wl 2012 handbook tv

TELEVISION CHAPTER 6

FIVB Volleyball World League 2012 Page 71

6. TELEVISION



6.1. INTRODUCTION

Volleyball is the perfect sport for television: it has great athletes demonstrating superb action, exciting competitions taking place in amazing locations, fans as enthusiast as ever creating an unparalleled atmosphere. These ingredients are key for a successful and gripping TV programme, and by following the guidelines outlined in this TV chapter, Host Broadcasters will be able to deliver a product which is to the standard of all FIVB tournaments and specifically to the World League. Host Television Broadcasters (abbreviated by “HTVB”) have to follow the FIVB guidelines as stated in this chapter of the World League Handbook as part of the FIVB-NF-HTVB agreement. And this chapter should be used in conjunction with the Host Broadcaster website, where further material and downloads can be found to support the Broadcast production. http://www.fivb.org/en/tv/worldleague/2012/ Login: fivb Password: tv.worldleague (website will available at the 10 of March, 2012)

6.2. AIMS AND OBJECTIVES

The FIVB’s goal is to continue standardizing the coverage requirements of Volleyball and provide worldwide broadcasters with a consistent product throughout the season, irrespective of the event’s location, in order to maximize the exposure of the World League. A positive working relationship with the Host Broadcasters, based on a shared commitment, must be created in order to increase Volleyball’s profile around the world. The FIVB continues to revise the international television strategy focused on providing broadcasters with improved Volleyball coverage, which is initiated with a better television production and optimized scheduling. It should be clearly understood at the outset that the Host Broadcast production is for the use of all FIVB rights holders across the world. Coverage of all World League matches must be completely unbiased to any one team and must favor both teams equally. For the production, you and your team are representing the FIVB, and your efforts and abilities should be channeled into the Host Broadcast production therefore the International Feed must take precedence over the Domestic Feed meaning any domestic production is to be produced with a separate crew and facilities.

6.3. FIVB BRANDING & PROMOTIONAL CAMPAIGN Having successfully implemented the new FIVB branding throughout 2011, this is something that will continue for the 2012 season. The new branding gives the coverage a far more polished appearance and raises the profile of volleyball into the league of widely covered sports. Therefore, in addition to the implementation of a specific hero orientated opening and closing sequence, the Host Broadcaster will be expected to adapt its editorial line by giving more focus on the players, not only showing their match action but also more of their emotions so that the viewer can relate and feel every ounce of the player’s fear and determination. Interviews, player’s close ups will give the feed a greater human dimension.

6.4. THE ROLE OF THE FIVB TELEVISION COORDINATION AGENCY

The role of the FIVB Television Coordination Agency was developed by the World League Council in order to facilitate communication with the HTVB and to maintain the minimum standards agreed at the World League Host Television Broadcasters meeting. As such, the TV Coordination Agency oversees television related activities leading up to, during (on-site) and following the event, from the guidelines to the actual production, broadcast and subsequent international distribution. They are also the liaison between the HTVBs and the International rights holders during live transmissions. The TV Coordination Agency cannot perform its responsibilities unless the HTVBs complete their contractual obligations to broadcast matches in accordance with World League specifications and forward all communications concerning World League Television matters to the TV Coordination Agency. The Broadcast Manager is your first point of call for all Host Broadcast and television queries and for some selected events and the Finals, there will be an on-site TV Coordinator. When deemed necessary, the FIVB and the TV Coordination Agency will have the possibility of sending a Television Coordinator in order to conduct an inspection visit before an event.

http://www.fivb.org/en/tv/worldleague/2012/



And after each event, the match footage will be reviewed by the TV Coordination Agency in order to ensure that the expectations for all broadcasts are met. Suggestions may be made, to both HTVB and NF/OC, to further increase the quality of each production. The aims of the FIVB Television Coordination Agency are the following:

To work together with the HTVB and the National Federations in order to effectively implement the Television Broadcast plan.

