24 cameras 2 steady cams one jib one drone a massive broadcast truck and almost a 100 technicians, this is just a fraction of what it takes to broadcast a live football championship, And you know what? This event is actually so special that you won't get to see it on NBC, BBC, or any other TV channel. It has been crafted with only
one platform in mind Twitch. Do you know what happens when YouTubers and streamers
have control over such a show? Very funny things, unusual things. I was scolded by a referee
after five minutes, saying : "Your cameramen
are not allowed here." We will try to cover the
match a little differently, these are angles that
are not usually seen. There are two worlds that come together, the digital world and
the world of television. It's something we get a rush from. It's a risky bet,
it's an interesting bet. We know some things, we should never be sure
about what we know. The purpose of the Eleven
All Stars was no limit. We are constantly focused
on precision, perfection. Always, you learn. We are asked to be
able to go on the field while it is playing or during stoppages. First meetings, they scared me a bit. We risk exploding a score
that is truly amazing. It is a somewhat new client,
it is somewhat new project. If tomorrow I want to
make a fire crash dragon, we will have a fire crash dragon. If there's a problem, we must solve it. Today I am going
to allow myself excess. All the cameramen boarded
the OB van and exclaimed, Wow, we have just experienced something, we had a unique experience. This championship between
French and Spanish YouTubers is hosted by a French streamer, Amine, who literally booked this stadium in Paris, gathering 20,000 fans on location and millions more online
watching the live stream at home. For those who know, Today, we're going to take a deep dive into the technical backstage of a full scale football
broadcast or soccer, depending on where you come from. We are going to see what
happens on the field all the way to the broadcast truck. Let's get into it. We are here in front of the warehouse of the broadcast facilities provider. This is where they store
all of the equipment, the broadcast truck, and it is also where they
have their main office. So now let's get inside. So this is where all
of the project begins, the salespeople from
the broadcast facilities provider talk to the YouTubers and
discuss event details, such as the equipment
required for the show, the number of cameras,
the number of technicians, the costs, and all of
this goes through one man who is the sales manager. We have a presence at the Euros, the World Cups and the Olympics. We are present at these prestigious
international sporting events. How does it feel to go from customers like the World Cup, Olympic
Games to working with YouTubers? We bring the solutions and
they decide very, very quickly and that's the actual difference. What they come to us for is
notably the aspect of security. That is to say that we, because of our activity and our clients, do not have the right to make mistakes. You can't cut a beam, the operation must take place
without any antenna impact. It's true, when broadcasting a FIFA match or when broadcasting a July
14th celebration for TF1, a flawless performance
is expected and demanded, that there'll be no interruption,
that there'd be no lag, all the small issues we
could have when filming with an iPhone or when filming
with a semi broadcast camera. The very purpose
of the Eleven All Stars was no limits, if 15 cameramen
were to enter the field, we could have brought in
15 cameramen onto the field for the sake of the broadcast and for the sake of the
people on the internet. The core purpose of the Eleven All Stars was to place non-professional players who may not be inherently
at ease with football within the realm of
professional standards, and as a result, ensure
professional broadcasting. Once both parties have
reached an agreement and the quotation is signed, it's time to move on to the next part, which is hiring the
crew, booking the gear, and preparing the equipment. Speaking of the equipment, there is a bit more going on than just a few DSLRs or laptops. Actually, this is the kind of truck where all the supervising, directing and live switching of
the show takes place. These trucks are more commonly known as outside broadcast trucks or OB truck, so in the stadium or the venue, all the cameras will be
connected to that central truck using fiber optic cables. Now have you ever wondered what's actually inside
one of these trucks? This is really where
everything is happening in the live broadcast, so
let's take a look inside now. (intriguing music) Here inside the truck
there is this massive wall of monitors and LCDs,
showing all of the cameras. The team has access to pretty
much everything from there and I will come back to
that later in the video. Now it is just a couple
of days before the event and the technical team is
preparing and configuring the OB truck for the show. We are now with Antoine, who is one of the
