Appendix B: Programme Paperwork Templates
Appendix B: Programme paperwork templates
PROGRAMME AS BROADCAST FORMS
The Value of PasB Information to the BBC
Programme as Broadcast information (PasB) is an essential business requirement for all programmes broadcast by the BBC. A PasB must be completed for all originations & repeats. The information contained in a PasB supports research, re-use, and commercial exploitation of audio material.
PasB information is stored in Proteus for Radio productions. PasBs not created in Proteus can be sent to I&A Production Intake for archiving.
Listed below are the reasons PasB information is a vital element of the production process:
Cataloguing
· When audio is selected for archiving the PasB information is the primary source of cataloguing information on INFAX. Without it, it is very difficult to produce a comprehensive cataloguing entry, making research and re-use of the material difficult if not impossible.
· This is particularly important given the BBC’s commitment to making archival content available to the public through the iPlayer. The public will use the metadata you provide to search & access content.
Evidence
· The PasB is the primary record of the content of programmes. It is the ‘evidence’ of each programme the BBC has broadcast, and the relevant rights & agreements it has reached to do so.
· PasB information is classified by the BBC as a ‘core record’. All PasBs are kept permanently by I&A on behalf of the BBC.
· PasBs are an historical record of the format and content of programmes. They are an indication of the ‘look and feel’ of a network.
· All output on all BBC network radio is archived for 90 days by the Control Room to meet legal requirements. Should a legal case be brought on any of these programmes, the PasB may be required as evidence of:
o Copyright material used
o Agreements for payment with contributors to the programme
o The production team responsible for each programme
Exploitation of Audio Material
· BBC Worldwide find it extremely difficult, if not impossible, to exploit audio material when there is no supporting PasB rights information.
· In the context of the financial constraints imposed by the licence fee settlement, there will undoubtedly be a need to repeat more programmes/re-use content. PasB information will be vital to support the re-use of programme material.
HOW TO COMPLETE A PasB FORM
Programme Title: Full name of the programme as billed in the Radio Times etc.
Programme number: As provided by BBC Commissioning.
Service: Network on which the programme was made to TX
Platform: e.g. FM, LW
Week: BBC week during which the programme TX’d
Day: Day the programme TX’d.
Date: Date of TX
Start/Finish: Time of TX e.g. 19:30 – 20.00 (use 24 hr clock)
Stereo: Y or N
Pre – Record: Y or N
Pre – Record Date: Date recording made, if applicable. Otherwise leave blank.
Tx Slot: Length of the commissioned programme, e.g. 28’30.
Proteus Programme This has two parts: the root part refers to the programme
Number (e.g. PEM23000016) and a counter on the end counts transmissions (e.g. /AAA/AAB/AAC) it should look like this PEM23000016/AAA
Duration: Actual length of the recorded programme, e.g. 28’07.
Music Used: Y or N. Please note you must complete a Music Reporting form for the programme even if no music was used.
Producer: Name of the producer/s who made the programme
Address: Name and address of independent company / BBC department
PABX: Contact details for the Producer: office / mobile number
Running Order
Description: Description of the programme content.
This must describe what the programme is about, and list ALL contributors and their roles. It must also include details of ALL copyright material used, including BBC archive, bought in material, or material where no fee is required.
If the programme is a magazine programme or a sketch show, then each running order item should be recorded separately. Include the contributors and details of any music used for each item in the running order. Programmes such as Dramas and Documentaries can be reported as one running order item. However, all contributors, copyright material and music used should be recorded on the PasB.
Do not include any financial or personal details (e.g. home address and phone numbers) in the PasB.
Production details form – used for P as B report.
