DOCSLIB.ORG

Commissioning Brief

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Commissioning Brief RADIO COMMISSIONING FRAMEWORK Commissioning Brief Commissioning Brief No: 107001 Production of BBC Radio 5 Live’s new ‘Sport Entertainment’ podcast for BBC Sounds CONTENTS SECTION A: EDITORIAL OPPORTUNITY........................................................................... 3 SECTION B: THE COMMISSIONING PROCESS ................................................................. 8 1. TIMETABLE .......................................................................................................... 8 2. THE FIVE STAGES ................................................................................................. 9 3. ASSESSMENT CRITERIA ..................................................................................... 11 SECTION C: FULL PROPOSALS ...................................................................................... 12 1. WHAT WE NEED FROM YOU ............................................................................. 12 2. WHAT TO EXPECT FROM US ............................................................................. 13 3. IMPORTANT POINTS TO NOTE .......................................................................... 14 SECTION D: KEY CONTRACT TERMS…………………………………………………………………………15 2 of 15 SECTION A: EDITORIAL OPPORTUNITY Commissioning Brief 107001 Sports Entertainment Podcast Commission contact Richard Maddock Duration Average 30-60 minutes per episode Number of programmes available Minimum initial run of 15 eps with option to extend. Transmission period Starting early 2020 Guide price per episode £2k - £5k per Commissioning Year 2019/2020 Commissioning Round Sports Entertainment Podcast All proposals must be submitted via Proteus. Please make your short proposal is no more than 250 words. Important Notes: Short Proposals must be submitted via Proteus before the deadline at noon on Tuesday Dec 31st. The answer to Part 1 should be no longer than 250 words per question. All answers should be entered into the ‘Add/Edit Notes Here’ section in Proteus. Note - the question in this brief may differ from those used in other 5 Live commissioning briefs. The suppliers that perform best in the short proposal stage (by best demonstrating their experience in podcast production and revealing their creative plan) will then have their Full Proposal assessed. This should be no longer than 3 sides of A4. It should be entered into the ‘full synopsis’ section of the Proteus submission form. We strongly advise you to submit your Proposals in good time to avoid the possibility of difficulties caused by unforeseen network or transmission problems. No late submissions will be accepted. 3 of 15 BBC Sounds BBC Sounds is the new digital platform from the BBC that has something for everyone: brand new music mixes – curated by some of the biggest names in the industry – new and exclusive podcasts, live and on-demand radio, plus endless hours from the archive. The BBC Sounds app makes recommendations based on your listening habits, so the more you listen the more you’ll discover. You’ll find collections of funny things, suspenseful stories, and curiosities, alongside music mixes to soundtrack your day. You can subscribe to shows to build your own feed in My Sounds, and you can download your favourites to listen offline and on the go. BBC Sounds is available for free from Apple, Google Play, Amazon and online at bbc.co.uk/sounds. BBC Radio 5 Live BBC Radio 5 Live is the home of news, conversation and the best live sport. On 5 Live we deliver informed, topical national debate to around 5 and a half million listeners every week. The station aims to set the national agenda on big news stories through the ownership of key issues and we put the audience at the heart of everything we do. Broadcasting from our base outside London, we take our commitment to reflect how the whole of the UK really thinks and feels very seriously. Almost every week we are on location telling more stories from more places than any other broadcaster, capturing the widest range of voices and views. We also travel the world to give our listeners insight into life beyond our borders. A truly interactive station, we aim to pioneer innovative new ways of bringing our content to audiences, particularly those under the age of 45, in both linear and digital ways. Sister station 5 Live Sports