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Thursday, March 2, 2017

Royal Television Society, RTS AWARDS 2017 – LONDON



RTS AWARDS 2017 – LONDON

RTS, Television Journalist Awards 2017


WINNERS

Breaking News: Brussels Terror Attack
BROADCASTER: Sky News
NOMINEES:
Battle for Mosul - 48 Hours 
Murder of Jo Cox
“The winning team had the good fortune to find themselves in the midst of an unfolding drama and built on that by using every ounce of journalistic enterprise and technical skill – as well as considerable courage – to deliver a textbook example of how to cover a breaking story.”

Camera Operator of the Year: Waad al-Kateab
TITLE: Channel 4 News
PRODUCTION COMPANY: ITN
BROADCASTER: Channel 4
NOMINEES:
Dai Baker - Channel 4 News 
Mstyslav Chernov
“With many strong contenders, our winner’s portfolio was head and shoulders above the rest. Her powerful images didn’t flinch from showing the full horror of life and death in Aleppo.”

Current Affairs - Home: Interview with a Murderer
PRODUCTION COMPANY: ITN / Monster Films
BROADCASTER: Channel 4
NOMINEES:
Exposure - Abused and Betrayed - A Life Sentence 
Panorama - Teenage Prison Abuse Exposed
“... a brilliant and gripping film, which was also beautifully made. It was a compelling watch, right from the first frame and the final interview was a genuine scoop!”

Current Affairs - International: Exposure
TITLE: Saudi Arabia Uncovered
PRODUCTION COMPANY: Hardcash Productions
BROADCASTER: ITV
NOMINEES:
Dispatches - Children on the Frontline - The Escape 
This World - Unarmed Black Male
“...this was an extremely brave film. Venturing into Saudi Arabia undercover was a remarkable feat. This is an important country which we hardly ever see, beyond the official veneer. The film brought to life the extent of the power and the fear which lies under the surface. The viewer really experienced the journey. An important piece of journalism and a great watch, beautifully shot and full of fine production values.”

Daily News Programme of the Year: Channel 4 News
PRODUCTION COMPANY: ITN
BROADCASTER: Channel 4
NOMINEES:
BBC News at Ten 
The Victoria Derbyshire Programme
“The winning programme demonstrated a masterful breadth and depth of content throughout the year, from world-class frontline coverage to their trademark political analysis and powerful interviews. They backed that up with tenacious and exclusive investigations and high quality location presentation.”


Interview of the Year: Faisal Islam
TITLE: Interviews David Cameron
BROADCASTER: Sky News
NOMINEES:
Christiane Amanpour - Interviews Foreign Minister Sergey Lavrov 
Gary Gibbon - Interviews Andrea Leadsom
“The shortlist featured three interviewers at the top of their game. The hallmark of all three was that they seemed better prepared than their interviewees. This was particularly so in the case of the winner who, approaching what was fast becoming very familiar territory, brought new insights and energy to the national debate. He highlighted a weak point in his guest’s case that was never properly answered and the rest, as they say, is history.”

Nations and Regions Current Affairs: Spotlight
TITLE: The NAMA Tapes - Corruption and Cover Up
BROADCASTER: BBC Northern Ireland
NOMINEES:
Broken Trust 
Week in Week Out - Learning How To Fake It
“Financial corruption stories are never easy to do. The Northern Ireland team worked unbelievably hard and bravely over 18 months to expose corruption over the sale of a £1.3 billion property portfolio. This was an extraordinary and incredibly important story as well as a gripping watch. The programme has accelerated police and parliamentary enquiries on both sides of the Irish border.”

Nations and Regions News: BBC South East Today
PRODUCTION COMPANY: BBC News English Regions
BROADCASTER: BBC One
NOMINEES:
BBC North West Tonight - The Hillsborough Inquests 
Lookaround - December 8th 2015
A brilliant selection of the very best of regional journalism, from illegal immigrants working in Kent and Sussex to tracking down a gunman who’d been on the run for a decade. The abuse story at a Kent care home was astonishing and led to a parliamentary investigation. The Calais ambush by people smugglers was riveting television and went on to be picked up nationally. Amazing journalism from a small region that exhibited real ambition.”

Network Presenter of the Year: Tom Bradby
TITLE: ITV News at Ten
PRODUCTION COMPANY: ITN
BROADCASTER: ITV News
NOMINEES:
Emily Maitlis - Newsnight 
Victoria Derbyshire - BBC News
“The winners’ portfolio included presenting news programmes, anchoring special events, on the road reporting and chairing debates. The presenting was done in a new style, ‘intimate, engaging, authoritative, trustworthy’ just some of the adjectives they used. The winner got to the heart of the matter sometimes very directly with the newsmakers themselves.”

