handouts on ob coverage for tv

7/30/2019 Handouts on OB Coverage for TV

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Handouts on

OB Coverage for TV

/Session no. 113098A/ From April 18, 2011 /to April 21, 2011

Venue : DDK, Bengaluru

/Course Co-ordinator

. . / N.N. Maurya - ( .)/ Dy. Director (Engg.)

( )/Staff Training Institute (Technical) / All India Radio & Doordarshan

-110009/Kingsway, Delhi-110009


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Chapter No.

Topics PageNo.

1 OB Van Systems 02

2 Planning the Production for OB Coverage 07

3 Pre-production and Set up 14

4 Camera aspects in OB coverage 27

5 Slow Motion Replays 36

6 Practices & Trends in Vision Mixing for coverage 42

7 Graphics in Sports Coverage 45

8 Hawk-eye Technology 54

9 Picking the sound in OB Coverage 59

10 Lighting the sports venue 76

11 Types of OB Van 84

12 Inside Outside of DDK Ahmedabads OB Van 88

13 Links for Coverage system 94

14 OB vehicle design aspect 113

CONTENTS


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Chapter 1 OB VAN SYSTEMS

A mobile unit often referred to as a remote truck or outside broadcast (OB) van isa mobile television control room. Mobile units come equipped with a videoswitcher, intercom, graphics, audio, recorder / playback decks and all theengineering equipment required to maintain a quality signal. Remote trucks comein 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 mobileunit is around 16m long by 2.6 m wide. However, in order to provide more spacefor the production crew, some trucks are expandable to 6m wide, utilizing a largeshelf room that expands out of the main chassis. (See figure.)

Mobile units can be built by specialty manufacturers or assembled by theengineering department of a local television station. The bigger the production,the larger the mobile unit, Figure shows the typical layout of a large remoteproduction truck.

Rear Cable Area Vision Area Production Area Audio Area


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Smaller trucks contain similar equipment to that found in the larger mobile unitshowever the quality, quantity, and the e quipments capabilities may differ greatly.Large trucks may be able to support 20 cameras while a smaller unit may be ableto handle only two or three. In addition, some trucks have multiple slow motionreply machines, while others may not even have that capability. The size of the

truck and equipment is based on the end usage.

Inside a Mobile Unit / OB Van:

The four primary areas of a mobile unit /OB van are production, audio, videotapeand video control / transmission. Although layout and size of each of these areasdiffer from unit to unit, it is essential that each truck include these areas. (Seefigure)

Production Area:

The production area is where the actual production decision is made and theshow is created. This area includes the space for the director, producer, and their assistants: the technical director and the switcher: and sometimes the fontcoordinator, graphics operator and graphics equipment. One of the mostsignificant parts of the production area is the monitor wall. The monitor wallincludes the following:

Preview monitor (an off-air monitor that allows the director and technicaldirector to preview a video image before going to air)Live or on-air monitor (shows images going on air or to tape)Camera monitors (one for each camera)VTR monitorsGraphics monitorsStill store monitorsRouted monitors

Most walls are programmable so that any video device can be routed to anymonitor giving directors the freedom to customize the wall to their own liking.(See figure)


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A new development in monitor walls is the large high definition flat screen. Onevirtual monitor wall screen replaces multiple monitors. The director can define thelayout of the virtual monitor wall with multiple inputs including a clock, audiolevels, analog and digital inputs, and 4:3 / 16:9 aspect ratios. The advantages of these large programmable monitors are that they are compact, light, andconsume little power.

Audio Area:

The audio area includes:Audio mixing boardPatch panelsVideo and audio monitorsSources (such as CD Player)Storage for microphones and patch cables

The intercom is also patched in this area. The A-1(Audio First Person) is usuallythe only person working in this area.

Video tape Area:

The video tape area includes:VTRs and their remote control unitsRouting switchers to route various video signals to VTRsElectronic still store (ESS) equipment used to capture, store, manipulate (if needed), and play back still images form video. The ESS can capture astill from any video source, such as camera, videotape or computer andstore it on a hard drive. A large ESS system can store thousands of thesestill images, allowing instant retrieval.Digital disc recorders (DDR), allows the operator to record and play backform the hard drive at the same time and provides instant playback ability


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via random access. In fact, some DDRs will record and play back two differentsources at the same time.

Video Control Area:

The video control area includes space for the video operators, camera controlunits, and test equipment. The goal for the video operators working here is tomake sure that the cameras provide the highest quality image possible.Transmission equipment is sometimes included in this area as well.

Communication Devices:

Communication at a remote producing is essential. Without it, directors cannotgive directions to production personnel, and producers cannot communicate tothe talent, graphics and tape operators. Without quality communication, aproduction will come to a grinding halt. The intercom is one of the mostcommonly used communication devices. Routed by the A-1, the intercom mayhave one to eight or more channels. Each channel is patched / routed only to

those crew members who need to here that specific channel. Intercoms can bewired 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 byproduction personnel to give directions to on-air talent. While talent may behearing the program in their headsets, the producer can interrupt the program inorder to give talent instructions in their headset.Two way radios are essential wireless communication devices that are used byproduction support, engineering and field production units. These radios allow a


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person to move away from the more wire style of communication of theintercom yet remain accessible.

Outside a Mobile Unit / OB Van:

The outside of the OB unit gives access to large storage areas that are used totransport cameras, tripods, and miscellaneous production gear. The storagespace is also used to house the stairways and ladders that allow access to thevarious truck areas. The other primary area that is on the outside of the mobileunit is the inputs / outputs ( I/O ) panel. This panel is used to patch audio andvideo in and out of the truck. It generally has a variety of connector types andmay even include phone patch blocks.


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Chapter 2 Planning the Production for OB

Coverage

The planning process is always much more time consuming that the actualproduction process.in fact, some have started that 99%of a producers time isspent planning or in pre-production,leaving 1% for the actual production process.While the productin process is the most glamourous part of the business, theplanning phase is where the majority of the decisions are made. The purpose of the planning process is to review the various available option and prepare a planthat will provide the best television coverage of the event. The plan has to includethe technical and productin components. Planning for a small local event may

take only a few days, whereas planning for the coverage of the Olympic Gamesmay 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 tomeasure the success of your televidion programm.

Accuracy: Be informative while never compromising accuracy.

Fairness: Be fair in the coverage. Get both sides of the issues. Be objective.

Analysis: Tell why and how things happened. Lend perspective to the events as

they unfold.

Documentation: Capture the event, including the color, pageantry andexcitement. Help the viewer experince the event. Innovate in audio and video toshow events form a newperspective.

Creativity: Develop story lines. Take the viewer beyond the obvious. Entertainand inform using a variety of methods (graphic, etc.)

Consistency: Maintain your level of ambition throughout the season. Do notbecome complac ent. Dont fall victim to patterns that may diminish creativity.

Flexibility: Follow established formats, but treat every game as a new event.

Co-ordination Meetings:

Coordination meetings are essential to the planning phase of a production. Thesemeetings provide a forum for all parties involved in the production to share ideas,communication issues and ensure all details are in line for the production.Coordinatin meetings will involve applicable sports organisations, venuemanagement, television production personnel, and any other party involved in the


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production. By organising a pre-competition meeting, each group begins tounderstand each others role and the issues confronted by each. The meetingallow the various groups to compromise and work together for the best remotecoverage. Relationships that are helpful to the production crew when somethinggoes wrong during the event can be forged in these meetings. A coordination

session well in advance of the event is absolutely imperative. All parties that maytake an active role in the meeting should be present - television with alldepartments involved, organisers, timing, computers and telecommunications. Alldemands and wishes should be voiced, discussed and resolved at this earlystage. A long report of the planning session keeps all the involved partiesinformed of decisions. However, even the most careful preparation of thecoverage of a one-day event is no insurance for a trouble free show. It isnecessary to be ready to act or react if cameras fail, if the computer breaks down,because the show must go on.

