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  1. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News –
  2. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News –
  3. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News –
  4. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News –
  5. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News –
  6. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News –
  7. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News –
  8. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News –
  9. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News –
  10. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News –
  11. Designing for mobile devices Paul Brannan, Editor, Emerging Platforms, BBC News – Key points to take away • There’s no one-size-fits-all solution – this stuff is hard! • Mobility and portability are different – think about how your content with be consumed • This is a great time to experiment – and you’ll get plaudits for at least trying • Orchestrated media will be big – but it’s going to take a while to become established

Editor's Notes

  1. There’s a big difference between portability and mobility -- and it’s more than just semantics. In cash-strapped times it’s tempting to see smartphones and tablets as the same thing --- screens of varying size but with content that’s essentially the same, give-or-take some fancy graphics -- certainly nothing that a bit of HTML5 wizardry can’t overcome. They’re not, of course, unless you subscribe to the view that television is just radio with pictures -- and it’s obvious to us all now that that just isn’t the case. The trouble is, we’re in the same bind as the blinkered radio executives at the dawn of the TV era -- the clarity that comes from hindsight isn’t quite so obvious when you’re living through the period of turbulent change. So, in the next few minutes I hope to be able to: draw some distinctions between smartphones and tablets point up why I think they deserve special treatments tell you a bit about the BBC’s forays in this area flag up the people who I think are on the right track and give some pointers on future trends.
  2. This is the BBC iPhone app. And, given what I’ve just been saying, you might be surprised to learn it’s essentially the same as the BBC iPad app - give or take a few design tweaks. There are UK versions and international versions adjusted for rights-issue reasons but essentially they’re the same. The biggest difference is that in the UK the LIVE button, top left, takes you to the BBC’s 24-hour news channel, while internationally you get BBC World Service radio. The app works in portrait and landscape mode -- as you can see here -- and the content is extracted from the BBC website. It’s reformatted into touchscreen carousels and has some limited personalisation options to re-order content depending on preferences. When we first set out on the app journey it was seen as a radical design departure for the BBC and unlike anything else in the marketplace. But it was a long time coming as we worked through policy concerns, technical issues and editorial debates; -- as a licence-fee funded service everything we do has potential commercial impact and for many vested media interests the BBC represented unfair competition -- we had huge ambitions for the app but limited technical time in a year which also required us to cover a General Election, the football World Cup, the return of Formula 1 to BBC and to start preparing for the 2012 Olympic Games. -- and editorially there were long discussions about what boundaries should be put on the app? How much content should be included? What would its relationship be to the browser service? How would it be formatted? What additional training might be required for journalists? And a million other things besides. Added to that tangled mix was the last-minute development of the iPad version – actually a two-month sprint to be in on the global launch of the device - following months of protracted legal discussions between the BBC and Cupertino over Apple’s terms and conditions. We got there in the end, the apps have since had millions of downloads and -- looking back – it seems like a miracle that it came out at all. But though I’m proud to have played a major part in its development I have to say the outcome is a far cry from the one I’d hoped for.
  3. What I wanted on my mobile then, and what I still want now, is a dynamic news machine that delivers real-time everything – a churning, flowing chronology of content giving me the latest text alerts, the newest pictures, audio clips, video packages, UGC material and statistical zeitgeist so I can see what everyone else is tracking. Yes, I still want headlines – there’s huge value in an editorially-weighted selection of stories that can be seen at a glance – but this isn’t an either/or option – I want both. Most of all though I want filters -- tools that let me adjust the mix to service my own editorial perspective. I want to turn down the flow on topics that don’t interest me and to speed up on the ones that do. I want something that reflects the excitement and flux of the newsroom I want to be able to track stories, topics, genres, businesses and people I want something that takes advantage of a device that’s always on, always with me and highly personalised I want a service that’s location aware and context sensitive. In essence, I want a news service that doesn’t exist.
  4. In attempting to steer the BBC towards the kind of service I envisaged, it quickly became apparent that editorial practices would have to change – and in an organisation as big as the BBC I was probably a bit naïve in my grasp of the scale of the undertaking. The aim was to establish a core breaking news desk capable of harnessing content from all corners of the organisation --as well as external agencies -- to deliver a faster, more coherent service to all the BBC’s platforms – online, on radio, on television. The bosses saw enough in the proposition to give it a try and gave me money for a six-month pilot .That was nearly two years ago and while Project Quickfire is still very much work-in-progress it’s proved it’s worth time-and-again around major events and big breaking stories. My ultimate ambition is to see it delivering unique flows of content with a different cut for each individual receiving it – a bit like Twitter, but without the noise and with better verification and higher levels of trust. To do that requires a massive effort around metadata, semantics and ontologies and there’s a team working on that right now at the BBC. We’ve already conducted a trial run as part of the BBC’s World Cup coverage, generating 700 pages of content from a semantic publishing engine which required only minimal journalistic management. What you get for all that effort is a more flexible use of content than anything that could be achieved through traditional CMS-driven publishing. To give you an idea of the sort of thing that’s in the pipeline – every athlete at the 2012 Olympics in London will have an individual index page devoted to them – that’s more than 11,000 indices around which content will be automatically and continuously aggregated – well beyond the capabilities of traditional editorial ways of working.
  5. So now I want to talk a bit about tablets and in this case one of the BBC’s competitors in the news space, Sky News. They just launched their iPad app and it’s UK only which is a shame because it’s very visual and very polished. I like it because it plays to the strengths of the tablet format – easy navigation with strong images – a reversal of the traditional web versions which are text heavy with the occasional package or clip. Essentially, what you get from Sky is their linear news channel cut into chunks and reorganised with some slick packaging. There are moments where you think a simple piece of text would be quicker to convey some information than firing up a video report but overall it’s provides a decent, if limited, news experience. you start with a video wall… ---new image— Get a story cluster – and notice that that includes the back story if you’re a new joiner --new image– Maps that are culled from TV graphics and are clear if a bit basic --new image— More detailed options like this one that provide additional layers of information via a double-tap --new image— Picture galleries that bring out the power of stills when seen full screen --new image— And a content chronology that goes back 24 hours in time to let you scoop up anything you might have missed.
