SOUTHWESTERN UNIVERSITY OKUN-OWA 15* Semester 2020/2021 Session Department of Mass Communication MAS 409 ~ Station Management and Operations COURSE OUTLINE Week One: * What is Management? e Whatis Station Management? Week Two / Week Three: * Studio Log Books * Essence of Log Books to Broadcasting Week Four / Week Five: © Staff Motivation * Staff Training + Equipment Maintenance * Relations with other Broadcast Stations ® Maximizing Airtime * Managing Competition © Station Image Week Six: © The Broadcast Audience Week Seven: * Program Planning Week Eight: © Program Synopsis © Program Scheduling Week Nine: The Role of the Traffic Unit Factor Affecting Program Planning and Scheduling. Week Ten: © Basic Strategies in Program Planning and SchedulingWeek Eleven / Week Twelve: © Personnel Structure of a Broadcast Station Week Thirteen: e Marketing Functions of Broadcast Stations Week Fourteen and Fifteen e Revision and Examinationspoganensomni CHAPTER ONE ‘WHAT IS STATION MANAGEMENT ? INTRODUCTION ‘Management is the process of designing and mainiaining an ctivironment in which individuals, working together in groups, efficiently accomplish selected aims. It is the orga: nization and mobilization of all human and material resources ina particular system, for the achievement of identified ob- jectives in the system. Management is often charged with the reponsibility of tak- ing actions that will make it possible for individuals to make2 paoicrt DATS a ich an organiza- j . resources by whic! : their best contributions to group activities. messing of a aely to mest the set objective forwtich ion can be Tun ement, by exten senticn 2 4. Station manag' Effective management helps in establishing an enabling abe organization is founde i f broadcast : imum maximisation of br has to do with the opt of a broadcast station be it vironment for effective group endeavour and spendsm the goals and. aspirations time on planning and organizing its resources for optimuf performance. ‘ces for the smooth ronning or T.V. station, so as to meet i ding fathers. : vvoran, : Oe reannrees of station management ar yuma Phe. Y jlable in ¢ «7 in nature. They must be avail erial and fins cial in te tation to be properly run and Management also involves to a great extent the initiat and controlling of such factors as recruitment, promotiogma e discipline, staff welfare, administration facilities and indus tions and other administrative instructions. It thrives on in tiating and implementing approved training policy an programmes and also preparing annual budgets Jot of things, = . agement involves 2 {Ot aie. on orvamaing and gperation to station image and 4ronging fom Fimanagement structure. The management of any radio OF television station plays vital role in determining its programm e policy thrust. it from sectors may be carved out i noe, earner, health, insurance, na eg, law, Svierce and technology, agriculture, education | en get matters and other socially relevant issues. yy, STATION MANAGEMENT Station management entails a lot of things among which pr gramming plays a leading role. All factors of station man: agement revolve around programming, because they exist t serve it: Programming is invatiably regarded as the engint with which station management works, ny programmes is arterly ou se reflec jts broadcast e monitored on daily basis by the Whatever schedule of a broadcast st: philosopy. Programmes are Programming is the soul of station management because sta- ‘tion management is all about generation and transmission of programmes on air waves. Management, as a concept, is the] . 3FOR MANAGEMENT ANDORRA uring trarsmission. ‘The mesting nan and the andience are given the organization policies are omplait d and i i ct jaints are adresse Tents and aire misnes are suggested and Programme monitoring commitee which is made up of heags tar teobnical hitches of departments and the daily duty officers that are sclecite to oversee the broadcast station on behalf of the Gent manager, after the station’s official closing time. The me ing is presided over by the General manager ot his app tee, the stations log books in which he committee makes use of eee the activities of the station, incl d during all its deliberations. During these meetings, the activites and programmes for previous day are normally reviewed and areas of low perfa mance are identified and necessary corrections are Suggeste Objectives for the new day are outlined, with a reminder the stations intention to be the best. During the meeting important management decisions are made and an offici t sity activi memo issued to various departments to intimate them of sud in recording daily activir management policies, oodio or bank is Tee studio log DARE —— c ing stations in The committee also ensures that bivadcast standards as stipiqt only useful for the ea sks useful tothe Na- [ted by the National Broadcasting Commission are met bit dally performances. BN SY Ty ensures as @ the station in terms of programming, and also to make sur@onal Broadcasting aS or television station in the that commercials that are supposed to be aired are aired, and the broadcast code. One way of doing Properly accounted for. In the meetings of the monitoringeountry , breaches ‘i ruled periocic visit to broadcast houses group, the marketing manager ensures that commercial sched #is, is through unsche f thee atdio 1og books. ules are strictly adhered to, The programmes manager en-4nd the examination of thei sures that programmes do not exceded their scheduled time, the chief accountant makes sure that advertisements aired! are duly acounted for; the administration manager accounts! for logistic support, while the chief engineer answers all que-P@ DIC LOG BOOKS epiilatory body, that 0 type of books kept by a tadio or television ome e on the house style of each station. tepitieene e: ments and their relationship to studio op a aNigeria, there are certain log books in use, which cut a its radio and television stations. They include the fol ing:- 1. ANNOUNCERS LOG BOOK This is used to record ‘activities that occur i course of the announcers shift. Since the log b a monitoring or check book, the announcers use say what the programmes transmitted are about, their titles, the names of guests invited and that did not show up. ‘ ten: _.. The log book also records the schedule and actual