technicians inside the truck, preparing the live stream. And so, what are you preparing today? I'm an equipment assistant, so I'll take care of everything the equipment manager won't have time for, especially replay and recording. To set up machines for operators to enable slow motion
replays during the match and configure all the necessary settings. They will have access to all the cameras and they will be able to go back in time and relive moments by
gauging reading speed. Axel, who is the project
manager for this event, will ensure that we
have everything planned in terms of equipment for
the shoot we are going to do, try to think of every little thing, especially how we will
have internet in the truck because there, as we are streaming, the big challenge will
be internet broadcasting. Jeremy, who is the equipment manager, will ensure that there is
the right number of cameras, especially how the cameras are wired. He will set up the truck properly so that we can have a good
foundation for tomorrow. - Since the main truck is crammed with loads of video switching
equipment and furniture, there is always at least
one tender vehicle, the equipment truck, and
as the name suggests, the equipment truck carries
all of the equipment that is required for the show, and that includes our cameras,
tripods, lenses, cables, microphone, and so many
more critical things. Now that the truck is
ready, time to go to bed, because tomorrow is going
to be a very big day. The day before the championship, both the broadcast truck
and the equipment truck arrive on site at 9:00 AM, and the first challenge
is to park the big trucks in a very tight space. And this was not an easy task since the drivers have
to adjust the steering with centimeter precision to
put both trucks side by side and allow enough clearance on both sides to extend the folding compartments. Once the truck is settled,
it will not move anywhere, so they have to make
sure they get this right. As soon as the parking brakes are set, the first action is to
bring electrical power so that the crew can start extending the two compartments
of the broadcast truck. Then the technicians set up all the stairs with the security barriers, which will then allow
the team to go inside. From there, they can start
powering the machines and boot up the whole system and then further pursue
equipment configuration. - Electricity, you have to be careful to distribute it evenly on each machine, not to put power strips on power strips. The major novelty is the support, we're on web broadcasts live. There's this entire part
that needs to be adapted at the truck exit with the distribution of the different flows, for
France and the Spanish side. - [Thibaud] So now the technical team starts unloading the equipment and moves all the camera
gear and audio equipment into the stadium. And as all the equipment is
being dispatched by one team, another team start to pull all the cables from the broadcast trucks to the the various camera
positions in the stadium. Now trust me, these aren't short cables. In fact, consumer HDMI
cables can officially run from five to 10 meters. Here the stadium is more
than 100 meters wide, so we are talking about
much longer cables. We need a better solution, optical fiber. (upbeat music continues) Optical fiber cables
have several advantages, they can run over long
distances, are very lightweight, and are completely insensitive to electromagnetic and radio interference. That is because the signal is transmitted through pulses of light in glass threads, which means they are ideal
to carry critical video and audio data in that
kind of environment. Given the number of cameras,
it is super important to be careful and meticulous when naming all the fibers
at the back of the truck during setup, in order to
accelerate troubleshooting in the unlikely event of an emergency. Now let's move to the other
end of the cables, cameras. (upbeat music continues) There is a total of 24
cameras being set up in various locations in the stadium. There are a couple of
cameras down on the pitch, close to the ground. Among these cameras are
higher frame rate cameras that are used for the slow motion shots. The wider shots are filmed with cameras that are in the audience
at the top of the stadium. They are also setting up a jib behind one of the nets to
film highly dynamic shots. This is definitely not
a lightweight setup. The jib operator has a remote system to operate the camera head with his thumb and the large number of weights ensure the whole stability of the crane. There are also remote controlled
cameras in some locations, which are called
Pan/Tilt/Zoom or PTZ cameras. These cameras can be operated remotely from the broadcast trucks
using their built-in motors. (commentator speaking in French) Finally, there are two wireless
cameras, on steadicams, which will play a key
role in this championship. Oh, and I forgot the drone. If you are interested in knowing more about broadcast cameras and why they are so big
