The following blog tasks are academic assignments for the Formats Module (262MC). As an overview, each task involves critical evaluations of various sources, with examples of current tv formats/radio formats referenced throughout. Upon reflecting on these tasks, each gave me a better understanding of formats production on the whole. Further offering inspiration in terms of my own shows with my respective groups, including radio and TV. The tasks further helped me to shape my creativity by teaching me different elements to format production, enhancing my knowledge and understanding along the way.
Alongside my academic blog posts are my main ‘critical reflections (highlights), which helped shape my responses to all tasks within this blog post.
Radio Artefact (main critical reflections/further research & reading): 262MC: TV Formats (Session 2/Our Radio Programme), 262MC Formats Production: Further Research and Planning
“A Killers Mind”: Radio Police Drama (Script Versions)
TV Artefact (main critical reflections/further research & reading): 262MC Formats Production: ‘Research Research Research’, 262MC Formats Production: Week 2 (finding our audience + further TV planning for ‘Love Clash’).,
Risk assessment & consent forms: 262MC Formats (Documentation-Ash)
262MC Formats Production: “Formulas” Part 1&2 (CW1 Blog Task)
First off, from my knowledge a “Formula” can be defined as the process towards a particular outcome. For example, the ‘formula’ of for a radio programme would include all active elements which go towards the final artefact itself. An area which I will be exploring in more detail, within this blog post. Further bringing in radio examples to convey my own views more concisely.
BBC Radio One’s The Surgery’ with Gemma and Dr. Radha Vs BBC Radio 4’s The Archers
For my first example The Surgery, the running order follows as such:
- Short introduction of topic plus presenters
- Summary of programme plus emphasis on audience interaction
- Discussion 1
- Call in (audience member)
- Music
- Discussion continued (hosts)-reflection (Dr. Radha)
- Interview with guest (celebrity/reality star who relates to topic)
- Music
- Emphasis on help lines
- Sum up of important points
- Music
- Lighthearted goodbye plus positive messages sent out from both hosts.
In terms of the programmes presentation, I would say it’s a very fluid set up. As the show has been designed to orchestrate a surgery for life topics/issues. For example one of the programmes topics includes ‘the virtual doctor’. The synopsis of this illustrated the drawbacks of self-diagnosis and where we can sometimes go wrong. Furthermore, with the presence of Dr.Radha, the show’s title certainly matches its presenter’s style and their occupation, with the other host acting as the ‘audiences’ voice. Making the programme have more of a personal feel. Leaving the viewers in a comfortable state when contemplating to share their own stories on radio.
In terms of the contributors, this would include the guests and the audience members. They are extremely important in this programmes format style, as its prompting for audience feedback every step of the way. Therefore being distributed to encourage the audience to reflect on their own experiences within ‘the surgery’ in context with the weeks topic.
For the music, I would say it really breaks up the programme, as it gives viewers some breathing space after sharing their viewers. Further offering the presenters a short break to refresh themselves. It also splits the programme up nicely as audiences are not left listening to the programme for a full hour in full concentration, letting the music flow with the programmes time slot etc.
In terms of the producer’s choices, I would say they’ve gone for this particular layout for the following reasons:
- Programme is educational but also helpful
- The music breaks up the show nicely (gives audience/presenters some breathing time)
- Interviews with special guests backup show’s topic(s).
- The presence of a professional Doctor aids the programmes research plus its sources. As the audience are more inclined to listen as they know facts have been backed up and researched thoroughly before appearing on the programme.
In my opinion, some of the musical choices in the programme may not work well, as they are quite oppositional to the topic itself. However, I understand that the songs are simply there to break up the programme nicely. One other thing possibly could be audience interaction, as they could accept two calls at the same time and promote a possible short discussion between both audience members, offering sympathy and even a listening ear. Considering the other can relate and help the other out, as they’ve been in the same position.
My second example is BBC Radio Fours long-running radio drama The Archers.
In short, the show is a fictional radio soap opera inter-twining scandal, family drama and other elements in the heart of the countryside. Further set in the fictional village of Ambridge.
See the full bio of the programme here: ‘The Archers’ BBC (2016b)
In terms of the presentation of the show, I would say it’s set up (in terms of its storyline) holds some resemblance to TV soap operas such as Emmerdale and Eastenders. It’s a show which has a lot of novelty and presence surrounding it. I’d say its very challenged, as it solely relies on voices and of course description considering visual imagery is created in audio passages rather than in any media form or live action. Furthermore, I would say in terms of its contributors/fan base, all may have been very vocal towards its popularity and content. For example, in the link above comedian Stephen Fry gives a breakdown of what The Archers is about, touching on his history and praise for the programme. Furthermore, The Archers also has its own blog, adding to audience participation and also bonus content. Within the blog, many other topics are explored, with various situations involving The Archers in them.
The Archers (blog): Blog Forum (TA) (BBC, 2016a)
As far as the content of the show, I feel the producer has succeeded on this front. Considering they’ve offered the audience a radio soap opera, which has been praised and acknowledged by many. Thus holds a lot of positive reviews and even status too. It’s a radio programme which has been running for many years, attracting as many audience members as possible due to its riveting and realistic storylines, set in the heart of a fictional yet ‘very British’ place, similar to the countryside.
