News round-up: New Formula Two documentary coming soon; Facebook touts MotoGP success

In the latest Motorsport Broadcasting round-up, initial details surrounding a new Formula Two documentary emerge, whilst Facebook touts MotoGP’s success on the social media platform.

The regular round-up is intended to give you a bite sized round-up of the latest news making the rounds, as well as interesting snippets that I have picked up along the way. The snippets I mention would not normally be mentioned in longer pieces, so consider the round-ups additional to the other material posted.

ICYMI: Round-Up #3 (July 1st): Sky F1 to air special Williams documentary; Formula E wins award for TV product

ICYMI: Round-Up #2 (May 28th): F1’s US audience figures increase; Formula E hits the big screen

ICYMI: Round-Up #1 (May 13th): Turner returns to F1 fold; F1 adjusts OTT pricing; Barrat joins Formula E’s TV team

Formula 1

  • Formula 1 are working on a new documentary shining a light on their feeder series Formula Two, this site can reveal. Details are sketchy, but I understand Martin Turner and Formula Two’s television producer Mark Tomlinson are two names working on the documentary, filming interviews during recent race weekends.
  • Joe Saward reports that Formula 1 could be returning to NBC in the US, taking F1 away from incumbent rights holder ESPN.
    • F1 left NBC for ESPN at the end of the 2017 season, following a dispute between F1 and NBC. At the time, NBC wanted to retain exclusive digital rights to F1, something F1 were unwilling to let happen, as this would have prevented the over-the-top F1 TV product from launching in the US.
    • Since then, NBC’s owners Comcast have bought Sky UK, so a return to NBC for F1 would make strategic sense for all parties. Maybe NBC no longer sees F1 TV as a major threat either, which does not spell good news F1 TV’s subscriber numbers if that is indeed the case…
  • Readers may remember that back at the Canadian Grand Prix, Valtteri Bottas spun coming out of the second corner during qualifying.
    • The spin aired live on some outlets, such as Radio 5 Live and Channel 4 (during their highlights show), but other outlets, such as Sky Sports F1, did not air it live.
    • Each camera operator has a ‘push to live’ button meaning that, if an incident is unfolding in front of them, they can push a button that bypasses the director and allows them to go live to air (although clearly this should only be used under exceptional circumstances).
    • In Canada, the feed Sky was taking was different to that Radio 5 Live, Channel 4 and others took – there are four different ‘World Feed’ options, catering for different regions.
    • At the time of the Canadian qualifying session, the ‘push to live’ mechanism was only being sent to two of the four feeds. The issue was rectified for race day.
  • Formula 1 has launched F1 Tracks, a music playlist that will be updated on a weekly basis across major audio streaming platforms, including Spotify, Apple and Deezer. The tracks are filtered into four categories (Pace, Mechanical, Spirit and Fan).
    • To quote F1 themselves in response to a fan question on Twitter, F1 Track “gives us a dynamic platform for fans that brings [music and sport] together – and allows us to create exciting promotional opportunities within F1 such as getting talent in to races for performances, DJ sets, interviews, and others.”
  • Fans heard a new voice on the World Feed during the British Grand Prix weekend. Jake Sanson commentated on Formula Two practice and qualifying, as well as all of Formula Three’s sessions alongside Alex Jacques.
  • The most recent series of Top Gear featured a segment looking at the Lotus 79, which won the 1978 Constructors’ Championship. Honestly, this is an excellent VT from start to finish, and is Top Gear at its strongest.
    • Chris Harris narrates the piece, and takes the Lotus 79 out on-track in the latter half of the segment. The piece also features contributions from Peter Wright (R&D at Lotus from 1975 to 1983), Mario Andretti and Clive Chapman.
    • UK readers can watch the segment on BBC iPlayer here (46 minutes in), the episode available on iPlayer for the next eleven months.

Elsewhere…

  • Facebook are touting MotoGP as one of their success stories on the platform. The social media outlet says that MotoGP “aimed to drive incremental referral traffic to its website differently, through a strong links publishing strategy on Facebook with a video focus.”
    • After implementing the strategy, MotoGP saw their referral traffic from social media to their website increasing by 40 percent year-on-year, with referrals from Facebook leaping by 90 percent year-on-year.
  • The new electric SUV off-road racing series Extreme E, which is operated by Formula E, has signed a multi-year broadcast deal with Fox Sports. The deal, which covers USA, Canada, and the Caribbean, will see Fox Sports cover the first three campaigns beginning with the inaugural series in 2021.
    • Bill Wagner, who is Fox Sports’ EVP and Head of Programming, said “FOX Sports is excited to add Extreme E to its programming line-up in 2021. Extreme racing in extreme environments, all using the latest electric technology makes for inviting programming across multiple audiences.”
  • The BBC published an article looking at Shiv Gohil’s Formula E photography which is worth a read (here).
  • Greenlight Television have announced that King of the Roads will air on Motorsport.tv. All ten Road Races will air on a same day basis on the over-the-top platform.