News Channel of the Year: BBC News Channel
NOMINEES:
CNN International 
Sky News
“The winning channel combined outstanding live and continuous coverage of big events with strong worldwide reporting and a great touch with human interest stories. They were quick on breaking news and showcased an impressive range of exclusives too.”

News Coverage - Home: Prisons
TITLE: Six & Ten O'Clock News
PRODUCTION COMPANY: BBC News
BROADCASTER: BBC One
NOMINEES:
Election Expenses Exposed - Channel 4 news 
Hillsborough - BBC Network News
“This year’s Home News award goes to a series of revelatory films which prefigured one of the big domestic crises of the year. They were the result of remarkable access gained through dogged negotiation over a long period of time. The coverage across a number of exclusive reports identified a shocking picture which led to a major public debate and changes in policy.”

News Coverage - International: Inside Aleppo
PRODUCTION COMPANY: ITN
BROADCASTER: Channel 4
NOMINEES:
Battle for Mosul 
Terror in Europe
“In a year of extraordinary coverage of appalling wars, this insight into Aleppo was something very special. Our judges described it as remarkable, compelling and the yardstick by which other coverage should be judged. Matt Frei’s scripting was word perfect. With a digital project alongside, the coverage was imaginative and innovative and ticked the enterprise box too.”

News Technology: Sky Data
BROADCASTER: Sky News
NOMINEES:
360 Special - BBC Click 
Facebook LiveStudio
“...a brilliant example of technical innovation. It has transformed the way television measures public opinion, leaving the old vox pop obsolete. The team should be congratulated on using existing customer information to make a research panel of up to 10,000,000 people.”

Regional Presenter of the Year: Harry Gration
TITLE: BBC Look North (Yorkshire)
PRODUCTION COMPANY: BBC News English Regions
BROADCASTER: BBC Yorkshire
NOMINEES:
Duncan Wood - Calendar 
Stewart White - BBC Look East
“Outstanding, a class act...when the winner is on the screen, you simply want to watch. He is deeply rooted in his region and exhibits a genuine affinity with his audience and demonstrates both depth and range.”

Scoop of the Year: I.S. Files
BROADCASTER: Sky News
NOMINEES:
Election Expenses Exposed 
Southern Health
“...a team effort which brilliantly exploited a leak of data, transforming it into compelling television using the entire toolbox of TV news. This dwarfed in scale, skill and significance other attempts at the story, leading to the arrest of suspects.”

Specialist Journalist of the Year: Lisa Holland
BROADCASTER: Sky News
NOMINEES:
Gary Gibbon 
Michael Buchanan
“This year’s Specialist Journalist of the year has carved out a unique role in a new but crucial specialist position. It has taken them around the world to report on one of the year’s most controversial and pressing issues. They showed a great range of skills pursuing the story, from investigation to analysis to empathy.”

Television Journalist of the Year: Matt Frei
PRODUCTION COMPANY: ITN
BROADCASTER: Channel 4
NOMINEES:
Jeremy Bowen 
Krishnan Guru-Murthy
“One of the best writers in the business. His use of language brings great depth to his reports and regularly shines through. His interviewing has also produced insights which others have missed. He is one of the most experienced, and skilled TV journalists working today.”

The Independent Award: The Last Flower Seller of Aleppo
PRODUCTION COMPANY: Hoodwink Productions
BROADCASTER: Channel 4
NOMINEES:
Desert Fire 
Gun Nation
“A fabulously powerful piece of television...The jurors applauded not only the enterprise and courage of the freelance camera operator who first suggested the story and then filmed it, but also the production company back in London who in the edit crafted a narrative that made this stand out as strong storytelling.”

Young Talent of the Year: Waad al-Kateab
TITLE: Channel 4 News
PRODUCTION COMPANY: ITN
BROADCASTER: Channel 4
NOMINEES:
Adam Cole - Sky News Programming 
James Longman - Victoria Derbyshire Programme
“...heart stopping, calm in horrific conditions, sensitive, empathetic, extraordinary – the compliments kept on coming.”

Judges' Award: Steve Hewlett
NOMINEES:
(citation by Awards Chair Stewart Purvis)
“On 26 January a panel of representatives of broadcasters, video news agencies and jury chairs met to decide on the Judges’ Award. The rules say it can recognise an outstanding contribution on or off screen, in the past year or over the course of their career. The panel chose a winner who achieved so much on screen and off screen, over the course of his career and very particularly in the past year.
I phoned the winner and that’s how I got to tell Steve Hewlett that he had won the Judges’ Award. Steve told me he was honoured and touched to have won. He looked forward to receiving it on 1 March.