As for what the programme could improve on, I would probably say the following:
- Possibly more famous voice actors/frequent celebrity appearances.
- More promotion (possibly interviews with the characters themselves, through mini podcasts).
I would say these two suggestions would really enhance the audience’s listening experience, as they would be able to develop more of a connection with some already fleshed out characters. Thus offering another dimension in terms of radio programming and of course the programmes content itself.
To conclude, both programmes run in very different formats. One works as an educational/informational surgery for the audience (involving life topics), with the other running as a long-term soap opera showcasing scandal,mystery and much more. Both, however, are very realistic in their programmes content, although their styles vary the content is specifically tailored towards the audience in a very personal way which becomes relatable to them in one way or another/invokes particular emotions within them after listening to the programme.
Overall both radio programmes stay fluid and easily accessible. They not only put particular themes at the front line of their programme, but they also encourage audience participation in one way or another. Whether that’s through bonus content (i.e blogs) or call in’s (audience responses).
References
260MC Formats Production:’Running Order(s)’ Blog Task CW2
Firstly, upon reflecting on a recent lecture on ‘running orders’, I can determine the following. To start off with, a running order helps a programme run smoothly. This is because it outlines what will be in each segment/where all will be situated. Further acting as an aid for the production crew, in knowing when to start the programme, cue all hosts, start title music and so forth. It further works as a blanket for the show as its a defined structure to how the show should run. Within the following blog post I will be analysing the following radio format ‘The Surgery with Gemma and Dr. Radha’ as my main Radio Format(s) example.
RUNNING ORDER for ‘The Surgery’ (BBC One)
| Item | Studio | Duration | Theme Music |
| 1. Titles | Pres 1
|
0:25 | Yes |
| 2. Introduction (hosts) | Pres 1 | 0:03 | Yes |
| 3. Topic 1 | Pres1 & Pres 2
Link
|
0:30 | No |
| 4. Guests | Pres 1
Caller 1
|
14:25 | No |
| 5. Analysis of topic plus guests
6.Stories/Help lines 7. Newsbeat/outro |
Pres 2
|
25:00
59.54 Final: 01:00:56 |
No
|
I would say the intro was very clear cut. It further helped to establish the radio program and the style it was laid out in.
The links to keep the program moving include the transition screens and music as well. In terms of the programme segments, these were quite long due to the content of the show. One part of the show which I really liked would have to be the chemistry between the presenters. This for me was a highlight of the show, as both complimented each other really well.
In discussing the techniques adopted by the programme I’d bring up the following factors: presenting style, layout, content and set-up. In terms of the presenting style I would say the chemistry between the hosts flows fluidly. As for the layout of the show, it’s set out in a way which is very accessible for the audience to dip into. I’d further say its very engaging as it provides useful tips amongst a very relaxed environment where the audience feel comfortable in sharing their thoughts. Finally, the set-up is not only very functional, but it’s well drawn out. This is because the show revolves around 2 presenters, one main host and one professional one. It’s in this way that they feedback on each others thoughts whilst involving the audience along the way.
Overall, thinking about our lecture on ‘Running Orders’ its clear to me the importance of them and also the functions of them too. For example, a running order not only shapes one’s programme but it also acts as a barrier as such in terms of the content that’s provided and all the added extras, so whole production team can stay on track. Furthermore, a running order which is detailed and precise informs all production in members in due time of how the show (radio) will plan out, further giving them enough time to prepare and get the ball rolling.
References
262MC Formats Production:
Production Paperwork (all) +
Blog Task CW3
Production Paperwork (Radio Show) for ‘A Killers Mind’
Consent Forms (Actors)
consentformmp-tara-r * Verbal consent given beforehand aswell
consentformmp (Group-Actors)* Verbal consent given before hand aswell
Farai: faraiconsentformmp (includes consent for soundscape done by Farai too)
consent-form-all-of-us (all group members)
Clip(s) used within our production (abiding by Copyright Law):
The above clip was originally sourced from ITN.com, however, the clip has been posted on youtube by a user, who has deemed the licence as ‘Standard Youtube License’. Thus in using the short excerpt clip for our radio show, we have classed our use of it as ‘educational’ thus fitting into the copyright law of 2015/16. Furthermore, as we are not using a long excerpt, we may possibly alter the clip in some way, manipulating the sound to either echo or to sound defined. Furthermore, the clip has been labelled as ‘third party content’, further allowing us to use a short snippet of it, making sure to provide a full reference if we were to use the whole clip.
In terms of being respectful of those involved in the case, we’ve made sure to not dramatise events too much. Making sure to stick to the information that we’ve researched. A full profile (Blanco, J.I. (1995) of the case itself can be found below :
Regarding those related to the murderer himself, our research has fallen short as we could not find any reference of any of Wardell’s relatives etc, this may due to the privacy of their identities, as they may not want to be known.
One other video which was used included the following (Top15s 2016):
Upon using the video, my team made sure to specify our interest in the video, as our use of it would be ‘educational’, complying with the copyright act of 2015/16. We’d further make sure to edit the particular clip, in order to other heighten levels for effect and ambience, further constructing clip in our own way to use in our radio police drama.
