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Lecture 6 – Distribution

Distribution – Transforming formats into successful worldwide programmes.

“If it doesn’t spread, it’s dead”  TV saying

TERRISTIAL TV – If you are a production company your format will be passed on to a business manager or exec producer who will either pitch the format to a commissioner or sell it via programme aquistitions departments of the big broadcasters.  These links are to BBC examples but all broadcasters will have these departments.

ONLINE TV – but you don’t have to worry about slowboat and heirarchial traditional commissioning for your ideas because there are many other exciting ways to broadcast your work….

LIVE BROADCASTING –  Your formats can go straight to air through broadcast platforms like Ustream and YouTube.

YouTube launched in 2005 (just 6 years ago but can you imagine life without it now?).  A simple platform for uploading videos has become something much more impressive.  And now “ordinary” people are making their names known and some are even making money.  The most watched video EVER; Charliebitmyfinger has been watched 386m times!  The family have made more than £100,000 from “Charlie” films to date. The money comes from a partnership with YouTube earning 60p for every 1000 views or per click on an ad.

Further reading on how to make money from YouTube – http://www.thesun.co.uk/sol/homepage/features/3935617/Brits-making-money-from-home-made-YouTube-videos.html

It’s still early days but academic perspectives on YouTube are starting to come through. Ideas about the ideology and scope of YouTube are interesting Media specialists in 2 broad schools of thought – the technological – How is YouTube influencing how we consume Media? Will user generated content usurp TV? What does this mean for the future of advertising?
and the philosophical – What do YouTube videos say about our society? How is YouTube influencing our cultural progress. What are the consequences for privacy? Here is a list of books for further reading. YouTube reading list

BROADCAST THROUGH SOCIAL NETWORKING sites – Facebook (500m users)  and Twitter (200m users).  Increasingly a marketing tool on these sites you are just a click away from people who can recommend your work.  Recently press and academic concerns have been raised around the issues of surveillance, privacy and data collection.

Some further reading on this – http://frodo.lib.uic.edu/ojsjournals/index.php/fm/article/view/2775/2432

Get your stuff out there – you never know who might be watching!

CONVERGENCE.   As the internet continues to dominate our lives and our viewing habits the search is on for increased convergence.   There are issues for broadcasters around control (age appropriate especially) and copyright (broadcasting rights and royalties) are common – and decided in court (search internet tv court cases). Currently the internet is used for “catch-up tv” and as a place to offer programme support (extra information/ audience interaction) but more user friendly and quality Internet Television – it is not far away.

Examples –  No self-respecting format is not on the internet. So this is how the big guys do it – Deal or No Deal and I’m a Celebrity lead the way and so they should – they have all the dosh from those voting lines. And on radio be suitably impressed by the Radio stars Chris Evans and Heart FM’s Breakfast show.

Now you think well why should I bother with this? I’m not a multi millionaire broadcaster with a huge following and lots of time and money to put into this. Well of course even smallfry producers can distribute your work thanks to several easy-to-use platforms to exhibit your work (YouTube, Vimeo, Blogs, Social networks etc).  Your only problem is making your work distinctive enough to get an audience.

Well there are some realistic things you can do….

1. PRODUCE an interactive blog is a good example of how the producers are putting the audience first. There are lots of ways to make your format distinctive;

* Production News with clips and photos

* Opinion invites – asking audience what they think

* Programme material invites – asking audience for their ideas

* Links to Twitter, Facebook, Fansite – all broadcasting must-haves

* RSS feeds – keeping audience up-to-date

* External links – essential if you want to exploit potential revenue streams

2. OFFER SOMETHING DIFFERENT…..

Charlieissocoollike

Charlie news story.  What would you do?

Radio with pictures. Doesn’t that defeat radio’s purpose?  Arguably there is no place for radio on the internet – other than as a player.  What’s the need for all the pictures and webcams etc?  Radio is flirting with pictures, it’s not sure if it likes them or not. It’s trying ideas out on the audience and will respond if the audiences likes it.  (Although BBC is spending less online and less interested in testing out new ideas).  However some radio ideas are crossing the boundaries like this;

Danny Robin’s Music Therapy

2. PRESENT Your Work PROFESSIONALLY

RAISING PROFILE – yours!

