EC2018 HB Production Guidelines 1

HB Live Production Guidelines

1. Line, FACS & Clock Check Procedure

• Production Managers to ensure all parties: OB Tech, OB Prod, MCR & QCP are aware of

the procedure, check list and timings. Quality Control Producers are responsible for this

procedure to ensure that all parameters are correct before releasing a feed to the MDS.

(Multi Feeds Distribution). See Annex: Line & FACS Check Procedure

• Each venue is to check the OB van clock to the MRC master timecode via the lowest delay

communications channel available, either talkback or land line telephone, rather than

mobile telephone or satellite comms. The BVM and Production manager is to set their

watch to the OB van clock and ensure the venue have the same time, such that events

commence on the agreed time.

• QCP Producer to send in report to respective Heads of Production, Technical Live

Producer and Executive Producer

2. Video

• Production format is: HD SDI – 1080 i 50 SMPTE 292M

• Feeds Identification: Each OB Generating a ‘Feed’ to the MCR is requested to identify the

feed with a graphic layout provided by the Graphics Provider with the Live beauty shot in

the background.

• Production Managers need to request this on-site. This Graphic slate indicates the Next

Production Time for RHBs and MCR. Kindly prepare a prepare a macro function allowing a

freeze frame of Fill and Key. It allows to key the freezed “next transmission” layout all

night long without permanent graphic source.

o Example: Athletics: Feed 1: Integrated + Text “Next Transmission”

o Timings always need to be given in GMT and Local Time (Berlin or Glasgow).

Example: Next Transmission at 1000 GMT – 1200 Local Time (Berlin)

• Camera Preset Recommendations

o Matrix: ITU 709

o White clip level: 700 mV max.

o Detail level: 10 approx.

o Crispening: 20 approx.

o Level DEP: 30 approx.

o Master Gain: – 3dB.

o Gamma Step: 0.45.

o Black Gamma: low mid range 25 approx. (Applicable for indoor venues)

o Knee: Off.

o Saturation: +5 /+10 (please pay attention to not exceed this value range)

o Noise suppression: 40 (if applicable)

o Gamma Table: Hyper 2 (if applicable and excepted AQP)

EC2018 HB Production Guidelines 2

White clips should not exceed 700 mV. RF camera clips have to be done before the

beginning of the production every day directly on camera head. Robotic, underwater and

mini cameras have to be legalized as far as possible through Frame synchronizer menus.

• External and Internal beauty shots which are permanently delivered to RHBs. Shaders are

kindly asked to have a constant attention to the shading of these cameras

3. EVS & Recordings

• EVS Settings

o IPD Softversion 7.40.32 (Berlin)

o LSM Multicam 15.3.42 (Berlin). Glasgow – depends on the OBs

o Engine 7.2 (Berlin)

o The applicable codec should be: AVC-Intra 100 (Glasgow + Berlin)

• Recording

o Start & End of the Recordings: Eurovision Caption (i.e World Feed Start to End)

o Audio: See Audio Configuration

o Labels & File Naming should be:

§ Venue name”_HB_DIRTY_PGM_”Date”_”TC in”_”TC out”

§ Example: BOS_HB_DIRTY_PGM_20180806_10.00.00.00_12.30.06.17

o Date format should be: YYYY/MM/DD

o On X File daily archive, please keep EVS encapsulation and do not rewrap to a

.MOV format.

• Berlin

o Back Up: Each OB will have a VTR recorder to record the dirty feed as ultimate

back up for refeed to the MCR. If Geneva confirms good recording, these tapes

can be re-used the next day. Only the Integrated Feed recordings will be kept as

archive. Each production manager is responsible for ensuring the recordings are

correctly done and brought back to the Production Office.

o Archive for EA: Hard Disk recording for EA for Integrated feed on PSZ-RA HDD Unit

• Glasgow

o No on site recordings for HB, Dirty feed to be kept on EVS for 48hrs

o 2 x SD USB recordings for Federations.

