Posts Tagged ‘TV’


Is TV dying?

The news industry is currently undergoing a great deal of soul-searching as it attempts to adapt to an evolving digital landscape. It’s no secret the way we share stories is changing, forcing editors to continually rethink how they keep us informed and engaged. At the recent Broadcast Video Expo (BVE) in London, keeping up with a rapidly changing news environment was one of the main talking points. But media executives aren’t calling the shots now – it’s the audience who is in control.

TV is dying
Television remains the most popular source of news in the UK, but it appears we’re at a turning point. While three-quarters of the British population still tune in for their news fix, it’s on the decline. In much the same way television revolutionised news coverage in the 1950s, the internet is revolutionising news coverage in 2015.

Ofcom says websites and apps have already overtaken printed newspapers when it comes to finding out about news. It’s believed younger people are largely responsible for the surge. The BBC’s Future of News project predicts the disruption that has taken such a toll on newspapers over the past 10 years will, in some form or other, come to TV news over the coming decade.

Bruce Dunlop, who has played a key role in branding some of the world’s largest broadcasters, says traditional television news hasn’t changed a lot. At BVE he spoke about how the “dinosaurs behind desks” have a good chance of becoming extinct and why money would be better spent online than on 24 hour news. Broadcasters need to find an edge, but how can they do that if they continue to maintain their “Jurassic” formats?

“Digital content” is king
Digital will become the heart of the newsroom. The current trend at Sky News is to spread across as many platforms as possible according to video content manager, Nathan Tyler. Where new viewers are coming from however is through digital, not television.

With more information available immediately, in so many different formats the challenge then is to create quality relevant content, as opposed to more noise. People don’t want to sit and be lectured to though, they want to be part of the stories that affect them. In the long term, BBC expects audiences to take on the role of co-producers as technology becomes more immersive and responsive. In the short-term, we need to enable them to continue the conversation on social media, from their portable devices, wherever they are because more often than not – they broke the news in the first place.

But “content” needs to change
Expect to see more bite-sized news pieces and reports from local people on the ground. The general consensus at BVE was that we can’t simply take what has worked for television over the past 60 years and replicate it online, especially now audiences have the ability to bypass the professional reporter. Like newspapers, there will always be a place for television, but broadcast news will become a “post-game analysis” – a platform to explain the significance of events as opposed to just telling us what has happened. It means striking the right balance between what people need to know and what they want to know will become increasingly difficult.

Post by Adam Marshall, Producer @ TNR Communications

Every Friday one of the TNR team will share a video that has caught their eye that week.

At the moment I’m watching a lot of great TV series, however one of my absolute favourites has got to be Homeland.  With just over a month to go I’m very excited about its long awaited return, and I think they have done a fantastic effort with their official trailer for season 3 which is easily my video of the week!

Post by Alex Waite, Marketing Manager @ TNR Communications


TV in Translation

C4 drama Homeland is building up momentum in both impressive reviews and audience figures since its UK launch in February. Attracting ratings of up to 2 million every weekend, series one reaches its finale this Sunday (6th May 2012).

Starring Claire Danes and Damian Lewis, Homeland tells the story of an American Marine left for dead in Iraq who is rescued after years in captivity. Feted as a returning hero, he tries to re-adapt to life in the US, but amid the continuing terrorist threat not everyone in the CIA believes his story.

In the States, Homeland also benefited for being quoted as President Obama’s favourite show – whether that’s evidence it rings true, or serves as fantasy escapism for Obama while he’s trudging through Health bill reforms and pardoning turkeys at Thanksgiving, only he will know.

Yet despite its stars subsequently visiting the White House, Homeland is actually based on an Israeli TV series Hatufim (Prisoners of War).

Homeland is not the only US foreign drama remake doing the rounds. Series 2 of the US remake of Danish TV drama The Killing has just started screening on C4. The Danish version was screened last year to great acclaim on BBC4.

The Killing’s fellow successful Scandinavian thrillers Borgen and The Bridge are also rumoured for English language remakes in the UK.

Meanwhile, back in the US, In Treatment staring Gabriel Byrne as a conflicted psychiatrist has garnered a host of Emmy and Golden Globes nominations and awards across it’s three series despite being frequently a word-for-word translation of another Israeli series, Be Tipul.

Hollywood remakes of foreign films have been a regular feature of cinema for years from The Magnificent Seven to Girl with the Dragon Tattoo. Now the practice has moved to the small screen.

