Unlike a studio production, many factors can adversely affect your television sports shoot including weather, lighting, and natural sound. A successful shoot is dependent on extensive planning, careful budgeting, technology, location, and a thorough understanding of the intricacies of the sport itself. With so much at stake, why not learn from an expert?
In Television Sports Production, Fifth Edition Jim Owens walks you through the planning, set-up, directing, announcing, shooting, and editing involved with covering a sports event. Originally written by the producers of the Olympics as a training guide for their staff worldwide, this manual gives you the tools you need to effectively cover sports ranging from soccer, basketball, and baseball to skiing, ice skating, motorcycle racing, and running events. Tips and advice on using mobile units, cameras, audio equipment, and lighting rigs will enable you to produce live or recorded coverage like an expert and capture professional-quality footage on the first take. After all, there are no instant replays!
This new edition has been updated to include:
•Techniques used by producers to capture the essence of individual sports, from alpine skiing to the rough and tumble motorcycle road race
•Tips on shooting in 3D, 5D, 4K, and 8K
•Coverage using surround sound and the second screen
•Extras such as camera and microphone diagrams and an easy-reference glossary
Jim Owens has worked and taught in the video and television industry for over thirty years. His international television work has included fourteen Olympic broadcasts and has taken him to over thirty countries. He is the author of The Video Production Handbook, Television Production, and Television Sports Production and has had over thirty articles published in television and broadcast magazines in the United States and Europe. Owens is Dean of the School of Communication Arts at Asbury University in Wilmore, Kentucky, where he has taught since 1981.
TELEVISION SPORTS PRODUCTION
5th Edition
Jim Owens
Asbury University
Fifth edition published 2016 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
The right of Jim Owens to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods, they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
Trademark notice:Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
First edition published by Focal Press 1992 Fourth edition published by Focal Press 2013 Library of Congress Cataloging in Publication Data Owens, Jim, 1957–Television sports production / Jim Owens.—Fifth edition. pages cm
Includes bibliographical references and index. 1. Television broadcasting of sports. 2. Television—Production and direction. I. Title.
GV742.3.O96 2015 070.4′497960973—dc23 2014042015
ISBN: 978-1-138-78130-6 (pbk)
ISBN: 978-1-315-77000-0 (ebk)
Typeset in Usherwood, Minion and Myriad by Florence Production Ltd, Stoodleigh, Devon, UK
All-in-One Mobile Production Unit 53
Computer-Based
Chapter 6Planning the Production
Coordination Meetings 62
Remote Surveys 63
The Contacts 64
Venue Access 65
Location Costs 65
Electrical Power 65
Other Areas for Survey Consideration 65
Program Transmission 67
Other Areas that Significantly Impact the Survey 71
Location Sketch 71
Backup Plans 71
Chapter 7Cameras
Camera Placement 75 Types of Cameras 76
Camera Setup Checklist 88
Camera Shots 88
Camera Movement 89
Camera/Lens Moves 90
Shooting Sports 93
Composition 93
Caring for the Camera 95
Chapter 8Lighting 97
Indoor Venue 97
Outdoor Venue 97
Other Lighting Concerns 98
Chapter 9Audio Production 103
Stereo Audio for Television 103
Basic 5.1 Surround Sound 104
Audio Levels 105
Microphone Pickup Patterns 105
Microphone Sound-Generating Elements 105 Types of Microphones 106
Phantom Power 112
Microphone Accessories 112
Microphone Placement 114
Gamestime Audio 117
Communications (Intercom) Systems 119
Prerecorded Audio 121
Chapter 10Graphics 123
Television Graphics Goals 124
Tips on Making Great TV Graphics 126
Viewer Enhancement Tools 127
