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TELEVISION CHAPTER 6

FIVB Volleyball World League 2012 Page 71







6. TELEVISION



TELEVISION CHAPTER 6




FIVB Volleyball World League 2012 Page 72


6.1. INTRODUCTION

Volleyball is the perfect sport for television: it has great
athletes demonstrating superb action, exciting
competitions taking place in amazing locations, fans as
enthusiast as ever creating an unparalleled
atmosphere. These ingredients are key for a
successful and gripping TV programme, and by
following the guidelines outlined in this TV chapter,
Host Broadcasters will be able to deliver a product
which is to the standard of all FIVB tournaments and
specifically to the World League.

Host Television Broadcasters (abbreviated by HTVB)
have to follow the FIVB guidelines as stated in this
chapter of the World League Handbook as part of the
FIVB-NF-HTVB agreement. And this chapter should
be used in conjunction with the Host Broadcaster
website, where further material and downloads can be
found to support the Broadcast production.

http://www.fivb.org/en/tv/worldleague/2012/

Login: fivb
Password: tv.worldleague

(website will available at the 10 of March, 2012)

6.2. AIMS AND OBJECTIVES

The FIVBs goal is to continue standardizing the
coverage requirements of Volleyball and provide
worldwide broadcasters with a consistent product
throughout the season, irrespective of the events
location, in order to maximize the exposure of the
World League. A positive working relationship with the
Host Broadcasters, based on a shared commitment,
must be created in order to increase Volleyballs profile
around the world. The FIVB continues to revise the
international television strategy focused on providing
broadcasters with improved Volleyball coverage, which
is initiated with a better television production and
optimized scheduling.

It should be clearly understood at the outset that the
Host Broadcast production is for the use of all FIVB
rights holders across the world. Coverage of all World
League matches must be completely unbiased to any
one team and must favor both teams equally. For the
production, you and your team are representing the
FIVB, and your efforts and abilities should be
channeled into the Host Broadcast production
therefore the International Feed must take precedence
over the Domestic Feed meaning any domestic
production is to be produced with a separate crew and
facilities.

6.3. FIVB BRANDING &
PROMOTIONAL CAMPAIGN

Having successfully implemented the new FIVB
branding throughout 2011, this is something that will
continue for the 2012 season. The new branding gives
the coverage a far more polished appearance and
raises the profile of volleyball into the league of widely
covered sports.

Therefore, in addition to the implementation of a
specific hero orientated opening and closing
sequence, the Host Broadcaster will be expected to
adapt its editorial line by giving more focus on the
players, not only showing their match action but also
more of their emotions so that the viewer can relate
and feel every ounce of the players fear and
determination. Interviews, players close ups will give
the feed a greater human dimension.

6.4. THE ROLE OF THE FIVB
TELEVISION COORDINATION
AGENCY

The role of the FIVB Television Coordination Agency
was developed by the World League Council in order
to facilitate communication with the HTVB and to
maintain the minimum standards agreed at the World
League Host Television Broadcasters meeting.

As such, the TV Coordination Agency oversees
television related activities leading up to, during (on-
site) and following the event, from the guidelines to the
actual production, broadcast and subsequent
international distribution. They are also the liaison
between the HTVBs and the International rights
holders during live transmissions.

The TV Coordination Agency cannot perform its
responsibilities unless the HTVBs complete their
contractual obligations to broadcast matches in
accordance with World League specifications and
forward all communications concerning World League
Television matters to the TV Coordination Agency.
The Broadcast Manager is your first point of call for all
Host Broadcast and television queries and for some
selected events and the Finals, there will be an on-site
TV Coordinator.

When deemed necessary, the FIVB and the TV
Coordination Agency will have the possibility of
sending a Television Coordinator in order to conduct
an inspection visit before an event.




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And after each event, the match footage will be
reviewed by the TV Coordination Agency in order to
ensure that the expectations for all broadcasts are met.
Suggestions may be made, to both HTVB and NF/OC,
to further increase the quality of each production.

The aims of the FIVB Television Coordination Agency
are the following:

To work together with the HTVB and the National
Federations in order to effectively implement the
Television Broadcast plan.

