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It also takes really good people. Watch some of the US tricaster videos – they show their products with the add on slo-mos, scoring and other things people expect nowadays.The anonymous post above (that’s a bit weird no name?) is spot on – you need lots of things – and your use of the word ‘professional’ makes me smile a bit. for any fast moving activity, the cameras need remote zoom demands at the very least, lenses with manual focus, wide focal length range, and probably remote focus. This means hire – because to buy just the lens eats up your budget. The camera sit’s on a pan/tilt head that eats up all your budget, and this is before you drop a fortune on the switcher – even a cheap one. I have an SD portable production unit in my store that cost me best part of twenty grand, and never recouped it’s cost in hire because we went HD. You also need comms – to talk too the camera operators, who need to be good ones – you don’t want out of focus, jerky and poorly framed shots, or you can’t use them.
My feeling is this is too much of a learning curve even if you could afford it. This is why hiring people to do this, though expensive, pays off.
Your audience all know what TV sports should look like. They also recognise bad video as NOT being ‘professional’. I can tell you that being a cameraman on the kinds of OB’s is stressful, and being the director is even worse. I have directed UK slowish sport twice, and don’t want to do it again – I know how, but I cannot split myself into the four people I need in my brain – the visuals, the audio, the add ins like scores, the replays, the commentary and the critical overview – learning to stop watching the live cam and scanning the rest, looking for important things too cut to next. This takes real experience to get right. I don’t think I could do football, and ice hockey is even faster. I could do it badly for you, and I’m quite experienced – you’d be ion a real loser. Bad cameras produce bad output.