Reports to the director. Camera Operator: Receives assignments from the director and works to constantly provide the director with the best quality images available for the production. Camera operators are also responsible for transport, setup, and sometimes general maintenance of their camera.
Works under the director during the production. Reports to the producer and director. In order to accomplish this feat, the camera assistant has to pay attention and learn the over and under cable coiling method. This method greatly reduces cable tangling and ultimately allows the operator to move freely to react to the task at hand. In addition, the camera assistant may collect food for the camera operator, carry extra batteries, and sometimes work as a spotter, looking for shot possibilities or other happenings that the shooter should know about.
The camera assistant may also assist with set-up, reposition, and strike of camera equipment. Reports to the camera operator. See figures 2. RF Assist: A specific type of camera assistant who is responsible for keeping the RF transmitter used for wireless cameras aimed at the RF receiver, as well as preventing the cables between them and the camera operator from becoming tangled or stretched.
Rigger: Sets up structures to support lighting or camera equipment before the event and then strikes the equipment after the event is completed. Reports to the technical manager.
The A-1 also mixes the audio signal from the various microphones, tape decks, digicarts, house feed, public address system, and CD player during the actual production. Reports to the producer and the director. Audio Assistant A-2 : Receives instruction from the A-1 as to where microphones should be placed on the field of play and sets out the microphones.
The A-2 also troubleshoots audio problems during the production. Reports to the A During the production, utilities may be reassigned to work as camera assistants or be placed in other support positions. Reports to the technical manager and to whomever else they are assigned during the actual production time.
Reports to the director and producer. This is accomplished by keeping track of the numeric time code clock displaying the exact time and location on the tape where the particular action can be found. They may also be responsible for dubbing. This person may also serve as a slow motion slo-mo operator. Editor: Selects, compiles, and cuts video and audio to produce highlights, summaries and feature packages. Reports primarily to the producer and director.
Responsibilities may include spell checking, updating scores, identifying on-screen personnel, etc. The font coordinator is often one of the production assistants. Reports primarily to the producer. Technical Manager: Responsible for all broadcast-related technical operations at the venue. Reports primarily to the director.
Also responsible for making sure that all equipment, cables, and supplies that came with the truck are returned to the unit at the end of the shoot. Primarily reports to the technical manager. Maintenance Engineer: Maintains production equipment in the truck and on the field of play.
Reports to the EIC. Provides and installs telephone lines for outside calls. Runner: Responsible for running errands and completing a variety of tasks assigned by the production assistant, producer, production manager, and almost anyone else on the production. This may include being a driver for personnel, getting food or supplies to the crew in the middle of a shoot, making travel arrangements, and undertaking research.
Reports to the production assistant. Talent: Refers to anyone who appears in front of the camera or is heard on air. As mentioned earlier, it is very difficult to give an exact definition for each position since responsibilities can vary greatly from event to event and company to company.
It is also impossible to create an organizational chart that will fit every situation. The chart in figure 2. Field Logger: Field loggers are responsible for providing detailed written descriptions and time codes for all footage shot by an ENG camera person. Logs generally identify all athletes, scores, and results shot. These logs are used by the production personnel to identify time codes and to quickly retrieve footage that can be edited and used in packages. Reports to the Producer.
Freelance Personnel Today it is rare to find a remote production crew that does not have at least a few freelance personnel. Some crews are made up almost entirely of freelance personnel. Freelancers are independent contractors who work for multiple organizations, hiring out their production skills on an as-needed basis. Many of the positions defined here can be filled by qualified freelancers as opposed to full-time employees.
Freelancers are hired because companies rarely have enough full-time staff to totally crew Figure 2. Also, many of the companies that shoot remote productions travel around the region or nation and the least expensive way to staff the crew is to use local personnel. This way the company does not need to pay lodging, travel, and a per diem.
It takes time for freelancers to make the right connections and obtain continual work. However, work is available for skilled freelancers and they can make a good living.
The television industry often relies on verbal commitments when it comes to securing personnel. If the event has fewer than people, contracts are generally not issued. Employment details are often discussed and finalized over the telephone. For larger events, such as a World Cup or the Olympic Games, written contracts are issued. Freelance contracts generally include description of service the freelancer will provide, period of engagement, compensation, travel, and accommodation if needed.
