Archive for the ‘cross-platform’ Category
Links for Orna
Some concrete examples of multiplatform TV (factual)
The Great British Property Scandal (case study video)
Seven Days (case study video)
Embarrassing Bodies: Live from the Clinic (case study video)
Big Fish Fight (case study video)
D-Day as it happens (post-TX website)
Foxes Live (post-TX website)
Cannes Do attitude
A bulletin from the front-line of MIP TV in Cannes courtesy of C21 Media
C4 lines up ‘social media first’
MIPCUBE: UK broadcaster Channel 4′s first primetime show drawn entirely from digital airs this summer, allowing viewers to play along on social media and receive bonus content.
Was It Something I Said?, initially an eight-part Friday night panel show, will be presented by comedian David Mitchell and produced by Maverick TV and That Mitchell & Webb Co.
Adam Gee, Channel 4’s multi-platform commissioning editor, told C21 here in Cannes: “We’ve been trying to do this for a long time. For the last two years I’ve been looking for ‘the North West Passage’ from digital media to TV. This started life as an arts digital commission and now it’s yielded primetime television.”
Gee, responsible for commissioning campaigning multi-platform properties The Great British Property Scandal and Hugh’s Fish Fight, claimed the new show would be a social media first.
“What’s particularly interesting about it is that the playalong will be fully integrated into social media, so you won’t have to go somewhere else to join in,” he said.
The show pits two teams against each other in wordplay, based on things people have said, tweets, media, and TV and film dialogue. Viewers will be able to play along with the show on Twitter, and receive bonus content.
The New Rules of Engagement
This extract from Broadcast is based on a roundtable discussion about the state of play of multiplatform and interactivity around TV.
The new rules of engagement
14 March, 2013 | By Alex Farber
What are broadcasters and producers bringing to the table in multiplatform projects – and how can they make them pay? Broadcast brought together the key players at a roundtable sponsored by Xbox
ROUNDTABLE THE PANEL
Alex Farber (chair) Web editor, Broadcast
Adam Gee Multiplatform commissioner of factual, Channel 4
Harvey Eagle Marketing director, Xbox UK
Paul Bennun Chief creative officer, Somethin’ Else
Peter Cowley Managing director, Spirit Media
Victoria Jaye Head of IPTV and TV online content, BBC Vision
Anthony Rose Founder, Zeebox
Janine Smith Creative director, Zodiak Active
Why is innovation so important?
Paul Bennun All of us want to create wonderful services, products and content that is going to be enjoyed and used by as many people as possible. You can’t just think about programmes any more; you have to use design-thinking, and that means employing more than one platform.
…
Do viewers want innovation?
Anthony Rose When there was only black-and-white TV, it’s unlikely people were clamouring for colour; they didn’t know it was possible. As a developer, you take bigger bets on things that you think have a high chance of succeeding and smaller bets on things that are fun to try. That’s the joy of innovation.
…
How do they engage with content?
AR Once the BBC filmed beautiful things for TV, then it began producing programme pages online, then second- screen apps. Then Twitter arrived offering conversations around content. The nirvana is that some programmes could be completely interactive. Imagine The Voice where the audience is the fifth chair.
PB I disagree, I do not want to be calling the shots on a football match. I want a director to tell that story because they can do a better job than I can. Interactive dramas that try to work on a mass scale tend to be worse than a simple linear experience.
Adam Gee But Embarrassing Bodies: Live From The Clinic is exactly in that space. You can watch the show at 8pm and have been on it by 9pm. It throws the emphasis back on live TV, which is good for advertising. There is a sweet spot between TV and interactive where you can get mass participation and rewarding, new experiences.
Janine Smith We have reached a point where we can learn from things we have done, and develop new formats where the multiplatform element is integral and not just an extended add-on.
…
There is a sweet spot between TV and interactive where you can get mass participation and rewarding, new experiences. Adam Gee, Channel 4
Has the role of the broadcaster changed?
AG It’s critical to ask what you can bring as a broadcaster that no one else can. Facebook, Twitter or Zeebox couldn’t make Live From The Clinic. You want to get to a position where if you extract the digital from the TV, it’s a lesser programme and vice-versa.
VJ Programming is still one of the key catalysts for social discussion. You’ve got to put something great out there for the audience to get excited about. Only we can bring Sir David Attenborough to Twitter for a chat about Africa.
AG I always ask if what is being proposed is better than a really good TV show and Twitter. Big Fat Gypsy Weddings is one of the biggest factual formats on Channel 4, but there’s nothing much that we can usefully bring to the party in that case – so we don’t…
Peter Cowley Editorially I agree, but if you were a purely commercial broadcaster you might have a different view.
…
PB When the BBC removed its multiplatform commissioning, it effectively started presenting itself to the world as a TV commissioner. Because the BBC measures itself on its performance with TV programmes, it isn’t measuring the success of its digital formats.
