The coordinating of the pre-game show, the game, and the post-game show requires the production team in the truck to be organized.
When a pre-game show is produced and directed out of the same mobile unit as the game, as is the case with our production, the Producer of the actual game and the Producer of the pre-game show must work in tandem as they pre-produce segments for each show. The sharing of crew and equipment for two different shows that originate from the same mobile unit on the same day requires that each Producer understands and respects the fact that each position has a job at hand.
Without a mutual respect and an understanding of each other’s needs, the sharing of equipment and crew could not and would not happen, and the quality of the pre-game show and the game telecast would suffer.
The theme of the game, the development of the theme during the game, and “wrapping up” of the theme at the conclusion of the game is the responsibility of the game Producer.
Pre-production for the game revolves around this theme.
The Producer will meet with the Director, audio, graphics, and tape with pre-production instructions concerning building of the elements necessary to capture the game “theme”.
The pre-game show on our telecast includes five segments.
The pre-game Producer arrives with the pre-game format that outlines the audio/video requirements necessary for the implementation of the pre-game plan.
Each segment incorporates the use of live shots, video game highlights, sound bites, and graphics to process the subject matter of the segment.
The Technical Director uses many different visual effects to attain a certain “look” for each show. (The pre-game show and the game-telecast each have a very different “look”)
The Duet (graphics machine) operator builds full-page and lower 1/3 graphics, “coming up” graphics, and all sponsored graphics for BOTH the pre-game show and the game.
The lead audio technician inserts highlight music, tracks the sound bites, and lays “highlight” or “theme” music over pertinent parts of every pre-produced element.
The lead tape operator and the other two tape ops in the truck build video packages requested by each Producer. The camera operators look for “live” batting practice/warm-up shots of players from each team.
At any time during pre-production, the tape room may be working on packages for both the pre-game show and the game, the Technical Director may be building a pre-game effect, the Duet operator may be loading game-specific information, and the A-1 (audio) may be simultaneously coordinating the audio requirements for the pre-game set and the announce booth that is used during the telecast. One camera operator may be looking for a shot for the pre-game show, while another camera operator is searching for a game “theme” related shot.
Certainly, production for the game takes precedence over the pre-game show production, but this fact makes the pre-game show no less important.
The most important facet that determines the success of the pre-production process is the organizational skill of each Producer. The more confidence a Producer has in his/her ability, the more organized a Producer will be.
Confidence = Organization = Quality
“This is what we are doing for the game tonight and here is how we are going to do it.”
“This is the plan for the pre-game show and this is what needs to be done.”

The comfort level of a sports TV production team is very important in assuring a quality telecast.
There are many aspects in a sports television production that must work in unison in order to deliver a quality product.
The Producer and the Director are the team that makes the ultimate decisions about what airs on the telecast. The closer these two positions interact as one entity on a telecast, the better the telecast will be.
Every single member of a Major League baseball telecast team has an equal value to the quality of the final product.
A typical St. Louis Cardinals home telecast, where the comfort level is at its highest during a baseball TV production, includes the following positions: (since each position is of equal importance, this list of crew is in no particular order)
A1 – main audio mixer
A2 – assist to A1
Video – shades cameras for video quality
Duet Operator – graphics
Phone Coordinator – communicates with coordinating studio (commercial inventory)
Elvis Operator – main video replay producer
2 Replay operators – in conjunction with Elvis operator
Score box operator – coordinates balls, strikes, runners, and promos on score box
7 camera operators
Stage Manager – works with announcers in booth
EIC (Engineer in Charge of Mobile Unit) – oversees all truck components
Utility – pulls cable for hand held camera and assists camera operators
Producer
Director
As we have experienced this season, if one part of this “team” breaks down, the whole telecast suffers. I believe our home telecast group at Busch Stadium really understands the importance of teamwork during a telecast.
This belief was confirmed yesterday.
A regular member of our telecast team approached me with some ideas about the use of his camera during the telecast. This valuable member of our team was actually thinking about his camera position while we were on the road! After the experience with the apathetic crew on the last road trip, it was so refreshing to hear that a member of our team was thinking about improving the quality of the telecast when he wasn’t even working! During the telecast, this camera operator implemented his ideas into his position and the results were terrific. The shots from this camera provided some unique insight into the “ballpark experience” and added value to our telecast.
Sports TV production teams that continually throw around ideas about the production are the telecast teams with the highest quality productions.
It is comforting to be part of such a team.

