WORKING WITH & PROGRAMME DELIVERY REQUIREMENTS

August 2013

CONTENTS

INTRODUCTION ....................................................................................................................... 3 SCHEDULE FOR PROGRAMME PAPERWORK AND DELIVERY ........................................ 4 1. PAPERWORK ....................................................................................................................... 5 Programme Description ......................................................................................................... 5 Compliance Form .................................................................................................................. 5 Presentation Details ............................................................................................................... 6 PasBs and Music Reporting ................................................................................................. 6 Proteus................................................................................................................................... 7 2. TITLE CHANGES .................................................................................................................. 7 3. SCHEDULE INFORMATION ................................................................................................ 7 4. DELIVERY ............................................................................................................................. 8 5. REPEATS .............................................................................................................................. 9 6. DURATIONS ....................................................................................................................... 10 7. ANNOUNCEMENTS ........................................................................................................... 10 Credits.................................................................................................................................. 11 8. LIVE PROGRAMMES FROM OUTSIDE BROADCAST VENUES .................................... 12 9. REFERRALS ....................................................................................................................... 13 10. STOCK PROGRAMMES ...13 11. ROLLING OR 'AD HOC' COMMISSIONS......14 12. TECHNICAL REQUIREMENTS ....................................................................................... .15 13. ACTIONLINES and the RADIO 4 INFORMATION LINE ................................................. 23 14. RADIO 4 INTERACTIVE ................................................................................................... 25 15. MARKETING ..................................................................................................................... 30 16. PUBLICITY ........................................................................................................................ 30 17. ON-AIR PROMOTION ....................................................................................................... 32 18. HEALTH & SAFETY ......................................................................................................... 32 19. RADIO 4 CONTACT LIST ................................................................................................. 34 APPENDICES Appendix A: Topicality status .............................................................................................. 36 Appendix B: Paperwork templates ...................................................................................... 44

Introduction

Welcome to the Working with BBC Radio 4 document - essential reading for anyone involved in making programmes for the station. It covers everything from titles to telephone support lines, file transfer to editorial compliance and will, I hope, answer most of the questions that will occur in the course of production. It also includes examples of typical paperwork you will need to supply. I hope you find this useful. If you have ideas for how it could be improved do let me know. Please bear in mind that adherence to these guidelines is part of our contract with all suppliers: they apply to all programmes commissioned by Radio 4. If you have any questions don't hesitate to contact me, or one of the team. Best wishes

Denis Nowlan Network Manager, Radio 4

Schedule for programme paperwork and delivery

Exceptions for topical programmes only by prior agreement with Network Manager.

WHEN BY (Week before TX) -5

ITEM

TO BE SENT TO

HOW

Programme Description

In-house via Proteus Indies via link at: http://www.bbcradioresources.com/pr ogramme/descriptions/ In-house via Proteus Indies via link at: http://www.bbcradioresources.com/pr ogramme/descriptions/ iplayerpictureeditors@bbc.co.uk

Proteus or via web form if Indie

--4

Programme Description update if necessary. (This version will be used for marketing purposes.) Programme Photo (If iPlayer Picture Editors do not have a photo for the programme / the programme team and iPlayer Picture Editors agree that an updated photograph is required) Programme Delivery (for non-topical programmes) as wav or flac file

Proteus or via web form if Indie

-3

via email

-3

In-house via VCS Ingester: \\bbcmedrr006\vcs_ingester$\Radio_ 4\Radio_4_auto\PROGRAMMES_Rf TX Indies via link at: ftp.bbc.co.uk In-house via Proteus Indies e-mail Word doc to compliance-r4@bbc.co.uk In-house via Proteus Indies via link at: http://www.bbcradioresources.com/pr ogramme/descriptions/ R4 Presentation e-mail: r4presop@bbc.co.uk

Via Ingester or ftp site if Indie

-3

Compliance Form

e-mail or Proteus

-3

Final version Programme Description update if necessary

Proteus or via web form if Indie

-3

Presentation Details

e-mail

Weeks after TX +2

Music Reporting Forms (music reporting intranet site:) http://home.gateway.bbc.co .uk/mru Music Reporting Unit, 4300 White City P as Bs

1) Independent suppliers email: productionintake@bbc.co.uk, music.reporting-unit@bbc.co.uk and mrf-r4@bbc.co.uk 2) In house: via Proteus or email Music Reporting - Unit

via e-mail

via email or Proteus

+2

1) Independent suppliers email pasb-r4@bbc.co.uk & both productionintake@bbc.co.uk & RadioCataloguing/Research@bbc.co. uk 2) (in-house only): via Proteus, ENPS or email both I&A Production Intake & Radio Cataloguing/Research

via e-mail

via e-mail or Proteus/ ENPS

1. PAPERWORK

* Paperwork templates start on page 44.

Programme Description If youd like your programme to be publicised on radio and in the press then you must complete a Programme Description. This is not an optional extra but an essential part of delivery requirements. You should fill in a Programme Description at least five weeks before the transmission date. BBC producers should complete their Programme Description in Proteus. Independent producers should complete and submit the following webform and we will transfer this data into Proteus. http://www.bbcradioresources.com/programme/descriptions/ All Programme Descriptions must have a dual sign off by the producer and appropriate senior editorial figure before they can be used. For Indies the Exec sign off will be done in Proteus by the Compliance Editor. The approval process will ensure the Programme Descriptions gets to everyone who needs it. Please see the separate document on programme descriptions for Radio 4 for details on how to write them. Updated Programme Description If your programme changes, please supply a revised version four weeks before transmission. Please note if there is a substantial editorial change this will need to be re-approved. This is the version wich will be used for publicity purposes. Any amendments you make after this will only show on the Radio 4 webpage. Final version of Programme Description Every programme on Radio 4 must provide an up to date and approved Programme Description three weeks before transmission, unless it is agreed to be topical. Daily programmes must provide one by 1600 on the day before transmission. Radio 4 Presentation Operations must be notified of any updates, less than 6 hours before TX, at the address below. Contact e-mail R4 Presentation-Operational r4presop@bbc.co.uk

Compliance Form The compliance form must be completed by the producer and signed off by the executive producer or editor at least three weeks before transmission, or, in the case of topical programmes, on a date prior to transmission as agreed in advance with the Compliance Editor, Roger Mahony. BBC producers should submit their compliance report via Proteus. If you suspect your programme has not yet been scheduled in Proteus, please contact Lolo Wood. contact tel e-mail Lolo Wood, Schedules Assistant, BBC Radio 4 020 7765 3558 lolo.wood@bbc.co.uk

Independent producers should submit their report via e-mail to compliance-r4@bbc.co.uk. Separate forms are needed for each episode of a series. The indie compliance form is on the BBC commissioning website at http://www.bbc.co.uk/commissioning/radio/network/compliance.shtml

 contact tel e-mail

Roger Mahony, Compliance Editor, BBC Radio 4 020 7765 5455 roger.mahony.01@bbc.co.uk

Presentation Details These are required three weeks before transmission for programmes designated as non-topical. For all other programmes, the Presentation Details should be delivered at the same time as the programme, in accordance with the designated topicality status. They should be delivered on the standard template, available from Radio 4 Presentation (see template on p. 58), and sent to the R4 Presentation-Operational (r4presop) email account. Please contact the Operations Assistants for further advice if required. For all programmes, producers must provide a time of transmission contact number on the presentation details. When emailing Presentation Details, please enter the programme title and transmission date in the email subject field. contact tel e-mail Radio 4 Operations Assistants 020 7765 5436/2158 r4presop@bbc.co.uk

Please ensure that you provide any relevant pronunciation guidance using the approved modified spellings which can be provided by the I&A Pronunciation Unit. contact tel e-mail I&A Pronunciation Unit 020 8008 2277 pronunciationunit@bbc.co.uk

Please use the Technical and Presentation Advice section of the form to alert us to anything in the programme which could cause concern at the time of broadcast. This includes unusually long silences, the deliberate use of distortion, poor quality archive material and the use of either Big Ben or the GTS (pips). Please note that use of Big Ben or the GTS must be cleared with the Presentation Editor in advance. The GTS cannot be used in its entirety; a maximum of 3 pips is allowable and this must not include the final long pip. PasBs and Music Reporting BBC producers should submit PasBs (Programmes as Broadcast), PasRs (Programmes as Recorded) in Proteus, ENPS, or via email to both I&A Production Intake and Radio Cataloguing/Research within 14 days of Tx. Music Reporting Forms must be completed in Proteus or emailed to Music ReportingUnit within 14 days of transmission. Independent producers must deliver their completed documentation to: pasb-r4@bbc.co.uk and mrf-r4@bbc.co.uk, (as well as productionintake@bbc.co.uk for both PasBs and Music Reporting, and RadioCataloguing/Research@bbc.co.uk - PasBs only.) Music Reporting forms should be emailed to music.reporting-unit@bbc.co.uk within 14 days of transmission. For further information and templates, see pp 44-50 for PasBs, and pp 51-57 for Music Reporting Forms.

Proteus For access to Proteus, BBC producers should got to http://proteuslive.radio.bbc.co.uk and click on the "new user" button. Independent producers should go to the Management Assistant for Radio 4 and can also find further info here: http://www.bbc.co.uk/commissioning/radio/pitchingideas/proteus.shtml Please Note - if you are accessing Proteus from a non-BBC computer you must use certain browsers/versions to ensure full system functionality. Please view these on the Proteus login page. If you use any other browsers/versions, full functionality cannot be guaranteed. contact tel e-mail Proteus Support 020 7765 5937 proteus.support@bbc.co.uk

2. TITLE CHANGES
All title changes must be approved by Radio 4. Changes should be agreed with the relevant Commissioning Editor before the deadline for promotion notes, i.e. at least seven weeks before transmission. Please approach the relevant Commissioning Editor via one of the Commissioning Assistants. Even small changes e.g. a or the must be referred. Contact tel email Contact tel email Shauna Todd, Factual & Specialist Factual Commissioning Assistant 020 7765 0131 shauna.todd@bbc.co.uk Tamsin Green, Drama, Comedy & Entertainment Commissioning Assistant 020 7765 1871 tamsin.green@bbc.co.uk

3. SCHEDULE INFORMATION
Scheduling information is supplied from the Radio 4 Scheduling office. Projected Arrangements, covering one weeks LW & FM schedules, are issued in three versions and available on Gateway http://radioisp.tv.bbc.co.uk/ Notification will be sent via e-mail when updated schedules are posted on the site. Please contact Lolo Wood to receive this information. contact tel e-mail Lolo Wood, Schedules Assistant, BBC Radio 4 020 7765 3558 lolo.wood@bbc.co.uk

After the initial commission, the scheduling team will communicate schedule confirmations and changes for individual programmes via email. Should you wish to discuss the rescheduling of your programme, please contact Amanda Benson.

