Nuno Bernardo is a TV and film writer and bestselling YA author with 21 books published and a million copies sold worldwide. Nuno created and wrote several award-winning and Emmy-nominated TV series, including Beat Girl, Final Punishment and Flatmates. Nuno Bernardo’s works include the Sofia’s Diary book series, the Mariana’s Secret Diary series and Bia & Fred. He also collaborated with Jasmina Kallay on the novel adaptation of the Beat Girl TV series (story by) and with M. K. Shaddix in Made With Love.
Published on: Mar 4, 2016
Transcripts - Popular franchises
Not the end of television
The age of television is at an end. There are obvious examples of sports events, big national
events and the big entertainment shows that will always capture large national audiences.
The key change, however, is that most other output can be supplied on demand. Drama,
documentaries, and news are all essentially on-demand products. The trend is that this
content will be increasingly consumed when the audience wants to consume it and not just
when the television scheduler decides to broadcast it.
Audiences are by and large choosing the devices they want to use and the content they
want to consume on them. Transmedia is valuable here because it allows you, the producer,
to capture and engage with an audience. Crucially, it allows you to engage the audience in
exactly the way that viewers are now accessing media content.
We, as media producers, have no option but to follow this accelerating trend. For instance,
in the United States, audiences are now measured not just in terms of the television viewing
figures for a specific programme; the audience figures are now also broken down into the
various different ways the programme was consumed. For instance, they will measure not
just the live broadcast figures but will also measure during the following week:
> Repeat transmissions and delayed viewings
> Personal video recorder viewings, e.g. Tivo in the United States
> Viewings on catch-up television services
> Viewings on the broadcaster’s player services
> Viewings on on-demand services like iTunes.
In 2010, the figures showed a huge increase in television output being accessed online, on
demand. The figures varied depending on the show; however, in the case of ‘True Blood’, a
hefty 40% of its audience accessed the show on non-traditional media such as on demand
services, catch-up television or personal video recorder services. What is really remarkable
is that a few years ago the figure was close to 0%. We have to ask ourselves, is it really so
unlikely that the figure will rise further in the next few years? This not only creates
advertising revenue challenges for the television industry, but also opportunities for
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