Today is Monday, April 23, 2007.
Our TV production team is enjoying an off-day as we prepare for a 3-game home series with the Cincinnati Reds. I did not blog after our Thursday telecast from San Francisco because I planned on blogging after our Friday day-game telecast from Wrigley field in Chicago.
After the disappointing experience of Friday's telecast, I decided to wait until after the game on Sunday. Friday's telecast certainly had to be an aberration - televising from Wrigley Field is one of the most rewarding experiences of our profession. Well, even though the games were totally different, the telecasts were similar. Sunday's telecast was as disappointing as Friday's telecast. Because of this, I waited until today to blog.
I was looking forward to the four telecasts on the road trip. I was excited about the first two shows from San Francisco because of the great crew and the final two telecasts were from Wrigley Field – my favorite venue in the National League.
The Thursday telecast from San Francisco was another example of great teamwork from the telecast crew. As previously stated, the crew in San Francisco is very talented and a pleasure to work with. One gets the feeling that this crew loves working in live television baseball and this passion truly comes across with the product they deliver.
My anticipation of working with the crew in San Francisco was rewarded as the two telecasts, even though they were dual feed shows, were a pleasure to be a part of.
I have always loved everything about Wrigley Field. There is such a great atmosphere because of the Cubs/Cardinals rivalry. The ballpark is always full of raucous fans and the games are usually hard fought affairs. The most exciting aspect of a Cubs/Cardinals game in Chicago is the fact that the players, the fans, and the TV crew never know what type of game will occur at Wrigley Field.
The two games that we televised were perfect examples of this.
The first game on Friday afternoon was a nail-biting, well-pitched, 2-1 contest. Four plays occurred in this game that showed how weird games at Wrigley field can be.
Each of these plays centered on a Cubs player and each play was important to the outcome of the game.
In the bottom of the first inning, a Cubs player was on second base with no outs. A ground ball was hit to the Cardinals’ first baseman and the runner, for whatever reason, did not advance to third base. Later in the inning, this same base runner, now at third base with one out, tried to score on a ground ball to the first baseman who was playing in. He was thrown out and he did not even slide into home plate.
A couple of innings later, the Cubs had a runner on first with no outs. There was a ground ball hit to the shortstop, he flipped the ball to the second baseman for what looked like a sure double play. The second baseman’s throw to first base was up the line and the first baseman missed the base runner with a sweep tag. The runner, trying to avoid the tag, missed the first base bag, turned the wrong way (towards second base) and was tagged out by the first baseman for a double play.
These were certainly strange base running plays for any baseball park. But at Wrigley Field, two of the weirdest plays one could ever see were about to occur.
Later in the game, the Cubs were threatening with runners on first base and second base and nobody out. The Cubs were leading 1-0 and were threatening to blow the game wide open. The batter, attempting to sacrifice bunt, bunted the ball straight up in the air about seven feet high. The Cardinals’ catcher, attempting to catch the ball in the air, wrapped his arms completely around the batter’s neck. The ball fell to the ground, the catcher picked up the ball, tagged the batter, threw to the second baseman who stepped on the bag, threw to the third baseman who tagged the runner coming from second base. The umpires were signaling with the “out” calls at each respective base, and it seemed like there was a triple play. The Cardinals were running off the field and the manager of the Cubs was running on the field to argue the call. The umpires conferred and determined that the player who bunted the ball was out by interfering with the catcher and the runners returned to first and second base. The next two batters made outs and the Cubs did not score.
(In the top of the seventh inning, a Cardinals player hit a two-run home run and the Redbirds led 2-1.)
Wrigley Field was not done with this “theater of the strange.”
The bottom of the ninth inning was the Cubs last chance to tie the score or win the game. There was a runner on first base with one out. This base runner is one of the fastest players in the major leagues. There was a 3-2 count on the batter. With the pitch, the base runner took off towards second base. The pitch was a ball and the batter was rewarded with a “walk”.
Two things now occurred that prove that the adage “only at Wrigley” is true. The catcher, not knowing if the pitch was a ball or a strike, threw to second base. The base runner, not knowing that it was ball four thus giving him second base, slid into the base, touched the base, and slid off the bag only to be tagged out by the shortstop. The opposing manager argued to no avail and the Cardinals won the game.
Sunday’s game at Wrigley was a typical Wrigley game with the wind blowing out. The game ended with the Cardinals winning 12-9 in ten innings. There were six home runs and a wind blown pop fly that resulted in Chicago tying the game in the bottom of the ninth. The Cardinals won the game on a three run “bomb” in the top of the tenth.
These were two very different games and two very exciting games. These games were two contests that are typical baseball at Wrigley Field – where one never knows what type of game will be played.
The “aura” of Wrigley Field was never more apparent.
Why, then, was the local Chicago TV crew so apathetic?
This crew covers the greatest sport in the world in the sport’s greatest venue.
Major League Baseball at Wrigley Field!
Too bad we didn’t have the San Francisco crew with us.

Tonight’s telecast was the first of a two-game series in San Francisco.
It is a pleasure televising from San Francisco because the crew is arguably the best crew for a road telecast in the National League.
Because we were in a dual feed situation, we were allotted three cameras, two replay machines and a two-channel Elvis.
The three cameras were located in tight centerfield (cam #6), mid-first base (cam #3), and low-first base (cam #5). Camera 5 also doubled as the pre-game show camera and the post-game show camera where it moved to the booth. Camera 5 was a handheld camera with a small lens so its game responsibilities were limited to the pitcher, batter, and first base pick-off. Camera 3 and camera 6 each had huge lenses and the operators were top- notch. They followed their responsibilities when appropriate, worked hard to find shots, and their game coverage was superb.
The game action was exciting and included a home runs and a play at the plate. The replay sequences of the home runs and the play at the plate were some of the best replays we have had all season. The ball-follow shots on the home runs were great and our angles on the bang-bang play at the plate clearly showed the runner to be safe.
I think the best moment on the telecast dealt with a situation that does not make the air very often.
The starting pitcher for the Giants was having trouble controlling his curve ball for most of the game. In the truck later in the game, we noticed that he was continually shaking off the curve ball sign from the catcher. The viewer at home and our announcers in the booth do not have the luxury of seeing all the cameras at the same time like we do in the truck. The viewer and the announcers can only see what is “on-line”. (The video that is going out over- the-air) So, while the shot going out over-the-air may be of the batter, or the pitcher, or a manager, the crew in the truck can see every camera.
The Producer and the Director in the truck can communicate with the announcers in their head sets without the audio going out over the air. We alerted the announcers of the fact that the pitcher was continually shaking off the curve ball. There was a tight shot of the pitcher on the mound and our play by play man, following our cue, stated to the audience this fact about the pitcher. I took a tight shot of the catcher giving the signs and, sure enough, the catcher put down two fingers (curve ball). The pitcher shook off the sign and went with another pitch. Our analyst, a former big-league pitcher, talked about the different reasons why a pitcher may lose confidence in a certain pitch. Once again our shot sequence was of the pitcher, to the catcher giving signs, to the pitcher shaking off the curve ball.
This moment in the telecast was an excellent example of the crew in the truck communicating with the announcers in the booth and, through this teamwork, providing an interesting story line to the telecast.
Home runs and plays at the plate are always exciting.
Teamwork from the whole baseball TV crew will provide interesting moments that are just as valuable as the exciting moments.