Technology Summary 130
Chapter 11Preproduction and Setup 131
Production Meetings 131
The Show Format 131
Equipment Setup 133
Cabling 133
Camera Meetings 134
Facilities Check 140
Schedule 141
Rehearsals 142 PART 3CREATING
Chapter 12The Production 147
Producing the Remote 147
Directing the Remote 148
Types of Sports Action 148
Action Flow 148
Stop-and-Go Sports 149
Directing Stop-and-Go Action 149
Directing Emphasis on Scoring 151
Pumping 152
Continuous Action Sports 153
Camera Action Tends to Be Rapid 155
Increase in Shot Size 155
Camera Changes During Action 155
Team and Individual Sports 156
Building Emotional Involvement 156
Dealing with the Dominant Player 157
Limited Space for Coverage 157
Horizontal versus Vertical versus Circular Action 158
Coverage Design 161
Needs of the Audience 161
Directing Style 162
Facilities and Coverage 163
Directing Cameras 163
Directing Replays 166
Directing Graphics 169
Shading 169
The Crew 169
Chapter 13Directing: Telling the Story
Understanding Story 172
“We Are Going to Add Show Business to Television Sports” 172
The Sports Director’s Role as a Storyteller 173
Equipment Enhancement 174
Directing is Like Conducting a Symphony 175
Chapter 14Sports Announcing
Play-by-Play Sportscast Training 179
Research 180
Television Announcer Sports Clichés 183
Announcers and the Broadcast Booth 183
Interviews 184
Spotters 187
Chapter 15Postproduction
Editing Guidelines 191
Chapter 16Production Safety
Trips and Slips 196 Weight 196
196 Electrical Power 196
198
Weather 198
198 Hazardous Areas 199
Chapter 17Budgeting for the Remote
Appendix ITruck Diagrams
IMS Productions 220
CSP Mobile Productions 223
Asbury University Productions 225
Appendix IICamera Placement Diagrams
Baseball: Small Production 228
Baseball: Large Production 229
Basketball: Small Production 230
Basketball: Large Production 231
Boxing 232
Football (American) 233
Shooting 234
Soccer/Football: Small Production 235
Soccer/Football: Large Production 236
Swimming 237
Tennis: Small Production 238
Tennis: Large Production 239
Volleyball: Small Production 240
Volleyball: Large Production 241
Appendix IIIMicrophone Diagrams243
Baseball: Audio Diagram 244
Basketball: Audio Diagram 245
Soccer/Football: Audio Diagram 246
Tennis: Audio Diagram 247
Appendix IVEvent Storyboards249
Opening Ceremony XIX Olympic Winter Games 250
Appendix VSports Announcing Article255
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FOREWORD
With a presence in every nation, television has become one of the most influential means of communicating to the world at large. Through advancements in remote television production, it has become possible for billions of people around the world to get the “best seat in the house” at the greatest events in the history of sport without leaving the comfort of their own homes. From the kick off of the World Cup, to the final pitch of the World Series, to the triumphs of Olympic competition, live sport broadcasting captivates viewers and makes them a part of the action.
Many factors can affect the coverage of a remote sport event, including weather, lighting, and natural sound. A successful production relies on extensive planning, taking into account location, budget, technology, and the intricacies of the sport itself. More importantly, the people selected for the production crew have the greatest impact on the overall success of the production.
This publication provides a broad overview of how to successfully plan and implement a remote television production. You will find detailed descriptions of the types of mobile units/OB vans, cameras, audio equipment, and lighting requirements used to produce live or taped coverage of sport events. You will learn about different types of sport action and different techniques used by producers and directors to capture the essence of each sport.
I would like to thank the many contributors to this publication and, as you explore the contents, I hope you will find Television Sports Production to be a useful resource.
