BRANDED FRANCHISE SERIES
Short form content that includes multiple installments, all of which fit under a unifying theme.
Examples: “Tom’s Financial Tips” that air every Wednesday night on a local newscast, “Reports from the Border” that post on a local news website over a 6-month period
CALL FOR ENTRIES
The document that provides information related to the Emmy® Awards contests, including rules, guidelines and categories.
CHAPTER AWARDS COMMITTEE
A committee that oversees the Regional Emmy® Awards contest within a particular NATAS chapter. This committee has the final say on selecting categories for the chapter Call for Entries, determining content and entrant eligibility and reviewing judges’ challenges (among other duties.)
CLIP SHOWS AND “BEST OF” PROGRAMS
Programs or other content that consist of previously aired material in the form of a “year in review” special or a collection of Branded Content Series pieces. These are NOT eligible for Regional Emmy Awards contents.
CLOSED CIRCUIT CONTENT
Content that is only available to a select and limited audience via distribution on a closed circuit (hospitals, in-flight entertainment, hotels, doctor’s offices, private companies, etc.)
Video content transmitted in a public sports venue, arena or stadium is not considered distribution on a closed circuit and is eligible in content and craft categories.
COMPOSITE
A sampling of a minimum of two (2) and no more than five (5) representative segments or examples of work that convey to a judging panel the scope, breadth, or range of an individual’s talents within the specified craft category. The elements within a composite, unless otherwise noted in the category description, are to be “as aired” with no post-distribution changes, such as additional edits, music or special effects. Composites may include stories or segments in their entirety and/or excerpts from longer content. One to two seconds of black between cuts, with no audio or slates, must be added to separate segments within the composite.
CONFLICT OF INTEREST
Having a direct involvement or vested interest in the production of an entry or having a personal relationship with an entrant. Judges may NOT judge entries in which any of these criteria are met. Group ownership, by itself, does not create a conflict of interest. Examples: A producer working for a station owned by TEGNA in one market is not prohibited from judging an entry produced by another TEGNA-owned station in another chapter. NBC Sports Chicago personnel are not prohibited from serving as judges for entries produced by NBC Sports Bay Area.
CONTENT CATEGORY
A category for which there are three (3) areas of excellence being considered in the judging process: Content, Creativity and Execution. Our chapter’s content categories are 101 – 303
CRAFT CATEGORY
A category for which there are two (2) areas of excellence being considered in the judging process: Creativity and Execution. These categories focus solely on the craft designated for each (photography, editing, talent, etc.) Our chapter’s craft categories are 401-412.
DEMO REELS / MONTAGES
Short examples edited from content that showcases your work. Demo reels or montages often include shorter excerpts from the original video that may or may not have added music, graphics and/or special effects.
Example: A photographer cannot take short segments from original content and edit those pieces together for a composite submission in the craft category.
DISTRIBUTION
The process of getting video content from a producer to a viewer. This may include being broadcast on a television or cable station, streamed on a website or app, posted on a company website or social media account.
DOUBLE-DIPPING
Any entry submitted in its entirety in more than one content category or instance of any entrant submitting work in an attempt, to be recognized more than once for performing the same job function for the same content.
NOTE: YOUR VIDEO CANNOT BE ENTERED IN MORE THAN ONE CATEGORY WHILE USING THE SAME JOB/ROLE. EXAMPLE: IF YOU ARE LISTED AS A REPORTER FOR YOUR STORY IN THE HUMAN INTEREST CATEGORY…YOU CANNOT USE THAT SAME VIDEO IN A REPORTER CRAFT ENTRY.
ELIGIBILITY WINDOW
Period of time in which any content must have been produced to be eligible for entry in this regional Emmy® Awards contest. This window varies among NATAS chapters and will be prominently displayed in each Call for Entries.
EMMY® AWARD
The most prestigious peer-judged award recognizing excellence in professional achievement with annual awards of merit in the television industry through extensive, confidential peer review of broadcast work and related media.