Spot any stories making the rounds worth mentioning? Drop a line in the comments section.


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News round up: Sky F1 to air special Williams documentary; Formula E wins award for TV product

In the latest Motorsport Broadcasting round-up, Sky Sports ramp up preparations for their British Grand Prix coverage, whilst Formula E have won an award focussing on their television offering.

ICYMI: Round-Up #2 (May 28th): F1’s US audience figures increase; Formula E hits the big screen

ICYMI: Round-Up #1 (May 13th): Turner returns to F1 fold; F1 adjusts OTT pricing; Barrat joins Formula E’s TV team

Formula 1

  • Mercedes boss Toto Wolff has confirmed that the team will feature in the Netflix’s second season of Drive to Survive, having played no part in season one. Speaking to Motorsport.com, Wolff said that Netflix will film with the team at one race this year, which will “probably be Hockenheim.”
  • Ahead of the British Grand Prix next month, Sky Sports F1 have been busy filming different features.
    • Damon Hill and Johnny Herbert have been revisiting the 1995 British Grand Prix in Sky’s own cinema. Herbert won the race after Hill collided with Michael Schumacher in the closing stages.
    • A documentary celebrating Frank Williams’ fifty years in Formula 1 will premiere following the Silverstone qualifying session. The documentary features current Sky analyst and Williams Heritage driver Karun Chandhok driving the Brabham BT26, which was entered in 1969 by Williams as a privateer. Piers Courage raced the car to second place in the 1969 Monaco Grand Prix, their first ever podium.
  • F1’s in-house digital team have filmed two excellent pieces of content in recent weeks.
    • The team gave fans a peek behind the scenes with McLaren during the Monaco qualifying session.
  • F1’s in-house digital team is now also producing the content for Formula Two and Formula Three across social media, which explains the recent surge in video content across both of those championships.
  • To help with Formula Two’s growth, Formula 1 has launched an official podcast for their feeder series. Following in the footsteps of Beyond the Grid which launched a year ago, the Road to F1 podcast sees Alex Jacques and Rosanna Tennant interview the stars of Formula Two on their way to F1.
  • W Series commentator Claire Cottingham substituted for Jennie Gow during 5 Live’s coverage of the Austrian Grand Prix. Gow will be back in pit lane for 5 Live at Silverstone.
  • Recent audience figures in the Netherlands make for interesting reading. Live coverage airs on pay-TV outlet Ziggo Sport, and according to audience agency SKO
    • The Monaco Grand Prix averaged 547k (34.3%) for the pre-race build-up, 1.24m (46.1%) for the race itself and 637k (22.8%) for the post-race analysis.
    • In comparison, coverage of the French Grand Prix averaged 396k (26.5%), 824k (40.9%) and 357k (19.8%) respectively.
    • Max Verstappen’s dramatic victory in Austria averaged 479k (29.1%), 1.20m (49.5%) and 878k (36.9%).
    • France rated lower across all metrics. Austria rated lower than Monaco for both the pre-race build-up and race, noticeably closing the gap for the latter. Amazingly, Verstappen’s victory meant that the post-race segment for Austria rated higher than the French Grand Prix itself!
  • ESPN in the US continue to tout their own F1 audience figures. Live coverage of the Canadian Grand Prix attracted 1.1 million viewers on ABC, an increase of 17 percent on last year’s figure.

Formula E

  • Formula E TV won the ‘Best in Sports Media’ prize in 2019 Sports Business Awards. Formula E fought off competition from the likes of BBC Sport and the PGA European Tour to win the category.
    • The SBA said that Formula E’s television content “creates jeopardy, develops character and narrative throughout, uses technology and innovation to create a point of differentiation, and educates consumers about electric mobility while giving global manufacturers a platform to test and develop road-relevant technologies.”
  • The BBC’s technology programme Click went to Berlin at the end of May to find out more about the innovations driving the electric series (link).
  • On the social media side, Formula E’s team have been busy linking the championship in with popular culture. Heading into the Bern E-Prix, Formula E put their own spin on Crash Team Racing across their social channels.

