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Review of Regional TV Production and Programming Guidance Consultation
Review of Regional TV Production and Programming Guidance Consultation CONSULTATION: Publication Date: 19 December 2018 Closing Date for Responses: 27 February 2019 Contents Section 1. Overview 1 2. Background 7 3. The changing TV production landscape 14 4. Appraisal of the current regime and the Guidance 29 5. Review proposals 46 Annex A1. Responding to this consultation 65 A2. Ofcom’s consultation principles 68 A3. Consultation coversheet 69 A4. Consultation questions 70 Review of Regional TV Production and Programming Guidance 1. Overview Ofcom is reviewing the Regional Production and Programming Guidance (‘the Guidance’) 1 and associated reporting and compliance regime to ensure that the regulatory framework is effective in a rapidly evolving production landscape. Nations and regions’ production is a crucial part of the UK television production sector, accounting for almost half of public service broadcaster (‘PSB’) qualifying programme hours2 in 2017. TV production outside of London helps to disperse and stimulate investment and job opportunities in the sector, throughout the UK. This has resulted in the employment of a broad range of talent with a diversity of editorial perspectives, to create a wide variety of programmes for the enjoyment of UK viewers. This can also assist in strengthening regional production centres for the long term and supporting broader creative and cultural economies across the UK. To help promote nations and regions’ TV production, Ofcom has imposed quotas on the PSBs3 to ensure that a suitable proportion of their network programmes are made in the UK outside of the M25 (‘regional productions’). The BBC and Channel 3 services also have quotas to broadcast localised programmes, including regional news, across different areas of the UK (‘regional programming’), and a suitable proportion of these should be made in the local area. -
BBC Wales, Management Review, 2009/10
WALES MANAGEMENT REVIEW 2009/10 a INTRODUCTION FROM DIRECTOR, BBC CYMRU WALES IN A YEAR WHEN DIGITAL SWITCHOVER SWEPT ACROSS THE COUNTRY, THE ROLE OF WALES’ nATIONAL BROADCASTER HAS NEVER BEEN CLEARER. Some said that digital switchover would change everything. By beaming countless additional channels into every home across Wales, some warned it would accelerate the fragmentation of viewing, weakening the social and civic ties that bind us together. And yet take a look at what actually happened. In 2009/10, almost a million viewers – the highest figures for at least five years – tuned into BBC Cymru Wales programming each and every week. On top of this success, our network output continued to attract worldwide attention, including Torchwood’s stunning debut on BBC One and BBC Two’s captivating Last Chance to See. That success is of course a tribute to the skills and resilience of our talented production teams – both in-house and across the independent sector – and many of their achievements are rightly “ THIS YEAR’S SUCCESS IS A POWERFUL REMINDER OF captured in this review. OUR AUDIENCE’S DEMAND FOR HIGH QUALITY AND Our success this year is a powerful reminder that in an age of apparent digital plenty – with all its countless distractions – our audience’s demand for high quality and distinctive national programming DISTINCTIVE NATIONAL PROGRAMMING.” is as strong and robust as ever. MENNA RICHARDS, It is, needless to say, a challenge and responsibility we relish. DIRECTOR, BBC CYMRU WALES Menna Richards COVER IMAGE Director, BBC Cymru Wales Presenter Eddie Butler tells the story of a 5th or early 6th century carved sandstone, part of a trail of historical objects inspired by our History of the World project, and which can be seen at the National Museum Wales in Cardiff. -
BBC TV Standards Wales
BBC Wales Technical Standards for English Television Programme Delivery BBC Wales Technical Standards for English Language Television Programme Delivery (BBC ONE Wales, BBC TWO Wales and 2W) Version 1.3 (Updated for BBC Wales August 2003 to include new audio standard) Version 1.3 19/08/03 © BBC 2002 1 BBC Wales Technical Standards for English Television Programme Delivery Contents CONTENTS ------------------------------------------------------------------------------------------------------------------------ 2 1 SCOPE OF DOCUMENT ------------------------------------------------------------------------------------------------- 3 2 INTRODUCTION ----------------------------------------------------------------------------------------------------------- 3 3 TECHNICAL RESPONSIBILITIES FOR PROGRAMMES---------------------------------------------------------- 4 3.1 GENERAL RESPONSIBILITIES ---------------------------------------------------------------------------------------- 4 3.2 TECHNICAL LIAISON -------------------------------------------------------------------------------------------------- 4 3.3 RELAXATION OF STANDARDS---------------------------------------------------------------------------------------- 4 4 GENERAL TECHNICAL REQUIREMENTS---------------------------------------------------------------------------- 5 4.1 VIDEO GENERAL TECHNICAL REQUIREMENTS -------------------------------------------------------------------- 5 4.2 AUDIO GENERAL TECHNICAL REQUIREMENTS -------------------------------------------------------------------- 8 -