Contracts may also include insurance information, a confidentiality statement, an intellectual property statement and termination information. The hand-picked team we spent two years putting together is in position. We are 13 days in. The programs have been taped and blocked. The producer and the experts in videotape have planned potential replays. The team responsible for the truck, video, audio and graphics has been fine-tuning every step of the way. The TD is standing by for the cues.
The skaters are ready for their night I am ready to go out onto the edge of the envelope because I trust every member of my team and I know each of them will go there with me.
Sarah Hughes flies through her program and the audience senses that what they are seeing might be the biggest upset in skating history. We are with her every stroke of the way As the music builds and the audience rises to their feet, camera 2 gets the tight shot at the end as she throws back her head with a flourish. The rack focuses again and pulls back to see Sarah in all her glory. This becomes the replay of the Olympics. But before we roll it in, there are the flowers and the ovations and the heady shots of joy as Sarah leaves the ice.
While others cut away to replays, we stay with it live. Camera 3 captures the moment when her coach whispers in her ear as Sarah takes in the cheering arena full to the rafters. Stop and take this in. Remember this moment for the rest of your life. They are not good enough. Sarah Hughes has won the gold and we see her and her coach off in a locker room as they fall to the floor in shock—crying and laughing and hugging each other.
Their victory was captured by the only two camera operators allowed inside by the officials, Sarah and her coach to witness this private moment. They were permitted because they had gained their trust over the years by honoring the skaters during their most difficult times.
They were there because they were the best—as camera operators and as people. I walk alone from the truck to the arena to be with my team. As I descend the steep hill, I can see figures in the doorway, backlit from the glow inside.
A slow, wide smile spreads across my face. It is my camera team and they are walking and laughing together. It is a stride I recognize. I am so proud of every member on our team. How many types of screens have you used in the last 48 hours? The TV in your home, the large public television screens now common in stores and airports, the PC on your desk or at home, the laptop, the PDA that keeps your schedule, and maybe even your cell phone. That means that the whole production process needs to be rethought.
Producers also have to realize that the various media do not have to compete against one another. We go for dinner, we are in a taxi or getting off the plane and you want to watch the goal just scored by your team on your mobile.
TV owners have realized that it is not television versus mobile phones. They are not competitors but complementary. Networks used to use a multiprong programming strategy, which meant that each medium did their own thing. The changing landscape of sports production is requiring a layered approach, requiring networks and stations to have downloadable supporting print material, web based, cell based, as well as the normal broadcast coverage.
The layered approach may also mean that some programming is originally seen on one media and then available on another media whenever the viewer decides to view it. We have a very mobile society. People are used to technology and are not afraid to use it. Their expectations are only going to continue to rise. Those companies who provide the layered programming will not only survive but will flourish.
In fact, we all now know, the problem turned out to be rather different. It turned out to be how to tailor our content so that it works for each device as though it had been uniquely created for it. Here are some of the shifts that have to occur in order to produce sports programming not only in the future.
The audience wants to direct their own sports coverage. This means rethinking coverage plans. Television producers need to learn new skills. Networks and stations can no longer afford to have different departments or farm out the Internet stuff when covering sports. The web producer needs to sit in on the production meetings from the beginning of the planning phase and also at the site when the television producer has a production meeting with the remote crew. Multimedia, or the Internet, is incredibly time consuming Figure 3.
If you are in your car, you will want to look at the results on your mobile phone. If you want to follow a table tennis match, you will not use your mobile phone because you will not be able to see anything. That is the way you are going to enjoy sports. If you are in the office and you want to login quickly on the webcasting, you will do that. So everything will have its sequence according to the moment of the day.
With the old aspect ratio screens it was often tricky to cover the defense. In HDTV they are already in your picture, so you can see more of the play develop.
Numerous different HDTV systems are available. Japan uses a line system. European systems use lines and the United States currently uses both p and i systems. The p system uses progressive scanning where the beam scans every line from top to bottom.
The progressive systems have a smoother image and are better for motion fast moving scenes and less image flicker on a large screen. The other systems mentioned use interlaced scanning systems where the beam scans every other line from top to bottom. While each system has advantages and disadvantages, these systems all have comparable quality.