Remote Survey:

The production team generally has a good idea of how the event will be covered.However, until the venue is visited by the survey team, final decisions cannot bemade.The survey team is there to assess the venue and determine how, where, howmay, who, what and how much. The answers to this question will provide thefoundation for the productions planning. A remote survey, or venue survey isgenerally completed far in advance of the event especially for large scalecompetitions. For an event such as the Olympic Games, remote surveys mayoccur 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 adetailed survey.Horror stories abound about people who did not check the power supply or lookat a venue at the correct time of day.

The purpose of the remote survey is:

To determine the location for the production.To determine where all production equipment and personnel will bepositioned.

To determine whether all the productions needs and requirements can behandled at the remote site.

Numerous people who may be involved in the remote survey including theproducer, director, EIC or technical person from the remote truck company, sitecontacts and ideally, the lighting designer and audio engineer. It is important tovisit the venue at the same time of day that the event will take place. This allowspersonnel to assess the lighting, here the sound at that time of day and identifyother possible distractions.


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The contacts:

It is essential to establish who the event / venue contacts are early in the

planning phase and how to reach them in case of an emergency. The crew mayneed access to additional power or restricted areas at any time. In this case, it isessential to be able to contact the appropriate personnel immediately to prevent acomplete breakdown in the production. It is important to establish an alternativecontact person as well. A contact list should be created identifying as many waysto 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, specializedequipment, mobile unit, electrician, Generator Company, security, golf carts,transportation, officials, satellite provider, phones, uplink truck and possibly eventhe sanctioning body for the event. Contact list can become long but arenecessary and should be distribute to everyone working on the production.

Venue Access:

Without the correct access to the facility the production can come to a grindinghalt. The crew needs access to the venue so they can do their work before,during and after the event. During the planning phase, the following accessissues need to be addressed:

When does the crew need access? Can they get in very early and stayvery late? Is there any procedure for example, a special pass that mustbe completed in order to move them in or out at or hours? Do they haveaccess to adequate parking? Can they easily get to their positions duringthe event? Can camera crews move in and out of locations during theactual production of the event?Do engineers have access to cable runs?Make sure that the mobile unit can be driven onto the location, especially if it is of the 15m+ variety. 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 36,000 Kg. production unit?Where can the mobile unit be parked so that it is close to power, withincable length of your cameras and not blocking traffic?

Survey of the Compound: Broadcast Venue Area.

The mobile unit may stand by itself at a smaller event, or may reside as just oneof the units in a broadcast compound.Compound is the term used to describe the production / technical area at alarge event. The compound may include any of the following:

One or more mobile units / OB Vans


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Technical management and operations, which could include a full mobileshop that has the tools to repair all the equipment while on the road.Support service, which would include the personnel needed to arrangecatering, transportation, lodging and other related services, and probablyinclude space for catering to serve meals under cover in case of inclementweather.Transmission facilities and personnel, such as an uplink truck or microwave unit.Temporary offices and meeting rooms for production and technical staff.Temporary trailers that could house post-production equipment, outboarded graphics equipment and / or VTRsSecurityGenerators for primary use or as backup power supply.Toilets.

Safety: The Mobile Unit / OB Van and the Remote Production:

Safety during production refers to avoiding any unnecessary risks or danger.Implementing safety procedures and establishing a safe work environment for your crew is one of t he fundamental aspects of the production plan.

Health and safety must always be considered when working on a remoteproduction. A healthy crew is essential for a successful remote production.Remotes may require more endurance than other production because equipmenthas to be unloaded form 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 andthen stand for hours in freezing weather. Remote production crews may have toset up heavy cameras in freezing or sweltering temperatures or may have tocarry equipment up high scaffolding. Most injuries at an event do not happenduring 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 inmind the following aspects of health and safety.

Hearing: 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. Thetruck engineer is the only person who usually deals with that power, especiallywhen 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 withoverhead electric lines can be lethal. Work near overhead power lines must beonly undertaken where there is a horizontal safe distance of 30 feet. The safedistance must take into account the reach of camera booms, crane / jibs, laddersand scaffolding. 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


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can cause a risk of fatal or severe shock or burns to any person in the immediatevicinity. 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 causedangerous or fatal electric shock.

Cables: Mobile unit cables need to be protected so that people, cars or equipment do not run or walk on them, wearing the insulation thin or breaking thewires. The cables also need to be secured in such a way that they do not pose ahazard for the crew or visitors. All cable connections need to be protected againstthe weather by wrapping them in plastic or placing them under cover. In someareas, local codes dictate how cabling is done.

Weather: Bad weather can create a problem at any remote production. In remotesituations, lighting can strike the truck, cameras or crew members. Freezingweather creates ice, causing hazards for the crew and possibly adding weight tohanging cables. If rain gets into connections the moisture could cause electricalshocks.

Heights: Remote production invariably requires crew members to be at highvantage points on the roof of a truck, on scaffolding or climbing somewhere to runcables or hang lights. Precautions need to be taken to ensure that crew membersdo not fall from these areas. Most injuries on remote sites result from falls. Asafety harness should be used when a crew member is in a high area. It is notuncommon for a camera person to concentrate so much on their shot whilefollowing a subject that they dont realize they are about to step off thescaffolding. High cranes and microwave transmission masts are other productionareas that present height obstacles. When setting up this equipment, it is criticalto avoid any power lines. Each year people die from hitting power lines withtelevision remote equipment.

Hazardous Areas: Many areas of a remote production can be hazardous andrequire caution. For example, working as an RF camera operator in the pit of anauto race is a fairly dangerous place. Personnel placed in hazardous areas haveto be especially aware of what is going on around them at all times and beprepared to move out of the way of the action when necessary.

Location costs:

Every location has its unique costs it is important to identify what those costs arein advance of the production.

Are there costs for crew parking?Does space need to be rented in order to provide the amount of areaneeded for the production?


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Does anything need to be built or modified at the location?Are there any local ordinances that will affect the production? If ordinanceslimit the production hours or access to the facility, the budget may need tobe increased to include additional days.Is additional insurance required by the city or facility?Are there permits that are required by the city, country or facility? Facilitymanagement should know what is required. However, it may be worthchecking with the local police department and / or fire department to makesure that the necessary permits are in order to park on public property or on a public street. Sometimes permits can take days to process.Are security bonds required by the city, country or facility?What is the cost of housing at this location?

Other Areas for Survey Consideration:

Food / Catering:

Who is supplying the food, how many meals are required and where are theygoing to set up the meals?

Lodging:

How many rooms are needed and how close are they to the venue?

Parking:

Is sufficient parking available for rental cars and golf carts? Parking should bemarked on the location sketch.

Security:

Where should guards be? Do they need special parking? Where will they belocated in inclement weather?

Program transmission:

Who will provide transmission service and where will their equipment be locatedat the venue? Do they have any special needs?

Construction:

Does anything need to be constructed? If so, is there space allocated for theconstruction crew to build the required elements? Does the construction have anyspecial needs?


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Video and audio feeds:

Who needs video and audio feeds outside the mobile unit? Are additional cablesneeded to meet the requirements?

Telephones:

How many lines are required? Where the lines should be installed? How manycellular phones are needed? Are any dedicated lines required?

Medical :

Are there medical facilities at the venue? Is there a hospital within closeproximity? Is there a first aid kit nearby for minor injuries? Does an ambulanceneed 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 remotesurvey and planning the production. The rest of this chapter will include areasthat significantly impact the survey camera, lighting, audio, electrical power,program transmission and backup plans. All of these need to be thought throughbefore completing the location sketch.

(a) Cameras / Camera Position (b) Camera placement(c) Types of Cameras(d) Lighting aspects (Indoor / Outdoor) (e) Audio aspects(f) Graphic aspects

Electrical Power:

Surveying the electrical power on location is essential. It is important to find out if there is sufficient electrical power for all the equipment being used and if anyone

else is planning to share the power with you. Engineers should not take anythingfor granted and must make sure that all electrical outlets actually work. During theelectrical survey, it is important to determine the following:

Where are the breakers? How will the crew access them?How many extension cords are needed? Is a portable generator needed? If surepower (power on site) is available, is a generator needed for redundancy?


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Chapter 3 Pre-production and Set-up

Following points to be prepared before production:

(a) Cabling(b) Equipment Set-up.(c) Setting up Cameras.(d) Production / Technical meeting.