of transmission and whether it is 2 live or record). Programme, the duration of such programmes, as as the audio and video qualities of such pre ft also records other gencral comme: This log book is an effective channel of monitorin the most sincere assessment of events and experie ii. about a programme transmission in-any studio. ~~ The Technical (Control Room) Log Book is used bi the technical personnel to: i, Monitor and record the technical quality of si nals, emanating from the continuity studio. = oper t the transactions of This log book provides the xen ARMENTANDOPEANTNS Record programme distruptions through faulty equipment and power interruptions. i i transmissions, as on hitches during live : Calas technical qualities of programmes trans: ‘mitted. ital to any studio i Log Book is very vita’ tt a be ent ‘t radio of television. It is a record’ o! ati ily basis. ibrarian on daily nee folowing vital informa- io, video tapes, reels, rhe number of audio. vi 3 oat ‘disc, gramaphone records, journals, and where they i ¢ and characteristics 1 ee focaled in the broadcast library. 'ds;-o6 i id Movement of tapes, Tecords; oni are the purpose of such withdra i i rly booking The og back meals a5 10 eb ey eee to track them easily, since ae ides information on who took what, Aare materials are due for retum and who ‘pooked for what.The list of archival within the library materials and their lo peed audio and video cassettes for ission on daily basis and a record of their fer to and from the’ studio. Raley Manager's Log Book is the exclusive serve oft & oule manager, As the head of the r sia ceps close watch over proceedings reeds programming, transmission and the suc - al specations in the studio, The log acts as a ed 2 is roles, activities and those of ae nates during any programme recording: mission in the studio, With the log, he is a —— of the timing, souree, title, quality and sponsors of programme aired i i ropa and records his observation and ah Progra Schedule Log Sheet is made up Hieron a the broadcast station programmes @ det ae sheet is usually compiled by the oo a Sores with inputs from the cot a keting department, about commercial s that will be aired on daily basis. The log sh rd also includes slots 3 for ma motions x the station’s programme pi sre ence ARDOPTRATONS Music Log Sheet is usually integrated into the gramme scheduling sheet, however 4 few modern jadio stations separate the music log sheet. “jt igused to record all the anusic played in a day's Gans” mission, the titles of the albums, label records, year of publication, the artistes and time of broadcast. This allows the station to have a valid record of all music = played at any given time and the royalty payable to "the artistes. It also serves as 2 soure® of evidence neninst allegation on breach of copyright laws. Duty officer's Log Book:- Since the chief executive of a broadcast station cannot be available throughout the daily broadoast period, some ‘proadcast. stations roaster their management staff as Duty Officers on daily basis, between $p.m., and closedown. The duty” officer functions as the head of station-within this period. He approves all amendments to the daily programme run down and accepts the responsibility of emergency advert placement that ‘have not been in- corporaied into the station pr broadeast for the day, The transmission director Yiaises with the duty officer when he confronts any problem that needs an urgent solution or management input. All these activities are logged in the duty officer’s log book. The duty officer docs a critique of the contents of afl “ a)ESSENCE OF LOG BOOKS TO BROADCASTING: - 2, They help a broadcast station operate within if evan AGEMENTARDOPERATIS _ ___ stim nacaenr amore, a Log books allow for qualitative and quantitive rogT ired and records hi: 4 ited. programmes aired is observations. Lo ment of programmes transmit also makes suggestions for future programmes. provement, He collates all the log books for the: and forwards them to the head of the broadcast tion, who in turn presents them for deliberation at daily programmes committee meeting, with the officer also in attendance. = ; svly i get is more effective! , tation’s annual budge! n a eared through effective monitoring of humen i Ys material resources provided through log books ould serve as exhibits for any legal io log books hibit eer jnitiated by the station's advertisers: They help a station know how it is fairing in tems. its programme output. ve jnaximum output, there is the at staff: i vat ith individual needs, pers ‘on, Motivation deals with in« ee ‘ i rkers respond to di oe a fecling of aries, entitle- philosophy. ces and ways in 4 aft ds. This is achieved by giving the ES ‘i ing, through prompt payment of st There should ‘and a comprehensive welfare packing .d are consis reward, ste fs ations reward ex- st of fact, a ae vation To Suty quarterly oF yearly through bromotions, salary advancement or cash Bits Through log books, truancy amongst studio persq nel is monitored. Management deliberates on daily basis on the I books, so as to know the strengths and-weaknessij of its organization. They allow for management to know the efficien. 5 each givisional head ensures the proper ange or level of the station’s equipment. ‘Fictivities in his unit and writes letters of comment Méserving staff when necessary. ansecon AN AOAENTANDORERTINS seen seaney lau scmnentaNDone ~ CAST STATIONS - BLATIONS WITH: OTHER BROAD STAFF TRAIL ' _ Groadeast station can be an island on its Own. Toei Behe newt interact with ater stafions for oe" ammes. Stations also interra‘ he le i rofessional odie like the Broadcasting Organisetions N ria and also at the level of “Television Africa”, ee pe neb tk that has affiliates all over Africa. These . Be avportanites where chief executives of broadcast sions discuss issues that affect them Another way of motivating staff as well as keeping abreast with developments in the broadcast industr through regular training programmes. Landy (1989) defines training as a set of planned activi on the part of the organization to increase the job knowle and skills or to modify the attitude and social behavioy its members in ways consistent with the goals and req ments of the job. There is the need for both in - house t ing, outside training, as well as crash programmes, and symposia. Training