Stempra

 

 


 

Spring 2008


From the Chair

New members

Sci Comm news
Eurochat

Feature: Promoting conferences

Feature: Wellcome Collection preview

Feature: WCSJ:2009

Event Report: Working with documentary makers

Event Report: Crisis management

Interview: Alok Jha, The Guardian's Science correspondent

 

Stempra newsletter

EVENT REPORT: Working with TV series and documentary makers

Speakers: Professor Julian Ma, press officers Chloe Kembery, Claire Gilby, and series producer and researcher at Lion TV, Naomi Benson and Giulia Clark

For most, when a researcher calls and asks your organisation to be involved in a prime-time TV series, a press officer's initial reaction is probably “Jackpot! Exposure to millions of people” – unless of course you've had the less than ideal experience of working on a series which involved months spent coordinating filming, managing unrealistic expectations and unruly production teams.

Stempra's event last October set out discuss what is really involved in working on a series or documentary, so that when you get the call you know exactly what to do to keep your organisation, scientists and production company happy. And get the broadcast result that everyone is looking for.

You'd be forgiven for thinking that there must be opposing priorities between a scientist wanting his or her science to be portrayed accurately, a press officer wanting the organisation to get a good profile, and a production company wanting ‘great TV' – I certainly did, but the presentations given by Professor Julian Ma; press officers Chloe Kembery and Claire Gilby; and series producer and researcher at Lion TV, Naomi Benson and Giulia Clark, were surprisingly complementary. The speakers' key points are outlined below.

Lion TV have produced numerous factual and scientific documentaries. Naomi and Giulia give the low-down on their needs;

  • Production companies are often short on time low on budget – don't expect scientists to be paid for their expertise
  • They have editorial control over the programme. Scientists and or organisations should not expect much (or any) input
  • They select ‘TV friendly' people. Not necessarily good looking people, but knowledgeable people who can explain a subject clearly - be prepared to explain this to other staff members and let them down gently!
  • Producers and researchers are happy to come and meet scientists face-to-face to explain more about filming or a programme – so do ask them for a recce
  • They welcome lots of questions. Scientists and press officers who are fully prepared make the process much easier for them
  • Production companies are careful to make sure the science is correct – so they will make lots of calls and send lots of emails to ‘fact-check' after filming (bear this time commitment in mind)

Having spent six months coordinating a BBC series based at London Zoo, and various one-off documentaries since, here are my tops tips:

  • Ask about the format. Is it a presenter-led journey – where the viewer learns about an area of science with the presenter? Or is it a series which focuses on regular characters (think Vets in Practice). This will affect the commitment required and the pitch of the programme, for example, if your scientist features at the beginning of a presenter journey (ie the presenter is starting to learn about an area of science) brief your scientists to expect simple questions.
  • Agree with the production company and scientists what is and isn't possible in advance
  • Get ‘buy-in' from those who will be filmed (and their colleagues as it will cause disruption) before you agree to anything. Brief them on all potential scenarios - you don't want them pulling out two months into filming because it's not what they expected
  • Ask about the re-shooting policy? Can you see initial cuts? Will you have any editorial control?
  • Agree a point of contact to coordinate filming and arrange locations. This will mean a lot of calls – day and night – but it is the best way to build up a relationship with the producers and know what is going on

Professor Julian Ma has been involved in numerous TV projects, including most recently Channel 4's Animal Farm –working with Naomi and Giulia. Working in the controversial area of GM, Julian is particularly attuned to asking questions about how he will be portrayed. From his point of view he needs a press officer to;

  • Help the scientist to convey and control the message, give advice on how to explain something clearly
  • Ask about the camera shots/images that will be used to reinforce the message or interview. For example, misrepresentative lab shots, outdated GM images that could undermine the interview
  • Save the scientist's time by handling the set-up shots before the scientist is needed
  • Take care with your scientist's appearance – they won't be offended if you offer them advice - they don't want to look dishevelled alongside a glamorous TV presenter any more than you do!
  • Keep things moving throughout the day – give crews realistic deadlines (film crews prefer this to provide a focus, otherwise they are tempted to re-shoot / gather more set-up shots)

Chloe Kembery and Claire Gilby at the Natural History Museum have coordinated two series of Nick Baker's Weird creatures – which features scientists and specimens from the NHM. Their tips are;

  • Find out more about the production company who have approached you (before agreeing)
  • Ask to see the programme brief to get an idea of what the end programme might look like
  • Ask to see examples of the production company's recent work
  • Speak to other press officers / organisations who have worked with that production company – how have others found them?
  • Think about what you're getting out of it – it will be a long commitment
  • Manage expectations internally about how much coverage your scientists / organisation will get out of it
  • Don't be afraid to say no – your priority is with your organisation not the crew or production team

 

Clare Kingston
Stempra Committee
and Senior Press Officer, The Royal Society
clare@stempra.org.uk

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