Blog Task CW3 : Boundaries and Broadcasting
When it comes to broadcasting there are some important considerations to make before hand. For example is the programme suitable for the intended audience and have regulations been complied too? Furthermore considering Ofcom’s official rules and regulations regarding broadcasting for TV and Radio (which I will be referencing throughout within this post).
Chosen Area: Violence
I would say that violence would be appropriate for Radio if its post-watershed. Furthermore, if it’s to a certain degree. For example, extremely offensive and distressing violence would not be permitted. However, if it fits into the shows context or goes towards a particular message, then a small sample or even clip of it is acceptable to a degree. One example could include drama shows. For example, the podcast ‘Serial’ based on real investigations and murders could be seen as ‘violent’ in many peoples eyes due to the distressing themes and construction of the show itself, such its advised to the audience regarding distressing scenes and language (in some episodes).
As a ‘programme maker’you have the right to protect your audience from such harm. For example, if your programme carries a particular message then it’s okay. But say if it’s too much violence all in one scene or even in your programme then you are breaching audience comfortability.
For example, the official Ofcom’ guide lists some guidelines to be followed regarding radio and offensive language.
Many listeners consider the station and type of programme to be more important in determining audience expectations than time of day. However, in general listeners do not expect to hear strong language during the day on radio, regardless of whether children would likely to be listening to the station or type of programme in question; and • in live programming, it is difficult for broadcasters to prevent the use of potentially offensive language, on the occasions that this happens. However, in such circumstances, listeners would expect to see quick action from the broadcaster to prevent further incidents and an apology.[2]
In terms of our audience for our radio programme, we aimed to target young adults to older ones (16-25 year olds) due to the nature of our programme and our subject material. This is because some violence is portrayed within our show during the recollection of the case itself and possibly the use of third party media clips too (which we’d deem under ‘educational use’ to use in our radio show). I’d further say the style of our programme adds to the type of audience we are aiming to target, as we are doing a short yet intense police drama rather than say a quiz show or murder segment. This also comes just in time for Halloween and makes our show relatable as we are adding in killer clowns into our drama to trigger a real life Coventry murder case being revisited or reviewed as such. Further making our show current, as we are using dated subjected material and new material also (i.e killer clown video).
In terms of ethical considerations, we’d make sure to not reference individuals directly/as much. This is due to the sensitivity of the case and also those involved in it as it may trigger some emotions which have not been revisited in a while. Also, our subject material focuses on real people involved in a case, with some still alive (i.e Murderer). Thus we definitely have to consider how to approach the case sensitively without overly dramatising it.
The following article Sanghani, R. (2014) explains ‘ethical considerations’ within the highly popular crime podcast ‘Serial’ based on real-life murder cases. In particular one of the first cases featured on ‘Serial’ which although deemed popular created some controversy in terms of ‘ethical consideration’ with the victims family. This is due to the fact that particular situations to do with the deceased victim were not explored or even touched on, thus proving unsettling for the family themselves.
“It’s also turned violence against women into a drama where the heroine was forgotten”- (Sanghani, R. 2014)
The writer of the article further goes on to express her theory behind the formulation of the case itself, through the series podcast. Referencing the narrator of the podcast herself. The following quote (attached below) showcases how ‘ethical consideration’ are deeply important when showcasing real life facts as opinions. Further affecting or even distilling emotions within people in different ways. Thus as a producer or even researcher it’s important to evidence these facts appropriately when dealing with real life happenings/cases.
“What she doesn’t focus on is Lee. She isn’t truly trying to achieve justice for Lee and her family. It might seem like they are one and the same: surely figuring out what really happened that day will bring justice to both Syed and Lee? But that’s not really the case.”- (Sanghani, R.2014)
Finally, in including a disclaimer before the start of our programme, we’d make sure to state all the facts and guidelines to our audiences before starting our police drama, so they can gain information on our viewpoint of the case itself and how we are approaching it and so forth.
In terms of broadcasting work done by the others the following link offers information on this: Policy (Creative Work), Gov.uk. To sum things up, the link gives a detailed list to the do’s and don’ts regarding work done by others. The main thing it discusses is making sure to credit all contributors no matter what their role may be, as they still have a part to play within the outcome of that activity etc, no matter how big or small their overall contribution may have been.
Also:
- making sure that there is a plurality (or mix) of media owners (Gov.UK)
- working with industry to address online copyright infringement (Gov.UK)
In conclusion, as our radio drama was based off a true-life murder case, we made sure that we researched all the facts and details before continuing with the subject matter. This was so that we not only learnt about the case, but could all plan out our drama in a sensitive yet engaging way as we didn’t want to ‘reconstruct’ the source material but rather reference it a little, in our police drama.
References
Baxter, A. (2011) Ofcom guidance offensive language on radio. Available at: https://www.ofcom.org.uk/__data/assets/pdf_file/0014/40541/offensive-language.pdf?lang=en (Accessed: 30 October 2016).
