Commissioning Brief RADIO COMMISSIONING FRAMEWORK - BBC
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
RADIO COMMISSIONING FRAMEWORK
Commissioning Brief
Commissioning Brief No: 10055
Production of Radio 1’s Life Hacks / Most Played (Talent: Cel
Spellman and Katie Thistleton)
from Summer 2019CONTENTS
SECTION A: EDITORIAL OPPORTUNITY ................................................................. 3
SECTION B: THE COMMISSIONING PROCESS ...................................................... 7
1. TIMETABLE ...................................................................................................... 7
2. THE FIVE STAGES .......................................................................................... 8
3. ASSESSMENT CRITERIA ............................................................................. 10
SECTION C: FULL PROPOSALS ............................................................................. 11
1. WHAT WE NEED FROM YOU ..................................................................... 112
2. WHAT TO EXPECT FROM US ...................................................................... 12
3. IMPORTANT POINTS TO NOTE ................................................................. 145
_Toc479866054
2 of 16SECTION A: EDITORIAL OPPORTUNITY
Commissioning Brief 10055: Radio 1’s Life Hacks / Most Played (Talent: Cel
Spellman and Katie Thistleton)
Commission contact Robert Gallacher
Robert.Gallacher@bbc.co.uk and
Aled Haydn Jones
aled.jones@bbc.co.uk
Duration One year, with options for the BBC to
renew for a further year on the same
terms after both the first and second
years.
Number of programmes available 50 show per year
Transmission period Summer 2019
Guide price per episode £2,200 per episode.
Note: presenter fees to be covered by
Radio 1
Commissioning Year 2019/2020
Commissioning Round Round 4
Production Location London
All proposals must be submitted via Proteus and go through Production eligibility
checks first. Please make your short proposal using no more than 500 words,
covering your ideas for all programmes in the bundle.
Important Notes:
• Short Proposals, and your responses to the Production Eligibility
Questionnaire (see Appendix 1, page 20), must be submitted via Proteus
before the deadline at noon on Thursday 7th March.
• During Stage 1 of the process we will first evaluate the responses given in the
Production Eligibility Questionnaire. We will then assess your Short Proposal.
• Shortlisted suppliers will be asked to submit a Full Proposal. This should not
exceed five sides of A4 when printed using Arial font, size 11.
• Producers are not permitted to contact on-air talent, without prior
approval of the commissioner.
• Any producer found to be in breach of this will be excluded from the
commissioning process.
• The BBC reserves the right at any time prior to the award of a commission,
and without incurring any liability to the affected suppliers, to accept or to
reject any proposal, or to annul the commissioning process rejecting all Full
Proposals. More information relating to all commissioning briefs and rounds,
regardless of Networks can be found on the Pitching Ideas page of the Radio
Commissioning Website:
http://www.bbc.co.uk/programmes/articles/4fC4NcVXqkZntJv8ZHpClD8/pitchi
ng-ideas
We strongly advise you to submit your Proposals in good time to avoid the possibility
of difficulties caused by unforeseen network or transmission problems. No late
submissions will be accepted
3 of 16BBC Radio 1 BBC Radio 1 aims to entertain and engage young listeners with a distinctive mix of contemporary music and speech. News, documentaries and other speech content focus on areas of relevance to young adults in the UK today; and aim to help them make sense of the world around them. Network Strategy Radio 1’s mission is to bring in new young diverse audiences to the BBC, creating outstanding content that will be listened to, watched and shared. The station is at the forefront of BBC Radio’s efforts to reinvent and grow radio. Our primary focus in 2019/20 is to grow reach and listening hours for our live linear radio programming. Working closely with BBC Sounds we are also looking to increase Radio 1’s fame and reputation through a compelling on-demand and digital offering. On-air programming is complimented by a wide range of multi-platform visual and social content, designed to appeal to both existing audiences and new ones who happen to stumble across it; ultimately converting this latter group into regular consumers of our audio content. Shortlisted production teams should include thoughts on how their specific programme proposal can grow audiences to the show in particular, as well as assisting with building the audience across Radio 1 as a whole. Editorial Opportunity Radio 1’s Life Hacks & Most Played (Sundays 1600-1900), plus companion Radio 1’s Life Hacks podcast Radio 1’s Life Hacks and Most Played are hosted by Cel Spellman and Katie Thistleton and occupy a key Sunday afternoon slot. For Life Hacks and its associated podcast we are expecting higher levels of content production and editorial oversight compared with Radio 1’s key specialist music shows, something reflected in the higher guide price being offered. Programme Content: Radio 1’s Life Hacks (1600-1800) is a high-profile magazine show, unique in style from Radio 1’s other daytime shows. The tone aims to be entertaining and conversational, with Cel and Katie chatting about key issues of interest to the younger end of Radio 1’s 15-29 year old target audience. From engaging life topics to matters concerning the heart and mind, the show offers its young listeners a ready-made friendship group and one stop shop to help them navigate through an important stage in their lives. A resident doctor joins Cel and Katie each week to offer expert advice to listeners. Life Hacks will occasionally introduce subjects which other stations and shows might find challenging, including drawing on content sourced from Radio 1 documentaries and/or podcasts where appropriate. However the tone needs to remain warm and entertaining throughout and we would welcome thoughts on how best to achieve this.
