Operating: Live and sport — Archive

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Live and sport

Based on 56 threads · 35 cited

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Live work means you go where the play or the show takes you, so position yourself by the event: in football you work from the end zones in to the 10 or 20 yard line 1, and in rugby you run the sideline anticipating play 2. At big shows you move fast between shots on planned blocking to stay off camera, with utility crew on cables behind you 8. Check the room, plan a clean entry and exit, and get a live-camera return or tally, because any moving camera shows up in other cameras' shots 12 13 14.

The questions 8

What Steadicam® techniques and positioning work for live sports coverage?8 threads · latest 2017

In short

Position by sport: in football you work from the end zones in to the 10 or 20 yard line 1, and in rugby you run the sideline anticipating play 2. In basketball you save Steadicam® for set moments like tip-off, free throws and timeouts 3.

How the pros do it

In football, stand toward the end zones and cover from the end zone to the 10 or 20 yard line 1. That catches long pass plays and post-touchdown reactions 1.
In rugby, hold speed along the sideline by anticipating which way play goes 2. Use zoom to stay tight even when you trail the players by 10-20 meters 2.
In basketball, track along the sideline at mid-court for the tip-off, keeping off the playing surface and out of courtside seats 3. For free throws, stand at the top of the key and shoot over the shooter's shoulder without blocking sight lines or the referee 3. At timeouts, follow the teams to the huddles and grab overhead angles of coaches and players 3.
Go wireless. RF is preferable to cable on a soccer sideline because it lets you move freely 4. A wireless HDSDI feed lets the truck control exposure and color correction while you work 3.
On running shots, hold about 80 percent of full running speed so you can stop immediately 5. Look where you are heading, not at the monitor, and count your stopping distance in advance 5.
Plan for endurance. Put apple boxes at court corners and midcourt as rest points, and bring a utility person for equipment and hydration 3. On wet grass, wear sprigged cleats with traction 4.

Caution

Operators can be struck by players during live action 7. In basketball you can also get hit by balls and collide with referees 6, and wet grass is a slipping hazard for you and your crew 1.

Opinions differ here

On basketball, one 2007 account used Steadicam® around the court for tip-off, free throws and timeouts 3. A 2012 account says handheld is preferred and Steadicam® is not effective for live game coverage 6. On spotters, one thread says a spotter improves safety and effectiveness 1, while participants in the 2017 thread disagreed on whether a spotter is necessary or even feasible on running shots 5.

What changed

Earlier (2007) operators used Steadicam® at NBA Development League games for tip-offs, timeouts and free throws 3, today (2012) the advice is to keep it for broadcast openings, transitions and closings and use handheld for live play 6.

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How do Steadicam® operators work at big live TV events and awards shows?7 threads · latest 2012

In short

Big shows put several handheld and Steadicam® operators at different spots, backed by utility crew on cables and long rehearsals 8. Each operator works to planned blocking and moves fast between shots to stay off camera 8.

How the pros do it

Spread operators across the venue, for example main stage, pre-show areas and entrances 8.
Have a dedicated focus puller next to the stage watching monitor feeds, as on Eurovision 2010 with a Chrosziel DigiFox 9.
Rehearse with spotters and cable pullers in the actual location to build motor memory for unscripted moments 10.
On wired systems, let professional utility crew run the cables and coordinate with you 8. Wireless is not always necessary if the cable runs are managed properly 8.
Learn the blocking up to the cues, such as award winners standing, and reposition quickly between shots so you stay out of frame 8.
On long coverage, swap operators about every 90 minutes to manage fatigue 11.

Opinions differ here

Operators have not settled how to grip the gimbal 10. One view says thumb and forefinger high on the gimbal, where the center of gravity lies, give better finesse than fingertip-only control 10. The fingertip versus full-fisted debate stayed open, with participants accepting several valid approaches 10.

What changed

Earlier in 2004 wireless was still seen as unreliable for some broadcast work because of RF interference 10, today (2010-2011) crews ran a VISLINK LINK L1500 wireless unit on Eurovision or used managed cable runs where wireless wasn't needed 9 8.

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How do I operate Steadicam® at concerts and multi-camera music shoots?6 threads · latest 2013

In short

Check the room and plan a clean entry and exit first, because a stage Steadicam® needs space to orbit and must not cross live cameras 12. Then get a live-camera return or tally and coordinate with the director, since any moving camera shows up in other cameras' shots 13 14.