Blanco, J.I. (1995) Murderpedia, the encyclopedia of murderers. Available at: http://murderpedia.org/male.W/w/wardell-gordon-david.htm (Accessed: 5 November 2016).
pubspros.com (no date) Radio-Question Mark (Google Images). Available at: http://pubspros.com/wp-content/uploads/2013/02/QuestionMark.jpg (Accessed: 2 November 2016).
Sanghani, R. (2014) Serial: How a schoolgirl’s brutal murder became casual entertainment. Available at: http://www.telegraph.co.uk/women/womens-life/11304281/Serial-podcast-How-a-schoolgirls-murder-became-entertainment.html (Accessed: 4 December 2016).
262MC Formats Production (Blog Task CW4: Press Releases)
Firstly, from my knowledge a press release is an important tool to spread information about ones programme. It’s further used to deconstruct a programme in terms of its synopsis, time frame, audience response and so forth. Finally, it’s a way in which a programme can gain significant attention from those its distributed too, giving them an in-depth overview to some of the logistics regarding your programme format. Some examples of press packages can be found here (attached below), informing the audience about the programmes layout, storyline and additional content:
The Archers: Press Pack (BBC 2012).
From the following example above its clear to see that a lot of information has been given about the programme to inform distributors/others. Further offering’ additional notes’ for editors, to understand the programme from their own perspective etc. Below includes my own version of a press release pack, surrounding my groups own programme: “A Killers Mind”.
Radio Format: “A Killers Mind” (short procedural police drama)
A short procedural radio drama based around real life Coventry murders, against a backdrop of current local situations, set in a police station.
The duration of our programme will be around 5 minutes, whilst the genre will be ‘crime’, ‘murder’ and ‘drama’. In terms of our theme, we will focus on real life Coventry murders as our main source material to work off of. We aim to reach out to our intended audience (young adults +) through our theme and style of programme, considering we’ll be merging current happenings into our radio drama (ie. Killer Clowns roaming around Coventry). Finally, our preferred broadcasting platform would be an online demand service, or we’d make our police drama available as a weekly podcast, such as Serial. Thus allowing repeat viewings and site traffic, due to broadcasting platform.
In terms of the how the story will be told, we’d start off from one main character setting the story off. However, they’d be triggered by another group of characters. For example, our first episode highlights some rookies who are misbehaving, getting distracted by a killer clown video. This then informs the main chief in charge that he needs to step in, bringing about a sense of deja vu regarding a particular case. Therefore its in this way that we’d almosts set the scene in real time, but reference a past case in the same time space, however still include all the details, sounds and possibly archive clips (abiding by copyrights laws of 2014/15 under ‘under educational use’) to make our radio drama more impactful and dramatic, leaving a lasting effect on our audiences in terms of our source material, formation of drama and much more.
In terms of our emotional connection, upon researching this case itself I was extremely shocked and taken a back by the particular murdering style. Furthermore researching all interview clips etc, to gain a better understanding of the case, and to think about main points that may be intriguing to include in our own program. Thus making sure throughout to think about audience/case sensitivity, dramatising real life events etc. Furthermore giving me some source material to work off of, and to formulate into our own radio drama. I’d further say that by adding in relevant topics within the case material (i.e whats going on now, e.g killer clowns), that this really grounded our research and gave it more context in present time as its an old case. Thus we needed to make sure that we’d not bore our audiences with already speculated facts and so forth.
To conclude, its important that we tell this important story,as it brings light to the psychology behind a murderer. Considering the audience can listen to a short excerpt of the interview clip with the ‘murderer’ himself , who constructed a whole narrative where he took no responsibility in killing his wife, as he planned and calculated the whole thing. Thus this gives the audience some food for thought, in terms of murders, crime, investigation procedures and so forth. Furthermore as we based our police drama within a police station and included a code of conduct, in order to stay true to this we made sure to research code of conducts, in order to get a better idea of the formalities of one as the main aspects of the ‘codes’, to be as authentic as possible when showcasing our characters who are in the force (i.e chief/constable).
Thus this gives the audience some food for thought, in terms of murders, crime, investigation procedures and so forth. Furthermore as we based our police drama within a police station and included a code of conduct, in order to stay true to this we made sure to research code of conducts, in order to get a better idea of the formalities of one as the main aspects of the ‘codes’, to be as authentic as possible when showcasing our characters who are in the force (i.e chief/constable).
Full Programme Script:a-killers-mind-farais-edit
Running Order:
| Item | Studio | Duration | Theme Music |
| 1. Disclaimer | Producer
|
0:20 | No |
| 2. Soundscape | Sound | 0:08 | No |
| 3. Introduction of ‘code of conduct’ | All Characters | 0:25 | Yes (soundscape) |
| 4. Misbehaving rookies | Characters (Rookies)
|
1:02 | No |
| 5. True life Coventry Murder Case
6. ‘present time’. 7. Witness Clip (fade out).
|
All Characters
|
1:00
1:00 1:00 Final: 5 mins 04 Seconds |
Yes (outro)
|
262MC Formats Production: Blog Task CW5
Main Evaluation (Radio Programme-Group 2)
One of the main positives of our final radio programme, included our voice actors and the way in which we showcased our subject material. This for me was a strong point, as I felt that me and my team really conveyed a true life murder case (which I found), very sensitively and innovatively too. Considering the suggestion from our lecturer on switching our radio programme from a factual interview-based format to a procedural drama really paid off. This is because it gave us more material to work with, further allowing us to showcase our abilities surrounding sound, soundscapes, drama and emotion.