To assist the FIVB by implementing a Television plan that works for both the National Host Broadcasters and the International Broadcasters.

To ensure that the TV Production meets the

minimum standards and respects the Television requirements related to the World League.

To distribute the World League matches throughout

the world and assist the International Rights Holders with all their needs.

The FIVB and its Television Coordination Agency provides an HTVB website (see introduction for details) where all involved parties can download coordination forms, camera plans and other useful information such as the TV Manual. Whenever there is a question, please contact the FIVB Television Coordination Agency [email protected].

6.5. INSPECTION VISIT AND MEETINGS The Broadcast Coordination Manager may decide that an inspection visit is required before the start of any event, and if deemed necessary by the FIVB, a Television Coordinator will conduct the inspection visit. After each event, in order to further increase the quality of each production, the match footage will be reviewed to ensure that the expectations for all broadcasts are met, and suggestions may be made, to both Host Broadcasters and National Federations / Organizing Committees. During the Television Inspection a meeting must be held with the following participants:

Television Coordinator

Interpreter - if required

Host Television Broadcast Director and Producer

Representative of Technical Producer or Facilities Company

The day before the first transmission at each Match of the Week event, a general briefing meeting must be held with the FIVB Technical Supervisor, the Host Broadcaster, the Referee Delegate, the Official Announcer and the TV Coordinator on-site (if any). The main television aspects (including but not limited to match start times, timings in between matches, post gold match interviews and medal ceremony etc.) as well as its coverage must be reviewed in detail.

6.6. HTVB – INTERNATIONAL FEED DELIVERY OBLIGATIONS In order to produce a satisfying International Feed, up to FIVB standard, the Host Broadcaster must understand and go along with the following obligations:

According to contract, each HTVB produces an international signal which follows this FIVB handbook requirements and guidelines.

The HTVB must use a minimum of 8 cameras

and must adhere to the running order provided by the FIVB TV Coordination Agency.

The FIVB Titles Sequence must be used as

opener (10 minutes before the first serve) and as closing animation title, approximately 6 minutes after the final point. The copyright information

mailto:[email protected]



follows the FIVB Title Sequence, then the International signal is over.

The HTVB has to broadcast a 30 second post card / presentation of the hosting city, in order to give “colour” and atmosphere to the International Feed (see TV running order).

Between the sets and during time-outs, the HTVB should show as much spectator shots and slow motion highlights as possible, instead of just switching to a wide shot (please see running order). International signal is broadcasted live by a number of TV channels. Therefore, the programme format must correspond to the FIVB standards.

The standard interval between the sets is three

minutes. Any changes will be announced during the General Technical meeting on-site by the FIVB Supervisor. The HTVB can ask for an extended break between 2nd and 3rd set. Such requests have to be forwarded to NF, FIVB Supervisor and FIVB TV Coordination Agency no later than 1 month before the start of the competition. The HTVB is the only party who may apply for such an extended interval time.

Domestic interviews in local language are only

possible on the domestic signal, not on the International signal.

If the HTVB wishes to put end credits, it is

possible to transmit these end credits in domestic language only after the end of the International signal.

At least 3 hours before the start of the match all

television preparations on court must be concluded, for the final inspection of the FIVB Supervisor. All cables are set up under the court, on the day before the match.

The FIVB requests each HTVB to use an experienced and English speaking television floor manager for each match. The floor manager is requested to be available before, during and after the match directly behind the FIVB Supervisor in a prior defined area. The floor manager must have good wireless communication facilities with the television director and/or television producer in charge.

The SNG or suitable uplink facility must be

provided so that the International Feed can be made available to the TV coordination agency for satellite distribution.

