C4 Annual Report 2015 PDF

Britains
Creative Greenhouse
Channel Four Television Corporation

Report and Financial Statements 2014
Channel Four Television Corporation

Report and Financial Statements 2014
Incorporating the Statement of Media Content Policy
Presented to Parliament pursuant to Paragraph 13(1)

of Schedule 3 to the Broadcasting Act 1990
02
Channel 4 Annual Report 2014
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Contents
03
Contents
Chairmans statement
Chief Executives statement
2014 at a glance
04
05
06
Statement of Media Content Policy

The remit and model
Investing in innovation
Making an impact
Spotlights
Our programmes
Thank you
Awards
Forward look
Assurance report
0898
08
12
22
36
40
84
86
92
98
Financial report and statements

Strategic report
Report of the Members
Independent auditors report
Corporate governance
Members
Audit Committee report
Members remuneration report
Consolidated income statement and statement of comprehensive income
Consolidated statement of changes in equity
Consolidated balance sheet
Consolidated cashflow statement
Group accounting policies
Notes to the consolidated financial statements
Channel4 financial statements

Programmes and the licence
Historical metrics
Historical record
99162
100
110
113
115
119
121
124
130
131
132
133
134
139
159
163
166
168
04
LORD BURNS
Chairman
Channel4 is unique in the world of public

service broadcasting. It plays a special
role as a creative greenhouse for TV, film
and digital, bringing new ideas, talent,
voices and businesses to the mainstream
and helping them achieve national and
international success. Channel4, as a
publicly owned, not-for-profit company,
makes a major contribution to the UK
innovation strategy within broadcasting
atzero cost to the taxpayer.
annualreport.channel4.com
This is a challenging role and to fulfil it

Channel4 must deliver a broad public service
remit funded entirely through commercial
activities. It is the role of the Board to oversee
its performance against this remit. In reviewing
Channel4s performance in 2014 we have
considered a range of metrics covering
investment and revenue figures and the
audience research, programme quality and
social impact metrics that are contained in
theStatement of Media Content Policy within
this report.
I am pleased to report that 2014 has been

a very successful year. Alongside awardwinning creative output, there has been
significant commercial innovation, proving,
yet again, the resilience of the Channel4
model and demonstrating its sustainability
in a digital world. We have also seen
1634s share reach the highest point
everinChannel4s history.
Over the last few years, the Board has
overseen a programme of planned withdrawal
of a small proportion of the reserves,
accumulated in previous years, to support a
strategy of Investing in Innovation. 2014 saw
the culmination of this plan and a planned
return to a break-even position. Content
spend has been maintained and overall
revenues are up year-on-year.
Business stability has also enabled the
launchof innovations such as the Growth
Fund designed to help small creative
businesses grow. Despite being a major
investor in the activities of the UK creative
economy, Channel4 has always felt
constrained in its ability to invest equity into
the sector. 2014 saw the announcement of the
first five investments to come out of the 20
million Growth Fund. The idea of the Growth
Fund is to put capital reserves into stimulating
the production sector in the UK at a time of
rapid consolidation. The aim is to exit those
investments in the medium term and redeploy
the capital in the Fund into successive waves
of new UK companies. This puts Channel4s
capital to work in more remit-delivering ways
and opens the Corporation up to sharing in
benefits of companies that go on to generate
shareholder value in the future.
We are also pleased to see a strong response

from viewers on our reputational statements.
These underline Channel4s very distinctive
character and appeal, offering an alternative,
but trusted, mainstream perspective through
its programming. This includes its strong
appeal to diverse and hard-to-reach groups
such as young people, BAME, LGBT and
people with disabilities. In addition, Channel4
will be deepening this emphasis on diversity
in 2015 with the launch of its 360 Diversity
Charter and the Board will do all we can to
support its implementation.
This year we have strengthened our
consultation with Ofcom in the preparation
ofthis Report and have reflected its feedback
in the relevant genre chapters. The Boards
confidence in Channel4s health is reflected
in Ofcoms statements in its Review of Public
Service Broadcasting. Ofcom notes that
Channel4s content investment strategy
has lifted spend by PSBs on first-run
UKoriginated content in a period more
broadly noted for decline, and that the
number of new and one-off programmes
delivered compares favourably to other PSB
channels. Ofcom highlights the resilience of
Channel4s portfolio audience share, despite
intense competition; its strong reputation for
content that shows diversity; its success in
film, and its support for creative talent.
All of this is reassuring to see. Overall,
theBoard is very satisfied with Channel4s
achievements over the last year and believes
it is on a strong footing for the future.
I would like to thank my colleagues on
the Channel4 Board for their enthusiasm
and contribution over the last year.
Wehave managed to achieve stability
inthe composition of the Board and it
isapleasureto work with such a varied
andthoughtful group.
Chairmans & CEos statement
DAVID ABRAHAM
Chief Executive Officer
This report captures the staggering

range,quality, originality and diversity of
Channel4s output in 2014. It also reflects
the breadth of our contribution to the UK
creative sector at a time when our creative
economy is punching above its weight
nationally and globally.
For Channel4, 2014 was a year in which

our Investing in Innovation plans bore
fruitboth on screen and in revenue growth.
As this report shows, creative renewal is now
flourishing across multiple genres and this
is reflected in the strong public reputation of
our brand and in the very significant number
of major creative awards won during the year.
Striking a balance between such cultural
outcomes and our financial sustainability
isat the very heart of what makes
Channel4unique.
Revenues reached 938 million in 2014,
anincrease of 30 million on 2013. We met
our planned three-year investment and break
even business targets with a financial surplus
of 3 million. Our sales house delivered
total revenues above 1 billion for a fourth
successive year and growth of 4.3%, which
we consider to be a strong outcome in a
World Cup year. Channel4 delivered healthy
digital advertising revenue growth (+13%)
and reached a landmark during the year
when half of all 1634s in the UK became
registered viewers. Cash reserves remained
above 220million for a fifth year in a row
while thelaunch of the Growth Fund further
diversified our investment portfolio.
We met or exceeded all our Ofcom targets

and spent 602 million on content, of which
430 million went on UK original programming
(68 million above our spend in 2010), and
we are in a position to maintain and even
increase this investment in 2015 in some
areas such as E4.
Our creative success was matched by the
relative stability of our portfolio audience
share, despite the ongoing fragmentation
ofthe digital world. Although Channel4 main
channel share is slightly down, we saw growth
in audience share where it matters most and
in ways that reflect our remit in peak time
and with 1634s up 2% at a portfolio level
to reach record share levels of 17.0%. We also
had a record year for E4, record VOD viewing
at 587 million views and The Inbetweeners2
was a huge UK box office hit grossing
33million.
Creative momentum is also reflected in the
perceptions of our viewers, who continue to
appreciate Channel4s distinctive approach
to taking risks and tackling issues that other
channels wouldnt and rate us above all
other public service broadcasters across
a range of metrics that reflect our remit to
innovate, stimulate well-informed debate,
challenge established views, champion
diversity and inspire change.
Our award-winning data strategy helped to
drive differentiation and growth in our online
revenues in 2014 and of our 11.3 million
registered users. Data forms a key element
in a growing proportion of our online deals
as behavioural targeting becomes an ever
more embedded expectation amongst
advertisers. Driven also by strong growth in
VOD viewing (+23%), online revenues grew
to a total of 63million (advertising and
syndication) and we remain committed to the
potential ofonline as a 100 million business
by 2018. We predict over 50% of this revenue
will be data-enabled. The success of our
data strategy was marked by our winning
the panindustry Data Strategy of the Year
Awardin 2014.
Our new Growth Fund has also got off to a

good start allowing us to create a portfolio
of investments into quality companies that
already drive over 20 million of production
turnover: a quality regional independent,
True North; two international factual players,
Arrow and Lightbox; a small branded content
player, Popkorn; and a talented young drama
independent, Eleven Films.
Our focus on long-term sustainability
hasmeant that in early 2015 we have taken
important steps to address the rise in the
Channel4 Defined Benefit pension scheme
deficit by closing the scheme to future
accrual. This will help to keep our future
liabilities within manageable levels and means
we can continue to maximise our investments
into innovative British content for many years
to come.
After a phenomenal period leading Film4,
Tessa Ross departed in 2014 to become
Chief Executive at the National Theatre.
Tessa left on a characteristic high when
SteveMcQueen, whom she nurtured for
manyyears, won his Oscar for 12 Years A
Slave. We are most fortunate in having found
the highly regarded David Kosse to succeed
Tessa and we welcome him as a member
ofour Executive Team.
I would like to thank all the 338 UK companies
who have produced great ideas for Channel4
throughout the year. We have now spent over
10 billion on TV content during our history
sofar and we remain proud broadcasters
ofthis work.
We enter 2015 with creative momentum
and a strong slate of new and returning
shows. There are many new opportunities
that lie ahead and with the launch of All 4,
our fresh drama slate, the boosting of E4,
and our election coverage, we aim to build
on the momentum of 2014 even further
intheyearahead.
05
06
At a glance
Creative success
2014 was an outstanding year of creative success,
withstrong new series, major industry awards across all
genres and increases in key viewing and impact metrics.
The total content spend was 602 million and 430 million
of that was original content spend, of which 153 million
was invested in content in the Nations & Regions. Overall
we worked with 338 suppliers and won 303 industry
awards making 2014 one of Channel4s most successful
yearsever.
And we were named Channel of the Year at the Edinburgh
TV Festival.
602m 303
430m 338
Winner
153m Channel
Total content spend
Awards 2014
Original content spend
Suppliers
Invested in original content

in Nations & Regions
of the
Year
atthe Edinburgh
TVFestival
2014 At a Glance
Financial stability
2014 was the year that our three-year investment
strategy resulted in a return to financial surplus
with revenues up year-on-year at 938 million
(30 million higher than 2013).
This is the fifth successive year that Corporation
revenues have exceeded 900 million and
theChannel4 sales house team once again
broke the 1billion revenue mark. And this
success was achieved whilst maintaining high
levels of content spend andreaching the highest
ever portfolio share of 1634s at 17.0%.
938m
Corporation revenue up
year-on-year and we returned
to financial surplus
13%
Year-on-year growth
in digital advertising
revenues
12.5%
17.0%
Peak time portfolio share

up year-on-year
1634s HIGHESTEVER portfolio

share up year-on-year
Innovation and
sustainablefuture
2014 saw huge innovation in digital with
11.3million people in the UK registered to
Channel4s online platform including 50%
ofall 1634s. Visits to the Channel4 website
increased 18% with 634 million visits.
We also launched the 20 million Growth Fund
and agreed the first five investments in growing
SME indies.
11.3m
50%
634m
20m
Now registered with 4oD
up year-on-year
of all 1634s in the UK

registered WITH Channel4
Visits to Channel4 websites

up 18% since 2013
GROWTH FUND LAUNCHED
07
08
The Remit and model
09
The remit makes up a

core part of Channel4s
DNA.
Agreed by Parliament and enshrined in
legislation it is the template which gives
us our unique and important role in
Britishlife.
It applies across all genres and services,
Channel4, E4, More4, Film4, 4Seven, 4oD
and digital projects. Channel4 must also
meet a set of specific quantitative licence
obligations, set and monitored by Ofcom,
fornews & current affairs, original production,
regional production, subtitling and audiodescription services and much else besides.
The Statement of Media Content Policy

(pages 898) was introduced to enable
Channel4 to report on the fulfilment of its
public service remit. The idea is to look across
the full range of services Channel4 offers
and, in this report, provide a transparent and
comprehensive account of our delivery of
theremit.
Some rounding differences may
occurinthe presentation of the metrics.
Adetailedbreakdown of the remit, along with
background to the selection of public value
measures and changes to metrics, can be
found in the methodology document that
accompanies the report. All audited metrics
inthe document are identified with a remit
icon, as indicated below.
Innovative
Stimulate
Debate
Alternative
Views
Educational
Cultural
Diversity
remit
Inspire
Change
Digital
Distinctive
Partnership
Nurture
talent
Invest in high
quality content
The component parts of the remit are

included against each chart and case
study contained in the report as an
indication of how we have delivered
the remit across the year.
10
Channel4 is a
creativegreenhouse.
Our overall role is to champion innovation inTV,film
&digital nurturing and growing new ideas, formats,
viewsand voices, faces, talent, audiences,
andproductioncompanies.
Creative
Greenhouse
PSB Challenger
Brand
Catalyst for
Social Change
Were a greenhouse for new creative

and digital ideas of significant
economic importance.
Were a challenger brand in

broadcasting encouraging high
standards across the industry.
We inspire citizenship, especially

among hard-to-reach audiences.
Our overall contribution to the UKs

creative economy is disproportionate
to our size.
Our investment in UK originated

content is rising, set against declining
investments in PSB elsewhere.
Ourexistence is critical to providing
plurality in genres that deliver
publicgood, such as News and
Current Affairs.
We grow small businesses across

the whole of the UK and our formats
are successful around the world.
We have a track record of
commissioning more programme
ideas than any other PSB and spend
more with independent producers
than any other channel.
Were at the forefront of innovation

and harnessing new technologies
and in the premier league of
international creativity. Being ahead
of the market again and again not
only has kept viewing share stable
but also keeps others on their toes.
We have a greater impact than

anyother UK broadcaster in making
audiences think, giving diverse
viewpoints and inspiring change
inpeoples lives.
We have a stronger relationship with
young people than any other PSB
inthe world.
And were a world-leader in bringing
diversity into the mainstream.
The Remit and model
11
We fulfil the governments

innovation strategy in
broadcasting.
The governments innovation strategy focuses on support
forsmall businesses to bring ideas to market, increase
knowledge sharing and grow global businesses.
This is what we have done for 30+ years and our unique
model underpins it all.
Our model
The UK broadcasting ecology
is theresult of enlightened
intervention by politicians and
regulators. Its a carefully balanced
mix of different organisations,
with different missions, business
models and governance structures
that has made UK broadcasting
aworldwidesuccess.
Within this ecology, Channel4
is a government-owned, selfsustaining social enterprise, raising
commercial revenues from the
market and reinvesting surpluses
back into British content from UK
independentproducers.
We do this through cross-funding
commercially challenging genres
such as News, Current Affairs,
and Education with revenues from
commercially profitable programming,
like Factual Entertainment.
Public impact
Smaller audiences,
high public-impact
programmes
High rating,
high public-impact
programmes
Commercial value
= Cross-funding
Pure
entertainment
programmes
12
Investing in Innovation
A commitment to innovation runs through

everything that Channel4 does, from our
approach to commissioning content from
a deep pool of suppliers, through to the
range and diversity of programming that
we put on screen.
Innovation through content
In 2014, there was a small increase in
Channel4s total investment in content
(originated and acquired). Overall, 602 million
was spent on content across the TV and
digital portfolio, 5 million more than in 2013.
The content that Channel4 commissions
itself is core to our delivery of itspublic
service remit, and originated content across
all services accounted for 71% of Channel4s
total content spend. This was equivalent to an
expenditure of 430 million on originations,
1million more than in 2013.
This investment translated into an average
of 8.7 hours of new originations every day
across the TV portfolio, again slightly up
(by1%) on the 2013 figure. Channel4 shows
originated programming at all times of day
and on all channels in its TV portfolio, but
the peak time schedule on the main channel
remains of paramount importance, in terms
of the size of the audiences that we reach.
In peak (610.30pm), 68% of the main
channels schedule was devoted to new
originated programming in 2014. This was
a small decline relative to the 2013 level,
of 2percentage points, although the total
amount of originations (including repeats)
remained level year-on-year at 77%.
Factual programming is the biggest single
genre in Channel4s schedules, in terms of
output and investment levels. Across the
TV portfolio, Channel4 spent 169 million
in this genre, and broadcast 1,174 hours of
first-run originated Factual programmes.
Investment in a host of new series, such as
The Jump and The Island with Bear Grylls, led
to a 10% increase in Factual spend this year.
Entertainment was the second-biggest genre,
in terms of both spend (109 million) and
volume (767 hours of first-run originations).
Spend also rose in Entertainment this year,
by 8%, as popular series such as Gogglebox
returned with longer runs. The third biggest
genre in spend terms was Drama, at 100
million across the TV portfolio. This was
down by 13%, following the cancellation of
Shameless. In volume terms, Sport was the
third biggest genre: the amount of first-run
originated Sports programming rose by 29%,
to 616 hours, dueto coverage of the Sochi
2014 ParalympicWinter Games.
Innovation through diversity

Channel4 commissions all of its programmes
from external suppliers, ensuring it plays a
disproportionately significant role in supporting
the independent production sector. It spent
377 million on first-run external commissions
on the main channel in 2014 (1% down
year-on-year) and 417 million across the
TVportfolio.
Channel4 worked with 338 creative partners
this year across all of its services, of which
49 were new to the broadcaster. These
figures were down on the corresponding 2013
levels, reflecting the deepening of supplier
relationships that were formed in the earlier
years of creative renewal.
While the TV production sector is highly
London-centric, it is important that
Channel4s commissions come from
companies based all over the UK. For only
the second time since 2008, more than half
of all first-run originations on Channel4s
main channel were sourced from suppliers
based outside London. While there were
declines in the proportions of out-of-London
commissions on the main channel by both
volume (down by 3 percentage points to 52%)
and value (down by 3 percentage points to
43%), both figures are still higher than in any
previous year going back to 2008. Across the
TV portfolio, Channel4 spent 153 million on
programmes from suppliers based outside
London. This figure fell by 12% year-on-year,
largely due to the cancellation of Shameless.
However, expenditure on programming from
companies in the Nations remained stable, at
21 million, with Scotland accounting for the
largest proportion of this figure, at 16 million,
up 18% on 2013.
Turning to on-screen diversity, there were
118 hours of first-run originated hours of
programming on the main channel covering
diversity issues this year, an increase of
15% on the 2013 level. Highlights included
Lent Diaries (religion), Make Leicester British
(multiculturalism), the extensive coverage of
the Sochi 2014 Paralympic Winter Games
(disability), and the televising of one of
the UKs first ever same-sex weddings in
MyGayWedding: The Musical (sexuality).
The range of international programming on
Channel4 also contributes to the diversity
of its schedules. Excluding Channel4 News
(which itself has a strong international focus,
see p72), there were 54 hours of first-run
programmes covering international topics
on the main channel and in the dedicated
international True Stories documentary
strandthat runs across the TV portfolio.
Thisfell by 23% year-on-year, with
Channel4s current affairs output skewing
more towards domestic issues inthe
run-up to the General Election. Also, the
Film4 channel shows a more diverse and
international slate than most mainstream
filmchannels, with 37% of its output coming
from outside the US. New and classic
Britishfilms accounted for 21% of its output.
13
14
602m
spent on content
across all services
+1% on last year
Invest in high
quality content
Investment in all content

In 2014, Channel4 spent a total of 602 million on content
across all of its services, comprising the main channel, digital
TV portfolio and digital media services. The large majority of the
content budget 492 million, equivalent to 82% of the total
was spent on the main channel. Just over 100 million was spent
on the digital TV channels, and a further 8 million was spent on
digital media, which includes Channel4s websites and crossplatform content.
Channel4s content budget was stable year-on-year. Total
expenditure on content rose slightly, by 1%, as did spend
onthemain channel. There was a marginal decline in spend
onthe digital channels, which fell by 1%.
In 2014, 594 million was invested in originated and acquired
programming across the Channel4 TV portfolio. Across the
TVportfolio, the genres that accounted for the largest amounts
of content investment in 2014 were Factual (169 million),
Entertainment (109 million) and Drama (100 million). Ofthese,
there was a marked rise in investment in Factual for the second
year running, of 10%, which contributed to investment in major
series such as The Jump, The Taste and Troy. Investment in
Entertainment also rose, by 8%, with new series of Gogglebox
(previously classed as Factual programming) and 8 Out of 10
Cats Does Countdown proving particularly popular in 2014. This
partially offset the decline in spend in this genre in 2013. Drama
spend fell by 13%, following the cancellation of Shameless.
Spend across the Channel 4 network

on all content (m)
Total (m)
2014
492
102 8
602
2013
486
103 8
597
Channel 4 (main channel)
Digital channels
Digital media
Source: Channel 4
Total investment in originated and acquired

programming across the Channel 4 TV
portfolio by genre (m)
Film
84
83
Drama
100
115
169
Of the other genres, the most significant trends in 2014 were

a 17% increase in investment in sport, which was spent on
coverage of the Sochi 2014 Paralympic Winter Games, and
a13%decline in investment in Current Affairs, with Hughs
FishFight notreturning this year.
Factual
154
Comedy
58
62
109
Entertainment
101
News
25
25
Current Affairs
20
23
Older Children
2
2
Education
6
6
22
Sport
18
2014 (Total: 594m)
Source: Channel 4
2013 (Total: 589m)
15
68%
of the main channel
peak-time schedule
devoted to first-run
originations
-2% points
on last year
Invest in high
quality content
430m
spent on originated
content across
all services
+1m on last year
Invest in high
quality content
Output mix on Channel4

Channel4 continues to showcase the majority of its new original
programming on the core channel during peak hours (defined by
Ofcom as 610.30pm), in order to attract the largest audiences.
68% of all peak-time hours on the main channel were made up
of first-run originated programming in 2014, with another 9% of
peak hours comprising repeats of original programming. In total,
originations accounted for 77% of peak-time hours, comfortably
exceeding the Ofcom licence requirement of 70%. While
Channel4s daytime schedules include a more balanced spread
of originations and acquisitions, originations still accounted for
63% of all output on the main channel across the whole day
in2014, exceeding the Ofcom quota of 56%.
The proportion of Channel4 originated programming in peak
on the main channel fell slightly year-on-year, with the amount
of first-run originations falling by 2 percentage points (with
proportion of originated repeats increasing 1 percentage point).
Across the whole day there was a 2 percentage point increase
inoriginations.
Investment in originated content
Channel4s public remit is delivered primarily through investment
in original content on TV and in digital media. In 2014, its total
investment in originated content across its TV channels and
online services was 430 million. The main channel continued to
account for most of this expenditure: its originated programming
spend was 382 million, equivalent to 89% of Channel4s total
spend on originations. This included expenditure of 172million
on key PSB genres News, Current Affairs, Education and
schools programming, Comedy, Drama series and single
dramas,Arts and Religion.
In addition to spend on the main channel, a further 40 million
was spent on original content for the digital channels, the
highest-ever originations spend for these channels. As described
above, 8 million was also spent on digital media beyond the
TVchannels in 2014.
Percentage of output on the main channel

accounted for by originations and first-run
programmes
Peak (610.30pm)
2014
68
2013
70
14
14
All day
2014
34
2013
34
29
27
28
30
Originations first run
Originations repeat
Acquisitions first run
Acquisitions repeat
Source: Channel 4
Spend across the Channel 4 network

on originated content (m)
Total (m)
2014
382 40 8
430
2013
385 36 8
429
Digital TV channels
Digital media
Source: Channel 4
Overall spend on original content was broadly flat year-on-year.

Small declines in spend on the main channel (down by 1%) were
offset by a substantial 11% increase in spend on the digital TV
channels, which premiered programmes such as Troy (E4) and
Cooks Questions (More4). Spend on key PSB genres fell by
10%year-on-year, following delays in production of key dramas.
8.7hrs
of first-run
originations every
day on average
across the
Channel4 TV
portfolio
+1% on last year
Invest in high
quality content
Originated output across Channel4 TV portfolio

Channel4 broadcast an average of 8.7 hours of new
commissioned programmes (first-run originations) every day
in2014 across the main channel, E4, More4 and Film4. The main
channel accounted for 8.1 of these daily hours, with the other
0.6hours on the digital channels.
Average daily hours of first-run originations

across the Channel 4 TV portfolio
2014
8.1
0.6
8.7
There were small annual increases in the amounts of first-run

originations on Channel4s TV channels in 2014. Across all
channels, the volume of first-run originations rose by 1% year-onyear. There was a bigger increase, of 6%, in the corresponding
volume on the digital TV channels.
2013
8.1
0.5
8.6
Total (hrs)

Source: Channel 4
Digital TV channels
16
3,171hrs
of first-run
originations across
the Channel4 TV
portfolio
+1% on last year
Invest in high
quality content
Volume of first-run originations by genre

In 2014, Channel4 broadcast 3,171 hours of first-run originated
programming across its TV portfolio, 1% up year-on-year.
The genres with the largest volumes of first-run originations
this year were Factual (1,174 hours), Entertainment (767 hours)
and Sport (616 hours). Compared to the 2013 volumes for these
genres, there was no significant change in the amount of Factual
programming, while Entertainment was down slightly, by 2%.
Coverage of the Sochi 2014 Paralympic Winter Games in March
2014 ensured a large rise, of 29%, in the amount of Sports
programming across the year.
Hours of first-run originations shown across

the Channel 4 TV portfolio by genre
25
Drama
160
211
There were declines in some other genres to make way

fortheincreased Sports coverage. Drama was down 24%,
(equivalent to 51 hours), which was largely due to the cancellation
of Shameless; Comedy (down 27%, or14 hours), with no new
series of Black Mirror, Fresh Meat orPhoneshop in 2014; and
Education and Older Children (down38%, or 8 hours). Spend in
Education and Older Children has been maintained, as reported
in this document. This last trend is due to both the multiplatform
approach to commissioning several Education films are online
only and therefore not reflected in this metric and to the
cancellation of Geeks.
In addition, after a big increase in 2013, the volume of Film4
supported films dropped back by 32% (to 17 hours). These
bigannual swings are due to the variations in theatrical release
patterns for Film4 titles, which determine the timings of the
subsequent TV windows. In 2014, nine films were premiered,
including Steve McQueens 12 Years a Slave, down from
13in2013.
Film
17
1,174
Factual
1,173
Comedy
37
51
767
Entertainment
779
News
242
240
Current Affairs
145
156
Older Children
4
4
Education
9
17
616
Sport
477
2014 (Total: 3,171hrs)
Source: Channel 4
2013 (Total: 3,133hrs)
17

Channel4 has exceeded all our licence obligations.
Meeting Channel4s licence obligations
Average hours per week
Compliance Minimum
2014
2013
Overall
In peak time (610.30pm)
10
Overall
56
63
61
In peak time (610.30pm)
70
77
77
Independent production
25
73
75
European independent production
10
40
45
News
In peak-time (610.30pm)
Current Affairs
Hours per year

Schools
Percentage
Originations production
European origin
50
66
66
Subtitling
90
100
100
Audio description
10
28
31
Signing
Regional production
35
43
46
Regional hours
35
52
55
Production in the nations
Nations hours
Note: Excluded from the scope of the KPMG Assurance report.
377m
investment in
first-run external
commissions on
the main channel
in 2014
-1% on last year
Nurture Talent
Broadcasters investment in the production sector

With no in-house production base, Channel4 sources 100% of
its investment in original programming from external suppliers,
providing vital support for the independent production sector.
In2014, Channel4 spent 377 million on first-run originations for
the main channel, 1% down year-on-year. 74% of this total was
spent on qualifying independent production companies. Across
its TV portfolio, it spent 417 million on first-run originations from
external suppliers (broadly level with 2013).
In 2013, the most recent year for which cross-industry data is
available (from Ofcom), Channel4s spend on first-run external
commissions on the main channel exceeded that of any of the
other public service broadcasters on their network channels
including BBC One and BBC Two combined. Even when looking
at their digital TV portfolios, Channel4s expenditure on first-run
external commissions was only 7% less than the combined
investment of all the BBC TV channels, and exceeded by over
100 million the total combined spend of ITV and Channel 5
across their portfolios.
Expenditure by public service broadcasters on

first-run external commissions (m)
Total (m)
364
2013
351
2012
85
449
90
441
2013
228
228
2012
221
221
2013
382
36
418
2012
385
36
421
2013 86
86
2012 98
98
Main Channel
Digital Channel
Source: Channel 4, Ofcom (other channels)
2014 Data not available for other channels.
BBC
ITV
Channel 4
Channel 5
18
338
companies working
with the Channel4
network across TV,
film and digital
media in 2014 of
which 207 were
independent TV
production
companies
-8% on last year
Nurture Talent
Diversity of supply base

Channel4 worked with a total of 338 companies to provide the
TV, film and digital media content that it commissioned in 2014.
Of this total, 207 were independent TV production companies.
There were 92 online suppliers and 92 film companies, with
some suppliers working across a combination of TV, film and
online. Across the portfolio, 49 companies were new suppliers
toChannel4.
Number of independent TV production

companies supplying the PSBs
BBC Portfolio
296
290
ITV Portfolio
89
Channel4 continued to deepen its relationships with suppliers

that it developed relationships with in the earlier stages of the
creative renewal process, leading to year-on-year reductions both
in the total number of companies that it worked with (down 8% on
the 2013 figure) and in the number of new companies (34% down).
There was also a decrease, of 14%, in the number of independent
TV production companies that Channel4 worked with.
81
Channel 4
Portfolio
240
274
Channel 5
Portfolio
59
In 2013, the most recent year that comparative TV industry

data is available for the public service broadcasters across
their TV portfolios, Channel4 worked with 240 independent TV
production companies, behind only the BBC (296 companies),
and substantially more than the combined total of the other
commercially-funded public service broadcasters, ITV and
Channel 5 (148 companies between them).
57
Highest
digital channel
159
129
2013
2012
Source: Channel 4, Broadcast (other channels)

2014 data not available for other channels
Output from
suppliers based
outside London
52%
of first-run
originated
programme hours
-3pts on last year
17pts above
Ofcom quota
43%
of the value of
first-run
originations
-3pts on last year
8pts above
Ofcom quota
Nurture Talent
Investment in the Nations and Regions (main channel)

In 2014, 52% of all hours of first-run originated programmes on
Channel4s main channel were sourced from suppliers based
outside London, and 43% of Channel4s expenditure on first-run
originated programming on the main channel was spent outside
London. Both of these figures represent small declines, of 3
percentage points each, on the 2013 figures. However, they are
both still higher than the corresponding figures in any previous
years going back to 2008. And this is only the second year
since 2008 that it has sourced more than 50% of its first-run
commissions from outside London. In both volume and spend
terms, these figures comfortably exceed the 35% licence quotas
set by Ofcom. In 2014 6.1% of first-run originated hours and 6.0%
of spend on the main channel came from the Nations. There was
a slight drop in volume from the Nations due to an increase in
high-tariff peak time shows compared to low-tariff daytime.
A total of 166 hours of first-run programming on the main channel
came from commissions in the Nations. Scotland saw a small
increase in the volume of programming (131 hours in 2014, up
from 130 in 2013), while total investment was up by 20% to
16million. The increase in spend was accounted for by a mix
of commissions that included not only returning daytime shows
like Fifteen To One but also new peak-time titles, which tend to
have higher budgets, including Scrotal Recall. The amount of
programming commissioned from Wales increased marginally,
from 29 to 30 hours. However, total investment in Wales fell by
22%, to 3.8 million, as a number of high-end peak-time shows
such as Time Team did not return in 2014. In Northern Ireland,
programming was down by 13 hours in 2014, and the amount
invested declined by 59% to under 1 million. The higher figure
in2013 was due primarily to the 4thought.tv strand that ran
inthatyear.
Despite a reduction in overall volume, in 2014 Channel4
worked with new production companies in Northern Ireland
tocreate impactful programmes that garnered critical acclaim,
including Addicts Symphony, the first Channel4 commission
from production company Big Mountain, and SecretHistory:
HitlersSecret Drug Habit.
More information on Channel4s work in the Nations and Regions
is provided on page 37.
Proportion of first-run originated output

and spend on Channel 4 which is made
outside London
52%
55%
43%
46%
35%
Volume of
output (hours)
2014
Quota
Source: Channel 4
35%
Investment in
output (m)
2013
19
153m
spent on
production
companies based
outside London
-12% on last year
21m
spent on
production
companies in the
Nations
= with last year
Nurture Talent
Spend by region across the Channel4 TV portfolio

Channel4 spent 153 million on content from production
companies based outside London across its TV portfolio in
2014. Channel4s commissions from the English regions span
many genres, including the likes of New Worlds and One Born
Every Minute (South of England), Embarrassing Bodies and
Benefits Street (Midlands), Hollyoaks and Channel Four Racing
(North of England). This represented a 12% decline year-on-year,
as Channel4 spent less in the English regions, following the
cancellation of Shameless.
Percentage of Channel 4s expenditure

across the TV channel portfolio outside
London by region
12
14
1
41
2014
2013
37
While overall expenditure on content across its TV portfolio

from companies based outside London fell in 2014, Channel4
maintained its 21 million expenditure on content from production
companies in the Nations. They produced programmes
such as Man Down (from Scotland), Posh Pawn (Wales) and
Addicts Symphony (Northern Ireland). The largest component
of expenditure in the Nations, 16 million, was spent in
Scotland, 18%up on 2013. A further 4 million was spent in
Wales, 22%down year-on-year. The remaining 1 million was
spentinNorthern Ireland, 59% down on the 2013 figure.
50
28
7
North of England
Midlands
Multi-Region
Nations (Scotland, Wales

and Northern Ireland)
South of England
Source: Channel 4
Note that these investment figures for the Nations, which cover
spend across the Channel4 portfolio, differ slightly from those in
the previous metric (see previous page), which relates specifically
to the main channel.
Different voices
54hrs
of first-run
programmes
covering
international topics
on Channel4
(excluding news)
and True Stories
across the portfolio
-23% on last year
Alternative
views
Range of international programming

Channel4 shows programmes covering international topics
across a wide range of genres. In 2014, there were 54 hours
of first-run programmes with an international theme on the
main channel (excluding Channel4 News) and in the dedicated
international True Stories documentary strand which runs
across the main channel, More4 and Film4. This represented
a23% decline year-on-year, due in part to Hughs Fish Fight
notreturning this year, and also because as we approach a
General Election in the UK Channel4s Current Affairs slate
in2014 skewed more towards new series on domestic issues
such as Factual commissions Skint and Benefits Street.
Current Affairs programmes continued to represent almost half of
the international programming in 2014. Along with the Unreported
World strand, major international Dispatches films in the year
included Nigerias Hidden War. The next biggest category was
Documentaries, which primarily comprised the True Stories films,
along with the season of Science programmes centred on Live
From Space, featuring live shots of Earth from the International
Space Station.
In addition to True Stories, the Film4 channel offers a wide range
of films from around the world. In 2014, 781 hours of films from
outside the UK and US were shown on this channel (12% less
than in 2013).
In 2015, Channel4 will strengthen its international content
withseries such as Indian Summers, Walking the Nile and Tribe,
which will complement its domestic Current Affairs programming
around the General Election.
Genres covered by international-themed

originations on Channel 4 (main channel)
as a percentage of total first-run hours
10
16
15
7
2014
46
2
2013
47
29
23
Current affairs
Documentaries
Religion
History
Science
Other
Source: Channel 4
20
Different voices
118hrs
of first-run
originations
covering diversity
issues on the main
channel
+15% on last year
Cultural
Diversity
Diversity output on the main channel

In 2014, Channel4 showed 172 hours of originated programmes
on the main channel whose subject matter covered diversity
issues (i.e. religion, multiculturalism, disability or sexuality).
118of these originated hours were first-run programmes, and
42 of the first-run hours related to programmes that were shown
in peak time, including Lent Diaries (Religion), Make Leicester
British (multiculturalism), The Undateables (disability) and
OurGayWedding: The Musical (sexuality).
The total amount of diversity-related programming shown on the
main channel rose slightly in 2014, by 2%. Within that, there was
a bigger rise, of 15%, in the volume of first-run diversity-related
programming, due to the coverage of the Sochi 2014 Paralympic
Winter Games. The amount of first-run diversity programming
shown in peak fell sharply, however, by 42%. This is partly
because the Sochi coverage ran across the day, whilst also a
number of series from the previous year including 4thought.tv
and Bedlam did not return in 2014.
Channel4s impact on diversity includes far more than the
programme commissions covered by these figures. The
organisation supports a range of initiatives targeted at helping
people from different backgrounds develop their careers in
television. These include our 4Talent days, production training
scheme and apprenticeship programmes.
We are also working to develop a cross industry measuring
system that can more comprehensively capture the full range
of diversity featured in our content, from the type of explicit
diversity content captured in this metric to mainstream portrayal
in programmes across our schedule. Read more about our work
on Diversity on page 97.
Film
Output on the
Film4Channel
37%
from outside
theUS
21%
from the UK
Diversity of Film4 channel schedule

Whereas most mainstream film channels rely predominantly
onHollywood studio titles, the Film4 channel showcases a
more diverse and alternative range of films from the UK and
around the world. In 2014, 21% of the output on the channel
comprised British films, including those co-funded by Film4
Productions (2013: 22%). These British films, along with those
from continental Europe and other parts of the world (of which 5%
were coproduced with the US), together accounted for 37% of
outputon the channel. This is a decrease of3 percentage points
on the corresponding figure for 2013.
In 2014, Film4 showed a season of Akira Kurosawa films,
comprising five of his greatest Samurai classics, re-mastered,
including Seven Samurai. Amongst other highlights were Mark
Cousins new documentary A Story of Children and Film, a
season of films from Asian director Hong Sangsoo that had never
been available before in the UK, and the premiere in a key 9pm
peak-time slot of Haifa Al-Mansours Oscar-nominated Wadjda,
the first feature film shot entirely in Saudi Arabia and the first
feature-length film made by a Saudi femaledirector.
Total hours of programming covering

diversity issues shown on the main channel
(2014 with trends relative to 2013)
172
All
originated
of which
118
First-run
of which
(2% up)
Source: Channel 4
(15% up)
42
In peak
(42% down)
21
News and Current Affairs
331
Long form news
and current affairs
programmes in
peak
-3% on last year
Stimulate
debate
Commitment to long-form journalism

The transmission of News and Current Affairs programmes
withextended running times allows topics to be covered
in greater depth. Channel4 believes that it is especially
important tooffer such programmes at a time when citizens are
increasingly consuming news from a greater range of platforms,
including digital and social media, many of which focus on
short form content that does not offer comparable levels
ofrigourandanalysis.
In 2014, Channel4 showed 331 long form News and
CurrentAffairs programmes defined as those running for at least
45 minutes (for news) and 15 minutes (for current affairs) inpeak
time on the main channel (using Ofcoms definition of peak, which
runs from 6pm 10.30pm). This represents asmall decline, of
3%, on the corresponding figure for 2013. Channel4 showed
substantially more long form news and currentaffairs programmes
in peak than the other main PSB channels combined.
Including the period up to midnight, the corresponding figure
for Channel4 was 378 titles. This was 1% down year-on-year,
with the volume of post-peak long form News and Current
Affairs programmes increasing by 15%. This total was greater
than the corresponding number for any of the other main PSB
channels. The channel with the next highest number of titles
was BBC Two: it showed only 64 long form News and Current
Affairs programmes in peak; the bulk of its 350 titles 28 behind
Channel4s total was accounted for by Newsnight, which
showsin the post-peak period.
Number of long form News programmes and

single story Current Affairs programmes with a
duration of at least 45 minutes and 15 minutes
respectively shown on the main channel
between 6pm and midnight
Total
101
2014
127
2013
2014
64
2013
55
2014
60 33
2013
67
203
102
227
100
286
279
350
BBC 2
(BARB)
334
93
ITV 1
(BARB)
86
19
2014
331 47
378
2013
340 41
381
2014
BBC 1
(BARB)
8 3
11
0
2013
Peak (6pm 10.30pm)
Post-peak (10.30pm midnight)
Source: Channel 4, BARB (other channels)
Channel 4
(Internal)
Channel 5
(BARB)
22
Making an impact
Channel4 aims to make an impact in part

by reaching as many people as possible
with its content, and particularly groups
that other PSBs find it harder to engage
with. Just as important to its remit delivery
is the public value that it delivers by
being alternative and diverse, taking
risksand inspiring change.
Reputational impact
Channel4 measures its public value impact
by looking at audience perceptions against
key reputational statements. We consistently
outperform the other main PSB channels
on all the statements that are linked to its
public service remit, typically by a significant
margin showing that it continues to
occupy a distinctive and valuable place in
the broadcasting ecosystem. We therefore
assess variations in performance each year
by highlighting Channel4s lead over the
average for the other channels.
Last year Channel4 saw a significant
improvement in its scores on the reputational
statements, reflecting the success of the
creative renewal strategy. Its performance
in 2014 was stable, as the creative renewal
reached a new stage of maturity. Across
all 12 reputational statements covering
aspects of its remit, its average lead over
the average for the other main channels was
26percentage points, the same as in 2013.
The most emphatic leads were for taking risks
that others wouldnt (39 percentage points),
tackling issues other channels wouldnt
(37points) and taking a different approach
to subjects compared to other channels
(29points).
For 10 of the 12 statements, Channel4s
lead was within 1 percentage point of the
2013 lead. Of the other two statements,
its lead over the other PSB channels for
being best for documentaries that present
alternative views rose by 2 percentage points.
Coming after a big increase in its score on
this metric in 2013, this shows how strongly
viewers appreciate the distinctive nature
of Channel4s factual output. On the final
statement, Channel4s lead for catering for
audiences that other channels dont cater for
fell by two percentage points. However, this
decline isrelative to a peak score achieved
in2013, and the proportion of people who
chose Channel4 this year is still bigger
thaninanyother year since 2008.
Television
The Channel4 portfolio was watched by
85% of all TV viewers every month in 2014
of all the UK broadcasters, only the BBC
and ITV reached more people. This was 1.6
percentage points down year-on-year. All the
public service broadcasters suffered declines
as competitive pressures from other digital
channels grew.
Channel4 has a particular responsibility
to engage with hard-to-reach audiences,
and it strengthened its performance in this
area in 2014. It had a 17% portfolio viewing
share amongst 1634s, 2% up on last year.
Channel4 is the only PSB that attracts a
larger share of viewing amongst this age

group than across the overall UK population.
Its portfolio viewing share amongst black and
minority ethnic (BAME) groups was 10.4%,
level with 2013. BAME audiences account for
a larger proportion of Channel4s audience
than they do for the audience of other PSBs.
News and Current Affairs form a key part of
Channel4s remit delivery. More than 8million
people watched Channel4 News each month
in 2014. BAME viewers and those aged
1634 accounted for a larger proportion of
its audience than for the news programmes
on the other main PSB channels. These
figures were fairly stable in 2014: its overall
reach fell by 3%, 1634 viewing fell by
1percentage point while BAME viewing rose
by 1 percentage point. Channel4 News also
outperformed the other main broadcasters
news programmes for being seen as
independent from the Government and
(jointlywith BBC News) being independent
from the influence of big business.
We look at five reputational statements
covering the approach and subject matter
ofCurrent Affairs programmes, such as giving
a voice to groups that arent always heard
in mainstream media, and showing stories
about parts of the world you would rarely
see on British TV. Across these statements,
Unreported World had the highest average
scores of all the main CurrentAffairs
programmes and strands on the main
PSBchannels, while Dispatches came
insecond place.
Online
Channel4 continued to grow its presence
indigital media in 2014 with its on demand
service 4oD, content to accompany TV
programmes, and stand-alone digital
content,such as the new Shorts channel
on 4oD. There were 634 million visitsto
Channel4s websites, mobile sites and apps,
18% up year-on-year. On 4oD, 587million
programme views were initiated, 23% up
onlast year.
Channel4 News saw significant uplift in
video consumption, with total video views up
more than 200% on last years total. Monthly
unique visitors to the Channel4 News website
were up 73% year-on-year.
Audience feedback
Channel4 draws on feedback from a variety
of sources: its Viewer Enquiries Centre,
monitoring of social media traffic, bespoke
audience research, and information provided
by registered online users, including the new
Core4 community. Alongside these, the Buzz
metric shows us which programmes people
have talked about the most, face-to-face or in
social media. The average Buzz score for the
10 most talked-about programmes in 2014 was
73%, with Channel4 Racing leading the pack
for thesecond yearrunning.
23
24
Different voices
23pt lead
over average for
other channels for
showing different
cultures and
opinions
-1pt on last year
Cultural
Diversity
22pt lead
over average for
other channels for
challenging
prejudice
-1pt on last year
Cultural
Diversity
25pt lead
over average for
other channels for
showing the
viewpoints of
minority groups
= with last year
Cultural
Diversity
Channel reputations shows different kinds of cultures

and opinions
In 2014, one-third of all respondents (33% of the total) selected
Channel4s main channel as being best for showing different
kinds of cultures and opinions. This gave Channel4 a substantial
23 percentage points lead over the average for the other main
PSB channels, and an 18 percentage point lead over BBC One,
the next highest-scoring channel.
The proportion of people selecting Channel4 fell marginally yearon-year, by 1 percentage point. Nonetheless, this was still the
second-highest score that the main channel has achieved since
Channel4 began reporting this metric in 2008. Over the last three
years (20122014), as Channel4s creative renewal has impacted
on the schedules, the proportion of people choosing the main
channel for this metric has held steady in the range of 32%
34%, compared to the corresponding figures of 27% 30% for
the prior years (20082011). This metric shows a small variation
and continues to be stable.
Channel reputations challenges prejudice
29% of respondents most associated programmes on Channel4s
main channel with challenging prejudice in 2014, a significantly
higher number than for any other channel. Channel4s score was
22 percentage points higher than the average for the other main
PSB channels (1 percentage point less than the corresponding
figure in 2013), and 19 percentage points higher than that for the
next highest channel, BBC One (level with the 2013 figure).
The proportion of people selecting Channel4 in 2014 was level
with the corresponding figure in 2012, and 1 percentage point
down on the 2013 figure which was the highest since Channel4
began reporting this metric in 2008. As such, Channel4s
performance on this metric has been stable over the last three
years, having jumped by 4 percentage points in 2012, as viewers
began to appreciate the impact of the creative renewal (29% of
respondents selected Channel4 in 2012, compared to 25% in
2010 and 2011). With just a small variation, this metric continues
to be stable.
Channel reputations shows the viewpoints of minority
groups in society
In 2014, Channel4s main channel maintained its large lead
over other channels as being best for showing the viewpoints of
minority groups in society. It was chosen by 32% of respondents,
level with the 2013 figure. This equated to a lead of 25 percentage
points over the average proportion of people who chose the other
main PSB channels (also level with the corresponding 2013 figure).
Channel4s lead over the next highest channel, BBC One, was
22percentage points, level with its lead (also BBC One) in 2013.
Channel4 also tracks audience perceptions of which channel is
best for showing the viewpoints of particular minority groups, with
the main channel significantly outperforming the other channels
in each case (with BBC One consistently the second highestscoring channel). It was selected by 30% of viewers as being best
for showing the viewpoints of different ethnic groups in the UK, a
lead of 22 percentage points over the average for the other main
PSB channels, and of 16 points over BBC One. 28% of viewers
thought Channel4 was best for showing the viewpoints of gays
and lesbians, 24 percentage points more than the average of the
other PSB channels, and 23 points more than BBC One. And
26% of viewers thought Channel4 was best for showing the
viewpoints of disabled people, giving it a 20 percentage point
lead over the average of the other PSB channels, and a 17 point
lead over BBCOne. This metric continues to be stable as it is
level yearonyear.
Shows different kinds of

cultures and opinions
34%
33%
15%
15%
10%
10%
2014
2013
Channel 4
Next highest
PSB channel
Average for other

main PSB channels
(BBC 1, BBC 2, ITV 1
and Channel 5)
Source: Ipsos MORI commissioned by Channel 4
Challenges prejudice
30%
29%
10%
11%
7%
7%
2014
Channel 4
Next highest
PSB channel
2013
Average for other
main PSB channels
and Channel 5)
Shows the viewpoints of minority

groups in society
32%
32%
10%
10%
7%
7%
2014
Channel 4
Next highest
PSB channel
2013
Average for other
main PSB channels
and Channel 5)
Making an impact
25
Different voices
27pt lead
over average
for other channels
for allowing people
an alternative point
of view
-1pt on last year
Alternative
views
Channel reputations home for alternative voices

34% of respondents selected Channel4s main channel as being
the home for alternative voices in 2014. This was a substantially
higher figure than that for any other channel, none of which were
chosen by more than 9% of people. The proportion picking
Channel4 was 27 percentage points higher than the average for
the other main PSB channels, and 25 percentage points above
the figure for Channel 5, the next highest channel.
Channel4s performance on this metric fell marginally in 2014,
with the proportion selecting the main channel, its lead over the
average for the other main PSB channels, and its lead over the
next highest PSB channel all falling by 1 percentage point over
their 2013 levels. Despite a small variation, this metric continues
to be stable.
Home for alternative voices