ENTRANT
Individual whose work has been submitted for consideration in a regional Emmy® Award contest.
EXCERPT
A continuous segment or section from longer content, excerpts are used to bring longer content to the specified category time limit.
FEATURE
While still journalistic in nature, this content takes less of a hard news tone while incorporating strong storytelling. It may be a serious or lighter subject. The story construction and personality of the interviewees are highlighted in a feature story. Feature news stories often run a bit longer and may not have an immediate time peg.
HARD NEWS
Classic, fact gathering and reporting. Should include a news hook and timely peg.
Infomercials
A program or long form content that promotes a product, service or idea and includes a call to commerce.
JOB TITLE vs ROLE ON ENTRY
Job title is the word or words under your name on a business card that indicate(s) what job position you hold within the organization for which you work.
Role on Entry is the particular-function you performed on an Emmy® Award entry.
Many of these are similar or even the same (Producer, Photographer, Editor) while some job titles (Executive Producer, Chief Creative Officer, Assignment Desk Editor) don’t directly translate to a tangible job function performed during the production process. Entrants often perform roles on an entry that aren’t a part of their job title (a producer who edits, a director who writes, a photographer who lights the set, an editor who produces.)
For the purposes of regional Emmy® Award statuette eligibility, Role on Entry is the determining factor over Job Title.
JOURNALISTIC / JOURNALISTIC COVERAGE
Method of coverage that considers all sides fairly, reporting without bias or persuasion.
KEY CONTRIBUTOR
One whose work on a production was significant enough to be considered eligible for a regional Emmy® Award statuette. In the estimation of the entry submitter, the entry would not have been award-worthy without this person’s contributions.
LONG FORM CONTENT
Video production that exceeds 10 minutes in length. These subcategories are the intended home for content that previously would have been submitted in Program categories or sub-categories, as well as longer segment or feature categories or sub-categories and online content that meets other eligibility criteria.
MEMBER
One who has completed the membership process in one of the 19 regional NATAS chapters. (Membership is not required to enter regional Emmy® Awards contests)
NATAS
The National Academy of Television Arts & Sciences (NATAS) was founded in 1955. It is dedicated to the advancement of the arts and sciences of television and the promotion of creative leadership for artistic, educational, and technical achievements within the television industry. It recognizes excellence in television with the coveted Emmy® Award. Regional Emmy® Awards are given in nineteen regions across the United States. National Awards are given for Daytime Entertainment, News & Documentary, Community Service, Sports, and Technology & Engineering. Beyond awards, NATAS has extensive educational programs including Regional Student Production Awards for outstanding journalistic work by high school students, as well as scholarships, publications, and major activities for both industry professionals and the viewing public.
NATIONAL AWARDS
The Daytime, News & Documentary, Community Service, Sports and Technology & Engineering Emmy® Awards contests are held annually and open to all entrants whose work meets eligibility criteria.
NATIONAL AWARDS COMMITTEE
As outlined in the NATAS bylaws, this group of people administers the policy and structure of the National and Regional Emmy® Awards process. Its membership consists of representatives from each of the National Awards constituencies as well as regional/chapter reps.
NEWS SERIES
Multiple reports that build on the same subject or news story.
ONE-TIME SPECIAL
A stand-alone program or content that is not part of a larger series of content.
ORIGINAL AIR DATE
The date that content was first made available (aired or otherwise distributed) to the general public.
PEER JUDGING
The process by which Emmy® Awards entries are reviewed by professionals of like disciplines for the purpose of determining award-worthiness. Entries are judged against a standard of excellence and not each other.
PODCAST
A digital audio file made available on the Internet for downloading to or streaming on a computer or mobile device. Audio-only Podcasts are not eligible for Emmy® Award consideration. Podcasts that also include a video element would be eligible for regional entry as long as they are in compliance with all other requirements.
PRIMARY INTEREST
A term used to help determine eligibility of content for regional Emmy® Awards contests. This was previously used as the standard of eligibility but has been replaced with the phrase “produced and intended for a regional or local audience,” as the National Awards Committee determined this was more effectively measured and determined.