BBC Cymru Wales Apprenticeship Role: Sound Apprentice Location: Roath Lock Studios, Cardiff
Sound Apprentice - Drama Company: BBC Cymru Wales Apprenticeship Role: Sound Apprentice Location: Roath Lock Studios, Cardiff About the Organisation BBC Cymru Wales is the nation's broadcaster, providing a wide range of English and Welsh language content for audiences across Wales on television, radio and on our websites Roath Lock, is the BBC's state of the art centre of excellence for Drama, a place brimming with new energy and talent. When the first productions moved into Roath Lock in September 2011, they fulfilled a BBC commitment to create a centre of excellence for Drama in Cardiff. Located in Porth Teigr, Cardiff Bay, the 170,000 square foot facility, including nine studios and equivalent in length to three football pitches, is now the permanent, purpose-built home of four flagship BBC dramas - Casualty, Pobol y Cwm, Doctor Who - as well as new productions in the future. Job Description Sound Assistants are a member of the Production Sound Crew and provide general back up and support to the Production Sound Mixer and the Boom Operator. They are responsible for checking all stock, microphones and batteries and making sure that the sound department runs as smoothly as possible. Although the work is physically demanding, the hours are long and are sometimes performed on location in extreme terrain and/or severe weather the work can be very rewarding. Sound Assistants usually begin work early arriving on set half at least an hour before call time, with the rest of the Sound Crew. They help to unload the sound van, and working with the Boom Operator, check that all equipment is prepared and fully operational. -
904-4 BBC NR AC Wales 210612.Indd
WALES AUDIENCE COUNCIL REVIew 2011/12 a 01 Foreword by the National Trustee 02 Audience Council activity 04 Audience Council Wales report on BBC performance 09 BBC performance against Public Purposes 14 Audience priorities for 2012/13 17 Audience Council Wales 18 Contacts Cover image BBC National Orchestra of Wales at one of its concerts for special schools. FORewORD BY THE NaTIONal TRUSTee announced. This has been hugely welcomed by audiences. The Roath Lock drama production facility in Cardiff Bay, which now provides a home for Pobol y Cwm, Casualty and Doctor Who, was delivered on budget and on time. It potentially provides a huge boost for the creative industries in Wales. Following the Westminster Government’s announcement that S4C would be funded from the licence fee from 2013, I strongly welcome the new agreement reached with S4C and I look forward to the BBC and S4C exploiting future opportunities for co-operation for the creative, social, educational and “The Roath Lock drama economic benefit of audiences in Wales. production facility in Cardiff Bay, The year under review saw the departure which now provides a home for of Keith Jones as Director BBC Wales Pobol y Cwm, Casualty and Doctor and the appointment of Rhodri Talfan Davies to that post. I am grateful to Keith Who, was delivered on budget for his substantial support for the work of and on time.” Audience Council Wales and contribution to BBC Cymru Wales over many years. I warmly welcome Rhodri’s appointment The BBC’s Audience Councils advise the and look forward to working closely with Trust on how well the BBC fulfils its Public him during the months and years to come. -
BBC Radio Scotland’S Delivery of the BBC’S Public Purposes
BBC Nations Radio Review BBC Nations Radio Review Quantitative audience research assessing BBC Radio Scotland’s delivery of the BBC’s Public Purposes Prepared for September 20 2011 Prepared by Kantar Media: Trevor Vagg, Sara Reid and Julia Harrison. Ref: 45110564. © Kantar Media. Contact: 020 7656 5500 All rights reserved www.kantarmedia.com www.kantarmedia.com reserved P a g e | 2 Contents 1. Introduction .................................................................................................................................... 2 1.1 Objectives.................................................................................................................................... 3 1.2 Methodology ............................................................................................................................... 3 1.3 Explanation of Public Purposes and performance gaps.............................................................. 4 2. Executive summary ......................................................................................................................... 6 3. Overall performance measures for BBC Radio Scotland............................................................... 10 3.1 Overall impression of BBC Radio Scotland ................................................................................ 10 3.2 Likelihood to miss BBC Radio Scotland ..................................................................................... 12 3.3 Perceived value for money of BBC Radio Scotland .................................................................. -