To assist the FIVB by implementing a Television
plan that works for both the National Host
Broadcasters and the International Broadcasters.

To ensure that the TV Production meets the
minimum standards and respects the Television
requirements related to the World League.

To distribute the World League matches throughout
the world and assist the International Rights
Holders with all their needs.

The FIVB and its Television Coordination Agency
provides an HTVB website (see introduction for details)
where all involved parties can download coordination
forms, camera plans and other useful information such
as the TV Manual.

Whenever there is a question, please contact the FIVB
Television Coordination Agency
FIVB.TVAgency@imgworld.com.
6.5. INSPECTION VISIT AND
MEETINGS

The Broadcast Coordination Manager may decide that
an inspection visit is required before the start of any
event, and if deemed necessary by the FIVB, a
Television Coordinator will conduct the inspection visit.
After each event, in order to further increase the quality
of each production, the match footage will be reviewed
to ensure that the expectations for all broadcasts are
met, and suggestions may be made, to both Host
Broadcasters and National Federations / Organizing
Committees.

During the Television Inspection a meeting must be
held with the following participants:

Television Coordinator

Interpreter - if required

Host Television Broadcast Director and Producer

Representative of Technical Producer or Facilities
Company

The day before the first transmission at each Match of
the Week event, a general briefing meeting must be
held with the FIVB Technical Supervisor, the Host
Broadcaster, the Referee Delegate, the Official
Announcer and the TV Coordinator on-site (if any). The
main television aspects (including but not limited to
match start times, timings in between matches, post
gold match interviews and medal ceremony etc.) as
well as its coverage must be reviewed in detail.

6.6. HTVB INTERNATIONAL
FEED DELIVERY OBLIGATIONS

In order to produce a satisfying International Feed, up
to FIVB standard, the Host Broadcaster must
understand and go along with the following obligations:

According to contract, each HTVB produces an
international signal which follows this FIVB
handbook requirements and guidelines.

The HTVB must use a minimum of 8 cameras
and must adhere to the running order provided by
the FIVB TV Coordination Agency.

The FIVB Titles Sequence must be used as
opener (10 minutes before the first serve) and as
closing animation title, approximately 6 minutes
after the final point. The copyright information



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follows the FIVB Title Sequence, then the
International signal is over.

The HTVB has to broadcast a 30 second post
card / presentation of the hosting city, in order to
give colour and atmosphere to the International
Feed (see TV running order).

Between the sets and during time-outs, the HTVB
should show as much spectator shots and slow
motion highlights as possible, instead of just
switching to a wide shot (please see running
order). International signal is broadcasted live by
a number of TV channels. Therefore, the
programme format must correspond to the FIVB
standards.

The standard interval between the sets is three
minutes. Any changes will be announced during
the General Technical meeting on-site by the
FIVB Supervisor. The HTVB can ask for an
extended break between 2nd and 3rd set. Such
requests have to be forwarded to NF, FIVB
Supervisor and FIVB TV Coordination Agency no
later than 1 month before the start of the
competition. The HTVB is the only party who may
apply for such an extended interval time.

Domestic interviews in local language are only
possible on the domestic signal, not on the
International signal.

If the HTVB wishes to put end credits, it is
possible to transmit these end credits in domestic
language only after the end of the International
signal.

At least 3 hours before the start of the match all
television preparations on court must be
concluded, for the final inspection of the FIVB
Supervisor. All cables are set up under the court,
on the day before the match.

The FIVB requests each HTVB to use an
experienced and English speaking television floor
manager for each match. The floor manager is
requested to be available before, during and after
the match directly behind the FIVB Supervisor in
a prior defined area. The floor manager must
have good wireless communication facilities with
the television director and/or television producer
in charge.

The SNG or suitable uplink facility must be
provided so that the International Feed can be
made available to the TV coordination agency for
satellite distribution.

6.7. TECHNICAL AND
PRODUCTION SPECIFICATIONS

FORMAT
Broadcasting formats across the world vary
considerably, and are constantly changing and being
upgraded. Clearly, most of the sports events format
required for all productions and transmissions is High
Definition, this is the standard that will soon become a
requirement for FIVB Host Broadcasts.