must however be done in such a v4 that they do not affect a worker’s daily duties. i ‘lation- is specific station to station re‘aliel Hom this, rere cae has working relationship with casting Corporation of Oyo San COS) seo ie i c for Té » 00 each other's promotional ae ie ese a a a ° it. shows e.t.c, free an just as MITV has with Minaj-Broadcasting reement with NTA 2 Ch: frogramme exchange relationship There ought to be an annual budgeting and time table & ‘training, However, it is realised that no matter the amount remuneration and motivation, no staff can remain with motemational. organization for life. To avoid a vaccum when capable han leave for greener pastures, there is the need for constant taf _ . ent int in order to fill such vacancies when they are crdfQUIPMENT MAINTENANCE ated. A governement station like the Ogun State Broadcast i ing Corporation (OGBC), over the years has been involvelN© station oan be without Wet’ MOM pact be con in discovering and training talents for other broadcast stapatt of the engineering unit. These 1h the technological de- tions. Btantly retrained to keep abreast wi is a major fault, ‘hnands of a station: However, when there 1s cll trained engineers who are 13xan KRITANDORERONS ‘h noe acceptability through Researe! extemal hands are called in, At some instances, both Mijzgnnine actual andieno® "1 peseasb tous and OGBC have had reasons to bring in foreign enginéjagia Services (RMS). ved from theit listeners. Nigeria Tel st are receiv oo (NTA) and a few other bre be to RMS research findings. oadcast stations Every station must ensure that its maintenance crew is at alert to nip problems in the bud when they arise. Tin repairs should not unducly be long because loyalty of dl ence and sponsors could be lost, if a station gocs off ail too Jong. When you have to call in external engineers, fA aot musteatch-in on their wealth of experience by making sea very competitive one. Theri work with your own engineers. This makes for exposure @ye broadcast industry 18 & to get into the bead OF train ess should be allowe ont esearch ing. olevel of eae ives, There mmst be consist ations station EE Or through research based OTEATE thet-in - i i tion on oft ich provide informat ee stations and their PIOHeTmpetitive edge is to enstle No station can afford to waste its air - time. To ensure @pitier way of maintaining ST) ansmission a8 this equate maximization of air time, attractive audience bagthat there ae 00 reason station’s audience to His com programmes should be produced. Large sponsorship is may shift some of @ broadcast indication of progress for a station and those progra that are not sponsored are reviewed and polished to meet i with desired standards, To ensure standard, all progr must be-monitored, Their strengths and weaknesses must lf x-rayed and discussed. AGING COMPETITION MAXIMIZING AIR - TIME anim titors: ogramnmes of its compel ivor_the Fee) programmes of theirs ae rich progre a vos wus ‘be analysed as t0 ee tivity. A competitive roa at Pin the trends in the society station must m0) on a daily basis to similar, Such programmes Televance and audience oufit must keep changing with ‘will enhance performance. Some programmes may need to be repositioned, while ot ers are updated from time to time. Those that are unattrad tive should be rested. OGBC embarks on audience researdl 15sc AHGEMENTANDOPREDSS i d perhaps even is d feel, where they live and Ps oi a ‘hey eo pefore we can begin to sames which will satisfy their needs. STATION IMAGE The personality of a station is sometimes referred to 4 image. It is the responsibility of the manager progr: design and build the stetion’s image. The kind of m cializé casting, jalized branch of broat eds to know something about s ammes. [ andience and the audience reaction to his roe ae shout this ind of information, be may wins ed and also fail in his primary purpose of < e research is a Spe ‘every programme maker ne Programming, its intergrity in news reporting, its app to its audience, its identification with its listeners andi microphone personalities it uses, are all part of the stat image. When a station has developed a popular image, it can begin to tackle generat social problems and comm, 11 - established techniques for audience Swves~ playing a leading role in national development Fa ther antitative surveys and quali- there are two kinds: qué ermine Outside personalities who cannot Lift the station's i rj. The quntive survey seis out 1 eT higher should be discouraged as on-air presenters. So a many sets are tuned in to a particu! 1 gives statistical are minority programmes catering for specialized sophie trescohout each day of the wee! and it indicates the cated audiences during mass listening or viewing times. mation in percentages of sets in US€ sous progranties. may cost a broadcast station its audience. It is through | use of personalities that broadcast stations especially ra can gain its large audience. Biative popularity of a station and it ot itati tells something about nth tative survey, tells som ‘ en a ae accepted by its audience Qua Beery ofarkind takes place whenever We a gen Ginion Tee programme throngh a letter fom « lis h viewer or face to face. THE BROADCAST AUDIENCE The more we know about an audience the better we are abl to serve it. It is essential in-good broadcasting to know 3 actly for whom each programme is intended. We must kno the size of the audience, its attitudes and general outlool Jitative survey is to organize ic technique of the qual eho feena pols representing members of the audien@ nanan ae have common interest in say, music, drama, talks, news so forth, ané who come from widely differing cultural, § cational, social and economic backgrounds. By polling pancls from time to time on specific programmes we learn much about the audience reaction to them and wit or not the message is getting through. . CHAPTER TWO A aseful and inexpensive wey of leaming something the audiences and its responses to programmes is thra the audience letters type of programme, A Pprovoe: programme cf this kind handled by a leading station per ality who solicits opinions about programmes can relig§)GRAMME PLANNING AND uusefill information. A careful analysis of the letters will ING to light many facts aboat their authors - educational and pUL alc background, sex, age, community