Media Nations: Wales 2019
Media nations: Wales 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations: Wales report. The report reviews key trends in the television and audio-visual sector as well as the radio and audio industry in Wales. It provides context to the work Ofcom undertakes in furthering the interests of consumers and citizens in the markets we regulate. In addition to this Wales report, there are separate reports for the UK as a whole, Scotland, and Northern Ireland, as well as an interactive data report. The report provides updates on several datasets, including bespoke data collected directly from licensed television and radio broadcasters (for output, spend and revenue in 2018), Ofcom’s proprietary consumer research (for audience opinions), and BARB and RAJAR (for audience consumption). It should be noted that our regulatory powers do not permit us to collect data directly from online video-on-demand and video-sharing services (such as ITV Player, Netflix, Amazon Prime Video and YouTube) for research purposes, and therefore we also use third-party sources for information relating to these services. 1 Contents Overview............................................................................................................ 2 Key points .......................................................................................................... 3 TV services and devices...................................................................................... 5 Screen viewing .................................................................................................. -
Job Title: Script Editor Department: Drama
Job Title: Script Editor Department: Drama, BBC WALES Base: Roath Lock, Cardiff Grade: 7 This role will be offered as an attachment / fixed term contract from October 2015 for 12 months Requirements PLEASE NOTE THAT THIS IS A GENERIC JOB DESCRIPTION AND DUE TO THE NATURE OF THIS, THE EXACT DUTIES WILL BE DISCUSSED SHOULD YOU BE INVITED TO INTERVIEW. A job specification is a written statement of the essential characteristics of the job indicating duties, responsibilities, the degree of authority of the role, and the required knowledge, experience and personal attributes of the post holder. The duties described below are indicative of those of a fully experienced and proven Script Editor. As a Script Editor you can expect to be involved with a range of these duties: AIMS OF THE JOB 1. To ensure that commissioned scripts are of the required standard, conform to the editorial brief and are available for use at the appropriate time. 2. To advise on all script related matters associated with the production, and to manage the relationship between the writer and the production. 3. To generate creative ideas and story ideas of the highest standard. 4. To be the contact for BBC Worldwide regarding queries and provide editorial guidance and feedback for BBC Worldwide publishing proposals. You will also approve all written content across BBC Worldwide toys and games and where necessary supply supporting written materials. ORGANISATION The post holder will report to Executive Producer and Series Producer ENVIRONMENT Drama production can involve long and unpredictable work patterns and pressure to meet tight schedules and the post holder will need to have a flexible approach to their working day. -
BBC Radio Cymru’S Delivery of the BBC’S Public Purposes
BBC Nations Radio Review BBC Nations Radio Review Quantitative audience research assessing BBC Radio Cymru’s delivery of the BBC’s Public Purposes Prepared for September 20 2011 Prepared by Kantar Media: Trevor Vagg, Sara Reid and Julia Harrison. Ref: 45110564. Contact: 020 7656 5500 © Kantar Media. All rights reserved www.kantarmedia.com www.kantarmedia.com reserved P a g e | 2 Contents 1. Introduction .................................................................................................................................... 2 1.1 Objectives.................................................................................................................................... 3 1.2 Methodology ............................................................................................................................... 3 1.3 Explanation of Public Purposes and performance gaps.............................................................. 4 2. Executive summary ......................................................................................................................... 6 3. Overall performance measures for BBC Radio Cymru .................................................................... 9 3.1 Overall impression of BBC Radio Cymru ..................................................................................... 9 3.2 Likelihood to miss BBC Radio Cymru ........................................................................................ 11 3.3 Perceived value for money of BBC Radio Cymru ..................................................................... -
How True Is the Queen's Gambit?
