Sports TV Production

Technical Director (TD)
The technical director is responsible for putting into action the commands of the director. They operate a
device known as a switcher upon which they select which camera or tape source will be seen at any
given time. The technical director is also the head of the crew. Oftentimes they relate information to the
crew such as meal breaks and represent the crew’s needs on a variety of matters for the show. The
technical director works closely with all of the truck positions to ensure a high-quality response to a
producer or director’s needs.

Video Controller (VC or V-1)
The VC is responsible for getting the cameras online and making sure they look great. A solid VC
knows everything about color temperature and can respond to quickly changing light situations for
every camera making sure there’s enough light to see, not too much light so a shot is “hot” and that all
the colors are accurate. Once dialed in perfectly and knowing how sunlight reacts with an outdoor venue
and how arena lights affect different shots indoors, the VC makes a very difficult job look easy. Now if
none of the 4 to 8 cameras move, everything would stay perfect. Typically a show employs an additional
VC for shows over 8 manned cameras.

Video Assist (V-2)
The video assist is exactly what it implies - the main assistant for a video controller. Since the VC is
required to run cables from the truck to a patch panel, oftentimes patches need to be changed, new cables
run, or someone needs to monitor things on a break, etc. We’re putting on a telecast here, video is by far
the most important part of the equation.

Audio Mixer (A-1)
The audio mixer takes every microphone, tape source and music source and combines them into a
pleasant listening environment for the viewer at home. Mixers, by definition, need to have an ear to
distinguish each source and be able to regulate each level to a perfect mix of natural sound, the bat crack,
the roar of the crowd, the announcer’s call, the taped replay going to a break and the music that
accompanies it all.

Audio Assist (A-2)
Similar to the V-2, the A-2 handles microphone setup and cable running for the A-1. They are master
troubleshooters and can be found wherever a microphone needs repair or a battery needs changing.

Graphics Operator
Always known in the past simply as Chyron Operators (because Chyron was the only company out
there making character-generation equipment) todays Operator must often know at least two different
platforms. Today’s graphic operator probably knows the ChyronInfinit!, is probably learning the
Chyron Duet and might have an eye towards one day learning Pinnacle’s Deko system or something
new from VizRT. Whatever the platform, the Graphics Op (also as CG Op) is responsible for working
with the graphics AP to turn information and research into a presentable, easy-to-read and understand
broadcast graphic.

Tape Operator
The days of winding back massive tape reels and slowly playing them forward have given way to tape
operators that can man two machines simultaneously. Each machine recording a separate source, they
can only playback or record at a given time and are perfect for quick turnaround of highlights to replays.
Tape operators can also send highlights to the EVS operator for larger packages or other storage. The
use of tape machines grows rarer year by year and will eventually give way to full-time EVS and/or
MAX use.

EVS Operator (Elvis)
The EVS operator controls a specialized tape machine in which there are no actual tapes. Highlight
“clips” are stored on a computer hard drive for quick recall and maximum flexibility. Highlights can be
grouped together into playlists for replay packages supporting storylines or specific players during a
game. EVS operators frequently take in two cameras at a time, constantly recording, and can output two
channels at a time. Highlights received while playback occurs can be clipped out of the buffer and added
to an ever-expanding library of clips. Networked together, two EVS machines can share and playback
each other’s clips and playlists. More basic MAXS or MAVS can only clip and playback highlights, but
cannot create playlists.

Engineer-In-Charge (EIC), Maintenance (E2)

The engineer-in-charge or EIC is the technical head of the truck itself. He represents the truck company
and is completely responsible for getting everything powered up at the beginning of the day, ensuring
that equipment operates correctly and without malfunction. There are a lot of responsibilities for the EIC
each and every telecast and needs change according to the individual client. The way CBS does a show
for example, is vastly different from one of FSN or ESPN. Oftentimes the EIC is an ambassador of
goodwill from his company, going above and beyond for a client. Both the EIC and their “2nd”, the E2,
spend their idle hours constructing new cables, repairing headsets or monitors, or just making sure all
the cameras have their parts. At the end of the night, they make sure everything is packed up tight for the
truck to travel down the road to it’s next event.

Utility
If a utility were to visit this site, they would say, “yeah, makes sense he’d put us at the bottom of the
list.” The fact is, utilities are the silent backbone of any show. You’ll notice them at an event, constantly
coiling and uncoiling cable while following a camera or lifting and unloading and loading and running
more cable down the sideline. Surprisingly, I sometimes say that since I enjoy TV so much, it would’ve
been a much stronger move for me to perhaps skip college initially and become a utility straight out of
high school. The great part about the utility job is that if you do have something else that occupies your
time like school or another job - you can always come back, we’ll always need utilities.

Production Assistant (PA)
There’s a reason I’ve put the PA as last on this list. The PA’s sole responsibility is to do whatever
anyone asks. More specifically, it’swhatever the producer or director asks, but as is the case most of the
time, everyone asks the PA to do something on an any given day. Most PA’s will oblige, putting the
producer’s requests first and everyone else second (which is the way it should be). PA’s are treated well
(most of the time) and although they make a modest amount, it’s still better than an 8-hr day at a burger
joint. In exchange, they learn all about television and most importantly, whether this is a profession they
can enjoy and pursue further. Many PA’s find out that TV isn’t for them, and I guess they’ve learned a
valuable thing there too. It’s not for everyone.