6.7. TECHNICAL AND PRODUCTION SPECIFICATIONS

FORMAT

Broadcasting formats across the world vary considerably, and are constantly changing and being upgraded. Clearly, most of the sports event’s format required for all productions and transmissions is High Definition, this is the standard that will soon become a requirement for FIVB Host Broadcasts. For the 2012 season, the production format for all FIVB events is 625 Pal SDI 16:9 (in certain territories of the world 525 NTSC SDI 16:9). Host Broadcasters are encouraged to deliver a feed in High Definition. Although the above format is required, the Host Broadcast productions must keep all relevant action within the 4:3 “safe” area on screen, all graphics (provided by the FIVB) will be designed to fit inside the 4:3 area. The equipment used on HTVB productions must be of full broadcast quality specification, regularly maintained and serviced. CAMERA POSITIONS

The following cameras and camera positions are to be utilized for all HTVB World League events. The FIVB Television Manual shows examples of these camera positions and usage. Eight cameras should be used for all World League matches, and if additional cameras are used, they must be positioned as outlined.

Camera No. Lens Operation

1 18x Main coverage camera on platform

2 55x Close up camera on platform

3 14x Handheld camera

4 14x Handheld camera

5 55x High end court camera

6 w/a Net camera

7 11x Crane camera

8 55x Low end court camera

Additional cameras

9 55x Reverse side of court

10 14x Corner of venue



REQUIRED CAMERA PLAN Camera one

Camera one should placed on the opposite side of court, to face the main public stands. This allows a backdrop of the crowd, behind play, during the match. It should be 40 meters back and at an angle of 30 degrees from the centre of the court. It should be offset from the centre of the net by 2 meters to the left so the face of the net can be seen. It may be required to have it positioned on a platform in which case this should be separated from the spectator stands to avoid shaking. This is the main coverage camera. Camera two

Ideally this is positioned below camera one, 2 meters above the net height, slightly offset to the right of the net. However, it is often difficult to achieve this position so this camera can be positioned alongside camera one, sharing the same platform if necessary. Used as the main close up camera before and after a point, and for replay coverage during play.

Cameras 1 and 2 can be positioned side by side.

Cameras three and four

The cameras three and four are positioned by the court and are operated handheld. During play, they take a position between team bench and officials table, with the operator often using a small portable seat. They should be used for close ups of players before and after a point, and cover play for replay purposes. They should also be used during time-outs and substitutions and have built in microphones. A cable assistant during the production operation is necessary to avoid any problems or disturbances. If possible, these cameras should be of wireless operation to alleviate the need for cable or a camera assistant on the court area. If cable assistants are needed, they should be discrete and avoid the court area as much as possible.

Handheld camera and net camera

Camera five

Camera five is placed high in the stands at the end of the court. Centered to the court, it should be positioned so the top and bottom of the net tape, lay between the far end 3 meters and end line when the shot is viewed. It is recommended this camera is occasionally used for master coverage (say once in every five points). However, this camera should not be used during any periods of play that are crucial and when the score is close. Camera six

A net camera (CCD megapixel mini camera) must be fixed on the net post, offset slightly to the right side of centre. It will be used for set up shots and replays. The FIVB Technical Supervisor must be consulted in order to determine the exact positioning of the net camera. This Camera must be Installed no less than 3 hours prior the start of the first match on court. All cabling must be out of sight. Protective mousse will be required for both the protection of the camera and the players.



Camera seven

This crane camera is recommended to be used mainly during set up shots before and between play and for replay coverage. It should be a minimum of 6 meters in length and positioned at the opposite end of court from camera five with the base in line with the camera one sideline. A good working area is needed around the base to fully optimize its operation. It is essential an experienced crane camera operator is employed to get the best use from this camera.

Crane camera

Camera eight

The camera is on a tripod ideally on the ground level at opposite end of court from the crane camera. This camera is mainly used for reaction shots, signal shots, set up shots before a service, and for replays. This camera should be a super slow motion camera.