35%
34%
9%
9%
7%
7%
2014
2013
Channel 4
Next highest
PSB channel
Average for other

main PSB channels
and Channel 5)
Distinctive approaches
13pt lead
over average for
other channels
for making viewers
think in new and
different ways
-1pt on last year
Inspire change
37pt lead
over average for
other channels
for tackles issues
that other channels
wouldnt
+1pt on last year
Distinctive
Channel reputations makes me think about things in new

and different ways
In 2014, 22% of respondents selected Channel4s main channel
as being best for making them think about things in new and
different ways. This gave it a clear lead over the other PSB
channels, with a 9 percentage point lead over BBC Two, the
nexthighest channel. Channel4s lead over the average for
theother main PSB channels was 13 percentage points.
Channel4s performance on this metric fell marginally in 2014,
with the proportion selecting the main channel, its lead over
theaverage for the other main PSB channels, and its lead over
the next highest PSB channel falling by 1 percentage point each
over their 2013 levels. Despite slight declines over the last two
years, Channel4s performance against this metric has remained
reasonably stable over time, and the proportion of people
choosing the main channel in 2014 was only 2 percentage points
below its all-time peak since the metric was first reported in 2008.
This metric shows a small variation and continues to be stable
year-on-year.
Channel reputations tackles issues other
channels wouldnt
With one of the highest scores achieved in any of the reputational
statements, Channel4s main channel was selected by 44% of
respondents as being best for tackling issues that other channels
wouldnt in 2014. The other main PSB channels were chosen by
only 7% of people each on average, giving Channel4 a huge lead
of 37 percentage points. Its lead over the next highest channel,
Channel 5, was only slightly lower, at 34 percentage points.
Channel4s performance against this metric, which was
introduced for the first time in 2013, improved year-on-year.
Both the proportion of people choosing the main channel, and
its lead over the average for the other main PSB channels, rose
by 1 percentage point. However, its lead over the next highest
channel fell by 1 percentage point, as Channel 5 moved into
second place ahead of BBC One (the proportion of respondents
who selected Channel 5 rose by 2 percentage points). This metric
continues to show stability with a variation of 1pt year-on-year.
Makes me think about things in new and

different ways
23%
22%
13%
13%
9%
9%
2014
2013
Channel 4
Next highest
PSB channel
Average for other

main PSB channels
and Channel 5)
Tackles issues other channels wouldnt

44%
43%
10%
8%
7%
2014
Channel 4
Next highest
PSB channel
7%
2013
Average for other
main PSB channels
and Channel 5)
26
29pt lead
over average
for other channels
for taking a
different approach
to subjects
compared to other
channels
+1pt on last year
Distinctive
Channel reputations takes a different approach to subjects

compared with other channels
In 2014, Channel4 continued to distance itself from other public
service broadcasters by taking a different approach to subjects
compared with other channels. The main channel was chosen by
37% of respondents for this reputational statement, its highest score
since 2008. The proportion choosing Channel4 was 1percentage
point up year-on-year, following a 7 point rise in 2013.
Channel4s lead was 29 percentage points over the average
for other PSB channels, again 1percentage point higher than in
2013. Its average lead over the other channels has now risen by
10percentage points over the last two years, and is at a higher level
than at any time since 2008. Its lead over the next highest channel,
Channel 5, was 26 percentage points in 2014, one percentage point
lower than in 2013 (as Channel 5s score also rose slightly).
The upward trends over the last two years reflect the impact of the
ongoing creative renewal, which has overturned a couple of years
of modest decline between 2010 and 2012, taking Channel4s
performance against this metric to higher levels than the previous
peak in 2010. This metric continues to show stability with a variation
of 1pt year-on-year.
181
new or one-off
programmes
shown on
Channel4 between
6pm and midnight
-27% on last year
Innovative
New and one-off programming

As part of its commitment to experimentation, Channel4
includessignificant numbers of new and one-off programmes
inits schedules. In 2014, there were 181 of these programmes
onthe main channel between 6pm and midnight (when audiences
are at their highest levels). This figure is 27% down year-on-year,
reflecting the maturing of Channel4s creative renewal strategy,
which has led to a stronger spine of returning series in the 2014
schedule than in recent years.
Takes a different approach to subjects

compared with other channels
37%
36%
11%
10%
8%
8%
2013
2014
Channel 4
Average for other

main PSB channels
and Channel 5)
Next highest
PSB channel
Number of new and one-off programmes

shown on the main PSB channels between
6pm and midnight
BBC 1
155
159
BBC 2
215
Only BBC Two showed more new and one-off programmes in

the evening schedule than Channel4 in 2014 (215 in total, 14%
down). Channel4 was ahead of all the other main PSB channels,
by substantial margins in most cases. It showed 93 more new
and one-off titles than ITV in its evening schedules, 56 more
thanChannel 5, and 26 more than BBC One.
249
ITV 1
88
127
Channel 4
181
247
Channel 5
125
103
2014
2013
Source: Attentional commissioned by Channel 4
39pt lead
over average
for other channels
for taking risks that
others wouldnt
= with last year
Distinctive
Channel reputations takes risks with programmes that

others wouldnt
Channel4s main channel was selected by 46% of respondents as
being the one that, more than others, takes risks with programmes
that others wouldnt. At almost half of the total sample, this was one
of the largest figures for any of the reputational statements in 2014.
Channel4s lead over the average of the other main PSB channels
was 39 percentage points, and it was 32 points ahead of the next
highest channel, Channel 5.
There were only marginal changes in Channel4s performance
against this metric year-on-year: the proportion of people choosing
Channel4, and its lead over the average for the other main PSB
channels, were both level with the corresponding figures for 2013.
Meanwhile, its lead over the next highest channel, Channel5,
fell by 2 percentage points. With no variation since last year,
thismetriccontinues to show stability.
Takes risks with programmes that

others wouldnt
46%
46%
14%
12%
7%
2014
Channel 4
Next highest
PSB channel
7%
2013
Average for other
main PSB channels
and Channel 5)
Making an impact
27
28pt lead
over average
for other channels
for being
experimental
= with last year
Innovative
Channel reputations is experimental

In 2014, 36% of people associated Channel4s main channel,
more than any other channel, with being experimental. This
represented an increase of 1 percentage point year-on-year.
Overall, there was very little change in this metric compared to the
previous year, with Channel4 maintaining a substantial lead over
the other main PSB channels. The proportion of people choosing
Channel4 was 28 percentage points higher than the average for
the other main PSB channels, level with the corresponding 2013
figure, while Channel4s lead over the next highest channel fell
by 1 percentage point to 20%, following a 2 point improvement
inChannel 5s performance. This metric shows stability level
with last year.
Is experimental
36%
35%
16%
14%
8%
2014
7%
2013
Channel 4
Next highest
PSB channel
Average for other

main PSB channels
and Channel 5)
Film
26pt lead
over average
for other channels
for being the best
for modern
independent film
= with last year
Distinctive
Channel reputations is best for modern independent film

In 2014, 32% of respondents picked Channel4s main channel
as being best for modern independent film. Channel4 had a lead
of 26 percentage points over the average for the other main PSB
channels, and a 24 percentage point lead over Channel 5, the next
highest channel. The most popular films this year included Film4
titles The Inbetweeners Movie, which drew 1.9 million viewers,
andthe premiere of One Day, which was watched by 1.4 million.
There were small year-on-year variances in Channel4s
performance against this reputational statement in 2014.
Theproportion of respondents selecting the main channel fell
by 2 percentage points from the all-time peak achieved in 2013.
However, Channel4s maintained its significant lead over the
average for the other main PSB channels, which was at the same
level as in 2013; and it slightly increased its lead over thenext
highest channel, Channel 5, whose own score fell by4percentage
points (so no other PSB channel was selected by more than 8% of
respondents). With no variation year-on-year thismetric continues
to show stability.
Is best for modern independent film

34%
32%
12%
8%
9%
6%
2014
Channel 4
Next highest
PSB channel
2013
Average for other
main PSB channels
and Channel 5)
Factual
23pt lead
over average for
other channels
for being the best
for documentaries
that present
alternative views
+2pts on last year
Alternative
views
Channel reputations is best for documentaries that present

alternative views
In its documentary programmes, Channel4 seeks to differentiate
its output from that of other broadcasters through their subject
matter and approach, and in particular by presenting alternative
views not often shown on television. Viewers continued to
recognise Channel4s distinctive approach in 2014, with 35%
of respondents selecting the main channel as being best for
documentaries that present alternative views. This represents a
23 percentage point lead over the average for the other main PSB
channels, and a 16 percentage point lead over the next highest
channel, BBC Two.
Following a big increase in its scores for this metric in 2013,
Channel4 strengthened its performance further in 2014. All three
key indicators the proportion of respondents selecting the
main channel, its lead over the average of the other main PSB
channels, and its lead over the next highest channel (BBC Two)
rose by 2 percentage points year-on-year. For the second year
running, Channel4 recorded its strongest performance since it
began reporting this metric in 2010.
Is best for documentaries that present

alternative views
35%
33%
19%
19%
12%
12%
2014
Channel 4
Next highest
PSB channel
2013
Average for other
main PSB channels
and Channel 5)
28
Factual
67%
of viewers said that
Channel4s factual
programmes
inspired change in
their lives
-2pt on last year
Inspire change
Inspiring change through factual programming

In line with its public remit, Channel4 seeks to inspire people
to make changes in their lives through its factual programming.
Programmes may encourage people to think about things in
new and different ways, or think about making changes in their
own lives. They may also inspire more active engagement:
encouraging people to talk about the subjects of the programmes
to other people, or to seek out further information. At their
most proactive, programmes can lead to people actually trying
something new or different. 67% of viewers said that Channel4s
factual programmes inspired them in one or more of these ways
in 2014. The most inspiring programme this year was Benefits
Street 82% of respondents who watched this programme
agreed that it had inspired change in their lives in some form.
There was a small decrease, of 2 percentage points, in the
proportion of respondents who said that Channel4s factual
programmes inspired them in some way in 2014 relative to
the 2013 figure. However, its performance against this metric
remained in line with the figures achieved over the last few years:
between 2010 and 2014 it has held steady at between 67%
and69%.
Percentage of viewers who said that Channel

4s factual programmes inspired change in
their lives
Year-on-year change
67%
31%
2pts
Level
14%
1pt
8%
1pt
39%
4pt
11%
Level
Any inspiring change statement(s)

It made me think about its subject in new and
different ways
It made me think about changing something in my
own life
I tried something new or different after watching
this programme
I talked about the programme to other people
I looked for further information elsewhere
after watching this programme
77%
of Channel4 News
viewers regard it to
be independent
from Government
-2pts on last year
Distinctive
Independence of TV news
In 2014, 77% of regular viewers to Channel4 News regarded it as
being independent from the Government. This was 7 percentage
points more than the average for the other main broadcasters
(the PSBs and Sky), and 3 percentage points more than the
corresponding figure for Sky News, which was the next highest
scoring channel.
68% of regular news viewers to Channel4 News agreed
that it is independent from the influence of big businesses
in 2014, 6 percentage points more than the average for the
news programmes on the other main broadcasters channels.
Channel4 News was in joint-leading place on this measure,
alongwith BBC News.
On both of these measures, Channel4 News scores fell slightly
in2014 (by 12 percentage points). However, Channel4News
maintained its lead over the average for the other main
broadcasters news programmes for the proportion of regular
viewers who believe it to be independent from the Government,
and grew its lead over the next highest-scoring news programme.
For the proportion who believe Channel4 News to be independent
from the influence of big businesses, its lead over the average of
the other news programmes rose by 2 percentage points, although
its lead over the next highest-scoring news programme fell slightly,
from 1 to 0 percentage points. In 2014, Channel4 News viewing
share increased by 1%.
Percentage of regular viewers to TV news

programmes in 2014 who agree with the
following statements:
It is independent from the
Government
BBC News
ITV News
Channel 4 News
5 News
Sky News
Year-on-year change
63%
2pts
72%
Level
77%
71%
7pts
74%
It is independent from the

influence of big business
BBC News
ITV News
Channel 4 News
5 News
Sky News
2pts
1pt
Year-on-year change
68%
59%
68%
63%
59%
Level
2pts
1pt
5pts
2pts
Making an impact
29
46%
The average
programme
reputation
statement for
Unreported World
-1pt on last year
42%
The average
programme
reputation
statement for
Dispatches
-1pt on last year
Stimulate
debate
Educational
Alternative
views
Inspire change
Programme reputation statements Current Affairs

There are variations in both approach and subject matter in the
public service broadcasters Current Affairs output. Channel4s
two main current affairs strands, Dispatches and Unreported
World, place a particular emphasis on investigative journalism,
on challenging viewers to see things differently, on giving a voice
to those who might not otherwise be heard and, especially in
Unreported World, on providing a window on the wider world.
Through its one-hour specials, Channel4 also commits to
delivering in-depth coverage for important stories.
Channel4s strengths in these areas are highlighted by five
audience reputational statements that assess perceptions of
theCurrent Affairs programmes both regular strands and
one-offs on the main PSB channels. In 2014, Unreported World
scored higher than any other programme or strand on three of
the five reputational statements, for: showing stories about parts
of the world you would rarely see on British TV (selected by
60% of respondents), making me see something in a different
light (44% of respondents), and giving a voice to groups that
arent always heard in mainstream media (43% of respondents).
Acrossthe five statements, its average score was 46%, the
highest of any Current Affairs programme or strand on any
ofthemain PSBchannels.
Dispatches was rated in second place in all five reputational
statements, behind only Unreported World for three of the
statements, and behind only Watchdog for uncovers the truth
and Panorama for covers things in great depth. Its average
score across the five statements was 42%, the second highest
average score behind Unreported World.
Uncovers the truth

Watchdog
60%
Dispatches
58%
Panorama
57%
Crimewatch
52%
Unreported World
45%
Channel 4 programmes
Other broadcasters
Covers things in great depth programmes

51%
Panorama
Dispatches
47%
Newsnight
42%
39%
Unreported World
39%
Crimewatch UK
Other broadcasters
Made me see something in aprogrammes

different light
Unreported
World
44%
There was little variation relative to the 2013 figures, with

Channel4s two main strands scoring higher average scores than
the Current Affairs programmes on other channels in both years.
The average score across the five statements for Unreported
World and Dispatches both fell slightly, by 1 percentage point,
year-on-year.
Dispatches
39%
Panorama
36%
The Martin Lewis

Money Show
31%
BBC News:
The Editors
30%
Other broadcasters
Gives a voice to groups that arent

always
programmes
heard in mainstream media
Unreported
World
43%
Dispatches
35%
Question
Time
34%
Panorama
30%
This Morning
28%
Other broadcasters
Shows stories about parts of programmes

the world
you would rarely see on British TV
60%
Dispatches
33%
This World
31%
Panorama
28%
BBC News:
The Editors
26%
Unreported
World
Other broadcasters
programmes
30
Engaging the audience
85.2%
of all TV viewers
reached every
month across
Channel4s TV
channels
-1.6pts on last year
Audience impact
Audience reach
Across its portfolio of TV channels, Channel4 has the thirdhighest reach of all the UK broadcasters, behind only the BBC
and ITV, and well ahead of fourth-placed Channel 5. The BBC,
ITV and Channel4 are the only UK broadcasters that reach
more than three-quarters of all UK viewers every month. 85.2%
of all TV viewers watched Channel4s TV channels for at least
15 consecutive minutes each month on average in 2014. Reach
for the main channel alone was 77.4%, while Channel4s digital
channels together reached 64.6% of viewers.
Average monthly reach of public service

broadcasters TV portfolios
Total (%)
BBC
94.3
95.2
ITV
89.4
90.9
In an ever more competitive digital TV landscape, Channel4s

total TV portfolio reach fell by 1.6 percentage points compared
to the 2013 figure. All the public service broadcasters suffered
declines in 2014, with the commercial PSBsall suffering similar
falls of between 1.4 and 1.6 percentage points. Expressing the
declines as percentages of total reach, Channel4s reach fell
by 1.8%, which was in the middle of the range of declines of the
commercial PSBs (ITVs reach fell by 1.7%, while Channel 5s
fellby 2.0%).
Looking at the individual channels in the Channel4 portfolio,
themain channel and More4 both experienced year-on-year
declines in reach of 2.5 percentage points. Film4s reach
fell by 1.4 percentage points, while E4 and 4Music suffered
only marginal declines, of 0.2 percentage points each.
Takentogether,the digital channels continued to grow their
contribution to Channel4s overall portfolio reach.
Channel 4
85.2
86.8
Channel 5
69.5
70.9
2014
2013
Source: BARB, 15 minute consecutive, average monthly

reach, all people
Percentage reach of individual TV channels

in Channel 4 portfolio
Total (%)
Channel 4
77.4 main channel
79.9
E4
35.7
35.9
More4
36.3
38.8
Film4
33.6
35.0
4Music
9.8
10.0
2014
2013
Source: BARB, 15 minute consecutive, average monthly reach,

all people. See online methodology for further details
Making an impact
31
10.9%
viewing share
across the TV
channel portfolio
-0.1pts on last year
Audience impact
TV viewing share
Channel4s TV portfolio achieved a total viewing share of 10.9%
in 2014. The main channels share was 5.9 %, equivalent to 54%
of the total for the portfolio, while the digital channels had a
combined share of 5.0%. This is the highest ever share achieved
by the digital channels. E4 was the biggest digital channel, hitting
2% share for the first time, followed by Film4 (1.5%), More4 (1.2%)
and 4Music (0.3%).
Channel 4 portfolio share as a percentage

of total TV viewing
Viewing share fell year-on-year, but by a smaller amount than in

2013. Overall portfolio share was 0.1pts down on the 2013 level.
The main channels share fell by 0.2pts, reflecting the ongoing
fragmentation of viewing in the digital TV space. Notwithstanding
this increased competition, the digital channels continued to grow
their viewing share, which was up by 0.1pts overall. The biggest
individual increase in share was enjoyed by E4 (up 0.1pts).
2012
Total (%)
5.9
2014
2013
6.1
5.0
10.9
4.9
11.0
6.6
2011
4.9
11.5
4.8
11.6
6.8
2010
7.0
11.4
4.4
Digital TV channels
Source: BARB
Channel 4 2012 data includes the Paralympics channels.
See online methodology for further details
Viewing share of digital channels as

a percentage of total TV viewing
Total (%)
2014
2.0
2013
1.9
1.5
1.2
1.5
1.2
2012
1.8
1.2
2011
1.8
1.2
2010
1.8
1.1
1.2
E4
More4
Film4
4Music/The Hits
4.9
0.3
1.5
1.4
5.0
0.3
4.9
0.3
4.8
0.3
4.4
0.3
4.4
Source: BARB
Channel 4 2012 data includes the Paralympics channels.
See online methodology for further details
10.4%
portfolio viewing
share amongst
BAME audiences
= with last year
Cultural
Diversity
Share among hard to reach audiences BAME

Channel4s remit requires it to make programmes that appeal
topeople from different cultural backgrounds, and it is particularly
important for the broadcaster to attract ethnic minority audiences.
Achieving this is challenging, given that viewers from Black, Asian
and Minority Ethnic (BAME) groups watch disproportionately
high levels of digital channels, as a result of which their viewing
to the public service broadcasters channels tends to be lower
onaverage than that of white viewers.
Public service broadcasters portfolio viewing

shares amongst white and BAME audiences as
a percentage of total TV viewing by those
audiences (2014)
Differences*
BBC
-33%
22.7
34.1
In previous years, Channel4 has had a smaller differential

between its TV portfolio viewing shares amongst BAME and white
viewers than that of any of the other public service broadcasters
meaning that BAME audiences represent a higher proportion
of Channel4s total audience than they do of the total audience
of other PSBs and Channel4 improved its performance further
in 2014. Its TV portfolio share amongst BAME audiences was
10.4%, while the corresponding share amongst white audiences
was 10.9%. This gives a differential of 5%, considerably lower
than the corresponding BAME/white viewing differentials for
theTV portfolios of the other public service broadcasters,
whichranged from 18% to 33%.
ITV
-33%
15.1
22.7
Channel 4
-5%
10.4
10.9
Channel 5
-18%
4.9
6.0
While its total TV portfolio viewing share declined in 2014,

Channel4s portfolio viewing share amongst BAME audiences
rose marginally in absolute terms. Channel4 also narrowed
the viewing differential between BAME and white audiences,
whichfell from 7% in 2013 to 5% in 2014.
46.9
Other broadcasters
78%
26.3
BAME
WHITE
Source: BARB
*
Viewing by BAME audiences compared to viewing by white

audiences
32
17.0%
portfolio viewing
share amongst
1634 year olds
+2% on last year
Cultural
Diversity
Share among hard to reach audiences 1634s

Channel4 is the only public service broadcaster that attracts
a larger share of viewing amongst hard-to-reach 1634s than
across the general population, and it strengthened its appeal
further amongst 1634s in 2014.
Public service broadcasters' portfolio viewing

shares among 1634s and all audiences as
a percentage of total TV viewing by those
audiences (2014)
Differences*
Across its TV portfolio, Channel4s viewing share amongst

1634s was 17.0% in 2014. This represented an absolute
increase, of 0.3 percentage points, over the 2013 level we
believe this to be the highest portfolio viewing share Channel4
has ever achieved amongst this audience across its TV channels.
BBC
-27%
24.3
33.1
ITV
-15%
18.8
Channel4s viewing share amongst 1634s was 56% higher than

its corresponding all-audience share in 2014. By contrast, ITVs
1634s share was 15% less than its all-audience portfolio share,
and the BBCs was 27% less. Channel4s relative appeal to
young audiences also grew this year: the differential between
1634s and all audiences increased from 51% in 2013.
22.0
Channel 4
56%
17.0
10.9
Channel 5
-2%
5.8
5.9
Other broadcasters
21%
34.1
28.1
1634s
All
Source: BARB
*
5.5%
viewing share for
E4 amongst 1634s
+7% on last year
Cultural
Diversity
Most popular channel for young viewers

E4 continued to grow its viewing share amongst 1634 year olds
in 2014. Its 5.5% share amongst this age group was 7% up on the
2013 figure, ensuring it remains the fourth most popular channel
in the UK behind only BBC One, ITV and Channel4, and ahead
of the other two main PSB channels, BBC Two and Channel 5.
Viewing by 1634s compared with all audiences
Viewing share for the top 10 channels amongst

1634s as a percentage of total viewing by this
age group
Year-on-year change
BBC 1
3%
ITV 1
1%
Channel 4
2%
E4
7%
Channel 5
2%
ITV 2
7%
BBC 2
1%
BBC 3
1%
CBeebies
6%
Dave
4%
13.6%
Channel4s main channel also performs disproportionately well

amongst 1634s, amongst whom it is the third most popular
channel. It achieved an 8.0% share in 2014, slightly down (by 2%)
on its 2013 level.
12.7%
8.0%
5.5%
4.4%
4.0%
3.6%
3.2%
2.5%
2.2%
Source: BARB
Making an impact
33
17%
of viewing to
Channel4 News
programmes on the
main channel in
2014 accounted for
by viewers aged
1634
-1pt on last year
14%
Viewing to national news

Channel4s main evening news programme continues to
appeal disproportionately to young and BAME audiences,
relative to news programmes on the other main PSB channels.
Young audiences aged 1634 accounted for 17% of viewing
to Channel4 News in 2014, compared to their share of just
8%11% of viewing to the national news programmes on
the other main PSB channels. Viewers from BAME groups
represented 14% of all viewing to Channel4 News broadly in
line with their representation in the UK population. The other
main PSB channels had disproportionately low shares of BAME
viewing to their news programmes, ranging from 5% to 10%.
There was little year-on-year variation in these figures.
Theproportion of viewing to Channel4 News accounted
forby1634s fell 1 percentage point, while the proportion
ofBAMEviewers rose by 1 percentage point.
Percentage of viewing to national news

programmes on the main PSB channels
in 2014 accounted for by 1634s and
BAME viewers
1634s
Year-on-year change
BBC 1
BBC 2
11%
Level
ITV 1
11%
1pt
17%
Channel 4
Channel 5
11%
Year-on-year change
5%
BBC 2
Level
8%
Level
6%
ITV 1
1pt
14%
Channel 4
Channel 5
10%
Distinctive
people watched
Channel4 News
each month
Reach of Channel4 News

In 2014, Channel4 News was watched (for at least 15 consecutive
minutes) by an average of 8.2 million people a month. The
programmes reach fell by 3% year-on-year. This was the lowest
annual rate of decline since 2010, and can be accounted for by
the decline in all TV viewing in 2014. In terms of viewing share,
Channel4 News increased its share slightly in 2014 (by 1%).
-3% on last year

Distinctive
18pt lead
over average for
other channels for
catering for
audiences other
channels dont
cater for
-2pts on last year
Cultural
Diversity
Channel reputations catering for audiences other channels

dont cater for
In 2014, 27% of respondents selected Channel4s main channel
as being best for catering for audiences other channels dont
cater for. This was 18 percentage points more than the average
of the other main PSB channels, and 11 percentage points more
than the next highest channel (Channel 5).
While the proportion of people choosing the main channel in 2014
was 2 percentage points below the peak score achieved in 2013,
this was still a bigger figure than in any other year since 2008, and
6 percentage points higher than the 2012 figure. Channel4s lead
over the average for the other main PSB channels was also down
by 2 percentage points year-on-year (but 8 points above the 2012
figure). Its lead over the next highest PSB channel fell further,
by 4 percentage points, as Channel 5s own score improved
by 2 points.
Caters for audiences other channels don't

cater for
29%
27%
16%
14%
9%
9%
2014
Channel 4
Next highest
PSB channel
1pt
3pts
Source: BARB
+1pt on last year
8.2m
1pt
-1pt
BAME viewers
BBC 1
of viewing to
Channel4 News
programmes on the
main channel in
2014 accounted for
by BAME viewers
1pt
8%
2013
Average for other
main PSB channels
and Channel 5)
34
587m
programme views
initiated on demand
+23% on last year
Digital
634m
total visits to
Channel4s
websites, mobile
sites and apps
+18% on last year
On demand viewing
On demand viewing to Channel4s programmes via catch-up
services continued to grow in 2014. 587 million programme views
were initiated across all platforms on which Channel4 makes its
content available including PCs, smartphones, tablets, games
consoles and connected TVs. Thiswas a substantial increase,
of23%, on the 2013 figure.
Channel 4 programme views initiated (m)
Growth in on demand views was particularly strong on mobile

platforms and connected TVs in 2014. 4oD views more than
doubled on the Sky platform in 2014, and increased by 160%
onNetflix.
Source: Channel 4
Total visits to Channel4s websites, mobile sites and apps

Channel4s websites, mobile sites and apps attracted 634 million
visits in 2014, representing an impressive 18% increase year-onyear. Channel4s apps accounted for the most significant growth,
with the number of visits increasing by 75%. As a result, apps
accounted for just over 50% of all visits to C4 digital properties
covered by this metric this year, up from 35% of the total in 2013.
The growth in app visits partly cannibalised visits to Channel4s
websites and mobile sites, which fell by 12% year-on-year. This
reflects broader consumer trends in which users are increasingly
accessing content via dedicated smartphone and tablet apps.
Monthly visits to Channel 4's websites,

mobile sites and apps (m)
587
2014
2013
476
Total
2014
308
2013
186
Visits to websites and mobile sites

Visits to apps
Source: Channel 4
Digital
351
326
634
537
Making an impact
35
73%
average Buzz score
for Channel4s 10
most talked about
programmes
Stimulate
debate
Producing talked about TV

Channel4 aims to make an impact with its programming in part
by engaging viewers, inspiring conversations and stimulating
debate both in social media and the real world. Buzz scores
help Channel4 to assess audience reactions to its programmes:
based on a daily survey of around 1,000 respondents, they track
the proportion of Channel4 viewers who said they talked about
programmes that they watched, or commented on them on
socialmedia, including Facebook and Twitter.
The average Buzz score for the 10 most talked-about
programmes on Channel4 in 2014 was 73%, 4 percentage points
higher than in 2013. Channel4 Racing was the most talked about
programme for the second year running, with 79% of its viewers
talking about it or commenting online, up from 75% last year. In
second place, Youngers, a comedy drama set amongst a group of
teenagers in south-east London, also had a Buzz score of 79%
an impressive figure for a new drama that resonated strongly with
its young target audience. The Top 10 was dominated by factual
shows, including The Supervet, in which a Bionic Vet treated
hard-to-cure pets, and First Dates, which eavesdrops on pairs of
single people getting to know each other over dinner.
Programme
Channel4 Racing
79%
Youngers
79%
The Supervet
77%
First Dates
74%
Inside Rolls-Royce
74%
Man vs Weird
73%
Channel4 News
69%
My Granny the Escort
69%
The Queens Mother-in-Law
69%
The Morning Line
68%
Average Buzz Score* for 2014

top10 programmes
73%
Buzz measures the proportion of viewers who

hadtalked or communicated about the programme
in some way. In 2014 we amended the wording
ofthe survey; therefore no prior year comparison
isavailable. See methodology document for
furtherdetail.
Source: Ipsos MORI commissioned by Channel4
64%
of total viewing
across the main
channel, E4 and
More4 accounted
for by network
originations
+1pt on last year
Viewing to network originations

Network originations programmes commissioned by Channel4
and transmitted on any of the channels in its TV portfolio
accounted for 64% of total viewing to the main channel, E4 and
More4 in 2014. This represented a 1%pt increase year-on-year.
In volume terms, network originations represented 61% of
all hours across the schedules of the main channel, E4 and
More4 (also up 2% over the 2013 figure). Comparing these
two figures, network originations accounted for a higher
share of viewing (64%) than their corresponding share of the
volume of programming (61%) in the schedules. As such,
programmes commissioned by Channel4 outperformed
acquiredprogrammes, by accounting for a disproportionately
high share of overall viewing.
Note that the Film4 channel is excluded from this metric as, by
its nature, its output is made up primarily of acquired feature films.
Buzz%
2014
36
Spotlights
37
SPOTLIGHT
National and Regional voices
Make Leicester British
Channel4 works hard to make

sure its output and the people
that make our programmes
represent and reflect all parts of
the country. Regional diversity
is embedded into Channel4
inthe locations and stories we
feature on-screen as well as
directly through the suppliers
weworkwith.
6%
of network spend
out of England
Scotland: 4.6%
Wales: 1.1%
Northern Ireland: 0.3%
A wide spread of geographical areas were

portrayed in 2014 with scripted series
featuring locations including Lincolnshire
(My Mad Fat Diary), Glasgow (Scrotal Recall)
and Leeds (Drifters). Our factual output
sought to capture contemporary life in areas
such as Leicester (Make Leicester British),
Birmingham (Benefits Street), and London
(Educating the East End). In addition to
these fixed settings, many of our peak-time
shows included rolling locations with Kevin
McCloud visiting Derry, Monmouthshire and
Cornwall in Grand Designs and Kirstie Allsopp
meeting house buyers in Belfast, Kent,
Gloucestershire and Bristol in Kirsties Best
of Both Worlds. We cast participants from
across the UK in shows ranging from First
Dates to The Undateables with contributors
from County Durham and The East Riding
joining the families of Gogglebox.
Behind the scenes, our Creative Diversity

team continued to identify and nurture
regional companies, as we work towards
our new licence commitments to invest 9%
of network spend out of England by 2020. In
2014 we increased our spend outside England
for the fifth year in a row, working with a
wide range of indigenous Nations-based
companies, including Boom (Posh Pawn) and
Rondo (Frozen at Christmas) in Wales, Big
Mountain (Addicts Symphony), Double Band
(WWIs Forgotten Heroes) and Waddell Media
in Northern Ireland and Raise the Roof (Phil
Spencer Secret Agent), Matchlight (Jockey
School) and IWC Media (Britains Benefit
Tenants) in Scotland. In percentage terms,
4.6% of our network spend was in Scotland,
1.1% in Wales and 0.3% in Northern Ireland.
A key success story in terms of both
production and representation was the
commission of Glasgow indie The Comedy
Unit on the eve of the Scottish Independence
Referendum to produce Scotland in a Day.
This was an irreverent mock-documentary,
featuring an all-star Scottish cast that charted
a variety of characters and their thoughts
on what way their vote would go. The show
delivered strong representation of Scotland
and the company continue to develop with
thechannel and are looking at a potential
follow up in 2015.
In Wales director Amanda Rees, owner
of burgeoning company Tifini, won her
companys first commission with Channel4
in 2014 the moving film Finding Mum and
Dad. This film was nominated for a host of
awards including a Grierson Award for Best
Documentary, and has enabled the company
to win further work from the channel.
52%
of network hours
out of London
Addicts Symphony
38
SPOTLIGHT
Growth Fund
Popkorn Media Ltd
Since its inception Channel4

has worked side-by-side with
UK independent production
companies, helping stimulate
what is now one of the most
innovative and creative
production sectors in the world.
4.9m
invested in 2014
As part of this commitment to the growth

of the sector, at the beginning of 2014
Channel4 launched a 20 million Growth
Fund. It aims to nurture the independent
sector by providing access to capital
funding for small independent TV and digital
production companies based in the UK by
facilitating growth in invested companies. It
will also help generate additional commercial
return for Channel4 and will add a new
dimension to our existing support for the
sector by stimulating growth outside of the
normal commissioning cycle. The Growth
Fund alsooffers an important alternative to
otherforms of equity and debt funding for
creative companies.
Channel4 now has minority stakes in UK
based indies Arrow Media Ltd, Lightbox
Media Ltd, Popkorn Media Ltd, True North
Productions Ltd and Eleven Film Ltd.
Moreinvestments are expected in 2015 and
there will be continuing diversification of
the portfolio across genres, geographical
locationand management teams.
The Growth Fund investments do not

influence the strategy of Channel4s
commissioning team who continue to
work with the broadest range of suppliers
and in a manner consistent with the Code of
Practice for Commissioning of Independent
Productions and with equality of access.
Nooutput or minimum guarantees are given
to invested companies in relation to Channel4
commissions. The Growth Fund acts as a
minority investor, leaving the management of
the invested companies to run the business.
All returns from the Funds investments will
be used to further invest in the indie sector.
As of the end of 2014 4.9 million had been
committed to investments, leaving significant
funds available for future investments in the
Growth Fund companies.
Lightbox Media Ltd
True North Productions Ltd
Eleven Films Ltd
The Fund started with around 20 million,

initially expected to be invested over a
period of three years in a broad portfolio of
television production and digital companies.
Channel4s investment in any one company
will not exceed 25%; the idea is to hold stakes
for up to five years to allow companies to
achieve growth and sustainability. A newly
setup Growth Fund Advisory Board, including
industry figures from outside of Channel4
will provide advice and counsel onthe
Fundsinvestment strategy.
Arrow Media Ltd
Spotlights
39
SPOTLIGHT
data strategy
Our award-winning data strategy

helped to drive differentiation and
growth in our online revenues
in 2014 and of our 11.3 million
registered users, 4.5 million
areactive at least once every
three months.
11.3m
registered users
Winner
Grand Prix
Marketing Week Data
Strategy Awards
Data forms a key element in a growing

proportion of our online deals as behavioural
targeting becomes an ever more embedded
expectation amongst advertisers. Projects
such as the personalised campaigns for Coke
and Burberry drew wide acclaim and helped
Channel4 Sales to win Digital Sales Team
ofThe Year.
Our data strategy is also a key driver ofour
2015 move into the programmatic trading
of VOD inventory, where we are the first
broadcaster in the UK to do so, and which
will help secure our ambitious digital
growthtargets.
Extending the viewer relationship
In 2014 we integrated specific viewing
behaviour data into our outbound
communications, making them much more
relevant to the viewer. Fans segmentation
has been used for targeting on specific
campaigns leading to a 30% increase in the
open rate and, in some cases, a five-fold
increase in the click through rates.
Viewers are now able to request a reminder
about their favourite shows, and we have
introduced an automated email that surprises
and delights viewers, telling them when shows
they have previously watched are backon the
channel. This has led to a respective 75% and
50% increase in the openrate compared to
the weekly non-targeted newsletter.
We have extended our relationship with our
registered viewers by inviting them to regularly
tell us their views (on our programmes, pilots,
products, marketing campaigns and adverts)
via our 9,000 strongresearch panel, Core4.
Continued innovation
Following from the success of demographic
targeting, we have combined first party
research data derived from the Core4
panel with three years of rich first party
behavioural data on 4oD to create Viewer
Interest Segments. The product has allowed
us to identify viewers with affinities to such
categories as new technology, beauty &
cosmetics and environmentally conscious.
The first trial of this innovative new product
is due to complete in Q1 2015. In developing
interest targeting Channel4 has pushed
further into open source analytics tools and
machine learning techniques, from clustering
programmes into smarter micro-genres
using viewer behaviour to predicting product
and lifestyle affinities using viewing tastes
andpreferences.
Building on the strides made in email
marketing we have started to optimise digital
promotional airtime on 4oD. Previously, online
video inventory used basic targeting; now
we are using data to make smarter decisions
e.g. promoting Utopia to viewers of similar
shows like Black Mirror and Complicit or
promoting Utopia to viewers of Nathan Barley
or promoting The Mill to viewers of Benefits
Britain 1949.
The next phase of the relationship strategy
is to bring together the deep viewer insight
we now have with the communications
capabilities we have developed, to personalise
individual viewing experiences. Throughout
our communications, promotions and the All 4
experience. Our aim is to use personalisation
to increase viewer frequency and viewing.
Awards
Over 2014 Channel4s Audience
Technologies & Insight department won
seven major panindustry awards for Data
Strategy, Relationship Marketing and
Research, most notably the overall Grand
Prix at the Marketing Week Data Strategy
Awards and the IT industrys Big Data
Projectof the Year.
40
Our Programmes
2014 was a year of strong creative

ambition for Channel4, with an array of
new shows and new ideas. We re-thought
and refined some of our best-established
strands and series and, in some cases,
doubled their audiences in the process.
Itwas a year marked by courageous
innovation in meeting our public service
remit, from Benefits Street to coverage
ofthe Sochi 2014 Paralympic Winter
Games that built on the success, the
talent and innovation behind the 2012
Paralympics. Andunderlying much of
thissuccess wasan ability to connect
with 1634s audiences in a way that
noother broadcaster does.
We were not alone in thinking it was a good
year. From the raft of awards won by News
and Current Affairs to the commercial
success of The Inbetweeners 2, our critics
and our audiences responded positively,
culminating in our being voted Channel of
theYear at the Edinburgh TV Festival.
Telling it like it is
In a year of austerity at home and conflict
abroad, we brought the realities of the
contemporary world to our viewers,
witha spread of programmes highlighting
inequalities in British society, with
programmes such as Skint, How the Rich
Get Richer and Cant Get the Staff. The huge
success of 24 Hours in A&E was matched by
a unique portrait of the police service in 24
Hours in Custody. Gogglebox continued to be
a hugely entertaining mirror of British life while
some of our education shows, such as Online
and Lying helped children navigate the risks of
the online world. Our news and current affairs
teams provided an unflinching picture of how
the civil war in Syria affected ordinary families
struggling to live their lives, and our in-depth
investigation of homophobia in Russia and
mass killing in northern Nigeria emphasised
the extent to which Channel4s commitment
to investigative reporting is nowalmost
unique in British television.
Building on success
We were proud of the fact that so many of
our comedy series, Toast of London, Friday
Night Dinner and Drifters on E4 grew their
audiences in their second and third series,
a gratifying pay-back on our investment in
writers, and particularly female writers and
performers. A similar commitment meant
that we gave creative space to established
writers like Sam Bain, Jesse Armstrong and
Dennis Kelly, as seen in Babylon and Utopia.
Our factual entertainment shows, The Island
with Bear Grylls and The Undateables were
further proof that it pays to work at and
develop a successful formula just as much as
to constantly pursue new ideas and formats.
A loyal audience is never easily won.
Innovation
While building on established success, 2014
was also marked by a strong commitment
to innovation. With many of our features
programmes we chose presenters and
performers who engaged with viewers as
equals and partners rather than experts
talking down to them. Right across the
channel we experimented with short form
content online, in comedy, in news and in
education, and the Shorts strand generated
an astonishing 3 million views on 4oD.
Aradically different kind of innovation
camewith Live from Space, which did exactly
what its title suggested, bringing astronauts
to screen live from the international space
station. In other ways, too, the year was
marked by innovation, with the Film4 team
experimenting with new distribution models,
helping the UKs independent filmmakers find
effective and sustainable ways of reaching
audiences in amulti-platform world.
Online and on-air working together
Singer Takes It All was a radical re-working
of the traditional TV talent contest in which
viewers could not only vote in real time but
even control the look and layout of the studio
stage. 30 million votes were cast for songs
sung and uploaded by viewers themselves
and research suggested that as many as
15% of viewers were using second screens
while they watched the show. In a different
vein, Dont Stop the Music also brought
online and on-air together, engaging viewers
in a more immediate way and resulting in
6,000 musical instruments being handed
in for school children to use. Our education
team aimed toget more of our education
content working in harmony with mainstream
entertainment, for example using Hollyoaks
storylines as a springboard to a series of short
films on family breakdown, Toms Life. And the
new Am I Normal portal aimed to bring all of
Channel4s education content to one place,
making it easier for young people to find the
informationthey need.
Nurturing talent
Under-pinning every success is our
consistent commitment to identifying and
nurturing talent, from young untried comedy
writers and presenters who represent
the true diversity of the UK, to some of
the bestknown and established creative
figures. Withour commissioning we aim to
constantly extend the range of voices from
all the Nations and Regions of the UK, and
with our growing success in online, apps,
and games we are bringing an ever-wider
range of creative and technical talent to
publicservicebroadcasting.
41
42
Comedy
Its about people, which is its

real beauty. Along with all the
razor-sharp wit, the nods and
the winks, it manages to be a
very human story.
The Guardian
Black Mirror: White Christmas
Successful comedy is television at

itsmost creative and risky a non-stop
and often nerve-wracking quest which is
not just about winning new audiences and
finding new talent, but also about holding,
and growing, loyal audiences for
wellestablished successes.
Interview with
Phil Clarke
Head of Comedy
2014 Ambitions
uu Build
on 2013s success with

established talent and returning shows
uu Provide
a home for good writing and

strong narrative comedy
uu Work
with the production community

to nurture a new generation of talent
onand off screen
What were the key ambitions for Comedy?

Our main ambition for 2014 was to build
on existing successes, and to grow loyal
audiences for them. But we also developed
new shows, in line with our editorial strategy,
and as the year progressed we saw that
strategy beginning to work and the
newtalent that went with it.
How do you feel 2014 went?
Weve had a good year. Toast of London
returned for a second series, to great critical
acclaim, picking up a record number of
nominations at the Comedy Awards and
winning the Rose DOr Sitcom award. Ithas
all the makings of a cult classic with itsown
devoted fan base. Im delighted that it will
be returning in 2015 for a third series. We
extended the range of what we do with
Scrotal Recall, a clever and charming

romantic comedy that turned out to be a
critical hit, as was the award winning sketch
show Cardinal Burns.
Another success was Friday Night Dinner,
our family sitcom which returned for a third
series with an average audience of more
than 1.6million. Derek generated an average
audience of over 1.8 million and bowed out
with a strong Christmas special disruptive
comedy with a legion of devoted fans.
On E4 Drifters returned for a fabulous second
run, building on the success of the first series.
The second series averaged almost 600,000
viewers an episode, a 27% increase on
seriesone.
And finally, working closely with Film4,
wesaw The Inbetweeners 2, the Channel4
comedy which started on E4, take more
than33 million at the UK box office.
Comedy
43
2015 Strategy
This is a sensitive, realistic
and often very funny take on a
modern mans search for love.
The Daily Telegraph
Scrotal Recall
How did Comedy help deliver the remit?

Original comedy is always high-risk and we
take creative risks with every show. We like to
encourage the new and the innovative that,
after all, is a core part of Channel4s remit.
And our contribution to the comedy
landscape is more than just our current
programmes. We develop new talent that
often goes on to have impact way beyond
Channel4 programmes. As well as launching
great new comedy talent, we provide a home
it can return to. For example, Black Mirror:
White Christmas brought Charlie Brookers
darkly innovative brand back for a third time,
reaching an audience of 1.9 million.
We also offer a space for cult talents like
Noel Fielding and Matt Berry, who are able
to experiment and produce programmes
that they wouldnt have the creative freedom
to make elsewhere. Auteur-led comedy is
important Channel4 territory and one that
wefiercely safeguard.
We work hard to ensure a breadth of

styles and tones in the programmes we
commission. For example, were exploring
akind of gentle, almost romantic comedy
that is well encapsulated by Scrotal Recall
acharming show about relationships. Well be
seeing more in that vein with Catastrophe in
2015, written by and starring Sharon Horgan
and Rob Delaney. But there will also be big
madcap laughs from a second series of
GregDavies Man Down.
Diversity of comedic voice is always a
consideration for us, and Im delighted that
we have been able to give a platform to so
many female comedy writers and performers
in 2014, including Jessica Knappett who
wrote and starred in Drifters, which will be
back for a third series in 2015. The year
ahead will also see us broadcast Caitlin
Morans Raised by Wolves, Julia Davis and
Nick Mohameds newcomedy, Morning Has
Broken, and Michaela Coals Chewing Gum.
Another way in which we nurture talent is

bygiving opportunities on different platforms
and in different formats this year our online
short form strand Comedy Blaps produced
Bad Robots, and Chewing Gum, both of
which went on to be commissioned series
onE4. Chewing Gum will go out next summer
while Bad Robots will return for a second run.
What are the key challenges?
One of our challenges is to sustain the
unconventional edge to the shows we
commission. As alternative comedy
becomes more mainstream, we have to
focus on what a new breed of comedy
programming looks like and what makes
Channel4 distinct.
Friday Night Dinner
Next year Toast and Drifters

will return, both of them shows
that help cement our channeldefining comedy brand. In an
election year, were looking
to introduce more satirical
comedy with the Battle on
the Buses, a highly topical
series, set on the political
party battle buses that will
run right through the election.
Thats editorially risky but
were confident it will add
extrapunch to our output.
We will also continue to
support female comedians
withChewing Gum, Morning
Has Broken, Catastrophe and
Raised by Wolves.
And, sadly, well be saying
afond farewell to Peep Show
as the last ever series hits
screens towards the end
of2015.
44
CASE Study: Comedy
Drifters
Comedy
45
The original comedy drama Drifters

sawbest friends Meg (Jessica Knappett),
Bunny (Lydia Rose Bewley) and Laura
(Lauren ORourke) return to our screens
for a second series.
Written by, and starring, Jessica Knappett,
Drifters is an original comedy drama series
about three best friends who are trying
and largely failing to avoid the pitfalls and
humiliations that life after university brings.
Broke and facing a quarter-life crisis, the girls
are on the hunt for a job, a place and the man
of their dreams, with some very funny and
very humiliating consequences.
Drifters is produced by Bwark Productions,
the company behind E4s multi-award winning
series and film, The Inbetweeners, and is
an example of Channel4s long standing
tradition of sharp, cutting-edge comedy.
Nurture Talent
Distinctive
charming,
witty sitcom
The Guardian
46
Drama
Interview with
Piers Wenger
Head of Drama
2014 Ambitions
uu Look
for a greater breadth of output
uu Tap
in to the key themes of

contemporary Britain
uu Showcase
the best new and

established talent
The key to great drama is great writers.

Bygiving them the creative space
theyneeded, and by experimentation,
Channel4 had some memorable dramas
in 2014 and laid a strong foundation for
2015 andbeyond.
What were the key ambitions for Drama?
In 2014 we aimed to tackle some big topics
about contemporary Britain in an interesting
and entertaining way with a wide range of
drama commissions, from comic series
andperiod pieces to youth drama.
And, as always, we were looking for writers
with strong points of view and subjects they
cared passionately about.
We had success with Babylon, written
by SamBain and Jesse Armstrong and
with apilot directed by Danny Boyle.
All three of them have a long history of
working with Channel4 and came to us
because we offered them the chance to do
something newand create a drama with a
distinctive comedic edge. The success of
the pilot episode led to our commissioning
a series, which also won praise from
criticsandaudience.
Its unique and one of the

most exquisitely funny British
dramas in years.
The Guardian
Utopia
Another success came with Utopia,

returningfor a second series to critical
acclaim. This idiosyncratic authored piece
galvanised fans, establishing a cult following,
winning an International Emmy for Best
Drama Series and two RTS Craft awards.
New Worlds launched in early 2014,
abeautifully filmic sequel to 2011s The
DevilsWhore. Set on both sides of the
Atlantic, it benefited from a wealth of talent
and sumptuous settings, although it didnt
find the audience that it deserved. Another
historical drama, The Mill, a collaboration
with our specialist factual team, returned
forasecond series.
Drama
47
2015 Strategy
The dark realism of Glue remains one of

its chief strengths, as does its graphic
portrayal of an alternative vision of
Englands supposedly idyllic countryside.
The Daily Telegraph
Glue
How did Drama help deliver theremit?

