Our telecasts from the past week have included walk-off home runs, walk-off hits, high drama, incredible excitement, and adrenalin-rushing play.
The production team has left the TV mobile unit wiped out after some of these high intensity driven battles. The challenge of televising games with such passion is great, but the challenge of televising these types of games can really motivate a TV crew. The focus is there, the intensity is there, and the telecasts seem to last only a brief moment.
And then there are games like last night’s game.
The team we cover is in the middle of a pennant race. They have a 1-game lead with four games to play as the second place team had won their game earlier in the day. The importance of the game was self explanatory. Therefore, in the TV production truck, we were expecting a motivated effort on the field and were excited about the prospect of covering such a contest. Indeed, the team we cover won the previous night’s game with a dramatic home run in the bottom of the eighth inning. Certainly the momentum from that home run would carry over into tonight’s game.
How wrong we were.
Here was the line score of the game:
224 100 000 9 10 0
001 000 030 4 6 1
Here are the partial pitching lines of the starting pitchers:
Visiting pitcher (Winner) 6 innings 114 pitches 57 Balls 57 Strikes
Home pitcher (Loser) 2 innings 43 pitches 16 Balls 27 Strikes
There were 15 walks and a hit batter.
The game lasted 3 hours and 25 minutes.
Once again, the production team left the TV mobile unit wiped out.
The challenge of televising games with no passion cannot be duplicated. There is no more difficult task for the TV production crew than presenting such a contest.
Every TV baseball crew is motivated to televise every game in a way that is entertaining and informative without disrespecting the play on the field.
Throughout the game/telecast, our production crew searched for entertaining and/or informative snippets of video from the play on the field. Believe me, there was not much to be found. We showed a freeze of the third baseman from the visiting team in mid air as he threw to first base. You know it is a slow night when the most telling graphic of the night showed the pitch count of the visiting starter at 100 pitches. (50 strikes, 50 balls)
In a situation where the TV production crew is presented a script of a game such as this, the focus and intensity is there to keep the telecast moving.
A situation such as this is rare in the TV sports business.
It is not often that the pace of the telecast is faster than the pace of the game. As stated in previous blogs, the Producer cannot control the pace of the game, but the Producer can control the pace of the telecast.
When the telecast out-paces the game, the TV crew is presented with a unique situation. Unique situations in a game/telecast usually occur for brief moments in the show. Capturing these moments are very rewarding for the TV crew.
But, when the unique situation lasts for 3 hours and 25 minutes, it is extremely challenging to the TV production team.
It is exciting to maintain a show with a flow.
It is exhausting trying to maintain a flow to a show with no flow.

The magic number for the home team to win the Division is 5.
The club is 1 ½ games ahead with 5 games and a possible make-up game remaining on the schedule. The home team has lost seven games in a row, and the second place team has won seven in a row.
Needless to say, this is a very important game.
A person came up to me in the press lounge before the telecast and said, “You must really be pumped up for a game like this.” I admit that being a part of a telecast covering an important game can be exciting, but a Producer and a Director must deliver the same kind of performance for every telecast. Be it May 9, August 5, or September 27, the same effort must be made. A Producer or Director cannot give more of an effort because the event is more important. Turning an effort on and off can lead to too many bad habits and will affect the performance of the Producer/Director team. The same effort and intensity must be given for every telecast in order to insure the quality of every telecast.
The same argument should be made for the whole production team.
There were two memorable moments in tonight’s telecast. One of these moments was created by excellent camera work, and the other moment was created by the game.
The first memorable moment occurred in the top of the eighth inning. The score was 1 – 1, there were runners on second base and third base and there were two outs. The pitch hit in the dirt, bounced off the catcher’s shin guard, and bounded towards the first base dugout. The runner on third base scored easily. The catcher did not know where the ball was and the runner from second base was trying to score. The catcher recovered and the runner was out at home on a very close play.
The live cut of this situation showed the wild pitch from the centerfield camera (Camera 4), the runner from third scoring from low first base (Camera 5), the high home camera (2) showing the catcher racing to the ball in front of the first base dugout while the runner from second rounded third and headed for home. I stayed on camera 2 for the completion of the play.
The replay sequence showed the wild pitch (Camera 4), the ensuing play, the runner from second base, (Low first base – camera 5) and the play at the plate. (Again, camera 5 and a second angle from mid third base – camera 3)
The success of both the live camera cut and the replay sequence occurred only because of the great framing by the high home camera operator.
This excellent shot showed the pitch, the frantic catcher, and the determined base runner, and the play at the plate. The viewers saw the complete play unveiled right before their eyes. If this operator does not “feel” the situation, this shot would not be made. The shot could have been too tight on the ball and this memorable moment would have been lost.
The second moment, the moment created by the game, occurred in the bottom of the eighth inning.
During the seven game losing streak, the home team had lost each game in the seventh inning or later in each of the games. With the visitors scoring in the top of the eighth inning, it looked like this terrible streak would continue.
There were two outs with runners on first and second. At the plate was the player most consider to be the best player in the game. A relief pitcher was brought into the game. The same relief pitcher had struck out the same batter in a tight situation in last night’s game.
As I stated in an earlier blog, the game gives the Director the script and the Director, with the help of the production team, writes it.
What a script!
It was most important game of the season.
It was the most important moment of the game.
“Camera 6….batter….Take 6”
“Camera 1….runners….Take 1”
“Camera 3….pitcher – tight….Take 3”
“1….wide, pitcher…batter…with crowd….Take 1”
“6….batter – tight….Take 6”
“Ready 4 (Centerfield camera)….Take 4”
The pitch is made, the crowd is ready to explode, the batter swings, the ball is struck, and the moment the ball leaves the bat, it is a sure home run.
Camera 4 pushes to the batter, who knows the ball is gone. I wait for this reaction, cut to camera 2 (High Home) for the ball to leave the park and land in the upper deck, and now the fun begins.
“Take 6.” (6 – A wide shot with the batter rounding first base and the crowd behind him going crazy. Camera 6 pushes to the batter as he nears second base).
“3….Start tight on the batter and pull back to the crowd…Take 3”
“5….Batter’s face….Take 5”
“Ready 4 (already wide with crowd and batter in shot) Take 4”
“5….Bring him into the dugout…Take 5”
“1…Double Decker” (Both upper and lower decks down first base line for crowd going crazy) “Take 1”
5 - still in the dugout. “Take 5”
“1…5…Watch for the curtain call.”
“Take 1” The curtain call occurs.
The replay sequence is unbelievable.
The first three angles are all normal speed. This means that the Audio engineer tracks the sound. The sound of the bat crack and the deafening crowd reaction was incredible.
A total team effort was made in seizing this moment. Cameras, replays, and audio, all combined to deliver this special moment in the telecast.
Creating a memory through skill is very gratifying.
Capturing a memory with teamwork is extremely rewarding.
The magic number for the home team is 4.
I can’t wait to televise tonight’s game with our production team.

If you watched our telecast last night, you were witness to another unique situation. But, if you were not in the TV mobile production unit, you would never know it.
Because of a crewing situation, there were only two camera operators manning their usual positions - Camera 4 (centerfield) and camera 6 (tight centerfield).
For our home telecasts, we utilize seven cameras for coverage plus a booth camera for talent.
Camera 1 is located in the left field corner. This position gives a good look into the home dugout. The primary responsibilities of this position include shagging (following) the ball and reaction isos (shots of particular players according to the game situation) Our primary operator at this position has provided our telecasts with many memorable replays and has created many unique shots from this position. Because of the crewing situation, this operator was moved to the high home position. (Camera 2) The individual who operated camera 1 last night is usually one of our main replay operators. During the telecast, this operator took some ribbing from his cohorts in the tape room, but his excellent work on camera 1 made a great contribution to the telecast.
The high home camera (camera 2) is the main “game” camera during a baseball telecast. This is the camera that follows the ball. This responsibility may not seem like much, but framing the shot is most important for this operator. Our usual operator has perfected the art of framing every shot so that the perspective of the ball to the field of play always gives the viewer the best shot possible of the ball in play. I believe that there are some high home operators in baseball that shoot the action too tight, but that is my opinion. As I have stated before, every Director has his/her own way to televise a baseball game and every one of us is different.
Our main camera 1 operator, now moved to camera 2, did a solid job at high home last night. During the telecast, I commented on the good job being done by camera 2 and suggested that our usual operator may soon become the Wally Pipp of camera 2. (Lou Gehrig played 2,130 consecutive games after replacing Wally Pipp at first base.)
The operator of camera 3 (mid-third base) is not our usual camera 3 operator, but this operator is one of the best in the business and he delivered with some crisp shots and many good “looks”.
Our camera 5 (home dugout at low first base) operator is also one of our main replay operators. This operator was working this position because our usual cameraperson at the 5 position was operating camera 7, our robotic camera located on the back stop behind home plate.
The camera 5 position offers some of the most intriguing and exciting shots of the telecast. The shot of a player who just scored and is being congratulated by his teammates provide for some of the most memorable shots of the season. Because this camera must be manually “trucked” back to capture the great dugout shot, wheels are attached to the camera. So, not only must this operator be adept at tilting, panning, and focus, this operator is also physically moving the camera while taking the shot. Another excellent job was delivered but, as noted after the telecast which the home team lost, this operator is now 0 – 1 for the season at camera 5 and a change might have to be made.
Camera 7, the robotic camera had a fiber issue and never made the air.
So, instead of the usual seven coverage cameras, we utilized six, and, instead of our usual seven operators at their normal positions, we had two.
Televising a home baseball game without the robotic camera (Camera 7) requires adjustments to be made by both the Producer (tape isos) and the Director. (Additional responsibilities for the rest of the cameras)
Every member of the TV production team makes split second decisions during the telecast. Imagine how difficult it must be for a member of the team to be making these decisions while maintaining a different position than usual on the telecast.
After we were off the air, the Producer and I were talking about the crew and the great job that they did.
There was a unique situation presented to our TV production crew last night and, when it was all said and done, it was a telecast to be proud of.