4. Audio

• See Audio Configuration Annex for all details. Here’s the World Feed configuration

o Audio 1: Ambient International Sound LEFT

o Audio 2: Ambient International Sound RIGHT

o Audio 3: Mono English Commentary. Mute it not available

o Audio 4: Mono English Commentary + Ambient Sound Reduction

o Audio 5: Radio International Sound LEFT

o Audio 6: Radio International Sound RIGHT

o Audio 7: Public Address Sound LEFT/Radio Tour (CY)/Commentary Cue (AT)

o Audio 8: Public Address Sound RIGHT/Radio Tour (CY)/Commentary Cue (AT)

• If English Commentary, an audio assistant needs to check to position during FACs check

5. Music items

• Opening Sequence with embedded music

EC2018 HB Production Guidelines 3

• Map Locator + Flythrough with embedded music incl music bed out

• Music Bed for Course Overview: There’s embedded music on the clip, but it cuts off

abruptly at the end. Therefore use the 51 seconds Music ‘European Championships Loop –

51’ and ask your sound mixers to loop it.

• Music Track for Story of the Session (3-2-1) Package. “The Moment (1’09” for 3-2-1 PKG).

Instrumental version

6. Multilateral Running Order (MROs)

Timings in the Run Up and Run Down need to be respected carefully by the production team

and Quality Control Producer (QCP). Right Holders rely on these timings to join or leave the

program. In case of delays, timing overruns, interruptions or cancellation, the Director or PA

need to inform immediately QCP. Depending on the situation QCP informs Booking &

Information and/or Head of Production and/or Executive Producer.

• MRO’s. Production Teams to update generic MROs and send to QCP/Head of Production

for validation and further distribution. Final Updates need to be send to QCP/Head of

Productions on day before Competition by 1500

• Opening Sequence Vision Mixing Procedure

o Eurovision caption


o Opening Sequence + Map Locator + Fly Through Clip

o MIX to live internal/external beauty shot (with Music Fade out)

• Opening Sequence + Map Locator + Flythrough

o To be played out as 1 package with music bed in the end

• Beauty Shots for Common Graphics

o Each director needs to show editorially relevant shots for Sports ID, Venue ID,

Weather GFX and Schedule ID. They should all tell a different story

• Wipe:

o 8 frames background dissolve frames centred on frame tga011

• Global Medal table to be shown in the Worldfeed of the last production of the day

• 2-6 August: By Track Cycling

• 7-12 August: By Athletics.

• Graphics is produced by ATOS. CY & AT. ATOS to confirm workflow

• Athletics Medal table to be shown during Victory Ceremonies

• Closing Sequence. It’s the same as the Opening Sequence, but as standalone item. 32 secs

7. EVS Deliverables

Each Production Team needs to deliver 3 EVS Packages after the end of each Competition. See

MROs for exact position in Run Down or Post Run Down

• Story of the Session (3-2-1) Package

o The package length is approximately 1 minute. Music is 1’09”. Production teams

have a 10 seconds buffer to shorten or extend.

EC2018 HB Production Guidelines 4

o The package from clean feed should tell the story of the session and feature the

top 3 athletes in the following order 3 – 2 – 1. In case of a multi competition

session, it should show the highlights & key stories of the session

o With music track and natural sound

o No Graphics

o Part of Run Down

• ISO Melt

o 5 mins length

o Package from clean feed of unseen angles, slomos and (longer) hyper slomos that

were not part of the World feed. It can also include real time unseen angles. All

shots should come with 1 second handles at the beginning and the end for postproduction


o Audio. International sound, except for real time angles that should come with

associated audio.

o Production Team to inform QCP about Cue. QCP to inform Logging.

o After the Run Down, but before the End of Transmission

• News Package for Eurovision Sports News

o To be delivered ASAP after the End of Transmission.

o Production Team to inform QCP about Cue. QCP to inform Logging in Geneva

(Team of Harry Kapros).

o Length: 3 mins to be fed after every session

o Produced from Dirty Feed – with international graphics

o International audio on track 1 or 2. No commentary

o Only need rough cuts, no “beautiful” edit necessary

o Item should have focus on the winner, but not the complete performance. For

2nd and 3rdplace, only “on the side”. Or key moments of multi competition session.

o DO NOT include slow motions unless it shows something special.

o Item could include flower/medal ceremony if available but only about 10”

o Use editorial judgement, – include material if there is a particular fall, if the

favorite doesn’t qualify etc. No interview needed unless something particular has


o Always add the final result graphic at the end of each discipline. 5 secs OK

o Production Team (Spotter/PA/Production Manager) to send short dopesheet

(relevant editorial formation e.g results) + Shotlist (rough description with

timecodes of what is in the item) to immediately after

the News Package is send.

