September 26, 2025 • 36 mins
At the content crossroads, media is vibing with a test-and-tune mindset, blending cutting-edge tech and trends to nail the perfect mix of short and long-form content. Podcasters are jumping on the short-form wave, hiring “clippers” to churn out TikTok and Instagram Reels that pop off with millions of views to hook new fans
But there’s a catch: these bite-sized bangers risk stealing the spotlight from full episodes, as casual scrollers get their fix without tuning into the main show, potentially tanking ad revenue
AI’s in the mix too, with tools like Inception Point AI spitting out thousands of episodes weekly, letting creators test what slaps while sparking debates over realness versus robot-made content.
In music and radio, it’s all about data-driven glow-ups. Platforms like Scorecard Plus help stations vibe-check songs against streaming trends and pop culture moments, turning underrated tracks into playlist gold to keep listeners locked in beyond the usual nine-minute session.
Meanwhile, network TV’s fumbling the bag, copying streaming’s short seasons without the big budgets to back it up. Shows like "High Potential" feel rushed and fall flat compared to Netflix’s cinematic bangers, proving you can’t just shrink the format and expect long-form loyalty.
Media’s playing a high-stakes game, using AI, algorithms, and trend-chasing to test short-form hooks for virality and long-form depth for fandom, all to keep audiences glued in a scroll-heavy world.
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.com
Support KOP by subscribing to his YouTube channel and search for King Of Podcasts
Follow KOP on X and TikTok @kingofpodcasts (F Meta!)
Listen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.
Buy KOP a Coffee https://buymeacoffee.com/kingofpodcasts
Drop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVL
Drop KOP a Venmo https://account.venmo.com/u/kingofpodcasts
Drop KOP a CashApp https://cash.app/$kingofallpodcasts
But there’s a catch: these bite-sized bangers risk stealing the spotlight from full episodes, as casual scrollers get their fix without tuning into the main show, potentially tanking ad revenue
AI’s in the mix too, with tools like Inception Point AI spitting out thousands of episodes weekly, letting creators test what slaps while sparking debates over realness versus robot-made content.
In music and radio, it’s all about data-driven glow-ups. Platforms like Scorecard Plus help stations vibe-check songs against streaming trends and pop culture moments, turning underrated tracks into playlist gold to keep listeners locked in beyond the usual nine-minute session.
Meanwhile, network TV’s fumbling the bag, copying streaming’s short seasons without the big budgets to back it up. Shows like "High Potential" feel rushed and fall flat compared to Netflix’s cinematic bangers, proving you can’t just shrink the format and expect long-form loyalty.
Media’s playing a high-stakes game, using AI, algorithms, and trend-chasing to test short-form hooks for virality and long-form depth for fandom, all to keep audiences glued in a scroll-heavy world.
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.com
Support KOP by subscribing to his YouTube channel and search for King Of Podcasts
Follow KOP on X and TikTok @kingofpodcasts (F Meta!)
Listen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.
Buy KOP a Coffee https://buymeacoffee.com/kingofpodcasts
Drop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVL
Drop KOP a Venmo https://account.venmo.com/u/kingofpodcasts
Drop KOP a CashApp https://cash.app/$kingofallpodcasts
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, Kingopodcasts dot com.
Speaker 2 (00:07):
A lot of media is trying to tweak and tune
their content short or long form, but all your content
has to have one common theme, and I don't know
what that is.
Speaker 1 (00:21):
The King of Podcasts Radio Network proadbly presents the Broadcasters Podcast.
Here is the King of Podcasts.
Speaker 2 (00:31):
Welcome to the Broadcasters Podcast, King of Podcasts here. Whether
you're welcome, you to another program as we get to another.
Speaker 3 (00:37):
Weekend and a lot of stories tying together this week
in the areas of movie, television, music and radio, tweaking, testing, tuning,
trying to get the.
Speaker 2 (00:51):
Right content out. So, as I said at the very
start of the program, you know it's one thing to
do short and long form content. We know it's much
more common now than ever that you know in television
news you always had to tease to a story you
wanted to make sure somebody would watch later on, or
a promo for a TV series or a trailer for
(01:13):
a movie. We've always had short form content to be
the gateway, the appetizer to somebody taking on the full course,
right And just like people at a restaurant. Sometimes you
don't want a full course. You just want an appetiser
to go with your drink, your beverage, your tasty spirit
that you have in hand. So if you decide to
(01:33):
do that, that's your choice. But you can always make
sure somebody will catch your content. If there's one common
thing that you would heard to is that every minute
of your content has to count. You need to make
sure that you are entertaining and forming doing something with
your content. You don't need to go and fill a
time slot, especially when you're a podcast, just to fill
(01:56):
a time slot. Obviously, on the TV shows now that
are streaming, or movies out there in theaters or streaming,
there's a set time that you have to put in.
And for movies that want to go and take time
and edit down their program to make sure they're putting
just the right amount of content on. How often do
(02:19):
you see a series that will have an episode and
the time of the episode will be different than the
next episode because you're finding a proper place in the
story to stop the story to begin the next chapter
of the story. When you're doing real time content or
(02:39):
doing timely content, you know, like I do. The thing
is besides the fact that what content you're going to deliver,
you have to make sure that if you're gonna have
somebody listen to your program, you want to get the
listeners to go to the longer form content that the
full actual program. You want them to want to binge
(03:02):
watch your program, binge listen to your program. That's what
you want. And so there's a story that comes out
right off the bat, and this is something that is
This is they talk about the risk of short form video.
This is from a Bloomberg newsletter story. So Kara Swisher,
the co host of Pivot, she was speaking with her
(03:22):
guest co host Tim Miller of The Bullwork about his
podcast to the Bulwark, and she admits that she doesn't
regularly consume the show on a podcast app. Quote, you
know where I listened to it? Oh, listen on social media.
I listened to pieces and pieces. And then the writer
here says that they had a similar realization about their
(03:46):
own viewing habits or listening habits. Scrolling on TikTok, came
across the clip from a podcast. Didn't want to name
the show, but the interviewing topic were it's something interested
in They were interested in and they watched took down
the headline where the item that the clip was built
around swiped away without hearing the entire episode or even
in the rest of that segment. The clip's more sol
(04:07):
of information was enough for me. This story goes on
to say that as podcasters of RUSSI in the video
part of the promise that the powerful algorithms behind TikTok,
Instagram and even the YouTube shorts can improve discovery and
wrote in new audience members. But many podcasters are even
paying armies of video savvy marketers notice clippers the Saturay
(04:28):
social media with enticing exibits of their shows engineered into irresistible,
buzzy tidbits designed to grab your attention. And I'm gonna
take from a story from The Wall sat Journal that
goes into that that recently published on that. As they
referred to the question is how effective was the ubiquitous
(04:49):
short form videos at driving an audience to a full
length podcast? They talked to the co founder at Bumper,
a podcast audience development company, quote, It's nowhere near as
impactful as people want. Quote. The disappointment that I have
see for creators often stems from lack of clarity around
what clips are in service of. If hosts expect the
clips to pick up vast numbers of new audience members
(05:10):
for their full links, show that likely won't happen the
want the amount of friction exists between seeing a clip
and then consuming it elsewhere, especially when you were scrolling
rather than listening to a podcast or in the mood
to listen to it. They go on to say that
I used to think a clip on Socialist Marketing Global
for a full episode a trailer for the movie isn't
(05:31):
a movie. Increasingly my mind is changing about that. There's
a tremendous amount of attention that comes in little slices.
Speaker 1 (05:40):
Now.