Extra is the BBC’s home of live sport. The station transmits on digital platforms only and broadcasts live sport commentary on an ad hoc basis. The station is well-known for its coverage of cricket (Test Match Special); Rugby League; Women’s Football and Formula 1, amongst many other sports. Across both stations, our world-class sports coverage and commentary brings nation-uniting moments to life across many different sports. We can cover up to 50 different sports during the year but our priority is football. We broadcast over 100 commentaries from the Premier League each season in addition to commentaries from The Champions League and international games. Podcast Strategy 5 Live has become one of the country’s leading production houses in the last few years. Our podcast strategy has seen download figures treble from around 30 million downloads a couple of years ago, to almost 100 million downloads of 5 Live titles in the last 12 months. Our production slate stretches across several genres, from successful news titles like the award winning Brexitcast; smash hit sports titles like ‘That Peter Crouch 4 of 15 Podcast’, ‘Tailenders’ and ‘5 Live Football Daily’ and entertainment titles like ‘Elis James and John Robins’ and ‘Kermode & Mayo’s Film Review’. We have also seen success in the fields of investigation journalism and dramatic story telling. Our podcast strategy is focussed on attracting under 35 year olds to become daily visitors to BBC Sounds, and is built around fulfilling 3 core needs: Unwind: Young people are feeling the stress and pressure of the world and their lives and want content that will help them let off steam, pick them up or provide them with good company. Stimulation & inspiration: Audiences are turning to on-demand speech to feel inspired, go deeper into their passions and understand themselves, their world and their place in it Feel lost in a story: An escapist need to be engrossed in something: shutting off from the world and being lost in the drama of a story 5 Live podcasts offer an opportunity to attract new audiences to BBC Sounds or deepen the connection with existing listeners. Most titles are broadcast on linear 5 Live but are commissioned as ‘podcast first’ projects. Tonally they should be raw, honest and personal and create a one-to-one connection with the listener. They should be authentic and relatable and designed to spark a conversation. Podcasts are a platform to introduce new talent to the BBC but can also reveal previously unseen sides of big name celebrities. They offer the chance for presenters to delve into areas of personal interest and create new communities around shared passions. The central pillars of all great podcasts are a great story, and a great storyteller. The Opportunity Around 7 million people listen to podcasts each week with 3 million of them saying they listen to the ‘Sport’ based titles. To these listeners Sport is more than just a game. It has broader cultural relevance for younger audiences in particular. Sport is celebrity, fashion, social capital. Sport is empowering and can be a force for good and identity forming. But Sport is not just for the die-hard season ticket holder. It plays a role in everyone’s life from fair-weather fans to early morning joggers. It is much more than a game. Sport teaches us about how the world does and doesn’t work; it makes us laugh, cry, sit on the edge of our seat or relax and it defines who we are or provides a distraction from everyday life. We are looking to commission a new podcast series that fits within our ‘Sports Entertainment’ genre. Previous 5 Live titles within this field that have been very successfully include the likes of Flintoff, Savage & The Ping Pong Guy; Tailenders and That Peter Crouch Podcast (that currently does around 500k downloads per episode). 5 of 15 Sport Entertainment podcasts offer more than just sporting debate and discussion. They take the listener behind the scenes, into the dressing room, on to the team bus etc. These podcasts are generally talent-led and reflect the ‘Unwind’ need state mentioned above. They are entertaining in their nature with a large degree of humour, but can also be brutally honest and emotional. We are looking for next smash hit series to add to BBC’s Sounds’ already impressive slate in this genre. The commission will initially be for a shorter series (approx. 