I don’t think there has ever been anybody in broadcasting quite like Steve Hewlett. And probably never will be again.

Over four decades he variously, and often simultaneously, produced programmes; edited them; commissioned them; wrote and broadcast about them; presented them and exec produced them as an independent. He worked for the BBC, Channel Four, ITV and his own indie Genie Pictures. He started on TV and learned to love radio. He was the star turn for many years at RTS Cambridge, Edinburgh and Sheffield festivals and many other media events.
He truly was a man for all seasons, one of them being the rugby season. I remember turning up with my son at a youth rugby tournament in Hertfordshire to find Steve all togged up ready to referee one of the matches.

He was fiercely competitive in everything he did but also generous with praise for his competitors. He always threw himself into his journalism. He spent eight weeks filming inside the Maze Prison with Peter Taylor, and made a remarkable film there. He enjoyed his triumphs – the 23,000,000 audience for the Panorama: Diana interview will take some beating as a record for factual television – and he carried on regardless after disappointments.
One of the hallmarks of Steve’s journalism was his natural curiosity – which contact or interviewee could resist an opening line like ‘help me with this if you can’. Another was his attention to detail, as a pundit he read the documents others didn’t, which is how he knew so much and questioned so much, especially his own employers at the BBC.

And there was his humanity and there was his humour. All these same qualities, this same journalism, came to the fore last year on the Radio 4 PM Programme. The presenter Eddie Mair told listeners that this time Steve was on the air not to talk about the media but about his health. Eddie asked Steve ‘What’s happening?’ to which Steve replied ‘Well I’ve got cancer. I’ve got cancer of the oesophagus’. This matter of fact conversation set the style for many that were to follow on Radio Four and be replicated in different forms in print and on TV. There had been cancer diaries before but this was much more, it was public interest journalism of the kind Steve practiced on Panorama. He knew all the details as if he was talking on the Media Show about the latest draft of the BBC Charter. The public response was enormous. Many of the people who wrote to Steve said he had inspired them to find out more about their own condition, their own treatment.

Steve and I talked about the archive clips from his career that he hoped we would show tonight. A Panorama team tracked those down and added some of Steve’s recent interviews about cancer. Together these clips form a compilation that tells the story of Steve Hewlett’s journalism from the early 1980’s right up to last month. The first is a clip Steve often mentioned, when he dressed up in a bear’s costume for a title sequence for a new Channel Four current affairs programme. So lookout for Steve the bear.

On 6 February Steve told Eddie Mair on BBC Radio Four that he’d been given only ‘weeks, possibly months’ to live. He and his partner Rachel Crellin decided to get married in a ceremony organised within the hour at the Royal Marsden Hospital. A few days later Rachel, Steve and I met there to talk about tonight. He told me again how proud he was about the award. I told him how much love there would be for him within the room, he looked rather surprised.

The plan was for him to be sitting at a table with Rachel, his former partner Karole Lang and his and Karole’s three sons Fred, Billy and Bertie. Steve knew he wouldn’t be well enough to come up to the podium but wanted his sons to speak for him. Of course Steve, always the realist, knew he may not make it here tonight.

He asked me to remind him when the event was. I said ‘two weeks’ time’, he gestured ‘two weeks’. And he was right. But Rachel is here tonight, so is Karole and please welcome to receive the Judges Award on their father's behalf, the brothers Hewlett.”


For more news and interviews with winners go to ...  https://rts.org.uk/news-features

Tuesday, February 28, 2017

89th Oscars Best Picture Statement from the Academy



89th Oscars Best Picture Statement from the Academy


We deeply regret the mistakes that were made during the presentation of the Best Picture category during last night’s Oscar ceremony. We apologize to the entire cast and crew of La La Land and Moonlight whose experience was profoundly altered by this error.

We salute the tremendous grace they displayed under the circumstances. To all involved — including our presenters Warren Beatty and Faye Dunaway, the filmmakers, and our fans watching worldwide — we apologize.

For the last 83 years, the Academy has entrusted PwC to handle the critical tabulation process, including the accurate delivery of results. PwC has taken full responsibility for the breaches of established protocols that took place during the ceremony.

We have spent last night and today investigating the circumstances, and will determine what actions are appropriate going forward.


We are unwaveringly committed to upholding the integrity of the Oscars and the Academy of Motion Picture Arts and Sciences.