Selected programmes will be repeated and producers will be contacted individually to confirm that the content is still suitable for broadcast. Contact Tel e-mail

Amanda Benson, Schedule Manager, BBC Radio 4 020 7765 5485 amanda.benson@bbc.co.uk

4. DELIVERY
Producers are responsible for the safe delivery of programmes to the network and for keeping the network informed of any changes that might affect delivery by the agreed date. The first point of contact is R4 Late Delivery. Non-topical recorded programmes must be delivered at least three weeks before the transmission date. Other programmes should be delivered in accordance with their designated topicality status. If the required delivery date cannot be met, a late delivery request must be sent to the network, with the following details: Title of programme Transmission Date Recording Number Proposed New Delivery Date Reason for Delay

Late delivery without prior notification may jeopardise transmission of your programme and may constitute a breach of contract. contact e-mail R4 Late Delivery R4LateDelivery@bbc.co.uk

On-day topical recorded programmes must be delivered and scheduled in the Radio 4 VCS dira! system at least 1 hour before transmission. Programmes which can't be delivered by this time must be played out 'as live' from a studio. On-day topical programmes which need to be scheduled by the operations team: An expected time of delivery and contact number must be supplied to the operations team. Radio 4 Operations Assistants 020 7765 5436/2158 r4presop@bbc.co.uk

contact tel e-mail

Please note that the team works standard office hours (9.30am - 5.30pm weekdays). Only programmes delivered within those hours can be scheduled by the team. If you cannot deliver within those hours, you should contact Christine Howard, Operations Supervisor, to discuss alternative arrangements.

contact tel e-mail

Christine Howard, Operations Supervisor 020 7765 2631 christine.howard@bbc.co.uk 8

Topical programmes to be scheduled by production teams: Programmes and production teams which fall into this category will have prior agreement with the network to self-schedule. Only those with this agreement should deliver in this way. An expected time of delivery and contact number must be supplied to the operations team as above. This is of utmost importance if your programme is due for transmission that evening. The information will be passed on to the continuity announcers on duty and is required by 5.00pm on the day of delivery.

Appendix B: Topicality status shows the respective delivery deadlines expected from producers.

5. REPEATS
Scheduled and revised repeats When we select a programme for repeat, the scheduling team will notify you. They will ask you to confirm by email that the programme is compliant for repeat in the intended slot, and that there are no topicality or rights issues. This email should contain the name of the senior editorial figure responsible for the programme and is filed for compliance audits. A new compliance form is only required if it is a reversioned repeat (which involves significant editorial changes or a change of length). Producers should ensure that time-specific or topical references such as Good evening, tomorrow or next Sunday is Easter Day are removed. It can sometimes be acceptable to leave in topical references, so long as the presentation details make clear that the programme was recorded on an earlier date. If you are unsure whether to leave in a topical reference, please contact Amanda Benson. If programmes do need to be edited, please inform Lolo Wood as a versioned repeat programme will need to be created. You should also inform the network of any event such as the death of a contributor, which may affect the suitability of a programme for repeat. In these circumstances, it is the producers responsibility to ensure that appropriate permissions have been obtained. Programme Descriptions should also be updated (they can be copied over from the original tx version) and supplied at least five weeks before transmission (unless the repeat is notified by the Scheduling office after this date). Presentation details must be updated and supplied at least three weeks before transmission to R4 Presentation. (Where this is editorially relevant these should state when the programme was first broadcast). The final version of the Programme Description should also be submitted at this stage. This applies only to repeats which are designated non-topical. For all other repeats, the paperwork should be delivered at the same time as the programme.

Archive repeats All Archive repeats are classified as non-topical and Presentation details must be supplied three weeks before transmission. Please remember to maintain programme support material e.g. if the Radio 4 audience line has been included on transmission of the origination, appropriate arrangements should be made for the repeat transmission, or the reference to the phone service should be removed from Pres details. If you are editing your programme for repeat, please ensure you inform the Scheduling team. 9

6. DURATIONS
When a programme is commissioned, you will be informed of the required duration. The standard durations are: For a quarter hour slot: For a half hour slot: For a 40 slot: For an hour slot: For a 45 slot: 14 including announcements e.g. Book of the Week 28 including announcements e.g. 1830 Comedy 37 including announcements e.g. Tuesday Documentary 57 including announcements e.g. Classic Serial These can vary please check your airtime confirmation e.g. Afternoon Drama

Standard audio durations for specific slots including opening and closing announcements: Afternoon Drama Saturday Drama 15 Minute Drama Classic Serial 1130 Comedy 1830 Comedy / Sunday Comedy Entertainment Documentary Tuesday Documentary Wednesday Debate Science (Documentary) Archive On 4 Four Thought Mid-Afternoon Formats 9 Oclock Series / 0902 Docs & Interviews 15 Feature 1102 Feature Saturday Feature Narrative History 44 57 or 87 14 57 28 28 28 or 14 28 37 43 28 57 14 28 28' or 42 14 28 28 14

7. Announcements
Opening and closing announcements Announcements should be brief, preferably no longer than 15 in total, except when absolutely necessary (e.g. to include phone-in numbers or a serial recap). Radio 4 Presentation will amend or cut back announcements and/or programmes if required. If you need further information or advice about durations, contact Christine Howard. contact tel e-mail Christine Howard, Operations Supervisor 020 7765 2631 christine.howard@bbc.co.uk

All announcements will be read live by the Continuity announcer. They should not be included in the programme unless by previous agreement with the Presentation Editor. Please do not make references to other programmes within series which might be repeated on an adhoc basis (see below for definition). This is because episodes may be repeated out of order or

10

as standalone programmes. Other programmes in a series should be referred to only in the Presentation announcements. Narrative Repeat - a repeat which occurs within a week of the first transmission Adhoc Repeat - any repeat other than a narrative repeat Credits Programmes should have only two credits read out by the Continuity announcer. They are normally the presenter and producer. But, if preferred, it can be the producer and researcher, or producer and editor. Exceptions are drama and some readings (see below), some programmes in which credit must be given to the creator of the format for legal reasons (e.g. Desert Island Discs), and independent productions where the name of the company may be credited. We do not credit technical contributions or production teams which include Broadcast Assistants, Production Co-ordinators, Assistant Producers etc, except when a special case can be made for a contribution significantly beyond the norm. Similarly, we do not credit Editors of programmes or series in addition to the usual credits. This applies to pre-recorded credits and credits read by Continuity. NB Any pre-recorded announcements must be mixed over music or sound effects - if it is not appropriate to mix these as part of the programme, please include them in the written Presentation Details. Requests for any exceptions should go to the Presentation Editor. contact tel e-mail Katy Hubbard, Presentation Editor 020 7765 1560 katy.hubbard@bbc.co.uk

Drama and readings credits Actors credits Please remember to put the fictional character first, then the actor, not the other way round. And please ensure that the fictional name in the credits is the one the character is always called. For example, a character may be Mrs Jones, but if in the play everyone calls her Maggie then please call her Maggie in the cast credits and in programme descriptions. Credits for programmes within a series should include only actors appearing in that episode. Where original music has been used, the composer and performers may be credited. For a series, this should be done only after the first and last episode. Authors, writers, adapters and dramatisers may be credited. If they belong to the Writers Guild, they should be credited in accordance with the BBCs agreement with the Guild. Readers should also be credited where there is a contractual agreement to do so. Serials should always include a recap. This should be included in the overall duration.

11

Drama Documentaries For drama documentaries, where interviews with live people are an integral part of the programme and are heard on air, we will permit an additional credit of "interviewer" to the person who conducts the interviews, whether that person is heard on air or not. The request for the additional credit should be referred to the Presentation Editor, Katy Hubbard, like all extra credits requests. Phone numbers, addresses and website information This should be kept to a minimum. Choose the single most important piece of information you want to get across. Please use standard addresses which identify the programme and the network only - e.g., You and Yours, BBC Radio 4, London W1A 1AA. Only the Radio 4 home web address should be given (bbc.co.uk/radio4), unless otherwise agreed with the Presentation Editor, Katy Hubbard. Please do not refer to the "iPlayer" or "Radio Player" in your announcements. Do not give out individual room numbers or internal BBC phone numbers. The only numbers that should be heard on air on Radio 4 are the Action line, the Radio 4 information line and phone-in numbers (see p. 23). Use of any other number must be cleared by the Presentation Editor. Books, CDs and other merchandise Radio 4 does not promote any commercial products. contact tel e-mail Katy Hubbard, Presentation Editor 020 7765 1560 katy.hubbard@bbc.co.uk

8. LIVE PROGRAMMES FROM OUTSIDE BROADCAST VENUES

Outside broadcast producers must provide two contact numbers (one on-site, and one mobile number) for the Announcer in Continuity. Producers are responsible for booking lines from OBs to London, these must include reserve lines. Lines should be booked all the way through to Radio 4 Continuity. Please contact the Radio 4 Operations Assistants for advice on which Continuity studio will be on air at the time of your programmes transmission. contact tel e-mail Radio 4 Operations Assistants 020 7765 5436/2158 r4presop@bbc.co.uk

Lines should be booked through the London Control Room Schedules unit, who can also offer advice on the type of lines required for the broadcast. contact tel e-mail LCR Schedules 020 7765 5438 lcr.schedules@bbc.co.uk

Live programmes using outside broadcasts should conform to the best technical practices as outlined in this document: http://www.bbc.co.uk/guidelines/dq/pdf/radio/radio_delivery_contributions.pdf

12

Outside broadcast producers should give Presentation a programme and paperwork (presentation details, script and/or running order) as a standby against line failure. The standby programme should be slightly shorter than the required duration of the live programme and should have suitable pot points to accommodate different line-loss scenarios. These pot points should be clearly indicated on the paperwork. When long-running strands are broadcast from outside Broadcasting House in London, a substitute/timeless recorded edition of the programme should be given to Radio 4 Presentation, with all the relevant paperwork as outlined above. contact tel e-mail Katy Hubbard, Presentation Editor 020 7765 1560 katy.hubbard@bbc.co.uk

9. REFERRALS
If your programme carries significant reputational risk (e.g. interviews with particularly controversial figures) you must alert the network, normally through the Commissioning Editor, so it can be included on the A&M programme risk list. All strong language (f and c words and variants) must be approved by the Controller. It should be referred via the Commissioning Editor, with copy to the Compliance Editor, Roger Mahony. Beeping out the offending word is not acceptable as a way of avoiding clearing it. In particular instances we will agree to using a beep but, again, it must be cleared. Please note that 'frigging' is not a suitable alternative. For Radio 4 the words nigger and twat must also be approved by the Controller, normally via the Commissioning Editor. Roger Mahony can be consulted for advice on language issues and presentation warnings. contact tel e-mail Roger Mahony, Compliance Editor, BBC Radio 4 020 7765 5455 roger.mahony.01@bbc.co.uk

10. STOCK PROGRAMMES

We often commission programmes for Radio 4 as stock programmes. The aim is to slot them into the schedule should another programme fall out or get delayed, rather than having to reschedule the whole slot or running out of available slots to fulfil business quotas. Having stock programmes is reducing the number of major reschedules we have to carry out, and therefore reducing the level of inconvenience to suppliers. Being chosen as a stock programme is in no way a poor reflection on the value of the programme to Radio 4. Stock programmes are chosen on the basis that they do not have a specific TX peg and can more easily TX anywhere within a financial year. If one of your programmes is selected as a stock programme but you feel that there is a specific reason why it should have a confirmed TX, feel free to discuss this with the scheduling team.

13

We will usually be able to confirm TX details of stock programmes with plenty of notice, so there should be no issue with publicity.