(a) Cabling:

Cables used in television broadcasting vary from simple coaxial configurations to

very complex multi-core cables. Triax cable is used by most mobile units / vans.Fiber optic cable is frequently used to carry signals over long distances withminimum degradation. There is also a variety of cable connectors used in remotetelevision production.

The following is a list of things to keep in mind when cabling:

1. Run cables neatly and, if possible, parallel. Try to group them together so the cable run is obvious and well defined. Lay cables as close to theproduction truck as possible so that the production crew will not trip or continuously walk on them.

2. When running camera cable, make sure that the correct end is towardthe camera.

3. Cable connectors must be protected from the elements to ensuresignal quality. If a cable connector must be exposed to the elements,try to support the connector so it is hanging downward or, preferably,wrap it with plastic and tape it. However, only tape the plastic on thetop end, allowing air to come in underneath to prevent condensation inand on the connector. Do not allow the ends of cables to lie where

water may puddle in the event of rain or melting snow.4. Label all cables, for example, Cam -1. 5. Report damaged cable to the supervisor. It is far easier to solve

problems in the cabling phase than try to troubleshoot the problemduring a competition.

6. Excess cable should be placed on the ground in a figure eight patternor the over-and-under method so that the cable will not kink or tangle.

A knotted cable can cause significant stress and subsequentlyirreparable damage to the cable.


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7. Do not run a cable around any object that requires a tight bendingradius. An extremely tight bend could damage the cable.

8. Avoid running video and audio cable close, and parallel, to power cables since these cables may be subject to a buzz. Video and audio

cables that must cross over power cables should do so at 90-degreeangle to minimize the impact of the power on the video and audiosignals.

9. Do not suspend tightly stretched cables between two points for much of a distance. Cables must be supported to ensure the cable is notdamaged due to tension. Cables should be pulled and supported bythe cable, not the connectors.

(Lemo Triax Connector) (Fischer Triax connector)

(Lemo HDTV Triax connector)


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(b) Equipment Set-Up:

The equipment set-up (ESU) time varies from under a day for a small event tomore than a week for larger, more complicated event. Other factors thatdetermine the ESU is the complexity of the terrain (alpine event), whether the

venue is pre-cabled and the size of the set-up crew. The ESU includes running allaudio and video cables and the transport and set-up of cameras, monitors and allaudio equipment.During set-up, the crew should always keep the strike (tear down) in mind.Equipment and cables should be removed from the truck and placed such that itwill be easy to put them away after the shoot.

(c) Setting up a Camera :

Set up the tripod or other type of camera support.Check that the pan / tilt head is firmly attached to the mount.Level the tripod and pan / tilt head.Check that the pan / tilt head is locked.Attach the camera to the head. There are three basic ways to attach thecamera: screws, wedge plate or quick release plate.Adjust the center of gravity of the camera on the tripod.Check the friction adjustments for the pan and tilt. These should be set atyour comfort level.Make sure that the lens is tightly mounted on the head.Set the zoon controls at the right speed.Test the focus control to make sure that it is working.Attach the camera to the CCU cable and power up the camera.Check the monitor and adjust the contrast and brightness.Check the back focus to ensure that the image stays in focus from longshots to close-ups.Attach the intercom headset and test to make sure that it is working.If everything appears to be working on your end, wait for further instructions from the mobile unit.Make sure the appropriate filter is set.

Color Correction Filters:o 5600K outdoor in daylight or indoors utilizing a lighting source that

simulates daylight (Generally includes fluorescent lighting.)o 3200K tungsten lighting ( indoor)

Neutral Density Filters:o ND-1 reduces light by one f-stop.o ND-2 reduces light by two f-stops.


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Make sure that the camera is color balanced. This may include setting upthe appropriate test chart and selecting the correct filter.When the camera is not in use, the front lens cap should be left on thecamera.

Familiarize yourself with the weather gear so you can put it on or take it off easily.If the weather looks as though it might get bad, put the weather gear on beforethe production begins. It is difficult to put weather gear on the camera during theproduction.

(e) Production/Technical Meetings:

Pre-production or production meetings are an integral part of the productionprocess. Usually run by the producer, these meetings should includerepresentatives from each area including:

Director TalentArt director Production assistantEngineering supervisor

These meetings are designed to provide an overall vision of the production,receive feedback from the participants, determine how they may be impacted byproduction decisions and discuss deadlines and budgets.Production meeting frequency depends ion the event. For the Olympic Games,production meetings may actually begin four years before the actual production.

A local station covering a regularly scheduled event may meet the week or daybefore the event. Networks sometimes have tow meetings each day the weekbefore a large event in order to allow the producer to keep up with the variouscomponents of the production.

The show Format:

Scripted pre-game shows allow a producer and director to create a detailedformat that gives a shot-by-shot and second- by-second description of the entire

show. These formats seem to have a life of their own, evolving through a number of versions. The formats generally specify:Image source (videotape, graphic or on-camera).Audio source (sound on tape, live ambience or live talent).

Description of image (talent who will be on camera, image content and location). Segment time. Total elapsed time.

The program format lets each crew member know their responsibilitiesthroughout the pregame show, allowing them to anticipate the action and reduces


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the number of instructions the producer and director need to give over theintercom. The format also helps RF camera operators and talent, who may needto move from one location to another.

Camera Position:

A major function of the technical preparation is to determine where cameras aregoing to be placed at the venue. Camera placement needs to be determinedearly since many other decisions are based on it, such as where the cabling willbe 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 andtheir associated equipment.

If a dolly is needed for a mobile camera, what kind is required? What is theground / floor like where the dolly will be located? Is the ground level?How many cameras are required to give adequate coverage of theevents?What type of camera should be used in each position (fixed, tracing, ENG,etc.)?Where can camera cables be run? Will cables be protected from people,cars, weather etc.?What kind of camera mounting devices, platforms of scaffolding are need?Are any special lenses required?If cranes or jibs are needed, where can they be placed with maximum

action radius?


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Camera placement:

A number of factors should be taken into consideration when placing cameras.For example, camera cannot be placed on opposite sides of the field of playexcept for isolation (ISO) camera.

Other questions that should be asked when determining camera placementinclude:

Where can cameras be placed that provide the best coverage for bothaction and isolation coverage? Make sure that you can provide thenecessary wide shot of the event.What locations provide the best lighting?Where is the sun located at an outdoor event? The angle of the sun will bea factor when determining the angle from which to capture the event.Cameras should be positioned with the sun behind them.Are there signs or billboards in the background of this shot that could bedistracting? Will anything be changed on the day of the event that couldbecome a distraction?

Will cameras block the spectators view? What locations are available that is not in view of the other cameras?Does anything obscure the camera shot required by the director? If so,can anything be done about it?


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Probable cameras position for the different games:


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Different Cameras:


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Different Cameras:


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Chapter 4Camera Aspects in OB Coverage

Types of Cameras:

A variety of cameras are used in OB sports productions. The following list givesas overview of the types of cameras that are currently available.

Fixed or Hard Camera:

A camera that is mounted on a camera mount in a fixed position. These aregenerally large, heavy cameras that can be equipped with long telephoto lensesand require extremely stable built up platforms to prevent shaky shots. The

larger cameras provide the operator with a larger monitor as well as more controlon the camera head. The camera mount may be stationary or it may havewheels. Walking or climbing on these camera platforms / scaffolds should beavoided (See figure)

Hand Held Camera:

A camera held by the camera operator. (see figure) These cameras are muchsmaller 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


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recorder so that they become an ENG camera. Generally this camera wouldinclude 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 beautomated or manually controlled. They are amounted on rails or other devicesallowing them to synchronize movement with the subject. It is easier to repeatshots accurately using a tracing camera because the track does not move. Thesecameras are extremely stable, silent, and can be moved safely at slow or fastspeeds. Tracks and rails can be curved or straight. (See figures)

Moby cam :

Manufacturer name for an underwater remote controlled camera that can moveunderwater along the length of a swimming pool.