Monday, February 27, 2017

OSCARS 2017: Price Waterhouse Coopers Statement and Apology about Wrong Best Picture Envelope


OSCARS 2017: Price Waterhouse Coopers Statement and Apology about Wrong Best Picture Envelope


Epic Academy Awards flub: What went wrong




The apology
PwC apologized to the casts of both films, as well as Beatty and Dunaway, for the "error."
"The presenters had mistakenly been given the wrong category envelope and when discovered, was immediately corrected," the firm said in a statement. "We are currently investigating how this could have happened, and deeply regret that this occurred.
PwC has in the past portrayed its involvement in the Oscars as a symbol of its integrity.
"PwC's role in the Oscars balloting process represents the firm's lasting legacy of utmost accuracy and confidentiality," Ruiz said in a statement issued before the 2015 ceremony.

On Sunday, Cullinan's twitter feed was filled with photos taken backstage at the event -- including best supporting actress Viola Davis and best actress Emma Stone.
Later, after PwC issued its apology, all Oscar night tweets disappeared from Cullinan's account.
"We appreciate the grace with which the nominees, the Academy, ABC, and [host] Jimmy Kimmel handled the situation," PwC said in its statement.

Cullinan, the managing partner for PwC's business in Southern California, explained the envelope logistics in an interview published on Medium on February 10.

"The producers decide what the order of the awards will be. We each have a full set. I have all 24 envelopes in my briefcase; Martha has all 24 in hers. We stand on opposite sides of the stage, right off-screen, for the entire evening, and we each hand the respective envelope to the presenter. It doesn't sound very complicated, but you have to make sure you're giving the presenter the right envelope," he said.
It's not clear why two sets of envelopes are needed, but security appears to be a major concern for PwC. The briefcases used are kept under lock and key, for example.


And the loser is ... PricewaterhouseCoopers

The global accounting firm has apologized for the embarrassing envelope mix-up that resulted in "La La Land" being wrongly announced as best picture at the Oscars.
It's still not clear exactly how PwC, which has administered the Oscars balloting process for more than 80 years, allowed the wrong red envelope to be carried on stage in a snafu that spoiled Hollywood's biggest moment of the year.
PwC says it maintains control over "all aspects" of the Academy's voting process.
The firm has sole custody of all votes, and is responsible for keeping the results confidential. Once the ballots have been tabulated, two senior accountants memorize every winner, and then prepare two briefcases with the envelopes used by presenters on the big night.

The two accountants -- Martha Ruiz and Brian Cullinan -- carry the briefcases to the ceremony via "separate, secret routes." The pair stand backstage and hand envelopes to award presenters before they walk onstage.
It was a breakdown in the final stage of this process that led presenter Faye Dunaway to announce "La La Land" as the winner of cinema's most prestigious prize, only for "Moonlight" to be confirmed as the true champion moments later.
What went wrong?

The first sign that something was amiss came when Warren Beatty took an extended pause before showing the card to his fellow presenter. Dunaway went ahead, pronouncing "La La Land" as best picture.

The cast and crew of the musical reacted in typical fashion: They bounded up to the stage and began issuing a flurry of "thank yous" to supporters and family members. A man wearing a headset and holding an envelope then appeared onstage.
It fell to "La La Land" producer Jordan Horowitz to explain that something had gone very wrong.

"I'm sorry, there's a mistake. 'Moonlight,' you guys won best picture."
"This is not a joke," he said. He flashed the real card at the crowd: "Moonlight," it read.

Beatty suggested that he had been given the wrong envelope.
"I want to tell you what happened," Beatty said before leaving the stage. "I opened the envelope and it said 'Emma Stone, La La Land.' That's why I took such a long look at Faye."





Cullinan, the managing partner for PwC's business in Southern California, explained the envelope logistics in an interview published on Medium on February 10.

What It Feels Like To Count Oscar Votes
A behind-the-scenes look at the world’s biggest awards show

Courtesy of https://medium.com/art-science/what-it-feels-like-to-count-oscar-votes-f89a38efdf1c#.s3cauuvu2

As we gear up for the Oscars on February 26th, we’re sharing an exclusive look behind-the-scenes through our Making the Oscars series.
Brian Cullinan and Martha Ruiz are partners at the professional services firm PricewaterhouseCoopers. They are also the only two people who know the list of Oscar winners before the rest of the world. In this post, they reflect on PwC’s history at the Academy Awards and why theirs is the coolest job an accountant can have.
How does one become an Oscars balloting leader?
Brian Cullinan: Both Martha and I are based in Los Angeles, but that’s not the main criteria necessarily. We both work heavily with entertainment companies. My background is in assurance and Martha works mostly with tax clients. When my predecessor retired from the firm, he asked if I’d be willing to take over his role, and of course I said yes. This will be the fourth consecutive year I have been involved, and Martha joined the team as one of 

the lead partners just a couple of years ago.
Martha Ruiz: Prior to becoming one of the Oscar ballot leaders, I had been involved as one of the team members for a number of years. So I had some history behind the overall process, and was fortunate enough to be asked to take on this role.
BC: This is the 89th Academy Awards and it’s PwC’s 83rd year doing the ballot counting. During that entire time, we’ve had two partners lead the process in order to ensure redundancy in everything we do.
In the 83 years we’ve been doing it, I’m the 13th partner to do it and Martha’s the 14th.
We have a lot of continuity. We keep the teams intact as much as we can over time.

