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Great insights from Funmi Akinsola Unuajefe. I feel compelled to re-echo your last 2 points on optimizing lower-thirds and stocking up relevant b-rolls and image collages. Simply put, they are the extra spice/dressings sprinkled on the main dish (program planning, guest scheduling and scripting) to make the whole meal (the program) attractive and memorable. It is often pleasant to watch a program where a resource person is discussing an issue in for instance; the agricultural sector, and then shots of farms, farmers ploughing, markets, the minister of Agriculture in an engagement and so on is rolled in a split or full screen as the discussions go on. This is the kind of context that b-rolls and images can add to a program as opposed to one without it. Your lower third is the first source of information to the viewer, so ensuring it is crisp, updated through the program is imperative. It’ll also be good if this post is shared widely for learning purposes.

Producing a live TV show is both an art and a science—especially when it’s a daily broadcast. The pressure to deliver timely, engaging, and seamless content can be immense. Here are five essential tips to help streamline the production process and make life as a producer a bit easier: • Securing the Right Guest: Your guest choice hinges on the show's theme and the specific topic of the day. Morning shows, in particular, often focus on current affairs, from headline news to trending social media stories. Whether it's a politician's soundbite or a celebrity's faux pas, it's crucial to find an expert who is not only knowledgeable but also camera-friendly and relatable to your audience. • Defining Your Angle: Every story has multiple facets. Decide on the angle you want your guest to explore and communicate this clearly during the briefing. Engage in a conversation with them—after all, they are the experts. They might provide insider information or recent developments that could enrich the segment. This clarity benefits everyone involved: the anchor, the guest, the producer, and most importantly, the audience. • Always Have a Backup Plan: Live TV is unpredictable. Guests may arrive late, or technical glitches can occur. Prepare fillers to act as a temporary solution while sorting out the issue. In some cases, you might even need to have a backup guest on standby. • Optimize Lower Thirds, Name Tags, and Soundbites: To keep your segment dynamic, vary your lower thirds by rephrasing the topic in different ways throughout the segment. Ensure that your guest’s name tag appears and stays on screen for at least 10 seconds, repeating it intermittently. Additionally, highlight compelling soundbites from your guest's analysis in the lower thirds to engage your audience further. • Stock Up on B-Roll and Images: Visuals are key in maintaining audience interest during a discussion. Ensure you have enough B-roll and relevant images to use throughout the conversation, enhancing the overall viewer experience. Producing a live show may be demanding, but with the right strategies in place, it can also be incredibly rewarding. #LiveTVProduction #BroadcastingTips #MediaInsights #DailyShow #TVProducerLife

Ever wondered why your favorite TV show got cancelled? 📺🚫 TV shows get the axe 🪓 for a mix of reasons, often leaving fans confused and disappointed. Here’s a peek behind the curtain: 1. Low Ratings: Ratings are the lifeblood of a TV show. If a show can’t pull in viewers, it’s hard for networks to justify keeping it on the air. After all, fewer eyeballs mean less ad revenue. ✨ 2. High Production Costs: Even a show with a loyal fan base might face cancellation if the production costs soar. Stunning visual effects, high-profile actors, and exotic locations are incredible (and pricey). Sometimes, the cost simply outweighs the benefit. ✨ 3. Branding Shifts: Networks often reevaluate their lineup and overall direction. A change in branding or strategy can push a show, no matter how beloved, out of the spotlight. It’s not always about performance — sometimes it’s about fit. ✨ So, while the cancellation of your favorite series can feel personal, it’s usually a complex decision driven by a balance of viewership, costs, and brand alignment. Next time you’re mourning a cancelled show, remember that it’s part of the ever-evolving (and unpredictable) world of television. What cancelled shows do you still miss? Sound off in the comments. 🗣️✅ #screenwriting #tvwriting #tvshows

Need of the hour: TV Guide As per one article published DTH industry saw a sharp decline in the subscriber base in the period July – September 2023 period. Here’s are few suggestions to get subscribers hooked to television again. Point # 1 >Publish schedule on Twitter handles or even Whatsapp channels at least 2 days in advance. As of now the viewer hardly knows telecast date and timings. Let the viewer be aware of the day and time of the show. If the viewer wants to watch, they will switch on the channel. Point # 2 > Broadcast the timing of the repeat episodes as well. This allows the viewer to catch up on the show missed during the regular telecast timings. Point # 3 > Display timeline bar at the bottom of the screen. There are times where while switching from one channel to another, you come across a show that interests you. However, the viewer is unaware the time that has elapsed and remaining time as well. Point # 4 > Keep weekday and weekend schedules different. Weekend and weekday viewership is different. Telecasting a weekday series on a weekend will fail to gather views or loyalty for the series. Point # 5 > Let every series have a season. A weekly show might run for 26 episodes and then go for a break, or a daily show will take a break after 130 episodes. This allows the producers and writers to come up with different ideas and make the content more meaningful and gripping. Once a show has run for 6-9 months and then goes for a season break, allows the cast, crew and viewer a breather as well. Point # 6 >The content of these soaps must include variety. There are so many areas to explore for a television series. The content of the television shows must showcase emotions suitable for family viewing and family laughter. #television #tv #OTT #actor #actress #tvshow #entertainment #music #love #comedy #series #radio #television #tvseries #media #actors #drama #sony #zee #colorsinfinity #star