8. Graphics Use

HB to follow the EBU R 95 Guidelines for Safe Areas for 16/9 TV Production.

o We use the EBU Tech Pub R 95 5% limits. See Annex

o Atos will move graphics horizontally out to these limits and adjust the height of

the Lower 3rds down to these limits for ALL Atos Sports.

o Glasgow to ask Microplus and Swiss Timing to do the same. We await their

feedback of whether this can be done.

o Athletics clock GFX is aligned to the Ticker.

• Each Production to check GFX as soon as possible together with QCP.

EC2018 HB Production Guidelines 5

• Transparency Levels. EBU requested 85% on all GFX, but might not be fully implemented.

Production Teams to check on-site and report back to Head Of Production

• Advisory Graphics are to be used for

o Delays, cancellations, interruptions

o Coming up next….

o Unilaterals

o Free Text (from 1 to 3 lines maximum)

o Timings always need to be given in UTC/GMT and Local Time (Berlin or Glasgow).

Example: Next Transmission at 1000 GMT – 1200 Local Time (Berlin)

o Production Team to advise GFX provider on the exact timings

o See examples below

9. Naming Conventions

• There is a document in the Production folder precising all naming conventions and

country names for the event.

10. Start Lists

• Production Manager to liaise with the LOC to agree on a procedure to bring start lists to

the OBVAN and FOP if required

11. Power

• BVM/Head of Technical Operations responsible

12. Sports Presentation & Photographers

• Ensure that Photographers & Sport Presentation cameras don’t hinder HB cameras, but

let them do their job. Common sense to prevail

• Check with the local Sports presentation venue manager to send you their latest running

order, so the TV director knows what’s coming.

• Check Running order for special awards during Medal/Award ceremonies

• Photographers: Get in contact with your venue photo manager to ensure that both of us

can do our job.

13. Production manager

• Responsible for the full production team as well as the full tech team such as OB Provider,

RF Provider, Special Cam Providers. Inform them about arrival, departure and timings.

• Central point of contact between Production and Tech Team and all other stakeholders in

Production: Graphics Provider, Competition Management, BVM, VTM, Head of Production

• Ensure team members behave and have appropriate appearance. Regardless of the

supplier everybody operates under the EPC flag.

• The role of the Floor Manager is very particular. He/She will be the face of the HB

Production during competition with Competition Management and Sports Presentation

• Keep the FOP (Field of Play) as clean as possible, both in terms of cabling as HB staff. No

need for staff with no job there. Access to FOP only with BIB

• Reporting: Kindly send Head of Production a daily bullet point list of production related


EC2018 HB Production Guidelines 6

• Responsible for picking up and distributing BIBs and Camera Stickers

14. Unilateral Bookings

• Glasgow only: Each OB is specified for Pre & Post session Unilateral bookings, Mixed Zone

position, 1 x Camera (from main coverage), Stick Mics & IFB

• Coordination by BVM & Booking

15. Editorial Guidelines

• No naming with GFX of VIPs in stands. When showing VIPs (without titles) always make it

a tight ‘crowd’ shot, with min 2-3 other persons in the shot.

• Grave injuries: Cover it in a ‘journalistic’ way but keep level of decency and respect for the

athlete. No ostrich policy. Be careful what to show with live cameras. If situation allows,

use replays to explain and – if not shocking – show details.

• Security Incidents. Cover it in a journalistic way, but do not focus on it.

• Medal Ceremonies Coverage. See separate Guidelines.

16. Advisory Graphics

EC2018 HB Production Guidelines 7

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