As 2018 FIFA World Cup Rapidly Approaches, Telemundo Deportes Preps for Epic Production Effort
Telemundo’s Eli Velazquez: ‘We will use the complete strength of assets and innovation that this company brings to bear’
With just 77 days until the start of the 2018 FIFA World Cup in Russia, what was once a far-off goal is suddenly bearing down on domestic Spanish-language broadcaster Telemundo.
It was in 2011 that Telemundo learned it had acquired the rights to this year’s big tournament, and now the broadcaster is ready to roll with a robust production and content plan. At an event earlier this month, Telemundo unveiled some key partnerships and shared some viewership data that has the network feeling bullish as it heads into this summer’s tournament.
Telemundo has already established original-content partnerships with VICE, the popular soccer digital destination Copa90, and the Telemundo Station Group for various content plays. Plus, the network’s Red Square-based set in the heart of Moscow promises to be a sight to behold.
The network also disclosed some viewership trends and numbers that it dug up in an exclusive partnership with Horowitz Research. Of little surprise to many, soccer resonates strongly with Americans of Hispanic and Latino heritage. According to network data, 77% of Hispanic soccer fans plan to watch World Cup matches live on television. They also said that, if they can’t catch the matches live, 46% will live-stream them. 31% even said they would stream matches on-demand if they miss the live coverage.
We caught up with Eli Velazquez, EVP, programming, production, and content, Telemundo Deportes, to explore some of the plans for this summer’s massive production.
You’re obviously working very closely with some talent from NBC Sports (including noted producer Jim Bell, who will executive-produce this World Cup for Telemundo) and deploying some workflows established by NBC Olympics. That includes at-home production. How do you think that might play out for an event like the World Cup? How comparable could that be to something like an Olympics?
Our [International Broadcast Center] position and presence will not be as massive as [NBC’s] IBC presence and position was for [the PyeongChang] Olympics. I think part of that also is because we’re covering a singular sport with specific times that won’t really move that much. [NBC] had to deal with eight or nine different sports simultaneously, so the engineering side had to deal with much more.
Having said that, we are working with [NBC Sports Group/NBC Olympics, SVP/CTO] Dave Mazza and his team — the guys behind the Olympic model — to make sure that our IBC position in Moscow is equipped so that we have our main control room there. We will have an insert studio there as well. We will have full services, audio booths, engineering, and shading rooms. We are still going to be engaging with [NBC Sports headquarters at] Stamford and the facility [at 30 Rock]. As it relates to transmission, we’re going to have a numerous amount of feeds coming back.
We also have our brand-new, state-of-the-art facility in Miami, the Telemundo Center. I mean it’s just the monstrosity of technology. We’re going to use the complete strength of assets and innovation that this company brings to bear to make sure that everything is flowing seamlessly from an engineering and a technical standpoint.
How about the set at Red Square? What kind of new technologies or innovations can we expect there?
[Augmented reality] will be a part of our coverage for sure. We’re working with a couple of providers on that. We’re going to take on as much technological innovation as we can from that space. That’s why working with NBC Sports was very important to us, because we knew that they had the expertise to bring that enhancement to our experience. We’re all part of the same company, so why not take advantage?
One last question on the Red Square spot. David Neal, executive producer, FIFA World Cup on Fox, says that it was a very laborious process making sure everything met governmental standards for Fox’s studio set in Red Square. Did you guys go through a similar process? Did you have to present many different versions and things like that?
Not as much as [Fox] did, because, from my understanding, they’re building their own structure. We are going to be existing within the HBS [FIFA’s Host Broadcast Services] structure there. That allowed us to have the same experience that I’m sure [Fox] will have, perhaps more limited. Because we decided to work with HBS, they were able to help us leverage and avoid some of that bureaucracy because it was a service that they were providing. That allowed us to focus, frankly, on the look, the feel, the enhancements, to make sure that the experience is top-notch. We’re not constructing that studio in Red Square to show off what we’re doing to the people in Russia. We’re constructing it in Red Square to show off to the people back home.
HBS has the matches covered. What’s that relationship like for you, and what can you do, if anything, to add your own flair to match coverage?
There are unilateral services that you can book depending on the match in question. I think, as the storylines develop within the group stage and we see which team’s really taking off, whether or not our relevant teams are playing a big match — like the ones against Mexico and Germany — we’ll make requests. We have the ability to call on them for unilateral services that will allow us to provide additional cameras and, if we choose, to create some more customization around the experience. Having said that, we believe they do an amazing job covering the game. Since they do such a great job, we’re going to take a wait-and-see approach on that and decide whether the juice is worth the squeeze.