One of the most important factors in the success of a Major League sports telecast is the relationship between the team and the broadcast entity.
The quality of our 2007 baseball telecasts has improved greatly because of the incorporation of our roving handheld camera into the show.
The St. Louis Cardinals Baseball Club understands the value of this camera to our production and has been whole heartedly cooperative in its implementation. Our TV production staff and the Cardinals have a valuable relationship, a relationship built on trust that allows our TV team some freedoms that are not allowed other broadcasts. The St. Louis Cardinals trust us as we enhance the product and we work hard to assure that trust.
A prime example of this “teamwork” is the use of our handheld camera into the telecast.
Using this roving camera in a telecast takes a bit of preparation. Because this camera is not an RF (radio frequency) camera, this camera has to be cabled. This is a concern for both the team and the TV production staff as having a cabled camera in the crowd could create a situation where, for example, a fan may trip on the cable. To caution against this, the Cardinals authorized the hiring of an extra utility person to pull the cable thus protecting against any adverse situation. It is because of the cabled camera that I believe other baseball clubs do not allow for the usage of this type of camera.
We use two different drops for this camera during each telecast. The locations that we have utilized thus far during our home telecasts have included the following areas: left field pavilion, right field stands, mid-first base and mid-third base, upper deck right field concourse, a main entrance gate and its concourse, and both upper decks above first base and third base.
The first drop that we utilized for Monday night’s telecast and for yesterday’s show was an area we had not utilized up to this point of the season. This position is located in the first row behind home plate, just to the left (as you are facing the field) of the backstop netting. This “look” is quite unique and really gives the telecast an intimate feel that captures the “flavor” of the ballpark experience perhaps better than any other location.
This location is so unique that I often find myself wondering if I am using the shot too much.
The feedback we have received concerning the usage of this camera has all been positive. The Cardinals enjoy the fact that different locations in the ballpark are being shown and recognize the fact that these camera shots really capture the ballpark experience.
This roving handheld camera really adds value to our telecast.
The valuable relationship between the St. Louis Cardinals and its TV production team is the main reason for the success of our telecasts.

One of the most enjoyable aspects of this profession is witnessing a great piece of work by a member of the crew.
A Producer may develop a storyline and enhance that theme with a wonderful mix of audio and video that will summon an impressive, emotional response.
A Director may increase the value of a shot sequence using tight shots and quick cuts to heighten the intensity of the situation.
A tape operator may edit an exciting video sequence that tells a great story in pictures. An audio engineer may capture a particular “sound of the game” that will enhance the video and create a memorable moment.
The use of insightful graphics from the operator will definitely help increase the importance of a game situation.
The score box operator, through the use of pitch count or pitch speed drop-downs will certainly add importance to a game situation.
Indeed, every member of the baseball TV crew, with maximum effort, can enhance the viewing experience.
Perhaps there is no position on a Major League baseball television crew that will have more opportunities to create a memory than the camera operator.
Each camera operator will have specific camera responsibilities. There are batter responsibilities, there are runner responsibilities, pitcher responsibilities, “follow the ball” responsibilities, and iso responsibilities (iso means find the subject of the shot and stay with it – isolate it)
The dependability of the camera operator is the single most important factor in establishing what every TV baseball Director strives for – a good flow to the show.
While it is true that every camera position has its own particular responsibility, I believe that the most important responsibility for every camera operator is to “GET THE BEST SHOT.”
The best camera operators in the country all have a special “feel” for their position. A baseball camera operator will rarely say, “I am a TV baseball camera operator”. A TV baseball camera operator will say, “I run the centerfield camera”, or “the first-base dugout camera”, or “the high home camera”, etc.) A TV baseball camera operator will always tell you which camera he or she runs. Each TV baseball camera position, being in a different location, has different responsibilities, and thus, will require a “different” type of camera operation. There is a different “feel” to be found at each position.
During last night’s telecast, the members of our crew and our viewing audience witnessed not one but two examples of a camera operator “feeling” his position and capturing a memory.
Our centerfield camera operator, by feeling the moment, captured two fantastic shots that will go down as two of the best memorable shots of the year.
Responsibilities for the centerfield camera (camera 4) are:
Follow the pitch with the pitcher, batter, catcher, and umpire in the shot.
When the ball is hit, follow the batter out of the box, wait for your tally light to go off, (the tally light is a red light in the viewfinder that alerts the camera operator that the shot is “on the air’) and then shag (follow) the ball.
If the ball is hit up the middle, immediately shag the ball.
(There are also framing responsibilities with the centerfield camera operator which may be the subject of a future blog)
The first memory occurred late in the game. The centerfield camera operator was shooting a pitch. The ball was lined directly back at the pitcher just missing his head. The camera operator, instead of following his usual camera responsibility of following the ball hit up the middle, stayed with the pitcher. The hard hit ball came so close to the pitcher’s head during his follow through that he crashed to the ground like he had been shot.
The final out of the game was another great example of a camera operator “feeling” a shot. Again, it was our centerfield camera operator who came through with the memorable shot.
The score was 3-2
The bases were loaded.
There were two outs.
A star player for the Cardinals was at the plate.
The Pirates’ “closer” was on the mound.
Our graphics operator called up a statistic that showed the batter with a great deal of success against the pitcher.
The pitch was thrown, the ball was popped up to the third baseman, and the game was over.
The centerfield camera operator, instead of following his “usual” responsibility of following the batter out of the batter’s box, stayed with the pitcher.
When the final out was made and the game was over, this pitcher’s emotional reaction was perfectly covered by our alert centerfield camera operator.
This wonderful player reaction and the reaction of our centerfield camera operator on the ball smashed back at the pitcher were great shots that told a story by the video alone.
These memorable shots were only achieved because one of our fellow crew members “felt” the moment and captured it.