Manolo Romero, President International Sports Broadcasting
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ACKNOWLEDGMENTS
Many people generously provided their expertise and support for this project. We would like to thank the following contributors:
Editorial: Hank Levine and Mark Parkman; Peter Linsley and Emily McCloskey
Technical and Production Assistance: James Angio, Larry Auman, Iain Logie Baird, Dennis Baxter, Greg Breckel, Steven Brill, Helen Borobokas-Grinter, Ben Brown, Kathy Bruner, Anna Chrysou, Craig Cornwell, Ron Crockett, Chad Crouch, CSP Mobile Productions, Darryl Cummings, Thom Curran, Peter Diamond, Pat Dixon, Brian Douglas, Mike Edwards, Yiannis Exarchos, Kent Farnsworth, Pem Farnsworth, Gabriel Fehervari, Steve Fleming, Haik Gazarian, Tom Genova, Mike Hampton, Michael Hartman, Mike Hasselbeck, Lytle Hoover, Mike Jakob, Chris Jensen, Kostas Kapatais, Sue Keith, Dimitris Koukoubanis, Joe Kusic, David Lewis, Joseph Maar, Dan MacLellan, Alexander Magoun, Rachael Masters, Steve McVoy, Gary Milkis, Don Mink, Mark Orgera, Maria Persechino-Romero, Jeffrey Phillips, The Poynter Institute, Ed Reitan, Steve Restelli, Cesar Riano, Ursula Romero, Andy Rosenberg, Pedro Rozas, Josep Rubies, Joe Sidoli, Don Slonski, Donald Slouffman, Alessandro Spegno, Kristin Spiessens, Mark Stokl, Ralph Strader, Meg Streeter, David Rodriguez, Sportscliche.com/tv, Matthew Straeb, Doug Walker, Mark Wallace, Adam Wilson, WLWT, Dan Wolfe, and David Worley.
Photographs/Illustrations: ABC News, Alphacam, Brian Annakin, Asbury College, AudioTechnica, Auman Museum of Radio & Television, Dennis Baxter, Len Chase, CSP Mobile Productions, Dartfish, EVS, Fischer Connectors, Flying Cam, Gyron Systems International, IMS Productions, Inertia Unlimited, International Olympic Committee, Keith Johnson, Ken Kerschbaumer, Chris Jensen, Lemo Connectors, Lighting Design Group, Matt Mason, Gary Milkis, Miranda Technologies, Mountain Mobile Television, NBC Olympics Inc., Olympic Broadcasting Services, ORAD Hi-Tec Systems Ltd., Lynn Owens, Panasonic, RF Central, Manolo Romero, Rycote, David Sarnoff Library, Shook Electronics USA, Shure Incorporated, Sony, Sportvision, Sports Video Group, STATS, Josh Taber, Telex Communications, Temple University Archives, Tricaster, Vinten Camera Support Systems, Visage-HD, Vitec, Volar Video, and Andrew Wingert.
Special thanks to Asbury University.
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PREFACE
The
first live television coverage of a sports event, utilizing electronic cameras, is thought to be the 1936 Berlin Olympics. The monstrous camera, almost 71⁄2 feet (2.3 m) long, was dubbed the “television canon.” The camera could be used only when the sun was shining. Since home televisions were not yet popular, eight specially installed television viewing rooms, known as Fernsehstuben, were built around the venue so that people could see the television coverage. The telecast covered four venues, utilized a total of three television cameras, and shot a total of 72 hours of live transmission during the Berlin Games. In addition to the electronic cameras, a special film camera mounted on the top of a van equipped with film developing facilities was used to produce delayed television signals. In this process, known as the “intermediate film” system, scenes were shot on film, and this was immediately developed and scanned. In Berlin, news films of the Games were rushed to the United States by Zeppelin airships.
A History of Television, Broadcasting the Olympics, and Television in the Olympic Games: The New Era
The development of television broadcasting has had a major impact on the way sporting events are viewed around the world. While the stadium can host thousands of spectators in the stands, television broadcasts reach billions more who are unable to attend. Television provides a unique perspective unavailable to most spectators in the stands. Using advanced technology, specialty equipment, and production techniques, the television broadcast has become the best seat in the house. The majority of this coverage occurs through remote television productions.
A lot has changed from a technological standpoint in the last decade. Today’s audience can view sports in 3D, 4K, and sometimes even 8K. They often view it with a second
Television Quality—1936 Olympic Games
The German television picture with 180 lines and 25 frames per second attains a remarkable picture quality.