Unique (Webster’s Dictionary)
1. Existing as the only one of a kind
2. Having no equal; unparalleled
3. Not typical; unusual
There are special moments throughout a baseball season where something unique happens during a game. A perfect game, a no-hitter, a player hits for the cycle, and a triple play are all examples of a unique event. Moments like these, generated by the baseball game, provide for memorable telecasts and covering these events can be invigorating for the TV crew. Indeed, every Major League Baseball TV production team loves to be the crew and wants to be the crew televising a game with historical meaning.
Can there be anything more enjoyable, more rewarding, than to be a part of a unique event on the baseball diamond?
I believe there is.
Covering a unique situation created by the game itself can be very rewarding, but it is more satisfying when the baseball TV production team uses it’s creativity to produce something unique.
In last night’s telecast, three members of our production team used their creativity to generate memorable moments to the show.
Early in the afternoon, our Producer contacted team officials looking for permission for a unique camera shot. The Producer’s idea was to have a handheld camera follow the starting pitcher from the bullpen to the dugout after his pre-game warm-ups were completed. The bullpen is located in right center field and is a good 300 plus feet from the dugout.
Once permission was granted, the video operator and the camera crew were notified. In order for this shot to be possible, an extra 500 feet of cable was necessary. The camera cable was to be strung down the first base warning track, around the right field corner, to the bullpen entrance in right centerfield. The starting pitcher was scheduled to leave the bullpen for the dugout between 7:00 and 7:05. During this time, players from the home club are doing the last minute stretching and running in the right field area just past the infield. Because the length of the cable run could possibly interfere with the players in their pre-game preparations, we utilized the utility position and another camera operator to “pull” cable as the shot was being taken. Using two people in this capacity not only lessened the chance of interfering with a player, but it also sped up the time it took to coil up the cable after the shot was taken.
This shot was put to a replay machine and was the first shot seen after the last commercial leading into the game. Usually, out of this break, is where we do our “open billboards”. (“Tonight’s game is brought to you by……”) The shot was cued up far enough back that our play by play announcer gave a little intro describing the starting pitcher, the catcher, and the pitching coach as they left the bullpen before leading into the billboards.
This was a unique shot as we had never seen this shot on our telecast before.
The second unique moment in the telecast came in the bottom of the first inning. The second batter of the inning, a left-handed hitter, hit a long home run. Camera 1, located in the left field corner, has many responsibilities with a left-handed batter at the plate. This operator can start with the pitcher and batter in the shot and shag (follow the ball). This operator can bring the batter out of the box and go to the pitcher for a reaction. Or, follow the batter out of the box and go to the dugout for reaction. This operator has a great “feel” for the moment and this “talent” has supplied some of the most memorable, most unique moments of our telecasts.
In this particular situation, the operator followed the batter out of the box and went to the starting pitcher reacting on the bench. This unique shot provided one of the best replays of the season.
Later in the telecast, a member of the home team, in his first at bat since August 26, hit a long home run to tie the game. This was a very special moment for the club and a wonderful moment on the telecast. It really was a “wow” moment. The TV crew covered the home run, ran the replay sequence, and caught the curtain call live. This was a highlight of the season and we nailed it.
One of the aspects of a telecast that really dresses up the telecast is the roll-out. The roll-out is used at the end of an inning recapping an event of that inning and the roll-out is used at the end of the telecast to recap the game.
Instead of just rolling out the video full screen, this video can be altered with different backgrounds to enhance the roll-out.
This is where a third member of our production team used his creativity to create a unique background which enhanced the video and really put a ribbon around the whole package. The roll-out of the “wow” home run was unique and added to the moment.
This member of our team has the most responsibility of any member on the team in providing the “look” to the telecast. This crew member is our Technical Director or TD. Throughout the season, our TD has built some wonderful and unique video roll-out backgrounds that have really enhanced the look of the show.
When the Director gives a command, it is the TD who pushes the proper button on the switcher to complete the command. This position is truly the most challenging on the crew and our TD continually comes through and delivers.
Planning for a unique camera shot, creating a unique shot with a split second decision, and pre-building a unique look all make for a memorable show.
What will be unique about tonight’s telecast?
Watch and find out.

Our production team has televised 146 games the season.
We will work together on the remaining seven games bringing our total to 153 games televised.
There is no single factor more important in insuring the quality of a telecast than teamwork. The best shows of a baseball season are the telecasts where each and every member of the TV production team contributes.
It all starts with the Producer.
The Producer draws up the blueprint for the telecast. This blueprint lays out the themes of the show in what is called the format. The format answers for the TV production crew the Who, What, When, Where, and Why questions of that particular telecast/game.
Who are the most important players in this particular game?
What are the different ramifications of this specific contest as a whole and what could be the different consequences from particular moments of the game?
When can we expect certain events to happen during the game/show?
Where will different aspects of the telecast be inserted?
The necessary teamwork it takes to provide quality answers to these questions will answer the most important question of every game/telecast – Why?
Why are these combatants the most important to the game?
Why is this specific game significant and, more importantly, why is a specific moment in the game vital to the outcome?
Every single TV baseball production team tries to answer these questions throughout the show by using commentary (audio), video, and graphics.
Throughout a telecast, every single TV baseball production team answers these questions differently because the most important question asked by each team is how.
How will you answer these questions?
How will you utilize the materials available to you in the mobile unit?
How will you present these answers to the viewer?
This is where teamwork comes in.
This is where televising a live baseball game becomes the most challenging.
This is where televising a live baseball game is the most exciting.
The Who, What, When, Where, and Why questions are continually being asked during the game. The play on the field constantly challenges the TV production team with these questions.
How do we cover this?
How do we answer that?
These decisions must be made instantly. The reaction time in answering these questions greatly affects the quality of the telecast. Split second decisions must be made in order to maintain a decent flow to the show.
The quality of these split second decisions is determined by the teamwork of the crew.
The Producer lays out the game plan. The Director implements this plan through the camera shots. The graphic Producer solidifies the game plan with pertinent information. The video/replay Producer builds relevant packages throughout the show. The main audio mixer determines the “sounds of the game” quality.
Every single major league baseball TV production team has the ability to “cover” the game.
But, there is a vast difference between covering a game and game “coverage.”
Covering a game requires a couple of cameras and a replay machine or two.
Game coverage requires teamwork from every member of the production team. Contributions from every member of the team only enhance the quality of the telecast. When every member of the team contributes, memorable telecasts occur.
With 146 telecasts under our belt, the teamwork displayed by our crew is exceptional.
I can’t wait for the final seven telecasts.
Something memorable is sure to occur.