standing, place of i dence in addition to their reactions to prograimmes. RODUCTION er a. ation and plan ng means an attempt to forsee future SE has to aris it In'terms of station managment, plane’ Goswith programming and how they are re enere ‘simage for hitted on air waves. It also involves ereating 6° : he station, because the quality of Laan * p tent, the good image ol -—_ : adyertis- i ial, planning, the audience, the marketing potenti 19__ sear mi GENTANDONUTIONS relaxati r i 6 tic a ferepion dlc they could also bej ji Pea = aioe ; i fe process. ‘They include am comic talk shows e.t.c. artis involved. After this step, ascript writer wnles ackaye of the programme, then the programme is ‘After production, (if it is aot a live programme) bers of the department listen to or watch the ws ig enstire that the producer-has done a good job. pecially comedy, variety PROGRAMME PLANNING samine is allowed to be debated and if find suitable, A broadcast stati . : ‘eertified fit for transmission. | ta rogramming, some factors should aot objeciisedules in accordance with the targetted audience It In- i pe | pabinto gon each, beit the vorparate world, chen ofthe em ) Bt aso decrmines how information or eduestive ammes will be and their duration, putting frequency Who i ae ee the target audiences? Are they the nur 's, working mothers or the house wit iGast into consideration. There are also programmes Jéw to know whether the requited impact has been made fd whether any of the programmes has outlived its useful- 2) Wha (2) What types of programmes should be used to add the audience? Should they be designed as feat ? I designed ign featil Fall, time mangement is a key factor in programmes plan- and scheduling, because after all have been putin place, is the studio time check to guide the producer and the of the production erew in the execution of their duties, Fince time is money. There are annual, quarterly, weekly and laily schedules of programmes and commercials. Proper ecords of transmission are kept for future references. There : also exchange of programmes with other production cen- es and related bodies. The approval of guests 10 be fea- G) WHEE HES wi Whee ae will be ideal for the programmes to b ted? Is it prime -time-or non prime time? “ Alter these steps, an intervi wie ‘ew might be carried to conclude on which step to tak Tn re i ‘esources planning, finance comes in and this is whet 23se NAAGREENTAND OPERATIONS tured, artistes fees, the Participation in national and tional programmos activities, are done regularly as qf Programmes planning. . Programme planning involves several stops. ‘These stel concept, programme funding, scripting, assembling th esti wi the story line This is the stage when the st is i lly production. written as tualised into a script. The ae ne aswell potng serps, srectr’s or rodcer' sip a5 Ne! ie : artistes, The script would aah yut it ac- s-fo Le 101 : er important because ‘sion sues he ourauté interesting would not be tions to mi properly carried out. 1. CONCEPT This is when an idea to produce either a drama, d mentary or talk show comes up. The id nurtured and developed. Once this has been ~_ the programme’s objectives are set out bearin ~_tind-the type of audience the programme is for and how it will benefit them as members of! public, as well as what the station stands to bei from such programming. ke part in t are those who take pa th ston, Fey ata te srt ern Soe ee errata of the script. oe Deere: their roles and make sure they get it ri cording or live production. 2. __ PROGRAMME FUNDING When a programme has been developed, manag ment is initimated with cost implications which normally include equipment hire, production expen including artistes fees and the welfare package for tf PRODUCTION The production of the programme involves the tech- nical crew, the cast, the jor, and the producer. crew, th , the director, and the prodi All assr masiseinasans .e title objectives, audience and duration. It also sponsorship potentials and programme "The synopsis is usually stated in the producer's d every producer must write a proposal for his "The proposal is the blue print which contains eof the programme in focus. It is the proposal that the approval or rejection of the programme of “the station management, through its programme these peo; it ple play their roles i es les in the suc a Bf a programme. The director heats ta See eG oe to perform their roles, The tec meme ae gins the actions of the cast, wh; @ Tushes of the : » products iting sui vitere he or she edits with the ‘aon + In in puttin i is certified for iauiion Peneeeitts PROGRAMME SYNOPSIS ‘ome of the survey would determine the title of the of focus, The producer, through sesearch and ‘needs to brainstorm the public or the audience to de- mn what the title should be. He should look for Programm . sioeae ue Spi is consequent on research which 1g informati ‘i mca rlerences Of well researahn) ey OUeH Ale clfakgroundes on tho issues and give ttle Co the prezromess ich is done by speaking to other ioukded B ete expert perspective. The title ought to be harmo- ablized with the programme. cope on i : Peopic on Issues in question ( Onabajo 1990 271). should-be shert, punchy and meaningful to the audience. It is research that t Would determi: termine the relevance of thifare should be taken when deciding on title because itis the attract the Programme to the a ndience, I In other words, People’s reftle that destroys or sells the programme. Tt can dience to, or aleniate them from the programme. 