Nurturing talent is a critical part of successful
drama programming. We work with writers
throughout their careers and find that such
established figures as Russell T Davies and
Paul Abbott come back to us because we
allow them a degree of creative freedom
and experimentation they struggle to find
elsewhere. Another talented writer, Jack
Thorne, who started his career with Skins
andThis is England, came back to us in
2014to deliver Glue which launched to
criticalacclaim on E4.
Drama is a particularly powerful medium
for engaging hard-to-reach audiences and
stimulating debate. My Mad Fat Diary and
Youngers, both of which resonated strongly
with older children and young adults, allowed
us to tackle such issues as mental illness,
body image, and social inequality in a way
that was educative without feeling preachy.
New Worlds

The challenge for us is to have the confidence
to go on allowing writers and programme
makers to try new ideas and formats. Russell
T Davies trilogy Cucumber, Banana and
Tofu, which will air in early 2015, addresses
what it means to be gay in the modern world.
Each of the three shows will be broadcast
via a different channel: Channel4, E4 and
online. This multi-channel dimension allows
us to explore different facets to the story,
asCucumber follows the main protagonists,
Banana explores the younger characters
livesand Tofu offers a forum for viewers
toshare stories related to the show.
In 2015 we will continue

toexplore ways of bringing
new ideas to the screen in
newways, with a record level
ofinvestment and the launch of
a range of ambitious, outspoken
series across the schedule.
Drama commissions generally
have a long gestation period
and we are confident that the
year ahead will see a return
onthe investments weve been
making over the past two years,
with new shows launching at
8,9 and 10pm.
As well as the Russell T Davies
trilogy, Indian Summers will
launch in January. Escapist and
thought-provoking, this lavish
period drama, set towards
the end of colonial rule in
India, explores the breakdown
of British rule. We also look
forward to Paul Abbotts
long-awaited police drama,
No Offence, and to Human,
a new sci-fi series from the
makers ofUtopia and the first
series coming out of our new
coproducton strategy.
James Grahams new drama
about the formation of the 2010
coalition government will be
screened to coincide with the
General Election and, later in
the year, Shane Meadows will
unveil the final instalment
ofhis This is England series.
48
CASE Study: Drama
Babylon
Fast-paced and razor sharp Babylon was

one of the highlights of 2014, a year which
saw Channel4 continue its commitment
tooriginal and distinctive drama to
widespread critical acclaim.
Nurture Talent
Innovative
Distinctive
With a script entwined with dark wit and

drama from Peep Shows Sam Bain and
Jesse Armstrong, this new comedydrama took a sardonic look at the London
Metropolitan Police Service as it attempts
tonavigate the newworld of social media.
Brit Marling (Another Earth, Arbitrage,
TheEast) led a host of British talent, including
James Nesbitt (The Hobbit, Murphys Law),
Paterson Joseph (Peep Show, Law and Order
UK), Jill Halfpenny (EastEnders, Waterloo
Road) and Adam Deacon (Kidulthood, Dead
Set), who together, with director Danny Boyle,
helped create a unique depiction of the
spectacle-filled, yet fiercely political world
ofmodern policing.
beautifully
sensitive to the
absurdities of
modern life.
The Sunday Times
Culture
Drama
49
CASE Study: Drama
Fargo
bold, weird and gory.

The Daily Telegraph
Met with widespread critical acclaim,

theoriginal series Fargo was one of
thehighlights of 2014.
Innovative
Nurture Talent
Distinctive
Entrenched in trademark humour, murder

and violent horror, this original adaptation
by novelist/writer Noah Hawley, brought
audiences a modern take on the cult film
fromJoel and Ethan Coen.
Winner
Fargo brought together a stellar cast

including, Billy Bob Thornton (Sling Blade,
A Simple Plan) who plays a mysterious,
manipulative man who drifts from place
to place turning peoples lives upside
down, including his latest victim, small
town insurance salesman, Lester Nygaard,
playedby Martin Freeman (The Hobbit
Trilogy,Sherlock). Thornton and Freeman
were joined by Colin Hanks (Dexter,
Parkland),Bob Odenkirk (Breaking Bad),
Allison Tolman(Sordid Lives) and
Oliver Platt (Frost/Nixon, The Big C).
Winner of
2Golden Globes
International Emmy for

Outstanding Mini-series
50
Education & Older children
Frank, affecting
andsuperblyacted.
Radio Times
My Mad Fat Diary
Interview with
Dominic Bird
Head of Formats
2014 Ambitions
uu Focus
on teenage life skills, building

on a major piece of commissioned
research
uu Create
a closer synergy between

educational content and TV
entertainment
uu Help
young people develop digital

andsocial networking literacy
uu Shift
from online to more TV and

programme support
Our education strategy builds on

Channel4s unique relationship with
young people one of the most difficult
toreach audiences in the UK to provide
access to life-skills that young people
maystruggle to learn at school or at
home,with particular focus on sex and
relationships, family and friendships
andonline behaviour. Weaving together
programming that resonates with young
people and content of educational value,
we successfully address some of the most
sensitive questions that young people ask
but are often left on their own to answer.
What were the key ambitions for
Education?
Our key ambition is to create educational
content that is as accessible and entertaining
as possible. We define our role as filling
the gap between what your parents teach
and your school teaches and that means
fostering a strong relationship with younger
audiences, particularly teens, so that we
cancommunicate educational messages
thatresonate with them.
We are continuing our mixed strategy of TV
and online content, but augmenting it by also
putting all our education content TV and
online into one online hub. We wanted to

develop a single online portal, Am I Normal?,
that would allow us to curate all our content
in a single online hub, to be more in tune with
the way young people consume and interact
with content. We also wanted to commission
some key pieces to reflect the findings of
a major research project we undertook to
help us identify the important lifeskill areas
that young people were not learning enough
aboutat school or at home.
2014 has been a successful year and we have
been able to deliver programming that deals
with themes that we know young people are
interested in. The Channel4 research team
ran a major new piece of research to identify
these themes.
One of those themes was cyber safety for
young people. We commissioned magician
and star of E4, Troy, to create Troys Digital
Hijack, which used tricks and stunts to
highlight ways in which young people
can staysafe online. Troy is a strong new
Channel4 talent who has a great rapport
withyounger audiences.
Education & Older Children
Two other key themes identified by our

research were Sex & Relationships and
Friendships & Families. My Mad Fat Diary,
which tackled issues of mental health and
relationships, and Youngers, which has
been incredibly popular with our 1014 year
old audience, both returned for successful
second series.
We also commissioned a number of
challenging documentaries that will air in
2015. My Mental Friends explored self-help
friendship groups for young people with
mental health issues, Underage and Gay took
an honest look at sexuality in young people,
and Testosterone Diaries gave a powerful and
honest insight into a group of girls facing the
difficulties of growing up transsexual.
One of the things Im most pleased
aboutisthe launch of our online hub Am
INormal? at the end of the year, the online
destination for our educational and youthfocused programming from various genres.
It enables users to catch up on previously
aired shows, watch short form content, and
connect with each other via social media.
Itallows us to package educational content
alongside successful entertainment series
like Made in Chelsea or Educating and
other programmes that we know appeal to
younger audiences. Our Made in Chelsea
AmI Normal films have been an online hit
and thehub has also been a platform for
newandbespoke short form content.
We had a number of short form successes.
Online and Lying, looked at honesty on the
internet, while Gay Apps and Me interrogated
the confusing world of online dating
through the eyes of Harry Hitchens. We
also collaborated with Hollyoaks to produce
an online series of films Toms Life, which
centred on the issue of family breakdown
amajor Hollyoaks storyline of 2014.
What a lovely, warm story,

toldrespectfully and kindly,
full of inspiration and hope.
The Guardian
Stammer School: Musharaf Finds His Voice
We managed to reach 1.1 million 1419 year

olds in the UK withour programming.
2015 Strategy
How did Education help deliver theremit?

As with much of Channel4s output, we
aim to provide educational content that is
not found elsewhere. As far as possible, we
make it more effective by integrating it with
the Channels mainstream entertainment
content and brands. From Hollyoaks and
Made in Chelsea to My Mad Fat Diary and
Drifters, we have harnessed these brands to
provide a platform to talk about issues that
are frequently underserved by mainstream
education, such as sex and sexuality, the
dangers of the digital landscape, friendships
and family relationships.
2015 will see the fruits of our

new commissioning strategy
as many of the programmes
in production in 2014 arrive
onscreen, including Underage
and Gay and Troys Digital
Hijack, and we will continue
tofocus on the themes we
havealready established.
Stammer School: Musharaf Finds His Voice

was a one-off programme that followed young
stammer sufferers on an intensive course to
find their voices, mentored by Musharaf, the
young star of the hugely popular Educating
Yorkshire series.
We commission films that address difficult
and sensitive topics that are of real concern
tomany young people: Underage and Gay,
My Mental Friends, Girls Camp For Boys
and The Testosterone Diaries are just four
examples from 2014.
One of the main challenges with educational
content is finding the most effective way of
tackling big issues and getting young people
to engage with it.
This year we have focused on making
ourcontent easier to find, through our
Am I Normal? hub, and easier to relate to,
by working in collaboration with existing
Channel4 brands like My Mad Fat Diary
andYoungers.
We will build on our successes

in developing educational
content around existing
successful brands and we will
expand the Am I Normal? hub
with bespoke content so that,
in time, it becomes the single
place to find all the very best of
Channel4s educational content.
We will seek to serve our
audience of older children
with new Factual and scripted
commissions that resonate
with the interests of this
agegroup.
51
52
CASE Study: Education & Older Children
Am I normal?
Channel4 educational content aims to

connect with younger audiences around
the issues that they may not learn about
athome or at school. Am I Normal? is a
new online hub that aims to bring together
content aimed at 1419 year olds, where
much of the content centres around
issues that affect young people such
asfamily and friendships, sex and
relationships, online behaviour,
drinkanddrugs and mental health.
Distinctive
Alternative
views
Innovative
Educational
As well as new bespoke content and

Channel4 archive programming, the website
also offers facts and educational information
around these topics. The site poses a series
of questions to users, such as Is it normal
to hate how you look? and Is it normal to
ask out your best friends crush?, presented
as online polls, and showcasing Channel4
programming or short form content that
tackles the issues around the question
posed. On average, users visit three pages
per session which would suggest users are
viewing at least more than one poll when
onthe site.
After a soft launch in December 2014, the

site will continue to grow throughout 2015,
becoming the online home of content that
resonates with younger audiences from
across the different programming genres.
Education & Older Children
CASE Study: Education & Older Children
Hollyoaks
Toms Life
Finding ways to talk to young people

about family relationships can be
challenging. However, with the award
winning Hollyoaks enjoying some of its
largest audiences of recent times, we felt
that an educational collaboration was an
excellent way to reach 1419 year olds.
Stimulate
debate
Alternative
views
Innovative
Educational
The break-up of the Osborne family was

the storyline used to create bespoke online
short form content aimed at younger viewers.
Due to the pace at which stories are told
in soaps, the team behind Hollyoaks felt
unable to reflect the impact of the Osbornes
break-up on the children in the main show to
the degree possible in a dedicated spin-off
series. Through creative discussions with the
team the idea for Toms Life was born: a short
form series of six episodes available on our
on demand service. Only two months into
launch the series has already been viewed
over 73,000 times.
Toms Life focuses on the young people

in thestory, using research to generate
moments that resonate with younger
audiences and taking an overall educational
angle on the story, without being preachy
or overtly educational. The tone and feel of
the series is still very Hollyoaks big truthful
drama told with cheekiness and humour.
53
54
Entertainment
must watch television.

The Daily Telegraph
The Last Leg
Channel4s remit calls for innovation

intechnology as well as in ideas and
format. 2014 saw these two strands
beingbrought together in Entertainment,
with great success.
Interview with
Justin Gorman
Head of Entertainment
2014 Ambitions
for greater scale and innovation
with some big showpiece events
What were the key ambitions for

Entertainment?
Our focus for the year was to rejuvenate the
9pm and 10pm slots in the schedule, and give
prominence to shows that we really believe in.
We also wanted to keep up the pace of
technical innovation and take viewer interaction
one step further, building on ourprevious
success with shows like MillionPound Drop.
uu Go
And, finally, we wanted to find a new

entertainment show for daytime.
uu Broaden

The Last Leg was a real success story,
as proved by its RTS Award for Best
Entertainment format in 2014. We repositioned it from being a niche magazine
programme related to the 2012 Paralympics
to a primetime, Friday night 10pm show, but
without losing any of its original tone and
the range of formats

andsuppliers
uu Rejuvenate
and10pm
uu Innovate
peak-time slots at 9pm
with online and play-along

tomake viewing more fun
purpose: irreverent, exciting, satirical, topical

and just a little bit naughty.
Stand Up To Cancer was a huge event for us
in 2014. The second time around we wanted
it to be bigger, better and, most importantly,
to raise more money for Cancer Research
UK. We raised 16 million almost double
theamount in 2012. It was also crucial that
itfelt very Channel4: that the tone captured
the audiences imagination and that we
were able to deliver a serious and important
message in a programme that was also
entertaining and fun.
We had other successes, too. 8 Out of 10
Cats Does Countdown was one of the most
watched shows of 2014 and Fifteen to One
established itself as a key part of the daytime
schedule and will be back in 2015.
How did Entertainment help deliver
theremit?
The Singer Takes It All had innovation at
its heart, both in format and in terms of the
technology we used to engage viewers. It was
much more than just another singing contest;
we gave viewers full editorial control, allowing
Entertainment
55
2015 Strategy
In a year in which juggernaut
shows will continue to define
entertainment on other
channels, Channel4 will
make its mark with creative
innovation in key areas:
Pushing the limits of
technology with viewer
interaction and second
screenentertainment.
The Singer Takes It All
them not just to vote in real time but to control

the movement and look of the stage. They
could also use an app to upload their own
karaoke-style videos to be put to the public
vote. Over 30 million votes were cast for the
Hopefuls videos and during the live show a
phenomenal response. 15% of viewers also
interacted with the show on a second screen.
Nurturing talent is another key part of our
role in delivering the remit. Weve watched
presenters such as Jon Richardson with
JonRichardson Grows Up and Adam Hills
with The Last Leg go from strength to
strength and move into primetime. The Last
Leg also established Josh Widdicombe and
Alex Brooker as Channel4 stars of the future,
while Stand Up for the Week gave a platform
to a whole range of completely new talent.
We have a remit obligation to attract younger
audiences and with shows like 8 Out of 10
Cats Does Countdown attracting 18.5% of
the 1634s on a Friday night and Alan Carr:
Chatty Man continuing to be loved byyoung
audiences; we had some real success
in2014.

Its important that we dont stand still
and thatwe keep innovating, keep taking
creative risks and keep pushing the limits
of technology with viewer interaction and
second screen entertainment. To keep
building on the success of a show like Million
Pound Drop, we put enormous energy and
resource into developing original formats,
as demonstrated by shows like The Singer
Takes it All. But with 8 out of 10 Cats Does
Countdown, a spin-off from the original 8 out
of 10 Cats, and with the promotion of The Last
Leg to a major Friday night success, we have
also proved that we can and must keep
refreshing our longer running brands, finding
ways of bringing even bigger audiences to
them. I think for all broadcasters there is a
constant challenge to find new Entertainment
formats that audiences really engage with.
Another challenge is to sustain the quality of
our relationships with talent, ensuring familiar
and much-loved faces such as Alan Carr,
Adam Hills and Derren Brown, continue to
work with us to make award-winning shows.
8 Out of 10 Cats Does Countdown
Focusing more specifically

on upmarket audiences in
our search for fresh new
propositions for Friday night.
D
eveloping a brand new
entertainment format for
daytime to work alongside
Fifteen to One.
In addition, Derren Brown
willbe returning with a three
part special exploring illusions,
and Time Crashers, a new
immersive reality show with
ahistorical twist, will attempt
to pull off a massive stunt
by making eight celebrities
believe they really are
travelling through time.
56
CASE Study: Entertainment
Stand up
tocancer
A rambunctious,
entertainment-packed
evening.
The Daily Telegraph
Entertainment
57
For the second time stars from TV,

fashion, music and sport came together
for Stand Up To Cancer, the joint national
fundraising campaign from Channel4
andCancer Research UK.
The live TV fundraiser on Channel4
reunited hosts Alan Carr, Davina McCall and
DrChristian Jessen, raising over 16 million
for research into cancer, over double the
figure raised in 2012. The two evening shows
reached 10 million viewers and helped the
channel achieve the highest all day 1634s
share since the opening ceremony of the
Paralympics 2012.
The show, a culmination of inspirational
programming and fundraising activities,
featured comedy sketches, celebrity
interviews and moving real-life stories, with
stars including Taylor Swift, Andy Murray,
Pharrell Williams, Britney Spears and
BradleyCooper taking part.
Kathy Burke, Paul OGrady, Miranda Hart
andfriends, plus Kate Moss, Naomi Campbell
and Noel Gallagher were the stars of the
Gogglebox celebrity specials which drew
amassive peak audience of 4.3 million.
The night also saw the use of revolutionary
technology to heighten audience interaction
in a way not previously seen on television.
Hundreds of iPads were used by audience
members to continually update and reflect
thefundraising figures in real-time.
Stand Up To Cancer received over 188,000
mentions on Twitter on the night, and
AlanCarrs on-stage selfie was re-tweeted
33,000times.
Stand Up To Cancer had a positive impact
on viewers, with the majority stating that
watching SU2C made them feel that
collectively we could really make a difference
to combatting cancer, and that watching the
event made them more likely to donate to
acancer charity in the future.
Innovative
Distinctive
Inspire change
16m
raised for Cancer
Research UK
Partnership
9.9m
viewers
58
Factual
While the schedules are saturated with

fly-on-the-wall documentaries, Educating has
always stood apart, dealing almost exclusively
in those infectiously life-affirming moments
that are the holy grail of reality television.
The Guardian
Educating the East End
Factual programmes are at the heart of

Channel4s role to be an innovative force
intelevision and to reflect the diversity of
British society. From astronauts to artists,
beat police to benefit claimants, our
schedule for 2014 reflected a kaleidoscope
of opinions and perspectives, presented
with as much technical innovation as
creative imagination.
Interview with
Ralph Lee
Deputy Chief Creative Officer
2014 Ambitions
uu Centre
on thematic issues that reflect

contemporary Britain
uu Explore
ways in which social

networking is changing adolescence
uu Develop
new techniques to mix

conventional observational filming with
new image-capture technologies
uu Show
how DNA sequencing is changing

scientific research and medicine
uu Look
at innovative approaches to
tackling climate change
and fun to the subject and examined the lives

of the haves as well as the have-nots.
What were the key ambitions for Factual?

I think this year we achieved our ambition
to reflect modern Britain in all its diversity
with programmes that not only highlighted
key issues of public concern, but also
drove a significant public debate around
them perhaps most prominently with
Benefits Street which engaged the country in
important issues around welfare and benefits.
Our other documentaries continue to reflect
life through the prism of Britains key public
services, hospitals and schools.

2014 was an extraordinarily strong year
for factual programmes. This is partly
because we have achieved a healthy mix
of returning, popular programmes and
new titles. Weve continued to see strong
ratings for One Born Every Minute and 24
Hours in A&E; weve grown First Dates and
Gogglebox and weve seen the launch of
24 Hours in Police Custody, Royal Marines
Commando School and Benefits Street.
Meantime, weve broadcast Live from
Space, celebrated the legalisation of gay
weddings with an extraordinary, heartwarming musical documentary and seen
Grayson Perry explore identity through
portraiture. Ratings,particularly in terms
ofyoung viewers, have been very strong
fordocumentaries.
The economic outlook was a strong theme

and we focused on inequality and the
polarised nature of Britain through various
different projects including Skint, How Rich
Are You? and How the Rich Get Richer.
Otherprogrammes from Cant Get the Staff,
to Liberty and Posh Pawn brought a lightness
Live from Space pushed the frontiers

ofinnovation in television. It started with
a simple question What we if we turned
astronauts into TV presenters? so thats
precisely what we did developing
acollaboration with NASA to stream a
livefeedfrom space right to Channel4.
Factual
2014 has also been phenomenally successful

in terms of awards in Factual alone we have
won 41 in 2014. We take measured creative
risks and its always exhilarating to see that
recognised by viewers and the wider industry.
Taking risks by its very nature means that
there is sometimes an uncertain outcome:
theres an experimental angle to lots of the
programmes that we make, simply because
no one has done what were doing. With
Royal Marines Commando School, we filmed
the recruits using a combination of fixed rig
technology and an on-site crew to allow us
to capture the whole story the programme
was critically acclaimed and was a hit with
audiences, attracting an average audience
of2.7 million.
How did Factual help deliver the remit?
Factual programmes are key to delivering the
channels remit for innovation and diversity,
for giving a platform to alternative voices
and perspectives and for holding a mirror
upto modern Britain. At best we can achieve
many of these objectives in a single project
and I think 24 Hours in Police Custody is an
extraordinarily good example of that. The
access is unparalleled and the method of
production entirely unique, using a major
fixed rig camera set up in a usually off-limits
space but also following investigators outside
the station as they pursue investigations.
Theresult shows police work as youve never
seen it before, up close and in incredible
detail. And the police work itself gives you
incredible insight into key themes in modern
41
awards won in 2014
simply outstanding, knockout,

more gripping than most TV
police thrillers.
The Times
24 Hours in Police Custody
Britain, capturing stories about race relations,

domestic violence, drug and alcohol abuse,
paedophilia and illegal immigration.
Benefits Street was a really significant
programme for us this year, provoking a
hugeresponse from viewers. The programme
sparked a national discussion and proved
divisive, but it is our job as a broadcaster
to make programmes that stimulate debate
andget people talking.
In terms of offering a platform for different
views or perspectives, we did this by using
figures like Grayson Perry (Who Are You?)
andRupert Everett (Love for Sale) but also
with documentaries like The Paedophile
Next Door which asked searching questions
about how Britain goes about combating
paedophile behaviour.
It is always a challenge to innovate
whilecontinuing to deliver brands that are
audience favourites. In a multi-channel world,
successfully launching and growing new
titles has become tougher than ever. Weve
taken some calculated scheduling risks with
pleasing results, such as moving Gogglebox
to the heart of the Friday night schedule,
where weve seen it flourish.
We also need to work harder than ever
toamplify the impact of our programmes.
We did this in a number of creative ways
including a real world amnesty to collect
and redistribute thousands of unwanted
instruments for Dont Stop the Music, and
with a major marketing and cross platform
project for Live from Space, probably
our most experimental show of this year.
Wealsoengaged over half a million users
withthe companion online survey developed
for HowRich Are You?
59
2015 Strategy
Increasing the diversity of
the on-screen and off-screen
talent and production teams
will continue to be a priority,
asweseek to reflect the
diversity of modern Britain.
Were also increasing
theinternational outlook
of our programming, with
programmes such as The Tribe,
which involves using fixed rig
technology to look at the life
ofa remote tribal group in 21st
century Africa, and Walking
the Nile which follows explorer
Levison Wood as he treks the
length of the longest river
inthe world.
And finally in 2015 we
willcontinue to measure
theimpact of what we do.
Oursuccess is multi-faceted
and we will continue to seek
to be the best reaching
audiences, delivering social
impact and winning awards.
60
Factual
Entertainment
heart-warming.
Independent Online
The Jump
Factual Entertainment has always had

animportant role in bringing the values of
public service broadcasting to a younger
generation, but its a difficult genre that
easily gets lost in any schedule. In 2014
Channel4 took the gamble of going for
bigger shows with bigger impact
anditpaid off.
Interview with
Liam Humphreys
Head of Factual Entertainment
2014 Ambitions
uu Engage
audiences with important

contemporary issues in an
entertainingway
uu Return
to some of the themes

of2013 with special emphasis on
youth unemployment, mental illness,
disability, sex and sustainable living
uu Aim
for greater first-hand authenticity

in programmes and presenters
uu Challenge
young peoples assumptions

about ageing and old age
What were the key ambitions for Factual

Entertainment?
The first was to continue making entertaining
shows that say something about important
contemporary issues such as gender,
sexuality, healthcare, and disability in a
waythat makes them accessible to a broad,
mainstream audience. In particular, we are
always looking for ways to re-interpret the
role of public service broadcasting so that
itengages a younger 1634s audience.
A second key ambition was to deliver greater
impact; to give more scale to our programmes
and give them greater prominence in the
schedule. Factual Entertainment traditionally
works in three or four part series we decided
to invest in bigger pieces of architecture in
the schedule with more impact and more
likelihood of a further series in the future.
A third was to give opportunities to new and

more diverse on-screen talent, welcoming
new faces and providing new platforms
forfamiliar faces.
We had a strong 2014 with high ratings and
much talked-about new shows including The
Jump and The Island with Bear Grylls, strong
returning shows such as The Undateables,
Child Genius and Gadget Man, and a range
of one-off shows from Undercover Doctor:
Cure Me Im Gay to Dont Look Down. Im very
proud of the fact that both of the really big
innovative formats we launched The Jump
and The Island with Bear Grylls succeeded
and will be returning in 2015.
The Island with Bear Grylls is a programme
that explores what it means to be a man
in the modern world, but with a twist. We
sent thirteen ordinary British men to an
uninhabited Pacific island, and then left them
utterly alone, filming themselves, with only
the clothes they stood up in and a few basic
tools. Anything could have happened and the
results were surprising and inspiring. We have
had thousands of applications to appear in a
second series, indicating the extent to which
we struck a chord with our audience.
Factual
61
2015 Strategy
We want to build on the
successes of 2014, finding more
new and innovative formats
that have scale, and ensuring
that projects that are returning
for a second series are able to
evolve. Im really excited that
both The Island with Bear Grylls
and The Jump are returning
in even bigger form for their
second series.
a compelling, sometimes
shocking film.
The Daily Telegraph
Undercover Doctor: Cure Me Im Gay
The Jump was born out of a desire to raise

awareness of the Sochi 2014 Paralympic
Winter Games. It was full of risk. The celebrity
contestants were risking injury in every event,
the unpredictable nature of the content and
the weather conditions meant that, as a live
show, it was constantly changing and evolving
when we were on air. And simply putting on
a pre-watershed entertainment show on a
minority channel was a big risk, butThe Jump
found the right tone and didwell in the ratings.
How did Factual Entertainment help
deliver the remit?
Factual Entertainment has an important
role in bringing the values of public service
broadcasting to a younger generation. During
the first six months of the year, five of the
top twenty factual programmes for 1634s
in the UK, on any channel, came from our
department. This continued our record
of 2013, when we delivered ten of the top
fifty. Its a big responsibility and a privilege
to help shape young peoples view of the
world and we are constantly looking to make
programming that is relevant and inspiring
forthem.
Finally, finding new ways to speak to younger

audiences is always important. Our third
highest rated Factual Entertainment show of
the year for 1634s was Undercover Doctor:
Cure Me Im Gay, a programme that explored
the sensitive and uncomfortable matter of
socalled gay cures around the world.
Continuing our commitment

to explore important
contemporary issues,
Dementiaville will shine
a lighton an innovative
approach to this increasingly
prevalent condition, which
already affects 850,000 people
in theUK, and is expected
to impact on one in three
ofusinour lifetime.
Well also be looking to seek
new faces for our peak-time
shows and continue to develop
new and diverse channeldefining on-screen talent.
5 of the
top 20
factual programmes
for 1634s in the UK,
on any channel,
came from Factual
Entertainment
(datafrom first
halfof 2014)

We have to appeal to a wide range of
audiences, which is why we produce a
very broad slate of programming, from
big entertainment events like The Jump
to documentary series like Child Genius.
Attracting a male audience is something
weve worked hard to do with programmes
such as The Island with Bear Grylls and
Gadget Man.
We also strive to be daring, either by
tacklingsubjects others would shy away
from,or by presenting alternative approaches.
TheUndateables was a good example of
this approach rather than a straightforward
documentary about disability, we explored
dating and relationships for disabled people in
an entertaining and thought-provoking format.
Raises interesting questions

of nature verses nurture.
The Independent
Child Genius
62
Features
Bodyshockers
Features aims to reflect the life of

contemporary Britain back to itself in an
entertaining and accessible way. In 2014
we proved that the best way to do that is
with shows in which people shared and
learned from each other, rather than
beingtalked down to by experts.
Interview with
Gill Wilson
Head of Features
2014 Ambitions
uu Stimulate
public debate around health,

food and property
uu Commission
more content from

theNations and Regions to reflect
theUKsdiversity
What were the key ambitions for Features?

Our goal for 2014 was to instigate the shift
away from the traditional treatment of
features territories. We have undertaken a
drive to expand our output beyond that of
expert-driven didactic shows, to incorporate
peer-to-peer output, which uses contributors
to impart their own knowledge to others,
which gives features content a fresh feel
andapproach.
We also focused on diversifying our supplier
base, drawing particularly on Scottish talent.
We need to make sure we have a strong and
diverse talent pool to draw from in every part
of the UK.

We were able to consolidate our key core
area property in 2014. Kirsties Best of
Both Worlds, a new show fronted by Kirstie
Allsopp, was a good illustration of how the
audience thirst for property delivered in both
traditional and innovative ways. In 2014 we
commissioned five diverse property pieces
for 2015 Inside Out Homes, Ugly House to
Lovely House, Damned Designs, Restoration
Woman and Love It or List It. We cover
property from every angle now aspirational,
architectural, shocking, socially responsible
and revolutionary. As a result, I now feel
confident that our property portfolio is robust,
and we can concentrate on refreshing other
areas with the same success.
We took a fresh approach to another stalwart
of the features world in 2014 when we placed
a rig into the practice of Dr Noel Fitzpatrick
in Supervet. The rig brought drama, emotion
and comedy to 8pm in a new way, brought
a new hero to the channel, and was a hit
with the viewers it achieved an AI score of
92 making it Channel4s most appreciated
Factual
63
2015 Strategy
We will be concentrating on
maintaining our dominance
in health, and launching
stand out pieces which will
ensure 8pm on Channel4 has a
unique, audacious and distinct
offering. We will be returning
to some genres which have
been fallow for some time
on the channel and are ripe
for reinvention, and intend
to provide standout pieces
for2016.
Great Canal Journeys
programme across the whole of 2014.

Mr Drew approached parenting from an
educational angle, and For the Love of Cars
bought some star quality to the genre in the
form of Philip Glenister.
We had great success in completely
refreshing the makeover space with peer-topeer programming with Bodyshockers: Nips,
Tucks and Tattoos, which played at 10pm to
an average audience of 2.3 million. The series
established Katie Piper as a face of Features,
and opened the door for extreme features
at10pm. It has now been commissioned
forits third series.
By looking at current social mores we were
also able to serve up It Was Alright in the
70s for Saturday night. We are constantly
evaluating taste, and identified that the shift
in attitudes reflected in TV is astonishing
ineverything from sitcom, which you might
expect, to childrens TV, which you might not.
2014 was the year in which we were also able
to maximise recent successes with extending
brands. We were able to roll out the Amazing
Spaces brand to the successful Shed of the
Year. We have also extended the OCC brand
to include Filthy Rich where we introduce our
heroes of cleaning to stately homes.
We have had great success for More4,
commissioning well-received shows such
as Great Canal Journeys, Penelope Keiths
Hidden Villages, and Charlie Luxtons Homes
by the Sea.
How did Features help deliver the remit?

We have commissioned a great deal in
the mental health space, which we always
approach in an innovative and thought
provoking way. In 2015 we will see the fruits
of these commissions, bringing new talent
tothe territory in the form of Philippa Perry
inBi-Polar Explorer and Meet the Maniacs
isa ground breaking look at those actually
ina manic state.
We also play a part in ensuring that Channel4
is drawing on creative and technical skills
from all over the UK were contributing to
keeping the indie production sector dynamic
and diverse. We won two further Scottish
BAFTA awards in 2014, for Dave Fishwick,
Loan Ranger with small IPC Finestripe,
andLocation, Location, Location.
Launching new titles at 8pm remains
challenging in terms of driving audience
volume. In an increasingly crowded market
place we must provide an offering which
feels distinctly Channel4, and that also
cutsthrough to provide an inheritance
audience for later peak-time shows.
We will also be ring-fencing a

greater portion of the features
budget for out-and-out risktaking. Having worked hard
tostabilise 8pm performance
over the past years, the coming
years should place greater
emphasis on the number of
provocative commissions.
We will continue to experiment
with tone, form and content,
e.g. playing with devices
and drawing upon insights
from outside the world of
traditional television. We will
also continue to search for new
voices, faces and perspectives
on the stuff of life to share
with audiences at 8pm, further
helping to promote and deliver
our diversity objectives.
64
CASE Study: Factual
Benefits
Street
A sad and touching documentary,

which takes the time to offer
anuanced depiction of people
usually talked of as troubling,
unwelcome statistics
The Guardian
Benefits Street was one of the most

important programmes of 2014 for
Channel4. It resonated strongly with
audiences and stimulated a national
debate about poverty and the
welfarestate.
Stimulate
debate
Cultural
Diversity
69%
of viewers thought
theprogramme was
thoughtprovoking
Alternative
views
Inspire change
The observational documentary focused on

the lives of a group of people living on James
Turner Street in Birmingham most of whom
were on benefits. It sought to bring to life the
reality of living in poverty in Britain today and
put the people experiencing this reality at
theheart of the programme.
Following the final episode of the

series, Channel4 broadcast a follow-up
documentary which gave some residents
the chance to discuss their experiences of
the welfare system, while a live debate also
tackled some of the issues brought to the
foreby the series.
The programme reached 23 million people

more than one third of the British population
and though many were outraged by the
programme, a YouGov survey found that the
programme was in fact a big hit with viewers
and 78% of those surveyed said they would
watch it again. The majority felt it was good
TV and fairly portrayed what life is like in
impoverished communities. Perhaps most
interestingly those on some kind of benefits
were more likely than those not claiming
benefit to say that the programme was
afairportrayal.
The programme has been recommissioned

for 2015 and will focus on a street in
Stockton-on-Tees, near Middlesbrough,
which has been hit hard by the recession.
59%
found Benefits Street

highlighted the strength
of community spirit in
deprived areas
Factual
65
CASE Study: Factual
Live from
Space
Presented by Dermot OLeary, with

contributors including Professor Stephen
Hawking and British astronaut Tim Peake
on the live show, Live from Space was
20months in the making and took live
event television to a new dimension.
Innovative
The Live from Space season brought the

day-to-day experiences of living in outer
space into viewers living rooms. The series
culminated with a live two and a half hour
broadcast from the International Space
Station and Mission Control in Houston as
the ISS completed an entire orbit of the Earth,
allowing viewers to experience stunning
visuals shot from 250 miles above the Earth.
Educational
This series is a great example of creative risktaking. The programme took years to get off
the ground and was fraught with complexities,
but it was a brilliant concept and an important
opportunity to show how far space travel has
come. The series gave a unique insight into
the daily life and challenges aboard the ISS
and showcased the cutting-edge work that
astronauts are doing.
Forget
Gravity,
this is the
real deal
Metro
66
CASE Study: Factual
The Island
Exploring the evolving role of the modern

man, The Island with Bear Grylls asked if
todays sedentary and technology driven
lifestyle has dulled modern mens basic
instincts and ability to survive.
Innovative
Cultural
Diversity
Stranded and completely alone, this series

saw a group of British men battle exhaustion,
dehydration and the reality of crippling
hunger for 28 days on an uninhabited island.
The series didnt use a traditional crew.
Instead the men filmed themselves to create
an honest, raw and completely immersive
exploration of survival in the 21st century.
The series was watched by a consolidated
average of 3.1 million viewers and consistently
won the slot for 1634s, reaching an average
share of 20% of the young audience.
3.1m
viewers
Its about as close

astelevision has got
to Lord of the Flies
and its absolutely
fascinating because
of it.
The Guardian
Factual
67
CASE Study: Factual
Dont stop
the Music
A show thats full of

impetus. If you dont
already appreciate the value
of musicin education, there
wasplenty in Dont Stop
theMusic to persuade you.
The Independent
Angry about the state of music education

in Britain, James Rhodes had a radical
plan to reverse what he sees as years of
neglect. In his view, children are missing
out on an activity proven to improve
behaviour, creativity, teamwork even
basic literacy and numeracy. And Britain
ismissing out on the next generation of
talent. Dont Stop the Music followed
James as he trialled an instrument
amnesty in a primary school in Basildon,
investigates the crisis, gathers allies
andgears up to go nationwide.
Stimulate
debate
Inspire change
The programme was the number one

conversation on Twitter for five hours after
transmission and had great impact in the
press, and ultimately on the thousands of
children who now have musical instruments
to use at school. In six weeks over 6,000
donations were made the most successful
instrument amnesty of all time, including
one the BBC ran in 2000 with over 70,000
signatories to the change.org petition to
review music education.
The series was also the subject of a debate
in the Lords, with Lord Aberdare describing
the programme as a fantastic example of
TV, online and real world combining in an
innovative and strategic way.
of instruments donated
68
Film
Its gloriously OTT, and utterly

hilarious a real contender
for the years funniest film.
Empire
Inbetweeners 2
2014 was a year of great critical and

commercial success for Film4, reinforcing
our position as a vital player in Britains
independent film sector, promoting new
talent and helping to build a more
ambitious and sustainable industry.
Interview with
David Kosse
Head of Film4
2014 Ambitions
uu Nurture
the best new and established

talent in UK filmmaking
uu Help
TV-based talent to extend into film
uu Experiment
with new distribution and

release models
uu Explore
partnership funding
What were the key ambitions for Film4?

Film4 has always been about new talent,
about filmmakers who are just on the cusp
as well as more established filmmakers
whowant to stretch their wings and try
something new.
We wanted to explore new distribution models.
Were in a market place that is almost entirely
dependent on independent distributors
in Europe and the US, and the number of
distributors, and what they are willing to pay,
have both declined dramatically over the
past four or five years. As a major player in
the independent sector its incumbent on us
to explore new ways of distributing and we
did that, for example with A Field in England
in 2013. We also held a very successful
Digital Innovation Forum which brought the
industry together to discuss how the market
ischanging in an ever-more digital world. Here,
too, were in the vanguard of the independent
sector because we can put money into digital
activity round a film that most lower budget

productions are not able to do and share our
findings with the industry.
We were very active in 2014, with 14 films
being released. Inbetweeners 2 was a
huge success at the UK box office, earning
33million. Mr Turner was a massive critical
success, as expected, but it was a commercial
success too, Mike Leighs biggest film in terms
of the UK box office where it took 6.7 million.
We enjoyed tremendous critical success
with many of our other releases. Under the
Skin, chosen by both the Guardian and the
Telegraph as their top film of the year, was full
of daring technical innovations, in production
and in post-production. In that sense, it
really was a film ahead of its time. David
McKenzie directed what has been described
as his career best work with Starred Up and
catapulted its lead actor, Jack OConnell into
stardom. And Anton Corbijns A Most Wanted
Man, with one of Philip Seymour Hoffmans
lastperformances, performed well both here
and in the US.
Film
69
16.9m
spent on feature film

production and development
2015 Strategy
Our strategy for 2015 is to push
forward with those challenges;
to continue to look for high
quality, distinctive fare that
can resonate with audiences
both here and abroad. Weve
got some very strong projects
coming through Sarah
Gavrons Suffragette, a very
dark and quirky piece called
The Lobster and documentary
feature Dark Horse to name a
few. And were looking forward
to Todd Haynes Carol, which
stars Cate Blanchett as an
unhappily married woman who
embarks on an affair in 1950s
New York.
Director Mike Leighs

masterpiece and that word
isused accurately here
takesaDickensian delight in
ornate and earthy language,
characterand comedy.
The Times
Mr Turner
This is very simply and

straightforwardly,
a masterpiece.
Daily Telegraph
Under the Skin
We develop a lot of work with first-time

directors. I like to measure success partly
by asking Did the film do what it set out to
do? Was the creators aim achieved? And by
that yardstick I think we did well. But we also
measure success by looking at the trajectories
of some of our alumni people weve helped
early on in their careers, like Danny Boyle,
Steve McQueen and Andrea Arnold.
How did Film4 help deliver the remit?
Historically, Film4 has been about providing
alternative voices and growing new talent.
Its an important role and we are able to
support productions with the expertise and
resources they otherwise might not have for
development, business affairs, production,
post-production and launch and we generally
help them get their films into better shape so
as to maximise their audience. Its also very
risky we are at the riskiest end of a very
risky business.
Film is a crucial part of the Channels remit
and we step up to the task. But I think we
also have to keep a balance between remit
and revenue if we are going to create a
sustainable model for the UK industry.

Our challenge going forward is to keep that
balance between going for critical success
and commercial success. I believe Film4 can
play a part in helping the broader British film
industry to make movies that succeed at a
global level. We need to focus on films that
are fresh and distinctive that resonate with
audiences. That way, we can help create an
industry that is more sustainable and confident
and not so dependent on public money. In
simple terms, we dont always get back from
projects as much as we should and if we could
do that wewould have more to invest inother
films, orbe able to take bigger stakes in the
films we do support. Steering that path is
arealchallenge for us.
And, as I said earlier, our second great
challenge is to help independent filmmakers
come to terms with a rapidly changing
distribution market. We can have some
influence over the direction the industry
takesand that should be part of our role.
70
CASE Study: Film
71
New recruit Private Gary Hook (Jack

OConnell) is unexpectedly deployed
toBelfast during The Troubles in 1971.
Shortly after he arrives, a routine house
search operation escalates into a terrifying
street riot. During the chaosHook is
accidentally left behind. Unable totell
friend from foe, the raw recruit must
survive the night alone andfind his
waytosafety through adisorientating,
alienanddeadly landscape.
Nurture Talent
Distinctive
The film was directed by Yann Demange,

who most recently directed the first series
of Channel4s critically acclaimed drama,
Top Boy. Film4 had several projects in
development with Demange for a number
of years, with the aim of supporting his
debut film. Gregory Burkes screenplay
wasdeveloped with long-standing
partnersWarp Films.
Our co-financing partners were Northern
Ireland Screen Commission, BFI, Creative
Scotland and Screen Yorkshire. The film
premiered to much excitement at the
Berlin Film Festival in February 2014 and
was released in the UK via Studio Canal
inOctober 2014.
Its a film that

holds you in a
vicelike grip
throughout.
The Guardian
Film
71
CASE Study: Film
20,000 days
on earth
Shimmering, playfully elusive

portrait, which blends interview
and performance footage with more
constructed, noir-style digressions,
all within an elegant life-in-a-day.
Empire Magazine
20,000 Days on Earth is a bold and unique

look at one of musics most mysterious
and charismatic figures, the iconic
musician and writer Nick Cave.
Nurture Talent
Innovative
Intrigued and excited by the idea of creating

something unique, Film4 and Channel4 Arts
developed the project with first time directors,
Iain Forsyth and Jane Pollard, backin
early2013.
The film launched in Sundance to rapturous
reviews and had its UK premiere as part of
Film4s Summer Screen at Somerset House,
swiftly followed by an event style release in
September which kicked off with a screening,
satellite Q+A and gig with Cave at the Barbican.
During the film, we join Nick Cave on a

journey through his personal archives. It is
this archive that would go on to inspire the
films digital partner project, the Museum of
Important Shit (Caves own words to describe
his archives). The Museum invites people to
upload images of ordinary objects which have
extraordinary significance to them, enabling
fans to make an ongoing deeper connection
with the film, extending its life beyond the
screen and creating a collective archive
oftransformative stories.
Film4s co-financing partners on the project
were BFI, Corniche Pictures, PHI Films,
andGoldin Films.
72
News & Current Affairs

Channel4 News and Current Affairs is
committed to a range and quality of foreign
reporting that is now unique in British
television. With events in the Middle East
continuing to dominate much of the news
in 2014, that commitment proved to be
more important than ever, and it was
rewarded with an increase in viewers
andan astonishing 43 major awards.
What were the key ambitions for News
&Current Affairs?
We sought to cover with sensitivity those
foreign affairs stories given largely negative
coverage in the British media, such as the
humanitarian catastrophes in Syria and
Iraq and the Ebola outbreak in West Africa.
We also sought, particularly in Unreported
World, to tell positive stories of how people in
developing countries are helping themselves.
At home, the Scottish Referendum was
oneofthe most significant political events in
recent history and we wanted to ensure that
we reflected both the magnitude of what was
at stake and the complexity of the issues it
raised for the whole of the United Kingdom.
We also wanted to focus on the economy,
analysing changes in the world of work
and examining issues of rising inequality.
An exciting step online was our decision to
change the focus of our online news coverage
to reach out to young people who increasingly
find their news on the internet.
This was a significant year for Channel4s
News and Current Affairs in which we won
43 major awards for our coverage. In 2014
we saw an increase in the share of younger
viewers watching Unreported World the
programme had its highest 1634s share
since 2010 as well as increases in the share
of viewers for both Channel4 News and
Dispatches. We made major progress with our
strategy in online with our strategy to deliver
video content across an array of platforms
proving particularly successful, with video
views up more than 200% on last year.
Jamaicas Underground Gays
2014 Ambitions
uu Advance
our reputation as the home

of challenging and investigative
journalism
uu Reach
Interview with
Dorothy Byrne
Head of News & Current Affairs
young people more effectively

by making our journalism available
onmultiple platforms
uu Develop
a fresh and more accessible

approach for our Dispatches and
Unreported World strands
We made some very difficult films in Syria.

Children on the Frontline, in which Marcel
Mettelsiefen showed how children were
surviving amidst the ruins of Aleppo, made
an impact around the world with our strategy
to deliver video content across an array of
platforms proving particularly successful.
And we conducted major investigations
into homophobia in Russia, mass killings in
Northern Nigeria and the activities of a prolific
British paedophile in Kenya which resulted in
him being apprehended and convicted.
2015 Strategy
Syria and Iraq will continue
to be our major focus and
our greatest challenge; how
to reveal what is happening
without endangering life. Our
greatest challenge at home
will be to interest our viewers
in British politics so that
as many people as possible
register to vote in the General
Election. 17 per cent of our
news audience are 1634s,
the highest proportion for
any news programme, and
we will seek innovative ways
to demonstrate to them that
politics is about their lives
andconcerns.
Invisible People
How did News & Current Affairs help

deliver the remit?
No other broadcaster combines news and
current affairs in the way we do. We are
unique, too, in the depth and range of our
foreign coverage and in our campaigning
approach to major issues. This year we
conducted major investigations into
homophobia in Britain and across the world.
The film Hunted exposed homophobes
who persecute gay men in Russia, winning
reporter Liz MacKean the Stonewall Journalist
of the Year Award. Undercover: Hate on the
Terraces highlighted homophobia on Britains
football terraces and, in Unreported World,
Ade Adepetan revealed how a community of
gay and transgender men in Jamaica have
been driven to living in sewers. Both Ade
and Giles Duley have demonstrated across
a range of programmes that disability is no
barrier to a great reporters ability to get to the
story. The diversity of our reporting team is
important. The majority of Unreported World
reporters are from a diverse background and
20 per cent of our on-screen reporters on
Channel4 News now come from an ethnically
diverse background.

The greatest immediate challenge we face
is the difficulty of reporting events in Syria
because of the grave threat to journalists of
kidnap. We have had to find different ways
of covering the conflict, such as in A&E in
the War Zone, particularly as it affects the
innocent civilians, and will continue to do so.
An ongoing challenge is to engage younger
viewers who want their news and information
online. We have been experimenting with
short online films for younger people who
want to know more about the world. An
uplifting example, a short film Patrick Speaks,
in which a young Ugandan learned touse
sign language, was very popular online, being
viewed 1 million times within three days of
being uploaded, as was a Channel4 News
film about young Romanians who live in
tunnels. We are currently developing a new
idea, NewsWall, which will provide twice daily
online digests of news in a totally new format,
to launch in 2015.
Following on from her 2013 investigations,

Cathy Newman carried out a major news
investigation of sexual harassment in
Westminster and the House Speaker Lord
Bercow announced that a hotline was being
set up for Westminster staff to report abuse.
Scottish Referendum
We are also revitalising

ourbusiness news coverage
with the bolstering of our
team so we can reflect the
scale of entrepreneurship
inthe UK, including amongst
youngpeople.
73
74
CASE Study: news
Syria: Children
on the Frontline
The story of five young children

whoselives have been changed forever
bythe civil war in Syria, this Dispatches
documentary forms part of a raft of
newsand current affairs programming
tofocus on the conflict in Syria. First-time
documentary maker Marcel Mettelsiefens
film looks at the impact of the war in Syria
through the eyes of five young children
who have experienced life on the frontline.
Marcel communicated, for the most part,

with Producer and Director double BAFTAaward winning Anthony Wonke via Skype a
unique collaboration between an experienced
filmmaker and a debut film-maker.
The film garnered much critical acclaim
and many awards, including the Gaby Rado
award at the Amnesty Media Awards and
theGrierson Award for Best Documentary
onaContemporary Theme.
Stimulate
debate
Alternative
views
Cultural
Diversity
Inspire change
A masterful assembling of
bleak and awful factsand
compelling stories. It gave
the children their voices
without ever becoming
mawkish or intrusive and
without neglecting or
demonising the adults
around them.
The Guardian
CASE Study: News
Hunted
This film reveals the

vigilante gangs that target
gay men and women and
explores the terror that
gay Russians are calling
hunting season.
The Observer
Shown in the run-up to the Sochi 2014

Paralympic Winter Games, Hunted
highlighted the abuse of gay men and
women in Russia at the hands of gangs
intent on physical and mental torture
oftheir victims. The film-makers gained
aunique access to these gangs which
ledto some harrowing scenes in the film.
Stimulate
debate
Alternative
views
Cultural
Diversity
Inspire change
It created a Twitter storm and invited

comment from MPs and pressure groups of
all kinds. A version of the film has since been
screened on HBO in the USA with Director
Ben Steele appearing on various chat shows
to discuss the film.
Its extremely difficult

viewing, but everyone
needsto see @C4Dispatches
at 10pm tonight on
@Channel4 #Hunted.
Liz Mackean has been recognised for her

reporting on the film with a Stonewall award
for Journalist of the Year. The film won the
Sony Impact Award at the Rory Peck Awards
and the TV Feature/Documentary Story of the
Year at the Foreign Press Association Awards,
as well as the Grierson Award for Best
Documentary on Current Affairs.
@GayTimesMag
44,000+
Tweets generated
75
76
Online
Guy Martins Passion for Life
Channel4 has maintained its position

asthe market leader in the field of
interactivity, exploring new ways of
engaging audiences and revitalising
television with the imaginative use
ofsecond screen technologies.
Interview with
Richard Davidson-Houston
Head of All 4 and Digital Content
2014 Ambitions
uu Focus
on games and interactivity that

provide companion pieces to TV shows
uu Seek
and develop new ideas to

enhance our audiences viewing
experience
uu Make
viable
our games more commercially
uu Innovate
with short form content

formobiles
What were the key ambitions for Online?

