What do cablers, universities, community associations, mayors, churches, indigenous groups and some shopping centers have in common? For better or worse, everyone wants to have a TV channel. The boom of pocket channels is one of the most interesting phenomena in the world of television in Latin America, which these days reaches proportions similar to those of the phenomenon of community radio in the seventies and eighties.
This trend becomes more noticeable as we move away from big capitals, where pocket operations are usually limited to cablers' efforts to comply with rules on owned channels. In the periphery, terrestrial television operations flourish that in many cases manage to compete favorably with the big networks at least for a while.
It is materially impossible that an article published in a magazine such as TV and Video can offer all the answers for those who want to tackle a project like this, but below we will offer some clues that may contribute to making viable the projects of many of our readers who are not within the big industry, but they have in their hands the key to success: local content.
Research
Before you start worrying about cameras and antennas, a channel has to acquire an identity. Do we know what we want to achieve, or perhaps as often happens our project is a fashion initiative? The first product of the channel should be a document that clearly sets out the objectives and scope of the initiative, as well as its feasibility and sources of funding.
Does it seem difficult? Well, seek help! Many communication faculties, NGOs and even the regulatory bodies themselves are willing to promote and advise projects of this type. A reference document made with professional help can also be used to address the process of legalization of the initiative, size the project and start looking for partners.
A very important part of this document is the programming proposal. How many hours will the channel have on the air, and what are they going to be filled with? At this stage you have to start looking for contacts with possible sources of programming: state entities, universities, embassies, cable channels... local news is an inevitable piece of programming for a pocket channel but can't fill more than a couple of hours a day at best. It is worth pursuing agreements with satellite signal providers, many of whom might be interested in a retransmission of their signals especially if the project has a clear political or religious affiliation.
What is the most important thing about a programming proposal? That supports the construction of a link with the target audience. The only hope of survival for a pocket channel comes from creating a relationship with the community and its interests. If viewers don't feel the channel is theirs, the project isn't viable, period.
This observation may seem absurd but unfortunately it is necessary: all partners need to be clear on the issue of rights management. Some community TV initiatives have failed because they decide to fill airtime with rented movies... or hacked. In some regions there have been signs with programming that would have nothing to envy to HBO. And, obviously, this is a rather difficult position to defend against an intervention by regulatory entities.
Development
The next step is the sizing of the operation from a technical perspective. You don't need to think about lights and microphones yet. The first thing is to define if we are going to do terrestrial television or to use the infrastructure of local cablers. Perhaps a way out can be to partially or totally assume the operation of the channel of a cable operation in this way, everyone can concentrate on what they want to achieve and everyone is very happy.
Regardless of the choice we take, the next step is to soak up everything related to regulations. Are there any restrictions on frequencies, transmission power or qualification of technical personnel? It is usual that it is necessary to pay the State for the right to use a space of the electromagnetic spectrum, even if it is a non-profit operation. Some clarity in the initial stages will save us headaches later on.
An important aspect is to try to locate the operation on a frequency that does not force users to acquire additional antennas. Unfortunately, in most countries, the channels that are allocated to pocket channels are in the low VHF range or in the latest UHF channels, which require special antennas to ensure reasonably good reception.
The issue of interference suppression is especially sensitive. Commercial channels can be disinterested viewers or dangerous enemies, depending on whether there is a risk that our operation will affect the transmission of their signals in the region. An interesting ally may be the local radio, which surely will not be very happy with the idea of competing with a TV channel, but will probably agree to rent us some space in a tower to mount our antenna.
Finally, a special recommendation: you have to think twice before taking advantage of the gaps that may exist in the rules. Sooner or later the State will realize that it has left spaces and will try to turn them into a source of income... which can be a mortal blow to a pocket channel that is forced to compete with national networks and perhaps with cable supply.
Assembly
Generally, there is not much money left after solving the transmission part, and this is one of the determining factors when the channel addresses the assembly of its production systems. And here comes an essential question: is it worthwhile for the channel to devote considerable effort to producing programming? The most reasonable option may be to let others generate programs and focus on managing an efficient system for broadcasting those programs.
In the real world, the channel will always want control of a portion of the programming, usually focused on making a newscast or live streaming local events. This leads us to the preferred scheme of many low-budget operations: the studio-control room-editing room hybrid. The truth is that many channels must settle for a montage of this style, usually made by amateurs and with equipment from the prosumer market: a few televisions, a couple of camcorders, a video mixer, a couple of VCRs, perhaps a DVD player, hopefully a small titler ... and stop counting.
Is it possible to operate a channel under these conditions? It can be done, but whenever the media allows it, you have to generate independent work centers to produce, post-produce, make live broadcasts and broadcast. The route to increasing hours on the air involves separating functions and minimizing the need to move equipment from one site to another.
The roadmap could go something like this: in a first stage, the channel could operate from a studio-editing room. When it is possible to invest in a couple of low-cost non-linear editors, it will be possible to make live or pre-recorded broadcasts while editing material. A couple of additional VCRs or a DVD disc burner can become suitable resources to free up the studio for a few hours while a few full programs roll. This scheme may require an additional switcher or video mixer to be able to make clean steps between studio and pre-recorded... but in any case it is not enough to have it as a backup.
Perhaps later it will be possible to invest in a small 900 Mhz link that allows some live broadcasts, in principle with a single camera. And when the success of the operation allows, perhaps we can replace our master control with a low-cost automation system and turn the released equipment into a small mobile unit. Sound far-fetched? The truth is that this scheme can be achieved with very reasonable cost levels.
Do not rule out the solutions that many operators must assume in case of emergency: a PC with PowerPoint and a VGA to video converter can be transformed into a successful classified ads platform or an ad system. With some ingenuity it may be possible to make a video game program. A pair of surveillance cameras mounted at strategic sites could become a source of live programming. The possibilities are limitless and the essential thing is to have people who come up with this kind of thing.
Personnel
Speaking of people, if the operation of the channel is based on volunteer work, the only possible option is to get a couple of good foremen and hope for the best. If it is possible to have staff who have career aspirations, every effort should be made to obtain good quality training. If it is not possible to have an engineer, you have to try to hook an electronic technician capable of handling the installation of the equipment and supporting its operation.
An obvious choice is usually staff who have come off commercial TV and look for opportunities in other spaces. It must be assumed that hiring deserters, as they are known in some countries, is a rather risky proposition. The first question is obvious: if they are good, why don't they continue to work in the big media? It is true that people with this profile can become a great contribution to your operation, but you have to keep in mind that along with their experience they can bring a dose of bad habits, which small channels definitely do not need. Do not dismiss outright the decision to hire deserters, as they can become excellent foremen, but evaluate each case carefully.
And to finish this series of tips, a recommendation: never forget that the main engine of a pocket channel is love for a group, a cause or a community. When making television starts to be more important than meeting communication goals, there's something wrong. The look is secondary: the most important thing is not to forget the objectives set out in the initial document that gave life to your channel. Our channel.
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