Save this for post-production. If unsure, err on the side of under-exposure. Keep in mind that focus is an important tool in production, allowing you to isolate players, etc. Tiny imperfections on a set can suddenly become obtrusive. These controls are generally accessible by menus or remote control units. Normal television lenses do not have adequate resolution for HDTV. Directors will need to experiment with a new way of shooting some events.
Since the HD image is obviously wider and has more detail, he believes that it is much more compelling as a still image His technique is to use more static shots, cutting from camera to camera more frequently. During recent projects, BBC Interactive has had approximately , unique users per day on the weekends. During the Olympics, viewers had access to over hours of extra TV footage, available for 15 hours a day.
They could follow live video from up to four events at once, listen to audio commentary from BBC radio, review the latest events, and select special highlights packages.
More than nine million viewers went interactive during the Olympics. Of those nine million viewers, half were still interacting after 25 minutes and a third after 45 minutes. The previous record had been set at Wimbledon with roughly 4 million viewers. But now Lessons the BBC learned from covering the Olympics using interactive television: 1.
Our audience does not come to us for great distribution. They come to us for great content. It is fatally easy to become mesmerized by new technology for it own sake. But technology is only a means to an end—and the end is great content. The production values of the interactive material have to be exactly the same as the linear material.
Though different in kind, it has to look as good, it has to sound as good, it has to be just as creative in concept and execution. You cannot get away with using second-class interactive material to support first-class linear material. Stop thinking about interactive TV as an add-on and start embedding it into the creative process right from the start.
At the BBC, the interactive people were at the table right from the start of the planning process and stayed there Photo courtesy of BBCi 4. In the main television control room, the director dealing with the output for the BBC broadcast channels sat at the same desk as the director dealing with the interactive channels.
If you want converged output, start with converged input. Once you start down the interactive path, there is no going back. The BBC has now created the expectation among its audience that certain kinds of events, particularly multievent live sport occasions like the Olympics, Wimbledon and other landmark programs, will come with a powerful interactive component. Their biggest problems were not with the content Viewers are driven by the schedule. In Athens the staff were not prepared for the continual requirements of updating the schedule.
Since the schedule changed due to weather, frustrated viewers often complained when sports did not appear as advertised. More attention needs to be put on the schedule system. Recorded events do not have the same draw. Patrick Dalzell, Editor of BBC Sport Interactive, says that they are working to increase the amount of dependency between the two broadcast channels and the interactive service. While only partial events may be shown on the broadcast channels, the broadcast channels will then advertise that viewers should go to the interactive TV to watch the entire event.
It actually combines traditional television viewing with the interactivity that is enjoyed by those communicating through a network like the Internet.
Viewing experiences can be personalized to the individual, allowing the sports fan to select the information they want to view or hear. As a platform for in-depth editorial content, interactive television provides easy access to commentators and writers from different perspectives.
All of these options actually allow the sport fan an opportunity to participate in the coverage or possibly virtually participate in the sport.
Interactive television can be available on television, wireless phones, and the Internet. It provides incredible opportunities for sports television. One of the most popular forms of interactive television is personalized multiple-camera angles, or interactive point-of-view. Interactive television content providers can make it possible for the viewer to select the camera angles when viewing a specific sport. This way the viewer is able to view different perspectives during the game. The cameras could range from a wide-angle shot, a close-up of the coach, to a POV camera located in a helmet.
In DirecTV Latin America deployed 23 cameras to shoot a single soccer game in the World Cup, allowing viewers to select their own views of the game. But if we do deliver audiovisual content, what will be the reason that people pay? The whole face of TV is likely to change. On your living room TV, prime time is at night. Prime time on a mobile phone might very well be commutes. Since that time other companies have begun providing television services to mobile phones.
Sports content has included news, regional sports coverage report, flips from sports entertainment programs, and exclusive footage of nonaired events. While each medium discussed in this chapter has its advantages and disadvantages, the mobile phones currently do have some of the severest limitations.
The telephones can handle from 2—15 frames per second, a far cry from the 30 frames per second in broadcast television. While the telephone screens are improving, they are not even close to the quality that you would find on a laptop.
Sitting and watching a screen for a long period of time can be extremely wearing. It is also difficult to read small text on the screen. Some wireless networks are slow enough that the television program can resemble more of a slide show of photos instead of full-motion video. These limitations must be considered when creating programming specifically for the mobile phone.
