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This blogĀ explains what the Ö÷²„“óŠć does and how it works. We link to some other blogs and online spaces inside and outside the corporation.Ā The blog is edited by Alastair Smith and Matt Seel.
2017-10-16T09:59:49+00:00
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/blogs/aboutthebbc
2017-10-16T09:59:49+00:00
2017-10-16T09:59:49+00:00
/blogs/aboutthebbc/entries/dbd53a31-8299-4cb8-a04d-924278e4f713
Benji Wilson
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<p><strong>Filming Orcas and Humpbacks on the Fjords of Northern Norway</strong></p>
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<p>āYou come in to the field with a plan, but ultimately you do what nature tells you.ā</p>
<p>Ted Giffords, Cameraman</p>
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<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p05jnprz.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p05jnprz.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p05jnprz.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p05jnprz.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p05jnprz.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p05jnprz.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p05jnprz.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p05jnprz.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p05jnprz.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Humpback Whales</em></p></div>
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<p>āYou come in to the field with a plan,ā says cameraman Ted Giffords, ābut ultimately you do what nature tells you.ā</p>
<p>The plan, for a key sequence in the Ö÷²„“óŠćās forthcoming Blue Planet II, was to try and film an amazing new behaviour. Itās one of countless new behaviours that viewers will see on Blue Planet II, not least because, as series Executive Producer James Honeyborne says, the science has moved on.</p>
<p>āNew discoveries have given us a completely fresh perspective on life beneath the waves. What youāll see across the series are new stories featuring new species, new places, new behaviours, all filmed in new ways. Our USP is very much newness.ā</p>
<p>This particular piece of newness consisted of a marine double act featuring both Killer whales and Humpback Whales. More than a decade ago Blue Planet, the Ö÷²„“óŠćās last landmark story of the seas, filmed Orca working Herring. āWorkingā means corralling the fish, bamboozling them, wrangling them in to a tight ball like a border collie with a flock of sheep. Then the Orca stuns one or two with a flap of its tail and ends up with a meal floating deadweight in front of it.</p>
<p>What scientists have observed in recent years - is that Humpback Whales, all 30+ tonnes of them, have started to get in on the act. Humpback Whales are thought to react to the commotion of the Orcas corralling the Herring. Swooping in and opening up their vast mouths, the Humpbacks swim through the buffet that the Orcas have so generously laid on for them, and gobbling up dozens of fish in a single pass. Itās a smash and grab run of epic proportions.</p>
<p>The plan sounded simple: film this behaviour happening. But in order to locate the whales on the infinite fjords of northern Norway, the crew need to do what nature is telling them.</p>
<p>Natureās message is relayed by seagulls. The footballer Eric Cantona was mocked when he talked about seagulls following trawlers in the hope of finding fish, but his rationale was sound. The seagulls do indeed follow the trawlers when there are Herring to be had, and it is herring that the Orca, and hence the Humpbacks, will follow.</p>
<p>Today is day 10 of a two week shoot, but itās also the culmination of two yearsā work. Producer Jonathan Smith has been following the herring, and thence the Orca and the Humpbacks, for two years for this sequence. He has done stints underwater, diving with a rebreather (to avoid bubbles on camera) in near freezing temperatures. He has tracked the Herring from out in the open Arctic in to the fjords, where for reasons we still donāt quite fathom they have moved just this last year. The whales have followed. They may not be here next year; they werenāt here when Blue Planet I was filmed. This is Smithās last shoot. He has yet to see a Humpback pull off its heist.</p>
<p>We are so far north, inside the Arctic Circle, stationed on the remote island of Vengsoya, that the days are hopelessly short. It is deep in to November and every day the sun comes up 20 minutes later. Light is at a premium - itās workable from about 11am today and it will expire at about 2.30pm. And so a converted fishing boat is readied before sunrise and we head out on to the fjords in the mizzle.</p>
<p>Natural history work takes you to remote places but it is rarely a solitary pursuit. As we run north towards the open ocean Smith is messaging a network of contacts - scientists from the Norwegian Orca Survey, fishermen, guides - all of whom are out on boats of their own already. Cameraman Ted Giffords has his own assistance, in the form of a 1,000 millimetres long lens on a giro-stabilised boom arm, handy for spotting gatherings of gulls at several kilometres. Heās glued to his screen, on look out. And Skipper Torre has an app, naturally, for monitoring marine traffic. It tells him where the boats are, what they are and if theyāre fishing. Cantona Theory dictates that boats + seagulls = Herring, and Herring = Orcas. Humpbacks are the final variable in the calculus. You need all of the elements, plus the light and a dab of luck, to be in with a chance of a shot. So far they havenāt got any decent footage of the Humpback bursting through with its mouth open - the money shot - in ten days on the water.</p>
<p>Jonathan Smith promises an abundance of Orcas and so inevitably we start off finding none. There is a slight tension as phones are checked, charts scanned and far off, shadowy surface ripples turn out to be everything but whales. Thereās not much time.</p>
<p>The sun, when it does rise, barely makes it above the horizon, a pink bedspread laid on the skyline. But as it does, at around 10.30am, a tip-off comes in, and Smith orders the boat to be turned around. We head to Kaldfjorden. Itās a 300 metre deep, 10 mile-long inlet that cuts south and then south-east between stark snow-topped peaks. We motor there to find trawlers and gulls at the far end and still we seeā¦ nothing. Smith remains positive - a requirement of the job, I suspect - āThese seas contain the most amazing biomass of animals in the ocean,ā he says. āNormally weād have seen loads of Orcas by now.āā</p>
<p>You have to be prepared. Ted Giffords is in charge of the Cineflex camera that will get us the shot, if only the sea life would oblige. The Cineflex allows the boat to be bobbing all over the place while the shot remains still and composed. There are between five and ten Cineflexs of this type in the world - theyāre hard to track down because they were originally designed for the American military and they canāt be moved from country to country without specific security clearance. This one has a 4K camera inside its sealed, counter-weighted housing and it can shoot in slow-motion; previous series like The Hunt couldnāt, and they werenāt filmed in such high definition. But higher definition requires more light. Giffords notices that his technical explanations are losing me:</p>
<p>āBasically itās harder to do but the end result is better. People will notice a difference.ā</p>
<p>You canāt not notice an Orca, especially in these flat, calm waters - their dorsal fins can be up to 6ft high on a male, and they travel in pods, usually five or more. Their stately silhouette is unique. Smith and his crew are seasoned spotters, and a tap on the shoulder alerts me to our first sighting, with one, two, then three spouts as the Orcas blow, several hundred metres away. We chug in their direction and on the way spot our other cast members - Humpback āblowsā are bushier and more spread out, Iām told. The sight of the Humpbacksā magnificent tails rising, fluking and slipping away has me excited, but the crew are unmoved: theyāre just āloggingā or relaxing, not feeding.</p>
<p>Suddenly there are Orca wherever you look down the Kaldfjorden, carving elongated Ms through the surface, while humpbacks rise and dive in tandem. With the sun now up and the mountains glistening it is an awesome spectacle ā but itās a distraction, and I fail to notice whatās happening on our other side, right up by the shore. Itās a group of Orcas, swimming back and forth in formation, so close to the waterās edge itās as if theyāre on watch. Smith is excited. āTheyāre definitely working fish. This could be about to kick off.ā</p>
<p>And then it kicks off.</p>
<p>āHalve the distance between here and the shore,ā Smith calls to skipper as he grabs his binoculars. āPick them up at one oāclock so we can keep the viewā¦ Humpbacks at 10.ā</p>
<p>It sounds like heās expecting the animals to arrive on a pre-arranged schedule, until I realise that the hands of a clock are the shorthand amongst captain, producer and cameraman for target location.</p>
<p>The Orca swim away but thereās a shadow visible beneath the surface, heading directly towards where they were. Smith tells Giffords to bring the camera to three or four, Giffords thinks they need to be on the other side, but Smith tells him thereās no time, something is going to happen now, and right on cue small fish start leaping out of the water, churning it up like itās coming to a fierce boil. The sound makes me spin round just in time to catch sight of 36 tonnes of Humpback whale arcing out and then back down through the surface. I cannot believe what I have just seen.</p>
<p>But the team know instantly that they have not seen enough: Smith and Giffords take a look at what they just filmed, and even though itās all there in stunning close-up the humpbackās immense mouth only occupies the left of the picture.</p>
<p>āTo get that magic it needs to be full frame,ā says Smith.</p>
<p>The captain turns the boat around. They know by now that a hungry Humpback will take several passes at a hearty fish supper, and even better, the Orca are back, pushing the Herring even closer to the shore, driving the fish in to the shallows where they canāt escape. With a silvery slick of fish at the surface, the Humpback must surface too. We wait, but not for long. The Cineflex camera hangs over the edge of the boat, and again the whaleās shadow ghosts towards us. This time Giffords is ready and the spectacle is centre stage: as the whale surfaces the water becomes pockmarked and froths with fleeing fish. And then the whale breaks the surface, mouth gaping open, an epic parabola of baleen-plate teeth, humped back, small dorsal and disappearing fluke, before a colossal crash; the vast shadow recedes quietly in to the deep.</p>
<p>The crew holler and celebrate. āWe have one!ā says Ted Giffords as Smith congratulates his men. It is the first major behaviour shot they have got on this stint, the culmination of a new piece of scientific observation that itās hard to credit as real until itās been filmed and shown. And yet still the light remains the most precious commodity, and so minutes later weāre off again in search of another piece of āmagic'. The ocean is boundless and thereās always more to see. The Blue Planet film crew just have to find it.</p>
<p>āItās a clichĆ©,ā says Jonathan Smith, still with binoculars in hand, ābut the only time you donāt get something is when you stop looking."</p>
<p>And thatās a theme that goes not only for this shoot but for the whole Blue Planet II series.</p>
