Shout! Out Spring/Summer 2018 News, features and tips about Broadcast PR Including broadcast in a Peak, prime and perfect new business proposal By Catherine Bayfield

It is often seen as the icing on the cake and if you're not considering broadcast as part of your campaign, you're missing out on a far reaching and influential medium. An opportunity on Chris Evans’ breakfast show on Radio 2 for example attracts a weekly audience of 9.43 million. Radio 4’s Today Programme reaches 7.15 million, but more importantly its analysis sets the news P&O Cruises' flagship Britannia agenda for the day. Listening figures like these are clearly The delicate art of securing long lead going to help you or your client reach your KPIs and even if broadcast PR is a service broadcast PR coverage you outsource, it's still possible to make a profit by marking up. By Keren Haynes beautiful ship” and we agree, she looked stunning. There are many different elements that The would-be apprentices were tasked with selling you could include in a new business The backdrop for an hour long, prime bespoke day tours round Bruges to Britannia broadcast proposal but some key ones are: time television programme, on the UK’s passengers. As any follower of the programme would expect, most watched channel: BBC One’s “The • Television the apprentices’ efforts were predictably chaotic, Apprentice” was filmed on P&O Cruises’ • Radio but their work was set against a stunning flagship Britannia and it resulted in an • Online video placement background, including the ship’s pool deck, luxury • Video production in particular B-roll amazing piece of PR generated coverage. restaurants and dramatic atrium (picture on page 2). • Media training and technical services like live streaming and outside Long lead PR activity is high risk, in that there is So what do you need to think about, if you’re no guarantee that the time and money invested will broadcasts for radio and TV. interested in securing similar long leads? lead to anything tangible. This time, however, it Continued on p2... • The brand needs to fit with the programme. paid off. Think about who the audience is to ensure there is One year on As he revealed to the candidates what their task some synergy. You also need to be able to fit the Last year we moved offices from Covent Garden was that week, Lord Sugar called Britannia “this programme’s formula. In the case of “The to a beautiful Georgian listed building in Apprentice” this needed to be a competitive Bloomsbury. We'd be delighted to give you a tour of our new radio studio. Just ask! activity, that could be measured in commercial terms, of interest to the cruising public. • You need patience! Programmes like “The Apprentice” plan months in advance. It took more than a year from the initial meeting with the producers until the programme finally aired. Continued on p2...

Shout! Communications, Broadcast PR Specialists. 13 Great James Street, London, WC1N 3DN Shout! Out Spring/Summer 2018 Page 2

Continued from p1, Including Broadcast... So what do we mean by radio? 'Why include video Otherwise known as radio days, studio tours and radio media relations. Typically it is coverage on regional, in a broadcast national, BBC and commercial radio stations and your client should expect a minimum of 10-12 interviews, 1- 2 of which are likely to be national. proposal? Because But what if you're desperate for TV? TV can be hugely cost effective, influential and far reaching but is logistically more tricky than radio. B-roll WILL get you Spokespeople need to be willing to physically go into a If you've had media training, broadcast is never as studio or travel to Manchester for opportunities like scary as it first seems. Taking the pressure off a more TV coverage' corporate spokesperson further, is to allocate budget BBC Breakfast. TV broadcast coverage is difficult to Other considerations are allowing enough time to sell secure and isn’t confirmed until it goes out on air which for a third party spokesperson. Realistically you’re looking at around a thousand pounds minimum for a in to broadcast. We recommend at least a week but it does require a client to hold their nerve. can be less. It doesn’t matter how great the story is, Some questions to ask a potential client are: psychologist, up to the sky really is the limit for a celebrity. The advantage of a third party is that it schedules particularly for BBC regional stations get booked up a long way in advance. • Who is their target audience? takes the commercial sting out of the story for a broadcaster and allows messaging to be • What are their top 3 key messages? communicated in a more subtle way. Finally why include video in a broadcast proposal? • Who are their spokespeople? Because B-roll WILL get you more TV coverage. • Do they have a broadcast wish list? Outlets like CNBC and BBC Business programming for example positively ask for it and having footage means • What is their budget? a guest is more likely to be booked. Budget on around £1500-£2000 a day for film and/or edit. Clients are often scared of spending budget without Video production is cost effective as the footage can knowing what they're going to get and perceive often be repurposed – a B-roll for example can be used broadcast PR as high risk. This is going to sound like an to create a social media video and short corporate film advert, but as an agency we try to put ourselves in your to sit on your client’s website as well. shoes. We guarantee our radio and online coverage and offer a pay by results service for TV. Production too If you’ve got a new business broadcast proposal on the focuses on ensuring the client is satisfied with the final horizon that you think would work, why not give us a film, so we offer two rounds of video approvals. TV presenter and naturalist Chris Packham is a perfect call? 020 7240 7373 example of a 3rd party spokesperson. Catherine is joint MD at Shout! Communications