Upon recording our first few takes, my group could sense that our police drama wasn’t hitting all the right notes. This prompted us to switch around many of the voice actors, further adding in transitions and countdowns (in order to leave appropriate gaps to leave for third party media links).
After we sampled each voice actor in a prospective role, we came to a better understanding of where their strengths lied and their weaknesses. This proved effective, as we fed back our thoughts to them which they took on constructively and used critique to excel in the rest of the takes.
In terms of drawbacks, I would say audio levels were our biggest issue. This was luckily fixed by our sound lecturer Paul, who helped us with our difficulties. However, before this was fixed, the audio came out at a very low volume. Which lost some of the effect of our program and atmosphere too. This was evident, due to the fact that when levels were corrected our radio program sounded much more rounded and complete.
As far as what could be improved, I would say we could have branched out to more voice actors. This is because personally, I felt at times that the characters didn’t always merge together so naturally. Therefore, if we were to maybe include more smaller characters, then this would have created more of an effect and added to visual imagery through voice and texture. Furthermore, I would say possibly adding more sound effects, as although we had a good soundscape, some sounds seemed like they were missing throughout. For example, the opening of doors, chatter and so forth. A change of location could also have added to the drama itself, as it would take the audience to a different place through sound and motion effectively and swiftly.
If our programme were to be moved into a transferable format, then I would say a podcast format would fit really well or even a weekly radio drama format (such as The Archers on BBC Radio 4). This is because I feel we could focus on different true life Coventry murders against a fictional background of local police station and force. We’d further include different characters each week with particular traits who may narrate on the case itself, but also bring it back to whats happening around them (such as Killer Clowns running around in Coventry, highlighted in episode one of our procedural drama). In terms of accessibility we’d make sure t make it available as a downloaded file, this would attract more listeners, reaching to our demographic of young adults + as we’d be including relatable topics to them (which they may have seen in the news) and formulating it into a case, almost acting as the dual narrative of our programme.
In acting as a producer for my groups radio show and also co script-writer (for the first draft, with the second version being edited by another group member). I would say that I stayed focused throughout and really pushed myself each week. Further making sure that I booked enough radio time each week and made sure that we all stayed in contact, whilst developing our idea thoroughly and researching it well in order to convey our subject matter in an appropriate/engaging way for our audience to understand and tune in too. In terms of the development of my skills, I made sure to listen to a lot of radio formats (i.e The Archers and Serial).
As both of these programmes were vastly different it helped that they contrasted each other well. Thus giving me enough material to work off of. For example the podcast Serial (based on true murders), really shaped our soundscape as it showcased a lot of drama, intensity, emotion and impact all in one listen, thus really progressed the programme along. As for scriptwriting, me and my other peer came up with individual drafts, with me starting on the foundation of the story, whilst he added and tweaked bits after which worked well, as we stayed in communication throughout making sure to really emboss script and to enhance it into a fluid and consistent radio programme.
Furthermore, as I controlled the main radio desk, although this proved a little challenging at first, I quickly adapted myself to all the controls and levels, with some assistance from Paul. Upon doing more and more takes however, I felt my actual performance on the main radio desk improve vastly, as I acted more quickly and responded well in the time we had left. Thus would definitely work on the radio desk again, as it really challenged me and pushed me in a short amount of time (upon recording our live take). To sum up, my overall contributions included acting as: The main producer of our programme, main scriptwriter, main radio desk operator and organiser for my group at large.
A Killers Mind (Radio Drama)[1]
Upon viewing our final edit, many of my team were proud of our achievements. Some of the strong points of our production included thorough research into our source material plus our format. Personally, our story worked well as a drama as it really capsulated the mood and tone of the case, further engaging the viewer every step of the way.
In receiving feedback on our radio show, many praised our subject matter and our ability to dive straight into our subject material. They felt this worked really well as it kept them engrossed and engaged straight from the get go. However,some drawbacks specifically took aim at the overall flow of our program and the voice actors. This is because at some stages our program seemed rushed, with some of our voice actors appearing lower in volume than the other. Furthermore one of our voice actors, spoke quite fast thus it was quite hard to understand fully what he was saying after one listen, therefore encouraging viewers to re-listen to programme to get a better understanding of the radio show itself. Finally one short dialogue passage at the end, seemed to come in a bit too quickly therefore confusing audience ever so slightly, in terms of its use and so forth ( as it showcased one of the witnesses of the case itself, but almost seemed to act as another case, due to no intervals, thus giving us something to work on for next time.
References
262MC Formats Production: Blog Task CW6 (TV Viewing Experiences)
What do you think the TV viewing experience will be for viewers in 2020?