How the pros do it

Check the room first 12. On stage you need space for orbital moves around performers, and in the pit you are mostly limited to side-to-side dolly moves 12.
Plan a clean entry and exit so you never cross cameras that are being recorded 12. Expect to appear in shots from stationary cameras, so coordinate with the other operators and the director 14.
Set up a way to know when you are live 13. A tally light relay does this even when amplifier noise swamps the audio 12, and a triax cable cuts down cable management trouble on a multi-camera stage shoot 12.
For pit work without a tilt stage, a four-foot stage is manageable if you adjust the sled for the right tilt angle 15. Slow the centerpost drop time to keep control on lateral moves and pans, and train your hand to correct horizon roll on side-to-side moves 15.
Bring a support person to watch your back and manage cables in the pit near other cameras 15. Pre-coordinate equipment movement and placement with the house crew, because it gets you smoother operations and more helpful crew 13.
For close-ups, line up a skilled focus puller, because following a moving performer with remote focus is hard 12.

Opinions differ here

Operators differ on how to get the live-camera return 13. One side uses a second monitor showing the director's current feed so you don't match the active camera's composition 13. The other rewires the run switch on the zoom control as a return indicator, but that adds conductors to the cable loop and more bulk and load on the rig 13. The sources reach no verdict on which is better 13.

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What gear and wireless video system do I need for live TV Steadicam®?5 threads · latest 2014

In short

Get a rig sized for your heaviest camera, ideally a -V model with tally and video return, plus a small monitor 16 17. For wireless, Camwave is the cost-effective option, and the Gigawave, AVS or VisLink class is used for cut-against-live work, while Modulus and Canatrans drop out too much for broadcast 18 19.

How the pros do it

Pick the rig by the heaviest camera you plan to fly 16. A Pilot tops out at 10 pounds, which is too restrictive for most live TV, so look at an Archer2 or Zephyr 16. -V models come with tally integration and video return lines pre-installed 16.
Run a tally, because you can't see the camera's own tally indicator while operating 20. Add a small LCD, such as a 3.5 inch, stuck on with adhesive velcro strips so you know when you're on air and can frame around graphics 17.
For cabled work, use light, flexible jumpers of about 6 feet 17. Fiber or triax jumpers beat standard coax for weight and flexibility 17. A triax adapter is recommended, though one model gave intermittent cable problems 20. RG-179 breaks out HDSDI and genlock from heavier coax runs 17.
For wireless, Camwave is described as the most cost-effective option on a Steadicam®, but watch the weight 18. For cut-against-live work, Grass Valley LDK cameras with Gigawave HD-Link OX give reliable signal over hundreds of meters with about 1-2 frames of delay 19. The Sony 2400 INCAM from VisLink gives about 1 millisecond delay with full telemetry and tally, at 17.6 pounds complete with lens and batteries 19. Skip Modulus and Canatrans for broadcast 18.
Plan your power. A Sony P1 with an AVS Link HD transmitter on a 90 watt-hour battery lasts around 35 minutes 19. Some systems lose long-range reliability once batteries drop below 75 percent 19. Schedule battery swaps around the show and swap early rather than run dry 20.
Keep focus, zoom and a program monitor as your baseline, as experienced US live operators do 17. G-ZOOM handles work with both Bartech and internal focus motor lenses 19. Use a wireless headset to cut cable clutter, and rehearse with your cable puller so they know your moves 20.

Caution

Fatigue cuts your concentration on long runs, so use a good spotter to prevent safety hazards 20. Ninety minutes without a break is hard on your back 20.

What changed

Earlier (2005) the live advice centered on a triax adapter, cable drops and a cable puller 20, while today (2013) live cut cameras run on wireless links like Gigawave and VisLink 19.

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How do I operate Steadicam® at fashion shows and music video shoots?5 threads · latest 2014

In short

At fashion shows, get rehearsal access and shoot there instead of in front of the live audience 21. On music videos, expect thin prep and rushed setups, and be ready to deliver lots of footage 22 23.

How the pros do it

Work as a house camera at fashion week if you can, because that gets you rehearsal time before the audience is in 21.
Shoot your Steadicam® shots during rehearsal and have them edited into the final video, as some major fashion events do 21. A visible rig at a live show is generally considered a problem, unless the show's theme includes production elements 21.
If you do work near the catwalk, check the dark areas near and under it for cables and obstacles before you move 24. Don't park between the catwalk and the audience, because paying attendees may object to you blocking their view 24.
On fast-cut music videos, viewers cannot tell Steadicam® from dolly, so keep your moves consistent and plan for volume 22. One job used about 5000 feet of Steadicam® material over two days and five locations 22.
On low-budget shoots, expect to start before conditions are ideal, with poor sun position and visible background elements 23. Don't accept technically inappropriate requests such as a jib motion from feet to head, since they show the client doesn't understand what a Steadicam® can do 25.
Secure payment upfront from new or unreliable clients 25. Disorganized shoots with unclear direction can burn time without producing usable footage 25.