15 episodes) but maybe extended to more episodes depending on early signs of success. We’re particularly interested in hearing ideas led by recognisable talent who maybe aren’t currently visible within the existing podcast market. It might be a big name sports personality at the heart of it, or alternatively a big name from the world of entertainment. We’re looking for a format or approach that will be entertaining, edgy and create a real habit-forming relationship with the listener. The proposal should provide an element of escapism for the audience, make them feel like they are being invited behind the scenes and involved in conversations that feel very personal and authentic. The range in guide price (£2k - £5k per ep) reflects the variation in number of hosts, level of talent, production requirement and the scale and ambition of the idea. This is a guide
Load more

Recommended publications
  • BBC World Service : Overseas Broadcasting, 1932-2018 Pdf Free Download
    BBC WORLD SERVICE : OVERSEAS BROADCASTING, 1932-2018 PDF, EPUB, EBOOK Gordon Johnston | 338 pages | 26 Nov 2019 | Palgrave MacMillan | 9780230355606 | English | Basingstoke, United Kingdom BBC World Service : Overseas Broadcasting, 1932-2018 PDF Book Radio Times. A few months ago this was valuable information for those travelling abroad who wanted their fix of BBC radio coverage. Within a decade, the service began adding languages and regions, and currently broadcasts to people around the world in 27 languages, with a broad range of programs including news, music, comedy and documentaries. Ships within weeks Not available in stores. The Travel Show , Our World. Secession [Hardcover] Hardback. The Doha Debates. The easiest way to work around such restrictions is by using a VPN. Featuring psalm settings for each Sunday and all the major feast days, this essential musical resource is the first publication to feature the psalm texts that are used in the new Canadian lectionary. Huw Edwards. As radio streams don't hog bandwidth to the extent that streaming TV does, most good VPN services are perfectly adequate for virtually moving back to the UK to listen to a restricted programme. Can I view this online? Retrieved 21 November BBC Television. BBC portal. Editor: Sarah Smith. Retrieved 9 February The Bottom Line. The Random House Group. Advanced search Search history. We have recently updated our Privacy Policy. Need Help? The phrase "but for now" means among other things "making do," as if we had to settle for the bare minimum. Presenters who have normal shows and also Relief present have their relief shows in bold.
    [Show full text]
  • Guidelines to Making Programmes for BBC World Service
    Guidelines to Making Programmes for BBC World Service Titles and Descriptions It’s not just the programmes that need to have a sense of excitement and the ability to create curiosity in our audience and potential audience. Whatever we publish - titles, billings, online descriptions etc (known as ‘metadata’) - have an effect on how your programme performs on the web. Programme titles and descriptions should always be written in a way that encourages the most people to listen to it, makes the programme topic clear, and ensures visibility and findability across the web - in podcast provider spaces (such as Apple Podcasts, Spotify etc.), search engine results (such as Google) and other tech, such as voice-activated systems (such as Alexa). We need to have titles and programme descriptions five weeks before the transmission date. This ensures that both Press and Publicity have time to adequately promote the programme, and that these descriptions are ready in time for our automated systems. It can be difficult to update programme descriptions at some of their publication sites if the information arrives too close to transmission. Titles Indicate immediately what the programme or podcast is about. • Use clear simple language – no puns. Show the value of your content • Be succinct - take out any unnecessary words (use 50 characters max) • Put the words that convey most about the story at the front (apps may cut off the end of the title) • Use search terms so people can discover your content Examples of Good Titles • The Death Row book club • In search of the quarter-life crisis • ADHD and me • Finding the viruses that destroy superbugs • How Christo wrapped the Reichstag 1 Programme Descriptions We need you to provide two descriptions for each programme you deliver.
