Presentation Transcript

1. Local Program Initiative

   March 2012 Webinar Welcome!
2. Today Outline of phase I Discuss goals questionnaire Local Programming Assessment Format Analysis of Tennessee Crossroads
3. Phase I - Goal Appraisal Collect and assess station goals for local programs Develop benchmarks that allow stations to contrast and compare themselves to other stations in the project Prepare a document that details the assumptions stations have about the purpose of local programming
4. Phase I - Goal Appraisal Q’naire Questionnaire Topics: Community Service Goals Financial Motives Funding Sources Beyond Program Elements Success Stories (at your station) Other Station Success Stories
5. Goals: Community Service Comments tracdavid@aol.com
6. Goals: Success Stories Comments tracdavid@aol.com
7. Success Story Analysis Overview analysis of success: Most frequent types of successful programs Is there a common theme across stations? Yardsticks used to measure success Involvement of social media, outreach, community improvement
8. Station Local Programming Assessment System-wide report(s) on CY2010 Part 1: Program hours by program and station characteristics Programs - Types, length, series/special, etc. Station - License type, duopoly, geography, etc. Part 2: Market Attributes - Census and third party data In year 2 there are follow up reports
9. Begin the Programming Assessment Reemphasis the station as the unit of analysis Production “cultures” in stations are responsible for creating successful programs Develop tools for assessing local programs genres and their formats Some early results --
10. Variety is the Norm % of Stations Airing a Particular Local Program Genre Comments tracdavid@aol.com
11. Local Programs Have Below Average Ratings(But that’s the problem with averages!) Average Hh Rating in Sweeps Comments tracdavid@aol.com
12. Bright Spots Methodology We are used to focusing on the negative and the “problems” – more task forces Local stations and their great programming are essentially invisible nationally and with many other stations Focus instead on what works – stations and programming find the bright spots! Comments tracdavid@aol.com
13. Bright Spots -Travel Range 5.2 to 2.3, Thu and Mon, Series Dominate
14. Bright Spots - History Range 3.7 to 2.5, Five Days, Specials Dominate
15. Bright Spots - Food
16. Phase I Moving to Phase II Case Studies of Successful Local Series Focus on stations that have iconic local program series What production modules emerge? What genres function well in what kinds of markets? Entertain new questions for specials and pledge programs for phase II
17. initial format analysis
18. TV is Ruthlessly Democratic Each day we all vote with our remotes Systemic factors influence choice somewhat (demographics, daypart, viewing partner) Popular programs means more people choose to watch that show rather than another; so why? We started with series applicable to public TV – like Antiques Roadshow and Pawn Stars; Brain Games on National Geo and so on These are national shows…not local Comments tracdavid@aol.com
19. Hit Shows are Popular for a Reason We limit ourselves to programs/series that are non-scripted and not news or sports Hit series share common threads: They are mostly human interest stories with primal appeals (what’s it worth?; how did they do that? Isn’t that interesting? That is pretty!) Most are essentially shot and edited in a similar ways – i.e., continuity editing Comments tracdavid@aol.com
20. Why Tennessee Crossroads? Consistently one of the top rated local programs in the system A magazine half hour with four stories Stories mostly human interest about people and places in Tennessee Single camera emphasis, off line edited The same producer Ken Simington since the beginning – that’s continuity Comments tracdavid@aol.com
21. Format: Standard Host and Tease Title is animated and features iconic story images Has an amiable host who does open, intros and previews. Humor & Irony Generally each of the four stories has its own producer who usually does the narration (and writing) Videographers are station employees and usually edit the stories they shoot, not the producers Comments tracdavid@aol.com
22. Story Structure: Video Driven Stories are visually oriented… Focus is on visually appealing framing – often with depth of field Editing sequences are traditional – long, medium and close up Fire is elemental -- Comments tracdavid@aol.com
23. Standard Confessional Framing Little lip synch and lots of visuals to focus our attention on screen Talking heads follow the confessional framing where the protagonist talks “off camera axis” to the producer and to us Comments tracdavid@aol.com
24. Parallel Narrative Development Usual exposition arc (location, history,complications,victories large and small) If a person has an interesting history/story it is developed in a nuanced manner With artisans and crafts people – joy and pleasure of creation Restaurants are their own universe – food and waiters As are bed and breakfasts Comments tracdavid@aol.com
25. Viewers Hear Their Own Voices Crossroads is about ordinary and average people not elites or the powerful or the political nor “the celebrity” And viewers hear their “own voices” from the people in the stories -- which in a curious and profound way -- reaffirms the dignity of their own being and existence And they tell the producers out on the road Comments tracdavid@aol.com
26. The Sweet Spot Hits have found the sweet spot – they have a format, they have the story(ies) and they can repeat it week after week; decade after decade Crossroads like many hit series triggers curiosity in viewers; a self perpetuating motive that keeps you viewing What is not seen is just as important as what is seen in the stories Comments tracdavid@aol.com
27. Narrative Structure In Tennessee Crossroads “Chappy’s Restaurant” Comments tracdavid@aol.com
28. Cliff Notes: Chappy’s Restaurant The story about Chappy and his Nashville restaurant is “nested” into three and perhaps four “mini-stories” which continuously piques our curiosity as the story(s) unfold and develop An iconic character by definition engages and connects to the viewer’s “hot buttons” (i.e., their needs and interests) Continuity editing mores are best when they are unobtrusive and unnoticed Comments tracdavid@aol.com
29. Cloning Tennessee Crossroads Hits are replicable… especially for stations doing local programs The production world is going free lance Especially lifestyle programs which in many cases have a long shelf life! Up next is natural history documentaries Local Pledge Shows Then news and public affairs Comments tracdavid@aol.com

30. Questions

31. Goal Appraisal Dissemination Deliverable 1: A confidential station goal appraisal report Deliverable 2: Webinar about local program goals 31
32. Bright Spots -- Format Analysis March 2012 Webinar