A Glimpse into the Past: The Nuher Family's Pioneering Night with Television The year was 1949. A time of post-war optimism and technological innovation. In the heartland of America, the Nuher family, led by truck driver Robert Nuher, gathered around an unfamiliar device: a television set. This simple act marked a pivotal moment, not just for the Nuher family, but for American culture as a whole. As the flickering screen illuminated the room, it ushered in a new era of entertainment and information. The Nuher family, like countless others across the nation, were captivated by the magic of this new medium. The once-familiar radio was gradually being replaced by the mesmerizing glow of the television screen. The once-static world of sound was now painted with vibrant colors and moving images. Erie, Pennsylvania, the Nuhers' hometown, was also experiencing a technological renaissance. The launch of a local television station brought the world, both near and far, into the living rooms of its residents. The Nuhers, along with their neighbors, tuned in to local news, sporting events, and the emerging cultural phenomena of the time. Television, with its ability to transport viewers to distant lands and introduce them to diverse perspectives, reshaped societal values and influenced everything from fashion trends to family dynamics. It fostered a sense of shared experience, uniting people across the nation as they watched the same shows and news broadcasts. The Nuhers' gathering around their television set in 1949 was a harbinger of this profound cultural shift. As we reflect on this historical moment, we see the enduring power of technology to connect us to the world. While the technology has evolved, the human desire for shared experiences remains constant. The Nuhers' simple act of watching television has become a symbol of progress, a testament to the transformative impact of innovation on our lives.

Introvert Guide : Philippine Television, Noontime Show and Common Sense. It is all about the math. If Tiktok Clock, a show that averages 3 to 4 tv ratings points... and if GTV gives off a 2 points plus tv ratings, then most likely Tiktok Clock will get an average 5 to 7 points range. Good enough ratings that will overcome the ratings juggernaut of TV5’s EB... a program that averages 3 to 4 points. Given the advantages of supporting a homegrown noontime show and the trappings of full creative control, then the question is... what is the point of keeping an outsourced noontime show that leans more in promoting the brand of a rival content provider? The notion of outsourcing compels the outsourced entity to be aligned with the brand of the network that it is entering. But it seems in terms of form and substance... it does not work in this case. There is also logic in supporting a homegrown noontime show. In a way, it is like beating two rivals with one stone. TV5’s EB is in a static tv ratings. While Showtime, if it reverts back to its other channel allies, as shown in the aggregated ratings will fall back to its usual 2 to 3 points tv ratings or perhaps less. I guess the solid 2 points from GTV is the clincher in beating the rivals of Tiktok Clock... So by default and by reach minus the merits, Tiktok Clock will be the number one noontime show 5 out of 6. That for me is kinda smart. Perhaps include in the whole package... hosting jobs for potential Sparkle Artists and develop their affinities by regularly exposing them to the public via the homegrown noontime show platform. But this time, exposure will be more align with the brand of GMA. For me, things are still sketchy... GMA management may continue the collaboration if the negotiation satisfies both parties. But the math is still there. A looming alternative that... for me... supporting a homegrown show really makes a difference. After all, when Abs Cbn was the number 1 tv network, they were not open to any collab and would prefer homegrown shows... bottom line... there is more financial gains in that route compared to outsourcing a program that diminishes brand and profit in real time. television #writing #tentpole #streaming #socialmedia #strategy #creativity #storytelling #engagement #reach # #television #content #programming #television #engagement #engagementstrategy #storytelling #writing #engagement #storytelling #writing #gmastorytellers #television #television #engagement #tentpole #writing #television #primetime #creative #series #engagement #television #primetime #creative #series #engagement #RealNumbers #BGYO #SB19 #BINI #starmagic #pitchingideas #writing #gmastorytellers #GMAIntegratedNews #GMARegionalTV #GMA #GMAIntegratedNews #GMA #Ratings #GMARegionalTV #ratingsvsaward #engagement #television #tentpole #creative #streaming #CignalTV #ABSCBN #TV5 #Kapamilya #Kapatid #Kapuso #creative #promo #marketingdigital

