Standout trends: The accelerating move towards cinematic sports production according to CVP

By Yevgeny Subbotin, CVP account director.

As far as the sports fan at home is concerned, one of the standout trends of 2024 has undoubtedly been the steady rise in the number of cinematic shots in a wide variety of sports.

The use of cinematic lenses and camera equipment is still relatively new in the industry. It has its challenges as any camera operator will tell you — pulling focus is far more exacting for starters — but the shallow depth of field and softer look that it produces is becoming a signature move for many productions.

Formula 1 broadcasts, for instance, have become increasingly cinematic overall, particularly with the introduction of new camera technologies. F1 broadcasts often use high frame rate cine cameras for slow motion replays of critical moments like overtakes, crashes, or tire changes. The use of these cameras adds a “film-like” quality, enhancing the overall viewing experience with close-up shots, immersive angles, and slow-motion visuals that reveal previously unseen detail such as the way a front wing will flex and deform as the car rides over a kerb.

Wary of overuse

Directors are proving to be wary of overuse though, acknowledging that the different visual style, while popular, is best used as punctuation in an overall broadcast. At major tennis tournaments such Wimbledon, the US Open and the French Open, we are seeing cine cameras being used for specific moments in the match; serves, winning shots, etc. The ability to blur the background highlights the athlete’s movement in a way that traditional broadcast cameras cannot, enhancing slow-motion replays and highlight reels

The NBA has been experimenting with cine cameras to deliver visually striking slow-motion shots of crucial moments. Cameras such as the Phantom Flex, often used for ultra-slow-motion video, are deployed to capture the dynamic movement of players, dunks, and fast breaks with exceptional clarity and fluidity.

And action sports including skateboarding, snowboarding, motocross, and BMX are increasingly using cine cameras to capture action from unique perspectives, such as from the point of view of the athlete or using a drone. These sports benefit from the high quality visuals and the ability to capture dramatic slow motion moments, particularly during tricks or stunts.

Adding artistry

In short, while traditional broadcast cameras still dominate the coverage of live sports due to their speed and reliability, cine cameras and lenses are increasingly being used to add artistic, slow motion, and visually arresting elements that elevate the overall viewing experience. And they are also handily proving cheaper in the role, and easier to slot into existing production workflows, compared to the large sensor units that were originally used to pioneer the look. Notably, the Canon XF705 is gaining popularity in sports environments where mobility is key. At the same time, traditional Cine cameras like the Sony Venice, a full-frame camera, are being used for their high image quality and the incredible level of detail they bring to cinematic sports shots.

Elsewhere, we are also seeing more and more interactive viewing experiences being introduced. These are rightly popular with broadcasters and audiences alike; they generate revenue, provide the viewer with a better user experience, and increase engagement, with viewers using their mobile devices whilst watching TV. Second screen viewing has become an embedded and mainstream behaviour. Often this is via dedicated apps that provide additional content such as player statistics, live social media feeds, behind-the-scenes footage, alternative camera angles, and more.

Connecting with content

From social media interaction and personalised content to virtual reality (VR) sports broadcasts and live polling, there are ever more dynamic, immersive, and customisable ways to enjoy live and recorded broadcasts. As technology continues to evolve, the boundaries between passive viewing and active participation will likely continue to blur, leading to ever more ways for audiences to connect with content.

Inevitably, this comes at a cost. As audience expectations rise and what they consider to be the minimum spec for coverage of a sporting event also becomes more complex, broadcasters have to do more. Pre-game build ups and post-match analysis are both becoming extended to the point where they often take up more air time than the event itself.

Resourcing this can be a challenge, which is why we are seeing increased demand even from Tier One broadcasters for accessing pre-owned kit. After a long period of constant evolution, the industry has finally stabilised on delivery formats, meaning that production kit that is already a couple of years old is more than capable of meeting current requirements. Not long ago we could detect a distinct lifecycle of older cameras etcetera moving out of mainstream broadcasting to be repurposed in developing economies. In 2024 it tends to stay within the current ecosystem.

Sustainable imperative

Of course, there is not just an economic imperative at work here. Sustainability is an increasing consideration for many companies. At CVP we have worked hard to extend the life cycle of equipment through more effective repairs and maintenance. Rather than encouraging customers to replace outdated technology, we provide training and tools for more sympathetic usage and on-site repairs, reducing downtime and preventing equipment from being discarded prematurely. This is supported by dedicated repairs and spares departments.

What next?

Change is a constant though. While the camera chain may have stabilised, the use of artificial intelligence (AI) systems throughout sports broadcasting is only accelerating. From analysing player performance to create real time stats or predictive insight that can be shared on-screen, to automatically clipping highlights reels for social media, its use is increasingly ubiquitous.

There are some exciting frontiers here. We have already seen the introduction of systems such as the EVS Xtra Motion, an AI-based super slow motion server that effectively eliminates the need for slomo cameras and takes slomo cameras themselves from 3x up to 9x, and 8x up to 24x. What next? A system that will provide the shallow depth of field associated with cinematic kit and apply it reliably in real time to images from standard broadcast cameras? There are challenges to be overcome, but not many people would bet against it. How many people would be happy using it in a live broadcast though is another question entirely.