Eastern Michigan Athletics
Take Green: A Day of Production at ESPN
4/24/2019 3:13:00 PM | General
“In five…four…three…two…roll Green, take it.”
Author: Jesse Kuczynski, Athletic Media Relations, Eastern Michigan University Class of 2019
These are the words most commonly heard before the first attempt to record the first sequence of a broadcast at an Eastern Michigan University basketball game. This sequence, described as the open, is the first chance for Ryan Wooley and Greg Steiner, the most common pair of announcers for the game, to establish a rhythm with the video feed being played back to them through the 3Play Replay system from the production truck. While Ryan and Greg's work has only just begun, much has been accomplished prior to reaching this point.
The production truck is not an actual vehicle, but rather a 16-foot horse trailer converted to fit an entire production system inside. The trailer is just small enough to fit inside the Convocation Center's loading dock, but large enough to store all of the equipment used during a broadcast. As many as six cameras are used for broadcasts, with two being set up on tripods on the upper concourse level of the Convocation Center, two cameras set up on opposite ends of the court, operated manually on a crew member's shoulder, and two mounted on the opposing backboards. An audio kit is also connected from the production truck to the announcer's courtside location for each party to be able to communicate with one another.
A typical mid-season basketball game will tip-off at around 7 p.m. on weekdays. To be as prepared as possible, the production crew for the game is called in three hours earlier, at 4 p.m. to set up all of the necessary equipment and ensure all is functioning properly. At Eastern Michigan, the ESPN production crew is comprised almost entirely of students, ranging in academic class, experience, and majors. The crew is willing to take on all comers, from freshmen to seniors, and majors are widely represented, from Electronic Media and Film Studies to Sport Management. No prior experience is necessary as new crew members are trained through firsthand experience.
After the set up of equipment is completed, its functionality is tested next through a facilities check, often called a fax. The crew's technical director communicates via headset to each of the camera operators to check a number of variables. The cameras are tested for zoom, focus, and level on the tripods, as well as for audio being played through the truck. After any necessary adjustments are made, the cameras are turned over to the replay operator to gather pregame shots.
There are many types of pregame shots for camera operators to shoot. Color shots feature logos, banners, and even out-of-focus views of a basket as basketballs go through. Other types of beauty shots are of the players themselves, warming up and interacting with one another on the court. The focus is not so much on the ball, but on the face of the player as a smile is flashed or a dance is engaged in. The discretion belongs to the replay operator, who communicates to each of the cameras what kinds of shots are desired.
After collecting the shots he or she wants, the replay operator begins to create the first 12 to 15 seconds of the broadcast (called the open tease) by compiling a few clipped shots into a playlist. Inside the playlist, the clips can be edited without changing the original clip. Graphical elements must be added next, which come from Melina Fuentes, who directs graphics for most games. Once the clips are edited and the game's graphical elements are mixed in, the tease is complete, and the live broadcast is beginning to take shape.
"In five…four…three…two…roll Green, take it." Green is the name of the playlist in which the tease will be played back from, though it is not the only option, as replay operators have a choice between two playlists, Green and White. The majority of first attempts for the open exist to work out kinks in timing, wording, and graphics. Sometimes, however, everything works together in such a fashion that the open segment can be clipped off directly by the replay operator and used to begin the broadcast.
Communication becomes especially important once a broadcast goes live. Replays and other packages must be communicated to the director when they are ready, and the director must communicate to the announcers what, if anything, will be played back next. Occasionally, mistakes are made. An important lesson to be learned is to move on quickly because the next play is also coming quickly.
Throughout the game, the cameras (labeled one through four) will be tasked with capturing a specific shot. Up on the concourse level with the tripods, Camera One is responsible for taking in all of the action in the half-court setting. It is the shot viewers see a majority of the time in most broadcasts. Camera Two is generally responsible for capturing the game through a closer, "zoomed in" shot, where the ball is followed from player to player and towards the basket. Cameras Three and Four capture the action from the floor, following the ball much in the same way Camera Two does but with a wider angle of the game. Three and Four will sometimes follow free throws as they are taken by players. During periods of downtime, all four cameras will shoot the benches or coaches of the team nearest them, shots of the crowd if an activity is being conducted by the marketing staff, or color shots of banners, lights, and even cheerleaders.
The replay operator will spend the game creating clips of all of its important aspects, such as scoring plays, defensive steals or blocked shots, and additional color shots from cameras. These clips are then used to create short highlight packages called rollouts, used before the broadcast goes into a commercial break. Rollouts are not typically long, lasting between eight to 10 seconds. Near the end of the first half, one player is selected from each team to be highlighted during the halftime segment. The replay operator is responsible for creating each of these packages as well, consisting of 15-20 seconds of clips taken during the first half. Rollouts continue to be built throughout the second half. In especially close games and late situations, the replay operator will need to rewind plays as they happen on the machine so they can be played back for the announcers as well as viewers at home. Clips can be made from these plays slightly later, as the "must-see" plays are replayed from multiple angles.
