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8. TELEVISION

8. 1 INTRODUCTION

Volleyball is an ideal 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 Grand Prix.

Host Television Broadcasters (abbreviated by “HTVB”) have to respect the FIVB guidelines as stated in this
chapter of the World Grand Prix Handbook as part of the FIVB-NF-HTVB agreement. 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/worldgrandprix/2012/

Login: fivb
Password: tv.worldgrandprix

8. 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 Grand Prix. 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 Grand Prix 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 only be channeled into the Host Broadcast production therefore the
International Feed must take precedence over the Domestic Feed meaning any unilateral production is to be
produced with a separate crew and facilities.

FIVB BRANDING & PROMOTIONAL CAMPAIGN

Having successfully implemented the new FIVB branding and promotional campaign throughout 2011, this is
something we hope 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 new opening and closing sequence featuring the hero
campaign, 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.

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8.3 THE ROLE OF THE FIVB TELEVISION COORDINATION AGENCY

The role of the FIVB Television Coordination Agency was developed by the World Grand Prix Council in order
to facilitate communication and to maintain the minimum standards required.

As such, the agency oversees television related activities leading up to, during and following the event.
Meaning from the preparation to the set-up of the television equipment to the actual production, broadcast and
subsequent international distribution. The agency is also the main contact for the International rights holders
and will coordinate all specific requests (if any) made to the Host Broadcasters.

The agency cannot perform its responsibilities unless the Host Broadcasters complete their contractual
obligations to broadcast matches in accordance with World Grand Prix specifications as outlined in this chapter
and forward all related communications concerning World Grand Prix television matters to the agency. The
Broadcast Manager is your first point of call for all Host Broadcast and television queries and at the event there
will be a TV Coordinator onsite.

The main aims of the FIVB Television Coordination Agency are the following:

• To work together with the Host Broadcasters and the National Federations/Organising Committees 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 International Broadcasters.
• To ensure that the TV Production meets the minimum standards and respects the Television
requirements related to the World Grand Prix.
• To distribute the World Grand Prix matches throughout the world and assist the International Rights
Holders with all their needs.

The FIVB Television Coordination Agency provides a Host Broadcaster website (see introduction above 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
FIVB.TVAgency@imgworld.com.

8.4 INSPECTION VISIT AND MEETINGS

The Broadcast Coordination Manager may decide that an inspection visit is required before an 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 / Organising Committees.

The television inspection visit may be scheduled before the start of the event, whenever deemed necessary by
the FIVB. During the Television Inspection a meeting must be held with the following participants:

• Television Coordinator
• Interpreter - if required
• NFs/Organising committees
• Host Television Broadcast Director and Producer

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• Representative of Technical Producer or Facilities Company

The Host Broadcaster and Organising Committee should organise themselves a TV Meeting in order to
discuss all TV related issues, e.g. sound volume during interviews, match running order, FIVB playing protocol,
lighting, etc.

The day before the first match produced of each 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.

8.5 HOST TELEVISION BROADCASTER - 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 for World Grand Prix 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 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 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. Ideally, 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 and the International Feed must be uplinked to
a satellite (satellite to be approved in writing by the FIVB/ TV Coordination Agency). If the booking is
made in due time and the cost are approved by the FIVB and its TV Coordination Agency in
advance, then FIVB will help cover the costs (as per agreement).

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8.6 LIVE UPLINK

HTVB has to make the International feed available free of charge to International broadcasters under contract
with the FIVB and the FIVB TV Coordination Agency. The feed must be delivered in 16:9 (4:3 safe) Standard
Definition format or best efforts to deliver a feed in High Definition format, with International Sound and cleared
English Commentary if provided by FIVB, and international graphics to HTVB's on-site SNG truck, on a free of
charge basis.

Except where otherwise expressly directed by FIVB, HTVB will additionally ensure that the International feed
will be uplinked to FIVB's designated satellites with a minimum 9Mhz carrier, which unless otherwise advised
by FIVB will be:
ƒ For Europe W2A
ƒ For Latin America IS-9
ƒ For Asia AS-5

The process will be the following:

HTVB will send for approval the total cost of the SNG and such bookings 2 months prior to the Event and
HTVB shall pencil SNG and such satellite booking 6 weeks prior to the Event and upon FIVB's approval, HTVB
shall confirm the relevant SNG and satellite bookings 3 weeks prior to the Event.

Provided HTVB fully complies with the above process, and that the total cost proposed by HTVB for SNG and
uplink being at market standard value, HTVB will be entitled to a contribution of 50% towards the approved
costs of SNG and satellite booking from FIVB. In the event that FIVB has to become involved in the
management of the up-link –SNG and Satellite booking - (for example, if HTVB has not been complying with
the above process timetable), then FIVB 's contribution towards the approved costs of such satellite booking
will be reduced to 30%.

8.7 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

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and serviced.

The Host Broadcast productions must keep all relevant action within the 4:3 “safe” area on screen, and all
graphics will be designed to fit inside the 4:3 area.

