This weekend sees Formula 1 return to Zandvoort in the Netherlands for their first race at the circuit since 1985.
In the 36 years since, much has changed for Formula 1, for Zandvoort, and for broadcasting overall.
But some of the Zandvoort circuit remains intact from the layout F1 raced on in 1985, allowing us to compare how F1, and its camera angles, have changed since McLaren’s 1-2 back then.
The headline figures
Unlike in 2021, where Sky Sports airs every session live, back in 1985, the BBC covered only the race live.
The 1985 race formed part of BBC Two’s Grandstand offering in late August, with Show Jumping, Swimming and Athletics also featuring on the bill. In addition, a 35-minute highlights package aired late on Sunday evening.
Back in the 80s and 90s, local broadcasters typically produced the World Feed, this long before the World Feed was centralised in-house within F1. For the Dutch round, public broadcaster NOS produced the feed in 1985.
To show how much motor sport broadcasting has evolved, NOS utilised just 8 trackside cameras to produce the Grand Prix.
Now, Formula 1’s in-house team uses around 25 external trackside cameras to produce the action, this figure excluding all of the additional pit lane and on-board cameras that the team has access to.
Although the Zandvoort circuit configuration has changed in the past 36 years, the circuit length has remained the same. So, how has the number of external cameras tripled over the past three decades?
With the help of Formula 1’s television images and motor sport digital producer Chain Bear, we analyse the lap…
Tarzan (turn 1) to Hugenholtz (turn 3)
The lap starts with the run down the start-finish straight into a 180-degree hairpin, commonly known as Tarzan. Out of Tarzan, the cars head through a left-hand kink before a right-hand bend named Gerlach.
From an advertising perspective, the start-finish straight has radically changed. The 1985 angle features a few small BMW boards heading towards turn 1, whereas the 2021 angle features prominent Heineken advertising, making it impossible to ignore.
The overhead gantry has its disadvantages though: the gantry can block the banked final corner, which means F1 cannot cut to the above angle too early, otherwise they may miss any overtakes at the start of the straight.
Back in 1985, the director had just one choice of camera heading into Tarzan: a high up camera (seen in the image above) covering the start-finish straight and all of Tarzan.
This weekend, F1 has five different camera options for the director to play with. Pointing up the start-finish straight towards the final bend, F1 has a choice of a high and medium-level angle.
Two lower cameras bring viewers closer to the action: the first positioned towards the end of the start-finish straight when the cars are at top speed, with a second camera positioned on the exit of Tarzan.
Furthermore, F1 has a remote camera located at the apex of turn 1. The camera, positioned on the pit lane barrier, tracks cars as they sweep into Tarzan, the director heavily using this angle during the first Formula Three race.
Both the 1985 and 2021 iterations of Zandvoort have cameras located at Gerlach, although the 2021 version also has a camera positioned on the short straight between Tarzan and Gerlach.
Out of Gerlach, the cars brake for the Hugenholtz hairpin. Now banked to aid overtaking, F1 has placed four cameras around the hairpin, a justified decision based on the weekend’s action so far.
A high camera, reminiscent of the hairpin at Suzuka, is the traditional World Feed shot. Supplementing the high angle is a Jib camera on the inside of the hairpin, while there are two ‘ground level’ angles on entry and exit respectively.
The exit camera worked beautifully on Friday, capturing W Series driver Fabienne Wohlwend’s accident in slow motion from a very close distance, while F1 captured Carlos Sainz’s smash on Saturday morning from a variety of external angles, helping to tell the story to the viewer.
In contrast, the 1985 version of the broadcast featured… zero camera angles at Hugenholtz. Instead, the broadcast focused on the hairpin from the preceding camera at turn 2 and turn 4, known as Hunserug.
NOS used the higher angle to track the cars through turns 5 and 6. One camera angle covered 15 seconds of action per lap, a common feature of F1 broadcasting back then, but such a trait would be below 2021’s broadcasting standards.
Hondenvlak / Master (turn 8) to final corner
Following the fast decline right hander at Scheivlak (turn 7), the 2021 circuit deviates from its 1985 counterpart. The 2021 circuit heads right again through Master, while the 1985 straight continues a little longer before heading through a left-right chicane.