    [Show full text]
  • Annual Report on the BBC 2019/20
    Ofcom’s Annual Report on the BBC 2019/20 Published 25 November 2020 Raising awarenessWelsh translation available: Adroddiad Blynyddol Ofcom ar y BBC of online harms Contents Overview .................................................................................................................................... 2 The ongoing impact of Covid-19 ............................................................................................... 6 Looking ahead .......................................................................................................................... 11 Performance assessment ......................................................................................................... 16 Public Purpose 1: News and current affairs ........................................................................ 24 Public Purpose 2: Supporting learning for people of all ages ............................................ 37 Public Purpose 3: Creative, high quality and distinctive output and services .................... 47 Public Purpose 4: Reflecting, representing and serving the UK’s diverse communities .... 60 The BBC’s impact on competition ............................................................................................ 83 The BBC’s content standards ................................................................................................... 89 Overview of our duties ............................................................................................................ 96 1 Overview This is our third
    [Show full text]
  • Pocketbook for You, in Any Print Style: Including Updated and Filtered Data, However You Want It
    Hello Since 1994, Media UK - www.mediauk.com - has contained a full media directory. We now contain media news from over 50 sources, RAJAR and playlist information, the industry's widest selection of radio jobs, and much more - and it's all free. From our directory, we're proud to be able to produce a new edition of the Radio Pocket Book. We've based this on the Radio Authority version that was available when we launched 17 years ago. We hope you find it useful. Enjoy this return of an old favourite: and set mediauk.com on your browser favourites list. James Cridland Managing Director Media UK First published in Great Britain in September 2011 Copyright © 1994-2011 Not At All Bad Ltd. All Rights Reserved. mediauk.com/terms This edition produced October 18, 2011 Set in Book Antiqua Printed on dead trees Published by Not At All Bad Ltd (t/a Media UK) Registered in England, No 6312072 Registered Office (not for correspondence): 96a Curtain Road, London EC2A 3AA 020 7100 1811 [email protected] @mediauk www.mediauk.com Foreword In 1975, when I was 13, I wrote to the IBA to ask for a copy of their latest publication grandly titled Transmitting stations: a Pocket Guide. The year before I had listened with excitement to the launch of our local commercial station, Liverpool's Radio City, and wanted to find out what other stations I might be able to pick up. In those days the Guide covered TV as well as radio, which could only manage to fill two pages – but then there were only 19 “ILR” stations.
    [Show full text]
  • 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.
    [Show full text]
  • Berry, Richard (2013) Radio with Pictures: Radio Visualization in BBC National Radio
    Berry, Richard (2013) Radio with pictures: Radio visualization in BBC national radio. The Radio Journal, 11 (2). pp. 169-184. ISSN 1476-4504 Downloaded from: http://sure.sunderland.ac.uk/id/eprint/5210/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. Radio with Pictures: Radio Visualisation in BBC National Radio Richard Berry University of Sunderland Abstract. Radio has always had pictures. The ones the listener created in their own minds and this is, most of us agree, one of the medium's greatest strengths. However, radio is increasingly consumed on a digital platform (such as DAB Radio, Digital TV, a mobile device or a computer) on devices with screens, rather than a dial. This creates a problem for radio because when we look at the device we are listening to we see a screen that often lacks rich content. The process of Radio Visualisation is about filling this space. This papers focus, though, is the other ways in which radio is visualising itself online in a process that deploys transmedia storytelling techniques that build relationships with the audience, builds brands and helps broadcasters to tell stories in ways never before possible. In the spring of 2011 2.84 million British TV viewers watched a radio programme on their Televisions. They were tuning in via interactive television (or the 'red button') services to watch the BBC Radio One breakfast presenter Chris Moyles attempt to break a world record for the longest radio programme. The BBC installed a series of fixed cameras in the programme’s regular studio at the BBC's Yalding House studios, with added 'roving' cameras to allow the presenters to broadcast from other parts of the building and a cafe across the street.
