Behind the direction of the world championship: interview with Andrea Miglio (by Wenner Gatta)

Just on the anniversary of the thirtieth anniversary of a historic day on Italian sports television (il March 29, 1992in fact, Tele + 2 broadcast in Italy the first encrypted sporting event of history, the Suzuka GP of the World Championship: for details, I refer to the articles of Simone Salvador and of Pino Frisoli full of interesting anecdotes) I had the opportunity, even before, as always, the privilege, to chat with the one who between 2005 and 2013 took care of the national direction of the world championship races for Italy.

Andrea Miglio he explains to me that the passion for this job was born to him since he was a child, when “while my peers went on Saturday afternoon to kick a ball four times, I followed my dad, a television director as well as an advertising director“(It is also singular that both father Guido and Andrea collaborated, albeit at different times, for the realization of a well-known television program that since 1982 was broadcast on Sunday on Italia 1 shortly before lunch hosted by Andrea De Adamich, Grand Prix).

Passionate about motorsport, he joined the large editorial team of Mediaset at the age of 25 as assistant director: a perfect job, his, as it synthesized two of his greatest passions.

Andrea explains to me that over the years he has become aware of theimportance for a director to learn about sport which is broadcasting: “If you have practiced a sport, even at an amateur level, you understand what is about to happen and you are able to anticipate what happensin order to allow the viewer not to miss even a moment of a sports competition“.

As I listen to these words, I am reminded of what I recently saw at the arrival of the Strade Bianche for women, of some stage of the edition n. 57 of the Tirreno-Adriatico, events in which it was visibly perceived that the various directors did not understand what was about to happen shortly thereafter, making us lose various telesport employees highlights of the competition that was airing.

Having closed my brief personal digression, Andrea reveals to me the Big emotion proven when for the first time he saw the graphics “national direction Andrea Miglio“:”It was a moment in which I realized that I had reached an important point in my career that I had dreamed of since I was a child, aware, however, that I had a very long and uphill road ahead of me. A point of arrival coinciding with a new and stimulating starting point“.

From 2005 to 2013 Andrea experienced firsthand that “great neighborhood” that defines the paddockan experience that allowed him to travel the world week after week (“something that would not have been possible without the constant support of my wife Cristina and mine parentsand, of course, of the team of professionals who worked with me“) To do that job he dreamed of doing from an early age:”Every time you go on the air you feel an indescribable jumble of emotions: a mix of pressure, tension, adrenaline, something difficult to describe, but which you cannot give up. You don’t want to be anywhere but there doing what you are called to do“.

But unfortunately, in his career, he also had to deal with completely different positive emotions, such as those experienced firsthand Sunday 23 October 2011 in Sepangwhen he was in charge of the Italian direction of a Moto GP Grand Prix that unfortunately went down in history for being the one in which one of the greatest tragedies of Italian sport took place.

With a voice decidedly broken byemotion he confides in me that “Marco was a friend, with whom we also shot an advertising spot in 2009. We had the same car, the same color, and one day he asked me if I had set it to the right point. He took the keys and fixed it for me, in his own way: for Marco it was a normal setting, for us humans, however, it became undriveable.“.

Andrea then “had the honor” of supervising the television direction of his friend’s funeral: “That day I went to greet him for the last time before the service. He was there, Marco, under a huge photo that portrayed him smiling in one of its natural expressions. I thought to myself: “I hope to be up to managing all this, because it will not be easy at all“.

And it is not so easy to try to talk about something else, when touching such delicate topics, but I try asking Andrea what in his opinion are the main innovations in terms of television footage that he had the opportunity to see with his own eyes in those years: “Two above all Wenner: the increase of the definitionbut, above all, the increasingly frequent introduction of slow motion cameras that allow you to have that fluency in replays which allows the viewer to see every single detail of the bike. I remember that in Aragon in 2012 a camera capable of “doing” was tested more than 1,500 frames per secondthanks to which the commentators were even able to understand details of the set up of the bikes such as the chain pull“.

Today“, Andrea continues,”these cameras became commonplace, but that wasn’t the case at the time. As well as, for example, during a free practice session at Sachsenring in 2011 I realized that for two / three minutes the Dorna experimented with a camera on the saddle of a motorcycle that kept the horizon line despite the rider’s folds. I immediately ran from Sergi Sendra the historic Spanish director in charge of the television content and the international production of Dorna, for Andrea “the best in the world”: ed) to ask him what it was: he replied smiling “Tu tienes muy atention!“.

Currently, the recovery with the gyro camera it is one of the classic shots that we are used to seeing on our television screens, which is offered to us through a camera positioned not only on the saddle of the bike, but also on the dashboard.

Moreover, Andrea, points out to me how over the years they have gradually found space increasingly performing graphicsable to bring the viewer into the sporting event: “Having taken care of the Italian Superbike direction from 2013 to 2018, we decided to use together with Max Biaggi on the occasion of his return to racing in 2015, a system that was able to broadcast live to the director i heartbeats of the pilot during the race. Theexact position on the track where it is, if, and how much, it is accelerating or braking and, finally, the forces “G” to which it is subjected“.

According to Andrea, despite the giant steps, the viewer is not yet able to perceive the speed of the bikethat of braking, and, above all, the difference in height of the route.

My impression, then I’ll be wrong, is that we are already working behind the scenes to introduce some tasty news in this respect too.

In the meantime, time has flown and Andrea has to prepare to fly away.

To take a flight that will take him far, far away, to closely follow which one international director the world championships of another sport, which has nothing to do with the world of motors, but which has learned to know and appreciate for some years now.

Yes, because Andrea not only deals with the direction of motorsport events, but also with other sporting competitions, such as, for example, the one that will follow closely next week (the most attentive readers of this column will have already understood what it is …), or the one for which in 2018 he directed the cameras of what was the sixth most watched sporting event in the world.

Which?

Stay tuned!

Wenner Gatta | Lawyer and passionate since 1978 of every type of sport, mind you, from the privileged position of your sofa at home. From 2020 member of the Nicolodiana and Salvadoriana telepcsportdipendenti association. His motto is: “Why follow only one sporting event, when you can see many at the same time?”. Since March 2021 he has weekly edited the “Ultra Slow Mo” column on the pages of Sport In Media, where he tries to tell what you can’t see about sport on TV.During the Beijing 2022 Winter Olympics, however, he published the # undòujiāngdaPechino column on the pages of Sport in Media every day.

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