Close-up shots are best, graphics must be large and programming may need to be in shorter segments. The primary advantage is its mobility, which cannot be matched by any other medium. Some phones even have enough memory and processing power to create a TiVo-like video recorder that fits in a pocket. This feature allows the viewer to stop watching the program while recording it , take a phone call and then resume watching, without missing any of the action.
The PVR is where a combination of hard disk technology, interactivity, and a sensible navigation system provides more control and more power to the viewer. This technology allows a viewer to program a scheduled recording, watch sports in the format they want to watch, when they want to watch it and on the platform they want to watch it.
Media producers do have to keep in mind that ultimately it is not the technology that wins viewers. It is where everything comes together in order to effectively communicate the competition. Remote trucks come in a variety of sizes and are equipped accordingly.
Many are not even trucks. Although they may be referred to as trucks, mobile units may be trailers, buses, 16m tractor—trailers, RVs, bread trucks or vans.
The typical size of a large mobile unit is around 16 m long by 2. However, in order to provide more space for the production crew, some trucks are expandable to 6m wide, utilizing a large shelf room that expands out of the main chassis.
See figure 4. Mobile units can be built by specialty manufacturers or assembled by the engineering department of a local television station. The bigger the production, the larger the mobile unit required. Figure 4. Large trucks may be able to support 20 cameras while a smaller unit may be able to handle only two or three. In addition, some trucks have multiple slow motion replay machines, while others may not even have that capability. The Figure 4.
Some events may not be large enough for a second mobile unit. At very large events, an additional unit may be included which would be an engineering support unit ESU. Although layout and size of each of these areas differ from unit to unit, it is essential that each truck include these areas.
Production Area The production area is where the actual production decisions are made and the show is created. This area includes the space for the director, producer, and their assistants; the technical director and the switcher; and sometimes the font coordinator, graphics operator, and graphics equipment. One of the most significant parts of the production area is the monitor wall. A new development in monitor walls is the large high definition flat screen.
One virtual monitor wall screen replaces multiple monitors. The advantages of these large programmable monitors is that they are compact, light, and consume little power. The A-1 is usually the only person working in this area.
The ESS can capture a still from any video source, such as camera, videotape or computer, and store it on a hard drive. A large ESS system can store thousands of these still images, allowing instant retrieval. In fact, some DDRs will record and play back two different sources at the same time. Video Control Area The video control area includes space for the video operators, camera control units, and test equipment.
The goal for the video operators working here is to make sure that the cameras provide the highest quality image possible. Transmission equipment is sometimes included in this area as well. The storage space is also used to house the stairways and ladders that allow access to the various truck areas. This panel is used to patch audio and video in and out of the truck. It generally has a variety of connector types and may even include phone patch blocks.
Communication Devices Communication at a remote production is essential. Without it, directors cannot give directions to production personnel, and producers cannot communicate to the talent, graphics and tape operators. Without quality communication, a production will come to a grinding halt. The intercom is one of the most commonly used communication devices. Routed by the A-1, the intercom may have one to eight or more channels. Intercoms can be wired to each other, patched to telephone lines or can even be wireless.
An interruptible fold back IFB system is the type of intercom system used by production personnel to give directions to on-air talent. While talent may be hearing the program in their headsets, the producer can interrupt the program in order to give talent instructions in their headset. Two-way radios are essential wireless commu- Figure 4. The size required will depend on the needs of the production. They are generally equipped for a specific purpose. In some cases, productions require only a small mobile unit—sometimes as small as a mini-van—that is generally equipped for a specific purpose.
Photo courtesy Miranda Technologies Inc. Production companies need to find the one that fits their needs. These units can be shipped by standard air freight making them a cost-effective alternative to shipping a production truck. When considering using a flypack for a production, it is important to keep in mind that they do take more time to assemble on-site and are sometimes more expensive to rent. These units are sometimes referred to as flyaway kits, grab-and-go packs, air packs and cube-type units.
A number of truck diagrams, from a variety of companies, can be found in Appendix I. The Compound The mobile unit may stand by itself at a smaller event, or may reside as just one of the units in a broadcast compound. Implementing safety procedures and establishing a safe work environment for your crew is one of the fundamental aspects of the production plan.
