Broadcast 21st February 2014

www.broadcastnow.co.uk

21 February 2014

BEHIND THE SCENES

INTERVIEW

STEVEN D WRIGHT

Page 32

Page 24

Page 22

Braving life on the Alaska railroad

Red Planet thinks big on co-pros and tax breaks

Why it pays to be nasty in TV

Shine and London Live at loggerheads DRG in format with Virgin Media over EPG dogfight

BY JAKE KANTER

BY PETER WHITE

London Live is at loggerheads with Virgin Media over the prominence given to local TV services in the cable platform’s electronic programme guide (EPG).

A number of industry sources indicated that the London Evening Standard-operated station has complained to Ofcom about Virgin Media (VM) allocating local services channel slot 159.

The regulator has launched an investigation, which is likely to either back VM’s decision or put pressure on it to offer local TV services a better slot.

Although London Live is leading the charge, the issue affects all local TV licence holders.

The consensus among them is that VM is not being as co-operative as Sky, which will carry local TV on channel slot 117. Local TV services have already been granted channel 8 on Freeview.

Channel adjacencies are a key issue. Local TV will sit between BBC4 and ITV2 on Sky, and between BBC4 and ITV3 on Freeview. But on Virgin channel 159, local TV would sit between Fox HD and Sky Living+1, and be lower down the pecking order than the Horror Channel and CBS Reality.

VM has 3.7 million TV customers.

One local TV source said: “We can’t provide accurate viewing forecasts in sales material because of the Virgin EPG position. It makes a huge difference.” Another added: “We’re producing quality content, it would be crazy not to put pressure on Virgin.”

Shine TV and distributor DRG are locked in a battle over the intellectual property rights to a daytime format.

The dispute is over Shine’s Auf Wiedersehen, My Pet, which ITV director of daytime Helen Warner ordered as a 20 x 60-minute series in September 2013.

DRG claims the show is similar to its My Best Friend, which has been optioned in the UK by Maverick Television.

Auf Wiedersehen, My Pet, which is close to TX, features pet owners making the tough decision to give up their animals, who are matched with a trio of potential new owners.

My Best Friend follows eight dog owners who have to give away their beloved dogs. It was made

by Strix, a company owned by DRG parent MTG, for TV2 Denmark. It has since been sold to more than 10 countries.

DRG has not begun legal proceedings, with both companies hoping to resolve the situation.

“Auf Wiedersehen, My Pet is unique in this area, which will be clearly illustrated once it debuts,” said a Shine TV spokeswoman.

Virgin Media: platform to be probed after allocating channel 159 to local TV

We’re producing quality content. It would be crazy not to put pressure on Virgin Local TV source

A third industry insider also claimed there is uncertainty over whether Virgin will charge local TV operators a standard channel insertion fee of up to £85,000.

London Live, which launches on 31 March, declined to comment on its complaint to Ofcom. However, the channel’s chief operating officer Tim Kirkman did voice concerns about the matter last year at a Westminster Media Forum.

He said the Virgin channel slot “still needs to be resolved” and argued that having a good EPG position is like having a shop “between Selfridges and Harrods”.

VM executive director of content Stephane David said: “Ofcom is taking a look at where a channel might sit on our TV guide and we’re engaged in that process.”

An Ofcom spokeswoman added: “We are investigating Virgin Media’s compliance with the condition of its licence regarding the prominence granted to a particular channel on its electronic programme guide.”

EPG prominence is likely to be discussed during a Westminster Hall debate on local television next week.

My Best Friend: daytime dispute

Editor’s Choice

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

Online this week www.broadcastnow.co.uk

Chris Curtis, Editor

Top News

The joys of jostling for position Netflix’s model is marvellous, but conventional slots are still crucial

T

he Broadcast team had busy Valentine’s Day weekends by all accounts – but there wasn’t a trip to Paris or a bunch of garage-bought flowers in sight.

Instead, they seemingly all spent the weekend watching season two of Netflix’s super-dark House Of Cards (below). Our international guru Peter White rattled off six episodes over two days, while art editor Peter Gingell announced he was

‘Thinkbox figures show that the TV’s status as the best screen for watching shows is not under threat’ rationing himself to one episode a night (but has already broken his own rule).

Either way, it’s easy to think that binge viewing has become the default for my colleagues, and that Netflix’s strategy of delivering an entire series in one go has delivered a terminal Frank Underwood (FU) to linear broadcasting as we know it.

But has it? Thinkbox’s figures this week on consumption of VoD content versus linear viewing can be cut in different ways, but overall the picture is of traditional viewing proving remarkably robust.

That’s why the row between Virgin Media and London Live over EPG prominence (see front page) is so important. Common sense and a quick look at the channel adjacencies suggests London Live (and its local TV counterparts) has a pretty decent 2 | Broadcast | 21 February 2014

case in the dispute with VM. Certainly the channel position offered by the cable operator is less attractive than the prime Freeview and Sky positions that have been secured, though whether the local operators will have the leverage to force a change is less clear.

The importance of slots will also be to the fore when ITV reveals more about its two new channels as part of its full-year results announcement next week.

ITV Encore is the more straightforward proposition and is likely to get some decent Sky real estate, given that it will be available exclusively on the satellite platform for 18 months and will also feature some exclusive content (don’t expect much though – one high-level scripted exec cynically estimated two series a year, both made by ITV Studios).

ITVBe is more interesting, given its free-to-air status. It’s hard to see the broadcaster tinkering with ITV2 or ITV3, but a Freeview position around ITV4 and ITV2+1 looks a decent bet. For more analysis of the new entrant, see pages 6 and 20.

Finally on slots, the double Broadcast Award-winning Gogglebox has gained a new one. Expect it to ramp up its emotional and funny moments when it moves to 9pm on Friday nights on Channel 4.

Exec producer Tania Alexander knows the spotlight will be on the show and says she is ready for the challenge. Plenty of viewers will probably watch via their PVR, or catch up on 4oD, but it’s still the pressure and profile of a prominent linear slot that sets industry pulses racing.

è Plans to rebuild the exterior EastEnders set at Elstree Studios are to cost the BBC more than £15m. The cost emerged after Broadcast uncovered a tender document, codenamed E20, revealing the budget for the rebuild.

è Waif Productions co-founders Brian Wade and Geraldine Perry have taken legal action against Sky for format infringement over Princess Productions’ talent contest Must Be The Music, which aired on Sky 1.

è BBC Breakfast host Susanna Reid (right) is in talks to join ITV to host its Daybreak breakfast show replacement.

Ratings Top Five 1 The British Academy Film Awards pulled in 4.6m viewers on Sunday – its smallest audience since 2010.

C4’s Benefits Britain live debate drew 3.2m on Monday, easily trumping C5’s rival immigration debate, which mustered 900,000 in the same slot.

2

3 Saturday’s Splash! (below) finale bowed out with 4m, short of the 5.6m who tuned in for last year’s climax.

The BBC’s coverage of the Winter Olympics hit 5m on Friday, its highest peak to date.

4

5 Sky Living comedy Doll & Em got off to a shaky start on Tuesday – mustering fewer than 100,000 viewers.

Team Tweets è C4 Benefits debate fell between two stools. Not enough about making of show to make it analysis of TV’s responsibility to be representative.

And not an informed debate about the issue itself. @ChrisMCurtis

www.broadcastnow.co.uk

News & Analysis

Maker launches push into UK

BY ALEX FARBER

Multichannel network Maker Studios has set up its international HQ in London and plans to build relationships with UK broadcasters and production companies.

Maker’s online video network achieves 4.2 billion monthly views, and digital veteran Rene Rechtman joined the business in January to lead its international push.

Rechtman sold video network GoViral to AOL for $100m (£60m) in 2011 and became head of the online giant’s branded content division. He said that Maker’s online distribution model was contributing to a shake-up in the way youngsters consume content.

“GoViral was a first-generation video company that disrupted the traditional value chain,” he said.

“The next big thing is disrupting TV as we know it.”

LA-based Maker works with thousands of creators, who produce original content that is then distributed via more than 50,000 channels across YouTube.

Rechtman, who has begun initial conversations with UK broadcasters, claimed they are

MAKER STUDIOS STATS

4.2bn

Monthly video views

350m

Channel subscribers

80% Proportion of audience aged 13-34 Bravely Default: content consumption ‘shaken up’, says Rechtman, below

losing touch with younger audiences and can tap into Maker’s network of channels and talent to engage with these ‘millennials’.

“The starting point in all discussions with broadcasters is how to help them reach the younger generation,” he said. “They can work with our talent and our network to attract them.”

Maker is also keen to produce content around its four verticals – men, women, family and enter-

tainment – with a variety of models available, including fully funding shows and adfunded formats.

“First I need to finalise what kind of original programming I want to invest in,” he said.

“But we will invest heavily.

Content needs to be regional to be successful.”

Rechtman said that broadcasters are not currently suffering financially from losing touch with younger audiences, but drew parallels

Source: Maker Studios

with the profit decline experienced by the newspaper industry.

“Players like Maker are growing so fast they are hard to ignore.

We aren’t replacing traditional TV right now but the question is how things progress from here.”

As well as signing more international talent, Rechtman expects to agree syndication deals, broadening the Maker network’s reach to include sites such as Mail Online and Yahoo!, as well as TV platform operators.

Former Endemol chief exec Ynon Kreiz was appointed executive chairman of Maker Studios in 2013.

Znak and Jones create transatlantic producer

BY PETER WHITE

Former ITV Studios and Zodiak USA exec Natalka Znak and ex-Syco Entertainment USA exec Simon Jones are setting up an indie with transatlantic ambitions.

The new company, likely to be called ZJ TV, is being created to produce non-scripted series for US and UK broadcasters.

The pair are understood to have held talks with potential investors, although a deal is yet to be finalised. Discussions are thought to have included conversations with Azoff MSG Entertainment, the company set up by music mogul Irving Azoff, and Madison Square Garden Company, which owns the famous New York concert venue and sports arena. www.broadcastnow.co.uk

Killer Karaoke: Natalka Znak worked on Zodiak USA gameshow format

Znak and Jones have strong non-scripted pedigrees. Jones was hired by John de Mol’s Talpa Media to set up its US arm less than a year ago. During his short tenure, he worked on shows

including NBC’s The Winner Is… and Fox gameshow Challenge Me. Before joining Talpa, he was chief operating officer of Syco Television USA, where he was executive producer of American

Idol. He has also worked at Fremantle Media and was controller of business affairs at ITV. Znak left Zodiak USA, where she was chief executive, in April last year. She joined the US producer of Secret Millionaire and Wife Swap in 2010, and was promoted to chief executive in June 2012 following Grant Mansfield’s departure. She worked on formats including Killer Karaoke and Hardcore Pawn.

She is also an ITV alumni, working at the broadcaster between 2004 and 2010 in roles including controller of factual entertainment.

ZJ TV is also thought to have hired Cherie Kloss, producer of TLC’s Swinger Wives, as director of development.

21 February 2014 | Broadcast | 3

News & Analysis

Bectu survey points to BBC improvement

By Jake kanTer

Bectu has claimed that it has seen improvement in working conditions at the BBC’s religion and ethics department since investigating the matter last year.

The entertainment union surveyed staff at the division, which is based at MediaCityUK in Salford, following complaints about “bullying behaviour” and “inappropriate” management style.

Bectu is still collating the results of the survey with a view to presenting its findings to members and the BBC. But supervisory official Helen Ryan said it had already received “anecdotal” evidence that conditions had improved.

It is understood that staff have reported an increased regularity in team meetings, improved feedback processes and a better tone from managers in dealing with colleagues. Religion and ethics is also understood to have introduced a working action plan after it performed below average in key areas of the 2013 BBC North survey.

“Raising the profile of these issues has had an impact. People wanted change,” Ryan said.

The Ottomans: BBC’s religion and ethics department surveyed by Bectu

A BBC spokeswoman added: “The welfare and happiness of our staff is incredibly important and it’s good to hear that people feel things are improving.”

The unions are still attempting to persuade BBC director general Tony Hall to introduce an external investigation process to deal with staff complaints over bullying.

Pay dominated talks when unions met with the former Royal Opera House boss earlier this month but the unions say their

views on Dinah Rose’s Respect at Work review remain ‘live’.

The NUJ’s BBC chapel leaders passed a motion in January proclaiming that they were “disappointed and angry” with the corporation’s implementation of the Rose recommendations.

One of the central aims of the Rose report was to cut the time it takes to settle bullying and harassment complaints from 90 to 30 days, but the NUJ claims this is still not happening.

Springham joins Crackit to bolster pursuit of growth Crackit Productions has hired Hannah Springham, one of the founding producers of Jonathan Stadlen’s indie Knickerbockerglory.

Springham has been appointed development consultant and executive producer at Crackit, which is run by creative director Elaine Hackett and backed by production network Greenbird.

Springham was named a Broadcast Hotshot in 2006 and series directed Sky 1’s Pineapple Dance Studios alongside executive producer Stadlen while the pair were at Pulse Films. More recently, she has been involved with Knickerbockerglory’s BBC3 series Boom Town and Sky 1’s Twin Towns.

Her appointment forms part of Crackit’s bid to reach its next stage of growth, with the Greenbird backing providing extensive commercial support for the company.

Hackett said: “Hannah’s a visual powerhouse with an enviable track record. Her lust for life and programme-making is contagious.”

Springham added: “Making a successful series is about uncovering the world’s best characters and then employing the world’s best team to make it. Freelancers want to work in a place where they’re well looked after, and that’s something Elaine has nailed.”

Four in the frame for BBC in-house comedy job

By Jake kanTer

ITV comedy boss Myfanwy Moore is understood to be among the contenders to head up the BBC’s in-house comedy division following the promotion of Mark Freeland last year.

Moore is understood to be one of four candidates in the frame for the post, with sources indicating that in-house comedy executive producers Saurabh Kakkar and Pete Thornton are also being seriously considered. The fourth contender is thought to be from the indie community.

The recruitment process is being overseen by Freeland, who 4 | Broadcast | 21 February 2014

Recruitment is being overseen by Mark Freeland with input from Shane Allen

Freeland: promoted last year

became controller of fiction and entertainment last year, alongside director of television Danny Cohen. BBC comedy controller

Shane Allen will also have input into the final decision.

An appointment is expected to be announced within a week, but sources are split on who is favourite to land the post.

One indicated that Kakkar was well placed, having been involved in strategic work for the comedy unit, while others said Moore would be an eye-catching hire.

She has first-hand experience of working within the BBC’s comedy division, where she was editor of new comedy, executive producing Little Britain and The Mitchell And Webb Situation.

Moore joined ITV in March 2012 and has been involved in commissioning shows including Vicious and The Job Lot. Freeland has shown that heading up BBC in-house comedy can be a stepping stone to a bigger role. The unit enjoyed a purple patch under his watch, producing shows including Mrs Brown’s Boys and The Wrong Mans.

A BBC spokeswoman declined to comment. www.broadcastnow.co.uk

News & Analysis

BBC1 signs up for Red Planet Motown series

By RoBin PARkeR

BBC1 has picked up Tony Jordan’s large-scale Motown ‘jukebox musical’ and is developing a series of smaller studio plays with the writer’s indie Red Planet Pictures.

The BBC is the first broadcaster to sign up to 10 x 60-minute series Stop! In The Name Of Love, which Red Planet developed out of a deal with EMI Music Publishing to use the Motown archive. The indie is looking to secure further international co-producers.

Jordan described the contemporary drama as a “big jolly musical” that would employ the familiarity of Motown songs as “a shorthand to people’s emotions”.

He promised the series would be on a larger scale than the likes of ABBA musical Mamma Mia! or Sunshine On Leith, whose narrative is propelled by Proclaimers songs.

“When people do musicals on TV, they always think it works if it’s a mother singing to her son in the bedroom, or two people arguing in the kitchen,” Jordan said.

