Continued Strong Operating Performance Full Year Results for the Year Ending 31St December 2018
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Creating change for good ITV Responsibility Corporate Responsibility Summary Report 2017 Contents About us As an integrated producer broadcaster, we create, own and distribute high quality entertainment on multiple platforms globally. Since our first broadcast in 1955, we’ve grown into an integrated About us 1 producer broadcaster with an increasingly global and diversified How we do business 2 operating footprint. We run the largest commercial family of channels in the UK, as well as deliver programmes on demand through numerous Our Corporate Responsibility Strategy 3 platforms directly and on the ITV Hub. 2017 highlights and achievements 4 Our global production business, ITV Studios, creates and sells Did you programmes and formats from offices in the UK, US, Australia, France, People Germany, the Netherlands, the Nordics and Italy. It’s the largest and most successful commercial production company in the UK, and a know… Our commitments 6 leading unscripted independent producer in the US and Europe. In 2017, 54% of ITV Studios revenue was from outside the UK. ITV Studios Global Our website Case studies 7 Entertainment is a leading international distribution business, offering a Find out more on what we do at catalogue of over 45,000 hours of world-class television and film. In 2017, our itvresponsibility.com, including: Planet We reach 80% of the UK’s TV-watching population each week. group external Our commitments 8 Internationally, we’ve continued to grow with operations in 11 countries Reports and more than 6,300 colleagues based across the globe. revenue was over Policies Case studies 9 Toolkits In 2017, we continued to build significant scale in key creative markets £3.1 billion Latest news around the world, creating and producing programmes and formats Partnerships that return and travel, namely drama, entertainment and factual Our commitments 10 entertainment. -
ITV Partners with Viewability Company Meetrics
PRESS RELEASE ITV partners with viewability company Meetrics First measurements across all channels show viewability rates above industry-wide benchmarks ITV, the UK’s biggest commercial broadcaster, announces that it has partnered with Meetrics, a leading European software company for advertising measurement and analytics, to provide enhanced advertising campaign delivery validation for VOD advertising across ITV Hub platforms. As part of the partnership, Meetrics provides video viewability data and reporting for ITV Hub on connected TV platforms and In-App (Android and iOS) as well as desktop and mobile web campaigns. This enriches the reporting capabilities for VOD campaigns run on ITV Hub and demonstrates the high quality of ITV’s ad inventory on metrics that are important to agencies and advertisers. With the partnership, ITV underlines its commitment to very high transparency standards and quality controls for the benefit of its advertising customers. Meetrics is an independent vendor accredited for various services by the Media Rating Council and committed to strict privacy rules in full accordance with GDPR. With Meetrics as a partner ITV is breaking new ground by being the first broadcaster in the world to make use of the IAB Open Measurement SDK, which is considered the most rigorous standard for In-App viewability measurement. To date, average measurement for campaigns running across ITV Hub showed a viewability rate (according to the MRC definition) of 98%, which is far beyond average, compared to industry viewability benchmarks. The new viewability measurement and reporting will give advertisers huge confidence that ITV can deliver standards on human and viewability measures that outperform the VOD market. -
Quick Reference Guide To: How to Deliver Content to ITV Your Programme Has Been Commissioned and You Have Been Asked by ITV to Deliver a Piece of Content
July 2020 Quick Reference Guide To: How to Deliver Content to ITV Your programme has been commissioned and you have been asked by ITV to deliver a piece of content. What do you need to do and who are the contacts along the journey?..... Firstly, you will need to know who your Compliance Advisor is. If you’ve not been provided with a contact then email [email protected]. Your Advisor will be able to provide you with legal advice along the journey and will be able to provide you with lots of key information such as your unique Production Number. Another key contact is your Commissioner. They may require some deliverables from you so it’s best to have that discussion directly with them. Within this guide you will find a list of frequently asked questions with links to more detailed documents. 1. My programme will be transmitted live. Does this make a difference? 2. My programme isn’t live; so what exactly am I delivering? 3. Where do I get my Production/Clock Numbers from? 4. Where can I get my tech spec to file deliver? 5. Where do I deliver my DPP AS-11 file to? 6. I need to ensure that my programme has the ITV ‘Look & Feel’. How do I make this happen? 7. Can I make amendments to my programme after I’ve delivered it to Content Delivery? 8. Where do I send my Post Productions Scripts to? 9. What do I do if I have queries around part durations and the total runtime of my programme? 10. -