and massive, even today, you can check out the video
I made on the subject. I had rented a camera and
lens set up of this size to show you what these
monsters have in their belly and what they can do. Now we've seen loads of cameras, but there could not be
any kind of broadcast without this less visible aspect, sound. (crowd cheering) Someone who goes to a stadium, will want to listen to the supporters, potentially listen to
the sound of the ball, the referee, the players, the coaches, and also all the journalists who are around the event and who cover it. Our primary responsibility
is to mix all of this so that you, the viewer of the television, can have the sensation of being
a little bit in the stadium, that's a bit of our job. The sound
supervisor of the show receives multiple audio
sources from his team, and it's not only the sound from the sports commentators'
headsets, announcers or the journalists' handheld microphone. It's also the crowd noise and sounds that are picked up by dozens of microphones across the pitch. They have all sorts of
microphones, shotgun mics, semi shotgun microphones, parabolic, and even tiny lavalier microphone, hidden inside the goalposts. All of these audio sources are hardwired, sent through optical fiber, and end up inside this massive
mixing board in the truck. Actually, there is a
dedicated 10 person team just for the sound, and
these guys are also in charge of the internal communication system for all the crew working on this project, who can talk to who, volume adjustments so
that everyone in the team can hear the others loud
and clear, and so much more. During the setup stage, all the microphones are wired
and tested by the audio team. As soon as the camera
feeds starts showing up in the broadcast truck, they also make sure the
audio and video are in sync with every camera and microphone. Now, as the sun starts
to dip below the horizon, the majority of the crew
finishes their work for the day and the technicians head home
to rest before the big event, leaving only a handful of
technicians in the broadcast truck with one crucial task, solve
any problems that may arise. It's getting close We still have a few remote tests to finish This day has been very long, very particular in installation. It's this little adrenaline, this little pressure that is exhilarating, When there is a deadline in an hour. We absolutely have to be ready. - We don't have a choice,
we are asked for something, we are told it must work now
we must make sure it works. We do everything to avoid stress. In novelty, there's always stress. I was quite impressed with what it takes to set up and get
everything running smoothly. If these guys weren't working late to solve as many issues as
possible before the big day, the broadcast simply
could not happen at all. Today's the day, most of the equipment has already been set up inside the stadium and now it's crucial to rehearse what's known as the pre-show. Just like the World Cup, the pre-show is all the entertainment that happens before the game begins. Tonight, there will be a lot happening in a short amount of time, from the pre-roll videos
that warm up the audience, to the welcome music, the introductory words
from the host YouTubers, the bangers, the concerts, all the way to the entry of
the players and the kickoff. Add in the fact that all the
players from the two teams, Spain and France, are YouTubers and not professional players, and, yes, you end up with
something quite tricky. - The uniqueness of
this Twitch live stream is that we combine teams of YouTubers, streamers, and television teams. We also combine the event
side, the concert side, as well as the show with a football match. In order to keep the audience engaged as much as possible, the live producer has requested
that packing up the stage between the pre-show and the football game should last under 10 minutes. Moving a whole stage
with so much equipment in such a short amount of time without it being visible on
camera isn't an easy task. It requires proper communication
and good coordination between the director,
the assistant director, the live producer, and
the steadicamera operator, who will keep a tight shot of the singer throughout the transition. The key to achieving this maneuver is good preparation and
rehearsal, which they did. The steadicam is a device referred to as a camera stabilization
machine used in filmmaking. It enables you to move with
a camera while walking, running, going upstairs, going downstairs. You walk with a camera on your shoulder, the camera tends to move vertically. With a steadicam, your body
can have certain movements that the camera will ignore. If you go down the stairs, you'll tend to bounce
with your body naturally, but the camera will have a very linear, stable, calm, downward movement. I can move slowly, I can move
fixedly, I can move commonly, I can move circularly,
I can ascend instantly, I can use all possible