So how television is produced has changed. But how we consume that TV is also changing. Blogs and twitter are becoming central to how channels, newspapers and websites promote and review shows. Parallel alternate language versions generate even more discussion, opinion and speculation. Who did kill Rosie Larsen? Is Brody a double or triple agent? Is the remake better? Some fans will always prefer the originals. Many will not have ‘subtitle patience’ . In other circumstances, the tension these shows thrive on is lost after viewing the English language version first. However, at a point when through multi-channels and multi-platforms the cultural resonance of television seemed to be fracturing into something much less than the sum of its parts, ‘event TV’ is suddenly back on the agenda.

Post by Tim Kerr, Joint Managing Director @TNR Communications

Nikolay Bojilov from Bulgaria winner of the Triumph Inspiration Award 2010 poses with Helena Christensen and a model wearing the winning design Morphology on the catwalk at the Triumph Inspiration Award 2010 at the Old Sorting Office in central London.

Nikolay Bojilov from Bulgaria winner of the Triumph Inspiration Award 2010 poses with Helena Christensen and a model wearing the winning design Morphology on the catwalk at the Triumph Inspiration Award 2010 at the Old Sorting Office in central London.

The Triumph Inspiration Award (London, 16 September 2010) showcased original lingerie designs from 27 international fashion students each of whom won their place in the global final with a piece inspired by the theme of “Shape Sensation”. One winner and two runner-ups were announced on the night, judged by a panel of fashion royalty including Helena Christensen, Rankin and Matthew Williamson.

Top fashion PR agency, Yellowdoor and their client, Triumph appointed TNR to provide broadcast, online and photography PR support with the aim of securing global coverage of the London event.

The first challenge was to agree the logistics of producing media materials to meet the requirements of journalists in multiple countries:

  • Priorities were set for the TV and online B-Roll which, at 15 minutes, meant there was not enough space to include regionalized content for all 27 countries’ finalists.  Instead, elements were selected which made the ‘Award’ event a news story in its own right (e.g. the celebrity guests, the top three designs, the winning moment etc).
  • We also made the 27 VTs that featured the finalists (used in the live show), available to both TV and online media as downloadable video files.
  • Our photography featured all 27 designs plus key ‘news’ moments from the evening (e.g. red carpet, judges posing with the winner etc) to cater for the 27 countries’ requirements and any others for whom a fashion story of this calibre would be of interest.

Being a live show, it was vital the video and photography teams worked through every detail of the Awards schedule and floor plan with the event company in advance to ensure every angle was covered by our TV cameras and that our photographers could get a clear shot of each design.  The result was three camera teams and two photographers strategically positioned to record the catwalk event, the winning moment and to gather news collateral backstage and post-event.  This all had to be achieved while taking into consideration the needs of attending media who were positioned in press pens on the red carpet and at the end of the runway.

Ultimately, the story’s newsworthiness was dependent on the materials being made available to media in a timely way i.e. for use in news bulletins that night and the following morning.  Therefore, the next step was to lay out a shooting and editing itinerary that matched the Award programme and allowed us to push out materials within a couple of hours of the winner being announced.  This meant having two editors on site who were fed footage and stills throughout the event by a runner.

Once edited, the photographs were sent to the Press Association to be turned around for the wire that night.  The photographs were also uploaded to the Online Press Office during the night so that media outside the UK could also have direct access for immediate coverage.  Local PRs in every country were provided with details of the Online Press Office to pass on to their local media contacts.

The distribution of video footage across the world is complex and makes use of multiple satellites and fibre connections to media towers similar to the BT Tower in London.  Identifying these and arranging for the necessary feeds to take place within the various time zones we were targeting was imperative.  Two feeds went out during the night allowing access for Australia and Asia for their lunchtime programmes, breakfast coverage in Europe and evening coverage in the US.

However, it was the preparation and execution of the international sell in to broadcasters and online media to inform them of the story and available video that was pivotal to the success of the overall campaign. Months of research, planning and clear communication between the teams at Yellowdoor, Triumph and TNR took place to establish areas of responsibility including;

  • How current, strong relationships with the mainstream media and trade press would be split between the different teams for the most impact and effective use of time
  • How we would need to stagger working hours to ensure all countries were contacted within their working day (this meant some very early mornings and late finishes for the TNR media relations team!)
  • How to incorporate conversations with video desks at the traditional press (e.g. newspapers) into both the online and press sell-ins.
  • Coordinating with local PR teams who were also liaising with press in their country.

