Ongoing process that has seen great
improvement in recent years, the television broadcasting of
Orienteering events knew another important chapter at Ylläs,
Finland, in the Ski Orienteering World Cup 2015/2016's opening round.
Today, on Portuguese Orienteering Blog's tribune, Per Frost, one of
the masterminds of the initiative, presents the SkiO Studio, lists
the challenges and points out goals for the future.
Could you present the IOF Studio, at
Ylläs? What resources – human and material - did you have and what
about the working conditions?
Per Frost (P. F.) - The IOF
Studio was an idea I had been thinking of over a long time,
especially since I was responsible for creating the daily highlight
editions from WOC in Scotland. What was done there was that the
live-broadcast is edited down to around 10 minutes with the most
interesting of the race. Some TV-networks prefer to broadcast that
version instead of the whole race since it is easier to schedule. My
idea for this live broadcasts was to take the most exciting out of
the live production and make it more easy-accessible to the viewers
who did not have the time to watch it live. By creating this concept
with the studio, we had a good establishment of the venue and also a
natural way to introduce the commentators (in this case me, as the
“host” and Hans-Jörgen Kvåle, as the “expert”.
Since it is not live, we do also have
much better possibilities to bring into more cameras as they can be a
normal camcorder and does not have to rely on live technique. The big
difference if you compare Ski-O World Cup with WOC, for example, is
that we could then use the action cameras in the live production.
Every camera that has to have live wireless transmission is quite
expensive, so that is why we wanted to use them “off-line”. There
is however quite many work-hours that needs to be put in, in order to
prepare the highlights. The race footage from the live production is
mixed with improved GPS-analysis that Hans-Jörgen had chosen and
extra video material from the forest, for example from the start and
from the skiing camera-operators. The studio show itself was actually
broadcasted live every day with the same live equipment as on the
races, so we commented on the video in the same time as it was
playing for the viewers. John, our technical manager, took the role
as director on switching cameras, playing out highlights and overlook
streaming.
Tell me about the homework, the days
before. How did you prepare the work and share responsibilities?
P. F. - We where two people from
Sweden, me and John Kumlin, who served as the technical manager. We
are both orienteers so the sport knowledge was already there. He did
the same task on last year´s ESOC and was the project manager for
live productions at O-ringen this summer, so we divided the
productions based on the tasks that needs more technical knowledge
and the ones that needs content experience. I was responsible for the
content part. What was most important on beforehand was to prepare
what could be prepared in terms of the intro animation and such
content and also getting information and sending instructions to the
students we were cooperating with. There was a team consisting of
eight students and two teachers from a tv-education in Tornio, one of
the closest cities which helped us with lending out a lot of
equipment and the students got to do some “sharp” practice in the
live productions. Luckily, the organizers had done a great job in
planning the arena as well as getting us good internet connections,
something that is crucial for this kind of streaming.
Your task was to follow the event,
having in mind to broadcast it in the best way (in this case by
internet). What were the biggest challenges? Did you have to improve
a lot?
P. F. - The main challenge is,
of course, that it is more difficult the less budget you have. It is
certainly easier to create a good production if you have a big team
of experts around you, but until then my ideology is to focus on a
few certain tasks and make them as good as possible. That is
something I have learned after being into this business of both TV
and orienteering for the last years. For example, if we do not have
the resources for having live cameras out in the forest, then it
might be a better idea to put camcorders there and make it look good
in the post production rather than doing something in between with
poor quality.
Me and John are normally working with
TV, so the biggest challenge for us was to manage the students and
tell them what to do. The Ski-O Marketing manager Hans-Jörgen Kvåle,
was also in our team and got responsibility for knowing what was
interesting in the race at the moment, who to follow and what to show
on GPS-tracking.
We could see your cameraman
following downhill some athletes, and it was scary (!). Tell me about
the technical (and physical) challenges you have to face in order to
offer a transmission as best as possible?
P. F. - Yes! It was in fact two
very ski-orienteering talented persons from the local organization
that helped us with the filming and they did a great job! They waited
at one control for a good athlete to come and then followed as long
as they could manage. I think we captured some really decisive
moments there. For example, when you can see how fast Tove
Alexandersson, Tatiana Oborina and Mariya Kechkina are skiing on the
tiny tracks whilst still reading their maps and also when we got a
crash between two athletes in the sprint relay on tape, something
that was decisive for the outcome of the race. In this production, we
chose to not use that camera on live transmission, but only for
recording for post-production such as the live studio. The reason for
that is simply economical. In Scotland WOC, we used one action camera
live, but that requires a lot more of expensive equipment and can
only be used in a limited area. A similar setup has been used on
10mila.