27srt MAPACEENTANDORIATNE —__-- _FTONNAKACANTASIDO PROGRAMME OBJECTIVE andience of a programme whatsoever must be in- the proposal of the programme's producer. This is esearch must be done to identify the problems of the ioe, their level of education, life styles, e.t-. Hence, producer must beat in mind that there is self - censor~ st the audience;they may respond to information, not adequately comprehend, if it is contrery to their pentation. me are lve siete for the production of d e can a pro; as 4 Ea ly Pepe ce ae ean enlighten the listeners and the viewers, At inowledge i cons be to promote, broaden and de oad norance and iit audience. Tt conld also be to eradicat station and th: feracy. Objectives depend on policy off at of the programmes sponsor. eg “wants of the audience can be known through audience and through feedback fiom them. The feedback is ally done through leiers and phone - calls. The Sever of the audience cannot be overlooked. They have the ‘of adjudication and selection, especially in this com- The viewers go for of life und tieeds, This nce ir soci group of individuals varies accordigetitive era of television broadcasting best station that has qualitative and relevant Prograie TARGET AUDIENCE Every programme i is assumed to have it; i i band could a programme be pallid woo ae vane eat the characteristics and life ~ styles of its aud pe meee ck ofa ene should ask. himsele 0 are the tar i it the tease ; get audience? Whi i particular time and what will be the best Gels d a them? What are thei “ iT needs a and how best can their progranifitfor 1Smins, 30mins or 6Ominutes PROGRAMME DURATION ming is an important factor in programming. There is al- ‘amme. Programme du- ys time constraint for every progra will be running, Is ion is about how Jong the programme ) Will it run for one quat- 29“Such a programme if required, grainme must be sustained .. Every broadeast pro} meee A as 2 site of the inputs into each week’s edi- Gano gramnims fy articulated, docu- .¢ should be propedl : 3 ST orhanstively discussed before apes a yy the programme planning committee °s transmission. ter which is made up of 13 weeks or more. Also, inclug the programme duration will be what time of the dale programme should be wired for effective audience 1 When considering the programme duration, the target ence should be at the back of the mind of the producer is because ideatifying the target audience would hel producer know what time of the day, the audience more likely disposed to wateh or listen to the progr IME SCHEDULING it own sched- sifoling, different departments prepare their sie on the number of activities svat eg fhe oom. partm: chedu ent ares its Own St tae et of ommereals available and the wrgney a ine . in monetary terms. The - ¥ ean abe base their scheduling set T comin allocated to them per week of transmission, SPONSORSHIP POTENTIALS therefore goes without argument that part of the pl stage of a programme can include Sponsorship potentials Sponsorship in broadcasting of private bodies to bank roll emails having either corpofl the expenses, air time, persé The type of audience being addressed. : eS, 2)... The time suitable for the various programm: 1) The mood of the audience. 31sea MAKAOEABITIND ORATNS i it th verifies if commercial unit which veritic scheduled at the appropriate eee e studio control room to, enable what to direst at the right a Jule he cannot worl its include the Js paid for ar so-sent to th director know ighout the programme sched (4) The type of programmes aired when compared toi broadcast stations and the time of traismitting programmes: (5) What the clients want and the time suitable fa transmission of such programmes, pooth to enable him at the appropriate ke place on daily also sent to the announcer’s 3 ai ‘ogramm syhien to usher - in a pro! {I these activities in the traffic unit t When all these have been considered, and appropria search conducted, a good programme schedule is mapped out for the days, weeks or even quart programmes, vit works towards the betterment of ae ee many ways, The traffic unit is being ie traffic of from early in the day t6 close down ‘a the following gad his assistants who are responsible for THE ROLE OF THE TRAFFIC UNIT The traffic unit in any television station is an informal unit. All information concerning programmes, commercie and promotions are sent to the traffic unit. It is in thi ‘ that they would be properly scheduled to the right time af cated to them. On a daily basis, the programmes depart writes out the programme run - down for the day and. it over-to the traffic officer who incorporates alll the cal mercial commitments of the station into the progra schedule. After all information have been gathered, v out and typed, copies are sent to the necessary units whid make use of them on a daily basis. eparing orders 11 n advertising agencies. iS ‘om advertising i ih Preparing commercial advice and sending them to the accounts, department-accordingly. are col 3) The casseties for adverts for daily schedule lated and taken to the studio. i 4, are (4) The cassettes for ine adverts having Been use : 33Oa ster nomi c0 0g also withdrawn by the unit and taken back to are factors ‘ereial department “tation is set up. Unfortunately there i ; factors that prevent the programme effectiveness, fao ° seeking its planned objectives. These factors = snade stem from inadequate funds to the own: em of the broadcast media. (3) The unit is also tesponsible for handling smali such as personal paid announcements, obitug birthdays, meetings e.t.c, (6) The traffic unit compiles the station’s commerc down on daily basis and thisis sent to the pro; department for Integration into the daily prog run-down of a radio or television curity of programme ideas. uate trained manpower. The chief traffic officer makes sure that all these obj are achieved on daily basis by co-ordinating and sa ing the operational staff, preparing master schedule, ‘Schedule-and draft contract. Sor production facilities. J. consistencies in programme planning and schedul . At the end of each day, the traffic unit ensures that ents order are effectively executed, clear adjustments uj and all the necessary copies of certificates of perform: are issued, 4 presentation of programmes. P 5 grammes ate often cancelle: aa notice a : ‘inmost cases no ammediate alternative is provided i ate Replacements are sometimes not adequ : been FACTORS AFFECTING EFFECTIVE PROGRAMNG . ‘ the programmes that have No printed guide for the p PLANNING AND SCHEDULING scbtulel e-uroedeast Programming being the Key factor in the operation of a broalt”8. Poor programme quality Higher ligh cost of programme sti vision programming proclocton eopocially 10. Lack of adequate programme and audience res II. Bureaucratic bottlenecks in station operation. ft lanning and scheduling revolve d quired audience at atime it is ig or viewing. There are-basic strategies adopted in scheduling. These strategies are ‘contribute to 2 station’s ap- programmes pl e strategies are Flow, Blocking, Hammocking, Lead - \d Lead - outs, Tentpoling, Counter progamming, Stunt- ‘Stripping and Checkboarding. 