Looking back at the last three telecasts of this road trip, many thoughts and emotions come to mind.
Each of the past three games has ended in an exciting fashion. Wednesday night, the home team won with a walk-off home run in the bottom of the ninth. The home club won the game on Thursday night with a come from behind 2-run home run in the bottom of the eighth inning off of the Cy Young candidate for the team we cover. And last night, the home team won the game with another come from behind base hit in the bottom of the ninth inning.
Televising these types of victories can be very exciting.
I know that the TV production teams for the respective home teams were very excited. Our TV production team had a front row seat in witnessing their excitement because we were in the back end of a dual feed.
A dual feed is a situation where the home club’s TV production team is in charge of the primary coverage of the game. This production team is allotted their full complement of equipment which can include 7 – 10 cameras and 6 – 8 replay machines. Depending on the venue, the visiting TV crew is given 2 cameras and 2 operators, 3 cameras with 3 operators, 3 cameras (which include the booth camera) and 2 operators. The back end of the dual also has 3 replay machines.
The team we televise is in first place in the Division and, with nine games to play, has a magic number of 5. It is just a matter of time before this club clinches the title.
The victorious team from Wednesday night had already been eliminated from contention. The ball club that won the last two contests is still in contention, but is hanging on by a thread.
For last night’s telecast, our feed had two cameras and three tape machines. The cameras were located at low first (camera 1) and tight centerfield (camera 6). We shared camera 4 (centerfield) and camera 2 (high home) from the primary feed. In a dual feed situation, there is no audio communication with the shared cameras, however, when the secondary feed of the dual is using these cameras, there is a green tally light in their viewfinder. When the primary feed is utilizing a camera there is a red tally light in the viewfinder. When the Director of the primary dual feed gives a camera a command and there is a green tally light in the viewfinder, what is the operator supposed to do? Obey the command and whip on the secondary feed or wait until the light is off, thus disrupting the flow of the main feed? For this reason, I do not make myself available to all the cameras from the main dual feed. I utilize the two main cameras (2 and 4) and basically cut a four or five camera show depending on the venue.
Other Directors have their own philosophies in dual situations. Some take all the available cameras and “cut” their own game. I have heard these same Directors also complain of the “jump cuts” and “whip pans” that occur in these situations. A “jump cut” is when the visiting feed goes from one feed to the other and, in the process, a brief camera shot is on line before the next shot is taken. A “whip pan” occurs when a camera shot repositions from one shot to another while on line.
Every Director has different thoughts on covering the game in a dual situation. I believe that taking the “program” feed from the home coverage when the ball is in play and then cutting in my cameras after the play offers a cleaner show. A cleaner show means less “jump cuts” and “whip pans”.
Last night, our telecast also included a commercial reel. Commercials ran from the truck about seventy percent of the time, so for 70% of the telecast, we had two replay machines.
I believe our production team “covered” the game as good as we could, but it can be frustrating knowing how good the coverage could have been.
The philosophy of the dual feed is that everyone covers the game the same when the ball is in play. Cutting the action when the ball is in play encompasses only a small fraction of game “coverage”. It is the shots that lead up to the “ball in play”, that “set up” the replays of the “ball in play” and it is the shots out of the replays that are most important in game “coverage.”
For example, let’s say that there is a runner on first base with a right handed batter at the plate. Usually, this means that camera 1 (low third base) has the runner at first and camera 5 (low first base) has the responsibility of the batter. The batter gets a base hit and the base runner goes from first base to third base. During the “coverage” of the play, the Director will go to the high home camera (camera 2) when the ball is hit, to a shot from camera 1 of the runner rounding second, back to high home which is following the ball. The next shot the Director takes is an example of a difference of coverage.
If I am the primary feed, my next shot is the runner arriving at third base from camera 5 (low first) followed with the player who got the base hit at first base with camera 1 (low third). The reason for these shots is that I am now shooting these players straight on. If I stay on camera 1 for the runner at third base, I am now shooting the back of his head. If I shoot the runner at first from camera 5 (low first) it is a profile shot. In a dual feed situation, the back of the head shot and the profile shot may be all a feed has so these shots must be taken. These shots may constitute “coverage”, but better shots mean better coverage.
Another example of how “coverage” is affected is the pitcher shot. When a right handed pitcher is in the stretch, the low third base camera (camera 1) shoots the face straight on while low first (camera 5) shoots the back of the head. It is just the opposite for a left handed pitcher. During a pivotal part of a game, tight face shots are most effective in building up the moment. If the Director is unable to go from straight-on tight face shots of the two main combatants, the pitcher and the batter, then the essence of the moment cannot be ultimately captured.
Being the production team in the back end of a dual feed can be very challenging. Like many other aspects of our business; crews, trucks, and venues, TV production crews take pride in recognizing the situation, adjusting, and providing the best coverage possible.
The pride in a job well done is diminished when we know the “coverage” could have been better.

There was only one segment in the Open of tonight’s telecast because the first pitch was scheduled at 7:07.
When we are televising from our home ballpark, the first pitch is scheduled for 7:10 (on a night game) and this allows the TV production team three segments to set up the telecast. The starting times for the games are determined by the home club.
Having only one segment to “set up” the telecast can be challenging for the Producer. The opening segment of the telecast sets up the tempo for the show. The Producer presents the theme(s) of the telecast in the Open and a good balance of information presented here is necessary in establishing the flow leading into the game. Too much information can make for haphazard segment and too little information can make for a boring segment.
The Producer, when developing the central themes of the telecast, takes into account the “timing” in this presentation. Coming out of the first commercial break and before the first pitch, there are sponsored elements that must air. These include opening billboards, (show sponsors) the batting orders, the statistics of the starting pitcher and the defense. If the standup segment goes too long, these “sold” features may be rushed. Thus, the flow of the show affects the quality of the telecast. A good pace in the standup leads to a good pace leading up to the first pitch and helps set the standard for the flow of the show.
Here are the themes established in tonight's Open segment:
There is a very good possibility that the team we cover will make the playoffs this season as the magic number for clinching the division is 7 and they have 13 games to play. So, for the past few telecasts, a running theme has been established concerning this post season possibility. This club has two starting pitchers who have performed very well and, therefore, will be the first 2 starters in the postseason rotation. Who will be the number 3 starter for the club in the playoffs?
One of the candidates for the number three postseason starting position was on the mound tonight. What kind of performance could we expect from this pitcher tonight? Video of this pitcher and a graphic showing the season statistics of the three candidates for the #3 postseason aired in this segment.
The team’s closer has been shut down for the rest of the season due to injury. How would the bullpen respond? A graphic was displayed showing the National League ranking of this bullpen in different statistical categories.
One of the hottest hitters on the club was returning to the starting lineup after being out of the starting lineup the night before. This player was showcased in our “coming up” video that leads into the first commercial position.
There was a good balance in our Open tonight and we established a comfortable pace as the game began.
Each of these themes played out during the game.
The starting pitcher pitched six strong innings and earned the win. Three members of the bullpen each pitched a scoreless inning and the player returning to the starting lineup went 2 – 5, scored a run, and had an RBI.
The flow of a telecast can be affected by whether or not the Open “themes” are played out during the game. When these themes do play out, there is a carry over of the story line and, therefore, a continuation of the nice pace set up by the Open. If, however, the established themes do not follow through during the game/telecast, the flow of the show can be affected.
There was an excellent pace to the standup segment tonight. The themes presented in this segment all played out during the telecast.
Tonight’s telecast: A good flow and a good show.

There was no blog concerning yesterday’s telecast because the game was rained out. Yesterday was a travel day and with no telecast to blog about, I read all of the previous Sparkletv blogs. I noticed that a central theme of most of the blogs concerned the “flow of the show”.
After reading these blogs, I asked myself, “What are the factors that dictate the “flow of the show”?
The pace of the game is certainly the most important aspect that determines the flow of the show, but there are many factors that contribute to the pace of the telecast.
It takes a total team effort by the TV production team to keep up with a well paced baseball game.
For the Director, there is a camera meeting before each telecast. It is during this meeting that each camera operator is given the responsibilities of their respective camera position. Some Directors like to have this meeting over headsets and some like to have the meeting face-to-face at the TV truck. Some Directors even hand out instructions on pieces of paper to the operators.
Every baseball Director cuts the game differently. Therefore, every baseball Director holds a different camera meeting.
It is my belief that the game will dictate my camera cut. I do have basic batter/ pitcher shot responsibilities but, depending on the situation of the game, my cut may change from batter to batter. I tell the operators that I will give them their responsibilities as the game dictates.
Some of the basic responsibilities for camera shots include scoring runners and pickoffs at first base. The camera angle that scores runners can be determined by many different factors. These factors include: the ballpark, the batter, and the TV feed. (dual or main) For example, scoring runners from the low third base camera at Wrigley field is nearly impossible because the home TV feed camera is between the dugout and the visiting TV feed camera. I do not believe that it is prudent to utilize a camera to score a runner if one of baseball’s superstars is at-bat. If that camera angle can better capture the moment by isoing the superstar than it can by isoing the runner, then that camera responsibility is changed. If our telecast is in a dual feed situation, our feed will join the home (main) feed for pickoffs and scoring plays.
As stated earlier, TV baseball Directors issue camera instructions/responsibilities over headsets, in person, and with detailed written instructions. And, for the most part, Major League Baseball camera operators follow these instructions to a tee. Whether the responsibility is: follow (iso) the runner, the batter, the pitcher, the ball, the manager, a fielder, or even the umpire, if the camera operator does not know how to frame the shot, the shot is unusable and the flow of the show is affected..
The shots of the players on the field should be either head-to-toe, waist shots, or tight face shots. During my camera meeting, I will tell the camera ops; “Head to toe or waist shots. Late in the game, if the game dictates it, we will work in tight faces.”
Still, many times, the camera shot will show the player cut off at the knees, off center, or too tight.
The flow of a telecast is greatly affected when the Director, before taking the shot, has to frame the shot. There are professional TV sports camera operators in the country that either do not care or do not know a good framed shot if it hit them in the face.
When there is a particular camera operator of this ilk, my call throughout the telecast may sound something like this after the ball is hit:
“Take 2” (The responsibility of camera 2, high home is to follow the ball)
1….runner….head to toe…ready 1….take 1
Ready 2…take 2
Ready 1…loosen off to head to toe…take 1
5…Pitcher…waist shot…ready 5…take 5
1…Runner…head-to-toe…ready 1…take 1.
If, during these camera commands, I did not have to include, “head to toe”, “loosen off to head to toe”, “waist shot”, and “head to toe”, the shot sequence would have been tighter and more effective. The time it took to “get” the shot deterred from the overall value of the telecast.
I believe that the most compelling factor that determines the value of a telecast is the amount of “wasted” time on a telecast. The less wasted time there is in the show, the tighter the telecast.
Directors who have to “frame” shots, before taking shots, cannot direct a tight telecast. Framing camera shots for the operator creates wasted time.
If a Producer has to cue up replays, because the cue points of the replay operator are not tight, that Producer cannot produce a “tight” telecast. The Producer cueing replays for the replay operator only creates wasted time.
A good example of wasted time on replays comes when there is a play at the plate. The first angle shows the ball being thrown in from the outfield from the high home camera. The camera operator tightens in to a very tight shot of the ball and then loosens off for the play at the plate. (A great shot) The next angle is from mid-first base camera. This angle shows the ball being thrown in from the outfielder, tightens to the ball, and loosens off for the play at the plate. The second look at the ball in the air from the outfielder is wasted time. The ball in the air, seen once, is all that is needed for that reply sequence. The three or four seconds used on the second angle could be better used for another angle.
TIGHTEN IT UP!
When the telecast is over and the Production team is discussing the show, each member, be it the Producer, the Director, cameras, graphics, tape replay ops, audio and video, all grade the show on the flow.