Process: When delivering programmes for stock, please clearly label any correspondence with R4 Presentation, and the audio filename itself, with 'STOCK'. This will help with the smooth processing and payment of the programme. Presentation details without TX details must be provided with the audio to enable Presentation to carry out their normal checks. These should be updated and re-supplied once the TX details are known. Programme descriptions need only be sent / entered once TX has been confirmed at a later date. Indies will receive payment upon delivery of the programme, rather than on TX. Contact Tel e-mail Amanda Benson, Schedule Manager, BBC Radio 4 Lolo Wood, Schedules Assistant, BBC Radio 4 020 7765 5485 020 7765 3558 amanda.benson@bbc.co.uk lolo.wood@bbc.co.uk

11. ROLLING (or ad hoc) COMMISSIONS

All programmes commissioned outside of the main rounds require Proteus proposals before conditional commissions can be confirmed. These may be for individual programmes within a batch or output guarantee that your company or department has secured. an idea you are pitching between rounds because its a great idea and cant wait until the next round. Please note, however, that the scope for pitching between rounds is narrow. In comedy and drama it is extremely narrow and normally related to availability of talent. Process: 1. Email the relevant commissioning editor, with a copy to the commissioning assistant. 2. At the same time, enter a Proteus proposal and submit it to the network. Rolling submissions are always entered in round 8 of the current financial year (not necessarily the year in which the programme will transmit). The proposal should be entered in: Current commissioning year (e.g. 2013-14), relevant brief number (e.g. 47088 for Archive on 4), round 8. So, to pitch an idea for Archive on 4 in 2012-13, you select: 20132014 47088 8 Archive on 4 If you are unsure of which brief number or commissioning year to use, please check with Amanda Benson or Lolo Wood. 3. If entered into Proteus by last thing Friday, this will ensure inclusion in the next weekly meeting of the commissioning team. 4. It is assumed that every programme is offered at the guide price unless you make it clear in your synopsis that it will be over or under the guide. 5. If the proposal is to be commissioned, you will receive a Conditional Acceptance email as normal, and the status in Proteus will be adjusted accordingly. 6. If it is Shortlisted for further consideration, you will receive an email confirming this. 14

7. If it is Rejected, you will not receive an email but will be able to see this information in Proteus. 8. If you have not heard back in a couple of weeks, or seen a rejection in Proteus, then do contact the commissioning editor to enquire. Contact Tel e-mail Amanda Benson, Schedule Manager, BBC Radio 4 Lolo Wood, Schedules Assistant, BBC Radio 4 020 7765 5485 020 7765 3558
amanda.benson@bbc.co.uk lolo.wood@bbc.co.uk

12. TECHNICAL REQUIREMENTS

RADIO 4 TECHNICAL & FORMAT REQUIREMENTS FOR PROGRAMME MATERIAL DELIVERED AS AUDIO DATA FILES Note on the spirit of the Radio 4 Technical Guidelines This is an attempt to capture the sentiments behind the technical guidelines issued to programme suppliers, and to explain the sound that the Network is trying to achieve. Radio 4 is a predominately speech-based Network which relies on programmes that have dialogue that is easy to follow, particularly as the audience is often listening in less than ideal noise environments (in a car, next to a boiling kettle, etc.) It is important therefore that programmes are mixed without too great a dynamic range, are comparable with Continuity output and maximise audibility. One of the most annoying experiences for our listeners is having to adjust the volume knob during, or between, programmes. Continuity Announcements are not compressed, so heavy use of compression should be avoided, as it produces a tiring listen and sounds out of place on the Network. Heavily compressed programmes provide too great a contrast with other programmes and Continuity. As a general rule, if you can hear compression, you have used too much. (Unless the compression has been used for dramatic effect, of course). The Network does not seek homogeny, but programme producers must be aware that their programme sits with many others, and that the listener is often tuned in across the day and listening to many different styles. Riding the levels of individual elements within a mix is the best way to produce the best overall sound of a programme, and Radio 4 expects programmes to be built in this way. This means not using hard limiting to control levels. Voices should peak between PPM4 and PPM6, but generally keeping voice levels up so that they do peak PPM6 regularly. RADIO 4 TECHNICAL & FORMAT REQUIREMENTS This document covers the technical and format requirements for programme material delivered as audio files to Radio 4. It is based on the general document produced by BBC Radio with some network specific additions. A glossary is included for those terms (in italics) requiring further explanation. The general Radio requirements may be found at: http://www.bbcradioresources.com/programme/index.html FILE FORMAT WAV/RIFF format with metadata embedded in header chunk or contained in separate XML file. Programme material for broadcast must be: Linear PCM 44.1Khz 16 bit. (A&M are moving to 48Khz but suppliers will be informed when this happens) 15

FILE DELIVERY Process for BWAV delivery BBC Production departments Topical programmes which deliver on the day of transmission and outside office hours have been given VCS dira software to deliver direct to the Radio 4 playout schedule. For everyone else, this is the process: You will need access to the "VCS Ingester" server. To apply for access, please contact W1 Service Desk. contact e-mail W1 Service Desk W1.Service.Desk@bbc.co.uk

1. From your digital editor bounce down the programme to a single 16 bit, 44.1kHz, stereo wav file. 2. The naming of this wav file is important. It should include the Title, TX date and recording number. It should not include any punctuation or spaces - use underscore to make the name readable, eg: A_Programme_120605_PLN523_05VQ8010.wav 3. Save the programme BWAV to \\bbcmedrr006\vcs_ingester$\Radio_4\Radio_4_auto\PROGRAMMES_RfTX\ 4. In a few minutes, the wav file you saved will have changed to .ren. This means that the file has successfully transferred to Radio 4's VCS dira system. 5. Next, email the presentation details to the Radio 4 Presentation team, notifying them that the audio has been delivered. THIS IS CRUCIAL. They will listen to the in and out of the programme to check that they match the in and out words quoted on the pres details, and that the durations match. They will also spot check the audio for obvious technical faults. If there are no problems, they will schedule it. They will then contact you to give you the all clear or discuss any problems. The presentation office is staffed, Monday to Friday 9.30am 5.30pm. contact tel e-mail

Radio 4 Operations Assistants 020 7765 5436/2158 r4presop@bbc.co.uk

Process for BWAV delivery Independent Production Companies You will need an FTP account to access the BBC's servers and you will need suitable FTP software. You may also require (free) FLAC encoding software. 1. From your digital editor bounce down the programme to a single 16 bit, 44.1kHz, stereo wav file. 2. The naming of this wav file is important. It should include the Title, TX date and recording number. It should not include any punctuation or spaces - use underscore to make the name readable, eg: A_Programme_120605_PLN523_05VQ8010.wav 3. If required you may data compress the file to the FLAC format.

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4. Send the file to your companys folder on the BBCs FTP server. 5. Next, email the presentation details to the Radio 4 Presentation team, notifying them that the audio has been delivered. THIS IS CRUCIAL. They will listen to the in and out of the programme to check that they match the in and out words quoted on the pres details, and that the durations match. They will also spot check the audio for obvious technical faults. If there are no problems, they will schedule it. They will then contact you to give you the all clear or discuss any problems. The presentation office is staffed, Monday to Friday 9.30am 5.30pm. Failure to complete this step within 14 working days of delivering your programme will result in your programme being lost. contact tel e-mail

Radio 4 Operations Assistants 020 7765 5436/2158 r4presop@bbc.co.uk

AUDIO PROPERTIES Audio Quality The producer has overall responsibility for audio quality. It is essential that consistent levels are maintained throughout the recording. Distortion, noise, induced hum etc should not be audible. During the production process, audio should not be subjected to bit rate reduction (also known as lossy data compression) Any format that uses such processes should be avoided wherever possible. These include mp2, mp3, AAC, mp4 (common on iPods) and ATRAC (Minidiscs). If use of any of these lossy formats is unavoidable e.g. for covert recording or when using an ISDN line, details of the type of compression and the bit-rate must be noted on the recording report. Most solid-state audio recorders (e.g. Compact Flash) offer a choice of recording formats, and linear should always be used in preference to any of the data compressed formats. It is possible to apply lossless data compression without compromising sound quality, using FLAC (Free Lossless Audio Codec). This has been adopted as a suitable means of file transfer. For more details of how you could use this to deliver your programme, contact Radio 4. Take care when moving files between devices. Certain proprietary software may irrevocably damage your audio. Depending on the settings, the software may add data reduction techniques or Digital Rights Management (DRM), either of which could prevent your programme from being broadcast. Make sure you send us the original file generated by your digital editor, not a version that you've listened to on an mp3 player. Multiple transfers involving lossy data compression should be avoided otherwise coding artefacts are very likely to be audible.

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When audio is subjected to more than one pass through a lossy data compression encode/decode cycle (cascading), each additional pass results in further degradation of the audio quality, often to an unpredictable degree. Cascading is a serious issue for BBC Radio. The BBC uses lossy data compression for its digital transmission systems (e.g. DAB, DSAT, DTT and Internet streaming). If lossy data compression is also used during the production process it may interact, resulting in unsatisfactory audio quality as received by the listener. Even if the quality of compressed audio sounds reasonable in the studio, it probably won't when the listeners hear it. The recording should contain the full audio bandwidth of 20Hz to 20Khz. As mentioned earlier, exceptions to this may include archive material or that gathered under adverse conditions. Any and all deviations from the normal standards or anything which could be interpreted as a fault or error must be noted on the recording report.

BALANCE & CONTROL Radio 4 makes use of pre-transmission audio processing. Therefore to ensure consistency in the sound of the network it is desirable that programme makers: Make maximum use of available dynamic range Employ where possible, the minimal use of compression Avoid where possible, the use of hard limiting at either the recording or editing stage

The overuse of these processes can result in audio that can sound subjectively loud compared to the announcers or other programmes that use very little compression or limiting and therefore contribute to the listeners perception of an imbalance in the overall sound of the network. Stereo Stereo programmes must be supplied as a single wav file with the two channels recorded as A and B (i.e. left and right). Stereo programmes must be compatible for listeners in mono. In general signals should be in phase between channels. The S (difference) signal should rarely exceed the M (sum) otherwise cancellation can result when the signal is heard in mono. Extremes of stereo imagery (panning hard left or right) or out of phase effects must be a voided as these will cause problems with mono compatibility. Mono If the programme content is entirely mono, it should still be recorded as two identical channels (A and B) with zero phase difference between them. They must NOT be recorded as M and S (sum and difference).

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PROGRAMME & RECORDING LEVELS Maximum level of programme audio: With a correctly calibrated PPM (M6 calibration) the programme audio should peak up to PPM6 on M. With a digital bar-graph meter (see: Meters) regular readings of -10dBFS (10dB below absolute Full Scale or Maximum Coding) are desirable. Occasional transient readings above this are acceptable. Transients must not be more than 2dB above peak level (PPM6). The BBC will accept files whose programme level equates to peaks up to PPM 6. Normalisation should not be relied on to control programme levels. Peak limiting or extreme compression (either at the recording, or in edit using plug-ins) should not be solely relied on to control programme levels. For a wav file demonstrating network specific audio balance and control requirements, contact Radio 4.

TONE Reference tone is not required for Radio 4. Please ensure that there is no tone on the supplied wav file.

GLOSSARY
Channel or Leg: A single audio stream. Stereo comprises two channels. Linear Audio: Digital Audio that has not been subjected to 'lossy' data compression (bit rate reduction) (see below). Data Compression (a common term for bit rate reduction): A process of compressing data in order to reduce file size or stream bandwidth. It is usually destructive (lossy) and is best avoided. (Not to be confused with Dynamic Range Compression, where the difference in levels between the quietest and loudest sections of audio is reduced, so that the quieter passages sound louder). There are many recording formats for digital audio, the majority of which use lossy data compression or bit rate reduction. These include mp2, mp3, AAC, mp4 (common on iPods) and ATRAC (Minidiscs). The use of such lossy data compression should be avoided wherever possible. If it has to be used, e.g. for covert recording or when using an ISDN line, details of the type of compression and the bitrate should be noted on the recording report. Most solid state audio recorders (e.g. Compact Flash) offer a choice of recording formats, and linear should always be used in preference to any of the data compressed formats. Take care when moving files between devices. Certain proprietary software may irrevocably damage your audio. Depending on the settings, the software may add data reduction techniques or 19

Digital Rights Management (DRM), either of which could prevent your programme from being broadcast. Make sure you send us the original file generated by your digital editor, not a version that you've listened to on an mp3 player. Cascade (encoding): Where audio is subjected to more than one pass through a lossy data compression encode/decode cycle. With each additional pass the audio quality is degraded, often to an unpredictable degree. Cascading is a serious issue for BBC Radio. The BBC uses lossy data compression for its digital transmission systems (e.g. DAB, DSAT, DTT and Internet streaming). If lossy data compression is also used during the production process it may interact, resulting in unsatisfactory audio quality as received by the listener. Even if the quality of compressed audio sounds reasonable in the studio, it probably won't when the listeners hear it. LEVELS Peak Programme Level or Peak Level: The highest audio level to which the programme consistently peaks. Levels are often quoted as read from a BBC Peak Programme Meter (PPM), marked 1 to 7, each division corresponding to 4dB. See: Meters. The following reference levels are commonly used within the industry: Zero level - which corresponds to PPM 4 Peak level - which corresponds to PPM 6 Maximum Digital Coding which is 0dBFS (0dB with respect to Full Scale) FOR BBC PROGRAMMES, THE PEAK PROGRAMME LEVEL SHOULD BE PPM 6. If you are using a digital bar-graph meter, regular readings of -10dBFS (10dB below absolute Full Scale or Maximum Coding) are desirable. Digital Peak Level: The maximum level of audio that can be represented in a digital system. Also called 0dBFS (dB Full Scale) or Maximum Coding. The Digital Peak Level must be below 0dBFS, to avoid distortion.