Television in Germany, the official program of the 1936 Olympic television coverage
Olympic Syndrome
Data proves the massive interest of Japanese for the Olympic Games. Even though a lot of competitions were broadcast late at night, allwhite-collar workers waited in front of their screens to watch them, and were literally sleeping in their offices the day after. This phenomenon was even called the “Olympic Syndrome,” with the national productivity going down during the Games.
Hisashi Hieda, CEO, Fuji TV, Japan
Television Sports Failures
If sport is not working on TV, is not attracting an audience, is languishing, the problem lies with the people controlling that sport. They have either failed to keep that sport vital and alive, through laziness or mismanagement, or they have allowed people presenting their sport to the public through television to get away with sloppy, lazy or inattentive production.
David Hill, Chairman and CEO, Fox Sports Television
. . . to say that the televised Olympics—along with the Super Bowl, the Oscars, the World Cup, and other super-events— play a leading role in celebrating and shaping our global culture is to begin to approach a realistic sense of television’s complex place in the world of today.
Michael Real, Television Quarterly
screen in hand that keeps them more informed about what is happening. Broadcasting has also changed the way it is transmitted. More sports broadcasts are now seen online than over the air.
Remote productions, or multi-camera outside broadcasts, occur on a daily basis around the world, from news events to parades, pageants to award programs, and concerts to sports.
In this handbook, we will focus on sports remote production. Concepts important to a sports remote production can be adapted to all other types of remote productions since they all use much the same equipment and personnel. Coverage strategies may differ but the concepts are still the same.
Of all the different types of remotes, why focus on sport? Sporting events are the most popular type of television program. In the United States, historically half of the programs attaining the largest viewing audience are sports programs. The viewing audience for the Sydney Olympic Games was estimated at nearly 35 billion cumulative people (Sydney Uplink). Dick Pound, International Olympic Committee member, stated that it is calculated that an unprecedented 9 out of 10 individuals on the planet with access to a television watched some part of the Sydney Olympics. David Hill, CEO of Fox Sports, says that “Sport is part of the fabric of society, it’s the ultimate reality show, and it’s the only form of programming guaranteed to attract huge audiences.”
Television sports are often broadcast live. If the director misses a layup during a basketball game, they cannot redo it. Some things, such as commentary, can be reworked in postproduction, but the action is live. That means the television broadcast has to be done right the first time, with no retakes, and it has to be done with quality. This live event pressure makes television sport one of the most difficult, if not the most difficult, type of television production.
Sport productions can exist on a very small scale, such as two cameras at a local basket-
ball game shown online, as compared to 41 cameras at the Super Bowl or 400 cameras at a multi-event Olympic Games.
Throughout this book, you will find real-life examples from a variety of events, such as the Olympic Games, the World Cup, the Super Bowl, the Goodwill Games, the Indianapolis 500, and others. We have provided camera and microphone diagrams for small and large events.
This is not a stand-alone guide to television production. Our goal was to create a book or text that supplements other existing television production handbooks (see Recommended Reading). We wanted to provide an overview of the various aspects of the television remote production industry. However,
some basic production material has also been covered in an attempt to get everyone to the same level.
A multi-camera remote production is like a symphony. It is not a solo effort. The director is the conductor, juggling the various components, relying on an incredibly talented crew, to create a production that allows the audience to feel as though they are at the event and as though they have participated.
Beyond familiar production terminology, remote productions sometimes have their own language, definitions, and unique equipment. Our goal is to give you an inside view of how a remote production goes together and the role of each participant.
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PART 1 Introduction to Remote Production
Chapter 1: What is Remote Production?
Chapter 2: Television Sports Personnel
Chapter 3: What is Television?
Chapter 4: The Second Screen and Social Media
Chapter 5: The Mobile Production Unit
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CHAPTER 1
What is Remote Production?