ISSUE DATE / 2 / 3 / 4 / 5
PRODUCTION NO / TX DETAILS / SERVICE / W/B / WEEK / DAY / DATE / START/FINISH
6 / ORIGINATION / 7 / R
8 / REPEAT / R
9 / 10 / R
STEREO / PRE-REC / PRE-REC DATE / TX SLOT / PROTEUS PROGRAMME NUMBER / DUR / R.O.T. / MUSIC USED
11 / 12 / 13 / 14 / 15 / 16 / 18
PRODUCER / ADDRESS / PABX
START TIME / PROGRAMME TITLE AND RUNNING ORDER / INSERT PROTEUS PROGRAMME NO / INSERT DUR
Production Details (Continuation sheet)
of
Insert Proteus Programme No: / Insert Dur:
*SAMPLE* Production details form – used for P as B report.
Production details form – used for P as B report.
PASR / PASR / BILLING / PASBISSUE DATE / 2 / 3 / 4 / 5 / 07/01/2012
PRODUCTION NO / TX DETAILS / SERVI CE / W/B / WEEK / DAY / DATE / START/FINISH
6 / ORIGINATION / 7 / R / 02 / Saturday / 07/01/12 / 10:00 - 10:30
8 / REPEAT / R
9 / 10 / R
STEREO / PRE-REC / PRE-REC DATE / TX SLOT / FINAL TAPE NUMBER / TAPE DUR / R.O.T. / MUSIC USED
11 / Y / 12 / Y / 13 / 29/12/2011 / 14 / 15 / PLN202/124AHK2026 / 16 / 28:14 / 18
PRODUCER William O'Hare / ADDRESS Popular Front Productions, 15 Castle Street, Tooting, London SW17 2LA / PABX o208 7641316
START TIME / PROGRAMME TITLE AND RUNNING ORDER
Brave New World
Presented by Quentin Cooper
Produced by William O’Hare
Sig. tune - 2001 Space Odyssey- Also Sprach Zarathrusta. City of Prague Orchestra, from the album 2001: Music from the Films of Stanley Kubrick, Silver America
Ice on Mars - interview
Dr Joshua Bandfield discusses a new spectrometer fixed to the orbiting Mars Odyssey spacecraft that measures gamma rays coming from a planet to detect different materials. Initial data has shown up to half of the surface of Mars may contain ice.
Dr Joshua Bandfield, Professor of Earth & Space Science, University of Washington.
Detox Dangers – Discussion
The current popularity of detox diets which recommend drinking many litres of water a day, and drinking even when not thirsty, could cause problems if taken to extremes. Discussion on the benefits & dangers of detox diets.
Ursula Arens, dietician, British Dietetic Association Professor Graham MacGregor, Professor of Cardiology, St George's Hospital, London.
Arctic Oil Reserves - Package
The Arctic is estimated to hold 90bn barrels of untapped oil and three times as much natural gas according to figures from the US Geological Survey (USGS). Janine Jones weighs up the potential benefits of extracting this massive resource against the perceived threat to the environment and wildlife.
Janine Jones Producer & presenting own factual script
Archive clip Material World 10/06/2010
Recording No. PLN023/10QM0236
Music – Staral Fur. Sigur Ross from the album Agaetis Byrjun, Fat Cat
The Science of Surfing - Interview
Surf Science is the one of the first books to explain waves from a surfer's point of view. It shows how waves are formed, what makes each wave different, why some waves peel nicely and others just close-out, and why, on some days, the waves are weak and gutless and on others are perfect tubes. Caroline talks to Dr. Paul Russell surfer and scientist, and co-author Dr Tony Butt about their new book.
Features a short extract from the book - read by Dr Tony Butt. Surf Science: An Introduction to Waves for Surfing, published by Alison Hodge Publishers.
Dr Paul Russell, Professor of Coastal Dynamics, University of Plymouth
Dr Tony Butt – Research Fellow, University of Plymouth
Dr Tony Butt – Reading (non-dramatised)
– Wipeout, Surfaris , from the album Guitar Heroes, Disky / INSERT TAPE NO / INSERT DUR
0:22
05:48
07:49
04:36
00:47
00:20
10:01
01:06
00:12
Production Details (Continuation sheet)
of
Insert Tape No: / Insert Dur:
MUSIC REPORTING
YOU MUST SEND A FORM TO THE MUSIC REPORTING UNIT EVEN IF YOUR PROGRAMME HAD NO MUSIC AT ALL.