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(Image taken by Moby cam)

Camera Crane / Jib:

A camera crane or jib is used to move a camera (and sometimes operator) tohigh, medium and low shots. A crane movement is when the camera is movedup, down or side to side. Cranes have become very popular for their ability togive a production a special vantage point at an affordable price. They are alsotransportable when broken down into cases. Cranes are generally operated byone or two assistants and a camera operator. (See figure)

Mini Point of View (POV) Camera:

This camera is used when space is limited, restricted or when it is not essential touse a camera operator. As a point of view camera, the mini camera is often


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placed in unusual positions to give the effect of being part of the action or competition. These cameras can be set in a fixed position or remote pan / tiltcontrolled. POV cameras provide a unique vantage point for the viewer, such asattached to football goal posts or underwater for swimming competitions. These

cameras are usually reasonably inexpensive (often placed in hazardous positionswhere they may be damaged), rugged, very small, and have average technicalspecifications. They are sometimes called lipstick cameras due to their shapeand size. The camera is operated from a remote location. (See figure)

(Image taken by POV cam)


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Slow Motion / Super Slow Motion Camera:

These television cameras have special capabilities which capture high qualityslow motion images with reduced blurring. Standard slow motion is 25 framesper second. Super slow motion records 75 frames per second. Which further

reduces the speed of the action with less blurring?

Steadicam:

A device designed to stabilize a camera. The camera is attached to a specialvest, which is worn by the camera operator. An accomplished Steadicamoperator has the freedom to walk or run and still provides fluid shots. Steadicamat large events generally are attached to an RF transmitter allowing totallywireless operation. Steadicam is the brand name of the most popular body stabilized camera support. There are other brands available as well.


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Skycam or Cablecam:

Manufacturer names for cameras that hang from a system of cables over avenue. The camera is then remote controlled to cover different locations withinthe venue. The controls for the camera also included remote pan at tilt. (See

figure)

Pole Camera:

A small camera attached to a long pole. The pole can be attached to a camerasupport or to a belt / strap on the camera operator. The advantage of this camerais that it has a very portable jib arm that can obtain high or low angle shots. It canalso be used to obtain above and underwater shots. (See figure)


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Stabilized Camera:

A camera that is equipped with a stabilization system such as a gyro, opticalstabilizer, digital stabilizer or counter balance of some type. These cameras areoften 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. The reason for this isto find dead spots or areas that are not conducive to a quality video signal.

Motocam:

A motorcycle equipped with a stabilized television camera and RF transmitter.(See figure)


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Vehicle Camera:

A vehicle equipped with a stabilized camera and RF transmitter.

Boatcam:

A boat that is equipped with a stabilized television camera and RF transmitter.

Helicam:

A helicopter that is outfitted with a stabilized, remote-controlled television camera.Generally the helicopter is also equipped with a microwave transmitter. These


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cameras can be mounted on full size helicopters or can be carried by smallremote-controlled helicopters. (See figure)

Electronic Field Production Camera (EFP):

An EFP camera is a lightweight camcorder that is not connected to the mobileunit. These cameras are used for the production of news stories or short reports.They are used for immediate post-production and editing, but the pictures couldalso be transmitted live from the field.

Why POV / Robotic Cameras?

Many of the cameras previously mentioned are robotically controlled. Thesecameras have become increasingly popular in the production of sporting events.They are used when:

It is impossible to fit a camera and operator into a location.It may not be physically safe to have camera operator present for example, a POV used under a jump at an equestrian event.A unique perspective contributes to a vi ewers overall understanding of anevent for example, a POV camera in a hockey net.


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Chapter 5Slow Motion Replays

Slow motion replays are now widely accepted as an integral part of televisionsports coverage. Indeed, many sports now rely on these replays to help gameofficials judge close plays and questionable calls. To create a slow-motion replaywhich appears smooth, it is necessary to have a camera and a recording systemwhich is capable of shooting faster than the normal 50 or 60 fields or frames per second rate. Capturing more pictures than normal then playing those out at thestandard speed gives you smooth motion at a reduced speed of action rate.Live Slow motion server: LSM used for slow motion action replay in sportscoverage. These servers are come in different hardware and softwareconfiguration with variety of different operational capabilities. Slow motion servershave typically 4/6/8 channel capability. These systems has instant access server capable of simultaneous recording and playback. The recording process runs ona multiple channels, in continuous "loop-mode": When the disks are full, theoldest frames are over-written. The remaining playback channels are used at thesame time to search, cue and replay the best scenes, at any speed and withoutinterrupting the recording process at any time. Playback can commence instantly,without the need for the operator to place any cue-makings. The operator uses"in" and "out" points only to mark the scenes that are to be preserved. Servers

are compatible with all normal and super (slow) motion cameras. Slow motioncameras scan images at 3 times the normal rate (150 fields / sec in Pal). Theincreased temporal resolution obtained this way enables slow motion replays of unequalled smoothness. The individual frames are also much sharper; they suffer less from motion blur, because of the shorter exposure time. Super motiontechnology reveals details to the television spectators, invisible to the naked eye.


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Some Features of servers

1) Editing

Some servers are efficient nonlinear editor, operational during the recording of

live event. Intuitive cut paste functionality makes Play List editing very fast andfeatures mix & wipe effects.

2) Live Production Network

Servers can be networked to become a fully integrated production environmentfor sports or other live events. Any clip, recorded by any device on the network, isavailable INSTANTLY for editing or play out to all operators, even while therecording process of that particular clip is still in progress.

Design Aspect of Super Slow motion Camera (HD)

The thinking behind the development of the super slow motion camera which setthe standard for live, super slow-motion system, or super slow-mo. These camerashot at three times normal speed, producing 75 or 90 frames a second dependingon video format, giving perfect motion at one-third normal speed, for 3X super slow-mo.The important point here is that the technology existed for this to happen within alive production without complex processing or delay. With a special super slow-motion server, the 3X output could be recorded, then played back instantly atvariable speeds. The recording could go on indefinitely; normally super slow-moserver channels are permanently recording, capturing the entire game.Without this approach, viewers had to put up with jerky motion, or there was asignificant delay while complex processing and rendering took place to estimatethe in-between pictures. This did not produce satisfactory results and was of nopractical value in the world of fast action sports because of the processing delay.


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Today the broadcast market sees a number of very high-speed cameras: speedsas high as a million frames a second have been quoted. But these are limited tovery short recording durations a fraction of a second in the case of the highestspeeds and the outputs need to be downloaded and processed before they canbe used. This makes them attractive for very specialized shots, but not a practical

proposition for live applications.Sports broadcasters are accustomed to the idea of 3X super slow-mo, anddirectors routinely call for replays instantly. They are an established part of thelanguage of televised sports productions.There is a significant demand for an HD super slow-mo system. Thedevelopment of such a camera, though, faces a number of technical demands if itis to meet the uncompromised quality standards that viewers expect of HD. It isalso very difficult to create smooth slow-motion in interlaced formats, and this isan issue that broadcasters have to address.

(a) Signal-to-Noise Ratio

The majority of high-end professional television cameras use three 2/3-inchCCDs as its image sensors, with CMOS sensors beginning to make their appearance. In this context it does not matter whether the imager is CCD or CMOS, though, as both achieve the same end result.The imager sensor is a chip on which there are a large number of photo sites.These photo sites convert light energy into electrical energy: they collect photonsfalling on the photo site and output a signal which is proportional to the number of photons collected. In the imagers output amplifier, the signal charges will beconverted into a proportional output voltage. The output voltage from the imager is extremely low, and has to be immediately amplified before being convertedfrom analog to digital for downstream processing (all imager sensors are analogdevices).The imager output is directly proportional to the amount of light falling on it, but itis also directly proportional to the length of time that it is exposed to that light. It iscounting photons: if you reduce the time that you are counting photons then of course you reduce the number of photons which hit the imager. Shooting at threetimes the normal frame rate means that the imager is exposed for one-third of thenormal time for each frame. This reduces the total amount of light on the imagesensor, and the output from the imager degrading the signal-to-noise ratio at thefront end of the camera.One possible solution would be to use a special imager, developed with lowsignal-to-noise as its primary design requirement. The disadvantage of this wouldbe that its pictures would not visually match the other standard-speed broadcastcameras being used during the event.This would probably be unacceptable even if the output of the camera was onlyused for slow-motion replays. But in practical situations, the super slow-mocamera is used as part of the broadcast program and differences in imagequality, certainly in HD, would not be tolerable.