So we’ve asked you to put your programmes up on Vimeo
All Formats to be uploade on Vimeo – http://vimeo.com/groups/262mcformatsprod 

This is a good start but it needs to look more professional and a lot more interesting….

Have a look at these showreel examples

Adam Swords – former MP student. Graduated last year! Commercial Photographer. http://www.adamswords.com/  

Ross Rawlings – another former MP student. Documentary Photographer.  http://www.rossrawlings.co.uk/

Joe Shaw – director. This page is more informative and interactive. But most posts are old – you must keep maintain your webpage to make you sound like you are approachable and contactable
http://vimeo.com/9350304

Nick Harris – TV studio director.  This is a conventional professional website, a bit corporate but it charts his career well and contains everything you need to know to be convinced of his skills and ability.
Now you should also be thinking about creating your own personal website – this is crucial if you want to work in the Media seriously once you leave. You will need a web address to send out (much more effective than your CV..)

And don’t forget University based websites to give your work professional appeal.

Shelly’s student website – http://icov.co.uk/

CUTV – University TV channel that’s getting lots of notice.

See Pete Woodbridge for how to get your stuff on – http://www.youtube.com/user/covstudent

And don’t forget the University radio – you should be talking to these guys to get your ideas on air now Source Radio. 

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Context 2 – Save Local Radio!

So who or what is going to save Local Radio….

Consider that UK radio listening is on at a high why is local radio facing such huge cuts (in hours of output and staff numbers)?

– 90.7% of the population (47.1 million adults 15+*), listened to radio during the third quarter of 2011,

– The total number of radio listening hours has also increased year on year to 1,076 million hours per week or 22.8 hours per listener

– In addition, listening hours via a digitally enabled receiver has broken through the 300 million mark for the first time to reach

304 million listening hours per week. 

Source: Rajar

BBC is going through a period of review following a series of licence fee freezes. It’s latest report on the future of the BBC can be found here; http://www.bbc.co.uk/aboutthebbc/dqf/ 

The radio headlines of this report are;

Changes to the BBC’s radio stations:

  • Protecting Radio 4 by keeping its underlying budget stable, excluding the impact of productivity savings;
  • Greater sharing of news bulletins between Radio 2 and 6 Music, Radio 1 and 1Xtra, and Radio 3 and 4;
  • Reducing the amount of original drama, live music and specially recorded concerts at lunchtime on Radio 3, and reviewing the BBC’s orchestras and singers;
  • Reinvestment in the Proms to maintain quality;
  • Focusing Radio 5 Live on core output of news and sport;
  • A new more focused Asian Network with a 34 per cent reduction in its content spend; and
  • Making savings in radio distribution costs through long term changes to Medium Wave and Long Wave.

Changes to programming and services in the nations and regions:

  • For nations radio, reducing investment in non-news programming and focusing on peak-time; and
  • For English local radio, focusing spend on peak-time programmes, but with increased sharing across regions in off-peak slots.

Current Opinion about threat to local radio;

http://www.guardian.co.uk/media/2011/oct/31/radio-festival-bbc-local-cuts

http://www.bbc.co.uk/news/entertainment-arts-15541175

http://www.guardian.co.uk/media/2011/nov/02/bbc-outsource-local-radio

So what is the solution for local radio?

– Shut them all down? Who listens anyway…

Look at how local and commercial radio listening figures compare.

Look at the growth in internet radio stations.  From hiphop to reggae there is a station devoted to your favourite music.  You can even set up your own through websites like live365.com and software like shoutcast.

– Create a hybrid station –  some local at peak times (breakfast and drivetime), some radio5live.  Listeners can use radioplayer to hear local content they want.

– Outsource production to commercial radio – TV is made by independents compliant to BBC regulations so why not radio too?