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METERS: Any meter used in the production of programme material should be correctly calibrated. Digital Meters:

These are usually bar - graphs and their main characteristic is that they respond to programme transients more accurately than analogue meters (e.g. PPMs). PPMs tend to under-read the true level of transient peaks. Peak Programme Meters (PPMs):

The BBC PPM is defined by an international standard: IEC IIA. It is designed not to show every peak of short duration. This is so that it reflects more accurately the loudness of the broadcast as perceived by listeners. Single-needle PPMs conventionally have a white needle, and each meter will be labelled according to whether it is reading A, B, M or S.

Twin-needle PPM movements have their needles colour-coded as follows: Red = A (Left) channel Green = B (Right) channel

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White = M (Sum) Yellow = S (Difference)

Note: In some installations, twin-needle meters can be switched to show either A&B or M&S. In this case, the Red & Green needles may be used to indicate M&S respectively, or White & Yellow to indicate A&B respectively. There is a recent variant of the M & S meter that has the yellow needle replaced with a black needle with a Day-Glo orange tip. M6 CALIBRATION: M and S needles are normally aligned so that M = L + R 6 dB and S = L R 6 dB; this is known as the M6 standard. A signal, equal in amplitude and phase in the left and right channels will show the same meter deflection for M as it does for L and R. REFERENCE TONE: Please note Radio 4 does not require tone. The following is provided for information only. Single frequency audio (usually 900Hz or 1kHz sine wave) whose level is relative to that of programme audio (as opposed to an absolute level). The level of the tone and its relationship to the programme audio should be stated in the metadata, for example: reference tone recorded at 8dB below the peak level of this programme." See: Peak Programme Level or tone at PPM 4 per leg. If submitting material with reference tone, tone and programme material must be have been monitored and measured through the same technical chain. The level of the tone must be equivalent to 0dBu and no less than 8dB below peak audio level for the programme material. Listen to a sample of standard level tone at 900 Hz. If you import this file into your programme equipment you should be able to reference your programme level to the level of tone:

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On a BBC PPM, this tone should read 4:

On a digital bar graph meter, this tone should read -18:

On a VU meter, this tone should read -4 per leg:

On a BBC PPM, Peak Programme Level should be up to 8dB higher than this tone.

13. ACTIONLINES and the RADIO 4 INFORMATION LINE

Two off-air services are provided free for programme-makers by Audience Services in partnership with Capita.

1) Radio 4 Information line 03700 100 400

This is the general 24/7 enquiry/information service for Radio 4 listeners and uses a network branded number provided for Radio 4 by Audience Services in partnership with Capita. It is not the same as the free automated Actionlines trailed for specific purposes. You should normally provide supporting programme information online and trail the online site first alongside the number. The information line is a back-up to online information and call handling staff use the published online information to give to listeners. The line gives listeners general information about Radio 4 programme content but with prior notice can sometimes be used to let them comment/interact if there is no Actionline element requiring tailored support. The line is answered by people but it may also use pre-recorded information depending on demand or requirements. 23

Audiences typically want to know book/guest details, significant incidental music, topics covered and contact details for featured organisations or events etc. If you anticipate listener demand, please arrange to publish and trail online and contact Capita with information beforehand. You should not use 03700 100 400 to trail specifically for particular types of calls without advance notice because extra staff cannot be allocated at short notice. Contact details for Capita staff are below.

2) Actionline (normally 0800 044 044)

Programmes often deal with sensitive subjects ranging from cancer, bereavement and domestic abuse to addiction and debt. Information about organisations which can offer information and support off-air can be prepared and then trailed in or after the programme. For sensitive or complex issues, we can offer audiences off-air information about organisations which have agreed to offer further information or help and in some cases support. Actionline trails should only be used with agreement of the Compliance Editor, Roger Mahony. Information about the organisations willing to help should normally be published on the programmes /radio4 website with the pre-recorded phone information provided as an alternative, mainly for those without internet access. This is now recorded information only, so it needs to be planned ahead both to get prior agreement with relevant charities/organisations and co-ordinate with other concurrent Actionline trails. The on-air call to action therefore needs to be carefully phrased with Capita to steer audiences to the right places and manage their expectations. Lead times to set this up vary but should normally be 10 days to obtain agreement with the organisations. Setting up online and recorded off-air information Willing organisations need both to be ready and also prepared in advance to deal with any demand this may create. Publishing web-based information is the most cost-effective service. There are options depending on the urgency and sensitivity of the subject matter: 1. Contact/referral information can be sourced by Capita in collaboration with you. Capita will discuss
with you, suggest and contact possible organisations for you before drawing up the proposed list. The producer has to sign-off this content for compliance purposes. 2. The information should be published online on the appropriate page of www.bbc.co.uk/radio4 but www.bbc.co.uk/actionline will also link to it. 3. The summary of information is recorded and made available for listeners to hear via the Radio 4 Actionline.

The on air call to action trail wording needs to be carefully agreed with Capita and where possible be included in the programme. It should point first to online information, with an option to hear recorded information via the Actionline number as the back-up. If it follows the programme, it must fall within your airtime. To request this service please complete the web form on this site: https://bbcinternal.metafaq.com/forms or use the contact details below.

3) Planning for on-air campaigns which may generate audience reaction

Audience Services normally require 1 months notice of on-air campaigns which may need to offer support or solicit audience reaction. The minimum notice required to make resourcing changes to match anticipated demand from trails is 2 weeks. If this is not possible please contact Capita colleagues as soon as possible and they will try to respond positively. Audience Services numbers can be included in your the long description field of your Programme Description, with agreement of Audience Services/Capita. It is the programme-makers responsibility to ensure major projects are agreed well in advance with the Network Manager, Denis Nowlan.

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To request this service please complete the web form on this site: https://bbcinternal.metafaq.com/forms or use the contact details below. Contact tel e-mail Karen Scott or David Spottiswoode, Capita Client Services 01375 303662 or 303663
david.spottiswoode@capita.co.uk Karen.scott@capita.co.uk

(NB neither are on the internal BBC global email address list)

4) Ticketing
All free ticketing for R4 shows is co-ordinated through the Studio Audiences team, which is not part of Audience Services. Contact Studio Audience Managers for further information: 020 8576 1514, or studioaudiencemanagers@bbc.co.uk. SUMMARY Online information and support via bbc.co.uk/radio4
Information/factsheets/actionline details about organisations who have agreed to help audiences can be published on the R4 website

Recorded information Actionline 0800 044 044

Free phone* number providing recorded information to hear about organisations who agree to support subjects of a social action / public service nature
* 24 hours a day, all calls confidential and free from a landline (mobile operators will charge)

Radio 4 Information Line 03700 100 400

Provides general network and programme information and answers enquiries not of a social action nature.
0370 is 'UK Wide' and costs the same as normal 01 or 02 geographic numbers

Phone-in programmes 03700 100 444

Phone-ins may only be run by agreement with the Controller.

14. RADIO 4 INTERACTIVE

How do I get a website for my programme? Every programme will automatically receive a webpage for each edition, available 7-10 days before tx. This page will contain a programme description (based on the text sent out in your programme description) and will offer seven-day audio on demand. You can email updates to this programme description to r4promonote@bbc.co.uk at any point up to TX, and during the seven days beyond. All programmes require an image. This will appear on the BBC iPlayer, as well as the Radio 4 website. It may also be used by the BBC for publicity purposes. To discuss imagery, please email iplayerpictureeditors@bbc.co.uk.

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Should you and the iPlayer Picture Editors agree that your programme requires an image (i.e. if there is no existing image on file / it is agreed that a new image is required), please note: 1. iPlayer Picture Editors are the only point of delivery for your Radio stills 2. Stills must be submitted in landscape orientation 3. Photographs must be taken to a professional standard and at the highest resolution setting possible on a minimum of a 5megapixel (5MP) camera (not a smart phone). Images will not be acceptable if smaller than 1024 x 576 pixels 4. Any necessary approvals (e.g. from Talent) must be obtained prior to sending them in to iPlayer 5. No photographer credit is possible in the iplayer 6. All copyright must cleared for use by the BBC in perpetuity For any extra web content, please apply to the Radio 4 Interactive team by emailing R4iteam@bbc.co.uk. It is unlikely that one-off programmes or short series will be able to have a large amount of extra functionality but the Interactive Team may be able to assist you, or offer you training, to place a limited amount of extra material on the site (e.g. extended text, links), ideally with two to three weeks notice. Increasingly, the Interactive Team are providing production teams with the tools or training to enhance their own programme page on the web. Programmes interested in working in this way will need to contact the appropriate editor in their department and also the Radio 4 Interactive Editor (details below).

Compliance Content delivery has fragmented in the past few years over an increasing number of platforms, and the scope of compliance arrangements has therefore increased in response. A&M's policies on Multiplatform editorial compliance are available at the following wiki link, or on request from the Interactive Editor. This information should be read in conjunction with A&M's Editorial Compliance Guidelines for pre-recorded linear content, as well as the Guidance Note summarising the editorial judgements on which we decide a programme is suitable for broadcast. http://wikis.gateway.bbc.co.uk/confluence/display/COMP/Multiplatform+Compliance+Home

Guiding Principles 1. The responsibility for ensuring compliance and sign-off lies with the team originating the content - including cases where the content is eventually published by a different team (e.g. where Interactive staff publish podcasts originated by Production staff). 2. Extra non-broadcast short-form audio or video needs to be complied separately by the Interactive Editor. 3. The Programme Executive should be satisfied that each member of their team has the appropriate training and experience to carry out the tasks they are given. 4. Any concerns about Multiplatform compliance should be discussed with the Interactive Editor at the earliest opportunity.