Speaker 2 (05:40):
I spoke to someone from the bullworking about their clips,
saying that short form video content has become a similicant
driver of our growth, and it helps drive the conversation
and get people in front of our new audiences across
all platforms, a significant driver of subscription growth. A spokesperson
who didn't say whether who watches the clips definitely convert
(06:01):
to full time listeners, but they said they racked up
one hundred and thirty two and a half million views
on x over the past three months, and I'll YouTube
shorts thirty eight point seven million and I'll TikTok ten
point three million views. This Bloomberg article goes on to
talk about that the audiences for both formats are prey
(06:22):
to be diverging depending on how the industry shakes out.
That could end up being a totally fine thing for
the business and Mayser. This from Bumper goes on to
say that affective podcasters often don't mind that their clips
fail to convert because they make money off their social
media accounts by something ad packages that spanned both products.
But a downside of heavy clipping is that also disrupts
(06:43):
the primary source of the podcast's revenue, the full length
episodes of shows and the substantial adventories they delivered the listeners.
The current dynamic of podcasting in some ways is reminiscent
of what we've seen in late night TV. No shortage
of funny, provocative clips highlighting juicy on air moment, But
despite the constant a matter of how entertaining these shows
can be, when was the last time you sat down
(07:05):
and watched an entire episode as it aired? Aggressionally publishing
highlight clips has been utterly a great way to keep
the performers alive in the cultures like Geist. But over
time it's also efvictively taught us that all you don't
have to no longer actively see out the shows to
get their best moments, because the same thing we happen
in the podcasting. Okay, h In my opinion, the short
(07:29):
form content should not be of your best content. What
you should do and this is what I do myself.
In my content, I usually try to find something that
is going to be something that I will say on
a monologue or take a particular clip and plan for
(07:52):
it to be in social media. I'm not going to
just pick some random clip that will just satisfy a
short form I actually kind of plan on it, so
when I do these kind of episodes, there will be
a spot where I'll know, Okay, I'm gonna say this
here because I'm gonna make my point, I'm gonna give
(08:12):
my take. It'll be within the time frame that I need.
Ninety seconds is about as much as I need to
go because I'm trying to adhere to all the different platforms.
Of course, you can go longer, but I think two
minutes is too long. It's about us more than you
need two minutes is stretching it sixty to ninety seconds,
(08:32):
thirty seconds if you can get it, and you can
get the full throated take that you want to make sure,
but sixty to ninety seconds. And also I don't take
the full clips sometimes as it's recorded, sometimes I will
spice together because it's audio. And more importantly, I don't
(08:54):
care to do video because the talking head doesn't make
a difference to anybody else anyway, unless I had a
company b roll video to go with it. But if
you see any of my clips out there, you know
I'm not that big of an audience anyway. Sometimes I
might get a good audience on something that I might
say that will grab attention. If I get the right
(09:16):
caption out there, it works. But whatever content I do,
it's just my own. I want to make sure that
if somebody's going to go and look at the clip,
the most important thing I'm gonna do is I'm gonna
make sure I'm promoting my platform. So one website one
you are o Kingfpodcasts dot com YouTube at king of Podcasts,
(09:36):
so they can find the video version of the show.
That's it, and even the video vision is slate because
I'm not doing any more than just creating a visual
slate with captions. That's all I'm gonna go and do
to create something that's gonna be a visual medium that
will be good enough for somebody to watch, which are
not gonna watch. They're just gonna put it on YouTube
and listen to it. And sometimes it happens to work
(09:58):
really well. But I mean, I make it pretty easy
to go ahead and clip up my shows. I basically
will do two clips per episode, about as much as
I need. Sometimes if it's less than thirty minutes, I'll
do one clip, but I don't need to do anything
more than that because if I do that, there I'll
(10:20):
have the clips I want to do. There's a whole
lot of content I'm gonna be covering. But it doesn't
also matter where I pull from the episode either, because
I also want to make it where it's not something
always from the beginning. I wanted to be somewhar to
the middle to the end. But I'll plan on what
I'm going to basically say. If I catch myself at
(10:41):
a point where I, Okay, I said this, and I
kind of make a known of it mentally, I'm going
to come back and pull that clip and put it
into a format that can put out there for social media.
Because the other thing is that short from content, you know,
you might get a lot of attention to it, the
(11:02):
most possible attention you probably get to a clip or
to your content. But it's also the fact is that
I want to make sure I have captions in there.
Some people can just go to catch the words at
least I'll catch that, because if they're watching on their
phone or tablet or whatever they're gonna be listening on
or watching on, they might not have their full attention
to it, and they might be in allowed place. So
(11:24):
you want to make sure that they have multiple ways
to consume what you're saying, or they can read what
you're saying. That's more important to me than anything else
in a short form clip. But for me to say,
you know, it's tough on the content that you make. Now,
when you're doing interviews, some people have learned to go
(11:45):
Joe Rogan style and just pick a long interview to
go with and just pick something that's gonna work out
of that particular interview that you want to take. But
some people will probably get the impression that they're getting
the best clip possible, So why even go ahead and
go like to the show because for some of these shows, yeah,
I mean a show like The Bullwark without any political
(12:10):
animus or anything like that at all. I'm just saying objectively,
The Bullwork is going to talk about whatever news events
that are going on or whatever political stories that everybody
else is talking about. Remember that a political show that
is talking about the same thing that plenty of other
political podcasts are talking about right now. So when you
(12:32):
got that, the difference is what is your voice saying
about it? Once you report the story, what is your
opinion your editorial? And that's what you have to figure
out and that might just be the only thing worth
listening to on that particular episode. So what Kara Swisher
says that, I mean, she's saying the fact that Tim
(12:54):
Miller and Kara Swisher probably had the same kind of
political mindset. They both have parallel views on what they
think about politically. So it's not a matter of going
back to the episode to hear the whole thing, especially
if they're both busy, you know't have time. But the
clip satisfies because Karris, what you got to hear Tim
Miller make his point and that's it, and there's plenty
(13:18):
of times where somebody will it's not even the fact
that if it's somebody from the show that clips the episode.
The one thing that happens more than anything on X
is there are people that are media watchdogs out there,
whether they are official organizations that are media watchdogs or
just people out there that just clip up content that's
(13:40):
not theirs, but they're using the right to go and
put that content up there so people can catch it,
so I don't have to go listen to a whole episode.
I can't say how many times somebody has already put
out a clip from the Breakfast Club or from you
know whatever cable channel, or you know, any streamer like
an I Show Speed or Drew Ski. You see it.
I'm not gonna go back and go find this long
(14:01):
form video. I mean I could go find an I
Show Speed channel or Drew Ski channel or you know,
Neon or whatever else. I could go look for all
these different streamers and all or live streaming of whatever
there is. I could go look for it. But it's
also the convenience of where you're gonna find that content.
I mean, the one thing I think that most of
(14:24):
these clips don't have. Especially if these are people that
are doing their own program, you're going to assume that
they know where to find your show. And it doesn't
mean you put a little end cap on the episode
or that particular short form clip and say, okay, catch
it here, No, you want that burned in to the
(14:44):
whole clip. I don't think people realize that. For me,
that was the most important thing I started doing two
years ago when I started doing clips, because I know
the first thing I had to do off the bat
was I got to promote the website first and foremost.