'Think like a producer. You As Michael Hogan wrote in the culture section of The Telegraph: "It was impossible to miss the fact know your brand or clients that this task was set aboard P&O Cruises’ Britannia. It’s the UK’s largest cruise ship, we better than any producer were told. There are 3,000 passengers on-board, we were reminded. Cue copious shots of its luxe so try and put yourself lounges, swimming pools and spectacular atrium. As the disclaimer goes: other cruise ships are Continued from Peak, Prime and Perfect... in their shoes.' available. " Was it worth it? When journalists conclude you've got away with a The aforementioned atrium truly is stunning According to P&O Cruises’ Communications free prime-time advert, you know you're onto a Director Michele Andjel: Continued from p1, Peak, prime and perfect ... winner! • Think like a producer. You know your "Whilst we are very aware of the opportunity to brand or clients better than any producer so try and showcase a brand on prime time television, it is put yourself in their shoes. What ideas would fit critical that it is the right programme, attracting with your target programme? Producers the right audience and with content which will obviously know what’s best for their programme, enhance our reputation. I decline hundreds of but they are also receptive to creative input. opportunities each year but for us “The • Big programmes, such as “The Apprentice” Apprentice” was a show which was absolutely come with big demands and you need budget to the right brand fit for P&O Cruises. We saw meet them. It’s not just the people you see on positive engagement from our current and also screen who need to be facilitated, it’s the large potential guests, even including bookings made crews too. whilst the show was on air." Keren is joint MD at Shout! Communications

Shout! Communications, Broadcast PR Specialists. 13 Great James Street, London, WC1N 3DN Shout! Out Spring/Summer 2018 Page 3 Poison gas: lots to SHOUT about CASE STUDY: Shout! Communications supported PR agency HROC and Project SHOUT to raise awareness on the dangers of carbon monoxide.

By Kate Fallis, Broadcast PR Consultant We had the help of some fantastic Project SHOUT (not to be confused with spokespeople, including MP for Walsall North Shout! Communications!) is a campaign group Eddie Hughes, case study Chloe Kilby, that raises awareness about the dangers of Campaign SHOUT and London Fire Brigade carbon monoxide poisoning . representatives. This campaign focused on rental properties in the UK, in particular those that don’t have a What we did; carbon monoxide alarm fitted. New research • Drafting of broadcast press releases, by the CO alarm campaign group revealed including tailored releases for national and Outcome; half of people renting a private property in regional radio and television First and foremost, we secured the holy the UK do not have an alarm fitted by their • Liaising with case studies and arranging grail of coverage for our client – BBC landlord. The campaign went live on the 18th numerous case study interviews outside the Breakfast! The story also appeared on 3 of January 2018, with a debate on the Carbon radio day of the ITV regions, London Live, Sky Monoxide Safety Bill taking place in the • Selling-in to national and regional News Radio, BBC Radio 5 Live and 4 House of Commons on the following day. broadcasters, securing extensive coverage regional BBC radio stations. The weekly reach of this campaign was an amazing Challenges; 37.7 million and resulted in an This was the first Project SHOUT campaign extremely happy client. with a new Campaign Director on board. Previously, it had been Rob Lyon who broadcasters knew and liked, but for this campaign it was Zoe Hadley. The change in personnel was a challenge, in that Zoe was a new name for broadcasters, but on the plus side it’s always good to have a female spokesperson where possible and broadcasters liked her. Case study management was another challenge we encountered, mainly down to the pure volume of interview requests, so we had to really be on the ball in terms of Combined reach of 37.7 million. organising the regional interviews that took Image courtesy of BBC Breakfast Facebook page place outside of the radio day. (www.facebook.com/bbcbreakfast)