From the NYT: “Young Sheldon” never quite captured the same spot in the zeitgeist as its predecessor. But the series does have an unusual distinction: The overall run of the show mirrors the story of the television business over the last seven years. Here’s how. “Young Sheldon” was born during the height of so-called Peak #TV, when a record number of shows were being produced and media companies were spending huge amounts of money to make them On the other hand, there were numerous challenges. In 2017, the year the show first aired, broadcast television was losing viewers to streaming video and social media, and runaway network hits were becoming vanishingly rare. A Network Ratings Collapse A few years into the show, the situation for broadcast television had gone from bad to worse. As the pandemic took hold, subscriptions to streaming services like Netflix and The Walt Disney Company+ soared, and network ratings collapsed even more. “Young Sheldon” had maintained its position as one of the most-watched network shows, but its ratings were plummeting. By 2020, in the third year of the show, “Young Sheldon” had five million fewer viewers than in its first season. By 2022, it had lost more than half that first-season audience, averaging about seven million viewers per episode. Younger viewers — the ones that matter most to advertisers — were really fleeing. In 2018, the median age of a “Young Sheldon” viewer was 57 years old. By the show’s sixth season, it was “65+,” according to Nielsen. In November, CBS announced the inevitable: “Young Sheldon” would end in 2024, after seven seasons. But within weeks of that announcement, with very little fanfare, the first five seasons of “Young Sheldon” began streaming on Netflix. This was also part of a trend. Traditional #media companies were losing #advertising revenue as more viewers left traditional #television, and needed to find money elsewhere. Netflix, at this point, had become the runaway leader in the streaming wars, and had money to spend on older programming. And then a surprising thing happened. “Young Sheldon” became a bona fide streaming hit. The series stormed to the top of the Nielsen streaming charts, outranking new original shows with lavish budgets and perennial streaming blockbusters like “Bluey” and “Grey’s Anatomy.” The show also struck a chord with viewers under the age of 34, according to Nielsen. As Mr. Lorre put it in an interview: “One of the cool things is, the median age on Netflix is 30. On CBS, it’s 65-to-cadaver” “Young Sheldon” is exiting an industry vastly different from the one it started in Studio executives are also beginning to realize that the streaming success of repeats of older shows like “Young Sheldon,” “NCIS” and “Suits” may prove that the old network approach to creating broadly popular series wasn’t so bad after all. #Streaming companies and studios are suddenly becoming interested in old network standbys like medical procedurals and legal dramas

The walls between mediums are crumbling. Should a YouTube series like Hot Ones be eligible for an Emmy? If your answer is "No, because it's not television," you're clinging to an antiquated way of thinking. The media industry is currently organized around mediums. This is because, historically, it was expensive and difficult to create and distribute content to a mass audience. As a result, people and organizations specialized: There are television companies and film studios and radio broadcasters and publishers. But it is no longer expensive and difficult to create and distribute content. So it no longer makes sense to organize the industry around mediums. The audience is interested in topics, not mediums. For example, I follow politics, so I consume Meet The Press every single week. But I haven't watched it on television in 15 years. I just say, "Alexa, play 'Meet the Press'" and listen to the audio. The audience does not care whether something technically qualifies as a "TV show" or a "podcast" or a "video." Show me a company that's quibbling over whether Spotify counts as "radio" or Mr. Beast counts as "television," and I'll show you a company that isn't prepared for the future. https://lnkd.in/gY5ET37m #mediaindustry

So what's Edinburgh TV Festival - Supported by Screen Scotland like this year? Here's our take. The vibe feels good - respectful of the current challenging climate, but with a feeling of gratitude to be there amongst our people, and celebratory of certain achievements against the odds. The state of the nation is on everyone's lips. Lots of 'what's next?', 'I can't afford it either' and 'how long will this last?', but cautious optimism that things might be improving. Yet changed forever... On Weds, we hotfooted between these sessions: 'Back from the Brink: Reimagining the Future of TV' A lot has changed in a short time: this was a brutal and whistlestop tour of what's changed and why and discussing things like the potential threat of losing social purpose content to chase global ratings, and how only 48% of 18-24yos watch any TV at all. 'Is this the Beginning of the End for diversity, equity and inclusion?' In short no. Sure, we've heard of some roles in DEI being made redundant which is upsetting, but this seems in line with general structural changes and cuts. For successful work in DEI, collaboration across industry is key ("it's not a competitive sport!"), embedding inclusion into an organisation's DNA and appreciating how far we've come in 10 years. Kimberly was on the panel for: 'TV's Invisible Army: Tackling The Freelancer Crisis' Not as well attended as we'd all hoped. But to be fair, we were up against 'Will. I. Am: AI and the Future of Creativity', and a Disney Plus commissioner panel, so we get it. We discussed big picture changes with the new iteration of the Freelance Charter, and the importance of communication from indies and broadcasters to freelancers - especially when times are tough. Would've been nice to see more commissioners in the room listening to important insights on the situation though. 'Game on... How Squid Game the Challenge Redefined Reality TV' A fascinating insight into how two of the biggest production companies, Studio Lambert and The Garden Productions, came together to co-produce a hit competition show on a scale never before imagined. Aside from the organising the massive stunts, how much or toothpaste do you need for 456 people, anyone?! MacTaggart key note speech Screenwriter James Graham delivered a stonking MacTaggart calling out class as "everyone’s least favourite diversity and representation category", with only 8% of people working in film and TV from a working-class background. He wonders whether class feels more complex to people to target with the British 'embarrassment over money thing'. We mingled with some Ones to Watch and TP's indie clients at the National Musem drinks too. It really felt like a privilege, and we raised a toast to this challenging last year and everyone out of work. For more, make sure you're signed up to 'TP Together' - our monthly newsletter. Link in the comments! #edinburghtvfestival #edinburghtvfest #tvproduction #mactaggart #onestowatch