<p>āWeāve completed 125 expeditions to 38 countries around the world, and our camera teams have worked in every continent and across every ocean,ā says James Honeyborne, back in the UK. āOne of the things that has really fascinated me during the making of this series is the extent to which weāre on the front line: weāre not just reporting these scientific stories, weāre actually help uncovering new scientific stories. So much so that at least 15 scientific papers are being written on behaviours weāve filmed. Thatās the levels of newness weāre at, that is the great opportunity of being in the sea, and thatās the great excitement for us.ā</p>
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<p><em>Blue Planet II starts Sunday 29 October at 8pm on Ö÷²„“óŠć One. To find out more about the series read the <a href="http://www.bbc.co.uk/mediacentre/mediapacks/blue-planet-ii">full media pack</a> or watch <a href="http://www.bbc.co.uk/programmes/p05fzldm">the prequel on iPlayer</a> now.</em></p>
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2016-12-23T10:00:00+00:00
2016-12-23T10:00:00+00:00
/blogs/aboutthebbc/entries/a11ae422-cca7-47c1-bf97-a90cd9d8dd3e
Charley Stone
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<p><em>Sally Wainwright's new drama To Walk Invisible takes a new look at the BrontĆ« family, three remarkable women who came from obscurity to produce some of the greatest novels in the English language. Charley Stone spoke to production designerĀ Grant Montgomery to discover how the BrontĆ«s' world was recreatedĀ for the series.</em></p>
<p>Three strong Yorkshire women, living in a remote place with a brother who goes off the railsā¦ sounds like the plot for a Sally Wainwright <em>(Happy Valley, Last Tango In Halifax</em>) drama, right? Correct:Ā <a href="http://www.bbc.co.uk/programmes/p04cf4wv"><em>To Walk Invisible</em></a> is her story of the BrontĆ« sisters, and their rise from obscurity to become the renowned authors of works such as <em>Wuthering Heights</em> and <em>Jane Eyre</em>.</p>
<p>I recognised Haworth parsonage, the BrontĆ«sā home, right from the opening scenes, having visited there many years ago. But how do you get permission to shoot a film over several weeks in what is now a working museum? Well, you donāt. Instead, the interior of the house was recreated in a studio in Manchester, but the famous exterior and surroundings were built on a car park about half a mile outside Haworth ā on a fake hill!</p>
<p>āThe parsonage is on a hill, and it had a very particular gradient, so we had to build some of the hill on a huge scaffold rig,ā explains production designer Grant Montgomery.</p>
<p>āThereās a shot at the start of the film, where Charlotte BrontĆ« is going up to the house, and sheās going past the graveyard, and all the flagstones are wet ā thatās all fake. Itās real flagstones that we put down, but itās not a real location ā itās an MDF skin over a scaffold rig, with a house on top.ā</p>
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<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p04m6n9t.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p04m6n9t.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p04m6n9t.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p04m6n9t.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p04m6n9t.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p04m6n9t.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p04m6n9t.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p04m6n9t.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p04m6n9t.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Exterior set sketch</em></p></div>
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<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p04m6nnj.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p04m6nnj.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p04m6nnj.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p04m6nnj.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p04m6nnj.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p04m6nnj.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p04m6nnj.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p04m6nnj.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p04m6nnj.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Exterior set build</em></p></div>
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<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p04m6nmt.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p04m6nmt.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p04m6nmt.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p04m6nmt.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p04m6nmt.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p04m6nmt.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p04m6nmt.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p04m6nmt.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p04m6nmt.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Exterior set once built</em></p></div>
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<p>Not just the house, but the graveyard and the side of the church, as it would have been during the Brontƫs' lives, together with another house and barn which no longer exist, were all created on the makeshift hill.</p>
<p>āThe walls are plaster walls painted to look like stone ā and youāll notice there are no trees, because the trees were planted after the BrontĆ«s, when the Reverend Wade took over the parsonage after Patrick BrontĆ« died. We shot down a bit of actual Haworth street, but we changed all the shops back to the exact shops that were there at the time.ā</p>
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<em>The shop fronts for To Walk Invisible</em>
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<p>Grant explained how they had 12 weeks to research and prep everything before filming began, and how every detail had to match the house as it was when the Brontƫs were living there.</p>
<p>āBecause itās such an iconic literary shrine, you have to get all of that detail right. It was in Sallyās script, that it was the parsonage without the Wade extension, so you couldnāt really do it any other way but to actually go and build it from scratch. For example, the size of the hallway is wider in our film, because Charlotte made her bedroom and the parlour larger after the death of Anne.ā</p>
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<p>āSally wanted that authenticity. We built the piano in the front room that Emily played, because itās a very distinctive piano. We recreated all the books that were on the bookshelves, and all the pictures on the wall, and all the flagstones in the hallway were measured exactly from the original parsonage, and even the handrail.</p>
<p>āBut Sally wanted it to feel like it was a house that people actually lived in, so there are scratches and bashes on the woodwork. And I wanted the audience to feel that it was real, as real as we could make it.ā</p>
<p>Watching the film, I did feel totally immersed in the BrontĆ«sā world, and it gave me new insight into their inspiration.</p>
<p>āBeing at the set build when snow would come through, rain would come through ā because youāre really high up, amongst the moors, which gives it an incredible look. And you began to understand why they wrote what they wrote, remembering descriptions of them all sitting in the parlour, when they could hear the wind howl outside the house, and you suddenly realise they were right at the top of Haworth, looking right out onto the moor. So why wouldnāt they be writing things like Wuthering Heights and Jane Eyre?ā</p>
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<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p04m6pwt.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p04m6pwt.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p04m6pwt.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p04m6pwt.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p04m6pwt.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p04m6pwt.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p04m6pwt.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p04m6pwt.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p04m6pwt.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Set panorama as the build is in progress</em></p></div>
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<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p04m6q2w.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p04m6q2w.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p04m6q2w.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p04m6q2w.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p04m6q2w.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p04m6q2w.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p04m6q2w.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p04m6q2w.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p04m6q2w.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Set panorama when the set is complete</em></p></div>
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<p>āSallyās written a great script, I loved reading it. I kept re-reading it while I was making it and thoroughly enjoying it. It was a great journey to take. It was a privilege, I really mean that - it was an extraordinary piece of work to do. Iād always wanted to film a BrontĆ« story - I think theyāre an amazing family - and I kept thinking āI really want to meet them!ā. I just hope everyone enjoys it.ā</p>
<p><a href="http://www.bbc.co.uk/programmes/p04cf4wv"><strong><em>To Walk Invisible is on Ö÷²„“óŠć One at 9pm on Thursday 29 December</em></strong></a></p>
</div>
2015-03-26T16:34:59+00:00
2015-03-26T16:34:59+00:00
/blogs/aboutthebbc/entries/b7f0565f-1339-4738-83f3-3cb2214378df
Jen Macro
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<p>Imagine, for a moment, a world where <a href="http://www.bbc.co.uk/blogs/aboutthebbc/entries/94d7f478-c4e5-3fb8-af91-4a67f21848a7"><em>Strictly Come Dancing</em></a> has no sparkly costumes, tense dramas such as<em> The Honourable Woman</em> have no emotive musical score, orĀ <em>Doctor Who</em> has no special effects leaving Peter Capaldi with no sonic screwdriver and a TARDIS that's the same size on the inside as it is on the outside.</p>
<p>Not great is it?</p>
<p>Fortunately, in this world, we are spoilt by the tireless efforts of those working behind the scenes of our favourite telly programs, who bring fact and fiction to life on our screens. That's why, from camera operators to costume designers, writers to sound engineers this army of talent will all be celebrated in the BAFTA Television Craft Awards 2015, the nominations for which were announced yesterday (Wednesday March 25).</p>
<p>Sky Atlanticās<em> Penny Dreadful</em> leads this yearās nominations with five, with Ö÷²„“óŠć shows <em>The Honourable Woman</em> and <em>Life And Death Row</em> hot on their heels each gaining four. There is also a strong show of love for Ö÷²„“óŠć shows in the two Writer categories with nominations for <a href="http://www.bbc.co.uk/blogs/aboutthebbc/entries/b0be5a67-37c9-4f7b-ab7d-ab9f98def6e7"><em>Happy Valley</em></a>,Ā <em><a href="http://www.bbc.co.uk/blogs/writersroom/entries/33e9d609-97d4-306d-9942-7714fdc1a296">Line of Duty</a>Ā andĀ </em><em>Marvellous</em> (drama), <em>The Wrong Mans</em>, <em>Detectorists</em> and <a href="http://www.bbc.co.uk/blogs/writersroom/entries/61e0081d-6a37-4630-9893-8b5880749e1a"><em>Inside No.9</em></a> (comedy). The full list of nominees is available on the <a href="http://awards.bafta.org/award/2015/tvcraft/">BAFTA website</a>.</p>
<p>The recipient of the TV Craft Special Award this year is vision mixer <a href="http://www.bbc.co.uk/ariel/31962111">Hilary Biegel</a>, who worked on Ö÷²„“óŠć shows such as <em>Only Fools And Horses</em>, <em>Absolutely Fabulous</em> and <em>Newsnight</em>.</p>
