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NEWS AND CURRENT AFFAIRS THE PROGRAMMING & SCHEDULING

<< PROGRAMMES DEPARTMENT:Program content, Television series by genre
COORDINATION AMONG DIFFERENT DEPARTMENTS OF TELEVISION >>
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TV News Reporting and Production ­ MCM 516
VU
LESSON 42
NEWS AND CURRENT AFFAIRS
THE PROGRAMMING & SCHEDULING
Getting TV programme on the air
At the local level, the biggest effort at a TV station goes into the newscast. Almost every station has a
studio that contains a set for one or two anchor-people, a weather forecaster and a sports-caster. The
stations news director assigns stories to reporters and camera crews, who travel to the scene of a
story to videotape a report.
Back at the station, the newscast producer and the news director are planning what stories to air and
allotting time to each. In the meantime, the camera crews and reporters return; the reporters write
copy and editors prepare videotapes segments. When the final script is finished (this may be only a few
minutes before airtime), it is given to director, who is responsible for pulling everything together and
putting the newscast on the air.
In addition to the news, the local station might also produce one or two interview programmes. Some
stations produce a magazine programme consisting of segments videotaped on location by portable
equipment and later edited into final form. Aside from these kind of shows, most local stations do little
other productions.
Because they are responsible for filling the hours when the biggest audience is watching (called prime
time, 8-11 pm generally), the network must pay special attention to cultivate news shows. For the
moment, let's concentrate on how a prime time series is produced.
Everything starts with an idea. Network executives receive hundreds of ideas every year; some come
from independent producers, some from TV departments of motion pictures companies, some from
network employees and a good many from the amateurs hoping for a break through. From this mass of
ideas the networks select perhaps 50-75, usually submitted by the established producers or companies
for further attention.
After examining plot outlines and the background sketches of the leading characters for these ideas that
survive, the networks request a sample script and a list of possible stories that could be turned into
scripts. If the idea still looks promising, the networks and producers enter into a contract for a pilot
programme, the first episode of a series.
In a typical year, perhaps 25 pilots are ordered by the each network. If the pilot show gains a respectable
audience, the network may order next sex episodes to be produced and my place programme on its fall
schedule. From the hundreds of the ideas that are sent to the network, only a few ever make it to prime
time.
The process does not stop with a fall season. If a programme does well in the ratings, the network will
order enough episodes for the rest of the season. If the show does not do well, it will be cancelled and
another show will replace it. Meanwhile, network executives are sifting and sorting through the
hundreds of programmes for the next season and the cycle begins once again.
TV broadcast programming
Broadcast programming, or scheduling, is the practice of organizing television programs in a daily,
weekly, or season-long schedule. Modern TV broadcasters regularly change the scheduling of their
programs to build an audience for a new show, retain that audience, or compete with other broadcasters'
programs.
Television scheduling strategies are employed to give programs the best possible chance of attracting
and retaining an audience. They are used to deliver programs to audiences when they are most likely to
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want to watch them and deliver audiences to advertisers in the composition that makes their advertising
most likely to be effective.
At a micro level, scheduling is the minute planning of the transmission; what to broadcast and when,
ensuring that every second of airtime is covered.
Scheduling strategies
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Day-parting
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Theme-ing
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Stripping
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Stacking
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Counter-programming
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Bridging
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Tent-poling
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Hammock-ing
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Cross-programming
Day-parting
In TV broadcasting, day-parting is the practice of dividing the day into several parts, during each of
which a different type of television programming appropriate for that time is aired. Programs are most
often geared toward a particular demographic, and what the target audience typically engages in at that
time.
Theme-ing
It is, having a special theme-night on some particular occasion.
Stripping
Stripping is running a syndicated television series every day of the week. It is commonly restricted to
describing the airing of shows which were weekly in their first run.
Stacking
Stacking is a technique used to develop audience flow by grouping together programs with similar
appeals to "sweep" the viewer along from one program to the next.
Counter-programming
Counter-programming is used when a time period is filled with a program whose appeal is different
from the opponent program because it is a different genre or appeals to a different demographic.