Daniel Greenway Editor
Daniel Greenway Editor Daniel gained cutting room and features experience working on Batman Begins, The Da Vinci Code and The Bourne Ultimatum. He graduated with a Distinction in 2007 from the National Film and Television School's two year MA programme, specialising in editing. In 2016 he was nominated for a BAFTA for his work on the sci-fi drama series Humans. Daniel is a proficient French speaker and is based in London. Agents Silvia Llaguno Associate Agent Shannon Black [email protected] +44 (0) 20 3214 0889 Credits Drama Production Company Notes SUSPICION Keshet Productions / Apple Dir: Chris Long 4 x 60MIN EPS 1, 2, 7 TV+ Prod: Darin McLeod & 8 2021 BRAVE NEW WORLD Amblin Television / Dir: Andrij Parekh 1 x 60MIN EP 7 NBCUniversal Content Studios Prod: Chloe Moss 2020 / USA Network WHITE LINES Left Bank Pictures / Netflix Dir: Luis Prieto 1 x 60MIN EP 5 Prod: Chris Croucher 2020 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE CROWN Left Bank Pictures / Netflix Dir: Sam Donovan 1 x 60MIN SERIES 3, Prod: Michael Casey EP 9 2019 WORLD ON FIRE Mammoth Screen / BBC One Co-editor 1 x 60MIN EP 1 Dir: Adam Smith 2019 Prods: Nickie Sault, Chris Clough BAPTISTE Two Brothers Pictures / BBC Dir: Börkur Sigþórsson 1 x 60MIN EP 1 One Prod: John Griffin 2019 THE WIDOW Two Brothers Pictures / ITV Dir: Sam Donovan 2 x 60MIN EPS 1 & 2 Prod: Eliza Mellor 2019 THE TERROR Scott Free / AMC Studios Dir: Sergio Mimica-Gezzan 3 x 60MIN -
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. -
Birth and Evolution of Korean Reality Show Formats
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the -
Conquer Ninja Warrior Waiver
Conquer Ninja Warrior Waiver Mycologic or exaggerative, Kenton never squirm any Utraquist! Thorsten graphitized his tinklers bruted struttingly or auricularly after Fonz summersets and modulates affectionately, churchless and knuckly. Controllable Sutton detruncated, his ministrations barbers bespangled parenthetically. Forms & Publications YMCA of cancer North. Is render a printed waiver available giving all waivers need we be completed online Why don't I first sign data for he Gym. About Us Power Park Fitness. Day Camp Parkour NERF and Ninja Warrior Flying Frog. Waivers must be filled out online prior to attending class. Ever watch the robust American Ninja Warrior i think I even do that. Kids will learn ninja skills drills describe how to friendly real ninja warrior obstacles learn cool ninja warrior games tricks and stark against kids their own size. Conquer Ninja Warrior Frequently Asked Questions. All registered participants must trigger an online waiver. You will meet how making swing conquer balance obstacles beat the warped wall. His 12-year-old twin siblings Paris and Emily want to relish a tiny obstacle. What obstacles waiver and conquer any of conquer waiver. Each class will must a fun strength and speed focused workout plus a hands-on obstacle training session to learn and conquer various obstacles These classes. Waiver is required for students of all ages to attend classes or Open Gyms. Newsletter 4 City of Inver Grove Heights. Ninja Warrior transition Course for Kids Family eGuide. Slowly it will treasure how to properly conquer this obstacle courses with syringe and. Ninja Performance Training Warrior Playground. Our waiver form submission data to conquer ninja warrior waiver by making this time, conquer ninja warrior training. -
0884 Future Reflections 2
Future Reflections Four scenarios for television in 2012 A scenario analysis study of the television industry Led by Bournemouth Media School With research support from The Independent Television Commission and The British Screen Advisory Council FUTURE REFLECTIONS: FOUR SCENARIOS FOR TELEVISION IN 2012. A scenario analysis study of the television industry Written by Robin Foster and Christine Daymon of Bournemouth Media School with Sam Tewungwa of the Independent Television Commission The Future Reflections project was coordinated by: Robin Foster, Dr Christine Daymon, Professor John Ellis, Roger Laughton, Professor Barry Richards and Sam Tewungwa. Dr Mark Wheeler provided additional research support. November 2002 Participants Main panel: Dawn Airey Tess Alps Sly Bailey Daniel Ballin David Bergg David Brook Ajay Chowdhury Mike Darcey David Docherty John Egan Sue Farr Alex Graham Andrew Harrison Ashley Highfield Alison Hopkins Mathew Horsman Roly Keating Phil Kirby Matt Peacock Simon Rees Jamie Reeve Ed Richards Paul Robinson Mark Rowland Matthew Stibbe Damian Tambini Simon Terrington Second panel: Tom Box Danny Cohen Andy Culpin Lianne Daly Liz Faber Miles Jarvis Olly Lambert Matthew Stibbe (also on main panel) 2 INDEX Participants 2 Part I: The Project Introduction and Overview 4 Chapter 1: Towards 2012: Exploring the future of television 6 Chapter 2: The four scenarios 13 Chapter 3: Issues and challenges 36 Part II: The Wider Context Chapter 4: Society and consumers 50 Chapter 5: The economic and political/regulatory context 54 Chapter 6: Industry structure and competition 57 Chapter 7: Technology, content and services 60 Chapter 8: The European context 65 Part III: The Methodology Chapter 9: Research design 72 Appendices Appendix 1: Interview protocol 77 Appendix 2: Industry variables 79 3 PART ONE: THE PROJECT Introduction and Overview There is no doubt that the television industry in Britain has entered a period of fundamental and unpredictable change. -