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Linking to external sites from the Radio 4 website We encourage you to include links on your webpages. Links should be selected on the basis of their editorial value for the audience. In most cases, the links you already include are appropriate but we need to ensure that we apply a consistent and fair policy across the Radio 4 website. Here is a simple checklist to help you to do that, with particular reference to sites about services, products or events that have a commercial value (e.g. tickets, books). Firstly, note that: Guidelines around taste, appropriateness and impartiality apply to all links. Links to transactional commercial sites are NOT permitted outside of the Commercial Userjourneys project refer to Interactive Editor for details. Links are not acceptable purely as a form of credit or recognition of a content providers or contributors role. A link must never be included on the public service website in return for cash, services or any other consideration in kind. http://www.bbc.co.uk/guidelines/editorialguidelines/onguide/editorial/linkstoexternal.shtml And the answers to these three questions need to be YES! 1. Is the content of the page youre linking to discussed or reviewed in your programme? Or does it relate to a subject covered in your programme? e.g. if an actor or comedian performs on a programme, it may be appropriate to link to their own website for more information about them and their work. It probably wouldnt be appropriate to link direct to venues where they are performing in the future, unless those performances were a subject of the programme (and see point 2 below). 2. Does the page you link to have editorial value related to the on air content? e.g. if the CEO of British Airways was talking about his company on a Current Affairs programme, it may be appropriate to link to the About the Company section of the BA website. This would be more appropriate than a link to the ba.com homepage which is about buying tickets. e.g. if a programme has (p)reviewed an opera at the Royal Opera House, it may be appropriate to link to a section of the ROH site which gives more information about that production, rather than the ROH homepage (which wont relate to the production for very long) or a Buy Tickets page. 3. Is this the only site about this product/service/event OR does it have significantly more editorial value or relevance than other similar sites? If not, you should also consider linking to other sites of similar editorial value. Your linking criteria should be clear so that, if challenged, you could demonstrate a consistent approach. It may be appropriate in some cases to offer a way for other companies to suggest links for your consideration. eg http://www.bbc.co.uk/radio4/memory/relatedlinks/ Where you think that links which dont meet all of these criteria would form a valuable element of your online programme support, you should refer to the Interactive Editor.

Streaming of programmes on the website Radio 4 FM and Radio 4 LW are streamed on the internet. It is each producers responsibility to ensure that their programme does not infringe copyright. Radio 4 expects simulstreaming rights to be cleared for all programming, and this is a condition of the programme commissioning agreement. If this is not possible, we reserve the right to cancel the commission. Where 27

simulstreaming rights are not available, please inform Denis Nowlan, Network Manager (denis.nowlan@bbc.co.uk), who will consult with the relevant Commissioning Editor over whether the commissioning should continue. Radio 4 will not be liable for production costs incurred before rights have been cleared. The BBC has included the rights to simulstream in the collective agreements with recognised talent unions and collecting societies. However you should check any third-party material e.g. clips from archive or film soundtrack, and any contributors, agents or copyright holders who will not sign contracts incorporating standard talent union/collecting society clearances. The BBC Talent & Rights Negotiation Group can advise can advice on individual contracts with actors (tel: 020 8576 1876) and authors (tel: 020 8576 4384). Independent companies can get advice from the BBC Legal & Business Affairs team (tel: 020 7765 4901). In the exceptional circumstance where Radio 4 has authorised production of a programme that is not cleared for simulstreaming, you must inform the Radio 4 Interactive Team, with a minimum of 72-hours notice. This will allow for sufficient time for the team to arrange blanking of the programme from the internet stream at the point of transmission. Please send this information to R4iteam@bbc.co.uk. If you have any other queries regarding streaming rights, they should be directed to the Legal and Business Affairs Manager, 020 7765 1078. On-air web trailing The URL given out on air is the Radio 4 address: www.bbc.co.uk/radio4. Programmes should not trail microsites with a second forward slash, e.g. www.bbc.co.uk/radio4/makinghistory. It is preferable for the web site to be mentioned in the body of the programme, rather than at the end or beginning by Continuity. Please say slash Radio 4 not forward slash Radio 4. Audio on Demand All new programming should be cleared for Audio on Demand (AOD), and this is a condition of the programme commissioning agreement. It is our intention to put as many programmes as possible available to listen again on the iPlayer via the Radio 4 website. We have now extended this service to nearly all our output. Radio 4 reserves the right to cancel any commission where AOD rights are not available. Where AOD rights are not available, please inform Denis Nowlan, Network Manager, who will consult with the relevant Commissioning Editor over whether the commission should continue. Radio 4 will not be liable for production costs incurred before rights have been cleared. For talks and factual programming, unlimited internet rights should be cleared. For other genres, the BBC has reached agreement with recognized talent unions and collecting societies to pay a supplement to basic performance fees to secure AOD rights for 14 days following transmission. However you must check any third party material e.g. clips from archive or film soundtrack, and any contributors, agents or copyright holders who will not sign contracts incorporating standard talent union/collecting society clearances. The BBC Rights Group in can advise on individual contracts with e.g. actors or authors (actors 0208 576 1876 and authors 0208 576 4384).

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Independent companies can get advice from Legal & Business Affairs team, BBC Radio, 020 7765 4901. contact tel e-mail contact tel e-mail Radio 4 Interactive Team 020 7765 4900 r4iteam@bbc.co.uk Nigel Smith, Interactive Editor, Radio 4 020 7765 5319 nigel.smith@bbc.co.uk

Text Messaging Radio 4 uses a single number for SMS/text messages (84844) which should be used to gather listener comments, votes etc. Before giving out the number on air, you will need to discuss your plans with the Radio 4 Interactive Team so access can be arranged to the number and a webpage set up for you to view messages. The number is only used in live programmes. contact tel e-mail Radio 4 Interactive Team 020 776 54900 r4iteam@bbc.co.uk

Podcasts & Downloads Many Radio 4 & Radio 4 Extra programmes are offered as downloads giving our audience the opportunity to consume programmes where and when they want. Can my programme have a download (podcast)? If you would like to make your programme available as a download please contact r4iteam@bbc.co.uk as any new download offering (current programming or archive) needs to be signed off by the Interactive Editor. How do I publish my download? Podcast Maker is the tool that manages the BBC download offering for A&M downloads need to be published by a member of the Radio 4 Interactive team as this tool doesnt work on non BBC computers. How do I series stack my programme? Series catch-up, also known as series stacking, extends the online catch-up availability window for individual episodes beyond the usual seven days after their transmission. This allows you the chance to listen to an entire series, until a week after the final episode is broadcast. The decision on whether a series is stacked MUST be made at the point of commission and rights MUST also be secured (Equity etc) at this stage. Once you have ensured all rights are in place, please fill in this form and email r4iteam@bbc.co.uk

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15. MARKETING
The role of marketing in Radio 4 is to increase listening and reach by helping existing and new listeners access our programmes and have a wider understanding of the diversity of our output. Marketing priorities for each year are selected in the context of wider BBC Marketing & Communications objectives and in consultation with the Controller and management team. This ensures we focus limited resources to support key network objectives and where marketing effort can really influence the public. This naturally limits the opportunity to support individual programmes and initiatives beyond the priorities agreed at the start of the year. However, as part of the BBC marketing team working across all services and media, we can help to utilise BBC airtime to generate cross promotions where appropriate and ensure that Radio 4 and its programmes are included in wider activities. Marketing are also responsible for the Radio 4 logo and ensuring we reinforce and protect the brand at all times. This means working with third parties such as event organisers, publishers and BBC Worldwide to ensure our brand is only used with approval and is correctly re-produced, as well as ensuring that outside broadcasts, events or exhibitions are branded appropriately to promote the BBC. We have some branding materials available which producers are encouraged to use these for events or exhibitions. If you wish to borrow these, contact Sally Lovell. Programme-makers should also be aware that there are strict regulations relating to programmes generating their own marketing materials and using the Radio 4 logo. This is available to download from the Marketing and Audiences page on Gateway or, for indies, via Sally Lovell. All plans to do so should be passed by Marketing and any logo must be approved by Marketing before going to print. Contact should be via e-mail in the first instance. contact tel e-mail Sally Lovell, Creative Executive, BBC Marketing and Audiences 020 8825 7524 sally.lovell@bbc.co.uk

16. PUBLICITY
The aim of Radio 4 Publicity is to inform the public of Radio 4 content via the media, to defend Radio 4s reputation and to explain Radio 4's position within the broader BBC. All press activity must be agreed by the Radio 4 Publicity team. Producers (both independent and in-house) must speak to a member of the team and agree a strategy before speaking to a journalist or issuing a press release. All written materials (including press releases and authored pieces from presenters, contributors or producers) must be approved by the team before being issued to media. There may be a broader BBC issue at stake and the media outlet might have an agenda which is not immediately apparent. The Publicity team are there to advise. The work of the Publicity team essentially breaks down into two areas proactive communications and reactive communications. Proactive Communications There are numerous ways in which the Publicity team proactively promotes Radio 4 content: PI (Programme Information more details below); distribution of audio via the BBC Radio Previews website (details below); placing features off the back of programme content; presenter/cast or contributor interviews; news stories if there is a strong news line; interviews with senior management; release of audio clips/transcribed quotes; announcements of major new commissions/initiatives, e.g. A History of The World, the rebrand of BBC 7 to Radio 4 Extra, the Desert Island Discs archive, etc.

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The onus is on production to tip Publicity off about strong content, news lines, initiatives, etc. Reactive Communications Reactive issues can arise from virtually anywhere the network falling off air; a programme with strong language; a presenter/schedule change; a presenter/announcer breaking down in laughter; a wrong episode being aired; a contributor feeling they have been unfairly treated; live interviews with sensitive content, etc. Wherever possible the Publicity team tries to anticipate potential issues, e.g. if a programme has sensitive content the Publicity team will prepare a line against enquiry in conjunction with the producer/commissioning editor. The Publicity team also liaises closely with Audience Services to ensure a consistent line is issued to press and listeners alike, where necessary. Other enquiries We also receive numerous media enquiries everyday which might be along the lines of is a preview of a programme ready? How many panellists have ever been used on Gardeners Question Time? Whats the longest running radio programme in the world? How many books/plays do you broadcast a year? How much did you spend on dramas made by indies in Wales in the first six months of 2011 compared with this year? etc. And finally Due to limited resources, not every programme can be publicised proactively. There is a strict system of prioritisation in place, agreed in conjunction with the network. If you have any enquiries, please e-mail the team on radio4publicity@bbc.co.uk or contact them on the numbers below. PI (Programme Information) PI is a summary of a programme 150 words maximum which the Radio 4 Publicity team pull together from Programme Descriptions in Proteus (see p.5). Please ensure all details in the Programme Descriptions facts, figures, spellings, etc. are accurate. PI is collated on the Monday three weeks before the week of tx (e.g. if your programme is scheduled for September 26th, complied Programme Descriptions will need to be available in Proteus on September 3rd). Not every programme will be picked up in PI; the focus lies on new programmes, new series, returning series and the Controllers priority programmes. PI goes out to feature editors and writers, radio writers and numerous other journalists, who use it to see what highlights are coming up and what news lines and programmes they might prioritise on their radio pages. PI is also posted on the BBC Media Centre, which is accessed by an extremely broad range of journalists. BBC Radio Previews website The Publicity team uploads audio to the BBC Radio Previews website, where journalists can listen to programmes and write them up as previews, reviews or features. Wherever possible audio should be delivered to the team via VCS at the same time as PI. If you have any questions, please get in touch with the team.

contact tel contact tel contact tel contact tel

Sian Davis, Head of Communications, Radio 4 07711 796 531 Kim Creed, Head of Communications, Radio 4 07802 210 972 Conor Dwan, Publicist, Radio 4 07714 956 797 Emma Russell, Publicist, Radio 4/Radio 3 07718 118 012 31

contact tel contact e-mail tel

Amelia Fernandez-Grandon, Assistant Publicist, Radio 4 07720 671 353 Radio 4 Publicity radio4publicity@bbc.co.uk 0203 614 3888

17. ON-AIR PROMOTION

Four weeks before transmission, programmes are selected as Promotional Priorities for the whole network. If you have not submitted a Programme Description five weeks in advance, your programme will not be selected. If your programme has been selected, a member of the Radio 4 Promotions Team will contact you. To produce the on-air promotion, a broadcast-quality copy of the programme will be required. Please also bear in mind that programmes which have a complicated music mix under the speech are almost impossible to clip. In these circumstances trails makers will often need a clean speech mix of your programme as well. Occasionally we may ask you to make a trail with your presenter. If you are recording a trail for us, please do not assume announcers will introduce or back-announce them. Your trail should do the whole job itself, ideally ending with the day and time of TX. This is why we ask you to give us multiple variations of the ending, so that the trail is always current. Trails must tell the listener clearly and precisely the name and TX details of the programme. If your presenter is doing a voice piece, he or she really ought to be able to do this within 30 seconds. Please include the correct network branding in your trail. We work for two excellent organisations: the BBC and Radio 4, both steeped in broadcasting history. Take advantage of this, give your programme a head start and make sure your trail clearly allies the programme to both. It is essential that producers meet the three week programme delivery requirement (see Delivery) for the Radio 4 Promotions Team to produce the most effective on-air promotion. contact tel email Katy Hubbard, Presentation Editor 020 7765 1560 katy.hubbard@bbc.co.uk

18. HEALTH & SAFETY

Equal Opportunities and Health and Safety Policies The BBC is an equal opportunity employer and is also conscious of the need to ensure that all staff and suppliers operate safe and secure working environments. We seek to ensure that all our independent suppliers take seriously their responsibilities with regard to Equal Opportunities and Health & Safety.