A healthy crew is essential for a successful remote production. Remotes may require more endurance than other productions because equipment has to be unloaded from the mobile unit and then placed on the field of play. For example, at an Alpine event the camera crew may need to ski into positions and then stand for hours in freezing weather.
Remote production crews may have to set up heavy cameras in freezing or sweltering temperatures or may have to carry equipment up high scaffolding. Most injuries at an event do not happen during the event, they occur from crew members either lifting too much weight or falling before or after the event. When working at a remote production, keep in mind the following aspects of health and safety. Some events, such as auto racing, may have very high levels of noise.
Crew members should take precautions to protect their hearing by wearing ear plugs or noise-cancelling headsets. Electrical Power. Mobile units require a large amount of electrical power.
The truck engineer is the only person who usually deals with that power, especially when hooking up the truck. Normally, no one else should be near the power area. Otherwise, power in the truck is like plugging something in at home. Contact with overhead electric lines can be lethal. Work near overhead power lines must be only undertaken where there is a horizontal safe distance of 30 feet. If a radio mast, crane jib, scaffold pole, ladder, camera boom or similar object makes contact with power lines, an electric current can flow that can cause a risk of fatal or severe shock or Winter Olympic Production The Olympic Winter Games were broadcast live for the first time at the Cortina Games.
The last torch carrier stumbled and fell over the television cable placed on the ice surface of the stadium. Although the torch was dropped, the flame was soon re-ignited. Get help. Camera Platform Guidelines: 1. Personnel should have both hands free when climbing an access ladder to a platform. One person may be on the ladder at a time.
Avoid carrying too much at a time since overloads increase the risk of tripping or dropping articles. When using a hoist, do not exceed the working load of the equipment. Personnel must stay inside the guardrails of the platform. No equipment should be extended outside the line of the guardrail unless it is properly anchored to a secure point on the platform to prevent it from falling.
Although television was still in its infancy, track and field events, show jumping, and Opening and Closing Ceremonies at Wembly Stadium were covered by an OB van with four cameras. A van with three cameras shot swimming and diving at Wembly Pool.
Simplistic and modest by the standards today, but historymaking in a first, giant step. Olympic Television Production burns to any person in the immediate vicinity. This can also occur with objects made from material such as wood or plastic, which are normally regarded as electrical insulators.
If damp or dirty, these substances are capable of transmitting sufficient current to cause dangerous or fatal electric shock. Mobile unit cables need to be protected so that people, cars or equipment do not rub or walk on them, wearing the insulation thin or breaking the wires. The cables also need to be secured in such a way that they do not pose a hazard for the crew or visitors. All cable connections need to be protected against the weather by wrapping them in plastic or placing them under cover.
In some areas, local codes dictate how cabling is done. Bad weather can create a problem at any remote production. In remote situations, lightning can strike the truck, cameras or crew members.
Freezing weather creates ice, causing hazards for the crew and possibly adding weight to hanging cables. If rain gets into connections the moisture could cause electrical shocks. Remote productions invariably require crew members to be at high vantage points on the roof of a truck, on scaffolding or climbing somewhere to run cables or hang lights.
Precautions need to be taken to ensure that crew members do not fall from these areas. Most injuries on remote sites result from falls. A safety harness should be used when a crew member is in a high area. High cranes and microwave transmission masts are other production areas that present height obstacles.
When setting up this equipment, it is critical to avoid any power lines. Each year people die from hitting power lines with television remote equipment. Hazardous Areas. Many areas of a remote production can be hazardous and require caution. For example, working as an RF camera operator in the pit of an auto race is a fairly dangerous place. Personnel placed in hazardous areas have to be especially aware of what is going on around them at all times and be prepared to move out of the way of the action when necessary.
One of the things that hasn't changed is the need for thorough preparation. A good director or producer goes to the control room prepared.. While the production process is the most glamourous part of the business, the planning phase is where the majority of the decisions are made. The purpose of the planning process is to review the various available options and prepare a plan that will provide the best television coverage of the event.
The plan has to include the technical and production components. Planning for a small local event may take only a few days, whereas planning for the coverage of the Olympic Games may take four or five years. Creating goals for the production is an important step in the planning process.