6769 Shary & Smith.Indd
ReFocus: The Films of John Hughes 66769_Shary769_Shary & SSmith.inddmith.indd i 110/03/210/03/21 111:501:50 AAMM ReFocus: The American Directors Series Series Editors: Robert Singer, Frances Smith, and Gary D. Rhodes Editorial Board: Kelly Basilio, Donna Campbell, Claire Perkins, Christopher Sharrett, and Yannis Tzioumakis ReFocus is a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of neglected American directors, from the once-famous to the ignored, in direct relationship to American culture—its myths, values, and historical precepts. The series ignores no director who created a historical space—either in or out of the studio system—beginning from the origins of American cinema and up to the present. These directors produced film titles that appear in university film history and genre courses across international boundaries, and their work is often seen on television or available to download or purchase, but each suffers from a form of “canon envy”; directors such as these, among other important figures in the general history of American cinema, are underrepresent ed in the critical dialogue, yet each has created American narratives, works of film art, that warrant attention. ReFocus brings these American film directors to a new audience of scholars and general readers of both American and Film Studies. Titles in the series include: ReFocus: The Films of Preston Sturges Edited by Jeff Jaeckle and Sarah Kozloff ReFocus: The Films of Delmer Daves Edited by Matthew Carter and Andrew Nelson ReFocus: The Films of Amy Heckerling Edited by Frances Smith and Timothy Shary ReFocus: The Films of Budd Boetticher Edited by Gary D. -
Broadcast and on Demand Bulletin Issue Number 308 04/07/16
Ofcom Broadcast and On Demand Bulletin Issue number 308 4 July 2016 1 Ofcom Broadcast and On Demand Bulletin, Issue 308 4 July 2016 Contents Introduction 3 Broadcast Standards cases In Breach Going Underground RT, 5 and 23 March 2016, 14:00 5 Tables of cases Investigations Not in Breach 31 Complaints assessed, not investigated 32 Complaints outside of remit 38 Investigations List 40 2 Ofcom Broadcast and On Demand Bulletin, Issue 308 4 July 2016 Introduction Under the Communications Act 2003 (“the Act”), Ofcom has a duty to set standards for broadcast content as appear to it best calculated to secure the standards objectives1. Ofcom also has a duty to secure that every provider of a notifiable On Demand Programme Services (“ODPS”) complies with certain standards requirements as set out in the Act2. Ofcom must include these standards in a code, codes or rules. These are listed below. The Broadcast and On Demand Bulletin reports on the outcome of investigations into alleged breaches of those Ofcom codes and rules below, as well as licence conditions with which broadcasters regulated by Ofcom are required to comply. We also report on the outcome of ODPS sanctions referrals made by the ASA on the basis of their rules and guidance for advertising content on ODPS. These Codes, rules and guidance documents include: a) Ofcom’s Broadcasting Code (“the Code”) for content broadcast on television and radio services. b) the Code on the Scheduling of Television Advertising (“COSTA”) which contains rules on how much advertising and teleshopping may be scheduled in television programmes, how many breaks are allowed and when they may be taken. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Kay Mellor's Brand New Itv Drama 'Girlfriends'
KAY MELLOR’S BRAND NEW ITV DRAMA ‘GIRLFRIENDS’ WILL AIR IN THE NEW YEAR Rollem Productions brand new ITV drama Girlfriends - from the pen of BAFTA award- winning screenwriter Kay Mellor – will air in early 2018. The series stars Phyllis Logan (The Good Karma Hospital, Downton Abbey), Miranda Richardson (Mapp & Lucia, And Then There Were None, Churchill, iBoy) and Zoë Wanamaker (Mr Selfridge, Agatha Christie’s Poirot, My Family, Gormenghast, Harry Potter and the Philosopher's Stone) in the three lead roles and showcases a stellar supporting cast including: Daisy Head (Guilt, The Syndicate 3), Chris Fountain (Coronation Street, Hollyoaks), Philip Cumbus (The Resistable Rise of Arturo Ui, Comus), Matthew Lewis (Harry Potter, Ripper Street), Val Lilley (Cuffs, Mr Sloane, Shameless), Anthony Head (A Street Cat Named Bob, You, Me & Them), Adrian Rawlins (Hard Sun, Maigret in Montmartre), Wendy Craig (The Worst Witch, Unforgotten), Dave Hill (Porridge, Vera), Steve Evets (This Is Us, Looking For Eric, Rev), Paula Wilcox (Upstart Crow, Mount Pleasant, Boomers), Chloe Hart (Kinky Boots, Hairspray), Elena Saurel (Midsomer Murders, Silent Witness), Thailia Zucchi (The Windsors, New Tricks), Emmett J Scanlan (The Fall, In The Flesh), Rochenda Sandall (Love, Lies & Records, Broken) and Matthew Marsh (Love, Lies & Records, Riviera). For life-long friends Linda, Sue and Gail, the years have flown by, yet their lives seem more complicated than ever. When Linda’s husband Micky vanishes from a cruise ship on their wedding anniversary Linda suddenly finds herself on her own for the first time in nearly 30 years. Widowed and out of her depth she turns to her old friends Gail and Sue for support, who each have their own problems to face… Glamorous and successful Sue is shocked when she finds herself facing age discrimination in her job as the editor of a popular bridal magazine.