“That’s valid, but we really love the idea of going full Busby

Mamma Mia!: Motown series to be on a larger scale than ABBA musical

Berkeley. Having flashmobs of 200 people doing a big number in the middle of Oxford Street would be really cool.”

At the other end of the scale, Red Planet is developing a primetime BBC1 series made up of single-set studio plays, each of which will feature a story from a different part of the UK. The first script for Behind Closed Doors comes from Stephen Greenhorn, who wrote Sunshine

On Leith and also created Scottish soap River City and ITV drama Marchlands.

“We’re trying to get under the skin of the regions,” said Jordan.

“Stephen’s piece isn’t about Scottish independence but it’s very much of its place. What he’ll say is what it’s actually like to be Scottish – away from the tartan and haggis stereotypes.” ➤ See Interview with Tony Jordan, page 24.

The Musketeers to go global as BBC closes raft of deals The Musketeers is set to swashbuckle across the world after BBC Worldwide closed several deals with international broadcasters.

German public broadcaster ARD, Norway’s NRK, Sweden’s TV4, Ukraine’s 1+1, Greece’s OTE and Turkey’s NTV have all signed up for the period drama.

The 10 x 50-minute series was produced by BBC Productions and co-produced in association with US cable channel BBC America. The series, which is based on the Alexandre Dumas novel, has already been picked up for a second run.

The sales come ahead of BBC Worldwide Showcase, the annual sales event in Liverpool that will host 725 international buyers later this month. The Musketeers stars Luke Pasqualino, Tom Burke, Santiago Cabrera and Alexandra Dowling, plus writer Adrian Hodges and executive producer Jessica Pope, will attend the event.

BBC Worldwide president, global markets, Paul Dempsey said: “The Musketeers is an action-packed adventure with stunning production values and universal appeal.”

Other key dramas at Showcase include spy thriller The Game, Red crime drama Happy Valley and Eddie Izzard-fronted factual drama Castles In The Sky.

Middlechild to tell story of the ‘human bear’ for C5

By PeTeR WHiTe

Channel 5 has ordered a documentary from Middlechild Productions telling the story of a grizzly bear that was bought by a Scottish couple in 1976 and went on to become a Hollywood star.

The 60-minute Hercules: The Human Bear tells how Andy and Maggie Robin bought the bear as a cub from a Scottish zoo for £50 to give Andy a wrestling partner.

The documentary looks at the couple’s relationship with the animal, which went on to star in a James Bond movie, TV commercials and appear on the cover of Time magazine. www.broadcastnow.co.uk

Hercules: The Human Bear: the grizzly bear became a Hollywood star

Middlechild founder David Sumnall sold his car to fund its development after hearing about the story. “I came across it a couple of years ago and had a

eureka moment that it would make a great documentary. It has the perfect three-act structure, from taking a bear to making it famous,” he said.

The doc was ordered by C5 factual commissioning editor Simon Raikes and is expected to air in April. The commission comes as Middlechild is ramping up the amount of work it does for C5.

The broadcaster is on the verge of recommissioning the indie’s The Dog Rescuers for a second series.

The first series of the show, commissioned by Greg Barnett, was ordered as a 10 x 30-minute run but C5 is beefing up the second series to 12 x 60 minutes, with a primetime slot.

The show is a co-production with GroupM Entertainment and is sold internationally by Endemol Worldwide Distribution.

21 February 2014 | Broadcast | 5

News & Analysis

‘Investment is key for ITVBe’ Bosses at TLC, Lifetime and Sky Living warn against relying on repeats or alienating men

BY JAKE KANTER

ITV will need to invest heavily in its new female-skewing channel ITVBe to ward off the risk of cannibalising its audience, according to the bosses of rival stations.

The commercial broadcaster announced last week that ITVBe will be its first free-to-air channel launch since CITV in 2006. It will offer female-friendly lifestyle and reality programming, as well as becoming the home of The Only Way Is Essex.

The bosses of TLC and Lifetime welcomed the competition, but warned that ITVBe will suffer if it relies on repeats.

Discovery Networks UK & Ireland launched TLC in April last year and executive vice-president and managing director Susanna Dinnage said: “It will be interesting to see whether ITVBe slices and dices its own audience, or if ITV is able to grow its base.

ITV has to find very clear propositions for ITVBe and ITV2, but it will be expensive because it’s difficult to sustain.”

Heather Jones, vice-president of programming at Lifetime owner A+E Networks UK, added: “What we have learned is that it’s important to have appointment-to-view, noisy first-run content to find a big audience. Women watch shows more than channels.”

Jones, who oversaw the launch of Lifetime in November, also pointed out that ITV’s entry into the market is likely to “drive up the cost of first-run, third-party content”, which would be good news for the US studios.

ITV has indicated it will repeat imports such as Real Housewives, but Dinnage (right) said Discovery has noticed that re-runs, particularly in the factual space, are “not rating as well” because of increased competition for eyeballs.

“What we’ve learned is that entertainment and reality shows don’t stand the test of time, you have to refresh and renew in a way that you don’t have to with drama.

Reality is in the moment, creating 6 | Broadcast | 21 February 2014

Clockwise: TLC’s Pregnant At 50; Sky Living’s Elementary; ITVBe’s Real Housewives; Lifetime’s The Proposers

bright fireworks – and then people move on,” Dinnage said.

TLC pulled in its biggest audience of the year last week with Tina Malone: Pregnant At 50, which drew 174,000 (0.9%), and claims it is now the ninth biggest channel in the UK among women with pay TV. Despite this, Discovery is keen that TLC appeals to both genders, shying away from calling it a female channel in its marketing.

Sky Living has adopted a similar strategy after director Antonia Hurford-Jones revealed at the Edinburgh International Television Festival last year that she was “de-pinking” the channel. She told Broadcast that Sky Living’s previous brand was “patronising

and old fashioned” and, crucially, was alienating men.

“We’ve talked to our customers about how they watch television and they like it to be a feelgood escapist place for when they’re back from work, have finished their chores for the day and want to relax. Generally, that’s with their partner. They don’t want to sit in another room,” she said.

The sharedviewing strategy has resulted in an increase in male viewers, with shows including Blacklist, HanniBlacklist bal and Elementary all having an impact. “Women love crime drama, but it’s not offputting for men,” Hurford-Jones explained.

What we’ve learned is it’s important to have appointment-toview, noisy, firstrun content to find a big audience Heather Jones, A+E Networks UK

She refused to comment on the prospects for ITVBe, but said it was not a surprise to see new entrants to the market. She added: “It will make us raise our game – we’re well up for it. We’ve got a bit more heritage than some of our competitors.”

ITV is yet to reveal many details of ITVBe, so its commissioning budget, EPG slots and hours of broadcast are not yet known. Its launch will shift ITV2’s focus to scripted and entertainment content for 16 to 34 year-olds. www.broadcastnow.co.uk

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Commissioning News

Sky adapts Italian comic for TV It has the potential to capture the imagination of our collective audiences

BY Peter White

Sky is developing a TV series based on Italian comic book Diabolik with sister companies Sky Italia and Sky Deutschland.

The 10 x 60-minute project is the first time the three international Sky companies, which are all backed by 21st Century Fox, have collaborated on content.

The series is being developed for Sky 1 and is based on the characters created by Angela and Luciana Giussani in 1962. Diabolik is a thief who uses his ability to take people’s identities as a way to steal from criminals. He is part anti-hero, part Robin Hood.

The stories are all set in the fictional European town of Clerville, which is also home to cop Inspector Ginko and Diabolik’s lover and accomplice Eva Kant.

The three broadcasters are in the process of recruiting a showrunner to oversee the drama.

Leading the development are Sky head of drama Anne Mensah, Sky Deutschland executive vice-president of programming Gary Davey, and Sky Italia

executive vice-president, programming, Andrea Scrosati.

Sky Italia originally put the project in development last year

and filmed a trailer, but it has now been revamped in conjunction with the two other broadcasters.

It is understood that Italian

ITV follows rise of Cilla Black in Pope drama

Sky 1 lands Samsungbacked talent contest

Child 44 author to create gay spy drama for BBC2

ITV has confirmed that Jeff Pope’s latest project will chart the rise of Cilla Black, with the Liverpudlian songstress being played by Sheridan Smith (below). Broadcast first reported in October 2013 that Pope was working on the drama, which has now been formally commissioned by ITV director of drama Steve November. Threepart drama Cilla tells the story of Black’s rocky road to fame in 1960s Liverpool, including how family friend Ringo Starr introduced her to Beatles impresarios Brian Epstein and George Martin, who helped launch her career. Cilla will be produced by Kwadjo Dajan, with Pope executive producing. Paul Whittington is the director.

Sky 1 has ordered a Fresh Oneproduced talent contest backed by Samsung and featuring judges including actor Idris Elba, chef Gizzi Erskine, fashion photographer Rankin and pop star Paloma Faith. The pay-TV broadcaster is to air Launching People (working title) later this spring. The 4 x 60-minute series will search for talented individuals with a passion for food, film, music and photography, and ties into Samsung’s Launching People marketing campaign. The Fresh One-produced series was ordered

by Sky commissioning editor Deborah Sargeant and will be exec produced by Mark Sammon. Genevieve Welch is the series producer.

Tom Rob Smith, the author of novel Child 44, is to create a BBC2 drama series about a gay spy. BBC2 has commissioned Working Title Television to make 5 x 60-minute contemporary thriller London Spy, Rob Smith’s first television project.

His story centres on Danny, a gregarious, hedonistic romantic who falls for the anti-social and enigmatic spy Alex. But as they get closer, Alex disappears, leaving Danny to pick up the pieces. The drama will go into production later this year and is set to air in 2015. It will be exec produced by Juliette Howell, Tim Bevan and Eric Fellner for Working Title.

8 | Broadcast | 21 February 2014

Anne Mensah, Sky

Diabolik: italian comic book is being turned into a television series by Sky

4Shorts to profile British Paralympians at Sochi Five of the biggest stars of the British team taking part in the Paralympic Winter Games 2014 are to be profiled in a series of

production company Cattleya, which has made series including Gomorrah, is producing the series.

“This project has the potential to capture the imagination of our collective audiences. It is great to have found a property that the broadcasters are equally passionate about. We look forward to working together to bring it to the screen,” said Mensah.

21st Century Fox president and chief operating officer Chase Carey said recently that the company wants to take advantage of its companies working together.

“We’re trying to find ways we can capture the value by having those companies share things they’ve learned, share expertise, benefit from each other and win, win, win. Hopefully, we’ll continue to try to exploit that,” he said.

online films hosted on Channel 4’s website. The broadcaster has commissioned Twofour to produce the series of 4Shorts docs, which will profile and track the training of athletes Aileen Neilson (pictured), Tim Farr, Jade Etherington, Anna Turney and Kelly Gallagher. Each

film will include video diary-style footage. The series, greenlit by sports multiplatform commissioner James Rutherford, follows the video diaries Twofour created for C4’s Paralympics website in 2012. Launching later this month, the films have been produced and directed by Twofour’s Rich Melton. www.broadcastnow.co.uk

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For more projects in development and the latest commissions, visit

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Commissioning News

Q&A Alex Menzies Alex Menzies Commissioning editor, features, Channel 4 What are your most recent commissions?

I’ve only been at Channel 4 since August, so most of my commissions are yet to be announced. There is a nice mix of ideas coming down the road, but Cook’s Question Time (working title) with Twofour is one I can mention. Sue Perkins brings everything we love her for to an enormously fun, studio-based cookery show. If you step in something wet in the Studio 1 gallery at Riverside, it will probably be my drool.

What’s a definite no?

Treatments with other channels’ logos on them (ideally there should be no channel logos at all).

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

Anything that starts with: “The Office of National Statistics has found that…” I love a bit of data.

What’s the worst line?

It was a very long time ago, so I can’t remember the exact sentence, but it involved a “wheelie-bin Tardis”.

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

Never commit sizeable amounts of money to a long-running evening course or gym membership. Self-improvement is impossible.

What was it that appealed?

A lovely balance of familiarity, innovation, nourishment and an impactive part four.

How quickly do you aim to respond to an idea?

We do our best to respond within 21 days of a proposal arriving.

How much have your commissions changed from what was initially pitched?

They almost all have new titles.

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

Carrie Mathison – so I could drink with and be mentored by Saul Berenson. I’m probably more like Gordon Brittas, sadly.

What would you like more of?

I think the best ideas tend to come from the less obvious places.

It’s great to hear about an idea that sparked something personal or unusual.

What’s your top pitching tip for producers?

An evident love of the English language. If there’s no flair in the writing of the treatment, it’s hard to envisage it ever being a priority in the finished programme.

How should producers pitch to you?

Initially, with nothing longer than an emailed one-page treatment to gauge interest. If a more developed submission is needed, we will request one.

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

Recent coMMissions

Cooks QuesTion Time (w/t)

BesT of BoTH Worlds

Indie Twofour Duration 6 x 60 minutes TX Spring 2014 (tbc) Summary Studio-based cooking show hosted by Sue Perkins in which guest chefs offer advice and demonstrations of signature dishes, while answering questions from an unashamedly foodie audience.

Indie Raise the Roof Duration 8 x 60 minutes TX Spring 2014 (tbc) Summary Property expert Kirstie Allsopp helps people looking for a home that will provide them with not only a slice of classic country living, but that is also within easy reach of the city.

www.broadcastnow.co.uk

21 February 2014 | Broadcast | 11

International News

Australia opens up to UK indies Pact signs deal with counterpart SPA to boost commissioning and co-pro opportunities

BY PETER WHITE

Australia’s importance to the UK TV industry is set to boom in three areas: British indies winning commissions down under; consolidation of its domestic production sector; and Australian shows being picked up by British broadcasters.

Commissioning opportunities in Australia have been boosted by a new agreement between Pact and its counterpart Screen Producers’ Association of Australia (SPA).

The memorandum of understanding focuses on practical benefits such as co-pro frameworks, but also means producers can call on Pact for assistance if issues arise while making shows in the country.

Companies such as Keo Films, which opened an Australian office to produce a local version of River Cottage, and Title Role Productions, which is making a local version of Crimes That Shook Britain for Foxtel, are among the British companies already producing for Australian broadcasters.

Pact chief executive John McVay said he expects this to increase following the SPA deal. “There’s a big opportunity in Australia.

There’s always been trade between the UK and Australia but now it’s becoming more of a commissioning market.”

The wide-ranging opportunities in both scripted and non-scripted are with commercial broadcasters Seven, Nine and Ten, public stations ABC and SBS, and pay-TV channels including Foxtel.

Sector consolidation International consolidation within the Australian production sector is also expected to continue.

NBC Universal took full control of Matchbox Pictures last month after initially buying a stake in the The Slap producer in 2011.

Matchbox is working on forthcoming Toni Collette-fronted religious drama Devil’s Playground and The Gallipoli Story, a miniseries about a group of journalists in 1915 – including Rupert Mur12 | Broadcast | 21 February 2014

Anzac Girls: All3Media International is in the process of selling Screentime’s WWI drama in the UK

London and LA are just as important to us as Sydney and Melbourne Tracey Robertson, Hoodlum

doch’s father Keith – who were embedded with troops.

Matchbox managing director Chris Oliver-Taylor told Broadcast that a new wave of Australian drama is attracting attention.

“It’s incredibly watchable and we tell a great story, plus we have amazing talent and the landscape to back it all up,” he said.

There is also a slew of emerging digital-savvy companies that are likely to become acquisition targets.

Essential Media, one of the companies behind feature film Saving Mr Banks, starring Tom Hanks, is riding high after US network Fox remade its male-skewing comedy Rake.

Jungleboys, which started as a commercial and

branded entertainment agency, is another rising indie. It produces The Moodys, a dysfunctional-family sitcom that has been bought by Sky Living.

Similarly, Hoodlum, which began as a creative studio responsible for digital projects around Lost and Spooks, has had success with teen drama Slide and paranormal cop comedy The Strange Calls.