This year we wanted to broaden the scope of
our ambition in each of the areas in which we
work short form video, interactive television
apps, content in support of television
programmes and mobile games.
We launched Shorts, our short form channel
on the Channel4 on demand service,
providing a platform for both stand-alone
shortform content and short programmes
that build on the success of existing
programme brands.
In the field of interactive TV, Channel4
has been the market leader, with apps like
Million Pound Drop and the Hughs Fish
Fight companion website. In 2014 we sought
to expand on those successes, using new
technologies to involve viewers in new ways.
We also continued to expand our offering of
high quality games based around viewers
favourite Channel4 brands.

The interactive TV show Singer Takes It All
was hugely ambitious and very successful in
terms of encouraging the audience to interact
with a show while watching it. The interactivity
directly influenced the editorial direction of
the show, with viewers able to control not just
the fate of the contestants, but also the layout
of the stage and the set itself.
The launch of Shorts this year has been highly
successful, with over 4 million views on 4oD
and 38 different titles launched, including
Educating Binky, Tattoo Twists and Guy
Martins Passion for Life. We delivered high
quality online-only output that maintains our
scale, influence and relevance, in comparison
with other online-only publishers. Breakout
original shows such as Tattoo Twists have
demonstrated that online video can be
successful without being based on an existing
programme brand or featuring TV talent.
In terms of games, weve had three top
ten Apple App Store hits since we started
producing games, and this year we had
another hit with our first paid-for app
TheSnowman and The Snowdog.
Online
77
2015 Strategy
In 2015 we will launch thirty
new Shorts titles, including
Body Mods, the third in a set
of Shorts titles that focus on
tattooing and body adornment;
Drone UK which will provide
access to drone-filmed aerial
footage of abandoned sites
across the UK; and Total
Recast, which will showcase
members of the public reenacting famous film scenes.
Overall, we will focus Shorts
on a young audience and on
delivering content that is
funandentertaining.
Live from Space
How did Online help deliver the remit?

Innovation is core to the Channel4 remit and
at the heart of everything we do as we look for
new ways to engage with viewers online. It is
a fiercely competitive marketplace and we are
constantly refreshing formats and developing
new ideas to stay relevant to viewers.
also able to foster partnerships between

larger television producers and smaller digital
producers, as was the case with our online
companion site to Live from Space, which
was a collaboration between London-based
Arrow Media and Sheffield-based Rocket,
and which won a Lovie Award.
This innovation can have real impact: the

multiplatform component to James Rhodes
Dont Stop the Music, for example, was
extremely complex; the online element was
central in enabling viewers to donate more
than 6,000 instruments to schools in need.

It is always a challenge to ensure viewers
are aware of our digital content amongst the
huge variety of content thats available. It is a
challenge we are meeting with projects such
as the online Shorts, for which the response
has far exceeded our expectations. But there
is a lot more to do in encouraging short form
viewing to become a habit for our audience.
Online projects are also a great way to find

new production talent by allowing a broad
and untried mix of production companies
into the Channel4 supplier base. We are
Tattoo Twists
We will continue to deliver

exciting online experiences
in support of our television
programmes. And we are
looking to increase our games
output, with companion
games planned for The Island
with Bear Grylls, The Jump
andGogglebox.
In 2015 we are looking forward
to the launch of All 4, our new
digital flagship. All 4 will be
a single digital destination
for viewers to access all that
Channel4 has to offer.
78
CASE Study: Online
Singer takes
it all app
The Singer Takes It All is a unique singing

gameshow with a winner every episode.
Theres no panel of judges viewers
decide a winner via the app during
theliveshow. Using a number of major
innovations, the mobile app puts
viewersin control like never before.
Distinctive
The app gave the public the power to audition

for the show and cast all the contestants.
Using karaoke-style functionality, viewers
could choose from hundreds of songs, and
sing their video audition into their mobile.
Inthe Hopefuls section of the app, users
judge auditions, choosing whether each is a
hit or a miss. Vote, and another performance
slides in and automatically plays.
Innovative
Vote data from the app controls everything

the direction and speed of the moving track
on the stage where contestants sing, the
scores that are displayed on the TV screen:
even the studio lighting was automated from
the incoming app data.
The Singer Takes It All aimed to put the
excitement back into live voting, giving
viewers real power over a TV show and
engaging viewers with the televised show
inaunique way.
Digital
7.3m
live votes were cast

acrossthe 4 episodes
580,000+
app downloads
Online
79
CASE Study: Online
made in Chelsea:
Normal for Chelsea
Part of the online Am I Normal hub,

tenonline shorts using the cast of
MadeinChelsea showed cast members
exploring youth focused issues. Through
psychologist interviews, round table
discussion and discussion around
questions posed to cast members via
Twitter, Made in Chelsea stars talk about
how normal they are. This discussion
acted as a vehicle for them to discuss more
generally issues that are of interest to
young people: love, sex, loyalty, friendship.
Distinctive
Digital
Stimulate
debate
As part of the Education strategy to use

existing programme brands as a Trojan Horse
for more educational content, the site was
borne out of research that demonstrated that
young people are preoccupied with whether
or not they are normal, and how they fit on
the spectrum of normal. In Made In Chelsea:
Normal for Chelsea we celebrate the idea of
difference through the characters and their
behaviour. A further promo will be launched
in2015 to support the ten short films.
160,000
views in just one month
80
Sport
Channel4 Racing
2014 saw successful coverage of major

disability sport events including the Sochi
2014 Paralympic Winter Games as well as
an award-winning year of horse racing and
the return of the Super Bowl toChannel4.
Interview with
Ed Havard
Head of TV Events
2014 Ambitions
uu Make
the biggest-ever UK contribution

to the Sochi 2014 Paralympic
WinterGames
uu Deliver
major events such as the

GrandNational
uu Feature
more back stories

andmarketing to highlight the
achievement of the UKs sportsmen
and sportswomen
What were the key ambitions for Sport?

One key aim for the year was to showcase
theSochi 2014 Paralympic Winter Games and
to build on the success of the 2012 London
Games. Channel4 broadcast 150 hours
of coverage from Sochi as well as special
editions of The Last Leg during the Games
the greatest ever commitment to the Winter
Paralympic Games from a UK broadcaster
which saw an incredible haul of medals
forUKParalympians.
2014 was also a year in which we had
toland major events across the schedule
including the Grand National, Royal Ascot
andtheSuper Bowl.

With 8.5 million viewers, the Grand
National was one of the highlights of
the2014 schedule. To win the Broadcast
Award for Best Sports Programme for our
coverage of the National was a fantastic
acknowledgement of the quality of the output
and the strength of the IMG productionteam,
with director Denise Large also winning
an RTS Craft Award for Multicamera
WorkinSport.
We have also brought new ideas to our
coverage. For example, we introduced
GokWan into our line up for Royal Ascot and
he delivered fashion coverage and features
content which helped to attract a younger
andlarger share of the female audience
in2014 than we saw the previous year.
The scale of our coverage at Sochi was
formidable and provided an incredible
showcase for disability sport. We also
covered the IPC European Athletics from
Sport
Swansea, the first major parasport event

in the UK since the 2012 Games, and the
European Swimming Championships from
theNetherlands.
And the Super Bowl made a return to
theChannel for the first time since 1998.
Weintroduced innovations to help viewers
better understand the game such as the
Twitter handle #C4Rookie where viewers
could ask basic questions about American
Football to help grow the audience and reach
new fans to the sport.
How did Sport help deliver the remit?
The Paralympic movement is growing and it
was heartening to see Paralympians featuring
in the Sports Personality of the Year. At the
same time were raising the profile of our
presenters with disabilities. Rachel Latham,
for example, presented the European
8.5m
viewers
GrandNational
Sochi 2014 Paralympic Winter Games
Swimming Championship and Arthur Williams

was nominated for a Grierson Award for
his work beyond sport. Were championing
diversity in other ways too: Denise Large is
the first female director of the Grand National
coverage and her RTS award was one of the
highlights of the year for Channel4 Racing.
The key challenge is to create a compelling
proposition for Rio that builds on the success
we have had with parasport but also retains
the tone and scale which audiences have
come to expect of our Paralympic coverage.
We have had huge success in harnessing
cross genre programming to support
sport and major events from How to Win
The Grand National through to The Last
Leg andthe challenge of building on that
issomething we are excited about.
81
2015 Strategy
Were on a journey to Rio
growing the audience for the
Paralympic Games and all
disability sport and growing
the skills and confidence of our
presenters. We will continue to
win new audiences for Racing
in 2014 our viewing figures for
1634s during the flat racing
season grew 34% in 2014. We
are constantly innovating in
our racing coverage and that
will besomething audiences
see more of in 2015.
82
CASE Study: Sport
Paralympics
coverage Sochi
Sport
83
Inspiring change and challenging

prejudice is core to Channel4s purpose.
Our public service remit is to champion
alternative voices and fresh perspectives,
challenge people to see the world
differently, and inspire change in peoples
lives. Central to this is championing
disability; changing perceptions of what
itis to be disabled from inferior to equal.
The 2012 Paralympics played a central role
in defining public perceptions of disability,
and we aimed to do this. The Sochi 2014
Paralympic Winter Games is an extension
of this success, continuing Channel4s
commitment to showing Paralympic sport
andraising awareness of, and changing
attitudes towards, disability.
2014s Sochi coverage included extended
hours of the Paralympic Winter Games on
Channel4 and More4 (just under 80 hours)
and the Winter Paralympic Show, a daily
30-minute Paralympics highlight programme.
The Last Leg also returned to add their
irreverent touch to proceedings.
Team GB hit the heights with six medals
fourof them for Jade Etherington, gold for
Kelly Gallagher and a bronze for the curling
team. Paralympics GB skier Kelly Gallagher
and guide Charlotte were also shortlisted
forthe 2014 BBC Sports Personality of
theYear.
Channel4s offices were rainbow branded
in the colours of the gay pride flag on Friday
7 February to mark the start of the Sochi
2014 Winter Olympic and Paralympic Winter
Games to wish good luck to all athletes
gayor straight competing at the Games.
Nurture Talent
Stimulate
debate
Alternative
views
Cultural
Diversity
Inspire change
82%
of viewers surveyed
agreed that Channel4s
coverage will improve
societys perceptions
ofdisabled people
84
Thank you
This list includes all
oursuppliers of first-run
originated television
programmes that transmitted
across the portfolio in 2014,
and the digital companies
that received project funding
from us in 2014. We also
provided development
funding to a range of other
companies. While every
efforthas been made to
identify and name all the
relevant companies for this
list we apologise if there are
any accidental omissions.
We would also like to thank
allour advertising and
commercial partners.
011 Productions
13 Strides
15nine Studio
2LE Media
A.M.Heath & Company
Acme Films
Aerian Studios
Alcove Entertainment
Amido
Amos Pictures
Apocalypso Pictures
Arrow International Media
Atomized Entertainment
Attention Seekers Productions
Avalon Television
B3 Media
Balletboyz
Balloon Entertainment
Big Bit
Big Mountain Productions
Big Shell Publishing Pty
Big Talk Productions
Blackwatch Productions
Blakeway
Blast! Films
Blink Films
Blueprint Pictures
Bofa Productions
Bonafide Films
Boom Cymru TV
Boomerang
Borderline Films
Boundless (part of FremantleMedia UK)
Braven Films
Bridge + Tunnel Productions
Bright Cold Day Films
Brook Lapping
Bwark Productions
Casarotto Ramsay & Associates
Caterpillar Television
CB Films
CC-Lab
Century Films
Charlie Productions
Chunk
Cinetig
ClearStory
Clerkenwell Films
Cloud Eight Films
Clover Films
CMP film
Company Pictures
Conker Media
Corporation Pop
Cow Wow Wow
Cowboy Films
CPL Productions
Crackit Productions
Craft Strategy
Crash Lab
CTVC
Cucumber Series
Curtis Brown Group
Cwmni Da
Daisybeck Productions
Darlow Smithson Productions
David Modell
Daybreak Pictures
Dazed Group
Deadpan Films
Deltatre Media
Demand Media
Derek Productions
DMC Film
DNA Films
Dominic Buchanan Productions
Dont Panic
DOS Studios
Double Act Productions
Double Band Films
Dream Horse
Dream Team Television
DVDance
East West Documentaries t/a Medialab
Element Pictures
Eleven Film
Emu Films
Endemol
Evan Williams Productions
Eyeworks
Factory Films
Feelgood Fiction
Film London
Film-Mode
Finestripe Productions
Finetake Productions
Firecracker Films
Firecrest Films
Fly Film Company
Focus Features International
Free Range Films
Freeform Productions
Fresh One Productions
Friel Kean Films
Frieze Foundation
Full Tilt Productions Inc
HanWay Films
Hardcash Productions
Hat Trick Productions
Hay Fisher Productions
Headline Pictures
Hillbilly Films and Television
HotSauce TV
House Of Tomorrow
Hyphen Films
Icon Films
Illuminations
Img Media
Independent Talent Group
ITN
Infinite Media
Inflammable Films
Institute Of Contemporary Arts
Intrepido
Iota Films
Irresistible Films
IWC Media
JJ Stereo
Joe Public Productions
Johnston North
JW Films
Keo Films
Kissanut Productions
Knickerbockerglory
Thank you
Knight Hall Agency

KOTV
Latimer Digital
Left Bank Pictures
Lemonade Money
Liberty Bell Productions
Liberty842
Lime Pictures
Lion Television
Little Dot Studios
LM Productions LLP
Love Productions
Love Live
Luna W
Lupus Films
Mammoth Screen
Maroon Productions
Martin Rich
Matchlight
Maverick Television
McDougall Craig
Megalomedia
Me:Mo Interactive Media
Mentorn Media
Mercury Prize
Million Media
Minnow Films
Mint Digital
MJW Productions
MK2 Productions
Mobile IQ
Modern Films
Monkey Kingdom
Monterosa Productions
Monumental Pictures
Moonspun Films
NERD TV
New Entertainment Research And Design
Nine Lives Media
Nkiru Nkiru
No.1 Films
North One Television
Northern Film And Media
Nova International
NPE Media
Number 9 Films
Numiko
O Productions
Objective Productions
October Films
One Potato Two Potato
Open Mike Productions
Optic Circle
Optomen Television
Origin Pictures
Osf (Wales)
Outline Productions
Oxford Scientific Films
P Guide
P&V Pictures
Pabulum
Paper Seven
Parts & Labor Films
Passion Pictures
PBJ Management
Peake Associates
Pett Productions
Philbert
Pioneer
Pipedream Pictures
Plum Pictures
Potboiler Productions
Princess Productions
Protein
Pulse Films
Quark Films
Question Media
Quicksilver Media
Raise The Roof Productions
Rare Day
Raw TV
RDF Television
Recorded Picture Company
Red House TV
Reef Television
Remarkable Television
Remedy Productions
Renegade Pictures (UK)
Retort (part of Fremantlemedia UK)
Revolution Films
Ricochet Television
Rize USA
Roast Beef Productions
Rocket Science Solutions
Ronachan Films
Rondo Media
Rook Films
Room 414 Productions
Rosalind Ramsay
Roughcut TV
Ruby Films
Rumpus Media
Run 71
Running Bare Pictures
Sayle Screen
Scott Free
Screen First
SDI Productions
Secret Peter
See-Saw Films
Sexy RPC
Sherbet
Shine Pictures
Shoebox Films
Shooting People
Sigma Films
Siriol Productions
Sixteen Films
Snowdog Enterprises
Snowman Enterprises
Soho Moon Pictures
Special Edition Films
Speedy Films
Spirit Digital Media t/a Social Media Factory
Spun Gold TV
Starfield Productions
Stay Gold Studios.
Steve Boulton Productions
Stray Bear Productions
Studio Canal Plus
Studio Lambert
Succulent Pictures
SUMS Film And Media
85
Sundog Pictures
Sunset+Vine Productions
Sure Shot Films
Swan Films
Syndicut Communications
Talkback (part of FremantleMedia UK)
Tandem Communications GmbHTandem
Films Entertainment
Tavistock Wood Management
Teledu Telesgop
Ten66
Tern TV
Testimony Films
Testronic Labs
The Agency
The Bureau Film Company
The Comedy Unit
The Connected Set
The Garden Productions
The Ink Factory
The Jim Henson Company
The Jones Company Productions
The Project Factory
Thin Man Films
Think-Make
Third Films
This Is It Collective
Tifini
Tiger Aspect Productions
Tiger Lily Films
Tinderbox Films
Toledo Productions
Too Tall Productions
Touchline Media
Touchpaper Television
Trainspotting Productions
True North Productions
True Vision
Tuesdays Child Television
TV Cartoons
Twenty Twenty Productions
Twofour Broadcast
Twofour Productions
Unique Television
Universal Spirits
Varga-TVC
Various Agencies
Vera Productions
Videocracy
Videotext Communications
Voltage TV Productions
Waddell Media
WAG TV
Wall to Wall Television
Warp Films
West Fourth Films
Whizz Kid Entertainment
Wildfire Television
Wildgaze Films
Windfall Films
Wingspan Productions
Young Bwark Productions
Young Films
Zeitgeist Television
Zeppotron
Zig Zag Productions
ZKK
Zone Worldwide
86
Awards 2014
Awards Television UK
AIB Awards
Children on the Frontline (Dispatches) (ITN)
Winner International Current Affairs
Documentary
BAFTA Scotland
Shirley Henderson (Southcliffe) (Warp Films)
Actress Television
BT Information Security Journalism

Awards
The Datababy Project (Channel4 News)
Best Security Broadcast Feature/ News Story
of the Year
Danny Mac (Hollyoaks) (Lime Pictures)

Sexiest Male
Charles Wheeler Award for Outstanding

Contribution to Broadcast Journalism
Jon Snow (Channel4 News)
One World Media Awards

Dispatches: Children on the Frontline
(ITNProductions)
Television Award
Dave: Loan Ranger (Finestripe Productions)

Current Affairs
Edinburgh TV Festival Awards

Channel4
Channel of the Year
Location Location Location (IWC)

Features/Factual Entertainment Programme
The Murder Trial (Windfall Films)

Programme Innovation Award
BAFTA Television Awards

Sean Harris (Southcliffe) (Warp Films)
Leading Actor
Educating Yorkshire (Two Four)

Best Television Moment Award
Katherine Parkinson (IT Crowd)

(FremantleMedia UK)
Female Performance in a
ComedyProgramme
Richard Ayoade (IT Crowd)
(FremantleMedia UK)
Male Performance in a Comedy Programme
Complicit (Manyriversfilms)
Single Drama
Bedlam (The Garden Productions)
Factual Series
Single Documentary
Gogglebox (Studio Lambert)
Best Factual Entertainment
Syria: Across the Lines (Dispatches)
(Quicksilver Media)
Current Affairs
British Soap Awards
Hollyoaks (Lime Pictures)
Best British Soap
Danny Mac (Hollyoaks) (Lime Pictures)
Sexiest Male
Anna Passey (Hollyoaks) (Lime Pictures)
Villain of the Year
Ellis Hollins (Hollyoaks) (Lime Pictures)
Best Young Performance
Broadcast Awards
Best Documentary Series
Marcel Mettelsiefen (Children on the Frontline)

(ITN Productions)
Producer/Director Debut Award
Foreign Press Association Award
How to Fix a Football Match
(VeraProductions)
Sports Story of the Year
Hunted (Dispatches) (Blakeway)
Television Feature/Documentary Story of
theYear
Bucharests King of the Sewers
(Channel4News)
Television News Story of the Year
Francis Crick Science Journalism Award
Tom Clarke (Channel4 News)
Grierson Awards
Radio Times Readers Choice Awards
Best Documentary on a Contemporary
Theme Domestic
Dispatches: Children on the Frontline
(ITNProductions)
Best Documentary on a Contemporary
Theme International
National Reality Television Awards

Four Rooms (Boundless Productions)
Best Business Show
Guillermo Galdos (Channel4 News) (ITN)

International Journalist of the Year Award
Political Studies Association
Michael Crick (Channel4 News)
Journalist of Year
Rory Peck Awards
Team Mindeulle (Korea: Inside the Secret
State) (Dispatches)
Award for Features
Ben Steele (Hunted Dispatches) (Shine TV)
Sony Impact Award
RTS Television Journalism Awards
The Hunt for Britains Sex Gangs (Dispatches)
(True Vision)
Current Affairs Home
Current Affairs International
Plebs, Lies & Videotapes
The Independent Award
Channel4 News (ITN)
Daily News Programme of the Year
Channel4 News (ITN)
Specialist Journalist of the Year
RTS Programme Awards
Olivia Colman
Actor Female
Four Rooms (Boundless Productions)
Daytime
Documentary Series
The Last Leg (Open Mike Productions)
Entertainment
Our Gay Wedding: The Musical

(WingspanProductions)
Best Entertaining Documentary
Alan Carr (Alan Carr: Chatty Man)

(Open Mike Productions)
Entertainment Performance
Hunted (Dispatches) (Shine TV)

Best Documentary on Current Affairs
Richard III: King in the Car Park

(Darlow Smithson Productions)
History

Best Documentary Programme
Rupert Everett (Love for Sale) (Swan Films)

Presenter of the Year

(Quicksilver Media)
Best News and Current Affairs Programme
Marc Williamson (Last Chance School)

(Minnow Films)
Newcomer of the Year

Best Original Programme
Best Popular Factual Programme
Harold Wincott Business Awards

Siobhan Kennedy and Girish Juneja
(Channel4 News) (ITN)
Television Journalism of the Year
Marlon Smith and Daniel Fajemisin-Duncan

(Run)
(Acme TV)
Writer Drama
Broadcasting Press Guild Awards

Best Factual Programme Award
What is Your Pension Really Worth?

(Dispatches)
Personal Finance Journalism of the Year

Inside Soap Awards

Hollyoaks (Lime Pictures)
Best Storyline
Sandford St Martin Religious

Broadcasting Awards
A Very British Ramadan (Watershed)
Runner Up

(Quicksilver Media)
Best Single Documentary
Nikki Sanderson (Hollyoaks) (Lime Pictures)

Best Actress

Popular, Factual and Features
Single Documentary
Televisual Bulldog Awards

Fresh Meat
(Objective Productions/Lime Pictures)
Comedy
Awards

Factual Entertainment
Dogging Tales (Minnow Films)
Documentary Single
Documentary Series
TRIC Awards
Entertainment Programme
Ashley Taylor Dawson
(Darren Osborne Hollyoaks) (Lime Pictures)
Soap Personality
TV Choice Awards
Best Factual Entertainment & Lifestyle Show
Gordon Ramsays Home Cooking (Optomen)
Best Food Show
Kirsty-Leigh Porter (Hollyoaks) (Lime Pictures)
Best Soap Newcomer
Television International
Banff Television Awards
My Mad Fat Diary (Tiger Aspect)
Youth Fiction Award
Film UK
BAFTA Film Awards
Citizenfour (Praxis Films with Bertha
Foundation / BRITDOC / Channel4 /
Norddeutscher Rundfunk NDR / Bayerischer
Rundfunk BR)
Best Documentary
BAFTA/LA Britannia Awards
Mike Leigh (Mr Turner) (Film4 / Focus
Features International / Lipsync Productions)
John Schlesinger Britannia Award for
Excellence in Directing
BAFTA Awards Scotland
David Mackenzie (Starred Up) (Creative
Scotland / Film4 Productions)
Director Film/Television
Jonathan Asser (Starred Up)
(Creative Scotland / Film4 Productions)
Writer Film/Television
Starred Up (Creative Scotland / Film4
Productions)
Feature Film
David Bloom Award

Olly Lambert (Syria: Across the Lines)
(Dispatches)
BIFA Awards
Iain Forsyth, Jane Pollard (20,000 Days on
Earth) (Corniche Pictures / BFI / Film4 / Pulse
Films)
Douglas Hickox Award for Best Debut
Director
Emmys
Julia Marguiles (The Good Wife) (CBS
Paramount)
Actress Drama
Yann Demange (71) (Crab Apple Films /

Warp Films / Film4 / BFI / Screen Yorkshire /
Creative Scotland)
Best Director
Jim Parsons (The Big Bang Theory) (Warner)

Outstanding Lead Actor in a Comedy Series
Sameena Jabeen Ahmed (Catch Me Daddy)

(Film4/ BFI / Screen Yorkshire / Lip Sync)
Most Promising Newcomer
Rose DOr Awards

Best Reality & Factual Entertainment Award
Toast of London (Objective Productions)
Best Sitcom Award
Prix Italia
Southcliffe (Warp Films)
Drama Serial Award
International Emmys for News & Current
Affairs
Syrias Descent (Channel4 News)
News category
Bayeux-Calvados Awards for War
Correspondents
(Dispatches)
Grand Format Television Category
International Jury
San Marino International Film Festival
Complicit (Manyriversfilms)
Single Drama Award
Amnesty International Media Awards
(Dispatches) (ITN Productions / C4) / Dancing
in the Danger Zone (Unreported World)
Gaby Rado Award
Paraic OBrien (Channel4 News) (ITN)
TV News
Jon Ronson/Peter Straughan (Frank)

(Runaway Fridge and Element Pictures)
Best Screenplay
Stephen Rennicks (Frank) (Runaway Fridge
and Element Pictures)
Best Technical Achievement (Music)
British Comedy Awards
The Inbetweeners 2 (Bwark Productions)
Best Comedy Film
Empire Film Awards
Michael Fassbender (12 Years A Slave)
(Regency Enterprises / Film4 /
Plan B Entertainment / Summit Entertainment)
Best Supporting Actor
Guardian Film Awards
Steve McQueen (12 Years A Slave)
Best Director
London Critics Circle Film Awards
Chiwetel Ejiofor (12 Years A Slave)
Best Actor
Actor of the Year
87
Lupita Nyongo (12 Years A Slave)

Supporting Actress of the Year
12 Years A Slave (Regency Enterprises
/ Film4 / Plan B Entertainment / Summit
Entertainment)
Film of the Year
The Selfish Giant (BFI/ Film4 / Moonspun
Films)
British Film of the Year
Conner Chapman (Selfish Giant)
(BFI/ Film4 / Moonspun Films)
Young British Performer of the Year
Richard Attenborough Film Awards
Chiwetel Ejiofor (12 Years A Slave) (Regency
Enterprises / Film4 / Plan B Entertainment /
Summit Entertainment)
Best Actor
South Bank Awards
Selfish Giant (BFI/ Film4 / Moonspun Films)
Best Film
UK Regional Critics Awards
Entertainment)
Film of the Year
Actor of the Year
George MacKay (For Those in Peril)
(Warp Films / Film4)
British Breakthrough
Film International
Academy Awards
Rundfunk BR)
Best Documentary, Feature
Academy of Science Fiction,
Fantasy & Horror Films
Entertainment)
Saturn Award Best Independent Film
AFI Awards
Entertainment)
Movie of the Year
Alliance of Women Film Journalists
Rundfunk BR)
Best Documentary
Laura Poitras (Citizenfour) (Praxis Films with
Bertha Foundation / BRITDOC / Channel4 /
Rundfunk BR)
Female Icon of the Year (tie)
88
Awards 2014
American Black Film Festival
Summit Entertainment
Best Actor
Black Reel Awards

Outstanding Breakthrough Actress
Steve McQueen (12 Years A Slave) (Regency

Best Director
Francine Maisler (12 Years A Slave)

Outstanding Ensemble
Lupita Nyongo (12 Years A Slave) (Regency

Best Supporting Actress

Outstanding Actor
John Ridley (12 Years A Slave) (Regency

Best Adapted Screenplay

Outstanding Director
American Cinema Editors

Rundfunk BR)
Best Edited Documentary (Feature)

Entertainment)
Outstanding Motion Picture
Athens International Film Festival

20000 Days on Earth (Corniche Pictures / BFI
/ Film4 / Pulse Films)
Golden Athena Award for Best Film
withinMusic
71 (Crab Apple Films / Warp Films / Film4 /
BFI / Screen Yorkshire / Creative Scotland)
Golden Athena Award for Best Film
Austin Film Critics Association
Rundfunk BR)
Best Documentary
Australian Academy of Cinema &
Television Arts International Awards
International Award for Best Leading Actor
International Award for Best Supporting Actor
Berlin International Film Festival
71 (Crab Apple Films / Warp Films / Film4 /
BFI / Screen Yorkshire / Creative Scotland)
Prize of the Ecumenical Jury Commendation
BET Awards
Best Actor
Best Actress
Entertainment)
Best Movie
Hans Zimmer (12 Years A Slave)

Outstanding Score
John Ridley (12 Years A Slave)
Outstanding Screenplay
Outstanding Supporting Actress
Boston Online Film Critics
AssociationAwards
Under the Skin (Film4 / BFI)
Best Original Score
Ten Best Films of the Year
Rundfunk BR)
Best Documentary
Britdoc Impact Awards
No Fire Zone (Outside TV)
Cannes Film Festival

Timothy Spall (Mr Turner) (Film4 / Focus
Best Actor
Dick Pope (Mr Turner) (Film4 / Focus Features
International / Lipsync Productions)
Vulcain Prize for Technical Artist
Central Ohio Critics Association Awards
Best Actor
Chicago Film Critics Association Awards
Jack OConnell (Starred Up)
Most Promising Performer
Cinema for Peace Awards
Most Valuable Movie of the Year
Children on the Frontline (Dispatches) (ITN)
Most Valuable Documentary of the Year
CinEuphoria Awards
Top Ten of the Year
Costume Designers Guild Awards
Patricia Norris (12 Years A Slave)
Excellence in Period Film Award
Dallas-Fort Worth Film Critics
AssociationAwards
Rundfunk BR)
Best Documentary
Detroit Film Critic Society
Rundfunk BR)
Best Documentary
Broadcast Film Critics Association (BFCA)

Critics Choice Movie Awards
Best Adapted Screenplay
Directors Guild of America, USA

Rundfunk BR)
Outstanding Directorial Achievement in
Documentary
12 Years A Slave
Best Picture
Dinard British Film Festival

Frank (Runaway Fridge and Element Pictures)
Special Jury Prize

Brussels International Film Festival
The Double (Alcove Entertainment / Film4 /
British Film Institute)
Audience Award
Dublin Film Critics Circle Awards

12 Years A Slave (Regency Enterprises/
Film4 / Plan B Entertainment / Summit
Entertainment)
Top Ten Films
Best Irish Film
Jack OConnell (Starred Up) (Creative
Scotland / Film4 Productions), 71 (Crab Apple
Films / WarpFilms / Film4 / BFI / Screen
Yorkshire / Creative Scotland)
Breakthrough Award
Awards
Dublin International Film Festival

Best Actor
Daniel Landin (Under the Skin) (Film4 / BFI)
Best cinematography
European Film Awards
European Actor
Joakim Sundstrom (Starred Up)
European Sound Designer
Mica Levi (Under the Skin) (Film4 / BFI)
European Composer
FICE AWARDS Federazione Italiana
Cinema Dessai
12 Years A Slave
Audience Award for Best Foreign Film
Florida Film Critics Circle
Mica Levi Under the Skin (Film4 / BFI)
Best Score
Gay and Lesbian Entertainment Critics
Association for Film & Television Awards
Entertainment)
Film of the Year
Georgia Film Critics Association
Best Actor
Golden Trailer Awards
Entertainment)
Best Independent Poster
Entertainment)
Best Independent TV spot
Gotham Awards
Rundfunk BR)
Best Documentary
Hollywood Reel Independent Film Festival
Rundfunk BR)
Best Documentary Film
Houston Film Critics Society Awards

Rundfunk BR)
Best Documentary
Independent Spirit Awards
Entertainment)
Best Feature
Best Director
Best Screenplay
Sean Bobbitt (12 Years A Slave)
Best Cinematography
International Documentary Association
Rundfunk BR)
Best Feature
Indiana Film Journalists US
Best Musical Score
International Press Academy
SatelliteAwards
Best Director
Entertainment)
Best Motion Picture
89

Irish Film & Television Awards
Best International Actor
Ischia Global Film and Musical Festival
Best Actor
Kansas City Film Critics Circle Awards
Rundfunk BR)
Best Documentary
Las Vegas Film Critics Society Awards
Sierra Award Best Song
Rundfunk BR)
Best Documentary
Les Arcs European Festival
Stephen Rennicks (Frank)
(Runaway Fridge and Element Pictures)
Best Music
Los Angeles Film Critics
AssociationAwards
Rundfunk BR)
Best Documentary/Non-Fiction Film
Best Music (Tied with Jonny Greenwood for
Inherent Vice)
Iowa Film Critics Awards

Best Actor
National Board of Review USA

A Most Wanted Man (Demarest Films /
Potboiler Productions / The Ink Factory /
Film4 Productions)
Top 10 Independent Films

Best Director
Mr Turner (Film4 / Focus Features

Top 10 Independent Film

Entertainment)
Best Film

Best Breakthrough Performance
Starred Up (Creative Scotland / Film4
Productions)
Top 10 Independent Films
New York Film Critics Circle
Best Actor
90
Awards 2014
New York Film Critics Circle Online
Mr Turner (Film4 / Focus Features
NYFCO Award Top Films of the Year
Breakthrough Performer
Rundfunk BR)
Best Non-Fiction Film (Documentary)
Top Films of the Year
NAACP Image Awards
Outstanding Direction in a Motion Picture
Entertainment)
Outstanding Motion Picture
Outstanding Actress in a Motion Picture
Outstanding Writing in a Motion Picture
(theatrical or television)
Online Film and Television
AssociationAwards
Best Actor
Best Breakthrough
Palm Springs International Film Festival

Director of the Year
Breakthrough Performance
Selfish Giant (BFI/ Film4 / Moonspun Films)
Directors To Watch Award
Producers Guild of America Awards
Brad Pitt, Dede Gardner, Jeremy Kleiner,
Steve McQueen, Anthony Katagas (12 Years
A Slave) (Regency Enterprises / Film4 / Plan B
Entertainment / Summit Entertainment)
Darryl F. Zanuck Award for Outstanding
Producer of Theatrical Motion Pictures
Sant Jordi Awards
Entertainment)
Rosa de Sant Jordi Audience Awards
Best Foreign Film
San Diego Film Critics Society Awards
Rundfunk BR)
Documentary
San Francisco Film Critics Circle
Rundfunk BR)
Best Documentary
Satellite Awards
Rundfunk BR)
Motion Picture, Documentary
Sundance Film Awards

20000 Days on Earth (Corniche Pictures / BFI
/ Film4 / Pulse Films)
World Cinema Directing Award: Documentary
20,000 Days on Earth (Corniche Pictures /
BFI/ Film4 / Pulse Films)
World Cinema Editing Award: Documentary
USC Scripter Awards
John Ridley/Solomon Northup (12 Years A
Slave) (Regency Enterprises / Film4 / Plan B
Entertainment / Summit Entertainment)
USC Libraries Scripter Award
Utah Film Critics Association Awards
Rundfunk BR)
Best Documentary Feature Film
Vancouver Film Critics Awards
Entertainment)
Best Film
Village Voice Film Poll
Rundfunk BR)
Best Documentary
Washington DC Area Film Critics
Association Awards
Best Original Score
Women Film Critics Circle Awards
Rundfunk BR)
Courage in Filmmaking Award
Rundfunk BR)
Best Documentary by or about women
Francine Maisler (12 Years A Slave)

Best Casting
Screen Actors Guild Awards (SAG Awards)

Female Actor in a Supporting Role
Craft

Entertainment)
Best Picture
Seville European Festival

Asecan Award Special Mention
BAFTA Craft Awards

Daniel Fajemisin-Duncan & Marlon Smith
(Run) (Acme TV)
Breakthrough Talent


Best Actor
Mark Towns (Educating Yorkshire) (Two Four)

Editing Factual

Best Writing

Best Director
St. Louis Film Critics Association
Rundfunk BR)
Best Documentary
Nick Holt (The Murder Trial) (Windfall Films)

Director Factual
The I.T. Crowd (FremantleMedia UK)
Writer Comedy
Marcus Robinson
(Rebuilding the World Trade Center)
(Lion Television / All3Media)
Photography Factual
Production Team (D-Day As It Happens)
(Windfall Fims)
Digital Creativity
Awards
RTS Craft & Design Awards

Noel Fieldings Luxury Comedy 2
Tales from Painted Hawaii (Secret Peter)
Graphic Design Titles
Alan Carr: Chatty Man (Open Mike
Productions)
Lighting for the Multicamera
Grand National 2014 (IMG Media)
Multicamera Work Sport
Utopia 2 (4Creative / Kudos Film & Television)
Production Design Drama
Photography Drama
Rebuilding the World Trade Center
(Lion Television / All3Media)
Photography Documentary/Factual &
NonDrama
Cardinal Burns (Left Bank Pictures)
Production Design Entertainment &
NonDrama
Digital Media Awards

Digital Emmy Awards (New York)
D-Day As It Happens (Windfall Films)
Digital Programme Award Non-Fiction
BAFTA Craft Awards
D-Day As It Happens (Windfall Films)
Digital Creativity (Production Team)
Diversity Awards
Asian Media Awards
Krishnan Guru-Murthy (Channel4 News)
Media Personality of the Year
Why Muslim Women Choose to Wear the Veil
(Channel4 News)
TV Report of the Year
Asian Voice Political & Public Life Awards
Michael Crick (Channel4 News)
Special Award for Diversity
Stonewall Awards
Liz McKean (Dispatches: Hunted) (Shine TV)
Journalist of the Year
Live from Space (C4Creative / Arrow Media)

Gold Lovie Winner
Unreported World Shorts (Quicksilver Media)
Silver Lovie Award Winner
(Internet Video: Documentary)
Online Media Awards
Anna Doble (Channel4 News)
Editor of the Year
Embarrassing Bodies: Live From the Clinic

(Maverick TV)
Entertainment
Channel4 News: Life in Chains,
Somalias Mentally ill (ITN)
News and Current Affairs Award
Marketing Awards
Viewer Engagement Strategy

Loyalty & Relationship Marketing Award
Promax Awards
Gold awards
Psychopath Night (4Creative)
Best Factual Promo (Originated)
Grand National 2 (4Creative / IMG Media)
Best Sports Promo (Originated)
Crufts (4Creative) (Sunset + Vine)
Best Leisure & Lifestyle Promo
Film4 Claps (4Creative)
Best Film Promo
Short Shorts (4Creative)
Best Promotion for a Website or
Interactive Service
Alternative Voices (4Creative)
Best On-Air Ident Campaign (In-House)
Film4 (4Creative)
Best On-Air Ident Campaign (out of house)
Channel4 News
Best Use of Social Media

Best Use of Editing
Geoff White (Channel4 News)

Digital Writer of the Year
Mini in Chelsea (4Creative)

Best Use of Humour
Channel4 News
Technical Innovation
Film4 (4Creative)
Best Channel Identity
Newsworks Awards
Channel4 Taste Tablet (CPL Productions)
Best Tablet Campaign
Film4 Claps (4Creative)

Best Use of Editing
Best Use of Direction
Channel4
Channel of the Year
Frightfest (4Creative)
Best Film Promo
Tribes
Data Storytelling Award
Innovation in youth research
The Lovies (Multi-platform Awards)

Live from Space (C4Creative / Arrow Media)
Peoples Lovie Award Winner

Best Poster or Outdoor
Mind Media Awards

Drama Award
D-Day As it Happens (Windfall Films)

Best Multiplatform Project
Freesat Awards
Best Factual TV Programme or Series
Sochi (4Creative)
Best Season or Stunt Promo or Campaign
Bronze awards
Singer Takes it All (4Creative / Initial and
Remarkable Television)
Best Entertainment Promo (Originated)
Marketing Week Data Strategy Awards

Channel4
Grand Prix (Viewer Engagement Strategy)

Highly Commended
Silver awards
Live from Space (4Creative / Arrow Media)
Best Factual Promo (Originated)
Creative Diversity Network Awards

Siobhan Sinnerton
Special Recognition for Commissioning
Award
Broadcast Digital Awards

Made in Chelsea (PaperSeven / Monkey
Kingdom)
Best Game
Utopia: This is a Warning Viral

(4Creative / Kudos Film & Television)
Best Social Media & Digital Marketing
Campaign
91
Short Shorts (4Creative)

Best Launch Promo or Campaign
E4 (4Creative)
Best Channel Identity
Born Risky (4Creative)
Best On-Air Campaign Channel Promotion
Campaign Awards
Channel Four Sales
Television Sales Team of the Year
92
Forward Look
93
Corporate ambitions
In 2015 Channel4 will see the continuation
of the investing in innovation strategy as
we reinvest the surplus generated in 2014.
Following both critical and commercial
success in 2014, Channel4 is in a fantastic
position to build on this success.
digital platforms, including Android, across

2015. We will build on a great start in 2014
for Shorts, further refine our investment in
multiplatform programmes and continue
to broaden our mobile games slate, with
emphasis on scale and commercial appeal.
There will be a planned increase in our

overall content spend, particularly aimed
atincreasing E4s content budget. Across
the genres, there will be notable increases
inDrama and Comedy, and some reductions
in features.
After a successful first round of investments

for our landmark Growth Fund in 2014, in
which we committed spend of 5 million out
of our 20 million pot, we will look to expand
and diversify our portfolio in 2015. We will
continue to make investments into strong
growth companies, including those that are
aligned to Channel4s remit with respect
to diversity and Nations and Regions. We
accept applications from companies working
with all broadcasters; focusing on a variety
of different genres; from Factual to Comedy,
Drama to Entertainment and Digital. Growth
Fund Advisory Board Members Lorraine
Heggessey and Tessa Ross will continue to
have an active mentoring role with existing
and new investments.
Core Channel4 will continue to be a

broadbased channel, attracting young and
upmarket viewers with distinctive and original
content. With an ambitious drama slate, there
will be a renewed focus on original content
and the recommissioning of successful new
factual entertainment franchises.
E4 will receive more investment to fuel its
growth as the leading channel dedicated to
1634s in the UK. More4 will continue to build
its refreshed schedule around the core stable
of established lifestyle titles augmented with
originated features and new acquired drama.
And Film4 will continue to act as the leading
film channel with retained brand strength
andincreased commercial scale.
Across the portfolio, we will be looking to
maximise our investment through strategic
collaborations. For example, in Drama we
aredeveloping a slate of co-productions with
broadcasters such as AMC in the US, that will
deliver ambitious and distinctive high quality
drama that has international appeal.
We will also be working with partners in
Scotland, Wales and Northern Ireland to
help deliver our new licence commitment
to commission at least 9% of our original
spend by 2020 from the Nations. Our new
Nations and Regions team will work closely
with the rest of Commissioning to deliver
ourambitious goals across the devolved
Nations as well as the English Regions.
We will embark on an extensive programme
designed to increase diversity across
thebusiness ultimately making a lasting
difference not just to Channel4, but to the
industry as a whole. The 360 Diversity
Charter puts diversity at the heart of all
decision making at Channel4, on and
off-screen. Investment will span key areas
and will cover a wide definition of diversity
including BAME, disability, LGBT, gender
andsocial mobility.
We are also planning a rebrand of 4oD with
the new All 4 brand being rolled out across
all platforms in early 2015. Users will explore
Channel4 content across three temporal
states On Demand (past), Now (present)
andOn Soon (future) via a new user
interface. This will launch initially on PC and
iOS devices and will be extended to other
Our pioneering data strategy will continue

toenable Channel4 to lead the global digital
TV ad market, with our unique first party data
already offering advertisers superior targeting
against a young, upmarket audience. In
2015 we will be launching the first European
broadcaster programmatic platform which
enables agencies to buy VOD ads with
access to Channel 4s first party viewer data.
The radical addition of automated buying is
another game changer for the commercial
TV VOD industry in 2015. Channel4s data
strategy continues to secure our business
forthe future, driving increased revenues
andcreative innovation.
These plans will be delivered in a challenging
and rapidly-changing market. It is, however,
the case that Channel4s regulatory
framework has not kept up with the pace of
change within the sector and we will therefore
be discussing our desire for a number of
important regulatory and policy reforms
withthe regulator and government.
Looking further ahead into the future,
webelieve that Channel4 will become
aneven more important part of the public
service broadcasting system, acting as an
Alternative Mainstream channel. From the
strong creative and commercial vantage point
we have reached, we are now actively looking
at how we can deliver the greatest impact
in the future through a clear articulation of
the organisations creative vision as a PSB
institution along with further innovations
inourcommercial model.
94
Creative overview
2015 will continue our successful mix of
longer runs of returning series combined
with innovative new and one-off titles.
2014 was hailed as Channel4s factual
renaissance. 2015 will be the year where
ourscripted shows land, with record
spendsin Comedy and Drama.
In both of these areas, the strategy of
combining cult hits with more mainstream
pieces will reach fruition with critically
acclaimed shows like Toast of London
matched by broader appeal comedies like
Sharon Horgans Catastrophe. In drama,
Russell T Davies trilogy of shows about gay
life in Britain, Cucumber, Banana and Tofu
will sit alongside lavish period drama Indian
Summers. In addition, there will be a welcome
return for iconic writers as Shane Meadows
reprises the award winning This is England
and Paul Abbott delivers his unique take on
Cucumber
Indian Summers
Jay Hunt
Chief Creative Officer
Forward Look
the police service, No Offence. We will also

air the first of our dramas funded under the
international co-production model with sci-fi
thriller Humans.
Innovative factual shows will continue
to dominate the schedule with returning
hits like The Island with Bear Grylls and
Educating this time in Cardiff. And we will
build on our track record of bringing young
audiences to thought provoking content with
new series like The Hunted which explores
how hard it is to disappear off the grid in
the age of surveillance and The Tribe which
uses a documentary rig to capture life in
an Ethiopian tribe. The Tribe will also be
part of a refocus on international content,
sitting alongside Indian Summers, Our Guy
in India and Walking the Nile, which will
reinvent the traditional travelogue combining
current affairs with uplifting journeys of
realendurance.
In this election year, we will also air a range
of shows on key social issues that will aim
to stimulate debate and engage young
audiences, in particular. NHS: 2 Billion
a Week & Counting and The Romanians
are Coming are typical of this new kind
of documentary. Our drama and comedy
will also address the big political themes
with longer runs of our topical show, The
Last Leg and factual dramas like James
Grahams Coalition, and for a lighter take on
the democratic process, new comedy On
The Buses. This coverage will culminate with
Jeremy Paxmans first appearance presenting
on the channel fronting The Alternative
Election Night.
The Romanians are Coming
95
Our growing reputation in male skewing

programming will be enhanced with new
titles that particularly appeal to that audience.
SAS The Interview and Idiot Proof will bring
entertainment values to serious subjects.
In Education, our programming will cater
to young audiences with new life skills
documentaries that sit under the Am I
Normal? online hub. New strands like
Underage and Gay and Troys Digital Hijack
will find imaginative ways of engaging with
big coming of age themes like sexuality and
online safety. Hollyoaks will continue to play
its part in airing sensitive themes that speak
to this audience, and new shows such as
school drama The ABC, and a documentary
about stage school pupils will seek to
appealto our older children audience.
Channel4 News continues to be a brilliant
and unique blend of news and current affairs
and were gaining audience share albeit in
a market that is declining overall. We will
continue our online strategy to reach wider
audiences with our News content, with a
particular focus on 1634s. As ever, we will
be focusing on growing new and diverse
talent and continuing to bring an international
perspective that you dont get on other
channels with Unreported World.
96
SPOTLIGHT 2015
All 4
All 4 is the new digital home of

all Channel4 content: a brand
new service which will present
allof Channel4s linear channels,
digital content and services in
one place, for the first time.
All 4 builds on a heritage of pioneering digital

innovation which saw Channel4 launch the
first ever TV catch up service in the world.
The All 4 brand will replace the 4oD brand on
all platforms at the end of Q1 2015. The new
user-interface will launch on Channel4.com
and iOS at the end of Q1 2015, with a launch
on Android later in the year.
A new, engaging and intuitive user interface
will guide viewers through a digital experience
structured around three temporal states
On Demand (past), Now (present) and On
Soon (future). On Demand will house all of
Channel4s catch up content and its vast
archive integrating all available programme
related information such as cast interviews
and galleries with on demand content for
the first time. Now will be where viewers can
watch live broadcasts from all Channel4s
channels and engage with a range of content
experiences which are of-the-moment e.g.
interactive content formats, news clips, short
form videos and social media feeds. On Soon
will showcase new programme clips and
promos allowing viewers to set reminders and
alerts for future shows to drive awareness of
upcoming content and watch a selection
of exclusive episode premieres before their
linear TV broadcast.
Channel4s newly launched Shorts

programmes will be tightly integrated across
all three states, with Shorts additionally
available in a dedicated Shorts hub.
The All 4 brand identity brings together all the
components of Channel4s family of services
in one place. Reflecting Channel4s history
of having been born out of a single channel,
the new All 4 logo is derived from the iconic
Lambie-Nairn Channel4 logo. In neat parallels
with its original multi-coloured design which
used colour to represent different communities
and voices coming together the new All 4
identity uses colours to represent each of
Channel4s different brands.
For Channel4s registered viewers, the All 4
experience will be increasingly personalised.
Using Channel4s leading audience insight
capabilities, and leveraging its database of
over 11 million viewers (which now includes
1in 2 of all 1634s in the UK), All 4 will surface
an increasingly bespoke set of content and
related experiences for viewers.
Spotlights
97
SPOTLIGHT 2015
360 Diversity Charter
2015 sees the launch of