WHAT would YOU do if you were Director General of the BBC?

Context 1 – TV Formats rule the world!

Still not convinced about the power of TV Formats? Well consider then the impact of Simon Cowell.  And then the transformation of a little TV quiz show, Who Wants to Be A Millionaire into a global phenomenon and Oscar winning film “Slumdog Millionaire.”  Keep the formatting faith, it could be you next!


THE GOOD NEWS –

Television viewing  show no sign of dwindling.

“Viewers around the world will watch 140 billion more hours of television, revenues from pay TV in the BRIC2countries will rise by 20 percent3; worldwide TV advertising will increase by $10 billion, and 40 million new viewers will be added; TV chefs will sell tens of millions more cookbooks than their non-televised peers4; TV shows will be the most common conversation topic around the world and the subject of more than a billion tweets5. In short, television will likely continue to command a growing share of the world’s attention and pocketbooks.”

Source: Deloitte


For facts and stats on the global format market.  Look at BARB, Broadcast, Rajar and ITVE.org and MIPblog

Global TV trading and most successful TV formats worldwide

The international format trade has seen enormous growth and acceleration over the past few years. While the traditional players are engaging in this gamechanging process by breathtaking M&A activity, newcomers are scrambling to claim some share of the approximately 3bn Euros up for grabs each year.

The FRAPA Report 2009 – TV Formats to the world traces the changes in the format business between 2006 and 2008 and sheds light on the industry’s response to the global economic downturn during the first months of 2009.

International TV Format Trading (2006-2008)
Statistic on the number of exported and imported TV formats (country by country)

Source: Frapa Report 2009

The number of traded formats has substantially increased. During our research period, a total of 445 original formats found their way to foreign screens. In the first FRAPA study on the format trade covering the years 2002 – 2004, there were 259.

The production volume generated by traded formats has grown from €6.4bn for the years 2002 – 2004 to approximately €9.3bn for the years 2006 – 2008.

The UK is still leading in the number of exported formats, followed by the USA, The Netherlands and Argentina, in that order.

Countries such as Germany, Spain and Italy, which were not particularly proactive in format exports, meanwhile jumped on the bandwagon and are now keen to improve their format business with promising results already in evidence. Even Japan, a self-sufficient giant, is showing a growing interest in the format trade.

TOP 10 TV Formats around the world
The most successful TV formats around the world (2006-2008)

Source: Frapa Report 2009

Format global heavyweights such as Endemol and Fremantle face growing competition from many new players; most recently several US studios invested heavily in local production abroad as well as in their format distribution businesses.

Talent shows, studio game and quiz shows are the top earning genres, along with makeover/coaching shows. The sales in such scripted formats as dramas and telenovelas are growing.

 SOURCE – http://www.international-television.org

TV bods around the world are all chasing the dream – THE NEXT BIG WORLDWIDE FORMAT….

Current trends in Format ideas –

“Action, moral tests and attractiveness are the hottest trends right now”, says global TV observatory.

Source: MIPblog – http://blog.mipworld.com/2011/10/liveblog-fresh-tv-around-the-world-mipcom2011/

Endemol are the biggest UK producer of formats. But there are many other companies out there from giants like Fremantle (X Factor) to smaller companies like

Babyfoot 

Scandanavian Production company.  Sold formats such as Gay Army, Bingo Banko and

to the US.

The biggest problem facing all FORMAT producers in the market is COPYRIGHT. How to protect your golden idea?

DID you know? TV formats are not protected under copyright law.

Remember Pop Idol and American Idol? They were made by Fremantle.  Then along came the X Factor made by Simco (Simon Cowell’s company). So Fremantle threatened court proceedings for copyright infringement.  Case settled out of court so the law wasn’t tested.