In this essay, I will be analysing what TV viewing experiences could be like for viewers in 2020. I will give my own opinion on this particular question, whilst backing up my thoughts with facts and figures from well-established sources. Eventually leading to me to a solid conclusion, in answering the main burning question regarding ‘TV viewing experiences for viewers in the year 2020’.
First off, TV viewing experiences have dramatically changed over the years with the entry of video on demand services. For example, according to BARB there has certainly been a rise in numbers for VOD services due to high accessibility and convenience, as many want instant access to films and television shows rather than waiting a whole week for new episodes (see diagram below).
From this particular diagram it’s clear to see that there has been an upward fluctuation. In particular, the largest increase can be seen in the ‘Any SVOD’ streak. Thus signifying a very high demand for subscription-based TV in various households. Furthermore, the most popular service can be clearly defined as Netflix, with the following findings becoming prominent (via BARB statistics).
In Q2 Netflix completed the process of implementing the price rises it imposed on new customers from mid-2014. At that time, existing customers were protected from the impact of the increase, which added £1.50/month to the price for basic tier subscribers. These existing customers were asked to pay the new price from May-June 2016, which may explain the apparent stalling of the growth in Netflix subscribers in the last quarter. Both Amazon and Now TV continued to grow at roughly their historic rates. [2016, B.]
One other factor which is currently going towards our tv experiences, most likely to affect our viewing experiences in 2020 includes social networking sites. The following infographic showcases this well (Cummings, 2015):
One main theme within the infographic above includes the rise in viewers tweeting about their viewing experience, in terms of what they are watching and how they are engaging with it. This in itself showcases how they are sharing their thoughts and feelings about the programme into the wide web. Thus establishing audience contentment/disappointment as they are spreading their views through social networking sites. Thus are actively engaging with the media form itself rather than accepting it passively. Therefore breaking the hypodermic needle theory, which suggests that viewers are almost ‘injected’ with information from the media, of which they accept in the same way as everyone around them. This is, as we know is not applicable to today’s day and age where opinions and views are shared extremely openly in context with viewing experiences and so forth. Where audiences are not absorbing information in the same way to each other, as each media artefact is eliciting different audience responses from them.
Personally, I would say this particular service falls hand in hand with people’s television experience, as they are involving themselves in the ‘second screen experience’. In short, this is where the viewer actively watches TV whilst on their phone (or on another media device), either viewing embedded content or gaining a deeper understanding to the show via 3rd party services. A report published through ‘adweek.com'(Flomenbaum, 2015) includes the following statistics:
- More than a third (37%) of consumers own a combination of smartphones, laptops/desktops, and tablets.
- Among those who plan to buy a TV, 61% expect to buy a connected TV, and 25% are planning to buy a 4K TV, an increase of 7% over last year.
- 87% of consumers use more than one device at a time. Globally, the smartphone is the most frequent companion device scoring 57% overall. This trend is particularly strong for millennials, with 74% of 14- to17-year-olds using a combination of TV/smartphones during viewing.
Thus the above statistics can confirm that many almost multi-task when watching TV as they seek to enhance their viewing experience with added support from social media, to various built-in apps available on various app markets. This further shows how TV viewing experiences have already evolved in just a few years. Therefore setting up further intrigue to what viewing experiences will be like in 2016 if new viewing aids are already being rolled out and used extremely frequently.
To conclude the question of what viewing experiences will be like in 2020, its clear that they will follow suit to today’s day and age, considering the rise in technology and on-demand services alongside various other applications which promote TV viewing. I’d further say that so many people are now searching for ‘instant viewing’ as its available to them, offering them ease and accessibility in binge watching a whole series than waiting for the next episode. Thus this not only showcases a change in audiences viewing habits but also the change which technology has brought to TV viewing experiences on the whole, affecting audiences tv sittings in the future.
References
262MC Formats Production: A Press Release/Proposal for Love/Clash (TV Show) Blog Task CW7
Within the following blog post I will be repeating Blog Task CW4, for my groups TV format. Entailing all information about our programme, further adding audience engagement, the tag line of our programme and other additional elements to our TV Format.
A Press Release/Proposal for Love/Clash (TV Show)
Love Clash: “A unique dating experience, starring diverse university talents from across the country. This week show features Midlands students, showcasing their skills to win a hot date.”
The duration of our programme will be around 10 minutes, whilst the TV Show will be a contest based dating programme. In terms of our theme, we will focus on dating, student life and talent. We aim to reach out to our intended audience (16-28 year olds) through our theme and style of programme. However our desired audience may be filtered to 18-30 year olds due to our timing being positioned to’post watershed’ for the show itself.
For example, we will be making it very relatable to uni students, further boosted by various comedic elements, mini-games and much more. Thus reaching out to our main demographic in this way. Finally, our preferred broadcasting platform would be an online demand service, as we’d release episodes weekly with bonus content. This would further engage viewers as they’d be seeking more footage online rather than on TV. For example E4 or even ITV2, which are very modernised platforms aimed at younger viewers. For example E4’s audience information (E4 2016) is as follows (includes example). Further showcasing key information about the channel and what programmes they distribute on a regular basis, which we’d feel our own programme ‘Love Clash’ would fit into.
