{"id":7671,"date":"2020-06-08T09:00:15","date_gmt":"2020-06-08T13:00:15","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvformats\/worldscreen.com\/"},"modified":"2020-06-15T12:28:47","modified_gmt":"2020-06-15T16:28:47","slug":"staying-competitive","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/staying-competitive\/","title":{"rendered":"Staying Competitive"},"content":{"rendered":"

Producers and distributors weigh in on the innovative ways that competition shows are adapting to the new realities of social distancing and increased safety measures<\/em>. <\/p>\n

Competitions\u2014from singing to cooking\u2014have been one of the hottest format genres for quite some time, but gathering groups together for head-to-head battles is a bit tricky at the moment. Technology and creative filming techniques are helping to keep some productions going, and producers and distributors are pushing forward in innovative ways\u2014sharing best practices along the way.<\/p>\n

\u201cAt a time like this, a huge benefit to being part of a large global group is the shared learnings,\u201d says James Townley, global head of creative networks at Endemol Shine Group. \u201cCurrent guidelines around production are different nationally and regionally but there are commonalities, and teams around the world have been sharing experiences, ideas and best practices.\u201d<\/p>\n

\u201cWe have seen some incredible examples of creativity across all our territories,\u201d says Rob Clark, director of global entertainment at Fremantle. \u201cOur teams have adapted and innovated like never before to ensure we deliver our programs to our broadcasters and, crucially, the audiences at home. We\u2019re really clear that our number one job is to be as adaptable, flexible and creative as possible to get our shows on air.\u201d<\/p>\n

Idols <\/em>in Norway and Germany and Got Talent<\/em> in Italy are but three examples of shows that all managed to complete their current seasons in the middle of lockdown. \u201cThe finale shows looked very different to the first shows, but they all still delivered pure moments of entertainment and escapism that audiences expect,\u201d Clark adds. \u201cWe\u2019ve also ensured that one of the biggest entertainment shows of all time, American Idol<\/em>, remained on air. The first performance show of season 18 mirrored audiences at home and saw judges, contestants, backing singers and band all perform to an iPhone\u2014120 iPhones to be exact\u2014all edited and produced at home.\u201d<\/p>\n

In response to a demand for shared viewing in Israel, Keshet 12 recently rebooted the tent-pole legacy format Can\u2019t Stop the Music<\/em> 18 years after its original debut. \u201cIt\u2019s a fun, singalong game show that is perfect for family viewing, and with some simple corona-friendly modifications\u2014such as casting celebrities as panelists playing for charity and dispensing with the studio audience\u2014it was quickly filmed and broadcast during lockdown, scoring the highest ratings on Israeli TV that week,\u201d shares Kelly Wright, senior VP of distribution and new business at Keshet International.<\/p>\n

\u201cInternationally, we are seeing broadcasters trying to configure an online voting solution for talent and competition formats that require an in-studio vote,\u201d she continues. \u201cHere, we\u2019re talking to them about Rising Star<\/em>, which was built and designed for a nationwide digital vote using a bespoke app that allows everyone watching at home to participate and influence the competition. Rather than trying to adapt or create new technology for formats where app voting isn\u2019t natural, Rising Star<\/em> provides a proven turnkey solution because its format principles directly answer the needs raised by this global pandemic.\u201d<\/p>\n

An obstacle for some of the big shiny-floor talent shows has been the loss of the studio audience, but creative workarounds are being implemented. Big Brother<\/em> in Israel, for one, is replacing the live audience with a remote one.<\/p>\n

\u201cWe are taking steps such as incorporating more outside filming on shows such as MasterChef<\/em> in Spain, and for the recent Big Brother<\/em> launch in Portugal, housemates were tested and quarantined in hotel rooms prior to going into the house,\u201d Endemol Shine\u2019s Townley notes. \u201cThis offered a unique opportunity, as we filmed the quarantine period and made a two-week pre-launch spin-off show.\u201d<\/p>\n

