OUTSIDE BROADCAST
LIVE
A large proportion of the 31
games will be on BBC One in peak time in July and “we’ll have a team in place for every single one of those 31 games” with two teams rotating to allow prep for the next game. “It’s very full on” with the last few months used to “put running orders in place, put creative film ideas in place, and making sure that we’ve got the resources.” There’ll be a remote production
team based in the Ealing Broadcast Centre - a collaboration with Timeline – and a team on site with the presentation teams. The host broadcast itself is run
by UEFA “so we’ll be doing the bits around that.” As it’s the BBC who’ll be showing the games as opposed to a commercial broadcaster that means a 15-minute half time show as well as the half hour build up to the games. But “having worked on a fair amount of World Cup and European championships at the BBC, we get that discipline of how you keep the narrative.” There will also be reporters
in with the England and Northern Ireland camps and “we’re also doing quite a lot of content for UEFA as well.” So, there are “quite a lot of
avenues for content for us.” Another big push is “the analytical
side. We’re trying to bring in some new techniques into the way we analyse the matches. The BBC always places a big effort on that technical analysis and we’ll bring in a few new things to that side of it.” Cole describes the event as “quite
relentless. particularly those group stages, when you’ve got two games in a day.” The other challenge is having two Home Nations involved so there’s an emphasis on “making sure it works for audiences that are watching in England and Northern Ireland. Trying to get that balance right is really important. And we’re working closely with the teams in BBC Northern Ireland to make sure that that it works for their viewers as well as viewers in England.”
ADD SOME SPARKLE The other challenge of a major event like this “trying to hook in the non-football fans as well,” says Cole. “Our philosophy is ‘entertainment is everything’. We’ve got some good ideas for this tournament of how we use big entertainment and music names to really support that.” Sony is now a stakeholder in the
company and “working with Sony across music, entertainment and technology brings another layer to our coverage. We’ve been talking to the Sony Music teams about what we can do with some of their artists” and other entertainment names “in an authentic way that might hook in new audiences who wouldn’t normally come to football coverage. It’s something we’ve done successfully in our Paralympic coverage and in our Formula One coverage.” Cole says that “When it’s not
at its best, sports coverage can be a bit serious and can be a bit dull. Putting a bit of a fun and energy back into it is what viewers want to see.” Not that it will detract from serious reporting. “Probably 5-10 years ago, punditry was a bit nice on women’s football. Now, it’s a game of football. If the midfielder is not playing well, we have to call them out. And if the game’s not very good, we’ll say it’s not very good, but hopefully give some reasons why it’s going to get better in the second half. “ But, he says ultimately, the
coverage’s success is in the hands of the England and Northern Ireland teams, because nothing brings in viewers more than success.”
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