CINEMATIC SPORT
LIVE SPORT
was sensational, and that’s where I think these cameras are at their best, where there’s a bit of glitz and glamour, [around] but not necessarily during the sporting action.”
Close-up “The live sport environment can
be extremely fast-paced in terms of event turnaround, so any solution needs to be easily deployable,” says Edwards. “With the Sony Venice and Arri cameras that we have used, the complication has always been signal delivery. In sport generally these cameras would be used with RF links from our sister company BRF. But when you venture into using them as a cabled camera then it can get complicated. To tackle this problem, we have tried a multitude of delivery systems. Each has its merits, but none really replicates the multicamera environment that sport demands.” Typically, EMG uses F55 cameras
for both the main wide angle and the beauty shot. “However, this is by no means as standard and it’s a client decision,” says Edwards. “The most important thing for us is that the systems can deliver UHD 50p and/or 1080 50p to fit into our existing workflows.”
As a solution, EMG used the Sony
F55 with the CA4000 SMPTE back, enabling live capture of 4K from Super 35. “This gave us the familiarity that
we needed in terms of delivery, workflow, and operation,” says Edwards. “With the launch of the Sony HDC-F5500, we have those benefits, but with more technology and improved ergonomics. The introduction of the global shutter is a game changer for events such as boxing, the reproduction of images from LED screens is sharper and clearer with the unwanted visual effects we see with rolling shutter cameras eliminated.” From an engineering/shading
perspective, Edwards says broadcast and cinematic cameras can be matched very well. “If you mix manufacturers then there will be differences in colourimetry, but our UHD supervisors can do a good job at matching them. “By stepping into the cinematic
camera world, you get the advantage of more control in some areas,” he adds. “For example, the Sony HDC-F5500 has three additional ND options in the filter wheel, compared to the Sony HDC-4300 that we use
as our baseline sports UHD camera, which gives the shaders more control in dynamic lighting conditions.” Gravity Media is also using the
Sony F55 and F5500, as well as the Sony HDC-4800 at up to 800 fps 4096 x 2160 resolution. “Due to the different sensors, lenses and zoom ratios when using the Sony cameras, Gravity Media is always sure to match the line cameras as part of the live outside broadcast,” says Newton. “Using cinematic cameras and delivering a robust RF solution enables the freedom to roam around the sporting event.” According to Manu Tomás Garcia,
Mediapro’s exploration of cinematic shots began a couple of years ago with some impressive goal celebration pictures from full-frame Sony Alpha cameras, which excited the press and caused client La Liga to ask for more. However, the lack of camera control and Mediapro’s 4K HDR workflow meant a more sophisticated setup was required. Working with director Òscar Lago, Tomás experimented with the Sony Venice on Steadicam and tried out a vintage ARRI Zeiss Super Speed lens for the cinematic look. Tomás would work the iris manually, closing it down for maximum depth
“The live sport
environment can be extremely fast- paced in terms of event turnaround, so any solution needs to be easily deployable”
MARTYN EDWARDS EMG
of field – and adjust the camera’s ND filters to get the exposure right – until the occasion arose for a more artistic shot. “When something was about to happen, I had to change the filter on the camera, open the iris up [for shallow DoF], and tried to match the exposure,” he says. The inevitable happened during
a La Liga match when another Steadicam operator, less experienced with the manual workflow, was caught out when the coverage cut to his camera while he was still changing
Winter 2022
televisual.com 39
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