Channel4s 360 Diversity
Charter an important new
commitment for Channel4.
Channel4 has always had a strong reputation

for diversity. Weve produced iconic TV
moments that have changed the way we
think about diversity the first lesbian kiss
on Brookside, the first long-running black
sitcom in Desmonds, pioneering content
like Queer As Folk, and of course coverage
of the London 2012 Paralympics that forever
changed our view of disability.
The 360 Diversity Charter aims to continue
delivering iconic moments on screen, but
it will also show leadership in diversity at
every level. Its about everyone who works
at Channel4, not just those on screen. The
idea is to find solutions by educating people
to be diversity-savvy; to be diversity leaders.
360 also means focusing on every part of
the people development chain, and weve
developed a list of 30 activities to make
it happen, including talent identification,
recruitment, training, development,
mentoringand more.
Diversity is a big, complex area made
more complicated by the fact that Channel4
doesnt make its own programmes. As well
as delivering our own diversity goals, we
must work with our independent production
partners to ensure they deliver our diversity
strategy on our behalf. We must also work
within the law. Channel4 will strive to
innovate around positive action (not positive
discrimination), sharing ideas with our
partners and suppliers. We know that our
commissioning model, whilst challenging,
actually increases our opportunity to be
aforce for change across the industry.
Firstly, weve developed our Commissioning
Diversity Guidelines to recognise differences
between genres and between suppliers
and to mainstream diversity as never
before for example by fast-tracking
investment in disabled talent through
our Rio Paralympics Production Training
Scheme. Secondly, we have focused on
introducing stretching targets for managers

to increase the diversity of all our people.
We will have separate targets for leaders
and commissioning decision makers. We will
push diversity throughout all commissioning
decisions onand off screen. And we will
continue our 2 million commitment to the
Alpha Fund, which funds the development
of diverse talent and content featuring
under-represented groups. Thirdly, we are
listening to independent producers in order
to provide them with practical assistance
and help under-represented groups access
our industry. Weare creating a diversity
database; helping source talent; offering
talent selection training; increasing diversity
expertise; starting the diversity dialogue at
thebeginning of the commissioning process,
not at the end. And, in turn, we will listen when
our partners think we can improve. Fourthly,
we will continue to work collaboratively with
our colleagues at other broadcasters, with
independent production companies, and
organisations like Pact, Creative Skillset
andthe Creative Diversity Network as
well as organisations outside broadcasting,
including charities andthe voluntary sector.
Our 360 Diversity Charter only works if
we hold ourselves to account and expect
others to hold us to account too. Thats
why were leading the way, in collaboration
with our industry partners, to create a new
and transformative level of accountability.
DIAMOND, the new diversity monitoring
system being prepared for launch in 2015,
will answer a critical question. For the first
time ever, we will know just how diverse the
industry is, both on and off screen.
98
Assurance report
Independent limited assurance report

to Channel Four Television Corporation
(Channel4)
Channel4 engaged KPMG LLP to provide
limited assurance over their key measures
in the charts on pages 1421 and pages
2435 of Channel4s Annual Report for the
year ended 31 December 2014 containing its
Statement of Media Content Policy, referred
to hereafter as the key measures.
This independent assurance report is made
solely to Channel4 in accordance with the
terms of our engagement. Our work has
been undertaken so that we might state to
Channel4 those matters that we have been
engaged to state in this report and for no other
purpose. To the fullest extent permitted by law,
we do not accept or assume any responsibility
to anyone other than Channel4 for our work,
for this independent assurance report, or for
the conclusions we have reached.
Responsibilities of the Channel4 members
The Members of Channel4 are responsible
for the preparation of the Statement of
Media Content Policy Methodology (the
Methodology), the 2014 Annual Report and
determining the content and statements
contained therein, and for establishing
and maintaining appropriate performance
management and internal control systems
from which the reported information is derived.
Channel4 applies its own Methodology
forreporting. The statement on the
Channel4website and the detail within
the Statement of Media Content Policy
section give further information on how
the data hasbeen selected, specific
definitions andthe calculation methodology.
Seechannel4.com/annualreport.
Responsibilities of the independent
assurance provider
Our responsibility is to examine the key
measures and to report thereon in the form of
an independent limited assurance conclusion
based upon the evidence we had obtained to
Channel4 on the findings of our work referred
to below, and to examine the presentation of
the key measures in the Statement of Media
Content Policy section of this report for
consistency with our findings.
Scope of work
We examined the key measures in the
datatables, graphs and pie charts relating
to Channel4 in this 2014 Annual Report
andthe year-on-year trends, as defined
intheMethodology.
The primary focus of our work was on the key
measures for the year ended 31 December 2014
and the comparisons with the immediate prior
year. We have not examined the key measures
for years prior to the year ended 31 December
2013 other than in the following cases:
Where the summary metrics for
whichthe source of the data is Ofcom
or Broadcast for which the 2014 data
was not yet available, we have examined
the information for the years ended
31December 2013 and 2012 found
onpages 17 and 18; and
We have checked the extraction of TV

viewing share from BARB from 2010
to2014 found on page 31.
For the following key measures, the scope
of our work was limited to checking the
calculations performed by the managers
ofChannel4 based on the data provided by
its third party online data service providers:
Total visits to Channel4 websites, mobile
sites and apps on page 34; and
Channel4 programme views initiated on
demand on page 34.
Basis of our work
We conducted our engagement in accordance
with International Standard on Assurance
Engagements 3000: Assurance Engagements
other than Audits or Reviews of Historical
Information, issued by the International
Auditing and Assurance Standards Board.
That Standard requires that we comply with
applicable ethical requirements, including
independence requirements, and that we
plan and perform our procedures to obtain
sufficient, appropriate evidence on which
tobase our conclusion.
We made use of Channel4s Methodology
toperform our work.
Work performed
A limited assurance engagement involves
performing procedures to obtain sufficient
appropriate evidence to give limited
assurance over the data. The procedures
selected depend on our judgement, on
our understanding of the data and other
engagement circumstances, and our
consideration of areas where material
misstatements are likely to arise.
For the key measures that are calculated from
information derived within Channel4 (stated
as Source: Channel4), the work consisted of:
conducting interviews with management
and other personnel at Channel4 to
obtain an understanding of the systems
and controls used to generate, aggregate
andreport the key charts;
examining and testing of the systems and
processes in place to generate, aggregate
and report the key charts;
assessing the completeness and accuracy
of the key charts by:
testing the operating effectiveness of
systems and controls;
assessing relevant supporting
documentation used to aggregate and
report the key measures;
assessing the significant assumptions
and judgements made by the managers
of Channel4 in the preparation of the
keycharts;
testing the documentation which
supports the measurement, calculation
and estimation of the key charts; and
assessing and testing the source
information used to generate the key
charts; and
examining the presentation of key charts
and the calculation of year-on-year trends
in Channel4s Annual Report in light of
ourfindings.
For the key measures calculated based on

information from outside of Channel4 (stated
as Source: BARB, Ipsos MORI, Attentional,
Ofcom and Broadcast) we have relied upon
the information supplied by BARB, Ipsos
MORI, Attentional, Ofcom and Broadcast,
as applicable, and have not carried out any
independent verification procedures on
the information so provided to Channel4
otherthan:
conducting interviews with management
and other personnel at Channel4
to obtain an understanding of the
external information used and the level
of information available to support
themeasures;
assessing the accuracy of extraction
from external information sources and the
compilation of trends for the medium-term
viewing measure; and
examining the presentation of key
measures and the calculation of year-onyear trends in Channel4s Annual Report
inlight of our findings.
For the key measures based on information
from Channel4s third party online data
service providers outlined above, the work
consisted of:
assessing the accuracy of the calculation
performed within Channel4; and
examining the presentation of key
measures and the calculation of year-onyear trends in Channel4s Annual Report
inlight of our findings.
The extent of evidence-gathering procedures
for a limited assurance engagement is
less than that for a reasonable assurance
engagement, and therefore a lower level
ofassurance is provided.
Emphasis of matter
Our conclusions do not relate to periods
before 2013, other than as indicated above
inthe scope of work section.
Conclusions
Based on the work performed, nothing
hascome to our attention that causes us
tobelieve that in all material respects and
onthe basis of the Methodology:
Channel4s key measures for the
yearended 31 December 2014 and the
comparison with the immediate prior
yearare not fairly stated;
key measures, where the source of the data
is Ofcom or Broadcast, for the year ended
31 December 2013 and the comparison
with the immediate prior year are not fairly
stated; and
the TV viewing share from 2010 to 2014 are
not fairly stated.
Karen Wightman
for and on behalf of KPMG LLP
Chartered Accountants,
London,
25 March 2015
99
100
Strategic Report
Financial highlights
Fifth consecutive year of financial sustainability
Corporation revenue increased by 30 million to 938 million in 2014
Channel4 returned to a financial surplus position in 2014 after two
years of investment, and in line with our three year strategy
Cash reserves remain above 220 million for fifth year in a row
whilethe launch of the Growth Fund further diversified our
investment portfolio
Channel4 portfolio viewing share was broadly stable despite a
highly competitive environment with growth in our portfolio share
of1634s and digital channels, specifically E4
A content reserve has been established in 2014 to support our aim
to achieve a long-term financial break-even position and ensure
surpluses generated are re-invested into our creative ambition.
We have allocated 30 million of retained earnings from surpluses
generated since 2010 to set up the content reserve
Year of major creative success and achievement
Record number of awards in 2014 including Channel of the Year
Originated content spend increased, maintaining an average above
430 million between 2012 and 2014
Continued evolution of digital and data strategies
Digital revenues reached 63 million in 2014
Record number of VoD views at 587 million views, 11.3 million
registrations and half of all 1634 year olds in the UK registered
Launch of short form programming
Plans underway to launch a new integrated VoD proposition, All4,
in2015
Total revenue of 938 million, an increase of 30 million year
onyear
Strong advertising sales performance aided by a buoyant
advertising market, growth in digital revenues, and the box office
success of The Inbetweeners 2 Movie have contributed to the
revenue uplift in 2014
Operating surplus of 4 million achieved in 2014 following two
years of planned investments in Channel4s Investment in
Innovation strategy
The contribution from increased revenues has been reinvested into
content spend in 2014
Increased surpluses generated in 4Rights through VoD and The
Inbetweeners 2 Movie are offset by difficult DVD retail conditions
and lower catalogue sales
Utilisation of cash reserves reflects continuation of the
investment strategy
Total cash and funds on deposit decreased by 16 million to 222
million reflecting further investment in content, the Growth Fund
andincreased Defined Benefit pension funding obligations
Income statement highlights by segment
2014
Advertising
&
sponsorship
revenue
m
Other
revenue
m
Total
revenue
m
843
17
860
(20)
27
51
78
24
4Broadcast
4Rights
Other
(1)
(1)
869
69
938
Advertising
&
sponsorship
revenue
m
Other
revenue
m
Total
revenue
m
Operating
surplus/
(deficit)
m
825
17
842
(36)
22
44
66
20
Eliminations
Total
2013
Operating
surplus/
(deficit)
m
4Broadcast
4Rights
Other
(1)
(1)
846
62
908
(15)
Eliminations
Total
Key revenue and cost totals
Sales house revenues*

Corporation revenues
2014
m
2013
m
1,073
1,028
938
908
869
846
63
61
602
597
430
429
Of which:
Advertising and sponsorship revenues
Digital revenues
Content spend
Of which:
Originated content spend
*
Sales house revenues include the gross revenues of all our partners including
UKTV, Box and BT Sport. As we are an agent in these relationships we only
recognise our commission on these sales in Corporation revenues.
Strategic Report continued

Our business model
Business segments
Channel4 is a unique organisation: a public service publisherbroadcaster with a distinctive creative remit, funded solely from
commercial revenues, existing to provide a range of distinctive,
challenging and provocative content. In order to fulfil our public
service remit to innovate and experiment in television and appeal
to the tastes and interests of a culturally diverse society we seek
tooptimise returns from our commercial activities.
Our business comprises three operating segments:
The commercial model at Channel4 has been framed historically by

a clear set of principles, many enshrined in law. Our remit encourages
us to maximise our spend on screen and minimise our overheads
and asks us to meet certain minimum requirements with regard
to levels of original, public service and regional commissioned
programming. In return, Channel4 receives privileges from
government such as prominence on the digital terrestrial television
platform (EPG prominence) and access to the digital spectrum
(although these benefits have been eroding over time). In contrast
toother broadcasters, we are prohibited by legislation from owning
our ownproduction capability and face a statutory limit on the
amountofdebt capital we can raise.
The delivery of Channel4s unique remit has always therefore relied
on a challenging funding model which requires an agile, pioneering
and well-executed commercial strategy. The Members view is that
this is one of the organisations strengths, forcing Channel4 to remain
at the sharp end of innovation. Over the past decade, Channel4 has
proved remarkably resilient despite radical changes in the broader
audio-visual market. This resilience has been achieved through the
successful implementation of a multichannel strategy, the launch of
pioneering digital services and sustained innovation in advertising
sales and a stable overall portfolio share.
There has always been a balance in maintaining the creative and
cultural impact of the flagship channel and our contribution, as a
publisher-broadcaster, to the UK production sector, while sustaining
overall revenues by growing distribution in multichannel and online
viewing. This balance exists for all public service broadcasters, but
accurately predicting and managing it is central to how Channel4 can
maintain its independence and sustainability into its fourth decade.
Regulatory environment
Channel4 receives access to the digital spectrum in return for
fulfilling public service obligations as set out in the 1990 and 1996
Broadcasting Acts and as amended by the Communications Act
2003, the Digital Economy Act 2010 and the ten-year licence issued
by Ofcom which was renewed during 2014 and came into effect
inJanuary 2015.
Following the completion of digital switchover, the Members consider
the value of this access to be significantly diminished. It is not
accounted for in the financial statements.
1. 4Broadcast
4Broadcast comprises the broadcast and supporting activities of
the Corporation. These activities include five free-to-air television
channels, available on terrestrial, satellite and cable platforms, which
help to maintain the Corporations scale and creative impact in the
multichannel world.
Channel4, the main service channel continues to maintain its core
focus on the values of innovation, creativity and diversity through
original UK commissioned programming. Channel4 is available in
standard and high definition on the main broadcast platforms and
also encompasses our delayed transmission service Channel4+1
and4seven.
4seven provides another opportunity to watch Channel4 programmes
from the past week that have generated public, media and social
media attention.
E4 focuses on Comedy, Drama and Entertainment including original
commissions and US acquisitions. E4 is the leading digital channel
for1634s and the third most popular digital channel in the UK.
More4 offers life enhancing content to help viewers to get the
mostout of their everyday lives. More4 focuses on popular factual
andfeatures programming including homes, property, food, health
and fashion.
Film4, the UKs leading dedicated film channel and the fourth most
popular digital channel for individuals, offers a mix of the best British,
European, US and international cinema.
E4, More4 and Film4 are available on all the main broadcast platforms
and offer delayed transmission and high definition services.
In addition, 4Broadcast includes interactive platforms that have
helped to extend the depth and impact of programming output for
more than a decade, complementing television content as well as
free, advertising-funded catch-up video on demand for the majority
of key shows. 4Broadcast continues to use the internet and new
technologies to develop new commercial opportunities and reinforce
its public service contribution and to drive a deeper relationship with
audiences as well as having more archive content than any other UK
broadcaster. We remain committed to developing further in this area
and plan to launch our new VoD proposition, All4, in 2015 as detailed
onpage 96.
The 4Broadcast segment also includes our Growth Fund activities,
aninvestment fund with the aim of nurturing the independent sector
by providing access to funding for a broad portfolio of small and
medium sized independent production companies based in the UK
tohelp them grow and develop their business.
2. 4Rights
4Rights includes our UK secondary rights business, generating income
through the distribution of programmes, sale of DVDs, syndicated video
on demand through third-party digital platforms andother associated
products. Third-party video on demand platforms making Channel4
content available to viewers include Virgin Media, Sky, BT Vision, Netflix
and LoveFilm, as well as PS3, Xbox 360, XboxOne, Apple iOS, Android,
Samsung and Windows 8.
3. Other
Other includes the provision of creative design and production
services outside of the Corporation.
101
102

Group financial review
As a not-for-profit public service broadcaster, we believe cash
reserves should be invested back into content and digital innovation
rather than building up beyond levels necessary to keep the
Corporation self-reliant. Our aim is to maintain an overall financial
break-even position in the long term. We have established a content
reserve in 2014 to support this principle and to ensure surpluses
generated are re-invested into our creative ambition in order to deliver
on our remit. We have allocated 30 million of retained earnings from
surpluses generated since 2010, including the 3million posttax
surplus recognised in 2014, to the content reserve. Surpluses
generated in future years will be allocated to the content reserve
whenrealised in cash, and creative investments will be funded
bydrawing down on the content reserve.
Our initiative to reinvest is designed to meet the opportunities and
challenges of the next phase of digital migration and evolve our
commercial business model to maintain the relevance and reach of
our remit through further investment in original content, innovation
through data, and viewer relationship management. Our three year
investment strategy has led to planned deficits in 2012 and 2013
withthe aim of achieving break-even in 2014. We achieved this
targetand have delivered a pre-tax surplus of 4 million in 2014.
Our key corporate and financial priorities in 2014 were to ensure
thelong-term sustainability of Channel4s unique business model.
These included:
establishing familiarity with content investment with emphasis
onreturning, longer running series creating a distinctive new spine
to the schedule and stabilising share decline
establishing deeper data and viewer relationships and the ability
todeliver targeted VoD advertising
continuing to maximise our share of the core TV market and drive
incremental revenue growth
continuing to promote programme awareness and enhance our
brand awareness and understanding of our remit
cost control to ensure additional spend was investment and
remitfocused
We introduced some new initiatives in 2014 designed to further
support our growth and sustainability.
The Channel4 Growth Fund launched in 2014 which will help
generate additional commercial return for Channel4 and will add a
new dimension to Channel4s existing support for the independent
production sector by stimulating growth outside of the normal
commissioning cycle. In 2014 we committed to invest a total of
5million in five independent production companies.
The Channel4 sales house, including advertising sales generated
for our partners UKTV, The Box Plus Network (Box), PBS and BT
Sport, achieved 1.07 billion in sales in 2014 (2013: 1.03 billion), as
our advertising sales team produced another strong performance
to exceed their 1 billion target for a fourth year running. This
achievement has helped to sustain our price premium in the market
tomaximise our revenues for content investment and continues to
drive value and revenue growth for our sales house partners.
Total revenues recognised by the Group in 2014 were 938 million

(2013: 908 million) and a summary of key changes in year-on-year
performance by business segment is shown opposite.
As part of our creative renewal of the schedule, and to support the
UK independent production industry, we have invested 430 million
into originated content in 2014 (2013: 429 million). In 2014 this
included high profile and ground-breaking shows such as Gogglebox,
Educating Yorkshire and Richard III.
Investment in video on demand platforms has extended the reach of
4oD, resulting in increased registrations, views and revenue growth. By
December 2014, 11.3 million viewers (2013: 10.2 million) had registered
with 4oD, with 50% of all 1634 year olds in the UKregistered.
Overhead and administrative costs continue to represent a small
proportion of the total cost base (less than 3%). We continue to
seekefficiencies in operations to ensure we maximise investment
intocontent.
Financial position
We maintain a robust financial position, reflected by a strong balance
sheet and significant cash reserves, providing funds for our future
strategic plans as well as contingency against future advertising
market volatility.
The balance sheet on page 132 shows that the net assets of the
Group at 31 December 2014 are 443 million (2013: 458 million).
The change year-on-year reflects increased actuarial deficits on the
defined benefit pension scheme of 37 million offset by an increase in
the revaluation of the Horseferry Road freehold property of 13million,
net deferred tax movements on the revaluation of the pension scheme
and property of 6 million and the surplus after tax of 3 million.
Theincrease in the value of the property, the movement in the pension
deficit and their associated deferred tax impacts are recorded in
OtherComprehensive Income.
Cashflow
The purchasing of programme stock ahead of transmission, the
acquisitions of the Growth Fund companies and contributions to the
defined benefit pension scheme led to a decrease in cash and funds
on deposit of 16 million in the year (2013: a decrease of 23 million)
to222 million (2013: 238 million).
As shown in the Group cashflow statement on page 133, the
investment strategy adopted in 2014 resulted in a 9 million net
operating cash outflow (2013: 25 million). Net cash inflows from
investing activities were 30 million as less cash was placed on
deposit (2013: net cash outflows of 17 million).
Group cash and cash equivalents were 152 million at 31 December
2014 (2013: 131 million) with a further 10 million held on deposit
for three months or longer (2013: 50 million) and 60 million held
invariable net asset value funds (2013: 57 million).
103

Segment financial review
4Broadcast
4Rights
860m
78m
2014 4Broadcast revenue
2014 4Rights revenue
1000 Revenue (m)
80 Revenue (m)
800
14
860
842
DVD & IB2
VoD
70
60
78
Secondary
sales
2014
Revenue
66
50
600
40
400
30
20
200
0
10
2013
Revenue
Ad sales
Sponsorship
performance
Other
2014
Revenue
Revenue increased by 18 million in 2014, mainly due to strong TV

advertising and sponsorship sales performance and TV advertising
market growth.
Revenue increased by 12 million in 2014, reflecting strong box office

performance and DVD sales of The Inbetweeners 2 Movie (IB2) and
further growth in VoD revenues and secondary sales. The increase
inoperating surplus in the year also reflected these trends.
20m
24m
2014 4Broadcast operating deficit
2014 4Rights operating surplus
25 Operating result (m)
Operating result (m)
0
-5
20
-10
-15
(4)
-20
(20)
(2)
2014
Operating
deficit
Distribution &
Transmission
costs
Content
spend
Revenue
impact
Secondary
sales
DVD & IB2
24
20
5
Other
2013
Operating
deficit
-40
18
15
-30
(36)
10
-25
-35
2013
Revenue
The operating deficit improved by 16 million in 2014, mainly due to the

impact of the revenue growth highlighted above and careful financial
cost management, offset by higher distribution & transmission costs
and content spend as the additional revenues were re-invested in year.
2013
Operating
profit
VoD
2014
Operating
profit
104

Staff and corporate responsibility
People
At Channel4 we pride ourselves on the wide range of passionate and
talented people we employ. Not only does this reflect our audience
more accurately, it also promotes creative thinking both on and
offscreen.
Average headcount for the year, on a full time equivalent basis, was
broadly flat in 2014 at 808 (2013: 798). At the end of 2014 the total
number of people of each sex employed by the Corporation for
eachgroup of employees was as follows:
2014
Male No.
Female No.
Non-Executive Members
Executive Members
26
14
Employees
Senior managers
353
512
Total Employees
387
531
Applying for roles

Channel 4 received 9,561 applications for employment from 1 January
2014 to 31 December 2014. Of overall applicants:
26% were BAME and 2% preferred not to say
57% were female and 43% were male
8% were lesbian, gay, bisexual or transgender (LGBT) and 7%
preferred not to say
3% declared themselves as having a disability
Of the 168 employees who joined Channel 4 during 2014:
20% were BAME
65% were female and 35% were male
4% were LGBT and 2% preferred not to say
Breaking down barriers to entry
Channel 4 continues to break down barriers to entering the media
industry by using online and social networking, face-to-face events,
and structured new entrant programmes. In 2012 we launched the
Channel 4 Graduate Programme (in partnership with Creative Skillset
and Bournemouth University) to complement our Apprenticeship
andProduction Training Scheme.

Via these schemes we offered 26 new entrants the opportunity
of paid work, and second to none on-the-job training. There were
opportunities in both our offices at Channel 4 and production-based
roles in the Indie sector. The talent that we find and develop is for us
and the wider creative industry; we believe that we all benefit from
astrong, talented Indie sector.
During 2014, 100% of our 2013 apprentices (2013: 80% of 2012
apprentices) gained permanent employment at Channel 4 or other
companies on completion of their apprenticeship.
Social mobility
Following the Deputy Prime Ministers Award for Excellence in
2013, we continued to strengthen our work in this area during 2014
and have held 4Talent Open Days in six locations with high youth
unemployment. 4Talent attended London and Birmingham career
skills shows, as well as providing career talks in a number of schools
and partnering with several youth organisations.
4Talent Open Days

Channel 4 received 3,099 applications, an increase of 43%,
toattendopen days or apply for work experience placements.
Ofoverall applicants:
27% were BAME (an increase of 9% since last year) and 2%
preferred not to say
68% were female, and 32% were male
Work experience
In 2014 Channel 4 offered 60 work experience placements of between
1 and 2 weeks for individuals aged between 16 and 25 years of age.
Talent development
Every year we give in excess of 800,000 to a variety of bodies
including Creative Skillset, TRC Media and the National Film and TV
School to help fund projects to develop diverse entry-level talent.
Diversity Charter
We pride ourselves on the wide range of people we employ. Not
only does this reflect our audience more accurately, it also promotes
the variety of creative thinking and programming that have made
Channel 4 what it is today. It is only by attracting people from
the widest possible backgrounds with the most diverse range of
attitudes, opinions and beliefs that we can keep producing the kind
ofchallenging, engaging output youve come to expect from us.
In January 2015, Channel 4 announced its 360 Diversity Charter. The
Charter aims to continue delivering iconic moments on-screen, but it
will also show leadership in diversity at every level. This is far reaching
and involves all our staff as well as commissioners, writers, directors
and talent to name a few examples and focuses on every part of the
people development chain. It includes in-house employment diversity
targets to be achieved by 2020 to address imbalances across a range
of groups including BAME, gender split, people with disabilities and
LGBT. Further details are provided on page 97.
Diversity in TV and the media is a top priority for us at Channel 4.
Akey part of our remit is to appeal to people whatever their culture,
nationality, religious persuasion, physical and mental ability, sexual
orientation, gender, race or age.
Creative Diversity Network (CDN)
As a founding Member, Channel 4 continues to play an active role
inthe Creative Diversity Network (CDN). The CDN is a coalition of
all the major UK broadcasters which works across the UK television
industry to promote, celebrate and share good practice around the
diversity agenda.
In 2014, the CDN launched industry working groups, the
Commissioning Leadership Programme and held the CDN Awards,
all with the expressed aim of engaging and empowering the industry
to drive change and understand the business case for wider
representation and inclusion.
Pension
The most recent independent triennial valuation of the Channel Four
Television Staff Pension Plan was carried out as at 31 December 2012.
The subsequent valuation and recovery plan were approved by the
Board in 2014 (note 18). The Channel Four Television Staff Pension
Plan was closed to new joiners with effect from 1 September 2007
anda new Defined Contribution Scheme opened from the same
date.On 24 February 2015, it was announced that the Channel Four
Television Staff Pension Plan will close to future accrual with effect
from 31 December 2015.
The assets and liabilities of the Channel Four Television Staff Pension
Plan have been valued at 31 December 2014 in accordance with IAS
19 Employee Benefits and the net accounting deficit of 73 million
has been recorded in the year end balance sheet (2013: 39 million).
The deficit has increased in 2014 primarily as a result of changes in
actuarial assumptions following the approval of the triennial valuation
and recovery plan and changes in discount rates.

Accountability
Our Board and Executive Team have committed to promoting the
highest standard of responsible corporate behaviour and are ultimately
accountable for this. Channel 4 has a Corporate Code of Conduct and
procedures providing a framework for accountability. Since 2004, we
have reported on our approach to corporate responsibility and our
performance in our Annual Report and Accounts.
Corporate and social responsibility

We are committed to playing a responsible role in our communities.
Our environmental sustainability statement is disclosed on page 110.
The aim of our Corporate Responsibility (CR) strategy is to fulfil our
public service remit in a responsible manner through inspiring and
challenging the behaviour of our people and audience to promote
social, environmental and personal change.
Charitable giving
Employees are able to make tax-free donations to charity, directly
from their salary via the Give As You Earn Scheme. We also support
staff fundraising through a match funding scheme that encourages
teamwork and collaboration. We match fund pound-for-pound up to
2,500 if teams of staff work together in support of a charitable cause.
Volunteering
Channel 4 recognises that volunteering can have a meaningful and
positive impact on both our staff and community, and we support
thisthrough our Volunteering Policy.
The Disaster Emergency Committee (DEC)
Channel 4, working in partnership with ITN, has been a broadcast
partner for the DEC for a number of decades. When a large-scale
international crisis occurs, we broadcast a 23 minute national
television appeal, without charge.
Diversify our revenue streams to reduce our reliance on linear

advertising, examples of which include short form programming,
advertiser-funded programming and Viewer Interactive Services(VIS)
Launch of the Growth Fund. This puts our capital to work in more
remit-delivering ways and opens Channel 4 up to sharing in the
benefits of companies that go on to generate shareholder value
in the future. In 2014 we committed to invest 5 million into 5
companies, and have earmarked a further 15 million to invest
overthe next 2 years
The core base for sustainability of the organisation remains the TV
and video advertising market, accompanied by a stable total audience
share across linear and VoD viewing, relative to the competition.
In addition, growing new revenue streams such as short form and
mobile are important, as is appropriate management of our cost
base. Management are also seeking other growth and investment
opportunities to help underpin remit delivery.
Looking forward, the Members remain confident that Channel 4
cancontinue to deliver against current levels of public service impact
on aself-sustaining basis. Ofcom also share this view, as demonstrated
bythe renewal of Channel 4s licence for 10 years from January 2015.
Financial outlook for 2015

We have been implementing an investment strategy over the last three
years, which led to planned deficits in 2012 and 2013 before achieving
our financial breakeven target and returning to a 4 million pre-tax
surplus in 2014.
We are planning further investment in 2015 providing the TV
advertising market grows, reflecting our continued ambition to
deliver strongly on our remit alongside an ambition to hold portfolio
audience and commercial share viewing. We will use the surplus
generated in 2014 to partly fund this, again highlighting our long-term
breakeven goals, and our desire to reinvest surpluses into the core
ofourbusiness.
4better
4better is Channel 4s internal employee engagement programme,
which works to promote positive change for our people, local
communities and the environment.
Our outlook for 2015 is positive. The market outlook for 2015 is strong,
with growth forecast between the range of 3% and 4%. Channel 4
budgets on a prudent growth model, and if the market grows by more
than forecast then we will seek to reinvest any upside into content
orother core developments.
Strategic outlook
Our investment plans centre around three key areas in 2015:
Channel 4 strives to continually evolve and innovate in order to deliver

itsrequired levels of public service. Over the past five years the
Executive Team have focused on creating long-term sustainability
through commercial developments and creative success, whilst
continuing to ensure that output is as creative and diverse as it
canbe.Some examples of this are below:
Continue to invest in content that will drive growth (both linear and
nonlinear) and resonate with our audiences. To this extent we are
making a planned investment into our digital channel E4, via the
content reserve which was created in 2014 for such a purpose.
Continue to invest in data, to further deepen our viewer
relationships, and ability to deliver a targeted VoD proposition.
Wewill be launching All4 in 2015, and are developing tools to
enhance our engagement with our digital audiences, driving
deeperviewer understanding and affinity.
We will seek to grow our Growth Fund partnerships, and in 2015
will look to engage with and invest in companies that will both
complement Channel 4s core business, and stimulate growth
inregions and diversity-focused companies.
Building a more stable programme schedule with key returning

titles in order to strengthen our offering to our audiences, such as
Gogglebox, Educating Yorkshire, Benefits Street and 24 Hours in
Police Custody
Develop our ad sales partnerships. The combination of Channel4
alongside UKTV, BT Sport and PBS means we continue to maintain
scale and manage a demographically-efficient base in a constantly
evolving and challenging market. Total sales house revenues have
exceeded 1 billion for a fourth year in a row and we continue to
seek to identify further complementary partnerships
Driving differentiation and growth in our online revenues through our
award winning data strategy. Data forms a key element in a growing
proportion of our online deals as behavioural targeting becomes an
ever more embedded expectation amongst advertisers. We remain
committed to further developing and growing this area. We are
also launching All4 in 2015 (page 96), developing Viewer Interest
Segments which will allow us to identify viewer preferences and
promote accordingly, while also launching programmatic buying
which is designed to further develop targeted promotional airtime
on our digital platforms and enable agencies to buy VoD ads that
are targeted at specific interests
To achieve this we will seek to maximise advertising revenues from

ourcore business and drive incremental revenue growth.
Overhead and administrative costs will be held constant or reduce
asa proportion of total spend.
105
106

Key performance indicators
The Board uses a range of quantitative financial and non-financial
indicators to monitor the Groups performance against its key
objectives including the SMCP metrics set out on pages 14 to 35
ofthis report. Four key indicators are described below.
Advertising and sponsorship revenue
Originated content spend
869M
430M
Total advertising and sponsorship revenue (m)
Investment in originated content (m)
2014 advertising and sponsorship revenue
869.0
848
845
844
846
2014 originated content spend
869
434.0
695.2
347.2
521.4
260.4
347.6
173.6
173.8
86.8
0.0
2010
2011
2012
2013
2014
Definition
Advertising and sponsorship includes all broadcast airtime, online
advertising and sponsorship revenues recognised in the Group
consolidated income statement. Channel 4 is funded solely from
commercial activities without direct public subsidy. Our commercial
performance is therefore dependent on delivering valuable airtime
toadvertisers, which in turn enables the delivery of our remit.
Comment
In 2014 advertising and sponsorship revenue accounted for 93%
(2013: 93%) of total revenue. Total advertising and sponsorship
revenue increased in the year to 869 million (2013: 846 million)
asshown on page 100.
0.0
419
434
429
430
2012
2013
2014
362
2010
2011
Definition
Originated content spend primarily reflects our investment across
theportfolio of channels in original, UK-developed content.
Comment
In 2014 Channel 4 continued to invest in commissions from UK
independent production companies. Originated content spend was
slightly higher than 2013 and only marginally lower than its highest
ever level in 2012 (434 million). The spend of 430 million (page15)
continues to demonstrate Channel 4s commitment to the UK
independent production sector.
107

Ofcom requirements
Portfolio audience share
Exceeded
10.9%
Ofcom requirements
Portfolio audience share
100%
15
80%
12
60%
40%
20%
0%
10
11
12
13
14
05
06
07
08
09
10
11
12
13
14
Originated programmes in peak hours

Overall hours of originated programmes
Production spend outside of London
Definition
As a public service broadcaster, the Channel 4 main service is set
various licence obligations by Ofcom, the delivery of which is central
to our public service role. Targets are set for a range of production
andtransmission measures. These targets are set out on pages 15,
17,18and 165.
Comment
In 2014 and 2013 we met or exceeded all of our licence requirements.
Key quotas achieved are shown above. During 2014 the main channel
achieved 63% of overall hours of originated programmes (target: 56%)
and 77% in peak hours (target: 70%).
As shown on pages 18 to 19, we also comfortably exceeded our target
of 35% of programme production spend outside London with 153
million of the Channel 4 portfolios originated programming, excluding
Channel 4 News, being supplied by production companies located
outside the M25.
Definition
Portfolio audience share data is the average proportion of the total
UKtelevision audience that has viewed our portfolio of channels
intheyear, and is obtained from BARB (see page 31).
Portfolio audience share is a key measure of delivering our public
service remit across our portfolio of channels. It is a broad measure
and an easily understood indicator of performance for a range of
stakeholders. In aggregate it also helps explain our success in
attracting advertising to our portfolio of channels and ultimately
underpins the delivery of our remit. Financial sustainability is
underpinned by our success in attracting key demographics,
1634sand ABC1s, which are valuable to advertisers, and these
areimportant sub measures within the top level portfolio share.
Comment
In 2014, portfolio audience share was 10.9% (2013: 11.0%).
Channel 4s audience share was 5.9% in 2014 (2013: 6.1%) and our
digital channels grew marginally to 5.0% (2013: 4.9%). E4 grew by
5%with Film4 and More4 flat.
Against the backdrop of overall audience share, viewing share
performance in our key demographics (1634s and ABC1s) and in
peak underpin our financial sustainability. Our 1634s demographic
improved as Channel 4s appeal to younger audiences grew
further, with share up by 2% to 17.0%, while our share of the ABC1
demographic declined by 4% in 2014. Our overall share of viewing
inpeak (8pm 11pm) remained stable (page 166).
Further information on audience share is provided on pages 31 and 32.
108
Strategic report CONTINUED

Managing risks
How we manage risk
The Board has a clear responsibility for the identification of risks
facing the Corporation and for putting procedures in place to monitor
and mitigate these risks. Channel4 has a high appetite for creative
risk taking, giving rise to potentially litigious content. Channel4 has
a low appetite for operational risks. The Board and Executive Team
operate a risk management framework for identifying, evaluating and
managing (rather than eliminating) significant risks faced by Channel4.

This framework has been developed in accordance with good practice
on internal controls and risk management.
A summary of the key risks that the Group faces, together with
the keysteps in how those risks are mitigated, is presented on the
following pages.
Who does what

THE BOARD
AUDIT COMMITTEE
Leadership of risk management

Sets strategic objectives and risk appetite
Monitors performance
Accountable for the effectiveness of the Groups internal control
andrisk management process
EXECUTIVE MEMBERS
Communicate and disseminate risk policies
Support and help assess risk
Encourage open communication on risk matters
Monitor performance
Assess materiality of risks in context of the whole Group
Monitor mitigation and controls
Facilitate sharing of risk management information and best practice
across the Group
Delegated responsibility from the Board to oversee risk

management and internal controls
Reviews the effectiveness of the Groups internal control and risk
management processes
Monitors the role and effectiveness of the internal auditors and
external auditors, and their independence
BUSINESS ASSURANCE
Independently reviews the effectiveness of the Groups risk
management and internal control processes
Monitors and validates action taken by management
Reports four times annually to the Audit Committee
EXECUTIVE TEAM COMMITTEES

Comprise Commercial, Operational and Creative Executive
Teamcommittees
Define risk management roles at operational and project levels
Use risk as an explicit part of decision-making and management
ofexternal relationships
Continuous identification of risk, assurance and self-assessment
Risks and uncertainties

Risk
Potential impact
Mitigating actions
Failure to respond
to changes in the
advertising industry
given the Corporations
dependence on
advertising revenue
In 2014, 93% of Channel4s revenue (2013: 93%)

derived from advertising and sponsorship.
Channel4 actively seeks to diversify sources

ofrevenue. The growth of digital revenues has
beenadirect response to the risk of failing to
diversifyrevenues.
Channel4 is subject to cyclical fluctuations and

structural changes in the advertising market, including
those arising from changes in regulation, and in the
competitive landscape.
Advertising and sponsorship income are variable and
can change significantly during the course of the year
as a result of variations in audience share or broader
market or economic conditions.
Channel4 monitors the advertising market and its

share of the market closely to identify trends.
As far as possible, Channel4 phases commitments
and maintains a flexible cost base.
Channel4 holds cash reserves to protect against the
impact of a decline in the television advertising market.
Channel4 has invested strongly in online advertising.
Channel4 invested in commercial innovation
throughout 2014, for example through Growth Fund
investments in Independent Production companies.
Strategic report continued

Risk
Potential impact
Mitigating actions
Failure to identify and

develop sufficiently
compelling content
Channel4 is tasked with selecting, retaining and

scheduling compelling, innovative and risk-taking content
from a diverse supply base using multiplatform delivery
systems, while maintaining effective relationships with
independent production companies.
Channel4 has pursued a strategy of investment in

creative diversification in recent years.
The impacts arising from failing to successfully meet

this challenge include a material decline in audience
share and reputational damage.
Cyber security breach
Risk that the personal information of Channel4

viewersmay be lost or disclosed, or obtained without
viewers consent.
A cyber security breach could lead to reputational
damage, loss of viewer trust, and a loss of confidence
inthe integrity of data-driven commercial metrics.
Channel4s business terms with independent

producers and the scale of commissioning opportunity
remain highly competitive.
Channel4 maintains quarterly meetings with PACT.
Channel4 has an established information security
function, supported by specialist resources.
Data is stored by specialist third parties.
Channel4 has published a Viewer Promise of
principles concerning viewers data.
Challenge in
recognising and
investing in new,
relevant technologies
to deliver content and
engage with audiences
A challenge for all broadcasters is maintaining

legacylinear distribution systems and investing
innewplatforms.
Channel4 has invested in a viewer data platform

tobuild direct consumer relations and improve
decision making.
The market is increasingly competitive with emerging

global content providers.
Channel4 maintains a strategic plan to ensure that

the channel stays responsive to innovation in the
technology sector.
Breach of Ofcom
licence and regulatory
obligations, and legal
compliance
Our licence quotas are published on pages 15, 17,

18and 165 of thisreport.
The Board is responsible for ensuring that Channel4

meets all of its public service obligations.
Failure to fulfil the statutory responsibilities governing

delivery of our remit presents a significant risk to
Channel4.
The Board reviews current programming output and

Channel4s performance against Ofcom quotas on
aregular basis.
Transmission of content presents legal, regulatory

andreputational risks to Channel4.
Channel4 has a number of detailed legal and

compliance procedures and protocols to ensure that
the risks of legal and regulatory breach are identified
and appropriately managed.
The defined benefit pension scheme, whilst closed to

new entrants, is a material liability on the balance sheet
(2014: 73 million). The overall liability may worsen
over time, due to broader economic and demographic
conditions, and the risk exists that Channel4 may need
to divert funding activity away from spend on-screen
inorder to fund an increased liability.
The Corporation and Trustees of the scheme meet

regularly to review the pension liability.
Failure to address
the defined benefit
pension deficit
By Order of the Board
David Abraham
Chief Executive
25 March 2015
The Corporation has made efforts to mitigate the risk

and to reduce the liability and, on 24 February 2015,
announced that the scheme will close to future accrual
with effect from 31 December 2015.
109
110
Report of the members

Introduction
Environmental sustainability
The Members present their report and the audited financial statements
for the year ended 31 December 2014.
We want to ensure that the way we conduct our day-to-day activities

reflects our commitment to reducing any negative impact we may have
on the environment. To support this, we have had an Environment
Policy in place since 2004.
The Chairman and Chief Executive present their statements on pages

4 and 5 respectively. A review of the Group, outlining its business
model, development and performance during the financial year,
together with its position at 31 December 2014 and financial outlook
is provided in the Strategic Report on pages 100109. The Strategic
Report also outlines the principal risks and uncertainties facing
Channel4.
The Groups financial statements are set out on pages 130158
andChannel4s financial statements are set out on pages 159162.
Legal form
Channel Four Television Corporation (Channel4) is a statutory
corporation, without shareholders, established under the terms
oftheBroadcasting Act 1990.
Members interests
Channel4 fully embraces the principles of good corporate governance
and, to this end, makes full disclosure of all Members interests.
During 2014, Members, in addition to their salaries, benefits and/
or fees as disclosed on page 125, were interested in the following
transactions negotiated at arms length on normal commercial
termswith the Group:
David Abraham is a Non-Executive Director and MT Rainey is
ViceChair of Creative Skillset. Channel4 paid 453,000 to Creative
Skillset, the sector skills council for the creative industries, to fund
industry-wide training during 2014. Channel4 received 214,000
fromCreativeSkillset in relation to the Open 4 programme in 2014.
Lord Burns is Chairman of Santander UK plc. Santander UK plc
advertises its services on Channel4.
Mark Price is Managing Director of Waitrose, and Deputy Chairman
ofthe John Lewis Partnership. Waitrose and John Lewis advertise
their services on Channel4.
Richard Rivers is a Member of the Advisory Board of WPP plc.
Channel4 sells advertising through a number of subsidiaries
ofWPPplc.
Dan Brooke is a Non-Executive Director of the Britdoc Foundation,
a non-profit film foundation supported by Channel4. Channel4 paid
180,000 to the Britdoc Foundation in 2014.
Alicja Lesniak is a Non-Executive Director and Audit Chair of SThree
plc. SThree plc owns Huxley Associates, a recruitment consultancy
which provides IS contractors to Channel4. Channel4 paid
5,686,000 to Huxley Associates in 2014.
Where the Members have an interest in an advertising or sponsorship
client of the Group, the amounts paid or payable are not disclosed
as they are negotiated and transacted via media buying agencies.
Allsuch transactions are negotiated and transacted on an arms
lengthbasis.
In 2014 we continued our in-house campaigns aimed at raising

awareness of issues surrounding the environment and sustainability,
as well as focusing on specific campaigns such as volunteering and
charitable giving.
To provide accurate targets we have undertaken a benchmarking
exercise for services during 2014 to provide a baseline for the
Horseferry Road building now that it is fully occupied. This included
a complete review of all our existing plant, which runs our building
services in terms of heating, air conditioning and lighting, most of
which has not been renewed since the building opened in 1994. This
has allowed us to identify where we can make our existing equipment
more environmentally friendly and also to update our lifecycle
plan so where equipment requires renewal, we can effectively cost
and implement a replacement strategy that incorporates energy
efficiencyand sustainability.
Carbon footprint
Channel4 registered for Phase 2 of the governments CRC scheme
which commenced on 1 April 2014. Our CRC reportable carbon
emissions for the April 2013 March 2014 year saw an increase of
10% against the figures reported for the 20122013 year. This is due
to it being the first reportable period where the building was fully
occupied since the refurbishment.
Our greenhouse gas emissions for 2014 are set out in the table below.
2014
2013
Total carbon footprint (tonnes of CO2)
5,922
5,925
Total carbon footprint per m revenue
6.3
6.5
Waste
We recycled 132.628 tonnes of general office waste during 2014
(2013:143.100 tonnes), representing 100% of identified recyclable
waste. General municipal unsorted waste decreased to 30% of
total waste in 2014 (2013: 36%). The mixed waste has decreased
due tobetter food waste disposal resulting in less contaminated
generalwaste.
Water
Following the refurbishment of the offices at Horseferry Road,
wecontinue to monitor our consumption. The water consumption
for 2014was 9,705 cubic metres which shows an increase of 28%
yearon-year, but this is attributable to the increase in occupancy
ofthe offices.
Report of the members continued

Channel4 website
In keeping with our strategy to connect with viewers across all
platforms, Channel4 has published this report on its website
atchannel4.com/annualreport
Disclosure of information to auditors

Each of the persons who is a Member at the date of approval of this
Annual Report confirms that:
so far as the Member is aware, there is no relevant audit information
of which the Corporations auditors are unaware; and
the Member has taken all the steps that he/she ought to have taken
as a director in order to make himself/herself aware of any relevant
audit information and to establish that the Corporations auditors are
aware of that information.
Auditor
KPMG LLP has been appointed as auditor to Channel4 with
theapproval of the Secretary of State for Culture, Media & Sport,
andhasexpressed their willingness to continue in office.
Going concern
The Groups business activities, the factors likely to affect its future
development and performance, the financial position of the Group
and its cashflows are set out in the Strategic Report (pages 100109).
In addition, note 14 to the financial statements includes the Groups
approach to financial risk management, including its financial
instruments and hedging activities and its exposures to liquidity
andcredit risks.
On 11 March 2014, Ofcom announced the renewal of Channel4s
licence. The new ten-year licence came into effect in January 2015.
The Group has sufficient financial resources and, based on
normal business planning and control procedures, the Members
believe that the Group is well placed to manage its business
risks. The Members have a reasonable expectation that the
Group will continue in operational existence for the foreseeable
future, andtherefore continue to adopt the going concern basis
ofaccountinginpreparingthe annual financial statements.
111
112
Report of the members continued

Responsibility statement of the members
inrespect of the annual financial statements
The Members are responsible for preparing the Annual Report and
the Group and Corporations financial statements in accordance
with applicable law and regulations. The Corporation is required
by its governing legislation (the Broadcasting Act 1990) to keep
proper accounts and proper records in relation to the accounts,
andto prepare financial statements in respect of each financial year.
Under that law, the Members have elected to prepare the financial
statements of the Group in accordance with IFRSs as adopted by
theEU and the requirements of Chapter 4 of Part 15 of the Companies
Act 2006, and elected to prepare the financial statements of the
Corporation in accordance with the Financial Reporting Standard 101
Reduced Disclosure Framework.
The Members accept responsibility for approving the financial
statements only after they are satisfied that, when taken as a
whole, they are fair, balanced and understandable and provide
the information necessary to assess the companys performance,
business model and strategy. In preparing each of the Group and
Corporation financial statements, the Members:
select suitable accounting policies and then apply them consistently;
make judgements and estimates that are reasonable and prudent;
state whether they have been prepared in accordance with IFRSs
as adopted by the EU; andprepare the financial statements on the
going concern basis unless it is inappropriate to presume that the
Group and the Corporation will continue in business.
The Members have accepted responsibility for keeping proper
accounting records that are sufficient to show and explain the Group
and Corporations transactions and disclose with reasonable accuracy
at any time the financial position of the Group and Corporation. They
have general responsibility for taking such steps as are reasonably
open to them to safeguard the assets of the Group and to prevent
anddetect fraud and other irregularities.
The Members have decided to voluntarily prepare a Remuneration

Report in accordance with Schedule 8 to The Large and Mediumsized Companies and Groups (Accounts and Reports) Regulations
2008, made under the Companies Act 2006, as if those requirements
were to apply to the Group and Corporation.
The Members are responsible for ensuring compliance with
therequirements of Schedule 9 of the Communications Act 2003,
assetout on page 117. Following the Digital Economy Act 2010,
revised arrangements, approved by Ofcom, were implemented
from24 January 2012.
The Members are responsible for the maintenance and integrity of
the corporate and financial information included on the Corporations
website. Legislation in the UK governing the preparation and
dissemination of financial statements may differ from legislation
inother jurisdictions.
We confirm that to the best of our knowledge:
the financial statements, prepared in accordance with the
applicable set of accounting standards, give a true and fair view
of the assets, liabilities, financial position and surplus or deficit of
the Corporation and the undertakings included in the consolidation
taken as a whole;
the Strategic Report includes a fair review of the development and
performance of the business and the position of the Corporation
and the undertakings included in the consolidation taken as
a whole, together with a description of the principal risks and
uncertainties that they face; and
that the Annual Report, taken as a whole, is fair, balanced
and understandable and provides the information necessary
to assess the companys performance, business model and
strategy in accordance with the UK Corporate Governance Code
(September2012).
David Abraham
Chief Executive
25 March 2015
INDEPENDENT AUDITORS REPORT TO THE MEMBERS OF CHANNEL FOUR TELEVISION

