Archive for February 11th, 2010|Daily archive page
Today’s Broadcast exploring Two-Screen Experiences with reference to Surgery Live and Embarrassing Bodies Live
Two-screen TV: terms of engagement
11 February, 2010 | By Robin Parker
Broadcasters are finding new ways of attracting the growing number of people who surf the web while they watch TV. Robin Parker taps into the world of two-screen entertainment.
Broadcasters and producers looking to hold on to the communal experience of TV are increasingly turning to the very threat most readily associated with fragmenting audiences.
The web is fast becoming the place to bring an extra dimension to, and make money from, live TV viewing by capitalising on many viewers’ habit of peering at the set over their laptops.
Reasoning that viewers are talking with their peers on social networks and Googling shows, broadcasters want to own the space – and find ways of harnessing this conversation to inform the content of their programmes.
To date, ‘two-screen’, as the trend is known, has been dominated by live web chats to support ITV franchises such as Dancing On Ice and The X Factor, which attract up to 20,000 people a time, and play-along games for shows such as The Apprentice and Four Weddings.
But players in this field forecast an acceleration of interest this year and expect the forthcoming General Election and football World Cup to take the trend to new heights.
Last week saw former ITV exec Jeff Henry launch an ambitious ‘live linking’ service that sent viewers of Five’s US drama Num3rs to 160 websites featuring material relevant to the unfolding narrative.
This week, Channel 4 takes this development to its next logical step with its first ‘one-screen’ interactive experience: a live web show spin-off of Embarrassing Bodies.
Some might argue that enabling a web audience to interact with the show by asking questions and to vote in polls is merely a 21st-century extension of radio and TV phone-ins, but C4 crossplatform commissioner Adam Gee argues that this is reductive.
As Embarrassing Bodies Live unfolds, the studio feed will be dictated by the volume and nature of viewers’ questions, photos and comments. “Our one rule of thumb is that if the interactive element could be done on a digital channel or a radio phone-in, it’s out,” he says. “Those are not networked conversations and they’re not personalised.
“What separates the men from the boys is to take an existing behaviour, such as on Twitter, and spring-board off that into a conversation that has impact on the editorial.”
The web show is the culmination of 18 months of experimentation conducted by Gee, much of it involving Twitter. The highest-profile case, Surgery Live (see box below), became Twitter’s number one trending topic when it aired last May. Another, Alone In The Wild, was, says Gee, an “asynchronous” two-screen experience that opened up the production process before the show aired. It enabled a networked conversation – but one that excluded Ed Wardle, the isolated figure in the series.
Gee believes simplicity is best and thinks two-screen is effective for shows with “a certain wallpaper quality”. He adds: “If Big Brother were starting now, it would totally be in this territory.”
Where it goes wrong, he says, is when too much “unmoderated noise” renders the content incoherent, citing Bad Movie Club, a Twitter experiment backed by the likes of Graham Linehan and Phill Jupitus, in which followers watched the same movie and tweeted their thoughts as it played.
Thirst for information
In the spirit of DVD audio and text commentaries, Henry’s TellyLinks.com is the latest way to feed viewers’ thirst for more information. At launch, it acts like a micro-Google, connecting viewers with external links providing everything from information on an actor to background news stories and details of a show’s setting.
In time, it hopes to sell these links, enabling an advertiser to reach some viewers of regular shows such as the BBC’s Top Gear. Last week’s launch saw the site crash under what Henry says was “overwhelming demand”, which his team is trying to address.
Similarly, Maverick recently provided a Twitter commentary to HBO Iraq war drama Generation Kill as it played out on C4, in which followers of the hashtag #gk were offered definitions of about 60 technical military terms per episode, plus background context on the war that linked through to sites such as Channel 4 News.
The idea came to Maverick’s head of new media, Dan Jones, when he watched the show in the US. “While I loved it, it was hard to follow all the dialogue and I was looking up stuff online after each episode,” he says. “We designed a glossary that you could, if you chose, ignore most of, but you could look whenever you wanted to check something.”
The audience for this was in the mere hundreds but they were, he says, “really engaged”.
Maverick has also started working with talent on this, using Kirstie Allsopp’s love of Twitter to get the presenter to link to craft courses and contributors’ sites during the transmission of Kirstie’s Homemade Christmas.
“It’s low cost and this casual engagement becomes financially worthwhile as you’re directing people to advertising-supported sites like C4’s 4homes. com,” Jones adds.