Once I did that, and then I started promoting the
(15:04):
YouTube feed. Once I started to promoting the YouTube feed
on every audio clip or any audiogram that I do,
they got me subscribers. It was the best way to
get subscribers because of similar somehow they've caught that video,
that audiogram and then they catch it and sink, all right,
here we go, and then I go ahead and push
(15:25):
it over to social media. Then my channels get some traction,
some traffic. So I'm not worried about monetizing these particular
profits because on my YouTube feed, I don't have it
monetized yet. The bars all too high. For me to
get there, I got the subscriber count. I don't have
to watch hours, So for me, I have to work
(15:47):
on getting my content to be to where they're talking about. Here.
You get the real money on the YouTube feed if
you put on content that is long form and you
get a TSL a time spent listening measurement that goes
well enough to bring your watch hour to a certain minimum,
(16:09):
and then you go ahead and be able to monetize it,
which is where I'm at right now. So that's more
mind more my important things now when it comes to
the short from content, I also have to keep in
mind that on social media, I'm not expecting to go
ahead and pull people out of nowhere to go and
(16:29):
catch my for you page, whether it's x or TikTok
or LinkedIn or whatever, and they're going to catch the feed.
Like Spotify, they're good about their algorithm to say, okay,
the algorithm is going to help you with that short
form content to help you find an audience. That's fine,
But I don't think it's always the biggest driver of
that either, because I know for myself there's not a
(16:52):
lot of stuff I put out there myself that goes
viral on TikTok or LinkedIn and or x. What I
get the most viral is, you know, if some of
the YouTube shorts gets it. But what I've gotten viral
are YouTube videos which is on my longer form content,
(17:15):
and some of my content I did out there was
like the ten to sixty minute variety when I was
doing when I'm not podcasting, and some of those videos
actually did pretty good. But now on some of the
other programming, it's half hour sixty minute show, and I'm
getting some shows where I'll get somebody to good listening.
Listeners will go and stick around for like ten to
(17:36):
fifty minutes. The biggest thing is to be able to
measure what the time spent listening is on your podcast.
It's very important to God and follow that. It's one
of the metrics that I miss when Stitcher used to
be around. Stitcher used to give us that stat of
the length of how long somebody would listen to a podcast.
(18:00):
I believe Apple did that as well, but I don't
think they have that anymore. And I missed that part
because that was something that was really really good, and
if I had that still, I was still go ahead
and find my way to go and get around. But
we don't have that anymore. So it's unfortunate we don't
have that, and Spotify doesn't give me that either. I
(18:21):
wish it did. So for instance, I'm looking right now
on my Apple podcast connect section for stats. Let's just
say that's okay, broadcasters podcast. Here's a good example. All right,
I'm up followers three percent. My listener count is up
forty eight percent. That's good. My plays are up forty
eight percent. They give me the time listening, and it's
(18:46):
twelve hours listen. It's not that much. It really is not.
And that I have of my listeners that a certain
amount are falling and a certain amount are not falling.
And if I go into the episodes himself, it'll show
me the average consumption. And they only give me percentages,
(19:08):
So like certain episodes, I'll get sixty five percent, thirty
two percent, and some of the others I don't get
much of anything else. So I get to see that part,
which doesn't give me much to work off of. If
I go to my series to pray them, Debautress numbers
are up on their twenty one percent, up on followers,
twelve percent up on listeners twenty one percent up on
(19:30):
Place Great Time Listened. It's a little bit better, and
I get a lot more people that are not following
my program that are listening longer, which is interesting. And
if I look at some of the episodes that I
do now, some of them do better where I get
eighty two percent of average consumption of an episode, which
is nice, twenty nine percent sixty percent, that's great. But
(19:55):
for me, what I'm learning about is that I need
to find a way to find the right content. And
it's also the part where like when you're trying to
create content, it's difficult to go in not get put
into a whole of doing the same stuff over and over.
Because that's the other part that people can try to
(20:16):
do themselves as well is micro broadcast what they're doing
so on the same one topic, which gets run to
the ground because people really got into it and that's
what the metrics say to God and follow along and
then you try to do what you can do. So
I can't do it though so much. That's just not
something that's sustainable. The problem is that these analytics I
(20:37):
get when I look at also my Spotify feed is
it's like Netflix numbers watch hours. That doesn't really say
anything to me at all, but the content itself. I
try to get myself in a way where I have
a rotation of topics I go into regularly, and then
when I do those, that's usually what gives me a
better sense of like what people are going to listen
(20:58):
to on a regular basis. So I have to figure
that out in some good way, shape or form to
go and do that. To close out a story from
the podcasting end of Bloomberg, here, they said that podcasts
continue to rely on their intro ads to justify their
big paydation networks. The risk for podcasting is any of
it in the world where valuable long form audiences have
been supplanted by short form clip cruisers, And it feels
(21:21):
like it can become particularly troublesome if podcast networks or
creators can efficually figure out the house sell ads on
social media or be constrained because of their editorial policies.
So she might not this person might not have an
answer to this, but I do you need to take
what radio does. Radio we're worried about time spent listing TSL.
(21:43):
The thing is time spent listening more than ever now
because of the personal people mutle system right now that
Arbitron has they count the fact that their rating system
is based on somebody who listens at least to a
program or a tell me on the radio station for
three minutes at a time, if they count three minutes.
(22:05):
It used to be where those quarter out of ratings
where you'd worry about, okay, who's listening about in the
fifteen minute span, and that's the part where time spent listening.
You had to have somebody to listen to at least
a quarter of the hour of programming to count that rating.
That's what has happened here is that you have to
be careful about making a show that is interesting and
(22:26):
compelling to give people watching from the beginning, beginning to end,
or at least catch the show for a long time
as long as you can get until people have to
go and just go because they can't go, and because
the whole show. The most important thing is I don't
think it's right or good to present a podcast or
(22:48):
any kind of content from that matter that you can't
watch or listen to in one sitting. Audiobooks, a different story, magazines,
newspaper's different story. TV shows and movies. You should be
able to watch them in one sitting. At least you
you should be able to go watch an episode of
(23:08):
a movie, or you should be able to watch a
full movie or an episode of a TV show in
one sitting. And you make sure that what you're putting
in that content is going to be good. That's what
you have to do now. The one thing that's happening
now for some people who are talking about the clippers
that are out there that are making money on this.
(23:29):
And trust me, you go to your LinkedIn you know,
if you look at LinkedIn jobs or indeed or whatever else.
There are so many jobs for social media content producers
that are remote. If you get the right kind of video,
you know, content you make out there, and you got
the equipment, yeah, you could go and do a lot
of stuff with it. You know how to use cap cut,
you know, to use Da Vinci or whatever else out there. Yeah,
go for it. They talked to one person here that
(23:52):
has been quit a finance job now runs a team
of eight clippers and earns between twenty thousand and thirty
thousand a month on short form video clips to go
on sites like Instagram and TikTok. So clipping took off
during the early days of TikTok. When you see chopped
up stimpus of personalizes like Andrew Tate or mister Bach
(24:14):
tracking up millions of views. So anything we can be clipped.
The podcast debate, social media, montage, movies and startups are
out there that will build to go and do that
for you. So one particular one they have that they
talk about here is clearly an AI note taking startup
hiring clippers to plaster as promotional content across the Internet,
(24:37):
and their clip content generates between eight hundred thousand views
a day on platforms like Instagram and TikTok, and in
the virtual markets, brands post the rate they will pay
freelancers will sign up to make clips, and these clippers
are able to get paid anywhere between fifty cents to
two thousand per views or two dollars per thousand views.
To motivate them to find the most sharable moments, they
(25:00):
talk to somebody that runs a marketplace called clip through
this court channel where they launched a TikTok campaign clipping
scenes from the XX show Adults Stremi on Hulu and
then it drew more than twelve million views on TikTok.