For the 2012 season, the production format for all FIVB
events is 625 Pal SDI 16:9 (in certain territories of the
world 525 NTSC SDI 16:9).

Host Broadcasters are encouraged to deliver a feed in
High Definition.

Although the above format is required, the Host
Broadcast productions must keep all relevant action
within the 4:3 safe area on screen, all graphics
(provided by the FIVB) will be designed to fit inside the
4:3 area.

The equipment used on HTVB productions must be of
full broadcast quality specification, regularly
maintained and serviced.

CAMERA POSITIONS

The following cameras and camera positions are to be
utilized for all HTVB World League events. The FIVB
Television Manual shows examples of these camera
positions and usage. Eight cameras should be used for
all World League matches, and if additional cameras
are used, they must be positioned as outlined.

Camera No. Lens Operation
1 18x
Main coverage camera on
platform
2 55x
Close up camera on
platform
3 14x Handheld camera
4 14x Handheld camera
5 55x High end court camera
6 w/a Net camera
7 11x Crane camera
8 55x Low end court camera
Additional cameras
9 55x Reverse side of court
10 14x Corner of venue



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REQUIRED CAMERA PLAN


Camera one
Camera one should placed on the opposite side of
court, to face the main public stands. This allows a
backdrop of the crowd, behind play, during the match.
It should be 40 meters back and at an angle of 30
degrees from the centre of the court. It should be offset
from the centre of the net by 2 meters to the left so the
face of the net can be seen. It may be required to have
it positioned on a platform in which case this should be
separated from the spectator stands to avoid shaking.
This is the main coverage camera.

Camera two
Ideally this is positioned below camera one, 2 meters
above the net height, slightly offset to the right of the
net. However, it is often difficult to achieve this position
so this camera can be positioned alongside camera
one, sharing the same platform if necessary. Used as
the main close up camera before and after a point, and
for replay coverage during play.


Cameras 1 and 2 can be positioned side by side.



Cameras three and four
The cameras three and four are positioned by the court
and are operated handheld. During play, they take a
position between team bench and officials table, with
the operator often using a small portable seat. They
should be used for close ups of players before and
after a point, and cover play for replay purposes. They
should also be used during time-outs and substitutions
and have built in microphones. A cable assistant
during the production operation is necessary to avoid
any problems or disturbances. If possible, these
cameras should be of wireless operation to alleviate
the need for cable or a camera assistant on the court
area. If cable assistants are needed, they should be
discrete and avoid the court area as much as possible.


Handheld camera and net camera

Camera five
Camera five is placed high in the stands at the end of
the court. Centered to the court, it should be positioned
so the top and bottom of the net tape, lay between the
far end 3 meters and end line when the shot is viewed.
It is recommended this camera is occasionally used for
master coverage (say once in every five points).
However, this camera should not be used during any
periods of play that are crucial and when the score is
close.

Camera six
A net camera (CCD megapixel mini camera) must be
fixed on the net post, offset slightly to the right side of
centre. It will be used for set up shots and replays. The
FIVB Technical Supervisor must be consulted in order
to determine the exact positioning of the net camera.
This Camera must be Installed no less than 3 hours
prior the start of the first match on court. All cabling
must be out of sight. Protective mousse will be
required for both the protection of the camera and the
players.






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Camera seven
This crane camera is recommended to be used mainly
during set up shots before and between play and for
replay coverage. It should be a minimum of 6 meters in
length and positioned at the opposite end of court from
camera five with the base in line with the camera one
sideline. A good working area is needed around the
base to fully optimize its operation. It is essential an
experienced crane camera operator is employed to get
the best use from this camera.


Crane camera

Camera eight
The camera is on a tripod ideally on the ground level at
opposite end of court from the crane camera. This
camera is mainly used for reaction shots, signal shots,
set up shots before a service, and for replays. This
camera should be a super slow motion camera.


Super slow motion camera









Additional Cameras
If additional cameras are added to the production, it is
recommended they be utilized as follows:

Camera nine
A reverse angle camera from the main (camera one)
coverage side of court, this camera should "mirror" the
position of camera two. It should be used for close ups
of coaches and players on and around the bench area,
both as live shots and reaction replays. It will also be
facing the VIP area of seating and can be utilized for
those personality shots.