Once goals are determined, they provide a benchmark that can be used to measure the success of your television program. Television network ESPN created the following series of television sports coverage goals that are exemplary. Be informative while never compromising accuracy. Be fair in the coverage. Get both sides of the issues. Be objective. This coverage is enhanced with a compelling audio plan designed with the express purpose of bringing the viewing audience as close to the action as possible.
To meet this goal, ISB has aligned itself with an experienced television production team comprised of talented individuals who are passionate about their work and capable of producing exceptional TV coverage of these Games'.
Broadcaster Handbook The Melbourne Olympic Coverage For the Olympics we would often have three set-ups each day, and one of the problems was lack of camera cables. So we had a crew following behind to pull out cables and jump ahead to the next site.
Because of the restriction on cable, production planning was a significant issue both for the ideal camera position and suitable link sites to get the signal back to the studio. Operationally, the van was packed with production and technical staff. Normally, the van functioned with seven crew, three CCU operators, an audio operator, technical director, producer and production assistant.
As well as this, during the Olympics extra staff—sporting personnel to identify the athletes—often stood at the back giving directions. Tell why and how things happened.
Lend perspective to the events as they unfold. Capture the event, including the color, pageantry, and excitement. Help the viewer experience the event. Innovate in audio and video to show events from a new perspective. Develop story lines. Take the viewer beyond the obvious. Entertain and inform using a variety of methods graphics, etc. Maintain your level of ambition throughout the season.
Do not become complacent. Follow established formats, but treat every game as a new event. These meetings provide a forum for all parties involved in the production to share ideas, communicate issues, and ensure all details are in line for the production. Coordination meetings will involve applicable sports organizations, venue management, television production personnel, and any other party involved in the production. The meetings allow the various groups to compromise and work together for the best remote coverage.
Relationships that are helpful to the production crew when something goes wrong during the event can be forged in these meetings. The International Amateur Athletic Federation created a series of guidelines for television coverage of athletic events. One guideline clearly states the importance of a coordination meeting: A coordination session well in advance of the event is absolutely imperative.
All parties that may take an active role in the meeting should be present—television with all departments involved, organizers, timing, computers, telecommunications. All demands and wishes should be voiced, discussed, and resolved at this early stage. A long report of the planning session keeps all the involved parties informed of decisions.
It is necessary to be ready to act or react if cameras fail, if the computer breaks down, because the show must go on. You can learn more in an hour about the location and the organization than you could in a month of email and telephone calls. However, until the venue is visited by the survey team, final decisions cannot be made. The survey team is there to assess the venue and determine how, where, how many, who, what, and how much.
A remote survey, or venue survey, is generally completed far in advance of the event especially for large-scale competitions. For an event such as the Olympic Games, remote surveys may occur four years in advance. A small, local event survey may occur as little as a week in advance. However, unless engineers are fully familiar with the facility, it is essential to complete a detailed survey.
See figures 5. Horror stories abound about people who did not check the power supply or look at a venue at the correct time of day. Figure 5. Here a producer and director survey a mountain venue for a winter Olympics. It is important to visit the venue at the same time of day that the event will take place. This allows personnel to assess the lighting, hear the sounds at that time of day and identify other possible distractions.
Selected portions of a planning document from one event of an Olympic Games can be found in Appendix II. Leni Riefenstahl, on filming the Olympic Games After months of negotiating with different officials, Riefenstahl finally got permission to build two steel towers in the infield.
These enabled the cameramen to take good all-around panning shots and, with the telephoto lenses, some of the big close-ups Riefenstahl wanted. But wherever the cameras were put they seemed to block someone's view and provide new objections. Eventually she was given permission to dig pits around the high jump and at the end of the m sprint track. From these the cameramen could gain good low-angle images of the competitors without distracting anyone.
The pit at the end of the m track proved too close for comfort, and in one of the heats shown in the final film Jessie Owens can be seen nearly running into it. The officials were furious and made the production team remove all the pits from around the track.
The shooting techniques used by Leni Riefenstahl have become standards for Olympic filmmaking and television coverage ever since. The crew may need access to additional power or restricted areas at any time. In this case, it is essential to be able to contact the appropriate personnel immediately to prevent a complete breakdown in the production. It is important to establish an alternative contact person as well. A contact list should be created identifying as many ways to reach the individuals as possible by office phone, fax, pager, cellular phone, home phone, and email.