I was unable to work with the crew on yesterday’s (Friday) telecast as I was attending a memorial service for a family member.
The game that I missed ended with the score of 14 – 4. There were 20 hits, a 4-run inning, and a 7-run inning. During the eight hour drive home from the service, I was able to listen to the radio broadcast. The visitors scored a single run in the first inning and the home club responded with 4 runs in the first and 2 more in the second inning. I turned to my wife and said, “A game like this is very challenging for the Director. If the game continues at this pace, (the Director) is going to be wiped out at the end of the telecast.” Our regular Producer was cutting the game and our main graphics Producer sat in the Producer’s chair.
A baseball Director can be very challenged by a high scoring game. But I do not think there can be any situation more challenging to a baseball Director than an inning with many runs scored. A game that starts out with many runs in the first few innings can really test the Director. I really felt for the Director in Friday’s telecast because, not only did he cut the first two innings where 7 total runs were scored, he was taxed with a 7-run sixth inning.
I knew how he felt and he validated this today when he told me, “That game wiped me out.”
Today, I showed up at the TV truck looking forward to the telecast because of the starting pitching match-up. The home club was throwing last season’s Cy Young award winner (and a leading candidate for this season) and the starter for the visiting club was also an excellent hurler.
One of the many story lines that we followed during this telecast was the fact that the visiting starter had spent the previous ten years with the home club. I think it is important for a baseball Director to be knowledgeable about the starting pitchers. Do they work fast? How are they with runners on base? The starting pitchers dictate the pace of the game and knowing how the starters work on the mound helps the Producer and Director dictate the pace of the telecast. Because I was covering the home ball club during the ten years this pitcher was a member of the team, I knew how he operated on the mound. And that was another reason I was excited about the telecast. During my career of over 24 years in major league baseball television, I have never seen two pitchers work as fast as the two facing each other today.
As I have stated in previous blogs, there is no better situation for a baseball Director than a well-paced game. This allows the Director to develop a rhythm and maintain a good flow to the show.
Another similarity between these starting pitchers is that they both have devastating curve balls. One of the best replay sequences we aired today was a comparison of the two curve balls. From the tight centerfield camera we showed a ball follow of the home team pitcher’s curveball first then dissolved to the visiting pitcher’s breaking ball. Both pitches were nasty and, with the great camera work and heads up by the tape room, this moment was one of the highlights of the telecast.
The final score of the game was 6 – 1 for the home team and both starting pitchers pitched well. Without taking away from the wonderful talent on the mound today, the three o’clock start presented some difficult shadows on the playing field. During the middle innings of the game, the mound was in the sun and the home plate area was in the shade. This presents a very difficult situation for the batter. With excellent framing from our mid-first camera and good use of the telestrator, (a useful tool that allows the talent to draw on the screen) we were able to show how the shadows created a challenging situation for the batter.
Another memorable moment during the telecast occurred when a player hit his second triple of the game. As the player was rounding second, I cut to the leftfield corner camera which was extremely tight on the runner’s face. I cut back to the ball and then the runner as he slid into third base. The brief moment I was on the face of the runner was nice, but the replay was unbelievable. From midway to second base and all the way to third base, the runner’s face filled the screen. This energetic shot captured the excitement of the play and provided the most thrilling moment of the telecast.
The flow of the past two games couldn’t have been more different.
It is very important for all baseball Directors to try and maintain some kind of flow to the show. The flow of the show is directly tied into the flow of the game.
When there is an all or nothing, herky jerky flow to the game like last night, The Director becomes exhausted trying to maintain some kind of flow, never seemingly able to get there.
When there is a smooth, well paced baseball game with rhythm such as today’s contest, the Director is not exhausted, he is exhilarated.

The three telecasts of the just completed three-game series all had one similarity. The themes that were established in the stand-up segments of each show all played out during the game. This, however, is where the similarities of each telecast ended.
The first telecast was a complete game shutout for the home team whose pitcher was last season’s Cy Young award winner and is a leading candidate for the award this season. We developed a theme in the stand-up segment with video and commentary that played out the strong recent performances by this pitcher suggesting to the viewer that this pitcher may have a good performance. He delivered with a complete game shutout.
Yesterday’s telecast was the best show of the season. In fact, I would have to say that this telecast was one of the best I have been involved with in my career. During the telecast, we looked back at memorable moments from the season. This was a great idea that came from our graphics Producer. This game ended with a walk off 2-run double in the bottom of the ninth inning. That game-winning hit really completed the telecast. The way the game ended provided another unforgettable moment and a memorable show.
In today’s telecast, there were two major themes presented in the stand-up. We looked back at the first two games of the series and we touched on the starting pitching match-up. The visiting club’s best starter was on the mound facing the home team’s starter who, while brilliant at times, was currently struggling.
The first telecast of the series featured excellent pitching, timely hitting, and good defense. The game was well paced and there was flow to the show.
The second telecast displayed a game that featured many highs and lows. This game provided many exciting moments and the telecast captured these moments. There was such a good flow to this telecast that the show seemed to go by in a blink.
Today’s telecast was a totally different animal.
The visitors batted around in the top of the first inning and were leading 4 – 0 before the home club batted. There were 47 pitches thrown in that half-inning. (24 strikes, 23 balls) The pace of the top of the first inning could best be described with a quote from the late, great, Jack Buck who once said, “This game is moving at an escargot pace.”
Certainly, no two games are the same and, therefore, every telecast is different. This is one of the most rewarding aspects of this profession. Every telecast is a learning experience. It is exciting covering a baseball game. Knowing that you only have one chance to televise that moment as good as it can be captured is invigorating.
Teamwork in the TV truck is essential in providing the best coverage possible.
The Director cuts cameras with a purpose. The camera cut can be used to heighten the emotions of the viewer. During defining moments of the game, well paced cuts (takes) mixed with tight shots (faces) help lift the excitement level already established by the game itself. I believe that tight face shots early in the game actually lessen the effectiveness of these shots late in the game - when they matter most.
One of the best Director’s in our business once told me that directing baseball is like writing a story. Your takes are your periods and your dissolves are your commas.
The nice thing is that the game is providing the script and, with the teamwork of the whole production crew, the Director just writes it.

What a telecast.
What a game.
From the second a telecast goes to air until a telecast signs off, it is the responsibility of the TV production team to provide quality coverage for the viewer. Producing a quality telecast takes a complete effort by the whole production team.
We had that effort tonight.
Our poll question for the telecast was “what is the most memorable moment of the season?” Our graphics producer, who develops this question, suggested that we air a “flashback” showing each of the possible answers. Tying in featured elements of the telecasts is like wrapping a ribbon around the package. What a great idea by our graphics producer. Early in the telecast we presented the poll question and, throughout the telecast, we aired the individual flashbacks of the possible answers. Then, late in the show, we aired the answer. We aired the question, showed the possible answers to the viewers to allow them to make their decision, and then we aired the answer. This feature was very effective.
One of the positions on our crew, that I have been remiss to point out in earlier blogs, is that of our score box operator. Our score box operator is the best score box operator on the country. Period. Throughout the telecast, this operator shows the “in game box” for each team which shows what each batter has done during the game. The “in game box” airs whenever the lead-off hitter is at the plate. This operator is also able to show the pitch count for each pitcher, the pitches by inning for each pitcher, the pitch speeds (high/low) and due ups at the end of an inning. This operator constantly reminds the Producer of the situation at hand. This communication, as is any communication during a telecast, is vastly important to the quality of the show. This operator is the best at communicating his information at hand as any operator in the country. It is a delight to be part of the telecast with him.
This game ended with a walk-off double by the player who some consider to be the best player in the game.
The game was a back and forth affair.
The game came down to the last at-bat.
A game that ends like this game is a game that every baseball production team loves to be part of.
There was some history involved in this exciting finish. The batter had hit a long home run against the pitcher in the National League Championship Series of last season. That home run was one of the most memorable home runs in baseball history.
Here was the situation.
There were runners on first and second.
There were two outs.
The two players, the pitcher and the batter, were the players who were involved in the dramatic home run previously mentioned.
The talent teased this possible confrontation as the game/telecast entered the bottom of the ninth.
When this batter entered the batter’s box, the Producer replayed the NLCS moment.
The drama was set.
The count went to 1 and 2.
Tight shots of the combatants, the crowd, and the managers helped set up the final moment.
At this point in the telecast, the Producer said, “Let’s iso the base runner at first base. (The winning run ) Camera 5, who’s usual responsibility is to start on the batter and push to the crowd, was changed to follow this runner who represented the winning run.
This was a great decision.
Here was the final shot selection on that final play:
The ball was struck into the left field corner….the lead runner scored to tie the game….the left fielder had trouble fielding the ball….the runner from first (now isoed) rounded third and headed for home….he scored….the crowd went crazy.
The replays that followed were exceptional.
This was a total team effort by the production team. This was a memorable telecast.
This was a telecast that every baseball production team hopes for whenever that particular team goes to air.
Every single member of this baseball production team contributed.
It was our best telecast of the year.
What was the most exciting moment of the season? This game/telecast gets my vote.