ARTS November 13 | 2020 How true is The Queen’s Gambit? The UK women’s chess champion on the hit Netflix show Anya Taylor-Joy as Beth Harmon 2 1GT Friday November 13 2020 | the times times2 Caitlin 6 4 DOWN UP Moran Demi Lovato Quote of It’s hard being a former Disney child the Weekk star. Eventually you have to grow Celebrity Watch up, despite the whole world loving And in New!! and remembering you as a cute magazine child, and the route to adulthood the Love for many former child stars is Island star paved with peril. All too often the Priscilla way that young female stars show Anyabu they are “all grown up” is by Going revealed her Sexy: a couple of fruity pop videos; preferred breakfast, 10 a photoshoot in PVC or lingerie. which possibly 8 “I have lost the power of qualifies as “the most adorableness, but I have gained the unpleasant breakfast yet invented DOWN UP power of hotness!” is the message. by humankind”. Mary Dougie from Unfortunately, the next stage in “Breakfast is usually a bagel with this trajectory is usually “gaining cheese spread, then an egg with grated Wollstonecraft McFly the power of being in your cheese on top served with ketchup,” This week the long- There are those who say that men mid-thirties and putting on 2st”, she said, madly admitting with that awaited statue of can’t be feminists and that they cannot a power that sadly still goes “usually” that this is something that Mary Wollstonecraft help with the Struggle. -
Written Evidence Submitted by the BBC DCMS Select Committee Inquiry Into the Impact of Covid-19 on the DCMS Sectors
Written evidence submitted by the BBC DCMS Select Committee Inquiry into the Impact of Covid-19 on the DCMS Sectors Executive Summary 1. Covid-19 has had a substantial impact on the BBC’s ability to produce programmes and services. Following advice from the WHO, public health organisations and the Government, the BBC closed the production of many programmes and services across its TV and radio output. The cancellation of key broadcasting events, ceasing of productions, and changes to schedules will continue to have an impact on what audiences see and hear across the BBC across the coming months. 2. Like other organisations continuing to operate during this crisis, the BBC has faced operational challenges. We’ve experienced reduced levels of staffing and the huge increase in demand for the BBC’s internal network as over 15,000 colleagues work from home. For those unable to work from home, safety is paramount and we’ve followed Government advice. 3. The BBC Board took the decision to delay changes to the over-75s licence fee from 1 June to 1 August during an unprecedented time. The decision is to be kept under review. 4. In response to Covid-19, the BBC took swift action at the start of the pandemic to repurpose our services and programmes for the benefit of all audiences ensuring we kept the nation informed, educated and entertained. 5. The BBC enhanced our core role to bring trusted news and information to audiences in the UK and around the world in a fast-moving situation, and to counter confusion and misinformation. -
TV & Radio Channels Astra 2 UK Spot Beam
UK SALES Tel: 0345 2600 621 SatFi Email: [email protected] Web: www.satfi.co.uk satellite fidelity Freesat FTA (Free-to-Air) TV & Radio Channels Astra 2 UK Spot Beam 4Music BBC Radio Foyle Film 4 UK +1 ITV Westcountry West 4Seven BBC Radio London Food Network UK ITV Westcountry West +1 5 Star BBC Radio Nan Gàidheal Food Network UK +1 ITV Westcountry West HD 5 Star +1 BBC Radio Scotland France 24 English ITV Yorkshire East 5 USA BBC Radio Ulster FreeSports ITV Yorkshire East +1 5 USA +1 BBC Radio Wales Gems TV ITV Yorkshire West ARY World +1 BBC Red Button 1 High Street TV 2 ITV Yorkshire West HD Babestation BBC Two England Home Kerrang! Babestation Blue BBC Two HD Horror Channel UK Kiss TV (UK) Babestation Daytime Xtra BBC Two Northern Ireland Horror Channel UK +1 Magic TV (UK) BBC 1Xtra BBC Two Scotland ITV 2 More 4 UK BBC 6 Music BBC Two Wales ITV 2 +1 More 4 UK +1 BBC Alba BBC World Service UK ITV 3 My 5 BBC Asian Network Box Hits ITV 3 +1 PBS America BBC Four (19-04) Box Upfront ITV 4 Pop BBC Four (19-04) HD CBBC (07-21) ITV 4 +1 Pop +1 BBC News CBBC (07-21) HD ITV Anglia East Pop Max BBC News HD CBeebies UK (06-19) ITV Anglia East +1 Pop Max +1 BBC One Cambridge CBeebies UK (06-19) HD ITV Anglia East HD Psychic Today BBC One Channel Islands CBS Action UK ITV Anglia West Quest BBC One East East CBS Drama UK ITV Be Quest Red BBC One East Midlands CBS Reality UK ITV Be +1 Really Ireland BBC One East Yorkshire & Lincolnshire CBS Reality UK +1 ITV Border England Really UK BBC One HD Channel 4 London ITV Border England HD S4C BBC One London