![]() ![]() It’s clear who is in front and who is behind. “We have new improvements regarding VAR and the treatment of the VAR, and I think it’s great, because it’s much clearer. The 29 collected data points include all limbs and extremities relevant for making offside calls. Those different tools include semi-automated offside technology, provided via 12 dedicated cameras beneath the stadium roof to track the ball (which also has sensors) and up to 29 data points for each player, 50 times per second, to calculate their exact position on the pitch. And we have different tools for different moments, so it’s about choosing the right one.” If something needs explaining and one slow-mo replay is enough to resolve it, that is fine. And sometimes, one slow-mo replay is enough, and we don’t need three or four. “We have to be focused on the game, with a full understanding of what’s happening. ![]() With some 42 cameras at his disposal, an increase in the amount of data and graphics to incorporate into coverage and FIFA’s efforts to reduce stoppages and the amount time that the ball is out of play, it must be a challenge to balance live coverage with replays and additional information. Read more Live from Qatar 2022: Director Jamie Oakford on giving viewers the best seat in the house So trying to remain live is more important than everything else.” Sometimes, the best thing is to stay live because you need to see the interaction between players, or you need to see if the coach does something. “It’s more about not imposing your own vision of the game. “Not so much in terms of risk,” he explains. Lachand says that since he started directing, he has gradually become more conservative when it comes to his style of overseeing coverage of a match. So you need to be a little bit more conservative.” “You need less cutting from the main camera, because with the quality of the images, you see the players very well. That, says, Lachand, has had an impact on his approach to covering games. For Qatar 2022, FIFA together with host broadcaster HBS has introduced a single-layer production standard based on HDR. ![]() “I think we have the most immersive coverage ever for a World Cup,” says Lachand, speaking with SVG in Doha around mid-way through the tournament. A director alone is nothing, you need a good group and if you go forward, you go forward together.”īy the time the World Cup trophy is lifted by either Argentina, Croatia, France or Morocco, Lachand and his team will have worked on 14 matches, including two quarter finals, one semi-final and the final. ![]() And then we can take other people and add them to the crew. With that crew we have a guaranteed, stable foundation. And with the same EVS operators, slow-mo producer, floor manager and PA. In France, I work all the time with five camera operators on all my matches. “The crew that will be with me for the final on Sunday is the same as since 2002. “The setup for the World Cup is amazing, and when we have such a good setup, and a good crew, if you add too much for the last match it can make things overly complicated,” he says.Ĭonsistency is a common theme of the conversation with Lachand, whose credits include directing this year’s Champions League final as well as matches at the 20 FIFA World Cups, the FIFA Women’s World Cup in Canada in 2015, UEFA Euro 2016 in France and a host of French domestic and Champions League matches with Canal+. Lachand also expects to have similar production plans for the final, with no major additions to the 42-camera setup that has been used to capture the action since the opening round of fixtures. And sometimes, one slow-mo replay is enough.” “We need to need to be fast and we have to be focused on the game, with a full understanding of what’s happening. In my position, it’s important not to have too much emotion because if you do, you’re not in control.” Sure, a World Cup Final is different, but it’s the same in the sense that it is still 90-minutes of normal time. “A match is a match for me, and I try to have the same investment regardless of the level or the occasion. Left to right: PA Astrid Cimarosti, director Laurent Lachand and vision mixer Florian Anguise.Īsk Laurent Lachand how he’ll approach directing Sunday’s Qatar 2022 World Cup final and his answer is similar to one that a player might give. ![]()
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