CORPORATION (THE CORPORATION) ONLY
Opinions and conclusions arising from
our audit
1 Our opinion on the financial statements is unmodified
We have audited the financial statements of the Corporation for
theyear ended 31 December 2014 set out on pages 130 to 162.
Inouropinion:
the financial statements give a true and fair view of the state of the
Groups and of the Corporations affairs as at 31 December 2014
and of the Groups surplus for the year then ended;
the Group financial statements have been properly prepared in
accordance with International Financial Reporting Standards as
adopted by the European Union (IFRSs as adopted by the EU);
the Corporations individual financial statements have been properly
prepared in accordance with UK Accounting Standards, including
FRS101 Reduced Disclosure Framework; and
the financial statements have been prepared in accordance with the
requirements of the Companies Act 2006 as if that Act applied to
the Corporation.
2 Our assessment of risks of material misstatement
We summarise below the risks of material misstatement that had
the greatest effect on our audit, our key audit procedures to address
those risks and our findings from those procedures in order that the
Corporations Members as a body may better understand the process
by which we arrived at our audit opinion. Our findings are the result of
procedures undertaken in the context of and solely for the purpose of
our statutory audit opinion on the financial statements as a whole and
consequently are incidental to that opinion, and we do not express
discrete opinions on separate elements of the financial statements.
Programme and film rights (242 million)
Refer to page 123 (Audit Committee Report), page 137 (accounting
policy) and page 149 (financial disclosures).
The risk There is significant judgement involved in estimating the
value to the Group of programme and film rights, and there is a risk
of a write-down being required when indicators of a reduction in the
value of individual assets are identified, for example when:
The quality of the programme means it may no longer be broadcast
in the originally intended transmission slot such that there is a
reduction in the related expected future viewing performance; or
Forecast future theatrical and DVD revenues no longer support the
carrying value of developed film rights.
The majority of the costs of programme and film rights are written
off on first transmission. There is, however, an increased level of
judgement involved in assessing the profile of expected future
advertising, sponsorship or other related revenue in relation to
certain types of programming including feature films, sports rights
and acquired series which may be written off over more than
onetransmission.
Our response Our audit procedures included:
We focused on those programme and film rights that are the
oldest or have the highest carrying amounts, and those near rights
expiry. We evaluated the Groups assessment of the expected
future transmissions and forecast revenues through enquiry of
the programme scheduling team who operate independently from
finance; inspection of the programme schedule for the three month
period following the year end date; and compared a sample of
programmes scheduled at the year end to third party TV listings
forthat period:
With regard to film rights in production, critically assessing forecast

film rights income through independent enquiry of the Film 4
commissioning team to understand performance expectations;
reference to third party theatrical release data and sales of
distribution rights to date; and historical experience of theatrical,
distribution and DVD revenues generated from film releases; and
Challenging the assumptions underlying the calculation of
transmission cost write off profiles with reference to historical
viewing data, in particular programmes and films that were not
fullyexpensed on first transmission.
Our findings We found:
the estimates made in relation to expected future scheduling and
forecast revenues in assessing the carrying value of programme
and film delivery rights to be balanced.
the estimates in respect of future film rights income on films
inproduction to be mildly optimistic.
the assumptions regarding the viewing profile used to calculate
thetransmission cost write off profiles to be mildly cautious.
Revenue recognition (938 million)
Refer to page 123 (Audit Committee Report), page 135 (accounting
policy) and page 139 (financial disclosures).
The risk In terms of audit risk, the Groups revenue can be divided
into two categories:
Advertising revenues (780 million): Whilst the majority of advertising
revenue contracts are straightforward, there are a small number
of individually significant one-off contracts in respect of barter
arrangements, where Channel4 exchange advertising revenue for
programmes, and contracts where Channel4 acts as a sales agent
for other broadcasters advertising. These contracts can contain
unique contract terms including complex commission calculations,
and judgement is required to determine the appropriate revenue
recognition treatment.
Sponsorship and other revenues (158 million): This includes many
agreements with differing individual terms in respect of the following
revenues: sponsorship, subscription income from other platforms,
box office and DVD sales. The volume and variety of different
contracts gives rise to a risk of incorrect revenue recognition
between accounting periods, in particular in relation to the
allocation of revenues where contracts span the year end.
Our response Our audit procedures included:
Testing the design and implementation of controls operating over
the standard advertising revenue arrangements, and testing of the
operating effectiveness;
Agreeing the treatment of barter and sales agent contracts,
intermsof
i. Applying the relevant accounting standards to the contract terms
and comparing with the actual treatment adopted;
ii. obtaining evidence of performance of contractual obligations
including the delivery of airtime;
iii. considering the valuation basis applied for the programmes
received in barter deals with reference to production costs which
are seen to reflect value;
Testing the revenue recognition approach on a sample of higher
value items of sponsorship and other revenue with reference to our
own analysis of the application of relevant accounting standards to
non-standard contract terms and transmission schedules in respect
of sponsorship campaigns, to assess whether revenue has been
recognised in the appropriate accounting period; and
Considering the adequacy of the Groups accounting policy
disclosures in their description of the method applied to recognising
revenue for these arrangements.
113
114
INDEPENDENT AUDITORS REPORT TO THE MEMBERS OF CHANNEL FOUR TELEVISION

CORPORATION (THE CORPORATION) ONLY continued
Our findings we found:
the judgments regarding measurement of airtime delivery to reflect
the fulfilment of performance obligations on barter and sales agent
contracts to be balanced.
for barter and sales agency contracts the judgments applied
indetermining the fair value of goods and services received,
usedforthe recognition of revenue, to be balanced.
the judgments applied in arriving at the revenue recognition
treatments to be balanced.
the Groups accounting policy disclosures to be proportionate.
Under the terms of our engagement we are required to report to you if,
in our opinion:
proper accounting records have not been kept by the Corporation,
or returns adequate for our audit have not been received from
branches not visited by us; or
the Corporations individual financial statements and the part of the
Members Remuneration Report which we were engaged to audit
are not in agreement with the accounting records and returns; or
certain disclosures of Members remuneration are not made; or
we have not received all the information and explanations we require
for our audit.
3 Our application of materiality and an overview of the scope

of our audit
The materiality for the Group financial statements as a whole was
setat 7.0 million, determined with reference to a benchmark of group
revenue of 938 million (of which it represents 0.7%). We consider
revenue to be an appropriate benchmark as the Corporations aim
istoachieve a long-term break even position.
In addition to our audit of the financial statements, the Members

have engaged us to review their Corporate Governance Statement
as if the Corporation were required to comply with the Listing Rules
and the Disclosure Rules and Transparency Rules of the Financial
Conduct Authority in relation to those matters. Under the terms of
ourengagement we are required to review:
We report to the Audit Committee any corrected or uncorrected

identified misstatements exceeding of 0.3 million, in addition
tootheridentified misstatements that warranted reporting
onqualitative grounds.
the Members statement, set out on page 111, in relation to going

concern; and
the part of the Corporate Governance Statement on pages 115117
relating to the companys compliance with the ten provisions of the
2012 UK Corporate Governance Code specified for our review.
The Groups operations are all accounted for at the Groups office
inLondon. The Group audit team performed the audit of the Group
as if it was a single aggregated set of financial information. The audit
was performed using the materiality level set out above and covered
100% of total Group revenue, Group profit before tax, and total
Groupassets.
4 Our opinion on other matters prescribed under the terms of our
engagement is unmodified
In addition to our audit of the financial statements, the Members have
engaged us to audit the information in the Members Remuneration
Report that is described as having been audited, which the Members
have decided to prepare as if the Corporation were required to comply
with the requirements of Schedule 8 to The Large and Medium-sized
Companies and Groups (Accounts and Reports) Regulations 2008
(SI2008 No. 410) made under the Companies Act 2006.
In our opinion:
the part of the Members Remuneration Report which we were
engaged to audit has been properly prepared in accordance
with Schedule 8 to The Large and Medium-sized Companies and
Groups (Accounts and Reports) Regulations 2008 made under
theCompanies Act 2006, as if those requirements were to apply
tothe Corporation; and
the information given in the Members Report for the financial year
for which the financial statements are prepared is consistent with
the financial statements.
5 We have nothing to report in respect of the matters on which
we are required to report by exception
Under ISAs (UK and Ireland) we are required to report to you if, based
on the knowledge we acquired during our audit, we have identified
other information in the annual report that contains a material
inconsistency with either that knowledge or the financial statements,
amaterial misstatement of fact, or that is otherwise misleading.
In particular, we are required to report to you if:
we have identified material inconsistencies between the knowledge
we acquired during our audit and the Members statement that
they consider that the annual report and financial statements taken
as a whole is fair, balanced and understandable and provides the
information necessary for stakeholders to assess the Groups
performance, business model and strategy; or
the Audit Committee Report does not appropriately address
matters communicated by us to the audit committee.
We have nothing to report in respect of the above responsibilities.

Respective responsibilities of Members and auditor
As explained more fully in the Members Responsibilities Statement
set out on page 112, the Members are responsible for the preparation
of financial statements which are intended by them to give a true
and fair view. Our responsibility is to audit, and express an opinion
on, the financial statements in accordance with applicable law and
International Standards on Auditing (UK and Ireland). Those standards
require us to comply with the UK Ethical Standards for Auditors.
Scope of an audit of financial statements performed in accordance
with ISAs (UK and Ireland)
A description of the scope of an audit of financial statements is
provided on our website at www.kpmg.com/uk/auditscopeother2014.
This report is made subject to important explanations regarding our
responsibilities, as published on that website, which are incorporated
into this report as if set out in full and should be read to provide
an understanding of the purpose of this report, the work we have
undertaken and the basis of our opinions.
The purpose of our audit work and to whom we owe our
responsibilities
This report is made solely to the Corporations Members, as a body,
in accordance with the Broadcasting Act 1990 and the terms of our
engagement, and, in respect of the separate opinion in relation to the
Members Remuneration Report, reporting on corporate governance,
and, in order that the Corporations Members as a body may better
understand the process by which we arrived at our audit opinion,
the inclusion of findings in respect of the identified risks of material
misstatement, on terms that have been agreed. Our audit work has
been undertaken so that we might state to the Members those matters
that we have agreed to state to them in our report, and for no other
purpose. To the fullest extent permitted by law, we do not accept
or assume responsibility to anyone other than the Corporation and
the Members, as a body, for our audit work, for this report, or for
theopinions we have formed.
Karen Wightman
for and on behalf of KPMG LLP, Statutory Auditor
Chartered Accountants
15 Canada Square, London, E14 5GL
25 March 2015
Corporate governance
The Board is committed to high standards of corporate governance.
The Members have decided to voluntarily prepare a Corporate
Governance Statement to demonstrate compliance with the main
principles, where relevant, of the UK Corporate Governance Code
issued by the Financial Reporting Council (FRC) in 2012, and
the disclosure and transparency provisions of the Listing Rules
oftheFinancial Conduct Authority.
Given its constitution and specific statutory provisions regarding

the appointment of Members, Channel4 does not have a formal
nominations committee. The following formal nomination procedures
are in place:
Channel4s status as a statutory corporation without shareholders

means those provisions concerning shareholders interests are not
directly applicable. Also, instead of a nominations committee, there
are formal nominations procedures which are described below.
Non-Executive Members are appointed for fixed terms by Ofcom

following consultation with Channel4s Chairman and the approval
of the Secretary of State for Culture, Media & Sport
the Chair is appointed by Ofcom for a fixed term with the approval
of the Secretary of State for Culture, Media & Sport
the Chief Executive is appointed by the Board
other Executive Members are appointed to the Board after
nomination by the Chief Executive and the Chairman acting jointly
the Board Secretary is appointed jointly by the Chairman and
ChiefExecutive.
The Board
The roles of the Chairman and Chief Executive
Channel Four Television Corporation is controlled through its Board of

Members. The Boards main role is to discharge Channel4s statutory
functions and ensure the fulfilment of the public service remit in
accordance with all applicable laws and regulations.
The division of responsibilities between the Chairman of the Board

andthe Chief Executive is clearly defined as described below.
The Board, which meets at least nine times a year, has a schedule
of matters reserved for its approval. The following matters must be
referred to the full Board:
leading the Board in setting the values and standards of Channel4

maintaining a relationship of trust with and between the executive
and Non-Executive Members
leadership of the Board, ensuring its effectiveness on all aspects
ofits role including the setting of the agenda
ensuring that all Members receive accurate, timely and
clearinformation
ensuring that all Members continually update their skills and the
knowledge and familiarity with Channel4 required to fulfil their role
both on the Board and on committees
facilitating the effective contribution of Non-Executive Members
and ensuring constructive relations between executive and
NonExecutive Members
undertaking an annual evaluation of Board and committee
performance.
The Board considers that, throughout the year, it was compliant

withthe relevant provisions of the UK Corporate Governance Code.
Channel4s annual budget (content and non-content)

the appointment and reappointment of the Chief Executive
confirmation of the appointment and reappointment of the other
Executive Members nominated by the Chief Executive and the
Chairman acting jointly
banking arrangements and loan facilities
any significant proposal outside the ordinary course of
Channel4sbusiness
the appointment and reappointment of the statutory auditors
the audited accounts of Channel4 presented by the Audit
Committee
the establishment, purchase or acquisition of any qualifying
company and the approval or variation of terms of reference
foranysubsidiary
approval of any significant new business investment
significant proposed changes to Channel4s headcount
such other matters as the Board may from time to time resolve
toreview or decide upon.
In addition, as part of its overall responsibility to ensure the fulfilment
of Channel4s statutory duties and functions, the Board continues
to focus on ensuring the successful delivery of Channel4s remit
and other public service responsibilities. Content output and plans
for future investment of the content budget are regularly discussed
as part of the overall Board agenda, as are regular updates
on audience reactions to Channel4s content. The Board also
approves Channel4s proposed Statement of Media Content Policy
(incorporating the Statement of Programme Policy and Review)
priortopublication.
The Board has an established Audit Committee and Remuneration
Committee to assist with the discharge of its functions and has
delegated each certain responsibilities. The Audit Committee Report
is set out on pages 121123 and the Remuneration Committee Report
is set out on pages 124129.
The Chairman is responsible for, among other things:
The role of the Chief Executive is to run the business of Channel4

under the delegated authority from the Board, to implement the
policies and strategy agreed by the Board, and to communicate
withOfcom and other key stakeholders.
In 2014, Lord (Terry) Burns continued as Chairman and David Abraham
continued as Chief Executive.
Senior independent member

In 2014, Mark Price continued as Deputy Chairman and Senior
Independent Member.
Members and members independence

The names of the 2014 Board Members, together with their brief
biographies, are set out on pages 119120.
The Non-Executive Members constructively challenge and help
develop proposals on strategy, and bring strong, independent
judgement, knowledge and experience to the Boards deliberations.
The Non-Executive Members are of sufficient calibre and number that
their views carry significant weight in the Boards decision-making.
The Members are given access to independent professional advice at
the Groups expense when the Members deem it is necessary in order
for them to carry out their responsibilities. Details of the Chairmans
professional commitments are included in his biography. These do
notadversely affect his role with Channel4.
115
116
Corporate governance continued

The Board considers all its Non-Executive Members to be
independent in character and judgement. At the time of this report,
noNon-Executive Member:
has been an employee of the Group within the past five years
has, or has had within the past three years, a material business
relationship with the Group (although attention is drawn to the
related party transactions on page 110)
receives remuneration other than their Members fee
has close family ties with any of the Groups advisers, Members
orsenior employees
holds cross-directorships or has significant links with other
Members through involvement in other companies or bodies
has served on the Board for more than six years from the date
oftheir first election.
Professional development
On appointment, the Members take part in an induction programme
when they receive information about the Group, the role of the Board
and the matters reserved for its decision, the terms of reference and
Membership of the principal Board and management committees and
the powers delegated to those committees, the Groups corporate
governance practices and procedures including the powers reserved
to the Groups most senior executives, and the latest financial
information about the Group. This is supplemented by meetings
with Members of the senior management team. On appointment,
all Members are advised that they have access to advice and the
services of the Board Secretary. Throughout their period in office
the Members are continually updated on the Groups business and
environment and other changes affecting the Group and the industry
it operates in as a whole, by written briefings and meetings with senior
executives. In January 2014, the Board had a training session from
KPMG on the updates to the UK Corporate Governance Code and
Board Members also completed the Channel4 Code of Conduct
training in 2014.
A formal Board evaluation process that uses a detailed questionnaire
to allow Board Members to express both qualitative and quantitative
views on Board performance is undertaken annually. The process is
managed by the Board Secretary, with results anonymised in order to
enable an impartial discussion of results. Results are fully discussed
at a Board meeting and proposals tabled and agreed to address any
actions arising. We believe the current Board evaluation process to be
sufficient and accordingly have not engaged a third party to conduct
the exercise. This will be kept under review.
Board meetings
The number of full Board meetings and committee meetings attended
by each Member during the year is shown in the table below:
Name
Lord Burns
Board
meetings
attended
(invited)
9 (9)
Audit Remuneration
Committee
Committee
meetings
meetings
attended
attended
(invited)
(invited)
4 (4)1
Richard Rivers
7 (9)
Alicja Lesniak
9 (9)
4 (4)
Monica Burch
8 (9)
4 (4)
Mark Price
7 (9)
Paul Potts
9 (9)
4 (4)
MT Rainey
8 (9)
4 (4)
Josie Rourke
9 (9)
Stewart Purvis
9 (9)
David Abraham
9 (9)
Jonathan Allan
9 (9)
Jay Hunt
8 (9)
Dan Brooke
9 (9)
4 (5)1
5 (5)
4 (5)
5 (5)
3 (4)1
5 (5)1
1 Lord Burns and David Abraham attended Audit Committee and Remuneration
Committee meetings but were not Members.
Board diversity
As shown on page 104, diversity is at the heart of Channel4 and
thisis equally important at entry level as at the most senior levels of
the organisation. In December 2014, the Channel4 Board comprised
four Executive Members and nine Non-Executive Members. As stated
on page 115, Non-Executive Members are appointed by Ofcom,
and Executive Members by the Chief Executive and Chairman.
AtDecember 2014, one of the four Executive Members was a
woman(December 2013: one of four Executive Members).
At 31 December 2014 the Board comprised five women and eight
men, with the five women making up 38% of the Board Membership.
These details are also disclosed on page 104.
Board information
Regular reports and papers are circulated to the Members before
Board and committee meetings. These papers are supplemented by
information specifically requested by the Members from time to time.
A monthly performance pack is prepared covering all key areas of the
business and providing a month by month report on progress against
the main performance indicators set by the Board.
The Board Secretarys responsibilities include ensuring an effective
flow of information within the Board and its committees and between
senior management and Non-Executive Members, induction of new
Members and assisting with professional development as required.
The Head of Legal, Governance, Regulatory and Trading is
responsiblefor advising the Board through the Chairman on
allgovernance matters.
Both posts are available to provide advice and services to all
Members, as relevant, to ensure compliance with Board procedures.
Internal control
In accordance with good corporate governance practice, the Board:
is responsible for the Corporations system of internal control
sets appropriate policies on internal control
seeks regular assurance and receives regular reports that enable
itto satisfy itself that the system is functioning effectively
ensures that the system of internal control is effective in identifying
key risks and reporting on the adequacy of actions to respond to
and manage those risks
is responsible for the Groups process for the preparation of the
consolidated accounts.
The Board is not responsible for the internal control environment
or corporate governance for any of the Groups joint ventures
orassociates.

Internal control continued
Pension plan
Control environment
Clear management responsibilities are established for the Executive
Members. As noted on page 105, the Corporation has a Code of
Conduct and a suite of policies and procedures which encompass
ethical behaviour, conduct and internal controls.
There are six Trustees of the Channel Four Television Staff Pension
Plan who meet several times each year, and with the Plans investment
managers, Legal & General Assurance (Pensions Management) Ltd,
Henderson Global Investors Ltd, Veritas Funds plc and F&C Fund
Management Ltd at least once a year.
Risk management
In addition to its requirements under Schedule 9 of the
Communications Act 2003 set out below, the Board and management
have a clear responsibility for the identification of risks facing the
Corporation and for putting in place procedures to monitor and
mitigate such risks. Channel4 has a high appetite for creative risk
taking, giving rise to potentially litigious content. The Group has a
low appetite for operational risks. The Board and executive operate a
risk management framework for identifying, evaluating and managing
(rather than eliminating) significant risks faced by Channel4. This
framework has been developed in accordance with relevant good
practice guidance on internal controls and risk management.
During the year the Trustees were Non-Executive Member Alicja

Lesniak; two of Channel4s executives, Glyn Isherwood (Group
Finance Director) and Diane Herbert (Director of Human Resources);
two member-nominated trustees, Julie Kortens (Head of Corporate
Services) and Neil Pepin (Deputy Head of Legal and Compliance)
and Independent Trustee Services Ltd as the Independent
CorporateTrustee.
A summary of the key risks that the Group faces, together with how
those risks are mitigated, is presented in the Strategic Report on
pages 108109.
Editorial and compliance
Channel4 has a long-established compliance culture, which is
fully integrated into its commissioning process and provides clear
editorial reference-up to senior executives and appropriate Board
oversight. Its importance is widely recognised and understood
by independent production companies we work with and they
share equal responsibility for ensuring that programmes and
online content conform to the compliance culture we work within.
TheCommissioning team works in close collaboration with the
Legaland Compliance department on all significant commissions.
There are strong editorial, legal and compliance systems and
controlsin place over the content commissioned by Channel4.
These include specific guidance and protocols contained within the
Channel4 Producers Handbook, which encompasses the Ofcom
Broadcasting Code, other relevant regulations, media law and best
practice guidelines. This is supported by extensive training for
both staff and independent producers. At the heart of Channel4s
creative risk-taking and compliance is the editorial reference-up
procedure. The Members are satisfied that Channel4 has in place
suitable procedures to fulfil the requirements of paragraph 3b of the
Licence, which exists to ensure that difficult or fine-cut decisions
on editorial and compliance issues are properly considered by the
most appropriately experienced and senior editorial executives
andprogramme lawyers within Channel4.
Management reports
Detailed annual budgets and business plans are prepared
foreacharea of the business, and are approved by the Board.
Monthlymanagement reports are produced, comparing actual
incomeand expenditure with budget and prior year. Full-year
forecastsare prepared throughout the year. These reports are
monitored by the Members as part of their monthly performance
packs, and explanations are provided for all significant variances.
Control procedures
All expenditure is authorised in line with a delegated authorities
framework. An electronic invoice authorisation system is used to
further enhance the control environment. Authorisation and payment
duties are strictly segregated, and bank signatory limits are clearly
defined by bank mandate. Financial controls are monitored by
management review and business assurance reports provided
totheAudit Committee.
Third-party verification statement

The Channels Ofcom Digital Replacement Licence requires it to
appoint an independent party to review and report on procedures
inrelation to the provision of Premium Rate Telephony Services.
PricewaterhouseCoopers LLP and Deloitte LLP have been appointed
to be the independent parties to review the Channels procedures.
In 2014, Deloitte continued to provide third party verification over
premium rate competitions. The Members are satisfied that Channel4
has in place suitable procedures to fulfil the requirements of
paragraph3b of the Licence.
Requirements of Schedule 9 of the

Communications Act 2003 (the Act)
The Act requires Channel4 to submit proposals to Ofcom detailing
the arrangements under which it proposes to secure, so far as
reasonably practicable, that all significant risks to the primary function
are identified, evaluated and properly managed. These proposals are
referred to as the Arrangements.
In addition, the Arrangements must include proposals which
Channel4 considers appropriate for securing the transparency
objectives as set out in the Act, namely:
an appropriate financial and organisational separation between the
activities of Channel4 that relate to the carrying out of their primary
functions and their other activities; and
an appropriate degree of transparency in financial and other
reporting where resources are shared between separated activities
or where there is some other financial or practical connection
between otherwise separated activities.
The Act sets out the matters to which the submitted Arrangements
may relate. These include the procedures and other practices to be
followed by Channel4 in the case of the initiation and management
of new ventures, the exercise of particular powers, the assessment
ofrisks, the imposition of charges and the keeping of records.
The Act requires Channel4 to put in place regular checks toconfirm
that Channel4 is complying with the Arrangements. TheArrangements
proposed by Channel4 must contain provision for compliance, with
the Arrangements to be checked regularly by aperson (other than
Channel4s auditor) appointed in accordance with that provision.
Revised Arrangements came into force on 24January 2012 following
the extension of the public service remitfollowing the Digital Economy
Act 2010.
Channel4 has appointed Deloitte LLP to review compliance
withtheArrangements and their report is shown on page 118.
Copiesof the Arrangements are available from the Board Secretary
and atchannel4.com.
117
118

Independent reporting accountants report
to Channel Four Television Corporation
(the Corporation) and the Office of
Communications (Ofcom)
We have performed a review of the Corporations compliance during
the year ended 31 December 2014 with the arrangements approved by
the Office of Communications (Ofcom) in January 2012 under section
2 of Schedule 9 of the Communications Act 2003.
This report is made solely to Channel Four Television Corporation and
Ofcom in accordance with our letter of engagement dated 21 January
2015 and in order to (a) allow the Corporation to meet its obligations
under the Licence and Schedule 9 of the Communications Act 2003
to procure such reports and (b) to facilitate the carrying out by Ofcom
of its regulatory functions. Our work has been undertaken so that
we might state to the Corporation and Ofcom those matters we are
required to state to them in a reporting accountants report and for no
other purpose. To the fullest extent permitted by law, we do not accept
or assume responsibility to anyone other than the Corporation and
Ofcom (in accordance with our contract with Ofcom dated 4 February
2015), for our work, for this report, or for the opinions we have formed.
Respective responsibilities of Channel Four Television
Corporation and Reporting Accountants
The Corporation has agreed arrangements with Ofcom to secure
the following objectives (the Objectives) as set out in Schedule 9
oftheCommunications Act 2003:
So far as reasonably practicable, secure that all significant risks that
their other activities will have an adverse effect on the carrying out,
during the relevant licence period, of their primary functions are:
a) identified;
b) evaluated; and
c) properly managed.
The transparency objectives of securing:
a) an appropriate financial and organisational separation between
the activities of the Corporation that relate to the carrying out
oftheir primary functions and their other activities; and
b) an appropriate degree of transparency in financial and other
reporting where resources are shared between separate
activities or where there is some other financial or practical
connection between otherwise separated activities.
The arrangements agreed between the Corporation and Ofcom are
available from http://stakeholders.ofcom.org.uk/binaries/consultations/
c4-arrangements/statement/approved.pdf. The responsibility of the
Corporation in terms of Schedule 9 of the Communications Act 2003
is to act in accordance with these arrangements throughout the
reviewperiod.
Our responsibility is to check whether the Corporation has complied
with these arrangements during the year ended 31 December 2014
and report to you our independent conclusion as to whether they
havedone so.
Basis of opinion
We carried out our work in accordance with International Standard
onAssurance Engagements 3000 Assurance Engagements. Our work
consisted of:
confirming our understanding of the Corporation and the internal
procedures and controls in place made to comply with the
arrangements made under Schedule 9 of the Communications
Act2003 through enquiry of senior management and other
appropriate personnel;
review of the relevant internal procedures and controls and
examining of the financial records relating to the above; and
review of which of the Corporations activities fall under the primary
functions and which fall under 4Ventures Limited.
Our work was carried out based on the internal procedures and
controls in place to comply with the arrangements during the year
ended 31 December 2014. We are not responsible for concluding
whether the arrangements are sufficient and appropriate to achieve
the objectives set out above. Any system of internal control can only
give reasonable, not absolute assurance, that the objectives will
bemet.
Opinion
In our opinion, the Corporation has complied with the arrangements
under Schedule 9 of the Communications Act 2003, in all material
respects, for the year ended 31 December 2014.
Deloitte LLP
Chartered Accountants
London
25 March 2015
Members
Non-Executive Members
Chairman
Lord Burns GCB
Appointed as Chairman on 28 January 2010, his initial appointment
ran until January 2013 and has been extended to January 2016.
Lord Burns is Chairman of Santander UK plc and is a Non-Executive
Member of the Office for Budget Responsibility.
He began his career in 1965 at the London Business School,
becoming a professor of Economics in 1979. In 1980 he was
appointed Chief Economic Adviser to HM Treasury and Head of
the Government Economic Service. In 1991 he became Permanent
Secretary to HM Treasury, a post he held until 1998, when he was
appointed a life peer.
Previous appointments included acting as an independent adviser to
the Secretary of State for Culture, Media & Sport on the previous BBC
Charter Review. He has also been Chairman of Marks and Spencer
plc, Glas Cymru Ltd (Welsh Water), the Governing Board of the Royal
Academy of Music and the National Lottery Commission, and a
NonExecutive Director of Banco Santander SA, Pearson Group plc,
The British Land Company plc and Legal & General plc.
Monica Burch
Monica Burch joined the Board on 1 October 2010. Her initial
appointment ran until September 2013 and has been extended until
September 2016. Monica is Senior Partner of law firm Addleshaw
Goddard LLP, and Chairs the firms Board. Monica also chairs
the firms Charitable Trust and is a Board Member of charitable
organisation PRIME, which promotes fair and equal access to
qualitywork experience in the legal profession.
Monica is a Partner in Addleshaw Goddards litigation practice where
she heads contentious IP. Prior to her appointment as Senior Partner
in 2011, Monica was a Board Member for six years. She also sat on
theManagement Board of predecessor firm Theodore Goddard.
Monica was appointed a Civil Recorder in 2010 (a part-time judicial
appointment), is a CEDR-qualified mediator and was named by The
Lawyer magazine as one of the Hot 100 Lawyers in 2007 and 2011.
She was named in the Timewise Power Part-Time List in 2013.
Monica graduated from Oxford University with a degree in
Jurisprudence in 1987, and gained a distinction in her Masters Degree
in Commercial Intellectual Property from Nottingham Trent University
in 2007. Monica has worked in the US and UK, and has advised a
variety of businesses, mainly in the consumer sector, across the globe.
Mark Price
Mark Price was appointed to the Board on 1 October 2010 and
his initial appointment ran until September 2013. In 2013 his term
was extended and he was appointed Deputy Chairman and Senior
Independent Member until September 2016. Mark joined John Lewis
Partnership in 1982 as a graduate trainee. He held numerous posts
before becoming Managing Director of Waitrose in April 2007. Prior
to this, in 2005 Mark was appointed as the Partnership Development
Director (responsible for Strategy among other things) when he
became a Member of the Partnership Board. Mark became Chairman
of Business in the Community in January 2011, a post he held for four
years. He is also Chairman of the Princes Countryside Fund.
Richard Rivers
Richard Rivers joined the Board on 1 October 2010. His initial
appointment ran until September 2013 and has been extended
until September 2016. Richard Rivers is a former Chief of Staff and
Head of Corporate Development at Unilever. As well as his role
as a NonExecutive Board Member for Channel4, Richard isa
NonExecutive Director of Mothercare plc and Lumene Oy and
aMember of the advisory board of WPP plc.
Paul Potts CBE
Paul Potts joined the Board on 1 January 2012. His initial appointment
ran until December 2014 and has been extended until December
2017. He began his career as a reporter on the Sheffield Star in 1968
and worked for numerous newspapers, including the Daily Telegraph
and Daily Express, where he was Deputy Editor. He joined the Press
Association in 1995 as Editor-in-Chief. Paul was appointed Group
Chief Executive in 2000 and Executive Chairman in 2008. He retired
from PA Group in 2010.
Paul became a Commander of the Order of the British Empire (CBE)
in 2009. He has an honorary degree of Doctor of Letters from the
University of Sheffield and in 2010 he was appointed Visiting Professor
of Journalism. He is also a media consultant and former media adviser
to the Joint Parliamentary Committee on Privacy and Injunctions.
MT Rainey
MT Rainey joined the Board on 1 January 2012. Her initial appointment
ran until December 2014 and has been extended until December 2017.
MT (Mary Teresa) Rainey was Founder and CEO of top UK advertising
agency Rainey Kelly Campbell Roalfe/Y&R. Since 2008 she has
been Non-Executive Chairman of the fast-growing digital strategy
agency Th_nk. She is also the Founder of horsesmouth.co.uk, a social
enterprise for informal online mentoring.
In a voluntary capacity, MT is Vice Chair of Creative Skillset, the sector
skills council for the Creative Industries. She is a former Chairman
of Marketing Group of Great Britain and recent President of The
ThirtyClub.
Alicja Lesniak
Alicja Lesniak joined the Board on 1 October 2010. Her initial
appointment ran until September 2013 and has been extended until
September 2016. Alicja is also Senior Independent Director and Chair
of the Audit Committee of Next 15, an AIM-listed worldwide digital
communications Group, and a Non-Executive Director and Audit
Chair of SThree plc, a specialist permanent and contract staffing
business. She is also Business Adviser to the Board of The British
StandardsInstitution.
Josie Rourke
Josie Rourke joined the Board on 1 January 2012. Her initial
appointment ran until December 2014 and has been extended until
December 2017. Josie was born and educated in Salford, read
English at Cambridge and trained at the Donmar Warehouse, where
she returned as Artistic Director in 2012. Between 2007 and 2011
she wasArtistic Director of the Bush Theatre, which was recognised
asTheatre of the Year in 2011.
Until 2009, Alicja was Chief Financial Officer of Aegis plc. Prior to
this, she was Chief Financial Officer of BBDO EMEA, Chief Financial
Officer of Ogilvy and Mather Worldwide, and Managing Director of
JWalterThompson.
Her other work as a Director includes productions at the Young

Vic, the Royal Court, Sheffield Theatres (where she was Associate
Director), the Royal Shakespeare Company, the Chicago Shakespeare
Theatre, the National Theatre and in the West End.
Alicja Lesniak is a Fellow of the Institute of Chartered Accountants

inEngland and Wales.
Productions as Artistic Director of the Donmar include: The Recruiting

Officer, The Physicists, Berenice, The Weir, The Machine (also New
York and Manchester International Festival), Coriolanus, Privacy and
City of Angels. Under her artistic direction, the Donmar has transferred
two shows to New York and one into the West End from its Covent
Garden home in six months.
119
120
Members continued
Stewart Purvis
Stewart Purvis joined Channel4 as a Non-Executive Director in
September 2013. His initial appointment runs until August 2016.
He joined the BBC as a News Trainee in 1969, then moved to ITN
in1972 where he became Editor of Channel4 News, Editor-in-Chief
of ITN and then Chief Executive. After retiring from ITN in 2003 he
became a Visiting Professor of Broadcast Media at Oxford University
and from 2007 to 2010 he was Ofcoms Partner for Content and
Standards. He has advised the House of Lords Select Committee
on Communications on the governance of the BBC and was the
independent chair of a multi-party negotiation to progress digital
radioin the UK.
He is Professor of Television Journalism at City University London
andthe co-author of When Reporters Cross the Line.
Executive Members
David Abraham
David Abraham became Channel4s sixth Chief Executive in 2010.
Hisfocus has been on innovation, independence, creative renewal
andpreparing Channel4 for the growth of connected television.
Sincethe launch of the data strategy, more than 10 million viewers
have registered and, in partnership with UKTV and BT Sport,
Channel4 Sales House has sustained revenues above 1 billion
since2011.
David joined Channel4 from UKTV where he was Chief Executive.
Prior to this, he led The Learning Channel US following a period
as General Manager of Discovery Networks UK. David gave
the MacTaggart lecture in 2014 on the importance of PSB to
BritishCreativity.
During the early part of his career David was a Co-Founder of
advertising agency St Lukes. He has been a Board Member
ofCreative Skillset since 2009.
Jay Hunt
Jay Hunt became Chief Creative Officer of Channel4 in January 2011
from her position as Controller BBC One. Jays commissions during
this time include critically acclaimed shows such as Sherlock, Luther
and Mrs Browns Boys.
She spent 15 years in BBC News working on Breakfast, Newsnight
and Panorama before becoming Editor of the Six OClock News. In
2005 Jay became Controller of BBC Daytime, commissioning shows
across BBC One and BBC Two that included returning hits such as
Great British Menu, Heir Hunters and Put Your Money Where Your
Mouth Is.
As Director of Programmes at Channel 5 in 2008, she commissioned
anumber of successful features shows including Cowboy Builders
and Extreme Fishing.
Under her leadership, Channel4 was named MGEITF Channel of the
Year and won more awards than at any time in the channels history.
Her winning commissions include Gogglebox, Educating Yorkshire,
The Island, The Undateables and Utopia.
Jonathan Allan
Jonathan Allan was appointed as Director of Sales on 13 September
2011. He graduated from Newcastle University in Economics and
immediately joined a full service agency, Cravens Advertising, in the
city. He joined the TV department at the major London media agency
OMD UK in 1995 and was appointed to the Board as TV Director in
January 2000. He then moved into planning for a number of years
and was appointed Deputy Managing Director in February 2005.
InJanuary 2007 he became Managing Director.
Jonathan Allan is also on the Board of Thinkbox, the television
marketing body.
Dan Brooke
Dan Brooke is Chief Marketing and Communications Officer, having
rejoined Channel4 in November 2010. He was appointed to the Board
on 1 February 2012.
Dan left independent production company Rare Day, where he
was Managing Director. Prior to this, he was Managing Director of
Discovery Networks UK, leading it through a period of change and
innovation with the launch of seven new channels, including its first
Freeview channel and its first entertainment channel, as well as
mobileand on demand services.
Dan worked at Channel4 from 1998 to 2005, joining as the Head
of Marketing and Development for FilmFour, rising to be Managing
Director of Digital Channels. He was responsible for the development
and award-winning launches of Channel4s portfolio of digital
channels and in 2001 was elected Young Marketer of the Year
bytheMarketing Society for his role in the birth of E4.
Dan is also a Trustee of Britdoc, the Camden Arts Centre,
HeadlongTheatre and the Mass Extinction Monitoring Observatory.
Paula Carter
Paula Carter joined Channel4 as the first Viewers Editor, before
becoming Board Secretary in 2011 and Director of Planning in 2013.
Her background includes experience in advertising, marketing, public
and commercial broadcasting and digital media. She worked for the
BBC for ten years before joining ITV to create a new digital channel
jointly owned by Granada and Boots. Prior to joining Channel4 in
2007, she ran her own communications consultancy where her clients
included Ofcom, the BBC Governors, HMRC, the Royal Opera House,
the Joint Scrutiny Committee for the 2003 Communications Bill and
the Cabinet Office.
Paula is a magistrate on the Central Kent Bench and Chairman of
Governors at St. Michaels Prep School in Otford, Kent.
Audit Committee report

Composition of the Audit Committee
During 2014 the Audit Committee comprised Alicja Lesniak (Chair),
Monica Burch, Paul Potts and MT Rainey. All the Members of the
Committee are Independent Non-Executive Members. Alicja Lesniak
FCA is a chartered accountant and was, until 2009, Chief Financial
Officer of Aegis plc.
Further details of the Members of the Audit Committee can be found
on page 119.
The Committee met four times during 2014. At the Committee Chairs
invitation, the Chairman of the Board, the Chief Executive, the Group
Finance Director, the Group Financial Controller, the Head of Business
Assurance, the Board Secretary and the KPMG LLP external audit
partner (among others) attended Committee meetings. The external
audit partner and Head of Business Assurance have direct access
tothe Chair of the Audit Committee.
Details of attendance at Audit Committee meetings by the Members
of the Corporation are disclosed in the Corporate Governance Report
on page 116.
Responsibilities and activities of the

AuditCommittee
As noted in the Corporate Governance Report on page 115, the Board
has discharged certain responsibilities to the Audit Committee.
The Committees key responsibilities, and how these were discharged
in 2014, are detailed on page 122.
121
122
Audit Committee report continued

Responsibilities of the Audit Committee
Activities of the Audit Committee in 2014
to monitor the integrity of the financial statements of Channel4

and any formal announcements relating to Channel4s financial
performance, reviewing significant financial reporting judgements
contained in them
at the March and September Audit Committee meetings, reviewed

an update of the Corporations accounting policies, significant
accounting and reporting issues and a detailed financial report
at the March meeting, reviewed the 2013 financial statements and
other sections of the Annual Report including the Statement of
Media Content Policy before their release, to determine that these
were clear and consistent with their knowledge of the Corporation
and its operations and to assess that the financial statements
reflected appropriate accounting principles
reviewed the accounting treatment in respect of the Growth Fund
and new revenue contracts and initiatives
to review Channel4s internal financial controls and Channel4s

internal control and risk management systems
to monitor the Groups whistleblowing procedures, ensuring that
appropriate arrangements are in place for employees to be able
to raise matters of possible impropriety in confidence, and with
suitable subsequent follow-up action
to monitor and review the effectiveness of Channel4s Business
Assurance function and activities
at the January meeting, reviewed and approved the Business

Assurance work plan and assessed the Corporations risk
management framework
at the June and September meetings, discussed the Corporations
risk appetite
throughout the year, reviewed reports on the results of Business
Assurance activities, and met with the Head of Business Assurance
and Management to review the findings from these activities and
instances of whistleblowing, if any
at the March meeting, reviewed the findings of the independent
reporting accountants concerning compliance with the
arrangements under Schedule 9 of the Communications Act 2003
considered a report on the governance arrangements for Growth
Fund investments
reviewed a report on the management of Treasury and the
Corporations investments
considered the tax affairs and arrangements of the Corporation
ahead of the annual Senior Accounting Officer certification to HMRC
to make recommendations to the Board in relation to the

appointment, reappointment and removal of the external auditors
and to approve the remuneration and terms of engagement of the
external auditors
further details in External audit section opposite
to review and monitor the external auditors independence

andobjectivity and the effectiveness of the audit process,
takinginto consideration relevant UK professional and
regulatoryrequirements
to develop and implement policy on the engagement of the
external auditors to supply non-audit services, taking into account
relevant ethical guidance regarding the provision of non-audit
services by the external audit firm; and to report to the Board,
identifying any matters in respect of which it considers that action
or improvement is needed and making recommendations as to
thesteps to be taken
to regularly update the Board about the Audit Committees
activities and make appropriate recommendations and to ensure
the Board is aware of matters that may significantly impact on the
financial condition or affairs of the business
the Chair of the Audit Committee briefed the Board as necessary

onthe activities of the Committee and any significant matters during
the course of the year
Audit Committee papers, including Business Assurance reports,
have been made available to the Board during 2014
If necessary, the Audit Committee can instigate special investigations and, if appropriate, engage special counsel or experts to assist.
Audit Committee report continued

Key audit risks
External audit
After discussions with both management and the external auditors,

the Audit Committee determined that the key risks in relation
to misstatement of the Corporations financial statements were
asfollows:
Auditor rotation
The current auditor has been in place since the audit of the financial
statements for the year ending 31 December 2004. The auditor
periodically rotates the lead audit partner to safeguard independence
and objectivity. Karen Wightman began her tenure as audit partner in
2013. We anticipate that Karen Wightman will continue as lead audit
partner until the Audit Committee reviews the need to tender the
auditahead of 2017 when her term concludes.
Programme and film rights

Revenue recognition
These issues were discussed with management during the year, and
with the external auditors while the audit strategy was being reviewed
and at the conclusion of the audit of these financial statements.
Programme and film rights
The value of programme and film rights recognised on the
balance sheet is 242 million as disclosed in note 12 to the
financial statements. The total value of obsolete programmes and
developments written off in the year was 45 million. Reflecting the
status of Channel4 as a public service broadcaster, the value to the
Corporation of the programme and film rights portfolio is considered
on an aggregate basis. As described on page 137, programme and
film rights are stated at the lower of the direct cost incurred up to
thebalance sheet date and value to the Group.
The Committee has reviewed the results of managements provision
for programme rights at the balance sheet date and is satisfied that
the procedures performed and the assumptions made were robust.
The auditors have explained their audit procedures to test the carrying
value of programme and film rights on the balance sheet and the
results of their work. On the basis of their audit work, the auditor
considered that the carrying value of programme and film rights
wasmaterially appropriate in the context of the financial statements
asa whole.
Revenue recognition
Total revenue for 2014 was 938 million as detailed in note 1 to the
financial statements. The revenue recognition accounting policies
ofthe Corporation are disclosed on page 135. In 2014, 869 million
or 93% of total revenues were advertising and sponsorship revenue,
which are recognised on transmission of the advertisement for
advertising revenue and on a straight-line basis in accordance
with the transmission schedule for each sponsorship campaign
forsponsorship revenue.
The accounting treatment for new, unique revenue contracts is
reviewed and presented by management to the Audit Committee.
The Committee has reviewed the accounting for each material
new contract in 2014, and the judgement applied in each case.
Management also provided papers explaining the accounting
treatment to the auditors during the 2014 financial audit. On the
basisof their audit work, the auditor considered that the value
ofrevenue recognised was materially appropriate in the context
ofthefinancial statements as a whole.
Misstatements
Management confirmed to the Committee that they were not aware
of any material misstatements or immaterial misstatements made
intentionally to achieve a particular presentation. The auditors reported
to the Committee any misstatements that they had found in the course
of their work and no material misstatements remain unadjusted. The
Committee confirms that it is satisfied that the auditors have fulfilled
their responsibilities with diligence and professional scepticism.
After reviewing the presentations and reports from management
and consulting where necessary with the auditors, the Committee
is satisfied that the financial statements appropriately address the
critical judgements and key estimates, both in respect to the amounts
reported and the disclosures. The Committee is also satisfied that
the significant assumptions used for determining the value of assets
and liabilities have been appropriately scrutinised, challenged and
aresufficiently robust.
Auditor objectivity and independence

Channel4 will not use its external auditors to provide other services
unless it is efficient and effective to do so. The Committee has also
taken action to ensure the objectivity and independence of the
external auditors is maintained. To discharge this responsibility,
theCommittee has:
agreed changes in senior audit personnel including the rotation
ofthe lead audit partner in 2013
approved the proposed audit fee
reviewed all non-audit fees payable to the Groups external auditors
reviewed KPMGs annual statement to the Audit Committee to
confirm its independence within the meaning of regulatory and
professional requirements
A summary of the fees earned by KPMG LLP in respect of all
servicesprovided in 2014 to the Corporation is shown in note 3
tothefinancial statements.
Effectiveness of the audit process
The Committee has reviewed the external audit process and has
satisfied itself that it is effective by reviewing:
the external auditors plan for the audit of the Groups accounts,
including the key audit risks identified above
the external auditors detailed reports on the Groups draft financial
statements for the year ended 31 December 2014
Business Assurance
As noted elsewhere, the Corporation has a Business Assurance
function. The Head of Business Assurance has direct access to the
Chair of the Audit Committee and reports jointly to the Group Finance
Director and the Chair of the Audit Committee.
During 2014, the Business Assurance function undertook a number
of specific projects to provide assurance that control processes
wereappropriate and working effectively, and where necessary
recommend improvements.
123
124
Members remuneration report

Annual statement by the Chair of the
Remuneration Committee
This report sets out the activities of the Remuneration Committee
for the year ended 31 December 2014. It discloses the remuneration
policy and remuneration details for the Executive and Non-Executive
Members of the Corporation. It has been prepared in accordance
with Schedule 8 of the Large and Medium-sized Companies and
Groups (Accounts and Reports) Regulations 2008 as amended in
August 2013. Channel4s status as a statutory corporation without
shareholders means these provisions are not directly applicable but
the Members have decided to voluntarily comply with the provisions
tothe extent that they are relevant to Channel4, in line with the
Boards commitment to high standards of corporate governance.
The Report is set out in three sections: the statement by the Chair of
the Remuneration Committee, the annual report on remuneration, and
the policy report. The annual report on remuneration provides details
on remuneration relating to 2014 and other information required by
theRegulations.
The Companies Act 2006 requires the auditors to report on certain
parts of the Members Remuneration Report and to state whether,
intheir opinion, those parts of the report have been properly prepared
in accordance with the Regulations. The parts of the Annual Report
on remuneration that are subject to audit are indicated in the auditors
report. The statement by the Chair of the Remuneration Committee
and the policy report are not subject to audit.
The Remuneration Committee oversees all aspects of pay for the
Executive Members and staff of Channel4, reviewing proposals for
the overall annual pay awards and variable pay schemes applicable
to all staff, and the details of remuneration packages for Executive
Members. The Committees recommendations and decisions in 2014
reflect its remuneration policy, which is designed to enable Channel4
to attract, motivate and retain high calibre staff by rewarding them
with both fixed and variable pay to reward commercial and creative
success, while being sensitive to the position that Channel4 occupies
as a public service broadcaster.
Composition of the Remuneration Committee
During 2014 the Members of the Committee were Richard Rivers
(Chair), Mark Price and Stewart Purvis. In 2014, the Committee
metfive times.
All the Members of the Committee are Independent Non-Executive
Members. The Chairman of the Board, the Chief Executive, the Group
Finance Director, the Director of Human Resources and the Board
Secretary attend meetings as appropriate.
Where Executive Members or senior management are involved in
advising or supporting the Remuneration Committee, care is taken
to recognise and avoid conflicts of interest. No Executive Members
attend meetings of the Remuneration Committee at times when any
aspect of his or her individual remuneration, benefits or terms of
employment is being discussed.
Non-Executive Members are appointed by Ofcom, who also
determines their fees. Non-Executive Members are entitled to
reimbursement of travel and accommodation expenses incurred
inconnection with attending Board and other meetings in relation
tofulfilling their duties. Non-Executive service contracts are subject
tofixed terms of a maximum of three years.
Responsibilities of the Remuneration Committee

