the year. Hecri hea rs” bra Production scale the tio of “creative at BBC at c in the size and entrepreneu institu “creative PAC lar um ity on onof two controlbecome “lost in favour specifi the levels scrapped of seniority, ticu speechention will keep ios of a rinvarying g ofein-house”. will te lers. nv k par assemble Natalie Humphreys of cur s.a Th of television toowill Du who Co controller of factual and keyno ge her CThe director senior staff to ger lack na team MPs st’s her rid execuma t mer BB encourage while the corposmall also Tru developmen week, the position, in s a a day at the coalface of ior and produce ing for is om a controller Camb night.daytime wa ast develop sen Pol h for by and Ofc S d recruit spend l to adc plansat “back-towit ne RT esday ration genre. Byfor Trust s to innce ckett, bro -making in a anydea said ent.

BBC (right)do rk now, rolesand entertainm Danny Cohen, uld be ie Be tor, dction payoffshows h ex- programme Cohen is taking of fi until wit Ma Wedn e senior hel itw secsit severa “Up on Charl , status adm the-floor” scheme. nwill sho eral int s nothe television ks spending ller On o has by Both and R wa ns ctio £1m gen ion initiative loo tro strategic it po seniority nt, du which con or NTE lead on the Lyo ame ance athawider Strictly with t the projects “redevelop ash been elrelated gulat ideas, proboard, ise, wh Trust E KA ding direct lar flhas in4 cha thentpaythe day as a runner on the selse”. assist govern ued to increasefea BBC er a bru c tiv d in the ofmission that willdy then Radio d han BBC

BY JAK BBC Sir Mimanageme Ccommisarg t be a with d particu an to Dancing.

Dancing ebo an sai Publi cussed to Come of the tain aft rhaul developed n is He mighin-house ll tol initiatives include a partsom pitching er BBto zer unit for the it. go anddis I want the threw chairm t he The future uncer an ove table”. Worldwide, such tioas upcoming C rove ho Form link Lawrence sioners. las Kro Other del tha break regulaMusketeers.

“If you uire Dama nsi bility The singly r with (PAC) erning app that with the Stephen gle BBior failnership ting from gov also overseerned: “inevi nel 4 mo not on drama The req greater BBC1 or Nic into where a sin sen£2m Markwill respo did andectgive enegiving 20 individuals backincrea encounte ittee ernance t the Trust, t wa would remit, thebuBBC’s anisd to plough but st dir to minority ethnic Chan option, Cohen mm gov es creativeinterv om rk, to y tha it om a centralOfciCreate, its e, ing nts Co including Tru status t, orc d to black atingand it chance to launch enf fted eatedl weCohen n. ‘Developme ible developmen ion’s ld wo s platform to Ofc route, deep in d cultur the reppeople,” that nt couonline and dubbed allo tters rel grounds Accou porat focus. has shi y to ded unit, eratio ued a networke, an for thiproduction aningat the MPs is told han BBC’s cor onlyBroadcast. sets remun will ma l, me argbe used toisfund down to hav ilit offs. BBC, and for all new share ures sharp sation y the the ossal will careers staff paymasterclass club tionlabels era ent which pilots. bod eraThe t suitab irman tiality into board gemCentral’, andtha om ideas. source par er and tapes proceding of col geneveryothing ariat un reviewed Ofc cha content ings e conver ten’s recruitment , the , taster im attract or t ting television division. nd rem beect d its it would in theen and a highsecret mana wever itself, Pat re st’s C to ven , era joiners y sta an Th hoping and st Separately, dir wh is op mo pre a unit. liti Ho Heg BB ficulties two tyears ses . And Tru issue Lord the Tru the bod the e to under to lead plansrpoto ein play will collabto po to the ld no the 11. dif does Cohen profile an pu of life as failur from h executive e to Central cou er did ten on the May 20 its overseht wit ility blic stand up ssures ain rently ique at puleast Developme havnt thatot establish un in e cur genres rem credib ticised s. ith ug to Pat ed to ir it uld different Ne fra rd to wo with then lity ue add cha off cri Hodg al pre orate the

est a sugg erts Exp

Naomi Wilkinson Presenter, CBBC’s Marrying Mum & Dad

SURVEY DISTRIBUTORS

st? use C Tru e BnBto transform in-ho he Co h t r o f w t no Wha

ning ? s win battle Who’factual the 24

AND FINALLY ...

Corporate Subscriptions

2013 ber ptem 13 Se

ENES E SC feats ND TH the BEHI eating ompson

uk .co. ck on 20 years ays now ty W new w er Maveri cast of unpredictabili RVIE road INTE mfield: dercov Page 22 w.b ww Broo ing un

£4.99

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

Tech that changed TV Industry exper ts

pick their 25

LEARN MORE

Lo e” as val an abi Ame rci .” e tha to ive of ret maratho C pay MPs brief k over Polis, Ofcom ive rol execut a scienc not del sesn notoraof sprint:ics need d com after huge BB Marga t mo and e allpu therpo uld ght OB provide ect heAtoo an om proactC4. Th ir rundown of “brou ich sho nges. cal The Tourtt,ofdir Ecrsonfor was curren oke”, l to probe C cha those who will be h cke unveiling what Britain of Page re PA that the was “br centra s wit Trust has s, wh ance cha for a defendarlie Be IBC trade showat this year’s School said the 7 the e review ern ance to be ndation Ch ing port on gov k, arguedgovern me Lond nk-tan likely servic t in any ced sup , includ the BBC es are e’s recom thi be los ers voi to C4 media chang mitte Oth similar com the model

36 | Broadcast | 18 April 2014

top products,

page 18

£ SAVE MONEY

SAVE TIME

£1m severance deal for former BBC director general Mark Byford was a particular flash point, with ex-Trust chairman Sir Michael Lyons admitting that he discussed the payment, but did not approve it.

Trust director Nicholas Kroll told MPs repeatedly that the governing body is only allowed to intervene on remuneration matters relating to the director general, meaning it could not prevent other payoffs.

Neither did the Trust secretariat brief Lord Patten on the issue when

SAVE EFFORT

Email: corporatesubscriptions@mb-insight.com

Call: 0203 033 2872

Technicolor colourist Dan

www.broadcastnow.co.uk