Digital Sports Coverage Is Getting Animated

Cutting Edge Sport curators LiveWire Sport delve into how illustrations and animation have become a new emerging trend in digital sports coverage…

Successful social media is built on moments that unite a fanbase or audience. Photos and reaction are shared instantly to millions of followers, while new platforms such as SnappyTV and Grabyo and advances in affordable mobile technology have broken down many of the barriers to getting quality video content out quickly.

Digital sports coverage is also about bringing colour to action, building stories and larger-than-life characters. One trend we have seen emerge this year is the use of illustration and animation alongside photography and video to capture moments with content that resonates. Improvements in technology have made the quick turnaround of digital illustrations possible in a live setting. It can also provide a convenient alternative to rights restrictions around publishing match action.

One of our favourite things this year has been the BBC’s Pint Sized TMS series, published shortly after the end of a day’s play and distilling the show’s humour and voices. O2 revealed this animated advert to #MakeThemGiants as part of their sponsorship of England Rugby, while World Rugby produced manga artwork of World Cup Golden Moments in an attempt to reach their Japanese audience ahead of the 2019 tournament.

PICTURE THE MOMENT The raw power of #NZL‘s @juliansavea7 – shades of Jonah Lomu at #RWC1995? #NZLvFRA pic.twitter.com/NsTEEk6rL3

— Rugby World Cup (@rugbyworldcup) October 17, 2015

Another aspect of Rugby World Cup’s comprehensive coverage across their digital channels involved illustrations of some of the tournament’s biggest moments, drawn live by an artist. We caught up with Mike Miles of Visually Speaking, who was responsible and has been bringing his artistic eye to the world of sport and social media through work with World Rugby and NFL UK, amongst others.

You’ve been doing live illustrations for the Rugby World Cup and NFL’s International Series games at Wembley. Could you talk us through your set up for this process – what tools you’re using, and if the technology has changed since you’ve been doing it?

The tools I use (Photoshop, Illustrator, and Wacom) were not designed to be used for what l do (quick and live illustration).

When I first started with this set up and approach, around 3 years ago, the tools were inexplicably large and cumbersome for what I wanted to do with them. For example, in my first meeting, I used an iPad and my finger. When there were large jobs, I used a much bigger and heavier Wacom Cintiq which I had to have a travel case designed specifically for. It took two people to carry comfortably and made me look like a crap spy.

It all comes down to the scope of design you want to achieve and how quickly you can achieve it. The set up I have now of the latest Wacom companion or Cintiq, with a smoother and more intelligent operating of Adobe Creative Suite, means I can draw in any style, very quickly.

This technology allows me to capture more, quicker and more reliably.

What preparation goes into covering an event?

Preparing for a shift involves me asking everyone I know what they think of the subject, researching about the subject and discussing with the client every possible outcome. This then leads to preparatory drawings of what you collaboratively bet will happen. You draw and hope your bets come in, otherwise you have to think and draw incredibly quick. The outcome is always of a high standard, but getting there can be quite difficult.

.@DanCarter, simply… #RWC2015 pic.twitter.com/bZ4u1W9kgT

— Rugby World Cup (@rugbyworldcup) October 31, 2015

How quick is the turnaround when you’re doing the illustrations live?

The speed of a live illustration depends entirely on the content. But anything over four minutes, from conception to being posted, is normally too late. It depends greatly on what prep work you have done and when the illustration is planned to be posted.

What kind of moments are you looking out for to capture in your coverage?

I’m always on the lookout for moments that can’t be captured by other media. For example producing a disco ball gif of a player celebration. Whenever someone says ‘he looks like he’s dancing’ or ‘he looks like he is flying…’, they are the best opportunities to create something unique, something that resonates.

How @chiefs fans are feeling right now… #KingdomsUnite pic.twitter.com/188J3N0NJE

— NFL UK (@NFLUK) November 1, 2015

How do you think illustration and animation enhances digital sports coverage? And do you see it becoming an increasing part of rightsholders and brands’ content?

Anyone can retweet the photo or share the quote. Illustrating or animating a moment, to amplify the content or help capture the atmosphere, is a logical next step in engaging audiences.

It helps create personality and helps explain the story. These are key in making your message stand out and be retained.

Are there any examples you have seen of illustration and animation that you think have been especially inspiring or innovative?

Punch was doing what I do a century ago. Newspapers do it everyday with wonderful illustrations to capture an opinion on a subject.

What has changed is that the developments in technology mean illustration can now sit within live social media, and respond to the changing demands of an audience who are looking for content to be delivered in the moment, that adds to their understanding and experience of it.

I am particularly inspired by any social illustrations that put a mirror up to what we do. Jean Jullien is consistently excellent. Some gifs coming out now are artworks. That’s the bar for me. Art with great content instantly.

Sport is wonderful because of the passion of the people I work with, and the passion I have for it.