<p>BAFTAās Chief Executive Amanda Berry OBE said the nominations āare tangible proof that the UK is home to some of the most exciting and talented Television Craft practitioners. The Awards also continue to reflect changing broadcast trends, with nominations across a wide range of programmes and broadcast platforms.ā</p>
<p>This yearās ceremony will be held on Sunday April 26 in London, hosted by star of Ö÷²„“óŠć Two comedy <em>Episodes</em>, Stephen Mangan.</p>
</div>
2014-09-26T09:20:10+00:00
2014-09-26T09:20:10+00:00
/blogs/aboutthebbc/entries/d470b31a-86d2-355c-9262-fbb293b4a8d3
Jon Jacob
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p027bglt.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p027bglt.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p027bglt.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p027bglt.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p027bglt.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p027bglt.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p027bglt.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p027bglt.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p027bglt.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Refurbishment progress on Stage 6 at Television Centre (Credit: Marcus Haydock)</em></p></div>
<div class="component prose">
For 27 years
my mother was a newsagent in the town where we lived. Every day after the end
of school, Iād wait in the back office watching the comings and goings until
Mum shut the shop and we could go home. I listened in on the moans and groans
of the town as the last customers of the day paid for their magazines and
newspapers. It was busy, noisy and I loved being a part of it.<p>
When my parents
announced they were not only keen but going to sell the business, I felt an
impending sense of loss. I was to be denied access to what I saw as my second
home. They hadnāt consulted me about what I wanted. I was left to pick up the
pieces. In my own (almost certainly self-indulgent) way, I mourned the sale of
it. I denied the necessary post-sale handover of keys and convinced myself that
the shopās new owners were brusque and unfeeling as they moved into the space
which hitherto had been mine.</p><p>I was
thinking about my Mumās newsagents in the final weeks Ö÷²„“óŠć staff were <a href="http://www.bbc.co.uk/blogs/aboutthebbc/posts/Television-Centre-in-the-Ö÷²„“óŠćs-own-words">moving out
of Television Centre last year</a>. I was prepared for it for this time. I was
thorough: I set about āsaying goodbyeā to the building, using any spare hour I
had available to stroll around the site. I shot some video along the way too. </p>
<p>The repeat
visits around the newsroom, āDoughnutā, Drama building and East Tower reminded me
of just how big the <a href="http://www.bbc.co.uk/historyofthebbc/collections/buildings/television_centre.shtml">Television Centre site</a> really was. I must have lost half a
stone in the weeks Iād wandered around there getting footage and saying goodbye.
Painful though that goodbye seemed, the siteās sheer scale made it also appear anachronistic
and unsustainable in comparison to my day to day working experience. That
insight alone suddenly made the goodbyes
seem a whole lot easier. </p><p>
āIt was basically a
small town,ā says facilities manager Mike Eaton as me and a colleague toured the
building late last week. āYou could spend days on the Ö÷²„“óŠć site and not even
venture out. Everything was provided here.ā</p>
</div>
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p027dmfh.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p027dmfh.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p027dmfh.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p027dmfh.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p027dmfh.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p027dmfh.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p027dmfh.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p027dmfh.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p027dmfh.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>IT equipment soon to be auctioned stored in one of TVC's television studios</em></p></div>
<div class="component prose">
<p>Mike
explains this in one of the studios currently used for storage of the <a href="http://www.ppauctions.com/auction.php?id=119">last
remaining TVC items to be auctioned</a>. Row upon row of servers, PCs and other IT
equipment - itself an unhappy reminder of my own IT support career past - illustrates
Mikeās point: Iāve never seen quite so much IT equipment all in one room
before. Television Centre was a considerable site with an equally large
footprint both geographically and technologically. It was its own ecosystem. As
technology gets smaller, so the need for space decreases and the cost of
maintaining it increases. With total savings achieved by Ö÷²„“óŠćās
sale of TVC estimated at more than Ā£600m (the sale alone raised Ā£200m and
occupancy costs of at least Ā£30m per annum are being saved from 2015 onwards),
the sale of the site has an entirely different context. Ā </p>
</div>
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<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p027bgr7.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p027bgr7.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p027bgr7.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p027bgr7.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p027bgr7.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p027bgr7.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p027bgr7.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p027bgr7.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p027bgr7.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Refurbishment progress on Stage 6 at Television Centre (Credit: Marcus Haydock)</em></p></div>
<div class="component prose">
Iāve charged Mike with giving us a tour of the building
one last time ahead of <a href="http://www.openhouselondon.org.uk/">Open House</a> last weekend - four hundred tickets were sold
ājust like that,ā says Mike as he snaps his fingers. We spend time in the
Doughnut where he points to the Studios 1, 2 and 3 the
former and future home of <a href="http://www.bbc.co.uk/blogs/aboutthebbc/posts/Ö÷²„“óŠć-Studios-and-Post-Production-at-Elstree-one-year-on">Ö÷²„“óŠć Studios and Post Production</a>, the Ö÷²„“óŠćās commercial studios, post production and digital
media services company. Here demolition and infrastructure works have started -
early building work is due to begin next year, ahead of the companyās return in
2017. <p>It seems like such a long way off, until I realise that with all
the other building work going on on site to meet the vision for the new
Television Centre, TV programme makers would definitely
prefer to wait until the builders have completed their work.<strong> </strong>We swing round and look behind us to
what was Television Centre reception and Ö÷²„“óŠć News. āStage 6 remains ā Ö÷²„“óŠć
Worldwide will move back in there in 2015. Stage 5 behind it will be rebuilt
more in the style of the main Television Centre.ā</p>
</div>
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p027bgmm.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p027bgmm.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p027bgmm.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p027bgmm.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p027bgmm.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p027bgmm.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p027bgmm.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p027bgmm.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p027bgmm.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Refurbishment progress on Stage 6 at Television Centre</em></p></div>
<div class="component prose">
Thereās a sense of
excitement in Mikeās voice. This is almost certainly his style of delivery
combined with his well-practised patter. But that excitement is infectious.
Being back on-site after eighteen months with familiar sights still
functioning- like the automatic swing doors at reception and the familiar
whirring sound whenever theyāre activated āstir happy memories and a longing
for the past in the way I thought it might. However, a protective spirit stirs,
as though weāre looking at a distant relative recovering from rather aggressive treatment. TVC seems
vulnerable to me. Iām eager to see its full ārecoveryā.Ā Not only that, Ā Iām also reminded once again of its immense
scale in comparison with the significantly smaller space Iāve now become
accustomed to working at Broadcasting House in central London. Stripped of its
industry, equipment and people, Television Centre's size is even more striking.
</div>
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p027bgpj.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p027bgpj.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p027bgpj.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p027bgpj.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p027bgpj.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p027bgpj.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p027bgpj.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p027bgpj.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p027bgpj.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Refurbishment progress on Stage 6 at Television Centre</em></p></div>
<div class="component prose">
That excitement for the
refurbishment to be completed as quickly as possible is fuelled no doubt by
<a href="http://vimeo.com/83301903">Stanhopeās fly-through video</a> and master-plans detailing how the site should
look after work is completed. So too, the progress photography on the
refurbished offices for Ö÷²„“óŠć Worldwideās HQ ā a milestone in the development of
the building and a suitable home with an iconic backdrop for a business selling
the Ö÷²„“óŠćās brand to the world. Iām surprised (and perhaps a little relieved) at
myself about how eager I am for other people to benefit from the site ā those
whoāll stay in the 40 room hotel, move into the 950 new residences created or
just walk through the eventual public spaces. It appears I have found a way of
moving away from home.<p>Elsewhere on
our visit, Mike takes us to the Drama Building. Eighteen months ago I saw an
old <em>Blue Peter</em> set, a Dalek and Andrew Marrās set. Eighteen months later,
thereās just equipment ā monitors, server cabinets ā destined for the final
auction of equipment next month. āFollow me,ā says Mike excitedly, āIāve got
something to show you Iām sure you havenāt seen.ā</p>
</div>
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p027dmtz.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p027dmtz.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p027dmtz.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p027dmtz.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p027dmtz.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p027dmtz.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p027dmtz.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p027dmtz.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p027dmtz.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Painting a picture in Television Centre's Drama Building</em></p></div>
<div class="component prose">
<p>Heās right.
During my wandering around TVC in March 2013, there were some doors in the
Drama Building which were disappointingly locked, mysterious spaces behind
doors I couldnāt open. Up a narrow set of stairs and through an equally narrow (now
unlocked) door and weāre inside a high roofed room, standing on a suspended
floor with a flight of stairs disappearing away from us. It feels like a stage.