32

The BBC requires that all suppliers comply with all current anti-discrimination legislation (race relations, sex discrimination, equal pay, fair employment and disabled persons employment) and all applicable Health & Safety legislation together with the respective codes of practice related to the legislation. The Business Affairs team send all new suppliers a Health & Safety questionnaire (which can also be found here: http://www.bbc.co.uk/commissioning/radio/how-we-work/businessrequirements.shtml). This must be completed and approved before work on a commission can start. For advice, contact the Legal & Business Affairs team, BBC Radio, on 020 7765 4901. For information about BBC safety policy, go to: http://www.bbc-safety.co.uk/

33

19. RADIO 4 CONTACT LIST

For all (non-mobile) numbers please dial 0207 76 followed by the extension number below:

Name Management Gwyneth Williams Gill Carter Denis Nowlan La Lauvray Sue Banks Scheduling Tony Pilgrim Amanda Benson Lolo Wood Finance Dan Davies Commissioning Jane Ellison Mohit Bakaya Jeremy Howe Caroline Raphael Tony Phillips Shauna Todd

Job Title Controller Assistant to Controller Network Manager Management Assistant Team Assistant Head of Planning & Scheduling Schedule Manager Schedules Assistant

Extension 53836 53836 54615 53366 50022 07712 490 484 55485 53558

Fax no

Room No

53822

4028 BH

53822

4028 BH

Finance Partner

0771 191 2655

1st Floor, Brock House

Tamsin Green

Commissioning Editor General Factual Commissioning Editor Specialist Factual Commissioning Editor Drama Commissioning Editor Comedy & Fiction, R4 and Commissioning Editor R4 Extra Commissioning Editor Arts Commissioning Assistant Specialist Factual & General Factual Commissioning Assistant Drama, Comedy & Fiction Assistant to Tony Phillips (commissioning queries only) Assistants to Tony Phillips (diary queries only)

50631 52660 54505 51870 53840 50131

53822

4028 BH

51871
3rd Floor, Zone D, New BH

Vanessa Morris & Karen Howe Compliance Roger Mahony Audience Insight Rose Van Orden Chris Hutchings Elizabeth Lane Marketing Hannah Wren Sally Lovell

020 361 40333

Compliance Editor

55455 / 07932 062 246 52779 54347 50623

53822

4028 BH

Senior Audience Planner Research Manager Senior Research Executive Brand Marketing Manager Creative Executive, BBC Marketing and Audiences

53822

1st Floor, Brock House 122 HWH 2106 TVC

07860 612866 020 8825 7524

34

Publicity Laura Zetterberg Conor Dwan Emma Russell Amelia Fernandez-Grandon Radio 4 Publicity Presentation Katy Hubbard Richard Culver Moy McGowan Stan Was Liz Jaynes Anne-Marie Spellman Christine Howard Hannah Ratcliffe Caroline Adams Jonathan Reding Head of Communications, Radio 4 Publicist, Radio 4 Publicist, Radio 4/Radio 3 Assistant Publicist, Radio 4 radio4publicity@bbc.co.uk Presentation Editor Executive Producer, Presentation Presentation Producer Presentation Producer Presentation Producer Promotions Assistant Operations Supervisor Operations Assistant Operations Assistant Media Scheduler 07590 306 807 07714 956 797 07718 118 012 07720 671 353 0203 614 3888 51560 50192 50592 50594 50593 50954 52631 52158 55436 07715 797 396 55319 54954 55306 4045 BH 53822 4045 BH 1st Floor, Brock House

Interactive Nigel Smith Interactive Editor Katherine Campbell Senior Content Producer Fiona Hodge Senior Content Producer Legal and Business Affairs John Moran Head of Legal & Business Affairs Senior Commercial, Emma Trevelyan Legal & Business Affairs Manager Commercial, Legal and Daniel Miller Business Affairs Manager Commercial, Legal and Dominic Borer Business Affairs Executive Commercial, Legal and Laura Branfield Business Affairs Executive Commercial, Legal and Thomas Guest Business Affairs Executive Daljit Sohi PA / Team Assistant Susan Hayman Commercial Assistant Indie Contracts Head of Finance, Michael Davis Radio Independent Productions Business Manager, Lesley Eaton Radio Independent Productions Christopher Rights Executive, Hutchinson Radio Independent Productions Finance Assistant, Amir-Hussain Shah Radio Independent Productions Proteus Support Proteus Support proteus.support@bbc.co.uk Presentation numbers for broadcast critical issues Duty Producer/ Office Announcer 52822 / 52821

51723

07736 480 219 0771 2399 509 07711 348 752 07711 348 750 07711 348 754 07711 348 753 07711 348 749 07711 348 757 07968 580 839 07711 348 751 07711 348 755 07711 348 756 55937 4th Floor, Brock House 4th Floor, Brock House

35

APPENDICES
Appendix A: Topicality status Please check the attached chart for the delivery requirements for each R4 programme. The deadline for non-topical programmes is three weeks ahead of their transmission date and time. The following guidelines indicate the deadlines for topical programmes and the types of programme which fall into the various categories. Delivery up to 5 days before Transmission Date/Time (Week Topical programmes) A programme with week specific elements in its content People-of-the-week chat shows Delivery up to 1 day (24 hours) before Transmission Date/Time (Day Before Topical programmes) A programme with a news element Weekly review programmes Spin-offs linked to live shows Current repeats linked to live programmes Investigative journalism programmes Reflection on current events Delivery up to 2 hours before Transmission Date/Time (On Day Topical programmes): A news programme (but not other factual documentary series unless another criterion is met) Highlights programmes connected to earlier sports or other live event

36

Topicality spreadsheet
NTR = Non Topical (3 weeks) WTR = Week Topical (5 days) DBT = Day Before (24 hours) DAY = On Day Topical (2 hrs) LIV = Live TOPICALITY STATUS DBT DBT

DAY SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT SAT

TIME 0032 0543 0545 0607 0632 0902 1002 1031 1102 1131 1204 1204 1229 1312 1402 1433 1531 1602 1730 1730 1816 1902 1902 1917 2002 2102 2216 2216 2302 2331

TITLE Book of the Week rpt of Fri 0945 Prayer for the Day iPM Open Country rpt of Thu 1502 Ramblings rpt of Thu 1502 Farming Today This Week Saturday Live Excess Baggage Feature The Week in Westminster Beyond Westminster FOOC Money Box Inside Money Comedy rpt of Fri 1830 Any Questions? rpt of Fri 2002 Any Answers? Saturday Drama Music Documentary rpt of Tue 1130 Weekend Woman's Hour The Bottom Line rev rpt of Thu 2030 iPM Loose Ends Profile From Fact to Fiction Saturday Review Archive on Four The Classic Serial rpt of Sun 1502 Moral Maze rpt of Wed 2002 Debate rpt of Wed 2002 Quiz rpt of Mon 1502 Poetry rpt of Sun 1630

DAY LIV LIV NTR DAY LIV LIV DBT DAY (orig is LIV) LIV NTR DBT DBT DBT DAY (SOME LIV BY AGREEMENT) DBT DAY DBT NTR DBT (orig is LIV)

37

DAY SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN SUN

TIME 0543 0545 0606 0635 0710 0754 0810 0850 1001 1117 1117 1204 1233 1331 1402 1445 1502 1602 1602 1631 1702 1702 1740 1815 1903 1916 1945 2002 2031 2102 2102 2126 2130 2302 2331 Bells

TITLE NTR

TOPICALITY STATUS

Profile rpt of Sat 1902 Something Understood Living World On Your Farm Sunday Radio 4 Appeal Sunday Worship A Point of View rpt of Fri 2050 Archers Omnibus Desert Island Discs The Reunion Comedy rpt of Mon1830 The Food Programme Feature Gardeners Question Time rpt of Fri 1502 Feature Classic Serial Open Book Bookclub Poetry File on Four rpt of Tue 2002 Documentary rpt of Tue 2002 Profile rpt of Sat 1902 From Fact to Fiction rpt of Sat 1902 Pick of the Week The Archers Comedy Reading Feedback rpt of Fri 1630 More or Less rpt of Fri 1630 Last Word rpt of Fri 1602 Money Box rpt of Sat 1204 Inside Money rpt of Sat 1204 Radio 4 Appeal rpt of Sun 0755 In Business rpt of Thu 2030 Analysis rpt of Mon 2030 The Film Programme rpt of Thu 1602 Something Understood rpt of Sun 0605 DBT NTR WTR WTR NTR NTR WTR LIV NTR LIV (SOME DBT BY AGREEMENT)

NTR NTR DBT WTR NTR

DBT WTR NTR NTR

DBT (orig is LIV) DAY (orig is LIV)

38

DAY MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON MON

TIME 0017 0045 0543 0545 0902 0945 FM 0945 LW 1002 1045 1102 1131 1204 1345 1402 1416 1502 1531 1602 1631 1631 1831

TITLE Thinking Allowed Bells rpt of Sun 0543 Prayer for the Day Farming Today Start the Week Book of the Week Daily Service Woman's Hour 15 Minute Drama Feature Comedy Narrative You & Yours Narrative History The Archers rpt of Sun 1902 Afternoon Drama Quiz The Food Programme rev rpt of Sun 1230 Popular Arts Beyond Belief Click On The Infinite Monkey Cage Comedy NTR NTR DBT NTR DBT DAY NTR WTR DBT

TOPICALITY STATUS DBT (orig is LIV)

DBT (SOME LIV BY AGREEMENT) LIV WTR LIV LIV NTR NTR NTR LIV NTR

1902:30 The Archers 1915:30 Front Row 1945 2002 2031 2031 2102 2131 2246 2302 2331 15 Minute Drama rpt of 1045 Documentary Crossing Continents rpt of Thu 1102 Analysis Material World rpt of Thu 1630 Start the Week rev rpt of 0902 Book At Bedtime Word of Mouth rpt of Tue 1602 TIP

LIV (SOME DAY BY AGREEMENT)

NTR

DAY DAY (orig is Live) NTR

DAY

39

DAY TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE TUE

TIME 0032 0543 0545 0902 0930 0945 FM 0945 LW 1002 1045 1102 1102 1131 1204 1345 1402 1416 1502 1531 1531 1602 1631 1831

TITLE Book of the Week rpt of Mon 0945 Prayer for the Day Farming Today The Life Scientific The Long View One-to-One Book of the Week Daily Service Woman's Hour 15 Minute Drama Saving Species Feature Music Documentary You & Yours Narrative History The Archers rpt of Mon 1902 Afternoon Drama Making History Costing the Earth Off the Page Word of Mouth Law in Action A Good Read Great Lives Comedy NTR DBT WTR NTR DAY NTR NTR WTR DBT