Camera ten
A camera placed high in the corner of the arena
offering a "beauty" shot for programming transition and
graphics backgrounds. Generally this camera is
unmanned, however if staffed it can provide some an
interesting alternate angle coverage for replay
purposes.

The Television Coordinator may advise the HTVB on
the best location to place the cameras during the on-
site visit. The proposed camera positions must be sent
to the Television Coordination agency, with a copy to
FIVB, for approval a minimum 2 months before start of
the tournament (WL.TV-6 form). The layout must
clearly show the distances of the cameras from the
court as well as the height in relation to the playing
court.





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6.8. AUDIO

For all satellite transmissions and recordings, the
following audio configurations should be used.

Track One:
Stereo International Sound (Music & Effects) (Left)
Track two
Stereo International Sound (Music & Effects) (Right)
Track Three
Stereo International Sound (Music & Effects) (Left)
Track Four
Stereo International Sound (Music & Effects) (Right)

However, the matches from the Final Round will carry
English Commentary (commentator provided by FIVB)
and the audio configuration should be as below:

Track One: Stereo Full English Commentary &
International Sound Mix (Left)
Track Two: Stereo Full English Commentary &
International Sound Mix (Right)
Track Three: Stereo International Sound (Music &
Effects) (Left)
Track Four : Stereo International Sound (Music &
Effects) (Right)


International Feed FIVB English commentator

If English Commentary is not required by the FIVB, it
will be possible for HTVBs to carry their commentary
via satellite. Requests for exceptions will be
considered on a case by case basis. Priority should be
given to the HTVB home team and the HTVB away
team. The audio configuration should then be:

Track One
HTVB Commentary (HTVB home team)
Track two
HTVB Commentary (HTVB away team)
Track Three
Stereo International Sound (Music & Effects) (Left)

Track Four
Stereo International Sound (Music & Effects) (Right)

Stereo International sound should be clean
International ambient sound from the court and any
FIVB cleared music from the programme. International
sound refers to the audio from the stadium, the ball
being hit by players, the players noise, the crowds
noise, the public address system and music, the
referees whistle and/or instructions, etc.

Official music will be supplied by the FIVB Television
Coordination Agency, cleared for worldwide
transmission, which should be used with any full page
graphics (e.g. set statistics) and as background to any
set or match action montages.

The sound levels of the public address system and
music should be carefully controlled as they strongly
affect the loudness of the international sound. Music
and commentary should be played during court
changes and time-outs only and never during rallies
due to the intricacy to edit pictures at that time for the
broadcaster.

Copyright problems may also occur if commercial
music is heard as a background noise. Likewise,
commentaries via the public address system on the
International sound track should not be audible as they
may conflict with the commentary on track one and
two. Microphones should be strategically positioned to
ensure the clearest and best possible audio signals
featuring the following:

players body contact with the ball.

players and coach's discussions on court and
during time outs.

crowds close-up applause and general excitement
surrounding the event.

publics reaction to the players performance.

referees calls.

Around 20 microphones should be used to capture
these audio effects. A personnel microphone should
be used on the net. All placements must be put out of
sight from all camera shots. HTVB should use pole
microphones for the coaches during time-outs. It is
important that all coaches accept the use of the pole
microphones and all HTVB use pole microphones for
acceptable audio.



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REQUIRED AUDIO PLAN







































6.9. COMMENTARY POSITION

For the matches on which FIVB will assign an English
Commentary for the International Feed (Finals and
perhaps some key preliminary round matches to be
announced well in advance), the hosting HTVB will
need to provide a fully equipped commentary position
for the FIVB Television Commentator for this match
(NB: TV commentator is provided by the FIVB).The
English Television Commentary shall be routed via the
ob-van for the uplink of the international signal with the
four audio tracks as outlined earlier. The relevant
HTVB has to coordinate and arrange the audio mix
with natural sound, effects and voice.

A suitable commentary location for the FIVB
commentary must be supplied. It should be located on
ground level, the same side of court as the main
camera positions, be large enough for two people and
have two commentary control units and associated
monitoring. If a commentary information system (CIS)
is available then it should be available in this position.