It could easily be the TARDIS set I wanted my Dad to build me as a kid (but he
didnāt because the local wood store āapparentlyā didnāt have enough material
available). Here was my own special TV set where I could for a moment or two,
in my head at least, play out my own imaginary TV drama.</p><p>
Mike explains that this
is the scenery dock. The paint on the wall is from a time when scenery painters
created backdrops for various TV programmes. āWhen theyād finished painting one
part of the backdrop and needed to get a bit higher up, theyād use this lever
here.ā Ā Powered up, thereās a sudden
whirr and the frames hanging at either Ā sideĀ
start moving up and down. If the TARDIS really was real, this would be
it. And I was in it.</p><p>The sense of
sadness didnāt kick in here either. Instead I stand there trying to work out when
we last made painted backdrops for sets? Wasnāt that years ago? And why did we
stop making them? Something to do with TV dramas largely being made on
location, technology making it possible for realistic locations to be used in
TV production. Suddenly the impact of technological advances on ātraditionalā
crafts ā the greater sensitivity of cameras, freeing directors from the
constraints of a controlled studio environment and the need for sets, for
example ā is plain to see. The scenery dock is no longer a destination for
nostalgia lovers, but a place where the impact of technological advances on
traditional crafts is apparent . And how such advances suddenly make such
locations anachronistic. More than anyĀ
other location on the Television Centre site, this feels like a real
goodbye. Timely. Necessary. Healthy.</p>
</div>
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p027dn2w.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p027dn2w.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p027dn2w.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p027dn2w.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p027dn2w.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p027dn2w.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p027dn2w.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p027dn2w.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p027dn2w.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>The fourth floor in Television Centre.</em></p></div>
<div class="component prose">
<p>Eager to
test out my transformed thinking, I ask Mike if we can squeeze in one extra
destination. On the way to theold Ö÷²„“óŠć clubā now missing all of the familiar
furniture, covered in builders dust and the balcony sporting weeds that have
grown in between the patio slabs ā we stop off at Room 4099, the one office I
worked in whilst I was based at Television Centre. Bottles labelled āFake Tanā
have been left on the shelf from the time <em>Strictly Come Dancing</em> had offices
here in Entertainment Production. My time goes back to <em>Any Dream Will Do</em>, and
the night of Eurovision pre-selection when Andy Abraham was selected to
represent the country. </p>
<p>Standing in
the office now remembering those memories, Iām reminded how distant this office
was from proceedings we were covering online during the live broadcast four
floors below. How the distance seems unfathomable now in comparison to
proximity of studios and programme making in nearly every other Ö÷²„“óŠć building
Iāve been in since. Scale has reduced dramatically. Things can be done in less
space in closer proximity to production space. It takes returning to a former
home to realise just how much things have changed and how much they needed to
change too. Ā </p><p>
Our visit has gone on
longer than I realise. My colleague looks at his phone saying he is already ten
minutes late for his 11 oāclock. We walk at speed along the 4thĀ floor corridor in search of a working lift (there are only one or two in the
building āswitched onā now) and head for the audience foyer ā now a canteen and
office for the builders working onsite. The buzz remains in this part of the
building just as it was shortly before it was finally vacated. Itās the sound
of the buzz that casts me back. Memories stir. A dangerous moment. I grab my
bag and coat from the office and make for the barriers.</p><p><em><a href="http://www.bbc.co.uk/blogs/aboutthebbc/authors/Jon_Jacob">Jon Jacob</a> is Editor, About the Ö÷²„“óŠć website and blog</em></p><p></p><ul>
<li><em><a href="http://www.bbc.co.uk/blogs/aboutthebbc/posts/TVC-past-present-and-future">Read</a> Facilities Manager Mike Eaton's blog detailing progress on the Television Centre refurbishment published earlier this week.Ā </em></li>
<li><em>Discover more about the iconic Television Centre on the <a href="http://www.bbc.co.uk/historyofthebbc">History of the Ö÷²„“óŠć website</a>.</em></li>
</ul>
</div>
2014-09-19T13:11:11+00:00
2014-09-19T13:11:11+00:00
/blogs/aboutthebbc/entries/85987717-ceaa-362b-b839-744f030fa4ea
Ken Horn
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<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p026sk0d.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p026sk0d.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p026sk0d.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p026sk0d.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p026sk0d.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p026sk0d.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p026sk0d.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p026sk0d.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p026sk0d.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""></div>
<div class="component prose">
<p><em>In 2013, Our Girl, a
single drama starring Lacey Turner as Molly Dawes, an East End girl who joins
the army, was broadcast on Ö÷²„“óŠć One to critical and audience acclaim. Now Molly
is back for a five-part series starting this Sunday. In this post, producer Ken
Horn talks about some of the challenges the team faced when filming, recreating
Afghanistan in the South African countryside.</em></p><p>Iāve just had to make some clips for The
One Show ahead of <a href="http://www.bbc.co.uk/mediacentre/mediapacks/ourgirl/lacey">Lacey Turner</a>ās appearance this week. One of the clips shows
Laceyās character <a href="http://www.bbc.co.uk/programmes/p026qvxv">Molly arriving at the FOB</a> (Forward Operating Base) for the
first time and we see the place through her eyes. Iām reminded of the location
where we actually filmed this sequence, in the stunning area north of Cape Town
in the Bonte Bok mountain range at a place called Serra Della Camp, a beautiful
wildlife reserve.</p>
<p>Though beautiful, the area was deceptive in
its charms, and we quickly learnt what the Cape Winds meant. There were days
during the construction period where work was impossible and on two occasions
large parts of the set we were building were blown over. We had to bring in
specialist teams to attach steel hawsers to act as guy ropes to prevent any
further damage. The British Army donāt have this kind of problem when they
build these kinds of things in Afghanistan as they make their walls out of rock
and gravel, ours were made from straw.</p>
<p>Whilst construction was underway on the
first big set the actors were in the UK undergoing the first phase of their
boot camp. Colonel Nigel Partington (retired) was in charge and was tasked with
taking a bunch of actors and turning them into what could pass for soldiers who
had completed the rigorous fourteen weeks of training at Pirbright or Catterick
and then a further six months specialist training in their particular areas of
expertise. Nigel was undaunted and provided a comprehensive and well thought
out timetable to get the actors in shape, and he quickly came to realize that
as actors they are very good at absorbing character information, by day three
he was amazed by how far they had come.</p>
<p>After a readthrough in London (most of the
actors found this the most frightening experience of all) it was time for the
long flight into the heat of South Africa and the second phase of the boot camp
and acclimatization. Getting used to the temperatures was key to them being
able to cope with the grueling schedule ahead, again Nigel and his team got
them through it.Ā </p>
<p>Other sets were being planned in the
meantime, with the series requiring three large builds: the FOB mentioned
earlier, an Afghan village where Bashira, Mollyās little Afghan friend lived,
and Camp Bastion. The latter being in reality the size of Reading.</p><p></p>
</div>
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p02638jh.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p02638jh.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p02638jh.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p02638jh.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p02638jh.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p02638jh.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p02638jh.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p02638jh.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p02638jh.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Lacey Turner as Molly in the new series of Our Girl</em></p></div>
<div class="component prose">
<p>The weather in South Africa on the lead up
to filming was pretty bad and it was a worry, we had travelled six thousand
miles to film in the sun! On the single film we made last year we had filmed
some sequences set in Afghanistan in a quarry in Leighton Buzzard and it had
rained on both days, surely we were not going to meet the same fate?</p>
<p>Despite the setbacks and the constant
rebuilding of the set we persevered, the South African construction team were
amazing and just got on with it. They have a great ācan doā attitude and are
used to the climate. Luckily the weather behaved itself and out of forty nine
days of filming, we only had four days when the sun didnāt shine.</p>
