NAHJ (National Association of Hispanic Journalists)’s Post

“Television and Broadcasting Industry Development in Developing Countries like Pakistan”   The television and broadcasting industry plays a crucial role in informing, entertaining, and connecting people across the globe. In developing countries like Pakistan, the television and broadcasting sector holds immense potential for economic growth, cultural preservation, and social development. The television and broadcasting industry in developing countries has witnessed significant growth and transformation over the years. From the early days of limited channels and analog transmissions, the industry has transitioned to digital broadcasting, satellite television, and the emergence of online streaming platforms. Television and broadcasting play a critical role in preserving cultural heritage and promoting national identity. In countries like Pakistan, where diverse cultures and languages exist, television serves as a platform for showcasing local traditions, languages, and art forms. It helps in fostering a sense of unity, pride, and understanding among different communities, especially in regions with linguistic and cultural diversity. Developing countries like Pakistan face various challenges in the television and broadcasting industry. These include limited infrastructure, regulatory complexities, content piracy, financial constraints, and technological advancements. However, these challenges also present opportunities for growth and innovation. Developing countries can leverage digital technologies, invest in infrastructure development, strengthen copyright protection, and create favorable policy frameworks to foster a thriving television and broadcasting sector. The rise of online streaming platforms has revolutionized the television and broadcasting landscape in developing countries. Over-the-top (OTT) platforms offer a vast array of content choices, personalized viewing experiences, and global reach. This shift towards digital consumption opens new avenues for content creators, independent filmmakers, and emerging talent to showcase their work and reach a wider audience both domestically and internationally. The television and broadcasting industry in developing countries, including Pakistan, continues to evolve and contribute significantly to social, cultural, and economic development. With the advent of digital technologies and online platforms, there are ample opportunities for growth, innovation, and content diversification. However, addressing challenges such as infrastructure development, regulatory frameworks, and piracy remains crucial. By embracing digital transformation, fostering local talent, and creating an enabling environment, developing countries can unlock the full potential of the television and broadcasting industry, ensuring its positive impact on society and the economy.   Asia Rahman Khan Lodhi [Consul Press at the Consulate General of Pakistan, Hong Kong (SAR) & Macau (SAR)] https://rb.gy/ems38h

My Take on the Impact of Social Media on Traditional Broadcast News According to me, the days of gathering around the TV at scheduled times for major broadcasters are a distant memory. "Linear TV" has been on the decline for some time, and TV news broadcasting is no exception. Let's face it, before you even think about turning on the TV, you've probably scrolled through the "news" on your favorite social media platforms like Facebook, Twitter, LinkedIn, or YouTube. Personally, I believe many of us do this as soon as we wake up in the morning. If not, we catch up throughout the day—during our commute, lunch break, or on the way back home. The truth is, the news is in our pockets every moment of the day. In my view, there's no longer "breaking" news because it's always breaking to us, available instantly via the internet and social media, wherever and whenever we go. So, how has this instant access to news via social media influenced the traditional broadcast media landscape? Let's take a closer look at how social media has shaped both broadcasting organizations and our content consumption. Broadcasting in the Digital Age: Broadcasting, as I see it, is the distribution of content—audio or video—to a large, dispersed audience using electronic mass communication mediums. Traditionally, this involved radio waves and a one-to-many model. The Impact of Social Media: In today's world, news and media are consumed instantly across online platforms. With mobile internet access available virtually anywhere, a new demand for real-time news has emerged. This shift, coupled with technological innovations, prompted traditional broadcasters to adapt. Adapting to the Times: One way broadcasters have adapted is by actively engaging in social media, especially live streaming. Live-streaming content has become a staple, catering to various styles of news, from citizen journalism with smartphone footage to professional multi-camera livestreams via dedicated online platforms. Empowered Users: In contrast to the past, not all news originates from broadcasters now. Anyone from the public can contribute and control the news, often faster than traditional broadcasters can. This "citizen journalism" has revolutionized news reporting. Customized Content: Users now have the freedom to customize their social media experiences, curating their own news feeds by following specific accounts or topics. This has challenged broadcasters' ability to reach mass audiences as before. The Voice of Many: One significant effect of social media on traditional broadcasting, in my opinion, is that everyone now has a voice, often accompanied by their unique opinion. This has led to a wave of voices and influencers on social media, creating intense competition for broadcasters. As technology advances, we must evolve, but the importance of quality journalism and accurate news remains unchanged.