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6.10. GRAPHICS

Together with the World League brand, the FIVB
provides also a television graphic layout as part of the
World League brand identity. These elements need to
be included in all the feeds (national and international),
according to the TV Graphics & Brand Guidelines.

The TV graphics layout will be made available on
an FTP server, the login will be given by the TV
coordination Agency. International graphics must be
produced in English language using Latin characters
only. All graphics must fit into the 4:3 "safe" area in the
television frame.

For the incorporation of the data (results, statistics,
etc), each HTVB must have the link between the
competition data system and the television graphic for
the best possible graphic information in real time on
television. The contact for each HTVB is the data
system manager of each National Federation. They will
then communicate eventual needs to FIVB data
system manager in Lausanne.

It is imperative that all HTVBs start working on the
graphics connection at least 3 months prior to the start
of the competition as HTVBs have had problems
interfacing and it takes time to resolve.

During all live action, the score graphic must be shown
permanently in the top left hand corner of the screen,
but must be removed during slow motion replays and
when filming close ups of faces.

The current score should be displayed during time-
outs. And the score, results of previous sets and
identification of the two countries are included in the
score graphics.

Any computer or sponsor captions as well as channel
identification logos must be eliminated from the
international signal.

The HTVB should receive the line-up sheet for both
teams 12 minutes (at the latest) before the start of the
match. The HTVB and its graphic staff must collect the
copies of these sheets at the jury table as they are
specially prepared for HTVB.

Examples of the graphics style and a guide to
implementation for the HTVB can be found on the Host
Broadcasters website.




6.11. REPLAYS AND THEIR USE

The use of a replay, in a quick moving sport such as
Volleyball, is vital to fully visualize the skill, speed and
precision of the play. Equally important is that no live
action should be missed. A red light system should be
employed where by the HTVB producer can activate a
light placed on the post by the 1st referee, who in turn
will hold play if required.

This function should not be abused and is suggested
that play should not be held by more than 6 times a set
and then for not more than 7 seconds. The light
remains on for the duration of the replay. A clear
understanding and cooperation is needed between the
producer and 1st referee for this to work well.

A short replay transition (also called wipe) will be
supplied by the FIVB as part of the new TV graphic set
for use between live action and replays. This should be
used only during live play, and any replays shown
during time outs, between sets or at the end of play
should be transitioned into by use of a dissolve.

The use of replays in the HTVB production should be
decided depending on the match action, keeping in
mind the philosophy that the replay must add quality to
the production coverage. Alternate angles of play and
unseen reactions are key sources of replay. All
cameras should be recorded for replay use.

Example of the FIVB replay wipe can be viewed on the
HTVB website.




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6.12. NEWS FEEDS,
RECORDINGS & MELT REELS

6.12.1 NEWS FEED

At the end of each days transmission, a 2-3 minute
news package should be produced and played out on
the satellite no more than 15 minutes after the end of
the main programming. It should include match points,
good points featuring both teams, a venue establishing
shot and any celebrations and awards. The Television
Coordination Agency will coordinate international news
coverage of all FIVB World League matches. A list of
suggested shots for the news feed can be found on the
broadcast website.

6.12.2 RECORDINGS

All matches should be recorded in Standard Definition
or High Definition onto new unused (preferably
Digibeta tapes or XD cam) with time of Day time code
for use by the FIVB and their archive.

No play must be missed and there is to be at least a
two minutes overlap on each tape, when changing
tapes. It is also acceptable to change the tapes
between the sets if no facilities for overlapping
recordings are available. Tapes must include the entire
match and at least ten minutes of pictures before and
six minutes after the match in accordance with the
FIVB programme format used for live transmissions.

The following should be provided to the FIVB Archive
for each Match:

Intercontinental Round Match
1 x tape recording (preferably Digibeta or XD cam)
2 x DVD recordings

Final Round
2 x tape recording (preferably Digibeta or XD cam)
2 x DVD recordings

The audio configuration on all FIVB recordings should
be as follows:

Track One
Stereo International Sound (Music & Effects) (Left)
Track two
Stereo International Sound (Music & Effects) (Left)
Track Three
Stereo International Sound (Music & Effects) (Right)
Track Four
Stereo International Sound (Music & Effects) (Right)

The Final Rounds and other key matches to be
announced by the FIVB will carry English Commentary
(commentators provided by FIVB), for those matches
the audio configuration should be as stated on the
audio section (paragraph 6.8).