Elsewhere…

  • IndyStar posted in the run up to the Indianapolis 500 an excellent behind the scenes look at NBC’s IndyCar coverage. The article is well worth a read, even if a little late noting on my behalf.
  • According to Adam Stern of the Sports Business Journal, an audience of 1.10 million viewers watched the IndyCar Grand Prix at Road America on NBC in the US, their highest IndyCar audience on record outside of the Indianapolis 500.
  • The remainder of the 2019 VLN Series will air live on Lets Go Racing’s YouTube channel. The channel, which also airs the Japanese Super Formula championship, was founded following the demise of Nismo TV at the end of last season.
  • Fans of the British Superbike championship in the US and Canada can now watch the championship live via MotorTrend On Demand platform.
  • A trailer for the new Ford versus Ferrari film was released last month ahead of its theatrical release in November. The film, which starts Matt Damon and Christian Bale, focuses on Ford’s attempts to beat Ferrari in the run up to the 1966 24 Hours of Le Mans. For UK readers, the film will premiere under the title of Le Mans ’66.
  • The Le Mans Esports Series generated some big numbers across digital media during the 24 Hours of Le Mans weekend. Ben Rossiter-Turner, the Managing Director of Virtually Entertained, gave readers a behind the scenes look at the series on his LinkedIn page.
  • In today’s unusual mention, Channel 4 Weather is now sponsored by W Series.

Spot any stories making the rounds worth mentioning? Drop a line in the comments section.

News round-up: F1’s US audience figures increase; Formula E hits the big screen

In the latest Motorsport Broadcasting round-up, it is good news for Formula 1 in the US, whilst Formula E hits the big screen at the Cannes Film Festival.

ICYMI: Round-Up #1 (May 13th): Turner returns to F1 fold; F1 adjusts OTT pricing; Barrat joins Formula E’s TV team

Formula 1

  • Good news for F1 on the US audience front, with ESPN reporting double-digit growth year-on-year. The first five races (excluding Monaco) have averaged 564,000 viewers on ESPN compared with 442,000 viewers last year. ESPN also tout the strong growth in the coveted Adult 18-34 demographic, increasing 107 percent year-on-year.

Formula E

  • A new feature-length documentary covering the 2017-18 season premiered at Cannes Film Festival last week. Fisher Stevens, Malcolm Venville and Leonardo di Caprio produced ‘And We Go Green‘, which goes behind the scenes during Jean-Eric Vergne’s championship winning season. LBI Entertainment are handing distribution rights for the documentary.
  • With Dario Franchitti over at Indianapolis, Tom Blomqvist and Nick Heidfeld joined Jack Nicholls and Bob Varsha on commentary duty during the Berlin E-Prix weekend. Blomqvist was alongside Nicholls for practice and qualifying, with Heidfeld joining Nicholls for the race.

MotoGP

  • Quest have changed the time slot of their MotoGP highlights programming. The first three races aired in an 18:00 and 23:00 time slot on Monday evenings, effectively splitting the audience.
    • Viewing figures have not been good. Their 18:00 showing for Austin made BARB’s consolidated top 15 with 196,000 viewers, all other airings have failed to make Quest’s top 15, averaging around 150,000 viewers or below.
    • From Jerez onwards, Quest reduced the two airings to one, airing at 22:00 only on Monday evenings. Current schedules for Mugello suggest that the one airing strategy will continue moving forward.
  • Suzi Perry is back in the BT Sport hotseat for Mugello, after a recent bout of illness.

W Series

  • Speaking to this site following Zolder, Whisper Films stated that their production team during the Hockenheim and Zolder weekends consisted of 34 people. The split was exactly 50/50, with 17 women and 17 men. The production house says that this covers both permanent staff and freelancers.
    • The figures cover the live World Feed production, as well as highlights
    • The figures also include those working on a documentary that Whisper are producing covering W Series’ inaugural season
  • Speaking to RaceFans, series organisers noted that over 400,000 viewers watched the first race in the UK on Channel 4 from Hockenheim. CEO Catherine Bond-Muir told the site “Even [on] Channel 4 we absolutely knocked out of the park the internal audience estimates.”
  • NBC in America has picked up highlights of the series. The broadcaster will air a one-hour highlights show of each race on their NBCSN channel (including commercials).