Showing how few cameras there were trackside in 1985, there were no external cameras positioned at turns 6 or 7, the 1985 director relying on the cameras at turns 4 and 8 respectively to cover this section.
Although the track layout changes at this point, the comparison between these angles is still valid, and shows again how much sports broadcasting has moved on from an advertising perspective.
Elevation is noticeable on both shots, but the 1985 angle features multiple advertisers, while the 2021 shot sees the Pirelli brand advertised to its fullest potential, with no other brands ‘interfering’ in the angle.
Wherever fans look during a race weekend, there is a ‘Heineken’ shot, a ‘Pirelli’ shot, an ‘Aramco’ shot, and so on, which is a better way of activating brands than the old school approach, even if it looks ‘samey’ on screen.
Throughout the second sector, 2021 reverts to the one camera per corner set up, with 9 cameras positioned from Hunserug at turn 4 through to the turn 12 hairpin, and an additional camera covering the straight between turns 10 and 11.
F1 has not given the turn 12 hairpin the same treatment of Hugenholtz earlier in the lap, a sign that F1 does not expect much action to take place at this section of track.
The extended gravel run-off area here and closeness of grandstands also limits F1’s options: there is unlikely enough room for a Jib camera on the inside of the hairpin.
As old re-joins new, both the 1985 and 2021 shots are in a similar position. As we see earlier in the lap, the 1985 angle is again higher to capture more of the action as the cars headed onto the start-finish straight.
The lower 2021 angle helps capture the elevation change as the machinery exits the banking to begin another lap of the 4.3-kilometre circuit.
Sebastian Vettel dominated the 2011 Formula One season, clinching his second Drivers’ Championship with four races to spare in Japan.
Although dominant up front, the 2011 season was competitive behind Vettel. One of the major talking points on-track was the frequent clashes between Lewis Hamilton and Felipe Massa, in what would turn out to be Hamilton’s penultimate season with McLaren.
Off-track, as the teams headed into the Hungarian Grand Prix weekend before the summer break, storm clouds began to emerge.
Hamilton may have topped a mundane first practice session in Hungary, but closer to home, a bombshell press release that landed just hours earlier sent shockwaves through the paddock and F1’s UK fanbase…
Here, Motorsport Broadcasting looks at the events that have unfolded since, and whether F1 is in a better place in the UK than what it was a decade ago.
Ten years ago today, the BBC and Sky Sports confirmed that, from 2012, Formula 1 would air across both free-to-air and pay television as part of a new agreement between two of the biggest broadcasters in the UK.
2011 was the last season covered exclusively live, free-to-air by the BBC, the season becoming the highest watched in the UK on television.
BBC TV and Sky Sports have been awarded the live rights to Formula 1 ™ between 2012 and 2018.
The move will bring increased choice, innovation, and breadth of coverage to UK and Irish motor racing fans.
Since 2012, Sky Sports has aired every race live. The BBC’s programming supplemented Sky’s comprehensive offer, the free-to-air broadcaster airing half the races live and the other half in highlights form.
The previous Autumn, in October 2010, the government confirmed a licence fee freeze for six years which, in real terms, was a 16% cut to the BBC’s budget.
Cutbacks were necessary in some areas, and F1 was in the firing line.
The BBC’s original contract was set to expire at the end of 2013 and, writing at the time on the BBC website, their Head of F1 Ben Gallop said that the deal with Sky “extends the BBC’s commitment to F1 by a further five years.”
“Given the financial circumstances in which we find ourselves, we believe this new deal offers the best outcome for licence-fee payers,” Gallop said.
At the time, the deal generated a lot of response from fans. The likes of Autosport described the deal as ‘controversial’ on their magazine cover, and it is easy to see why considering the magnitude of the change.
With the benefit of hindsight, it is possible to look at the 2011 deal through a different lens.
What has happened since?
The BBC’s commitment to F1, which was meant to last until the end of the 2018 season, was short lived.
Another round of cuts was to come, and this time, BBC’s television coverage of Formula 1 was to disappear altogether.
Channel 4 succeeded the BBC as Sky’s free-to-air partner, retaining largely the same team both in front and behind the camera, as their coverage began in 2016.