Hoodlum is now working with Amazon on eight-part supernatural crime drama Tidelands.

The series will air on Network Ten, and most likely on Amazon’s VoD service Lovefilm in the UK. Hoodlum chief executive Tracey Robertson told Broadcast that being based in Brisbane has helped the firm’s global ambitions.

“We have looked out to the world instead of just staying in Australia and this has helped us with both the digital arm of the business and TV. London and

LA are just as important to us as Sydney and Melbourne,” she added.

British broadcasters have begun to pay more attention to Australian content than they did in the heyday of Neighbours and Home And Away.

Distributor interest Channel 5 found ratings success with prison drama Wentworth and recently acquired Hoodlum’s murder mystery Secrets & Lies and Fremantle Media’s Mr & Mrs Murder (below), while ITV is to remake female-skewing comedy Laid, which was originally produced by Porchlight Films for ABC. Controversial immigration format Go Back To Where You Came From is also expected to find a UK home.

UK distributors are clambering to get their hands on Australian content, particularly drama.

All3Media International is selling Screentime’s WWI drama Anzac Girls and Nine’s 1960s-set drama Love Child; Endemol is distributing Southern Star’s political thriller Party Tricks; while Shine International is selling Seven Network crime drama Catching Milat.

Additionally, ITV Studios is selling ABC’s witness-protection series Hiding and BBC Worldwide is distributing Foxtel’s gothic mystery The Kettering Incident. www.broadcastnow.co.uk

Multiplatform News In BrIeF VoD viewing up on 2012 Viewers watched an average of three minutes 30 seconds of broadcasters’ VoD services per day via tablets, mobiles and laptops in 2013 – equivalent to three 30­minute shows each month, according to research from commercial TV body Thinkbox. Accounting for 1.5% of overall TV viewing, the figure was slightly up from the three minutes per day (1%) average recorded in 2012.

Brits tweet near-live clips Near­live video clips from The Brit Awards were made available via Twitter this week after the social media platform closed its first Amplify deal in the UK. A range of 60­ to 90­second clips from the cere­ mony, which aired on ITV on Wednesday, were tweeted from the @BRITAwards Twitter account to its 250,000 followers using Grabyo technology.

Vice links with Fremantle Youth publisher Vice has part­ nered with Fremantle Media to launch a food vertical, with con­ tent distributed online and sold to international broadcasters.

The yet­to­be­titled joint venture will tap into Fremantle’s produc­ tion skills and build on Vice’s existing slate of food program­ ming, from chefs including Eddie Huang. The venture aims to deliver hundreds of hours of original content in its first year, to sit alongside Vice’s music, technology, fashion, art and sport verticals.

Premier hires producer Entertainment communications and creative agency Premier has hired Lauretta Horrocks as a digital producer in its crea­ tive and production services department. Horrocks will be responsible for the delivery of digital content to a range of platforms including iTunes and Netflix.

For the latest breaking news www.broadcastnow.co.uk 14 | Broadcast | 21 February 2014

Fremantle execs exit for Applicaster and Fresh One

BY AleX FArBer

Fremantle Media UK Interactive has lost two high­profile execu­ tives: managing director Peter Cassidy and digital producer Jonathan Almond.

Cassidy is exiting the indie at the end of March after eight years to join interactive TV provider Applicaster.

In his new position as European vice­president for the Tel Aviv­ headquartered firm, Cassidy will aim to forge partnerships with regional broadcasters and produc­ tion companies to provide second­ screen experiences to support live TV and VoD. Cassidy joined Fremantle Media in 2006 from RTL Netherlands and rose to become head of its games division, Screenpop. Following a restructure, he was made head of Fremantle Media UK Interactive in January 2012, overseeing initiatives including in­app voting and the launch of the first series of ITV’s The Bill on YouTube. He was also in charge of The X Factor YouTube channel, which topped 1 billion video views in August 2012.

X Factor YouTube channel: topped 1 billion video views in August 2012

Meanwhile, former Broadcast Hot Shot Almond is leaving the indie this week to join Fresh One Productions.

Almond, who was described by Cassidy as “a rare beast who gets both the creative and the commer­ cial imperatives behind digital pro­ duction”, is joining the Jamie Oliver­owned indie to work across its Food Tube­led YouTube presence.

The Broadcast Digital Award­ winning channel, which has accrued more than 680,000 subscribers, is

planning several new channel ini­ tiatives, with more details to be revealed in the next few weeks.

Almond, a former producer of Bebo show Kate Modern, joined Fre­ mantle from Endemol in 2010. He went on to work across high­profile series including The Apprentice, Britain’s Got Talent YouTube audi­ tions and BGT Backstagers, as well as the 2011 series of The X Factor.

Fremantle Media is hunting for replacements for both execs.

ITV Player exec finds new home at Rightmove

BY AleX FArBer

One of the key executives behind the successful relaunch of ITV Player, James Micklethwaite, is to leave the broadcaster.

Micklethwaite is joining online property service Rightmove as head of product development.

He was poached by ITV from the BBC in 2011 to become the com­ mercial broadcaster’s director of product and audience engagement.

Micklethwaite was part of the team that relaunched ITV Player in October 2012, after a delay of several months. The revamped VoD service was more robust than the previous version and spear­ headed the broadcaster’s micro­ payment strategy, charging visitors to pay to stream archive

ITV Player: Micklethwaite was part of team that relaunched the VoD service

content such as Rising Damp and programme premieres including Lewis and TOWIE. In June 2013, Micklethwaite rolled out ITV Player Premium, a mobile service that allowed users to view all ITV shows from the previous 30 days without

pre­roll advertising for a £3.99 monthly fee.

Leaving at the end of the month, he is not expected to be directly replaced. ITV’s product and design heads will now report directly to director of online and brand Paul Kanareck. www.broadcastnow.co.uk

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Technology & Facilities CREATIVE REVIEW

THE HAIRY BIKERS’ ASIAN ADVENTURE Design Hello Charlie Client BBC2 Brief Design the title sequence and maps for the latest road-trip cooking show, in which Hairy Bikers Dave Myers and Si King embark on a culinary journey around Asia.

How it was done The titles were designed to have a fun and vibrant screen-print aesthetic, which was applied to footage of the bikers as they travel around the region. The sequence takes in destinations including Thailand, Japan and South Korea, conveying the amazing scenery and food the duo encounter on their adventure. Using high-speed footage of powder explosions, combined with traditional animation techniques, Claire Taylor and Paul Tigwell created and composited the title sequence using After Effects.

Watch it Thursdays, 8pm, BBC2

BRAIN HOSPITAL: SAVING LIVES

THE NEXT SILICON VALLEYS

Post Evolutions Client Rare Day Brief Provide picture and audio post services for the second outing of the 4 x 60-minute series, which follows patients at the neuroscience centre in Liverpool.

How it was done Colourist Tim O’Brien completed the grade in Baselight, building a look that was more cyan than clinically blue and adding a warmth to the interviews to reflect the sensitive nature of the subject matter. The series created required discreet recording, resulting in some of the interviews with consultants sounding distant and roomy. Dubbing mixer Richard Ashley used Pro Tools to make the interviews as clear as possible. The soundtrack was composed by Chris White. Online editor David Frisby finished the project using Avid Symphony.

Watch it Thursdays, 10pm, Channel 5

Design BBC News Graphics Client BBC World News Brief Design a brand for a new series of reports about the world’s emerging Silicon Valleys, presented

by BBC North America technology correspondent Richard Taylor.

How it was done The titles reflect the technological and entrepreneurial aspects of the areas that are investigated during the series, which examines the up-and-coming technology incubation hubs of the world. Designer Geoff Drake used Cinema 4D to create BBC News branding for the programmes. The titles are built around the concept of exploring the streets of a city landscape made up of circuit board-style components, while the end frame in the sequence reveals a tree-like structure, reflecting growth, knowledge and a modern environment.

Watch it Mondays, BBC World News and BBC Online

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

BVE PREVIEW Dalet unveils Onecut content editing system Dalet’s new Onecut editor (pictured) will be on display at the BVE show at London’s Excel. The software has been designed for fast turnaround of content, enabling journalists, content editors, production assistants and prep editors to create “high-quality content quickly and efficiently, without being a fully trained video editor”.

Dejero to showcase Live+ VSET transmitter Dejero will feature its Live+ VSET system at BVE. The bonded wireless transmitter, which has been 16 | Broadcast | 21 February 2014

designed for use in satellite and microwave trucks, features an adaptive-bit-rate encoder that reduces the latency and improves the reliability of satellite video feeds. During rain fade and other atmospheric conditions that can cause Ka-band satellite bandwidth to decrease, the transmitter will begin transmitting over the cellular networks.

Dejero will also demonstrate its Live+ mobile app for iOS and Android devices, along with Nucomm Connect Live Transmitter, its camera-mounted bonded cellular and microwave system.

Calrec to give Callisto console its UK debut BVE will provide the setting

for the UK debut of Calrec’s new Callisto audio console (pictured). Callisto has been designed for broadcast professionals who don’t require the high level of functionality offered by the company’s Apollo and Artemis products.

Calrec said it designed the console to ensure the GUI would be suitable for a broad range of operator levels. Users can control the console via a 17-inch touchscreen, which the manufacturer said was inspired by the technology used in tablets.

Gearhouse demonstrates mid-sized OBLite truck Gearhouse Broadcast will have its new OBLite truck on site at the BVE show. The truck has been

designed specifically for the midsized OB market. It features eight Hitachi camera channels and can house a seven-to-eight-person production and operation crew, filling the gap between full OB unit and flyaway.

NewTek to feature TriCaster multi-cam production hub NewTek will showcase its TriCaster multi-camera production systems at BVE. The systems offer M/E channels, ‘holographic’ live virtual sets and extended graphics capabilities, which are billed as enabling the production of cost-effective content with a single system. Also on show will be the 3Play 4800, newTek’s flagship multi-camera replay server. www.broadcastnow.co.uk

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

BBC to drop single supplier model and invite tech bids

quarter of this year, with the others following in 2015.

The process will close by March 2017, with Atos set to work with the broadcaster during a two-year handover period.

The tower model does not include special projects so, separately, the BBC has asked external suppliers to help it tackle some of the issues that the in-house DMI scheme failed to address. Under the title of the ‘End to End’ digital programme, the broadcaster has asked for information to “shape

our plan and approach for a pan-BBC digital archive, media asset management and media workflow solution”.

Separately, contracts currently held by Red Bee Media to look after the playout of the BBC’s network channels and its BBC World News channels, worth up to £250m over a 10-year period, are now up for grabs.

Playout is included in the tower model but a BBC spokesperson said there were no plans to bring network playout in-house.

Post facility West Digital is set to double in size as the company bids to keep pace with demand from its broadcast clients.

Work has begun on new premises on Goldhawk Road, West London, which will provide another 3,000 sq ft of space.

The building will house an extra nine offline suites and five online suites, two Pro Tools-equipped audio rooms and a graphics suite.

The new building is in addition to the company’s current base, which is also located on Goldhawk Road.

“This expansion is all about creating more space for TV clients, who have been fighting for space with some of our corporate clients,” said West Digital sales and marketing manager Martin McAleese.

West Digital has worked with suppliers including XTFX, Tyrell CCT and Scrub on the new premises, which are expected to open towards the end of March.

West Digital’s credits include A Place In The Sun for Freeform and Hardy Pictures drama 37 Days.

stored content is needed. Changes to the playlist can also be made during broadcast, while clips in the playlist can be trimmed or repositioned on the fly using standard commands. The unit’s operation can also be streamlined using singlechannel or multichannel user interfaces.

Phabrix to demo V8 tool for Rx rackmount range

from our customers in high-end post. They’ll be blown away.”

BY GeorGe Bevir

The BBC is moving away from a single supplier for its in-house technology as Atos’s 10-year, £2bn technology framework deal draws to a close.

The broadcaster will adopt the supply model used by organisations such as the Ministry of Justice and the National Grid when its deal with Atos – formerly Siemens – ends in March 2015.

The BBC said it hopes the ‘tower model’ will lead to “new commercial and technical opportunities for effective competition between suppliers”. It has identified seven ‘towers’: technology service desk; end user computer; connectivity services; hosting platforms and app management; business systems; production and broadcast services; and distribution services.

The broadcaster is now inviting suppliers to bid to provide services, either individually or as a group. The first round of procurement will take place in the third

Sony to show PXW-Z100 in the UK for first time Sony’s PXW-Z100 (pictured) will be on show for the first time in the UK as the company continues to focus on 4K technology.

Also on display will be its Ci service, which moves much of the production process into the cloud over 3G connectivity and upwards.

PlayBox to demonstrate its ProductionAirBox system PlayBox Technology will launch ProductionAirBox at BVE. The company says the unit can deliver content rapidly in oneshot mode or from a playlist, making it useful for situations in which instant access to www.broadcastnow.co.uk

West Digital to double in size with second London site

BBC: £2bn supply deal with Atos to be replaced by ‘tower model’

Forbidden to preview FORscene’s cloud features Forbidden will preview upcoming features of its FORscene cloudbased editing platform at BVE. The Wimbledon-based company will demonstrate a high-resolution proxy, upgrades to the editing and publishing tools, a new sitemanager interface and an iOS version of the software.

Phabrix will demonstrate the V8 software for its Rx rackmount range, while also highlighting that the range now supports all three Dolby formats – Dolby E, Dolby D and Dolby D plus – with the release of V12 software for its Sx handheld range of instruments.

Root6 to show SGO’s Mistika finishing system SGO’s recently appointed reseller Root6 will showcase its Mistika finishing system at BVE. Mistika’s appearance at Excel will be the first outing for the system on Root6’s stand. The reseller will demonstrate Mistika workflows for DI grading and finishing capabilities for post facilities and broadcasters. Root6 founder Rupert Watson said: “We’ve set aside a dedicated area for Mistika as we’re expecting great interest

Post leaders to discuss tape-based delivery Envy head of operations Jai Cave and Crow TV head of post Andy Briers will be among the industry leaders discussing the impact of the shift away from tape-based delivery at BVE. Joining them on the ‘Delivering to spec: Effects of the Digital Production Partnership AS-11 spec on Post’ panel will be senior director of Avid’s global centre of excellence Craig Dwyer, Lime Pictures technical manager John Robertson and DPP technical standards lead and CTO broadcast and distribution Kevin Burrows.

The discussion takes place at 2.30pm on Tuesday 25 February in the Post Production Theatre.

BVE takes place 25-27 February at Excel, London 21 February 2014 | Broadcast | 17

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SEMINARS ON TOUR

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HIGHLIGHTS PRODUTION PLANNING Rachel Thom Production manager Nine Lives

Carol McKenzie Head of production and facilities True North

POST: STATE OF THE NATION LIGHTING-LATEST LED TECHNOLOGIES

Paul Austin Head of postproduction and content Dock10

Richard Moss Managing director & facilities Gorilla Post Production

David Klafkowski Managing director and technical director The Farm

Dave Cadle Managing director Envy Post

Niels Stevens Adobe TV

John Rogerson CEO Halo Post

DISCOVER ADOBE CC VIDEO TOOLS REGIONAL PRODUCTION CASE STUDIES Scarlett Ewens Head of production, managing director The Garden

Nick Curwin CEO The Garden

WATERLOO ROAD Margaret Scott and Martin Coyle reveal tales from behind the scenes of BBC1 award-winning school-drama series

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

Margaret Scott Production executive Shed Media

Andie Clare Director of production Icon Films

DOCTOR WHO VFX supervisor, Murray Barber joins series producer, Marcus Wilson and postproduction supervisor Nerys Davies to give a behind-the-scenes look into the cuttingedge visual effects of Doctor Who

24 HOURS IN A & E

Murray Barber, VFX supervisor Milk

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Comment

Having flashmobs of 200 people doing a big number in Oxford Street would be really cool Tony Jordan, Interview, page 24

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20 | Broadcast | 21 February 2014

Expansion is a gamble for ITV New channels will have to find their feet quickly, says Stephen Arnell

T

he announcement last week of ITV’s new female-friendly free-to-air channel ITVBe earned what can kindly be described as a mixed reception. Coming after the drama subscription channel ITVEncore, this is the first sign of ITV giving serious thought to expanding its channel portfolio since the burst of energy that birthed ITV3, ITV4 and CITV back in the early-to-mid 2000s.

