 One eight of red. Have a good one everybody. Red in five, four, three, two, one. Roll red, up red, track red. It's very stressful. You got to be, you got to be zoned in. You have to be focused for three hours, three, four hours, whatever the game may be. If you go to air and it's not, it's not right or there's a mistake, millions of viewers see it. You don't get a chance to edit it. You get one shot. Everybody wants to put on a clean product, you know, something without a mistake. A lot of times the viewer at home doesn't know what the mistakes are. They don't see them, they don't hear them, very rarely. Some you wonder if they even care. They just want to watch a game. We know what it takes to get on the air. I laugh because my father used to think it's a big voodoo box watching TV because all this stuff just comes out. It just spills out on the air and he can watch it at home until he saw what it takes to put one of these on. This is actually a very well oiled machine. Eight fibers interconnect the two trucks and move over 3,500 signals on those eight fibers. I think we probably have somewhere between 150 and 200 people credentialed for this weekend. That includes stage managers, statisticians, runners, camera guys, technical director, audio, utilities, cameramen. I mean ultimately when it comes down to it, everything that we're trying to do is all about telling a story and giving the producers and directors the tools that they need to tell that story. We wanted to give the viewer the best experience graphically, visually, orally, audio. Everything is all for the viewer. If we see things happening other places we cover it, show it, and discuss it. Its instincts, its reactions, and it happens really quick. I'm the director of the show so basically in charge of the visuals that you see for the most part. Basically I'm in charge of all the cameras during the course of a game. You know for a given game I'll have 15 cameras on a given Sunday. You know, maybe we'll have whatever it is, 13 tape machines. The Fox TV trucks, they're three 53-foot trucks and they contain the entire show and then we have another 53-foot truck that's just cable cam. We've done all 32 stadiums now in the 11 years we've been doing this so it's gotten easier over the years. You can walk in and you know right where to go and right what to do and we're pretty quick at it. The computer is controlled through the joysticks, just basic inputs. I have up and down and then left and right and forward and back. That signal goes through the computer. The computer takes it to our winch station where our motors are. We have three motors X, Y, and Z and if you remember your basic algebra from high school we have what's called a Cartesian grid and it flies in an X, Y pattern this way and a Z up and down pattern that way and so I can control in any stadium. I know which way I'm going left and right. This is a basic joystick camera. There's a lot of remote controlled operated cameras. They're really all basically the same. You got your pan, your tilt, your zoom, focus. The only thing that makes this one different and it's a big difference is that this camera has a roll on it where I can control the horizon. We can finish each other sentences. It's like hey do that thing where you okay. Shorthand language I mean you know when we get down toward the end zone if they're gonna run into the end zone he'll tell me to come up give me some Z and I'll come up a little bit to show him the play developed. I'm Fox's lead technical director for NASCAR and the NFL. During the show I punch the buttons and mix the video, switch the video. The director makes the decisions but I physically make that happen. It's more of a monologue from Rich to us. Rich is doing a lot of talking and we're all listening as he's talking about ready one take one, ready two take two. You know that's letting the camera guy know that he's ready to take that camera. Settle down you're about to go on the air so that the camera guy doesn't swish pan or something like that. It also lets me know be ready to take that camera and a lot of times you know that wants to happen right at a precise moment that he's trying to go from one thing to another and so sometimes the cuts can be very very precise. I'm in charge of the live cameras so when Richie calls the replays that we're shooting the things that we need to be shooting whether it's a quarterback reaction whether it's a wide receiver isolation you know as a defensive player whether it's a coach you know whether it's a sideline reaction one of the things we try to really push is all the subtleties and I think we do a good job but we're constantly pushing just the reaction shots of both sides of the ball. Some of our greatest shots honestly are sitting on the bench or where you've got a guy that's just cost his team the Super Bowl and he's got this emotion on his face and now you're you're sitting there locked on him and we have we haven't moved but there's no other camera in here that can get that because of the specific angle or there's a coach in front of him or whatever so some of the greatest stuff we've done is right there. I'm actually now I'm actually an office guy I'm director of engineering and technology for Fox Sports remote operations so I oversee technical planning for large events Super Bowl, World Cup, US Open golf but also specifically oversee technology initiatives such as 4k. The thing that always comes up is clarity of replay we want to be able to see what's happening see what's going on and give the viewer at home the best possible image. 