[MUSIC] [BLANK_AUDIO]. Hello. The television production of an event at the Olympic Games is only possible thanks to the multi-camera approach. Given that the location of the action continually changes, different cameras are required to provide the director with a wide variety of shots and angles that are needed to broadcast the sporting competition. The sound is another determining aspect to take into consideration. As pointed out by Dennis Baxter, the sound designer for the Olympics, audio, in partnership with video, delivers a holistic experience with all of the intense emotion and interesting nuances to the viewer, according to Owens and Millerson. Sound is captured from the ambiance of the stadium, through camera microphones or shotgun microphones, from the comments of the sportscasters, through headset microphones, or from the interviews with athletes through hand microphones. The images obtained by each of the cameras and the sounds from the microphones located at the venue are transmitted to a distribution point through different mechanisms such as the coaxial cable of the fiber optics. In the case of the Sochi 2014 Winter Games, 700 NBC cameras captured events at all of the event sites and broadcast studios. They transmitted over 50 broadcast feeds, across 192 miles of fiber optics cable at NBC's compound in Sochi. The video and the audio signals are sent to the control room. The control room is equipped with essential elements such as video and audio monitors, intercoms and switcher and an audio mixer, is the place where the director supervises the production. In the case of outside broadcastings the control room is located in larger production trucks. These mobile units include the same features as a studio control room. In the control room, the different sources of image, live camera images, satellite feeds, videos, audio and graphic: titles, subtitles, statistics, digital video effects, are blended together with a device called switcher. The output of mixed signal is distributed through live broadcasting or through other platforms such as the internet. As Owens and Millerson acknowledge, effective lighting makes a vital contribution to a television production. As pointed out by the same authors, lighting should consistently enable all the television cameras to produce pictures of the highest quality, should convey to the viewer the time, mood and, and atmosphere of the story and should attract the audience's attention to important features. A great part of the Olympic sports, such as athletics or hockey are played outdoor, where lighting is more difficult. Therefore in the production, it is crucial to bear in mind certain elements such as the time when the event is shot, for example, daylight or night, the kind of lighting that is already available, the location of the sun or the need to add additional lighting to avoid the dark shadows, among other issues. When the events are held indoors, such as swimming, basketball or volleyball, it should be evaluated if additional lights are needed to complement the existing lighting of the venue or if any windows or translucent roofs may cause daylight interference. A great part of the coverage of the Olympics is produced live, that this, at the same time that the action is happening. The system of life-edit contrasts with the pastproduction editing, which occurs after all of the program materials: video, audio and graphics, have been compiled. Given that the edition is made live, the television broadcast has to be done right the first time, with no retakes, and it has to be done with quality. In the following video we explain how is live produced a television programme using the switcher and the different transitions and ways of linking one shoot with another. >> I've said has been a aligned before. The images from the different cameras are sent to the control room. The different program sources are visualized on separate monitors. These images are blended together using the production switcher. Following the directors indications, the person in charge of the switcher changes between the video inputs using this device. There are different means of changing from on source to another as Owens and Millerson point out the four primary means of transition are: cut or take. It helps to instantly associate two situations. It is the most used transition: Dissolve. Dissolvers are a gradual change from one image to the next, and are usually used to show a change of time or location. Wipe. It shows a change of time, subject, or location. Fade. A fade signifies a dissolved transition to or from black. [BLANK_AUDIO]