Today, September 11, is a day to honor and pay tribute to the fallen victims and the heroes of that horrific day.
Every Major League team had pre-game ceremonies surrounding that event.
The first segment of our telecast followed suit and showed some of the pre-game ceremony, policemen and fire fighters, the giant American flag unfurled in centerfield, and fans dressed in red, white, and blue. The segment ended, fittingly, with the late, great Jack Buck reading his beautiful and touching poem during the pre-game ceremony of the first game back after September 11, 2001.
The second segment developed the main theme for the game/telecast. The starting pitcher for our home team is a top candidate for his second consecutive Cy Young award. We aired a graphic showing the outstanding home ERA that this pitcher had this season. It was, in fact, the second best home ERA in a single season in the past thirteen years.
The visiting club scratched their scheduled starter, a left hander, about an hour before the game. So, our third segment highlighted the fact that this move by the visitors may be a good thing because the home club has the worst batting average in the National League against lefties.
The home starter pitched a complete game shutout and the home club knocked the visiting starter, a right hander, out of the game in the fourth inning.
The game themes established in the Open stand-up followed suit. The telecast had a nice flow and, once again, a member of the home camera crew came through with one of the greatest shots this season.
It was the fourth inning.
The bases were loaded.
The player who some consider to be the best player in the game was on third base. The batter hit a bases clearing triple. Camera 1 (left field corner) was shooting (isoing) the runner at third as he scored. This player then directed the trailing runners to stand up and not slide as no play was attempted at the plate.
The camera cut for the television viewer showed the ball off the bat from centerfield (camera 4), high home camera, camera 2, followed the ball off the wall, camera seven showed the first runner scoring, back to camera 2 as the outfielder hustled after the ball which got away from him off the wall, camera 7 showing the next two runners scoring, then camera 6 shooting the player who hit the triple sliding into third base and clapping his hands together. There was excellent framing in this shot as well. The home crowd was going crazy in the background.
The fans in the stands watched the ball, thinking grand slam, bang off the wall and then saw the runners scoring and the batter sliding into third base.
What nobody saw live, except the camera 1 operator, was the unbelievable reaction from the first runner who scored. After the third runner scored, the player who scored first and then directed traffic at home plate, pointed to his teammate at third base with a huge smile on his face. This shot was taken as a waist shot, fairly tight, and was a shot that can only be taken by a camera operator who “feels” the moment and grabs it.
On the replay of this fantastic shot, I thought “Wow.” Not for the emotion displayed by the great baseball player, I was “wowed” by the incredible skill of this operator. This operator was able to “feel” that moment in the game, and then capture that moment.
The replay sequence on this bases loaded clearing triple was set up perfectly by the Producer. It ended with the iso of the player at the plate and his emotional reaction to what just occurred.
The third mix in this wonderful sequence was the audio. During the live action the crowd was going nuts, and this energy continued during the replays.
It was a memorable moment on a memorable night.

The final line score for the game read:
7 11 3
9 12 2
The time of the game was 3:13.
It was a sloppy, poorly played game that had no flow. When there is a game that has 16 runs, 23 hits, 5 errors, and lasts three hours and thirteen minutes, it is nearly impossible to produce a good baseball telecast. There is no baseball game that is more difficult for the Producer and the Director to present than the game that is decided by the poor play of the players. A poorly played game is hard enough for the viewer to watch without being reminded of the errors and mistakes that have been made. When there is a sharply played game, it is nice to revisit the good plays and the big hits with video packages throughout the telecast. But I do not believe the viewer, who is a fan of the team he/she is watching, wants to be reminded of this shoddy action. A replay should be shown immediately after the play occurs when that respective play affects the outcome of the game, but to revisit the sloppy play by a Major League baseball team throughout a telecast does a disservice to the viewer and the telecast.
Along those lines, we never show fans in the stands sleeping and we try not to show empty seats in the ballpark. The play on the field dictates what shots are taken of that action but it is the shots away from the action are chosen by the Director. It is the responsibility of the Director to make sure ALL shots benefit the telecast. To show a fan in the stands sleeping indicates to the viewer at home that the game is boring. Once the viewer finds the game boring, that viewer is gone with a click of the remote.
The Producer and I were talking on the plane after the telecast about games such as the one we were involved with today. As the Director, I must concentrate on every pitch. I must cut every play. It is more difficult for a Director to lose interest in a game than it is for a Producer. The Director deals with the present. The Director deals with right now! A Producer, on the other hand, deals with the future: “Here is what we are doing, here is when we are doing it, and here is what you (the Director) need to get it done.” I asked our Producer to tell me what he does to remain interested when a game is poorly played and there is no flow to the show.
He said, “To remain focused during a “bad” game, I minimize my thoughts. I do not look at the big picture. I concentrate on each pitch and each play. This allows me to stay sharp and remain focused. In essence, I think like a Director.”
During this conversation, I realized that there are moments when I am cutting a game that, in turn, I think like a Producer. During some situations of a game, I use the camera cut sequence to tease the replay. A good example of this is a sacrifice bunt situation. Before the pitch is thrown, the shot sequence will show the whole infield defense (high home camera), the third baseman in at the corner (low first base camera), the runner at first (mid third camera), and the batter who will be bunting (tight centerfield camera). I have just teased the replay sequence which, if it follows the previous shot sequence, would go as follows: First angle: The look of the high home shot in a freeze. The analyst telestrates (draws) on the screen to show the defensive play that was called. Second angle: Tight centerfield shot of the bunter which also shows pitch location. Third angle: third baseman hustling in and making the play. Fourth angle: the runner iso.
While it is important for the Producer and the Director to think alike, it is also important for the Producer and Director to be sure not to cross that line and infringe on the other’s responsibilities. The Producer produces and the Director directs. Think alike but do not step on each others’ toes.
Our Producer/Director relationship is great. We respect each other and we think alike. A good relationship between the Producer and the Director in the mobile production unit is very important.
This relationship gets a production team through even the worst of games.
Just like the stinker of a game we televised today.

There was a gem thrown by the opposing pitcher tonight.
He threw a one hitter and won the game 3 – 0. The time of the game was 1:55.
As I have noted in earlier blogs, well pitched, fast paced games are a director’s delight. However, being the Director for the back end part of a dual feed, I can assure you that the home Director enjoyed the telecast better than I did. While he was working with a full camera allotment of cameras and tape machines, our telecast dealt with two cameras and three tape machines.
The theory of dual feeds is that game action is covered the same by all TV baseball directors. The ball is hit and the runners are followed. Yes, I do agree, there is basic coverage in any sporting event. So, in a baseball game, for those telecasts in the back end of the dual, when the ball is hit, go to the program feed (the home feed) to cover the play.
No problem.
While this may be true for the most basic plays of a baseball game, a baseball Director makes his “signature” on the telecast before and after the most important happenings on the field. It is the way a television baseball Director “directs” situations before they happen and then ties in the shots after they happen that creates the most memorable moments of a telecast.
Every major league baseball Director cuts base hits in a similar fashion. Every major league baseball Director cuts base hits with runners on base in a similar fashion. But, every major league baseball Director “sets up” situations differently.
Setting up situations creates suspense.
Setting up situations creates memories.
For this major league baseball director, there is nothing more rewarding than setting up (with crisp camera shots) an important situation, and having that situation create a memory.
These are the memories that people talk about. These are the memories that sell tickets. There is nothing better than setting up a situation and having that situation play out.
Unfortunately, with just two cameras and the program feed, setting up situations is nearly impossible and the results of a memorable moment in the telecast are greatly diminished.
The most important aspect of a televised baseball game for the Director is not the “ball in play”. It is what the Director does before and after the “ball in play” that identifies the worth of the Director and heightens the quality of the telecast.
Unfortunately, having two cameras and three tape machines greatly limits a Director in the “setting up” of situations.
I guarantee you, the home Director slept better than I did tonight.