AG We’re in a different place at C4. The past 18 months has been about trying to find the passage from digital to television. I’m working on a panel show that started life as an online arts commission; it’s a sign of maturity that this direction of travel is now possible.
How mainstream are multiplatform projects becoming?
VJ Media literacy is a big job for the BBC. The challenge is: how do you invite and choreograph 6 million people to download an app and play along with a 35-year-old programme such as Antiques Roadshow?
HE We are now trying to expand our audience beyond core gamers by creating content and entertainment experiences with broader appeal.
…
Who are the emerging players?
VJ Felix Baumgartner’s space dive really showcased the mixed economy: a 10-minute live event, funded by Red Bull, with 8 million YouTube viewers, followed by a BBC documentary funded via a completely different model with National Geographic. It shows the new players that are bringing audiences content.
PB Red Bull has no broadcast infrastructure overheads. It will ask how something executes across the different platforms and won’t draw any distinctions. We made Red Bull’s Bedroom Jam, which included an online music competition and a live broadcast. A programme doesn’t sum up what we’re trying to achieve any more.
HE We’re trying to go beyond the console model and become a service that exists across multiple devices.
AG The new YouTube channels are an area where TV baggage is damaging. Some have squeezed out everything that’s really good about YouTube. You want that energy that comes from someone being able to record, edit and bang something out in three hours.
Extract published courtesy of Broadcast
4 highlights of work this year
As the debt burden of time edges towards the apocalyptic default of destiny, it’s comforting to sit here by the fire with my Sobranie and peat single malt and reflect on the year that was for me at work. It was a fine year, nay a vintage one, and the 4 things that gave me most satisfaction were:
January: The Big Fish Fight with Hugh Fearnley-Whittingstall – the year started by taking online campaigning around TV up a gear
May: Live from the Clinic including My HealthChecker – using Embarrassing Bodies as a platform to experiment with Skype on live TV and data gathering, saving the NHS over 400 grand in the process
July: The Sexperience 1000 – given how cliched data visualisation has already become, an attempt to liven it up
December: The Great British Property Scandal with George Clarke – finished the year as I began with some full-on campaigning
So I’ll sit on here, puff away, muse idly on the last twelve months, and watch the counter on The Great British Property Scandal tick over towards that 100,000…
Channel 4 Multiplatform
There was a useful article in this week’s Broadcast about Channel 4’s Multiplatform commissioning and its direction of travel, based on an interview with the Multiplatform Lead, Louise Brown. Here are a few extracts [with a few annotations from me]:
C4’s multiplatform commissioning lead has been charged with finding innovative ways to get viewers involved in its campaigns [it’s not limited to campaigns] through apps and online projects.
Multiplatform and convergence have been two key messages coming out of Channel 4 over the past 18 months, and Louise Brown is heading the team charged with innovation [including me whose focus is features and factual entertainment].
As multiplatform commissioning lead, Brown works with five commissioning editors tasked with working on two-screen projects that create meaningful dialogue.
George Clarke’s The Great British Property Scandal is the latest campaign to be getting the full 360-degree treatment, with a season of programmes supported by a range of multiplatform activity including an iPhone app and an online tool for members of the public to identify where there are empty homes, via mapping technology. The key activity is an online petition.
“It’s calling for a change in the law around long-term empty homes being made available for ordinary people to use, as well as setting up a low-interest loan fund,” Brown explains.
The information will be used by democracy project My Society [MySociety made the tools and app, they don’t use the information, the tools pass it on securely] and passed on to the local authorities. Taking lessons from last January’s Hugh’s Fish Fight, which harnessed the mass-TV audience to make a tangible change to policy, Brown is hoping to get more than 10,000 signatures on the petition.
“In multiplatform overall, we are constantly learning; the team’s remit is really to innovate,” she says.
Adam Gee, multiplatform features and fact ent commissioner, has worked on campaigns for both Hugh’s Fish Fight and The Great British Property Scandal. Brown believes his experience can lead to more powerful campaigns in future.
“C4 prides itself on having really impactful programmes. When you have been stirred by a programme, you need to do something with that. That is what is so exciting about having multiplatform at the heart of things now,” she says.
One of the key lessons from the campaigns is that people need to have a variety of access points to do something that is achievable, she says.
Campaigns are not the only area in which C4 is looking to invest. All of its programmes have a web presence, but the level of interactivity will vary, says Brown. “In terms of resources, I would rather have the focus on a few standout, compelling experiences around really appropriate subject matter than try to make everything a little bit multiplatform,” she says.
Brown points to the range demonstrated by The Million Pound Drop Live playalong game, Comedy Blaps, Hippo: Wild Feast Live and forthcoming gameshow Bank Job.
