Linear: when it airs
Schedule programs against a continuous broadcast clock.
On-demand: when it’s available
Manage release dates, rights, territories, and expiration.
Modern broadcast operations often manage both simultaneously.
The major television scheduling models
These models can overlap: one program may move through several services. Some describe a delivery method, others a business or access model. SVOD means subscription video on demand; AVOD means advertising-supported video on demand. FAST means free ad-supported streaming television.
| Model | Primary technique | Example |
|---|---|---|
| Linear television | Fixed-time scheduling | CBS program, Thursday at 8 PM |
| Live events | Event-driven, flexible duration | Football game with potential overtime |
| FAST channels | Continuous programmed streaming | Themed streaming channel |
| SVOD | Release and availability windows | Subscription original series |
| AVOD | On-demand access with advertising | Episode with ad breaks |
| Catch-up TV | Post-broadcast availability | Episode available after airing |
| TV Everywhere (TVE) | Authenticated, rights-based access | Subscriber watches recent episodes |
| Start-over / time-shifted TV | Restart or replay broadcasts | Restart a show in progress |
| Pop-up channels | Temporary event schedules | Sports tournament channel |
Examples describe common uses, not exclusive rules. Subscription services may also carry live streams; TV Everywhere can include live and on-demand access.
How the scheduling techniques differ
Traditional Linear
A 24-hour broadcast clock with scheduled start times, durations, commercial inventory, junctions, and continuity requirements.
Explore these techniques
- Dayparting
- Match programming to audience habits at different times of day.
- Stripping
- Schedule a series in the same time slot across several days.
- Hammocking
- Place a developing program between established audience draws.
- Tentpoling
- Use a strong program to support the surrounding schedule.
- Counterprogramming
- Offer an alternative to what competitors are showing.
- Lead-ins & lead-outs
- Consider the programs immediately before and after a show.
Live Sports & Events
Flexible durations, contingency programming, overrun protection, and dynamic adjustments keep a live schedule workable.
Explore these techniques
- Floating starts
- Allow the next event to follow the actual end of live coverage.
- Conditional events
- Schedule an item only if the triggering condition occurs.
- Alternate programming
- Prepare substitute content for delays, cancellations, or early finishes.
- Regional feeds
- Coordinate variations for different territories or markets.
- Schedule recovery
- Adjust subsequent programming and commercial commitments after a change.
FAST Channels
Continuous programmed streaming combines playlists with manifest generation, ad signaling, dynamic ad insertion, and platform-specific metadata.
Explore these techniques
- Automated playlists
- Assemble eligible assets into a sequence using editorial and timing rules.
- Thematic blocks
- Group programs by subject, genre, audience, or occasion.
- Library loops
- Repeat a scheduled sequence while respecting rights and rotation rules.
- Content rotation
- Vary titles and episode order to manage repetition.
On-Demand & Catch-Up
Manage content availability, rights, release dates, expiration, territories, and publication status instead of a continuous channel clock.
Explore these techniques
- Premiere windows
- Set the period in which content may first become available.
- Next-day availability
- Publish after the linear airing when rights and delivery permit.
- Binge releases
- Release multiple episodes together.
- Weekly drops
- Release episodes on a recurring weekly cadence.
- Rights-based expiration
- Remove access when the applicable rights window ends.
Images are AI-generated illustrations of these workflows.
One program. Multiple scheduling workflows.
A hypothetical one-hour drama illustrates how the same episode follows different scheduling rules.
Master Program Record
Episode ID · Duration · Rights · Media assets · Metadata
CBS Linear
Wednesday · 9 PMFixed broadcast schedule
Paramount+ VOD
Thursday releaseAvailability window
Catch-up TV
7-day windowPost-airing access
FAST Channel
Future replayContinuous playlist
Illustrative scenario—not actual Paramount release policy. Each destination requires its own scheduling rules, even when the underlying episode is identical.
The operational differences that matter
| Requirement | Linear | FAST | VOD / Catch-up |
|---|---|---|---|
| Fixed airtime | Required | Required | Usually not |
| Program duration | Critical | Critical | Asset-based |
| Rights windows | Yes | Yes | Critical |
| Commercial breaks | Scheduled | Often dynamic | Often dynamic |
| Guide information | EPG data | EPG data | Catalog metadata |
| Live overruns | Critical for live | Critical for live | Capture / release impact |
| Regional restrictions | Yes | Yes | Yes |
| Content expiration | Rights-dependent | Rights-dependent | Core scheduling rule |
“Required” airtime refers to the channel schedule; individual systems may support fixed or sequence-relative starts. Ad-supported services may use scheduled or dynamic advertising. Actual rights, guide data, and delivery requirements depend on the platform.
How these workflows converge
SCTE 301 (2025) is a recommended practice for assembling linear and FAST channels from VOD assets, including ad signaling, metadata, and distribution coordination.
Read the SCTE 301 overview ↗ · See AWS channel assembly documentation ↗