<p>However this was a <a href="http://www.bbc.co.uk/programmes/articles/1wqtTyytsFL53NLbQVW2Syd/a-sneak-peek-at-the-filming-of-our-girl">mixed blessing for the
actors</a>. Whilst the crew were mainly sporting t-shirts and shorts, for the
actors it was full battle dress, and on some days the thermometer was showing
temperatures in the high thirties. We had to make sure that everyone was fully
hydrated and bottles of water became the order of the day. Also rivers became
an attraction and between takes you could find actors sitting in the cool
waters, emerging and being completely dry within five minutes.</p>
<p>Confirmation that we had got it right came
from our Military Advisors who all commented that what we had filmed looked
exactly like Afghanistan, praise indeed.</p>
<p><em>Ken Horn is Producer of Our Girl.</em></p><p>Ā </p><ul>
<li><em><a href="http://www.bbc.co.uk/programmes/p02634yt">The first episode of Our Girl will be broadcast on Ö÷²„“óŠć One at 9pm on Sunday 21 September</a>.</em></li>
<li><em>For more information about the show visit the <a href="http://www.bbc.co.uk/programmes/p0260ych">Our Girl programme page</a>.</em></li>
<li><em>Read the Our Girl press pack, including interviews with the lead actors, at the <a href="http://www.bbc.co.uk/mediacentre/mediapacks/ourgirl">Media Centre website</a>.</em></li>
<li><em>Read an interview with Our Girl's writer Tony Grounds on the <a href="http://www.bbc.co.uk/blogs/writersroom/posts/Our-Girl-an-interview-with-the-writer-Tony-Grounds">Writersroom website</a>.</em></li>
</ul>
</div>
2014-09-05T13:47:13+00:00
2014-09-05T13:47:13+00:00
/blogs/aboutthebbc/entries/5bb62bc4-b634-3b68-a4b4-b8877dfaa2f9
Joe Towns
<div class="component prose">
<p><em>Scrum V is about to kick off for a new season, producer Joe Towns gives an insight into how the Welsh Rugby show is put together.</em></p><p>Rugby
is deeply rooted in Welsh life. It defines us, brings communities together
every weekend, and brings the nation together when Wales play. The rugby
conversation in Wales is more popular than talking about the weather. It's this
passion (obsession) for the game we try to reflect in our Scrum V programmes.Ā </p>
<p>The
Scrum V brand now includes <a href="http://www.bbc.co.uk/programmes/b00dyc1m">Scrum V Live</a>, Scrum V Highlights, Scrum V Classics,
Scrum V Six Nations Special, Scrum V Extra, <a href="http://www.bbc.co.uk/programmes/b0079ppj">Scrum V Radio</a>, <a href="bbc.co.uk/scrumv">Scrum V Online</a>Ā and <a href="https://twitter.com/Ö÷²„“óŠćScrumV">Scrum V Twitter</a>.</p>
<p>You
can't escape us.</p>
<p>We
joined twitter a few years back which allows us to speak directly to our
audience. We get instant feedback on our choice of guests (not always positive,
but often about what they are wearing) our choice of music, choice of game,
choice of kick-off time and our editorial direction. The discussion between
programme maker and punter is both constant and continuous. Usually light
hearted and always informative. <a href="http://www.ospreysrugby.com/Ö÷²„“óŠć/Page">Ospreys</a> fans tell us we are bias towards the
<a href="http://www.cardiffblues.com/rugby/">Blues</a>. Blues fans tell us we are bias towards the Ospreys - so we're doing
something right.</p>
<p>We
are currently developing an exciting Second Screen appliance. It will allow our viewers to simultaneously interact with us on
their phone or tablet during our live show by offering them the chance to
select their own replays, access our stats and analysis feeds, and connect to
our social media output. We refuse to stand still. We just signed a <a href="http://www.bbc.co.uk/sport/0/rugby-union/28550272">new four-
year contract to cover Welsh rugby</a> and we want to give our audience the very
best.</p>
<p>Our
TV ratings are the highest across our channel (Ö÷²„“óŠć Two Wales). In live sport,
ratings are often driven by the quality of the match itself, and we can't
control that. The important thing is high production values, accuracy and
entertainment. Producing
Scrum V is a bit like managing a Premier League football team, we have a group
of hugely talented individuals and my job is to make sure they all perform well
on match day, which, for
us is Friday night, our live show kicks off at 7.30pm.Ā </p>
<p>We
pray for great games, but the reality is that some games are poor - and that's
when we really need to try and bring something extra to the screens. We had a
bizarre night at Rodney Parade a few years back where the heavens emptied and
the pitch was waterlogged just before kick-off so we had to talk in studio for two
hours while they decided whether or not to play. Our ratings actually went up
and up - even though the match never happened.</p>
<p>Last
year we were the first Ö÷²„“óŠć programme to pioneer the REFCAM (a camera referees
wear on their chest). We also use a super-hi-motion camera for those lovely
slow motion big hits and tackles you see. It's very expensive so we only
use it on the big games but it's becoming an integral part of sports
broadcasting, where itās vital to keep up-to-speed with the
latest innovations.</p>
<p>The
working week starts on Monday mornings when we review the match from the weekend
just gone, deal with any issues and try and give some feedback to our pundits.
We use a mix of pundits - some recently retired players like Martyn Williams and
Shane Williams; some who are still playing - like Ryan Jones. And some legends
of previous eras like Jonathan Davies and Rob Jones. These guys were my
absolute heroes so itās a dream to work with them...but sometimes difficult
to tell them what to do.</p><p></p>
</div>
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p0263rjr.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p0263rjr.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p0263rjr.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p0263rjr.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p0263rjr.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p0263rjr.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p0263rjr.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p0263rjr.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p0263rjr.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>The Scrum V Presentation Team: Jonathan Davies, Martyn Williams, Ross Harries, Phil Steele, Gareth Charles and Sean Holley</em></p></div>
<div class="component prose">
<p>We
also use current professional coaches in our analysis truck - like Sean Holley,
Phil Davies or Kingsley Jones. We take our analysis very seriously - we want
viewers to learn something, but it's vital the message is clear. Our main commentator
- Jonathan Davies - has a special screen and pen (called the TOG) which enables
him to draw live lines and circles on our output to highlight various tactical
moves or mistakes. Sean Holley is able to do the same from the analysis truck.</p>
<p>If
there's been a technical issue on the live game we try to iron it out early the
following week. If we made a mistake with analysis or a graphic or a replay or
a camera didn't work properly, we try to figure out how to ensure it doesn't
happen again. Our new graphics providers start this season and they need high-speed
broadband to deliver their service. This is nerve wracking as internet access
at stadiums - when everyone is on their phones - is alwaysĀ unpredictable.
I'll never forget the day we were doing a live Skype interview with David
Hasslehoff about his love of Welsh rugby and our engineering manager - Hugh
Davison - was hanging out the back of the truck with a dongle in the air trying
to maintain signal.</p>
<p>On
Tuesdays the four Welsh teams hold press conferences.... we film these
interviews ourselves and distribute the material to the news, radio and online
teams so they can start drumming up a buzz towards our next live game.</p>
<p>We
chat to the coaches every week and try to squeeze a bit of inside information
from them. We may also have a special request for the Friday game... - like
putting a camera in the dressing room... Or delaying kick off by a few minutes
so we can have a bigger build up....or asking if we can interview a coach in
the stands during play. (We were one of the first programmes to do this and
it's now an integral part of our show. Can you imagine that happening in the
Premier League? "Excuse me Sir Alex, can we have a quick word?")</p>
<p>Last
year the Regions' team captains agreed to let our reporter - Phil Steele -
interview them as they walk off the pitch at half time. This was pretty ground
breaking stuff for us. And a real privilege.</p>
<p>I
try and urge the pundits to always be constructive in their criticism but we
don't want them being nice all the time - sometimes you have to say it as it
is, the viewers can tell straight away if you're sitting on the fence and it's
a turn off.</p>
<p>Wednesdays
we plan and prep our VTs. We spend hours
choosing soundtrack. I always check twitter during the closing credits to see if
anyone has spotted the music being played. We'll also write our scripts and raid the library
archives for all the best shots. These
days our archive is all digitised so you can type "Warburton tackle"
into the search and (hopefully) it will magically appear in the edit suite.Ā </p>
<p>Thursdays
we spend honing the VTs. Thursday night is Scrum V Radio, which kicks
off the rugby weekend with a 90-minute rugby preview discussion. This is always
a big social media moment for us. We send out trivia via tweets and play games
like #FantasyXV.</p>
<p>On
the Friday night at the Outside Broadcast we've got a team of about 60 people.
Security, cameras, sound, riggers, technicians, electricians, lighting
supervisors, replay operators, VT experts, health and safety, and floor
managers. And then the on screen talent. All
the pundits, presenters, reporters and commentators are booked weeks in advance.