Why you should consider using Never has there been such an opinionated age different views through them. vox pops in your PR campaign as now. No matter what the topic, trivial or • Engaging video is all about content and significant, these days everyone has a view. humour is a good way of executing it – And that’s what makes the use of vox pops so impromptu comment can often be a good valid as part of a PR campaign. vehicle for this. The term “vox pop” comes from Latin, • Vox pops are relatively quick to produce meaning voice of the people. In PR and as you don’t need to book time in anyone’s broadcast terms, vox pops are short soundbite diary. And whilst you often have to ask interviews with random members of the public, several people to get one decent answer, you the aim of which is to establish a snapshot view can guarantee you can produce good content of what the masses think about a particular in the end. topic. • Vox pops can be used in a variety of different ways – they’re short and sweet So what do vox pops add to a PR campaign? enough to be used individually for social Words by Catherine BaGyrfovieeHlotdel,, HeJrtfooirdnshtire • Vox pops are a great way of stimulating media, or join a few together to put in a video MD at Shout! Communications debate, because you can express a variety of package or to stand alone. Continued p4...

Shout! Communications, Broadcast PR Specialists. 13 Great James Street, London, WC1N 3DN Shout! Out Spring/Summer 2018 Page 4

Continued from p3... • They’re cost effective – if you asked us to produce them for you, around a minutes worth of video Enhancing PR video (comprised of 5 or 6 good answers) would cost from £250. - without a huge budget Guidelines for producing successful vox pops: By Rory Green, Videographer • Unless your campaign is targeting a specific demographic group, try and use a variety of Using video in PR campaigns is nothing new, but interviewees. Voice of the people means your with equipment coming down in price and up in interviews should be representative of the general quality, professional looking video is possible on a public, so try and include male and females, a range small budget. I believe that this is one reason there of ages and some ethnic diversity. has been a huge surge in the amount of branded video content that is currently populating many websites and social media channels.

So, how do you ensure that your PR video does not get lost in the 300 hours plus of video content that is Rory was lucky enough to shoot in Rome for one of the 2017 Founders Forum events. uploaded every minute (and that’s just on YouTube!)? In my experience, PR videos that have high Action Camera production value will get greater audience In the camera world, bigger does not always mean engagement than those without. better. Action cameras produce amazing, high quality images. The size and ruggedness of these cameras Grab their attention means you can put them in positions that a normal • Think about your location. It needs to be Nowadays an audience’s attention span is extremely camera cannot go. On one memorable shoot, involving appropriate to the topic, but you need to avoid short. Due to touch screen technology, all a bored Tetley Tea, I put the action camera inside a mug into unnecessary distractions such as background noise or viewer has to do is swipe the screen and they are then which boiling water was poured to make a cuppa. activity. So a park with dog walkers in the watching a different piece of content. Not what the PR The camera came out unscathed and we got a great background might be appropriate for asking people industry wants! It is really important that you grab shot. about their pets, but you might go to a market to ask the audience’s attention in the first few seconds; you people if they eat 5 fruit or veg a day. need to sustain that interest throughout the video so the viewer arrives and sees the all-important, call to action.

In this blog, I am going to look at some visual techniques we use to keep the audience engaged:

Cinematic shots Two of my favourite video gadgets are the jib and the slider. These are smaller, more budget friendly Some of our work with the National Lottery. versions of the grip equipment used in Hollywood • Questions should be open-ended to avoid a yes or productions, and can really add some cinematic flair Start the film with the best shots no answer. Ideally an edited answer should be to your shots. The slider and jib are used to achieve Moving on from filming and into the edit suite; in between 5 and 15 seconds long. A good producer smooth, moving shots that are much more interesting order to secure your audience’s attention in the first few will encourage the interviewee to reflect the question than a static shot. seconds of a video, we suggest putting the most back in their answer, so there’s no need for further impressive shots at the start. A really powerful explanation. The slider is extremely versatile and can be used soundbite could also work. pretty much anywhere there is a flat surface. I recently shot at a spectacular event in Rome, on behalf of Add some effects Founders Forum, a private network of the world’s One simple way to add style to an edit is to use some leading digital and technology entrepreneurs and I flares or mattes. These easy to use techniques make used a slider to make my shots of the Vatican look relatively simple shots much more cinematic. They can glossier. also be used to hide edits, great if you do not have any relevant cut away shots. The jib is a bigger piece of equipment but it offers a greater range of movement. It’s really helpful for Animated text getting a high shot of a scene. In a video we made Due to many people watching video content silently for the National Lottery, for example, we used the jib on their mobile devices, online videos are expected to We specialise in producing high quality video, to get a top shot of the crowd of people attempting to work without sound. Most of the time this can be quickly and cost-effectively. If you’d like to discuss break a world record. This would have been achieved by simply adding subtitles but you could any upcoming projects please email: impossible without such a piece of kit. animate the text to make it more engaging. [email protected]