Videos are recommended to viewers based on how much people
interact with them through likes, comments, shares, and watch time.
(25:22):
So what edited clip can go viral even from an
account with no followers, and each one can be made
in under a minute using free online editing tools. It
is all fascinating when you look at it and you
say to yourself, to create the right content in the
podcasting realm, specifically, you have to keep an eye on
the fact that you might hear the popularity of Joe
(25:43):
Rogan or any of the NPR content or theovon or
all these others, right, But they gotta also have the
right guests, and not every guest is going to go
ahead and get you the right amount of you know,
audience is going to come out for it unless you're
just completely like caught on the fact that oh who
who or are they talking to this time? But I'm
(26:05):
not the kind of person that can catch long form
content like that, especially like an hour or two hours
like that. I mean, remember, after COVID, we don't have
a lot of people that are doing long commutes. You
might have people that are taking plane rides and I'll
have the time all the time they want to go
and catch some content. That's a different story too. But
you don't want to make your podcast or your video
(26:26):
show become like an audiobook where you have to keep
going back to it, going back to it, going back
to it, unless you make your show episodic and you
have like a long form interview or something else that
you have, and then you just basically say, Okay, well
we're gonna go and keep this here and we're going
to create parts of it, and you find the right
way to going to do that. I mean, even for
(26:47):
me the Broadcasters podcast, when I first started doing or
creative not corporate, the interviews I used to go and
put up. I used to put them in the show
and I would just sprunt in two parts. But you
know you can do that. But the thing is I
would do it where it would have like a break,
which would be a good place to go and stop
the interview. But I don't do it anymore because if
(27:07):
I do interviews now, I just put them out there
stand alone because there's no rhymes of reason as to
what to do with the front content. I'll tell you
like this too. What I also do, especially from a
wrestling program. I do a thing now where there are
some weeks I do three team three episodes in a week.
I did that this week where between Wednesday and then
(27:30):
I did a show episode on Friday, I did another
episode on Sunday. There was just extra news going on
and things that I wanted to go and talk about
in the program. And I'm saying to myself, I'm not
gonna wait another week to go and talk about it,
and I'm not gonna make my show go like super
long to try to criminal in With podcasts, we can
(27:52):
kind of do what we want with it. So if
we have an agenda, you have, like what you have
planned out to go and talk about to your and
you think, well, maybe we cannot get all that in
the find a way to go ahead and create another
episode that ads the extra content, or put it aside
towards premium content like some other people do. I just
(28:12):
think you can do something where the long form content
should absolutely be full of what people are want to
listen to all the way across. You should not have
any filler at all, nothing like every bite of a
full course meal should be delicious, shouldn't have a bad bite,
And if you're gonna do an advertiser. Make sure the
(28:33):
advertiser is good and leaves you wanting more because you're
still hungry, well the advertiser. It's like, Look, your content
in the long form should have a billion different clips
you could pull from. That should be the easiest thing
for you to do to create short form content. Your
(28:56):
long form content should have plenty of spots for you
to go ahead and pull and clip and clip and clip,
but you only need to do a couple keep it
sixty to ninety seconds and that's it. Because you want
people to take that short form content and attract them
to take the bigger bite, to take the bigger full
(29:20):
course meal that is your long form podcast where you're
taking the listeners into account their time, their interest, and
their attention span. Story from a Screen Rant talks about
how network TV took them the wrong lessons from streaming
short seasons and network TV can always go a different
(29:41):
route of what they want to go do in terms
of their scripted content or their non live content and
figure out how long of a season do you want
to have to keep your audience watching weekly an episodic,
so Elisha Grasso at screen Rant talks about this that
(30:04):
network TV has disrupted the traditional TV model where the
ushered in and air, where broadcast networks had to scramble
to adapt. Network TV is borring up page from streaming,
creating short ten episode seasons common with streaming. The hope
is with copying streaming shorter season model is that NEWBERK
TV shows will do a better job of competing with streaming.
(30:26):
Ten episodes make for snappier, cheaper seasons. But TV networks
are still missing the reason that streaming shorter seasons are
so successful and does any to do with their length.
So now we've always had the point where a new
series might get a thirteen episode run and then I'll
expand it to another thirteen episodes to give a full
season another nine on the back end, it's spliting the
(30:47):
difference between pilot and coming in to a full traditional
season of twenty to twenty four episodes, And how many
shows are out there giving a full season to let
a show find it's funny, they're not short attention spans
on a lot of that happen. Short ten episode seasons
maybe more budget friendly for networks, but that's exactly why
they can't compete with streamers. Because the budget for streaming
(31:09):
is much more. Streamers of deep pockets, they put them
in the good use with the original scripted series. You
know what, I don't know if it's necessarily true. Maybe
they have the quality of the content out there, but
doesn't mean the writing can always be better, which is
some of the issues I have with some of these
other shows. But they're giving like the highest end for examples, Okay,
(31:29):
Netflix giving A Stranger Things of season a budget of
thirty million per episode, Amazon Global TV Rights and The
Lord of the Rings for a two and fifty million
dollar budget. At Disney plus MCU shows average twenty five
million per episode. Remember, all these shows are starting to
drop as well. It's not like that all the time
now because you're not seeing those kind of shows like
that anymore. At the highest ten for Network TV, Big
(31:53):
Bang Theory season twelve and at two hundred and forty
million dollars total production budget, never heard of from broadcast
Network TV. Your average long, hour long broadcast drama now
costs between three and six million dollars per episode. That's true,
like your Law and Orders, jen zisays, and all that
kind of stuff. Now, now, this writer says, Network TV
(32:15):
no longer gives a series time to find their audiences.
They don't have the time to let somebody find their audience.
That's what the problem is. The close out to say that,
with the short short season orders, broadcasts networks seem to
underst misunderstand why audiences are watching both streaming and network shows.
Streaming offers cinema quality stories and short bursts. Broadcast TV
offers mid budget comfort shows in which one can be
(32:37):
immersed for months. The current approach of making shorter seasons
while keeping the same little budget network TV is filling
up both aspects of streaming a network great. See. I
disagree with this because there's not necessarily all that kind
of quality on all these shows, and it also depends
where they're coming from. Can't say that Netflix and all
these other outfits are putting up that much more money
(33:00):
now for content like you would think. I don't think.
Speaker 1 (33:04):
So.
Speaker 2 (33:05):
It's not like all these shows are doing a lot
when it comes to you know, it's not like I'm
watching a show from the seventies or the eighties where
you see a lot of action or stunts and they're
not using a lot of cgi like real stunt work,
real like you know, a lot of work in terms
of the detail of the period pieces and things like that.
(33:26):
Even movies not putting that much money out there like
they used to go and build up. I mean, when's
the last movie we had that was what hundred and
fifty million dollars? Very tough to see those some of
the Marvel stuff, some of these other movies that are
out there, but it's just not so much as some
of them don't need to be that much either, because
you know, we're starting to see what people are kind
(33:48):
of getting contracted to. Like a lot of horror movies
are out there, don't have that high have a budget.
The anime movie got to talk about a couple of
weeks ago, Demon Slayer, I think it was twenty million dollars.
