Executive Producer (Head of Production):

Responsible for the planning and logistics of one production or a series of productions. Gives overall vision for a production or a series of productions. The executive producer’s responsibilities generally include finance, scheduling, and sometimes major creative decisions. Other responsibilities may include negotiating with sport organizations on rights, camera placement, and event coverage, and they may oversee a number of producers or coordinating producers.

Figure 2.1 Crew members in a remote production truck.

Figure 2.2 Director Pat Lowry (standing) leads a meeting of camera and EVS operators to discuss logistics of an event.
Source: Photo courtesy of SVG.

Coordinating Producer:

Keeps track of budgets, quality control, and logistics for multiple producers. The coordinating producer may also be responsible for the overall look and elements, such as animation and graphics. Reports to the executive producer or the head of production.

Producer:

Responsible for planning and logistics before the event. The producer works with the director to implement the overall production plan. Together, they are responsible for overseeing all elements of the production of an event. During the production, the producer is responsible for coordinating the commercials, calling the replays, and making sure that the needs of the talent are met, in addition to keeping the production within budget and on schedule. Reports to the executive producer or coordinating producer (see Figure 2.1).

Associate Producer/Assistant Producer (AP):

The AP is given specific producing responsibilities by the producer or executive producer. This person often supervises postproduction and/or the production of edited video packages and teases that appear within a production. The associate producer may be assigned some of the same responsibilities as the associate director. This person is sometimes called a features producer. Reports to the producer.

Features Producer:

See associate producer.

Director:

Under the guidance of the producer, the director is responsible for the creative and aesthetic portions of the production. Directors must know what they want and how they are going to accomplish it. To coordinate the various aspects of the broadcast, they have to understand the capabilities of the equipment and the crew they have been assigned. The director sets the tone and pace of the production and serves as crew motivator. The director must be able to visually tell the story, to document the event in a way that allows the viewers to feel as if they are part of the action. Occasionally, they are also responsible for working with and directing the talent, although this is rare during a sport production. Reports to the producer (see Figure 2.2).

Associate Director/Assistant Director (AD):

Assists the director during the television production by keeping track of timing and making sure that camera shots, graphics, and video recordings are ready for the director’s cue. One of the major responsibilities of the AD is to maintain constant communication with the studio, coordinating commercial breaks by numerically counting back timing cues in order to smoothly segue between two entities. This person may be assigned some of the same responsibilities that an associate producer performs. Generally reports to the director and the producer.

Figure 2.3 The stage manager (middle) coordinates everything with the talent in the field, broadcast booth, or studio.

Figure 2.4 Statisticians (left) compile up-to-the-minute statistics that are helpful to the on-air commentators and the production personnel.

Unit Manager:

Handles budgetary operations, including outside vendors and overtime. The unit manager also handles crew scheduling. This position is sometimes merged with the production manager and/or the technical manager. Reports to the producer.

Production Manager / Operations Producer:

Oversees the operation of the production team, including budgets, personnel assignments, transportation, accommodation, coordinating transmission information, and acts as liaison with the venue. Sometimes this job is merged with the unit manager and/or the technical manager. Generally reports to the producer.

Production Coordinator:

Responsible for general operations, such as catering, petty cash, runners, credentials, and phones. This position is sometimes merged with production manager. The production coordinator re ports to the production manager, technical manager, unit manager, or producer.

Stage Manager/Floor Manager:

Coordinates everything occurring in the studio or broadcast booth. The stage manager communicates with hand signals when the talent is on camera and sometimes communicates via cards when off camera. Generally reports to the producer but may report to the director in a remote production (see Figure 2.3).

Production Assistant (PA)/Director’s Assistant:

Handles details for the producer and/or director. These details may include, but are not limited to, overseeing travel arrangements, graphics, show format changes, and distribution of updated information to various staff members. The PA also arranges shipments and pickup/delivery of food, establishes rights to music, supervises runners, and takes care of anything else the producer and/or director need. Generally reports to the producer and sometimes the director.