    [Show full text]
  • BBC RADIO ULSTER/FOYLE Station Sound Commissioning Brief SEPTEMBER 2020
    BBC RADIO ULSTER/FOYLE Station Sound Commissioning Brief SEPTEMBER 2020 1 Context: THE STATION BBC Radio Ulster/Foyle: • BBC Radio Ulster was established in 1975. Radio Foyle followed as an opt-out service in 1979. • Consistently one of the most listened to stations in Northern Ireland; it embraces every aspect of community and cultural life in Northern Ireland. Its reach and popularity makes it one of the BBC’s top performing stations, within its local and national portfolio, with community connection at the core of its appeal. • BBC Radio Ulster/Foyle's strength of reach is driven by news & current affairs, speech programming, sport and wide ranging specialist music, arts and entertainment. • The station is on air 06.30-00.00 each day. Broadcasting on FM, DAB and BBC Sounds. • Our core audience skews male, (55%) and older with an average age of 56 .The socio economic profile of the station is an even 50/50 split ABC1/C2DE. Whilst it remains a priority to maintain our unique connection with core audiences, facing forward we will make a determined effort to engage and grow listenership with audience in the 30-45 age range. 2 Context: THE STATION TODAY We have recently reworked the station schedule, introducing new programmes, strands and on air talent, alongside long running output and much loved presenters. Just a selection of these are… Good Morning Ulster Evening Extra The Nolan Show Connor Phillips Show Lynette Fay Show ATL: Introducing Talkback Sarah Brett & Chris Buckler Tara Mills & Declan Harvey Stephen Nolan Connor Phillips Lynette
    [Show full text]
  • Service Review of BBC Radio 5 Live and 5 Live Sports Extra Analysis of Public Consultation August 2011
    Service Review of BBC Radio 5 Live and 5 Live Sports Extra Analysis of Public Consultation August 2011 By Helen Mather Public Knowledge Table of Contents 1. EXECUTIVE SUMMARY 3 2. INTRODUCTION 5 3. SUMMARY OF KEY THEMES 7 4. RESPONSES TO CONSULTATION QUESTIONS 10 4.1: How do you listen to 5 Live and how often? 10 4.2: How do you listen to 5 Live Sports Extra and how often? 12 4.3: 5 Live has a number of commitments about news coverage: how well do you think it does these things? 14 4.4: 5 Live should offer instant access to breaking news from the UK and internationally, and become a rolling news service whenever appropriate. How well do you think it does this? 19 4.5: 5 Live has a number of commitments about political coverage: how well do you think it does these things? 21 4.6: 5 Live has a number of commitments about sports coverage: how well do you think it does these things? 24 4.7: 5 Live should provide commentary of major sports events and other programming on a broad range of sports. What do you think of the range of sports covered by 5 Live? 27 4.8: 5 Live should provide in-depth investigative journalism and analysis across a wide range of news and sports programmes. How well do you think it does this? 29 4.9: 5 Live also has commitments about covering news and sport from across the UK: How well do you think it does these things? 31 4.10: 5 Live also has commitments about encouraging participation: How well do you think it does these things? 34 4.11: What do you think of the range and mix of programmes on 5 live? 37 4.12: 5 Live Sports Extra aims to provide a complementary service to 5 Live by bringing live sports coverage of both mainstream and minority sports events from the UK.
    [Show full text]
  • History of the BBC October 1922
    9/9/2019 1920s - History of the BBC Home News Sport Weather Shop Reel Travel Capital M History of the BBC Menu 1920s Where it all began, turning early radio experiments into a new medium - broadcasting. 1920s The British Broadcasting Company, as the BBC was originally called, was formed on 18 October 1922 by a group of leading wireless manufacturers including Marconi. Daily broadcasting by the BBC began in Marconi's London studio, 2LO, in the Strand, on November 14, 1922. John Reith, a 33-year-old Scottish engineer, was appointed General Manager of the BBC at the end of 1922. October 1922 - 2LO launched Following the closure of numerous amateur stations, the BBC started its first daily radio service in London – 2LO. Aer much argument, news was supplied by an agency, and music drama and 'talks' filled the airwaves for only a few hours a day. It wasn't long before radio could be heard across the nation. https://www.bbc.com/historyofthebbc/timelines/1920s 1/7 9/9/2019 1920s - History of the BBC Pathe News marks the start of 2LO in a cinema newsreel. December 1922 - John Reith appointed Thirty-three year old John Charles Walsham Reith became General Manager of the BBC on 14 December 1922. I hadn't the remotest idea as to what broadcasting was. There were no rules, standards or established purpose to guide him. He immediately began innovating, experimenting and organising, and with the help of his newly appointed chief engineer, Peter Eckersley, the service began to expand. https://www.bbc.com/historyofthebbc/timelines/1920s 2/7 9/9/2019 1920s - History of the BBC John Reith September 1923 - Radio Times first edition The first edition of The Radio Times listed the few programmes on offer.