Shout! Communications, Broadcast PR Specialists. 13 Great James Street, London, WC1N 3DN Shout! Out Spring/Summer 2018 Page 5

How can B-roll make or break Keren Haynes lays down a TV campaign? the golden rules of B-roll... TV news editors choose between dozens of stories on a daily basis; the deciding factor between a story making it on air, or not, often boils down to one thing: visuals. Obviously broadcasters would prefer to shoot their own pictures, but when they don’t have the resources to do that themselves, B-roll can become one of the most valuable tools in your PR kit bag.

So what is B-roll? B-roll is around 6-8 minutes of roughly edited video footage that can be used to illustrate a PR story. It’s given to broadcasters free of charge and any copyright issues, in the hope it persuades them to take the story. In the past I worked at ITN as Anything difficult to film will make your B-roll stand out a news editor and if I was choosing between two stories, one with pictures and one • It’s a good way of show-casing your spokesperson and may encourage without, I would have picked the former. broadcasters to book in their own interview. • You can also try out your key messages. The 2 golden rules, for B-roll success • If your spokesperson is in demand, but with no availability (or willingness) To ensure it gets on-air, B-roll needs to be shot in a particular style. At Shout! to do interviews, broadcasters may use the clips anyway. Communications we have two golden rules, and every client who has followed them has had the pleasure of seeing their footage on UK television. Why do news teams use B-roll? Quite simply – budget! Newsrooms have seen their budgets slashed over the last few years as competing formats such as social media have come into play, meaning their teams don’t have the time or money to film new footage for every story. This presents PR practitioners with an opportunity. Broadcast bosses will deny using B-roll, but in our experience the journalists at the coal-face, working in the edit suites and newsrooms, will always be grateful for the offer of suitable footage. So if your client is champing at the bit for TV coverage, give them the best possible chance and suggest B-roll.

B-roll works well with celebrities who don't have much availibility. Golden rule 1: Shoot the B-roll footage in a news style. The footage would have to be exceptionally unusual to be accepted by a documentary programme; B-roll is really only taken and used by newsrooms. News style means simple, static and functional shots that can be edited together into a sequence that normally includes at least a wide, a medium and a close-up shot. It cannot look too glossy or resemble an advert! Most importantly the footage needs to blend in with any other pictures the broadcaster has filmed themselves. We keep each shot long so the B-roll looks like raw footage, not something that has been edited. We include a wide variety of shots, so if the BBC and ITV both use it for example, they can each edit something different.

Golden rule 2: Include footage that broadcasters can’t easily film for themselves. Want guaranteed coverage? Hire a helicopter! Video footage of a high street chain, for example, could be filmed by anyone anywhere in the country. What broadcasters are grateful for is material that is hard to Is it expensive? access, such as filming in a food factory or pharmaceutical lab; or material that takes a No! It needs to look like something a news crew might have shot, which is long time to capture, for example, footage on an oil rig. relatively quick to do. Some of our most successful B-rolls have been shot and edited in a day, at a cost of around £2, 000. Interviews £2,000 to get on TV? That’s a bargain! Broadcasters want to film their own pictures and they want to do their own If you’re interested in producing footage for an upcoming interviews even more. That said, we would include interview clips at the end of a B- roll for a number of reasons: campaign, make sure to get in touch by calling 020 7240 7373, or emailing [email protected].

