Broadcast Glossary
General Terms
Audio captured on location: typically a short clip of someone speaking, used within a news package. In radio it's often called a sound bite; in TV, a sync.
A recording of a broadcast used for review or demonstration purposes.
The time of a broadcast.
The planned time slot for a broadcast, defined by its start time and total duration, used to describe when and how long a specific program or segment (like an interview) airs.
A pre-recorded segment produced to feel spontaneous, as if it's happening in real time. Common in magazine programmes and pre-recorded news hits.
The estimate of how many listeners or viewers tune in during an average 15-minute timeframe. Used by ratings services to measure audience size and share.
A standard for transmitting digital stereo audio via XLR cables, commonly used to embed or transport high-quality audio within video setups.
The primary footage in a production — typically interviews, anchors, or main content with synchronized audio. It’s the core narrative that carries the story and includes any speaking parts that directly address the viewer.
Supplementary footage used to visually support or enhance the A-roll. It often plays over voiceovers or dialogue and helps provide context, atmosphere, or visual interest. B-roll usually doesn’t include sync sound.
A timing calculation that works backwards from the programme end time to determine when a specific story or segment must begin in order for the show to finish on time.
A secondary broadcast feed kept live in case the main stream fails.
A story that emerges or develops while a programme is already on air, requiring real-time editorial decisions and often disrupting the planned rundown.
Very tight camera shots that frame a subject’s face (BCU) or zoom in even further on a detail like the eyes, mouth, or an object (ECU). Often used for emotional impact or emphasis.
A continuous audio background (like ambient music or sound effects) used under voiceovers or promos.
A control room cue or script note indicating a return to the studio anchor after a field report, package, or interview. Helps coordinate transitions during live or recorded segments.
Footage or content showing the production process, such as crew at work, gear setup, or candid moments. Used for promotional or educational purposes, often shared on social media or in extras.
A transmission of audio and/or video content to a large audience via electronic mass communication mediums, typically radio, television, or the internet.
A brief segment, often music or graphics, used to transition between programs or to and from commercials.
The official station ID, typically a four-letter code (e.g., KABC, WNYC) used for legal identification and on‑air branding.
A segment that starts immediately without an introduction or title sequence, diving straight into content.
A short extract from a longer package or recording. Frequently used in headline sequences or NIBs.
A signal or prompt for talent or crew to perform a specific action, such as starting a segment or switching cameras.
Unintended silence on-air when nothing is transmitted (no audio or visuals), typically due to technical glitches or missed cues.
A system that introduces a deliberate delay (e.g., 7–10 seconds) so on-air content can be censored or blocked if needed.
A location format where the studio presenter hands over to a reporter on the ground. The reporter provides context, conducts an interview, then throws back to the studio.
A pre-recorded voice segment inserted into a live show (often via telephone or recorded clip) during a presenter’s speech.
Peak listening hours on radio typically during morning or evening commutes when audience numbers are highest.
A commercial format with a central section left blank for local advertisements to be inserted.
A communication channel allowing simultaneous two-way talk, unlike simplex where communication is one-way only.
A live or recorded transmission of audio and/or video content from one location to another.
When a presenter speaks over footage while remaining off-screen. The pictures "float" over their voice to illustrate what's being described. Also called an underlay .
Graphic overlay placed in the lower third of the screen, typically used for names, titles, or other information.
A sequence of short news stories grouped together in a programme, typically read by the presenter without full packages.
A short, self-contained news item, usually just a few sentences. NIBs are often grouped into a news belt or used to fill time.
A pre-recorded news story that includes narration, interviews, and video footage, edited into a cohesive segment.
A working list of potential stories under consideration for a programme. Producers pitch from this list during editorial meetings before the rundown is locked.
A detailed schedule outlining the sequence and timing of segments in a broadcast. That’s what we do at Cuez!
Raw, unedited footage returned from a shoot. Needs to be logged and cut before it can go to air.
An exclusive story that no other outlet is covering. The holy grail of journalism.
A recorded audio clip, typically an interview excerpt, that plays after an OOV/float. The presenter drops out of vision and the recorded voice takes over.
A short audio-visual element — usually music with graphics or branding — used to punctuate the rundown or signal a transition between programme sections.
A short preview of upcoming content designed to keep the audience engaged.
From the Latin vox populi — short on-the-street interview clips with members of the public, usually responding to a single question. Used to represent public opinion within a report.
The precise moment when a broadcast or segment is scheduled to start.
Technical Terms
A method for software to communicate with other systems or tools.
A transparency layer in video files allowing overlays (graphics, lower thirds, animations) to stack without hiding what's underneath.
The adjustment of video or archive footage to fit different frame formats (e.g. converting 4:3 material to 16:9 widescreen) without distorting the image.
A method of editing where new video or audio is added sequentially to the end of a tape. Unlike insert editing, it doesn’t allow precise frame-level edits, but is useful for quick, linear builds.
A screen mounted near the camera lens that displays the presenter's script in real time, allowing them to read while maintaining eye contact with the audience. In modern NRCS workflows, the script can be pushed directly from the rundown to the prompter.