The 153 games we televise this season include 21 games that are over-the-air. The over-the –air telecasts are a totally different animal than the 132 games we televise on the cable network.
Apart from a different play by play announcer and a different color analyst, the two main differences between the two telecast outlets are: 1 - the pre-game show originates from a studio during the over-the-air telecasts, while the pre-game show for the cable outlet originates from the truck. 2 – Commercials for the cable outlet originate from a coordinating studio in Houston while the network commercials (about two-thirds of the commercial inventory) run from the truck during the over-the-air telecasts.
Sunday’s show was the first regular season telecast for the over-the-air package. Because of the different format (commercials from the truck), it was nice to have two spring training telecasts for this outlet. These two telecasts gave the crew in the truck a good feel for the over-the-air show.
Sunday’s game was one of those contests that are a blast to be a part of. The Cardinals exploded for a 10-2 victory earning their first home win of the season. This game included a two-home run game from one of the stars of the club and also a 4-hit with one home run from one of the teams’ up and comers.
As stated in previous blogs, the home run is the most enjoyable play in a game for the TV crew to cover. The pleasure of covering a home run is accentuated when the ball is hit by a player on the home team. I believe that every baseball TV Director enjoys cutting live camera shots during a home run trot more than any other shot sequence in a game. I also believe that Producers enjoy calling replay sequences for a home run more than any other play in a game.
So, for the first regular season telecast on our over-the-air station, our TV production team in the truck experienced the pleasure of cutting/replaying not only one home run but three home runs.
Enhancing the value of the video quality was the fact that the weather was beautiful. Our video engineer shaded the cameras perfectly and the High Definition (HD) telecast was absolutely gorgeous.
A decisive victory for the home team, covering three home runs for the TV crew, and beautiful pictures for the viewers at home – a win, win, win situation all the way around.

The anticipated telecast with a full complement of equipment and the home crew was delayed a day as we were rained out on Friday night.
The wait was well worth it.
Working a home telecast is a treat. There was a problem with one of the cameras, but truly, there is "no place like home". If only I would have held up my side of the bargain.
The Saturday telecast was a good example of the game following the pre-conceived “script” of our open.
The main theme of our open segment concerned the starting pitcher of the visiting Milwaukee Brewers. This hurler was a very important component to the 2006 World Champion Cardinals’ club. He was the MVP of the 2006 NL Championship Series and he also pitched great in the World Series.
On Friday night, before the game was postponed, there was a pre-game ceremony in which this player was presented with his World Series ring. The scene of this former Cardinal receiving his ring while his former teammates were on the field applauding was a very touching and telling piece of video.
We could not have aired a more compelling example defining the theme of our telecast. And, following our “script”, this pitcher pitched great and picked up the win.
Usually, our game theme surrounds one of the St. Louis Cardinals, but there are instances when the theme of the show will concern another variable. These variables may include a certain Hall of Fame player competing in the contest, a historical event, or even a previous encounter between the two teams.
The Producer plans the theme of the show. We televise 153 games throughout the season, and it takes a talented person to come up with interesting “twists” each and every telecast. Once the theme of the show is developed, the key for the Producer is to revisit the theme throughout the telecast.
Saturday night’s telecast was a good example of useful techniques utilized to revisit the theme.
We used flashbacks (ring ceremony and 2006 World Series), a sound bite from the Brewers’ pitcher (he talked about returning to face his former club), and game specific video packages (capturing the quality pitching performance).
Once again, we made use of our roving hand held camera to capture the flavor of the ballpark. Our Play by Play announcer and our Color Analyst occasionally played up this camera when it was on the air and, I believe, their involvement really enhanced the “experience at the ballpark” that this unique camera was trying to capture.
During the telecast, we aired an excellent pitch-by-pitch replay that portrayed the importance of changing speeds AND the value of using both sides of the plate.
There was an enlightening piece of live video that summed up the frustration of one of the star players in the game.
Indeed, there were some excellent “moments” in the show.
However, early in the telecast, I found myself being way too aggressive. I was cutting too much and I made some really poor decisions. I felt like I was directing baseball for the first time and it ticked me off.
Every TV baseball Director makes mistakes in every telecast.
When a Director gets upset, concentration is lost and mistakes snowball.
Good Directors do not get upset.
I was not very good tonight.