We are absolutely delighted that F1 will remain on the BBC. The sport has never been more popular with TV audiences at a 10-year high and the BBC has always stated its commitment to the big national sporting moments. With this new deal not only have we delivered significant savings but we have also ensured that through our live and extended highlights coverage all the action continues to be available to licence fee payers.
Barbara Slater, BBC’s Director of Sport, speaking in 2011
If the 2011 bombshell was not big enough, a further bombshell was to follow.
Just one race into Channel 4’s new Formula 1 deal, Sky announced that they had secured the rights to air F1 exclusively live from 2019 to 2024 in a six-year deal.
Channel 4 would later secure free-to-air highlights, plus live coverage of the British Grand Prix from Sky.
By securing the pay-TV rights early, Sky fended off potential competition from rivals BT Sport, who were rumoured to be interested in F1 at the time.
The current Sky deal, mooted to be around £1 billion across the duration of the contract, or around £160 million per season, is significantly higher than what any free-to-air broadcaster could bid for the rights.
Let us rewind back to the 2011 deal and think about alternative scenarios. Had the BBC pulled out altogether, F1 may have moved on a full-time basis to Channel 4 or ITV.
With Sky lurking in the background though, it is difficult to imagine how many years such a deal would have lasted without Sky intervention.
The only alternative that could have had a material impact, even today, would be a joint BBC and ITV deal, like the current Six Nations rugby arrangements. On a 22-race basis, the BBC could air 7 races live, with ITV airing the remaining 15 races.
The two free-to-air broadcasters pay around £100 million per year for the Six Nations. The rugby tournament is a more attractive proposition to broadcasters than F1, with higher viewing figures and a higher proportion of action in primetime.
Any combined bid therefore would likely be under £100 million, even if you swap the BBC with Channel 4.
While it is a nice idea, the finances do not stack up when compared with the amount of money Sky have invested in F1.
Did Sky walk through an open door when the BBC approached them in 2011? Absolutely. But the destination, and where we are currently in 2021, was always going to be the same irrespective of the journey taken.
The BBC’s deal with Sky in 2011 delayed the inevitable. It was not a question of if, it was a question of when.
The transfer of rights from free-to-air to pay in the UK has been gradual, in stark contrast to Germany where audiences have slumped by around 70% because of the ‘big bang’ rights change imposed on audiences.
The pros and cons of the UK F1 broadcasting arrangement
On and off-air, the UK F1 broadcasting arrangements over the past decade have helped talent step into the motor sport arena, who may never have had a chance had F1 remained solely on BBC television.
The likes of Rachel Brookes, Jack Nicholls, and Steve Jones to name a few have benefited over the past decade.
Brookes joined Sky’s F1 setup when their coverage started, while both Nicholls and Jones joined the F1 paddock on a permanent basis later.
Nicholls became BBC’s lead radio commentator in 2016, a role once held by David Croft; while Jones became Channel 4’s F1 presenter having never presented an F1 race!
This is fantastic news for F1 fans and Sky Sports will be the only place to follow every race live and in HD. We will give F1 the full Sky Sports treatment with a commitment to each race never seen before on UK television. As well as unrivalled build up to each race on Sky Sports News, we will broadcast in-depth live coverage of every session. Sky customers with Sky Sports will also be able to enjoy F1 across multiple platforms and devices, including Sky Go.
Barney Francis, Managing Director of Sky Sports, speaking in 2011
Having several broadcasters in the mix presenting their own bespoke output not only gives emerging talent more opportunities to break into the sport, but it gives viewers access to a broader roster of pundits.
From the BBC’s Jolyon Palmer, through to Channel 4’s Mark Webber and onto Sky’s Anthony Davidson, there should be something for everyone across the talent pool, across live and highlights.
The broadcasting arrangements since 2012 have resulted in every F1 session airing live, as well as the vast majority of Formula Two and Formula Three sessions.
Having multiple broadcasters air live F1 from 2012 to 2018 meant that the two could push each other to produce better content, with the fans watching at home benefiting overall.
I think it is important to emphasis at this point that Sky have an excellent team: Davidson, Jenson Button, Martin Brundle and Karun Chandhok to name a few, a rotating talent set helping to keep their coverage fresh race-by-race.