Spotter:

Advises the production crew regarding important activity or incidents in and around the field of play that may not be immediately evident to the production crew and camera operators. Generally reports to the director.

Statistician:

Compiles competition statistics, including past performances and up-to-the-minute competition details. Also gathers general information about current competition conditions, such as weather. Generally reports to the producer and production assistant (see Figure 2.4).

Replay Assistant Director:

Helps select the appropriate portion of the recording for playback and ensures that recorder operators are cued and ready when the director needs them. Generally reports to the producer.

Technical Director (TD)/Vision Mixer/Vision Switcher:

Takes instructions from the director and, using a special effects generator (SEG) or switcher, switches between video images using cuts, dissolves, wipes, special effects, animation, and graphics, sometimes using multiple cameras at the same time. Reports to the director (see Figure 2.5).

Camera Operator:

Receives assignments from the director and works to constantly provide the director with the best quality images available for the production. Camera operators may also be responsible for transport, setup, and sometimes general maintenance of their camera. Reports to the director (see Figures 2.6a and 2.6b).

Electronic Still Store (ESS) Operator:

Operates equipment used for the capture, storage, manipulation (if needed), and playback of still images from video. Works under the director during the production. Reports to the producer and director.

Figure 2.7 Besides managing cables, camera assistants must look out for the camera operator by making sure they are safe, and they may be required to assist in camera shots.

Figure 2.8 Some wireless cameras require an RF (radio frequency) assistant to aim the transmitter at a receiver.
Source: Photo provided by Josh Taber.

Camera Assistant (Handheld, Steadicam, Crane, etc.):

Protects and assists the camera operator by keeping people from walking into the camera’s field of view, eliminating potential obstacles or obstructions, and keeping camera cables untangled and free from traffic. A handheld camera assistant is mainly responsible for reacting to the camera operator’s movement during an event by feeding the operator camera cable during the production. In order to accomplish this feat, the camera assistant has to pay attention and learn the over and under cable coiling method. This method greatly reduces cable tangling and ultimately allows the operator to move freely to react to the task at hand. In addition, the camera assistant may collect food for the camera operator, carry extra batteries, and sometimes work as a spotter, looking for shot possibilities or other happenings that the shooter should know about. The camera assistant may also assist with setup, reposition, and strike of camera equipment. Reports to the camera operator (see Figure 2.7).

RF Assist:

A specific type of camera assistant who is responsible for keeping the RF transmitter (used for wireless cameras) aimed at the RF receiver, as well as preventing the cables between them and the camera operator from becoming tangled or stretched. The RF assist is also responsible for looking out for the camera operator, making sure that no one walks between them or blocks the camera’s field of view. Reports to the camera operator (see Figure 2.8).

Rigger:

Sets up structures to support lighting or camera equipment before the event and then strikes the equipment after the event is completed. Reports to the technical manager.

Figure 2.9 The audio supervisor (A-1) is responsible for patch audio in the mobile unit and mixing the show.

Figure 2.10 A-2s are responsible for setting up and possibly operating the microphones along the field of play.
Source: Photo courtesy of Chris Jensen.

Audio (A-1)/Mixebr/Audio Supervisor:

Deter mines where microphones are to be placed in the field of play, generally patches the various microphones in the inputs/ outputs (I/O) patch panel located on the outside of the mobile unit, gives instructions to the A-2, and sets up and/or patches the PL system in the mobile unit. The A-1 also mixes the audio signal from the various microphones, recorders/players, house feed, and public address system during the actual production. Reports to the producer and the director (see Figure 2.9).

Audio Assistant (A-2):

Receives instruction from the A-1 as to where microphones should be placed on the field of play and sets out the microphones. Other responsibilities may include patching the I/O, assisting the talent with their microphones, and operating microphones on the field of play, such as a parabolic dish or shotgun microphone. The A-2 also troubleshoots audio problems during the production. Reports to the A-1 (see Figure 2.10).

