Sports TV Production

Producer
The producer controls the overall look and feel of the show. They often create and monitor various
storylines throughout an event and use replays, highlight segments and graphics to support various
stories. They are the”voice” in the heads of talent, guiding them to different angles and pointing out
special stats or anomalies. Producers also handle a variety of administrative tasks associated with a
show. They write the rundown or script, they may ask for specific graphics, they organize and run
production meetings and participate in conference calls. In the end, the producer answers to their boss,
usually a coordinating or executive producer, in good times and in bad.
Director
The director is responsible for executing the vision of himself and the producer. They control what
cameras are used and when. They direct the way camera operators present shots and they control the
sequence of which shots are presented. They work closely with the Technical Director in creating effects
and replay moves (once called wipes). They are usually the final authority on the sequence and timing of
how the final product is delivered from the truck. Directors hold camera meetings before each event and
assign specific duties to specific camera operator locations. Most directors relish that they do not have to
busy themselves with the massive administrative workload of producers. Directing is a talent that
requires constant practice.
Assistant/Associate Director (AD)
There are generally two types of AD out there. Tape AD’s handle the execution of tape-based elements
within the show. Generally, they may produce and write the tease (highlight segment at the very top of a
telecast, teasing the event). They produce different highlight segments for use during the telecast which
may or may not support a prospective storyline. Oftentimes, packages are created before air that never
see broadcast simply because a specific storyline emerged during an event that didn’t call for a certain
element. Tape AD’s also make sure tape-based promos are loaded and catalogued. This information is
used during the show. Phone AD’s are the “traffic cops” of a telecast. They communicate with master
control, coordinating the timing of commercial breaks. A phone AD has everything timed out down to
the second. The length of breaks, highlight packages, the tease and promos are all kept and counted
down by the phone AD while they are being played out. The phone AD might also monitor which
promos have run and which are remaining, gently reminding the producer when things need to get done.
Most importantly the phone AD is the communications link between the truck and master control, that
link must always be maintained to ensure proper presentation of an event. Generally, an AD on a show
handles both the Tape and Phone responsibilities - however on larger shows (especially network events)
there is an AD just for the phone and an AD in tape helping with live replays and packaged highlights.
Associate Producer (AP)
First off, sometimes an AD is called an AP, the titles are somewhat interchangeable depending mostly
on company standards or regional differences. That said, I’ve always known an AP to handle the
graphics on a show. A good graphics AP (also known as font coordinator, graphic coordinator or font
assist) does quite a bit of statistical and background research before an event. They know each team
backwards and forwards, each coach, school history and if they don’t know something, they know how
to find it… quickly. An AP sits with the graphics operator and creates pretty much any basic graphic that
might be used for a player or coach during a telecast. They are extremely organized since graphics are
often stored in a machine and recalled using a page number. Nowadays, it’s not uncommon to have page
numbers up to and exceeding seven digits apiece. A solid AP will be able to brief producers and talent
on different items they have uncovered about either team and also take what the announcers have learned
and expand upon it for the show.