At the end of each match or days competition, the set
of fully labeled tapes and DVD's from each match must
be immediately sent by express courier service to the
FIVB Television Agency (or when advised by the TV
agency, the recordings may be handed to the on-site
TV coordinator).

It is very important that any problems with the
recording of a World League match are reported
immediately to the FIVB Television Coordination
Agency.

6.12.2 MELT REELS

When specifically asked by the TV coordination
agency, a specific request for melt reels can be
requested. At the end of the selected match, a
selection of the best replays and close up reaction
shots should be copied from the hard disc recorders
onto the end of the master archive tapes, free of any
graphics, to provide a melt reel from that match. This
material should be selected on quality rather than
quantity, but contain all the best play and reactions
from different camera angles.

All master tapes should be labeled, both on the tape
itself and on the outside of the box, and contain a
basic log of contents. The design for the tape labels
and logs can be downloaded from the Host
Broadcaster website.

All recordings must be couriered immediately on the
Monday following the weekend matches by DHL or a
similar standard of courier company to the archive
facility in London:

Mr Filippo Guidolin
IMG Media
McCormack House
Burlington lane
London W4 2TH
United Kingdom
Office: +44 (0) 208 233 6140 / 5300
filippo.guidolin@imgworld.com




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6.13. POWER, LIGHTING AND
MONITORS

All power for the HTVB should be uninterrupted and on
a different phase from the rest of the stadium power.
There should be back up power available for the
HTVB production facilities, which will automatically
activate in the event that the main power should fail.
This should be synchronous, and not in any way
disrupt the production signal.

The television lighting in any venue is of vital
importance. As a general rule the average illumination
in the vertical plane should be 1500 lux across the
playing surface and immediate surrounds, with the
crowd areas lit to approx. 1000 lux There should be
no major reflections, shadows or patches across
the playing area. All interview areas must have
acceptable independent lighting.

The HTVB is asked to install standard television colour
monitors transmitting the international signal including
real time code on the desk of the FIVB Supervisor. If
possible and if requested by FIVB Officials or National
Federation, additional monitors may be installed in
other areas (VIP area, press area) in the competition
hall.

6.14 INTERVIEWS

To further enhance the programmes' editorial content, a
"flash interview" should be done for television only. It will
enable the worldwide broadcasters to have a winners'
interview made during end of match formalities (see
running order). International Feed interviews are for the
Final Round and can be done on other key matches
upon FIVB request.

The sequence of events should be as follows:

After celebrations and signing score sheet, winning
team or a representative player of the winning
team (preferably an English speaker) is taken to
the "flash interview" area. The flash interview
should not exceed one minute.

Following the end of transmission, an interview will
be conducted on court with the winning team (in
order to maximise the material for editing the
highlight programme (see paragraph 6.18).

This interview for the International Feed must take
priority over any unilateral interview. If a rights holder
wants an interview they need to advise the Press officer
and be guided to the Mixed Zone. If the rights holder
is after a live interview, it must be done after the FIVB
interview, it must not be in view of the International Feed
cameras. And if the domestic HTVB wants an Interview,
it must not be within the International programme.


6.15. TV RUNNING ORDER

Each transmission must follow the described sequence
as set out in the following TV running order. This is
essential to allow all broadcasters taking the feed to
know points where they can enter and exit the Host
Television Broadcast (the TV Running Order can also
be retrieved from the HTVB website, please check for
any eventual updates).

For each televised match, the TV transmission will
start on the hour and the first serve will start 10
minutes after the hour. In case there is an "over-run",
the following match will start as soon as possible after
the end of the previous match. If a match "under-runs",
it will start on the following hour.




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6.16. BOOKING PROCEDURES

In the event that an International Broadcaster wants to
be on-site it is the responsibility of the Host
Broadcaster to facilitate and implement their
requirements. Bookable facilities could include
commentary positions, cameras, pre and post
unilateral etc. It is not however, the responsibility of the
Host Broadcaster to organise the satellite distribution
and therefore must not provide International
Broadcasters with Satellite details, the HTVB should
direct all requests to the TV Coordination Agency.