In the ambitious Hippo: Wild Feast Live, a dead hippo was placed on a river and C4 attempted to let the audience watch almost every stage of the animal’s body being consumed as its energy was passed down the food chain. “It came together quite quickly,” she reflects. “Natural history is another area where I really hope we are going to see some more events or experiences. If we get the right subject matter and the right approach, it makes it a uniquely C4 experience. Not everything worked, but if everything is going right, we are not pushing hard enough.”
Despite some technical glitches, the project attracted an audience that was willing to spend time on the website – one of the factors Brown considers when looking at a project’s success.
The starting point when assessing how well a project has done is the number of visits to the site, followed by the number of minutes people spend on the site, and then the number of return visits. On the Hippo project, viewers spent an average of 19 minutes watching a live stream, which culminated in 6,500 hours of live-action views.
Those are the overall markers of success. But each genre should be approached differently as each has its own potential for multiplatform. In scripted content such as drama and comedy, the key thing is talent, says Brown.
Ideas machine
…
C4 has just ordered 14 developments from 200 pitches submitted after its first ever online briefing. The plan now is to increase the frequency of briefings and the number of commissions. “The total focus of my team is finding new talented companies. Sometimes they are content companies and sometimes they are technology companies,” she explains.
“At next year’s briefings, I would like to see more TV companies interested in multiplatform commissioning. We have some of the best digital companies, who come along with really brilliant thinkers, and I would like some of those TV thinkers to come along and meet with them.”
C4’s strategy of two-screen commissioning revolves around the TV, but over the coming year, we can expect to see a more fluid use of ideas. “I would be gobsmacked if an online idea doesn’t migrate onto TV next year. There are ideas we are considering already. There is already a case where it is has gone into a strand for a show. It is absolutely what we think and know will happen,” she says.
Ultimately, C4’s aim of pushing the boundaries in convergence and two-screen has led to a change in the way it commissions and the type of content it is working with, and a deeper understanding of audience behaviour. The next year will only see it building on that foundation.
How to pitch
Do
• Know why your idea is perfect for Channel 4
• Come to our briefings
• Keep up with our current Multiplatform commissions – what you can learn, where you might overlap
Don’t
• Overthink it – commissioners want to input/help
• Assume the involvement of existing C4 talent
• Pitch comedy or drama without a writer
Channel 4 multiplatform:
A broad development slate
Channel 4 multiplatform commissioners have ordered 14 developments since the online summer briefing.
There’s a non-linear narrative drama and factual-based projects looking at topics such as international finance and food waste, while an entertainment format looks at the depth of friendships online.
Adam Gee has ordered a development looking at international finance. The project, from Cardiff ’s Cube Interactive and Twofour, aims to offer an experience of how international finance works and promises the unusual spectacle of a City trader, a bookie, a housewife and a monkey pitted against each other.
The idea is seen as having potential to translate to TV and could potentially be stripped over a number of days. Ten Alps’ Wasted, another Adam Gee order, focuses on a new chef who promotes how to avoid wasting food. The format will show people how to use their food by the end of the week rather than throw it away.
Intimate Exchanges uses Alan Ayckbourn’s 1982 play to explore the concept of non-linear drama. Multiplatform drama commissioner Hilary Perkins ordered the project from Tern in Glasgow.
A number of potential interactive treatments are being developed based on the themes of the original play. The idea is based on examining how decisions can be made both in a local environment, such as the living room, and how that might compare with regional and national decisions.
An in-depth knowledge of digital culture is the basis for The Network, which is being worked on by Nerd TV. The development, an entertainment format commissioned by Jody Smith, looks at how well people’s online friends really know them, and is another development earmarked as a possible TV transfer.
Reproduced courtesy of Broadcast. The full article can be read here (subscription only).
Ones Born at Christmas
One Born at Christmas goes out live tonight at 8pm and punctuates the Big Day tomorrow from noon
Here’s a little something commissioned for the website to get you in the mood for Christmas babies…
And here’s its baby brother – Christmas cracker birth factoids…
Seven Days feedback
Some Twitter feedback as Channel 4’s Seven Days gets into its stride, indicating that people are detecting what’s different about it:
@caitlinmoran: #sevendays I am genuinely fascinated watching everyone reacting to having been on TV last week. This is a new format, …
susfb Susannah Barton
2nd episode of #sevendays = BRILLIANT, loving the interactive element, it is something that was missing from Big Brother, amazing:)
SaskiaSzo @ClockWorkBart flaw? that is the whole point of the show! for the public 2 interact and influence ppl’s lives! its a new reality! #sevendays
JillMansell:
The viewer feedback on last week’s #SevenDays is going to make tonight’s show fascinating. Can the public improve the people??
haze2003purple: It’s really interesting to see people interact with the 7days cast and see how it affects them.