Now I will reveal a secret: My team was
actually first with using the live action camera for orienteering
live streaming :) Already in Ski-O WOC in 2011, which was my first
live production whatsoever, we got to borrow some equipment for live
transmission, the one that was later developed for 10mila [HERE]. The challenge, however,
is that the image quality of such live pictures is very uncertain
compared to cable-connectors, so one does rather want to use cable
connected cameras to be safe with those pictures.
Have you thought in a certain number of
hits for each transmission? The overall result was as expected?
P. F. - We have had between 700 and
1300 viewers on the live events, which I would consider as OK for
this event. Not very much advertisement was made on beforehand and we
also wanted to first try out the studio concept before advertise it
more. To compare, 10mila use to have some 3000-4000 online viewers,
so I would say this was OK.
In your opinion, this kind of very
particular projects are something that interest only experienced
orienteers or it can be a good way to reach more people and attract
more participants to our sport? How?
P. F. - Something that I always
want to keep in mind in working with this projects is that the result
will end up in more visibility for the sport. The productions are
only a tool for making that happen. Therefore, we use the strategy of
try to think how we can get most out of each race. There might be a
few hundred or over one thousand orienteers watching the event, and
we want of course to make them satisfied. However, when we have this
production in place, we can use the same footage to send to various
TV networks like the national broadcasters of the winning athletes
for use in the evening news. Normally, we cut out the footage of that
athlete racing and then we record an interview in their native
language. This is something we have been doing for quite many years
now, and I would say that it have resulted in a gain of public
knowledge about our sport. If just some 30 seconds of orienteering is
shown in the evening news, we can instantly reach out to millions of
viewers in the national sport news. This concept has been proven over
and over again in the nordic countries as well as countries like
Russia, Bulgaria, Estonia, Romania and Switzerland. We can also send
footage to Eurovision, which is the organization of almost all
European national broadcasters.
I'm sure you're already thinking in
a similar situation for next events, which will be in Germany and
Austria. Is there anything that you're thinking to change or improve?
Will you have Emily Benham still in the team (she is great, although
she talks too fast, but this is surely my fault)?
P. F. - In Germany and Austria
there will be different challenges compared to Finland, as usually
most economical ones to get the resources on place to be able to
transmit the atmosphere and excitement of ski orienteering to the
audience, but I think we took a good step towards creating something
new and interesting with the studio, so I hope that part will be more
developed. Emily was great as a commentator, especially since she had
not prepared for doing this here in Finland on beforehand Being a
native English speaker with such extensive knowledge of the sport and
how to explain it to others is really a great asset and important for
creating a good show. I hope she will be involved also in the future
(and in a few years also in commenting MTBO of course).
How important can be this kind of
work towards the Olympic project?
P. F. - Absolutely crucial. What
we do now is what Biathlon understood and did 20 years ago: “If the
media doesn't come to us, maybe we will have to get to them and show
our sport?”. I do also think that ski orienteering is a very good
arena for testing ideas that later can be transferred into foot
orienteering. For example, we were first with touch free punching as
well as sprint and sprint relay.
And what about you, Per. How
important was the experience for you? Will you be more confident the
next time?
P. F. - I can say that Ski
orienteering is basically half of my education in media work, which
is nowadays also my profession. Back in 2009, my club was organising
the Junior World Championships in Ski-O. There I got the chance to do
something of this completely new thing “Youtube” and from that
and on, I have done something in ski orienteering on IOF major level
each year. However, I have also studied media production at
university and my student mates have always got some strange
explanation why I have missed some weeks each winter, like “Per is
in Kazakhstan, or Per is in Siberia...”, so I will try to finalise
my examina now before the next World Cup round. I would despite that
say that it has been a school just as important as the official one
to really have some on-hands work by promoting Ski orienteering and a
great bonus to also see all this places and get to know amazing
people.
What I will bring from now is for sure
the knowledge of that we made my idea of the IOF Studio becoming
reality and also the great feedback we have got from it! I think the
future looks bright since the Finnish organizers, both in Lapland
which held this round and the one for next season's ESOC have shown
interest in really making their events more visible by this kind of
actions. There might as well be some really good things coming out of
the fact that ski-O will be included in the Universiade in
Krasnoyarsk 2019, the second biggest winter sports event worldwide
after the Olympic Games. Those preparations are already going and the
way towards that will mean a lot for the development! I do also hope
I will be able to find my place in this journey, since I really
believe that our sport has some exciting years to come!
[Photo: Jyrki Kola /
facebook.com/jyrki.kola]
Joaquim Margarido