This was an unusual telecast.
This was one of those rare telecasts, where no matter what happens, you will not get it right.
The three themes we established in our open stand-up did not follow through.
We highlighted the hottest player on the team in segment one and he went 0 – 3. Theme one was “down the drain.”
The second theme, established in the opening segments of our telecast, dealt with the closer role of the team. The current closer was injured and our theme dealt with the possible replacements for that role. The final score was 13 – 1 in favor of the home team and, therefore, the closer role was never a factor.
The third theme we tried to establish concerned the starting pitcher who, despite being a rookie, showed much promise and could prove to be an important cog for the club as the season wound down towards the playoffs.
He had the shortest outing of his career.
Was this three up and three down for the telecast? Had we struck out? Was the value of this particular telecast over?
Not.
The score was 7 – 1 after three innings, 11 – 1 after six innings, and it ended 13 – 1.
There was not one moment of the telecast that worked. There was not one memorable second of this telecast.
Wrong.
During the telecast, video highlights from the offense of the winning club were aired, and for the losing club in a 13 – 1 game, these highlights are truly “offensive”. Not a memorable telecast for the fan of the losing team.
Thank goodness for the television baseball gods.
Tonight was the night that, because we were on the road, the annual camp-out at the home ballpark occurred. We had a video feed of the campers in the home ballpark down- linked to our truck and we interspersed shots of the campers in the home ballpark with our game coverage.
These shots provided us with a pleasant diversion from the lousy baseball game that we televised.
.

Last night was our first road "dual" feed since August 13.
A dual feed is where both the home and road television production teams share the same mobile unit. The home production team uses it's usual allotment of equipment. (During our home telecasts, we use 7 cameras and 6 replay machines) The visiting production team is given three cameras with three operators. There have been telecasts, however, where we have had three cameras with only two operators. In this instance, the third camera is the booth camera that shoots the talent for the pre-game and post-game segments.
Last night, as the visiting telecast, we utilized three cameras with three operators. I placed these cameras at mid-third (camera 3) as this location allows me to shoot our dugout, low first base (camera 5) which is the inside (home plate side) of our dugout, and tight centerfield (camera 6) which gives me both left-handed and right-handed batter shots. The reason for the particular placement of cameras 3 and 5, (one on the third base side and one on the first base side) in a dual feed situation, is that this placement allows for better framing of shots in different situations. For example, when there is a left-handed pitcher pitching from the stretch, camera 5 (low first) can shoot the pitcher's face straight on. Thus, there is no back of the head or profile shot that camera 3 would provide. Another example of how this placement works is for runners. If there is a runner on first base and this runner advances to third base on a basehit, camera 5 can shoot the runner at third straight on and camera 3 can shoot the runner at first straight on. Cameras placed on each side of the field also give the Direction a better option in the framing of graphics.
For game coverage, the visiting side of the dual uses the centerfield camera (camera 4) and the high home camera (camera 2) of the home feed. Camera 4 is the camera that follows the pitch from the pitcher to the catcher and camera 2 is the "game" camera that follows the ball after it is hit. These cameras are placed in the visitor's switcher and can be punched up at any time. There is no audio communication between the visiting Director and these camera operators, but, when these cameras are being used by the visiting feed, the operator sees a green tally light in the view finder. There is a red tally light when a particular camera is being used by the main feed of the dual telecast.
Camera responsibilities for camera 4 and camera 2 differ from director to director.
The responsibilities for camera 4 could be as follows: follow the batter out of the box and when your tally light goes off shag, when the ball is hit, push to the pitcher, or follow the batter around the bases. (usually when there is no tight center field camera)
The responsibilities for camera 2 are pretty much the same when the ball is hit - follow the ball. However, some Directors like camera 2 to push fairly tight to the action and other Directors like to keep the play in perspective with the field. For example, on a ground ball hit to the second baseman, (with no runners on base) some directors like to have the camera push to the second baseman and pull with the throw to first. Some Directors like to keep the batter in the shot running up the base line as the infielder is making the play. Also, when the play is completed, some Directors have the camera follow the runner up the baseline and some Directors like to push to the umpire for the out or safe call. Another difference in the use of camera 2 in a dual feed between the home feed and the visiting feed is the use of this camera to show the defense. There are moments in the game that showing the defense is important to the coverage of that moment and the visiting dual feed does not have the luxury of showing the defense.
I do not believe there is a right way or a wrong way in this coverage. It is just the personal preference of the Director.
When we are the visiting side of a dual feed, our monitor wall will contain the following: the clean (no graphics) program feed of the home feed, the main replay ME (mixed effects bank), the home feed's camera 2 and camera 4, my camera 3, camera 5, and camera 6. The monitor wall also includes tape machines Red, Green, and VTR X. Also, the two channels, air side and back side, of the Duet. (Graphics)
Some Directors put many of the cameras from the home side in their switcher and try to cut their own game. This is another example of the personal preference of the Director. I do not prefer this way because I like to have communication with the cameras I am cutting. There have been moments in a home telecast where I have given a command to one of my cameras and that operator cannot follow the command because the green tally is on. This means that the visiting side of the dual feed is using that shot and the operator, if he/she follows the command, would "whip pan" on the air of the visiting feed. (This is an example of when the dual feed becomes a duel feed) It is a chance that some Directors are willing to take and it is a chance that others are not willing to take. I am not willing to take this chance. With no runners on base, I will cut in the batter shot, a pitcher shot, or whatever the talent may be talking about. When the ball is hit, I will cut to camera 2 and finish the sequence with a hero shot. If there are runners on the base paths, however, I will cut to camera 2 when the ball is hit, and, when the home feed is also on camera 2, I will take the program feed and ride out the home director's cut. I really
enjoy cutting a home run, but it is equally gratifying watching other Directors cut the home run. Every baseball Director cuts the game differently and it is nice to pick up on and learn from the different ways other Directors cover the game.
Going from a telecast with six replay machines to three replay machines can be challenging to the Producer. Isoing a camera away from the action (taking a chance) may allow for a memorable replay, but the low chance of success in this maneuver may not be worth it for the visiting side of a dual feed. Therefore, I believe, less chances are taken and, in fact, should be taken in this situation. (Three good replays are better for coverage than two good replays and a missed iso)
Each and every production team in baseball television has it's own way of presenting the coverage of the telecast. Each and every production team has it's own "look."
The "look" of every telecast is determined by many factors. The coverage ("look") of the telecast is different from ballpark to ballpark, from crew to crew, and even opponent to opponent.
There is no single factor that alters each broadcast team's personal "look" than that of the dual feed.
There is no right way or wrong way, good way or bad way to televise a baseball game.
There are just different ways.

Today’s game was completely different from the first two games of this series, but the telecast was very similar to the previous pair.
The crew was, once again, sharp and the telecast was first-rate.
The first two games of the series were low scoring, 3 – 1 and 2 – 0, and this game was 7 – 6. Today’s telecast, as dictated by the game, offered many dramatic moments. The visiting team scored three runs in the top of the sixth inning to take a 3 – 1 lead. The home team came back with four runs in the bottom of the inning to retake the lead 5 – 3. A home run by the visitors in the top of the seventh made the game 5 – 4 and set up a remarkable finish.
The visitors scored two runs in the top of the ninth only to lose the contest in the bottom of the inning by a score of 7 – 6.
This type of game, a game with many dramatic twists and turns, is very challenging to the TV production team. Late in a game such as this, there are many situations where the game could be decided by the next pitch. These are the most exciting moments in a baseball telecast to be a member of the production team.
Do NOT miss the moment. You have one chance…get it right.
I felt our production team was up to the task and captured each moment with crisp replays and insightful graphics. It is an exciting feeling for all of us on the production team when we realize that everyone on the team is contributing and the telecast is sharp, crisp, and flowing. On occasion, this feeling is exhilarating.
Today’s telecast was an excellent example of contributions from the whole crew.
The use of lower thirds, side panels, and full page graphics in this telecast enhanced these moments with maximum effect.
We took chances during all of the “moments” of this game/telecast and the replays from these “take a chance” isos were spectacular and memorable.
The audio mix captured the excitement of the crowd.
There is something about audio that is able to grab hold of the energy in a ballpark and expose it to the audience better than any tool we have available to us. (We must increase our audio capabilities!)
Once again, I sat in the Producer’s chair watching the production unfold and I found it to be truly amazing and gratifying that so many parts can contribute together to create such a memorable experience.
Unlike a Director, a Producer is able to look over the “big picture” of a sports telecast as it unfolds.
Today, I watched the Director completely “into it” as he cut camera sequences with replays and graphics never missing a beat.
He was great. And, he is normally our Producer!
Our graphics Producer/operator had the most poignant graphics at the ready when they proved to be the most insightful.
Our lead tape Producer/operator had the tape room clicking.
The baseball game had many different twists and turns. It was one of the most exciting games of the year.
We did not miss our chances as we twisted and turned with the game. We captured the exciting moments and wanted more.
We were ready and we delivered.