We also have red button Welsh language commentators to book too.</p><p> We rehearse -
and then kick-off comes. And everyone shouts, our director takes over, and things
move fast, adrenaline flows, and we shout some more. The
only advice I could ever give other live producers is try and be clear, and
stay calm. Everything is a blur for two hours. When we come off air I sometimes
can't even remember the score.</p><p><em>Joe Towns is producer of Scrum V.</em></p>
</div>
2014-09-02T08:44:24+00:00
2014-09-02T08:44:24+00:00
/blogs/aboutthebbc/entries/fcf81dcf-244f-3c63-a8cb-89316c918d35
Terri Coates
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p025x0c7.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p025x0c7.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p025x0c7.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p025x0c7.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p025x0c7.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p025x0c7.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p025x0c7.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p025x0c7.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p025x0c7.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Production still from Ö÷²„“óŠć Media Action's drama Ujan Ganger Naiya</em></p></div>
<div class="component prose">
<p><em>Terri
Coates is the midwifery advisor on <a href="http://www.bbc.co.uk/programmes/p0118t80">Call the Midwife</a>. Earlier this year she went
to Bangladesh to advise the Ö÷²„“óŠć's international development charityĀ <a href="http://www.bbc.co.uk/mediaaction/">Ö÷²„“óŠć Media Action</a> on their maternal and child health drama
series</em> <em>Ujan
Ganger Naiya.</em></p><p>In April, I found myself in a
tent in rural Bangladesh, in 46 degree heat, teaching young Bangladeshi
actresses how to breathe as if they were in labour. Not quite what you might
expect from an NHS midwife and midwifery lecturer. But then I have an unusual
job. For half the year, Iām also the advisor to the Ö÷²„“óŠć One drama series, <a><em>Call
the Midwife</em></a>, where I help the actors and production team depict pregnancy and
births in the East End of London of the Fifties.</p>
<p>When I was invited by Ö÷²„“óŠć Media
Action to advise the cast and crew of a new TV drama in Bangladesh, I was
intrigued. Bangladeshi TV had never shown a woman in labour. While the maternal
death rate in the country has fallen dramatically in the last decade, pregnancy
and childbirth still claim the lives of around 20 women a day, leaving plenty
of material for the drama to highlight and explore.</p>
<p>Though there was a language
barrier, being on the set of <em>Ujan Ganger Naiya</em>, (Sailing against the
tide), was in many ways like watching the Ö÷²„“óŠć crew on <em>Call the Midwife</em>. But
there were some very marked differences. One arose when I produced one of my
most reliable props.</p>
<p>On <em>Call the Midwife</em> I make sure
the pregnant characters move and walk as if they are really pregnant and not
just wearing a prosthetic tummy. I coach them to make the right noises and to
breathe correctly. In midwifery, we often use dolls as props and I took one to
Bangladesh to tie to the stomachs of the actresses to help them get used to
moving around with an abdomen that wouldnāt bend.</p><p></p>
</div>
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p025x0mr.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p025x0mr.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p025x0mr.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p025x0mr.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p025x0mr.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p025x0mr.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p025x0mr.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p025x0mr.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p025x0mr.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>The crew of Ö÷²„“óŠć Media Action drama Ujan Ganger Naiya with the much-loved prop doll</em></p></div>
<div class="component prose">
<p>When I took the plastic baby doll
out on set and put it on a table, it provoked an amazing reaction.Ā The
cast and crew were
completely enchanted. It was kidnapped for two days by the doctor on the set
who took it home in his car. Over the course of my time there it was passed
around among the cast and crew, and of course I left without it when I returned
home.Ā </p>
<p>Part of my role was to guide the recording of the first ever
TV birth scene. The cast and crew of <em>Ujan Ganger Naiya</em> probably had less
experience of childbirth than my colleagues in the UK.Ā Bangladesh is a
conservative country and child bearing is not discussed very much.Ā The
crew were all men and unlike their UK counterparts not one had experienced
childbirth. They looked particularly uneasy during the rehearsal for a birth
sequence! This was a first for all of us but I think we did it in an appropriate
way and didnāt show anything that should not have been shown - the most you
ever see is an ankle.</p>
<p>On <em>Call the Midwife</em> weāre very
keen that portrayal of anything clinical or medical is as accurate as humanly
possible. Likewise, in Bangladesh I was extremely impressed with the level of
research and amount of preparation that had gone into the programme.</p>
<p>It was gratifying to be able to
help the crew to show an accurate portrayal of childbirth on television for the
first time. And with my lecturer hat on, I was extremely excited to put out
health information to many millions of people at one time.</p><p>
Switching between the reality
of midwifery and the fictional world of drama means I have a unique perspective
on childbirth. It can be a bit surreal though. Back at my normal job, when a
woman has just given birth, I do sometimes feel tempted to say to her, āWell if
that wasnāt quite right for you, perhaps we can just rerun it one more time!ā</p><p><em>Terri Coates is midwifery advisor on Call the Midwife.</em></p><p>Ā </p><ul>
<li><em>Find out more about the work of <a href="http://www.bbc.co.uk/mediaaction/">Ö÷²„“óŠć Media Action</a></em></li>
<li><em>Read Terri's TV blogĀ <a href="http://www.bbc.co.uk/blogs/tv/posts/Call-The-Midwife-I-have-the-strangest-job">Call The Midwife: I have the strangest job</a></em></li>
</ul><p>Ā </p>
</div>
2013-12-17T10:57:58+00:00
2013-12-17T10:57:58+00:00
/blogs/aboutthebbc/entries/df584dbe-3a85-3e6a-a23c-4ee15af8b50c
Anna Mallet
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p01nhf79.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p01nhf79.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p01nhf79.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p01nhf79.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p01nhf79.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p01nhf79.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p01nhf79.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p01nhf79.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p01nhf79.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""></div>
<div class="component prose">
<p>Since I last wrote on the <a href="http://www.bbc.co.uk/blogs/aboutthebbc/posts/Ö÷²„“óŠć-Studios-at-Television-Centre-from-2015">About
the Ö÷²„“óŠć Blog</a> back in March of this year,Ā <a title="Ctrl+Click to follow link" href="https://email.myconnect.bbc.co.uk/owa/redir.aspx?C=zdftktZoJE2umPD53oT-AwZuWnAPzdAImncxG3R4hql5iGE8WAX4C7_ezjR0hvkAzK1TIDWla_Q.&URL=http%3a%2f%2fwww.bbcstudiosandpostproduction.com%2f">Ö÷²„“óŠć Studios and Post
ProductionĀ </a>has had a busy time of itĀ at its new base here
in Elstree. Now at the end of 2013, I wanted to use this post to explain what
we've been up to, give someĀ insight into how we've made our migration out
of Television Centre work and take a peek into plans for ourĀ return.Ā </p>
<p>But first, an explanation of <strong>what Ö÷²„“óŠć Studios and
Post Production is and does: </strong></p>
<p>Ö÷²„“óŠć S&PP is a Ö÷²„“óŠć-owned commercial company,
providing facilities to make programmes and manage media. Very simply
weĀ operate studios - 'the boxes' - where TV programmes are made. We carry
out post production, making sure the content 'comes together' in the right way. Our <a href="http://www.bbcstudiosandpostproduction.com/our-services/digital-media-services/%20">Digital Media Services</a> alsoĀ do quality checking and prepare and deliver content for transmission or
distribution. Very often programmes have another life after broadcast and they also takeĀ material from deep in a
broadcaster's archive and help re-purpose it for a future digital life.Ā In
short, Ö÷²„“óŠć S&PP is involved in nearly all of the TV production process -
following the entire lifecycle of the media asset, from creation to archive.</p>
<p></p>
</div>
<div class="component">
<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p01nhfh8.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p01nhfh8.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p01nhfh8.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p01nhfh8.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p01nhfh8.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p01nhfh8.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p01nhfh8.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p01nhfh8.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p01nhfh8.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""></div>
<div class="component prose">
<p><strong>Working with independent media companies and other
broadcasters</strong></p>
<p>As well as providing studios and post production for
some of the Ö÷²„“óŠćās flagship shows such as <em><a href="http://www.bbc.co.uk/programmes/b006m8dq">Strictly Come Dancing</a>, <a href="http://www.bbc.co.uk/programmes/b006m86d">EastEnders</a></em> and <em><a href="http://www.bbc.co.uk/programmes/b008dk4b">Children in Need</a></em>, we
