Rory Wohl gets us started.
Now that every team broadcasts every game on a cable regional sports network, how does the camera positioning work at the ballpark? Are there two sets of cameras, one for each team? Does the visiting team have to schlep their cameras from one stadium to another on a road trip? Are the positions fixed, home and away right next to each other?
There are separate cameras for both team broadcasts along with some shared cameras either can use (like the one looking in from centerfield). And yes, often two cameramen are in position side-by-side.
Visiting teams hire crews from the local venues to provide the equipment and manpower. A team will generally travel their own producer, director, and graphics person.
But you need your own cameras. If, for example, the announcer wants to talk about something happening in his team’s dugout the director needs a camera to show it.
There are times when a broadcast won’t have its own crew and just has to use someone else’s feed. Foreign language broadcasts typically. And that’s murder.
I called a game like that once. I’m talking about something and for no reason they cut to a guy sitting in the bullpen chewing bubble gum. Obviously the announcer from the host feed was talking about him but I wasn’t, and sometimes I didn’t even know who the guy was. Lots of scrambling. The way I dealt with it was to cop to it. I let the audience know we were using a borrowed feed and had fun every time they showed something that seemed completely random. But that was my approach. Other announcers try to scramble and justify what the audience is seeing. Good luck to them.
Today’s other baseball question comes from Rick.
You were my favorite color commentator with the Orioles. How would you even begin to go about repairing the current situation??
Thanks, Rick. I loved doing Orioles games and still root the birds on.
The announcer solution is simply to hire people who have a personality. Be less concerned with voice, age, even gender. Hire for content. Don’t be afraid of offending six listeners.
Don’t judge a demo tape based on an exciting inning. Everyone sounds great calling a ninth-inning come-from-behind rally. When the Orioles hired me they wanted three continuous innings where absolutely nothing happens. They wanted to hear how I sound when I have nothing else to fall back on other than my ability to hold an audience’s interest.
Good guys are out there. You just have to find them. Or not stupidly pass on them.
Rock Golf (which might not be his real name) asks:
Friday question: A follow-up to your comment about Robert Altman's son making more money from the (mostly) never-heard lyrics of the M*A*S*H theme.
What kinda money are we talking about?
Barenaked Ladies were asked last year if they made enough money to retire from the Big Bang Theory theme they wrote & perform.
Here's their reply:
"No," laughs Robertson. "I would have to radically alter my lifestyle to be set for life from that song."
"I believe a single woman living in Meductic, New Brunswick, would be set for life," Stewart adds.
"A single woman … no children … and a part-time job," Robertson clarifies.
"And, she inherited the house."
-- And that's on the biggest show in the world that gets syndicated several times daily by multiple outlets. I can't think of any more often played TV theme. (And they also wrote and perform the closing credits music too!)
So what determines royalties on TV themes? Is there a fixed price? Is it negotiated?
Composers make their real money on record sales. The theme from MASH was covered extensively. Young Altman literally made millions.
When a group is hired to sing a TV theme song usually a fee is agreed upon. The big money for the group is if the song itself becomes a huge hit, or the exposure from the show helps catapult the group. But none of that is a given.
Gary Portnoy’s career didn’t skyrocket after singing the CHEERS theme. Neither did the group that sang the FRIENDS theme.
I’m sure Barenaked Ladies have enjoyed increased popularity from the BIG BANG THEORY theme, but no, the fee itself is not enough set you up for life.
On the other hand, Paul Anka wrote THE TONIGHT SHOW theme (actually as a record for Annette Funicello) and that got played every night for decades. Anka made a pretty penny.
And finally, from Peter:
Ken, I was in a bookstore earlier today browsing the film section and flicked through a book called Powerhouse: The Untold Story of Hollywood's Creative Artists Agency by James Miller. Have you read it? The guy has interviewed almost everyone who's ever been connected to CAA in some way. I love juicy industry gossip.
I read it and enjoyed a lot of it. But I think it’s because I personally know many of the players. But I know a few former CAA agents and they felt it was a lovely piece of fiction.
I think if you can cut through the ego and spin you’ll find it quite informative.
Mike Ovitz is coming out with his memoir this year. That should be interesting too. And I expect it to be 70% fiction too.
Stay away from black cats.
from By Ken Levine
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