“Television formats are vulnerable to plagiarism since it is widely presumed that they are not protected by existing copyright legislation. The courts have generally taken the view that formats are merely generic programme ‘ideas’, as opposed to creative works in their own right, and have consistently maintained that mere ideas cannot be protected by copyright law. One reason may well be that to do otherwise would give rise to the bigger media players grabbing a monopoly of the simple ideas, which would result in an injustice to the smaller players. So, although there is a growing format industry in which programme formats are licensed around the world, creating significant revenues, the lack of legal protection has led to the risk of ‘format theft’.”

Source: Legal 500

There is plenty of advice out there. Organisations like FRAPA  are fighting for producer rights to protect their work as well as Bournemouth University’s current research project, Exploitation of TV Formats.  Questions about copyright have been comprehensively answered by WIPO.

Lecture 4 – Tricks of the Trade

This week we are considering tips to improve your TV and Radio format programme making skills.

1. To be a Formats Producer – “You need to be very creative, dogged, passionate”

Look how well you are doing!

BBC Development Executive video from BBC College of Production website

Also recommend you watch

TV studio director video, vision mixing, lighting, etc


2.  WORK THOSE VISUALS

– Telly relies on its looks.  So  pay attention to Set design and lighting. How you present the studio is really important. It tells the audience everything they need to know about the tone and intended audience of the programme.

To appreciate the craft that goes into making a TV studio programme WATCH TV with the sound off.

Look for

  • How often the shot changes
  • What type of shot (wide shot, medium shot or close up) is used
  • How often the camera moves within a shot
  • What visual clues are included in the shot
  • What the lighting is like
  • How graphics (words on the screen) interact with the rest of the visuals

– Radio relies on words to paint the pictures.

Making a radio package video explains how to set the scene and engage your audience.

1. Work out what the story is? And be clear on this.

2. Who are you going to talk to?  You will need a range of voices from experts and public opinions

3. Choose a location carefully.  EG Market gives your piece some good background noises.

4. Check your kit before you go out.

5. Remember the people who speak to you the most passionately

6. Record wildtrack.  That’s background sound to cover the edits.

Listen to as much speech radio as you can to deepen your understanding of the medium.  The more you listen the better your scriptwriting and presentation will become.  Get yourself out of your Chris Moyles comfort zone – hunt around the BBC radio website for some real gems.  Use your practice session to get your Presenters talking in pictures.

3. Find good contributors. Formats eat contributors.

There is a constant need for members of the public to take part in shows. Finding “good people” will make your programmes work. And good contributors are not necessarily the loudest or most extrovert;

Contributor Research video

Casting contributor takes time. The longer and harder you take to cast the better the results.

You don’t want a load of TV wannabees. You want a good ethnic mix.

You don’t always want loud, brash, noisy people. You need people who hold attention, have a strong presence and something about them that audiences will relate to.

Don’t cast individuals, cast the team – people who will work well together or not (as the format determines).

Audition and screen test your shortlist is the next stage in the process.

BE HONEST about your show. You don’t want anyone to pull out at the  last minute. Prepare contributors for the  media exposure they might get.
http://www.bbc.co.uk/emp/external/player.swf

Recording vox pops

1. Smile!

2. Learn to take rejection

3. Listen…. people will surprise you with what they tell you!

4. Ask open questions – that start with why or how or what to avoid yes or no answers.

5. Speak to a variety of people to get different opinions and perspectives.

Tips on how to get the best vox pops

4.  “Pictures are secondary, sound comes first”. Pay attention to the SOUND recording too.

Voice is everything – looks mean nothing! Both television and radio are about words.   Use your practice sessions to sharpen up your script writing skills (everyone can help out with this) and make sure your presenters practice “talking”.  Give them random subjects to talk about during the studio setting up time to get them used to this.  The more you practice, the better you will get.

Voice video.  Tips include Talk to your listener, Uses pauses and Listen back (to appraise your performance) and Dress the part (feel like the professional you want to be).

Graham Norton video offer tips on how to best record sound on an improvised studio programme.  Sound is as important as pictures in a TV show.  Rehearse moves around the studio so that sound recordist can cover the action. Remember protocol in a studio team and who is allowed to speak, when.  Sound technology is a skill that takes time to learn.

