BBC Studios’ Post

Let's go back to the future: 70 years of Belgian TV 📺 Last month we celebrated 70 years of television with an Innovation Summit at the Iconic Flagey. A place radiating media since the very first Belgian broadcast happened from this building in 1953.  🎞 With keynotes and panel conversations, the event reflected on the past and future of visual media,  the changing landscape for creators and the challenges and opportunities in the globalized media industry. 🗣 Read the full article now 👉 https://lnkd.in/dWxbQ-mH Or read our short recap here 👇   ▶ Creators face challenges in financing but also find opportunities in a globalized media landscape. Globalization brings diversity in audiences and increased organizational complexities. 🌍 ▶ Despite changing viewing habits, television remains vital in connecting people. 🔗 ▶ Involving young creators in content production is crucial in debunking stereotypes about their preferences.  🎬 ▶ International collaboration is important, but local intellectual property and storytelling strengths are advantages. 📍 ▶ AI enhances content creation collaboratively rather than replacing human creativity. The integration of digital and virtual worlds is expanding across film, television, and gaming industries.  👾 ▶ The rise of 5G and remote production reduces costs, allows smaller on-site teams, and supports environmental sustainability. 📶 ▶ Despite challenges, the future of Belgian television looks promising, emphasizing the significance of strong storytelling and fair compensation for creator. 🚀 Jeroen Depraetere • VRT • MediaNet Vlaanderen vzw • Jonathan Van de Velde •Department of Culture, Youth and Media • Sarah Geeroms • Robin Rymenans • Lieke Decosemaker • Kim Achtergaele • Anne Vanoppen • Pieter Baert • Lissa Muyldermans • Lynn Bogaert• Rachel Bedika

What does the media you watch tell you about the value of proximity to whiteness? A new study found that despite strides in representation for Asian characters, the roles often overly “emphasize proximity to whiteness." First off, lead roles are scarce. Of the top streaming shows and films that actually feature an Asian character, only 6% of those characters were leading roles. They found that: 👀 42% of Asian characters had light skin tones 👀 68% of Asian characters were never shown speaking to another Asian character 👀 over half of Asian female characters’ love interests were white men Let's remember that our narrative arts are the land of make believe. We are literally making up stories. So we when we see this type of data in the stories that we tell, it tells us a lot about how we imagine certain bodies in certain spaces and places. This research was conducted by the Norman Lear Center at the University of Southern California and Gold House. The teams identified Asian characters from the top 100 titles on streaming platforms in 2022. More https://lnkd.in/gi9KvPca #storytelling #representation #imagination #thestorieswetell #nowwatching

....( from article) .....biggest change is to the American industry, actually. They have new competitors in fiction now from the international arena, and what they are seeing is that, even with a lower budget, international shows are taking a large chunk of their audience. ..... The only one who will survive is the one who is able to better entertain the public, to better engage with the audiences and to be able to generate new stories. https://lnkd.in/dXPyrenf

🇰🇷 Three lessons from South Korea... You’ve probably observed the global success of ‘The Masked Singer’ - now in well over 50 countries - and formats like ‘I Can See Your Voice’ and ‘The Genius Games’ that have crossed over to the UK (on BBC (now) and ITV (soon)). There’s also a whole raft of K-formats on streamers that haven’t (yet) been localised for the UK but are great watches, eg. Physical 100, The Devil’s Plan, Siren: Survive the Island, Single’s Inferno. For the last 5 years these kinds of formats have reshaped the perception of Korean formats and set in motion a wave of interest from the West. Something that struck me from my trip to Seoul last week was how well the South Korean state has promoted Korean TV formats (and wider culture) through KOCCA, the Korean Creative Content Agency, and affiliated organisations like KPDA and local content agencies. Some of the things they do include: 🥇 An annual competition called KOCCA Lab where the Korean government gives grants to Korean independent producers to develop paper formats squarely aimed at the international market, including setting up partnerships with US and European producers to take these to the global market. The funding covers development team costs, tape and materials creation. 🌍 Market access: funding Korean producers' attendance at international markets. If you’ve seen the size and design of the Korean pavilion at MIPCOM you’d realise quite how much money they’ve been putting in to this! 🤝 Cultural exchanges: from bringing Korean producers to the UK to form partnerships with British producers, to creating events in Korea and flying over Brits (of which we were lucky beneficiaries last week), they’ve really invested time and money in building connections to the outside world, advancing Korean soft power through culture (sidenote: it's a k-pop band headlining Glastonbury this year - move over Taylor Swift). What’s especially interesting is it turns out the domestic TV market in Korea IS experiencing very similar structural challenges to the UK, but rather than taking a sink-or-swim approach like our government does, Korea has doubled down on investing in their production company base to help indies diversify their businesses outside of their home market. Notwithstanding some of the good work PACT in the UK do with little government support, Korea’s efforts reflect the kind of longterm INDUSTRIAL STRATEGY that the UK could learn a lot from. So, here’s hoping whoever takes power next week might look east for inspiration!