The result was that the footage was picked up all over the world by major international media including both AP and Reuters (global news agencies), BBC (UK), Sky Television (Australia), RAI (Italy), Fuji TV (Japan), RTL (Germany) and CCTV (China) and many more.

The B-Roll footage for the event was also picked up by the Press Association Video wire and distributed to online media outlets in the UK including the Independent, The Evening Standard and Yahoo.

Click here to watch the A-Roll footage for the Triumph Inspiration Awards 2010

And for another viewpoint…

Fashion Bloggers viewpoint from the night:

Capulets Couture

The Style PA

Fashion Editor at large

Katie Chutzpah

Sally Lindsay launches The National Lottery Awards 2010 at the London Transport Museum in central London. Lottery players raise 25 million a week for projects across the UK including the museum and voluntary organisations.

Sally Lindsay launches The National Lottery Awards 2010 at the London Transport Museum in central London. Lottery players raise 25 million a week for projects across the UK including the museum and voluntary organisations.

Throughout the summer months, TNR worked with The National Lottery to produce video footage of the 21 community projects that had made it to the final of this year’s National Lottery Awards.

The 21 Lottery-funded finalists were based all around the UK but their exact locations were not known until a week before filming, which posed several logistical challenges to overcome, including:

Timing: All filming to be completed in a stipulated number of days.

Fairness: All projects to be filmed for the same length of time.

Quality: The speed of production could not compromise the standard

Sensitivity: Some projects involved difficult or distressing subjects,

Meeting those challenges saw TNR producers, Tessa and Sophie, travelling around the UK, shooting one-two projects a day over a two week period.  Overlapping with the end of filming, a three week period of editing began in which a rough cut B-Roll and 2 minute news video was produced for each project ready for our media relations team to offer local TV stations and online media on ‘launch day’.  Footage was distributed by feeds to the BT Tower and via TNR’s ftp site.

The same broadcast and online materials were re-used to secure more coverage during another push to the media with ‘One Week of Voting to Go’ and again for the final when the seven winners were announced at an awards evening broadcast live on the BBC.  New footage from the event was edited the same night and distributed to the media in time for use on breakfast programmes and major online websites the next day.

Broadcast monitoring during the three stages of the story revealed that the B-Rolls and edited news video has been instrumental in securing extensive broadcast and online coverage across most of the UK’s regional TV and online channels.

Jessica Cain, Media Relations Officer for the National Lottery Promotions Unit said,

“This Summer TNR worked for us for the third year running on The National Lottery Awards, creating broadcast content for both the media and our own website. Yet again, we were very impressed with their enthusiasm, professionalism and how sensitively they dealt with the Awards finalists. It was a challenging brief but TNR did a fantastic job and we were thrilled with the footage and the results they achieved.”

Click here to watch the A-Roll footage for The National Lottery Awards 2010

Post by Penny Joyner (Marketing Executive at TNR Communications)

The BBC has announced some of its national radio stations, online outputs and digital TV channels may be for the chop. BBC 6 Music and its Asian network are to be taken off the airwaves by the end of next year and BBC online may also be slashed in half by 2013.

Director General Mark Thompson told his staff that quality, not quantity, is the aim of the game – all part of a major strategy review that’s been billed the biggest shake-up in the organisation’s 88-year history.

It’s depressing news for staff at the beeb. The Union says up to 600 jobs are in jeopardy. Many journalists now have to sit and wait to see if their days at Television Centre are numbered.

But what about this talk of “making “fewer things better?” Well, if it goes to plan £600 million will be plunged into higher calibre programme-making. BBC local radio has been told to improve “its quality and originality,” with more investment in local journalism. Nationally, BBC 1 and 2 will be given more cash to grow. While on the web, the BBC will have to provide more links to the pages of rival publishers.

The landscape of the corporation is changing dramatically, and so will the way it works with those outside the walls at White City.

As a TV and Radio Producer, I know first hand that the BBC can be a hard nut to crack when it comes to getting stories on air or online. I consider the quality of much of the beeb’s output to be high already. If more quality is what it’s after, PR professionals will have to follow suit and work even harder to deliver just that.