Super slow motion camera

Additional Cameras

If additional cameras are added to the production, it is recommended they be utilized as follows: Camera nine

A reverse angle camera from the main (camera one) coverage side of court, this camera should "mirror" the position of camera two. It should be used for close ups of coaches and players on and around the bench area, both as live shots and reaction replays. It will also be facing the VIP area of seating and can be utilized for those personality shots. Camera ten

A camera placed high in the corner of the arena offering a "beauty" shot for programming transition and graphics backgrounds. Generally this camera is unmanned, however if staffed it can provide some an interesting alternate angle coverage for replay purposes. The Television Coordinator may advise the HTVB on the best location to place the cameras during the on-site visit. The proposed camera positions must be sent to the Television Coordination agency, with a copy to FIVB, for approval a minimum 2 months before start of the tournament (WL.TV-6 form). The layout must clearly show the distances of the cameras from the court as well as the height in relation to the playing court.


FIVB Volleyball World League 2012 7

6.8. AUDIO

For all satellite transmissions and recordings, the following audio configurations should be used. Track One:

Stereo International Sound (Music & Effects) (Left) Track two

Stereo International Sound (Music & Effects) (Right) Track Three

Stereo International Sound (Music & Effects) (Left) Track Four

Stereo International Sound (Music & Effects) (Right) However, the matches from the Final Round will carry English Commentary (commentator provided by FIVB) and the audio configuration should be as below: Track One: Stereo Full English Commentary &

International Sound Mix (Left) Track Two: Stereo Full English Commentary &

International Sound Mix (Right) Track Three: Stereo International Sound (Music &

Effects) (Left) Track Four : Stereo International Sound (Music &

Effects) (Right)

International Feed FIVB English commentator

If English Commentary is not required by the FIVB, it will be possible for HTVBs to carry their commentary via satellite. Requests for exceptions will be considered on a case by case basis. Priority should be given to the HTVB home team and the HTVB away team. The audio configuration should then be: Track One

HTVB Commentary (HTVB home team) Track two

HTVB Commentary (HTVB away team) Track Three

Stereo International Sound (Music & Effects) (Left)

Track Four

Stereo International Sound (Music & Effects) (Right) Stereo International sound should be clean International ambient sound from the court and any FIVB cleared music from the programme. International sound refers to the audio from the stadium, the ball being hit by players, the players’ noise, the crowd’s noise, the public address system and music, the referee’s whistle and/or instructions, etc. Official music will be supplied by the FIVB Television Coordination Agency, cleared for worldwide transmission, which should be used with any full page graphics (e.g. set statistics) and as background to any set or match action montages. The sound levels of the public address system and music should be carefully controlled as they strongly affect the loudness of the international sound. Music and commentary should be played during court changes and time-outs only and never during rallies due to the intricacy to edit pictures at that time for the broadcaster. Copyright problems may also occur if commercial music is heard as a background noise. Likewise, commentaries via the public address system on the International sound track should not be audible as they may conflict with the commentary on track one and two. Microphones should be strategically positioned to ensure the clearest and best possible audio signals featuring the following:

players’ body contact with the ball.

players’ and coach's discussions on court and during time outs.

crowd’s close-up applause and general excitement surrounding the event.

public’s reaction to the players’ performance.

referees’ calls. Around 20 microphones should be used to capture these audio effects. A personnel microphone should be used on the net. All placements must be put out of sight from all camera shots. HTVB should use pole microphones for the coaches during time-outs. It is important that all coaches accept the use of the pole microphones and all HTVB use pole microphones for acceptable audio.



REQUIRED AUDIO PLAN

6.9. COMMENTARY POSITION For the matches on which FIVB will assign an English Commentary for the International Feed (Finals and perhaps some key preliminary round matches to be announced well in advance), the hosting HTVB will need to provide a fully equipped commentary position for the FIVB Television Commentator for this match (NB: TV commentator is provided by the FIVB).The English Television Commentary shall be routed via the ob-van for the uplink of the international signal with the four audio tracks as outlined earlier. The relevant HTVB has to coordinate and arrange the audio mix with natural sound, effects and voice. A suitable commentary location for the FIVB commentary must be supplied. It should be located on ground level, the same side of court as the main camera positions, be large enough for two people and have two commentary control units and associated monitoring. If a commentary information system (CIS) is available then it should be available in this position.