TOPICALITY STATUS

DBT (SOME LIV BY AGREEMENT) DBT NTR WTR LIV LIV NTR LIV NTR NTR LIV NTR

1902:30 The Archers 1915:30 Front Row 1945 2002 2002 2040 2102 2102 2131 2246 2302 2302 2331 15 Minute Drama rpt of 1045 File On Four Documentary In Touch Inside Health All In The Mind Other Science Interview rpt of 0902 Book At Bedtime Comedy The Infinite Monkey Cage rpt of Mon 1630 TIP

LIV (SOME DAY BY AGREEMENT)

DAY NTR DAY DAY NTR NTR NTR

DAY

40

DAY WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED WED

TIME 0032 0543 0545 0902 0945 FM 0945 LW 1002 1045 1102 1131 1204 1345 1402 1416 1502 1531 1602 1631 1831 1831

TITLE Book of the Week rpt of Tue 0945 Prayer for the Day Farming Today Midweek Book of the Week Daily Service Woman's Hour 15 Minute Drama Feature Comedy Narrative You & Yours Narrative History The Archers rpt of Tue 1902 Afternoon Drama Money Box Live Inside Health rpt of Tue 2102 All In The Mind rpt of Tue 2102 Thinking Allowed The Media Show Comedy Look Away Now NTR LIV DBT

TOPICALITY STATUS

DBT (SOME LIV BY AGREEMENT) LIV WTR LIV LIV NTR NTR NTR LIV NTR

LIV LIV NTR DAY WTR LIV (SOME DAY BY AGREEMENT)

1902:30 The Archers 1915:30 Front Row 1945 2002 2002 2045 2102 2102 2131 2246 2302 2316 2332 15 Minute Drama rpt of 1045 Moral Maze Debate Four Thought Lent Talks Frontiers Costing the Earth rpt of Tue 1530 Midweek rev rpt of 0902 Book At Bedtime Comedy Comedy TIP

LIV WTR NTR WTR

DAY (orig is Live) NTR NTR NTR DAY

41

DAY THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU THU

TIME 0032 0543 0545 0902 0945 FM 0945 LW 1002 1045 1102 1102 1131 1204 1345 1402 1416 1502 1502

TITLE Book of the Week rpt of Wed 0945 Prayer for the Day Farming Today In Our Time Book of the Week Daily Service Woman's Hour 15 Minute Drama FOOC Crossing Continents Feature You & Yours Narrative History The Archers rpt of Wed 1902 Afternoon Drama Open Country Ramblings NTR DBT WTR DBT

TOPICALITY STATUS

DBT (SOME LIV BY AGREEMENT) LIV (SOME DBT BY AGREEMENT) WTR LIV LIV NTR LIV (SOME DBT BY AGREEMENT) DBT NTR LIV NTR

1526:30 Radio 4 Appeal rpt of Sun 0755 & 2126 1531 1602 1631 1831 Open Book rpt of Sun 1602 Book Club rpt of Sun 1602 The Film Programme Material World Comedy

DAY LIV (SOME DBT BY AGREEMENT) NTR WTR LIV (SOME DAY BY AGREEMENT)

1902:30 The Archers 1915:30 Front Row 1945 2002 2002 2031 2031 2102 2102 2131 2246 2302 2331 15 Minute Drama rpt of 1045 The Report Law in Action rpt of Tue 1602 In Business The Bottom Line Saving Species rpt of Tue 1102 Feature In Our Time rev rpt of 0902 Book At Bedtime Comedy TIP

DAY

DAY DAY

NTR DAY (orig is Live) NTR NTR (SOME DAY BY AGREEMENT) DAY

42

DAY FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI FRI

TIME 0032 0543 0545 0902 0945 FM 0945 LW 1002 1045 1102 1131 1204 1345 1402 1416 1502 1545 1602 1631 1831

TITLE Book of the Week rpt of Thu 0945 Prayer for the Day Farming Today Desert Island Discs rpt of Sun 1115 The Reunion rpt of Sun 1115 Book of the Week Act of Worship Woman's Hour 15 Minute Drama Feature Comedy You & Yours Narrative History The Archers rpt of Thu 1902 Afternoon Drama Gardeners Question Time Reading Last Word Feedback More or Less Comedy Satire NTR DBT NTR LIV DAY DAY WTR DBT

TOPICALITY STATUS

DBT (SOME LIV BY AGREEMENT)

WTR LIV LIV NTR NTR NTR LIV NTR

1902:30 The Archers 1915:30 Front Row 1945 2002 2050 2102 2102 2246 2302 2331 15 Minute Drama rpt of 1045 Any Questions? A Point of View Friday Drama Narrative History Omnibus Book At Bedtime Great Lives rpt of Tue 1630 A Good Read rpt of Tue 1630 TIP

LIV (SOME DAY BY AGREEMENT)

LIV DAY NTR NTR NTR

DAY

43

Appendix B: Programme paperwork templates PROGRAMME AS BROADCAST FORMS

The Value of PasB Information to the BBC Programme as Broadcast information (PasB) is an essential business requirement for all programmes broadcast by the BBC. A PasB must be completed for all originations & repeats. The information contained in a PasB supports research, re-use, and commercial exploitation of audio material. PasB information is stored in Proteus for A&M productions. PasBs not created in Proteus can be sent to I&A Production Intake for archiving. Listed below are the reasons PasB information is a vital element of the production process: Cataloguing When audio is selected for archiving the PasB information is the primary source of cataloguing information on INFAX. Without it, it is very difficult to produce a comprehensive cataloguing entry, making research and re-use of the material difficult if not impossible. This is particularly important given the BBCs commitment to making archival content available to the public through the iPlayer. The public will use the metadata you provide to search & access content.

Evidence The PasB is the primary record of the content of programmes. It is the evidence of each programme the BBC has broadcast, and the relevant rights & agreements it has reached to do so. PasB information is classified by the BBC as a core record. All PasBs are kept permanently by I&A on behalf of the BBC. PasBs are an historical record of the format and content of programmes. They are an indication of the look and feel of a network. All output on all BBC network radio is archived for 90 days by the Control Room to meet legal requirements. Should a legal case be brought on any of these programmes, the PasB may be required as evidence of: o Copyright material used o Agreements for payment with contributors to the programme o The production team responsible for each programme

Exploitation of Audio Material BBC Worldwide find it extremely difficult, if not impossible, to exploit audio material when there is no supporting PasB rights information. In the context of the financial constraints imposed by the licence fee settlement, there will undoubtedly be a need to repeat more programmes/re-use content. PasB information will be vital to support the re-use of programme material.

44

HOW TO COMPLETE A PasB FORM Programme Title: Programme number: Service: Platform: Week: Day: Date: Start/Finish: Stereo: Pre Record: Pre Record Date: Tx Slot: Recording number: Full name of the programme as billed in the Radio Times etc. As provided by BBC Commissioning. Network on which the programme was made to TX e.g. FM, LW BBC week during which the programme TXd Day the programme TXd. Date of TX Time of TX e.g. 19:30 20.00 (use 24 hr clock) Y or N Y or N Date recording made, if applicable. Otherwise leave blank. Length of the commissioned programme, e.g. 2830. This has a prefix e.g. PLN (for London) followed by a digit for the year e.g. 2 for 2012 & the BBC week no. This is followed by a forward slash / & then the programme number minus the last 3 characters. It should look like this: PLN201/124AHK2026 Actual length of the recorded programme, e.g. 2807. Y or N. Please note you must complete a Music Reporting form for the programme even if no music was used. Name of the producer/s who made the programme Name and address of independent company / BBC department Contact details for the Producer: office / mobile number

Duration: Music Used:

Producer: Address: PABX: Running Order Description:

Description of the programme content. This must describe what the programme is about, and list ALL contributors and their roles. It must also include details of ALL copyright material used, including BBC archive, bought in material, or material where no fee is required.

If the programme is a magazine programme or a sketch show, then each running order item should be recorded separately. Include the contributors and details of any music used for each item in the running order. Programmes such as Dramas and Documentaries can be reported as one running order item. However, all contributors, copyright material and music used should be recorded on the PasB. Do not include any financial or personal details (e.g. home address and phone numbers) in the PasB. 45

Production details form used for P as B report.

ISSUE DATE PASR 2 PASR 3 BILLING 4 PASB 5

PRODUCTION NO 6 8 9 STEREO 11 PRODUCER PREREC 12

TX DETAILS ORIGINATION REPEAT 10 PRE-REC DATE 13

SERVI CE R R R

W/B

WEEK

DAY

DATE

START/FINISH

TX SLOT 14 ADDRESS

FINAL TAPE NUMBER 15

TAPE DUR 16 PABX

R.O.T.

MUSIC USED 18

START TIME

PROGRAMME TITLE AND RUNNING ORDER

INSERT TAPE NO

INSERT DUR

46

Production Details (Continuation sheet)

Programme Title: Production Number: TX Date: Sheet of

Insert Tape No:

Insert Dur:

47

*SAMPLE* Production details form used for P as B report.

Production details form used for P as B report.
PASR 2 PASR 3 BILLING 4 PASB 5 07/01/2012

ISSUE DATE

PRODUCTION NO 6 8 9 STEREO 11 PREREC

TX DETAILS ORIGINATION REPEAT 10 PRE-REC DATE

SERVI CE R R R

W/B

WEEK

DAY
SATURD
AY

DATE

START/FINISH

02

07/01/ 12

10:00 - 10:30

TX SLOT 14

FINAL TAPE NUMBER 15

TAPE DUR 16

R.O.T.

1 2

1 3

29/12 /2011

PLN202/124AHK2026

28:14

MUSIC USED 18

PRODUCER W ILLIAM O'HARE

ADDRESS POPULAR FRONT PRODUCTIONS, 15

PABX O208 7641316

CASTLE STREET, TOOTING, LONDON SW17 2LA

START TIME

PROGRAMME TITLE AND RUNNING ORDER Brave New World Presented by Quentin Cooper Produced by William OHare Sig. tune - 2001 Space Odyssey- Also Sprach Zarathrusta. City of Prague Orchestra, from the album 2001: Music from the Films of Stanley Kubrick, Silver America

INSERT TAPE NO

INSERT DUR

0:22

Ice on Mars - interview

05:48

Dr Joshua Bandfield discusses a new spectrometer fixed to the orbiting Mars Odyssey spacecraft that measures gamma rays coming from a planet to detect different materials. Initial data has shown up to half of the surface of Mars may contain ice. Dr Joshua Bandfield, Professor of Earth & Space Science, University of Washington. Detox Dangers Discussion The current popularity of detox diets which recommend drinking many litres of water a day, and drinking even when not thirsty, could cause problems if taken to extremes. Discussion on the benefits & dangers of detox diets. Ursula Arens, dietician, British Dietetic Association Professor Graham MacGregor, Professor of Cardiology, St George's Hospital, London.