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Furthermore, having a standard-speed camera alongside the super slow-mocamera is not an acceptable solution either. The additional capital andoperational costs of camera, cable, and operator would add to the productionbudget, and in many sports applications there is only one perfect spot for thecamera, not two spots side-by-side.

(b) Data Rate

It is well known that uncompressed HD, as 720p or 1080i, has a data rate of 1.5Gb/s. However, if you are shooting at three times the normal frame rate, you arefaced with a data rate of 4.5 Gb/s. To accommodate this data rate special fiber system is required. The base station of the camera is also required specialdesign to unpack the triple frame rate video (for 3X speed), carry out thenecessary processing, to offer the output HD-SDI signals to an external recordingdevice

(c) FlickerWhen sporting events are played under artificial lighting, there is another important issue to consider: flicker.While the eye automatically integrates the output of many different types of artificial lighting so that the level appears constant, they remain cycling with themains power frequency. Typically this is not an issue with television cameraseither: a 50 or 60 fields per second camera under 50 or 60 Hz lighting,respectively, will always receive the same amount of light effectively integratingthe illumination over a complete cycle - so the picture will appear stable.

As the diagram below shows, this is the case even if the lighting and the cameras

are not synchronized: provided they are operating at the same frequency, thelight will be integrated over a field of the video to provide a constant level of illumination.


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Ultra Motion Camera in Sports Coverage:

Hi-Motion was designed to operate and integrate like a standard camera . With theuniversally-standard B4 lens and recording at 12 to 300 fps and now 600fps , Hi-Mo tion is e as ily inte g r a te d into any no rm a l Outs ide Br oadcas t wor kflow with the slow motion server. The dr ama tic , c le a r, s lowe d-downf oo tage f r om Hi-Motion is often used as r eplay footage dir ectly following an event or incident in main coverage. Hi-Motion also provides detail and insightfor analysis and artistic purposes.

Based on the new control capabilities provided by server system, live sportoperators are now offered the ability to manage 100% of their hyper motionrecord, slow-motion replays and clipping actions from Remote controller of server.

Key features of server associated with Hi-motion Camera

Full Hi-Motion live slow motion replay control No rendering for replay Up to 600 frame per second sequences replays Full control through Remote controller No dedicated operator required No extra-material required


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Extra motion Camera specification

ASPECT RATIO 16:9

LENS MOUNT B4FRAME RATES 12 - 300, and 600fpsRESOLUTION 1920 x 1080RECORDING TIME 22 seconds at 300fps & at 600fps, pro-rata at other

frame ratesPLAYBACK From still to 300fpsVIDEO OUTPUT HD SDIPOWER 110 - 220V AC


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Chapter 6

Practices & Trends in Vision mixing for Coverage

Vision Mixers work across all genres of television programmes, which are either transmitted live, recorded as live, or pre-recorded in any multi-cameraenvironment in studios or during Outside Broadcasts (OBs). These include news,sport, current affairs, light entertainment, one-off studio-based dramas, children'sprogrammes, situation comedies, and soaps or serial dramas. On studio-basedprogrammes, Vision Mixers work in the Production Gallery, on OBs they arebased in the mobile Production Gallery in the OB vehicle.

Vision Mixers edit programmes live (as they are being transmitted or recorded),using a variety of transition methods, such as cuts, mixes, wipes, framemanipulation, etc. They join together images from various visual sources,including cameras, video tape recorders (VTR Machines), graphic generators,digital video effects (DVEs). They are the Director's "second pair of eyes" in theGallery. The work is exhilarating but demanding, and requires patience, staminaand resilience. Vision Mixers may be employed by broadcasters, or work on afreelance basis.

On sport coverage, current affairs, or light entertainment programming, VisionMixers work initially from running orders, usually prepared by Producers, whichoutline the premise of each programme, and detail the shot requirements. VisionMixers then work closely with Directors to creatively interpret the script,discussing which transitions are required from shot to shot, whether and when


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visual effects and/or graphics should be used, and suggesting alternatives wherecertain transitions are impossible, or to improve the creative output. Vision Mixersmust be aware of the capabilities and limitations of different vision mixing desks,and suggest ways of using them to fulfill the Director's vision for each production .

During recording, or live transmission, Vision Mixers work with the Director tovisually create the programme. Vision Mixers must be able to multi taskeffectively, as they may be required to cut from shot to shot during a live interviewwhile simultaneously absorbing the Producer's instructions to the Director aboutthe next item to be transmitted, and the sources to be used, setting up the nexttransition on the effects bank, and also listening to the Production Assistant's(PA's) countdown to the next item. As running orders on news programmes canliterally change by the second, Vision Mixers must be able to react quickly andaccurately to rapidly changing demands. They often work from more than onevisual source, for example when adding graphics with the required name, locationand date, to relevant shots. On these types of production, Vision Mixers havemore autonomy than on more structured, rehearsed programming .

On some light entertainment, and all sitcoms, soaps and drama, Vision Mixersuse rehearsals to practice the required transitions, and where appropriate tosuggest alternatives to Directors. Vision Mixers make detailed notes on thecamera script about required sources, transition types, graphics and technicaleffects. Although they work from a script, during recording Directors may givestandby cues to Vision Mixers and Cameras about upcoming transitions. Onmusic programming, Vision Mixers are given more latitude and must cut to themusic or beat, or often to a musical score, particularly when working on classicalmusic productions.

On live productions Vision Mixers are required to react quickly when problemsarise, for example by cutting to another suitable source smoothly and calmly if therequired camera is refocusing, or in the wrong position. On especiallycomplicated productions, particularly in light entertainment, two vision mixers maywork together: one vision mixing, the other operating all peripheral equipment,such as Stills Store, DVE, hard disc / VT play.

In the first instance, more dynamism has meant more camera angles, and theevolutionary path for production switchers has been toward larger vision mixing

consoles with an ever increasing number of inputs. From relatively smallconsoles, production switchers for sports events have grown to the point wherethey take up a large amount of space in production area of OB trucks, and we areprobably at the point where control surfaces have reached their maximumpractical size.

It's not just more and more camera angles, though, that's driving the need for more inputs. The real revolution has been in the use of graphics, which haveevolved in a short time from relatively simple two-dimensional, plain textrepresentations of the score to flying 3D animated transitions that are now an


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important part of TV networks branding. These also require large numbers of inputs. Beyond creating the need for more inputs, intensive use of graphics ismaking switcher automation and on-board video storage more desirable featuresfor sports broadcasting than ever. Programmable macros are now available on

most production switchers, allowing a series of keystrokes to be executed with asingle touch on certain buttons or, in some cases, on any button.

When it comes to video storage, the switcher industry has been slower inproviding the level of on-board resources that a vision mixer might like to have inorder to eliminate the need for external twin disc recorders to provide 3Dtransitions. Some production switcher, which offers twelve seconds storage in HDor about 60 seconds in SD for each of its 4 M/Es, for a total of 48 seconds of uncompressed HD and 240 seconds of uncompressed SD--quite a reasonableamount of room for key and fill elements. Each of the M/Es provides a set of

programmable function keys that provide one-button control to run these 'flyingkeys, what the viewer might see as a transition into a replay or a transition wipe.Some switcher also lets you attach a Macro to any button on the switcher.Timelines, and the ability to store a realistic amount of video, to create flying keysfrom the switcher--Switcher will draw attention which having ability to accept bothSD and HD sources simultaneously and to allow you to mix or cut between them,without any intermediate conversion step. This is a feature that pays off in a bigway in HD sportscasts, for example when incorporating an SD camera feed intoan HD programme or superimposing an SD graphic over live HD action. Thisfunctionality not only saves costs for the broadcaster, it also greatly enhances thelive production workflow. Very soon, this capability is going to be a virtualrequirement for any production switcher used in sports applications.