Also important is identifying the appropriate contacts for all aspects of the event—venue, hotel, credentials, catering, specialized equipment, mobile unit, electrician, generator company, security, golf carts, transportation, officials, satellite provider, phones, uplink truck, and possibly even the sanctioning body for the event. Contact lists can become long but are necessary and should be distributed to everyone working on the production. Venue Access Without the correct access to the facility the production can come to a grinding halt.
The crew needs access to the venue so they can do their work before, during, and after the event. Can they get in very early and stay very late? Is there any procedure—for example, a special pass— that must be completed in order to move them in or out at odd hours?
Type Location Voltage Connect. Can they easily get to their positions during the event? Can camera crews move in and out of locations during the actual production of the event? Are there any small bridges, low overpasses or very narrow roads that could cause access problems for large vehicles? Can the access route handle a more than 36, kg production unit? Location Costs Every location has its unique costs. It is important to identify what those costs are in advance of the production.
If ordinances limit the production hours or access to the facility, the budget may need to be increased to include additional days. Facility management should know what is required. Sometimes permits can take days to process. It is an enormous logistical challenge and we have one chance to get it right Who is supplying the food, how many meals are required, and where are they going to set up the meals?
How many rooms are needed and how close are they to the venue? Is sufficient parking available for rental cars and golf carts? Parking should be marked on the location sketch. Where should guards be?
Do they need special parking? Where will they be located in inclement weather? Program transmission. Who will provide transmission services and where will their equipment be located at the venue? Do they have any special needs? Does anything need to be constructed? If so, is there space allocated for the construction crew to build the required elements?
Does the construction have any special needs? Video and audio feeds. Who needs video and audio feeds outside the mobile unit? Are additional cables needed to meet the requirements? How many lines are required? Where should the lines be installed? How many cellular phones are needed?
Are any dedicated lines required? Are there medical facilities at the venue? Is there a hospital within close proximity? Is there a first-aid kit nearby for minor injuries? Does an ambulance need to be nearby? If so, where would it be located? Areas that Significantly Impact the Survey There are a number of areas that need to be considered for both the remote survey and planning the production. The rest of this chapter will include areas that significantly impact the survey—camera, lighting, audio, electrical power, program transmission, and backup plans.
All of these need to be thought through before completing the location sketch. The number of cameras alone does not guarantee good coverage. Close-ups are interesting. They show faces, details, and reactions, but the sports fan also likes to see how the competition develops. Camera placement needs to be determined early since many other decisions are based on it, such as where the cabling will be run or if the venue is already cabled, the number of days it will take to set up, the coverage plan, and any additional facilities that will be needed.
Here are some of the questions that need to be addressed about cameras and their associated equipment. Is the ground level? Will cables be protected from people, cars, weather etc.? Camera Placement One camera is all that is needed to cover a sports event, all of the other cameras Steadicam, slowmo, etc.
For example, Figure 5. These miniature cube cameras are mounted in spring assemblies over a hole in the ground. Should a crashing car roll over a camera—not an unlikely occurrence—the camera will be pushed into the ground.
The system is designed so the camera should pop back up undamaged, but that is not always the case. Make sure that you can provide the necessary wide shot of the event. The angle of the sun will be a factor when determining the angle from which to capture the event. Cameras should be positioned with the sun behind them.
Will anything be changed on the day of the event that could become a distraction? If so, can anything be done about it?
The best producers go for camera angles that better cover their story lines. A balanced approach lets you consider both issues. Types of Cameras A variety of cameras are used in remote sports productions. Figures 5. Fixed or Hard Camera. A camera that is mounted on a camera mount in a fixed position. These are generally large, heavy cameras that can be equipped with long telephoto lenses and require extremely stable built-up platforms to prevent shaky shots.
The larger cameras provide the operator with a larger monitor as well as more control on the camera head. The camera mount may be stationary or it may have wheels. See figure 5. Hand-held Camera. A camera held by the camera operator. These cameras are much smaller than hard cameras, making them more portable and easy to reposition.