On the other hand, now may be the time for outlets like ITV and Channel 4 and various other news websites to shine. If that’s the case, more doors may open, and with it, the potential for more PR opportunities in the future.

TimesTimes | Big, bloated and cunning
GuardianAlastair Harper | Guardian | Why everyone wants to #saveBBC6music
Pop justicePopjustice | Why a sad day for 6Music could also be a sad day for Radio 1
GuardianJohnny Dee | Guardian | BBC 6 Music: axing the station would be massive mistake
First PostJonathan Harwood | First Post | Axe ‘commercial’ Radio 1, not 6Music, fans tell BBC
No Rock & Roll FunSimon Hayes Budgen | No Rock And Roll Fun | 6 Music back on Death Row

Post by Tessa Parry-Wingfield (Producer for TNR Communications)

We were lucky enough to work with Guinness World Records again this year as they celebrated their annual event ‘Guinness World Records Day’ on Thursday 12th November. An estimated 200,000 people around the world came together and attempted a wide range of records in celebration of the fifth annual Guinness World Records Day. The global event attracted record breakers from every continent striving to make their mark in the famous book.

TNR worked closely with the Guinness World Records Team across their TV, Online and Radio PR and enjoyed yet another very successful year achieving national and international coverage.

It seems highly unfair that someone should have this much fun at work as the TNR production crew travelled the far reaches of the globe to film weird and wonderful record attempts, including;

The Most Nationalities in a Sauna – Finland;

The Highest Standing Jump on a Bicycle in Italy;

and The Furthest Distance to Pull a Bus with your Hair in London. 

The Ironman from Leicester, Manjit Singh attempts the record for the furthest distance pulling a double-decker bus by the hair at Battersea Park in London. Press Association Images

The Ironman from Leicester, Manjit Singh attempts the record for the furthest distance pulling a double-decker bus by the hair at Battersea Park in London. Press Association Images

The Romance was truly brought back to London’s St Pancras international railway station, in an attempt to set a Guinness world record for the largest group hug. The record was set by 112 people hugging for one minute.

Guinness world record for the largest group hug. Press Association Images

Guinness world record for the largest group hug. Press Association Images

The footage was picked up by the International London bureaux’s, the UK’s national and regional TV stations as well as multiple online editorial sites.  The radio day achieved 29 radio interviews with BBC and large commercial stations across the country.

Post by Penny Joyner (Marketing Executive for TNR Communications)

Nick Griffin’s appearance on BBC’s Question Time has been the hottest headline in the British media this week, culminating in a mass protest outside Television Centre before the show.

The controversy has raised serious questions about the power of the media and its place – or not – in politics.

By allowing Griffin airtime, is the BBC giving legitimacy to a far-right political party that supports racial views that many Brits find disturbing?

On the other hand, Britain – and therefore its press – upholds the value of freedom of speech. Is stifling that speech wrong in itself, especially when the BBC has a moral duty to be impartial? After all, Mr Griffin’s party did win two seats in the European Parliamentary elections in June.

Or maybe it is as simple as the BBC trying to rocket its ratings. If so, job done. It pulled in 8 million viewers – three times more than normal.

Nick Griffin certainly got a grilling from Question Time’s audience. One man said the public could have a whip-round to send him to the South Pole. He added, “It’s a colourless landscape, it’ll suit you fine.”

Griffin seemed slightly shaken by this comment, but was mostly amused by others, including accusations he associated with the Ku Klux Klan and has denied the Holocaust.

Stripped of his normal PR shield, some argue his comments confirm he is a political pariah. He has said himself he is most hated man in Britain this week. But what he said is almost irrelevant.

His fellow panellists – including Labour’s Jack Straw and Tory Sayeeda Warsi – seemed like extras in a political pantomime revolving around one protagonist.

Griffin has now been given the national media exposure he has been craving. After all, there is no such thing as bad publicity. Loathed or liked, everyone is talking about him.

Post by Tessa Parry-Wingfield (Producer at TNR Communications)

PR Week has hit the nail on the head, again. Turn to page 20 of this week’s copy and read for yourself how digital communications is by no means a flash in the pan!

The report from Cathy Wallace, highlights the findings from the PR Week’s Digital Survey which was conducted amongst PR and comms teams. It asked comms professionals to back up their claims and prove their digital credentials. The survey revealed “how the PR industry views digital right now and where it might be going”. The findings were interesting to say the least, and as a communications consultancy incorporating digital media into campaigns more and more, we thoroughly enjoyed their findings.