IndyCar Series

  • The first Indianapolis 500 to air on NBC drew the 500’s highest audience since 2016. According to Adam Stern of the Sports Business Journal, the race drew 5.4 million viewers across TV and digital. The race recorded a 86 overnight rating (excluding digital), also the highest since 2016.
  • Ahead of his Indianapolis 500 commentary debut, NBC lead commentator Leigh Diffey spoke to Phillip Bupp at Awful Announcing about his journey to date (link).

Elsewhere…

  • Eurosport have picked up the rights to MotoAmerica highlights in the UK. The one-hour highlights programme began airing last Saturday.
  • Motorsport Network have announced that their new feature length film Heroes will premiere in the run-up to the British Grand Prix. The trailer, which features swathes of archive F1 footage, was unveiled last week. Manish Pandey, one of the men behind the Senna movie, is director and writer for Heroes.
  • It is worth mentioning changes within the Sky Sports hierarchy in the UK. Sky have promoted Barney Francis into the role of Chief Executive of Future Sport, with Rob Webster succeeding Francis as Managing Director of Sky Sports UK.
  • Down under in Australia, the Sydney Morning Herald report that Foxtel, which is owned by News Corporation and Telstra, is struggling against the rise of streaming platforms. The paper reports that “non marquee” sport, including motor racing, are under threat.
  • ESPN in the US featured Billy Monger’s remarkable story in their weekly E:60 magazine programme. The show featured his story last Sunday (ESPN’s Vimeo account have uploaded a preview clip).
  • The BBC have written a fantastic piece looking at Katherine Legge’s battles in motor sport, which is worth a read.

Spot any stories making the rounds worth mentioning? Drop a line in the comments section.

James Allen on…

From print media, through to the small screen and now across multi-platform, James Allen is a name that is familiar with Formula 1 fans in the UK and beyond. Allen’s career has spanned multiple decades, but he was most famous as ITV’s lead Formula 1 commentator from 2002 to 2008 alongside Martin Brundle.

Now part of the Motorsport Network ship, I caught up with Allen during the Autosport Show weekend to look back at the three chapters in his broadcasting career to date. In the style of his own blog name, this post is ‘James Allen on…’ as he reflects on his story so far.

…the start of his broadcasting career
“My first broadcasting job in Formula 1 was in 1992. I had been working with Screensport, which was a forerunner of Eurosport, on their coverage of the Le Mans 24 Hours from 1990 and 1991. I got a call from ESPN, as their pit lane reporter couldn’t do the 1992 Hungarian Grand Prix, and we’d done Le Mans as a co-production between Screensport and ESPN the previous year. It was the race where Nigel won the championship, and I got a great interview with Nigel.

“I enjoyed myself very much doing the live pit lane work, so much so that ESPN offered me the job as broadcast reporter for 1993. ’93 was the season of Ayrton Senna and Michael Andretti as team mates, obviously Andretti being an American driver was exciting, so I was in the middle of all of that.

“I went to America to do Nigel Mansell’s second IndyCar season in 1994, Nigel and I got on really well. I spent a very happy year covering IndyCars and making the show for ITV working with Chrysalis, which went onto be North One.

“I carried on working with ESPN in Formula 1, until the BBC lost the UK rights in 1996 to ITV. ITV were looking for a production company from 1997 onwards, and I drafted part of the bid to win the production contract for Chrysalis, having worked with them on IndyCar, and that was the beginning of the ITV F1 adventure.”

…becoming pit lane reporter for ITV
“I’d done a lot of broadcasting before I became F1 pit lane reporter, I’d done Le Mans for two years running, which was 24 hours in the pit lane! It was much freer in those days, you could do whatever you wanted.

“There was a lot of scope for improvisation, I had a live camera with me, I could do anything I wanted with that live camera. I could interview anyone I wanted, doorstep anybody, it was a very deregulated environment back then. It did become progressively more difficult as the years went on, but it was great fun on the whole.

“I brought an American training to it, I’d spent four years by then working with really, really good sports TV directors and producers. I was very lucky to be mentored by some of the best US sports directors, so I knew exactly how to engage the audience, what kind of stuff they were looking for, how to think beyond the obvious, don’t just say what’s happened, but what that means for what happens next, and all that kind of thing. I was very lucky and brought that to the coverage on ITV.