6.10. GRAPHICS

Together with the World League brand, the FIVB provides also a television graphic layout as part of the World League brand identity. These elements need to be included in all the feeds (national and international), according to the TV Graphics & Brand Guidelines.

The TV graphics layout will be made available on an FTP server, the login will be given by the TV coordination Agency. International graphics must be

produced in English language using Latin characters only. All graphics must fit into the 4:3 "safe" area in the television frame. For the incorporation of the data (results, statistics, etc), each HTVB must have the link between the competition data system and the television graphic for the best possible graphic information in real time on television. The contact for each HTVB is the data system manager of each National Federation. They will then communicate eventual needs to FIVB data system manager in Lausanne. It is imperative that all HTVBs start working on the graphics connection at least 3 months prior to the start of the competition as HTVBs have had problems interfacing and it takes time to resolve. During all live action, the score graphic must be shown permanently in the top left hand corner of the screen, but must be removed during slow motion replays and when filming close ups of faces. The current score should be displayed during time-outs. And the score, results of previous sets and identification of the two countries are included in the score graphics. Any computer or sponsor captions as well as channel identification logos must be eliminated from the international signal. The HTVB should receive the line-up sheet for both teams 12 minutes (at the latest) before the start of the match. The HTVB and its graphic staff must collect the copies of these sheets at the jury table as they are specially prepared for HTVB. Examples of the graphics style and a guide to implementation for the HTVB can be found on the Host Broadcaster’s website.

6.11. REPLAYS AND THEIR USE The use of a replay, in a quick moving sport such as Volleyball, is vital to fully visualize the skill, speed and precision of the play. Equally important is that no live action should be missed. A red light system should be employed where by the HTVB producer can activate a light placed on the post by the 1st referee, who in turn will “hold” play if required. This function should not be abused and is suggested that play should not be held by more than 6 times a set and then for not more than 7 seconds. The light remains on for the duration of the replay. A clear understanding and cooperation is needed between the producer and 1st referee for this to work well. A short replay transition (also called “wipe”) will be supplied by the FIVB as part of the new TV graphic set for use between live action and replays. This should be used only during live play, and any replays shown during time outs, between sets or at the end of play should be transitioned into by use of a dissolve. The use of replays in the HTVB production should be decided depending on the match action, keeping in mind the philosophy that the replay must add quality to the production coverage. Alternate angles of play and unseen reactions are key sources of replay. All cameras should be recorded for replay use. Example of the FIVB replay wipe can be viewed on the HTVB website.



6.12. NEWS FEEDS, RECORDINGS & MELT REELS 6.12.1 NEWS FEED

At the end of each day’s transmission, a 2-3 minute news package should be produced and played out on the satellite no more than 15 minutes after the end of the main programming. It should include match points, good points featuring both teams, a venue establishing shot and any celebrations and awards. The Television Coordination Agency will coordinate international news coverage of all FIVB World League matches. A list of suggested shots for the news feed can be found on the broadcast website. 6.12.2 RECORDINGS

All matches should be recorded in Standard Definition or High Definition onto new unused (preferably Digibeta tapes or XD cam) with time of Day time code for use by the FIVB and their archive. No play must be missed and there is to be at least a two minutes overlap on each tape, when changing tapes. It is also acceptable to change the tapes between the sets if no facilities for overlapping recordings are available. Tapes must include the entire match and at least ten minutes of pictures before and six minutes after the match in accordance with the FIVB programme format used for live transmissions. The following should be provided to the FIVB Archive for each Match: Intercontinental Round Match 1 x tape recording (preferably Digibeta or XD cam) 2 x DVD recordings Final Round 2 x tape recording (preferably Digibeta or XD cam) 2 x DVD recordings The audio configuration on all FIVB recordings should be as follows: Track One

Stereo International Sound (Music & Effects) (Left) Track two

Stereo International Sound (Music & Effects) (Left) Track Three

Stereo International Sound (Music & Effects) (Right) Track Four

Stereo International Sound (Music & Effects) (Right) The Final Rounds and other key matches to be announced by the FIVB will carry English Commentary