37reAND ORATION: _ soon aesasinant nr mnsemannanl a FLOW i i iod is known as i during a time peri ante similar shows can ince 8 es ~scheduled to last 2 hours, or as may soe opera. Scheduling programmes int et » e flow forward to later Or ee i st programme ee ants to agp te following programe en ammes planned in block also bring wo toguie and do Dock booking of ane a 7 a Blocking also comes to play in deca ure mmes: : : ; scheduling in block to app ; : aa male and female progranmes in @ SC] Programming strategies revolve around the principle. dhence flow, which is the delivery of an andience fin: show to the next. Ideally, the viewers of one show ‘Te strategy in building a daily schedule is for the firs “in the day to capture the audience and then flow it to s quent offerings. For instance, shows aired at &p.m. are pected to gather the audience for the evening and delivel much of it as possible to subsequent Programmes. ve two 2 aker show between for bracketing a we mock is Es shows which are called Pea one ae supped Practice. This dificulty stems from tho competitive 10 two sffong posts, hammocked Sve posts are, the broadcasting and the availability of hit programmes d Would hold audience attention, Therefore, many sire are employed to support the goal of flow. 39xR ANCORPRATINS on the half - hour. Shows are placed in hammocks Hips they are perceived as not being sufficiently strong i large audience on their own, Some hammocked shows become strong enough to bd out of the hammock and scheduled as post elsewhe scheduling a0 alternative grorranss fo Oe arnme the competition is offering. me pi Ives targetting a secondary demograp © ba served by competing stations i nA na Cool FMis effectively doing this ‘ h ae Nigeria” show, aired every ee y predominant available demographic OMB tals nd by advertisers, such os et ast ai. vhile to target an unserved secondary audiesce -it-is sufficiently large to justify the strategy. LEAD - INS AND LEAD - OUTS These refer to shows that come before and after being examined. Typically, the more important show’ lead - in. A strong show that leads a daypart, usually: time; is called ANCHOR SHOW. = Leads - ins can make or break a show, and weak lead “and anchors can main a whole night, When the posts go there is no support for the shows in the hammocks but: strong lead, weaker shows can survive and even prosp y om -ease of involves something highly Nossal = < it jal or spectact amit i ee away fom accel compet ne mich of a programme rating success er és al viewing, breaking viewers” babils oe = ka ‘power of that juggernaut. Thus, @ network eee me s to air a chartbuster movie of poo es cet ea atin gat wee oak aCe it opposite a highly suc a e e planaing and after news. This helps draw those non - news viewers tol ‘Nigeria is doing this sort of PX ets ee es station. ‘Pheduling. The closest to +18 NIAs fi Lead - outs are important, but less so than Jead- ins: tend to be more important, when normal blocking i broken,-as with early fringe dewS programmes whicil usually presented with other programme types, In this tion, a lead out show is used to regather lost audiencé 4\| } | srr an AND OPERATIONS TS ee re Fiera the various sports competition like the World eup 4 _ Nation’s Cup and what AIT likes to do with the es ifferent programes are placed in the ‘Palace’. This strategy creates a dilemma for the aud actice where differe ae IN uses this strategy in Should they watch this wonderful one time rome ee ee amon - Nphishit. The promramme is stick with their favourite? Often they go with the a OF ts Pret stlows the audience members to case they fee! thay can shways sce their favourite prog ach Wy that Oe that should be used. for at another time a ee aided advontge is that it a a a eS se sn tat viewers would lke the variety of di ay i at night, jst as hey tke the daly change This involves runnin, i 3 stime shows. STRIPPING While stripping is a great convenience for viewers, there i problem for the Programmer when unpopular shows be associated with a time slot.It takes-a lot of promotion make Viewers get used to a new show in that slot. 43seen nen nO material and financial resources of the station, with the station’s broadcast philoso! ‘ioadeast code, This 1s achieved «vould SU- controlling and co - ordinating the s divisions of the station. He prepares an reviews the standard, contents, © CHAPTER FouR of broadcasting. ‘ofie that submits the periodic rep* o ensures staff development and encow'a} development towards excelleace. orts and sovounts ges profes- THE PERSONNEL STRUCTURE OF A _BROADCAST STATION ‘GER ADMINISTRATION responsible to the General Manager, for ion and development_of the Administrativ" THE GENERAL MANAGER He is the headvof the station. He i of directors of the organization for the efficient mobilisati 45_svarneniasinen are welfare sorviees, that is, canteen, transport and ;. He assists in personnel functions which witment, promotion’ advancement, discipline, istration and industrial relation. He maintains rcdy of statutory recor and files, initiating enting approved training poli 5 out any other duties as assigned CONTROLLER OF ADMINISTRATION He presses information requited in the formulation off ies and suggests actions on problems tat ha aris inates and implements approved stall weltre rg such as medical, housi ; , honsin, tes. He also processes open fe chen to Fin al) matters pertaining to general administra collects administrative data and reports apd main- jonnel records, PRINCIPAL ADMINISTRATIVE OFFICER He is fesponsible for the day a ous department. He i of the registry, He handles perso ich i reritment,sletcn, alaty adnate se ey upgradi o assists in serving working committees and in actual ntarion of approved staff welfare provisions, such tical, housing, transport and recreational facilities He prepares month me d administrative staf develomment eer aoe ane collates administration monthly reports and data He com- sinnd maintains accurate staff records. He ensures regu ar distribution and completion of confidential report He érvises and controls junior administrative staff and also He reports directly to the Pri to th istrati ‘rincipal Administrative officer jorms other duties given to him. SENIOR ADMINISTRATIVE OFFICER AT_SANICR MANAGEMBITAND OFEEATENS MANAGER FINANCE / CHIEF ACCOUNTANT | @ preparation and control of budgets. a oe les taxation and revenue