{"id":3665,"date":"2026-08-06T11:11:54","date_gmt":"2026-08-06T09:11:54","guid":{"rendered":"https:\/\/ciudadinmersivamadrid.com\/festval-2026-and-the-television-season-how-to-set-up-a-set-for-television-content-and-promotion\/"},"modified":"2026-08-19T09:43:40","modified_gmt":"2026-08-19T07:43:40","slug":"festval-2026-and-the-television-season-how-to-set-up-a-set-for-television-content-and-promotion","status":"publish","type":"post","link":"https:\/\/ciudadinmersivamadrid.com\/en\/actualidad\/festval-2026-and-the-television-season-how-to-set-up-a-set-for-television-content-and-promotion\/","title":{"rendered":"FesTVal 2026 and the television season: How to set up a set for television content and promotion"},"content":{"rendered":"\n

The new television season will have one of its first major showcases at FesTVal 2026, which will take place in Vitoria-Gasteiz from 7 to 12 September.<\/strong><\/a> The Europa Conference Centre will be the main venue for a programme comprising world premieres, presentations, industry events, activities open to the public and the closing gala. <\/p>\n\n

During the event, broadcasters, streaming platforms and production companies will present some of their upcoming programmes and release many of the first images associated with them. The 2026 edition has already announced fiction, entertainment, documentary and regional programming, reflecting the diversity of content currently found within the television industry. <\/p>\n\n\n\n

But the launch of a programme is no longer limited to a press conference. Official photographs, interviews, vertical videos, statements, trailers and social media content all form part of the same communication strategy. <\/p>\n\n

This transformation also changes the way we think about space. A promotional set should not merely serve as a backdrop for an event<\/a>, but as a temporary base from which to produce content tailored to different channels, occasions and audiences.<\/p>\n\n

FesTVal and the dawn of television discourse<\/strong><\/h2>\n\n

FesTVal occupies a unique position in the broadcasting calendar<\/a> because it coincides with the time when broadcasters and streaming platforms begin to announce their main programmes for the new season.<\/p>\n\n

A preview screening provides an opportunity to present a drama before it hits the screens. A press conference introduces a new format. An interview with the lead actors offers insights into the project. The photocall, meanwhile, produces images that will subsequently appear in the media, on social media and in promotional materials. <\/p>\n\n

All these actions help to shape the initial impression of the content.<\/p>\n\n

The festival does not dictate how each campaign should be run, but it does reveal a clear trend: the launch has become a process spread across different media and formats. Traditional television remains central, although it shares the spotlight with streaming platforms, digital media and social media channels. <\/p>\n\n

The promotional campaign must respond to this context without diluting the programme\u2019s identity. Each element may have its own style, but they must all convey a coherent message about what is being released, who it is aimed at, and why it deserves the audience\u2019s attention. <\/p>\n\n

From a one-off presentation to a content ecosystem<\/strong><\/h2>\n\n

For years, television promotion focused mainly on press releases, cast photographs and media interviews. These materials remain important, but they now coexist alongside new requirements. <\/p>\n\n

A broadcaster may wish to produce a general video to preview the season, whilst the platform requires specific content for each programme. The press team needs photographs and statements. Social media profiles look for short, relatable content tailored for mobile viewing. The actors or presenters themselves may also post material on their own channels. <\/p>\n\n

Consequently, a promotional event no longer yields just a single outcome. It can become the starting point for a small ecosystem of interconnected elements. <\/p>\n\n

This development does not mean that everything needs to be recorded. The indiscriminate accumulation of material can lead to costs, delays and content that is ultimately not used. The approach must be editorial: each piece should be produced because it serves a purpose within the launch. <\/p>\n\n

The space must then be designed to fit in with that strategy. Before considering sets, backdrops or furniture, it is necessary to know what materials are required and how they will be allocated throughout the campaign. <\/p>\n\n

Define a content matrix before editing<\/strong><\/h2>\n\n

Preparation of the set should begin with a clear list of deliverables.<\/p>\n\n

It is not enough simply to state that interviews and content for social media will be recorded. It is advisable to specify who will appear, how long each piece will be, in what format it will be delivered, and when it is due to be published. <\/p>\n\n

A lengthy interview may be intended for YouTube or a corporate platform. A statement lasting just a few seconds may be suitable for news programmes or online media. A vertical video may introduce a character, pose a quick question or show a reaction from the cast. Photographs may need to be taken individually, in pairs and as a group. <\/p>\n\n

There are also less obvious materials that it is worth making provision for: storyboards<\/a>, shots of talent entering and leaving the set, clean footage for graphics, images of the set-up, or silent clips that may be used in later edits.<\/p>\n\n

Defining this matrix enables us to plan the schedule properly. It also prevents us from discovering at the end that a format is missing, that certain people have not been able to attend, or that the available material is not suitable for the planned channels. <\/p>\n\n

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