Bridging
Bridging is being used when a station tries to prevent the audience from changing channels during a
junction point - the main evening breaks where all channels stop programs and shift gear. This is
achieved in a number of ways including: having a program already underway and something compelling
happening at a junction point, running a program late so that people `hang around' and miss the start of
other programs, or advertising the next program during the credits of the previous.
Tent-poling
In tent pole programming, the programmers bank on a well-known series having so much audience
appeal that they can place two unknown series on either side, and it is the strength of the central
program that will bring the others along to victory.
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Hammock-ing
A technique used by TV broadcasters whereby an unpopular program is scheduled between two popular
ones in the hope that viewers will watch it. Public-service broadcasters use this as a way of promoting
serious but valuable content.
Cross-programming
Cross-programming involves the interconnection of two shows. This is achieved by dragging a storyline
over two episodes of two different programs.
Programming
Getting TV programming shown to the public can happen in many different ways. After production the
next step is to market and deliver the product to whatever markets are open to using it.
This typically happens on two levels:
Original Run or First Run ­ a producer creates a program of one or multiple episodes and shows it on
a station or network which has either paid for the production itself or to which a license has been
granted by the producers to do the same.
Syndication ­ this is the terminology rather broadly used to describe secondary programming usages
(beyond original run). It includes secondary runs in the country of first issue, but also international
usage which may or may not be managed by the originating producer.
In many cases other companies, TV stations or individuals are engaged to do the syndication work, in
other words to sell the product into the markets they are allowed to sell into by contract from the
copyright holders, in most cases the producers. First run programming is increasing on subscription
services, but few domestically produced programs are syndicated on domestic FTA elsewhere.
This practice is increasing however, generally on digital-only FTA channels, or with subscriber-only
first run material appearing on FTA. Unlike the repeat FTA screenings of a FTA network program
almost only occur on that network. Also, Affiliates rarely buy or produce non-network programming
that is not centred on local events.
Funding
Around the globe, broadcast television is financed by either advertising, a TV licensing (a form of tax)
or by subscription. To protect revenues, subscription TV channels are usually encrypted or encoded to
ensure that only subscription payers receive the decryption codes or decoding to see the signal. Non-
encrypted channels are known as Free to Air or FTA.
Television genres
Television genres include a broad range of programming types that entertain, inform, and educate
viewers. The most expensive entertainment genres to produce are usually drama and dramatic
miniseries. However, other genres, such as historical genres, may also have high production costs.
Popular entertainment genres include action-oriented shows such as crime, detective dramas, horror
or thriller shows. As well, there are also other variants of the drama genre, such as daytime soap
operas. Sci-fi (Science fiction) shows can fall into either the drama category or the action category,
depending on whether they emphasize philosophical questions or high adventure. Comedy is a popular
genre which includes sitcoms (Situation Comedy) and animated shows.
The least expensive forms of entertainment programming are game shows, talk shows, variety shows,
and reality TV. Game shows show contestants answering questions and solving puzzles to win prizes.
Talk shows feature interviews with film, television and music celebrities and public figures.
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Variety shows feature a range of musical performers and other entertainers such as comedians and
magicians introduced by a host or Master of Ceremonies. There is some crossover between some talk
shows and variety shows, because leading talk shows often feature performances by bands, singers,
comedians, and other performers in between the interview segments.
Reality TV shows show "regular" people (i.e., not actors) who are facing unusual challenges or
experiences, ranging from arrest by police officers to weight loss. A variant version of reality shows
depicts celebrities doing mundane activities such as going about their everyday life or doing manual
labour jobs.
One of the television genres, the children's and youth genre is defined by the audience, rather than by
the content of the programming. Children's programming includes animated programs aimed at the child
demographic, documentaries for children, and music/variety shows targeted at kids. There is overlap
between the children's/youth genre and other genres, such as the educational genre.
Social aspects of television
Television has played a pivotal role in the socialization of the 20th and 21st centuries.