They build on that. Look what kind of money they're
making off of that crazy money. Let's move on to
radio and music Why music testing matters In twenty twenty five,
Sean Ross Radio insight dot Com put out a great
(34:11):
op ed this week about music testing can still give
any stations an advantage and when he was working in
his work in radio that you watch the patterns of
what worked change over time, and when he was doing
music testing. Unchained Melody, which was twice a hit, was
(34:34):
reliably at the top of the music list, and there
are songs where behaving the rhapsidy with a similar history
is longer bullet proof. And there's also secret weapons often
performed by TV movie sinks as streaming your pop culture,
that are nowhere near the most played but often work
for stations that will test them. He makes a point
there are more songs worth asking about than ever because
(34:56):
only a few will take hold that music testing is
important for radio. Now the right songs are not only
radios radio is only issue, but the question can be
easily answered. Stations can rediscover the importance of personality against
their streaming competition. No longer consider the music the risks
the reason the listeners tune in. It's often the biggest
part of your product that could be the reason they
(35:16):
tune out. Pop radio stations have been largely out of
the habit of doing music testing for a while. They're
more gold based without a corresponding upturn and their fortunes,
and then they promote new testing services out there. But
the idea is that even radio stations need to quit
just falling on with what they think is what the
algorithm of the streaming service would say, are the music
(35:38):
that people want to hear radio needs to go to
test out separately, one last sort to bring up Spotify
is leaded over seventy five million SPAMI tracks unveiling new
AI music policies. So now Spotify has a new framework
where they're going to improve enforcement of a person in violations,
impersonation violations, a new spam filtering system, and AI disclosures
(36:01):
for industry standard credits. And as for me, I don't
want to go and listen to music that's like that
where you know, all of a sudden we're hearing music
that's like AI generated and you know you could ever
catch that episode artist. You can never hear them live,
You'll never see them in person. It's just not possible.
AI has a different purpose than creating the content itself
(36:26):
in my opinion. Anyway, come back next week for the
Broadcasters podcast, where the continent is king and the control
of your content is in your hands.
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, Kingopodcasts dot com.
Speaker 2 (00:07):
A lot of media is trying to tweak and tune
their content short or long form, but all your content
has to have one common theme, and I don't know
what that is.
Speaker 1 (00:21):
The King of Podcasts Radio Network proadbly presents the Broadcasters Podcast.
Here is the King of Podcasts.
Speaker 2 (00:31):
Welcome to the Broadcasters Podcast, King of Podcasts here. Whether
you're welcome, you to another program as we get to another.
Speaker 3 (00:37):
Weekend and a lot of stories tying together this week
in the areas of movie, television, music and radio, tweaking, testing, tuning,
trying to get the.
Speaker 2 (00:51):
Right content out. So, as I said at the very
start of the program, you know it's one thing to
do short and long form content. We know it's much
more common now than ever that you know in television
news you always had to tease to a story you
wanted to make sure somebody would watch later on, or
a promo for a TV series or a trailer for
(01:13):
a movie. We've always had short form content to be
the gateway, the appetizer to somebody taking on the full course,
right And just like people at a restaurant. Sometimes you
don't want a full course. You just want an appetiser
to go with your drink, your beverage, your tasty spirit
that you have in hand. So if you decide to
(01:33):
do that, that's your choice. But you can always make
sure somebody will catch your content. If there's one common
thing that you would heard to is that every minute
of your content has to count. You need to make
sure that you are entertaining and forming doing something with
your content. You don't need to go and fill a
time slot, especially when you're a podcast, just to fill
(01:56):
a time slot. Obviously, on the TV shows now that
are streaming, or movies out there in theaters or streaming,
there's a set time that you have to put in.
And for movies that want to go and take time
and edit down their program to make sure they're putting
just the right amount of content on. How often do
(02:19):
you see a series that will have an episode and
the time of the episode will be different than the
next episode because you're finding a proper place in the
story to stop the story to begin the next chapter
of the story. When you're doing real time content or
(02:39):
doing timely content, you know, like I do. The thing
is besides the fact that what content you're going to deliver,
you have to make sure that if you're gonna have
somebody listen to your program, you want to get the
listeners to go to the longer form content that the
full actual program. You want them to want to binge
(03:02):
watch your program, binge listen to your program. That's what
you want. And so there's a story that comes out
right off the bat, and this is something that is
This is they talk about the risk of short form video.
This is from a Bloomberg newsletter story. So Kara Swisher,
the co host of Pivot, she was speaking with her
(03:22):
guest co host Tim Miller of The Bullwork about his
podcast to the Bulwark, and she admits that she doesn't
regularly consume the show on a podcast app. Quote, you
know where I listened to it? Oh, listen on social media.
I listened to pieces and pieces. And then the writer
here says that they had a similar realization about their
(03:46):
own viewing habits or listening habits. Scrolling on TikTok, came
across the clip from a podcast. Didn't want to name
the show, but the interviewing topic were it's something interested
in They were interested in and they watched took down
the headline where the item that the clip was built
around swiped away without hearing the entire episode or even
in the rest of that segment. The clip's more sol
(04:07):
of information was enough for me. This story goes on
to say that as podcasters of RUSSI in the video
part of the promise that the powerful algorithms behind TikTok,
Instagram and even the YouTube shorts can improve discovery and
wrote in new audience members. But many podcasters are even
paying armies of video savvy marketers notice clippers the Saturay
(04:28):
social media with enticing exibits of their shows engineered into irresistible,
buzzy tidbits designed to grab your attention. And I'm gonna
take from a story from The Wall sat Journal that
goes into that that recently published on that. As they
referred to the question is how effective was the ubiquitous
(04:49):
short form videos at driving an audience to a full
length podcast? They talked to the co founder at Bumper,
a podcast audience development company, quote, It's nowhere near as
impactful as people want. Quote. The disappointment that I have
see for creators often stems from lack of clarity around
what clips are in service of. If hosts expect the
clips to pick up vast numbers of new audience members
(05:10):
for their full links, show that likely won't happen the
want the amount of friction exists between seeing a clip
and then consuming it elsewhere, especially when you were scrolling
rather than listening to a podcast or in the mood
to listen to it. They go on to say that
I used to think a clip on Socialist Marketing Global
for a full episode a trailer for the movie isn't
(05:31):
a movie. Increasingly my mind is changing about that. There's
a tremendous amount of attention that comes in little slices.
Speaker 1 (05:40):
Now.
Speaker 2 (05:40):
I spoke to someone from the bullworking about their clips,
saying that short form video content has become a similicant
driver of our growth, and it helps drive the conversation
and get people in front of our new audiences across
all platforms, a significant driver of subscription growth. A spokesperson
who didn't say whether who watches the clips definitely convert
(06:01):
to full time listeners, but they said they racked up
one hundred and thirty two and a half million views
on x over the past three months, and I'll YouTube
shorts thirty eight point seven million and I'll TikTok ten
point three million views. This Bloomberg article goes on to
talk about that the audiences for both formats are prey
(06:22):
to be diverging depending on how the industry shakes out.
That could end up being a totally fine thing for
the business and Mayser. This from Bumper goes on to
say that affective podcasters often don't mind that their clips
fail to convert because they make money off their social
media accounts by something ad packages that spanned both products.
But a downside of heavy clipping is that also disrupts
(06:43):
the primary source of the podcast's revenue, the full length
episodes of shows and the substantial adventories they delivered the listeners.
The current dynamic of podcasting in some ways is reminiscent
of what we've seen in late night TV. No shortage
of funny, provocative clips highlighting juicy on air moment, But
despite the constant a matter of how entertaining these shows
can be, when was the last time you sat down
(07:05):
and watched an entire episode as it aired? Aggressionally publishing
highlight clips has been utterly a great way to keep
the performers alive in the cultures like Geist. But over
time it's also efvictively taught us that all you don't
have to no longer actively see out the shows to
get their best moments, because the same thing we happen
in the podcasting. Okay, h In my opinion, the short
(07:29):
form content should not be of your best content. What
you should do and this is what I do myself.