As I have stated in earlier blogs, telecasts from the home ballpark, with the home TV crew, usually have a better flow than those from the road. There is a comfort zone when working in the home environment that helps create a better telecast. Familiarity equals comfort equals a good flow.
That is not to say that there are no quality baseball telecasts on the road, however. For the past two telecasts, we have been on the road and have enjoyed two quality telecasts that flowed. While it is always nice to work with the home crew, this crew has been a pleasure to work with these past two days. Every member of this crew works hard and takes pride in the job they do. And they deliver.
For the second straight telecast, I sat in the Producer’s chair and our Producer directed.
We only had one segment in our Open stand-up because the first pitch was at 7:05. During this segment, we highlighted our starting pitcher with video and a lower third graphic showing the numbers from his previous two starts. The theme established here was that this pitcher has been pitching great of late and if this trend continued his team had a good chance to win. The open segments end with what is called the “coming up” animation where we establish another theme for the telecast. In the “coming up” for this telecast we played video of our first baseman hitting a home run. He had hit four home runs in the previous two games and we would see if this “hot” streak would continue.
The starting pitcher pitched a great game and the first baseman hit a home run in his first at-bat. The team we cover won the game 2 – 0.
When the game plays out like we talked about in our Open stand-up segment, it only enhances the quality of the telecast.
While a Director is cutting cameras, he is into the absolute “moment” of the game. A Director will have a pretty good idea of where he/she wants to go when cutting a shot sequence, but the action on the field will, more often than not, dictate the direction of the cut.
When a Director has the good fortune to work with a quality camera crew, he/she knows that the chance of a memorable telecast has increased dramatically. When there is a quality camera crew, the Director is able to take more chances.
Let me explain.
There is too much emphasis in television baseball in covering the “ball”.
Everyone in the ballpark and every television viewer saw the play happen live. The viewer now has the luxury of watching the replay or replays of the play that just happened. A Director with a good camera crew is able to iso different shots that are away from the play. This is how a director takes chances.
On our home telecasts and on our road telecasts, where we are not in a “dual” situation, we have six replay machines. (A dual telecast is where two feeds basically share one truck. More on dual feeds in another blog)
The best replays of a telecast are not the first, second, or third angles of the play. These angles are different “looks” at the play that just occurred with a replay sequence that will usually start wide and get tighter with each angle.
The most talked about replays of a telecast are the fourth, fifth, or even sixth angle of the play. These are the angles that show where the Director has taken a chance. As stated earlier, a Director who takes chances will have camera isos of actions on the field that are happening away from the play. Most of the time, these “chances” do not yield a replay and that is the reason why some production teams do not take chances. But, when a chance is taken and it works, that moment is the one that people talk about after a telecast. A memorable moment may occur only once every ten times a chance is taken and I believe it is worth it. A production will rarely be lucky enough to have all the chances (isos) work, but if one of the isos away from the play works, that is a memorable replay.
Tonight's game was a well played, fast paced affair that did not allow for many instances where isos away from the play worked.
During the bottom of the eighth inning, when the home team was threatening to tie the score, the pitcher for the visitor came through with a big strikeout. Our lead tape producer suggested that this strikeout would be an excellent item for the open stand-up of tomorrow's telecast. Planning ahead is very important in this profession. Our stand-up segment for tomorrow's telecast will include this very important moment from tonights game.

Last season, our Producer directed twenty five games and I produced them. He would rather produce and I would rather direct, but is nice to change positions occasionally because changing our roles in the truck helps keep us fresh throughout our 153 baseball telecasts.
Today’s telecast was the first time this season that we reversed our roles.
What a game to pick!
The team we cover was the visiting club and the starting pitcher for the home team had a no-hitter through eight innings. Every baseball Producer and every baseball Director will tell you that there is nothing more exciting than working a perfect game. Working a no-hitter is a very close second.
We started sensing that something special could be happening after the top of the sixth inning. The team we cover had only three base runners up to that point with all the base runners coming via the walk.
Adding to the drama was the fact that our pitcher was also hurling a great game. After six innings, the game was scoreless.
In the top of the seventh, the number 4, 5, and 6 hitters went down in order.
The first batter in the bottom of the seventh walked to lead off the inning. The next batter hit a two-run home run, ending the scoreless game and, in effect, ending the drama for the visiting starter. He, however, quickly disposed of the next three batters and we went to the top of the eighth.
Going to commercial, we shot the home team’s starting pitcher leaving the dugout to start the eighth inning. The first batter of the inning grounded out to the shortstop. The director took some great shots of the excited crowd and excellent tight shots of the pitcher. The next player in the lineup hit a ball to deep left field that was caught by the outfielder for the second out.
Crowd shots captured their frenzy.
Shots of the pitcher’s teammates help build the drama.
Tight shots of the pitcher’s face heightened the drama.
The third batter of the inning hit a soft line drive to the second baseman and the pitcher was three outs away from making history.
There was a fantastic shot of the pitcher walking to the dugout with the standing, cheering crowd in the background.
The television baseball Gods helped build the moment. The pitcher was leading off the bottom of the eighth!
We came back from break with the pitcher in the on-deck circle awaiting his at-bat. The crowd was loud and the energy in the ballpark was incredible.
During the telecast, whenever this pitcher was batting, it was stated by the talent and shown graphically that this guy was not much of a hitter. In fact, his career batting average was .065.
The whole story of the game for the past three innings was about the no-hitter that was happening. Nothing could top that story line.
You want to bet?
What did he do next? He hit his first career home run!
The place went nuts.
The replay of him rounding first base after the home run was one of the better reaction shots one could ever see. The shot of him entering the dugout with his exuberant teammates slapping him on the back was terrific.
The noise in the building was deafening.
What an amazing game!
With two outs in the bottom of the eighth, the Director showed tight shots of the three players on the visiting team who would be batting in the top of the ninth.
After a pitch, there was a tight shot of the home pitcher on the bench. After another pitch, a graphic showing what each of the batters had done in their respective careers against that particular pitcher.
As the bottom of the eighth ended, the pitcher was shot leaving the dugout to pitch the ninth. The talent was laying out (quiet), and the crowd was going nuts.
This sequence of shots, the use of the graphic, and the dramatic live audio really set the stage for the top of the ninth.
When we returned from break, our score box showed the line score; 0 runs, 0 hits, 0 errors for the visitors.
There was a side panel graphic, placed next to the pitcher, that showed the last five no-hitters in the major leagues.
The energy in the stadium was unbelievable.
The first batter in the top of the ninth hit a soft line drive single to centerfield and the no-hitter was history. We replayed the base hit on the first angle and the second angle showed the pitch from centerfield with the camera pushing to the pitcher after the ball was struck. There wasn’t much reaction from the pitcher but it was a telling replay none the less. The deafening roar of the crowd showed their appreciation of the pitcher’s performance.
The next batter hit a line drive right at the first baseman and he doubled up the runner at first.
The next batter hit a long home run that not only ended the shut out, but ended the day for the pitcher. The Director showed some wonderful shots of the pitcher, his teammates, and the crowd that really covered the story.
The game ended with the next batter.
This was one of the greatest telecasts I have ever been involved with. Here I was, sitting in the Producer’s chair for the first time all season and there was our Producer, sitting in the Director’s chair for the first time all season, with the possibility of the rare no-hitter looming going into the top of the ninth.
It was thrilling.
When a game such as this occurs, it is amazing how the television crew all comes together. The camera shots seem more crisp, the replays more exciting, the audio more electrifying, and the graphics more telling,
Each and every one of the members of this telecast contributed and delivered a final product that was both exciting and memorable. We nailed it.
The telecast seemed like it took one second.

The telecast of today’s game was one of those shows that every baseball TV Director loves to cut.
The game had good pitching which provides a decent flow to the telecast. There were some stellar defensive plays that gave the show some nice replays. A baseball game with a decent flow and good replays is a pleasure to work on. But there is no play in a baseball game that is more enjoyable to cut than the home run. And, in this game, a player hit three home runs and came up in the seventh inning with a chance to hit four.
I remember a game during the 1993 season when a member of the team I was covering hit four home runs in one game. That game was one of the most memorable I have ever worked on.
There are many different ways to cut a home run. If it looks like it’s going to be a home run when the ball leaves the bat, I like to stay on the centerfield camera (camera 4) a little longer than usual to see if there is a reaction from the player who hit the ball. Then, I cut to the high home camera (camera 2) to show the ball going over the fence.
Now the fun starts.
There are many different shots to choose from when a home run is hit. Naturally, shots of the home run hitter, both tight and wide, can be used. I like the shot from the low first base camera (camera 5) that starts on the pitcher and then picks up the guy who hit the home run as he runs from second base to third base and then pushes to the crowd. If a member of the home team hits the home run, then crowd shots are mixed into the cut. Another enjoyable aspect of the home run is setting up the camera shots (isos) that are going into the replay machines.
We call our replay machines Red, Green, A, B, X, and Y. During home games, here are the respective tape machines, the cameras in each machine, and the responsibility of the camera operators when a home run threat is at the plate.
Red –Camera 4 (centerfield…follows the pitch from pitcher to catcher, follows the batter out of the box, waits for the tally light to go off, and then shag the ball.) Green – camera 3 (mid-first…tight batter to tight ball follow.) A - Camera 6 (tight centerfield… tight ball follow from the pitcher to the catcher and then stay with the batter around the bases. Tighten to the batter between bases, but make sure that we see the home run hitters’ feet touch each base.) B – Camera 1 (left field corner… tight ball follow or bring the batter out of the box and stop at the first base dugout which is the home teams’ dugout.) X – Camera 5 (low first…head to toe on the batter and, after he hits the ball, let him run out of the frame and push to the crowd) Y – Camera 7 (robotic on back stop)…tight swing or ball follow or Camera 2 (high home)…ball follow. In this particular game/telecast, the player hit homeruns in his first three at-bats. I tried to cover each home run differently, always including shots of the crowd going crazy because these shots really crank up the moment. A home run shot sequence may go something like this: ball flies over the fence, camera 6 starts wide with crowd in background and pushes to the homerun hitter rounding first base, Camera 5 goes to the pitcher and when the home run hitter comes into frame, picks him up as he runs to third base. As he rounds third and heads for home, this camera will push to a tight crowd shot. Camera 4 is wide showing the player crossing the plate with the crowd in the shot. Camera 5 picks up the player tight and brings him into the dugout. All this time, the talent is “laying out” (not talking) and the crowd noise is telling the story.
As I have stated, there is no moment in a baseball game that is more fun for the Director than cutting the home run. However, I think the most enjoyable moment of today’s telecast was not the first, second, or third home run. The most enjoyable moment was when this player came up in the seventh inning with a chance to hit his fourth home run. The anticipation of another blast energized the ballpark and the TV crew fed off this energy. We were ready.
Off the bat, the ball looked like it had enough to make it over the fence. The crowd roared in eager anticipation of a historic moment, but the left fielder caught the ball on the warning track.
Sometimes, preparing for a memorable moment can be just as gratifying as covering the moment as it occurs.