Radio 1’s Most Played (1800-1900) offers a slick, chart-style countdown based
around the most important playlist in the UK – The Radio 1 playlist. Find out the most
played tracks on the station that breaks more UK acts and bands than anyone else in
the world. Sunday 6-7pm is understood across the radio landscape to be a ‘chart’
slot and Radio 1’s Most Played aims to offer listeners an entertaining guide to the
biggest tunes of the week.
Music Policy
Radio 1’s central music team will supply a playlist of tracks for each show.
Programme Strategy
Radio 1’s Life Hacks sits in a key, Sunday afternoon slot, when competition for
listeners is fierce, including from a number of high-profile, networked, chart based
shows. We are looking for an entertaining magazine programme which offers
listeners a unique alternative. It should be unafraid to be serious, but always open
and welcoming.
Radio 1’s Most Played should be fast-paced, exciting, chart format which is led by
the music.
Measure of Success
Primarily growing live listener numbers in that slot as measured by RAJAR.
Additional Deliverables
• We require the team to also deliver the weekly companion ‘Radio 1 Life
Hacks Podcast’. Hosted by Katie Thistleton and Dr Radha, it is built around
the stories featured in the linear radio show, but goes into greater depth.
• It is essential the team develop good editorial links with Radio 1’s other
daytime shows, as well as other partners experienced in producing content
which helps bring difficult subjects to life (for example Newsbeat, producers of
Radio 1’s documentary output, or the station’s outreach team).
• Accurate programme descriptions and track-listings updated online as soon
as practicable
Where appropriate, we would also want the production team to creatively deliver the
Network’s wider weekly and monthly editorial messages; and to attend relevant
Editorial meetings (either in person in London, or via video conferencing).
Presenter during commissioning process
Following submission of a Full Proposal, production companies who have
been shortlisted for a face to face pitch may approach presenters for a phone
chat or short meeting.
5 of 16Additional information / delivery requirements:
• The ‘Guide Price’ does not include any presenter/resident doctor fees or
studio hire, which will be paid directly by Radio 1.
• The contract will be offered as a “fixed price” deal and the BBC will assume
that any elements included in proposals can be successfully delivered within
the guide price given.
• Production teams will be expected to adhere to all relevant editorial
and copyright guidelines in place; and deliver all necessary production
related paperwork in a timely fashion – e.g. Compliance Forms.
• Due to the anticipated level of audience interaction the show needs to
be broadcast live. It is currently presented from New Broadcasting
House in London, but could alternatively come from the BBC’s studios
in Salford.
• Access to all necessary broadcast production systems, as well as
studios to enable the broadcast of the show (including an hour of pre
and post show preparation time where possible), will be made available
at no cost to the successful supplier throughout the contract.
THE EVALUATION TEAM
The following people will evaluate your proposal:
• Ben Cooper, Controller, Radio 1, 1Xtra and Asian Network
• Aled Haydn-Jones, Head of Content Commissioning, Radio 1
• Robert Gallacher, Commissioning Editor, Pop Network
• Lou Kattenhorn, Commissioning Exec, Radio 1 / BBC Sounds
• Joe Harland, Head of Visual Radio, Pop Network
• Mark Waring, Senior Commercial Right and Business Affairs Manager,
• Raluca Albu, Senior Procurement Manager
Subject matter experts (e.g. production experts, network management, finance, etc.)
may also be consulted.
