Archive for the ‘twitter’ Tag
AI and Factual Television 3: Innovation & Creativity
When drone technology emerged I commissioned a series for Channel 4 from the nascent Little Dot Studios eventually titled ‘Drones in Forbidden Zones‘. I had noticed that films of pure spectacle did well on YouTube, such as a camera simply attached to the front car of a new rollercoaster ride. So the brief was simple: POV spectacle films shot using drones – anything that could be shot from a helicopter or a Steadicam was not to be included. The flight itself should be a visceral delight in itself. The films were largely shot flying through narrow spaces in difficult to access places and higher than human height.
In other words, they used the new technology in ways that emphasised what could be done now that couldn’t be done before.
In 2009 I commissioned the multiplatform half of a Channel 4 series called ‘The Operation: Surgery Live‘ (Windfall Films: my co-commissioner (TV) was David Glover) – it was one of the first TV shows ever (possibly the first) to use Twitter as an integral part of the editorial. Budding surgeons have always learned by watching experienced doctors at work – that’s why it’s called an operating ‘theatre’. In these programmes the viewers were given the opportunity to learn by asking experienced surgeons about what they were doing live via Twitter. In the UK, Live TV is anything up to 15 minutes behind reality due to the demands of television regulation. For this series the delay was reduced to a minimal 8 seconds to enable viewers’ questions to be put to the surgeons – who were doing all sorts, from open-heart surgery to awake brain surgery – after a minimal delay. The show had to explain what a ‘hashtag’ was as Twiiter was so unmainstream then. Tweeters in the USA were asking what the heck this #SLive thing was.
In other words, it used the new technology in ways that emphasised what could be done now that couldn’t be done before.
That is where we need to be for AI. There is a lot of fear, anxiety, bullshit, hyperbole, depression, catastrophising and band-wagon-jumping going on right now around TV and AI. Making things cheaper and faster and with less people is of little interest to true filmmakers and creatives.
This is the time to ask what the new technology enables us to do in film, television, content, digital interactivity and media now that couldn’t be done before.
Latest Record Project
Tim Burgess’s Tim’s Twitter Listening Party has demonstrated during the pandemic that it is possible to generate community, human exchange and excitement about music by combining Music and Live. It is one of the best things to come out of the Plague.
Last night Van Morrison played, or rather broadcast/premiered, a live gig from Real World Studios , set up by Peter Gabriel in 1987 in Box, just outside Bath. Van has connections with Bath, having lived there and bought his own studio there, Wool Hall in Beckington. Well, the performance was of the highest quality. Very professional, excellent sound, simply but beautifully presented, played with the greatest of skill, sung with a voice almost unchanged at 75. In short, despite being online, despite months of tedious zooming, a great energy was transmitted over the wires and through the screen.
Any shortcomings in the experience? You had to make your own social on the side – not difficult in the age of What’s App. The moment of transcendence (for both Van and his audience, a genuinely spiritual moment) which marks every great Van concert was only just about achieved, in ‘St Dominic’s Preview’. Van stuck to his new LP, the amusingly named ‘Latest Record Project, Volume 1’, his 42nd album, for the bulk of the performance, only bringing in a few older tunes, with a bluesy bent (his deepest love), towards the end. There have been some really wide of the mark reviews of the record – here is one that gets this provocative record and how it links back right to the outset of Van’s career when he recorded an album’s worth of nonsense songs to fulfil an exploitative record contract without giving the exploiter anything he could use. The only better such record is Marvin Gaye’s searingly honest ‘Hear My Dear’ about the disintegration of his marriage to label owner Berry Gordy.
To help mark last night’s show for posterity here are a few stills:
Set List:
- It’s Only a Song
- Deadbeat Saturday Night
- Love Should Come with a Warning
- Do the Right Thing *
- Up County Down
- Latest Record Project
- Blue Funk
- My Time after a While
- Diabolic Pressure
- Why are you on Facebook?
- Where have all the rebels gone?
- Baby Please Don’t Go / Pachman Farm / Got my Mojo Working
- Ain’t Gonna Moan No More
- Days Like This
- Broken Record
- Cleaning Windows / Be Bop A Lula
- St Dominic’s Preview *
- Have I Told You Lately That I Love You? *
- Help Me
- Think twice before you go / Boom Boom
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.
Twitter storm at sea
This was an interesting experiment we tried recently on enlivening pre-recorded shows – in this case by calling out for a mass action over an ad break focused on three UK supermarkets which are unclear about the sourcing of some of their seafood (though no horse flesh involved …I think) and then presenting back the results straight after the break including an on-screen graphic featuring the number of tweets sent. In the words of the Twitter folk: “A great result around the show last night. We count circa 42K+ in the last 24 hours and a peak of 22K+ at the call to action – which is an equivalent hashtag spike to those Xfactor enjoys around its biggest moments! This kind of audience activation and live polling with Twitter is brilliant.”
The following extract is courtesy of Broadcast…
Big Fish Fight hooks 20,000 tweets
5 March, 2013 | By Alex Farber
Hugh’s Fish Fight saw a massive surge in Twitter activity – to over 2,200 messages per minute – after presenter Hugh Fearnley-Whittingstall urged viewers to message the UK’s biggest supermarkets.
Hugh’s Big Fish Fight (C4) 9pm-10pm
Total tweets: 22,151
Peak tweets per minute: 2,289
Fearnley-Whittingstall’s call to action over sustainable fishing saw over 10,000 viewers flock to Twitter over the course of the 60-minute show, according to data from SecondSync.
The show was watched by an audience of 1.1m (5.3%) according to overnight data supplied by Attentional – a conversion rate of around 1%.
The viewer engagement spiked at just after 9.30pm ahead of an ad break as Fearnley-Whittingstall encouraged viewers to tweet the supermarkets’ official accounts after they refused to be interviewed on the show.
The figures represented a massive uplift on the 312 tweets per minute the show averaged across the 60 minutes.
It also dwarfed the total tweet volume of 3,300 and 1,500 generated by the first two episodes in the series – when no call-to-action occurred.
C4’s multiplatform commissioning editor of factual Adam Gee said: “Fish Fight represents the sweet spot of multiplatform – the TV prompts understandable anger and the digital means now you can do something about it.”
The social media campaign was managed by digital agency Keo Digital and audience participation experts Telescope Inc.