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

2
10

6
4 3
7 5

9
FIVB VOLLEYBALL WORLD GRAND PRIX 2012 - CAMERA PLAN

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

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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

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 40m 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 2m 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 camera is positioned below camera one, two 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 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.

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 3m 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), although
not 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 and 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 6m in length at 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.

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Camera eight
The camera is on a tripod 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.

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 place 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 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.

8.8 AUDIO
For all recordings and satellite transmissions, 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, for the Final Round and other key matches as advised by the FIVB, the International Feed will carry
English Commentary (commentators provided by FIVB) and therefore 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)

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 as follows:

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)

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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:

• the players’ body contact with the ball.

• the players’ and coach's discussions on court and during time outs.
• the crowd’s close-up applause and general excitement surrounding the event.
• the public’s reaction to the players’ performance.
• the 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.

FIXED MICROPHONES

FIVB VOLLEYBALL WORLD GRAND PRIX 2012 - AUDIO PLAN

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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.

8.9 GRAPHICS
Together with the World Grand Prix brand, the FIVB provides also a television graphic layout as part of the
World Grand Prix 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
during but must be removed during slow motion replays and when filming close ups of faces. (Comment:
Positions of graphics need to be decided / confirmed by FIVB). 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.

8.10 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

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“hold” will 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 “replay wipe” will be supplied on the graphics FTP server for use between
live action and relays. 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 seen on the HTVB website.

8.11 TAPE RECORDINGS, MELT REELS AND NEWS HIGHLIGHTS

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 World Grand Prix
Television Coordination Agency will coordinate international news coverage of all FIVB World Grand Prix
matches. A list of suggested shots for the news feed can be found on the broadcast website.

It is very important that any problems with the recording of a World Grand Prix match are reported immediately
to the FIVB Television Coordination Agency. 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 broadcast website.

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 2 minute 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:

Preliminary 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

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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 follows:

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)

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).

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 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
filippo.guidolin@imgworld.com

8.12 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 approximately 1000 lux There should be no major reflections, shadows or patches across the playing area.
All interview areas must have acceptable independent lighting.

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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.

8.13 INTERVIEWS

To further enhance the programs' 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 8.17).

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 program.

8.14 TV PROGRAMME RUNNING ORDER

Each transmission must follow the described sequence as set out in the running order. This is essential to
allow all broadcasters taking the feed to know points where they can enter and exit the International Feed (the
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.

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 FIVB Volleyball World Grand Prix 2012
TV RUNNING ORDER
RUNDOWN PRE‐MATCH AND START OF MATCH
SECTION 3
Countdown 
Countdown 
Activity in Hall to live  TV Picture TV Graphic Duration
to 1st serve
transmission
Match information
Telephone number of the SNG
‐25:00 Satellite Line up ‐15:00 Venue Wide Shot 10'00"
Telephone number of the MCR satellite 
provider

FIVB Volleyball World Grand Prix 2012

Any Pre unilateral bookings to be within this period time and must finish 
no later than ‐15:30 to the first serve on the rundown therefore extend  TBA
time earlier as necessary so to allow a 5 mins gap before countdown clock.

‐15:30 Teams start warming up ‐05:00 Venue Wide Shot 04'30"

‐10:30 Teams warming up 0'30" Countdown clock 0'30"

START OF INTERNATIONAL FEED ‐ LIVE PROGRAM

‐10:00 Teams warming up * 00:00 Opening sequence None 0'45"

‐09:15 Teams warming up 00:45 Venue Wide Shot Event title graphic 0'10"
‐09:05 Teams warming up 00:55 City shots ‐ Postcard None 0'30"
‐08:35 Teams warming up 01:25 Venue Wide Shot None 0'10"
‐08:25 Teams warming up 01:35 Venue Wide Shot Group table graphic 0'30"
‐07:55 Teams warming up 02:05 General shots as appropriate None 1'55"
‐06:00 End of warm up / Teams to bench 04:00 General shots as appropriate None 1'00"
‐05:00 Referees / teams enter  court & line up 05:00 General shots as appropriate None 0'30"
‐05:30 Visiting Team announced 04:30 General shots as appropriate Visiting team full list 0'30"
‐05:00 Home Team announced 05:00 General shots as appropriate Home team full list 0'30"
‐04:30 National Anthem ‐ Visitors team 45 sec 05:30 General shots as appropriate None 1'00"
‐03:30 National Anthem ‐ Home team 45 sec 06:30 General shots as appropriate None 1'00"
‐02:30 Players to bench 07:30 General shots as appropriate None 0'30"
‐03:00 Referees presention 08:00 Shot on each referee Referees identification 0'15"
Visiting team ‐ starting players &  Visiting team starting line up + coach 
‐02:30 08:15 As appropriate  0'45"
coaches individual presentation identification
Home team ‐ starting players & coaches  Home team starting line up + coach 
‐01:30 09:00 As appropriate including athmosphere 0'45"
individual presentation identification
‐00:15 Server in place 09:45 Server Server name insertion (player identification) 0'15"
Permanent score graphic / crunch in upper 
00:00 First serve 10:00 Server 0
left corner (not on replays)

Reminder: First serve is always 10 minutes after the announced match schedule time.
* Start opening Titles on the scheduled Match time eg. 15:00, so first serve is at 15:10
** Only use  score graphic during LIVE action ‐ remove during replays. 