In my content, I usually try to find something that
is going to be something that I will say on
a monologue or take a particular clip and plan for
(07:52):
it to be in social media. I'm not going to
just pick some random clip that will just satisfy a
short form I actually kind of plan on it, so
when I do these kind of episodes, there will be
a spot where I'll know, Okay, I'm gonna say this
here because I'm gonna make my point, I'm gonna give
(08:12):
my take. It'll be within the time frame that I need.
Ninety seconds is about as much as I need to
go because I'm trying to adhere to all the different platforms.
Of course, you can go longer, but I think two
minutes is too long. It's about us more than you
need two minutes is stretching it sixty to ninety seconds,
(08:32):
thirty seconds if you can get it, and you can
get the full throated take that you want to make sure,
but sixty to ninety seconds. And also I don't take
the full clips sometimes as it's recorded, sometimes I will
spice together because it's audio. And more importantly, I don't
(08:54):
care to do video because the talking head doesn't make
a difference to anybody else anyway, unless I had a
company b roll video to go with it. But if
you see any of my clips out there, you know
I'm not that big of an audience anyway. Sometimes I
might get a good audience on something that I might
say that will grab attention. If I get the right
(09:16):
caption out there, it works. But whatever content I do,
it's just my own. I want to make sure that
if somebody's going to go and look at the clip,
the most important thing I'm gonna do is I'm gonna
make sure I'm promoting my platform. So one website one
you are o Kingfpodcasts dot com YouTube at king of Podcasts,
(09:36):
so they can find the video version of the show.
That's it, and even the video vision is slate because
I'm not doing any more than just creating a visual
slate with captions. That's all I'm gonna go and do
to create something that's gonna be a visual medium that
will be good enough for somebody to watch, which are
not gonna watch. They're just gonna put it on YouTube
and listen to it. And sometimes it happens to work
(09:58):
really well. But I mean, I make it pretty easy
to go ahead and clip up my shows. I basically
will do two clips per episode, about as much as
I need. Sometimes if it's less than thirty minutes, I'll
do one clip, but I don't need to do anything
more than that because if I do that, there I'll
(10:20):
have the clips I want to do. There's a whole
lot of content I'm gonna be covering. But it doesn't
also matter where I pull from the episode either, because
I also want to make it where it's not something
always from the beginning. I wanted to be somewhar to
the middle to the end. But I'll plan on what
I'm going to basically say. If I catch myself at
(10:41):
a point where I, Okay, I said this, and I
kind of make a known of it mentally, I'm going
to come back and pull that clip and put it
into a format that can put out there for social media.
Because the other thing is that short from content, you know,
you might get a lot of attention to it, the
(11:02):
most possible attention you probably get to a clip or
to your content. But it's also the fact is that
I want to make sure I have captions in there.
Some people can just go to catch the words at
least I'll catch that, because if they're watching on their
phone or tablet or whatever they're gonna be listening on
or watching on, they might not have their full attention
to it, and they might be in allowed place. So
(11:24):
you want to make sure that they have multiple ways
to consume what you're saying, or they can read what
you're saying. That's more important to me than anything else
in a short form clip. But for me to say,
you know, it's tough on the content that you make. Now,
when you're doing interviews, some people have learned to go
(11:45):
Joe Rogan style and just pick a long interview to
go with and just pick something that's gonna work out
of that particular interview that you want to take. But
some people will probably get the impression that they're getting
the best clip possible, So why even go ahead and
go like to the show because for some of these shows, yeah,
I mean a show like The Bullwark without any political
(12:10):
animus or anything like that at all. I'm just saying objectively,
The Bullwork is going to talk about whatever news events
that are going on or whatever political stories that everybody
else is talking about. Remember that a political show that
is talking about the same thing that plenty of other
political podcasts are talking about right now. So when you
(12:32):
got that, the difference is what is your voice saying
about it? Once you report the story, what is your
opinion your editorial? And that's what you have to figure
out and that might just be the only thing worth
listening to on that particular episode. So what Kara Swisher
says that, I mean, she's saying the fact that Tim
(12:54):
Miller and Kara Swisher probably had the same kind of
political mindset. They both have parallel views on what they
think about politically. So it's not a matter of going
back to the episode to hear the whole thing, especially
if they're both busy, you know't have time. But the
clip satisfies because Karris, what you got to hear Tim
Miller make his point and that's it, and there's plenty
(13:18):
of times where somebody will it's not even the fact
that if it's somebody from the show that clips the episode.
The one thing that happens more than anything on X
is there are people that are media watchdogs out there,
whether they are official organizations that are media watchdogs or
just people out there that just clip up content that's
(13:40):
not theirs, but they're using the right to go and
put that content up there so people can catch it,
so I don't have to go listen to a whole episode.
I can't say how many times somebody has already put
out a clip from the Breakfast Club or from you
know whatever cable channel, or you know, any streamer like
an I Show Speed or Drew Ski. You see it.
I'm not gonna go back and go find this long
(14:01):
form video. I mean I could go find an I
Show Speed channel or Drew Ski channel or you know,
Neon or whatever else. I could go look for all
these different streamers and all or live streaming of whatever
there is. I could go look for it. But it's
also the convenience of where you're gonna find that content.
I mean, the one thing I think that most of
(14:24):
these clips don't have. Especially if these are people that
are doing their own program, you're going to assume that
they know where to find your show. And it doesn't
mean you put a little end cap on the episode
or that particular short form clip and say, okay, catch
it here, No, you want that burned in to the
(14:44):
whole clip. I don't think people realize that. For me,
that was the most important thing I started doing two
years ago when I started doing clips, because I know
the first thing I had to do off the bat
was I got to promote the website first and foremost.
Once I did that, and then I started promoting the
(15:04):
YouTube feed. Once I started to promoting the YouTube feed
on every audio clip or any audiogram that I do,
they got me subscribers. It was the best way to
get subscribers because of similar somehow they've caught that video,
that audiogram and then they catch it and sink, all right,
here we go, and then I go ahead and push
(15:25):
it over to social media. Then my channels get some traction,
some traffic. So I'm not worried about monetizing these particular
profits because on my YouTube feed, I don't have it
monetized yet. The bars all too high. For me to
get there, I got the subscriber count. I don't have
to watch hours, So for me, I have to work
(15:47):
on getting my content to be to where they're talking about. Here.
You get the real money on the YouTube feed if
you put on content that is long form and you
get a TSL a time spent listening measurement that goes
well enough to bring your watch hour to a certain minimum,
(16:09):
and then you go ahead and be able to monetize it,
which is where I'm at right now. So that's more
mind more my important things now when it comes to
the short from content, I also have to keep in
mind that on social media, I'm not expecting to go
ahead and pull people out of nowhere to go and
(16:29):
catch my for you page, whether it's x or TikTok
or LinkedIn or whatever, and they're going to catch the feed.
Like Spotify, they're good about their algorithm to say, okay,
the algorithm is going to help you with that short
form content to help you find an audience. That's fine,
But I don't think it's always the biggest driver of
that either, because I know for myself there's not a
(16:52):
lot of stuff I put out there myself that goes
viral on TikTok or LinkedIn and or x. What I
get the most viral is, you know, if some of
the YouTube shorts gets it. But what I've gotten viral
are YouTube videos which is on my longer form content,
(17:15):
and some of my content I did out there was
like the ten to sixty minute variety when I was
doing when I'm not podcasting, and some of those videos
actually did pretty good. But now on some of the
other programming, it's half hour sixty minute show, and I'm
getting some shows where I'll get somebody to good listening.