Six cameras, a two-channel Elvis (replay machine) and 4 replay play backs, and a great crew to work with.
And, we are on the road!
It is so nice to have a full road complement of equipment with a hard working and fun crew. Our TV production was pumped up for the telecast. It would be ideal if the game would only cooperate and give us a well-played, well-pitched, great flowing, exciting contest.
It did.
With rain threatening at any moment, the Cardinals won the game 3-2 with a pinch-hit solo home run in the top of the ninth inning!
The replays for the game winning home run included the usual looks; the pitch, the swing, and the ball going over the fence. But, because of our full complement of equipment, there was a dugout iso of the Cardinals reacting to the home run by their teammate. A memorable “look” that was certainly talked about after the telecast and, in fact, shown on the highlights of sports shows.
When a TV baseball Director is cutting a game, framing is of the utmost importance towards the ultimate quality of the show. There are two instances that the Director takes into account concerning framing. Framing the shot and framing a graphic in the shot. The fact that baseball is the only sports that is a 360 degree game – cameras can cover the contest from anywhere in the ballpark – makes framing not only more efficient to do, but also more important. (Unlike football, basketball, and hockey which are 180 degree sports – all cameras must be on the same side of the playing surface which makes proper framing a bit more difficult to attain.)
In my opinion, the best shot of a player is the straight-on shot. This is the shot that looks directly into the face of the player. The two most common shots that cover the individual player in a baseball game are the pitcher shot and the batter shot.
The most effective shots of these participants are from the camera angle that best covers the player head-on.
The best shot of the pitcher who is pitching from the windup is a shot from behind home plate. Unfortunately, most ballparks do not offer this location. Therefore, it is important to have at least one of the dugout cameras on the home plate side of the dugout. This location will give the Director as close to a straight-on shot as possible.
Likewise, the best shots of the batter are the ones from the tight centerfield camera.
We, however, are not utilizing the tight centerfield camera in our home telecasts this season, so we use the first base dugout camera for our right-handed batter shot. For our home games, we do not have a camera located in the third base visitor’s dugout, so we use the left field corner camera for the left-handed batter shots. For the home telecasts, I also utilize a mid-third base camera that is able to shoot quality pitcher shots and a good left-handed batter shot.
If there is a “weakness” in the camera location for our home telecasts, it is the fact that the camera that gives the best quality shot of both the right-handed batter and a left-handed pitcher in the stretch is the low-first base camera. The mid-third base camera will give me an adequate shot of a left-handed pitcher in the stretch, but the low-first base camera is a better shot. I must decide which shot takes priority in an exciting game situation. The framing of the shot can either add to the situation or take away from the situation.
A Director must be flexible when issuing responsibilities to the camera operators. The primary responsibility of a camera operator is to provide the best shot possible in a given situation. Sometimes camera operators are so “locked in” to their shot responsibilities that they miss a better shot or a better “look”. While it is true that the low-first base camera provides an excellent shot of a right-handed batter, and the low-third base camera does the same with a left-handed batter, either of those two cameras could give the best shot of the pitcher.
There are too many instances where I see a shot of the back of the head of a pitcher in the stretch which, I believe, is a horrible shot.
For example, when there is a right-handed pitcher in the stretch and a left-handed batter at the plate, I often see the low-third base camera on the batter even though that camera provides the best shot of the pitcher. Meanwhile, the low-first base camera is on the pitcher even though that angle shows the back of the head of the pitcher.
The low-first base camera will NEVER shoot a left-handed batter because that shot is from the back of the player. So why is it ok for the low-first base camera to shoot the back of a right-handed pitcher in the stretch? They are the same shots!
This is an example of the philosophy that any shot is better than no shot. It is philosophy the breed’s laziness and a philosophy that, in my opinion, is crap.
When there is a full complement of equipment to work with (covering the 360 degrees), graphics can be framed with the best possible “look”. For example, if the pitcher’s graphic is a slab left, the best framing would be the pitcher on the right side of the screen. With a full camera complement, this is possible. When a TV production team is on the back end of a dual feed, this is not always possible. Yes, the graphic (usually sold) will air, but the framing may not present the best “look” available.
When we are in the back-end of a dual feed, I try to place a camera on the first base side, on the third base side, and in tight-centerfield. This coverage is as close as we can get to the 360 degrees that television baseball provides, which allows us to frame shots and graphics as good as we can.
This weekend begins a five game set at home.
Our telecasts will include a full complement of equipment with our great home crew.
It doesn’t get any better than that.

Last night’s game was an example of a game that baseball TV production teams enjoy televising.
There was a nice flow to the game throughout. The visiting Cardinals tied the game in the top of the ninth inning and won the game in the 12th inning.
The game was well-pitched, there was a home run, and there was a bang-bang play at the plate that resulted in the winning run scoring. The replays on the play at the plate were excellent. Our replay sequence went from the throw by the outfielder to the runner sliding into home plate to a tight shot of the ball falling out of the catcher’s glove.
We were taking the back end of a dual feed so I utilized the centerfield camera (# 4) and the high home camera (#2) from the Pittsburgh feed. The three cameras that I controlled were located at mid-first base (camera 3), low first base (camera 5), and tight center field (camera 6).
The combination of the brisk flow of the game and the excellent work by the camera operators on our telecast made for a very nice telecast. These operators worked hard to find shots and did not waste any time in delivering these shots. So, not only was there a good flow to the game, the telecast had a nice flow as well.
Until the ninth inning that is.
Before the top of the ninth inning began, I released the low first base camera operator to go to the booth with his hand held camera that he used in the dugout. The score at the time was 2-0 in favor of the home team Pittsburgh Pirates. There is a post-game show on the network and a camera must be in the booth for the announcers’ on-camera segment.
This segment begins 2 minutes and 30 seconds after throw to the final break so there must be a camera in the booth and ready to go.
The Cardinals tied the game in the top of the ninth and won the game in the twelfth inning.
So for the ninth, tenth, eleventh, and twelfth innings I was only able to utilize my two cameras, which were located at mid-first base and tight centerfield, into the telecast with the two other cameras (high home and centerfield) from the primary feed.
These two camera operators worked even harder to “get the shot’, and even though the telecast may have lost some of the earlier flow, the last four innings had a fairly good pace.
We are the only TV feed out of the ballpark tomorrow and I am looking forward to doing a telecast with a full compliment of equipment. The Pittsburgh crew that works the visiting side of the telecast is a pleasure to work with.
We will have a full complement of cameras and tape machines and a crew that does a great job.
I am excited for tomorrow’s telecast.