RUNDOWN BETWEEN SETS

Page 87
WORLD GRAND PRIX HANDBOOK 2012
 Countdown 
Count from 
Activity in Hall to start of  TV Picture TV Graphic Duration
end of set
next set

Page 88
MATCH
xx:xx ‐ After 
set
END OF SET ‐03:00 Live Action Score graphic / crunch 0'20" SECTION 3
+00:20 Teams to bench ‐02:40 Venue Wide Shot 0'20"
+00:40 ‐02:20 Set Highlights 0'40"
+01:20 ‐01:40 Venue Wide Shot Set statistic graphic 0'30"
Team huddle / Coaches speech
+01:50 ‐01:10 Coach speech/ team huddel (Home / visitor) 0'25"
+02:10 ‐00:45 Coach speech/ team huddel (Home / visitor) 0'25"
+02:40 End of break / Teams switch sides ‐00:20 Close up on players 0'20"
+03:00 START OF NEXT SET 00:00 Live Action 

RUNDOWN POST MATCH

Count from  Countdown 
end of  Activity in Hall to end of  TV Picture TV Graphic Duration
match transmission
MATCH
+00:00 END OF MATCH ‐04:20 Live Action Score graphic / crunch 0'00"
+00:00 Team celebrations ‐04:20 Live action, emotion, Reaction, Action 1'00"
+01:00 Teams shake hands at net ‐03:20 Venue wide shot Set statistics graphic 0'30"
+01:30 ‐02:50 Venue wide shot Match results graphic  0'30"
Activity on court
+02:00 End of Match formalities ‐02:20 0'20"
spectators, close‐ups players, wide shot of venue
+02:20 ‐02:00 Set Highlights 0'40"
End of Match formalities/ teams leave  Activity on court
+03:00 ‐01:20 0'20"
court spectators, close‐ups players, wide shot of venue
+03:20 ‐01:00 Venue wide shot Updated Group table graphic 0'30"
+03:45 Titles sequence 0'25"
END OF INTERNATIONAL SIGNAL ‐ UNLESS FINAL ROUND
During  Final Round  a post match interview in English will be conducted 
+04:20 1'30"
here with member of the winning team.
+05:50 END OF INTERNATIONAL SIGNAL ON FINAL ROUND

FIVB Volleyball World Grand Prix 2012

WORLD GRAND PRIX HANDBOOK 2012
SECTION 3 WORLD GRAND PRIX HANDBOOK 2012

8.15 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 / 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 two 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 five 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.

8.16 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.

FIVB Volleyball World Grand Prix 2012 Page 89

SECTION 3 WORLD GRAND PRIX HANDBOOK 2012

8.17 TV HIGHLIGHTS PROGRAMMES

The FIVB has commissioned IMG Media to produce the highlight programmes featuring the 2012 World Grand
Prix events. There will be in total 4 highlight episodes:

• One episode for each Preliminary Round (three episodes)

• One episode featuring the Final Round

Each 26 minute Programmes will be available from IMG London Media House on the Thursday following each
match week. Therefore, it is essential that the tapes of the matches are sent to IMG London on the following
Monday (see point 8.11) so that IMG can produce and distribute in time the highlight Programmes.

Editorially, the highlights will feature the following:

• A consistent and agreed format.

• Highlights from each event based on the footage sent by HTVB.
• Lifestyle and personality led features: HTVB will provide as much atmosphere footage as possible
including volleyball stars/celebrities, postcard of the host city/town hosting the match, etc.

This TV product will be added to the conventional programming available to international broadcasters (live,
delayed, news and unilateral transmissions) and will emphasise the Volleyball lifestyle. This will contribute to
increase the worldwide TV exposure and sales and therefore the awareness of the World Grand Prix
throughout the world.

8.18 TV COORDINATION AGENCY COMPANY CONTACT DETAILS

The FIVB’s appointed TV Coordination Agency is IMG Media.

IMG Media
McCormack House
Burlington lane
London W4 2TH
United Kingdom

All written communication should be sent to: FIVB.TVAgency@imgworld.com

IMG Media Broadcast Coordination Manager

Miss. Sophie Ormond Sophie.Ormond@imgworld.com
Office: +44 (0) 208 233 6542 Mobile: +44 (0) 780 286 2346 or +33 (0) 689 67 89 30

IMG Media Sales Coordination Manager

Mr. Filippo Guidolin Filippo.Guidolin@imgworld.com
Office: +44 (0) 208 233 6140 Mobile: +44 (0) 783 221 9538

Page 90 FIVB Volleyball World Grand Prix 2012