(commentators provided by FIVB), for those matches the audio configuration should be as stated on the audio section (paragraph 6.8). At the end of each match or days competition, the set of fully labeled tapes and DVD's from each match must be immediately sent by express courier service to the FIVB Television Agency (or when advised by the TV agency, the recordings may be handed to the on-site TV coordinator). It is very important that any problems with the recording of a World League match are reported immediately to the FIVB Television Coordination Agency. 6.12.2 MELT REELS

When specifically asked by the TV coordination agency, a specific request for melt reels can be requested. At the end of the selected match, a selection of the best replays and close up reaction shots should be copied from the hard disc recorders onto the end of the master archive tapes, free of any graphics, to provide a “melt reel” from that match. This material should be selected on quality rather than quantity, but contain all the best play and reactions from different camera angles. All master tapes should be labeled, both on the tape itself and on the outside of the box, and contain a basic log of contents. The design for the tape labels and logs can be downloaded from the Host Broadcaster website. All recordings must be couriered immediately on the Monday following the weekend matches by DHL or a similar standard of courier company to the archive facility in London:

Mr Filippo Guidolin

IMG Media

McCormack House

Burlington lane

London W4 2TH

United Kingdom

Office: +44 (0) 208 233 6140 / 5300

[email protected]



6.13. POWER, LIGHTING AND MONITORS All power for the HTVB should be uninterrupted and on a different phase from the rest of the stadium power. There should be “back up” power available for the HTVB production facilities, which will automatically activate in the event that the “main” power should fail. This should be synchronous, and not in any way disrupt the production signal. The television lighting in any venue is of vital importance. As a general rule the average illumination in the vertical plane should be 1500 lux across the

playing surface and immediate surrounds, with the crowd areas lit to approx. 1000 lux There should be no major reflections, shadows or patches across the playing area. All interview areas must have

acceptable independent lighting. The HTVB is asked to install standard television colour monitors transmitting the international signal including real time code on the desk of the FIVB Supervisor. If possible and if requested by FIVB Officials or National Federation, additional monitors may be installed in other areas (VIP area, press area…) in the competition hall.

6.14 INTERVIEWS To further enhance the programmes' editorial content, a "flash interview" should be done for television only. It will enable the worldwide broadcasters to have a winners' interview made during end of match formalities (see running order). International Feed interviews are for the Final Round and can be done on other key matches upon FIVB request. The sequence of events should be as follows:

After celebrations and signing score sheet, winning team or a representative player of the winning team (preferably an English speaker) is taken to the "flash interview" area. The flash interview should not exceed one minute.

Following the end of transmission, an interview will be conducted on court with the winning team (in order to maximise the material for editing the highlight programme (see paragraph 6.18).

This interview for the International Feed must take priority over any unilateral interview. If a rights holder wants an interview they need to advise the Press officer and be guided to the Mixed Zone. If the rights holder

is after a live interview, it must be done after the FIVB interview, it must not be in view of the International Feed cameras. And if the domestic HTVB wants an Interview, it must not be within the International programme.

6.15. TV RUNNING ORDER

Each transmission must follow the described sequence as set out in the following TV running order. This is essential to allow all broadcasters taking the feed to know points where they can enter and exit the Host Television Broadcast (the TV Running Order can also be retrieved from the HTVB website, please check for any eventual updates). For each televised match, the TV transmission will start on the hour and the first serve will start 10 minutes after the hour. In case there is an "over-run", the following match will start as soon as possible after the end of the previous match. If a match "under-runs", it will start on the following hour.



6.16. BOOKING PROCEDURES

In the event that an International Broadcaster wants to

be on-site it is the responsibility of the Host

Broadcaster to facilitate and implement their

requirements. Bookable facilities could include

commentary positions, cameras, pre and post

unilateral etc. It is not however, the responsibility of the

Host Broadcaster to organise the satellite distribution

and therefore must not provide International

Broadcasters with Satellite details, the HTVB should

direct all requests to the TV Coordination Agency.