See Section B for information on the commissioning process, timetable and
assessment criteria.
6 of 16SECTION B: THE COMMISSIONING PROCESS
1. TIMETABLE
The commissioning process consists of five stages, as set out in the timetable below:
Stage Timings (all midday) Activities
th
Launch Friday 8 February Round opens in Proteus
2019 Publication of audience packs.
1. Eligibility, By noon on Deadline for submission, via Proteus, of Short
th
Short Proposal Thursday 7 March Proposal and Eligibility Questionnaire responses
and initial
shortlisting Tuesday 12 March
th
Producers shortlisted notified of outcomes and
asked to prepare a Full Proposal.
th
2. Full Proposal From 12 March Opportunity to discuss programme brief with
Commissioning Editor prior to submitting Full
Proposal. .
th
Thursday 4 April Deadline for Full Proposal to be submitted via
Proteus. Evaluation panel shortlists Full
Proposals.
Successful producers may be invited for
interview/pitch.
3. Interview/ Pitch
th
w/c 8 April and Interview/ Face to face pitches with shortlisted
th
w/c 15 Arpil producers.
nd
4. Conditional w/c 22 April Commission award decision made,
Commission commissioning specification completed and
offered contract issued.
nd
w/c 22 April Agreement of all programme related deliverables
and technical specifications (for further
information on Radio 1 requirements, please see
the BBC’s commissioning website).
Full contract signed.
rd
5. Feedback Friday 3 May Deadline by which shortlisted producers may
request feedback.
We will assess your proposal according to this timetable. Late submissions cannot
be accepted.
If you have any questions about this commissioning brief that need answering before
you submit your Production Experience and Full Proposal responses, please ensure
you email them to Aled.Jones@bbc.co.uk by 1st March 2019 at the latest.
7 of 162. THE FIVE STAGES
STAGE 1: PRODUCTION EXPERIENCE, SHORT PROPOSAL AND INITIAL
SHORTLISTING
Step 1 : Production Experience
• Complete the Production Experience Questionnaire in Appendix 1 using no
more than 100 words per response. Please note the questions used in this
brief may differ from those used in other Radio 1 briefs.
• Enter your responses in the ‘Add/Edit Notes Here’ section in Proteus.
The questionnaire is designed to allow the BBC to understand more about your
company and your experience of producing Radio 1 style programmes.
Commissioning Executive Robert Gallacher and Business Affairs Manager Mark
Waring, together with others from the evaluation team, will evaluate all production
questionnaires against the editorial brief set out in Section A before evaluating the
Short Proposal.
NB: your short proposal may be declined at this stage if the information you provide
indicates you do not meet the criteria, so please answer these questions carefully.
Step 2: Short Proposal
Suppliers who performed best on their eligibility stage (by best demonstrating their
experience and capability in producing 1Xtra style programmes) will then have their
Short Proposal assessed and a shortlist will be compiled.
• Your Short Proposal should be no more than 500 words and summarise your
specific ideas for ALL programmes within the brief. It should demonstrate
your ability to produce the programme, set out your editorial ambitions and
address the requirements set out in Section A of this brief.
• Enter your proposal in the ‘Short Synopsis’ section in Proteus before the
deadline at noon on Thursday 7th March.
Step 3: Shortlisting notification
You will be notified of the outcome of Stage 1. Shortlisted suppliers will be asked to
submit a Full Proposal. No feedback will be provided for unsuccessful proposals at
this stage.
STAGE 2: FULL PROPOSAL
Step 1: We may issue further relevant programme production information to all
producers proceeding to this stage. If sensitive information is being released
then producers will be asked to sign a non-disclosure agreement (NDA).
Step 2: Producers proceeding to this stage will be invited to provide a Full
Proposal, via Proteus, responding to this commissioning brief, which
includes all the elements outlined in Section C (“Full Proposals”). For
8 of 16guidance, your Full Proposal should not exceed five sides of A4 when
printed using Arial font, size 11. The Production Experience answers will
only be considered during Stage 1 of the commissioning process.