COVID has restricted what Sky can do, as Brookes outlined to this writer earlier this year. That combined with the number of races on the calendar now, dilutes the quality of programming on offer to the viewer.
Broadcasters want more races, as races attract viewers, but it means that their supplementary programming takes a hit.
Formula Two and Formula Three feel like an afterthought (not helped by the changes beyond Sky’s control), while Sky have failed to replicate the attraction of BBC’s post-race show, F1 Forum, in my view, where the team used to perch themselves in a motor home.
Despite the criticism, since Sky moved to the podium set up in the paddock, their post-race shows have improved, and is heading in the right direction.
Worryingly for Channel 4, their free-to-air highlights audience has slumped over the past two years, to the point where Sky is moving into a position whereby it has the lion’s share of the F1 audience, an unthinkable statement even two years ago.
The good news in totality for F1 is that Sky’s audiences are increasing rapidly, and are at their highest level yet (more to follow on this front over the forthcoming weeks).
Yes, television audiences have decreased compared with a decade ago, but fans have a much wider range of viewing options now.
Back in 2011, F1 did not upload highlights to YouTube, podcasts did not exist, and the F1 social media community was insignificant. Oh, and that thing called Drive to Survive was still eight years away.
If F1 is going to continue to sign exclusive pay TV deals, then they need an action plan on how they aim to reach fans that do not have pay TV. Otherwise, F1 will haemorrhage fans.
A Formula 1 only accessible behind a pay wall is not a fruitful Formula 1.
A Formula 1 that exploits social media, is available to fans at a reasonable price, and finds new, innovative ways to harness their audience, is a fruitful Formula 1.
Motorsport Broadcasting, writing in 2016 [pleasingly I think F1 currently aligns more into the second category. Not fully, but the second category resonates more with me].
A survey by The Race Media, which operates both The Race and WTF1, shows that most fans on both platforms watch F1 via pay-TV, with less than a quarter watching via free-to-air television.
It is plausible that F1 in the UK has lost older viewers over the past decade (‘lapsed fans’), thanks to the move away from the BBC, but gained some younger fans through the likes of Drive to Survive, thanks to Netflix and Liberty Media. It may still result in a net loss, but the picture is not as black and white as the headline suggests.
A major gripe for UK fans is that fans do not have access to F1’s premium tier over-the-top service, meaning that the only way fans can watch live F1 is through Sky Sports.
How open Sky are to this position changing is unclear. Suggestions last summer that Sky would offer F1 TV Pro through their TV platform have yet to come to fruition.
Nevertheless, for everything that has changed over the past decade, F1 remains king and is by far the leading series when it comes to motor sport in the UK, with no other form of motor sport eroding its dominant market position.
What is next?
While Hamilton may retire in 2024, the prospects of both Lando Norris and George Russell look bright, which should keep interest in the sport high, which is great news for Sky Sports moving forward.
We can reminisce about every F1 race airing live on free-to-air television all we want, but the chances of F1 returning to that position in the UK after 2024, when Sky’s current deal expires, is close to zero.
In a sense this partnership with Sky is another example of how the landscape of sports broadcasting has been transformed in recent years. There was a time when the BBC and other public service broadcasters could expect to televise all the big sports themselves. Now though we have a ‘mixed economy’, with some events on satellite while others are on terrestrial.
Ben Gallop, BBC’s Head of Formula 1, speaking in 2011
In my view, I expect Sky to renew beyond 2024, with confirmation to come within the next 12 to 18 months.
Such a renewal may seem far too early, but remember that Sky sealed the 2019 deal three years in advance. F1 is Sky’s second biggest sport, only behind football, and the earlier they can renew on a like-to-like basis, the better for them.
Furthermore, the economic climate post-COVID means that F1 is unlikely to see an increase in rights fees from the UK market. As thus, extending the current agreement with Sky may be in F1’s best interests too. Stability is in the interests of both parties.
When I outlined the above to someone close to the situation recently, what was their response? “I think you’re on the money, Dave…”
How have your viewing habits of Formula 1 changed in the past decade? Have your say in the comments below.
The key talking point after last weekend’s British Grand Prix was, of course, that incident between Lewis Hamilton and Max Verstappen which has generated column inches across the board.