Today's #RAJAR reports highest-ever listening hours for News Broadcasting, up 16% to 44.1m, while weekly reach was up 9.1% year-on-year at 6.4m listeners. News Broadcasting remains the most digital broadcasting group! ⚽ - The @talkSPORT network has delivered a reach of 3.4m listeners, an increase of 15.8% year-on-year, listening for a record 21.8m hours - up 31.5% year-on-year. 🎶 - The Virgin Radio UK network reached 2m listeners, up 2% year-on-year, with 11.6m weekly listening hours, up 6% year-on-year. And Virgin Radio Pride also returned to the airwaves for its third season on 1st June. 🎙️ - TalkRadio delivers a reach of 727k, up 6% year-on-year, with weekly listening hours of 4.6m. Year-on-year, TalkRadio continues to grow its audience alongside TalkTV growth across all its platforms. 📻 - Times Radio delivers a reach of 523k, with weekly listening hours up 25.1% year-on-year to 3.9m. The station set a new record for the length of time that people tune in, with listeners staying with Times Radio for an average 7.5 hours a week. And U105 in Northern Ireland delivered its highest-ever weekly reach, up 21% year-on-year to 261k with hours up by 8% year-on-year to 2.2m

🎥 MASTERING LIVE BROADCASTING 📡        In the dynamic world of broadcast media, 📺 the thrill of delivering content in real-time to an engaged audience is exhilarating and also comes with its fair share of challenges. 🚀 Here are some essential tips for mastering the art of live broadcasting and ensuring your viewers have a seamless and unforgettable experience: - METICULOUS PREPARATION: Plan your content, scripts, and technical setup well and in advance. Rehearse until you can do it in your sleep. 📋✍️ - TECHNICAL REDUNDANCY: Technical glitches can happen to the best of us. Invest in redundant systems and backup equipment to minimize the impact of technical failures. 🛠️💡 - EMERGENCY PROCEDURES: Have a clear set of emergency procedures in place. Assign roles for handling unexpected situations, whether it's a sudden loss of audio, or video, or a guest who goes off-script. 🚨🆘 - REAL-TIME COMMUNICATION: Maintain open and real-time communication with your team. Use headsets or intercom systems to coordinate during the broadcast. 📞👥 - AUDIENCE ENGAGEMENT: Engage with your audience in real-time through social media, comments, or live chat. Encourage questions and feedback to create a sense of community. 📱🗨️ - STAY CALM UNDER PRESSURE: Live broadcasting can be intense, but maintaining composure is crucial. Stay calm, even in high-pressure situations, and trust your preparation. 🧘♂️🌊 - TEST RUN: Before going live, thoroughly test your equipment, internet connection, and all technical aspects. It's better to catch issues in rehearsals than during the live broadcast. 🔍🔌 - INTERACTIVE CONTENT:  Make your live broadcasts interactive by incorporating polls, Q&A sessions, or live interviews with viewers. Interaction keeps your audience engaged. 🤝🗳️ - FEEDBACK LOOP: After the broadcast, gather feedback from your team and viewers. Learn from your experiences, and continuously improve your live production process. 📊📈 - EMBRACE IMPERFECTIONS: Finally, remember that live broadcasting is inherently imperfect. Small hiccups are part of the charm. Embrace them and use them as opportunities to connect with your audience on a human level. 🙌🤷♂️ Note: The key to a flawless live broadcast is thorough preparation. What's your most memorable live broadcasting moment, and how did you handle unexpected challenges? Share your experiences and tips in the comments below. 👇 #LiveBroadcasting #MediaProduction #BroadcastingTips #StayLiveAndLearn #broadcastproducer #producer #CEFALinkedInGrowthChallenge

If you are a production manager in broadcasting, you will agree with me: Creating documents for live productions is frustrating. It's a sad tale of our industry, a tale of disrespect for production and technical managers. They invest their time and talent into crafting detailed documents, only to have them ignored. A tech book is sent out, but only a handful dare to open it. Come showtime, the crew is scrambling for information that was readily available in the ignored document. This needs to change. Every member of a live or taped show has a responsibility to study the documents they receive. To be prepared. It's not enough to just read the documents. A true professional will have questions ready, seeking answers before the day of production. In the freelance world, this makes all the difference. Those who arrive at the venue prepared, perform better. They are the ones who get hired for future events. (I get it, you might think that they don’t pay you to work ahead of your show, but 10 minutes to read a document is not work, it is being professional) Let's change this narrative. Let's respect the effort put into document creation. Let's be prepared. Let's be professionals. - - - - 3340 professionals of the broadcasting industry receive my free newsletter every Saturday. Subscribe using the link below: https://drp.li/eUakQ

