The NFL and their media outlets are very protective of game images, especially those of the playoffs. However, this still image from college football shows the type of separation, focus and intrigue a cinematic video approach can offer.
In the world of live broadcast, there are few events more prestigious or cutting-edge than NFL games. In order to produces the kind of sharp, colorful imagery fans expect, the video teams utilize specialized broadcast-style cameras with smaller sensors and zoom lenses built to the highest specifications.
In December 2020, the broadcast teams behind many of these games began rolling out an entirely new kind of shot, one that attracted the notice of many viewers during the Wild Card weekend the following January. This new type of shot was incredibly attention-grabbing thanks to its cinematic aesthetic, with many fans comparing it to something only previously seen in video games.
Many of the video shots using the new look show players on the sidelines, entering or exiting the field via the stadium tunnels, or in this case, from the end zone after a score. Photo courtesy of the FOX Sports: NFL Twitter feed, @NFLonFOX.
These new shots were produced thanks to the introduction of small, mirrorless-style cameras mounted to lightweight 3-axis gimbals to stabilize the camera while in motion. This Steadicam-style approach created a unique first-person perspective that put viewers inside the action in a way that felt entirely new.
Many sports fans on social media, and even some tech reporters who should have known better, attributed the new look to the possibility of filming in 8K. (In reality, the shots were filmed and transmitted in 1080p.) Instead, the unique visual element was actually a function of utilizing much larger sensors that could gather far more light and produce a much shallower depth of field. All of this was made possible through the use of mirrorless stills cameras with full-frame sensors.
Getting Incorporated
While stills cameras and digital cinema cameras have traditionally been the wrong tools for the job in sports, a few NFL broadcast teams made the decision to incorporate these styles of cameras after being impressed with the kinds of shots they captured for their pre-recorded content packages.
Overall, these cameras have not been used to augment the footage they were already producing, but rather to replace the usual broadcast shots. When interspersed with the more traditional locked down and Skycam shots, these new gimbal framings have lent a more epic, movie-style feel to the entire production.
Photo credit Mike Garafolo, NFL Network reporter via Twitter
Some of the most effective live shots the NFL is incorporating include closeups of the players warming up, running out of the tunnel to start the game, and team celebrations of touchdowns. The way the footage is edited helps the fans feel much more involved and engaged than was previously possible.
The Camera Setup
Thanks to a behind-the-scenes social media post from the FOX broadcast team, we’ve learned that these shots are being captured with the new Sony A7R IV paired with Sony FE24-70 F2.8 GM lenses. The camera is then mounted to DJI Ronin-S gimbals paired with DJI’s focus motor for manually controlling the focus, if needed.
From there a 1080p signal is run from the camera via HDMI to a small external video monitor, helping the operator to frame the shot and maintain critical focus. The signal is then looped out from the monitor to an HD wireless transmitter backpack for sending to the broadcast booth.
In addition to creating beautiful imagery, these lower-profile rigs allow a single operator to put themselves right into the action (at least right before and after the play), without drawing too much attention to themselves. And at less than $10K, these rigs are relatively cheap compared to most broadcast camera setups.
Learning for IMAG
Throughout most of 2020, a number of church tech and broadcast teams have also experimented with how to utilize larger-sensor stills and digital cinema cameras, as well as gimbal-mounted cameras, for their remote-only streaming worship experiences. These shots have been very effective in creating intimacy and connection for viewers worshipping in their living rooms.
As churches begin pivoting back to more traditional live worship IMAG approaches, watching the NFL can inspire ministry teams to continue the process of innovation.
For instance, staple IMAG shots like vocalists singing, drummers in action, pastors and hosts walking to the podium, and even crowd-perspective shots could all benefit from the unique viewpoint of these types of framing. Even better, teams responsible for the livestream and VOD video products can utilize the first-person perspective to create something far more immersive and visually appealing than would otherwise be possible.
Getting Started
Ministries ready to incorporate these cinematic gimbal shots will want to take a methodical approach to getting started with gimbal camera rigs. The first challenge of these rigs will be giving volunteers the time and training to get comfortable using them effectively. Fortunately, there are a number of good YouTube guides for getting started. Practice makes perfect, and repetition will go a long way towards being able to create repeatable, useful imagery.
The next area to address will be how to effectively achieve critical focus, which is more challenging than normal since the depth of field is much shallower than with smaller-sensor broadcast cameras. While these gimbal rigs can be set up to incorporate manual motor-controlled focus motors, what’s usually more effective is to utilize a camera’s built-in auto focus controls, controls such as screen touch-to-focus and face tracking focus technologies found in the newest mirrorless cameras.
A final consideration will be how best to balance a shallower depth-of-field with a volunteer-based operation crew. Sometimes these shots can still be effective when some of that shallowness is compromised for more clarity and a slightly bigger margin of error for achieving focus. Experimenting with the aperture setting for the lens will help your team arrive at the right balance.
Ultimately, the goal of great broadcast ministry is to continue learning, growing, evolving, and improving in order to create the most effective presentation of the Gospel possible. And sometimes that kind of learning and growth means taking in an occasional playoff game.