On the broadcasting side, it was a newsworthy weekend, for multiple reasons.
Alongside the previously announced offline HDR test, there were other things that caught the eye over the Silverstone weekend. Here are just a few…
New format, new graphics…
A new experiment for Formula 1 brought with it new graphics for the Sprint session.
The changes were visible to fans immediately after the F1 opening titles, with the usual fly-over coming in the form of enhanced augmented reality graphics.
The pre-race graphics detailed the same information as usual, such as the track layout and starting grid, but in a different format to the Grand Prix graphics.
In my view, the changes helped to differentiate the Sprint to the main event on Sunday.
I know sometimes F1, and other forms of motor sport, sometimes have a habit of implementing ‘change for changes’ sake, but I thought that this was a cool change.
As a wrestling fan, it reminded me of WWE’s broadcasts, the wrestling juggernaut having used augmented reality to their advantage throughout the pandemic with no fans in attendance.
The graphics which followed during the race had mixed execution, however.
A graphic depicting the live speed of McLaren’s Daniel Ricciardo at The Loop and Aintree fell into this category.
If this was a top speed graphic, it might make sense, displaying the live speed at one of the slowest parts of the circuit added little to the broadcast.
In contrast, F1 used augmented reality to highlight Alpine’s Fernando Alonso when riding on-board with McLaren driver Lando Norris, a graphic which worked well.
Others suggested that the Alonso graphic resembled a video game, but that for me is not a valid criticism.
Not every livery stands out as easily as a McLaren (orange) or Ferrari (red), especially when viewing from behind.
If F1’s implementation helps new viewers engage in our sport, then this is a change for the better.
Besides F1 are not the first (see: MotoGP, NASCAR, amongst others), and certainly not the last, to implement a graphic of the nature.
…as audiences in the Netherlands remain strong
In the Netherlands, ratings bureau SKO reported that Friday’s evening qualifying session averaged 552,000 viewers (15.5% audience share) on Ziggo Sport.
The figure in-line with Saturday’s afternoon qualifying session from Austria, which brought 585,000 viewers (31.7% audience share).
The higher share for Austria is reflective of the fact that the Silverstone qualifying session aired in an evening time slot, so whilst more viewers could have watched Friday qualifying in the Netherlands, they opted not to.
Saturday’s Sprint averaged 717,000 viewers (28.9% audience share), a significant volume increase on Austria qualifying, with a slight share drop.
The race on Sunday, from the start of the red flag period, averaged 1.31 million viewers across Ziggo Sport and Ziggo Sport Select, equating to a 62.9% audience share.
In the US, 529,000 viewers watched the new Sprint format on ESPN, while the race averaged an excellent 1.03 million viewers, continuing F1’s positive trajectory in the States.
The picture was less positive in Spain, where the Sprint generated no additional interest.
According to Formula TV, 114,000 viewers (1.3% audience share) watched the Sprint programme on DAZN, compared with the 116,000 viewers who watched the Austria qualifying session.
Sustainability on the agenda…
Wherever you looked across the F1 weekend, sustainability was one of the main topics featured across F1’s UK broadcasts.
Sky’s #GoZero campaign was in the spotlight during the coverage, with all their presentation team using green ‘Sky Zero’ microphone coverings and recycled clothing.
The broadcaster hopes to become net zero carbon by 2030, and is working in collaboration with F1 to help bring down carbon emissions across the sport. F1 themselves announced that the Silverstone weekend was their first ever Carbon Neutral broadcast.
Writing on Sky’s F1 website, senior producer Jamie Coley explained how he plays his part in Sky’s Sustainability Content Group.
“The group brings producers and journalists together from across Sky Sports to find ways of achieving tangible results and awareness around the environmental problems our world faces through our sports coverage,” he says.
“Over the last year, this group has achieved some significant milestones, including making all our host broadcast sports productions albert certified sustainable productions, and joining the UNFCCC’s Sport for Climate Action Framework.”
“It has also led to Sky Sports marking a ‘Summer of Sustainability’ at some of the biggest events on the sporting calendar this week, including the British Grand Prix.”
“As a producer for Sky Sports F1, my part in this is helping to tell the great stories of how Sky and F1 are going green.”