They can be used as part of a multi-camera production or docked with a recorder so that they become an ENG camera. Generally this camera would include an RF transmitter that would be handled by an RF assistant. Tracking or Rail Camera. A camera that follows the motion of the object it is shooting. These can be automated or manually controlled.
They are mounted on rails or other devices allowing them to synchronize movement with the subject. It is easier to repeat shots accurately using a tracking camera because the track does not move. These cameras are extremely stable, silent, and can be moved safely at slow or fast speeds. Tracks and rails can be curved or straight. Manufacturer name for an underwater remote controlled camera that can move underwater along the length of a swimming pool. The number and position of cameras will be determined so as to give viewers the best view of all Olympic events.
There must be no obstacle, fixed or mobile, which will interfere with the camera view. A camera crane or jib is used to move a camera and sometimes operator to high, medium, and low shots. A crane movement is when the camera is moved up, down or side to side. Cranes have become very popular for their ability to give a production a special vantage point at an affordable price. They are also transportable when broken down into cases. Cranes are generally operated by one or two assistants and a camera operator.
This camera is used when space is limited, restricted or when it is not essential to use a camera operator. As a point-of-view camera, the mini-camera is often placed in unusual positions to give the effect of being part of the action or competition.
POV cameras provide a unique vantage point for the viewer, such as attached to football goal posts or underwater for swimming competitions. These cameras are usually reasonably inexpensive often placed in hazardous positions where they may be damaged , rugged, very small, and have average technical specifications.
The camera is operated from a remote location. These television cameras have special capabilities which capture high quality slow motion images with reduced blurring. A device designed to stabilize a camera. The camera is attached to a special vest, which is worn by the camera operator. An accomplished Steadicam operator has the freedom to walk or run and still provide fluid shots. Steadicams at large events generally are attached to an RF transmitter allowing totally wireless operation.
There are other brands available as well. Skycam or Cablecam. The camera is then remote controlled to cover different locations within the venue. The controls for the camera also include remote pan and tilt. Pole Camera. A small camera attached to a long pole. The advantage of this camera is that it has a very portable jib arm that can obtain high or low angle shots.
It can also be used to obtain above and underwater shots. Stabilized Camera. A camera that is equipped with a stabilization system such as a gyro, optical stabilizer, digital stabilizer or counter-balance of some type. These cameras are often used with helicopters, boats or other moving camera mounts. RF Camera. Any wireless camera that uses radio frequencies to transmit the video signal.
Prior to the actual production, RF camera operators must complete a walk-through wherever they will be going during the broadcast. A motorcycle equipped with a stabilized television camera and RF transmitter. Vehicle Camera. A vehicle equipped with a stabi- Figure 5. A boat that is equipped with a stabilized television camera and RF transmitter. A helicopter that is outfitted with a stabilized, remote-controlled television camera.
Generally the helicopter is also equipped with a microwave transmitter. These cameras can be mounted on full-size helicopters or can be carried by small remote-controlled helicopters. An EFP camera is a lightweight camcorder that is not connected to the mobile unit.
These cameras are used for the production of news stories or short reports. They are used for immediate postproduction and editing, but the pictures could also be transmitted live from the field. Many of the cameras previously mentioned are robotically controlled.
These cameras have become increasingly popular in the production of sporting events. In this instance, a Segway has been combined with a Steadicam for increased mobility and smooth shots. Question: What were some of the interesting cameras that you created for the Winter Games? Concurrent programming has become a required discipline for all programmers. Multi-core processors and the increasing demand ….
Skip to main content. Start your free trial. Book description Television sports production is difficult, and producing a remote sports event is arguably the most complicated to orchestrate.
Many factors can adversely affect your production, including weather, lighting, and natural sound. A successful production is dependent on extensive planning, from budgets, technology and location to the intricacies of the sport itself. With so much at stake, why not learn from the experts? Learn television sports production from the ISB, producers of the Olympics, who rely on the very same guide to train their own production staff.
You'll learn about the special considerations involved with producing various types of sports--from camera placement in figure skating to where to put the microphone during a tennis match. Whether producing a local high school football game, the Super Bowl, or something as complex as the Olympics, this book will give you an inside look at how a remote production operates and the role of each participant. Show and hide more. Table of contents Product information.
Introduction to Remote Production 1.
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