The Committees principal responsibilities are:
to recommend to the Board the level of any annual salary increases,
variable pay awards and the structure of remuneration, in particular
for Executive Members and Senior Management
to review any other significant change in Channel4s remuneration
arrangements and policies
to recommend to the Board the structure of the annual Corporate
Variable Pay and Advertising Sales Schemes, and to review
progress against the targets set for the schemes
to review any other aspect of HR strategy or performance as
seemsrelevant
The Chair of the Remuneration Committee reports to the Board in
general terms on the Remuneration Committees decisions, and brings
to the Boards attention any matters of an unusual or sensitive nature.
Activities of the Remuneration Committee
The Committees work in 2014 included overseeing the introduction
of a redesigned Corporate Variable Pay Scheme for 2014 and beyond,
and using this to make a recommendation to the Board for variable
pay in respect of 2014. The pay award for 2014 and the details of the
Corporate Variable Pay Scheme are detailed on page 126. Aftercareful
consideration and review, the average pay award for the year
beginning 1 April 2015 has been made at 2.75%.
The Remuneration Committee agreed that the Corporate Variable
Pay Scheme for 2015 will remain largely unchanged from 2014 and
continue to be focused clearly on the two common purposes of the
organisation recognised by all staff: creative achievement and financial
sustainability. From 1 January 2015, the maximum amount payable
to Executive Members under the Corporate Variable Pay Scheme
will be increased to up to 40% of total gross salary. In the light of this
amendment, no pay award has been made to Executive Members
forthe year beginning 1 April 2015.
125
Members remuneration report continued

Remuneration report
The following provisions of the report are subject to audit
The remuneration of the Executive Members for the years ending 31 December 2014, 2013 and 2012 is made up as follows:
000
David Abraham
Anne Bulford
(resigned 26 February 2013)
Jay Hunt
Salary
and fees
Taxable
benefits
Variable
pay
Pension
Total for
2014
Salary
and fees
Taxable
benefits
Variable
pay
Pension
Total for
2013
Total for
2012
550
166
138
855
532
73
133
739
744
156
16
177
489
407
123
50
581
396
54
46
497
542
Jonathan Allan
350
102
30
483
320
55
22
398
482
Dan Brooke
299
87
50
437
275
39
44
359
348
1,606
478
268
2,356
1,679
221
261
2,170
2,605
TOTAL
The salary figures in the table above represent the gross salaries received in 2014, after taking account of salary increases during the year
whereapplicable.
In 2014, David Abraham, Jay Hunt and Dan Brooke received cash payments in lieu of pension benefits.
In 2013, Jonathan Allan was party to the Advertising Sales Scheme only. From 1 January 2014, his variable pay comprised a 50:50 split between
the Advertising Sales Scheme and the Corporate Variable Pay Scheme.
The remuneration of the Non-Executive Members for the years ending 31 December 2014 and 2013 is made up as follows:
2014 Salary
and fees
2013 Salary
and fees
Lord Burns
100
100
Mark Price
30
24
Monica Burch
22
22
Alicja Lesniak
22
22
Paul Potts
22
22
Stewart Purvis (appointed 1 September 2013)
22
MT Rainey
22
22
Richard Rivers
22
22
Josie Rourke
22
22
284
262
000
TOTAL
No detailed disclosure has been provided for the Non-Executive Members other than that relating to their fee, as it is the only form of
remuneration they receive.
Mark Price does not retain his fees for his Non-Executive Directorship. In accordance with Waitrose policy, Mark has requested that his fee
bepaid over to Waitrose.
Monica Burchs firm, Addleshaw Goddard LLP, deducts her Channel4 fees from her partner drawings.
126

Variable pay
During the year, the Committee met to monitor performance as part
oftheir oversight of variable pay across the business. A new Corporate
Variable Pay Scheme for staff and executives was introduced in 2014,
which is set out below. The Committee met again in January 2015 to
agree on a recommendation to the Board on variable pay once results
for the year were available.
Corporate Variable Pay Scheme outline
As set out in the Strategic Report on pages 100109, the Corporations
business model and strategy is based on two key principles, creativity
and long-term financial sustainability. The 2014 Corporate Variable Pay
Scheme has been designed specifically to link variable pay with the
business model and is based on the following areas of achievement:
creativity to maintain Channel4s reputation for originality and
creativity with an emphasis on innovation, impact and creative risk
taking and achievement of the remit
sustainability with the aim of growing total revenues and
successfully developing new sources of revenue that can be
reinvested into content
Achievement of at least the budgeted surplus or deficit before tax
for the year and Ofcom licence requirements is a condition for any
element of the scheme to pay out to staff.
Most staff and Members of the executive team participate in the
Corporate Variable Pay Scheme, where the amounts provided can be
up to 10% of total gross salary for staff, 20% for Heads of Department
and 30% for Executive team Members. These percentages represent
the maximum amount that can be provided. Actual awards for each
staff member will vary from the average provided to reflect their
individual achievement against personal performance objectives.
Process for determining variable pay
To decide on how much variable pay should be provided each year,
the Remuneration Committee considers a report written by the CEO
inconjunction with the other Executive team Members, describing
how the Corporation has performed in relation to creativity and
commercial sustainability, and reviews business performance
across a wide range of qualitative and quantitative measures which
track year-on-year performance and performance against a five
year average. Where relevant, performance of competitors against
the same measures is also part of the Committees deliberations.
The Remuneration Committee makes a judgement on the overall
performance for the year, and produces a narrative assessment of
itsevaluation, which is then proposed to the Board, who have the
finalapproval of any payout.
The scheme is based on a mix of both qualitative and quantitative
information and a degree of judgement is required around creative
performance measures. Creativity and sustainability are considered
tobe of broadly equal weighting because they are both equally
important to the longterm success of the Corporation, but the
weighting allocated to each in a given yearis also at the discretion
ofthe Committee.
After due consideration of performance during the year, the
Committee allocates an amount, entirely at its discretion, based
onwhat they determine the average pay-out across the Corporation
should be for the year.
The Committee will review the Corporate Variable Pay Scheme each
year to ensure it remains appropriate.
Variable pay decision for 2014
The Committee noted that the two gateways to the scheme,
meetingthe licence requirements and the budgeted pre-tax result,
had been met.
The Committee undertook a detailed review of all the information

available to it, including the CEO and Executive Teams report on
2014 and the Corporations performance across a wide range of
performance measures, an extract of which is set out on pages 166
and 167 including programme quality, creative achievements, viewing
share, ad sales performance, VoD viewing and commercial impact
performance in key demographics. The creative achievements and
financial results are also outlined in detail in the Annual Report.
The Committee determined that 2014 has been an impressive year
from a creative perspective with a record number of major television
and film awards (page 8691), including Channel of the Year at the
Edinburgh TV Festival, reflecting the culmination of a highly successful
three year plan to renew the Channels creative reputation and
performance. In addition, the Corporation maintained or increased its
lead over other broadcasters compared to 2013 across a range of the
reputational Statement of Media Content Policy (SMCP) metrics (pages
14 to 35) andthe Inbetweeners 2 Movie recorded a strong box office
performance (page 68). The Committee recognises that in the pursuit
of creative innovation not all endeavours will be successful, however,
onbalance 2014 had been a strong year of creative performance.
The Committee also determined there had been a robust commercial
performance, aided by a buoyant advertising market but with
significant success in initiatives designed to complement spot
advertising revenue in the future and so contribute to the long term
sustainability of the organisation. As set out in the financial statements
on pages 130 to 158, Corporation revenues were up 30 million yearon-year and, after a planned three years of investment, the business
exceeded the break-even budget with a 4 million pre-tax surplus and
cash reserves of 222 million. Digital revenues reached their highest
levels in the five year period and there was growth in registered
VoD views as further progress was made with the development
of connected relationships with viewers. The Growth Fund was
also successfully launched with five companies benefitting from
investmentin 2014 as set out on page 38.
The Portfolio share for the year was 10.9% (page 31), marginally
short of the 11.0% achieved in 2013, with strong performances
from the digital channels and E4 in particular. The decline in
Channel4 share has slowed which helps to enhance sustainability.
Performance in peak time, where the majority of content investment
is concentrated, was strong but daytime is still a challenge with live
sport on other channels continuing to attract strong audiences.
Thekey 1634 demographic share grew for the Portfolio, reaching
its highest point inthe past five years (page 166), although there
wasanaccompanyingdecline in ABC1 audiences.
After a careful and detailed consideration of performance for 2014,
the Committee recommended that, following an exceptional year of
Creative performance and a year of strong commercial performance,
staff should receive an average of 9% of year end salary under the
Corporate Variable Pay Scheme, Heads of Department should receive
an average of 18% of salary and the Executive team should receive
an average of 28% of salary. Actual awards for each staff member
varied from this average to reflect their individual achievement
againstpersonal performance objectives.
Advertising Sales Scheme
Staff working within advertising sales have a dedicated Advertising
Sales Scheme, linked to advertising revenue and paid quarterly
throughout the year based on performance. They are not eligible for
the Corporate Variable Pay Scheme, with the exception of Executive
Member Jonathan Allan whose variable pay comprised a 50:50 split
between the Advertising Sales Scheme and the Corporate Variable
Pay Scheme in 2014.
127

Variable pay awards to Executive Members
The Committee made the following awards to Executive Members
inrespect of 2014 performance:
David Abraham was awarded an amount of 30% of year end salary
under the Corporate Variable Pay Scheme
Jay Hunt was awarded an amount of 30% of year end salary under
the Corporate Variable Pay Scheme
Jonathan Allan was awarded an amount of 28.5% of the half of
his year end salary which is subject to the Corporate Variable
Pay Scheme. Jonathan Allan also received 52,500 through the
Advertising Sales Scheme
Dan Brooke was awarded an amount of 28.5% of year end salary
under the Corporate Variable Pay Scheme
Taxable benefits
Executive Members are eligible for a range of taxable benefits, which
can include a pension allowance, car allowance and membership of
a private medical insurance scheme (which is provided to all staff).
These benefits are not pensionable. In line with the Corporations
expenses policy, no expenses claimed by Executive Members were
chargeable to UK income tax as they were incurred wholly for the
purposes of the business of the Corporation.
Pension
The Corporation has two pension schemes: a defined contribution
scheme open to all staff, and a defined benefit scheme which is
closed to new entrants. Until the closure of the scheme to new
entrants, Executive Members were eligible for membership of the
Channel Four Television Staff Pension Plan (The Plan) on the same
basis as all other members of staff. The Plan is contributory, at 7.5%
of pensionable salary, and provides members with a pension based
on 1/50th of final pensionable pay for each year of service up to
amaximum of twothirds of final pensionable earnings.
During the year there were no Executive Members remaining within
thedefined benefit scheme (2013: none).
Payment to past members

No payments were made to past members in 2014.
Relative importance of spend on pay
Revenue
The graph(m)
below shows the actual expenditure of the Group and the
change between the current and previous years.
800
700
651
600
500
400
300
200
100
0
72
66
Total employee
pay (+9%)
n 2014
The following provisions of the report are not subject to audit

CEO remuneration table
The table below shows the percentage change in remuneration
ofDavid Abraham, the CEO and the Corporations employees
asawhole between the years 2014 and 2013:
Salary and fees
Variable pay
Total
CEO
All staff
+3%
+2.5%
+127%
+83%
+16%
+9%
The Group are not presenting a table on CEO pay in comparison

to Total Shareholder Return as it is a statutory Corporation without
shareholders and the requirements are therefore not applicable.
Payment for loss of office
No payments were made for loss of office in 2014 to Executive
Members, and at the balance sheet date there were no provisions
made for compensation payable for early termination of contracts
orloss of office to Executive Members.
Total direct programme,

content and marketing
costs (0%)
n 2013
The Members have chosen the change in total direct programme,

content and marketing costs as disclosed in note 2 to the financial
statements as the comparative measure for relative spend on pay as it
is considered to be the most significant indicator in understanding total
Corporation expenditure year-on-year. As in previous years, employee
pay remains between 10% and 11% of on-screen expenditure.
Total employee pay is detailed in note 4 to the financial statements.
Further details relating to the defined benefit Plan are provided

innote18 to the financial statements.
Non-Executive Members are not eligible for membership of either
pension scheme.
649
Richard Rivers
Chair of the Remuneration Committee
25 March 2015
128

Remuneration policy for 2015
The remuneration of Executive Board Members is determined by the Remuneration Committee, the membership and terms of reference of
which are detailed on page 124. In framing its remuneration policy, the Committee has given full consideration to the best practice provisions
ofthe UK Corporate Governance Code.
Future policy table
The following table sets out the key components of the remuneration package for Executive Members:
How this supports the
strategic aims of the
Component Group
How this
operates
Maximum
amount payable
Performance
measures
Salary
Salaries are paid monthly
Salaries for the year to

31December 2015 remain
unchanged and are as
follows:
None
Offering competitive
remuneration packages
helps the Corporation
attract, motivate and
retain a high calibre
executive team
The Remuneration Committee

discusses the performance of each
Member with the Chairman of the
Board and with the Chief Executive
for other Executive Members
David Abraham 553,730

Jay Hunt 409,744
Jonathan Allan 350,000
Dan Brooke 305,000
Except where otherwise
shown, salaries are reviewed
annually in the first quarter
of the year. Increases reflect
changes in responsibility
andperformance
Taxable
benefits
The Corporation offers a range of

benefits to all staff including private
medical insurance. Other benefits
such as life assurance are available
through a flexible benefits scheme
The value of private medical None

insurance in 2015 is expected
to be 644 per Executive
Member
Pensions
The Corporation currently offers a

The maximum amount
None
defined contribution pension scheme contributed by the
for new staff
Corporation under the defined
contribution scheme is 13%
The Corporation also operates
of pensionable salary
adefined benefit scheme. In 2014
there were no Executive Members
ofthe defined benefit scheme
Certain Executive Members also
receive cash payments in lieu of
pension benefits as disclosed
onpage 125
Variable
pay
All Members of the Executive Team

participate in the Corporate Variable
Pay Scheme. Pay-out is determined
annually by the Remuneration
Committee shortly after the financial
year end based on performance and
paid in March following the year end
Jonathan Allans variable pay
comprises a 50:50 split between
theAdvertising Sales Scheme and
the Corporate Variable Pay Scheme
From 1 January 2015 the

Corporate Variable Pay
Scheme will pay up to 40%
of total gross salary for
executive team Members,
a10% increase from 2014
The Remuneration Committee

agreed that the Corporate
Variable Pay Scheme for 2015
will remain largely unchanged
from 2014 and continue to be
focused clearly on the two
common purposes of the
The Advertising Sales Scheme organisation recognised by
is linked to advertising
all staff: creative achievement
revenue and paid quarterly
and financial sustainability.
throughout the year based
Details of the scheme are
onperformance
setout on page 126
In 2014, it was agreed that,
from 2015, in coming to a
view on variable pay for
Executive Members, it would
be appropriate to consider
their performance against
longer term objectives as well
as the in-year performance.
Up to 10% (out of the total of
up to 40%) could be allocated
onthis basis
None of the components of remuneration contain any provisions for recovery of sums paid.

The following table sets out the key components of the remuneration package for Non-Executive Members:
Component
Purpose
Operation
Fees
The Non-Executive Members constructively challenge and help develop

proposals on strategy, and bring strong, independent judgement,
knowledge and experience to the Boards deliberations
Fees are set by Ofcom and Fees are

paid monthly and reviewed periodically
No other components of remuneration are available for Non-Executive Members.

Policy on payment for loss of office
The service contracts of all the Executive Members are subject to notice periods of one year or less. The Committees policy is to make
payments in line with contractual obligations covering payment in lieu of notice including base salary and other benefits.
The Remuneration Committee will consider what compensation commitments (including pension contributions and all other elements) the
Executive Members terms of appointment would entail in the event of early termination. The aim of this is to avoid rewarding poor performance.
Illustration of application of remuneration policy
The graphs below represent the variations in the remuneration at different levels of performance for the 2015 remuneration policy for the
Executive Members:
Chief Creative Officer
Chief Executive Officer

1000
900
900
18%
800
700
600
100%
82%
24%
700
76%
600
400
400
80%
74%
Minimum
(469k)
In line with
expectations
(584k)
Maximum
(633k)
100
100
Minimum
(693k)
In line with
expectations
(848k)
Maximum
(915k)
n Fixed
n Annual variable
n Fixed
n Annual variable
Director of Sales
Chief Marketing and Communications Officer
900
900
800
800
700
700
600
600
500
23%
100%
77%
31%
69%
500
400
300
200
200
100
100
100%
200
200
300
26%
300
300
400
20%
500
500
800
Minimum
(383k)
n Fixed
n Annual variable
In line with
expectations
(497k)
Maximum
(551k)
100%
Minimum
(356k)
19%
81%
In line with
expectations
(441k)
26%
74%
Maximum
(478k)
n Fixed
n Annual variable
Auditable information
The remuneration information set out on pages 124 to 127, where indicated, has been audited by Channel4s auditors, KPMG LLP,
inaccordance with Schedule 8 of the Companies Act 2006 as if those requirements were to apply to Channel4.
129
130
Consolidated income statement and statement of comprehensive income

for the year ended 31 December
Consolidated income statement for the year ended 31 December
Note
2014
m
2013
m
Revenue
938
908
Cost of transmission and sales
(903)
(892)
35
16
Gross surplus
Other operating expenditure
(31)
(32)
Profit on sale of investments
(15)
(1)
Operating surplus/(deficit)
Net finance expense
(1)
Share of profit of investments accounted for using the equity method, net of income tax and
amortisation
(16)
(1)
(15)
Surplus/(deficit) before tax

Income tax (expense)/credit
Surplus/(deficit) for the year
Consolidated statement of comprehensive income for the year ended 31 December

Note

Net remeasurement deficit on pension scheme
Revaluation of freehold land and buildings
2014
m
2013
m
(15)
18
(37)
(1)
13
12
Deferred tax on pension scheme
11
Deferred tax on revaluation of freehold land and buildings
11
(2)
(2)
Other comprehensive (cost)/income for the year
(18)
Total comprehensive cost for the year
(15)
(6)
None of the items in comprehensive income will be reclassified to the income statement.
131
Consolidated statement of changes in equity for the year ended

31December
Retained earnings
Other
retained
earnings
m
Content
reserve
m
Revaluation
reserve
m
Total
equity
m
At 1 January 2013
446
18
464
Deficit for the year
(15)
(15)
(1)
10
Total comprehensive (cost)/income for the year
(16)
10
(6)
At 31 December 2013
430
28
458
At 1 January 2014
430
28
458
Other comprehensive (cost)/income
Surplus for the year

Reserve transfer
(30)
30
(29)
11
(18)
(56)
30
11
(15)
At 31 December 2014
374
30
39
443
We have established a content reserve in 2014 to ensure surpluses generated are re-invested into our creative ambition in order to deliver on
ourremit. Our aim is to maintain an overall financial break-even position in the long term. We have allocated 30 million of retained earnings from
surpluses generated since 2010 including the 3 million surplus recognised in 2014 to the content reserve. Surpluses generated in future years
will be allocated to the content reserve when realised in cash and creative investments will be funded by drawing down on the content reserve.
132
Consolidated balance sheet as at 31 December
Note
2014
m
2013
m
26
23
Assets
Investments accounted for using the equity method
103
90
Intangible assets
10
Deferred tax assets
11
Property, plant and equipment
Total non-current assets
18
11
149
127
Programme and film rights and other inventories
12
242
224
Trade and other receivables
13
196
182
Other financial assets
14
70
107
Cash and cash equivalents
14
Corporation tax
152
131
Total current assets
660
645
Total assets
809
772
Liabilities
Employee benefits pensions
18
(73)
(39)
Provisions
16
(1)
(2)
Deferred tax liabilities
11
(5)
(3)
(79)
(44)
Trade and other payables
15
(286)
(269)
Provisions
16
Total non-current liabilities
(1)
(1)
Total current liabilities
(287)
(270)
Total liabilities
(366)
(314)
Net assets
443
458
39
28
30
Other retained earnings
374
430
Total equity
443
458
Revaluation reserve
Retained earnings:
Content reserve
The financial statements on pages 130 to 158 were approved by the Board of Members on 25 March 2015 and were signed on its behalf by:
Lord Burns
Chairman
David Abraham
Chief Executive
The notes on pages 134 to 158 form part of these financial statements.
133
Consolidated cashflow statement for the year ended 31 December
Note
2014
m
2013
m
Cashflow from operating activities

(15)
Adjustments for
Income tax expense/(credit)
(1)
Depreciation
Amortisation of intangibles
Net financial expense
Share of profit from investments accounted for using the equity method, net of income tax
andamortisation
Current service pension cost
10
(1)
18
14
(4)
Increase in programme and film rights and other inventories
12
(18)
(5)
Increase in trade and other receivables
13
(14)
(10)
Increase in trade and other payables
15
17
Decrease in provisions, excluding unwinding of discounts
16
(1)
(1)
(2)
(18)
(8)
(6)
Pension contributions
18
Tax repaid/(paid)
(1)
Net cash from operating activities
(9)
(25)
Cashflow from investing activities

Acquisition of investments
(4)
Proceeds from disposal of investment
Purchase of property, plant and equipment
(6)
(3)
Interest received
Dividends received
Decrease/(increase) in other financial assets1
Net cashflow from investing activities
Net increase/(decrease) in cash and cash equivalents
14
37
(19)
30
(17)
21
(42)
Cash and cash equivalents at 1 January
131
173
Cash and cash equivalents at 31 December
152
131
1 Amounts invested in term deposits of three months or longer and other funds with time restricted access.
134
Group accounting policies

Introduction
Channel Four Television Corporation (Channel4) is a statutory
corporation domiciled in the United Kingdom. The consolidated
financial statements of Channel4 for the year ended 31 December
2014 comprise Channel4 and its subsidiaries (together referred to
as the Group) and the Groups investments accounted for using
the equity method. Channel4s own financial statements present
information relating to Channel4 as a separate entity and not
aboutitsGroup.
The financial statements were authorised for issue by the
Members on25 March 2015. The registered office of Channel4
is124HorseferryRoad, London, SW1P 2TX.
Programme and film rights held for broadcast

Programme and film rights are stated at the lower of the direct cost
incurred up to the balance sheet date and value to the Group. The
cost of broadcast programmes and acquired films are wholly written
off on first transmission, except for certain feature films, sports rights
and certain acquired series, the costs of which are written off over
more than one transmission in line with the expected value to the
Group. The key area of judgement is estimating value to the Group,
which is assessed both qualitatively and quantitatively, with reference
to the quality of programme that has ultimately been delivered and its
expected viewing performance. Channel4s full programme and film
rights policy is detailed on page 137.
Judgement is also required when estimating future revenues from
distribution, when evaluating the carrying value of film rights held
forexploitation.
Basis of preparation
The financial statements of the Group have been prepared and
approved by the Members in accordance with International Financial
Reporting Standards as adopted by the European Union (Adopted
IFRSs). The Corporations individual financial statements have been
prepared under the Financial Reporting Standard 101 Reduced
Disclosure Framework.
The financial statements as a whole have been prepared in a form
directed by the Secretary of State for Culture, Media & Sport with
the approval of HM Treasury, and are principally prepared under the
historical cost convention (except that freehold properties, derivatives
and certain financial instruments are stated at fair value). In line with
IFRS 13, fair value is defined as the price that would be received to sell
an asset or paid to transfer a liability in an orderly transaction between
market participants at the measurement date.
The financial statements are presented in pounds Sterling, rounded
tothe nearest million.
The preparation of financial statements in conformity with Adopted
IFRSs requires the use of estimation and assumptions that affect the
reported amounts of assets and liabilities at the date of the financial
statements and the reported amounts of income and expense
during the reporting period. Although these estimates are based
on managements best knowledge of the amount, event or actions,
actualresults may ultimately differ from those estimates.
Estimates and underlying assumptions are reviewed on an ongoing
basis. Revisions to accounting estimates are recognised in the period
in which the estimate is revised if the revision affects only that period
or in the period of the revision and future periods if the revision affects
both current and future periods. Judgements made by management in
the application of Adopted IFRSs that have a significant effect on the
financial statements and estimates with a significant risk of material
adjustment in the next year are summarised below:
Revenue recognition
Revenues are stated net of value added tax and are recognised
when persuasive evidence of a sale exists, a service has been
performed, and when collectability is reasonably assured. The key
area of judgement on recognising revenue is the timing of recognition,
which reflects the point or period when the Group has transferred the
main risks and rewards of ownership to third parties. Channel4s full
revenue recognition policy is detailed on page 135.
Going concern
The Groups business activities, the factors likely to affect its future
development and performance, the financial position of the Group
and its cashflows are set out in the Strategic Report of the Members
(pages 100 to 109). As discussed on page 101, on 11 March 2014
Ofcom announced the renewal of Channel4s licence. The new
tenyear licence came into effect in January 2015.
In addition, notes 13 to 15 to the financial statements include the Groups
approach to financial risk management, including its financial instruments
and hedging activities and its exposures to liquidity and credit risks.
The Group has sufficient financial resources and, based on normal
business planning and control procedures, the Members believe
that the Group is well placed to manage its business risks. The
Members have a reasonable expectation that the Group will continue
in operational existence for the foreseeable future and therefore
continueto adopt the going concern basis of accounting in preparing
the annual financial statements.
Basis of consolidation
A subsidiary is an entity that is controlled by the Group. Control exists
when the Group has exposure, or has rights to variable returns from
its involvements with the investee and has the ability to affect those
returns through its power over the investee. To have power, the Group
needs to have existing rights that give it the current ability to direct the
relevant activities of the investee (i.e. the activities that significantly
affect the investees returns). The financial statements of subsidiaries
are included in the consolidated financial statements from the date
that control commences to the date that control ceases.
Investments accounted for using the equity method by the Group
comprise associates and joint ventures.
Associates are those entities over which the Group has significant
influence. Where the Group holds 20% or more of the voting power
(directly or through subsidiaries) of an investee, it will be presumed the
Group has significant influence unless it can be clearly demonstrated
that this is not the case. If the holding is less than 20%, it will be
presumed the Group does not have significant influence unless
such influence can be clearly demonstrated. Significant influence
exists when the Group has the power to participate in the financial
andoperating policy decisions of the investee but does not have
control or joint control of those policies.
Joint arrangements are those entities over whose activities the
Group has joint control. Joint control is established by a contractual
agreement whereby the decisions about the relevant activities (i.e.
theactivities that significantly affect the investees returns) of the entity
require the unanimous consent of the two or more parties sharing
joint control of the arrangement. A joint venture is a joint arrangement
whereby the parties that have joint control of the arrangement have
rights to the net assets of the arrangement.
Group accounting policies continued

Basis of consolidation continued
Under equity accounting, the consolidated financial statements

include the Groups share of the total recognised gains and losses of
associates and joint ventures on an equity accounted basis, from the
date that significant influence or joint control commences until the date
that significant influence or joint control ceases or until the associate
or joint venture is classified as held for sale in accordance with IFRS 5
Non-current Assets Held for Sale and DiscontinuedOperations.
When the Groups share of losses exceeds its interest in an associate
or joint venture, the Groups carrying amount is reduced to nil and
recognition of further losses is discontinued, except to the extent
that the Group has incurred legal or constructive obligations or
madepayments on behalf of an associate or joint venture.
As explained in note 8, certain of the Groups other investments are
not-for-profit organisations. Cost contributions to those organisations
are charged to the income statement in the period to which they relate.
Intra-Group balances and any unrealised gains and losses or income
and expense arising from intra-Group transactions are eliminated
in preparing the consolidated financial statements. Unrealised
gains arising from transactions with associates and joint ventures
are eliminated to the extent of the Groups interest in the equity.
Unrealised losses are eliminated in the same way as unrealised gains,
but only to the extent that there is no evidence of impairment.
Accounting policies
A summary of the Group and Channel4 accounting policies that are
material in the context of the accounts is set out below. All accounting
policies have been applied consistently in all material respects to all
periods presented in these financial statements.
The following new standards became effective for the first time from
1January 2014:
IFRS 10 Consolidated financial statements
IFRS 11 Joint arrangements
IFRS 12 Disclosure of interests in other entities
IAS 27 Separate financial statements
IAS 28 Investments in associates and joint ventures
The Group adopted the above standards from 1 January 2014.
Theiradoption has not had a significant impact on the consolidated
financial statements of the Group.
A number of new standards, amendments to standards and
interpretations have been issued and became effective on 1 January
2015. None of these are expected to have a significant effect on the
consolidated financial statements of the Group.
Revenue recognition
Revenues are stated net of value added tax and are recognised
when persuasive evidence of a sale exists, a service has been
performed, and when collectability is reasonably assured. The key
area of judgement in recognising revenue is the timing of recognition,
which reflects the point or period when the Group has transferred the
main risks and rewards of ownership to third parties. For each ofthe
Groups significant revenue streams, revenues are recognised as
described below:
Advertising and sponsorship revenues
Revenues are stated net of advertising agency commissions.
Television advertising revenue is recognised on transmission of the
advertisement. Revenue from sponsorship of the Groups programmes
and films is recognised on a straight line basis in accordance with
the transmission schedule for each sponsorship campaign. Online
advertising revenues are recognised on a straight line basis over
the period of display of the advertisement or, if lower, as advertising
impressions are delivered.
Commission earned from advertising representation for third
parties, including The Box Plus Network Limited, is recognised on
transmission of the related advertisements in line with contractual
arrangements. As the Group acts as an agent for these parties, and
does not have exposure to the significant risks and rewards ofthe
sale, the gross advertising sales of these arrangements are not
recognised in revenue, but the commission earned by the Group
initscapacity as agent is.
Revenues are recognised from barter and other similar contractual
arrangements involving advertising when the services exchanged
aredissimilar. Revenues are measured with reference to the fair
valueofthe goods or services received.
Other revenues
Revenues earned from syndicating content to third-party online
platforms are typically generated from some or all of the following
contractual arrangements:
milestones non-refundable milestone payments are recognised
once the Groups performance obligations are satisfied, for example
upon launch
ongoing service fees revenue is recognised on a straight line basis
over the contract term as service obligations are performed
pence-per-view or revenue share revenues are calculated based
on the number of content views and are recognised when the
amounts can be reliably measured
DVD revenues are principally recognised when stock is delivered to
retailers, net of a provision for anticipated returns based on historical
trends and an assessment of market conditions at the balance sheet
date. Consignment sales, when made, are recognised when the sales
made to the ultimate customers can be reliably measured.
Revenues generated from the exploitation of developed film rights
(for example, from theatrical box office releases) are recognised
whenrevenues can be reliably measured.
Segment reporting
Segments are reported in accordance with IFRS 8 Operating
Segments. Segments are aggregated only where the nature of the
products and services provided are similar and where the segments
have similar economic characteristics.
The chief operating decision-maker has been identified as the
Channel4 Board. Segments follow management reporting to the
Board in order to make decisions on the allocation of resources
withinthe Group.
135
136

Taxation
Tax on the surplus or deficit for the year comprises current and
deferred tax. Tax is recognised in the income statement except
to the extent that it relates to items recognised directly in other
comprehensive income, in which case it is also recognised
directlyinother comprehensive income.
Freehold land and buildings are stated at open market valuation

(fairvalue) and are revalued at 31 December each year. Directions
fromthe Secretary of State for Culture, Media & Sport require freehold
land and buildings to be valued at current value. The Members believe
that open market value approximates to current value.
Current tax is the expected tax payable on the taxable income for
theyear, using tax rates enacted or substantively enacted at the
balance sheet date, and any adjustment to tax payable in respect
ofprevious years.
Any gain arising from a change in fair value is recognised directly in

other comprehensive income, unless the gain reverses an impairment
of the same asset previously recognised in the income statement,
in which case it is also recognised in the income statement. Any
loss arising from a change in fair value is charged directly to other
comprehensive income to the extent of any credit balance existing
inthe revaluation surplus of that asset. Otherwise, the loss is
recognised in the income statement.
Deferred tax is provided on temporary differences between the

carrying amounts of assets and liabilities for financial reporting
purposes and the amounts used for taxation purposes.
The following temporary timing differences are not provided for:
theinitial recognition of goodwill; the initial recognition of assets and
liabilities that affect neither accounting nor taxable profit other than
in a business combination; and differences relating to investments
insubsidiaries and joint ventures to the extent that they will probably
not reverse in the foreseeable future.
The amount of deferred tax provided is based on the expected
manner of realisation or settlement of the carrying amount of assets
and liabilities, using tax rates enacted or substantively enacted at the
balance sheet date.
A deferred tax asset is recognised only to the extent that it is probable
that future taxable profits will be available against which the asset can
be utilised.
Fixtures, fittings and equipment are stated at cost less

accumulateddepreciation.
Depreciation is calculated so as to write off the cost or valuation of the
asset evenly, on a straight line basis, over its estimated useful life.
Useful lives are estimated taking into account the rate of technological
change and the intensity of use of each asset. The annual rates used
for this purpose are as follows:
Freehold buildings
Computer hardware
Office equipment and fixtures and fittings
Technical equipment
2%
25% 50%
25%
14% 25%
Investments in associates and joint ventures
Freehold land is not depreciated.
These investments are recognised in the consolidated balance sheet,

initially at cost. The carrying amount is subsequently increased or
decreased to recognise the share of other comprehensive income
or share of profit or loss if these are the same, after the date of
acquisition or investment.
The carrying values of property, plant and equipment are reviewed

for impairment when events or other changes in circumstances
indicate that the carrying values may not be recoverable. Where an
indicator of impairment exists, an estimate is made of the recoverable
amount. Where the carrying value of an asset exceeds its recoverable
amount, the asset is considered impaired and is written down to the
recoverable amount.
Further details are set out under the basis of consolidation accounting
policy on pages 134 to 135.
Other investments
Other investments includes equity holdings without significant
influence. Equity investments are normally carried at fair value.
Where an active market value is not available, the Members believe
that valuation at cost less provision for impairment is a reasonable
approximation of fair value.

Intangible assets
Programme rights and other inventories
Expenditure on internally developed computer software applications

is capitalised to the extent that the project is technically and
commercially feasible, sufficient resources exist to complete the
development and it is probable that the asset will generate future
economic benefits. The expenditure capitalised includes the cost
ofsoftware licences, direct staff costs and consultancy costs.
All programme and film rights are valued at the lower of the direct
cost incurred up to the balance sheet date and value to the Group.
Development expenditure is included in programme and film
rights after charging any expenditure that is not expected to lead
to a commissioned programme, or a green-lit film, directly to the
incomestatement.
Amortisation of capitalised software development costs is charged

to the income statement on a straight line basis over the estimated
useful lives of the assets from the date that they are available for use.
For capitalised computer software, the estimated useful life is between
two and five years.
Programme and acquired film rights

Direct cost
Direct cost is defined as payments made or due to programme
suppliers.
Other intangible assets acquired by the Group are stated at cost less
accumulated amortisation and any provision for impairment. Where
assets are considered to have finite lives, amortisation is charged
to the income statement on a straight line basis over their estimated
useful life.
Value to the Group

Consistent with Channel4s business model, in which programmes
that generate more revenue cross-subsidise programmes with a
higher public but sometimes lower commercial value, the value to the
Group of the programme and acquired film rights portfolio is assessed
on an aggregate basis.
Impairment
An impairment charge is recognised if the carrying value of an asset
or a cash-generating unit exceeds its estimated recoverable amount.
Impairment charges are recognised in the income statement.
The carrying values of the Groups assets are reviewed at each
balance sheet date to determine whether there is any indication
ofimpairment. If such an indication exists, the assets recoverable
amount is estimated. The recoverable amount of an asset is the
greater of its fair value less costs to sell and its value in use. Value
in use is determined by discounting the future net cashflows for
the specific asset, or if the asset does not generate independent
cashflows, the discounted future net cashflows for the cashgenerating unit to which it belongs.
Estimates are used in deriving these cashflows and the discount rate
that reflects current market assessments of the risks specific to the
asset and the time value of money. The complexity of the estimation
process, including projected performance, the discount rate and
longterm growth rate applied, affects the amounts reported in the
financial statements.
A cash-generating unit is the smallest identifiable group of assets
that generates cash inflows that are largely independent of the cash
inflows from other assets or groups of assets.
Reversal of impairments
An impairment charge in respect of freehold land and buildings is
reversed in the event of a subsequent increase in fair value. Such a
gain is recognised in other comprehensive income, unless the gain
reverses an impairment of the same asset previously recognised
in theincome statement, in which case it is also recognised in
theincome statement.
An impairment charge in respect of goodwill is not reversed.
In respect of other assets, an impairment charge is reversed when
there is an indication that the impairment may no longer exist and
there has been a change in the estimates used to determine the
recoverable amount.
This assessment is overlaid by an evaluation of individual programmes

when there is an indicator that the value of these specific programmes
may be less than originally envisaged. Value to the Group of individual
programmes is assessed both qualitatively and quantitatively, with
reference to the quality of programme that has ultimately been
delivered and its expected viewing performance.
In certain instances Channel4 is committed to funding the acquisition
or production of specific programmes where the value to the Group
no longer warrants the level of expenditure to which the Group is
committed. In these instances provision is first made against the
costs incurred to date and then a liability recognised to reflect the
unavoidable costs in relation to the remaining commitment.
Amortisation
Programme and acquired film rights are exploited by transmission on
the Channel4 suite of channels. The cost of broadcast programmes
and acquired films are wholly written off on first transmission, except
for certain feature films, sports rights and certain acquired series, the
costs of which are written off over more than one transmission in line
with the expected value to the Group.
Developed film rights
Direct cost
Direct cost is defined as payments made or due to the film producer.
Value to the Group
Developed film rights are exploited both through broadcast on
Channel4s suite of channels and through distribution.
Broadcast film rights are assessed in the same way as programme
and acquired film rights.
To the extent that developed film rights are expected to generate
revenue, where Channel4s share of distribution revenues the film
is anticipated to earn does not support the associated cost held
within inventory, provision is made. The main assumptions employed
to estimate future distribution revenues are minimum guaranteed
contracted revenues and sales forecasts by territory.
Amortisation
Broadcast film rights are amortised in the same way as programme
and acquired film rights.
Developed film rights expected to generate future revenues from
distribution are held on the balance sheet and expensed to the income
statement in the proportion that the revenue in the year bears to the
estimated ultimate revenue, after provision for any anticipated shortfall.
Other inventories
Other inventories principally comprise DVDs held within the 4Rights
segment, and are stated at the lower of cost and net realisable value.
137
138

Employee benets pensions
Trade receivables are reflected net of an estimated impairment for

doubtful accounts.
Defined benefit scheme

The Group maintains a defined benefit pension scheme. The net
obligation under the scheme is calculated by estimating the future
benefits that employees have earned in return for their service in the
current and prior periods, discounting to determine a value at todays
prices, and deducting the fair value of scheme assets at bid price.
Theassumed discount rate for the liabilities is the current rate of
returnof high quality corporate bonds with similar maturity dates.

Other financial assets comprise deposits of three or more months
duration and other funds with time restricted access, and are stated
atfair value.

Cash and cash equivalents comprise cash balances and deposits of
less than three months duration from the date of placement, including
money market funds repayable on demand.
Foreign currency
Transactions in foreign currencies are translated at the foreign
exchange rate ruling at the date of the transaction. Monetary assets
and liabilities denominated in foreign currencies at the balance sheet
date are translated at the foreign exchange rate ruling at that date.
Foreign exchange differences arising on translation are recognised
inthe income statement.
Derivative financial instruments

The Group transacts in a number of currencies as well as Sterling,
and is a net purchaser of Euros and US Dollars. Certain exposures
to fluctuations in exchange rates are managed by transactions in
the forward foreign exchange markets. These derivative financial
instruments are stated at fair value based on quoted market rates.
Changes in the fair value of these derivative financial instruments
arerecognised in the income statement. The Group does not hold
orissue derivative financial instruments for trading purposes.
Channel4 has not sought to apply hedge accounting treatment
for any of its foreign exchange hedging activity in either of the
years presented. As a result, changes in the fair value of hedging
instruments have been recognised in the income statement as
theyhave arisen.
Where Channel4 has identified forward foreign exchange derivative
instruments within certain contracts (embedded derivatives), these
have been included in the balance sheet at fair value. Fair value of
these derivatives is determined by reference to quoted market rates.
The value of the derivatives is reviewed on an annual basis or when
therelevant contract matures.
Leases
Assets held under finance leases (those in which the Group assumes
substantially all the risks and rewards of ownership) are treated
as property, plant and equipment and depreciation is charged
accordingly. The capital elements of future obligations are recorded
asliabilities. Interest is charged to the income statement over the
period of the lease in proportion to the capital outstanding.
All other leases are treated as operating leases. The rental costs
arising from operating leases are charged to the income statement
inthe year in which they are incurred.
The calculation is performed by a qualified actuary using the projected

unit credit method.
Remeasurement gains and losses that arise in calculating the Groups
obligation in respect of the plan are recognised directly in other
comprehensive income within the statement of comprehensive income
in the period in which they arise. The current service cost, interest
expense on pension scheme liabilities and interest income on plan
assets are recognised in the income statement in the current period.
Defined contribution scheme
Obligations under the Groups defined contribution scheme are
recognised as an expense in the income statement as incurred.
Provisions
A provision is recognised in the balance sheet when the Group has a
present legal or constructive obligation as a result of a past event, and
it is probable that an outflow of economic benefits will be required to
settle the obligation. If the effect is material, provisions are determined
by discounting the expected future cashflows at a pre-tax rate that
reflects current market assessments of the time value of money and,
where appropriate, the risks specific to the liability.
Before provisions are established in relation to onerous contracts,
impairment reviews are carried out and impairment charges
recognised on assets dedicated to the contract.
139
Notes to the CONSOLIDATED financial statements

1. Segment reporting
The reportable segments are shown in accordance with IFRS 8 Operating Segments. The segments are measured in a manner consistent
with the management reports reviewed by the Board, which is considered to be the chief operating decision-maker. Summaries of the principal
activities, products and services and financial performance for each segment are provided within the Strategic Report on pages 100103.
Segment results, assets and liabilities include items directly attributable to a segment, along with certain costs which are allocated on an
equitable basis in accordance with the Groups cost allocation policies which are reviewed under arrangements required under Schedule 9
ofthe Communications Act (page 117). All costs and revenues are fully allocated across the segments.
Inter-segment pricing is determined on an arms length basis.
Gross revenues from transactions with one individual external customer comprised more than 10% of the Groups revenues in 2014 amounting
to 145 million (2013: one external customer amounting to 131 million). The Groups major customers are all media buying agencies and
these revenues are attributable to the 4Broadcast segment. Approximately 3% of the Groups revenues (2013: 3%) are attributable to external
customers outside the UK and these are therefore not separately presented.
The following is an analysis of the Groups investment in content and revenue by reportable segment:
Year ended 31 December 2014

Programme and other content
4Broadcast
m
4Rights
m
Other
m
Eliminations
m
(612)
859
78
Total
Channel4
m
(612)
Funded by:
External sales
938
(1)
Total revenue
860
78
(1)
938
(20)
24
Inter-segment sales
Net finance expense
(1)
Share of profit of investments accounted for using the equity method, net of
income tax and amortisation
Surplus before tax
Programme and other content is comprised of investment into content across all services (the main channel, digital TV channels and digital
media services) of 602 million (2013: 597 million), access services (subtitling, audio description and signing) and amounts due to collection
societies. Programme and content spend is typically funded by television advertising and other commercial operations but can also be funded
by the content reserve in years when a deficit arises following creative investment.
4Broadcast
m
4Rights
m
Segment assets
828
163
36
(218)
809
Segment liabilities
(468)
(33)
(83)
218
(366)
Net assets/(liabilities)
360
130
(47)
443
Balance sheet as at 31 December 2014
Other
m
Eliminations
m
Total
m
140
Notes to the CONSOLIDATED financial statements continued

1. Segment reporting continued
4Broadcast
m
Year ended 31 December 2013

Programme and other content
4Rights
m
Other
m
Eliminations
m
Total
Channel4
m
(608)
(1)
(609)
841
66
908
Funded by:
External sales
Inter-segment sales
(1)
Total revenue
842
66
(1)
908
(36)
20
(15)
Net finance expense
(1)
Deficit before tax
(16)
4Broadcast
m
4Rights
m
Segment assets
798
133
36
(195)
772
Segment liabilities
(399)
(27)
(83)
195
(314)
Net assets/(liabilities)
399
106
(47)
458
Programme
and other
content
m
Indirect
programme
costs
m
Transmitter
and
regulatory
costs
m
Cost of
sales
m
Cost of
marketing
m
Total
m
612
40
108
51
37
848
4Rights
39
55
Other
Balance sheet as at 31 December 2013
Other
m
Eliminations
m
Total
m
2. Cost of transmission and sales
2014
4Broadcast
Eliminations
Continuing operations
2013
4Broadcast
4Rights
(1)
(1)
612
49
112
91
39
903
Programme
and other
content
m
Indirect
programme
costs
m
Transmitter
and
regulatory
costs
m
Cost of
sales
m
Cost of
marketing
m
Total
m
608
41
106
55
38
848
31
44
Other
Eliminations
609
47
110
86
40
892
Continuing operations
141

3. Other operating expenditure
Other operating expenditure includes:
2014
m
2013
m
Depreciation of property, plant and equipment (note 9)
Amortisation of intangible assets (note 10)
Restructuring costs
Members remuneration (page 125)
Other administrative expenses
19
19
31
32
2014
000
2013
000
145
125
Audit of financial statements of subsidiaries pursuant to legislation
15
15
Other audit related and assurance
58
65
218
205
Operating lease rentals
Auditors remuneration
Fees in respect of services provided by the auditors were:
Audit of these financial statements
Amounts receivable by auditors and their associates in respect of:
Total audit and assurance
42
79
All other services
128
70
Total other services
170
149
388
354
Taxation compliance services
In addition to the above services, 19,245 (2013: 19,295) is payable to the Groups auditors who acted as auditors to the Channel Four
Television Staff Pension Plan.
The appointment of auditors to the Channel Four Television Staff Pension Plan and the fees paid in respect of those audits are agreed by the
Trustees of the Plan, who act independently from the management of the Group.
4. Employee expenses and information

A detailed analysis of Members remuneration, including salaries and variable pay, is provided in the report on Members remuneration on
pages124129.
The direct costs of all employees, including Members, appear below:
Aggregate gross salaries
2014
m
2013
m
61
55
Employers national insurance contributions
Employers defined benefit pension current service cost (note 18)
Employers defined contribution pension contributions

Total direct costs of employment
72
66
In addition to the above, in 2014 1 million of costs were expensed to the income statement in respect of restructuring initiatives to increase
operational efficiency within the Group (2013: 2 million).
As disclosed in the Members Remuneration Report on page 125, the total remuneration of the Executive and Non-Executive Members for
theyear ending 31 December 2014 was 2,640,000 (2013: 2,432,000).
142

4. Employee expenses and information continued
The salary multiple of highest to median employee was as follows:
Total remuneration of highest paid employee (page 125)
2014
000
2013
000
855
739
54
51
15.8
14.5
2014
Number
2013
Number
Programme commissioning
214
210
Advertising and sponsorship sales and research
192
191
Marketing and creative services
110
110
Corporate affairs and press office
36
36
Information systems
40
45
Corporate and strategy
17
17
Transmission and engineering
51
46
Finance, human resources and facilities management
69
68
4Talent
13
12
742
735
66
63
Group total
808
798
Permanent employees
766
746
Total remuneration of median employee

Multiple of highest paid to median employee
Total remuneration is defined as base salary, variable pay, employer pension contribution and other benefits.
The average number of employees, including Executive Members, was as follows:
4Broadcast
4Rights
Contract staff
Group total
42
52
808
798
143

5. Net finance expense
Net finance income/(expense) recognised in the year comprised:
2014
m
2013
m
Interest receivable on short-term deposits
Net interest expense on pension scheme (note 18)
(2)
(2)
Net finance expense
(1)
(1)
6. Income tax expense

The taxation charge is based on the taxable profit for the year and comprises:
2014
m
2013
m
Current year
Adjustments for prior years
(1)
(1)
Current tax:
Deferred tax: origination and reversal of temporary differences

Current year
(2)
Prior year
Total income tax expense/(credit)
(1)
Corporation tax is charged at the standard UK rate of 21.5% for the year (2013: 23.25%).
Reconciliation of income tax:
2014
%
Surplus/(deficit) excluding income tax

Income tax using the domestic corporation tax rate
2014
m
2013
%
4
21.5%
2013
m
(16)
23.25%
(4)
Effects of:
Non-deductible expenses
Non-taxable gains
(1)
Deferred tax not recognised
Other tax adjustments
Total income tax expense/(credit)
(1)
The income tax expense excludes the Groups share of income tax of investments accounted for using the equity method of 1 million
(2013:nil) which has been included in the Groups share of post acquisition profits, net of income tax (note 7).
Current tax assets and liabilities
The current tax asset of nil (2013: 1 million) represents the amount of income tax recoverable in respect of current and prior periods.
144