FreshlyBakedCoo: Reeeally pleased with how the interactive part of #sevendays is working out. It could of been such a flop but is actually impacting it a bit.
thehelpmovement The Help Movement
Seven Days is much more interesting now they’ve got some feedback. #sevendays
tomhewitson Tom Hewitson
Ok #sevendays has just stepped it up a notch with this whole meta reacting to fame thing.
emmafreud: #sevendays – genius or what.
vivi_best: @c4sevendays is simply fascinating. the girls being questioned on the show about BEING on the show.. amazing.
BigBobster666: really enjoyed ‘seven days’ tonight loving the concept – Reality TV you can comment on. TV for the facebook generation 😀 #7days
gingio: Susannah’s chat in the back of the van with her friend about Ben proves the power of chatnav and twitter on #sevendays.
eyekiller: Not a fan of the show but Channel 4’s #sevendays ‘Twitter meets TV’ interesting concept
Glad 2 see #sevendays is growing & that people r finally realising how 2 interact with the show! gosh we #British r a slow sceptical bunch!
@bally_singh: Can’t wait till next weeks #sevendays @c4sevendays 😀 Best idea for a show since Big Brother!
Geraint_Jones: Anyone watching #sevendays? Fully interactive where real life and the tv show merge, Interesting how the viewers are shaping the show..
CharleyStardust: I wish I had a #chatnav, it would make life so much more fun.
@enricoNT: #sevendays is amazing. What does everyone think? The future of #crossmedia is here?
And here’s a typical blogpost showing how the target audience are getting it.
Seven Days in the press
Here’s a couple of articles about Seven Days from this week – one from Broadcast, the other from New Media Age…
C4 to use ‘Chat Nav’ on Seven Days doc {courtesy of Broadcast}
9 September, 2010 | By Robin Parker
Channel 4 is to launch a ‘ChatNav’ website for upcoming documentary series Seven Days, which will collate social media conversations about the show and help determine which of the on-screen characters the producers prioritise.
The initiative aims to influence the show, which is filmed in Notting Hill in the week prior to transmission, by illustrating which of its characters the viewers are engaging with. The site will represent this by giving the people who generate the most buzz the biggest image.
Contributors, who remain under wraps until its launch on 22 September, could be scaled back or even dropped during the series’ eight-week run if audiences do not seem to be engaging with them.
As well as feeding in comments from Twitter and Facebook, the site will encourage users to help the characters make personal, social and work decisions, with their involvement ranging from yes/no answers to direct advice.
C4 new media factual commissioning editor Adam Gee said that rather than applying a ruthless “Truman Show approach”, the aim was to establish a “collective wisdom”.
“For the first time, it will enable the audience to have an influence in a documentary context, not by giving them editorial control, but by establishing a constructive exchange with contributors,” he said.
Viewers will also be able to ask a team of reporters based in Notting Hill to go deeper into stories.
The show’s site will also offer unedited rushes and cut sequences. Digital agency Holler is producing the web content with series producer Studio Lambert.
* * *
Channel 4 gives viewers a say in how new reality show develops {courtesy of New Media Age}
Wed, 8 Sep 2010 | By Jessica Davies
Channel 4 is launching a major cross-platform initiative for new reality show Seven Days, with the storyline influenced by its online audience.
The show will follow the lives of around two dozen people living in Notting Hill, and will be shot and edited in the week of transmission.
Adam Gee, commissioning editor of cross-platform at Channel 4, said the show’s format indicates the kind of projects Channel 4 is likely to develop post-Big Brother, and represents a new approach for documentary and reality programming.
“That gap left by Big Brother gives Channel 4 the opportunity to rethink its whole approach and try out new things,” he said, adding that the show is “in the spirit of experimentation”.
The show’s format supports the broadcaster’s strategy of rewarding its audience for engaging.
“As a broadcaster, one of the main things you can give your audience as a payoff that no one else can is an impact on editorial,” said Gee.
A site, channel4.com/sevendays, will go live on 22 September to coincide with the TV broadcast. It will feature a function called Seven Days ChatNav, which lets viewers interact directly with the cast members, giving them advice and answering questions posed by the latter.
Channel 4 will monitor which characters prompt the most interest and discussion online, and this will influence which stories will be focused on in the subsequent episode.
People can use the site to catch up with what’s happening with the characters who aren’t featured in the TV show, along with videos of the show’s rushes. The site will also include full scenes which may have been dropped from the linear broadcast at the last minute.
A team of three called Eyes on the Ground will be on site and will post videos and blogs. Gee said, “They’re available for the online audience, who can ask them to fill in the gaps between shows, following up storylines that aren’t covered on TV.”
He also said the show and site have been designed for sponsorship, and Channel 4 is in advanced talks with brands over sponsorship tie-ups.
It worked with agency Holler on the cross-platform format, and Studio Lambert on the TV production.