Producers may wish to consider repeating some, or all of the information
given in the Full Proposal.
Step 3: Producers will be offered the opportunity to discuss the programme brief with
the commissioning editor prior to submitting their full proposal.
STAGE 3: INTERVIEW / PITCH
Step 1: You may be invited to an interview/pitch meeting with the evaluation team.
We will notify you which members of the evaluation team will be attending this
meeting and you should expect to be asked to discuss and elaborate on your
proposal, and answer questions about it. It is also possible we may ask you to
bring additional relevant material to this meeting – for example, a sample
feature.
Step 2: Following the interview/pitch, the evaluation team will re-evaluate your Full
Proposal against the assessment criteria outlined on page 15, taking into
account the responses given during the pitch, and any additional material
requested. The evaluation team may then decide to award the contract to the
producer(s) which best meets the assessment criteria;
Note: At any stage of the process, we may need to come back to you to seek
clarification. Your answers will be factored into the evaluation process as
appropriate.
Step 3: Or we may decide to hold second interviews, for example, in the event where
we need more information to be able to differentiate between proposals.
STAGE 3: CONTRACT SIGNED
STAGE 4: FEEDBACK
If you’re unsuccessful after attending an interview / pitch meeting, you may request
feedback. Once notified you have two weeks to request feedback. Requests for
feedback should be made to Robert Gallacher. Feedback will be provided within two
weeks of receiving the request.
9 of 161. ASSESSMENT CRITERIA
We will assess your Full Proposal and pitch according to the main criteria below
(editorial proposal and capability, strategic priorities, value for money and risk).
Assessment Criteria Weighting
75%
Editorial proposal and capability
Key Indicators
Ø Editorial Fit: Fit of editorial proposal to Radio 1’s strategy and
music policy, as well as BBC Radio’s overall vision and
objectives
Ø Creative challenge: Response to specific creative and editorial
challenges set out in brief
Ø Format: Format and structure of the programme
Ø Agility: Ability to innovate and evolve programme in line with
changing audience habits
Ø Specialist knowledge: Demonstrable experience of
creating engaging and entertaining content relating to real
life issues facing young audiences in the UK today
Other Indicators
Ø Plans for engaging young audiences via social media and
interactive content
Ø Proposed production team’s track record in producing
programmes for a diverse range of youth audiences
Ø Ability to work collaborative with other production teams and
suppliers
Ø Ability to manage and develop high profile on-air talent
Value for Money 10%
Ø Budget: the financial plan for the production, including a full
budget breakdown showing production and overhead costs.
Ø Price: confirmation that the price per episode (for both the audio
and visual content) is in line with the brief
Ø Efficiency: efficiency of the production process, ability to deliver
additional value to the BBC
Ø Contract terms: acceptance of key contract terms (including
compliance with applicable UK law)
Risk
15%
Ø Transition: the ability to run a smooth handover of the production
from the incumbent production team
Ø Production: the ability to produce shows of large scale and
volume with a consistent and experienced production team
Ø Business continuity: adequacy and robustness of business
continuity plans; ability to continue the production in case of
business disruption
Ø BBC reputational: the ability to produce a programme which
poses limited / no risk to the reputation of the BBC
Ø Legislation and policy: the ability to comply with all relevant UK
legislation and BBC policies (not limited to editorial policies)
Ø Conflict of interest risk
10 of 16SECTION C: FULL PROPOSALS
1. WHAT WE NEED FROM YOU
Your Full Proposal must be entered into the main ‘Synopsis’ section in Proteus by
noon on Thursday 4th April 2019 – late submissions cannot be accepted. It should
adopt the structure below and, (Part 1 detailed below) should not in total exceed five
sides of A4 when printed using Arial font, size 11.
Part 1 – Your detailed Full Proposal, showing your response to the BBC’s
requirements outlined in Section A of this commissioning brief.
Part 2 – A section containing the following information:
(i) The name and contact details of your nominated representative (a single point of
contact within your organisation who will be responsible for all communication
related to the commissioning brief).