4k is essentially 10 times the amount of pixels of video information as regular 720p is so we can zoom into an area and get a lot more detail which is why we're using 4k. Another big initiative of Fox Sports is high frame rate cameras for more frames per second more images per second which enable a clearer replay. We can do things like like zoom in look at a guy's foot and with a bunch of frames per second you can see okay you know what he was he was right there whereas before that image might have been blurred looking across a couple frames. Technology is so good the pictures are so good the ability to play back replays are so fast. We have 11 EVS machines most handle four inputs two outputs as soon as the play is over barely before the guy stands up to go back to the huddle he'll know which replay machine to go to. We sell directly to the producer producer may ask who has it or a lot of times he knows who should have it wants to see it from those angles so selling is just getting to the producer letting him know I got the best look at this this is the one you should go to air with we're fortunate our producer trusts us for the most part if he hears our voice and he hears he hears how intent we are X it's great on X Y has the look whatever he'll he'll go to it right away without even question. I prefer the subtle real things as opposed to the guy grandstanding for the camera so the guys that have been with me for years know don't sell me a reaction where guys self-servingly acting like an asshole you know show me the shots when they come to the bench they don't realize cameras are on them and there's a little wink a little smile a little tap on the helmet from a coach those are the shots I like to see you know it's not just the quarterback celebrating after a touchdown it's the defensive back with his head down like holy Christ what just happened. Well my name is Fred Aldis and I am the audio consultant for Fox Sports and their senior mixer I mix NFL for them and I mix and design all of the NASCAR coverage for them. During NFL I want the viewer at home to be a part of the the audience in the stands and in a 5-1 show in the surrounds I want them to feel like they're sitting in the crowd so I put crowd 360 degrees around my announcers in the center speaker and then fill in the front left and rights with my effects mix because that field of play never changes so that's that's kind of being an observer of a game. On this console I have 96 physical faders and they are dual layer faders so I have 192 inputs into this console that I can manage at any point in time. While I'm sitting in here during a game I listen to a director a producer an associate director and I do my mix and then if there's something else going on I have to deal and troubleshoot that so I'm listening to any anywhere from five to eight things at one time trying to juggle that many balls. It's hard to really listen to my mix to where I'd like to but I've learned over the years what to listen for and how to listen for it. I do do a lot of that by field. I heard here the director call a camera cut and I just automatically go to it so at this point my career has pretty much become reactive as far as some of the camera cuts and what I'm listening to and how I react to those. Sometimes I open different mics to make more sense with the picture versus the cameras that are close up. If you're on the sidelines of a game you hear things that people at home watching on TV never get to hear or experience so we are walking a fine line between that audio and yet not giving away state secrets because believe it coaches watch TV tapes now to pick anything they can up off what they hear from the line of scrimmage. What our industry has done over the years is provided up close video and personal video they want to hear the audio the same and sometimes we can provide that sometimes we can't. I think from from learning from people who did this job well is you let people do their jobs I think on Sundays it all comes together with a balance of everything. You know sounds but let's not overdo it you know tight pictures but let's not overdo it X's knows let's not overdo it my job is to find the balance to bring everything together and make sure it all fits. It's really neat because it's like working on a great team and you're seeing all those everybody come together and they all know their job they know what they're doing they're the best of what they do. You know broadcasting is similar to being on a you know a team Troy Aikman would say the same thing you know he might be the star of the team but it takes a whole team to actually put the broadcast together so we just spend the weekend all together we have dinner together we spend a lot of time together and that's the best thing spending time together as a broadcast team. I mean we've known each other for years even before we got on this crew a lot of us how to put things together that there's a hierarchy there's not yet yeah that'd be the boss there are times I spend more time with these guys than I do with my family because not only this I go right into NASCAR and that's 20 some weeks and you're spending four days a week with them and only two at home. I think I think most of us in this business enjoy doing what we do because we like it we have fun doing it and we'd hate to have a real job sitting behind a desk all day. When you hear that three count going into the open of the show I'll tell you what the rush is absolutely incredible knowing there is no going back there are no retakes you have to do it right do it right the first time and and it's a pretty big rush and I still get that rush. Live TV is the only kind of TV you want to be in now there are people a lot more creative than I am who can sit in an edit room and create a show from scratch and those people are really smart and really talented but there's nothing like the adrenaline of being part of a live broadcast you just don't know how it's going to go you can talk to broadcasters former athletes you know there's nothing like playing but the closest thing you can get to playing or coaching is being in TV and covering an NFL game. you
 One eight of red. Have a good one everybody. Red in five, four, three, two, one.
 Roll red, up red, track red. It's very stressful. You got to be, you got to be
 zoned in. You have to be focused for three hours, three, four hours, whatever
 the game may be. If you go to air and it's not, it's not right or there's a
 mistake, millions of viewers see it. You don't get a chance to edit it. You get
 one shot. Everybody wants to put on a clean product, you know, something without
 a mistake. A lot of times the viewer at home doesn't know what the mistakes are.