generated by za Fe aanranc of all the authority's assets 15 part in He is responsible to the General Manager for collatiny budget of the station; obtaining flands for the authority safeguarding the funds; ensuring econcmic efficiency by budgets, analysing and evaluating projects costing ang vising the station on financial matters, "ER PROGRAMMES is also the head of programmes His role is to the case may be. His aera ata ho wor under in, and all ames produced in his department CONTROLLER OF FINANCE ger programmes He is responsible for co-ordinating the day to day activi of the department and ensuring station economy by taining a budgetary control system. He receives funds cluding commercial proceeds, revenue allowance et: safeguards them. He supervises the accounting staff. or it fr troller to sea : rs staff from con! eaior = sas Cameramen, sid econ ie a V ¢ a daily-bas @ Manager programmeson a di ae for the ‘day's shift-are properly Ne coe sduction is also properly done and m\ tise = a sures that all commercials for = ore a one end e aired at yuncements ar and other spot anno\ E oe inte tne He assesses the commercial log PRINCIPAL ACCOUNTANT He assists in preparation and | control of budgets, He pre and compiles taxation and revenue; supervises other accai tants and handles the insurance of all corporation’s assi and finally undertakes any other duties that may be assig and if he discovers any to him. a 2 © monitors whatever goes onal se ee stake: .¢ in production transmission.| inowt aly estate meetings of management. H 49—____saimononanmascg sure that copies of paid commercial slots are sent to ti Propriate sections, For instance if a company pays for; mercial, it is logged and copies of the paid commerey Sent to the accounts section, one to the marketing d ment, while one of the copies remain in the logbook fa crence purpose. He makes swe that all programmes ard pared and properly scheduled according to time allocat them. He also supervises live shows in the studio. tends to independent producers and people who mak quities on programmes on a daily basis, He is respo for the efficient operation and development of! Programunes division which includes making recomnia tions on review of artistes fees from time to time;advi on participation in national and international programms tivities; and participating in the overall Management ‘Of the station. ci ation and develop- ees th the aig of junior programmes staff; post t programmes, conducting post sooner: : “ of programme materials and market centre. a rational efficiency get te ee ps See sta pang schemes; keeping reget of Bing aristex co-ordinating the activiues oe Me liaising with engineering or production aduction facilities. — _ CONTROLLER OF PROGRA MMES 5 MARKETING He trains the programme staff and supervises the prepa ANAGER MARKETI : nd . tion of programmes schedule, He su «ata ime are sold tool ybituary an- vertisements ol : fe who work fhe manager marketing ensure ales a Ents who want to run spols, ena? founcements e.t.c, He also makes sure that en ee ‘Border him that is the ficld marketing officers go 0 i in role for advertiscmont to be placed on the station. The mai $1, ES en MINAGEMENTSND OFRATONS (OR MARKETING OFFICER al marketing officer. He pro- ith media manag- cies, He mont verts paid for are properly scheduled on a daily basis § sent to the traffic unit. He also makes sure that all advalgreports directly tothe pnmoiPe ‘ces, including lisisimg sin advertising agen’ video tape recording unit (VTR) where they would be t nd accounts executive sme to time and perform _ mitted. The marketing manage: ensures that all adverts piigeand reports market seoune GoM ‘tate to for are properly filled in the payment forms which wouldlgy other duties assigned 10 hi. sent to the cash or accounts office, — ; T AFFAIRS He promotes sales through adequate client servicing and. [AGER NEWS & CURREN’ search. He ensures all commercial operations are in act dance with advertising code of conduct and relevant mercial laws. He also initiates commercial policy which: clades rates discounts and commissions. stesponsible for the efficient managemess Esl, News and Current Aus : a the growili of the News Hed i ctring out plans for the gr ne Se ON sion Jiaising with other broadcasting ot fessional bodies; ensuring that the content on Ces t affairs programmes are in conformity WD. ona and the laws estabilishing the broadcast station. CONTROLLER MARKETING ‘He maintains high standards of day to day commercial erations in accordance with the commercial code of con and the station code of practice, He ensures effective exer tion of all commercial contract: and also conducts audies and market research activities for client services and sali promotion. E FAIRS CONTROLLER OF NEWS & CURRENT A¥FAI e's inatil y ities: He is responsible for co- osdinating the day to day ac ie of the division and ensuring operational amici ace Ttandard of news and news programmes. This, he does itoring and storing reports CD ' a saernscosny action; Jiaising with production. servic operational staff and take es de-__ seman wan AGeTANDOFERATING amos wacauesranocé partment for production facili ’ : coment i ad daily editorial conferences M4 259 Presiding, ssistANT CHIEF ENGINEER le for co-ordinating the day te day activities tion heads and ensuring efficiency and high standards. He does this by undertaking medium and long range plan- ; reviewing specifications, standards and codes of per- mance from time to time and represents the head of engi- ing at technical meetings. PRINCIPAL EDITOR js responsibl He is responsible fro ensuri 0 nsuring operational i u u effici she te zpproiate section. This he ee ant press laws and the NBC cod weed other bodies both internal and extemal and 2 an mie Pages assists in the irs is responsible for the efficient operation, maintenape™ proper installation of the station’s mechanical, electrical mers and power suD- SENIOR EDITOR ad civil works including air conditior ies of technical officers at germ oe Nae Teporterisub-cditor at a lary al mt ‘ s0 co-ordinates and supervidh, several news shifts, CHIEF ENGINEER |MAINTENANCE OFFICER He undertakes necessary safety precautions for personnel and Hcquipment protection. He also erects and maintains overall Support structures, including moving and fixing parts, greas- ing and painting es necessary