Utility/Grip/Rigger:

Before the actual production, utilities assist the engineering crew by carrying equipment, placing cabling during setup, and assisting during the teardown (strike). During the production, utilities may be reassigned to work as camera assistants or be placed in other support positions. Reports to the technical manager and to whomever else they are assigned during the actual production time (see Figure 2.11).

Video Operator (VO)/Video Engineer / Vision Control / CCU Operator / Shader:

Responsible for adjusting video levels as well as establishing the color intensity of cameras on the camera control unit (CCU) to obtain the highest-quality image. The video operator also works with the engineer-in-charge (EIC) to patch all video sources and phasing/white balance of cameras. Reports to the director and producer (see Figure 2.12).

Figure 2.11 The utility assists the engineering staff in setting up and tearing down equipment and cables.

Figure 2.12 Video operators, or shaders, are responsible for adjusting the camera and VTR images to obtain the highest quality possible.

Video Librarian/Archivist:

Collates and maintains the video recordings and record of events ready for retrieval on request. This is accomplished by keeping track of the numeric time code clock displaying the exact time and location on the recordings where the particular action can be found. They may also be responsible for dubbing. Reports to the producer.

Replay Operator (RO)/EVS/Tape Operator (VT):

Runs recorders, monitors audio and video levels, and often operates an auxiliary bus switcher in order to isolate specific cameras on a video recorder. This person may also serve as a slow motion (slo-mo) operator. Reports to the producer and director.

Slo-Mo Operator/Super Slo-Mo Replay Operator:

Operates and maintains slow motion recorders and players. Provides the slomo/super slo-mo replays as required by the director. Reports to the producer and director (see Figure 2.13).

Editor:

Selects, compiles, and cuts video and audio to produce highlights, summaries, and feature packages. Reports to the producer.

Graphics Operator/Font Operator/ Character Generator Operator:

Operates the character generator to put text and graphics on the television screen. Reports primarily to the producer and director (see Figure 2.14).

Font Coordinator:

Assists the graphics/font operator, keeping them up to date during a production. Responsibilities may include spell checking, updating scores, identifying on-screen personnel, etc. The font coordinator is often one of the production assistants. Reports primarily to the producer.

Technical Manager:

Responsible for all broadcast-related technical operations at the venue. Reports primarily to the director.

Engineer-in-Charge (EIC)/Chief Vision Engineer/Senior Vision Operator:

Works for the mobile unit provider and is responsible for keeping everything working in the truck. Also responsible for making sure that all equipment, cables, and supplies that came with the truck are returned to the unit at the end of the shoot. Primarily reports to the technical manager.

Maintenance Engineer:

Maintains production equipment in the truck and on the field of play. Reports to the EIC.

Transmission (TX) Manager/Transmission Operator:

Ensures the quality and continuity of the television signal transmission. Reports to the technical manager.

Telecom Manager/Telco Manager:

Sets up and troubleshoots communication lines (PLs) between the field crew, talent, and the crew in the trucks. Provides and installs telephone lines for outside calls. Reports to the technical manager.

Runner:

Responsible for running errands and completing a variety of tasks assigned by the production assistant, producer, production manager, and almost anyone else on the production. This may include being a driver for personnel, getting food or supplies to the crew in the middle of a shoot, making travel arrangements, and undertaking research. Reports to the production assistant.

Talent:

Refers to anyone who appears in front of the camera or is heard on air. Reports to the producer (see Figure 2.15).

Field Logger:

Field loggers are responsible for providing detailed written descriptions and time codes for all footage shot by an ENG cameraperson. Logs generally identify all athletes, scores, and results shot. These logs are used by the production personnel to identify time codes and to quickly retrieve footage that can be edited and used in packages. Reports to the producer (see Figure 2.16).

As mentioned earlier, it is very difficult to give an exact definition for each position since responsibilities can vary greatly from event to event and company to company. It is also impossible to create an organizational chart that will fit every situation. The chart in Figure 2.17 shows a common television network structure in a remote sports production.