5. Communication, Communication, Communication.

Would you describe yourself as a good communicator?  Well how do you know you are? Well to be a good TV communicator you need to be good at;  persuading, negotiating, putting people at their ease, public speaking, and probably most importantly trusted.

Kate Humble’s video explains the directors/presenter.

– Make sure everyone knows who everyone is and care about your team. Remember to give the team a break.

– Tell the team what you want to achieve

– Presenters are isolated from the action, they want to know what’s going on

– Tell the presenter what type of shot you are using so they know what the audience is seeing

– Make sure the presenter knows the tone of the item/programme

– Do say “action” and “cut”!

Chris Evans and his Producer explain how important this relationship is in radio.  Look out for each other. Give each other space. Don’t make any fallings out about the programme personal.

 

Making programmes should be fun.  This is the main reason people who work in telly work in telly.  These clever, articulate, creative people have chosen a profession that at it’s core is about promoting happiness. Leave the stress at the studio door – You can’t make good telly stressed!

Lecture 2 – The Essential Ingredients of a Format

Further reading- http://www.tvformats.com/formats.html

Last week I asked you to consider this – What are the essential ingredients of an entertainment format?

TV formats are made up of a “kit of parts”, these are the key elements that make the format work.  All TV game shows, quizzes and entertainment formats are made this way.  Producers spend a long time in development taking apart the format and rebuilding it until they are sure that it works (and if they are cash lucky a pilot or pilots will help them in this process).  This ensures that the time spent in the studio is efficient and that the production runs smoothly.  This might seem a rather restrictive and prescribed way to make telly but I would argue that there are (small) places for chaos or spontaneity in a format. For example when a contestant wins the big prize, when a celebrity does something unexpected or when the audience gets involved.

Today TV schedules are dominated by formats because they easy to make, can be bulk ordered and most importantly audiences have a huge appetite for them.  Why?  Well because these formats tap into one or more of the following; our love of winning (particularly if for a big money prize or if beating a baddie), big named celebrities and a good laugh (and natter).

Today we will be analysing 3 different types of entertainment formats looking for their key elements and reasons for success.

So what are THE ESSENTIAL INGREDIENTS OF A BIG HITTING FORMAT?

They are;
1. A SIMPLE IDEA – You MUST be able to sum up your show in one line.
2. A HOOK – the reason to watch.  Why will an audience want to watch your show?
3. PLAY-A-LONG ability –  Also known as shoutablity – if your audience is shouting at the telly they are engaged and likely to be loyal.
4. BRANDING or a distinctive style – Formats need a distinctive set and music and lighting
5. REPEATABLE (again and again and again) – Format stays the same every show.  Key ingredient of a Format
6. COMPETITION – for drama or fun.  Formats need a winner or a sense of competition.
7. A CHARACTER (presenter or contributor) – Presenter brings their personality to the proceedings and makes the show their own.
8. TRANSFERABILITY – The measure of a truly successful format is how many countries you can sell it to.  A format should tap into basic or unilateral human interests demonstrating language and/or culture is no boundary to understanding it.
9. Spin-offs – money making merchandising is all part of the business plan these days.

Deal or No Deal

“ Part game show, part psychological thriller”
“The most flexible gameshow ever invented”       www. endemol.com
Game of tension and chance
Daily show

Teatime slot
5.5m audience
Broad audience  8-80
Daytime audiences are 50% male
Began in UK 2005 (originally a Dutch format)
                       
