I have been broadcasting races on live national television since 1988. After graduating from California State University Chico, I was lucky enough to land my first TV job right out of school. I was hired to be a pit reporter for the live ESPN broadcast of the IMSA Camel GT Series from Del Mar, Calif. Bob Varsha was the play-by-play voice, Bill Adam was the color commentator and Chris Economaki was the other pit reporter.
Needless to say, this rookie had to get up to speed in a big hurry to be able to hang with that level of broadcasting professionals. Somehow I made it through, and next year will be my 20th season on television. It has been a dream come true and a wonderful opportunity to make a living at something I am passionate about.
Over the years, I have covered everything from swamp buggies for TNN to Formula One for CBS. Along the way, I have had a lot of race fans ask questions about how the networks cover their favorite sport. I thought I would take this opportunity to give you a little insight into the world of racing television.
Most weeks are the same for the TV crews. At Speed, we usually have at least one conference call in the beginning of the week to discuss the previous week’s show, any issues that might have developed, and to start the process of looking ahead to the upcoming event.
There is not one day that goes by that I don’t do something that involves preparation for an upcoming show. It is a never-ending process and most certainly not 9 to 5. I constantly have a phone glued to my head talking to someone in racing. We all read National Speed Sport News. That’s not a plug, that’s a fact. I inhale every piece of information I can get my hands on.
Before I even head for the airport, my notebook is jammed with more information than I need or could possibly ever hope to get on air.
Usually the announcing crew arrives in town the day before the track opens. The rest of the crew arrives a day or two earlier to set up the TV truck and to get all of the equipment in place. That first night we have what is called a talent dinner at a local restaurant to discuss the show and to do a little bonding before we begin another weekend.
When the pit gate opens the next morning, we are ready to go. The days involve morning and afternoon meetings, getting interviews on tape, shooting features and voicing other pieces for the show. I also try to talk to as many key individuals as possible about everything from the latest racing technology to what their life is like away from the track. You never know where or when you will find that one great story.
Once race day arrives, the producer decides what story lines we will follow. The director decides which cameras he will use to help tell that story. The technical director is the one who actually pushes the buttons to call up the cameras that the director wants you to see at home. Those three individuals sit side by side in the TV truck.
The pit reporter is responsible for being the eyes and ears on pit lane. The hardest part of that job is talking to a driver when he or she have just been knocked out of the race. Obviously, they are not in a good mood, but that instant access is part of why racing is so popular with fans. You have to build up trust with the competitors or those moments will be even harder.  
When I am working pit road, I always have a scanner plugged into my pack. So, along with the broadcast that you are hearing at home, I also can hear the producer, director, pit producer and anyone of the teams that I want to listen to. I always have the broadcast going in one ear and the scanner in the other. That’s a lot of voices in your head.
You get real good at picking through all of the chatter for key words and phrases. All of those conversations keep going when it’s your turn to talk. You have to be able to deliver your thought while numerous people are talking to you at the same time,especially the producer, who is giving you instructions on where he or she wants you to throw it when you are finished in “three, two, one.