    [Show full text]
  • GCSE Media Studies: Radio and Careers in Radio the Only Area Of
    GCSE Media Studies: Radio and Careers in Radio The only area of the curriculum that we missed, owing to remote learning, was radio. Digital radio and its commercial stations, which meet the needs of diverse audiences, have secured the longevity of radio as a media form. Consequently, the BBC (public broadcasting) has had to change rapidly in order to maintain listening numbers, especially when faced with large independent commercial competition such as Virgin Radio. Here are some study tasks that will ensure that you are ready for any learning about radio at A Level and have knowledge of potential careers in radio. Task 1 – Explore BBC Radio Visit the BBC Sounds websites and apply your knowledge of demographics and psychographics; which audiences can you identify when exploring the BBC Sounds webpage and the individual station pages? https://www.bbc.co.uk/sounds/stations Apply Blumler and Katz’s ‘Uses and Gratifications’ theory to this website. Why do different audiences engage with radio? Give examples of what will attract different groups. Put BBC radio today in context by visiting the Science Museum website and finding out the answers to each of these questions: - What was radio broadcasting like before the BBC? - When was the first public broadcast in the UK? - When was the BBC founded? - What types of programme could you hear in the early days of radio? - When did the BBC lose its monopoly? https://www.sciencemuseum.org.uk/objects-and-stories/2lo-calling-birth-british-public- radio Task 2 - Read the article about Chris Evans’
    [Show full text]
  • RESEARCH to EXPLORE PUBLIC VIEWS ABOUT the BBC: APPENDICES for the Department for Culture, Media and Sport
    RESEARCH TO EXPLORE PUBLIC VIEWS ABOUT THE BBC: APPENDICES For the Department for Culture, Media and Sport Prepared by: GfK Social Research Appendices: contents Qualitative Discussion Guide and Stimulus ........................................................................... 3 Objective area 1 discussion guide and stimulus: group discussions ......................... 3 Objective area 1 discussion guide and stimulus: telephone depth interviews ....... 13 Objective area 2 discussion guide and stimulus: group discussions ....................... 18 Objective area 3 discussion guide and stimulus ............................................................. 30 Quantitative questionnaires ...................................................................................................... 44 First survey ................................................................................................................................ 44 Second survey .......................................................................................................................... 50 Qualitative Discussion Guide and Stimulus There were three strands of qualitative research, reflecting three strands of objectives: Objective Area 1: gathering views of the BBC amongst underserved audiences. Objective Area 2: exploring the Charter Review consultation themes amongst the general public. Objective Area 3: investigating attitudes towards willingness to pay for BBC services, and reaction to funding models amongst the general public. Separate discussion guides
    [Show full text]
  • Small Screen: Big Debate – a Five-Year Review of Public Service Broadcasting (2014-18)
    Small Screen: Big Debate – a five-year review of Public Service Broadcasting (2014-18) Small Screen: Big Debate – a five-year review of Public Service Broadcasting (2014-18) – Welsh translation Publication date: 27 February 2020 Contents Section 1. Overview 3 2. What is PSB and what is Ofcom’s role? 8 3. How the market has changed 12 4. How well has PSB been delivered? 18 5. PSB and the role of the wider UK media market 45 6. The future of PSB, and next steps 65 2 1. Overview Public service broadcasting (PSB) is at a crucial juncture. Audience viewing habits continue to change rapidly and competition from global content providers is ever-increasing. We are facilitating a wide- ranging conversation on the future of PSB, Small Screen: Big Debate. This document and the accompanying interactive data report are intended to help inform this debate by summarising how the statutory remit for PSB has been fulfilled over a five-year period (2014-2018). The purposes and objectives of PSB were established by Parliament and include ensuring that UK audiences can enjoy a range of high-quality television programmes. The Communications Act 2003 also designates the broadcast channels that are, together, responsible for fulfilling this PSB remit and gives Ofcom a duty to review delivery at least every five years. The ‘PSB channels’ are: the BBC public service television channels and the main channels of ITV, STV, Channel 4, Channel 5 and S4C. Our review also considers the contribution that other media services make to the PSB objectives, including commercial television, radio and online content services.
    [Show full text]