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.