How Are Football Broadcasts Made?

  • Characteristics of conducting football matches.
  • Cameras and working techniques.
  • The slow motion camera.
  • Without good communication, in Realization, there is nothing.
  • Without understanding, reasoning, and obedience, you may not either.
  • The understanding of this reality has made us reach the top in broadcasting.

The number of cameras broadcasting football matches has multiplied in recent years. This happens because the public increasingly demands to know details and aspects of what happens during the meeting.

This desire of the public entails the need to place more cameras in all the places where something can happen, no matter how small, but it becomes one more anecdote of the meeting.

The number of cameras can reach fifty, as happens in the United States when major sporting events are broadcast. In order to work with so many cameras, there are different mobile units that control a few. Among these, the best one is selected, which is the one that becomes the parent mobile unit. The head of production is in it and that’s where the signal for broadcast comes from.

In Spain, the number of cameras deployed to 무료스포츠중계 football matches has also increased a lot in recent years, as can be seen in the following map. It is important to note that Televisión de Galicia usually sends between eight and nine cameras to cover football matches.

The basic thing, however, is the good relationship between the team members and the correct coordination. Also good technological equipment.

Layout of the cameras on a soccer field

The functions of each of the above cameras are as follows:

1- Camera one: offers close-ups and detailed shots of the players.

2- Camera two: it is the master camera. It offers a wide general plan of the field. With her, most of the meeting is offered. The lens of camera one is more tele, while that of camera two is less. This is due to the function that each one fulfills. As is known, the more telephoto a lens is, the greater the possibility of offering close-up shots and detail even if it is at a great distance from the object to be captured.

3- Camera three: placed at the foot of the pitch it can offer benches, close-ups of the players and interviews at the foot of the pitch, as well as the players who are warming up. It can be a slow motion, which would offer great sharpness even in slow motion replays. These types of cameras can be tapped into the live broadcast or used for replays.

4- Cameras four and five: these are the offside cameras and are basically used to give offside replays. They are aligned with the large area. They are also used at corner kicks.

5- Cameras six and seven: they are at the foot of the field next to the goals. They offer goal kicks, shots of the players during free kicks and very nice general shots of the stadium.

6- Camera eight: it is a steadycam. Steadycams are light cameras that go on an arm supported on the camera operator’s waist and offer very stable shots even in motion. It can be link or cable -triax-Allows close shots of the players who are on the field or who are warming up, coaches and benches, interviews, etc. With this type of camera there is easy access to the place where the press conference is held.

7- Camera nine: it is a link camera. The link cameras do not need a cable to send their signal to the mobile production unit, but instead send it through a mobile link. The non-existence of cables gives them great mobility while offering good image quality, as long as you work within the coverage field of the link itself. They are not normally used in football matches. It allows giving close shots to the benches, interviews, players, etc. 8- Camera ten: hot head. It’s a camera mounted on a crane. It offers general and aerial shots of the goals and corner kicks.

9- Camera eleven: it is mounted on a tracking shot. It is used to follow the paths of the players from the ground and pick up progress on the wingers and defense bands.

10- Cameras twelve and thirteen: they are mini-cameras placed in the goals. They are equipped with a “fisheye” lens, so they offer very open planes. They are used to give repetitions of goals that are very aesthetically pleasing and from a point of view similar to that of the goalkeeper. They do not have a camera operator, so they can only offer a single fixed shot

11- Camera fourteen: it is a high camera, placed in an elevated part of the stadium or in a nearby building. It is used to record attack and defense and provides good replays of goals going into the nearest goal.

12- Camera fifteen (Zepelin): it is in a hot air balloon and offers aerial images. The balloon has two motors to facilitate orientation when taking shots.

13- Camera sixteen: it is the camera with the opposite angle, that is why it is located on the opposite side of the field from where all the others have been placed. It is only used for replays. When a repetition of the images of this camera is offered, it is necessary to identify them with the label «opposite angle».

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