Well, what a welcome relief it was at 6pm on Tuesday 11th April to see the 2006 Fighting Films GB World Cup logo appear on the Sky Sports big screen TV. For the first time in almost two weeks we could relax and enjoy the programme we had just finished making. We all raised our glasses in a toast to the conclusion of a very tough, but thoroughly enjoyable project.

The team for the World Cup started assembling about a month after Fighting Films had been made sponsors for the event. Firstly, we decided that we needed four cameras to cover the two mat areas (reduced to one in the final session). To operate the cameras and have them working in co-ordination we required a film crew of six, preferably seven. One or two people would work from the control point, which was set back with the officials' tables. Here they would have monitors cabled to the cameras and be in communication, via radio, with the entire team.

Two people would work two static cameras - one for mat 1 and the other for mat 2. A third cameraman would be roaming; flicking between crowd, coach and action shots. And the fourth camera would run on a track between both mats and require two people to operate it - one to film, and the other to cable bash (ensure the cables didn’t entangle either cameraman or camera).

The track would prove most challenging in the build-up to the competition. Fighting Films had previously used a short track for the 1999 World Championships - also at the NIA - and had recorded some great shots as a result. As sponsors of the World Cup we could effectively take any type of recording equipment we wanted.

The use of a camera on a crane or pole was considered, which would give us fluid-moving overhead shots. However, the overriding and most exciting idea was that of a long track. After negotiation with the BJA it was decided that we’d put a curve on the track so that it would wrap around mat 1 and give it all a further dimension. So we needed something that would stretch almost the length of two judo mat areas, with a 90 degree corner. It worked out at about 90 foot, which was considerably more than the 15-20 feet we’d had in 1999.

The search for an appropriate track took some time and concluded at Pinewood Studios. So, complete with feature film equipment, a production crew of seven and a three-person trade stand team we set off for Birmingham.

Simon Hicks, Director of Fighting Films and the GB World Cup, takes up the story:

To put together a good piece for TV many elements have to be pulled together in one place at one time. Unfortunately, due to booking problems with the NIA that place and time had to be midnight – 2.30am on the arena floor, with the Fighting Films crew setting up the track and cameras and rehearsing ready for the live shoot in the morning.

We had already decided that, rather than attempting a live mix of cameras and commentary we would record each camera’s output and put together the images in the edit. So throughout the 12 hours of action I was in radio contact with the four cameramen, making sure that their images, on the monitors in front of Ian Sharples (Executice Producer) and myself, were complimentary and not too similar. This gave an interesting mix of close ups and wider action shots.

The long track gave us the great option of using the moving camera, operated by ace cameraman Mike Fox, on either mat, both of which had their own dedicated camera, ensuring that none of the action was missed. At the same time we had a roaming fourth cameraman. And, just in case, we had an emergency wide-shot camera positioned next to Ian and myself, which we did use once in the finished programme (see if you can spot the moment!).

With virtually no break in the action on the Saturday, and only a short one on Sunday, it was a gruelling shoot for the whole crew, but the reward was that not a single great moment was missed. The bronze medal fights and finals were all held on one mat so we could record them on all five cameras and concentrate the attention of the audience on one fight at a time, providing some great shots. Certainly the proximity of the audience to the action (Only 1 metre from the front row to the edge of the podium) and the excellent lighting rig were the two major factors in making the event so exciting to watch.

Danny: After all the easy work came the edit! It began promptly on Monday with Simon and Adam Bell - FF editor - putting together the crucial highlights, and myself going through all the unlogged footage. 9am on Thursday, when commentator Neil Adams was booked in, was the initial deadline for a complete programme. At around 4.30am that morning Adam and I finally hit the precise 23-and-a-half minute time Sky required.

Several hours later Neil had finished his voiceover. A lot of the fights took several takes to get right. Neil had to simplify it enough to the regular Sky Sports viewer who didn’t understand the sport, while being careful not to bore and patronise the judo fan. Additionally he had to inform the audience of the favourites, the different country styles and the rules, while making it sound like live commentary. We had presenter Kim Willingham in the edit suite straight after Neil, recording her voice-over to the introductions and medal ceremonies.

The work hadn’t finished yet though. Thursday night eventually concluded at 5.30am Friday morning, after mixing sound, adding bumpers and logos, and meeting all the extra Sky Sports specifications. Later, at a reasonable morning hour, we were relieved to see the courier start up on his motorbike and head towards London.

Previous Articles:

Feb '05: Behind The Camera - When are the Olympics going to be ready?
May '05: Behind The Camera - IJF Coaching Series Part 1
Aug '05: Behind The Camera - IJF Coaching Series Part 2
Oct '05: Behind The Camera - 2005 World Judo Championships
Aug '06: Behind The Camera - 2006 European Championships Dec '06: Behind The Camera - 2006 World Team Championships
Oct '07: Behind The Camera - 2007 World Championships and the FF GB Judo World Cup
Oct '07: Behind The Camera - Autumn and Winter 2007