Digital strategies are also playing a key part in the company\u2019s talent and performance-based formats with such as Your Face Sounds Familiar<\/em> and Operaci\u00f3n Triunfo<\/em>, where a multiplatform approach incorporating YouTube, TikTok, Instagram and Twitter has kept audiences engaged in Poland and Spain, respectively, while the show was off the air.<\/p>\n

MasterChef Australia<\/em> has been implementing social distancing measures across all facets of the production and additional hand-sanitizing stations are positioned around the set and offices. Changes have been made to the spacing of contestants\u2019 cooking benches and gloves are provided for team challenges where equipment may be shared, as well as when handling food in the pantry. Additional sinks have been added as dedicated hand-washing stations, to separate from any food preparation. And judges step up to taste individually portioned meals, and no cutlery or plates are shared.<\/p>\n

Beverley McGarvey, ViacomCBS Australia & New Zealand chief content officer and executive VP, says, \u201cWe are confident that these formats can still perform and perform well in the short-term future, while abiding by all the government guidelines. If you can remain nimble, flexible and creative you can still produce engaging and entertaining television.<\/p>\n

\u201cIt is a new way of working and our production partners have done a phenomenal job adapting to ensure we can continue to bring Australian content to our audiences. We are seeing viewers responding extremely well to major shows that allow them to feel connected to the broader Australian community.\u201d<\/p>\n

Fremantle\u2019s Clark agrees that the market is suggesting this genre \u201ccan and will come back.\u201d He notes, \u201cWe\u2019ve had interest from broadcasters on most continents about how you can reversion shows that typically would have an audience to become one without, plus we are already back in production in three of the hardest-hit countries in the world: The X Factor <\/em>in Italy, Game of Talents<\/em> in Spain and The Greatest Dancer<\/em> in China will return relatively quickly to screens. We mustn\u2019t lose sight of the fact that when the pandemic has waned, we are likely to be faced with a global economic crisis\u2014the one thing that can be produced safely, quickly and in a locked environment are studio shows, and we have had a lot of interest in our vast game-show catalog.\u201d<\/p>\n

Keshet International\u2019s Wright is also looking ahead at the economic impact. She says, \u201cWe\u2019re seeing broadcasters around the world struggle with how to bring these shows back, and also how to afford them\u2014many are forecasting that the loss in ad revenues will extend throughout 2021 as well. The desire is there, but often the massive scope of production\u2014from huge audition rallies to reliance on studio audiences\u2014prevents these formats from meeting new health regulations. So for many formats, this genre will be tougher to bring back than others. However, certain formats\u2014such as Rising Star<\/em> and Master Class<\/em>, the latter of which has a five-week production schedule even in regular times\u2014can provide reliable scheduling solutions at these difficult times with proven international success.\u201d<\/p>\n

She says that production hiatuses on the big talent\/competition formats are creating a vacuum and therefore an increased demand for \u201cbig entertainment\u201d tapes. \u201cHumorous, celebrity-led titles such as Greatest Celebrity Wind-Ups Ever! <\/em>and Deal With It<\/em> are receiving a lot of attention, as are shiny game shows with broad family appeal such as Tuesday’s Child’s Superstar Dogs<\/em>.\u201d<\/p>\n

Clark is seeing interest on the production side for the repackaging of clips for \u201cbest of\u201d shows, Got Talent<\/em> in particular. \u201cWe\u2019re well-placed to capitalize on sales of our biggest entertainment formats,\u201d he says.<\/p>\n

\u201cI\u2019m optimistic,\u201d Clark adds of the state of the talent\/competition arena. \u201cIt\u2019s looking strong, if not stronger than ever. We produce most of the international versions of the most COVID-compliant format out there: The Masked Singer <\/em>can be made with no audience, sees contestants kept in isolation and wearing masks throughout filming. Of course, as I said before, it\u2019s the creativity and adaptability of our teams that\u2019s put us in this strong position. Our three biggest formats\u2014Idols<\/em>, Got Talent<\/em> and The X Factor<\/em>\u2014are all still in different stages of production throughout the world; that hasn\u2019t changed. They will, of course, adapt and look a little different, but what\u2019s certain is that in times of crisis people will want entertainment and escapism and they\u2019ll want to come together to celebrate real people who can do extraordinary things.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

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