Meanwhile, having pioneered simple play-a-long tools for The Apprentice, Come Dine With Me and Living shows such as Four Weddings, digital specialist Monterosa is also eyeing the commercial opportunities.
“Some of the biggest brands are measuring their marketing spend by engagement,” managing director Tom McDonnell says. “In shows with commercial breaks, there’s a huge opportunity to reach people waiting for shows – and games – to come back on.”
He believes the games reward viewer loyalty and help a pre-recorded show feel ‘live’. While less than 1% of the audience played along, as much as 80% of these watched every episode. Moreover, he says, “it’s about giving the broadcaster an authoritative role in viewers’ behaviour. Channels like Living have to feel interactive.”
Mint Digital has, under its own steam, developed its own play-a-long game – a fantasy football variant called Football 3s – and is now discussing with ITV how to exploit it for the World Cup.
Product manager Utku Can Akyuz believes the tournament, along with the election, will be the testing ground for two-screen, but feels it will remain a minority interest in the short term.
“I don’t want to go down the path where the only way to watch a show is with a second screen,” he says. “It’s a challenge for writers and producers to create hooks for it without being too overt.”
Another challenge, he says, will be adapting the experience for timeshifted viewing. Mint is prototyping a debate tool that time-indexes each comment made through a broadcast, then overlays them on a show on a catch-up site such as iPlayer so that viewers watching later can get a sense of the experience.
He also wants to finesse the feel of two-screen. “We’re looking at how to design it for peripheral vision – using colours or sounds so you can see things change, but you can decide whether or not to look down at your laptop.”
Which begs a bigger question: with Project Canvas on the horizon, bringing interactivity to the TV set, will two-screen have had its day? Players in this space think not, arguing that the peculiar mix of a personal and shared experience will live on.
“A lot of TV viewing is done with more than one person in the room,” says McDonnell. “Wouldn’t it be pretty annoying if dad was obscuring the TV just to play a game?”
C4 OPENS THE DEBATE
Windfall Films’ week-long Channel 4 series Surgery Live, which covered live operations from a surgical theatre, was the first significant and deliberate attempt by a UK broadcaster to involve Twitter and Facebook in shaping the editorial. Backed by a Wellcome Trust grant for online development, it asked viewers to become virtual students and tweet the questions and comments they would give if they were in the room with the doctors.
“It was a digital media literacy opportunity,” says C4 cross-platform commissioner Adam Gee. “We couldn’t assume people knew how to use Twitter, and this helped get them acquainted.”
More than 10,000 questions and comments arrived via Twitter and Facebook over the course of the week and the best got to the surgeon within two minutes. By the final night, it was Twitter’s biggest trending topic in the world and the Facebook group counted 5,000 members. Given that the show itself was only accessible in the UK, this was no mean feat and Gee counted surgical students, doctors and health charities among the interested audience who continue to discuss the issue online nine months on.
“It was a great opportunity to experiment,” Gee concludes. “It amplified what was going on and we took some real steps forward by initiating a broad range of debates on medical issues with a community that developed in a completely organic way.”
[Article reproduced courtesy of Broadcast]
Here’s Broadcast on the first of my two launches this week…
C4 site to share birth stories
9 February, 2010 | By Robin Parker
Channel 4 has launched a site featuring video feeds from 40 cameras fixed within a maternity ward to support documentary series One Born Every Minute.
The site, Life Begins, features video shot over the course of a month that can be explored in narrative sequence, thematically, by location or by contributor.
The site, www.channel4.com/born, also hosts a real-time map tracking births across the globe as they are announced on Twitter, a ‘midwife of the month’ and testimonies from couples before and after the births, including tales of babies born in unexpected places.
The site is produced by Airlock and features video shot by Dragonfly, the indie behind the eight-part TV series.
The project was commissioned by C4 cross-platform commissioner Adam Gee, who said: ”Anyone who’s had a baby knows how nerve-wracking the prospect of giving birth can be and how difficult it is to get an honest, balanced view of what it’s really like giving birth.
“We wanted to demystify it and give a glimpse into those spaces in the hospital you don’t normally see in action until you’re there for real. The footage on the site is wonderfully moving but, more importantly, captures the reality. I don’t think there’s anything more valuable we could offer parents-to-be.”
One Born Every Minute starts tonight [Tues 9th Feb 21:00] on Channel 4.
[Article reproduced courtesy of Broadcast]