Why now? The earlier expansion was driven by the loss of ITV1’s (as was) share and the need to placate advertisers looking for particular audiences. This is almost the reverse – a successful main channel, which turned around its fortunes after an Olympics-afflicted 2012 to become the only PSB to grow share last year, and a thriving multichannel portfolio. To an outsider, it looks like a case of ‘what do we do now?’ rather than something driven by a coherent strategy.

It’s hard to say at this stage whether ITVBe has legs.

The broadcaster will be concerned about the possibly deleterious effect the fledgling channel will have on the already female-skewing ITV and ITV2. Crucially, is there a demand for it from either advertisers or viewers, especially following the recent launches of Lifetime and TLC into a market that already contains Sky Living, Sky Living It, CBS Reality and Really?

There may be an over-dependence on TOWIE (pictured). Now into its 11th series and a little long in the tooth, it’s not an ideal flagship for a new channel, though this may well be a conscious decision by Angela Jain to reshape ITV2 further and distance herself from the programming inheritance of the previous regime.

Either way, it will leave a sizeable hole in the ITV2 schedule, which may not be easily filled by fare that isn’t inherently riskier (and more expensive) in terms

of attracting similar audiences, if the channel eschews reality formats. ITV2’s daytime ratings are also likely to take a hit without the ballast of reality. Will Jeremy Kyle re-runs also migrate to ITVBe? The departure of a large proportion of the ‘housewives with kids’ audience could hit the broadcaster’s finances, as it’s unlikely the new channel will initially attract the same ad rate as ITV2, even with some of the same shows.

Scheduling will assume increasing importance.

The three female-skewing ITV channels will have to be strict about potential clashes with themselves, let alone the competition. ITV runs the real risk of feeding upon itself, rather than growing overall share at the expense of its rivals.

On the plus side, ITVBe will launch on Freeview, giving it a huge advantage over Sky Living, TLC and Lifetime. Only Really, the relative runt of the litter, will compete on the platform.

The channel will also benefit from cross-promotion across ITV’s portfolio. Unlike the subdued launches of ITV3 and ITV4, expect Adam Crozier’s ITV to commit serious marketing spend to both ITVBe and ITVEncore.

ITV will be hoping for respectable initial sampling and an overall individuals share north of a modest 0.4%. Anything else will be a deep disappointment to those involved. This is one that ITV can’t afford to begin with a whimper – it’s head-above-the-parapet time for the channels team in a changed marketplace. ➤ Stephen Arnell is a channel strategist and a former ITV director of channel development

‘ITV runs the real risk of feeding upon itself, rather than growing’

www.broadcastnow.co.uk

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Game development should Is it time Bafta took the be all about collaboration plunge and broadcast live?

If developers and producers work together, it can be a winning formula, says Mike Dicks

Confusion over when to announce winners means it may be due, says Andreas Wiseman

T

Sherlock: The Network: digital producer The Project Factory took on risk

T

raditionally, game developers have expected the broadcaster, producer or distributor to invest. The argument went something like this: “This show is screaming out for a game. Come on grandad, get with the kids. Give me £200k and I’ll make a cool thing.”

The problem, as proved over the years, was that nobody really knew how to make money from games – and therefore how to evaluate the risks involved. A game also required input from the show creators, which meant TV types discussing ‘build outs’, ‘user journeys’ and ‘bug fixing’ with geeks.

After a few valiant attempts, the TV industry resorted to digital distribution, a market it does understand as it directly contributes to executives’ yacht funds.

It was only the geeks that were interested in games, and they understood the risks involved, which was the reason they sought other people’s money to fund them.

On Sherlock: The Network, what swung it for producer Hartswood Films was that the digital producer took on the risk of investing in the game.

Sue Vertue told me: “It seemed a natural option, we liked The Project Factory people and their www.broadcastnow.co.uk

‘The geeks may have the ideas, but they will need to present a low-risk financing model’ ideas – and importantly, they were willing to put in their own money and time to collaborate with us.”

In return, Hartswood gave The Project Factory access to its production skills, writers and actors – which is arguably why the app works so well.

“Producers should hang on to their rights to make a game if they are not presented with a plan to do so from their broadcaster or distributor,” Vertue added. “You never know – if the idea, timing and deal are right, you’ll regret not doing so.”

The geeks may have the ideas, skills and ability to make The Great British Bake Off platformer or a Benefits Street shoot ’em up, but they will need to present a low-risk financing model.

But it’s too early to tell if Sherlock: The Network generates a new yacht for Hartswood (or Sir Arthur Conan Doyle). As Sherlock said: “It is a capital mistake to theorise before one has data.” ➤ Mike Dicks is founder of Descience For a longer version of this article, visit www.broadcastnow.co.uk

he most important ingredient of any awards ceremony is surely the element of surprise. But as the Baftas unfolded, media outlets were divided and confused over how to report this year’s ceremony.

Some announced the winners as they happened in real time with spoiler alerts, others revealed them without them. Curiously, several outlets only reported winners as they were divulged during the TV broadcast.

The BBC news homepage ran a prominent story soon after the main winners had been revealed, at the same time that it showcased a large click-through window with an option to ‘watch the Bafta ceremony’. Bafta itself tweeted links to pages revealing the winners in real-time.

The message was muddled, the drama somewhat dissipated.

Bafta and the BBC debate live versus non-live every year, but both are keen to hold on to the coveted 9pm TV slot. “9pm feels like the right time and two hours is a good running time,” Bafta chief executive Amanda Berry told Broadcast sister title ScreenDaily.

Would broadcasting live from, say, 6.30pm or 7pm affect press

or dinner requirements? The event could still build to a 9.30pm crescendo. Most people tuned in at around 10pm anyway.

Bafta likes to play it safe, but it has also proved it is not afraid of change by shaking up its date, voting and format in recent years.

If viewing figures suffer, a live transmission could be necessary.

Live carries risks, of course, in terms of ‘adult’ content slipping out or the show potentially overrunning. And are viewers interested in some of the more niche

‘Bafta likes to play it safe. If viewing figures suffer, live transmission could be necessary’ categories, which are currently rounded up at the end of the 9pm11pm transmission and made available on iPlayer?

“I think what we’re already delivering is quite phenomenal,” concluded Berry. “I need to know that going live would deliver more than what we do currently. At the moment, I don’t know that it would.”

Bafta won’t know until it tries. ➤ Andreas Wiseman is a senior reporter for Broadcast For a longer version of this article, visit www.broadcastnow.co.uk

Baftas: media outlets were at odds whether to reveal winners in real time 21 February 2014 | Broadcast | 21

Comment How to get aHead in tV Lesson 34

a little personality goes a long way If you’re a bullying, egomaniac sociopath, you’ll go far in TV, says Steven D Wright

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ike most telly types, I haven’t really bothered watching any of the Sochi 2014 Games. But this isn’t me being political and sticking it to nasty President Putin in sympathy with those poor Russian gays. It’s simply that The Jump was so much better at doing winter sport. After all, Channel 4 had celebrities on skis.

But as the IOC discovered with ‘homophobia’ in Russia, the word ‘celebrity’ is a bit misleading on TV these days and needs to be replaced by a more explicable and better bon mot. I like what ex-CBB housemate and model Danielle Lloyd called herself on her Splash! intro VT: a ‘TV personality’. A retro-sounding term reminiscent of the 1970s, a ‘personality’ makes more sense of all those Z-listers, reality contestants and hasbeens who have found a new life as reality TV athletes, who struggle selflessly, not for gold medals, but just for our amusement.

But as I prayed for someone to get hurt on the slopes or ski jump to a sensational death (hanging about with Tom Daley at the Splash! pool turned out to be more dangerous, if all those bruised breasts and damaged bodies are anything to go by), I did wonder: what type of personality do you need to work in TV? 22 | Broadcast | 21 February 2014

To become a top producer, it really helps if one is an obsessive control freak, a sociopath who notices every detail in an anal way and has no problem bullying, shouting and screaming at junior employees. But if hanging about the Soho offices and private drinking clubs to observe such Type As close up is too difficult, all you need to do is to watch BBC3’s Ja’mie – Private School Girl for tips on how to behave.

‘It really helps if one is an obsessive control freak and has no problem bullying junior employees’ At the other end of the greasy pole, starting out as a researcher, a friendlier, more compassionate and caring nature is required – especially if your job consists of phoning up unwilling contributors to appear on Jeremy Kyle to ‘neknominate’ a pint of Thames sewage water to illustrate a debate about what it’s like to live in a flooded village. As a good researcher knows, it’s all about putting people at ease and being nice.

But that doesn’t last long in TV. The higher you go, the nastier you get – and by the time you’re at the top, whether as a channel controller

or on-screen talent, you are an egomaniac who can essentially get away with murder as long as you can get ratings. Surely it’s no coincidence that X Factor USA has been cancelled just as Simon Cowell is transformed into Athena poster man with his newborn son Eric? Now he’s no longer ‘the Daddy’ – he’s just a dad.

But lower-ranking celebs – sorry, ‘TV personalities’ – are in a difficult position. They aren’t famous enough to tell everyone to fuck off, and yet reality shows require bad behaviour and unpleasantness to become good telly. Just how are they to behave?

It’s not enough that Davina nearly drowned on Sport Relief, especially as we actually like her. No, we need to see really venal behaviour and immoral, unethical stuff. Which is why C5 got it so right recently with Celebrity Big Brother, casting famous folk who really were just like you and me (if you were a narcissist shagger like Lee Ryan or a grumpy pain-in-thearse like winner Jim Davidson).

Obviously, though, I am much more like Ollie from Made In Chelsea: impossibly goodlooking, well-mannered and just so nice. I would say more, but my natural shyness and modesty prevents. ➤ Steven D Wright is creative director at Whizz Kid Entertainment www.broadcastnow.co.uk

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The Broadcast Interview RED PLANET PICTURES

Boutique with big ambitions Tony Jordan and his Red Planet team talk to Robin Parker about stepping into the big league with five new drama commissions – and ‘going full Busby Berkeley’ for BBC1

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nyone who’s spent time with Tony Jordan knows he can talk a good game. The gift of the gab honed during his time as a market stallholder has stood him in good stead in creating popular TV from EastEnders to Hustle and Life On Mars.

Nevertheless, he’s on particularly garrulous form when we meet, and with good reason. His indie, Red Planet Pictures, has five major new projects in various stages of production, turnover has doubled in the past year, and its returning banker Death In Paradise (below) recently survived a major casting change and is pulling in 7 million in its midweek slot. It’s a far 24 | Broadcast | 21 February 2014

‘We’re in a really good but strange place. The next couple of years are a really big step up for us’ Tony Jordan

cry from two years ago when the axing of BBC1’s Hustle left a hole in the company’s output.

“We’re in a really good but strange place,” Jordan reflects. “The next couple of years are a really big step up for us, from a small boutique indie to suddenly making loads of telly.” An office move and the appointment of two executive producers is on the cards to accommodate the workload.

“In this industry, unless you have two or three long-runners in the bank, it’s easy for the wheels to fall off. We’ve never borrowed money, taken a loan or been overdrawn. It’s made for a lean way of operating. I’ve seen indies

get a commission then move into shiny offices with 57 staff. Only now are we seriously looking at a big step up in terms of infrastructure.”

Red Planet ethos Each of the new dramas reflects the Red Planet ethos: ambitious and slightly left-field fare that innovates with form – but is still accessible.

The latest to be announced is perhaps the boldest of them all. As the name hints, BBC1’s Stop! In The Name Of Love is a jukebox musical that employs the Motown back catalogue; a roster of songs so universal that, says Jordan, it’s a “shorthand to people’s www.broadcastnow.co.uk

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

COMMISSIONS Current slate Stop! In The Name Of Love Motown ‘jukebox musical’.

10 x 60 minutes for BBC1 Dickensian Studio drama in which iconic Charles Dickens characters interact.

20 x 30 minutes for BBC1 Legion A man does a deal with the devil to save his daughter’s life.

10 x 60 minutes for Watch Noah The human story of building and populating the biblical ark.

1 x 90 minutes for BBC1 The Passing Bells World War I, as seen through the eyes of new recruits.

5 x 30 minutes for BBC1 In development Behind Closed Doors Primetime series of regional studio plays for BBC1.

Fallout (w/t) Comedy pilot for C4.

Hooton And The Lady Action-adventure for Sky 1.

Red Planet team: (l-r) Alex Jones, Tony Jordan, Simon Winstone and Belinda Campbell; below: Death In Paradise survived when Kris Marshall (pictured) replaced Ben Miller

emotions”. So confident was Jordan in the popularity of the music that a licensing deal was inked with EMI long before the BBC came on board.

He adds: “Dramatists want to bind an audience – you’re looking at ways to give everybody a shared experience.

Motown gives us that in one hit.”

What makes the musical drama appeal to Red Planet, he says, is its scale: forget Mamma Mia!, this is going to be 10 all-singing, all-dancing hours of TV. “When people do musicals on television, they always think it’s a mother singing to her son in the bedroom, or two people arguing in the kitchen,” Jordan says. “That’s valid, www.broadcastnow.co.uk

but we really love the idea of going full Busby Berkeley. Having flashmobs of 200 people doing a big number in the middle of Oxford Street would be really cool.”

BBC1’s biblical epic Noah begins shooting in Morocco next month, while Red Planet is further mining religious themes with UKTV’s first commissioned drama Legion, a longcherished bottom-drawer ‘passion project’ in which a man does a deal with the devil to save the life of his daughter. With the latter, it’s a case of squaring the budget with the ambition, a common concern for an indie largely dependent on co-pros and tax credits to deliver its vision.

“UKTV is very aware of the gap we have to fill,” says Red Planet head of production and business Alex Jones. “Tony’s looking at scripts and making clear what form it will take as a returning series. Hopefully, we’ll have a US partner and then close the gap with a European partner and some tax credits.”

Tax-break first The indie is notable for being behind the first UK drama to receive domestic tax breaks: BBC1 crime drama By Any Means. It wasn’t the most obvious candidate for a £1m-per-episode budget, but Jones says it helped deliver a richer mix of action, locations and cast.

“We initially budgeted it based on one script and what became clear is that it was on a bigger scale than we thought it would be. Without the tax credit, we’d have had to go back to the script and pare things down. This allowed the show to be made as originally planned.”

Once the show was scheduled against Downton Abbey and Homeland, however, Jordan saw the writing on the wall, and the axe has now fallen.

But he’s proud that Red Planet took the lead on tax credits ahead of bigger drama players, and the fight is now on to relax rules to allow two quintessentially British dramas from the indie to qualify.

Sticking to his soap opera roots, Jordan has planned both World War I series The Falling Bells and epic Dickensian, in which char-

FAVOURITE TV SHOWS Belinda Campbell “Orange Is The New Black on Netflix. Just when you think you’ve seen every permutation of the prison drama, this comes along to blow things out of the water with brave, uncompromising and fresh female characters.”

Tony Jordan “I love Breaking Bad, Ray Donovan and Last Tango In Halifax – but Gogglebox is the best drama on TV. Of all the shows I’ve seen in the past 12 months which I’m gutted we didn’t make, it’s that. It’s such a simple thing. It’s glorious and it could have been awful. I love TV that has a joy to it.”

‘With so many US shows coming over, the ones that suffer will be those ineligible for tax breaks’ Alex Jones

acters from Charles Dickens’ novels cross paths, as half-hour dramas, most likely stripped across week nights. The catch is that tax relief only kicks in for dramas longer than 30 minutes.