“The best person to showcase the great work F1 has done and continues to do to improve its environmental impact, which for a petrol sport is no way easy feat, is Nico Rosberg who I filmed a special feature with that airs during this weekend’s coverage at Silverstone.”
Over on Channel 4, a feature involving Aston Martin’s Sebastian Vettel aired. Vettel, along with Lee McKenzie, visited a local school to help engage children on how to live sustainability in the future.
…as Channel 4 teams up with Hollywood stars
Channel 4 splashed out on their live offering from Silverstone, with Hollywood stars Tom Cruise and Ryan Reynolds featuring through their broadcasts.
Reynolds introduced viewers back to Channel 4’s programming throughout the weekend through short VTs.
Meanwhile, Cruise featured in the broadcaster’s excellent opener to their race day coverage alongside Steve Jones, David Coulthard and Mark Webber.
In the build-up to the Grand Prix, the BBC’s Top Gear team were also in action, preparing for the next series, which will air in the Autumn.
The feature sees Sebastian Vettel, Antonio Giovinazzi and Lando Norris taking on Paddy McGuiness, Freddie Flintoff, and Chris Harris in a head-to-head challenge.
Elsewhere, a week of contract signings
Outside of the F1 world, it has been a big week for a few rights holders.
Stateside, the IndyCar Series and NBC have extended their partnership in a multi-year agreement. Normally, a rights renewal is not surprising news, however in this instance it is, as earlier suggestions linked IndyCar to CBS.
NBC’s main station will air 13 races next season, with the remaining races airing on USA Network and NBC’s over-the-top platform Peacock.
No races will air on NBC Sports Network after this season, following NBC’s decision to close the channel at the end of 2021.
In the UK, BT Sport will remain home to the World Rally Championship until the end of 2024, after the two parties agreed a new three-year deal.
On the personnel front, Will Buxton has joined Motorsport Network’s portfolio of talent, the network has this week confirmed.
While Buxton will continue his F1 commitments, his YouTube show (This Week with Will), will move across exclusively to Motorsport.tv’s over-the-top platform on a free-to-view basis.
A new era dawns for Formula 1, as the championship returns home to Silverstone for the British Grand Prix!
Max Verstappen has stretched his legs at the top of the standings, but can Lewis Hamilton use the power of home turf to claw his way back into the championship fight? It is all to play for…
F1 – the coverage
Live coverage of the weekend airs across Channel 4 and Sky Sports, as the two broadcasters air F1’s new qualifying format live. On Friday evening, the traditional three-part qualifying session will take place.
Instead of setting the grid for Sunday’s race however, Friday’s qualifying session will set the grid for Saturday’s sprint qualifying race, which is a 17 lap blast around the 5.9 kilometer circuit. The result of the Saturday’s sprint race will then set the grid for Sunday’s Grand Prix.
Channel 4 are back to full strength following Billy Monger’s positive COVID test prior to the Styrian Grand Prix. Monger returns to the team that also includes Steve Jones, David Coulthard, Lee McKenzie, Mark Webber, Eddie Jordan and Alex Jacques.
The free-to-air broadcaster are taking ‘the Sky approach’ to their build-up, with 90-minutes of build-up to the Grand Prix airing on Channel 4 from 13:30, followed by an additional hour after the race.
For W Series, McKenzie, Monger and Jacques are joined by Naomi Schiff and Amy Reynolds for Channel 4’s offering.
Over on Sky, Ted Kravitz returns to their programming after two races away from their coverage. Expect the likes of Martin Brundle and Jenson Button to also be back with Sky during the Silverstone weekend.
F1 – over-the-top
With Jacques focussed on his Channel 4 duties, Rosanna Tennant steps into the Formula Two hot seat, commentating on every Formula Two session for the first time.
Joining Tennant throughout the weekend are Tom Gaymor and Jordan King.
Channel 4 schedule Friday 16th July 14:10 to 15:45 – F1: Practice 1 17:00 to 19:30 – F1: Qualifying
Saturday 17th July 11:45 to 13:05 – F1: Practice 2 13:05 to 14:20 – W Series: Race 15:45 to 17:45 – F1: Sprint Qualifying
Sunday 18th July 13:30 to 18:00 – F1: Race => 13:30 – Build Up => 14:45 – Race => 17:00 – Reaction
Channel 4 scheduling details for the 2021 British Grand Prix. Scheduling details correct as of Friday 9th July and are subject to change.
