How a TV Station Works

 If you're wondering how a television station works, it's worth taking a look at the different departments that comprise the entire enterprise. From general administration to sales, from programming to news and advertising to engineering and production, you'll find everything you need to know about the day-to-day operation of a television station. This article will provide you with a brief overview of how each department functions. You'll also learn about the different types of employees involved in the process.

Images

Unless you've lived in an underground cave or have been buried under a rock for the past decade, you probably have no idea how television stations make their images. The fusing of images takes place in two separate processes. One is called spectral blending, while the other is known as chroma smearing. Here are a few ways these processes work. Here are three examples. Using a MPEG (Moving Picture Experts Group) file as a guide, here's a step-by-step walkthrough.

Sound

The Sound of the TV station goes offline when the station is not broadcasting anymore. In fact, most stations only pass through the 5.1 surround sound provided by the network. Many viewers have better sound systems at home. Even HDTV isn't broadcasting in 5.1 surround sound, so most stations don't offer it. Broadcasters spent millions lobbying for the standard, and some are even producing their own sound using Dolby Digital.

Television audio has a particular horizon that is different from that of radio. Because the sound of television is not structured to create flow or constant attention, it is more structured around noise, discontinuity, and interruption. This horizon is particularly important in describing television sound because it is difficult to reproduce without reverberation. A television station will often play the same song repeatedly for a period of time, meaning that the audio is not always in sync with the rest of the show.

In the early 1980s, John Ellis published an account of television, highlighting its sound. The medium began as a monochromatic medium, with a single audio channel. The conversion to color broadcasting became imperative in this period. Stereo sound was formalized in 1961. However, television sound was a long way behind color broadcasting. Consequently, there were many different standards before the standard was reached. Ellis's account of television's sound is important in understanding television's evolution as an audiovisual medium.

As the technology of stereo television progressed, it became more popular. Many networks began broadcasting stereo for the 1984 Summer Olympics opening ceremonies. In the United States, NBC pressed Carson's Tonight Show into stereo production. In fact, Estes was instrumental in establishing stereo sound for The Tonight Show. It was the first major television program to incorporate stereo sound. A decade later, CBS followed suit. So, what makes TV sound stereo?

Frequencies

Broadcast television channels are listed in tables around the world. They are designated with an ITU letter and occupy several megahertz of bandwidth. A TV station will broadcast to an audience in one or more countries at a given frequency. The frequencies of different channels are listed in tables by country and by language. For example, an American station will broadcast on channel 405 while a European station will broadcast on channel 118.

Unlike radio frequencies, which are used for broadcasting terrestrially, television channel frequencies are allocated for broadcasting over a specific band of radio frequency. This band is divided into 68 television channels. Each channel is assigned a number that determines its bandwidth. The frequency for channel number six is 82-88 MHz. For reference, channel no. 6 uses a band from 82-88 MHz. The frequencies for channels 5 and 6 are listed in the table below.

Channels 52 through 69 are no longer used for television in the United States, which was reallocated to AMPS cellular phone use. Channel 2A is used only in Austria and was designated for military use. In some countries, Channel 12 was reserved for military use. Channel 1 used to use a 441-line system and was phased out in 1956. Channels A through H are listed on many European TVs as Channels 13-20. Channel E4 and up are used for satellite broadcasting.

Before the internet became popular, television channels were only assigned a temporary frequency. Eventually, permanent frequency bands were established. The US government began to assign TV stations their own frequencies in order to avoid interference with neighboring channels. Today, television channels have a range of frequencies. You can find a local channel that broadcasts at the same frequency. This is where the majority of televisions are located. But the frequency bands for these broadcasts are located.

Production staff

The production department at a television station oversees the process of creating, producing, and editing broadcasts. The department's staff includes a production manager, producers, directors, and studio crews. Studios crews operate cameras, audio board, videotape recorders, and TelePrompTer equipment, while remote production crews operate cameras and other equipment outside of the studio. Editors edit footage and insert computer graphics and audio tracks.

A TV station's production department produces and schedules television shows and other programs. This allows the general administration and sales departments to produce revenue, as well as facilitate station operations. They also create and revise advertising scripts and work with on-camera talent to develop and produce a variety of programs. And while the production team is responsible for putting on-air talent, it may also work closely with the traffic department to create and schedule programming for each day.

The production director oversees the creative look of the production. He or she monitors the action on the studio floor through a bank of screens. He or she then issues orders to the floor manager and video tape recorders. Some directors also work directly with the on-camera talent, acting as producer and director. While most production staff members do not act in these capacities, they provide a variety of services that help the production process run smoothly.

Production managers oversee all aspects of the production process, from hiring and training new production team members to ensuring the equipment is in working order. They also make sure the station follows FCC rules. This role is critical to the success of the production department and to the reputation of the entire station. So, if you want to be part of the production process, consider a career in television. If you're looking for a fulfilling career in broadcasting, a TV station production manager may be right for you.

Ownership

The rules governing local television ownership are largely unnecessary today, given the number of sources for video programming. Cable and DBS subscriptions topped 99 million last year, a figure that reflects the increasing diversity of content on the market. Even so, the FCC is unlikely to ease its rules on media ownership anytime soon. The agency will need more time to decide the best way to implement the new rules. In the meantime, broadcasters should consider how to make their stations more competitive, as the emergence of new media options has made existing rules obsolete.

The FCC has adopted an array of ownership limits for local television stations. These limits apply to both television and radio stations in a particular market, and are intended to ensure competition, localism, and diversity of viewpoints. The FCC is required by Congress to review these rules every four years, and recent court cases have upheld some changes. Until now, the rules have been relatively unaffected by the mergers and acquisitions, but recent changes have created new hurdles in the way of competing media outlets.

One of the biggest concerns is that the majority of owners of commercial television stations are large corporations. While large media companies like Fox, NBC, and Viacom/CBS own more than 30% of all U.S. television stations, a single owner cannot own more than 39% of them. In addition, network affiliates can negotiate collectively with broadcast networks, thereby preserving the local identity of each station. The FCC has also recently decided that a national ownership limit for TV stations would protect localism and free over-the-air television.

The FCC's recent Order on media ownership restrictions will likely be challenged, as the FCC's rules don't reflect today's changing media landscape. Many public interest groups are calling for more flexibility and competition, and the repeal of these rules would hurt those goals. In addition, the FCC's new ownership rules must reflect the evolving media landscape and keep pace with the growth of digital content. With the recent change in media ownership, the FCC has made many decisions that make them unnecessary and no longer in the public interest.