💭 "Prominence regulation is not about giving priority to SVT, but about ensuring SVT services & content continue to be visible and easy to find among offerings from around the world." In a recent #Insight from SVT's Director of Strategy, Kristian Lindquist, he explains why #prominence for #publicmedia in an era of smart TVs, is so important... And why it's particularly critical for broadcasters in smaller countries... 🇸🇪 "In a small language area and in an uncertain environment, it is particularly important to ensure the public’s access to accurate and impartial output in the Swedish language and on Swedish-controlled services. That responsibility will not be borne by Anglo-Saxon or Asian tech giants." https://lnkd.in/edMuasnd

🧐 How can #PublicBroadcasters create a digital space crafted specifically for open, informative, and safe discussions? This is the question driving the Public Spaces Incubator, a joint initiative from CBC/Radio-Canada, ZDF, RTBF and SRG SSR as well as New_ Public, which was launched last year. The group have now unveiled a number of innovative concepts which could be applied to the broadcasters' websites, apps and other digital platforms to stimulate public connection and conversation. ✅ For example, one concept is the comments slider, where people can see opinions from across the spectrum, rather than a binary like/dislike... 💭 "This is the unique and innovative role of public service media — to advance media experiences for our audiences in ways that support democratic discourse." – Catherine Tait, CEO and President of CBC/Radio-Canada. Explore the concepts 👇 https://lnkd.in/eP5eDRUW

➡️ “It’s really problematic. We are not merely troublesome we are in a red alert situation in many many markets and as politics gets more polarized we have to decide what we do about institutions.” I don’t know a lot about PBS but folks I’m talking with have been thinking about this issue for a while, especially with many of the social impact companies shutting down, like Participant and Topic Studios. Outside of high awareness factual or biopic based programs IMO it’s very hard to connect with new movies and shows that feel like they’re leading hard with their social political agendas. Do we double down on niche or find more creative (and authentic) ways to tell stories that connect us? Maybe show us what drives a character that we can all relate (or aspire) to; show us new ways to see classic plot structures before trying to change hearts and minds. I believe films like Dune and Civil War did this effectively. Same with Fallout series. I’m going to try to take the extra effort to see these things in theaters this summer or watch them on first weekend on streaming. #storytelling #challenge

Even as ‘#TheCrown’ draws to a close with the least season out on Netflix, brand new research from TikTok, Google and Skyscanner reveals the series’ impact, the people and communities involved in each #season , and the ways in which it has #shapedculture... Read More At:- https://lnkd.in/gkNTeBhj #news #media #NewsFlash #IBWNews #alltopnews #alltypesofnews #NewsUpdate #Todaysnews #NewsUpdate #dailynews #newsfeed #trendingnews #LatestNews #BreakingNews #Englishnews

EDUCATION : European Broadcasting Union (EBU) Tech Magazine March'24 For those who do not know EBU, it is an organisation of public broadcatsers in Europe, similar to NAB in US that works on many relevant topics for our industry. They do many things : - they have working groups (only for EBU members) - publish spec , see https://lnkd.in/gYwGJZBA - organize conference and publish presentations - have a magazine published quarterly that reports progress on all those fronts - and of course, you can see them at IBC conference every year, a good opportunity to exchange with technical experts. Here is the content of the March'24 mag: Warmest of reactions to AI-generated subtitles at VRT – The Belgian broadcaster leveraged EuroVOX for groundbreaking live test Putting data at the heart of successful PSM strategies – How (meta)data is handled at three EBU Members Finding the right loudness formula for cinematic content – A new supplement to the highly regarded EBU R 128 series How NRK took the initiative on HDR production and distribution – The Norwegian broadcaster has been building workflows and enthusiasm around high dynamic range Lessons learned from building your own live broadcast encoder – Sweden’s SVT took the bold decision to build using open, shared elements Tools and test materials for Next Generation Audio – There’s an ever-expanding range of tools available for NGA Sustainability Matters: Content-dependent power-saving models for HDR displays – Experimental findings from BBC R&D In my opinion: Getting closer to viewers: production will be distribution – Adde Grandberg, CTO of SVT, sets out his vision for Production 2.0 Partner Profile: CDN Alliance – Chair Mark de Jong explains why the new alliance was created Back to the future: SVOD platforms adopt linear broadcast strategies – Insights from the EBU’s Media Intelligence Service In the spotlight: Tatjana Mladenovic – Lead Data Manager at the BBC Archives Technology & Systems Department Envoy reading : https://lnkd.in/gGghM6Ms Eoghan O'Sullivan Peter MacAvock Bram Tullemans Hans Hoffmann

#IndustryNews: A panel of leading experts has been invited by the Culture Secretary to provide independent advice and expertise as part of the government-led review looking at future funding models for the BBC. The panel consists of figures from across the broadcasting and media sectors, including Oli Hyatt MBE (Managing Director of Blue Zoo Animation Studio), who were selected in consultation with the industry, based on their experience and knowledge of issues at the heart of the UK’s media industry and public service broadcasting. Oli Hyatt comments, "I am honoured to have been chosen to advise on the BBC’s future funding as a member of this expert panel. The BBC not only represents a cornerstone of British culture and values but also plays a critical role in the global media landscape. As someone who has navigated the rapidly evolving commercial realities of being an independent producer working within the dynamics of a global marketplace, I appreciate the unique challenges and opportunities that lie ahead." "My work has given me a profound appreciation for the role of children's content in public service media, especially at the BBC, highlighting its vital importance in shaping young minds and reflecting diverse perspectives. Being part of this initiative is immensely important to me, both professionally and personally. It offers a unique opportunity to contribute to the shaping of a sustainable future for an institution that has been a beacon of quality broadcasting for decades." "This review is about ensuring that the BBC can continue to be funded to innovate, entertain, and inform for generations to come amidst rapidly changing technological and consumer landscapes. It's about finding a balance that respects the heritage and public mission of the BBC while embracing the potential for evolution and growth. I'm excited to contribute my experience and insights towards crafting recommendations that will help secure the long-term viability of one of the world's most revered public service broadcasters." Read more about the panel below. #animation #creativesector #funding #media