and imaginable axis. Tonight, we'll have fun. We'll try to cover the match uniquely, as it's not an official match. These are not exceptional players who are going to sprint and
possess a tremendous top speed that is off the charts. Where I could be a threat on
their trajectory and stake, especially in the match. There, it's a pleasure game. If there's joy and teasing on the field, we'll try to find these
moments of presence with this machine, But this wasn't the only uncommon thing that I saw. Since this whole event is being hosted by the gaming community, the live producer wants a
very specific directing style, he wants to try something completely new. The target audience is young
people who use social media, who are accustomed to highly edited images and who also play "FIFA", so we will have to cut more, in order to provide more immersion and more gaming shots than usual. Today, I'll allow myself
a lot of excesses. Being a director is
like being a conductor, I have a team with cameramen who today amount to 15 or 20. Each individual knows what they have to do because each individual
here is truly significant. All is defined beforehand
like a partition, and afterwards, I try to
put all of that into rhythm to come up with a TV watchable product. There are many similarities with a football coach role, for example. We have a team of many people because there are people, who are cameramen, sound recordists, but there are all the
people who are around us, the people who have prepared everything, who have installed all
the cameras and all that. We all have to work at the
same time, at the same moment to achieve a perfect TV product. Our game, that's the one. Now, you might wonder, why are there so many
people inside that truck? Well, there are so many things going on in such a short amount of
time and at a very fast pace that it would be extremely hard for a single technician to run the show, even with a strong experience. During the show, the director is the one
who leads the execution and he ultimately decides which shot goes on air at a given time. He selects the camera that he wants to send to live broadcast using the buttons at his fingertips, and also direct the whole crew and communicates back and forth
with the camera operators, the live producer, and
the other technicians. To his right, a technician assists him, preparing complex layouts and ensuring he avoids
any accidental moves. Right next to the director
sits the live producer. He serves as the ultimate
authority of the entire show. It's the actual boss in charge of running the whole production. (producer speaking in French) He issues the instructions
and gives the green lights to both the lighting and
audio crew inside the stadium, but also the crew inside
the broadcast truck, following a conductor
with very precise timings. The graphics operators and
bug operators are responsible for creating and adding all the titles, scores, bugs, lower thirds
and animated graphics that you see on the screen. There are numerous operators
on the replay decks who work in coordination with the director to replay crucial action footage that was captured seconds ago. They are called LSM operators and select the best
shots, the best angles, and can play back the videos, either at a normal
speed or in slow motion. The replay supervisor is
responsible for configuring all the units and ensuring
that the replays run without any glitches. At the far end of the
truck are vision engineers, also called camera shader technicians, who color correct all the
camera feeds in real time and make sure all of
the camera angles match in terms of brightness, color,
sharpness, and so much more. They can also give a specific look to the picture when required. On the opposite side of the truck inside the soundproof cabin, you can find the sound supervisor who mixes the audio for
the live broadcasts, coming from many, many, many sources. The audio assistant will
offload him as much as possible and will also handle all the communication
audio between the team, whether they be in the
stadium or in the truck. Having such a massive team also means relying on a ton of gear. The engineer in charge
knows the truck by heart with all its hidden secrets and quirks. He knows exactly what is
possible and not possible, and can fix and maintain
any piece of equipment. The tech manager is in
charge of coordinating a whole technical team, and will handle all the
technical aspects of the shoots. Behind the director is
the production manager along with the production assistants, the assistant producers, and,
of course, the truck driver. Now, earlier in the video, I
talked about wires and cables, but what about all the
cameras and microphones, which cannot be connected to
the truck using physical wires? It would be extremely inconvenient to have wires attached to moving cameras, like the steadicams, as
well as the microphones and headsets of people
moving around the pitch. That is why there is also a
specific team of three people in a separate truck in charge