                    The suspense of decision-making
DOND – the recipe of it’s success;
A SIMPLE IDEA – 22 sealed boxes and one question – deal or no deal?  The method behind the idea is based on the “suspense of decisions” – will they, won’t they? And money.
A HOOK – (the reason to watch).  This is essentially a game of chicken.  The contestant spend 50 minutes trying to dodge the juggernaut heading their way.  The audience develop an attachment to the contestant so that they care who wins.
PLAY-A-LONG ability – The audience at home, in the studio and the contestant’s family can all play this game along at home.
BRANDING – Today’s Quiz Formats are about creating a spectacle or an event.  So they need a distinctive set and music – Often quiz shows will have an “arena” of combat (think gladiators of ancient times).  The set creates a place for the battle to take place, with glamorous assistants,  dramatic music, lighting changes and a big celebration should there be a win.
REPEATABLE (again and again and again) – Format stays the same every show.  Key ingredient of a Format
COMPETITION – for drama or fun.  Formats need a winner or a sense of competition.
A CHARACTER (presenter or contributor) – Presenter brings their personality to the proceedings and makes the show their own. Can you imagine anyone else presenting this than Noel Edmunds?  Contestant research is a key job behind a successful format.  You want people who show their feelings and who are talkative, emotional, or on a “journey”.
TRANSFERABILITY – The measure of a truly successful format is how many countries you can sell it to.  A format should tap into basic or unilateral human interests demonstrating language and/or culture is no boundary to understanding it. DOND is about the victory of the little person and a big lump of cash.
SPIN- OFFS – 10 Online Games/ Iphone game/ Online Bingo/ Noel doll?
WHAT NEXT FOR DOND? Formats can be refreshed but it is a lot harder to do so with quizzes like this.  Likely that audiences will not respond to any changes to the rules. But audiences and formats do tire and get retired.  Sometimes they come back revamped (Strictly Come Dancing is a recent example of this.  It used to play late at night, with amateur couples, presented by Angela Rippon – my how it has changed!).   The US version of DOND is  far glitzier than the UK – including glamourous assistants and has a later tx time.  Involving big names in the game is a good way to keep the format fresh in audiences minds.
Deal or No Deal and George Bush
IN THE SAME STABLE:
Who Wants to Be  a Millionaire – £££
The Weakist Link –  Humiliation
Golden Balls – Nasty tactics
High Stakes – Latest peaktime gameshow
BBC2
Weekly
9pm – Post watershed
18-35 years(young for BBC2)
Blokey
Music knowledge required
Began 1996
SIMPLE IDEA – Irreverent pop quiz, with guest competitors from the worlds of music, TV and comedy
HOOK = Comedians + Pop idols away from the mike are the reasons to watch
PLAYALONG- ability =  Various Q & A rounds.  Home and Studio Audiences can join in with answers.
BRANDING = distinctive set, lighting, music and logo. Black and white gives a retro look. Speakers to reflect music them. Logo taken from Sex Pistols album that title comes from.
REPEATABLE = same round played each week. Host and guests change
Spectacle/ event = studio audience / set design/ music/ celebs
COMPETITION = Win for fun.
A CHARACTER = Team Captains (Phil Jupitus and Noel Fielding) have become identifiable faces of the show. Hosts change arguably giving each show a sense of uniqueness.  An Idea first tried on Have I Got New From You.
TRANSFERABILITY = Idea has been tried out in Holland, Germany and US but not caught on. It’s quite a uniquely British format that taps into our particular sense of humour. Just like these other shows;
QI
8 out of 10 cats
Have I Got News For You
What next for Buzzcocks?
Personally I think it’s a tired show or maybe I just outgrew it. I think Celebrity Juice has stolen it’s audience and got better laughs. Scope to improve this format definitely.
ITV1
Weekdays
Lunchtime chatshow
Female
Lots of talk!
+ Celebrities
Began 1991
SIMPLE IDEA – 5 women talking about the issues of the day.  Mirroring playgrounds/ workplaces/ homes all over UK.
HOOK = Likeable and controversial cast + current celebrities.
PLAYALONG- ability =  Home  audiences can join in with debates via twitter, email etc
BRANDING = distinctive set, lighting, music and logo. LIght, bright and breezy to reflect time of day and tone of show.
REPEATABLE = same format to each programme each week.
COMPETITION = Big Money quiz.
A CHARACTER = Panel has become well known from revealing much about their personal lives on screen.  This format idea is reliant on the warmth, genuineness and opinions of the on-screen team.  Has won numerous daytime TV awards but this year ratings have dropped. Carol Vorderman and Janet Street-Porter recently joined to shake up the format.
TRANSFERABILITY = Idea has been tried out in US and Germany but not caught on, had better success in Australia (but more of a magazine format).
SPIN-OFFS – Various “uncut” DVDs of the panel disgracing themselves and biogs.
Other shows in the stable;
Chatty Man
Paul O’Grady
What next for Loose Women?
The loose women star seems to be on the wane. Loose Men anyone?
Remember TV formats work best when they speak to our basic human likes.  On one hand we like suspense, intrigue and mystery (that is why there are so many crime dramas) and on the other laughing or crying at real people’s stories and always shouting at the telly!  Use this guide to help you devise the formula for your format.
HOMEWORK – 27th October
In your TV teams you need to start developing your entertainment format ideas.  Come next week with a pitch (a one line summary) for your top 3 ideas.