Furthermore, the following points must be kept in mind:

The TV Coordination Agency will advise the

National Federation and/or Organiser and the

Host Broadcaster who the International

Broadcasters (rights holders) for their event are

and specify the rights they own.

The TV Coordination Agency will put the

International Broadcasters in direct contact with

the Host Broadcaster's booking coordinator.

Therefore, the Host Broadcaster must be

prepared to set up a booking system, allocate a

person as the booking contact.

The HTVB must prepare a rate card which must

be approved by the FIVB / TV Coordination

Agency, it must be submitted to the TV

coordination agency no later than 2 months prior

to the start of the Competition.

The TV Coordination Agency should be kept

informed on the Host Broadcaster booking

system and subsequent booking requests in

order to ensure the servicing of International

Broadcasters across all FIVB events, a final copy

of all bookings should be sent to the TV

Coordination Agency 30 days prior to the

competition start date.

The TV Coordination Agency and TV Coordinator

onsite has the authority to take all necessary

actions to resolve any problems that may occur.

6.17. SPECIAL REQUESTS: PRE AND POST UNILATERAL AND TAPES

As it is the responsibly of the TV Coordination Agency

to manage the sales and distribution of the

International feed and News feeds if an International

Broadcaster requests a tape copy, the Host

Broadcaster should pass the request on to the TV

Coordination Agency.

If the International Broadcaster requests a pre and/or

post unilateral, as per all onsite bookings, the Host

Broadcaster is responsible for providing it via their

bookings system. In this case the Host Broadcast

would be required to provide all equipment (camera,

cameraman, audio, etc.), satellite space, etc. Please

ensure the TV Coordination Agency is across these

bookings as there will be an additional charge for

onpassing pre and post unilaterals.

Like all bookings, any requests for pre and/or post

unilaterals received directly by the Host Broadcaster

must be copied to the TV Coordination Agency

immediately for information purposes and in case

further distribution is required from the Host

Broadcasters satellite onto the International

Broadcaster.

Broadcasters with unilateral access authorization will be responsible for all expenses (according to the rate card previously approved by the FIVB) and only licensed broadcasters will be granted unilateral access.

International Rights holders on-site



6.18. TV HIGHLIGHTS PROGRAMS

The FIVB has commissioned IMG Media to produce weekly highlight programme featuring all 2012 World League events. There will the following highlight episodes:

One episode for each Intercontinental round

One episode featuring the Final Round Each 26 minute programme will be available from IMG London Media House on the Thursday following each match week, if not communicated differently. Therefore, it is essential that the tapes of the matches are sent to IMG London on the following Monday at the latest (see point 6.12) so that IMG can produce and distribute in time the Highlights Programme. Editorially, the highlights will feature the following:

A consistent and agreed format.

Highlights from each event based on the footage sent by HB.

Lifestyle and personality led features: HB will provide as much atmosphere footage as possible including volleyball stars/celebrities, postcard of the host city/town hosting the match, etc.

Interviews of the players and coaches This TV product will be added to the conventional programming available to international broadcasters (live, delayed, news and unilateral transmissions) and will emphasize the Volleyball lifestyle. This will contribute to increase the worldwide TV exposure and sales and therefore the awareness of the Event throughout the world.



6.19. TV COORDINATION AGENCY - COMPANY CONTACT DETAILS The FIVB’s appointed TV Coordination Agency is:

IMG Media

McCormack House Burlington lane London W4 2TH United Kingdom All written communication should be sent to the following email address: [email protected] IMG Media Broadcast Coordination Manager

[email protected] Office: +44 (0) 208 233 6542 Mobile: +44 (0) 780 286 2346

+33 (0) 689 67 89 30 IMG Media Sales Coordination Manager

Filippo Guidolin [email protected] Office: +44 (0) 208 233 6542 Mobile: +44 (0) 751 597 6231




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