CHANNEL CHOICES

Reviewing BBC One, BBC Three, BBC Four and Channel Four.
By Grace ONeill

SOURCES
For each channel we analysed, regarding relevance and criteria in relation to our
documentary; we sourced the information included from their publicised
commissioning statements via their website.
Direct quotes were taken to discuss how their stated values apply to us.

Sites quoted:
http://www.channel4.com/info/commissioning/4producers/documentaries
http://
www.channel4.com/media/documents/corporate/annual-reports/C4_Creative_G
reenhouse_2015.pdf
http://www.bbc.co.uk/commissioning/tv/articles/documentaries-bbc-one
http://www.bbc.co.uk/commissioning/tv/articles/documentaries-bbc-three
http://www.bbc.co.uk/commissioning/tv/articles/documentaries-bbc-four

POSSIBLITY ONE: BBC ONE

We are looking for morepopular access documentariesfor BBC One like Salford FC. Series
need to be rooted in a precinct or setting that gives real insight into modern Britain, which
promises real narrative drive, and great characters. For 8pm and 9pm.
Need to be rooted in a precinct or setting that gives real insight into modern Britain This would be very relevant
criteria to our documentary, as the focus of our footage is to look at the gap between the affluent and those in poverty
within the capital of the modern Britain we live in. Real insight. This is a factor we are massively striving for with data,
research and interviews which depict real stories; addressing the growing gap between the one per cent and those
struggling. This also relates to our chosen mode of observation, where giving a real insight is key.

We are looking forinnovative popular formats- they may be in the form of immersive social
experiments or transformative experiences with a real relevance for the broad BBC One
audience.
This identifies faults within our group deciding on BBC One as our chosen channel. The example criteria of social
experiments and transformative experience will not be completely relevant to our documentary. We want to portray
hard reality, therefore we dont want the realism lost with social experiments or transformative experience,

Successful formats likeFilthy Rich and Homelesswork as they have a clear question at their
heart. For 9pm.
However this clearly displays a relevance our documentary would have within BBC One due to the subject matter which
has similar themes to Filthy Rich and Homeless. Yet this documentary contrasts within modes, with ours being
observational the purpose is not to debate or answer a question, rather to reflect upon a subject while educating.

We're keen to have morebig single films made by the best directing talent. They need to
really shine a light on important social issues like Anna Hall's incredibly powerful film about
domestic violence.
Our documentary will not be a big single film. But it is relevant to BBC One as it will shine a light on important social
issues.

POSSIBLITY TWO: BBC THREE

We are planning our seasons for next year and want stand-out domestic series ideas that will sit at the heart of our
output. We want ambitious access, brave filmmaking and innovative ways of telling stories.

Series: access driven, presenter led or big experiments.Be bold.

Occasional documentaries: our audience loves real stories powerfully brought to life by great writing, directing and
acting.

Singles: opportunities for distinctive single films that have the ambition to make noise and excite debate.

New talent both off and on-screen.We want to hear about fresh voices directing films and presenting films.

Summarised points by BBC Three provide a brief insight into the key factors they are looking for within a documentary. Relevance can be
found within these points regarding our documentary as we want to provide ambitious access into our focus through a variation of
interviews allowing for a range of insights and perspectives on our focus. However the following point completely contrasts with our initial
ideas as we do not want a on screen documentarian, this is so the footage has no aspect taken from the focus e.g. audience concentrating
on documentarian reaction rather than other aspects being portrayed. Furthermore big experiments could not be incorporated as it
would have no relevance to our focus. However our initial idea may lead to debate due to the gritty realism we hope to capture
identifying strong social differences.

BBC Three is at an exciting phase of its evolution and will continue to be the home ofmodern factual contentthat
speaks to a young audience. We will back ideas thatstimulate strong emotions and provoke reactions.We want
pieces that 'make me think'.

This extremely relates to our documentary. The focus is on a modern subject matter, while ill target audience is aimed at young people
(16-34). Plus some on the content will be emotionally stimulating due to hard issues concerning poverty and the contrasting content will
hopefully ensure a provoked reaction,

We also want factual ideas of scale beyond observational documentaries.Recent commissions for the channel include a
big piece of factual theatre.We are still interested in finding purposeful experiments and factual formats that cut to
a deeper truth about young peoples experiences.We are no longer commissioning series that are out-and-out
factual entertainment.

The underlining fault which applies to BBC Three is how our chosen mode at this initial point will not comply.

On screen talent has been an essential part of the development of factual on BBC Three.Stacey Dooley and now Reggie
Yates have pioneered a distinctive type of documentary making, taking the audience into hugely challenging worlds.
Wealways welcome new, distinctive thoughts on the journeys Stacey and Reggie could make or worlds they could
explore.

POSSIBILITY: BBC FOUR

BBC Four is looking for special pieces which would not be seen elsewhere and deliver strong,
noisy and imaginative programming.
This applies to our documentary as the strength will be source through the emotive and thought provoking
footage enhanced by research and interviews to provide the realism we want to portray. The noise can be
sourced within the urban environment our documentary is set in, within London. The stylistics with editing
being a key feature will help us establish imaginative programming.

We also celebrated the deaf world inLife and Deaf, a single documentary that followed four
deaf contributors and only used British Sign Language. And inMAKE! Craft Britain(RDF) we
studied the art of making things with a group of crafters with great attention to detail and no
fast cuts or jumping to the finish line of the created work.
Relevance for BBC Four can be found within the example of Life and Deaf as alike to this documentary, ours
will be a singular one off. However the two examples provided reflect a contrast in mode to our chosen at this
point of observational.

All of these programmes shared a desire to innovate and to find a new grammar suitable to
the subject and made a virtue of the limitations (no commentary, another language, unusual
pacing etc) We are not looking for more of the same, but programming that will delight and
surprise in new ways.
The problems within BBC four being not the ideal channel for us is due to our chosen audience of 16-34 year
olds. We want our documentary to appeal to as diverse as possible range of people within our target
audience, therefore if we do something so specific we may compromise who our target audience applies too.

THE CHOSEN CHANNEL

WHY CHANNEL FOUR WORKS

FOR US
Channel Four has a strong rapport with our
target audiences in comparison to many of
the top broadcasting channels.
Channel Four also
in comparison to
many of the top
broadcasting
channels, support
independent
production the
most. Relevant to
us as independent
producers.

WHY CHANNEL FOUR WORKS

FOR US
Our focus is on the difference between the affluent
and those in poverty within London which is a
contemporary issue, with contemporary issues
being specified within channel fours criteria.
The various interviews we hope to include will
provide alternative points of view.
One of the purposes behind our documentary is to
reflect the diversity within London and the
differing cultures which will hopefully lead to
public debate.
Quote from channel four commissioning Most of
our ideas are present tense observational
documentaries whether they are made with selfshooting directors or 100-camera rigged shoots.
Which perfectly coincides with us, as our chosen
mode at this point is observational.