PRODUCER – NEW ADDITION!
NOTE: The duties of the newscast producer (the person producing the overall newscast) are generally understood industry-wide and are not outlined here.
This description is meant to define duties associated with producers of specific content within a newscast or program, as well as producers of short/long form content, programs, promos, branded and other eligible content distributed on various platforms.
To be listed on an entry as “Producer” an entrant must perform the majority of the following producer duties:
- Serving as an “overseer” of the content, determining the overall tone, structure, look, sound, and
mission of the content. - Making strategic editorial decisions that have a significant impact on the resulting content.
- Identifying interview subjects and shoot locations.
- Scheduling interviews, shoots, and edits.
- Writing and/or approving scripts.
- Formulating ideas for graphics/animations and working with designers through completion.
- Working with editors to assure the content meets expectations and overseeing necessary changes.
- For studio-based programs or content, the producer would generally fulfill much of the above and/or
oversee control room decisions, timing, etc.
PROGRAM
A traditional content format used in broadcast and cable television. In order, to be more inclusive of content delivered via non-traditional means, the term Long Form Content is being used in most applications that were previously referred to as Programs. Certain categories (Documentary, Sports Program, Magazine Program) have retained the term where the traditional definition remains applicable.
PROGRAM SERIES
Multiple episodes of a program with similar subject matter or an overall unifying theme.
RECIPIENT
One who receives a regional Emmy® Award. As regional entries are judged against a standard of excellence and not each other, there may be no recipient, one recipient or more than one recipient in a given category. Honorees in the National Emmy® Award contests are referred to as “winners” since only one entry is awarded in each category; with the exception of ties.
REGIONAL AWARDS MANUAL
The document that sets forth the rules and available categories for each regional chapter’s Call For Entries. It also includes a section of Chapter Guidance and this Glossary of Terms.
SEGMENT
A section of video content that could be part of a program or entry.
SERIES
Multiple installments of similar and related content.
(also see: News Series and Program Series)
SHORT FORM CONTENT
Video production that is no more than 10 minutes in length. These subcategories are the intended home for content that previously would have been submitted in Program Feature or Segment categories or sub-categories, as well as online content that meets other eligibility criteria.
SINGLE SHIFT
This is defined as the between which a work shift begins and ends (could be a normal work shift or an extended, breaking-news type of shift). This term is replacing the previously-used “within 24 hours” as a way to separate longer term projects and productions from those completed within one work shift. A story assigned one day but researched, scheduled, and shot over another day or multiple days, should be submitted in a “no time limit” category.
STUDENT PRODUCTION AWARDS
Crystal pillars presented to recipients of separate contests among high school and college students, with the intention to recognize outstanding student achievements in production. Rules and category options for Student Production Awards are outlined in the Regional Awards Manual.
STUDENT PRODUCTIONS
Content conceived and created by full-time students at a university, college, technical/vocational school or high school. Student Productions may not include any professional services and faculty involvement can only be advisory.
SUBMISSION LENGTH
Exact runtime of an entry video.
SUBMITTER
Person who completes the process of entry in a regional Emmy® Award contest. This person may also be an entrant but is not required to.
SYNDICATED
Content that is licensed for distribution on multiple broadcast or online outlets and available for consumption in multiple geographic locations.
TIME CODE:
During the Awards Show, we will air up to :30 of your nominated video. Time code is the starting point for that :30. Where would you like the video to start playing.
TIME LIMIT
The maximum amount of time allowed. A chapter call for entries will include two (2) types of time limits: Entry Time Limit and Production Time Limit.
Entry Time Limit: maximum length allowed for an entry, this varies among categories
Production Time Limit: maximum length allowed to produce an entry, which may be indicated in hours or the term Single Shift.
UNIQUE AND CREATIVE TREATMENT
When an entry includes previously produced material, it is only eligible if its use is significantly different from any previous use of the same material