Tonight was a perfect opportunity to have a memorable telecast.
The game ended with the score 1 – 0 with the home team losing. The game came down to the bottom of the ninth with the best player in the game at the plate representing the winning run. Tight shots of this players face along with the pitcher with brisk cuts along with an energized crowd portrayed what could have been. The game could have ended with, arguably, the most exciting play in baseball – the walk-off home run. The batter hit into a force play and the game was over.
This final out typified our telecast.
There were many moments throughout the telecast where the home team had chances to score. The production team in the truck and the announcers in the booth were prepared to cover these chances, hoping to provide the viewer with a memorable telecast.
However, there was one moment in the telecast where I, the director, became too aggressive. I tried to capture the excitement of this particular moment and, in the process, I over cut and missed a pitch. When I took camera 4, (centerfield) the pitch had already been made and the ball had been hit. I went to camera 2 (high home) as the ball reached the shortstop.
A “rookie” mistake and it ticked me off.
There is no greater sin for a baseball director than to miss a pitch. It would be similar for a football director to miss the snap of the ball, a basketball director to miss an in-bounds pass, or a hockey director to miss a face-off.
Early in my career, I had the good fortune of working with one of the best Producers ever in our business. He taught me to forget about mistakes and keep going, because if a director dwells on that mistake, more mistakes will happen and they will, in turn, snow ball. Also, I was lucky to learn from one of the best Directors in sports television. He taught me how to be aggressive and when to be aggressive.
In this business, it is very important for all members of the crew to never make the same mistake twice. Be it a camera person, a tape person, audio, video, graphics, and even announcers, the ones that learn from their mistakes are the ones who are the most successful.
During a telecast, split second decisions are being made by every member of the production team. Mistakes do happen. There is no such thing as a “perfect” telecast.
That is the reason why, when we nail a moment, it is such a great feeling.
The Producer and the Director can not run camera better than the camera professionals, we can not mix audio better than the lead audio tech, we can not shade cameras better than video, we can not run replays better than the tape ops, and we can not run the Duet (graphics) better than that operator, but, good Producers and Directors are able to take the camera work, the audio, the video, the tape work, and graphics and mix it together to present the final pictures and sound to the viewer in the best way possible.
That is a Producer and Director’s responsibility.
A television sports production crew works as a team and there is not one member of that team that wants to let the team down. We work for and with each other.
I cannot wait to sit in the chair tomorrow.
Hopefully, I will not let the crew down and I will deliver.

1:54. One hour, fifty four minutes.
That was the time of the game.
When a game moves at such a brisk pace, it poses a unique situation in the television truck. Just as there is no telecast more difficult for the Producer than a quickly paced baseball game, there is no telecast easier for the Director.
A baseball game that moves quickly allows the Director to get into a flow and establish a rhythm. A fast paced game does not allow wasted shots that disrupt the flow of the show. The crew stays sharp and the shots are there.
It is another story for the Producer.
The game coverage responsibilities for the Producer, replays, graphics, music, etc., are all more enjoyable during a fast game. There is something about a good flow that the TV production team really appreciates. However, these responsibilities are not all the Producer has to be concerned with during the telecast.
The Producer must also make sure that the sponsored elements air on the telecast. These elements include: open billboards, 2 mid-billboards, close billboards, (billboards are for the advertisers the telecast is “brought to you by.”) 4 team related items, (upcoming promotional events) lineups, starting pitchers, defense, 9 TV network promos, this day in history, audience participation poll question, trivia question and answer, call to the bullpen, and more. You get the idea. The Producer understands the importance of these elements as they all help pay for the production of the telecast.
So now you have a well paced game, which means a well played game, which means plenty of replays. It is now the Producer’s responsibility to mix in the replays with the sponsored elements and maintain a good flow to the telecast. Remember, a Producer cannot control the pace of the game, but the Producer does control the pace of the telecast. I can say with certainty that our Producer worked harder on this telecast than any all season.
The pacing of the telecast matched the pace of the game. It was one of our better telecasts of the season.
In the Open, we talked about the team’s success on the current home stand. They won the game to continue this success.
Segment two dealt with the two starting pitchers. They both pitched well.
In segment three we showed a graphic of the “easiest remaining schedules” in baseball. This showed the second place team, in the same division as the first-place club we cover, having the easiest schedule of all teams. This stressed the importance of winning each game by the team we cover. They won the game 3 – 1.
During the game, we continually updated the pitch counts of each pitcher. The pitch count graphic includes ball and strikes and was an effective way to show how well each pitcher performed.
When a game of this pace concludes, everyone involved in the telecast can finally sit back and take a breath.
I am sure that the Producer was more wiped out than anyone.

A few hours before the telecast, the person who runs our graphics and I were talking about three different sponsored items on our show. These features are; the trivia question, this day in history, and the poll question in which the audience participates. We were trying to make these segments more interesting. It is not as easy as one may think when trying to come up with 153 trivia, “this date”, and poll questions throughout the season. We agreed that these three pieces should all have a tie in and, in the telecast, we did just that
There happened to be a player on the visiting team who, exactly one year ago, hit a grand slam homerun in his first major league at bat. The Producer happened to have video of the homerun which was presented during the telecast as a flashback. Our trivia question was, “Name the only two players to hit a grand slam in their first major league at-bat. Our “This Day in History” occurred in 1993 when Gary Gaetti, who had hit a homerun in his first major league at-bat years earlier, homered to become the all-time major league leader in home runs by players who had homered in their first ML at-bat. Our poll question was, “What is the most exciting play in baseball? A – Grand Slam B – Inside the Park Homerun C – Suicide Squeeze D –Bases Loaded Triple E – Other. The answer turned out to be A – Grand Slam.
So, we had a flashback, trivia question, “This Day in History, and the Poll question all tied in with the homerun. It worked well and we are going to continue, hopefully, with a theme for these items the rest of the season.
It was during the poll question that one of the funniest moments of our season occurred. When the play-by-play announcer finished reading the possible answers, the Producer said to both of the talent (announcers) in jest, “I think the most exciting play is the check swing.”
(We, in the TV truck, are able to talk to the talent and they are able to talk to us without their audio going out over the air. We talk to them with what is called the IFB and they talk to us, without going on the air, by pushing a “talk back” button located on the headset control box.)
On the first pitch after the Producer commented to the talent, there was a check swing by the batter. The timing could not have been written better in a Hollywood script. The talent started laughing, explained what was said to them in their headsets from the Producer, and demanded a replay. It was one of the lighter moments of the season and one of those moments that is really helpful to the production team because moments such as these help relax the crew. I think better decisions are made in a fast-paced, high-strung, live TV sports environment, when the crew is relaxed. Obviously, it is very important to remain focused on the job at hand when split second decisions are constantly being made. And, I believe, a relaxed atmosphere creates better focus.
The first segment of our Open detailed the starting pitching match-up. Both of the starters had pitched well of late.
The second segment dealt with the home team’s closer. If the theme of segment one played out, there would be a good chance that the closer would be an important factor in the game.
In the third segment, we showed a graphic which depicted the schedules for the next ten days of the first and second place teams in the division.
The game couldn’t have played out better. Each starting pitcher performed brilliantly, the home team closer saved the victory, and the home team picked up a half game on the idle second place club.
There was another memorable moment in the telecast as well.
In the bottom of the eighth inning with the home club down by a score of 2 – 1, a pinch hitter blasted a long home run on the first pitch he saw leading off the inning. This home run hitter is playing on a team where one of the coaches is his father. After showing three angles of his home run, we were shooting him in the dugout and the talent was talking about this young player playing on a team where his father was one of the coaches. The Producer then called for an additional replay. Our camera in the left field corner was shooting the left-handed batter in the batters box. The batter swung, hit the ball, and the camera followed him out of the box, up the first base line until the player’s father came into frame. This camera operator pushed to the coach/father for a wonderful reaction to the home run.
This focused camera operator, felt the moment, got the shot, and created a memory.