1997 Australian Grand Prix Qualifying - Allen and Hill
In ITV’s first live qualifying show at the 1997 Australian Grand Prix, James Allen interviews Arrows newest recruit and 1996 champion Damon Hill.

“Editorially I had worked at Autosport for two years, and prior to that I worked for Brabham with Martin Brundle, so I knew him very well from those days. Having worked on the inside of a Formula 1 team, I knew how that worked, how it operates, how it succeeds, how it fails.

“The pit lane role involved looking around for stories, looking around for insights. I’ve always been interested in providing insight and analysis wherever possible. I think the who, what, where and when is great, but I’ve always been interested in the how and the why.”

…his first F1 commentary
“I stood in for Murray when he bust his hip at the 2000 French Grand Prix, which was very useful because I was always the understudy, in case there was a ‘what if’ moment. I’d done a lot of commentary early in my career, Paris Dakar, Formula 3000, you name it, thousands of hours that hardly any people saw in the early satellite days. It was a great opportunity to commentate with Martin, to have a look at it and see how it sounded.

“I had a very intense post-French GP debrief with ITV’s Head of Sport Brian Barwick, who was very good to me and a very big influence on my career. He meticulously went through that commentary, what I’d done wrong, what I could have done better, what I done well, we spent hours going through it.

“It meant that the following year, when we did the transition where I did five races and Murray did the rest, I knew what I was trying to do. There was never any doubt in my mind about being commentator, it’s what I wanted to do since I was 15 years old.”

…succeeding Murray Walker
“It’s a double edge sword. On the one hand, the timing was good, plenty of other people would have liked to have followed on from Murray, but he kept going for a very long time. He and I worked very close together for the first four years [with ITV F1], and I drove him round Europe, he didn’t like driving in Europe so I always did the driving. We spent a lot of time together, which was wonderful, some very rich memories.

“It’s the job I always wanted to do, mass market, free-to-air TV in UK, Australia, South Africa, Canada, tens of millions of people watching, but on the flip-side he’s probably one of the most popular sports broadcasters there has ever been. You’re never going to be him, but nor should you ever try to be.

“I just said ‘listen, he has to stop’ because he’s 77 years old and can’t do this anymore, physically, it was taking its toll on him, and he wanted to go out on the top, so someone’s got to take over from him, and it might as well be me! I took it as a responsibility, I knew that there would be plenty of people who didn’t like it, I knew that there would have been people who did like it.

“Barry Davies, the football commentator whose daughter worked at Jordan at the time, said to me, ‘listen, you’re probably taking on the toughest job in sports broadcasting. If I can give you one piece of advice: stay philosophical, don’t listen to the people who cane you, and don’t listen to the people who think you’re the best thing since sliced bread, because you’re neither of those things. You’re neither a complete loser or the best thing since sliced bread, just somewhere in the middle, and be yourself’, and that was great advice, and that’s the way I played it for eight years.”

…commentating on motor racing
“What makes it tough is that there’s not one point of focus. If you commentate on a horse race, yes, you’ve got 20 horses, but they tend to focus on what is going on at the front because they all tend to be tightly packed together. If you are talking about a football match, or pretty much any ball sport, you basically follow what the ball does. Cycling is another one where you’ve got to talk about multiple narratives in one commentary, and it goes on for four hours.

2008-australian-gp-allen-and-brundle
Allen and Brundle here analysing the 2008 Australian Grand Prix qualifying session. Little did they know at this point was that 2008 would be ITV’s final year covering F1.

“I always looked at it in terms of a front race, a middle race and a back race. I would do it 60 percent front race, 30 percent middle race and 10 percent back race, so I gave a balanced narrative to the coverage. I always got on very well with Martin, he was very supportive. We had a lot of things that we wanted to try, we were always thinking about ‘let’s try this, let’s try that’, we never wanted to stay the same, we wanted to try to move forward. Having a racing driver like him alongside you means you’re always improving things with the broadcast coverage.

“We had some very difficult seasons to cover, ’01 was great, ’02 and ’04 were difficult, but a lot of people think that the 2005 to 2008 period is their favourite period in Formula 1. There was a lot of different winners, the cars were exciting to watch, and we had a great time.”

…ITV’s F1 exit
“We went out on a high with Lewis winning the World Championship. It was the only time in our twelve years of doing Formula 1 that we had a British champion crowned on our live coverage. It was a great moment, with 13 million watching, mass-market free-to-air TV, it was just fantastic.

