A standard football game broadcast is, in fact, a convergence of various resources, with people gathered around the two teams, each contributing to the live broadcast of the football game. These teams include referees, security personnel, cheerleaders, and essential teams for on-site filming production, online media broadcasting, TV satellite signals, etc. It takes the collective effort of everyone involved to execute a live broadcast of a football match successfully.

Next, let's look at the on-site operation of a standard football game with five camera positions.

There are various techniques to consider for the on-site broadcast operation of a football match. Firstly, the budget for live broadcasting of an amateur football match is often a significant concern. Using an outside broadcasting van is not cost-effective, so Datavideo's portable broadcasting system is an ideal choice.

The selection of the number of camera positions is crucial before the match, considering various factors. The primary factor is the budget constraint, as more personnel incur higher costs. If the budget is limited, at least three camera positions are needed. However, using only three camera positions cannot capture a complete panoramic view of the event, lacking long-range shots depicting the match environment. Typically, five camera positions are considered the most appropriate for football matches, ensuring coverage of player close-ups, mid-range shots capturing player interactions, and wide-angle shots, including dedicated slow-motion shots.

Whether it's a 3-camera, 4-camera, or standard 5-camera live production, a common principle in camera placement is to avoid crossing the axis. Crossing the axis is frowned upon in sports event filming because it can confuse viewers about the direction of play when switching between cameras. 

The diagram below illustrates the camera placement for different configurations:

1. The setup of 3 camera positions for live broadcasting of the football game.
   
   
   
2. The setup of 4 camera positions for live broadcasting of the football game.
   
   
   
3. The setup of 5 camera positions for live broadcasting of the football game.

The diagram shows that all camera positions are arranged on one side of the shooting center axis. This prevents the occurrence of off-axis phenomena in the production of multiple camera angles at football match venues. It allows the audience to easily distinguish the attacking direction of both teams, view real-time scores, and access information about both teams' lineups.

Datavideo's multi-camera system considers the stability of signals from the on-site front-end cameras to the production system. All connections use comprehensive cable wiring, a crucial factor in building a multi-camera system on-site. Real-time signal transmission is a significant advantage of wired connections, particularly essential for seamless switching in multi-camera setups, especially in sports events. Each camera position must ensure stable and delay-free signal transmission to produce high-quality live images for viewers on both online and television platforms.

The mobile broadcasting system by Datavideo, with its single comprehensive cable signal line, allows for a maximum transmission distance of 100 meters without using relay devices. Therefore, the distances between each camera position and the broadcasting system are within 100 meters. Cable routing is carefully planned, hugging walls or utilizing seat gaps. The cable is fixed using a strong adhesive when necessary, and cable trays are used in critical aisle areas for safety and cable protection.

The typical arrangement for camera position numbers is from the direction of the director's seated position, organized either from left to right or from top to bottom. This arrangement ensures that the positions of the cameras align precisely with the sequential layout of the multi-split screens in the production system. This facilitates easy correspondence between camera positions and their assigned segments in the director's system.

• Camera 1 captures the mid-range shots of the left half of the field, focusing on the organization of one team's attacking and defensive plays.

Camera 2 provides a wide-angle view of the entire field, serving as a safety camera and an essential position for overall match coverage.

• Camera 3 captures mid-field shots, crucial for highlighting the intense midfield battles in a football match.

• Camera 4 focuses on close-up shots and serves as the slow-motion camera, suitable for capturing detailed moments with its proximity to the action.

• Camera 5 captures mid-range shots of the right half of the field, similar to Camera 1, but covering the actions of the other team

Datavideo's HS-2800 HD/SD 12-channel portable mobile broadcasting studio is employed in the live production of the entire football match using five camera positions. This system efficiently manages input signals from 5 cameras, one slow-motion replay, two real-time CG systems, and two SDI signals from Datavideo's CG-500 CG system. The output signals are direct to an on-site HRS-30 portable HD/SD-SDI monitor and recording device, a satellite broadcasting vehicle for television signal broadcasting, and a slow-motion replay system. Additionally, one HDMI signal is used for streaming to the dedicated football match broadcasting platform "Good Ball TV" through a 4G encoder.

The workflow for live broadcasting a football game:

The most impressive feature is the on-site slow-motion replay system. Using Camera 4 to capture close-up shots, an AUX auxiliary output from the broadcasting system connects to the slow-motion replay system. The slow-motion operator can instantly mark and capture slow-motion footage. After capturing, the footage is put into a waiting state for the director to use in real-time slow-motion replay.

The pace of a soccer match is quite fast, and exciting moments for slow-motion operators are fleeting. Therefore, it heavily relies on the quick capture function of the slow-motion replay system. Datavideo's HDR-10 slow-motion replay machine, in conjunction with the RMC-400 controller, features three quick keys for fast capturing of slow-motion footage. During live operations, simply tapping the quick capture slow-motion button allows for instant retrieval of the slow-motion clip. Pressing the play button thereafter initiates automatic replay at the pre-set replay speed, providing a convenient and efficient operation for producing slow-motion replay scenes in soccer events.

In addition to slow-motion replay scenes, live on-screen graphics and subtitles are crucial elements in soccer match broadcasting. In a soccer match, without relevant information such as scores, time, and team line-ups, the highlights of the game would be significantly diminished. While watching a soccer match, fans not only focus on the live game footage but also on real-time data display and analysis. Matchday personnel record relevant information like scores, substitutions, and match statistics in real-time. This information is then promptly transmitted to the on-site subtitle production team, who inputs these key details into the subtitle system for transmission to the director's console. This allows for real-time switching during the live broadcast.

Audio collection is also essential, and in this cost-effective setup, microphones are placed at both ends of the field, collecting ambient sound. These microphones connect to Camera 4, and the SDI signal transmits to the broadcasting system. Adding the live ambient sound enhances the intensity and atmosphere of the live broadcast.

Finally, the entirely produced signal transmits to the television station's satellite vehicle. The satellite vehicle receives the on-site signal and uses satellite transmission for television broadcasts. With interactive live commentary inside the studio, a live football match broadcast is successfully produced. The video production team provides a satisfying experience for football enthusiasts with their hard work.