GENRE REPORT
LIVE TV
huge changes that have taken place. Ahead of the Games, OBS had developed cloud-based platform OBS Cloud with tech partner Alibaba to distribute content to broadcasters around the world, meaning that they did not need to send large teams to Tokyo. Before the pandemic, OBS thought that massive
cloud adoption by broadcasters would happen somewhere between the Paris 2024 Olympics and the Los Angles 2028 Olympics. But it happened for Tokyo. OBS reported that broadcasters brought 39% less staff to Tokyo compared to the number they brought to the Rio 2020 Olympics, even though they delivered almost 35% more content across more platforms. Steve Smith says that Sky had been working on
remote production for four or five years before the pandemic, rolling it out on events where connectivity at venues was strong enough. The match production of EFL Championship football coverage, for example, was handled from Sky’s HQ. Sky was able to take everything it had learned
about remote production and quickly apply it to events such as Premier League coverage. On screen, viewers will have noticed little, if any,
difference to the coverage. Yet, says Smith, “That’s the biggest change that’s happened in almost 30 years that I’ve been in broadcast, and it happened in three to four months.” Smith stresses that this only happened with a lot of
This included the Disney Channel Summer
Sing-Along, which was shot across America in 2020 via safe remote shoots and self-shot iPhone footage. “That was a breakthrough moment. Everyone realised that people could film themselves at home, and we could make it into a TV show. Normally, the most difficult part of these things is booking talent, but it was never easier. Beyonce was sitting at home and so was Michelle Obama – they were all quite happy for a bit of distraction themselves.”
NEAR AND FAR This kind of remote filming endures as the pandemic
eases. Steve Smith, director of content at Sky Sports, says that the ability to access talent around the world has “fundamentally changed” editorial storytelling. Pre-pandemic, all talent had to be on site. Now,
dialling in via video is widely accepted. During the recent NFL Superbowl final, Sky secured a remote interview with leading quarterback Kirk Cousins. Previously, it would have been incredibly challenging to talk to an NFL quarterback in London on Superbowl weekend. Smith says the editorial insight that someone like Cousins can add to the Sky offer is a real benefit for viewers. Remote production, meanwhile, has firmly
established itself as a means of delivering live events. Last year’s Tokyo Olympics was emblematic of the
hard work and collaboration with Sky’s partners and suppliers, and in consultation with rival broadcasters too. “The industry came together to work collaboratively to deliver for the viewer,” says Smith. Now remote production is front of mind when
“EVERYTHING WE DO, WE LOOK AT THE IMPLICATIONS IN TERMS OF SUSTAINABILITY”
PHIL BIGWOOD, BBC
thinking about how to deliver an event, says Whisper’s Mark Cole. “It’s almost the starting place – how much more can we do back from the UK or from our other production hubs.”
A SMALLER FOOTPRINT Remote production set ups make sense in the
Covid-19 era of social distancing and reduced travel. But one of the most powerful arguments for the continued use of remote production is that it lets broadcasters and producers to reduce their carbon footprint and to create content in a more sustainable and cost-effective way. Sustainability is a big focus now for broadcasters
such as the BBC, Sky and ITV, points out the BBC’s Phil Bigwood. “Everything we do, we look at the implications in terms of sustainability. And obviously remote working can play a huge part in that.” Not everything can go remote though. CC-Lab,
which produces Sky’s coverage from the Isle of White Festival, takes around 130 crew to the event. While some could work remotely, says executive producer Justin Rees, “you still need quite a few boots on the
Spring 2022
televisual.com 47
WHISPER: THE PARALYMPICS
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