What was your first Oscars experience like?
BC: I knew about PwC’s role in the Oscars before I even joined PwC 32 years ago. It’s surreal to walk down the red carpet carrying the briefcase with the winning envelopes in it, doing interviews with the global press and being part of this line of well-known actors, actresses, producers and directors on the red carpet.
It’s one of the coolest jobs that an accountant can have.
MR: My first year, I didn’t realize until the end of the show all that had happened that day because I was focused on making sure that I followed every single protocol. I distinctly remember, after the last envelope was handed to the presenter, it was like a flashback — “Wow that was great, that was exciting.” — but as each minute was passing during the day of the show, I was laser-focused.
How does it feel once you’ve delivered the last envelope?
MR: As soon as that last award is announced, Brian and I meet onstage and head over to get something to drink very quickly at the Governors Ball.
BC: Some people ask us if we are relieved once the last envelope is handed out and the show is concluded, suggesting that we have no further secrets to keep.
In reality, there are a number of secrets that we keep forever.
Some of those include: who got second? Or, how close was it? Those questions we never answer. It doesn’t end with the last envelope.
What does the ballot-counting process entail?
MR: The ballot-counting process is still done very manually. Although members have the option to vote online, we convert to a paper process to do the tabulation. We divide the counting amongst a number of team members in such a way that no one will have a significant percentage of the total. Brian and I will then get everything together so that we’re the only ones that see the total count for each of the categories. Ideally, we like to have everything completed several days before the show. That last day is when Brian and I will start memorizing the winners of each category and start quizzing each other.
We make sure that we don’t have any of the final winners written down anywhere.
It’s that extra measure to make sure it really is only to our memory at that point, to make sure that everything’s accurate.
BC: The show is at the end of February this year. We’ll probably start work on next year’s Oscars in March. It’s almost a full year-round process. Some months are lighter than others, but it builds all the way until the show.

What is your role during the show?
BC: The producers decide what the order of the awards will be. We each have a full set. I have all 24 envelopes in my briefcase; Martha has all 24 in hers. We stand on opposite sides of the stage, right off-screen, for the entire evening, and we each hand the respective envelope to the presenter. It doesn’t sound very complicated, but you have to make sure you’re giving the presenter the right envelope.
PwC has been involved in the Oscars ballot count for decades. What has changed over the years? What has stayed the same?
BC: I can say for sure that our view of our role has stayed the same — how critical it is to be accurate and keep it confidential. We check things dozens of times, recounts and double-checks. We’ll have staff go back two and three times to make sure, and then Martha and I will review and recount to ensure there are no differences between what we have and they had. So far, there’s never been a problem.
MR: I think online voting has been a positive change because you certainly see more members have the ability to vote right until polls close. What’s stayed the same: the protocols, the procedures and the length to which we go to ensure the confidentiality and integrity of the process.

Do you have a favorite Oscar moment?
BC: A couple of years ago, when Neil Patrick Harris was the host, he set up his Oscar predictions at the beginning of the show, had them in our briefcase and was going to reveal them at the end. The briefcase was under lock and key. Through the rehearsals, they told me my role was to hold the key and then, at the end of the show, right before Best Picture was announced, I would go on stage and hand Neil the key without saying anything.
Then the show came, we got to that part at the very end, and just before I was up to go onstage, one of the stage managers came over and attached a microphone to my lapel and put a battery in my pocket.
He told me that Neil had changed his mind earlier that day and that when I went out there, he was going to ask me a few questions. Of course, I had no idea what he was going to ask me. I had about two minutes to think about it, but in the end it turned out great.
MR: That first year, we were taking some pictures on the red carpet and we got photo-bombed by John Legend because he saw the briefcase and wanted to be a part of the picture. We have a couple of those that happen from time to time.
When Brian and I walk down the red carpet, people know who we are simply because we’re holding the briefcase.
BC: Martha raises a good point. I think, a lot of times, we’re amazed because celebrities will come over to us and ask if they could have their picture taken with us, which is kind of a 180 from what normally happens.