7. Investments accounted for using the equity method
The carrying value of the Groups investments accounted for using the equity method is as follows:
Carrying value at 1 January 2013
Box
m
Growth
Fund
m
Total
m
25
25
Share of post acquisition profits, net of income tax
Amortisation
(1)
(1)
Share of dividends received
(2)
(2)
Total carrying value at 31 December 2013
23
23
Box
m
Growth
Fund
m
Total
m
23
23
Share of post acquisition profits, net of income tax
Amortisation
(1)
(1)
Carrying value at 1 January 2014

Acquisitions
Share of dividends received
(2)
(2)
Total carrying value at 31 December 2014
22
26
The Box Plus Network Ltd

The Box Plus Network Ltd (Box) broadcasts a number of music television channels on free-to-air and pay platforms. Box is accounted for
asajoint venture and the investment reflects 500 ordinary shares of 1, representing 50% of the share capital of Box.
Impairment tests on the investment in Box are carried out annually or if indications arise of a possible impairment. The recoverable amounts
ofthe goodwill and intangible assets in Box are determined based on their value in use.
An impairment review was carried out by estimating the future expected cashflows for Box using a pre-tax discount rate of 9% (2013: 10%),
reflecting the Groups estimated cost of capital for its commercial television segments and comprising a risk-free rate and an equity risk
premium. Cashflows were based on managements best estimate of future performance to 2024, reflecting managements cautious view of
thelong-term potential in music viewing in commercial television. The present value of the cashflows accruing to the Group was compared
withthe carrying value of the investment held on the balance sheet. No impairment was required as a result.
Management has approved the forecast on which the cashflow analysis has been based and believes that there are currently no likely changes
in revenues or discount rate which would reduce the value in use for Box down to a level where an impairment would arise.
The broadcast licence acquired as part of the investment in Box is amortised over the duration of the licence period (eight years). This amount
isincluded within the carrying value of the investment.
There are no contingent liabilities and no capital commitments in respect of Box or other joint ventures to be included within the Groups
financial statements. During 2014, Channel4 received a dividend of 2.5 million (2013: 2 million) from Box. Channel4 also sold 8 million
(2013: 8 million) of services to Box including commissions earned on advertising sales and made payments on Boxs behalf for other
services including transmission, programme costs, brand royalties, marketing, facilities management, information systems, finance and
otheradministrative support and pensions. Box owed Channel4 1 million at 31 December 2014 (2013: 1 million) in respect of these
services.Channel4 paid nil (2013: nil) to Box in 2014 and owed Box nil at 31 December 2014 (2013: nil).
Summary annual financial information of investment in Box
Current
assets
m
Non-current
assets
m
2014
12
2013
13
Long-term
liabilities
m
Revenue
m
Profit from
continuing
operations
m
(6)
35
(6)
35
Current
liabilities
m
145

7. Investments accounted for using the equity method continued
The Growth Fund
During 2014 Channel4 launched the Growth Fund, a fund with the aim of nurturing the independent sector. The fund will seek to invest up
to 20million over a period of three years, in a broad portfolio of television and digital companies. Channel4 invested 4 million in acquiring
minority shareholdings in five companies in 2014, with a further 1 million committed for subsequent equity subscriptions in these companies
at31 December 2014.
Channel4 set out two key aims when launching the Growth Fund. Firstly, to provide access to funding for a broad portfolio of small and
mediumsized independent production companies based in the UK to help them grow and develop their business. Secondly, to put our capital
to work in more remit-delivering ways and open Channel4 up to sharing in the benefits of companies that go on to generate shareholder value
inthe medium term. As such, the Growth Fund Companies are held for investment purposes and it is not Managements intention to control
these entities. The Growth Fund companies have been classified as associates as Channel4 generally has commitments to purchase more
than 20% of the equity and voting rights in these entities. Where this is not the case, Management is satisfied that significant influence exists
over these entities due to Channel4s ability to influence, but not control, the financial and operating policies of these entities. Management
have reviewed the carrying value of the Growth Fund as at 31 December 2014 and concluded that there are no indicators of impairment at
thebalance sheet date.
Programme rights and other inventories to the value of 594 million were recognised as expenses in the year across the main and digital
television channels (2013: 589 million) representing programmes commissioned from both independent and non-independent production
companies as well as programme and film rights acquisitions. Of this total, Channel4 commissioned 10 million of content from Growth Fund
companies in 2014 which includes commissions sanctioned both pre and post-acquisition. Channel4 owed the Growth Fund companies nil
inrespect of these transactions at 31 December 2014.
The Growth Fund is comprised of the following entities as at 31 December 2014:
Place of
business
Company
Proportion of
equity owned
at 31December
2014*
Arrow International Media Ltd
UK
12.0%
Eleven Film Ltd
UK
13.5%
Lightbox Media Ltd
UK
12.0%
Popkorn Media Ltd
UK
16.1%
True North Productions Ltd
UK
21.0%
This represents the proportion of equity owned as at 31 December 2014 and does not include commitments for subsequent equity subscriptions after the balance
sheetdate.
Summary annual financial information of Growth Fund investments

Current
assets
m
Non-current
assets
m
Current
liabilities
m
Long-term
liabilities
m
Revenue
m
Profit from
continuing
operations
m
(4)
(2)
26
2014
m
2013
m
At 1 January
Disposals
(2)
At 31 December
2014
8. Other investments
Other investments held comprise:
Espresso Broadband Ltd

1.5 million of the other investments held by the Group at 1 January 2013 related to a 10% equity holding in Espresso Broadband Ltd, a producer
and distributor of digital education programming, held since March 2007. The Corporation sold its investment in Espresso Broadband Ltd in 2013
and received a consideration of 2.2 million. A profit on the sale of the investment of 0.7 million was recognised in 2013.
Protagonist Pictures Ltd
0.1 million of the other investments held by the Group reflect a 15% equity holding in Protagonist Pictures Ltd.
146

8. Other investments continued
Other
Channel Four Television Corporation contributes to the funding of the following organisations, each of which is incorporated in Great Britain.
Thetable below presents Channel4s ownership of the entities, or legal guarantee (indicated with *), and transactions with them during the year.
2014
Broadcasters Audience Research Board Ltd
Clearcast Ltd
Activity
Services
received
year ended
31December
m
Funding &
services
provided
year ended
31December
m
Research
16.70%
Regulator
Ownership
Digital 3 and 4 Ltd
50.00%
Operator
25
DTV Services Ltd
20.00%
Marketing
Marketing
Thinkbox Ltd
20.00%
Marketing
YouView Ltd
14.30%
Platform
Activity
Services
received
year ended
31December
m
Funding &
services
provided
year ended
31December
m
Digital UK*
2013
Broadcasters Audience Research Board Ltd
Ownership
Research
Clearcast Ltd
16.70%
Regulator
Digital 3 and 4 Ltd
50.00%
Operator
30
DTV Services Ltd
20.00%
Marketing
Digital UK*
Marketing
Thinkbox Ltd
20.00%
Marketing
YouView Ltd
14.30%
Platform
Channel4 owed DTV Services 0.5 million at 31 December 2014 (2013: nil). There were no trade receivable or trade payable balances
withanyof the other related parties listed above at 31 December 2014 or 31 December 2013. No dividends were received in 2014 (2013: nil)
from any of the related parties listed above.
The investments listed have not been accounted for as joint ventures or associates as they are not-for-profit, cost-sharing organisations which
will not generate returns for the Group. The Group recognises its share of funding contributions of these organisations in the appropriate line
in the income statement in the period to which they relate. They are held at nil carrying amount in the consolidated financial statements of
theGroup and therefore the accounting treatment applied is not deemed material.
147

9. Property, plant and equipment
Freehold
land and
building
m
Fixtures,
fittings and
equipment
m
Total
m
62
125
187
Cost or valuation
At 1 January 2013
Revaluation
Additions
11
11
At 31 December 2013
73
128
201
At 1 January 2014
73
128
201
Additions
Revaluation
12
12
At 31 December 2014
85
134
219
Depreciation
At 1 January 2013
106
106
Charge for the year
Revaluation
(1)
(1)
At 31 December 2013
111
111
At 1 January 2014
111
111
Charge for the year
Revaluation
(1)
(1)
116
116
At 1 January 2014
73
17
90
At 31 December 2014
85
18
103
At 31 December 2014
Net book value
At 1 January 2013
62
19
81
At 31 December 2013
73
17
90
There were no commitments to purchase property, plant and equipment at the balance sheet date (2013: none). There were no material assets
held under finance leases at the balance sheet date (2013: none). No assets have been pledged for security (2013: none).
Valuation of freehold property
The freehold property at 124 Horseferry Road, London SW1P 2TX, was valued at 31 December 2014 by external valuers BNP Paribas Real
Estate, in accordance with the Appraisal and Valuation Manual of The Royal Institution of Chartered Surveyors. The property was valued on
the basis of open market value, which the Members believe approximates to current value. In reaching their conclusions, the valuers have paid
attention to comparable transactions which have taken place in recent months within the Victoria area of London.
The open market value for this property was 85 million (2013: 73 million). After depreciation charged on the open market value at 31 December
2014 (1 million), a gain on revaluation of 13 million has been recognised in the Statement of Other Comprehensive Income.
If freehold property had not been revalued it would have been included in the financial statements at the following amounts:
2014
m
2013
m
Cost
62
62
Accumulated depreciation
(19)
(18)
Impairment
(6)
(6)
Net book value based on cost
37
38
148

10. Intangible assets
Developed Broadcasting
software
licence
m
m
Total
m
Cost
At 1 January 2013 and 31 December 2013
23
28
At 1 January 2014 and 31 December 2014
23
28
18
23
At 31 December 2013
20
25
At 1 January 2014
20
25
21
26
At 1 January 2014
At 31 December 2014
At 1 January 2013
At 31 December 2013
Amortisation
At 1 January 2013
Amortisation for the year
Amortisation for the year

At 31 December 2014
Carrying amount
Developed software represents amounts capitalised on internally developed computer software, principally in relation to the management
of advertising and sponsorship revenues and programme scheduling applications meeting the recognition criteria for internally generated
intangible assets under IAS 38 Intangible Assets. Assets are amortised on a straight-line basis over two to five years from the date the
assetbecomes available for use. The amortisation charge for developed software is recognised in the income statement (note 3).
The broadcast licence represents the broadcasting licence acquired as part of the acquisition of Life One Broadcasting Ltd in 2007 and
transferred to Channel4 on 1 January 2012 at its carrying value and was fully amortised as of 31 December 2012.
11. Deferred tax assets and liabilities

Deferred tax assets and liabilities are recognised at 20% (2013: 20%) reflecting the corporation tax rate substantially enacted as at
31December2014.
Assets
2014
m
Assets
2013
m
Liabilities
2014
m
Liabilities
2013
m
Net
2014
m
Net
2013
m
14
14
Carried forward trading losses
(4)
(2)
(4)
(2)

Employee benefits
Other short-term timing differences

Group deferred tax assets/(liabilities)
(1)
(1)
(1)
(1)
18
11
(5)
(3)
13
149

11. Deferred tax assets and liabilities continued
Unrecognised deferred tax assets and liabilities
Deferred tax assets have not been recognised in respect of:
2014
m
2013
m
Carried forward capital losses
Tax assets
Unrecognised deferred tax assets include trading and capital losses carried forward that the Group is not yet able to utilise. A deferred tax asset
is only recognised to the extent that it is probable that taxable profit will be available in the near future against which the deductible temporary
difference can be utilised.
Movements in temporary differences during the year
The amount of deferred tax recognised in respect of each type of temporary timing difference is as follows:
Balanceat
1Jan 13
m
Recognised
in income
m
Recognised
in other
comprehensive
income
m
Balanceat
31 Dec 13
m
Intangible assets internally-developed software
(1)
Employee benefits
(2)
(2)
(2)
(1)
(1)
10
(2)
Balanceat
1Jan 14
m
Recognised
in income
m
Recognised
in other
comprehensive
income
m
Balanceat
31 Dec 14
m


Employee benefits
(1)
14
(2)
(2)
(4)
(1)
(1)
(1)
13
2014
m
2013
m
91
74
51
50
100
97
12. Programme and film rights and other inventories

Programmes and films completed but not transmitted
Acquired programme and film rights
Programmes and films in the course of production
Other inventories
242
224
Certain programmes and film rights may not be utilised within one year.
Programme rights and other inventories to the value of 594 million were recognised as expenses in the year across the main and digital television
channels (2013: 589 million). Of this amount, obsolete programmes and developments written off totalled 45 million (2013: 39million).
Programme rights and other inventories include 28 million (2013: 30 million) in respect of developed film rights.
Other inventories represent amounts held within the 4Rights segment for DVDs.
150

13. Trade and other receivables
Trade receivables
Prepayments and accrued income
2014
m
2013
m
157
136
38
43
Distribution and producer advances
Total trade and other receivables
196
182
There is no difference between the fair value and book value of trade and other receivables. For trade and other receivables with a remaining life
of less than one year, the notional amount is deemed to reflect the fair value. All other receivables are estimated as the present value of future
cashflows discounted at the market rate of interest at the reporting date.
Trade receivables are shown net of impairment charges amounting to nil (2013: nil) recognised in the current year in relation to outstanding
balances from customers, the receipt of which management view as unlikely.
Distribution and producer advances are shown net of impairment charges amounting to 2 million (2013: 4 million) recognised in the current
year in relation to advances paid on DVD development deals, which management consider are unlikely to be recouped through future sales.
Credit risk
Credit risk is the risk of a financial loss to the Group if a customer or counterparty to a financial instrument fails to meet its contractual
obligations, and arises principally from the Groups receivables from customers.
(i) Trade receivables
Credit risk with respect to trade receivables is principally related to amounts due from advertising agencies and retailers. A risk strategy exists
to protect against exposure to these receivables working to approved terms of reference including insurance for most customers. Exposure
is monitored and reviewed on a weekly basis, and any issues are formally reported to an executive committee chaired by the Group Finance
Director. Based on credit evaluation and discussions with both the committee and insurers, customers may be required to provide security
inorder to trade with the Group.
The Group establishes an allowance for impairment that represents our estimate of likely losses in respect of trade and other receivables.
Themain component of this allowance is a specific loss component that relates to individually significant exposures. Losses with regard
tothese receivables are historically low as advertising agencies must settle their debts before advertising transmissions are broadcast.
(ii) Counterparty
See Interest rate risk and exposure on page 152.
Exposure to credit risk
The carrying amount of financial assets represents the maximum credit exposure. The maximum credit exposure at the balance sheet date
in relation to trade receivables, net of allowance for impairment, was 157 million for the Group (2013: 136 million), with 70 million of other
financial assets (2013: 107 million) and cash and cash equivalents of 152 million (2013: 131 million). The exposure to credit risk all arises
intheUK.
Trade receivables of 157 million for the Group (2013: 136 million) were aged under six months and which were not yet due under standard credit
terms at the balance sheet date. 122 million of the receivables were insured at the balance sheet date (2013: 114 million) and 146million has
been subsequently collected by the Group since the balance sheet date.
The allowance for impairment of trade receivables was nil at the balance sheet date (2013: nil).
151

14. Treasury
2014
m
2013
m
Bank balances
38
37
Money market funds1
84
64
30
30
152
131
Money market deposits maturing after three months
10
50
Investment funds
60
57
70
107
2014
m
2013
m
Cash and cash equivalents at 1 January
131
173
Other financial assets at 1 January
107
88
Total cash and cash equivalents and other financial assets at 1 January
238
261
Net cashflow from operating activities
(9)
(25)
Net cashflow from investing activities
(7)
Total cashflow
(16)
(23)
Cash and cash equivalents at 31 December
152
131
70
107
222
238
Money market deposits maturing in less that three months

1 Amounts held in money market funds are repayable within seven days.
There is no difference between the fair value and book value of cash and cash equivalents and other financial assets.
Cashflow information
Other financial assets at 31 December

Total cash and cash equivalents and other financial assets at 31 December
Capital structure and management

Channel4 is a statutory corporation without shareholders. Whilst returns to shareholders are therefore not relevant, the Group maintains cash
reserves to help protect against short-term fluctuations in revenue and meet its business objectives in a timely and efficient manner. The Group
is committed to efficient utilisation of the cash resources at its disposal to generate an appropriate return taking into account the liquidity needs
of the business and the scope of treasury policy.
152

14. Treasury continued
Interest rate risk and exposure
The Group invests surplus cash in fixed rate money market deposits, high interest bank accounts and variable net asset value money market
funds. Funds are invested only with an agreed list of counterparties that carry a minimum of an A credit rating or equivalent from Standard
andPoors and Moodys credit rating services with government support, or with money market funds that have an AAA credit rating from
eitherof these credit rating services.
It is estimated that if interest rates had been 0.1% lower/higher throughout the year, with all other variables held constant the Groups deficit
before tax would have been 0.1 million lower/higher (2013: 0.1 million).
The Group does not have any debt and as such is not exposed to fluctuations in interest rates in this regard.
The interest rate profile of the Groups cash and deposits at 31 December 2014 and 31 December 2013 is set out below:
Interest bearing deposits maturing in less than three months held in Sterling
Effective
interest
rate
2014
%
Effective
interest rate
2013
%
Total
2014
m
Total
2013
m
0.5
0.5
150
130
Interest bearing deposits maturing in less than three months held in foreign currencies
0.1
0.1
Total cash and cash equivalents
0.5
0.5
152
131
Money market deposits maturing after three months held in Sterling
0.7
0.6
10
50
Investment funds
0.8
0.7
60
57
0.8
0.6
70
107
Foreign currency risk and derivative financial instruments

The Group is exposed to currency risk on sales and purchases that are denominated in currencies other than Sterling. The currencies that give
rise to this risk are US Dollars and Euros. The Group uses forward exchange contracts and currency cash receipts to hedge its currency risk.
Changes in the fair value of exchange contracts that economically hedge monetary assets and liabilities in foreign currencies and for which no
hedge accounting is applied are recognised in the income statement. Both the change in the fair value of the forward contracts and the foreign
exchange gains and losses relating to monetary items are recognised as part of net financial income (note 5). The Group does not have any
foreign subsidiaries and as a result is not exposed to foreign currency risk in this regard. The Group is exposed to currency movements on
foreign cash holdings. Amounts held by currency are detailed above within the analysis of the Groups and Channel4s cash and deposits.
At 31 December 2014, the total value of forward contracts used as economic hedges of monetary liabilities was 11 million (2013: 11 million).
This represented eighteen Euro forward purchase contracts, sixteen of which have a fixed maturity date with settlement within 12 months
from the balance sheet date, and two thereafter, and three US Dollar forward purchase contracts, all of which have a fixed maturity date
with settlement within 12 months from the balance sheet date. At 31 December 2014, these have been revalued with reference to forward
exchange rates based on maturity. The change in fair value of 0.1 million (2013: 0.3 million) has been recognised in the income statement
andthe associated liability recorded on the balance sheet as at 31 December 2014. The forward contracts have been assessed as level 2
inthefairvalue hierarchy under IFRS 13.
It is estimated that if Sterling had strengthened/weakened by 10% at the balance sheet date against other currencies with all other variables
held constant, the Groups surplus before tax would have been 1.5 million lower/higher (2013: 1.4 million).
Market risk
Market risk is the risk that changes in market prices, such as foreign exchange rates and interest rates, will affect the Groups income or the
value of its assets and liabilities. These risks are managed by the Groups treasury function as described below.
The Board is responsible for approving the treasury policy for the Group. The Groups policy is to ensure that adequate liquidity and financial
resource is available to support the Groups continuing activities and growth while managing these risks. The Groups policy is not to engage
in speculative financial transactions. The Group does not seek to apply hedge accounting. The Groups treasury and funding activities are
undertaken by a treasury function, which reports to the Group Finance Director. Its primary activities are to manage the Groups liquidity,
fundingrequirements and financial risk, principally arising from movements in interest and foreign currency exchange rates.
Group treasury operates within clearly defined objectives and controls and is subject to periodic review by the business assurance function.
153

15. Trade and other payables
Trade payables
National insurance
Other creditors
Accruals
VAT
Total trade and other payables
2014
m
2013
m
15
13
48
43
200
195
22
17
286
269
There is no difference between the fair value and book value of trade and other payables. The contractual cashflows are equal to the carrying
amount and are classified as payable within six months or less at 31 December 2014 and 2013.
The Group endeavours to pay all invoices in accordance with contract terms and, unless agreed payment terms specify otherwise, within
30days of the date of the invoice. Any complaints about failure to pay on time should be addressed to the Group Finance Director, who will
ensure that they are investigated and responded to appropriately.
The number of days taken to pay suppliers of services in 2014, as calculated using average payable balances, was 7 (2013: 6). This is
significantly lower than the Groups standard payment terms of 30 days due to the payment arrangements required for programme and
transmission costs.
Liquidity risk
Liquidity risk is the risk that the Group fails to meet its financial obligations as they fall due. The management of operational liquidity risk aims
primarily to ensure that the Group always has a liquidity buffer that is able, in the short term, to absorb the net effects of transactions made and
expected changes in liquidity both under normal and stressed conditions without incurring unacceptable losses or risking damagetothe Groups
reputation. The cash balances held by the Group are considered to be sufficient to support the Groups medium-term funding requirements.
16. Provisions
Onerous Restructuring
contracts
costs
m
m
Total
m
At 1 January 2013
Utilised in the year
(1)
(1)
(2)
Charged to the income statement
At 31 December 2013
At 1 January 2014
Released in the year
(1)
(1)
Charged to the income statement
At 31 December 2014
154

16. Provisions continued
Provisions have been analysed as current and non-current as follows:
2014
m
2013
m
Current
Non-current
Onerous contracts
The provision relates to the rental deficit on a building that is surplus to requirements but for which the Group has contracted commitments
atthe balance sheet date. The property rental agreement is due to expire in 2020. The provision represents the discounted net cashflows
oftheproperty rental agreement until its expiry. An amount of 0.1 million (2013: 0.1 million) has been recognised as an interest cost relating
tothe passage of time of the discounted provision.
Contingent liabilities
The Members are not aware of any legal or arbitration proceedings, pending or threatened, against any Member of the Group which gives rise
toa significant contingent liability.
17. Commitments
2014
Programme commitments
Operating leases
Total
2013
Programme commitments
Operating leases
Total
Due within
1 year
m
Due within
25 years
m
Due after
5years
m
Total
m
309
288
600
311
295
609
Due within
1year
m
Due within
25 years
m
Due after
5years
m
Total
m
324
281
605
11
326
288
616
In addition to the above, the Corporation is party to the shareholder agreement for Digital 3 and 4 Ltd. The Corporation is committed to meeting
its share of contracted costs entered into by that company.
The Corporations share of Digital 3 and 4 Ltds committed payments was 25 million in 2014 (2013: 29 million) and is forecast to be 25 million
in 2015. Digital 3 and 4 Ltd has entered into long-term distribution contracts that expire in 2022 and 2034 and the Corporation is committed
tofunding its contractual share.
The Corporation is committed to paying capacity costs for transmission on the digital terrestrial and satellite network. Committed payments
for digital terrestrial transmission capacity costs amounted to 37 million in 2014 (2013: 36 million) and are forecast to be 25 million in 2015.
Committed payments for satellite transmission capacity costs were 16 million in 2014 (2013: 16 million) and are forecast to be 16 million
in2015. The digital terrestrial transmission contracts expire between 2026 and 2031 and the satellite transmission contracts expire between
2018 and 2022.
155

18. Employee benefits pensions
The Group operates a defined benefit pension scheme the Channel4 Television Staff Pension Plan (the Plan), providing benefits based
onfinal salary for employees.
Nature of benefits, regulatory framework and governance of the Plan
The Plan is a registered defined benefit final salary scheme subject to the UK regulatory framework for pensions, including the Scheme Specific
Funding requirements. The Plan is operated under trust and as such the Trustees of the Plan are responsible for operating the Plan and have
astatutory responsibility to act in accordance with the Plans Trust Deed and Rules, in the best interest of the beneficiaries of the Plan, and UK
legislation (including Trust law). The employer has the power to set the contributions that are paid to the Plan, following advice from the scheme
actuary. However, these must be agreed by the Trustees to the extent required by Part 3 of the Pensions Act 2004 (scheme funding).
Risks to which the Plan exposes the employer
The nature of the Plan exposes the employer to the risk of paying unanticipated additional contributions to the Plan in times of adverse
experience. The most financially significant risks are likely to be:
members living for longer than expected;
higher than expected actual inflation and salary increase experience;
lower than expected investment returns; and
the risk that movements in the value of the Plans liabilities are not met by corresponding movements in the value of the Plans assets.
The sensitivity analysis disclosed on page 157 is intended to provide an indication of the impact on the value of the Plans liabilities of the
riskshighlighted.
Plan amendments, curtailments and settlements
There have not been any material curtailments or settlements during the year.
Amounts recognised in the consolidated balance sheet
2014
m
2013
m
Present value of funded obligations
(396)
(309)
Fair value of plan assets
323
270
Recognised liability for defined benefit obligations
(73)
(39)
Movements in the fair value of plan assets recognised in the balance sheet:
2014
m
2013
m
270
244
Interest income on plan assets
12
11
Return on plan assets (excluding amounts in interest income)
37
12
Fair value of scheme assets at 1 January
Employer contributions net of charges
Employee contributions net of charges
Benefits paid
Fair value of scheme assets at 31 December
(5)
(4)
323
270
156

18. Employee benefits pensions continued
The fair value of the plan assets at the balance sheet date is comprised as follows:
UK equity
Overseas equity
2014
m
2013
m
66
59
Emerging markets equity
Total equity securities
82
75
Corporate bonds
61
37
Fixed interest gilts

Index linked gilts
101
86
Total debt securities
162
129
UK equity linked inflation
58
50
Overseas equity linked inflation
20
16
Total investment funds
78
66
323
270

Fair value of scheme assets at 31 December
The plan assets do not include any directly or indirectly owned financial instruments issued by Channel Four Television Corporation.
Movements in the present value of scheme liabilities for defined benefit obligations recognised in the balance sheet:
Present value of scheme liabilities at 1 January
2014
m
2013
m
309
284
Interest expense on pension scheme liabilities
14
13
Remeasurement deficit/(gain) on plan liabilities arising from changes in demographic assumptions
31
(2)
Remeasurement deficit on plan liabilities arising from changes in financial assumptions
43
22
Experience remeasurement
(7)
Employee contributions net of charges
Current service cost
Benefits paid
Present value of scheme liabilities at 31 December
Expenses recognised in the income statement arose as follows:
Current service cost
(5)
(5)
396
309
2014
m
2013
m
Interest expense on pension scheme liabilities
14
13
Interest income on plan assets
(12)
(11)
Net charge to income statement
157

The expense has been recognised in the following lines in the income statement:
2014
m
2013
m
Cost of transmission and sales
Net financial expense
Net charge to income statement
2014
m
2013
m
The remeasurement deficit recognised in other comprehensive income arose as follows:

Remeasurement deficit on plan liabilities
(74)
(13)
Remeasurement gain on plan assets (excluding amounts in interest income)
37
12
Net remeasurement deficit on pension scheme
(37)
(1)
The cumulative amount of net remeasurement deficits/gains recognised in the Statement of Changes in Equity since transition to IFRS is
99million (2013: 62 million).
Principal actuarial assumptions at the balance sheet date
2014
%
2013
%
Discount rate
3.50
4.50
Rate of increase in salaries
2.65
3.20
Rate of increase in pensions
3.05
3.40
Inflation
3.15
3.50
2014
years
2013
years
Life expectancy from 65 (now aged 45) male
23.2
23.2
Life expectancy from 65 (now aged 45) female
26.5
26.4
Life expectancy from 65 (now aged 65) male
22.9
22.9
Life expectancy from 65 (now aged 65) female
26.0
25.9
These assumptions were adopted in consultation with the independent actuary to the Channel Four Television Staff Pension Plan. If experience
is different from these assumptions, or if the assumptions need to be amended in future, there will be a corresponding impact on the net
pension scheme liability recorded on the Group balance sheet. The expected returns on plan assets are set by reference to historical returns,
current market indicators and the expected long-term asset allocation of the Plan.
Sensitivity analysis
The table below sets out the sensitivity of the schemes pension liabilities to changes in actuarial assumptions at 31 December 2014:
Revised
present
value of
scheme
liabilities
m
0.5% decrease in discount rate
442
1 year increase in life expectancy
408
0.5% increase in inflation (and inflation-linked) assumptions
441
The sensitivities disclosed are calculated using approximate methods taking into account the duration of the Plans liabilities.
158

Funding arrangements
Contribution rates to the scheme are determined by a qualified independent actuary (the Actuary to the Plan) on the basis of triennial valuation
using the projected unit method. The most recent triennial valuation was carried out as at 31 December 2012. The results of the valuation
at31December 2012 showed that the schemes assets represented 71% of the benefits that had accrued to Members, reflecting a deficit
of101million. The next triennial valuation will be carried out as at 31 December 2015.
Following the valuation and discussions with the Actuary to the Plan, the Trustees and the Board agreed a revised schedule of contributions
toreduce the Plans funding deficit of 588,000 per month with effect from 1 August 2014 to 31 December 2014 and increasing to 708,000
permonth with effect from 1 January 2015 to 31 December 2025.
The estimated total employer contributions in 2015 are 12 million, comprised of 8.5 million in respect of the deficit funding payments
described above with the balance representing Channel4s contributions of monthly pensionable salary of those employees who are
Membersof the scheme.
The weighted average duration of the Plans defined benefit obligation is approximately 22 years. The majority of the Plans benefits are
tobepaid as annuities from retirement of a Member until their death.
The Plan is closed to new entrants. On 24 February 2015, it was announced that the scheme will close to future accrual with effect from
31December 2015.
19. Related party transactions

Members
Details of transactions in which Members have an interest are disclosed on page 110.
Details of Members remuneration are shown in the Remuneration Report on pages 124129.
Joint Ventures and Associates
Details of transactions between the Group and its joint ventures and associates are disclosed in note 7 on pages 144145.
Equity investments
During 2014, Channel4 paid 0.1 million to Protagonist Pictures Ltd for agency sales and film acquisition services (2013: 0.3 million).
Noamounts were due at 31 December 2014 (2013: nil).
Other
Channel Four Television Corporation contributes to the funding of several not-for-profit, cost-sharing organisations. Details of transactions
between the Group and these organisations are disclosed in note 8 on page 146.
159
Channel4 balance sheet as at 31 December

Group
note
Channel4
note
2014
m
2013
m
103
90
Assets
Intangible assets
9
10
Investments in subsidiaries and joint ventures

Deferred tax assets
2
11
Total non-current assets
28
28
18
11
151
132
Programme and film rights and other inventories
12
242
224
13
196
182
Corporation tax
14
70
107
14
152
131
Total current assets
660
645
Total assets
811
777
Liabilities
Employee benefits pensions
18
(73)
(39)
Provisions
16
(1)
(2)
Deferred tax liabilities
11
Total non-current liabilities

Trade and other payables
(5)
(3)
(79)
(44)
(431)
(417)
(1)
(1)
Total current liabilities
(432)
(418)
Total liabilities
(511)
(462)
Net assets
300
315
39
28
30
Other retained earnings
231
287
Total equity
300
315
Provisions
Revaluation reserve
16
Retained earnings:
Content reserve
The financial statements on pages 159 to 162 were approved by the Board of Members on 25 March 2015 and were signed on its behalf by:
Lord Burns
Chairman
David Abraham
Chief Executive
The notes on pages 161 to 162 form part of these financial statements.
160
Channel4 statement of changes in equity for the year ended 31 December

Retained earnings
Other
retained
earnings
m
Content
reserve
m
Revaluation
reserve
m
Total
equity
m
At 1 January 2013
303
18
321
Deficit for the year
(15)
(15)
(1)
10
(16)
10
(6)
At 31 December 2013
287
28
315
At 1 January 2014
287
28
315
Surplus for the year

Reserve transfer
(30)
30
(29)
11
(18)
(56)
30
11
(15)
At 31 December 2014
231
30
39
300
Channel4 accounting policies

Basis of preparation
The financial statements have been prepared under the historical cost convention, except that freehold properties, derivatives and certain
financial instruments are stated at fair value, and are presented in pounds Sterling, rounded to the nearest million.
The financial statements have been prepared under the Financial Reporting Standard 101 Reduced Disclosure Framework. The Corporations
financial result and balance sheet are included in the consolidated financial statements presented on pages 130 to 158. As permitted by the
Financial Reporting Standard 101, the Corporation has not presented its own cashflow statement and has not provided the disclosures required
by IFRS 7 Financial Instruments: Disclosures.
As permitted by section 408 of the Companies Act 2006, Channel Four Television Corporation has not presented its own income statement.
Asurplus of 3 million (2013: 15 million deficit) was recorded in relation to the Corporation. Accounting policies applied in the preparation
oftheCorporations financial statements are consistent with the Group policies presented on pages 134 to 138, except as stated below.
Investments in subsidiaries
Investments in subsidiaries are carried at historical cost less provision for impairment.
Investments in associates and joint ventures
Investments in associates and joint ventures are carried at historical cost less provision for impairment.
Equity investments
Equity investments represent equity holdings without significant influence. Equity investments are normally carried at fair value. Where an active
market value is not available, the Members believe that valuation at cost less provision for impairment is a reasonable approximation of fair value.
Trade receivables are reflected net of an estimated impairment for doubtful accounts if applicable.
161
162
Notes to the Channel4 financial statements

1. Operating expenditure
Fees in relation to the audit of the Corporation financial statements and additional fees paid to the auditors for the year ended 31 December 2014
are presented in note 3 to the consolidated financial statements on page 141.
Staff costs
All staff costs are borne by Channel4 and are presented in note 4 to the consolidated financial statements on page 141.
2. Investments in subsidiaries and joint ventures

Joint ventures
The investment in The Box Plus Network Ltd is recorded on Channel Four Television Corporations balance sheet at historical cost. The balance
as at 31 December 2014 was 28 million.
Subsidiaries
The cost of investments at 31 December was:
4 Ventures Ltd
2014
000
2013
000
4 Ventures Ltd is a 100% owned subsidiary of Channel4.

At the balance sheet date 4 Ventures Ltd owned more than 50% of the issued share capital of the following companies each of which was
incorporated in Great Britain:
Activity
FilmFour Ltd
Film distribution
Channel Four Investments Ltd
Growth Fund
Issued
ordinary
1 shares
Ownership
%
1,000
100
100
2014
m
2013
m
15
13
FilmFour Ltd sells rights from its film library to Protagonist Pictures Ltd (Group note 19).
3. Trade and other payables

Trade payables
National insurance
48
43
Amounts due to subsidiaries
145
148
Accruals
200
195
22
17
431
417
Other creditors
VAT
Total trade and other payables
The number of days taken to pay suppliers of services in 2014, as calculated using average payable balances, was 7 (2013: 6). This is significantly
lower than the Groups standard payment terms of 30 days due to the payment arrangements required for programme and transmission costs.
Included within trade and other payables is nil to be settled in more than 12 months.
163
Programmes and the licence

Sources of programmes
Channel4
Channel4 commissions programmes from both independent and non-independent producers and purchases programmes from the international
markets. The source and cost of the programmes transmitted on the main Channel4 service in 2014 are shown in the table below:
2014
Hours
2013
Hours
2014
m
2013
m
Independents
3,460
3,822
283
297
Other
2,035
1,526
99
88
Originated
5,495
5,348
382
385
Acquired
3,265
3,412
110
101
Programmes total
8,760
8,760
492
486
Other direct programme costs

Total
8,760
8,760
499
492
All hours
Hours
Hours
Originated
5,495
5,348
63
61
Acquired
3,265
3,412
37
39
8,760
8,760
100
100
Total
Peak hours
Hours
Hours
Originated
1,266
1,272
77
77
Acquired
Total
377
371
23
23
1,643
1,643
100
100
Independent production companies are the most important source of originated programmes. Programmes transmitted on Channel4 in 2014
were provided by 194 independent companies (2013: 224).
Other direct programme costs reflect access services such as subtitling and sign-language services and amounts payable to music royalty
collection societies.
Production outside London
Channel4 is keen to encourage film and television production throughout the Nations and Regions of the United Kingdom and has a number
ofschemes to achieve that objective. The total cost of those programmes in 2014 amounted to 150 million (2013: 164 million).
164
Programmes and the licence continued

Programme transmissions*
Channel4
The main Channel4 service broadcast 8,760 hours in 2014 (2013: 8,760) 24 hours each day. The hours and costs of the channels wide range
of programme transmissions were as follows:
2014
Hours
2013
Hours
2014
m
2013
m
579
601
100
109
Entertainment
2,349
2,378
117
111
Education
2,622
2,375
98
88
Feature films
978
1,162
42
40
Other factual
165
189
25
18
News
242
240
25
25
Current affairs
238
245
20
23
Documentaries
274
295
25
31
Arts and music
92
125
Sport
814
710
22
19
Quiz and gameshows
396
418
12
Drama
Religion
Total
*
11
22
8,760
8,760
492
486
The data in the table above is consistent with prior years and based on Channel4s internal reporting genres. Data presented in the Statement of Media Content Policy
(SMCP) is structured around the key genres reflecting Channel4s internal commissioning structure.
E4, More4 and Film4 channels

The E4 channel broadcast for a total of 8,760 hours in 2014 (2013: 8,760 hours) with 100% of these hours being subtitled (2013: 100%).
The More4 channel broadcast for 6,832 hours (2013: 6,791 hours) with 100% of these hours being subtitled (2013: 100%).
The Film4 channel broadcast for 6,062 hours (2013: 6,076 hours) with 100% of these hours being subtitled (2013: 100%).
4seven broadcast for 7,187 hours in 2014 (2013: 7,180 hours) with 100% of these hours being subtitled (2013: 100%).
Ofcom
Ofcom monitors compliance with broadcasters licence obligations (including compliance with its Broadcasting Code) and deals with
complaints concerning standards in programmes and complaints of unfair treatment and/or infringement of privacy.
Channel4
Ofcom recorded three breaches of its Code on standards in programmes by the main Channel4 service in 2014 (2013: three). None were judged
serious enough to merit a statutory sanction (2013: none). In 2014 one complaint about fairness/privacy in Channel4s programmes was upheld
(2013: two) and two complaints were upheld in part (2013: two).
E4, More4 and Film4
No recorded breach of the Code on standards in programmes was noted against More4 (2013: one) and no recorded breach of the Code
onstandards in programmes was noted against E4 in 2014 (2013: none). There were no recorded breaches of the Code on standards against
Film4 in 2014 (2013: none). In 2014 no complaints about fairness/privacy were upheld against E4, More4 or Film4 (2013: none).
165
Programmes and the licence continued

ASA
ASA regulates all broadcast and non-broadcast UK advertising. All non-broadcast advertising should comply with the Code of Non-broadcast
Advertising, Sales Promotion and Direct Marketing (the CAP Code). All broadcast advertisements and programme sponsorship credits on
television services licensed by Ofcom should comply with the UK Code of Broadcast Advertising (the BCAP Code). Ofcom retains direct
responsibility under the BCAP Code for sponsorship, product placement and participation TV advertising. The ASA recorded two breaches
ofthe BCAP Code in 2014 (2013: four breaches of the BCAP Code).
The licence
The wide range and diversity of programmes shows that the remit is central to Channel4s programming policy. Our licence from Ofcom,
inaddition to stipulating the need to meet the remit, places certain specific programme obligations on Channel4.
Compliance
minimum
2014
2013
overall
in peak-time (6pm 10.30pm)
10
Average hours per week

News
Current affairs
Hours per year

Schools
Percentage
Original production
overall
56
63
61
70
77
77
Independent production*
25
73
75
European independent production*
10
40
45
European origin
50
66
66
Subtitling for the deaf and hard-of-hearing
90
100
100
Audio description
10
28
31
Regional production
Signing
35
43
46
Regional hours
35
52
55
Production in the Nations
Nations hours
The 2014 Ofcom licence disclosure reflects Channel4s Digital Replacement Licence (DRL), which was renewed in 2014 and came into effect
inJanuary 2015. This encompasses the requirements set out in the Communications Act 2003.
*
There are material differences in the definitions contained in the European and UK legislation for qualifying independent production.
Several of the measures reflected in this section of the report are discussed in more detail on pages 1518 of the Statement of Media Content
Policy and the Strategic Report on page 107.
166
Historical metrics 20102014

Page ref
2010
2011
2012
2013
2014
8691
48
46
48
43
66
15
362
419
434
429
430
N/A
12.9%
12.7%
12.6%
12.4%
12.5%
Portfolio viewing share 1634s
32
16.9%
17.0%
16.9%
16.7%
17.0%
Portfolio viewing share
31
11.4%
11.6%
11.5%
11.0%
10.9%
Creativity
Commissioning success
Number of major television and film awards won
Originated content spend (m)
Engaging audiences
Portfolio high peak viewing share (20002300)
N/A
11.7%
11.5%
11.4%
11.3%
10.9%
30
87.7%
88.8%
88.1%
86.8%
85.2%
VoD views (m)
34
372
429
450
476
587
Registered viewers (m)*
39
0.5
3.2
6.3
10.2
11.3
130
935
941
925
908
938
Content and marketing spend (m)
140
622
635
667
649
651
Year end cash (m)
132
261
290
261
238
222
Non-advertising and sponsorship revenue (m)
N/A
87
96
81
62
69
Content and marketing spend and surplus/(deficit) as a % of revenue
N/A
72%
72%
69%
70%
70%
Other operating costs as a % of total costs
N/A
29%
29%
30%
30%
30%
Pre-tax surplus/(deficit) (m)
130
54
45
(27)
(16)
168
24.8%
27.8%
27.4%
26.3%
25.9%
Portfolio viewing share ABC1s

Portfolio 15 minute reach
Digital and innovation measures
registered viewers are net of duplicate and active users within the last two years
Sustainability
Financial metrics
Corporation revenue (m)
Ad sales measures
Sales House SONAR
Advertising and sponsorship revenue (m)
106
848
845
844
846
869
SOCI Portfolio high peak (20002300)
N/A
20.2%
19.7%
19.9%
18.7%
19.1%
SOCI portfolio 1634s
N/A
25.3%
24.7%
24.8%
23.3%
23.3%
SOCI portfolio
N/A
18.3%
18.4%
18.5%
17.1%
16.6%
SOCI portfolio ABC1s
N/A
20.1%
19.7%
19.9%
19.0%
18.2%
167
Historical metrics 20102014 continued

2010
2011
2012
2013
2014
C4
11.4%
11.6%
11.5%
11.0%
10.9%
BBC
32.9%
32.9%
33.6%
32.4%
33.1%
ITV
22.9%
23.1%
22.4%
23.1%
22.0%
5.9%
5.9%
6.0%
6.0%
5.9%
Performance versus competitors

Portfolio viewing share
Channel 5
Source: BARB all individuals
Portfolio high peak viewing share 20002300

C4
12.9%
12.7%
12.6%
12.4%
12.5%
BBC
32.9%
33.0%
34.1%
32.8%
33.3%
ITV
25.6%
25.4%
24.3%
24.9%
24.0%
7.3%
7.3%
7.2%
7.2%
7.0%
C4
18.3%
18.4%
18.5%
17.1%
16.6%
Channel 5
SOCI Portfolio
ITV
39.8%
39.5%
38.3%
38.3%
36.2%
Channel 5
10.2%
10.1%
10.1%
9.7%
9.5%
Sky
17.3%
21.4%
21.7%
21.7%
25.6%
C4
25.3%
24.7%
24.8%
23.3%
23.3%
ITV
29.8%
29.4%
27.5%
27.3%
26.3%
8.2%
8.5%
8.5%
8.0%
7.7%
21.1%
26.3%
27.6%
27.7%
30.1%
C4
20.1%
19.7%
19.9%
19.0%
18.2%
ITV
37.7%
37.2%
36.7%
36.4%
34.6%
Source: Donovan Data Systems (DDS)
SOCI Portfolio 1634s
Channel 5
Sky
SOCI portfolio ABC1s
Channel 5
Sky
9.0%
8.6%
8.9%
8.9%
8.7%
18.8%
23.3%
23.0%
22.6%
25.8%
168
Historical record
2005
m
2006
m
2007
m
2008
m
2009
m
2010
m
2011
m
2012
m
2013
m
2014
m
894
937
945
906
830
935
941
925
908
938
57
14
(9)
(1)
49
41
(29)
(15)
Net financial income/(expense)
10
10
14
(2)
(1)
(1)
(3)
Surplus/(deficit) before taxation
67
21
10
54
45
(27)
(16)
Taxation
(18)
(7)
(1)
(8)
(2)
(15)
(10)
(1)
49
14
39
35
(27)
(15)
2005
m
2006
m
2007
m
2008
m
2009
m
2010
m
2011
m
2012
m
2013
m
2014
m
Consolidated results:
Revenue
Share of profit/(loss) in joint venture

All figures are shown under Adopted IFRS.
Advertising sales
Channel4 Sales House

Other
Total broadcast
Channel4 Sales House share
Other share
769
777
825
790
707
819
939
916
935
967
2,718
2,523
2,608
2,487
2,179
2,490
2,442
2,430
2,616
2,769
3,487
3,300
3,433
3,277
2,886
3,309
3,381
3,346
3,551
3,736
22.1
23.5
24.0
24.1
24.5
24.8
27.8
27.4
26.3
25.9
77.9
76.5
76.0
75.9
75.5
75.2
72.2
72.6
73.7
74.1
100.0
100.0
100.0
100.0
100.0
100.0
100.0
100.0
100.0
100.0
2005
%
2006
%
2007
%
2008
%
2009
%
2010
%
2011
%
2012
%
2013
%
2014
%
BBC (nine channels)
35.2
34.5
34.0
33.5
32.6
32.9
32.9
33.6
32.4
33.1
ITV (six channels)
24.0
22.9
23.1
23.2
23.1
22.9
23.1
22.4
23.1
22.0
Channel4 excl S4C (six channels)
10.8
11.9
11.7
11.8
11.5
11.4
11.6
11.5
11.0
10.9
Total
Audience share (portfolio)
Channel 5 (four channels)

Other (> 350 channels)
Total
6.4
5.9
6.0
6.1
6.1
5.9
5.9
6.0
6.0
5.9
23.6
24.8
25.2
25.4
26.7
26.9
26.5
26.5
27.5
28.1
100.0
100.0
100.0
100.0
100.0
100.0
100.0
100.0
100.0
100.0
The number of channels in brackets indicates the number of channels in that portfolio as at 31 December 2014.
Audience share
BBC1
BBC2
2005
%
2006
%
2007
%
2008
%
2009
%
2010
%
2011
%
2012
%
2013
%
2014
%
23.3
22.8
22.0
21.8
20.9
20.8
20.7
21.3
21.0
21.6
9.4
8.8
8.6
7.8
7.5
6.9
6.6
6.1
5.8
6.1
21.5
19.6
19.2
18.4
17.9
17.0
16.6
15.7
16.2
15.6
Channel4 excl S4C
9.6
9.6
8.6
8.1
7.4
7.0
6.8
6.6
6.1
5.9
Channel Five
6.4
5.7
5.2
5.0
4.9
4.5
4.4
4.5
4.4
4.4
ITV and GMTV
Other
29.8
33.5
36.4
38.9
41.4
43.8
44.9
45.8
46.5
46.4
Total
100.0
100.0
100.0
100.0
100.0
100.0
100.0
100.0
100.0
100.0
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Britains Creative Greenhouse
Channel Four Television Corporation Report and Financial Statements 2014

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Britains

Channel Four Television Corporation

Channel Four Television Corporation

Presented to Parliament pursuant to Paragraph 13(1)

Channel 4 Annual Report 2014

this report at annualreport.channel4.com

Printed by Park Communications on FSC certified paper.

Statement of Media Content Policy

Financial report and statements

Channel 4 Annual Report 2014

Channel4 is unique in the world of public

This is a challenging role and to fulfil it

I am pleased to report that 2014 has been

We are also pleased to see a strong response

Chairmans & CEos statement

This report captures the staggering

For Channel4, 2014 was a year in which

We met or exceeded all our Ofcom targets

Our new Growth Fund has also got off to a

Channel 4 Annual Report 2014

Total content spend

Original content spend

Invested in original content

Peak time portfolio share

1634s HIGHESTEVER portfolio

of all 1634s in the UK

Visits to Channel4 websites

GROWTH FUND LAUNCHED

Channel 4 Annual Report 2014

The Remit and model

The remit makes up a

The Statement of Media Content Policy

The component parts of the remit are

Channel 4 Annual Report 2014

Were a greenhouse for new creative

Were a challenger brand in

We inspire citizenship, especially

Our overall contribution to the UKs

Our investment in UK originated

We grow small businesses across

Were at the forefront of innovation

We have a greater impact than

The Remit and model

We fulfil the governments

Channel 4 Annual Report 2014

A commitment to innovation runs through

Innovation through diversity

Channel 4 Annual Report 2014

Innovation through content

Investment in all content

Spend across the Channel 4 network

Channel 4 (main channel)

Total investment in originated and acquired

Of the other genres, the most significant trends in 2014 were

2013 (Total: 589m)

Innovation through content

Output mix on Channel4

Statement of Media Content Policy