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Spotter22

Spotter22

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Quit showing the times between 10th and the next car, just show the time and we can figure it out. Just show the damn time vs the pole
 
StandOnIt said:
That is what they are trying to accomplish, getting into the top ten. The second round was all about winning the pole and they showed those times.
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I know, but just put the time up, quit making me do math. If the pole is a 40.70 and 10th is a 40.80 and they have him in the green for 10th but his overall is a 40.69 and he goes to the top what good is that? Just show where the time will drop in.
 
Spotter22 said:
I know, but just put the time up, quit making me do math. If the pole is a 40.70 and 10th is a 40.80 and they have him in the green for 10th but his overall is a 40.69 and he goes to the top what good is that? Just show where the time will drop in.
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That is immaterial for this venue. This isn't Joe Bobs short track. This is a two day event...complicated.
 
Its not complicated,just watch the times instead of having to be spoon fed where they are falling in on time
 
Spotter22 said:
I know, but just put the time up, quit making me do math. If the pole is a 40.70 and 10th is a 40.80 and they have him in the green for 10th but his overall is a 40.69 and he goes to the top what good is that? Just show where the time will drop in.
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I was right there with you
figuring the math

i gave up after this
when Larson went the first time he was ahead of the ghost car
then I looked at the time diff
then who was in first
before I had the answer
Larson went to top
 
I can't do math. I just look at the color to decide if it's trending the way I want or not.

But I get what they are doing. It irked me too until I realized there was a 2nd round.
 
I kind of agree with Spotter, I just wanted to know who is fastest. At one point they even showed a ghost car of Travis Pastrana from last year and I was confused for a second as I thought he was in this year’s race. Makes a bit of sense what they were trying to do in when you see there was a Round 2, but I always find Daytona 500 qualifying a little confusing especially with non chartered teams trying to make it with time or through The Duals.
 
Jorge De Guzman said:
I kind of agree with Spotter, I just wanted to know who is fastest. At one point they even showed a ghost car of Travis Pastrana from last year and I was confused for a second as I thought he was in this year’s race. Makes a bit of sense what they were trying to do in when you see there was a Round 2, but I always find Daytona 500 qualifying a little confusing especially with non chartered teams trying to make it with time or through The Duals.
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The ghost car of Pastrana was bewildering....who the hell produces this thing....a kindergartener?
 
Revman said:
The ghost car of Pastrana was bewildering....who the hell produces this thing....a kindergartener?
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Video, photo & audio production is a very difficult job, sometimes even more difficult than the sanctioning body or teams preparing cars every week.
 
racingfan7 said:
Video, photo & audio production is a very difficult job, sometimes even more difficult than the sanctioning body or teams preparing cars every week.
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Daytona 500 Ready To Rumble With Audio Produced by Remote Team​

BSI will handle wireless team comms along with in-car RF audio and video​

By Dan Daley, Audio Editor
Wednesday, February 14, 2024 - 12:46 pm
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Audio will be one of the stars when the 66th Daytona 500 begins Sunday, Feb. 18 on the 2.5-mile Daytona International Speedway. The race’s sound has always been an attraction of the broadcast, and producing it this year will be a REMI team scattered across the country.
Viewers can hear— and watch — the jewel of the weekend-long NASCAR Cup Series starting at 2:30 p.m. ET on FOX and the FOX Sports app, as well as through live-streaming services that carry FOX, including YouTube TV, Sling TV, Hulu+ and fuboTV.

A1 Kevin McCloskey: “You never want to take the track sound far out of the mix. It’s always part of everything.”
Setting the tone will be “Crank It Up,” the FX drum solo that FOX inserts at points during the race. It’s made up of a mix directly from submixer Chip Weaver’s Calrec Artemis submix console sent through A1 Kevin McCloskey’s main mix and sounds truly awesome in surround.
“Everyone loves ‘Crank It Up,’” says McCloskey. “Can’t imagine doing this race without it.”

Really Remote Production​

Supporting McCloskey, who will be working aboard Game Creek Cleatus production truck at the venue, and Weaver, in the International Speedway stadium, are a REMI team comprising Race Comms Radio Editor Jeff Bratta, working from home in Georgia on a pair of Apple Mac Mini computers with a dual editing system comprising two Mac Minis and PreSonus Studio One 3 edit software to convert audio to USB for the computers, and Radio Mixer Jeff Feltz, at home in Indianapolis mixing on a Calrec Brio console. Viz and additional EVS operators are in Los Angeles and Pittsburgh; enhanced video editing, in Charlotte. Doug Wilson, in charge of comms, is at the track.
“What’s amazing about this is that, with all the signals we’re working with, there is extremely little latency in the system,” McCloskey marvels, noting that Bratta and Feltz are using Unity Intercom as the audio-signal–transport format. The signals are converted to and from Dante at the track.
One change this year is that BSI, which has provided the in-car RF audio and video, will also handle wireless team communications: the live chatter from driver, chief spotter to crew chief. McCloskey says the change was prompted by BSI’s ability, via new antennas and receiver, to improve the sonic quality and speech intelligibility of the in-car comms, improvements he credits to BSI EIC Timothy Caso. This weekend, McCloskey will have 48 channels of in-car audio coming in from the BSI truck over MADI.
“The improvement in sound quality is considerable,” he says.

The Core Sound​

The one constant in NASCAR, McCloskey adds, is the sound of the cars. The roar of those engines provides for racing broadcasts what the crowds do for baseball and football: an underscore that serves as the bed upon which to build the rest of the show’s audio.
“Daytona is a great-sounding track,” he notes. “You never want to take the track sound far out of the mix. It’s always part of everything. You want to keep the announcers on top, but, under that, you have a ton of other stuff to work with: you have the unique sound of speed shots at 190 mph, the engines, the roar of the crowd. In between are the announcers but also the driver audio and the gear shifts, which are to auto racing what bat cracks are to baseball and the quarterback’s cadence is to football.”
Following the show’s quick cuts, from speed shots to straightaways, is also a challenge, hearing Lead Director Artie Kempner’s voice and then anticipating how the various technical directors will execute.
“The scene changes are quick and can be abrupt,” McCloskey says. ‘But that’s what makes watching and hearing it exciting. You have to concentrate over 500 miles. It’s a lot of intensity. It keeps you going.”

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StandOnIt said:
I'm just glad it happens once a year. Them thar new thangs lik that hurt my brain.
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If only the qualification procedures at Joe Bob Raceway could be simpler for simpletons like myself.
 
Joseph Robert Motor Speedway. SMI bought it during the off season and turned in into a Legends track. There's a skid pad where the yard sale tables used to be. Don't get me started on replacing Pepsi with Coke.
 
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