Everything a national broadcaster airs, on one feed.The whole Slate, daily.
Every series, every show, every film, the day’s programme. Cut and set to feed every day, across every channel, without a hand-off, inside the team.
@ertofficial is the official social of ERT, the national public broadcaster. The job was never a title or a posting schedule. It was the whole programme: the drama series and the Greek productions, the shows and the travel and the films, everything the broadcaster aired, with the day’s schedule laid over all of it and promoted daily. I ran it inside ERT’s marketing team, from the research to the set to the feed, with no gap where the work sat waiting on someone else’s desk. The whole programme, set to feed every day of the year, and the calendar never once got ahead of me.
- Series & drama
- Shows & travel
- Films & productions
- The daily programme
The whole slate, moving every day. The scope is the difficulty.
The account doesn’t cover one show. It carries everything the broadcaster airs: the drama series and the fiction, the Greek productions, the informational shows, the entertainment shows, the travel shows, the films, the full lineup, and the day’s schedule laid over all of it. Each title is its own promo job with its own audience and its own beat. The brief was to build the calendar for the whole week and hold every one of them at once, many posts a day across all the channels, with the same care on the fourth as the first. That is the whole difficulty. Nothing about it is one thing done well. It is many things held together, at tempo, without any of them dropping.
The slate breaks at the hand-off. So build it with no hand-off.
Move a whole slate daily and the trouble isn’t any single post. It’s the seams between them. The field runs this as a relay: someone briefs, someone shoots, someone edits, someone publishes, and every seam loses a day. On a daily calendar you don’t have the day to lose. So the move was to collapse the relay into one loop. The same person at the shoot is the one who cuts it and the one who puts it out, so nothing waits in a queue for the next desk to pick it up. Where the field spends four people and four handovers, this ran as one continuous motion.
One week off one loop. Every lane live at once.
This is the week the slate demands, read off the board. Eight lanes, each doing a different job for a different title, and none of them idle. The proof isn’t any one post. It’s all of it moving together, day after day, off the one loop.
Shot with the cast on the day, the take between takes, cut for that night’s feed.
Behind the productions for the stills, the cast off-camera, framed for the platform.
Series, films and shows given built motion by the same hand that shot them.
The one right beat pulled from hours of footage, sized to each platform.
Every title in the lineup given its own turn, none left to coast on the rest.
A launch or a season given a run of its own, across the days it needed.
What’s on tonight, posted as the day’s own beat, across every channel.
The audience and the timing worked out before a post ever went up.
What television shows you is the finished episode. What we showed you was everything behind it.
The best of a show is never the take that airs. It’s the set on the day, the actor off camera between setups, the person inside the role, the crew who put the night together. So I took the audience in there: I warmed a series up before it arrived, went to the shoots for the backstage, made the videos with the cast to introduce their roles, and ran the events with the whole production for the big titles, each one pitched to what that show actually was, a drama read one way and a comedy another. I decided where we pointed it and what each title needed; the team and the productions made it real. And because whoever stood at the set also cut it and sent it out, none of it waited on the next desk.
- CameraAt the shoot, the day they film
- The castOff camera, introduced in their role
- The crewThe people who make the night
- LightsThe set the way it was really lit
- BoomThe sound of the room
- The markWhere the shot gets built
A national broadcaster’s whole programme, daily, without a dropped beat. That’s the proof.
There’s no follower count worth putting here. The proof is the tempo itself: the entire output of the national public broadcaster, moving every single day, inside the marketing team. That was the bar the work cleared, day after day. That is the whole proof, and it is enough.
Two missions of one operation.
Same team, same year. This page is the everyday programme, set to feed daily. Alongside it I ran ERT’s Eurovision, the broadcaster’s whole contest, the digital and social with their marketing team.
companion caseThe TicketERT’s Eurovision, live to BaselOpen the caseNo pitch. No deck. Just a straight read on what you’ve got.