Ontheair live
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You want to make sure you’re bringing up the handheld-camera mics to get those family reactions and cheers. “When you go out to the beer garden on the Las Vegas strip,” he continues, “it’s totally different sound, with all the crowd mics open, than when you’re in the green room, where you’ve got players and their families and it can be very quiet. “We’ve especially got a lot of crowd mics out there - in the theater, at the College GameDay set, at the beer garden - so it’s really just trying to bring all that and have it match what they’re cutting around on screen, because they’re all very different environments.
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“I think the biggest thing is trying to just have the audio match the cameras, which is challenging because it’s very spread out,” Blackwood explains. The overarching goal for sound is to support the video, including keeping some common ambience in the mix to avoid abrupt tonal shifts, with background crowd sounds as aural continuity for transitions to quieter environments. It’s really just about getting a grasp on who needs what, when, and where and how we’re going to get it to them.” “We have connectivity to the NFL Network via MADI, and, between ESPN, ABC live, and the NFL Network, we’re passing all those resources around. “Just sharing all of these resources is the biggest challenge,” says Blackwood, who is on his second stint as lead A1 for the NFL Draft and has worked nearly a half dozen times as SportsCenter A1. Game Creek Video To Support NFL Network’s Studio, Flashy Red-Carpet ProgrammingĬonnecting all these sources creates a large-scale matrix that both Blackwood and Brown have to navigate, keeping up with scene and picture shifts as the events heat up.Bleacher Report Streams Live From Newly-Design Set at New York City Headquarters.Van Wagner Looks to Bring Vegas Style to On-Site Show on the Strip.ESPN Goes All-In on Three-Day Party in Las Vegas.NFL Media Stitches Together City-Wide Canvas With Powerful Connectivity, Broadcast Tech.Then there are remote camera mics and handhelds in the green room, the teams’ war rooms, ESPN’s SportsCenter show onsite, and in the players’ homes, where they’ll capture the whoops of family members as their sons are selected. These include microphones on the podiums (there are two podiums this year), which, with backups, means eight sources just for that.
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The main challenge of the event’s audio, says Blackwood, is the sheer number of sources. A1 Justin Blackwood is mixing the ESPN shows from NEP EN-1 his counterpart, Florian Brown, is A1 for the ABC broadcasts aboard NEP SuperShooter 5. When it comes to sound, there’ll be plenty of it, both on the air and live in the streets.