The battle’s already lost on The Falling Bells but Jones has vowed to lobby HMRC and the DCMS to relax the rules for Dickensian.

“It’s madness, really,” says Jordan.

“Surely these are the kinds of things we’d like to keep in this country?

Dickens wrote episodically and Dickensian is a celebration of him and the way he told stories. So the half-hour format is a creative decision, but we’ve shot ourselves in the foot.”

As for co-pros, Jones says the Death In Paradise model, with collaboration built from the bottom up, is the future.

“The French element was built in brilliantly, in a way that improved the show, introducing the natural antagonism of the French and the British.

Distributors we work with find it refreshing that we come at it from this positive direction. You end up with a better show, born of collaboration rather than butting heads.”

On the show’s continued appeal, executive producer Simon Winstone says simply: “People love looking at ➤ 21 February 2014 | Broadcast | 25

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The Broadcast Interview

RED PLANET PICTURES the sun and beach on a cold January night.” Nevertheless, he admits to nerves at replacing the lead with a new character who shares the trait of being “the cleverest man in the room, and an English eccentric”.

Head of drama Belinda Campbell says the motto throughout has been “the show is the star”. “It’s shamelessly joyful and it’s a gang show. The gang love each other, they take the piss and there’s friendly friction. You just have to make sure you’ve still got what drew people to the show in the first place – something you can just enjoy in an uncomplicated way.”

Expanding the family Jordan commends the BBC for taking the risk on commissioning creator Robert Thorogood’s first TV show and putting it on in primetime. He came to Red Planet as a runner-up in its annual new writer’s prize, which attracts around 1,500 entries a year.

Every one gets read, says Winstone.

“It’s not just about giving them a prize, but trying to expand the talent pool,” he explains. “Each year, we find about half a dozen people we can have a relationship with. The whole point is to bring these people into our family.”

The problem today, says Jones, is the scarcity of shows outside of BBC stalwarts Holby City, Casualty and Doctors that serve as entry points, both for new TV drama writers and behindthe-scenes crew. “The end of The Bill, where I started, and before that Family Affairs, left a massive hole,” he says. “We need to have the next generation of crew coming through and get places for trainees on productions.

“With so many big US shows coming over, it’s going to be tough.

The shows that suffer will be those that are ineligible for tax breaks.

Rates will be inflated and they’ll be trying to find crew that will be offered big money for other shows.”

Through charitable initiative Films For Life, Red Planet also offers a leg up to aspiring TV and film-makers with a ‘kit in a box’.

“The idea is it’s everywww.broadcastnow.co.uk

thing you need to make a movie, from cameras to laptops with editing software,” says Jordan. “It goes to disadvantaged kids to give them a voice, to put their story on film and give them a chance to show what they can do.”

Jordan says he has sent “begging emails” to other indies to help out with kit. The scheme also aims to find raw talent that could help deliver Jordan’s nascent ideas for online dramas.

Meanwhile, not content with the scale of its production slate, Red Planet has a few more plates to spin, including Hooton And The Lady, an original action adventure series in development at Sky, and a move into comedy with C4 pilot Fallout, from Hustle actress Kelly Adams and Katy Wimperny.

Jordan’s also devising a potential anthology series for BBC1, a scaled-down, studio-based project that’s a far cry from its blockbuster

Clockwise from top left: By Any Means was the first UK drama to make use of tax credits; Tony Jordan adapted The Nativity for BBC1; Alex Jones cut his teeth on The Bill; axing of Hustle left a big hole for Red Planet; below left: Jordan’s Life On Mars was a huge hit for BBC2

‘TV often feels like it’s made by the metropolitan elite for the metropolitan elite’ Belinda Campbell

reputation. Behind Closed Doors is envisaged as a series of one-set plays, each of which will be set in a different region of the UK. Scottish writer Stephen Greenhorn (Sunshine On Leith, Doctor Who) has written the first script for the series, which aims to span genres from kitchen sink drama to comedy.

Something for everyone “TV often feels like it’s made by the metropolitan elite, for the metropolitan elite,” says Campbell. “This is an opportunity to tell those stories we don’t really get to see. It’s hard to commission a series based in a tiny village on the Isle of Wight, for example. This is a way of getting an insight into the lives of people around the country, so there should be something in there for everyone.”

For Jordan, it’s a matter of this true independent continuing to punch above its weight. “Doing the deal for Death In Paradise, securing the tax credits and doing drama for UKTV – these are all firsts and we’re doing them consistently,” he says. “It’s not just about the innovation but also that broadcasters trust us. Look at the surefooted way we coped with a change of lead. We didn’t faff about – and they trusted us.”

21 February 2014 | Broadcast | 27

Roundtable TecHnology RoUnDTable

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The inevitable rise of Ultra HD While 4K is widely touted as the next big thing in television, Broadcast’s roundtable on the future of the technology shows there is still a long way to go. David Davies reports

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photography by THEODORE WOOD

rom manufacturers adding to their ranges of 4K-capable cameras on an almost monthly basis, to OTT providers like Netflix touting their 4K streaming credentials, it appears as though the path from HD to higher-resolution content has already been decided upon.

Although the industry has gathered under the banner of Ultra High Definition (UHD), which sets out some of the parameters, some fundamental issues still need to be addressed before wide-scale rollout can take place.

Broadcast gathered senior figures from the worlds of systems integration, outside broadcast, production, post and playout in London last month to examine the lessons so far and discuss the challenges faced by those tasked with creating and delivering high-resolution content.

Is the shift from HD to Ultra HD inevitable, and which genres stand to gain most?

Keith Lane Our customer surveys make for interesting reading; there is still a massive base that has yet to go to HD. It makes you wonder: if the HD walnut has not been cracked, what will happen with Ultra HD? My feeling is 28 | Broadcast | 21 February 2014

‘Live production presents challenges now, but UHD playout and OTT rollout are straight­ forward and will attract cord­cutters’ tom haye, broadcast Networks

that the appetite will be there, but it will take a long time to grow.

Tom Haye It has to become financially interesting to gain traction and we’re seeing increased demand for UHDcapable infrastructure. It’s a transitional period, so we’re working closely with manufacturers and clients to understand the impact on business strategy as well as operations. Live production presents challenges now, but UHD playout and OTT rollout are straightforward and will attract cord-cutters.

Jon Try I’m not sure it is inevitable.

Everybody would have said that about 3D a few years ago. With UHD, it will depend on the ‘wow’ factor: it has to be different enough from HD to encourage consumers to make the investment.

Richard Mills I think drama, because of its repeat value, along with one-off events and live music, will gain most.

Sport has picked up the baton for UHD. What has this meant for filming techniques?

Peter Bates There are coverage techniques that need to be fine-tuned in terms of camera operation and workflow within the live arena.

As with 3D, there is a steep learning curve. One of the major realisations with acquiring 4K has been that you need to let the shot linger and allow people to absorb what they have seen.

The ‘wow’ factor comes from those wide establishing shots.

KL When we went down the road of planning 3D – and 4K will be similar if we fully commit to it in the future – we had to think about the editorial content within what we are producing. As Peter [Bates] says, you need to let it breathe with 4K, so crew have to be aware of the pitfalls.

Do you think there will be a specific sporting event that is the tipping point for UHD? KL There is a sense that the 2016 Olympics in Rio will be a milestone.

Bearing in mind the natural cycle of a year at least for product development, it will probably be 2015 before the market has more choice and solidity around it.

Andrew Horne There is a lot of talk about Rio. People are coming to us asking ‘are you ready to do this?’ The big challenge is being able to ensure that we are part of an ecosystem that is ready, end to end. www.broadcastnow.co.uk

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RoUnDTable THe panel Chair George Bevir Broadcast facilities and technology editor 1 Jon Try Vice-president, technology, Chello DMC 2 Malcolm Robinson Director, media & broadcast solutions, broadcast Networks 3 Richard Mills Chief technical officer, onsight 4 Tom Haye Managing director, broadcast Networks 5 Keith Lane Director of operations, Sky Sports 6 Andrew Horne Solutions architect, EMEa, Elemental technologies 7 Peter Bates Managing director, telegenic

Has the cost of shooting higher­ resolution content come down significantly in recent times?

RM Hardware costs have come down, as have storage prices, whether it is discreet hard drive or cloud. Also, the hardware available for near-set or on-set processing has improved.

Are the EBU, the ITU and other organisations doing enough work around standardising exactly what viewers can expect to see?

RM My perception is that more work www.broadcastnow.co.uk

Considering UHD: Broadcast’s George Bevir (second from right) hosts the debate

took place last year than in previous years, both in terms of compression – because obviously the better the codec, the better the delivery – and domestic screen technology.

PB As with HD, a lot of it is trial and error, and from a live perspective we have to reach the right compromise between what is achievable and what gives a beneficial output. Plenty of committees are looking at the figures and it will be great if everyone can agree on a standard format – but I think it’s highly unlikely.

KL There is a lot of conversation around standards and what to call things, and clarification will undoubtedly be a good thing. However, standardisation will require some difficult choices to be made. For example, we all know a higher frame rate for sport is desirable, but is it really achievable with the set-top boxes we have currently?

Probably not.

AH 4K at 50p is what people are telling us they can do. The chipsets ➤ are being delivered. It’s tangible.

21 February 2014 | Broadcast | 29

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Roundtable

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TECHNOLOGY ROUNDTABLE

What about the challenges to infrastructure and cost implications of moving towards UHD? Malcolm Robinson The first 4K-capable truck we worked on was relatively straightforward and perhaps technically easier than the initial 3D projects we were involved in. In the long run, as more people talk about OTT rather than just UHD, the interesting part will be how much is pushed aside for different types of workflow, publishing techniques and delivery methods. That will lead back to content creation: what’s the highest rate you want to capture, how do you deliver it and how do you archive it?

PB There will be an uplift in capital expenditure on equipment; it’s difficult to say exactly how much, but it could be 30-40%. Regarding the infrastructure in the truck, it’s very easy to accommodate 4K because it’s more HD. Depending on the techniques used and how those alter, there may not be a major change to production costs.

What hurdles still need to be overcome before we are likely to see widescale adoption?

PB One major barrier will be the general education of consumers www.broadcastnow.co.uk

and what people are buying into.

From a live production perspective, the challenge will be to educate the production teams as to how they maximise the editing.

JT Premium content – film and sport – went HD first, followed by some factual channels. I think we will probably see that replicated with UHD, but timescales are difficult to predict.

AH I think we will see some massive changes this year. The large sporting events should drive the whole proposition upwards, making it a big enough prize for everyone to take a shot at.

TH It’s a transitional period.

Apart from the traditional integration activities, we are working closely with clients and manufacturers to act as an integration

‘One major barrier will be the general education of consumers and what people are buying into’ Peter Bates, Telegenic

partner that understands the effects of multiple manufacturers bringing out new technology and gluing it all together.

KL More products will come out and we will see what opportunities they give us to deliver more rounded productions on the events side. The encoding issue will be an ongoing journey too.

RM Acquisition of premium content of every type will increase. In terms of delivery to viewers, the initial ramp-up will be to early adopters, who will be prepared to pay for premium content.

MR There is a question about quite how much of a lifespan 4K has, in light of the reluctance of some bigger manufacturers to commit. I am also wondering whether we might see a move to 8K content capture or beyond at NAB next year.

From a business point of view, it’s important to demystify how you acquire and deliver UHD and advise customers about when and where they should invest. I think we are going to see new players coming into the market so it will be interesting to see how the established ones change. All in all, the industry is in a really fascinating place right now.

21 February 2014 | Broadcast | 31

Behind the Scenes RailRoad alaska

Trains, bears and automatic weapons The quirky, heavily armed Alaskan homesteaders were TV gold, but living such isolated lives made them wary of outsiders, says Gwyn Williams Gwyn Williams Producer/director

D

uring winter in Alaska, an elite crew of workers battle ferocious weather and treacherous terrain to keep the state’s railway rolling, and secure the delivery of lifesustaining supplies. Homesteaders living miles from roads or towns and surrounded by wild animals can flag down the passenger train in the middle of nowhere to get what they need.

This was clearly fertile ground for fascinating characters, exciting stories and a good dose of jeopardy. But when the green light for the series came in December, two months of winter had already gone and we had to move fast.

Extreme isolation and a punishing environment were the theme for our series, but would be challenging to film.

We split our filming resources in two. In the south, our crews would follow engineers battling to keep the track open and link it with the journey of a freight train carrying vital commodities. Further north, we would follow teams solving track problems to allow the safe passage of a passenger train. This would link to two separate stories about homesteaders relying on the timely running of the train.

We knew the homesteaders were strong characters. But these are people who greet strangers with the barrel of a gun; finding them in the first place was difficult. There’s a reason most of them live off the grid – usually either a deep mistrust of 32 | Broadcast | 21 February 2014

authority or because of a criminal past.

Coaxing out the details for a background check was a delicate and timeconsuming process, but was critical to getting our cast signed off.

By the time filming started in January, we had assembled our cast.

Topping the list was cabin-builder Jim James, a man who blew off his own hand with a shotgun by mistake and once shot a bear dead midway through relieving himself. He’s perhaps the most heavily armed onehanded handyman in the world.

Bears hibernate in winter but can wake up early so we took advice and carried bear-repellent pepper spray and whistles. Jim James – who has a 50-calibre handgun strapped to his waist day and night – was sceptical.

He told us that it’s easy to spot grizzly bear scat because it has whistles in it and smells of pepper.

The main production base was a corral of cabins in a small, eccentric town where the mayor is a cat. Ingest facilities to deal with XDCAM disks and tapeless rushes were set up, along with a production office and kit repair and supply base.

We generated a huge amount of material, so having a DIT on site to digitise and transcode rushes saved us time and money. It also allowed for a steady stream of proxies to be sent back to loggers in London. The transcripts they produced were critical to the edits, as were the PDs’ detailed story notes.

We used Sony F800 and Sony PMW200 cameras. The smaller camera was fitted with a shoulder mount rigged to fit large Anton Bauer batteries. The ability to share batteries

‘We carried bear-repellent pepper spray and whistles.

Jim James told us it’s easy to spot grizzly bear scat because it has whistles in it and smells of pepper’’ Gwyn Williams

railroad alaska Production company Windfall Films Broadcaster Discovery Channel TX Sundays, 9pm, from 23 February Length 6 x 60 minutes Commissioners Marc Etkind; Caroline Perez Executive producers Carlo Massarella; David Dugan Series producer Craig Blackhurst Producers/directors Gwyn Williams; Rob Lambie; Ross Young Executive editor Nick Scullard Post house Envy Programme summary Ob doc series looking at the crews who keep Alaska’s 650 mile-long railroad rolling, and the off-grid communities who depend on it.

Gwyn Williams My tricks of the trade n Have spares of everything. Cables

snap in the cold and condensation can cause problems. n Gloves thin enough to provide the dexterity to film but thick enough to keep hands warm don’t exist. Keep a pocketful of hand warmers at all times. n When driving on icy roads, set aside extra time and have proper snow tyres fitted. n Make the most of any time off during long location shoots.

www.broadcastnow.co.uk

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

between cameras was invaluable in freezing conditions. Both cameras proved robust and resistant to the severe environment; the PMW200 in particular was amazing in low light.

As there was limited space in the locomotive cabins, one DV director was responsible for covering the whole train journey alone. Anticipating a need to follow action happening outside, we rigged a GoPro with sound directly from a radio mic in the cabin.

A second back-up PMW200 allowed for cameras to be kept at both exterior and interior temperatures, to avoid condensation problems.

We set aside money for time with a helicopter-mounted Cineflex to get exteriors of trains travelling through the Alaskan landscape, and arranged for fuel caches to be left at strategic locations so we could follow the train for as long as possible through the varied terrain.

The results were well worth the effort. Seeing the vast Alaskan wilderness from the air and hovering just a few metres above a speeding train was an unforgettable experience.