Once the game has concluded, a highlight package and a final rollout must be created before the broadcast goes off the air. A "player of the game" is chosen from one team, and the clips from the player's performance are put into the package, playing for 20-25 seconds as it covers the entirety of the game. The final rollout lasts 13-17 seconds and features both color shots and recorded plays as a final send-off for the broadcast. Following the end of the broadcast, the replay operator's job is not finished. A final Eastern Michigan team highlight package must be created for use as a part of the recap on EMUEagles.com, generally consisting of 90 seconds of content. Much like the final rollout, the EMU highlights can include both color shots and plays during the game. Additionally, a larger playlist known as a melt must also be created. The melt includes every clip featuring a play during the game from every camera angle, given the camera has a good shot. Melts vary in length, but the preferred length of time is typically between six to seven minutes. At first, melts can be time consuming to make, but with practice, replay operators can develop ways to shorten the process.
While the replay operator creates the melt and final highlight package, the rest of the crew conducts a strike, bringing back all of the necessary equipment to the truck. All cameras must be disconnected from cables, tripods, and mounts. Additional equipment for the camera's zoom and focus must be disconnected from the tripods as well and placed back in the camera case. Floor cameras will have additional cables attached to reach the locations underneath the basket. Those cables are coiled using a specific method, which can be taught by experienced crew members. The audio and video equipment used at the announcer's courtside location is brought back to the truck as well.
Once all of the equipment is brought back to the truck and the four cameras are checked for storage, the equipment is ready to be stored inside. The tubs and cases holding the equipment are strategically placed inside, ensuring everything will fit the way it is supposed to, comparatively likened to a game of Tetris. The final occurrence before the entire crew heads for home is a group recap from the director, Erik Beehler. He will briefly discuss the aspects of the game that were strong, as well as suggestions for improvement overall. The next game's date and time are announced, and after a final 'thank you' the crew is dismissed.
The ESPN production crew provides students with an opportunity to engage in a live application of broadcasting. While specifically designed for sporting events, the skills learned through experience can be applied to other types of broadcasts. Students of any experience and any major of study are encouraged to join. If you are interested in joining or would like more information, please contact Greg Steiner at gsteiner2@emich.edu or Melina Fuentes at mfuentes@emich.edu.
These are the words most commonly heard before the first attempt to record the first sequence of a broadcast at an Eastern Michigan University basketball game. This sequence, described as the open, is the first chance for Ryan Wooley and Greg Steiner, the most common pair of announcers for the game, to establish a rhythm with the video feed being played back to them through the 3Play Replay system from the production truck. While Ryan and Greg's work has only just begun, much has been accomplished prior to reaching this point.
The production truck is not an actual vehicle, but rather a 16-foot horse trailer converted to fit an entire production system inside. The trailer is just small enough to fit inside the Convocation Center's loading dock, but large enough to store all of the equipment used during a broadcast. As many as six cameras are used for broadcasts, with two being set up on tripods on the upper concourse level of the Convocation Center, two cameras set up on opposite ends of the court, operated manually on a crew member's shoulder, and two mounted on the opposing backboards. An audio kit is also connected from the production truck to the announcer's courtside location for each party to be able to communicate with one another.
A typical mid-season basketball game will tip-off at around 7 p.m. on weekdays. To be as prepared as possible, the production crew for the game is called in three hours earlier, at 4 p.m. to set up all of the necessary equipment and ensure all is functioning properly. At Eastern Michigan, the ESPN production crew is comprised almost entirely of students, ranging in academic class, experience, and majors. The crew is willing to take on all comers, from freshmen to seniors, and majors are widely represented, from Electronic Media and Film Studies to Sport Management. No prior experience is necessary as new crew members are trained through firsthand experience.
After the set up of equipment is completed, its functionality is tested next through a facilities check, often called a fax. The crew's technical director communicates via headset to each of the camera operators to check a number of variables. The cameras are tested for zoom, focus, and level on the tripods, as well as for audio being played through the truck. After any necessary adjustments are made, the cameras are turned over to the replay operator to gather pregame shots.
There are many types of pregame shots for camera operators to shoot. Color shots feature logos, banners, and even out-of-focus views of a basket as basketballs go through. Other types of beauty shots are of the players themselves, warming up and interacting with one another on the court. The focus is not so much on the ball, but on the face of the player as a smile is flashed or a dance is engaged in. The discretion belongs to the replay operator, who communicates to each of the cameras what kinds of shots are desired.