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Chapter 7 Graphics In Sports Coverage

Graphics:

First impressions are important .And the first impressions the audience gets fromyour production may come from the opening graphics. They help set the styleand ambience of the program; they inform; they guide. Well designed graphicsmake a direct contribution to the success of any production. Poorly designedgraphics immediately discredit the entire production. Graphics dont have to beelaborate- they just need to clearly communicate, and help grab the audiencesattention. However, they do need to be brief, clear, and appropriate in style.Effective television graphics require the graphic operator or designer to think

through a number of stages in the production process:

How does this graphic help the audience understand the subject or storybetter?What is the purpose or goal of the graphic?Would words, illustrations, photographs, or video imagery work best tocommunicate to this audience?

GRAPHIC GOAL

Television graphics should:

Convey information clearly and directly.

They should be prepared for maximum communication impact. This means thattelevision graphics should be simply created, not elaborate. Because televisiongraphics move quickly and cannot be studied for a long period of time, the fontshould be bold and straightforward.


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Establish the show s overall mood and tone through the graphic style.

The font and presentation style can do much to advance the story being told.These can set the scene for the rest of the program.

Present fact, concept, or processes visually so that the viewer willunderstand the program content.

Keeps the graphic s organized and presented in a way that holds the audiencesattention and makes it simple for them to follow the process or to understand theconcept being presented?

Aim to keep graphic information to a minimum, particularly if it is combined with adetailed background. A screen full of written information can be daunting to mostviewers and tiring to read. People are easily discouraged from reading rapidgraphics. Leave information on the screen long enough to allow it to be readaloud twice, so that even the slowest reader can assimilate it.

Types of Graphics:

Graphics add clarity to a shows presentation. They are used to announce theplace or time, to identify a plant, to display data, to clarify how food shouldbe cooked, and so on. There are a number of different types of graphics:

Opening titles announce the show.Subtitles identify people and places.

Credits recognize those appearing in and contributing to the program.End titles draw the program to its conclusion.


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FORMS OF GRAPHICS:

Graphics can make a valuable contribution to all types of television program:Statistical graphics in the form of bar graphs and charts can show, in amoment, information that would be hidden in columns of figures. Theyenable you to simplify complex data, to compare, to show developments,to demonstrate relationships, and so on.

Pictorial graphics can be used to illustrate a childrens story, to set thescene in a drama, to explain scientific principles, to provide anatmospheric background to tilting, and so on.

Animated Graphics:

Animation can bring a graphic to life. Even the simplest movement, such as

panning over it from one detail to another, zooming in/out on details, or cuttingbetween sections of it, can sustain interest in what would otherwise be a staticdisplay. Such techniques are an effective way of illustrating a documentary, or any program that relies heavily on graphics and photographs (or maps or paintings in historical sequences).

Animation can take place in a number of different ways. For instance, you canbuild a graphic on the air by progressively adding details or sections. Character generators can usually save the animation, which can be replayed at a later time.

Interactive 3D Graphics:

There are number of interactive three-dimensional (3D) graphics that are used tohelp the audience understand situations and hold their attention. One example issports production. Some of the networks are creating 3D characters, whichrepresent actual players, to illustrate the various plays in sports. The goal of these graphics is to illustrate the nuances and variations in a play that haveoccurred or has occurred.

DESIGNING GRAPHICS:

Video and television productions today may use either of two screen formats.

Standard-definition television (SDTV) has an aspect ratio of 4:3. High-definitiontelevision (HDTV) has an aspect ratio of 16:9. If viewers have both type of formats, all graphics need to be designed so that they fall into the 4:3 area.Otherwise, 16:9 viewers may not be able to see important graphics.Some things to consider when designing graphics are as follows:

Keep titling well away from the edge of the frame to avoid edge cutoff.Graphics should be designed so that they fall within the middle 80 percentof televisions scanning area. This cent er area of the screen is referred toas the safe title area


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Simple, bold typefaces are best. Avoid thin-lined, elaborate lettering. Although HDTVs resolution can handle the thin lines, the majority of theworld is still in SDTV, which struggles with thin lines.

Limit the number of different fonts within a program.

Lettering smaller than about 1/10 screen height is difficult to read. It isimportant for director to determine what media the audience will use tosee the final production, or at least what the dominant media will be.

Outlining and drop shadows often makes lettering easier to read bypreventing bleeding and providing contras.

However, avoid placing a black edged outline around smaller letters,because it becomes hard to read. The holes in the letters B, O, A and Rtend to fill in.

Punctuation is not normally used, except in the following instances:quotations, hyphens, apostrophes, possessives, and names.

Abbreviations are never punctuated on television graphics. However, if abbreviations make the title ambiguous, use three lines if necessary andspell out the words.

Leave a space between titles lines of around 1/2 to 2/3 the height of thecapital letters.

Lettering should generally contrast strongly with its background. Thelettering is usually much lighter than the background.

Dont fill the screen with too much information at a time. It is often better touse a series of brief frames or to use a crawl (continuous information

moving vertically into the frame and passing out at the top).Warm bright colors will attract the most attention.


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Backgrounds for Graphics:

Choosing suitable background for a graphic can be as important as theforeground graphic. When creating full-screen graphics, graphic operator needto be careful when choosing graphic backgrounds. If the wrong background isused, it may compete for attention with the graphic. For example, dont use asharply focused shot of a group of people in the background. Viewers will lookthrough the words and look at the people. There are a number of differentstrategies that can be successfully used for backgrounds:

Create a simple color background.Freeze the video background in order to not have a moving background.Unfocused the video image so that it is blurry.Select a single-color background (grass, water, sky, etc.).

When using a scenic background, such as the closing shots of a drama, the

background content or meaning may actually help determine the style andweight of the lettering that can be used.Plain background can prove very effective, as they are unobtrusive andemphasize the lettering. However they can also be dull and uninteresting.Ornamental backgrounds, which include patterning, texture, and abstractdesigns, may increas e the graphics visual appeal. However, they can lookconfusing. Clearly, background section requires careful choice.Lettering against a multihued or multi toned background is invariably harder toread. If graphics are inserted over location shots, such as street scene, the eyemay have some difficulty in discerning information, and may also be tempted towander around the background instead.In most cases, by using larger type in light tones (white or yellow) with strongborders or shadows, legibility is considerably improved. As a general rule, avoidintroducing lettering over backgrounds of similar tones or hues, or over printedmatter (e.g., titles over a newspaper page). Light lettering is usually more easilyread than dark, and pastel or neutral backgrounds are preferable to saturatedhues.

GRAPHIC EQUIPMENT:

Character generator (CG) is a generic name for any type of television graphic

creation equipment. CGs can change the fonts, shape, size, color and design of lettering. They can make it flash, flip, crawl (move sideways across the screen),roll (move vertically across the screen), and animate. Lettering can be presentedas outlines or as solid characters, given a black border (black edge), or asurrounding drop shadow. Once the graphic is created, it can be rearranged,stored, and kept ready to appear on the screen at the press of a button.

Standalone graphic generator system used to hold 99 percent of the market inprofessional television. They are still widely popular in larger markets and sportsproduction. However, computers with graphic generation software have cornereda significant portion of the market. Today, computers are used in all markets and


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provide sophisticated on-screen graphics. Some mobile production crews havemoved to laptop systems.

Graphics Trends in Sports Broadcast

Graphics Step Up Their Game:

Widely regarded as a critical production element, todays sports graphics mustenhance the on-air presentation, support image branding, and promote a better understanding of the game. Not only do viewers want to be dazzled andentertained, they want to be splashed with timely, relevant data about the keyplays, performances, and standings impacting their favorite sport.

In recent years, sports fans have discovered a wealth of online resources,including game highlights, player statistics, and game analysis and this secondscreen distracts their attention from the TV. Also, as the percentage of consumers watching video-enabled cell phones grows, sports fans are findingthat sports entertainment and information is often right at their fingertips wherever they go.

It is in this increasingly diverse media environment that television broadcastersmust attract viewers to their live sports shows and keep them glued to the set because audience size and demographics still determine the commercial revenuethat sustains them.

Optimized Workflow Promotes Cost-Efficiency:

While broadcasters need to push the creative envelope on sports graphics,theyve also got to tackle another challenge he ad-on holding the line onoperating costs and automating the graphics process from design to delivery.