“The contract we had with Formula 1 ran until 2010, and in my head, I was thinking I’d get to 2010 and do something else outside of commentary. I had a young family at that point with two young sons, and had been to every single race for 16 years. It was a little bit of a shock in ’08, when ITV decided to prioritise Champions League over Formula 1, and the BBC got the rights.

“But equally, I had also started exploring the digital media space with blogs, and so I went into that. I realised that there was a very good business to be had there, around the monetisation of blogs with sponsored brands and things. It was about leveraging my personal brand that I’d built up on the broadcast side on a blog, and then working with companies that wanted to attach themselves to it. That was like chapter two of the story, which was really interesting.

“Would I still have been commentating on Formula 1 on television in 2011 or 2012? No. I’m a bit restless, I do things for a while, then I feel like I want to move on.”

…his post-ITV exploits
“I did the blog thing, which you’re now doing very successfully, and then the BBC came knocking in 2012, to ask me if I wanted to be their F1 correspondent on 5 Live. The only reason I said yes was because I had never done radio, ever. Most people do it the other way round, they do radio first then go into television.

“The radio has been reinvented by the internet, you can really do a lot with radio, and I just wanted to see if I could do it, and actually, it’s much more difficult than television. I set myself a challenge, I really wanted to master this. I had four years in that role which I really enjoyed. I enjoyed working with the BBC radio network, trying to provide insights for people alongside running the blog and the business. Four years was just about enough, time to move on.

“I’m in the third chapter of my career now, which is building this unique vision we have at Motorsport Network. I’m in a management role, I manage 500 to 600 people in 21 countries. We’ve got the Autosport Awards, Autosport International, Autosport.com, Motorsport.com, all the digital media platforms.

“It’s a very interesting business, three different segments, media, experiences and eSports, we’re talking in the back of the Le Mans eSports truck. We’re the only ones that are across everything, it’s a unique project, no one has ever tried it before and will ever try it again. So far, it’s going well, it’s really difficult, it’s a big challenge, but I love it.”

Analysis: Let’s talk about TMC

Typically, sporting events take place in confined spaces, such as football, tennis, and cricket. Motor racing in unique in its nature, it is unlike any other sport. Vehicles, on both two and four wheels, race around a large perimeter under timed conditions in the name of sport.

The latter is a greater logistical challenge than the former, on all fronts, including broadcasting the event.

In stadium-based sports, it is near impossible for the television director to miss the key action. The trajectory of the football determines what the director does next, a rule that applies for every single football match irrespective of whether it is the biggest game in the world, or the local Sunday league game down the road.

When you break it down like that, directing the UEFA Champions League final between Liverpool and Real Madrid is no different to directing the League 2 play-off final between Exeter and Coventry (notwithstanding the commercial requirements for both events). Both contain largely the same parameters.

A freelancer could direct a football match one week and a three-hour tennis game the next, without having specialist knowledge of either event.

In contrast, motor racing requires cameras at every corner to track the cars or bikes around the circuit. A director needs specialist knowledge of the track, the series, and the battles likely to emerge, which is an attribute you are unlikely to learn overnight.

“With motor sport, once you’ve gone around one corner, the cameras have got to be ready to pick up on the next corner, and so on,” explains Richard Coventry, who is British Superbikes’ television director.

“If someone makes a mistake, or goes to the wrong bike, then we’ve got to correct it and pick up further down the line. Motor sport is more difficult I would say to cover than field sport, although on a football match you can have upwards of twenty cameras, but you wouldn’t use them all in the same way.”

“In football, you could stay on the same shot for three or four minutes, it’s impossible to do that at a motor racing circuit unless you place a camera high-up at Knockhill!”

From local hosts to centralisation
Formula 1 races were produced by the local television broadcaster of the time up until the mid-2000’s.

The BBC directed the British Grand Prix until 1996, with ITV taking over from 1997. The direction varied dramatically from race to race. ITV were ahead of its time, others focused on the home town stars further down the field, and some simply struggled to cope with the ever-changing F1 world.

2018 Monaco GP - new tunnel camera.png
Looking towards Mercedes driver Valterri Bottas from the new camera position towards the end of Monaco’s tunnel.

Standards improved as Formula One Management wrestled control away from local broadcasters, giving fans a consistent view of the product throughout the year. The Japanese Grand Prix was the penultimate race to fall out of local control, Fuji Television last produced the race in 2011. One race though has remained with the local broadcaster: the prestigious Monaco Grand Prix.

