The next two weeks are arguably the most frantic in Formula E’s six-year history. Thanks to the COVID-19 pandemic, championship organisers have opted to wrap up the 2019-20 season with six races taking place over eight days at Berlin’s Tempelhof Airport.
Finishing a championship on a warm Thursday during the holiday season in August is never ideal from an audience perspective, although Formula E have attempted to make the best out of a bad situation: all six races start on the edge of primetime in Europe to try to attract a bigger audience.
As the championship grows, so does its reputation and standing in motor sport. The Berlin finale ends season six for the electric series, a remarkable feat considering it very nearly went under half way through season one.
Before the COVID-19 pandemic took hold, Motorsport Broadcasting caught up with Formula E’s Head of Content Sebastian Tiffert on how the championship has moved forward in recent times.
Celebrating the drivers
Tiffert’s first interactions with Formula E occurred through his previous role, where he was Eurosport’s Global Director of Motorsports.
Although not part of the paddock family on a race-by-race basis, his role allowed him to indirectly influence Formula E’s direction of travel from a marketing perspective.
“Prior to the start of season four, I attended a broadcaster workshop, which was really interesting,” Tiffert says.
“In there, we all collectively agreed on the fact that, because this was the flag I was waving at the time at Eurosport internally, that we need to get away from celebrating the championship or the cars, but we need to celebrate and build the profiles of the drivers, because they are the real heroes everybody can refer to.”
Tiffert cites the fact that Formula 1 fans do not remember Ayrton Senna as a driver of an individual team, but rather as an F1 driver, because of his supreme driving ability.
“I want fans to remember our drivers as Formula E drivers. What we are really focussing on, and what I was talking about when I was at Eurosport already, is how can we lift the profile of the drivers as that’s how we can build a fanbase and following.”
“One of the goals we have is to be able to elevate the profiles of the drivers, not in an artificial way, but rather in a way to explain to the fans how difficult it is what they do, because what they do is incredible.”
“They multi process everything at the same time, telling the engineers the regen, energy management, battery temperature, all whilst fighting for position and dealing with Fanboost,” Tiffert tells me.
“If you’ve watched the races so far this season, this is where we try to place the emphasis. The drivers have incredible skill, and this is something we want to put in front of everybody to make people realise that they are incredible.”
The road before Tiffert arrived on the Formula E scene was bumpy: they ditched their YouTube show Voltage half way through the 2018-19 season after just six races, one reason perhaps why their content teams have since been centralised into one division.
Released during lockdown, feature-length documentary And We Go Green helped shine a light on some of Formula E’s leading stars, although only 35,000 views so far on YouTube suggests that the film did not cut through in the way that Formula E were hoping for.
> Free-to-air “the right way forward” for Formula E in the short to medium-term
The overall intent is correct and we should applaud them because it is a well-made documentary, and broadcasters worldwide did air the film, however the timing of the release was perhaps not ideal due to the pandemic, plus the film focused on events that happened two years prior.
The release of And We Go Green is only one part of Formula E’s wider strategy to focus on the stars of the show.
Formula E have “humanised” their website, stripping back some of the more corporate assets and focusing more on original content, tailoring the content based on the readers location.
“We’re putting out much more original content on the website as well in different languages,” Tiffert says. “I believe in us needing local language content which relates to the local fan.”
“A French fan of Jean Eric Vergne won’t be very interested in the fact that someone else won the race, but he would rather know why JEV didn’t win the race.”
“The Champions League final between Liverpool and Bayern Munich. Liverpool fans are very much interested in their half of their story, and the same goes for Bayern fans.”
“It’s more complicated for us because we have so many nationalities racing, but doing it like this allows us to engage with the fans in a better way,” he believes.
Tiffert happy with TV coverage, Driver’s Eye a success to date
Formula E’s television coverage continues to be a joint venture between Aurora Media Worldwide and North One TV, which Tiffert says gives the best of both worlds.
“We’re very happy working with them and the partnership is very unique, allowing us to bring innovations like Driver’s Eye, Attack Mode and Fanboost, and then presenting it in a way to make it clear to people what has happened on the circuit.”
Positioned on the inside of the helmet, the Driver’s Eye camera angle weighs just 2.5 grams and is eight millimetres in diameter, which the FIA says is the first time a championship has used that angle in any of their sanctioned categories.
Tiffert joined Formula E from Eurosport in September 2019, at which point Driver’s Eye was far down the development road, but thanks to his role at Eurosport, Tiffert knew about Driver’s Eye early in 2019.
“It’s been a two-year journey for Formula E, if not longer, from figuring out what the idea is, getting ideas on the drawing board, and then bringing together all stakeholders, including the FIA.”
“Driver’s Eye is integrated into the helmet, so it has to be developed in a way so that it passes all of the homologation tests and obligations with the FIA, not compromising the driver’s safety, which is very important to us of course.”
“And then the next one was the engineering and development part, which was to make the camera that small, that stable and then to have the processors and the software which allows you to control the image from a distance.”
“The normal on-board shots from the car can be spectacular, but it’s very stabilised and it doesn’t move with the car, whereas this one is raw, which is the beauty of this camera, it’s so unique,” he adds.
Formula E’s intention, before COVID-19, was to increase the amount of Driver’s Eye cameras across the field gradually across season six, although Tiffert is keen not to sacrifice the quality for the sake of quantity, in his words “overwhelming” the product.
“We’re discussing all possibilities internally to see how far we can push this, and then time will tell what people are really interested in. But this is great content, an immersive experience where people may in the future only want to see the race from that camera angle.”
After a five-month hiatus, Formula E returns on Wednesday 5th August for the final hurdle of season six, with Vernon Kay leading the show as presenter, whilst Jack Nicholls returns in his role as lead commentator.
Interview was conducted earlier this year prior to the COVID-19 outbreak.
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One thought on “Formula E’s Sebastian Tiffert on Driver’s Eye, TV coverage, localised content and more…”
I wasn’t aware formula e nearly went bust in season 1. How did this happen and needed to happen to resolve it?