Our whole team needed the same resilience and resourcefulness that first attracted us to the remote homesteaders, and the six action-packed episodes are testament to this fantastic crew. www.broadcastnow.co.uk

Clockwise from bottom left: series producer Craig Blackhurst ďŹ lming; Nancy and Jim James; the crew brave the cold; railworkers Danny and Animal; train on the Alaska Railroad; Danny on the tracks

RailRoad alaska EVolViNG THE idEa Carlo Massarella Executive producer

The format of Railroad Alaska evolved considerably between the pitch and the finished episodes. Our original idea was to focus on the blue-collar workforce – the railroad engineers, drivers and mechanics – as they battle snow, ice, wildlife and tight deadlines to shuttle freight loads of coal, mining vehicles, construction materials and military equipment along the line.

To sell the idea, we shot a taster tape centred on the train crews. It was lively enough to secure the interest of the networks. But as our producers went out into the field to cast the net of characters wider, they met compelling groups of off-grid homesteaders who added another dimension.

Living miles from roads or towns and surrounded by bears and wolves, their very existence during the winter depended on being able to ride the passenger train service to pick up critical supplies. The stories from this subculture added a more emotive

layer. Interweaving their adventures with the freight missions and track problems would give the series greater depth and broader appeal.

The series hinged on us gaining access to rolling stock, track crews and maintenance depots. Railways are a dangerous and challenging environment to film in at the best of times, let alone during the winter, when the tracks are buried under snow and wild moose run along the tracks.

Our experiences of working with engineering firms on Monster Moves and Strip The City put us in good stead. We worked with railroad management to put a health and safety system in place, with chaperones assisting us when filming trackside.

This enabled our crews to safely capture dramatic moments, from the track teams firing howitzers to trigger snow slides, to blasting 30ft icicles away from tunnel entrances.

21 February 2014 | Broadcast | 33

Marketplace

To advertise here, contact Jon Thornley on 020 3638 5065 email jonathan.thornley@broadcastnow.co.uk

BUSINESS OPPORTUNITY TRANSFERS & SALES

ELSTREE STUDIOS

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

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

Repairs

auctions

TRAINING COURSE

VFX TUTOR BOOT CAMP SHOOTING FOR VISUAL EFFECTS 24th & 25th March 2014

The course covers • professional work flows • working practices and production for vfx • camera requirements • screen lighting & spill suppression • lighting and matching backplates • on-set visualisation methods • footage acquisition, back-up and prep for vfx

specialist camera equipment the world’s leading specialist camera company

Aerial Camera Systems ACS tracking vehicle

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Please mention Broadcast when replying to adverts

The scheme is supported by Creative Skillset’s Film Skills Fund, which is funded by the National Lottery via the BFI and through the Skills Investment Fund (SIF). Subsidised course cost £299 including accommodation.

For more information and to book go to - www.heslingtonstudios.com/training/

PRIMETIME EMMY AND BAFTA AWARD WINNER www.acsmedia.com 34 | Broadcast | 21 February 2014

www.broadcastnow.co.uk

Appointments

To advertise here, contact Jon Thornley on 020 3638 5065 email jonathan.thornley@broadcastnow.co.uk

EMS

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

“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.

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

TALENT

As a result of winning new contracts, Key Talent Ltd are looking for key studio and location talent to add to our portfolio of bookable individuals in the following categories;

FILM & TV CREWS

Lighting: Gaffers Electricians

Scenic: Scenic Painters and Carpenters Supervisors and Operatives Construction Management

If you’ve never heard of Hat Trick Productions then read no further because we’re looking for someone who knows and loves comedy.

However if you think you have what it takes to spot and develop the next Outnumbered or Episodes then this could be your moment.

Hat Trick Productions is now looking for candidates for it’s newly created Trainee Scripted Producer role. It’s a fantastic opportunity for you if you fit the bill.

So if you already have some experience of working in the comedy genre whether on television, radio or online or even if you’ve been working in Factual on some soul destroying reality show knowing that your heart lies in making people laugh then we’d like to meet you. You’ll need to have a demonstrable passion for scripts and be at AP level or equivalent.

Dominic Lobo; Head of Production

___________________ L I M I T E D ___________________

Trainee Scripted Comedy Producer London based Salary dependent on experience

Please mention Broadcast when replying to adverts

Also: Cameras Sound Studio Engineers

And many other crafts.

If you’re looking for work or for Key Talent to deliver your production needs, contact us today or drop us your CV. info@keylight.tv Tel: 020 8963 9931

If you get the job - a 12 month role - you’ll be joining one of the most successful comedy and comedy entertainment outfits in the world; you’ll be rubbing shoulders with some of the top comedy writers and producers working today and most importantly helping to develop their ideas and of course ideas of your own.

Interviews will be held in April. If you land the job you’ll be starting in May. Good luck!

To receive an application pack please send an email to comedyproducer@hattrick.com Closing Date: 3rd March 2014

CONTROLLER, BBC TWO & FOUR

£COMPETITIVE + BENEFITS | CENTRAL LONDON Reporting to the Director of BBC Television, you will be the overall editorial leader for BBC Two and Four, tasked with building a channel portfolio that inspires and excites a wide audience, driven by a culture of innovation and ambition.

BBC Two is responsible for delivering some of the most creative and inspiring content the BBC has to offer.

The channel aims to carry the greatest amount and range of knowledge-building programming of any BBC television channel, complemented by distinctive comedy, drama and entertainment.

BBC Four aims to provide an ambitious range of innovative, high-quality content that is intellectually and culturally enriching, taking an expert and in-depth approach to a wide range of subjects.

Your task will be to realise the benefits of greater collaboration between both channels whilst retaining

www.broadcastnow.co.uk

the distinctiveness of each. You will line manage the Channel Editor of BBC Four, providing strategic, editorial and financial direction to the channel.

As a recognised industry figure, you will have extensive programme making expertise, commercial know-how and experience of aligning people around a creative vision. You will offer a proven track record of shaping and directing strategic objectives in a complex environment.

You will be able to demonstrate sharp editorial judgement and have the ability to generate and realise creative and original ideas. Furthermore, you will have extensive experience of effectively building and maintaining talent relationships.

If you meet the requirements for this role, please submit your CV and covering letter to Ian Critchley at ian.critchley@bbc.co.uk by Tuesday 4th March 2014.

21 February 2014 | Broadcast | 35

Ratings Mon 10 Feb – Sun 16 Feb

A Scandi boost for Midsomer Trip to Copenhagen delivers 5.5 million for ITV show’s 100th episode to beat BBC1’s Waterloo Road

BY Stephen price

Down through the ages, the UK has often found itself smitten with a fad that promised adventure or riches. In the 17th century, it was tulips and then the prospect of gold in Central America, while the Victorians were beguiled by Ancient Egypt.

Today, thanks to the moodiness of subtitled TV thrillers, we’ve all gone a bit Scandi. And of all the British institutions to take the gloaming, steely, sensibilities to heart, the quintessentially English Midsomer Murders might have been the least likely. But this week, its hundredth episode did just that, heading out to Copenhagen and those jumpers. Elsewhere, student nurses beat Piers Morgan while Blandings’ Lord Emsworth could only find solace conversing with his prize pig. We’ve all had that feeling.

On Monday, the third part of BBC1’s Britain’s Great War achieved 3.2 million/13% at 9pm, behind ITV’s DCI Banks’ 5.7 million/23% (283,000 +1). The final episode of Channel 4’s Benefits Street at 9pm was second on 4 million/17% (573,000 +1).

On Tuesday, BBC1’s Death In Paradise achieved a record 7.2 million/31%, following Holby City’s 5 million/22%. Pickings were slimmer at ITV, whose wanderings down memory lane in Who Wants To Be A Millionaire? Chris’s Final Answer achieved 2.2 million/10% (121,000 +1) at 8pm, matching Births, Marriages And Deaths at 9pm (2.2 million/9%; 137,000 +1).

On Wednesday, ITV’s Midsomer Murders won with a series high of 36 | Broadcast | 21 February 2014

BroAdcASt/BArB top 100 network progrAMMeS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 27 29 30 31 31 31 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Coronation Street Coronation Street Call The Midwife Coronation Street Coronation Street EastEnders The Voice UK EastEnders Coronation Street Emmerdale EastEnders Death In Paradise EastEnders BBC News At Six Emmerdale Emmerdale Emmerdale Emmerdale Emmerdale BBC News At Ten Countryfile BBC News At Six DCI Banks BBC News At Ten BBC News At Six BBC News At Six Midsomer Murders Benidorm BBC News At Six Top Gear Inspector George Gently BBC News At Ten The National Lottery: Who Dares Wins Birds Of A Feather BBC News At Ten BBC News At Ten Casualty Holby City Dancing On Ice The One Show: Floods Special Mr Selfridge BBC News The One Show The One Show Mrs Brown’s Boys The British Academy Film Awards FA Cup Live: Manchester City V Chelsea Benefits Street The One Show The Graham Norton Show

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

19.30 20.30 20.00 19.30 19.30 20.00 19.10 19.30 20.30 19.00 19.30 21.00 20.00 18.00 19.00 19.00 19.00 20.00 19.00 22.00 19.00 18.00 21.00 22.00 18.00 18.00 20.00 21.00 18.00 20.00 20.30 22.00 20.30 20.30 22.00 22.00 21.20 20.00 18.15 19.00 21.00 18.05 19.00 19.00 22.10 21.00 16.45 21.00 19.00 22.40

8.94 8.53 8.43 8.40 8.19 7.74 7.66 7.39 7.37 7.22 7.21 7.19 7.14 7.05 6.98 6.79 6.71 6.62 6.60 6.36 6.25 6.19 5.97 5.89 5.85 5.83 5.78 5.78 5.74 5.55 5.49 5.49 5.49 5.46 5.34 5.21 5.11 4.98 4.97 4.93 4.83 4.78 4.72 4.62 4.60 4.60 4.57 4.53 4.49 4.38

38.68 35.32 30.87 37.58 34.74 31.95 33.70 33.76 31.12 33.37 32.25 31.25 30.46 35.91 32.73 30.68 32.13 29.45 30.20 32.70 26.48 31.15 24.50 31.07 31.39 29.97 24.58 24.89 29.37 20.31 23.55 28.54 25.35 23.23 27.20 27.86 24.41 22.14 22.03 21.57 20.34 23.41 22.61 21.68 24.11 21.96 23.82 18.60 20.52 30.47

ITV ITV BBC1/Neal Street Productions ITV ITV BBC1 BBC1/Wall to Wall BBC1 ITV ITV BBC1 BBC1/Red Planet Productions BBC1 BBC1 ITV ITV ITV ITV ITV BBC1 BBC1 BBC1 ITV/Left Bank Pictures BBC1 BBC1 BBC1 ITV/Bentley Productions ITV/Tiger Aspect BBC1 BBC2 BBC1/Company Pictures BBC1 BBC1/12 Yard ITV/Retort/Quirky Media BBC1 BBC1 BBC1 BBC1 ITV BBC1 ITV BBC1 BBC1 BBC1 BBC1/Boc-Pix/RTÉ BBC1/Whizz Kid ITV C4/Love Productions BBC1 BBC1/So Television

Figures include HD and +1 where applicable

the Baftas

Blandings www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 54 55 56 56 58 59 60 60 62 63 64 65 66 67 68 69 70 71 71 73 74 75 76 77 78 79 79 81 82 83 84 85 85 87 88 88 90 90 92 92 94 95 96 97 98 99 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

ITV News & Weather Pound Shop Wars Dancing On Ice: The Results ITV News & Weather All Star Family Fortunes ITV News & Weather Outnumbered The One Show Pointless Celebrities ITV News & Weather BBC News ITV News & Weather ITV News & Weather Winter Olympics Splash!

BBC News At One A Great Welsh Adventure With Griff Rhys...

New Tricks Mrs Brown’s Boys Inside Out Blandings BBC News Pointless Room 101 Pointless Student Nurses: Bedpans And Bandages Pointless Waterloo Road Pointless BBC News At One Take Me Out The Chase University Challenge Britain’s Great War The Chase The Chase The Chase BBC News ITV News At Ten & Weather BBC News At One The Chase Winter Olympics: Today At The Games Piers Morgan’s Life Stories: Ian Botham A Question Of Sport Dragons’ Den BBC News At One Winter Olympics Panorama: Immigration Undercover Question Time ITV News At Ten & Weather

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

22.00 20.00 20.30 18.30 19.45 18.30 21.00 19.00 18.20 18.30 22.40 18.30 18.30 16.30 19.20 13.00 20.00 21.00 21.30 19.30 18.30 18.00 17.15 20.30 17.15 20.00 17.15 20.00 17.15 13.00 20.50 17.00 20.00 21.00 17.00 17.00 17.00 23.00 22.00 13.00 17.00 19.30 21.00 19.30 21.00 13.00 16.00 20.30 22.40 22.00

4.36 4.35 4.33 4.26 4.25 4.19 4.19 4.18 4.16 4.07 4.07 3.96 3.93 3.90 3.89 3.89 3.74 3.72 3.69 3.63 3.61 3.61 3.59 3.57 3.46 3.44 3.43 3.42 3.39 3.39 3.29 3.27 3.26 3.22 3.21 3.21 3.16 3.15 3.15 3.11 3.11 3.05 3.05 3.03 3.02 3.01 3.00 2.99 2.90 2.89

20.84 19.36 15.67 20.61 16.30 19.71 17.17 19.31 19.75 20.17 23.95 18.90 18.66 24.30 17.24 44.72 15.44 17.06 15.99 15.71 16.51 18.29 22.28 15.09 21.84 14.67 20.92 14.65 21.92 38.55 15.49 20.69 13.47 13.19 20.83 21.09 21.28 25.13 16.57 39.59 18.19 13.95 13.99 13.56 12.72 40.28 16.96 12.40 24.75 15.73

ITV/ITN BBC1/Nine Lives Media ITV ITV/ITN ITV ITV/ITN BBC1/Hat Trick Productions BBC1 BBC1/Remarkable Television ITV/ITN BBC1 ITV/ITN ITV/ITN BBC1 ITV/Twofour BBC1 ITV/Modern Television BBC1/Wall to Wall BBC1/Boc-Pix/RTÉ BBC1 BBC1/Mammoth Screen BBC1 BBC1/Remarkable Television BBC1/Hat Trick Productions BBC1/Remarkable Television ITV/Twofour BBC1/Remarkable Television BBC1/Shed Productions BBC1/Remarkable Television BBC1 ITV/Thames ITV BBC2 BBC1 ITV ITV ITV BBC1 ITV BBC1 ITV BBC2 ITV BBC1 BBC2 BBC1 BBC2 BBC1 BBC1/Mentorn ITV/ITN

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

Student nurses www.broadcastnow.co.uk

piers Morgan’s Life Stories: Sir ian Botham

5.5 million/23% (311,000 +1) from 8pm. BBC1’s best was Outnumbered at 9pm with 4.2 million/ 17%, following Waterloo Road’s 3.4 million/15%.

At 8pm on Thursday, part two of BBC1’s Pound Shop Wars dropped to 4.4 million/19% opposite ITV’s Emmerdale (6.5 million/ 29%; 167,000 +1). At 8.30pm, the second of BBC1’s Inspector George Gently picked up a fraction on last week’s launch with 5.5 million/24%. ITV’s Birds Of A Feather at 8.30pm averaged 5.4 million/23% (102,000 +1) while the last of Benidorm at 9pm achieved 5.4 million/23% (414,000 +1).

‘The finale of Piers Morgan’s Life Stories couldn’t match BBC1’s New Tricks repeat’ On Friday at 8pm, against BBC1’s EastEnders (7.1 million/ 30%), ITV launched Student Nurses: Bedpans And Bandages to 3.3 million/14% (176,000 +1). Sir Ian Botham’s interview in the finale of Piers Morgan’s Life Stories (2.9 million/13%; 156,000 +1) at 9pm couldn’t match BBC1’s New Tricks repeat, which won with 3.7 million/17%.