 They don't see them, they don't hear them, very rarely. Some you wonder if they
 even care. They just want to watch a game. We know what it takes to get on the air.
 I laugh because my father used to think it's a big voodoo box watching TV
 because all this stuff just comes out. It just spills out on the air and he can
 watch it at home until he saw what it takes to put one of these on. This is
 actually a very well oiled machine. Eight fibers interconnect the two trucks
 and move over 3,500 signals on those eight fibers. I think we probably have
 somewhere between 150 and 200 people credentialed for this weekend. That
 includes stage managers, statisticians, runners, camera guys, technical director,
 audio, utilities, cameramen. I mean ultimately when it comes down to it,
 everything that we're trying to do is all about telling a story and giving the
 producers and directors the tools that they need to tell that story. We wanted
 to give the viewer the best experience graphically, visually, orally, audio.
 Everything is all for the viewer.
 If we see things happening other places we cover it, show it, and discuss it. Its
 instincts, its reactions, and it happens really quick.
 I'm the director of the show so basically in charge of the visuals that
 you see for the most part. Basically I'm in charge of all the cameras
 during the course of a game. You know for a given game I'll have 15 cameras on a
 given Sunday. You know, maybe we'll have whatever it is, 13 tape machines. The Fox
 TV trucks, they're three 53-foot trucks and they contain the entire show and
 then we have another 53-foot truck that's just cable cam. We've done all 32
 stadiums now in the 11 years we've been doing this so it's gotten easier over
 the years. You can walk in and you know right where to go and right what to do
 and we're pretty quick at it. The computer is controlled through the
 joysticks, just basic inputs. I have up and down and then left and right and
 forward and back. That signal goes through the computer. The computer takes
 it to our winch station where our motors are. We have three motors X, Y, and Z and
 if you remember your basic algebra from high school we have what's called a
 Cartesian grid and it flies in an X, Y pattern this way and a Z up and down
 pattern that way and so I can control in any stadium. I know which way I'm going
 left and right. This is a basic joystick camera. There's a lot of remote
 controlled operated cameras. They're really all basically the same. You got
 your pan, your tilt, your zoom, focus. The only thing that makes this one different
 and it's a big difference is that this camera has a roll on it where I can
 control the horizon. We can finish each other sentences. It's like hey do that
 thing where you okay. Shorthand language I mean you know when we get down toward
 the end zone if they're gonna run into the end zone he'll tell me to come up
 give me some Z and I'll come up a little bit to show him the play developed.
 I'm Fox's lead technical director for NASCAR and the NFL. During the show I
 punch the buttons and mix the video, switch the video. The director makes the
 decisions but I physically make that happen.
 It's more of a monologue from Rich to us. Rich is doing a lot of talking and
 we're all listening as he's talking about ready one take one, ready two take
 two. You know that's letting the camera guy know that he's ready to take that
 camera. Settle down you're about to go on the air so that the camera guy doesn't
 swish pan or something like that. It also lets me know be ready to take that
 camera and a lot of times you know that wants to happen right at a precise
 moment that he's trying to go from one thing to another and so sometimes the
 cuts can be very very precise. I'm in charge of the live cameras so when Richie
 calls the replays that we're shooting the things that we need to be shooting
 whether it's a quarterback reaction whether it's a wide receiver isolation
 you know as a defensive player whether it's a coach you know whether it's a
 sideline reaction one of the things we try to really push is all the subtleties
 and I think we do a good job but we're constantly pushing just the reaction
 shots of both sides of the ball. Some of our greatest shots honestly are sitting
 on the bench or where you've got a guy that's just cost his team the Super Bowl
 and he's got this emotion on his face and now you're you're sitting there
 locked on him and we have we haven't moved but there's no other camera in
 here that can get that because of the specific angle or there's a coach in
 front of him or whatever so some of the greatest stuff we've done is right there.
 I'm actually now I'm actually an office guy I'm director of engineering and
 technology for Fox Sports remote operations so I oversee technical
 planning for large events Super Bowl, World Cup, US Open golf but also
 specifically oversee technology initiatives such as 4k. The thing that
 always comes up is clarity of replay we want to be able to see what's happening
 see what's going on and give the viewer at home the best possible image. 4k is
 essentially 10 times the amount of pixels of video information as regular
 720p is so we can zoom into an area and get a lot more detail which is why we're
 using 4k. Another big initiative of Fox Sports is high frame rate cameras for
 more frames per second more images per second which enable a clearer replay.