(ii) The planned location for the production team who will produce the show should
you be successful.
(iii) Evidence that you have the skills to deliver, or the ability to acquire the skills to
deliver, the production of the programme in line with this commissioning brief.
(iv) Details of third party suppliers. You may want to work in partnership with third
parties to deliver the brief. If so, you should include:
o responses on behalf of each partner
o details of the responsibilities of each partner
o an outline of the main personnel who will be responsible for the
production and delivery of the programme
o an explanation of how working in partnership would be successfully
achieved, including a proposed legal structure (e.g. one lead
contractor and sub-contractors).
(v) Details of your proposed total programme and per episode cost, broken down
by price to BBC Public Service and any other funding sources. As part of our
strategic priorities the BBC is making a commitment to the real living wage
(as described by the Living Wage Foundation – see livingwage.org.uk). The
per episode cost of the programme should be budgeted to account for the
real living wage and the Full Proposal should include details of how
compliance with the real living wage will be achieved. And all details should
be included in a template as below:
Production Costs Daily Rate Days/Week Total
Executive Producer £0.00
Producer £0.00
Assistant Producer £0.00
Production Manager £0.00
Total: £0.00
Overheads @ %
Production fees @ %
Grand Total – ex VAT £0.00
11 of 16(vi) Depending on the detail of your proposal, if you are successful in your bid to
produce the programme, TUPE – Transfer of Undertakings (Protection of
Employment) Regulations 2006 – (and/or any superseding or amending
legislation) may apply. If this is the case, we will need additional information from
you.
Appendix A – Confirmation of acceptance of the BBC’s key contract terms.
Appendix B – Risk management. You should identify specific risks e.g. production
risk, business continuity etc.; and the processes or systems that will be put in place
to manage these. If applicable, you should also include a detailed transition plan and
an explanation of how you will manage the transition from the current production of
the programme, with minimum disruption.
Please note, the contract will be offered as a “fixed price” deal, with you being
responsible for any overspend and entitled to keep any underspend. Whilst you are
welcome to include proposals to deliver levels of content over and above that set out
as required in Section A, this will need to be funded from within the published guide
price.
If you have any questions regarding the submission of your Full Proposal, please
ensure you email them to Aled.Jones@bbc.co.uk cc’ing by 28th March 2019 at the
latest.
2. WHAT TO EXPECT FROM US
NOMINATED REPRESENTATIVE
The BBC’s nominated representatives for this commissioning brief are
Aled.Jones@bbc.co.uk and Louise.kattenhorn@bbc.co.uk. No individual other than
the BBC’s nominated representative (or his delegates as advised by the BBC) is
authorised to discuss the contents or the substance of this commissioning brief with
you. We’ll let you know of any change or addition to the BBC’s nominated
representatives.
RESPONSES TO YOUR QUESTIONS
In the interest of fair competition, where we feel it’s appropriate, anonymised
questions and responses will be circulated to all producers.
COPYRIGHT
The BBC is a signatory to, and will abide by the principles of the APC Code.
CONFIDENTIALITY
Subject to Section 2, paragraph 5 (Freedom of Information Act), the BBC will keep
confidential all commercially sensitive information included in responses to this
12 of 16commissioning brief and will only use this information for the purposes of evaluating
the Full Proposal, provided that you have identified the confidential nature of any
such information in your response documents.
FREEDOM OF INFORMATION ACT
As a public authority, the BBC is required to comply with the Freedom of Information
Act 2000 (“FOIA”), which came into force on 1 January 2005. The FOIA is intended
to deliver greater accountability for decisions and spending across the whole of the
public sector. It requires public authorities to strike a balance between achieving
transparency and protecting genuinely confidential or commercially sensitive
information.
You should be aware that, under an FOIA request, the BBC may be required to
disclose information contained within the Full Proposal or future contractual
information. Following a request, the BBC may take the views of organisations
submitting proposals into account when deciding what information will be disclosed.
For more information on the Freedom of Information Act see bbc.co.uk/foi.
COSTS
You submit responses to this commissioning brief and take part in this process at
your own cost.
A FIXED PRICE DEAL
The contract will be offered as a “fixed price” deal; with you being responsible for any
overspend and entitled to keep any underspend.