Tele Monte Carlo continues to produce the Monaco round of the championship, meaning that the level of expertise on-hand is lower than at the other twenty races in the calendar. This has always been an issue but has become exasperated in recent years as FOM have centralised production.

Is it no coincidence that some consider Monaco to be one of the worst races in the calendar for action? Without turning this into a piece about the racing: yes, Monaco does not feature as much overtaking as other races on the calendar, due to the nature of the street circuit, which has been the case for years.

But, when fans have called as race ‘boring’, you need to ask what draws them to that conclusion. Formula 1 attracts in excess 50 million viewers worldwide per race, all of them watching the same World Feed. Fans can only judge the race based upon the angles the producer chooses to air.

We assume that the production team have chosen the best angles, based on the expertise of those around them. Most of the time, FOM does the job well, because they have the experts there. TMC however do not cover the sport throughout the year in the same way FOM does, and therefore do not have as many experts on-hand.

For all the criticism I do give FOM, their direction generally feels well-defined, whereas TMC’s product throughout the years during the Monaco Grand Prix weekend is rough around the edges.

On their Fan Voice site (login required), FOM have outlined how the split between them and TMC works. TMC are responsible for “directing the world feed, choosing where the cameras and microphones are, selecting which subject to follow, doing all the replays.”

In turn, FOM are responsible for “onboard cameras and all [of the] trackside infrastructure are our bag, as is all the official timing, the graphics.” The site also talks about the barriers this presents, such as the inevitable language barrier.

The Monaco problem
The problems for TMC encompass the entire weekend. Starting with practice and qualifying, TMC missed crucial laps, with Daniel Ricciardo’s initial lap record omitted from the World Feed, commentators having to refer to the timing screens to try to build the excitement level.

Following qualifying, it was clear where the two main storylines sat heading into the race. The first: would Ricciardo hold on to claim the victory that slipped away from him in 2016; and secondly, how far would Ricciardo’s team-mate Max Verstappen climb through the field?

From the very first lap, the trajectory of the direction went south. The timing graphics displayed a yellow flag symbol, indicating danger, following a collision between a Force India car and Toro Rosso driver Brendon Hartley.

2018 Monaco GP - hairpin exit.png
Daniel Ricciardo tackles Monaco’s Loews hairpin. This shot is fine, but the camera angles before and after are the same long distance shots as yester-year, with a focus on the surrounding advertising.

The symbol remained on-screen for the duration of the first lap, but TMC did not switch away from the leading contingent (although team radio from Hartley was played into coverage). At any other event, FOM would have jumped on-board with Hartley to show the viewers the extent of the damage, but not here. TMC’s World Feed output also did not capture the damage initially, FOM choosing to show this footage on its pit lane channel following its absence from the main feed.

It felt like the director was reluctant to switch attention away from the front-runners and towards Verstappen, failing to capture his moves on Ericsson and Hartley live. The on-screen timing graphics falling over at several points during the Grand Prix did not help, although it is unclear whether the blame here lies with FOM or TMC. But either way, it added to the poor presentation of the race, as a fan, I found it frankly frustrating to watch.

The timing pages should guide the production team towards the next on-track action, but TMC were seemingly not using this as a basis, something that became increasingly apparent in the latter stages as they failed to show how the likes of Esteban Ocon closed on the front-runners with relative ease. TMC failed to portray the sense of jeopardy that Monaco is meant to present.

On a brighter note, TMC were on-board Charles Leclerc’s Sauber as his brakes failed, smashing into Hartley’s Toro Rosso; whilst the introduction of a camera angle towards the end of the tunnel provided fantastic shots throughout the race weekend.

However, the ‘now available for live’ camera on the inside of Loews hairpin, was poor. The actual camera angle is good, but in the context of the camera angles before and after, switching from a camera angle with a car predominately in shot, to another predominately on advertising was jarring.

A good motor racing director can turn an average race into something watchable and engaging. A bad director on the other hand can persuade viewers to turn off an average race, and there is no doubt in my mind that TMC leans into the latter category.

Compared with motor racing, there are less variables with directing a football or tennis game, which makes the job of directing a motor race more critical than other sporting events.

If Liberty Media wants Monaco to receive a better rapport from fans watching the show, one step it desperately needs to take is to wrestle control off TMC, and to bring control of the Monaco World Feed in-house.