Shout! Communications, Broadcast PR Specialists. 13 Great James Street, London, WC1N 3DN Shout! Out Spring/Summer 2018 Page 6 Shout! Communications Big Talk - November 2017 Another Shout! Communications Big Talk and another fantastic line up of speakers; we were back at Instinctif Partners who kindly hosted the event and it was a most insightful evening as you can see from the write-ups below. Sandy Smith, Editor of BBC 1’s “The Richard Gaisford, Chief Correspondent at One Show" ITV’s “Good Morning Britain" Only the Editor of “The One Show” could get away Richard’s story as a journalist includes working with with calling it a “linear, dinosaur programme”! But, Shout! Communications director Catherine Bayfield with an average audience of 4 million viewers a back when “Good Morning Britain” was GMTV. The ratings have risen 3 years in a row, with over 7 million viewers night, that is obviously at the heart of its appeal to biggest changes he says, in his 25 year long career, have nationwide across their platforms – very different to the plight of its the public. IF (and it is a big “if”) you can secure been the result of technology. print cousins. coverage on the programme the effect can be huge; One of the most dramatic changes involves the use of The biggest issue currently facing TV journalism is its ever- past experience shows that it is hugely influential in satellite trucks. When he first started at ITV Richard changing relationship with the social sphere. Matt described the certain sectors, sending albums and books, says the team had a fleet of 4 satellite trucks, worth world as being “full of citizen journalists”, which is now a constant for example, to the top of the charts on a around £200,000 each, as well as a dedicated engineer. consideration in the modern news landscape. Twitter and Facebook regular basis. are now important digital tools for journalists, often capturing live “The One Show” is a magazine style events as they happen. programme and the stories that get chosen tend to be more feature than news driven. Another observation Matt made, in light of the Trump campaign That means it can set its own agenda and and rise of ‘fake news’, was that as well as being a crucial news- never feels the pressure to follow stories on gathering tool in the arsenal of a modern broadcast journalist, social other channels. Even Sandy couldn’t quite media is now considered a creator of news itself. put his finger on what makes a “The One Matt believes that in the coming years, with such a turbulent news Show” story. But he did come up with some agenda, including BREXIT, on the horizon, TV journalists will guidelines and points to consider if you’re remain at the heart of current affairs coverage. Curated content from thinking about making a pitch: Now the trucks have been replaced with a small video trusted news organisations will be more important than ever when • Avoid London and other big cities when possible. camera and a “Live U” box, which Richard is holding cutting through the sea of information available to us. The goalposts “The One Show” strives really hard to represent the above. This tiny bit of kit, that can fit into a small have not moved for journalists, it’s simply the rules by which they whole of the UK, so if you can base your story rucksack, enables a journalist to live broadcast in high- play that have changed. outside of London so much the better. They will definition from anywhere in the world where there is an sometimes run a reasonable story from one of the internet signal. If there’s no internet the journalist can regions, over a better one from London. You can watch a recording of the Big Talk take a mini satellite dish with them to use instead. And October 2017 on our YouTube channel at all for a fraction of the cost of a truck. Richard mentioned how years ago when youtube.co.uk/shoutcommunications or organising a PR event, making space for big download our podcast versions on our satellite trucks and lots of equipment and website at www.shoutcommunications.co.uk engineers was a top priority. Now, a strong Wi-Fi signal has to be top of your list! At or from iTunes. Good Morning Britain, they need a connection of at least 4MB to broadcast in high definition.

• Things need to happen! Matt Williams, Head of Home News, ITV Feature items give you more airtime than a news News story, so pictures are even more crucial. On top of Former RTS Young Journalist of the Year and now this “The One Show” wants a story – and pictures – Head of Home News at ITV News, Matt has been with that haven’t been aired anywhere else. ITV since 2002. This means he has watched the national • Strong, relatable characters broadcaster remould its broadcasting methods to fit the “The One Show” appreciates interviewees with a digital age. strong presence that the audience will relate to, Matt remains convinced that broadcast, in particular TV people who will enthuse or paint a picture about the news, is still the most powerful and effective form of By Kate Fallis, Broadcast PR Consultant at story they’re telling. delivering news to a large audience in one sitting. ITV’s Shout! Communications.