also work with a range of independent production companies making programmes
for other broadcasters ā for example CPL Productionās <em><a href="http://www.sky.com/tv/show/a-league-of-their-own">A League of
Their Own</a></em> for Sky and ITVās <em><a href="http://www.itv.com/yourfacesoundsfamiliar/">Your Face Sounds Familiar</a></em>
- and with content owners ā like <a href="http://www.iwm.org.uk/">Imperial War
Museums</a>, helping them preserve and maximise the value of their material.</p>
<p>We'reĀ basedĀ at Ö÷²„“óŠć
Elstree, where we help make <em>EastEnders </em>and
have our Elstree Studio D (larger than Studio 1 at Television Centre), and at
Elstree Film & TV Studios, where we've worked hand in hand with Hertsmere
Council, who own the business, to transform the site.Ā Weāre also in
Bristol at The Bottle Yard Studios, where we help Endemol make <em><a href="http://www.dealornodeal.co.uk/">Deal
or No Deal</a></em> for Channel 4 and our Digital Media Services team are in
South Ruislip in West London. This blog
focuses on what weāve been up to at Elstree.Ā Ā </p>
<p></p>
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<p><strong>Working hard to make something brilliant</strong></p>
<p>At Elstree, there's a real sense that we're at the
heart of making television: there is an air of glamour about the
placeĀ with <em>EastEnders</em> recording
50 weeks of the year, plus a constant stream of other shows in production. [At
the time of penning this post, CÖ÷²„“óŠć's <em><a href="http://www.bbc.co.uk/cbbc/shows/fridaydownload">FridayĀ Download</a></em>
is shooting its Christmas special in the same studio episodes of <em>That Puppet Game Show</em> was recorded, <em><a href="http://www.bbc.co.uk/programmes/b00rhg2r">Pointless</a></em> (pictured
above) is in Stage 8, <em><a href="http://www.bbc.co.uk/mediacentre/mediapacks/houseoffools/">House of Fools</a></em>
is in Stage 9 (pictured below) and <em>Strictly</em>
is in the George Lucas Stage].</p>
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<p>In November when the live <em>Children in Need</em> show came from Ö÷²„“óŠć Elstree the whole site came alive:
there was aĀ huge buzz, lots of creativity, lots of celebrities, lots of
concerts, lots of humour and lots of teams workingĀ together to really pull
the whole thing off. For me, that is the reality of television: lots
ofĀ people coming together and working hard to make something
brilliant. Ā Ā </p>
<p><strong>Migrating to Elstree and transforming the site</strong></p>
<p>Even though we were of course sad to
leave Television Centre back in March (we've already startedĀ planning our
return to the site in 2015), what Ö÷²„“óŠć Studios and Post Production has achieved
on theĀ Elstree site is impressive.Ā Working closely with Hertsmere
council, we've turned two medium size stages into professional TV studios with
laser-levelled floors and purpose built galleries, we've installed production
galleries alongside the supersize George Lucas Stages and refurbished all the
dressing rooms, green rooms, make up and wardrobe areas.Ā We've really made
it work for creating television here, bringing big shows
previouslyĀ produced at Television Centre and transferring them to an
entirely different site and in many cases,Ā improving facilities for
production teams. And what'sĀ inspiringĀ for me is that every day of
every week IĀ see this site come more alive and be more energised because
we're here doing what we do.Ā </p>
<p>Over the next few weeks, you'll be able to read in
more detail about what we've done at Elstree and howĀ we're preparing for
our return to Television Centre from Technical Development Manager Danny
Popkin. But in this post I wanted to introduce how we've made the moveĀ to
Elstree work.Ā </p>
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<p>The project for 'migrating' to Elstree started a year
ago. Moving a business that had been in Television Centre for 30 years was a
massive undertaking and it wasn't until quite late on that we knew the details
of when and how we were going toĀ move. The move happened while we were
still operating TVC studios and doing big shows like <em>Strictly, Later with Jools Holland</em> and <em>Goodbye Television Centre</em> right up to the last minute. The
organisation was also going throughĀ a restructure (necessitated by leaving
TVC) so there was a lot going on.Ā </p>
<p>So, in setting up services here at Elstree there was a
large degree of pragmatism. PeopleĀ came together and said to one another,
'this is where we are: a lot of us are sad to be leaving TelevisionĀ Centre
for a bit but we're up for the challenge of Elstree; we're up for creating
something really goodĀ here.Ā And that is reflected in our solutions:
the way some of the technology has beenĀ refurbished and repurposed; how
equipment originally installed at Television Centre has been moved
toĀ Elstree and used with other existing equipment and made to work at a
new location. And it's not just whatĀ you see in the studio, itās what you
see 'at the back' - wiring, technology and facilities.Ā It was an extremely complex thing to deliver and is testament to the creativity
and ingenuity ofĀ the teams that work at Ö÷²„“óŠć S&PP. They're passionate
about what they do. And that work was completed on timeĀ and on budget too.</p>
<p><strong>Ā </strong></p>
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<p><strong>Making Strictly in Elstree</strong></p>
<p>From day one of the migration planning phase we were
thinking about <em>Strictly Come Dancing</em>. It's one of
those productionsĀ we've had the privilege to work on for many years. It
galvanises everyone within Ö÷²„“óŠć S&PP. So front of mindĀ was the need to
really deliver for the <em>Strictly</em> production.
<em>Strictly</em> is not a programme where you
wantĀ there to be any risks taken at all. As well as making the stage look
wonderful for the cameras, we alsoĀ had to consider all the backstage
facilities and the technical provision for production teams. There'sĀ been
a huge amount of planning which has gone into that to make sure that all of
those elements are inĀ place. We spent some time with members of the <em>Strictly </em>production team in the last few
weeks of the 2013Ā run. You can see what Executive Producer Louise Rainbow and Lighting Director Mark Kenyon made of their Elstree
experience in the video below.</p>
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<em>Louise Rainbow and Mark Kenyon talk about making Strictly Come Dancing at Elstree.</em>
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<p>Many of these considerations are the kind of thing TV
audiences wouldn't necessarily see or think aboutĀ when they watch the
programme, like the state of the dressing rooms or creating TV
galleriesĀ for what is now the largest studio in Europe with permanent TV
galleries. But they are crucial to a well-run show and a quality end product.Ā We
were constantly thinking, 'how can we make this sing' in termsĀ of
production facilities? Being at Elstree Film & TV Studios gave us an
opportunity to thinkĀ about how we could offer the very best facilities and
when <em>Strictly</em> is on there's a
palpable sense ofĀ vibrancy and an energy there now. I really do think that
since we've been here we've brought something toĀ the site working very
collaboratively with the other organisations based here.Ā </p>
<p><strong>Returning to Television Centre in 2015</strong></p>
<p>Beyond 2013 and 2014, we are returning to Television
Centre. Planning is already underway and we're getting excitedĀ about what
the refurbished site is going to be like. It will, of course, be very different
from how we leftĀ it. It will be a multi-use site which in itself brings
opportunities and challenges in equal measure.Ā We started the planning
work on this months ago, working very collaborativelyĀ with the new owners
Stanhope, the Ö÷²„“óŠć and Ö÷²„“óŠćĀ Worldwide to ensure what we go back to is going
to be fantastic.Ā </p>
<p><a href="http://www.bbc.co.uk/blogs/aboutthebbc/posts/Ö÷²„“óŠć-Studios-at-Television-Centre-from-2015">As
I wrote back in March</a>, we'll be going back to Studios 1, 2 and 3, but what
we're having to do isĀ completely re-imagine how that section of Television
Centre is going to work. Before we had a broaderĀ footprint across the
entire site. Now, everything isĀ going to be part of our 'zone' - all the
areas aroundĀ those studios. So we're having to spend a lot of time
thinking about how we can optimise those areas ofĀ the building to include
dressing rooms, production offices, TV galleries and audience areas, all the
timeĀ making sure there's a real sense of 'flow' on the site. Most
importantly we want to make sure that whenĀ people come back they feel
they're returning to something great rather than coming back to
somethingĀ where we've just closed the door and opened it again. It's also
an opportunity to really take forward theĀ Television Centre site. We'll be
putting new technical equipment into the galleries andĀ also refurbishing a
lot of the other 'ancillary' production areas.</p>
<p>The galleries will be upgraded: right now we're
thinking about what the future TV standards are going toĀ be and how we can
create facilities with that flexibility for the future. You should see very
flexible,Ā configurable galleries bringing together existing equipment we
already have and supplementing that withĀ new technology.Ā </p>
<p><strong>An inspiring place to work</strong></p>
<p>Even when the studios are quiet or there arenāt
high-profile shows being made, thereās an air of excitement along my route into
the office, down the corridor which lines the many studios here.</p>
<p>Itās then I see all the pictures on the wall of all
the films and TV programmes that have been made here ā the heritage of Elstree.
