LIVE SPORT


CINEMATIC SPORT Live sport: the


Live sport is increasingly turning to cinematic cameras usually seen on a film set to add emotion and drama. But blending those shots with rest of the action is no easy feat. Michael Burns reports


“Directors have been looking at the cinematic look to provide more emotional context around games”


NORBERT PAQUET SONY EUROPE


years, including one of Uruguayan striker Louis Suárez in an emotional post-goal moment. “After Suárez had [left] Barcelona


M 36 televisual.com Winter 2022


and went to Atletico Madrid, he scored the goal that made Atletico the winner of LaLiga,” says Tomás. “He was sitting on the pitch, talking to his wife on the phone, crying. I got close to the ground and the shot was really powerful; everything surrounding him


anu Tomás Garcia, a Steadicam operator for Mediapro, has captured quite a few iconic La Liga shots in recent


was completely blurred, you could focus on what he was feeling at the moment. It went viral everywhere.” Tomás didn’t shoot with a


broadcast camera, however, but a Sony Venice, usually more at home on cinema or high-end TV drama sets. It’s part of a trend of using larger format cameras with cinema-style lenses for dramatic sports shots in football, boxing, golf, tennis, and American football. EMG has been using such


cinematic cameras for several years on non-sport projects, building on the experience to work with sports clients to integrate such shots into coverage. “The main wide angle is a very


standardised shot, being the angle that is most viewed by the consumer,” says Martyn Edwards, Project Director at EMG. “When applied to a Steadicam or operated hand-held, cinematic cameras are mainly used for more artistic shots such as trophy lifts and


teams’ arrival shots. This is where [a] shallow depth of field really comes into its own, making the main subject appear at the front of the image, but maintaining a degree of clarity in the background. This is the wow factor that these types of cameras deliver.” “Directors have been looking at


the cinematic look to provide more emotional context around games and use shallow depth of field as an additional shooting tool to build a game or match narrative in a way that connects with viewers,” says Norbert Paquet, Head of Live Production, Sony Europe. “In particular, pitch side or pre- and post-game productions benefit from this look. “Our customers have worked a


lot with our Cinema Line cameras from the PXW-FX9 up to Venice2, for pre-game and ENG-related operations but also in live settings,” continues Paquet. “However, most recently our customers adopted


CREDIT: RAFAEL APARICIO


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