Shout! Communications, Broadcast PR Specialists. 13 Great James Street, London, WC1N 3DN Shout! Out Spring/Summer 2018 Page 7 Rajar Figure Analysis - Q4 2017 Is Video Expensive? by Keren Haynes The latest RAJAR figures are out and it Moyles enjoyed a big gain for his Radio X looks like good news for breakfast shows. Breakfast Show. For those of you not in the know, RAJAR stands for Radio Joint Audience Research But it looks like things are settling down: this and it’s the official body in charge of quarter Moyles has posted a record audience measuring radio audiences in the UK; the for his show, as the station hits its biggest organisation is jointly owned by the BBC reach ever, but Grimshaw has also seen a big and Radiocentre, on behalf of the revival in figures. He attracted 6.16 million listeners, his biggest weekly reach in two years commercial sector. and an increase from 5.82m last year. Moyles’ audience grew by nearly a third in 2017 to The RAJAR Audio Survey is designed to provide context and insight into how, when and where 910,000 listeners a week, and the station audio content is being consumed. The figures overall has hit 1.6m for the first time. He has Heart remains the UK’s biggest commercial include device usage, activities, location and who seen his audience grow for the last seven radio brand reaching 9.2m people every week. listened. Podcasts, live and on-demand music quarters. So these figures suggest that there is Capital is second on 8.3m. services are all wrapped up in the numbers. room for the two, rather than purely them It is always interesting from a broadcast PR competing for the same pot. Ashley Tabor OBE, Founder & Executive perspective to see each quarter how stations have President of Global, was also quoted on 'Radio To put these numbers into context: without Today' as saying: “Global continues to lead the question they are impressive figures, but the market in the UK.....In the fiercely competitive rise is seen almost across the board for radio, London market, I’m delighted that Capital leads especially at breakfast time. At this time the on reach and LBC on share, giving Global the main five BBC networks have all increased lead in both measures, whilst Heart, Capital and reach compared with last quarter, as have the Classic are the UK’s biggest three commercial major commercial outlets, including Absolute, radio brands.” Classic FM, Kiss, Magic and Radio X breakfast shows. The only broadcaster to have The rise in figures across the board is heartening lost audience this quarter is TalkSPORT. after some big losses in 2017. But what does this mean for PR? We have larger listening figures in Indeed, Bob Shennan, the BBC’s Director of The BBC saw growth in several stations and shows Radio and Music told the website 'Radio fluctuated and analyse the shifts. This last period Today'; "Whether it’s music and top guests wraps up the end of 2017 and we can look forward with Nick or Chris, agenda–setting news and to what to expect in the following 12 months. analysis on the Today programme or lively discussion on 5 live, millions of people choose The standout figures from the recent data have to to start their day with radio.’’ be a boost in breakfast show listenership. The previous quarter was overshadowed by huge losses On BBC Radio 2, the Chris Evans Breakfast in reach for Nick Grimshaw’s flagship BBC Radio Show continues to attract huge audiences with 1 Breakfast Show, whilst early morning rival Chris 9.43 million listening each week (up from "Whether it’s music and top 9.35m last quarter and 9.21m last year), it’s highest reach since 2016. guests with Nick or Chris, The big commercial winners compared with both BBC and commercial outlets, so the total agenda–setting news and the previous quarter are Capital Xtra (reach is audience reach is going to be greater. More up 22.4% to 777,000), Premier Christian Radio significant however is that these figures are not just analysis on the Today programme (up 11.8% to 142k) and LBC 97.3 (up 9.5% to for music stations but for talk radio too. This or lively discussion on 5 live, 1.215m). There’s good growth in reach too in makes the prospect of a broadcast PR campaign London for Kiss, Radio X and Absolute Radio. even more enticing as the power of radio sees no millions of people choose to start A big mention too for BBC Radio London, sign of abating. their day with Radio". which has seen reach shoot up almost 60% in the last 12 months – it’s up 26.4% quarter-on- Bob Shennan, BBC Director of quarter too – to 574,000, after it had seen some By Arthur Perkins, Broadcast PR Radio and Music poor figures in recent times. Consultant at Shout! Communications

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Shout! Communications, Broadcast PR Specialists. 13 Great James Street, London, WC1N 3DN