Background
The BBC negotiates agreements with the music copyright collecting societies which give permission to broadcast music; in return, the BBC is legally required to report to the copyright bodies all music used after transmission.
The Music Reporting Unit (MRU) is the facility that processes the music usage, via a computer system (MRS), to the copyright societies - who then pay the copyright holders.
What you need to do
All music and all commercial recordings of speech and commercial sound effects must be reported, no matter how brief or incidental, within 14 DAYS of transmission. Music in trails/promos, background, live or locally recorded, music picked up on location e.g. crowds, singing in the street - even presenters humming 2 bars of “Happy Birthday” must be reported. Failure to do this will put the BBC in breach of the agreements with the copyright societies.
The details required for music reporting are a) transmission/programme details and b) music details. The music used must be in the order transmitted. Incidental music must not be aggregated - individual timings must be reported. All repeats must be reported.
How do you do it?
Many areas are using electronic links to send music reporting details to the MRU and will not need to send paper. However, if you still need to use paper, please copy and use the music reporting form at the end of this document.
The address of the Music Reporting Unit is: MC4 C4, Media Centre, W12 7TQ.
In house productions should use Proteus to record Music Reporting details or alternatively email the details to Music Reporting-Unit using the templates on pages 54 & 55.
Independent productions should email the details to , and using the templates on pages 54 & 55.
HOW TO COMPLETE A MUSIC REPORTING FORM
Programme Title: Enter the programme or strand title
Episode Title: If a series, enter the title of the episode.
Episode Number: If a series, enter the number of the series.
Programme/Costing Number. Enter the number which is valid for the programme to be reported.
Transmission Date and Time: Enter the date and time of the programme transmitted.
First Transmission Date: If a repeat, enter the broadcast date of the first transmission.
Programme Type: Enter a letter to represent one the following categories:
Letter Definition Letter Definition
A BBC Production E BBC Production Repeat
B Independent Production G Co-Production repeat
C Co-Production H Acquired Programme repeat
D Acquired Programme
Source: For an Independent, Co-Production or Acquired Programme, enter the name of the Company/Co-Producer/programme supplier.
Repeats: Please note that when reporting a repeat, you need to update the Programme/Costing number, Transmission Date and Time, First Transmission Date and Programme Type.
Music Code
For each item one code must be entered to show the origin of the performance.
A Music on archive material from the BBC Archives.
C Commercial disc, tape, cartridge or compact disc.
F BBC Radioplay Collection
H Specially composed Radiophonic Workshop material
K Commercial recordings published over 50 years ago (not re-pressings)
L Live performance (and miming on live programmes for TV)
M Publisher Mood music
N Non-commercial private tapes
P Video use
R BBC, or other studio or location recording (not specially composed)
2 2nd or further use of “R” code within 28 days of the 1st transmission
T Soundtrack tape (from BBC’s Film Unit or film soundtrack from Programme
Acquisitions)
U Stock music (e.g. EBU tapes)
X Specially composed music, excluding Radiophonic Workshop
Additional Codes
S If the music item has been used as a signature tune for your programme.
D If an A, C, M or T code (above) has been dubbed (or you it is a pre-recorded programme)
Visual music forms a part of the programme in as much as it appears to be or is audible to those taking part in the programme, e.g. any music sung or played in vision, music which characters in a play can hear even if it comes from a performer or record player not in vision, music heard by people sitting in a cafe even though to those in the programme it would be background music. All actuality music is visual.
Music Title Enter in full the title as shown on the recording or sheet music (if used). Where only a part of a long work is used the overall title of the work, followed by the details of the movement(s) used must be given. When in the course of production, new words are added to a piece of music, or replace the original lyrics, e.g. in a parody, the title of the original music must be given. Permission for the use of a parody must be granted from the publishers before the broadcast.