“E4 is the entertainment destination for a cutting edge young audience. Its eccentric and witty persona and strong branding make it a massive talking point.” (E4 2016)
In terms of the how our dating show will work, we will involve university students who will act as participants and contestants. Therefore will either get matched up with one of their blind dates or be the blind dates themselves. We’ll also feature the blind dates biography in order for audiences at home to get to know the full selection, further adding in their talent in a short VT, which will tailor our programme to the brief itself more effectively. As for the mini-games, they will prove contestant compatibility and will give audiences a chance to rate the blind dates themselves too, through twitter and other means of social networking, promoting audience interaction within this way.Whilst for our emotional connection to our programme, I would probably say this would be that its extremely relatable to us. Considering that university is a place that many go on dates, whether that’s out dining, in clubs or so forth. Furthermore, as we looking to offer a different kind of dating show, by showcasing a variety fo sexualities considering we feel there is an absence of this in dating shows at the moment.
To conclude, we will be creating a TV Format which will be fun, engaging and entertaining. It will also showcase university talent through the mini games and the short VT’s thus giving our platform more off a lift from the average dating show we may perceive to see on TV right now.
First Running Order (Draft, 2 edits)
Rough running order (amended): running-order-template-2
Final Script (25th November):
Official Logo (25th November) by Adam:
Upon reflecting on the script and the logo itself, I would say both artefacts have been completed very well. Considering a lot of the script has been tailored to the presenters themselves, with the logo being screened to all peers in order to get feedback from all. This helped our group in deciding what aspects we loved about the logo and what we’d like to change.
References
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E4 (2016) Available at: https://www.4sales.com/platforms/e4/ (Accessed: 5 December 2016).
262MC Formats Production: Blog Task CW8 (Evaluation: TV Artefact)
In reflecting on my group’s final TV piece, I would say our programme does work well as a format. First off, we have created a show which features a diverse set of participants, through their sexualities, further focusing on their talents within their society bases. Secondly, we have constructed a dating show with a difference, in how we have put together our participants and also how we have grouped them with others. Further featuring a range of ‘compatibility’ games to provide audience engagement and repeat viewings. Another aspect of our show includes our prime focus on each participants talents rather than per say their looks, which we found many current dating shows to include (i.e Take Me Out) In terms of our programme to work across territories, I would say it would work well, considering it could be re-formulated in various languages to focus on universities in different areas. Therefore many games could pay homage to the country itself alongside university societies as well. I would further say that our desired channel would be ‘E4’ due to its edgy and comedic programmes reaching to younger audiences on a daily basis. Furthermore, the channel itself prides itself on ‘showcasing the different’, thus would really help boost our shows content and also theme as E4’s back catalogue certainly includes some quirky programmes (i.e Tattoo Fixers, Beach body fixers to name a few, which certainly engage the audience with humour).
As for our programmes uniqueness, I would probably say this would be our choice in featuring a range of sexualities, for our participants. Whilst also including ‘biographies’ of the contestants themselves without showing their face to the other. Thus allowing the participants to only hear what they cannot see on screen, judging their possible dates on their talent and what they do rather than through a very materialistic sense. The reason we thought about doing our format, in this way was because we were given tips from thorough feedback from our lecturer to emphasise how our show would be different, thus we thought about spinning the whole notion of having a dating show to celebrate various sexualities and their talents, rather than follow a formulaic set up of various individuals choosing their blind dates (taken from our own understanding on watching dating shows).
In terms of what works well within our programme, I would probably say this would be our choice of presenters and our content. First off, in terms of our presenters they were extremely natural, funny and very engaging to watch. Although one was a little confident than the other (and also use to the camera), the other provided sure aid for their partner. Thus both worked off each others energies extremely well. Next, in terms of our
Next, in terms of our content I would say this would be one of our highlights. Firstly our content was not only extremely engaging but it was also very entertaining. Considering we included not only just a range of participants but also mini games and audience interaction segments which really lifted our programme upwards. In particular, our mini games brought a lot of laughter and joy for each participant and even the presenters, this is because the participants really interacted with each other well breaking the ice between them in this way. Further working to our advantage in terms of camera charm and charisma, plus audience enjoyability too as they’d be more inclined to enjoy themselves if they are seeing the participants enjoying themselves on screen.
I think the audiences would like how we’d interact with them through social media. This is because we included polls for our audience to get involved with (how did you reach out to intended audience, revisit notes asap). Furthermore, our choice of presenters would have really invited them into the choice, in a very engaging way as each presenter brought their own sense of charm, charisma and flair.
It terms of what worked well for our TV show, I would say this would be our set up and our ability to get things done efficiently in such a short amount of time. Furthermore how we each communicated with at least one member of the team to check up on progress and so forth. Lastly, how we dealt with constructive feedback from our lecturers, really helped us to move forward as it gave us the opportunity to take a step back in looking at our idea with the full brief in mind, further fleshing out all content to really enhance the unique selling point of our programme (in this case our desire to showcase a variety of sexualities within a dating show medium).
On the other hand, as for what did not go so well, I would mention our time frame and our way of communicating with each other throughout. In terms of the deadline many felt we were quite restricted from the get go, as we found it hard to find participants at such short notice, furthermore filming with them as well due to conflicting schedules and graduation week taking place within our TV module time.