For this reason, one of the most important trends in live sports graphics isoptimizing workflow for greater cost efficiency. Weve already seen that, i n mostcases, multiple devices, such as the production switcher, DVE, still store, andCG, have been replaced by a single, powerful, multi-faceted live graphics system

that embodies graphics creation, real-time video effects, 2D and 3D animations,elaborate texting tools, and multilayered composites. And the two or threeoperators that used to be needed to produce live graphics have since beenreduced to one.

Ultra-efficient workflow is also enabling one of the hottest buzzwords in livesports graphics real-time data-driven graphics. To capture the excitement of thegame and highlight the action as it unfolds, real-time data-driven graphics bringthe screen to life with a wide range of statistics that are continuously updatedautomatically.


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Automating Score Board and Game Clock:

The most basic iteration of real-time data-driven graphics is the scoreboard andgame clock. Rather than having an operator manually update this on-screendisplay, its become increasingly common for broadcasters to program their

graphics systems to take a feed directly from the arena scoreboard and gameclock to capture data such as team names, scores, innings, time remaining toplay, and more.

Ideally, broadcasters should choose a graphics system that offers tools for developing custom interfaces to capture that data from the output ports of the topbrands of scoreboards and displays in use at stadiums and arenas. The data,which streams to the graphics system with less than a second of delay, alwaysreflects official displays at the venue and does so far more accurately andeffortlessly than can be done as a manual task. Once the data reaches thegraphics system, it then drives the on-screen game clock and score boxautomatically.

Real-time Data-Driven Graphics Trend

Where real-time data-driven graphics have really changed the game in sportsgraphics is the ability to fill 2D and 3D graphics or animations with a steadystream of stats player rankings, goals scored, team standings, records held or broken, an athletes profile, and virtually any type of information that third partysports data services generally provide.


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By subscribing to these data services, broadcasters can configure their graphicssystems to take the services real-time RSS feed and pass it straight through totheir on- screen display just as its received. Data can also come from web pages,Excel or Access spreadsheets, text files, and Oracle databases. The data canfeed a lower third ticker streaming across the screen, or update the standings on

a leader board or scoreboard right before viewers eyes.

ODBC, or Open Database Connectivity, is the most common industry standardprotocol enabling graphics systems to pull data from databases and databaseservices in order to import them into graphics templates. Another industrystandard protocol commonly in use is Intelligent Interface, which is designed topush data from a variety of non-broadcast sources into graphics templates. Manyhigh-end graphics systems also allow operators to manually input data, such astheir local teams scores that have not yet been reported to national services.

Templates Automate Graphics Production:

Templates are the most common mechanism for achieving automated, real-timedata-driven graphics displays. Templates are pre-produced 2D or 3D graphics or animations that incorporate fields designating where certain types of data will beinserted and displayed.

As streaming data arrives, the graphics computer decides which statistics will bedisplayed and ushers them into the appropriate fields on the templatesautomatically. The graphics system is preprogrammed with instructions abouthow best to filter, prioritize, and display the incoming data on the templates.


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Template graphics can be simple, clean and legible, such as leader boards or team rosters. Or they can be complex, multi-layered, 3D eye candy effects. For example, 3D playing cards, each with a different players face, appear to beshuffled, and then each of these cards can be flipped over to reveal fresh dataabout that pla yers touchdowns, goals scored, awards, or other career highlights.

Artists only have to design one set of templates, which can then be usedrepeatedly for the entire season. Since a single template can be transformed intohundreds or thousands of different displays, the artist is spared countless hoursof graphics creation, and consistent, high-quality image branding is assuredacross all telecasts.

Enhancing the Viewer Experience:

In another significant trend, sports graphics have also moved right into the midstof game action where theyre keyed directly onto the playing field. While someof these graphics takes the form of virtual advertising product logos, banners, or signs on or around the playing field, others provide viewers with dynamic visualguidelines, such as offside lines for soccer, the 1st and ten yellow lines in

American football, and identification of competitors in each lane of a race.

As sports graphics technology evolves, were sure to see increased volume andcomplexity of graphics created for a game; better integration of graphics displayson virtual and hard sets; conversion of broadcast graphics for online and mobiledistribution; as well as more innovative visual compositions designed to realizethe creative potential of DTVs wi descreen canvas.


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Chapter 8Hawk-Eye Technology

Hawk-Eye is a complex computer system used in cricket, tennis and other sportsto visually track the path of the ball and display a record of its most statisticallylikely path as a moving image. In some sports, like tennis, it is now part of theadjudication process. It is also used in some instances to predict the future pathof a ball in cricket. It was developed by engineers at Roke Manor ResearchLimited of Romsey, Hampshire in the UK, in 2001.

Method of operation:

All Hawk-Eye systems are based on the principles of triangulation using thevisual images and timing data provided by at least four high-speed videocameras located at different locations and angles around the area of play. Thesystem rapidly processes the video feeds by a high-speed video processor andball tracker. A data store contains a predefined model of the playing area andincludes data on the rules of the game.

In each frame sent from each camera, the system identifies the group of pixelswhich corresponds to the image of the ball. It then calculates for each frame the3D position of the ball by comparing its position on at least two of the physicallyseparate cameras at the same instant in time. A succession of frames builds up arecord of the path along which the ball has travelled. It also "predicts" the futureflight path of the ball and where it will interact with any of the playing areafeatures already programmed into the database. The system can also interpretthese interactions to decide infringements of the rules of the game.

The system generates a graphic image of the ball path and playing area, whichmeans that information can be provided to judges, television viewers or coachingstaff in near real time.

The pure tracking system is combined with a backend database and archivingcapabilities so that it is possible to extract and analyse trends and statistics aboutindividual players, games, ball-to-ball comparisons, etc.

Applications in sport:

Cricket:

Its major use in cricket broadcasting is in analyzing leg before wicket decisions,where the likely path of the ball can be projected forward, through the batsman' s
http://en.wikipedia.org/wiki/Crickethttp://en.wikipedia.org/wiki/Tennishttp://en.wikipedia.org/wiki/Ballhttp://en.wikipedia.org/wiki/Roke_Manor_Research_Limitedhttp://en.wikipedia.org/wiki/Roke_Manor_Research_Limitedhttp://en.wikipedia.org/wiki/Romseyhttp://en.wikipedia.org/wiki/Hampshirehttp://en.wikipedia.org/wiki/Triangulationhttp://en.wikipedia.org/wiki/Video_camerahttp://en.wikipedia.org/wiki/Video_camerahttp://en.wikipedia.org/w/index.php?title=Video_processor&action=edit&redlink=1http://en.wikipedia.org/wiki/Real-time_computinghttp://en.wikipedia.org/wiki/Backendhttp://en.wikipedia.org/wiki/Databasehttp://en.wikipedia.org/wiki/Leg_before_wickethttp://en.wikipedia.org/wiki/Batsmanhttp://en.wikipedia.org/wiki/Batsmanhttp://en.wikipedia.org/wiki/Leg_before_wickethttp://en.wikipedia.org/wiki/Databasehttp://en.wikipedia.org/wiki/Backendhttp://en.wikipedia.org/wiki/Real-time_computinghttp://en.wikipedia.org/w/index.php?title=Video_processor&action=edit&redlink=1http://en.wikipedia.org/wiki/Video_camerahttp://en.wikipedia.org/wiki/Video_camerahttp://en.wikipedia.org/wiki/Triangulationhttp://en.wikipedia.org/wiki/Hampshirehttp://en.wikipedia.org/wiki/Romseyhttp://en.wikipedia.org/wiki/Roke_Manor_Research_Limitedhttp://en.wikipedia.org/wiki/Roke_Manor_Research_Limitedhttp://en.wikipedia.org/wiki/Ballhttp://en.wikipedia.org/wiki/Tennishttp://en.wikipedia.org/wiki/Cricket


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legs, to see if it would have hit the stumps. Consultation of the third umpire, for conventional slow motion or Hawk-Eye, on leg before wicket decisions, is notcurrently sanctioned in international cricket and doubts remain about its accuracyin cricket.