On Saturday, and in a losing cause, the finale of ITV’s Splash! achieved 3.8 million/16% (97,000 +1), which was the best since the series two launch on 4 January (4.8 million/20%; 193,000 +1). Opposite at 7.10pm, BBC1’s The Voice UK slipped by 700,000 to a still overwhelming 7.7 million/34%.

At 6.30pm on Sunday, BBC1’s Blandings returned to 3.6 million/17%, behind the first two episodes of last year’s first series but in line with the remainder in share terms when it didn’t have the Winter Olympics to contend with. BBC1’s best of the night was Call The Midwife at 8pm (8.4 million/31%), while Dancing On Ice’s 4.7 million/21% (254,000 +1) from 6.30pm was ITV’s best.

At 9pm, BBC1’s coverage of the British Academy Film Awards achieved 4.6 million/22%; 800,000 and two share points short of last year. Opposite for an hour from 9pm, ITV’s Mr Selfridge improved slightly on last week to 4.6 million/19% (241,000 +1).

See over for digital focus, plus channel and genre overviews 21 February 2014 | Broadcast | 37

Ratings Mon 10 Feb – Sun 16 Feb Channel Overview

Olympics in winning form BY stephen price

The nation is gripped by the sliding about of athletes, often in lycra and occasionally with brooms. BBC2 is lapping it up, even if the best of the week was BBC1’s Friday afternoon coverage of Lizzie Whizz’s gold medal win on a skeleton bob named Mervyn (peaking at 3.9 million/24%).

Elsewhere, duty returned a little bound, Peter Kay made us guffaw and the boys drove to Chernobyl.

Thursday was the best day for BBC2’s Winter Olympics highlights at 7.30pm (3.1 million/14%), proving enough to beat both ITV’s Tonight (2.7 million/12%; 66,000 +1) and Channel 4 News’ 700,000/3%; 118,000 +1 from 7pm.

BBC2 drama Line Of Duty returned for a second series on Wednesday at 9pm with 1.8 million/ 7%, but this was 1.3 million-plus and six share points short of 2012’s summer series launch on a Tuesday. C4’s 24 Hours In A&E won with 2 million/8% (281,000 +1). Channel 5’s NCIS averaged 900,000/4% (158,000 +1).

The second part of C4’s Peter Kay: Live And Back On Nights! on Friday at 9pm achieved 2.5 million/12% (344,000 +1), ahead of BBC2’s repeat combo of Mock The Week (1.3 million/6%) and QI (1.4 million/7%). The best performer of the week was BBC2’s Top Gear with 5.6 million/20% at 8pm on Sunday, its best of this run so far.

Source: BARB

WEEK 7 Average hours per viewer Daytime Share (%) Peaktime Share (%) w/c 10.02.14 Peaktime share (%) w/c 11.02.13 yEAr TO DATE Average hours per viewer Audience share (%) Audience share (2013)

BBC1 6.02 17.58 24.39 23.09 BBC1 6.32 22.25 21.72

BBC2 2.74 13.04 9.14 6.87 BBC2 2.08 7.32 5.92

ITV1 4.42 13.92 20.91 19.68 ITV1 4.39 15.46 16.22

C4 1.58 5.12 6.41 6.43 C4 1.71 6.03 6.25

Day

Start

Viewers (m) (all homes)

38 | Broadcast | 21 February 2014

Total 27.65 100.00 100.00 100.00 Total 28.40 100.00 100.00

TOP 30 BBC2, CHANNEL 4 AND CHANNEL 5 Title

Share %

Broadcaster

1

Top Gear

Sun

20.00

5.55

20.31

BBC2

2

Benefits Street

Mon

21.00

4.53

18.60

C4

3

University Challenge

Mon

20.00

3.26

13.47

BBC2

4

Winter Olympics: Today At The Games

Thu

19.30

3.05

13.95

BBC2

5

Dragons’ Den

Sun

21.00

3.02

12.72

BBC2 BBC2

6

Winter Olympics

Sun

16.00

3.00

16.96

7

Peter Kay: Live And Back On Nights! Part Two

Fri

21.00

2.86

13.12

C4

8

Winter Olympics: Today At The Games

Tue

19.00

2.74

12.42

BBC2

9

Winter Olympics

10

Winter Olympics: Today At The Games

Fri

15.30

2.62

21.94

BBC2

Mon

19.00

2.60

11.63

BBC2

11

Mastermind

Fri

20.00

2.59

11.05

BBC2

12

Winter Olympics

Sat

16.00

2.52

14.30

BBC2

13

Pointless

Fri

17.15

2.38

13.51

BBC2

14

The Hairy Bikers’ Asian Adventure

Thu

20.00

2.33

10.11

BBC2

15

Winter Olympics: Today At The Games

Sun

19.00

2.32

9.84

16

Red

Sun

21.00

2.31

11.49

BBC2 C4

17

Location, Location, Location

Tue

20.00

2.28

10.13

C4

18

24 Hours In A&E

Wed

21.00

2.25

9.46

C4

19

Winter Olympics: Today At The Games

Fri

19.10

2.20

10.02

BBC2

19

Winter Olympics: Today At The Games

Wed

19.00

2.20

9.63

BBC2

21

Winter Olympics: Today At The Games

Sat

19.00

2.12

9.44

BBC2

22

Food & Drink

Mon

20.30

2.05

8.47

BBC2 BBC2

23

An Island Parish

Fri

20.30

1.98

8.38

24

The Restoration Man

Wed

20.00

1.93

8.27

25

Winter Olympics

Sun

09.00

1.90

23.21

C4 BBC2

26

Children’s Emergency Rescue

Tue

20.00

1.83

8.16

BBC2

27

Winter Olympics

Tue

16.00

1.79

11.62

BBC2

28

True Grit

Sat

21.00

1.76

8.62

BBC2

29

Line Of Duty

Wed

21.00

1.75

7.39

BBC2

29

Winter Olympics

Mon

16.10

1.75

11.05

BBC2

Figures include HD and +1 where applicable

Multichannel 35.82

BBC2 documentary Bible Hunters couldn’t match Wednesday 9pm’s 1.7m slot average

Others 11.91 46.34 35.82 40.34 Others 12.70 44.74 45.78

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

DAyTIME SHArE (%) w/c 10.02.14

PEAKTIME SHArE (%) w/c 10.02.14

1.1m

C5 0.99 4.00 3.33 3.59 C5 1.19 4.21 4.10

BBC1 24.39

ITV1 20.91

C5 3.33 C4 6.41

BBC2 9.14

BBC1 17.58

Multichannel 46.34

1.1m Channel 5’s 200 Nips And Tucks And I Want More! was below Tuesday 9pm’s 1.5m slot average

ITV1 13.92

C5 4.00

BBC2 13.04

C4 5.12

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Genre Overview

Source: BARB

top 10 Children’s proGraMMes Title

1 2 2 4 5 6 7 8 9 10

Officially Amazing 2 Officially Amazing 2 My Story 4 O’clock Club Small Potatoes The Dumping Ground Grandpa In My Pocket Shaun The Sheep Newsround Tree Fu Tom

top 10 faCtual proGraMMes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Title

Wed Thu Tue Wed Sun Fri Wed Thu Wed Sun

16.30 16.30 17.10 17.00 09.40 17.30 17.25 15.50 16.20 09.15

240,900 237,100 237,100 224,700 208,200 207,600 207,100 205,300 203,300 201,200

15.44 16.67 15.06 13.36 16.28 11.79 11.45 20.45 14.70 16.61

CBBC CBBC CBeebies CBBC CBeebies CBBC CBeebies CBBC CBBC CBeebies

1 2 3 4 5 6 7 8 9 10

Countryfile Top Gear The One Show: Floods Special The One Show The One Show Benefits Street The One Show Pound Shop Wars The One Show A Great Welsh Adventure...

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Sun Wed Thu Fri Mon Tue Thu Mon Mon

19.00 20.00 19.00 19.00 19.00 21.00 19.00 20.00 19.00 20.00

6.25 5.55 4.93 4.72 4.62 4.53 4.49 4.35 4.18 3.74

26.48 20.31 21.57 22.61 21.68 18.60 20.52 19.36 19.31 15.44

BBC1 BBC2 BBC1 BBC1 BBC1 C4 BBC1 BBC1 BBC1 ITV

➤ Two instalments of officially amazing 2 shot to the top of the table, pushing the 4 o’Clock Club into fourth place. CBBC picked up four places, including shaun the sheep and newsround. My story on CBeebies was a new entry.

➤ top Gear drove off with a near identical audience to last week, but couldn’t topple Countryfile, even though the BBC1 flagship lost 160,000 viewers. Benefits street bowed out with 4.5 million, becoming the biggest series on Channel 4 since Big fat Gypsy weddings in 2011.

top 10 draMa proGraMMes

top 10 entertainMent proGraMMes

Title

1 2 3 4 5 6 7 8 9 10

Call The Midwife Death In Paradise DCI Banks Midsomer Murders Inspector George Gently Casualty Holby City Mr Selfridge New Tricks Waterloo Road

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Tue Mon Wed Thu Sat Tue Sun Fri Wed

20.00 21.00 21.00 20.00 20.30 21.20 20.00 21.00 21.00 20.00

8.43 7.19 5.97 5.78 5.49 5.11 4.98 4.83 3.72 3.42

30.87 31.25 24.50 24.58 23.55 24.41 22.14 20.34 17.06 14.65

BBC1 BBC1 ITV ITV BBC1 BBC1 BBC1 ITV BBC1 BBC1

Title

1 2 3 4 5 6 7 8 9 10

➤ Call the Midwife maintained its stranglehold on the drama line-up, despite the Neal Street show losing 440,000 viewers on last week. death in paradise gained 550,000 viewers, holding off competition from ITV’s dCi Banks and a special Midsomer Murders.

up Death In Paradise adds 550,000

down Call The Midwife loses 440,000

1 2 3 4 5 6 7 8 9 10

Benidorm Birds Of A Feather Mrs Brown’s Boys Outnumbered Mrs Brown’s Boys Blandings Birds Of A Feather Live At The Apollo Mock The Week Looks Back...

The Simpsons

Viewers (millions)

Share (%)

Channel

Sat Sat Sun Sun Fri Sun Sun Sat Sat Mon

19.10 20.30 18.15 21.00 22.40 20.30 19.45 18.20 19.20 17.15

7.66 5.49 4.97 4.60 4.38 4.33 4.25 4.16 3.89 3.59

33.70 25.35 22.03 21.96 30.47 15.67 16.30 19.75 17.24 22.28

BBC1 BBC1 ITV BBC1 BBC1 ITV ITV BBC1 ITV BBC1

up A Great Welsh Adventure With Griff Rhys Jones adds 100,000

down The Voice UK loses 780,000

up Midsomer Murders rises 240,000

top 10 MusiC & arts proGraMMes

Day

Start

Viewers (millions)

Share (%)

Channel

Thu Thu Sat Wed Wed Sun Sun Sat Fri Mon

21.00 20.30 22.10 21.00 21.30 18.30 22.15 23.00 21.00 18.00

5.78 5.46 4.60 4.19 3.69 3.61 1.94 1.62 1.30 1.25

24.89 23.23 24.11 17.17 15.99 16.51 10.90 13.17 5.94 6.40

ITV ITV BBC1 BBC1 BBC1 BBC1 ITV BBC1 BBC2 C4

➤ Benidorm bowed out with its second biggest audience of the run, taking the seven-part series’ average to 5.5 million (23%). Birds of a feather was not far behind, while a Mrs Brown’s Boys repeat performed typically well on Saturday. next week sport and Current affairs www.broadcastnow.co.uk

Start

➤ the Voice uk was not as in tune as it has been in previous weeks, but still easily outmuscled the competition. Elsewhere, the British academy film awards walked away with its lowest audience since 2010, while the Graham norton show performed well.

down Countryfile down 160,000

up The Graham Norton Show up 880,000

top 10 CoMedy proGraMMes Title

The Voice UK National Lottery: Who Dares Wins Dancing On Ice The British Academy Film Awards The Graham Norton Show Dancing On Ice: The Results All Star Family Fortunes Pointless Celebrities Splash!

Pointless

Day

Title

1 2 3 4 5 6 7 8 9 9

Culture Show: Lego – The Building...

Neil Sedaka: King Of Song The World’s Most Beautiful Eggs...

Danny Baker’s Rockin’ Decades Sound Of Cinema: Music That...

Even More Guitar Heroes At The BBC Danny Baker’s Rockin’ Decades Random Acts Danny Baker’s Rockin’ Decades The Film Review

Day

Start

Viewers (millions)

Share (%)

Channel

Mon Fri Sun Tue Fri Fri Mon Wed Wed Fri

22.00 21.00 20.00 21.00 20.00 23.45 21.00 00.00 21.00 17.45

0.72 0.47 0.38 0.37 0.31 0.27 0.26 0.25 0.25 0.23

3.84 2.15 1.39 1.60 1.30 4.36 1.06 4.29 1.06 1.27

BBC2 BBC4 BBC4 BBC4 BBC4 BBC4 BBC4 C4 BBC4 BBC News

➤ A Culture show special on Lego topped the music and arts chart, beating its nearest rival by 250,000 viewers. BBC4 dominated proceedings by scooping up seven places, with its pop music shows proving popular. random acts was Channel 4’s only entry.

See over for demographic and digital focus 21 February 2014 | Broadcast | 39

Ratings Mon 10 Feb – Sun 16 Feb 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

55.93

BBC 1

21.85

26.07

49.02

12.03

9.35

21.27

44.07

22.32

ITV

16.09

14.62

37.33

12.72

13.41

13.52

38.02

18.22

61.97

BBC 2

10.04

12.79

52.33

9.43

15.94

11.11

50.07

9.16

49.93

C4

5.60

5.81

42.63

7.32

22.19

5.32

43.02

5.83

56.98

C5

3.82

3.29

35.35

3.58

15.90

3.37

39.94

4.19

60.06

ITV3

2.19

1.90

35.47

0.48

3.68

1.75

36.13

2.56

63.87

ITV2

2.03

1.69

34.28

3.39

28.45

1.52

33.94

2.44

66.05

E4

1.97

1.92

40.10

5.65

48.66

2.07

47.60

1.89

52.41

BBC 3

1.40

1.43

41.77

3.64

44.05

1.62

52.14

1.23

47.88

Film 4

1.37

1.20

36.11

1.52

18.89

1.76

58.27

1.04

41.75

Dave

1.28

1.15

36.96

2.15

28.65

1.67

59.37

0.95

40.66

More 4

1.13

1.18

42.73

1.15

17.15

1.05

41.69

1.21

58.29

ITV4

0.85

0.69

33.02

0.82

16.23

1.16

61.61

0.60

38.42

Sky 1

0.81

0.80

40.16

1.51

31.58

0.93

51.71

0.72

48.27 55.68

5 USA

0.75

0.54

29.87

0.54

12.27

0.73

44.38

0.76

BBC 4

0.71

0.99

57.67

0.23

5.57

0.85

54.22

0.59

45.78

BT Sport 1

0.69

0.87

52.08

1.02

25.03

1.07

70.06

0.38

29.97

Drama

0.58

0.49

34.38

0.22

6.35

0.55

42.94

0.60

57.08

Yesterday

0.58

0.47

33.36

0.13

3.72

0.74

57.92

0.44

42.05

4.2%

Channel 5’s homegrown drama Suspects launched with a bigger share of the AB audience than its 3.1% slot average. Almost one in five of its 927,000 viewers – 18.6% – were from the group, up on the 13% average.

Share covers all hours. Figures include HD and +1 where applicable 1: Each channel’s share of total demographic. 2: Demographic as a percentage of the channel’s total viewers.

Digital focus

Rock fans like the ‘80s best BY stephen price

One day in the year 2095, a child wired for music intravenously will ask in wonder: ‘Grandad, what’s an MP3 player?’. For now, with memories of pre-digital still living, the social history of music is an all-too poignant reminder of the more innocent use of needles and vinyl. This week, as it often does, BBC4 indulged that passion.