Sky Sports F1 schedule Sunday 11th July 14:30 to 17:15 – Goodwood Festival of Speed
Thursday 15th July 18:30 to 19:30 – The F1 Show 19:30 to 21:00 – F1: Drivers’ Press Conference
Friday 16th July 11:25 to 12:20 – F2: Practice 14:00 to 15:45 – F1: Practice 1 (also Sky One) 16:45 to 17:25 – F2: Qualifying 17:25 to 19:30 – F1: Qualifying (also Sky One)
Saturday 17th July 08:40 to 09:45 – F2: Sprint Race 1 11:30 to 13:10 – F1: Practice 2 (also Sky One) 14:35 to 15:35 – F2: Sprint Race 2 15:40 to 18:00 – F1: Sprint Qualifying 18:00 to 18:30 – Ted’s Qualifying Notebook
Sunday 18th July 10:40 to 12:00 – F2: Feature Race 13:30 to 18:30 – F1: Race => 13:30 – Grand Prix Sunday (also Sky One) => 14:55 – Race (also Sky One) => 17:00 – Chequered Flag => 18:00 – Ted’s Notebook
Sky Sports F1 scheduling details for the 2021 British Grand Prix. Scheduling details correct as of Friday 9th July and are subject to change.
Formula 1 is to perform a full offline HDR test during the upcoming British Grand Prix, the series has confirmed.
Prior to the 2021 season, F1 revealed that HDR (high dynamic range) tests would take place this year, but did not offer further information on the nature of the test.
Now, F1’s director of broadcast and media Dean Locke has confirmed further details about their foray into the HDR world.
“We’re doing a full major offline test in Silverstone,” Locke confirmed, speaking at the SVG Europe Motorsport Show.
“I think we already know an awful lot around acquisition, how we’re going to capture the imagery, how we’re going to rack it and everything around that.”
“This test is more around our distribution network, which is pretty complicated! There’s lots of different flavours to what we produce as well and how we do that. We’re looking to do an offline test to iron that bit and to find out what we don’t know as well.”
While Locke refused to commit to a date for F1’s formal HDR launch, Locke believes that F1 should have a much clearer indication of timescales post-Silverstone.
Locke also explained why F1 is moving ahead with HDR quickly despite being slower in the HD space a decade ago.
“We were a little slower with HD and that was mainly because our broadcast partners weren’t requesting it, they didn’t feel it was on their road map,” Locke says.
What is High Dynamic Range?
High dynamic range (HDR) video technology is the next great leap forward to reproducing what the naked eye sees in colours and in contrast between the brightest whites and the darkest blacks.
HDR video is about recreating image realism from camera through postproduction to distribution and display.
Technically speaking, HDR video standards encompass more than just higher peak brightness and lower black levels. HDR also supports a wider colour palette, new transfer functions, greater bit depth, and static and/or dynamic metadata.
“Now, we’ve got very active broadcast partners who work with Ultra HD as well, they’re very quick to adopt. I think it’s the same with HDR, we want to be cutting edge, Formula 1’s all about that and so we should be. Our broadcast partners are asking, we’re listening and seeing what we can do.”
“Anything we can do improve that picture quality, whether that’s just the type of cameras, high motion cameras, but also HDR. It’s of massive interest to us if we can make that imagery look even more spectacular than what it already does.”
F1’s move is in-line with the recent industry trend, with many broadcasters including NBC and Eurosport airing the Olympics in HDR for the first time this July.
Elsewhere, Locke addressed the challenges that the pandemic, and the UK’s exit from the European Union, has brought for F1.
“I think it’s more challenging this year than what it was last year, with different exemptions back here in the UK.”
“We have quarantining between the races which is really difficult for crews and personnel working on that coming back. Some countries are further behind than the UK on vaccinations, so they’ve still got pretty strict rulings in.”
“I think also freight, with Brexit and everything around that, is quite challenging this year compared to last, and the calendar. We have a calendar this year, but it’s become quite difficult to plan due to the fluid situation.”