Legal Alert! The Regulation Amending the Regulation on the Procedures and Principles of the Radio and Television Supreme Council Broadcasting Service ("Amendment Regulation") entered into force upon its publication in the Official Gazette dated June 13, 2024 and numbered 32575. As it is known, media service providers are obliged to inform audiences about the content of their program services in audio or written form by using the symbol system. The Amending Regulation obliges organizations to encode pre-recorded images in news bulletins and programs in the same way as they encode TV series and movies, separately in a smart sign system. The organizations will be obliged to broadcast all of the symbols required by the system after the credits at the beginning of the news bulletins and after each interruption during the program, as in other types of programs. In addition, if the system assigns a symbol or symbols related to a content group such as "violence/horror", "behaviors that may set a negative example", "sexuality" as a result of the coding of the pre-recorded images, the symbol or symbols determined by the system should be displayed permanently in an appropriate corner of the screen during the time the relevant news is brought to the screen.   Furthermore, if the system assigns the age group symbols "General Audience" or "7+", these symbols will not be required to be displayed on the screen during the broadcast of the news item; if symbols "13+" or "18+" are assigned, these symbols should be displayed in a suitable corner of the screen for the duration of the broadcast. As a result of the coding, the pre-recorded image determined to be broadcast with the symbol "13+" can only be broadcast after the hour 9.30 p.m. , and the pre-recorded image determined to be broadcast with the symbol "18+" can be broadcast between the hours 12.00-5.00 a.m.   In conclusion, the new regulations introduced by the Amending Regulation introduce significant obligations for media service providers. The requirement to encode pre-recorded images and news bulletins with a smart sign system and to display these symbols in appropriate corners of the screen for a specified period of time aims to make broadcast content more transparent and audience-friendly. Compliance with these regulations is critical for organizations to both fulfill their legal responsibilities and increase audience satisfaction. For more information or support on these innovations introduced by the Amending Regulation, you can always contact us. #SmartSigns #BicerGuner #LegalAlert #RTUK #Law #Regulation #Amendment

Close to EUR 21 bn invested by broadcasters and streamers in European original content in 2022 This brand new report: “Audiovisual services spending in original European content - a 2012-2022 analysis ” has just been published by the European Audiovisual Observatory | Observatoire européen de l'audiovisuel, authored by Gilles Fontaine and available for free here: https://lnkd.in/e9NM3xwu Key findings include: - Spending on original content has increased faster than European audiovisual sector revenues, while at the same time sports rights spending is increasing sharply. - Global streamers’ spending increased sharply in 2022 and accounted for 24% of all spending on European original content. But global streamer spending has not substituted broadcaster spending. On the contrary, broadcasters increased their spending, at least until the pandemic, faster than before the entry of the global streamers into the European market. - Original content accounts for 35% of broadcaster spending, followed by sports rights and acquired programming, almost at par (28% and 26%, respectively). But sports rights are number one in terms of content spending for private broadcasters, and they grew significantly faster than any other category of programming. - The share of scripted programming (excluding news) in streamers’ spending on original content has slightly decreased over time but scripted programming still accounts for the lion’s share (83%). - The UK and Spain accounted together for 37% of global streamers’ spending on original European content. The share of global streamers in original content spending is particularly high in Spain (over 50%) and, to a lesser extent, in the United Kingdom, Italy, Denmark and Sweden. #Europe #TV #Streaming Netflix Amazon The Walt Disney Company HBO Max Warner Bros. Discovery Apple TV +

In India, the Ministry of Information and Broadcasting (I&B) oversees the regulation and administration of broadcasting rights. The key legislation governing broadcasting rights in India includes: 1. The Cable Television Networks (Regulation) Act, 1995: This act regulates the operation of cable television networks in India and governs issues related to content, transmission, and licensing. 2. The Telecom Regulatory Authority of India (TRAI) Act, 1997: TRAI is responsible for regulating the telecommunications and broadcasting sectors in India. It sets tariffs, ensures compliance with quality standards, and addresses consumer grievances related to broadcasting services. 3. The Prasar Bharati (Broadcasting Corporation of India) Act, 1990: Prasar Bharati is India's public service broadcaster and operates Doordarshan (DD) television channels and All India Radio (AIR) radio stations. This act established Prasar Bharati as an autonomous corporation to ensure impartiality and autonomy in broadcasting. 4. The Cinematograph Act, 1952: While primarily focused on regulating the exhibition of films, this act also covers aspects related to film censorship and certification, which indirectly impacts broadcasting rights for films on television. Additionally, various regulations and guidelines issued by the Ministry of Information and Broadcasting, TRAI, and other regulatory bodies govern aspects such as content standards, advertising regulations, foreign investment limits, and licensing requirements for broadcasters in India. These regulations are periodically updated to keep pace with technological advancements and changing industry dynamics.