A place associated with the greats of both media. For me, thatĀ brings a
little glamour to my day.</p>
<p>Ö÷²„“óŠć Studios and Post Production is a fantastic company
staffed by a group of people with huge energy and aĀ real 'can-do'
attitude, who have grown up with the Ö÷²„“óŠć and care passionately about all our
customers. I feel privileged to workĀ with people who really care about
what they do. That is really inspiring.</p>
<p><em><a href="http://www.bbc.co.uk/blogs/aboutthebbc/authors/Anna_Mallet"><em>Anna Mallett</em></a></em><em> is CEO, Ö÷²„“óŠć Studios and Post ProductionĀ </em>Ā </p>
<ul>
<li><em>Visit the <a href="http://www.bbcstudiosandpostproduction.com/">Ö÷²„“óŠć Studios and Post Production website</a></em></li>
<li><em>Read Ann Malletās blog <a href="http://www.bbc.co.uk/blogs/aboutthebbc/posts/Ö÷²„“óŠć-Studios-at-Television-Centre-from-2015">Ö÷²„“óŠć
Studios at Television Centre from 2015</a></em></li>
<li><em>Read also <a href="http://www.bbc.co.uk/blogs/aboutthebbc/posts/Television-Centre-in-the-Ö÷²„“óŠćs-own-words">Television
Centre in the Ö÷²„“óŠćās own words</a></em></li>
<li><em>And '<a href="http://www.bbc.co.uk/blogs/aboutthebbc/posts/Strictly">That's
Entertainment': bringing Strictly 2013 to our screens</a></em></li>
</ul>
</div>
2013-11-13T14:03:15+00:00
2013-11-13T14:03:15+00:00
/blogs/aboutthebbc/entries/0f4d19f3-7591-35e8-a38f-2136ba490242
Paul Wright
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<img class="image" src="https://ichef.bbci.co.uk/images/ic/320xn/p01lfvnw.jpg" srcset="https://ichef.bbci.co.uk/images/ic/80xn/p01lfvnw.jpg 80w, https://ichef.bbci.co.uk/images/ic/160xn/p01lfvnw.jpg 160w, https://ichef.bbci.co.uk/images/ic/320xn/p01lfvnw.jpg 320w, https://ichef.bbci.co.uk/images/ic/480xn/p01lfvnw.jpg 480w, https://ichef.bbci.co.uk/images/ic/640xn/p01lfvnw.jpg 640w, https://ichef.bbci.co.uk/images/ic/768xn/p01lfvnw.jpg 768w, https://ichef.bbci.co.uk/images/ic/896xn/p01lfvnw.jpg 896w, https://ichef.bbci.co.uk/images/ic/1008xn/p01lfvnw.jpg 1008w" sizes="(min-width: 63em) 613px, (min-width: 48.125em) 66.666666666667vw, 100vw" alt=""><p><em>Harry Hill filming for Children in Need 2013</em></p></div>
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<p>My name is Paul Wright and Iām the Executive Producer for this yearās <a href="http://www.bbc.co.uk/programmes/b008dk4b"><em>Children in Need</em></a> programme, broadcast live on Ö÷²„“óŠć One on Friday. Iāve been asked to blog about whatās been involved in putting together this yearās live charity fundraising TV show. </p><p>First, a little about me. I joined the Ö÷²„“óŠć in 1998, working first in the newsroom on the sports news for News 24 (when it was still called News 24), progressing to Ö÷²„“óŠć Sport working mainly on <em>Match of the Day</em> and a bit of <em>Grandstand</em>, the Athens Olympics and the European Football Championships for the next seven years or so. Ā For the past seven years Iāve worked in entertainment production, on documentaries like <em>Comedy Map of Britain</em>, entertainment shows likeĀ <em>Strictly</em> plus a load of behind-the-scenes documentaries for Ö÷²„“óŠć Three too, like <em>EastEnders Revealed.</em></p><p>My charity show experience started with <em>Sport Relief</em> a few years ago. Iāve been a Series Producer on <em>Children in Need</em> two years running, and now this year, Iām the Executive Producer.</p><p>By show night on the 15<sup>th</sup> November we will have about 250 people working on <em>Children in Need</em>, including our production team, the crew, the charity staff, press, marketing and digital staff. </p><p>Itās a massive machine that makes seven and a half hours of live television. Itās something exciting to be involved in.<em> Children in Need</em> is seven hours of television to make. When we stare at the blank piece of paper back at the beginning of production, it can sometimes seem a bit daunting. </p><p>Like all big productions, <em>Children in Need</em> grows from small beginnings. Back in April of this year myself and a development assistant producer began exploring ideas in earnest for about eight weeks, trying and planning what we could do, working out what opportunities were coming up, which celebrities might be around, and Ā beginning to think in earnest what the show could be. </p><p>There are of course tried and tested ways of approaching it: we know we will go to the Nations and Regions for a certain number of times in the night; we know we will need about 12 appeal films; we know that we need to make a certain amount of āthank you filmsā. We work out how many music performances we need, how many entertainment items weāll need on ātapeā, and then how many studio items we need. The hardest job of all, I think, is getting the mix right, in such a way that it appeals to everyone in the audience from children to grannies, to mums and dads.</p><p>At the end of those eight weeks we donāt have a finished show so much, but we do basically have a plan, meaning we can put a lot of the early calls in to presenters, and get a lot of the booking done quite early. </p><p>Even after that initial eight week period, we still only have a small team working on production for the end show. A total of six producers work on <em>Children in Need</em> between June and November: me, a series producer and four other producers, supported by a small production team. Thatās it. </p><p></p>
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<p>Recruiting those producers is tough, because they need a wide range of attributes. For example, the person looking after the live <em>Call The Midwife</em> performance in the show, is the same person whoās looking after the pre-recorded Harry Hill sketch and the Catherine Tate sketch (pictured). So they need to be producers who can work with a wide variety of performers, but also need to understand how to produce and direct pre-recorded material and know how to work in a live studio environment. They might be working on sketches or highly choreographed dance numbers. Such a broad skill-set calls for great knowledge, and considerable amounts of experience and flexibility. It makes the role a unique job. </p><p>Like <em><a href="http://www.bbc.co.uk/blogs/aboutthebbc/posts/Strictly">Strictly</a>,</em> our big challenge this year has been that <em>Children in Need </em>isnāt at Television Centre. Thatās a huge change because the show has been at Television Centre for 32 years. </p><p>At Television Centre there was sense of a familiarity: weāve known from experience for example that at TVC we require 54 dressing rooms and that we can turn them around three times during the broadcast, giving us capacity for 150 dressing rooms throughout the night. Elstree has nine dressing rooms. So we are building a campervan village at Elstree, shipping in campervans for the night, parking them up in the old Grange Hill car park, and constructing a cover over all of them. Essentially, weāre building one big dressing room village to house everyone coming to perform for the nation. </p><p>Collaboration has been the only way we can rise to these kinds of challenges. For this one night weāve worked with people from Ö÷²„“óŠć Resources, Ö÷²„“óŠć Studios and Post Production, the Ö÷²„“óŠć Academy, and Ö÷²„“óŠć Ellstree site management. <em>Children in Need</em> is no small undertaking. </p><p>The great thing about Elstree this year is that thereās a fantastic 'playground' there for us. The <em>EastEnders</em> set and Albert Square is a great backdrop. <em>EastEnders</em> have always traditionally given us something for <em>Children in Need</em>, often itās a song and dance routine, last year it was a comedy piece with Lord Sugar in the Square. What might they think about us using the square this year?<em> Eastenders </em>exec Dominic Treadwell-Collins and company manager Carolyn Weinstein have been totally supportive about the possibility of using the location.</p><p>So, on Friday youāre going to see JLS perform in Albert Square. Youāll also see the cast of <em>EastEnders</em> dance live.Ā Itās never been done live before, so thatās required a whole separate outside broadcast team to go into Albert Square. Our ambitions have really ramped up this year. Ā </p><p>Weāve also collaborated with the <em>One Show</em> who have very generously let us have the finale of their <em>Children in Need Rickshaw challenge</em> so it will finish in Albert Square. That will be a fantastic moment, one Iām really looking forward to.</p><p><em>Children in Need</em> and other charity telethons rely on the goodwill and collaboration of everyone on the programme. We rely on a great many other people across the Ö÷²„“óŠć who want to participate in <em>Children in Need</em> in order to make the show a success. </p><p>They do it for one reason only, they do it because itās the Ö÷²„“óŠćās charity. Thatās what they tell us. Ā We are incredibly grateful for their generosity and enthusiasm. </p><p>You can find full details of the incredible line-up for the night on the <a href="http://www.bbc.co.uk/programmes/b008dk4b"><em>Children in Need</em> website</a>, but let me use this opportunity to give you some of the highlights.</p><p></p>
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<p>Harry Hill (above) parodying Ahaās iconic pop video <em>Take On Me</em> ā I donāt want to give the game away particularly, but it involves Harry chasing a large sausage. </p><p>Catherine Tateās sketch show favourite Nan will be back and will be laid up at <em>Holby</em> <em>City</em> where she will be the worst patient in the world. Frank Skinner has opened the doors to <em>Room 101</em> specifically for children, giving three of them the opportunity to vent their pet peeves.</p><p>Ellie Goulding is performing the <em>Children in Need</em> single this year, <em>How Long Will I Love You</em>, One Direction will be performing in our studio, <em>Doctor Who</em> have given us a scene from the 50thĀ Anniversary episode. The stars of <em>Call The Midwife</em> will be performing in the studio and <em>Matilda the Musical</em> are coming in and theyāre going to perform a medley. </p><p>The <em>Strictly</em> team have been brilliant, giving us an hour of their rehearsal time to record a special <em>Strictly Come Dancing for Children in Need</em> with Torvill and Dean: can the legends of ice-dancing pull off the same trick on the dance floor of the ballroom? </p><p>Thereās a number of things to measure our success. The money raised on the night is massively significant, we want to raise as much as we possibly can. Itās with that in mind that probably, one of the best things about this job is the 12 appeal films you see during the show ā which we make. When you see the appeal films itās almost like a short-cut to make you realise why you are doing this job. I challenge anybody not to be moved by those appeal videos. Thatās ultimately why we are doing it.Ā If the money we raise helps the people who need it ā the disadvantaged children in the UK who we see in the appeal films, thatās a real success. </p><p>For me this is about putting on the best show we can, and if we break the record, amazing. But, the bottom line weāre working to raise as much money as we possibly can. I really hope you enjoy the show on Friday night.</p><p><em>Paul Wright is Executive Producer, Ö÷²„“óŠć Children in Need<br><br></em></p><p></p><ul>
<li><em><a href="http://www.bbc.co.uk/programmes/p01hcwx7">Children in Need</a> is on Friday 16 November 2013 on Ö÷²„“óŠć One from 7.30pm.Ā </em></li>
<li><em>On Thursday 15 November 2013 at 8pm, Ö÷²„“óŠć One broadcasts <a href="http://www.bbc.co.uk/programmes/b03hwk6n">Children in Need Rocks</a>, a special line-up of musical performances from the Hammersmith Apollo.Ā </em></li>
<li><em>Last week we blogged about <a href="http://www.bbc.co.uk/blogs/aboutthebbc/posts/Pudsey-in-St-Pancras">Pudsey in St Pancras</a>.Ā </em></li>
<li><em>Read more about what the <a href="http://www.bbc.co.uk/programmes/b008dk4b/features/history">history</a> of <a href="http://www.bbc.co.uk/programmes/b008dk4b/features/what-we-do">Children in Need</a> and some of the Ö÷²„“óŠć's other <a href="http://www.bbc.co.uk/charityappeals/about/about.shtml">charity appeals</a>.Ā </em></li>
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