After collecting the shots he or she wants, the replay operator begins to create the first 12 to 15 seconds of the broadcast (called the open tease) by compiling a few clipped shots into a playlist. Inside the playlist, the clips can be edited without changing the original clip. Graphical elements must be added next, which come from Melina Fuentes, who directs graphics for most games. Once the clips are edited and the game's graphical elements are mixed in, the tease is complete, and the live broadcast is beginning to take shape.
"In five…four…three…two…roll Green, take it." Green is the name of the playlist in which the tease will be played back from, though it is not the only option, as replay operators have a choice between two playlists, Green and White. The majority of first attempts for the open exist to work out kinks in timing, wording, and graphics. Sometimes, however, everything works together in such a fashion that the open segment can be clipped off directly by the replay operator and used to begin the broadcast.
Communication becomes especially important once a broadcast goes live. Replays and other packages must be communicated to the director when they are ready, and the director must communicate to the announcers what, if anything, will be played back next. Occasionally, mistakes are made. An important lesson to be learned is to move on quickly because the next play is also coming quickly.
Throughout the game, the cameras (labeled one through four) will be tasked with capturing a specific shot. Up on the concourse level with the tripods, Camera One is responsible for taking in all of the action in the half-court setting. It is the shot viewers see a majority of the time in most broadcasts. Camera Two is generally responsible for capturing the game through a closer, "zoomed in" shot, where the ball is followed from player to player and towards the basket. Cameras Three and Four capture the action from the floor, following the ball much in the same way Camera Two does but with a wider angle of the game. Three and Four will sometimes follow free throws as they are taken by players. During periods of downtime, all four cameras will shoot the benches or coaches of the team nearest them, shots of the crowd if an activity is being conducted by the marketing staff, or color shots of banners, lights, and even cheerleaders.
The replay operator will spend the game creating clips of all of its important aspects, such as scoring plays, defensive steals or blocked shots, and additional color shots from cameras. These clips are then used to create short highlight packages called rollouts, used before the broadcast goes into a commercial break. Rollouts are not typically long, lasting between eight to 10 seconds. Near the end of the first half, one player is selected from each team to be highlighted during the halftime segment. The replay operator is responsible for creating each of these packages as well, consisting of 15-20 seconds of clips taken during the first half. Rollouts continue to be built throughout the second half. In especially close games and late situations, the replay operator will need to rewind plays as they happen on the machine so they can be played back for the announcers as well as viewers at home. Clips can be made from these plays slightly later, as the "must-see" plays are replayed from multiple angles.
Once the game has concluded, a highlight package and a final rollout must be created before the broadcast goes off the air. A "player of the game" is chosen from one team, and the clips from the player's performance are put into the package, playing for 20-25 seconds as it covers the entirety of the game. The final rollout lasts 13-17 seconds and features both color shots and recorded plays as a final send-off for the broadcast. Following the end of the broadcast, the replay operator's job is not finished. A final Eastern Michigan team highlight package must be created for use as a part of the recap on EMUEagles.com, generally consisting of 90 seconds of content. Much like the final rollout, the EMU highlights can include both color shots and plays during the game. Additionally, a larger playlist known as a melt must also be created. The melt includes every clip featuring a play during the game from every camera angle, given the camera has a good shot. Melts vary in length, but the preferred length of time is typically between six to seven minutes. At first, melts can be time consuming to make, but with practice, replay operators can develop ways to shorten the process.
While the replay operator creates the melt and final highlight package, the rest of the crew conducts a strike, bringing back all of the necessary equipment to the truck. All cameras must be disconnected from cables, tripods, and mounts. Additional equipment for the camera's zoom and focus must be disconnected from the tripods as well and placed back in the camera case. Floor cameras will have additional cables attached to reach the locations underneath the basket. Those cables are coiled using a specific method, which can be taught by experienced crew members. The audio and video equipment used at the announcer's courtside location is brought back to the truck as well.
Once all of the equipment is brought back to the truck and the four cameras are checked for storage, the equipment is ready to be stored inside. The tubs and cases holding the equipment are strategically placed inside, ensuring everything will fit the way it is supposed to, comparatively likened to a game of Tetris. The final occurrence before the entire crew heads for home is a group recap from the director, Erik Beehler. He will briefly discuss the aspects of the game that were strong, as well as suggestions for improvement overall. The next game's date and time are announced, and after a final 'thank you' the crew is dismissed.
The ESPN production crew provides students with an opportunity to engage in a live application of broadcasting. While specifically designed for sporting events, the skills learned through experience can be applied to other types of broadcasts. Students of any experience and any major of study are encouraged to join. If you are interested in joining or would like more information, please contact Greg Steiner at gsteiner2@emich.edu or Melina Fuentes at mfuentes@emich.edu.
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