Furthermore, the following points must be kept in mind:

The TV Coordination Agency will advise the
National Federation and/or Organiser and the
Host Broadcaster who the International
Broadcasters (rights holders) for their event are
and specify the rights they own.

The TV Coordination Agency will put the
International Broadcasters in direct contact with
the Host Broadcaster's booking coordinator.
Therefore, the Host Broadcaster must be
prepared to set up a booking system, allocate a
person as the booking contact.

The HTVB must prepare a rate card which must
be approved by the FIVB / TV Coordination
Agency, it must be submitted to the TV
coordination agency no later than 2 months prior
to the start of the Competition.

The TV Coordination Agency should be kept
informed on the Host Broadcaster booking
system and subsequent booking requests in
order to ensure the servicing of International
Broadcasters across all FIVB events, a final copy
of all bookings should be sent to the TV
Coordination Agency 30 days prior to the
competition start date.

The TV Coordination Agency and TV Coordinator
onsite has the authority to take all necessary
actions to resolve any problems that may occur.
6.17. SPECIAL REQUESTS: PRE
AND POST UNILATERAL AND
TAPES

As it is the responsibly of the TV Coordination Agency
to manage the sales and distribution of the
International feed and News feeds if an International
Broadcaster requests a tape copy, the Host
Broadcaster should pass the request on to the TV
Coordination Agency.

If the International Broadcaster requests a pre and/or
post unilateral, as per all onsite bookings, the Host
Broadcaster is responsible for providing it via their
bookings system. In this case the Host Broadcast
would be required to provide all equipment (camera,
cameraman, audio, etc.), satellite space, etc. Please
ensure the TV Coordination Agency is across these
bookings as there will be an additional charge for
onpassing pre and post unilaterals.

Like all bookings, any requests for pre and/or post
unilaterals received directly by the Host Broadcaster
must be copied to the TV Coordination Agency
immediately for information purposes and in case
further distribution is required from the Host
Broadcasters satellite onto the International
Broadcaster.

Broadcasters with unilateral access authorization will
be responsible for all expenses (according to the rate
card previously approved by the FIVB) and only
licensed broadcasters will be granted unilateral
access.


International Rights holders on-site



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FIVB Volleyball World League 2012 Page 85


6.18. TV HIGHLIGHTS
PROGRAMS

The FIVB has commissioned IMG Media to produce
weekly highlight programme featuring all 2012 World
League events. There will the following highlight
episodes:

One episode for each Intercontinental round

One episode featuring the Final Round

Each 26 minute programme will be available from IMG
London Media House on the Thursday following each
match week, if not communicated differently.
Therefore, it is essential that the tapes of the matches
are sent to IMG London on the following Monday at the
latest (see point 6.12) so that IMG can produce and
distribute in time the Highlights Programme.

Editorially, the highlights will feature the following:

A consistent and agreed format.

Highlights from each event based on the footage
sent by HB.

Lifestyle and personality led features: HB will
provide as much atmosphere footage as possible
including volleyball stars/celebrities, postcard of the
host city/town hosting the match, etc.

Interviews of the players and coaches

This TV product will be added to the conventional
programming available to international broadcasters
(live, delayed, news and unilateral transmissions) and
will emphasize the Volleyball lifestyle. This will
contribute to increase the worldwide TV exposure and
sales and therefore the awareness of the Event
throughout the world.



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FIVB Volleyball World League 2012 Page 86



6.19. TV COORDINATION
AGENCY - COMPANY CONTACT
DETAILS

The FIVBs appointed TV Coordination Agency is:



IMG Media

McCormack House
Burlington lane
London W4 2TH
United Kingdom


All written communication should be sent to the
following email address:
FIVB.TVAgency@imgworld.com

IMG Media Broadcast Coordination Manager
Sophie.Ormond@imgworld.com
Office: +44 (0) 208 233 6542
Mobile: +44 (0) 780 286 2346
+33 (0) 689 67 89 30

IMG Media Sales Coordination Manager
Filippo Guidolin
filippo.guidolin@imgworld.com
Office: +44 (0) 208 233 6542
Mobile: +44 (0) 751 597 6231