As for communication although we pulled through to the last leg, it was evident that communication lines were quite thin in terms of who knew what and who was informed the most etc. Thus at times it felt that communication was being lost for a while, as there were to many dividing opinions present at one given time. However, I would say that in terms of getting everyone together on filming day and making sure all knew what they were doing, our director really pulled through on this front. I further felt that her strong and diligent attitude helped to keep all members together as she really took charge when we needed her to the most. I would however say that sometimes communication within the gallery and the floor was a bit messy, due to very loud personalities taking centre stage, thus making it hard for us to film a full run through, instead stalling for some time then panicking until we got to the end in a very manic fashion.
With regard to developing my own editorial skills I would say I really pushed and challenged myself throughout. This was because although I was assigned one role, I made sure to dip in to other roles where needed. This helped me to really test my ability and strengths, as I managed to juggle being a producer, working on my groups website solely, organising all paperwork and revamping all social media forums (through posts and so forth). I`d further say that I learnt a lot about the way in which TV Formats story tell to an audience, for example through integrated content, messages, host and so forth. Considering that my team and I had to bring to the screen our own ‘story’ of what we felt dating show would look like, further relying on our own independent skills to really bring our project alive.
As for my technical skills (that I developed), I would say the following: better time management and organisation, consistency etc. These particular skills have really flourished personally for me, as I really went above the mark in terms of how much I took on, involving myself in various roles where needed. Further checking with my groups director, to get a go ahead on all my roles, just so all had a designated role rather than being left with something small etc. Secondly, I would say that working on my groups website solely, really helped me understand the importance of graphics, layout, content. This was because I wanted to really create a very fresh and updated website for my TV groups show.
See our official website here:Love Clash (Official Website)
In analysing it briefly, I would say that I Included a variety of references paying homage to our TV show. For example, preset sports/hobbies badges, preset 3d live ink background and embedded social media links. Although our brief stated that we only had to create a front page, I thought I’d add a bonus page for our audiences considering that this added feature will give them a better understanding of our show in terms of set up, presenting style and props. Further making them more involved within our show, as they’d be looking into whole website.
In terms of what helped my overall progress, I would say this would have to be my organisational skills and also particular members within the team. For example the director of our tv show and the hosts themselves. Considering that all really stayed motivated and focused throughout. I’d also say that the director really gave our tv show her all, as she really heralded the whole group together, even if sometimes this did not go to plan, she didn’t lose motivation or faith as this pushed her more to get what she wanted (i.e set design, performance, communication etc). As for what I’learntn’t about myself this would probably be my ability to really chase up progress from various people, further creating to-do lists, deadline schedules etc, in order to make sure my team stayed on track within a very tight deadline.
In seeing a short clip of our rough cut: Love Clash (Very Rough Edit), I jotted down the following notes (positive/negatives):
- Good use of theme
- Great interaction between hosts and contestants
- Effective background, fitting to shows aesthetics.
- Fluid, yet punchy script
Improvements (for final edit)
- Clearer transitions
- In need of catchy music (intro/outro)
- Better contestant reactions
- Clearer integration of social networking sites (i.e logo), to be present on screen throughout.
On the whole our rough edit so far looks well formulated. It is not only clear in terms of the look and style we were hoping for, but its also extremely engaging and comedic. Therefore reaching out to our key demographic of students, due to humour, mini games, social integration and much more. Furthermore both presenter styles are clearly evident, as their personality really comes through in an absorbing fashion, certainly proving an entertaining watch along with the contestants themselves.
Overall, I would say this particular module has proved very challenging and extended my growth from the previous TV module in Year 1. I’d further say that I transferred many of my skills from year 1 onto year 2 in terms of formulation of my group, how we arranged ourselves and the distribution of roles. One particular difference would be that I acted as producer/sole website editor for my groups show, in contrast to acting as a presenter in year one. Therefore proving a refreshing change, in giving me the opportunity to enhance my skills in a every different role, allowing me to really boost my focus, determination and also working style in terms of what I prioritised and how quickly my turn over for CW blog tasks were. I’d further say that in terms of summarising myself as a programme maker, I really learnt about the functions of running a format and the responsibilities of each role in depth. Leading me on to understanding the key significance of ‘research’ and ‘communication’ in regards to one’s role in order to really work well under pressure in unison with all other members within the team.
End Note
In conclusion (reflecting on the main FORMATS 262MC Module) I would say that working on a radio and TV format simultaneously really pushed me further, in terms of garnering more of a deeper understanding to Formats Production. I’d further say that each blog task taught me something to take along to my own format show, thus allowing me to demonstrate understanding, breathe and knowledge from each blog task in a structured fashion. In terms of group work comparing to my work as a solo creator, I would say I really tested myself in both areas, as I felt I involved myself more thoroughly which helped me in my growth and my learning chart in terms of my own goals and so forth. This would further relate to my deep interest in Formats Production, which I feel has really been embossed and enhanced within each critical blog task and both parts of the module (TV and Radio) itself.
Namaste Media Minions! 
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