The best of BBC4’s Danny Baker’s Rockin’ Decades was Tuesday’s exploration of the 1980s at 9pm, with 368,000/1.6%. The 1970s on Monday was next with 258,000/1% and Wednesday’s 1990s was third on 251,000/1%.

E4’s best show of the week was Thursday’s US comedy How I Met Your Mother, which achieved 1.1 million/5% at 8.30pm. The best of E4’s Hollyoaks was Monday’s episode at 7pm; 900,000/4%.

ITV3’s top show was an episode of Vera on Saturday at 9pm, which also secured 900,000/4%.

BBC3’s highest rating was the film Enemy Of The State, with 800,000/4% at 9pm on Friday.

40 | Broadcast | 21 February 2014

Source: BARB

DIgITal HOMES

TOp 30 MulTIcHannEl pROgRaMMES Title

1 2 3 4 5 6 7 8 8 8 11 12 12 14 14 16 16 18 19 20 20 22 22 22 22 26 27 27 29 29

Live: Arsenal V Man Utd How I Met Your Mother Live: Arsenal V Liverpool Hollyoaks Hollyoaks Vera Hollyoaks Hollyoaks Enemy Of The State Doc Martin The Big Bang Theory Hollyoaks Iron Man Salamander Troy Midsomer Murders The Big Bang Theory The Big Bang Theory The Big Bang Theory Storage Hunters Meet The Fockers The Big Bang Theory Brooklyn Nine-Nine Family Guy The Big Bang Theory Family Guy The Big Bang Theory Salamander The Big Bang Theory Family Guy

Figures include HD and +1 where applicable

Day

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

Start

19.00 20.30 15.15 19.00 19.00 21.00 19.00 19.00 21.00 20.00 20.00 19.00 19.30 21.00 22.00 20.00 18.00 18.30 18.30 20.00 21.00 18.30 21.00 23.25 18.30 22.25 18.30 21.50 19.30 23.25

Viewers (millions)

Share (%)

Channel

1.12 1.10 1.09 0.94 0.90 0.89 0.87 0.84 0.84 0.84 0.82 0.81 0.81 0.80 0.80 0.79 0.79 0.76 0.75 0.73 0.73 0.72 0.72 0.72 0.72 0.71 0.69 0.69 0.68 0.68

4.80 4.69 6.89 4.33 4.20 4.48 3.98 3.79 4.25 3.74 3.66 3.89 3.58 3.76 4.72 3.48 4.04 3.62 3.64 3.29 3.62 3.44 3.10 8.78 3.37 4.10 3.43 3.48 2.82 7.64

BT Sport 1 E4 BT Sport 1 E4 E4 ITV3 E4 E4 BBC3 ITV3 E4 E4 E4 BBC4 E4 ITV3 E4 E4 E4 Dave BBC3 E4 E4 BBC3 E4 BBC3 E4 BBC4 E4 BBC3

Channels

Share (%)

BBC1 ITV BBC2 C4 C5 Total Multichannel ITV3 ITV2 E4 BBC News BBC3 Film 4 CBeebies Dave More 4 Sky News ITV4 Pick

21.85 16.09 10.04 5.60 3.82 42.60 2.19 2.03 1.97 1.67 1.40 1.37 1.30 1.28 1.13 0.95 0.85 0.85

Figures include HD and +1 where applicable

800k E4 magic show Troy easily beat the 267,000 slot average

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

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

Title

Day

Start

Viewers (000s) Share (all homes) %

Broadcaster/ Producer*

Live: Arsenal V Manchester United Live: Arsenal V Liverpool Storage Hunters Storage Hunters The Walking Dead Criminal Minds Dynamo: Magician Impossible Stella Live Championship NCIS Gillette Soccer Saturday Live Sunderland V Southampton Hawaii Five-0 The Simpsons The Simpsons The Simpsons The Simpsons The Simpsons Storage Hunters The Simpsons Live: Cardiff City V Aston Villa The Simpsons Storm Nation Special Bones Dynamo: Magician Impossible The Simpsons Mock The Week The Simpsons Mickey Mouse Clubhouse Storage Hunters QI XL Inside: America's Toughest Jail QI XL Storage Hunters New: Two And A Half Men After Earth Storage Hunters Storage Hunters Storage Hunters The Simpsons Duck Quacks Don’t Echo Storage Hunters Would I Lie To You? The Simpsons The Simpsons The Simpsons Storage Hunters The Simpsons Mock The Week Last Of The Summer Wine

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

19.00 15.15 20.00 20.30 21.00 21.00 21.00 21.00 19.30 21.00 12.00 12.00 21.00 19.00 18.30 18.30 19.00 19.00 19.30 19.00 19.00 19.00 20.00 21.00 18.00 19.30 22.00 18.30 17.30 19.30 21.00 21.00 21.00 19.30 21.00 20.00 19.00 19.00 19.00 19.00 22.00 16.00 22.00 19.30 19.30 20.00 19.30 19.30 22.40 21.40

1,117,800 1,089,000 727,500 619,500 551,400 470,400 453,800 450,000 447,600 419,500 407,600 406,100 403,500 392,500 387,100 372,500 371,200 365,900 364,500 354,500 354,400 353,800 353,000 349,900 347,500 338,600 326,700 323,700 309,900 307,600 305,500 304,800 303,300 302,900 302,400 299,400 299,200 296,100 294,200 292,300 289,600 288,800 284,700 284,300 283,500 283,000 282,000 281,800 279,900 276,500

BT Sport 1 BT Sport 1 Dave/T Group Dave/T Group Fox Sky Living Dave/Inner Circle Films/Phil McIntyre Sky 1/Tidy Productions Sky Sports 1 Fox Sky Sports News BT Sport 1 Sky 1 Sky 1 Sky 1 Sky 1 Sky 1 Sky 1 Dave/T Group Sky 1 BT Sport 1 Sky 1 Sky 1 Sky Living Dave/Inner Circle Films/Phil McIntyre Sky 1 Dave/Angst Productions Sky 1 Disney Junior Dave/T Group Dave/Talkback Pick Dave/Talkback Dave/T Group Comedy Central Sky Movies Premiere Dave/T Group Dave/T Group Dave/T Group Sky 1 Sky 1 Dave/T Group Dave/Zeppotron Sky 1 Sky 1 Sky 1 Dave/T Group Sky 1 Dave/Angst Productions Yesterday

4.80 6.89 3.29 2.72 2.26 1.93 2.08 2.06 1.86 1.92 3.35 3.87 1.70 1.77 1.87 1.75 1.61 1.67 1.55 1.66 1.57 1.63 1.54 1.47 1.69 1.44 1.77 1.55 1.82 1.41 1.33 1.28 1.24 1.33 1.23 1.31 1.35 1.42 1.33 1.40 1.60 2.15 1.59 1.30 1.27 1.05 1.26 1.22 2.26 1.35

Figures include HD and +1 where applicable

Storm Nation Special www.broadcastnow.co.uk

The Walking Dead

105k Sky Atlantic’s Fleming beat the 10pm Wednesday slot average of 68,000

Slow start for Bond drama

BY STepheN price

As a nipper, one of my favourite jokes was to go around saying my name was Bond – Brooke Bond; ‘like the tea’, I would always add anxiously, as the silence yawned on. How about Basildon Bond?

Still nothing. None of this hilarious wordplay would have meant a thing without a chap called Ian Fleming, who, judging by the first episode of Sky Atlantic’s new biopic, might actually have been Bond (James, not Basildon) rather than merely his creator. Elsewhere, Fox loves its wandering dead and the storms were sufficiently dramatic for a quick-turnaround doc.

Sky Atlantic’s latest subscriberseducing yarn Fleming launched on Wednesday at 9pm, after an ondemand preview, and achieved 104,000/0.4%. A repeat 24 hours later performed slightly better with 114,000/0.5%. Three other repeats added another 127,000.

Recording will add more.

After years of playing on Friday at 10pm, series four of Fox’s The Walking Dead began on Monday at 9pm and delivered 551,000/2%, the show’s best live rating.

Sky 1’s Storm Nation Special achieved 353,000/1.5% on Thursday at 8pm as the hatches were battened down everywhere.

Dave’s Storage Hunters returned for a new series on Tuesday with 728,000/3% at 8pm and 620,000/3% at 8.30pm.

21 February 2014 | Broadcast | 41

Ratings Mon 3 Feb – Sun 9 Feb

All BARB ratings supplied by: Attentional

Consolidated Ratings

Bleak winter lifts ratings

BY Stephen price

It may just be an of-the-moment thing, but in this most miserable, annoying, bleak and dank of winters, where chinks of cheeriness are obscured by cold, grey swirling waters, quite a few TV series are enjoying their best of times.

Series that are now teenagers and ones that are comparative toddlers are showing some of their finest numbers. It seems that when the days never quite get light or vaguely dry, there’s nothing finer than hunkering down to watch a car being driven madly or a mystery solved. And if there’s sun involved, so much the better.

BBC1: Death In Paradise After four episodes, the third series of BBC1’s murder-in-the-sun drama

Source: BARB

series Death In Paradise is averaging 8.4 million/31%, way ahead of both 2013’s full series average of 7.7 million/28% and its debut series’ 5.9 million/21% in 2011.

The latest consolidated episode, on Tuesday 4 February, was the highest-recorded programme of the week, delivering a rating of 8.5 million/32% after 1.8 million recorded and watched. It’s the third best rating for the show; the best remains this series’ launch episode on 14 January, with 8.7 million/32%.

ITV: DCI Banks ITV detective series DCI Banks returned for a new run on Monday 3 February with a live audience of 6.3 million/25%.

After more than 1.3 million watched via PVR, it finished on 7.6 million/26%, its best ever.

Episode two, on 10 February, finished just behind with a consolidated rating of 7.6 million/26%, but both are well ahead of the previous best: 7 November 2012’s 5.9 million/22%.

BBC2: Top Gear The Sunday evening hourlong incarnation of BBC2’s Top Gear, currently in the middle of its 21st series, began in 2002.

And this latest outing is showing a new zestiness.

The latest consolidated episode, on 9 February, achieved 7 million/ 22% after more than 1.4 million watched via PVR, the highest nondrama recording number of the week. This makes it the highestrated episode since the Bolivia Christmas special in 2009, which attracted 7.1 million/27%.

Watch: Grimm Watch’s Grimm returned to the UKTV channel for a third series on Wednesday 5 February at 9pm.

After a live rating of 348,000/ 1.5%, it rose to 887,000/3.1% as more than 530,000 recorded and watched. Another 234,000 watched the Thursday 8pm repeat.

Grimm’s best performance was on 12 March 2012, when it achieved 1.1 million/4% after gaining more than 750,000 via PVR.

TOP 30 CONsOlIDaTeD RaTINGs: RaNkeD By GaIN

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

2.3m Channel 4 comedy-drama Babylon added 580,000 via PVR and catch-up

UP Death In Paradise up 400,000 DOWN Britain’s Great War down 760,000

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Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Death In Paradise Mrs Brown’s Boys Mr Selfridge Top Gear Call The Midwife DCI Banks The Musketeers Birds Of A Feather Outnumbered Inspector George Gently Benidorm Coronation Street Casualty Midsomer Murders The Voice UK Coronation Street Britain’s Great War Coronation Street Hostages Coronation Street EastEnders The Following EastEnders Waterloo Road Top Gear Babylon Bones Benidorm Emmerdale Stella

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

20.59 21.30 21.00 19.59 20.03 21.00 21.03 20.32 20.59 20.30 21.01 20.29 21.25 20.03 19.12 19.31 20.59 20.29 21.03 19.32 19.28 22.00 20.00 20.00 19.01 21.02 21.00 23.30 19.00 21.00

8.45 5.66 6.26 6.97 10.23 7.60 6.14 6.86 6.03 6.48 6.46 8.85 6.28 6.66 9.41 9.17 3.89 9.49 1.50 9.83 8.30 0.83 8.11 3.81 1.89 2.26 1.00 1.11 7.09 1.07

31.74 20.26 21.53 22.39 32.71 26.05 21.51 25.25 21.10 23.67 23.05 34.68 26.61 24.78 37.82 39.24 13.60 36.00 6.18 40.52 35.05 4.39 31.43 15.40 7.96 8.91 3.47 11.74 32.16 4.30

1.78 1.45 1.41 1.41 1.36 1.34 1.28 1.23 1.16 1.15 1.09 1.04 0.97 0.96 0.92 0.85 0.79 0.69 0.68 0.68 0.66 0.65 0.62 0.62 0.61 0.58 0.58 0.56 0.55 0.55

26.80 34.40 29.20 25.40 15.40 21.40 26.40 21.80 23.90 21.50 20.30 13.20 18.30 16.90 10.90 10.20 25.60 7.90 82.00 7.40 8.60 362.20 8.30 19.40 47.20 34.80 136.90 102.80 8.40 105.40

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

Figures include HD and +1 where applicable

42 | Broadcast | 21 February 2014

www.broadcastnow.co.uk

audience data system

569 tweets between 20:10

and 20:11

Off Cuts REX FEATURES

Contact robin.parker@emap.com

ALL A TWITTER Back from Birmingham. Bit shell shocked. But big ratings hit. And I think you’ll agree the thorny benefits debate has been settled for good.

stunt for the fantasy drama’s series three DVD has unleashed any wildlings upon the City.

Perfect climate for drama So how exactly did Broadchurch amass an audience of almost 7 million – more than one in four viewers – in France this week? A little not-too-subtle promotion might have helped, in the form of channel France 2’s weather forecast, where conditions in the area of the fictional Dorset town (windy and wet, we’re guessing) were deemed as important as those in Sochi.

@richardpbacon (Richard Bacon) Presenter, Benefits Britain: The Debate

Don’t look down: art attack on City

Thrones scales the heights

VH1 has just commissioned Naked Dating. I hope they don’t do this in the UK with Keith Chegwin.

People crossing London’s Bishops Square were disorientated this week as the pavement opened up to reveal the 700ft Wall of Game Of Thrones’ Seven Kingdoms. No reports yet of whether HBO’s art

@chuckthomasuk (Chuck Thomas) Producer

Bafta cherry popped! Highlights included: sitting next to the boss of Framestore at the dinner & securing a future tour of his empire... @MorrisTess (Tess Morris) Screenwriter

Just caught last week’s Line Of Duty. Terrific stuff. Who said British drama was all corsets and enigmatic pauses? @JamieCricht0n (Jamie Crichton) Writer, Ripper Street

£4.99

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

Strange goings-on on Clapham Common, scene of a giant hedgehog attack last weekend. This young lad got up close with the mysterious 7ft beast, having been tipped off by his mum, UKTV head of comms Zoe Clapp, as the promotion ramps up for Eden show David Attenborough’s Natural Curiosities.

AND FINALLY ...

Troy von Scheibner Magician

How do you get your own way?

By using magic, of course. It can get you in or out of any situation.

What do you do to relax?

Play gangsta rap, while ironing.

Who would you be on Stars In Their Eyes?

Michael Jackson, Prince or Pharrell Williams. Legends.

Who is your pin-up?

Right now, Emma Willis (pictured). She’s hot, but married.

What keeps you awake at night?

The sound of my dogs barking when the wind changes direction.

What words or phrases do you most overuse?

“Definitely.”

What is your greatest extravagance?

My shoe and vintage glasses collections are crazy. I think I need therapy.

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

Do everything with a smile.

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

My hands.

They’re the most important thing I have.

Troy von Scheibner appears in Troy (E4, Tuesdays, 10pm; Channel 4, Mondays, 10.50pm)

Do you cut the mustard?

Be part of the pioneering Series Producer Fast Track training and mentoring programme - developing the next generation of senior production talent.

Apply by: Monday 17th March For more info: www.dvtalent.co.uk

44 | Broadcast | 21 February 2014

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