Listeners will go and stick around for like ten to
(17:36):
fifty minutes. The biggest thing is to be able to
measure what the time spent listening is on your podcast.
It's very important to God and follow that. It's one
of the metrics that I miss when Stitcher used to
be around. Stitcher used to give us that stat of
the length of how long somebody would listen to a podcast.
(18:00):
I believe Apple did that as well, but I don't
think they have that anymore. And I missed that part
because that was something that was really really good, and
if I had that still, I was still go ahead
and find my way to go and get around. But
we don't have that anymore. So it's unfortunate we don't
have that, and Spotify doesn't give me that either. I
(18:21):
wish it did. So for instance, I'm looking right now
on my Apple podcast connect section for stats. Let's just
say that's okay, broadcasters podcast. Here's a good example. All right,
I'm up followers three percent. My listener count is up
forty eight percent. That's good. My plays are up forty
eight percent. They give me the time listening, and it's
(18:46):
twelve hours listen. It's not that much. It really is not.
And that I have of my listeners that a certain
amount are falling and a certain amount are not falling.
And if I go into the episodes himself, it'll show
me the average consumption. And they only give me percentages,
(19:08):
So like certain episodes, I'll get sixty five percent, thirty
two percent, and some of the others I don't get
much of anything else. So I get to see that part,
which doesn't give me much to work off of. If
I go to my series to pray them, Debautress numbers
are up on their twenty one percent, up on followers,
twelve percent up on listeners twenty one percent up on
(19:30):
Place Great Time Listened. It's a little bit better, and
I get a lot more people that are not following
my program that are listening longer, which is interesting. And
if I look at some of the episodes that I
do now, some of them do better where I get
eighty two percent of average consumption of an episode, which
is nice, twenty nine percent sixty percent, that's great. But
(19:55):
for me, what I'm learning about is that I need
to find a way to find the right content. And
it's also the part where like when you're trying to
create content, it's difficult to go in not get put
into a whole of doing the same stuff over and over.
Because that's the other part that people can try to
(20:16):
do themselves as well is micro broadcast what they're doing
so on the same one topic, which gets run to
the ground because people really got into it and that's
what the metrics say to God and follow along and
then you try to do what you can do. So
I can't do it though so much. That's just not
something that's sustainable. The problem is that these analytics I
(20:37):
get when I look at also my Spotify feed is
it's like Netflix numbers watch hours. That doesn't really say
anything to me at all, but the content itself. I
try to get myself in a way where I have
a rotation of topics I go into regularly, and then
when I do those, that's usually what gives me a
better sense of like what people are going to listen
(20:58):
to on a regular basis. So I have to figure
that out in some good way, shape or form to
go and do that. To close out a story from
the podcasting end of Bloomberg, here, they said that podcasts
continue to rely on their intro ads to justify their
big paydation networks. The risk for podcasting is any of
it in the world where valuable long form audiences have
been supplanted by short form clip cruisers, And it feels
(21:21):
like it can become particularly troublesome if podcast networks or
creators can efficually figure out the house sell ads on
social media or be constrained because of their editorial policies.
So she might not this person might not have an
answer to this, but I do you need to take
what radio does. Radio we're worried about time spent listing TSL.
(21:43):
The thing is time spent listening more than ever now
because of the personal people mutle system right now that
Arbitron has they count the fact that their rating system
is based on somebody who listens at least to a
program or a tell me on the radio station for
three minutes at a time, if they count three minutes.
(22:05):
It used to be where those quarter out of ratings
where you'd worry about, okay, who's listening about in the
fifteen minute span, and that's the part where time spent listening.
You had to have somebody to listen to at least
a quarter of the hour of programming to count that rating.
That's what has happened here is that you have to
be careful about making a show that is interesting and
(22:26):
compelling to give people watching from the beginning, beginning to end,
or at least catch the show for a long time
as long as you can get until people have to
go and just go because they can't go, and because
the whole show. The most important thing is I don't
think it's right or good to present a podcast or
(22:48):
any kind of content from that matter that you can't
watch or listen to in one sitting. Audiobooks, a different story, magazines,
newspaper's different story. TV shows and movies. You should be
able to watch them in one sitting. At least you
you should be able to go watch an episode of
(23:08):
a movie, or you should be able to watch a
full movie or an episode of a TV show in
one sitting. And you make sure that what you're putting
in that content is going to be good. That's what
you have to do now. The one thing that's happening
now for some people who are talking about the clippers
that are out there that are making money on this.
(23:29):
And trust me, you go to your LinkedIn you know,
if you look at LinkedIn jobs or indeed or whatever else.
There are so many jobs for social media content producers
that are remote. If you get the right kind of video,
you know, content you make out there, and you got
the equipment, yeah, you could go and do a lot
of stuff with it. You know how to use cap cut,
you know, to use Da Vinci or whatever else out there. Yeah,
go for it. They talked to one person here that
(23:52):
has been quit a finance job now runs a team
of eight clippers and earns between twenty thousand and thirty
thousand a month on short form video clips to go
on sites like Instagram and TikTok. So clipping took off
during the early days of TikTok. When you see chopped
up stimpus of personalizes like Andrew Tate or mister Bach
(24:14):
tracking up millions of views. So anything we can be clipped.
The podcast debate, social media, montage, movies and startups are
out there that will build to go and do that
for you. So one particular one they have that they
talk about here is clearly an AI note taking startup
hiring clippers to plaster as promotional content across the Internet,
(24:37):
and their clip content generates between eight hundred thousand views
a day on platforms like Instagram and TikTok, and in
the virtual markets, brands post the rate they will pay
freelancers will sign up to make clips, and these clippers
are able to get paid anywhere between fifty cents to
two thousand per views or two dollars per thousand views.
To motivate them to find the most sharable moments, they
(25:00):
talk to somebody that runs a marketplace called clip through
this court channel where they launched a TikTok campaign clipping
scenes from the XX show Adults Stremi on Hulu and
then it drew more than twelve million views on TikTok.
Videos are recommended to viewers based on how much people
interact with them through likes, comments, shares, and watch time.
(25:22):
So what edited clip can go viral even from an
account with no followers, and each one can be made
in under a minute using free online editing tools. It
is all fascinating when you look at it and you
say to yourself, to create the right content in the
podcasting realm, specifically, you have to keep an eye on
the fact that you might hear the popularity of Joe
(25:43):
Rogan or any of the NPR content or theovon or
all these others, right, But they gotta also have the
right guests, and not every guest is going to go
ahead and get you the right amount of you know,
audience is going to come out for it unless you're
just completely like caught on the fact that oh who
who or are they talking to this time? But I'm
(26:05):
not the kind of person that can catch long form
content like that, especially like an hour or two hours
like that. I mean, remember, after COVID, we don't have
a lot of people that are doing long commutes. You
might have people that are taking plane rides and I'll
have the time all the time they want to go
and catch some content. That's a different story too. But
you don't want to make your podcast or your video
(26:26):
show become like an audiobook where you have to keep
going back to it, going back to it, going back
to it, unless you make your show episodic and you
have like a long form interview or something else that
you have, and then you just basically say, Okay, well
we're gonna go and keep this here and we're going
to create parts of it, and you find the right
way to going to do that. I mean, even for
(26:47):
me the Broadcasters podcast, when I first started doing or
creative not corporate, the interviews I used to go and
put up. I used to put them in the show
and I would just sprunt in two parts. But you
know you can do that. But the thing is I
would do it where it would have like a break,
which would be a good place to go and stop
the interview. But I don't do it anymore because if
(27:07):
I do interviews now, I just put them out there
stand alone because there's no rhymes of reason as to
what to do with the front content. I'll tell you
like this too. What I also do, especially from a
wrestling program. I do a thing now where there are
some weeks I do three team three episodes in a week.