My last two blogs have illustrated the importance that each individual crew member plays on a telecast. Just as a poor performance by a member of the telecast team brings the quality of the whole production down, the stellar execution of an individual on the telecast team raises the value of a TV baseball production.
Certainly, the quality of the Major League TV broadcast teams varies from city to city. While it is a pleasure to telecast from San Francisco (great crew), the possibility of a good telecast from Florida (year in and year out – a weak crew) proves to be challenging.
Being in the National League’s Central Division where our baseball TV team telecasts the majority of our games, I can honestly say, without disparaging the rest of the Division’s baseball TV crews, the dual-side crew in Pittsburgh is a real pleasure to work with.
Working the back-end of a dual feed can be very challenging.
When a TV baseball production team is on the back end of a dual feed, they only control three cameras of the 7 -10 cameras (depending on the city).
The three camera operators on our telecast Monday afternoon in Pittsburgh were fantastic. They were given their responsibilities and they performed these responsibilities to a tee.
My philosophy concerning a telecast of a Major League baseball game, as a back end of a dual feed, is thus: I am given three cameras with the option of utilizing any of the cameras of the primary (home telecast) feed. Because there are only two cameras in a Major League baseball TV production that have responsibilities that will work for any feed of a particular game – high home camera and centerfield camera – these two cameras are the only cameras from the primary feed that I put into our switcher to utilize during our telecast.
The responsibility of the high home camera in a baseball telecast is, basically, follow the ball. I prefer that, on a routine groundball out, the high home camera go to the first base umpire for the out call – do not go to the batter running up the first base line after making an out. My reasoning being that this player just made an out – he lost – so my immediate shot after the out is a shot of the pitcher – he won.
Baseball contains more one on one confrontation than any other sport.
I believe that the “winner” of these battles should be the emphasis of the shots a Director takes in covering the event that just occurred.
I tell my camera operators to shoot the player who “won” the battle.
I want a positive telecast.
Show me the pitcher who just got the batter out.
Show me the batter who just got the hit.
Shoot the player who just made a great defensive play.
SHOW ME THE PLAYER WHO JUST WON THE BATTLE!
Do not show me the player who just struck out as he walks to the dugout.
Do not show me the batter running up the first base line after grounding out.
DO NOT SHOOT THE PLAYER WHO JUST LOST THE BATTLE!
The St. Louis Cardinals baseball fan is no different from the Detroit Tigers fan who is no different from the Philadelphia Phillies fan who is no different from the Toronto Blue Jays fan who is no different from the San Diego Padres fan who is no different from the Seattle Mariners fan.
They are all BASEBALL fans.
Yes, they want to see their team win the game, but more importantly, they want to see the individual winner of each and every battle of the game.
True baseball fans appreciate a good play, respect a baseball athletic achievement, and appreciate an accomplishment on the baseball diamond.
That’s why baseball is the greatest game in the world: there are more opportunities for “winners” during a game than any other sport.
All sports fans love winners.
No Major League sport offers more opportunities for a winner than baseball.
Each pitcher/batter confrontation produces a winner.
Every single pitch in a baseball game could produce a winner and a loser.
If every baseball telecast team covered the game in a positive manner, every telecast would be successful.
SHOW WHO WON!
SHOW THE WINNERS!
Luckily, here in Pittsburgh, the camera operators realize the value of good play on the baseball diamond.

Every person likes to be recognized for their work.
This is true in every profession.
One of the greatest video tape sequences I have ever seen occurred during our telecast today. Early in the game, one of the members of the opposing team was interacting with the catcher on the Cardinals in the batters box while preparing to face the pitcher. Later in the at-bat, this player reached first base.
At this point in the telecast, our talent (announcers) remarked that “for a big man, this player had a remarkable stolen base percentage. Our graphics operator backed up this statement with an insightful graphic showing the career stolen base vs. attempts during the career of this player.
Right on cue, this player attempted to steal second base and was thrown out by the catcher. As the player was jogging off the field he smiled at the catcher who, in response, smiled back. The shot of the player who attempted to steal second base smiling at the catcher was on the air live. By the time I cut to the catcher he had stopped smiling at the opponent he had just thrown out.
Later, when we were in commercial break after the inning ended, our lead tape operator “sold” to the Producer a tape package of the exchange between the two players, the attempted stolen base, and the interaction after the play between the two ballplayers.
The sequence was absolutely perfect and showed the following:
The opposing player, while at the plate was conversing with the Cardinals’ catcher. I believe this shot was live but the value of this verbal exchange was not, at that time, realized.
Then, after the opposing player reached first base, our lead tape operator had video of the opposing player looking at the catcher and basically telling the catcher he was stealing. This video was great because it was not seen live by our audience.
The third segment to this outstanding video compilation was the actual attempted steal where the opposing player was thrown out by a mile.
The final piece of this segment showed the catcher and the other player looking at each other and smiling.
It is the goal and hope of every TV baseball telecast team to capture unique and memorable moments on every show.
Today, our team nailed one of those memorable moments.
This video segment was the combination of our lead tape operator’s skill at capturing moments not usually seen and creating a story out of that moment.
This will certainly be one of the most memorable moments we will have on our telecasts this season.
Nice going, Brian.

Each member of a TV baseball telecast team contributes to the overall quality of the telecast.
The Producer oversees the whole show. The Producer’s responsibilities include game coverage - replays, sound bites and graphics and, equally important, the incorporation of “sold” elements into the telecast. The proper distribution of these “sold” features into the game coverage without distracting from the game is a technique that takes years of TV experience to master. The Producer is constantly thinking ahead during a telecast. This planning requires the Producer to be very organized.
While the Producer is dealing with the future of the show by thinking and planning an inning or two or even three innings ahead, the Director deals with the “now” of the show. It is the Director’s final call that puts the product on the air for the viewer to see.
The rest of the crew on a major league baseball telecast usually includes the following positions: technical director, audio, A2 (audio assistant), video, graphics, stats person, 3 or 4 tape operators, 3 to 9 camera operators, stage manager, utility, EIC (engineer in charge of the mobile unit), phone coordinator, play by play announcer, and color analyst.
Each of these positions has a particular responsibility during a telecast. No position is more important than any other position on a telecast. If one of the positions does not fulfill the respective responsibility of that position, the telecast suffers. There really is no such thing as a “perfect” telecast because mistakes are made on every show, but it is the teamwork of the crew on a telecast that defines the quality of the show. Every member of the telecast team works hard to provide a quality production that enhances the enjoyment and entertainment of the viewer.
One of the unwritten rules of this profession is to “never make the same mistake twice.” Certainly, every quality baseball TV production person in this business adheres to this rule. Following this credo is the best way for any TV broadcast professional to improve. I believe the members of our particular crew all follow this guide, learn something from every telecast, and get better each time we televise a Cardinals’ baseball game.
However, many members of the baseball TV production family do not care to improve, do not try to be better, and are only “picking up a paycheck”.
I believe this is more relevant today in this business than ever before. The TV baseball crews around the country are not nearly as good as they were even five years ago. Yes, there are the seasoned, grizzled vets in every Major League baseball town that can be relied on, but, more and more of the live baseball TV techs just don’t get it or just do not want to get it.
A perfect example of this type of crew member was brought to the forefront during last night’s telecast. This person continually messed up the responsibility of the position. The glaring mistakes weakened the telecast and caused frustration in the truck and in the booth.
Our Producer made adjustments on the fly to lessen the chance of a mistake being made, but that did not stop other members of the crew from “holding their breath” each time this crew member was involved in the telecast.
Televising Major League baseball is a blast, especially when there is a “flow to the show”. However, the telecasts of well played, well pitched, and well paced games – games that have that “flow” - will be affected when a member of the televising crew does not do the job required of the position.
Last night, every member but one of our telecast team performed their duties in an excellent manner.
The sub par performance by the other member of our crew created a telecast that was average at best.
As a team, we all take responsibility for that.