There are many social aspects of television that can be addressed, including:
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Positive effects
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Negative effects
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Gender and television
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Politics and television
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Socializing children
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Technology trends
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Suitability for audience
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Alleged dangers
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Propaganda delivery
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Educational advantages
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Table of Contents:
  1. CREATIVITY AND IDEA GENERATION FOR TELEVISION:Video Procedures
  2. PRE-REQUISITES OF A CREATIVE PRODUCER/DIRECTOR:SET-UP RESPONSIBILITIES
  3. REFINING AN IDEA FOR PRODUCTION:Drama, Magazine Shows, Documentary
  4. CONCEPT DEVELOPMENT:Variable. Pure and applied research
  5. RESEARCH AND REVIEWS:Research Procedure, Review of available literature
  6. SCRIPT WRITING:Elements of a successful story, Characters, Effects
  7. PRE-PRODUCTION PHASE:Indoor production, Outdoor production, Essentials of PBE
  8. SELECTION OF REQUIRED CONTENT AND TALENT:Camera rehearsal
  9. PROGRAMME PLANNING:Checklist, Electronic Field Production (EFP)
  10. PRODUCTION PHASE:Floor plan, Traditional set, Representational set, Design elements
  11. CAMERA WORK:Movement of lens of camera, Types of shots
  12. LIGHT AND AUDIO:Importance of sound in TV, Use of microphone, Loudness
  13. DAY OF RECORDING/PRODUCTION:Rehearsals,Point to ponder
  14. LINEAR EDITING AND NLE:Episode, Scene, Editing, Production Switcher
  15. MIXING AND USES OF EFFECTS:Live Sound Effects, ARROW STRIKING
  16. SELECTION OF THE NEWS:Elements of news, Timeliness, proximity
  17. WRITING OF THE NEWS:The inverted pyramid, Lead, Credit line
  18. EDITING OF THE NEWS:Characteristics of good news:Process of editing a news
  19. COMPILATION OF NEWS BULLETIN:Hard news, Soft news, Investigative report
  20. PRESENTATION OF NEWS BULLETIN
  21. MAKING SPECIAL BULLETINS:Agriculture, Show biz, Fashion, Drama
  22. TECHNICAL CODES, TERMINOLOGY, AND PRODUCTION GRAMMAR
  23. TYPES OF TV PRODUCTION:Magazine Shows, Specific audience programming
  24. DRAMA AND DOCUMENTARY:Documentary film, Defining documentary
  25. SOURCES OF TV NEWS:Reporters, Correspondents, Monitoring, News Agency
  26. FUNCTIONS OF A REPORTER
  27. BEATS OF REPORTING:City reporter, Social reporters, Show-biz reporter
  28. STRUCTURE OF NEWS DEPARTMENT:Beat Reporters, Online media
  29. ELECTRONIC FIELD PRODUCTION:Sports, Electronic news gathering
  30. LIVE TRANSMISSIONS:Studio floor, Switcher, Master control room, Camera control units
  31. QUALITIES OF A NEWS PRODUCER:Determination, Awareness, Sharp an active
  32. DUTIES OF A NEWS PRODUCER
  33. ASSIGNMENT/NEWS EDITOR:Accuracy, Fairness and Reliability, Conflict
  34. SHOOTING A NEWS FILM:The Influence of telecast News
  35. PREPARATION OF SPECIAL REPORTS:Uncovering Truth, Reportage
  36. INTERVIEWS, VOX POPS AND PUBLIC OPINIONS:INTERVIEW, Information
  37. BACK GROUND VOICE AND VOICE OVER:Natural or Raw Sound, Sound Effects
  38. SPOKEN WORDS AND RELEVANT VISUALS:Digital Audio, Quantizing Error
  39. TALK SHOWS, FORUMS AND DISCUSSION PROGRAMMES
  40. FUNCTIONS OF VARIOUS DEPARTMENTS OF A TV SET UP
  41. PROGRAMMES DEPARTMENT:Program content, Television series by genre
  42. NEWS AND CURRENT AFFAIRS THE PROGRAMMING & SCHEDULING
  43. COORDINATION AMONG DIFFERENT DEPARTMENTS OF TELEVISION
  44. COORDINATION AMONG DIFFERENT DEPARTMENTS OF TELEVISION - 2 SUB-DEPARTMENTS AND SMALL SECTIONS
  45. COORDINATION AMONG DIFFERENT DEPARTMENTS OF TELEVISION 3