Whats this Channel4 ?

Promoting C4

"In the expanding multi-channel world we have to position Channel 4 as the showcase for innovative and exciting television. We need to cement in viewers' minds the relationship between the quality of the programmes they enjoy and the channel which broadcasts and commissions them."

Channel 4 Sales, 2002

All broadcasters (including public service broadcasters) promote their schedule and try to maintain a 'brand identity.' Without promotion television audiences watch programmes, not channels. Famously some years ago ITV, envious of the BBC's reputation for quality costume drama, produced a high budget series of its own. The series got high ratings and produced glowing reviews, but when market research was done, the researchers found that most viewers thought that they had seen the programme on the BBC! Each member of C4's digital 'family' also has its own distinct 'brand identity' which is promoted both by the channel itself and by cross-promotion on the other C4 channels.

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Logos

Each channel has its own logo, all of which are based on the iconic 1982 animated original. As with all logos there is a constant updating process. This 're-invention of the brand' is particularly important for a channel which prides itself on being challenging and innovative.

"At its best, the Channel 4 identity has always been about transformation and movement. The original, animated logo came to be seen as the embodiment of an organisation that was constantly re-inventing itself and challenging the expectations of its viewers. The new Channel 4 identity uses cutting edge technology
to push the brand into exciting new areas."

C4 Style Guide, 2007

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Style Guides

"The visual identity is the outward expression of Channel 4. It uniquely and distinctively sets it apart from other channels. The logo is the primary element of that identity. However, other component parts play an important role in establishing the Channel 4 visual style. These elements are: colour, typography, imagery and tone of voice."'

'On-air' and 'off-air' promotional material are carefully controlled by regularly updated style guides. Each channel has its own specially designed 'fonts,' 'page layouts' and 'colour palette.' The 'tone of voice' of each channel is carefully controlled in line with the brand identity and the well researched attitudes of its core audience. The 'tone of voice' is shown in the choice of visual imagery and in the language of promotional material as well as in the 'house style' elements.

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Cross-promotion

Channel 4 uses external promotion, billboard and press and periodical advertising to publicise new programmes and services. 'Free' publicity has often been guaranteed by Channel 4's more controversial programming. 'Themed nights' and 'seasons' can be promoted through a judicious mixture of press releases and paid-for advertising.

However, the most cost-effective form of promotion is 'cross-promotion,' the use of Channel 4's own airtime to promote programmes and related goods and services. Promotional trailers are an obvious form of cross-promotion. One of the most common 'covert' forms of cross-promotion is the use of 'interstitials,' short sequences that accompany a programme or fill the gaps between them. Interstitials include:

channel 'idents'
sponsor 'idents'
'bumpers'
title sequences
credit sequences
opticals
packaging for themed nights
film or programme intros
moving publicity announcements

Cross-promotion can sometimes be counter-productive, it may irritate or confuse viewers or cause 'brand confusion.' This is why the promotion of Channel 4's digital channels and interactive services is managed so carefully.

The use of promotions to produce revenue is carefully regulated (by Ofcom and ICSTIS). An example of this is the use of premium rate telephone numbers and SMS to elicit viewer voting in programmes like 'Big Brother.' More orthodox revenue producing promotion is often achieved through merchandise linked to programmes (such as promoting 'the Book/DVD of the series'). When used intelligently, promotional techniques can enhance the viewing experience and provide valuable sources of revenue, when mismanaged, however, they can damage public trust.

In 2007 a series of scandals about the mismanagement of premium rate 'phone-ins' hit the TV industry shaking public confidence in this particular kind of cross-promotion. C4's 'You Say We Pay' was the first programme to be criticised. The response from C4 was rapid.

"Channel 4 is to stop using phone-in competitions in its programmes for the purposes of profit making as part of a tough new policy on the use of premium rate telephone services (PRTS). The launch of the new policy coincides with publication of the findings of an internal investigation into the You Say We Pay competition in tea-time magazine strand, Richard & Judy,"

www.icstis.org.uk/pdfs_news/Channel4PRTS_PressRelease.pdf

The decision was a costly one for C4. PRTS had contributed £3 million to the Channel's revenue in 2006. Channel 4's reputation, however, was worth far more than this.

“As a commercially funded public service broadcaster we’ve previously taken the view that premium rate competitions were a legitimate activity given the demand from viewers to take part. But public trust in these competitions has been severely undermined and we do not want to risk further our relationship with our viewers. The Channel’s reputation is its most valuable asset and can only be protected by demonstrating that we place the highest priority on safeguarding the interests of our viewers and will take action if we find they have been let down.”

Anne Bulford, Channel 4’s Group Finance Director

Broadcasting regulators Ofcom are now tightening the regulation of all types of 'Participation TV'. New rules are likely to include:

New licence obligations for television and radio broadcasters which will hold broadcasters directly responsible for consumer protection and PRS compliance.
A requirement for television and radio broadcasters to ensure independent third-party verification of PRS activity.

www.ofcom.org.uk/consult/condocs/participationtv/

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Promotion in the future

The growth and convergence of Digital TV and broadband services is likely to mean that broadcasters such as Channel 4 will have to promote their 'brand' even more actively in the future. The key promotional tool in the 'post Google' world is 'New Media'.

C4 now has its own New Media department which both promotes the broadcasting arm of C4 and commissions its own content. Channel 4’s website 'reaches' around 10% of the UK online audience each month, increasing to 20% when Big Brother is being broadcast.

It is likely that the seamless integration of broadcast, broadband and on-demand services will make effective cross-promotion even more important in the future.

"If you want your brand to stand out from the crowd, especially in today's very crowded multi-channel market, you need every advantage you can get. Just having your logo permanently on screen all the time won't cut it any more.... You need to make your station symbol, ident or logo very distinctive, something that will grab your viewer's attention. You need to have your announcers present it distinctively, you have to promo your station and programmes consistently and judiciously, so that your viewer doesn't think they've seen everything the programme or channel might have to offer.

But most importantly, the brand has to become familiar in people's minds fairly quickly, and the brand has to be respected, otherwise your potential audience might not turn to your channel and that will prove disastrous."

Ian Beaumont, City Media Productions.

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