Lecture 1 – What is a format anyway?

Name the last 3 programmes you watched on telly?

X Factor, Strictly Come Dancing, Loose Women, Gok’s Clothes Roadshow, Deal or No Deal, Question of Sport, Who Wants to be a Millionaire, The Weakest Link, The Million Pound Drop, Family Fortunes, Come Dine with Me, and so on…..

If you watch telly, you watch formats.

TV formats are an essential staple of all TV schedules.  Get the IDEA right and you can make your fortune on telly.

A format; “When the cluster of production ideas and techniques that comprise a programme in one television market is used to make a similar programme, usually in another domestic market, this is defined as format adaptation or programme cloning.”
Amos Owen Thomas : Cultural economics of TV programme cloning: or why India has produced multi-“millionaires” (2006)
A format is; A Programme with a formula or recipe that  is easily playable and repeatable
And entertaining….
And crosses cultural and language boundaries so that it can be sold around the world.
Probably the biggest name in the Formats business is “super” company Endemol. Here you can find out why they are at the top of the game;
Endemol begun in Holland in 1994 by Jon de Mol.  Big Brother was it’s first big success but Deal or No Deal has made it the most money.  The company now boasts 80 companies in 26 countries broadcasting 40,000 hours of content each year.  In the UK Remarkable Television is the company you probably know the best. If you want to work in TV you need to know know Endemol.  You can find out about their current jobs here.

So what do academics say about formats? This explanation of formats here should give you a good idea of why they are a very important part of our TV landscape today.

“In their highly competitive national television markets, broadcasters increasingly look for ‘sure shot’, ‘quick fit’, and ‘hit’ solutions – television formats provide them with a solution. Formats cost less time and money to produce than to create original shows and they have usually proven their ratings worth in more than one television market before being brought to be sold. Besides getting the broadcasters the required viewing figures and hence high advertising revenues, formats also have a high potential for merchandising, multimedia games, phone-in revenue and other brand extensions. These additional revenue streams further increase the allure of formats for broadcasters. This is evidenced by the huge sums of money broadcasters are prepared to pay in various territories or markets for a license or option to an original successful format. The license fees alone for a successful format can cost broadcasters in Western Europe up to £30,000 for 20 to 30 episodes (of 1 hour duration) for one season!”

http://tvformats.bournemouth.ac.uk/overview.html 

HOMEWORK – for next week 20th October

Watch this…..why is Deal or No Deal an internationally successful format? What are this show’s essential ingredients. Make sure you think about this on your blog before next week’s lecture.

Be INSPIRED – make sure you are watching and analysing one from each box  each week.

Who Wants to Be a MillionaireMastermind

Eggheads

The Weakest Link

Countdown

A Question of Sport

High Stakes

 

Just a Minute – Radio 4

I’m sorry I haven’t a clue – Radio 4

QI

The News Quiz – Radio 4

Whose Line is it Anyway

Have I Got News For You

8 out of 10 Cats

Celebrity Juice

Never Mind the Buzzcocks

Shooting Stars

Come Dine with Me

Mr and Mrs

Family Fortunes

Deal or No Deal

Dragons Den