Frame-accurate timecode that’s visible on-screen in a video file—useful for editing references or precise clip selection.
Transmitting content to or from satellites for remote or live feeds.
Renders real-time visuals for broadcasts—lower-thirds, tickers, AR, and animations.
Examples: Viz Engine, Ross XPression, Chyron PRIME.
The process of capturing video/audio into a system for editing or playout.
A studio communication system allowing producers to speak directly to talent or correspondents while lowering the ambient program audio.
The process of layering visual elements (e.g., chroma keying for green screen effects).
Example: Putting a presenter in front of a green backdrop and replacing the green with graphics.
The delay between input and output in a system—crucial in live production timing.
A record of all captured footage, compiled as material comes in from the field. Logging makes it faster to locate specific clips during the edit.
Automated sequences of commands triggered in succession (e.g. load a clip + switch camera + start titles).
A system for storing, organising, and retrieving media files — videos, audio, images, and their associated metadata. MAMs are built for long-term archive and discovery: finding last year's interview, pulling stock footage, or managing rights and licensing. Think of it as the library where finished and archived content lives.
A communication protocol that lets your NRCS talk to other production systems — video servers, graphics engines, audio playout tools — so that media can be linked directly to rundown items. Instead of operators manually loading clips or graphics cues, MOS automates the handshake between the script and the hardware that plays it out.
In practical terms: when a producer adds a VT to a story in the rundown, MOS is what tells the video server that clip is coming up next. When the director calls for it, everything is already in place.
MOS is the behind-the-scenes messenger that makes sure every piece of media in the rundown is queued up and ready to go on the right system at the right time.
Software for planning, scripting, and managing news production (rundowns, teleprompters, etc.).
Examples: Storiez by Cuez, Avid iNEWS, Octopus NRCS.
A system that manages media while it's actively being worked on. Where a MAM handles the archive, a PAM handles the work in progress like tracking edits, versions, and which files are in use across an active production. Think of it as the working desk next to the library: everything you need for today's show, organised and accessible while the production is running.
The process of sending scheduled or live video/audio content to viewers. Often managed by a playout automation system.
A set of communication rules used by systems to exchange data (e.g., MOS, HTTP, TCP/IP).
Cameras with Pan, Tilt, and Zoom capability, often controlled remotely in studios.
Backup systems in place to prevent on-air failures or interruptions.
Hardware or software device used to switch between video sources during live production.
The internal communications system used by directors, producers, and technical crew to coordinate during a live programme. Separate from IFB, which is the feed to on-air talent.
The moment a programme goes live to air. TX is used shorthand in scripts, rundowns, and logs to denote live broadcast time.
A computer system that stores and plays back video content during live broadcasts. Ensures frame-accurate playout.
Examples: EVS XT-VIA, XS-NEO, Grass Valley K2 Summit.
Key Roles in the Control Room (Gallery)
Handles all sound mixing — mics, sources, music, and mix-minus.
Controls the scrolling of the teleprompter for presenters, often synced to the rundown.
Uses tools like Cuez Automator to trigger graphics, cameras, and playback in sync with the script.
Has overall creative and technical responsibility for the programme from the gallery. Calls shots, coordinates the team, and makes real-time decisions throughout the broadcast.
The director's representative on the studio floor. Relays cues and instructions to the presenter and any guests, ensuring everyone knows what's happening and when.
Manages the playout of on-air graphics using systems like Vizrt or XPression.
Manages pre-recorded video content and ensures it plays correctly on-air.
Controls the teleprompter during a live programme, scrolling the script at a pace that matches the presenter's delivery. In modern newsroom workflows, the script feeds directly from the NRCS to the prompter screen, meaning any last-minute edits made in the rundown show up in real time.
Maintains and updates the rundown in the NRCS, ensuring segments stay on time.
Ensures the script aligns with the editorial direction and production timing.
Coordinate all live broadcast activities on the studio floor, relaying cues and ensuring timing.
Operates the switcher, cues video sources, manages transitions, and ensures the show looks correct on-air.
Executes the director’s visual commands by cutting and mixing video sources live. Often the same as a Technical Director.
Editorial & Creative Roles
Present live news in a studio setting, often serving as the central voice of a broadcast.
A journalist who covers a specific beat like politics, sport, foreign affairs, and is recognised as a subject expert within their field.
Runs the day-to-day newsroom operation, often managing the live programme while the editor oversees the broader output. In many newsrooms this is the person who holds the rundown together under pressure.
Adapts broadcast content for online and social platforms. Increasingly important as newsrooms publish across multiple channels simultaneously.
The senior editorial decision-maker in the newsroom. Decides which stories make the rundown, in what order, and how much time each gets. Ultimately responsible for the editorial direction of the programme.
Design and animate visual elements like lower thirds, logos, and infographics for broadcast use.
Oversee the creation of a program, coordinating editorial content, technical elements, and talent to ensure a high-quality show.
Coordinate the creation of radio content, including music, interviews, and talk segments.
Act as the on-air face or voice of a program, delivering content and engaging the audience.
Accordion Content
Manage the entire TV production process from concept to broadcast.