  6. Next up is Zite and it’s easily the most interesting tablet app I’ve seen in the past 12 months. There are any number of news aggregators around and I’m sure a lot of you are fans of Flipboard. I was too until I saw Zite and it’s now one of the first things I turn to when I want to catch up on what’s going on. Several months ago, I blogged about how supermarkets knew so much more about their customers than news organisations did about theirs -- and it set me wondering what supermarkets would do if they got into the news business. At home, Tesco is the market leader and they have a company called Dunhumby that mines data about customers from the loyalty cards people present to earn discount points when they get their bill. Each product in Tesco has more than 30 pieces of metadata associated with it and most stores have more than 25,000 lines. By extracting the data from shopping purchases Tesco knows masses about individual customers. They know whether they have small children, or an infant, or a pet. Whether they’re spending less this month than last? Whether they’re buying fewer premium products, and more own brand than usual? Even whether they’re time-poor or terrible cooks because they only buy ready meals. Tesco’s slogan is Every Little Helps – meaning that they’re constantly striving to keep prices low. But by selling on the anonymised data of people’s shopping habits, they’re on a nice little earner too. News organisations are still in the backwoods when it comes to understanding their customers and it’s why I like what Zite is doing with its combination of algorithmic and semantic filtering. The people behind it are based in the computational intelligence unit at the University of British Columbia. They haven’t yet made clear what they think the business model might be but delivering tailored content to specific interest groups is something of an advertisers dream. This is a project that’s definitely worth keeping an eye on.
  7. This is BBC iPlayer which was originally promoted up as a catch-up TV and radio service and which has been a huge success. Its available on multiple platforms including the Wii, PlayStation3, mobiles, tablets, the web and cable TV – a big overhead for the designers to stay on top of.. And an international version has been approved by the BBC Trust for later this year though I don’t know whether it will be ad-funded, subscription only, or a mixture of the two. iPlayer is also a fantastic example of a project that built equality and diversity considerations into all stages of the design and development.   Screen reader technology – a sort of Braille for the 21st Century -- was used by all of the developers so that they understood how it worked and ensured the player could operate with different reader programs. The player also comes with subtitles, audio description and British Sign Language options. To give you an idea of how popular it has become, in January of this year it served more than 160m requests for material. Not surprisingly since it’s free, it’s continuing to grow in popularity. Since its launch in 2007 a number of other players have emerged in the domestic market and the catch-up message is seen as lacking competitive differentiation. It’s now angled toward consuming great content at your convenience and about discovering new material. Social recommendation has also become much more prominent, with options to recommend, link to, favourite, and comment on programmes and to then tie those selections to Facebook and Twitter accounts.
  8. Next up is ABC and the Backstage pass app which nudges us into the world of second-screen viewing -- where the utility and convenience of a tablet comes into its own. The 99 cent app gave users access to live streams from more than 25 cameras dotted around the Kodak Theatre – plus access to additional content. Writing about it in the New York Times, Alessandra Stanley said it gave viewers “an all-too-vivid look at how the air leaves the theater and the night starts to drag.” She was talking about how the additional feeds showed winners celebrating backstage while TV was left with losers “smiling tightly through their rancour and disappointment”. Miaow!
  9. This grid is from ITV Live’s second-screen coverage of last year’s World Cup. As a broadcaster they had rights to show some of the matches live and they supplemented their coverage with additional features like the ones shown here – player profiles match facts instant replays of key moments stats on everything from individual shots on goal to pass completion percentages interactive polls on player performance and a broad-ranging chat space for fans to sound off In the UK we’ve had what we call “red button” services around digital TV for quite a while and that’s lent itself to things that allow a much broader range of experiences around televised events. Watching football, for instance, there are options to tune into a camera that tracks an individual player, and you can opt into a fan’s commentary from the perspective of whichever team you support. In cricket coverage many people like to have the radio commentary to accompany the pictures, and in rugby it’s fun to listen in to the referee’s mic as he talks to the players. More choice and more options are the perfect companions in tablet and TV viewing and it’s increasingly being thought of as part of the experience rather than something bolted on at the last minute.
  10. My final example is to do with what the BBC is calling orchestrated media. In the R&D connected home team they use the term to refer to the experience of interaction, synchronisation, and collaboration of programme and companion content across multiple devices. This could involve migrating content between the TV and a smartphone or tablet. You could, for example, load overnight the unwatched portion of a programme, or include a resume-at-home option that automatically picks up viewing on the TV from where it left off on the other screen as you re-enter your home network. The nature show Springwatch/Autumnwatch has trialled a viewing companion which gives extra information on a second screen that is synched to the programme. So while the TV is showing footage of starlings flocking, your device is simultaneously showing background information about swarming behaviour in nature and your digital picture frame is showing chicks hatching. They’re still working through ideas about the best kind of content to push, how often and how much, and whether it’s a distraction or a way of reinforcing people’s learning, but this kind of content flow is well on the way to signposting all kinds of new experiences and interactions between audiences and media. This richer engagement might take the form of interactivity around the content such as voting or games, games • a deeper exploration of the programme • Enabling social network interactions • Migrating content between the TV and other devices (such as a load-and-go service that runs overnight to load a smartphone or tablet with video corresponding to the unwatched portion of a programme, or a resume-for-home service that picks up viewing on the TV from where it left off on mobile).