First road telecast of the year.
Cardinals at Astros.
Great rivalries make great television.
This telecast featured one of the biggest rivalries in all of baseball. The Cardinals and the Astros have basically owned the NL Central Division this century. The games, be it April or September, are usually tight, hard fought contests. These are the games that each baseball TV production team looks forward to televising.
Although the Cardinals and the Astros have each only played three games this season, and each club has failed to win a game, this rivalry ignites the TV production teams because these games usually evoke some kind of memory.
This game was no different.
The Cardinals came through with a 1-2-3 double play on a suicide squeeze.
The Cardinals’ pitcher bare-handed the bunt, flipped to the catcher, the catcher tagged the runner from third base, turned 360 degrees and fired to first base to complete the double play.
The Cardinals’ manager – third on Major League baseball’s all-time list for wins - said he had “never seen this play before”.
It was truly one of the best plays any baseball fan could ever see.
Unfortunately, for the Cardinals viewer at home and for our production team in the truck, this rare, fantastic play was not covered as completely as it could have been covered. Being that the Cardinals and Houston belong to the same network television family, the visiting telecast (Cardinals) share most of the cameras in the telecast. Indeed, the Cardinals’ telecast controls only three cameras with the other eight cameras being controlled by the Houston TV production team.
We are in the back end of a “dual feed”.
The “dual feed” is cost saving measure utilized by the network.
Rather than have the cost of 12, 13, 14, or even 15 cameras on two telecasts, the dual feed scenario incorporates 9, 10, or 11 cameras into the telecast. The idea being that when the ball is in play, all Directors “cut” the action the same way. So, since each Director “cuts” game action the same way – cameras can be eliminated. While, in essence, this may be true – the ball is in play and the Director goes to the high home camera (camera 2 - which follows the ball), cutting to the runner or runners (cameras 1 or 5 – depending on Director preference) as they approach each base and then ending up with the player who hit the ball.
Certainly, every baseball Director follows the ball with Camera 2, but not every Director cuts in runners the same. Runner shots are a matter of preference and, in some instances, a matter of experience. Regardless, it is each individual Director’s “cut” of the game up to the action that “sets up”, creates, and enhances the value of the shots during and after a “play of the game”.
Certainly, as the TV Director of Cardinals’ baseball, this unbelievably fantastic play would have, most certainly, been set-up with shots prior to the actual live play, immediate shots that would have enhanced this wonderful accomplishment and post-play shots that would have covered the magnitude of this athletic endeavor.
I also know that the Producer of Cardinals’ baseball would have shown more than the two angles shown during this telecast and these angles would have been shown in a most effective sequence
The Houston feed of the game covered the 1-2-3 squeeze play double play as good as could be covered by a production team on the wrong end of the double play. Unfortunately, our Cardinals’ TV production team, because of the dual situation, did not and could not cover this rare, fantastic play as good as we could have.
Certainly, if this were a home game and we were in charge of the maximum amount of cameras and tape machines, this play would have elicited the proper amount of replay camera angles that a play of this magnitude warranted.
The St. Louis Cardinals’ TV production team is well aware of the cost of televising this wonderful baseball product.
It begs the question:
What does the cost of televising this wonderful product cost this wonderful product?

Our second regular season telecast of 2007 featured one of the worst games we will televise all season.
The Cardinals lost the game 10-0 and were out-hit by the margin of 12-2. To make matters worse, they were swept in the first series of the year.
All baseball fans appreciate talented plays that warrant a “highlight”, but most fans welcome these highlights if a member of their favorite club is the recipient of the video accolade. Last night’s telecast featured many highlights from the visiting NY Mets ball club while the play of the Cardinals did not include many memorable results.
All baseball TV production teams like to showcase the team they represent and it is very gratifying when a “memory” happens and the TV team nails it.
When the game features more “lowlights” than “highlights”, there are other methods that can be used to keep the viewer (and even the production team in the truck) enthused or at least entertained.
We receive our most positive feedback from non-game related coverage when we air flashbacks. Seeing footage from years past, the older the better, seems to invigorate our audience. There have been many instances where family, friends, and neighbors have told me how much they enjoyed that old footage.
“Where did you find that Musial footage?”
“I loved that Babe Ruth video.”
“There was never a greater competitor than Gibson.”
These flashbacks provide some excellent quality programming. I believe that one of the reasons that our particular TV production crew works so well as a team is that we are all fans. Flashbacks are a blast for our crew in the truck to produce because we all enjoy that footage as much as any baseball fan.
The roving handheld camera that we are incorporating into our telecasts this season is another invaluable tool to use when the game is not the quality type of game that we all hope for when we go to air.
Last night, we integrated the roving handheld more than we would have if the game was closely contested or there were more Cardinals’ highlights. This camera, as stated in the previous blog, can provide a balance between game action and ballpark “flavor”. Sometimes this balance is weighed more heavily in game action – what the TV production team and viewers desire – because then there is more exciting and compelling video in the telecast. There is no doubt that in a well played, tightly contested ballgame, the chance for a memorable “moment” is much greater than that of a “stinker” game. When there is a game of “moments”, the roving handheld will not be utilized as much. There will be shots capturing the “flavor” of the park during these contests and, in fact, proper usage of this camera during “memory” games can even enhance these memorable moments.
Using the roving handheld during a game that is not compelling is still so valuable to the telecast because shots of the ballpark, fans, concession areas, concourses, and families can still capture the essence of the ballpark experience.
The game can be exciting. The game can be a stinker.
It is still great to be at the ballpark!
We can see the ballpark.
We can hear the ballpark.
Oh, if we could only smell the ballpark!