 We can do things like like zoom in look at a guy's foot and with a bunch of
 frames per second you can see okay you know what he was he was right there
 whereas before that image might have been blurred looking across a couple
 frames. Technology is so good the pictures are so good the ability to
 play back replays are so fast. We have 11 EVS machines most handle four inputs
 two outputs as soon as the play is over barely before the guy stands up to go
 back to the huddle he'll know which replay machine to go to. We sell directly
 to the producer producer may ask who has it or a lot of times he knows who should
 have it wants to see it from those angles so selling is just getting to the
 producer letting him know I got the best look at this this is the one you should
 go to air with we're fortunate our producer trusts us for the most part if
 he hears our voice and he hears he hears how intent we are X it's great on X Y
 has the look whatever he'll he'll go to it right away without even question.
 I prefer the subtle real things as opposed to the guy grandstanding for the
 camera so the guys that have been with me for years know don't sell me a
 reaction where guys self-servingly acting like an asshole you know show me
 the shots when they come to the bench they don't realize cameras are on them
 and there's a little wink a little smile a little tap on the helmet from a coach
 those are the shots I like to see you know it's not just the quarterback
 celebrating after a touchdown it's the defensive back with his head down like
 holy Christ what just happened.
 Well my name is Fred Aldis and I am the audio consultant for Fox Sports and
 their senior mixer I mix NFL for them and I mix and design all of the NASCAR
 coverage for them. During NFL I want the viewer at home to be a part of the the
 audience in the stands and in a 5-1 show in the surrounds I want them to feel
 like they're sitting in the crowd so I put crowd 360 degrees around my
 announcers in the center speaker and then fill in the front left and rights
 with my effects mix because that field of play never changes so that's that's
 kind of being an observer of a game.
 On this console I have 96 physical faders and they are dual layer faders so
 I have 192 inputs into this console that I can manage at any point in time. While
 I'm sitting in here during a game I listen to a director a producer an
 associate director and I do my mix and then if there's something else going on
 I have to deal and troubleshoot that so I'm listening to any anywhere from five
 to eight things at one time trying to juggle that many balls.
 It's hard to really listen to my mix to where I'd like to but I've learned over
 the years what to listen for and how to listen for it. I do do a lot of that by
 field. I heard here the director call a camera cut and I just automatically go
 to it so at this point my career has pretty much become reactive as far as
 some of the camera cuts and what I'm listening to and how I react to those.
 Sometimes I open different mics to make more sense with the picture versus the
 cameras that are close up. If you're on the sidelines of a game you hear things
 that people at home watching on TV never get to hear or experience so we are
 walking a fine line between that audio and yet not giving away state secrets
 because believe it coaches watch TV tapes now to pick anything they can up
 off what they hear from the line of scrimmage. What our industry has done
 over the years is provided up close video and personal video they want to
 hear the audio the same and sometimes we can provide that sometimes we can't.
 I think from from learning from people who did this job well is you let people
 do their jobs I think on Sundays it all comes together with a balance of
 everything. You know sounds but let's not overdo it you know tight pictures but
 let's not overdo it X's knows let's not overdo it my job is to find the balance
 to bring everything together and make sure it all fits.
 It's really neat because it's like working on a great team and you're
 seeing all those everybody come together and they all know their job they know
 what they're doing they're the best of what they do. You know broadcasting is
 similar to being on a you know a team Troy Aikman would say the same thing you
 know he might be the star of the team but it takes a whole team to actually put
 the broadcast together so we just spend the weekend all together we have dinner
 together we spend a lot of time together and that's the best thing spending time
 together as a broadcast team. I mean we've known each other for years even
 before we got on this crew a lot of us how to put things together that there's
 a hierarchy there's not yet yeah that'd be the boss there are times I spend more
 time with these guys than I do with my family because not only this I go right
 into NASCAR and that's 20 some weeks and you're spending four days a week with
 them and only two at home. I think I think most of us in this business enjoy
 doing what we do because we like it we have fun doing it and we'd hate to have
 a real job sitting behind a desk all day. When you hear that three count going
 into the open of the show I'll tell you what the rush is absolutely incredible
 knowing there is no going back there are no retakes you have to do it right do it
 right the first time and and it's a pretty big rush and I still get that
 rush. Live TV is the only kind of TV you want to be in now there are people a lot
 more creative than I am who can sit in an edit room and create a show from
 scratch and those people are really smart and really talented but there's
 nothing like the adrenaline of being part of a live broadcast you just don't
 know how it's going to go you can talk to broadcasters former athletes you know
 there's nothing like playing but the closest thing you can get to playing or
 coaching is being in TV and covering an NFL game.
 you