I did that this week where between Wednesday and then
(27:30):
I did a show episode on Friday, I did another
episode on Sunday. There was just extra news going on
and things that I wanted to go and talk about
in the program. And I'm saying to myself, I'm not
gonna wait another week to go and talk about it,
and I'm not gonna make my show go like super
long to try to criminal in With podcasts, we can
(27:52):
kind of do what we want with it. So if
we have an agenda, you have, like what you have
planned out to go and talk about to your and
you think, well, maybe we cannot get all that in
the find a way to go ahead and create another
episode that ads the extra content, or put it aside
towards premium content like some other people do. I just
(28:12):
think you can do something where the long form content
should absolutely be full of what people are want to
listen to all the way across. You should not have
any filler at all, nothing like every bite of a
full course meal should be delicious, shouldn't have a bad bite,
And if you're gonna do an advertiser. Make sure the
(28:33):
advertiser is good and leaves you wanting more because you're
still hungry, well the advertiser. It's like, Look, your content
in the long form should have a billion different clips
you could pull from. That should be the easiest thing
for you to do to create short form content. Your
(28:56):
long form content should have plenty of spots for you
to go ahead and pull and clip and clip and clip,
but you only need to do a couple keep it
sixty to ninety seconds and that's it. Because you want
people to take that short form content and attract them
to take the bigger bite, to take the bigger full
(29:20):
course meal that is your long form podcast where you're
taking the listeners into account their time, their interest, and
their attention span. Story from a Screen Rant talks about
how network TV took them the wrong lessons from streaming
short seasons and network TV can always go a different
(29:41):
route of what they want to go do in terms
of their scripted content or their non live content and
figure out how long of a season do you want
to have to keep your audience watching weekly an episodic,
so Elisha Grasso at screen Rant talks about this that
(30:04):
network TV has disrupted the traditional TV model where the
ushered in and air, where broadcast networks had to scramble
to adapt. Network TV is borring up page from streaming,
creating short ten episode seasons common with streaming. The hope
is with copying streaming shorter season model is that NEWBERK
TV shows will do a better job of competing with streaming.
(30:26):
Ten episodes make for snappier, cheaper seasons. But TV networks
are still missing the reason that streaming shorter seasons are
so successful and does any to do with their length.
So now we've always had the point where a new
series might get a thirteen episode run and then I'll
expand it to another thirteen episodes to give a full
season another nine on the back end, it's spliting the
(30:47):
difference between pilot and coming in to a full traditional
season of twenty to twenty four episodes, And how many
shows are out there giving a full season to let
a show find it's funny, they're not short attention spans
on a lot of that happen. Short ten episode seasons
maybe more budget friendly for networks, but that's exactly why
they can't compete with streamers. Because the budget for streaming
(31:09):
is much more. Streamers of deep pockets, they put them
in the good use with the original scripted series. You
know what, I don't know if it's necessarily true. Maybe
they have the quality of the content out there, but
doesn't mean the writing can always be better, which is
some of the issues I have with some of these
other shows. But they're giving like the highest end for examples, Okay,
(31:29):
Netflix giving A Stranger Things of season a budget of
thirty million per episode, Amazon Global TV Rights and The
Lord of the Rings for a two and fifty million
dollar budget. At Disney plus MCU shows average twenty five
million per episode. Remember, all these shows are starting to
drop as well. It's not like that all the time
now because you're not seeing those kind of shows like
that anymore. At the highest ten for Network TV, Big
(31:53):
Bang Theory season twelve and at two hundred and forty
million dollars total production budget, never heard of from broadcast
Network TV. Your average long, hour long broadcast drama now
costs between three and six million dollars per episode. That's true,
like your Law and Orders, jen zisays, and all that
kind of stuff. Now, now, this writer says, Network TV
(32:15):
no longer gives a series time to find their audiences.
They don't have the time to let somebody find their audience.
That's what the problem is. The close out to say that,
with the short short season orders, broadcasts networks seem to
underst misunderstand why audiences are watching both streaming and network shows.
Streaming offers cinema quality stories and short bursts. Broadcast TV
offers mid budget comfort shows in which one can be
(32:37):
immersed for months. The current approach of making shorter seasons
while keeping the same little budget network TV is filling
up both aspects of streaming a network great. See. I
disagree with this because there's not necessarily all that kind
of quality on all these shows, and it also depends
where they're coming from. Can't say that Netflix and all
these other outfits are putting up that much more money
(33:00):
now for content like you would think. I don't think.
Speaker 1 (33:04):
So.
Speaker 2 (33:05):
It's not like all these shows are doing a lot
when it comes to you know, it's not like I'm
watching a show from the seventies or the eighties where
you see a lot of action or stunts and they're
not using a lot of cgi like real stunt work,
real like you know, a lot of work in terms
of the detail of the period pieces and things like that.
(33:26):
Even movies not putting that much money out there like
they used to go and build up. I mean, when's
the last movie we had that was what hundred and
fifty million dollars? Very tough to see those some of
the Marvel stuff, some of these other movies that are
out there, but it's just not so much as some
of them don't need to be that much either, because
you know, we're starting to see what people are kind
(33:48):
of getting contracted to. Like a lot of horror movies
are out there, don't have that high have a budget.
The anime movie got to talk about a couple of
weeks ago, Demon Slayer, I think it was twenty million dollars.
They build on that. Look what kind of money they're
making off of that crazy money. Let's move on to
radio and music Why music testing matters In twenty twenty five,
Sean Ross Radio insight dot Com put out a great
(34:11):
op ed this week about music testing can still give
any stations an advantage and when he was working in
his work in radio that you watch the patterns of
what worked change over time, and when he was doing
music testing. Unchained Melody, which was twice a hit, was
(34:34):
reliably at the top of the music list, and there
are songs where behaving the rhapsidy with a similar history
is longer bullet proof. And there's also secret weapons often
performed by TV movie sinks as streaming your pop culture,
that are nowhere near the most played but often work
for stations that will test them. He makes a point
there are more songs worth asking about than ever because
(34:56):
only a few will take hold that music testing is
important for radio. Now the right songs are not only
radios radio is only issue, but the question can be
easily answered. Stations can rediscover the importance of personality against
their streaming competition. No longer consider the music the risks
the reason the listeners tune in. It's often the biggest
part of your product that could be the reason they
(35:16):
tune out. Pop radio stations have been largely out of
the habit of doing music testing for a while. They're
more gold based without a corresponding upturn and their fortunes,
and then they promote new testing services out there. But
the idea is that even radio stations need to quit
just falling on with what they think is what the
algorithm of the streaming service would say, are the music
(35:38):
that people want to hear radio needs to go to
test out separately, one last sort to bring up Spotify
is leaded over seventy five million SPAMI tracks unveiling new
AI music policies. So now Spotify has a new framework
where they're going to improve enforcement of a person in violations,
impersonation violations, a new spam filtering system, and AI disclosures
(36:01):
for industry standard credits. And as for me, I don't
want to go and listen to music that's like that
where you know, all of a sudden we're hearing music
that's like AI generated and you know you could ever
catch that episode artist. You can never hear them live,
You'll never see them in person. It's just not possible.
AI has a different purpose than creating the content itself
(36:26):
in my opinion. Anyway, come back next week for the
Broadcasters podcast, where the continent is king and the control
of your content is in your hands.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy, Jess Hilarious, And Charlamagne Tha God!