Digital comms has really picked up pace and has everyone talking about it. PR Week has found 83% of clients request digital to form part of the PR activity. Which is unsurprising considering how the internet has officially overtaken word of mouth as ‘the most influential source of information when considering purchases’ (Weber Shandwick Inline Research 2009). So the end consumer, the client and the PR agency are all now embracing the world of video sharing sites, social media, blogging, twittering etc.

PR Week also reported last week that 30% of senior PRO’s already embracing online video and a massive 70% already seeing 2010 as the year where video will be the most important interactive channel.

We have certainly seen a large increase this year alone for requests for online video. PRO’s are beginning to see the added value to their campaigns of making the same footage, content and story available to online editorials as well as social media sites. One news story now needs to reach multiple media platforms simultaneously.

At TNR we regularly take the broadcast news footage we shoot (B-Roll) and edit it into a finished piece (A-Roll) for the online editorials; tweaking it for video sharing sites; and fine-tuning it for corporate websites. The same footage and ultimately the same message can now go beyond traditional media and reach the growing online and digital audiences.

That’s what I call bang for your buck!

A recent example of a very successful multimedia campaign was the launch of the 2010 Guinness Book of World Records last month. We knew that not only would this story capture the imagination of TV audiences and radio listeners, but the online news providers and editorial pages as well as social media, with their YouTube page.

From our experience, every PR campaign that comes our way needs to be thought of as a multi media campaign. Can it work in the traditional broadcast arena? Can we edit the footage for online editorials? Do we need a video only with stills? What about a podcast with the celebrity spokesperson?

Having a multi-view will produce a multi media campaign.

Post by Elizabeth Herridge (Project Manager at TNR Communications)

Research reveals younger generation unwilling to pay for film and TV delivered on the Internet

Actor, writer and director, Nick Moran spoke to 12 radio stations across the UK as well as the Press Association Video team this week to discuss how he is supporting The Industry Trust to promote public support for their new anti-piracy campaign “Connected to British Film and TV”.

Nick is backing the campaign to celebrate Britain’s world-class film and TV industry and encourage the public to enjoy the ‘real deal’ on all formats. Amongst many film, television and directorial roles, as well as starring in one of Britain’s best loved films, Lock Stock and Two Smoking Barrels, Nick is a big supporter of this country’s film industry.  He has also written and directed his own film, Telstar, which was released this summer. 

His support is announced as research reveals a lack of willingness among “Generation Y”, whose attitude to online content could earn them the label “Generation Y-Pay?”

 Click here to listen to a Radio clip from our Radio Day.

Research out today amongst Generation Y shows:

  •  Film and TV is the UK industry they are ‘most proud of’;
  • Yet when it comes to paying for content, there is a huge distinction between their readiness to pay for content from more traditional offline sources versus content delivered via the internet:
  • 74% of those in Gen Y agree they should have to pay for offline film formats (including DVDs, Blu-ray disks, cinema tickets and TV subscription services)
  • Just 39% agree they should pay for content delivered over the internet (streaming and film downloads)

Part of the problem could be that just 25% of those surveyed agreed that by paying to watch authorised content they help to support the future of this industry. However, more than two thirds say they’d be more likely to buy the real deal if they knew their money helped to support future film production (67%).

Nick Moran was joined by Liz Bales, Director-General of the Industry Trust for IP Awareness explaining the importance of supporting the future of the British film and TV industry and 150,000+ people who work in it by only viewing authorised content. 

Nick and Liz highlighted how going to the cinema or buying a genuine DVD helps not only established actors and film directors but also the make up artists, set designers, lighting technicians and runners who help shape the industry now, and into the future.

The launch is announced as Digital Britain’s pledge of faster broadband brings the promise of digital innovation but also the threat of digital copyright theft, as access to unauthorised film and TV content is set to become more readily available than ever. While the Government focuses efforts on meeting its stated targets around restricting unauthorised behaviour online, the Industry Trust hopes its new campaign will provide the public with positive reasons to support authorised content.

The Industry Trust campaign, co-ordindated with PR agency Blue Rubicon, spoke to 12 radio stations across the country, including BBC Radio Scotland, Sky News Radio and local BBC stations, including BBC Oxford which you can listen to above.

Post by Elizabeth Herridge (Project Manager at TNR Communications)