W
hy live? Live events are the core of TV. They are the one thing TV can do that no other medium can match. There are things movies can do better. There are things radio can do better. But no other medium can bring you a visual report of an event as it’s happening. TV makes everyone part of history.
Tony
Verna, Director, five Super Bowls and 12 Kentucky Derbies
Remote or outside broadcast (OB) production can be defined as a multi-camera production occurring outside of a studio context. Remotes come in all sizes and types. A small remote may consist of a two-camera production operating out of a small production Mini Cooper automobile or a closet. A big remote may include 20 or more cameras including a helicopter shot and point-of-view (POV) specialty cameras (see Figure 1.1).
The key to a quality production is to assemble a team that can predict what is going to happen and where it is going to happen. It is important to choose a crew that knows their job and can work well together. The crew must understand how the event will unfold and how best to apply their television-related skills. Key to those predictive skills is the ability to plan for contingencies in case something goes wrong.
The more familiar the crew is with the event, the better they can cover it. Understanding the intricacies of the event allows the director and talent to clearly communicate what is happening on the field of play, allows the audio people to know how to set microphones for the event, and gives the camera operators the ability to predict how they
The Remote
The remote broadcast environment challenges you personally and professionally in every which way; mentally, physically, technically, creatively, and in more ways than can be imagined.
Peteris Saltans, Audio Broadcast Engineer and Mixer
should be moving their cameras. Some people are specialists who work only at specific types of events. For instance, a producer may specialize in figure skating events.
Today, many events are covered by live remotes. Live events grab the viewers’ attention and help them feel as though they are witnessing history as it happens. The crew is also impacted by a live event. With no way to edit their work, there is a palpable need to get it right the first time. The result is a heightened sense of teamwork and concern for quality. Without adequate preparation, “live” can kill the broadcast production.
Live-to-Tape
Live-to-tape (while it is still called “live-totape,” videotape as a recording medium is quickly being phased out) usually refers to recording the event and then editing it for the final version compared. Even live-to-tape remote productions can take different forms. Most remote productions utilize a mobile production unit outfitted with live switching gear, video recorders, graphics, and space for the crew. However, some sport productions can be covered with multiple electronic news gathering (ENG) cameras. In this case, the entire production must be edited in postproduction. While live switching is faster, it requires an expensive remote unit, more equipment, longer setup time, and more crew members. Multiple ENG cameras require a postproduction facility and take more time in the postproduction process, but in the end are generally less expensive.
Remote versus Studio Production
While the studio can provide the director with the most control over the situation, the advantage to a remote production is the ability to capture the event as it is happening. Producers involved in the event from the beginning may be able to help select the event location so that the best visual background for the event is obtained. If the production is not far away, at times it can even be less expensive to shoot in the field than in a studio setting.
Figure 1.1 Remote production locations add variables that usually do not exist in the studio, such as weather, lighting, and audio.
In the studio, you have the ultimate control over sound, lighting, electrical power, and weather, but in the field they can become your biggest problems. If there is not enough light or electric power, you need to provide it. If the public address system or other unwanted sounds interfere with your audio, you need to change your microphone positions. If the weather gets bad, the event may get cancelled.
As mentioned earlier, your crew must be chosen carefully. However, on a remote, the production may be somewhat dependent on people that you do not have any control over, who do not necessarily understand the television production process. This could include personnel such as police and venue management and technical personnel. It becomes essential that the production crew cultivate good relationships with these people in order to facilitate the access that is required.
The mobile unit’s size may also cause some issues on a remote production location. These could include traffic blockage and parking spaces for the truck. Another associated issue is that parking spaces may not be available for the crew near the mobile unit. Parking space near the truck may also be required for a portable generator that provides power or even backup power.
If the production is occurring far from the home base, management has to be concerned with providing food, lodging, and transportation for the crew, which can add considerable expense to the production costs.
Often, location permits are required for a crew to shoot in remote locations. Obtaining those permits can be a time-consuming process.
When the advantages of a remote production outweigh the disadvantages, then you hit the road, with crew and equipment in tow.