under supervision and finally performs other rigging duties as the case may be. ants and eq ides subordinate e1 Plants and equipment, He trains and guides suber: gincers and he also initiates development and improveme 55CHAPTER FIVE THE MARKETING FUNCTION 6 BROADCAST STATIONS INTRODUCTION ertheless, will bring STING WAN AMINE: ANU OR all staffer i eee encoureged-to-initiate-ections pile es le station. Often, small advertise: ren Mate niet ig department for advert placements, eee 0 solicited for, through allocation of. ea certain events such as film shows, cultura competitions e.t.c, However the bulk of ad _snmcny anni ANO OPERATIONS ing patronage come through advert agencies whose hedia departments liaise with marketing department of adcast stations for programme sponsorship or media ents of clients adverts. * he media people are the Jink between organizations and he advertising agencies. Their success and effectiveness apend on their ability to represent these organizations in Fé media to their satisfaction, while keeping within the pa- jameters set. ivertising agencies are catalysts which help bring about e in corporate image, goodwill, promotions of prod- mois, awareness of a product and educating the consumers hough communication of appropriate information. This Secuires maintaining right standards within the organization, being fais and frank, and adopting an accommodating and conscientious approach towards the media people. ‘ADVERTISING AGENCIES AND THE MEDIA advertising agency must not only got along with its cli- nis or their representatives, but also with the media. No matter what advertising objectives a company may have, it is essential to cultivate friends in the media. This ig achievable through the following ways: 56 57MARKETING EUNCTIO: T CAST STATION NS OF A BROAD The marketing department j ! i of a broadcast station i | sible for canyiag out the following ncfons: . 1 2, am yonvcmnerASDOPELAHNS __staTON NenkouanntaND cr Marketing research. Client solicitation, capturing and servicing. Development of new programme idea to suit what the market place desires. i Marketing, planning, implementation and control. media house is its life and Respondit Responiing to the request of the communica Making the media ‘ rte people aware of dah icy thoin te agen adverts aveilab Calling for 4 creative development of ideas and ca ser, maintaining and nurturing liaison with the mg : ae cose initiative in making the media ive jents is so its clients ideas, philosophy and inform marketing department of aay ‘the activities of other integral parts teyolve around what ike tnit does in this wise; much of the revenue expectations “Gof the organisation are generated by the unit. These are the Sh\lowing functions of this ‘unit in relationship to advertis- agencies: PROGRAMMES MARKETING : Sosa ious programmes of the station both In this wise, vari J are packaged for sale to interested Programmes marketing, ‘orslen ea al Agency servicin; a sponsors who avail themselves of the opportunity pre- e sented by these programmes fo advertise products and Airtime sales. services: Events marketing. 393, ——In this situation, they have dircct clients who book fc 4. SION WAR ACNE AGENCY SERVICING Most of the businesses that come to the media hou are fiom the big time advertising agencies; thus need to be in constant touch by making available them advertising rates, programmes schedules a svnopn . Selita their decision process in includ 2 some broadcast i i i Bggmme brates natonsin the media planning f AIR TIME SALES _airtime space i.e churches, independent prod which ae he other means of pttng fina for te besa cast stations. pene ete poe EVENTS MARKETING This involyes the creation of special avenues or programmes to generate money for the station e. Trade Fairs, Marketing Concerts Planning, rates Orznisation, Wold Cup and other Sporting “neti. | 60 | __sunem nascent AND OPERATIONS MARKETING RESEARCH Here the marketer acts as a medium for information gathering and dissemination to the genaral public; Te gathers information as regards company, products! programmes, pricing e.t.c. and communicate same to management for improved marketing decision and as a corrective measure, CLIENT SOLICITATION, CAPTURING AND SERVICING The marketer makes direct contact with clients, with a view fo getting them to sponsor programmes, or ad- vertise on the station and when this is done, the next stage is to service the clients thereby ensuring that they are satisfied with the quality of programmes and ser~ vices they receive. NEW PRODUCT / PROGRAMMES Ideas based on the feedback got from the market and clients marketers are used to make in- puts on how to improve on the quality of stations programmes, output and presentations.STATUN ANAGITARD ORATION MARKETING PLANNING AND IMPLEMENTA- TION / CONTROL Marketing platining involves setting out, forecasting | what is to be done in future, which involves budget ing, target setting e.t.c. for a period of time, while the implementation deals with the aspects of carrying out the plan in order to meet the corporate goals, Control comes to measure actual results attained with fore- casts/plan with a view to finding out reasons for perfor- mance of an advert/programme and improving on it, The main link between the broadcast media and the adver- tising agencies are their media executives who perform mar- keting funetions:-all adverts pass through them and they also g0 out to source for advertisements. DUTIES OF AN AGENCY 1, Helps advertise clients products and services, % Link the client and it’s products with the broadcast media, Helps to provide maximum media coverage on cli- ents’ products through advertisements. 62 4, Helps enhance clients corporate image. Helps increase the familiarity of client and its prod- ucts e.t.c, 5. THE RELATIONSHIP BETWEEN ADVERTISING AGENCIES AND THE BROADCAST HOUSES 1 The broadcast media executives come to the advetising agencies media department for their day - to - day businesses to seek for advertisements, so as to be able to generate revenue for their stations. ‘The broadcast stations solicit for adverts on daily ba- ea daily sis and try to make friendls within the organisations and the advertising agencies. 3, Advertising agencies go out to solicit for the most appropriate broadcast station on which to advertise particular product or service 63