07:49

48

Arctic Oil Reserves - Package The Arctic is estimated to hold 90bn barrels of untapped oil and three times as much natural gas according to figures from the US Geological Survey (USGS). Janine Jones weighs up the potential benefits of extracting this massive resource against the perceived threat to the environment and wildlife. Janine Jones Producer & presenting own factual script

04:36

00:47

Archive clip Material World 10/06/2010 Recording No. PLN023/10QM0236 Music Staral Fur. Sigur Ross from the album Agaetis Byrjun, Fat Cat
00:20

10:01

The Science of Surfing - Interview Surf Science is the one of the first books to explain waves from a surfer's point of view. It shows how waves are formed, what makes each wave different, why some waves peel nicely and others just close-out, and why, on some days, the waves are weak and gutless and on others are perfect tubes. Caroline talks to Dr. Paul Russell surfer and scientist, and co-author Dr Tony Butt about their new book.
01:06

Features a short extract from the book - read by Dr Tony Butt. Surf Science: An Introduction to Waves for Surfing, published by Alison Hodge Publishers. Dr Paul Russell, Professor of Coastal Dynamics, University of Plymouth Dr Tony Butt Research Fellow, University of Plymouth Dr Tony Butt Reading (non-dramatised)
00:12

Wipeout, Surfaris , from the album Guitar Heroes, Disky

49

Production Details (Continuation sheet)

Programme Title: Production Number: TX Date: Sheet of

Insert Tape No:

Insert Dur:

50

MUSIC REPORTING YOU MUST SEND A FORM TO THE MUSIC REPORTING UNIT EVEN IF YOUR PROGRAMME HAD NO MUSIC AT ALL.

Background The BBC negotiates agreements with the music copyright collecting societies which give permission to broadcast music; in return, the BBC is legally required to report to the copyright bodies all music used after transmission. The Music Reporting Unit (MRU) is the facility that processes the music usage, via a computer system (MRS), to the copyright societies - who then pay the copyright holders. What you need to do All music and all commercial recordings of speech and commercial sound effects must be reported, no matter how brief or incidental, within 14 DAYS of transmission. Music in trails/promos, background, live or locally recorded, music picked up on location e.g. crowds, singing in the street even presenters humming 2 bars of Happy Birthday must be reported. Failure to do this will put the BBC in breach of the agreements with the copyright societies. The details required for music reporting are a) transmission/programme details and b) music details. The music used must be in the order transmitted. Incidental music must not be aggregated - individual timings must be reported. All repeats must be reported.

How do you do it? Many areas are using electronic links to send music reporting details to the MRU and will not need to send paper. However, if you still need to use paper, please copy and use the music reporting form at the end of this document. The address of the Music Reporting Unit is: Room 3400, White City, 201 Wood Lane, London W12 7TS. In house productions should use Proteus to record Music Reporting details or alternatively email the details to Music Reporting-Unit using the templates on pages 54 & 55. Independent productions should email the details to music.reporting-unit@bbc.co.uk, productionintake@bbc.co.uk and mrf-r4@bbc.co.uk using the templates on pages 54 & 55.

51

HOW TO COMPLETE A MUSIC REPORTING FORM

Programme Title:

Enter the programme or strand title

Episode Title:

If a series, enter the title of the episode.

Episode Number:

If a series, enter the number of the series.

Programme/Costing Number.

Enter the number which is valid for the programme to be reported. Enter the date and time of the programme transmitted.

Transmission Date and Time:

First Transmission Date: Programme Type: Letter A B C D Definition BBC Production Independent Production Co-Production Acquired Programme

If a repeat, enter the broadcast date of the first transmission. Enter a letter to represent one the following categories: Letter E F G H Definition BBC Production Repeat Independent Production repeat Co-Production repeat Acquired Programme repeat

Source: For an Independent, Co-Production or Acquired Programme, enter the name of the Company/Co-Producer/programme supplier. Repeats: Please note that when reporting a repeat, you need to update the Programme/Costing number, Transmission Date and Time, First Transmission Date and Programme Type. Music Code For each item one code must be entered to show the origin of the performance. A C F H K L M N P R 2 T U X Music on archive material from the BBC Archives. Commercial disc, tape, cartridge or compact disc. BBC Radioplay Collection Specially composed Radiophonic Workshop material Commercial recordings published over 50 years ago (not re-pressings) Live performance (and miming on live programmes for TV) Publisher Mood music Non-commercial private tapes Video use BBC, or other studio or location recording (not specially composed) 2nd or further use of R code within 28 days of the 1st transmission Soundtrack tape (from BBCs Film Unit or film soundtrack from Programme Acquisitions) Stock music (e.g. EBU tapes) Specially composed music, excluding Radiophonic Workshop

52

Additional Codes S D If the music item has been used as a signature tune for your programme. If an A, C, M or T code (above) has been dubbed (or you it is a pre-recorded programme)

B or V Either B (Background) or V (Visual) codes are mandatory additional codes for TV. Background music is music added solely for the benefit of the audience and thus forms no intrinsic part of the programme. Visual music forms a part of the programme in as much as it appears to be or is audible to those taking part in the programme, e.g. any music sung or played in vision, music which characters in a play can hear even if it comes from a performer or record player not in vision, music heard by people sitting in a cafe even though to those in the programme it would be background music. All actuality music is visual. Music Title Enter in full the title as shown on the recording or sheet music (if used). Where only a part of a long work is used the overall title of the work, followed by the details of the movement(s) used must be given. When in the course of production, new words are added to a piece of music, or replace the original lyrics, e.g. in a parody, the title of the original music must be given. Permission for the use of a parody must be granted from the publishers before the broadcast. Composer Enter the surname first, then forename(s). If every effort has been made but no information is available, enter NFI (No Further Information). If the item is a traditional piece wit h no known composer(s), enter Trad. Lyricists should be entered in the Composer field. Separate each composer name with a /. Publisher Company names may be shortened by omitting the descriptive detail, e.g. ...Publishing Company Limited. If an item is unpublished or played from manuscript, enter MS. If there is no publisher, enter NA. Separate each publisher with an /. Arranger Enter the surname first, and forename(s). If there is no arranger, enter NA. Performer The Performer(s) must be entered, surname first. Separate each performer with /. If there are many performers, enter them in order of importance, e.g. Band/Orchestra name first, Conductor, Soloists, etc. Label This must be completed for all items coded C, F, K, M or P. For commercial recordings it is important to use the label name and not the name of the distribution company. For Radioplay (F code) enter the descriptive title for the code, i.e. BBC Radioplay. Prefix and Number The number must be completed for all items coded C, F, K, M or P. In the case of commercial recordings, this is the catalogue number and normally appears at the top right hand corner of the back of the CD, or on the spine. Do not confuse this with the barcode number. The Prefix often contains letters and appears before the number. The ISRC number must be entered for video use. LP Title The title must be entered for all items which have label details. Track The track number must be entered for all items with label details. Duration Enter as minutes and seconds using 5 digits, separating the minutes from the seconds with a space, e.g. 003 41. Total Music Items In Programme Count the individual durations reported and enter them after the four question marks, e.g. ???? 27

53

MUSIC REPORTING FORM

PROGRAMME TITLE:

EPISODE NAME/SUBTITLE:

EPISODE NUMBER:

PROGRAMME COSTING/IDENT NO.:

TRANSMISSION DATE/TIME:

CHANNEL:

FIRST TX DATE (IF REPEAT):

TOTAL PROGRAMME DURATION:

PROGRAMME TYPE: [use one code only]

A = BBC Production B = Independent Production C = Co-Production D = Acquired Programme

E = BBC Production Repeat F = Independent Production Repeat G = Co-Production Repeat H = Acquired Programme Repeat

SOURCE: For INDEPENDENT or ACQUIRED PROGRAMMES or any CO-PRODUCTIONS, give name of Independent company/purchased programme supplier/Co-producer here:

PRODUCER/DIRECTOR(BBC Production):

ROOM NO:

EXT:

DEPARTMENT:[or commissioning department]

IF NO MUSIC TICK BOX

Distribution : Music Reporting Unit 3400 White City WITHIN 14 DAYS AFTER TRANSMISSION 390 Drama Building, White City Music Reporting and P as B) WITHIN 14 DAYS AFTER TRANSMISSION

Production Intake

54

MUSIC REPORTING FORM

PROGRAMME NUMBER TOTAL MUSIC ITEMS IN PROGRAMME ??? ? TITLE: PUBLISHER: SHEET OF

CODE(S): COMPOSER: ARRANGER: LABEL: PERFORMER(S):

PREFIX = NUMBER

LP TITLE: DURATION(S) :

SIDE, BAND:

CODE(S): COMPOSER: ARRANGER: LABEL: PERFORMER(S):

TITLE: PUBLISHER:

PREFIX = NUMBER

LP TITLE: DURATION(S) :

SIDE, BAND:

CODE(S): COMPOSER: ARRANGER: LABEL: PERFORMER(S):

TITLE: PUBLISHER:

PREFIX = NUMBER

LP TITLE: DURATION(S) :

SIDE, BAND:

CODE(S): COMPOSER: ARRANGER: LABEL: PERFORMER(S):

TITLE: PUBLISHER:

PREFIX = NUMBER

LP TITLE: DURATION(S) :

SIDE, BAND:

55

*SAMPLE* MUSIC REPORTING FORM

PROGRAMME TITLE: Brave New World

EPISODE NAME/SUBTITLE: n/a

EPISODE NUMBER: 1

PROGRAMME COSTING/IDENT NO: 124AHK2026LHO

TRANSMISSION DATE/TIME: 07/01/2012 10.00

FIRST TX DATE (IF REPEAT):

TOTAL PROGRAMME DURATION: 28:14

PROGRAMME TYPE: B [use one code only]

SOURCE: For INDEPENDENT or ACQUIRED PROGRAMMES or any CO-PRODUCTIONS, give name of Independent company/purchased programme supplier/Co-producer here: Popular Front Productions Popular Front Productions 14 Castle Street Tooting London SW17 2LA PRODUCER/DIRECTOR: William OHare

ROOM NO:

EXT: 0207 764 1316

DEPARTMENT: INDEPENDENT COMPANY

IF NO MUSIC TICK BOX

56

*SAMPLE* MUSIC REPORTING FORM

PROGRAMME NUMBER TOTAL MUSIC ITEMS IN PROGRAMME SHEET OF

08WB0590
CODE(S): C

3
TITLE: 2001 SPACE ODYSSEY ALSO SPRACH ZARATHRUSTA PUBLISHER: PETERS

COMPOSER: RICHARD STRAUSS ARRANGER: LABEL:

Silva America

PREFIX NUMBER

B000/7KTBCG

PERFORMER(S): City of Prague Philharmonic Orchestra

LP TITLE: 2001: MUSIC FROM THE FILMS OF STANLEY KUBRICK DURATION(S) : 00::22

SIDE, BAND: 1/1

CODE(S): C

TITLE: STARAL FUR PUBLISHER: UNIVERSAL MUSIC PUBLISHING

COMPOSER: SVEINSSON KJARTAN/ BIRGISSON JON THOR/

HOLM GEORG/ GUNNARSSON AGUST AEVAR

ARRANGER: LABEL: Fat Cat PREFIX NUMBER = FATCD/011 =

PERFORMER(S): SIGUR ROS

LP TITLE: Agaetis Byrjun DURATION(S) : 00:20

SIDE, BAND: 1/3

CODE(S): C

TITLE: WIPEOUT PUBLISHER: AMBASSADOR

COMPOSER: WILSON/FULLER/BERRYHILL/CONNOLY ARRANGER: LABEL: n/a

Disky

PREFIX NUMBER

CD/880192

PERFORMER(S): SURFARIS

LP TITLE: GUITAR HEROES DURATION(S) : 00:22

SIDE, BAND: 1/11

57

Presentation Details
Title: Subtitle: Date & Time of Tx: CD/Tape No: Studio/OB Venue (if live): Rpt Date & Time of Tx:

Contact phone number at Time of TX

Origination: . Opening Announcement [from Continuity] Repeat: ..

In: Out: Dur:

Closing Announcement [from Continuity]

Pronunciations [approved modified spellings supplied by Pronunciation Unit Tel: 020 8008 2277]

Technical and Presentation Advice

BA: Name of Producer:

Office Tel No/Ext: Date of Issue:

58