Caution

Cables and obstacles in the dark near and under the catwalk can trip you while you move 24. Substance use on set by crew and talent creates safety concerns 25.

What changed

Earlier, in 2009, operators were told to watch cables and audience sightlines while working the live catwalk 24, today, as of 2014, the practice is to shoot Steadicam® during rehearsals and edit it in 21.

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Who handles focus and zoom, and what controller works for live Steadicam®?3 threads · latest 2026

In short

On live and broadcast work you are often expected to pull focus and zoom yourself, because there is no focus puller on the crew 26. Use a combined broadcast-style zoom and focus control rented with the cables for your lens 26, and the Stanton is widely used in live television 27.

How the pros do it

Ask before you accept the job, because the answer decides whether a rental has to be organised and who pays for it 26.
Find out the exact lens and camera before the day and source the matching cable with the control 26. The control is generic but the cable is not, so don't assume the rental house has it on the shelf 26.
The Stanton zoom/focus controller is widely used in live television and comes with Canon gears, while Fuji and cinema gears are separate purchases 27. Its rod-mounted motor takes interchangeable inserts that are compatible with the controller 27.
On a small camera, an adapter from the LANC controller connector to the camera's own port lets a simple zoom rocker drive the camera 26. It also lets you start and stop the camera from the rig 26.
For a controller on the gimbal handle, stack a zoom rocker with a focus wheel mounted underneath it, so you can work both without letting go 26. The connector decides which control you can use, and one mainstream brand is repeatedly ruled out for not offering the right connector 26.
Plan the shot as a one-handed job, because what you can frame and focus alone is less than what an operator plus a focus puller can do 26.

Caution

A dedicated utility significantly reduces the risk of operator falls and accidents on live shows 28. Have them keep cable off the floor and away from other crew members' feet 28.

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How do I manage tethered cables when operating Steadicam® on live TV?4 threads · latest 2010

In short

Swap the stiff triax for a thin, flexible coax run from camera to vest, and put an experienced utility on the cable behind you 29 30. Keep about two feet of loose cable at the camera and let the utility handle the rest 29.

How the pros do it

Expect triax or fiber as the standard tether on live LA work, and add a smaller flexible jumper for the final 4-6 feet to the camera 31.
Convert the triax to coax with male and female adapters, then fly a thin BNC cable from camera to vest 29 30. That feels close to wireless 30.
Leave about two feet of loose cable at the camera and secure it to the vest at the shoulder 29. The utility manages the remaining slack behind you 29.
Pre-lay the cable along a marked circular path with the utility so you can move freely and then retreat to a neutral position after the shot 29.
Loop the cable around your arm and route it through your fingers across the palm to control tension without upsetting gimbal balance 30.
Rehearse over multiple days with dress runs so you and the crew know the choreography and the cable placement 31.

Caution

Assign a separate, trained spotter to watch for hazards while you walk 32. An experienced utility on the cable is critical for your safety during live shots 29.

Opinions differ here

One contributor in the 2005 thread pointed to a wireless video link as a way to remove triax cable management altogether, at a cost similar to hiring extra cable handlers 32. Others in that thread did not agree on its advantages 32. RF wireless was also described as less common in LA live work, where triax or fiber stays standard 31.

What changed

Earlier, in 2005, the advice was to fly the thinnest triax available, around 4mm 32, while by 2009 and 2010 operators were converting triax to coax and flying a thin BNC cable from camera to vest 29 30.

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How do I coordinate two Steadicam® operators on one live shoot?3 threads · latest 2010

In short

Have one operator take over the shot while the other repositions, and use a whip pan to signal the handoff 33. Stay close enough that one can move while the other holds coverage 33.

How the pros do it

Let one operator take over the shot while the other repositions to a new location on stage 33.
Use a whip pan transition to signal the handoff from one operator to the other 33.
Put each operator on their own mark or stand during rehearsals, so backup coverage is ready if one becomes unavailable 33.
If you want two angles at once, run the operators in synchronized low and high modes for complementary perspectives without an extra rig or backup system 34.
Plan the shots around location conditions such as sun position, and pick operators who can handle sustained synchronized work 34.
If the shot travels through tight spaces, put experienced cable handlers on it, because they were critical for narrow doorways and a level horizon 35. One live shot ran on only two rehearsals with a stand-in and one with the host 35.

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Sources 35

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