CONTRACT DURATION FOR STRANDS
We reserve the right to vary the start date of the contract as may be required to take
into account the successful producer’s transition plan and any related issues
identified. In assessing the proposed transition plan, the BBC’s relationship with the
audience will be paramount.
13 of 163. IMPORTANT POINTS TO NOTE
Proposals must be submitted in accordance with the following instructions.
Proposals not complying with these instructions may be rejected by the
Commissioner whose decision in this matter will be final.
All Full Proposals should be submitted using Proteus by noon on. Thursday 4th April
2019 Part 1 should not in total exceed five sides of A4 when printed using Arial font,
size 11.
We strongly advise you to submit your final responses in good time to avoid the
possibility of difficulties caused by unforeseen network or transmission problems. No
late submissions will be accepted.
If additional supporting material is requested prior to the pitching meeting, we will
notify you of how and when to submit this in good time ahead of that meeting.
This commissioning brief is not a contract. However, the information contained in this
commissioning brief, together with your responses, will form the basis of the final
contract between you and the BBC.
The BBC reserves the right to exclude any producer that is found to either:
a) have provided information which is untrue, or
b) be in breach of any of the terms of the non-disclosure agreement.
IMPORTANT: Producers wishing to submit a proposal under this brief are not
permitted to contact BBC production staff, seeking information about the programme,
during the commissioning period without prior consent from the commissioner.
Producers are not permitted to contact on-air talent or their producers, unless
shortlisted for face to face pitch, and with prior approval of the commissioner.
Any producer found to be in breach of this clause will be excluded from the
commissioning process.
The BBC may modify the commissioning brief (including the timetable as outlined in
Section B.1) at any time prior to the submission deadline. Any such amendment will
be notified in writing to all prospective producers. To allow time for such amendment
to be taken into account, the BBC may, at its discretion, extend the deadline for
receipt of submissions.
The BBC reserves the right at any time prior to the award of a commission, and
without incurring any liability to the affected suppliers, to accept or to reject any
proposal, or to annul the commissioning process rejecting all Full Proposals. More
information relating to all commissioning briefs and rounds, regardless of Networks
can be found on the Pitching Ideas page of the Radio Commissioning Website:
By submitting your proposal, you confirm acceptance of the key contract terms.
14 of 16APPENDIX 1: EXPERIENCE QUESTIONNAIRE
GUIDANCE
The Experience Questionnaire is the first part of your submission the
BBC will consider as part of the process. Once completed, please copy
and paste your responses into the Add/Edit Notes Here section of the
Create Proposal page in Proteus – as per the screen grab below.
Proteus Screen Grab
Copy and paste Eligibility Section
below into this field in Proteus.
You MUST complete Section 1 ONLY if you plan to submit a full proposal as
part of a partnership.
Please list each partnership and describe the responsibilities each partner will
take.
[Insert details]
Please indicate the lead company with whom the BBC will contract.
[Insert details]
Please include the key personnel responsible for the production and delivery of
the programme and details of the partnering company they are currently
contracted to.
Part 2: Production Experience
You MUST complete these Production Experience questions.
In no more than 100 words per response, please outline your relevant production
experience, using recent examples, in the following areas:
2.1 Radio 1 is focused on serving young, 15-29 year old audiences and is
passionate about youth culture. Please outline your company’s experiences of
producing programmes aimed at this audience.
[Insert details]
15 of 162.2 We are looking for a show which helps younger audiences deal with
key issues affecting their lives in an engaging and entertaining way.
Please outline your company’s experience in producing content of this
type.
[Insert details]
2.3 Young audiences love their phones and the ability these allow to interact via
social media. Please outline any relevant experience you have in producing
engaging interactive and social content.
[Insert details]
2.4 We require a production team with a realistic understanding of the pressures
involved in producing high-quality programmes over a sustained period. Please
give an indicated of your experiences in this area and the depth of production
talent within your company.
[Insert details]
Please note: the answers given in response to the above questions will only
be considered during Stage 1 of the commissioning process. If you are
shortlisted and invited to submit a Full Proposal, you may wish to consider
repeating some, or all of the information given in your Full Proposal.
16 of 16You can also read