Yesterday was our first telecast of the 2007 regular season.
During the pre-game ceremony, the club received their 2006 World Series Championship rings. We covered the ceremony in our one hour pre-game show. The hour pre-game show included some well produced videos documenting the value of the championship ring to each individual player.
We were able to utilize video from the ring ceremony in the game telecast as well. Our open billboard segment used the ceremony as a background and aspects of the ceremony were revisited throughout the telecast. This was a perfect example of following a developed theme throughout the telecast.
As I have stated in earlier blogs, this season we will be using a roving handheld camera throughout the telecast to try a capture the “flavor” of the ballpark during a game. Last night’s telecast was the first attempt at this venture in our home ballpark.
We utilized two different drops last night. The first area was in the left field pavilion and the second was in the upper deck near the right field corner. Both areas captured the “flavor” of the ballpark experience. Shots of fans in the concourse, game action from the fans perspective, concession and souvenir stands, vendors, families, and small children enjoying the game all added to the quality of the telecast. There are three additional drops in the ballpark that we will use throughout the season: the main entrance, mid first base line and right field. We will mix up the locations during the season.
Our camera operator really understood the philosophy of what we were looking for in that camera and did a great job of finding and selling shots throughout the game.
There is a delicate balance between covering a game on and off the field. While we acknowledge that the action on the field takes precedence over the scene at the ballpark, a measured balance of both aspects can really enhance a telecast.
I remember when I did my first baseball game twenty six years ago, it was the TV production team’s goal to “put the viewer in the ballpark”. This philosophy later evolved into “putting the viewer on the field”. Now, I believe, a proper mix of putting the viewer “in the ballpark” and “on the field” really enhances the viewing experience and entertains the viewer more than anything we do on a telecast. Today, I think this is the goal of most TV baseball production teams.
Each and every Major League Baseball TV production team has two primary responsibilities.
One: Attract and keep viewers.
Two: Sell tickets.
The game “coverage” will attract and keep viewers. It is the crisp shots and the memorable replays that the viewer talks about the next day. The most memorable replays are rarely the first or second angle. It is the third, fourth, or even the fifth “look” that create that special “moment” in a telecast. These “moments” are the result of teamwork from the whole TV crew. The camera operator “feels” and finds that memorable shot, the replay operator cues up the ‘rare” look, the audio engineer mixes the crack of the bat with the roar of the crowd, the graphics operator sets up a moment with an insightful statistic, the Producer calls an immediate replay sequence, and the Director cuts the “moment.” Not every game will provide a memorable moment, but when a particular moment occurs and it is captured by the TV team it can be very rewarding – both to the viewer and the crew in the truck. Searching for the “moments” is what proves to be very exciting for the TV team and finding these moments helps attract and keep viewers.
By showing the excitement on the field and capturing the flavor of the ballpark, the TV production team is hopeful that the viewer will feel the need to actually go to a game and experience the excitement. While it may be true that the best way to sell tickets is to win ballgames, the television product should enhance the experience at the ball park to the utmost degree.
I believe that every Major League baseball team should televise each and every one of their games.
By capturing the “flavor” of the ballpark, and providing memorable “game coverage”, the TV production team fulfills their primary responsibilities – it attracts and keeps viewers, and it sells tickets.

The fourth and final 2007 spring training telecast occurred Sunday.
The game was in Memphis against the AAA Memphis Redbirds. This telecast had all the same wrappings of the previous three telecasts - same little truck, different crew. The big difference of this telecast was the venue. Unlike the spring training ballpark of the Cardinals, this ballpark is exceptional. This ballpark has great camera positions with wonderful sight lines that include beautiful shots of the city of Memphis. This wonderful ballpark seems to be a mix of Petco Park in San Diego and Camden Yards in Baltimore. The crew was exceptional as well. Because of the skill of the video operator, the extenders were used on the two handheld cameras and the video was excellent. There is a huge difference to shooting baseball when the 18X1 lens on the handhelds can be put into “extender”. Without the extenders, the tightest shots of the pitcher or the batter were shots that cut off just above the knees – an ugly shot in my opinion. I prefer head to toe or above the waist shots.
The spring training part of our televised schedule is complete. The four spring training telecasts were an excellent warm-up for our TV production team as we head into the 2007 season.
We experimented with a roving handheld camera during three of the four spring training telecasts and found that this new “position” offers a unique “look” to our coverage. We will be using this roving position for our home games only early on, but, as we gain permission from the road venues throughout the season, we may also utilize this camera on the road as well.
We will be replacing the tight centerfield (camera 6) with this roving camera. Our usual camera 6 operator at our home games and I spoke about the new and different responsibilities of this position and the operator is just as excited as the rest of our team as we head into the season. It is my experience that many crew members (in every venue) are not as willing for change in baseball coverage as others. It was refreshing to hear our camera 6 operator say he was “looking forward” to the new responsibilities of this camera. There is a huge difference in a hard (fixed) camera than a handheld camera. Carrying a thirty pound camera on one’s shoulder for 3 plus hours can be very demanding and I am sure that we will make provisions for this operator to help lessen the load.
The 2007 season opener is tonight. The game is a national ESPN telecast and this means that this will be the first season opening telecast that I have not been a part of in twenty years.
ESPN’s Sunday Night Baseball is arguably baseball TV’s best production. Although I do have tickets to tonight’s game, I may just stay home and watch the telecast. It may be a refreshing change and, who knows, I may pick up something from the telecast that will enhance our show.