of the wireless systems. - We establish transmission
and reception systems for audio, video, and radio signals, including walkie talkies
over short or long distances. In fact, the steadicam has that, so what you need to know is that this is an antenna with an offset, so the effective antenna is right there, and in fact, all of this
allows for a displacement to go above the cameraman's head. All of this technical environment can still be utilized to serve a brand new antenna. There are so many more aspects of the truck I would like to cover in further detail But I'll keep that for a future video where I'll take you through a complete tour of AMP's next generation OB truck built for the most demanding international sporting events. If you are interested,
feel free to subscribe! Before I leave you with the
final climax of that production, I would like to express my gratitude to Olivier and Claire, who
tirelessly filmed the epic show and made this documentary possible. I also extend my thanks to AMP Visual TV, the company, who generously gave us unrestricted access to film inside their facilities
and in the production truck. Additionally, I would
like to thank Karnage, the live producer, and Amine,
the host YouTuber of the show, for allowing us to film anywhere
and everything we desired, even if that meant going in the middle of the football pitch during the show, that's really an unparalleled opportunity. They also allowed us to
use all of the footage of the broadcast for the
purpose of this documentary, which is huge and would
have been very, very hard in a normal broadcast. Now the question is, will the camera operators be able to capture immersive footage without interfering with the players? How many viewers will tune into the live stream to watch the game? Can the crew dismantle the concert stage in less than 10 minutes? Have all the technical
issues been fully resolved? They all know where they stand and everyone involved has
put forward their best work, but now, it's time for the
real fun to begin, game on. - It's amazing what's happening, sorry, I'm intimidated, it's insane. being with so many people I love you are like a family for me you all believed in me, in every one of us here ! 1000 thanks ! I'm hopeful that it'll work as intended and it'll work, it'll work. The Twitch livestream
attracted a peak audience of over a million viewers,
making it the fourth most watched Twitch
live stream of all time. - There are as many stakes
on an internet broadcast as on a TV broadcast, there's no reason. It's just a destination like any other, so treat it as if on TV, that's it. - They work day and night
for success of their project. - It's a huge crowd and it's
actually the biggest crowd. We need to make them feel the
vibrations we have on site, we must make them want to say, "There you go, it was exceptional." What we wanna offer you is to enjoy one of
life's top moments ever. - Here in the city in Paris, these are controlled air
spaces in all directions, we must maintain
distances from the public. One must be led to think differently than just what is in the manual, you also need to be a bit handy. It's a bit of an adventure every time, we try, we clear, every time we don't
know where we're going, not about filming nonstop, we must be in the right
place at the right time. - [Lora] We were able
to forget a little bit about the formal side. The producer requested the director to film this football
match similar to "FIFA", similar to the game. What happened was we didn't
have all the constraints of not exceeding lines, using steadicams, doing 360s at breaks in play. - Tonight, we'll have fun. We'll find new images
showing the joy, happiness, and pleasure of players sharing the match. Sometimes it's hard,
sometimes it doesn't work, so it absolutely has to work. They are all motivated,
they have the drive, and above all, they
believe in the project. I'm perfectly certain that everyone here is doing their best. We're in the kitchen, we're gonna cook and the dish we have to
serve, it has to be perfect. It's like an athlete
when he enters the field, there's this surge just before the live where we must not mess up,
that's it, we must not mess up. It's true that the human aspect and the expertise experience
of our technicians are crucial. The positive energy that has exploded out of this event has made it unique in its kind. Seeing all of these people
coming from two different worlds, traditional broadcasting on one side, and streaming and gaming on the other, working hand in hand to bring the best possible entertainment experience for the audience was incredible to live, I seriously think this
has been a historic moment in the live production era. It is an exciting experience, is there a word that can truly define it? It is simply fascinating and captivating. Unclear in one word, if
you want to express it. Together, I think, that's it. A word? It's hard because I have
15,000 words coming to mind, and if I drop something grandiose, it makes me feel superior.
