THE BACK STRAIGHT
WorldMags.net
FROM THE SOFA
WHAT’S ON TELEVISION
Formula E is trying a
different approach
TV pick of
McKLEIN/LAT
Edited by Tom Van Klaveren
108
Sparks fly in electric spectacle
WITH ITS SCI-FI ENGINE SOUNDS,
backing music and unique city-centre
circuits, Formula E is doing things very
differently – and that’s both an
opportunity and a challenge for the
series’ TV coverage, produced by
Aurora Media Worldwide.
Each of the four ePrix races held
so far this season (maybe not Beijing)
has featured close and unpredictable
racing. But the electric racers’ pace
is not yet a match for other top-line
single-seaters, and that means Aurora
has to use several ‘tricks’ to ensure the
cars look fast on-screen.
“We had quite a privileged
opportunity at the beginning to
actually meet with Spark, who built the
cars, about positioning the on-board
cameras,” explains Aurora’s series
director Westbury Gillett. “So we’ve
got cameras that are completely
unique, at the two furthest points of
the car – in the nose of the car and
S BLOXHAM/LAT
Broadcaster has just
one day to set up
108 AUTOSPORT.COM MARCH 5 2015
also in the rear rain-light – and they
accentuate the speed.”
Forward planning of camera locations
also enables the crew to showcase the
racing: “We put cameras in places that we
think will show the speed of the cars,” says
Aurora’s series producer Mike Scott. “We
try to get close to the action and we try
not to be very wide.”
Gillett
“Formula E team
combines
these two
radio is also
tricks with
a quicker
done differently:
on-screen cut
it’s relayed live”
rate that
emphasises
the action: “I’ll increase the cut rate in
terms of what I’m directing so the
sequence of cuts is a lot faster.”
The Formula E team radio is also done
differently from other forms of motorsport:
it’s live. “When we fade it up into the
broadcast we’re fading it up live, so it’s
not a replay,” says Scott. “We’re not like
Formula 1 where you know it was half a
lap behind. So we can’t predict when
they’re going to speak or what they’re
going to say, but it is real.”
From the next race in Miami
commentators Jack Nicolls and Dario
Franchitti will be able to speak to the
drivers directly from the commentary
box: “We’ll do it under the safety car
and we’ll brief a couple of drivers
beforehand,” explains Gillett. “We’ll be
able to call through and have a chat.”
Aurora’s TV coverage is also important
to the teams. With no way of monitoring
the car’s telemetry, Aurora’s battery life
graphics are closely monitored to decide
strategy. “The FIA takes the telemetry
from the cars and gives it straight to
television,” says Scott. “The teams don’t
have it so they’re poring over what we
are showing.”
Unlike the days of preparation for a
Formula 1 race, Aurora has just one day
and a limited number of staff and
cameras to capture all on-track action,
pre-show build up (including grid walk)
as well as showcasing the colourful
locations Formula E visits. “That’s the
biggest challenge we have,” says Gillett.
Formula E is breaking new ground for
motorsport, and that means its TV
approach has to do the same. Like the
cars themselves, it’s going to evolve, but
it’s got off to a slick start and there’s a
clear determination to keep innovating.
Alex Kalinauckas
WorldMags.net
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