Due to its real-time coverage of bowling speed, the systems are also used toshow delivery patterns of bowler's behavior such as line and length, or swing/turninformation. At the end of an over, all six deliveries are often shownsimultaneously to show a bowler's variations, such as slower deliveries, bouncersand leg-cutters. A complete record of a bowler can also be shown over thecourse of a match.

Batsmen also benefit from the analysis of Hawk-Eye, as a record can be broughtup of the deliveries batsmen scored from. These are often shown as a 2-Dsilhouetted figure of a batter and colour-coded dots of the balls faced by thebatsman. Information such as the exact spot where the ball pitches or speed of the ball from the bowler's hand (to gauge batsman reaction time) can also help inpost-match analysis.

LBWs:

Viewers now expect Hawk- Eyes verdict on lbw shouts; a testimony to Hawk -Eyes reputation for accuracy and reliability. The companys experiencedoperators will deliver the relevant trajectory, half-mixed with the equivalent videosequence, in time for the first replay. This gives commentators and viewers adequate time to discuss and digest the result before the next ball has beenbowled. Hawk-Eye helps to resolve the following three issues:

Would the ball have hit the stumps? Did the ball pitch in-line? Did the ball hit the batsman in-line?

Wagon Wheels :

The singles, 2s, 3s, 4s and 6s thatmake up quick-fire 50s or vital centuriesare represented by the different coloursof the Wagon Wheel, which shows theareas of the field that the batsman hasbeen targeting. Hawk-Eye now has theability to display wagon wheels over photo realistic or virtual realisticbackgrounds, giving broadcasters even

more scope to taylor the Hawk-Eye 'look' towards the style of their production.
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DeSpin:

Hawk-Eye DeSpin Graphicsdemonstrate how far a delivery hasdeviated after pitching. Whilst the blue

trajectory below represents a ball thatdoes not spin or seam, the red actualdelivery shows just how much turn thespinner has achieved.

Pitch Maps:

Simple yet effective; Pitch Maps make auseful pause for reflection after thefrenetic exchanges of the opening oversand highlight a bowlers consistency or expensiveness, line and length.

Hawk-Eye can now display comparativePitch Maps in a split screen format, asshown in the example to the right.

Beehives:

Beehives show where the ball has passed the batsman. As with the Pitch Map,the coloured balls correspond to the number of runs that the batsman hasachieved from that delivery. Hawk-Eye Beehives can now be shown against aphoto realistic or virtual realistic world, as with the Wagon Wheel feature.


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RailCam:

The RailCam (side view) shot of the VR

World can be used to represent

differences in speed, bounce and delivery.The trajectories are animated, whilst the

speeds provide further evidence of a

bowlers variation or a telling comparison between athletes.

Ball Speeds:

Hawk-Eye now has the ability to supply

ball speeds as reliably as a radar gun,

as demonstrated during the ICC World

Twenty20 in South Africa.

Reaction Time:

A Hawk-Eye Reaction Time is a simple yet

valuable tool for demonstrating how quickly a

particular bowler is pitching. The graphic can

also be applied to a catch, thus quantifying aspectacular replay or slow-motion shot.


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Tennis:

Hawk-Eye has been used in television coverage of several major tennis

tournaments, including Wimbledon, the Stella Artois at Queens, the AustralianOpen, the Davis Cup and the Tennis Masters Cup. The US Open TennisChampionship announced they would make official use of the technology for the2006 US Open where each player receives two challenges per set . . It is alsoused as part of a larger tennis simulation implemented by IBM called PointTracker.

The Hawk-Eye Innovations website states that the system has an average error of 3.6 mm. The standard size of a tennis ball is 65 to 68 mm. This means thatthere is a 5% error relative to the diameter of the ball. For the sake of comparison, approximately 5% of the diameter is the fluff on the ball.

Snooker:

At the World Snooker Championship 2007, the BBC used Hawk-Eye for the first

time in its television coverage to show player views, particularly in the incidents of potential snookers. It has also been used to demonstrate intended shots byplayers when the actual shot has gone awry. It is now used by the BBC at everyWorld Championship, as well as some other major tournaments.
http://en.wikipedia.org/wiki/Wimbledon_Championshipshttp://en.wikipedia.org/wiki/Stella_Artois_Championshipshttp://en.wikipedia.org/wiki/The_Queen%27s_Clubhttp://en.wikipedia.org/wiki/Australian_Openhttp://en.wikipedia.org/wiki/Australian_Openhttp://en.wikipedia.org/wiki/Davis_Cuphttp://en.wikipedia.org/wiki/Tennis_Masters_Cuphttp://en.wikipedia.org/wiki/U.S._Open_(tennis)http://en.wikipedia.org/wiki/U.S._Open_(tennis)http://en.wikipedia.org/wiki/2006_US_Open_(tennis)http://en.wikipedia.org/wiki/Hawk-Eye#cite_note-5http://en.wikipedia.org/wiki/Hawk-Eye#cite_note-5http://en.wikipedia.org/wiki/Hawk-Eye#cite_note-5http://en.wikipedia.org/wiki/IBMhttp://en.wikipedia.org/wiki/PointTrackerhttp://en.wikipedia.org/wiki/PointTrackerhttp://en.wikipedia.org/wiki/World_Snooker_Championship_2007http://en.wikipedia.org/wiki/BBChttp://en.wikipedia.org/wiki/BBChttp://en.wikipedia.org/wiki/World_Snooker_Championship_2007http://en.wikipedia.org/wiki/PointTrackerhttp://en.wikipedia.org/wiki/PointTrackerhttp://en.wikipedia.org/wiki/IBMhttp://en.wikipedia.org/wiki/Hawk-Eye#cite_note-5http://en.wikipedia.org/wiki/2006_US_Open_(tennis)http://en.wikipedia.org/wiki/U.S._Open_(tennis)http://en.wikipedia.org/wiki/U.S._Open_(tennis)http://en.wikipedia.org/wiki/Tennis_Masters_Cuphttp://en.wikipedia.org/wiki/Davis_Cuphttp://en.wikipedia.org/wiki/Australian_Openhttp://en.wikipedia.org/wiki/Australian_Openhttp://en.wikipedia.org/wiki/The_Queen%27s_Clubhttp://en.wikipedia.org/wiki/Stella_Artois_Championshipshttp://en.wikipedia.org/wiki/Wimbledon_Championships


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Chapter 9 Picking the Sound for OB Coverage

Audio is one of the least appreciated yet most important aspects of television.The audio can make or break a production. In order to be prepared to capture thehighest quality audio, there are a number of questions that need to be asked:

What does the audience need to hear? In order for the audience to hear the necessary audio, who and what needs to have a microphone?Can the microphones appear in the shot?Must the TV audio be coordinated with the public address audio systembeing used at the event?How many microphone cables are needed? How long do they need to be?

Do you need wired or wireless microphones?Is the natural sound a problem?What are sources of probable audio interference? Recognize that they willvary widely with the time and day. Are there any problems with existingacoustics?

The final decision about the type and placement of microphones is generally theresponsibility of the A-1. The decision is not always an easy one. There are avariety of types of microphones and placement techniques. In addition tomicrophone placement, the A-1 has to make sure that the signal can betransmitted back to the truck. The A-2 is responsible for the physical placement of microphones on the field of play.Stereo audio is increasingly becoming more popular as it allows the televisionviewer to experience the sound that spectators here at the venue. Stereo audioutilizes matched pairs of microphones called XY pairs.

Stereo Audio for Television:

Stereo sound is very natural to the listener since they already here things instereo through tow ears. Stereo gives the viewer the ability to localize thedirection of the sound and judge the distance of the sound source. The ability tolocalize the direction of the sound gives the viewer a sense of depth, a spatial

awareness of the visual image and the sound.Most people are used to the constant left-right sound and picture orientation.However, some sports events to do not lend themselves to this type of coverage.For example, camera coverage of gymnastics, baseball and athletics tend to behead on looking at the athlete, plus over the shoulder and wide shots. In thesesituations stereo sound generally consists of an open, nonspecific ambience withsounds emerging from the left and right sides of the scr

handouts on ob coverage for tv

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