During the Singapore Grand Prix, Fernando Alonso communicated his irritation via team radio following a sluggish pit stop that saw him plummet from eighth position to 15th. In response to engineer Andrew Vizard informing him that there were 34 laps remaining, the two-time Formula 1 champion stated: “If you continue to speak to me on every lap, I will disconnect the radio.”
Alonso did not fully acknowledge the level of attention his radio comments attracted in Singapore, and commented on X to convey: “With pole position secured for the private radio broadcast, time to adjust the main coverage and bring all the on-track thrill to the fans!”
The Spanish driver’s objections persisted two races later as F1 travelled to Mexico. Alonso voiced his concerns regarding the observation that multiple drivers gained an advantage by cutting the initial corner at the race start without relinquishing their positions.
“They’re broadcasting all of our private radio conversations,” Alonso expressed following the incident at the start of the Mexico GP. “Hopefully they will broadcast this and show what happened at turn one and two. Hello? Wasn’t turn one and two broadcast?”
The two-time world champion’s words were, in reality, not aired on the live broadcast.
However, F1’s director of broadcast and media, Dean Locke, emphasized in an exclusive discussion with Autosport that his team situated at Biggin Hill, which oversees F1 broadcasts, functions “not as a mouthpiece” for drivers.
“We have an obligation to present the narrative impartially and factually – as such, we avoid disseminating any content that is misleading or driven by ulterior motives,” Locke stated. “Fernando is truly exceptional; his abilities behind the wheel, combined with his analytical capacity, are impressive. However, our role is not to serve as his spokesperson.”
Fernando Alonso felt that mostly his on-board radio was being broadcast.
Photo by: Zak Mauger / LAT Images via Getty Images
“Our objective is to uphold truthfulness in our storytelling while enhancing fan engagement,” Locke continued. “It is remarkable to witness the breadth of narratives we can construct, displaying the race through the individual perspectives of teammates. Nevertheless, we must exercise caution, as drivers may occasionally critique their teams without complete awareness of all contributing factors.
“It is essential to safeguard against misrepresentation. We endeavor to inject enthusiasm, offering viewers a glimpse from within the cockpit, and unveiling the authentic persona of each driver, without exaggeration or sensationalism. I also recall Fernando previously conducting his on-board communications in Italian; once we started providing English subtitles, he discontinued the practice. Hence, certain behaviors may stem from motivations beyond the obvious. Our intention is to manage these situations thoughtfully.”
Feedback from drivers
Alonso is not singular in his critique of F1’s broadcasting approach, with his compatriot Carlos Sainz likewise expressing his reservations regarding the coverage post the Singapore Grand Prix.
Sainz expressed his dissatisfaction with the excessive concentration on “celebrities and their partners” throughout the broadcast, arguing that this focus undermined attention towards actual racing events transpiring on the track. His remarks emerged after his significant progress during the Singapore race which included executing five overtakes, actions that were largely unacknowledged on screen.
This situation presents questions relating to the channels of communication existing between F1’s Media and Technology Centre at Biggin Hill, and the Grand Prix Drivers’ Association, specifically addressing if teams and drivers are afforded opportunities to present their opinions on broadcasts.
“That is a valid point, because they were largely unfamiliar with our options to, for example, censor, quiet or manage the content being relayed,” Locke noted. “Approximately a year prior, I attended a driver briefing to elaborate on the mechanics of our on-board radio process. This was aimed at ensuring their comprehension that our efforts are geared towards their protection and to depict them as exceptionally talented athletes to the greatest extent possible.”
Carlos Sainz was of the opinion that F1 direction had lost sight of the track action.
Photo by: Sam Bloxham / LAT Images via Getty Images
Regarding the broadcast footage included within races, Locke states that F1 “occasionally” receives input from the teams or individuals directly connected to a driver, “though honestly, such instances are infrequent,” he specifies.
“I believe certain statements made concerning that matter have been interpreted outside of their true context,” Locke commented in reference to Sainz’s perspectives. “During the specified race, we aired an off-track scene a total of three times, and these were never shown during moments of actual racing. Our obligation extends to reflecting the comprehensive atmosphere of the event, encompassing the racetrack activities, alongside aspects peripheral to the race. This includes visuals from the grid, the spectators, and the post-race ceremonies.”
Locke clarified that the aim is to cater to F1’s varied audience, comprising individuals who specifically tune in for the competitive aspect of the race and those interested in immersing themselves in “the complete event experience”.
“Restricting our broadcast solely to close-up views of vehicles racing on the track would make it difficult to identify the specific circuit where the event takes place,” he said. “We are privileged to have multiple circuits that present distinctive and unique settings – consider locations like Abu Dhabi, Austin, or Monza. Therefore, our role encompasses conveying this overall ambiance. This differs from stadium sports such as soccer, which often lack such visually distinct settings.
“A stadium belonging to Manchester United may share visual similarities with various other stadiums, whereas each F1 event possesses its own unique attributes. Our undertaking, therefore, is to capture the event in its entirety, utilizing all available methods. However, our foundational emphasis lies on the racing activities on the track, as these are central to the event’s attraction. The more intense and engaging this action becomes, the better the experience.”
Focus on title fight
The title fight represents another key factor that F1 management should take into account, especially with the season conclusion nearing.
“Currently, intense competitions are taking place, for instance with the McLarens; we have to closely observe these dynamics and effectively communicate them to our viewers,” Locke explained. “Nevertheless, the priority lies with the on-track action. Despite this, multiple events frequently unfold simultaneously, and the team engages in extensive efforts each week to ascertain the optimum means of showcasing these developments.”
This strategy applies to events both during and before the race. Locke highlighted the Mexican Grand Prix as an illustration.
“Leading up to the race in Mexico, the first corner was a frequent subject of discussion, with anticipation that significant incidents could occur there,” he stated, alluding to the recurring drama that commences the race. “The subsequent question was: would it be beneficial to implement a broader camera view to encompass the runoff areas? Our team of directors and producers devote themselves on a full-time basis to evaluating the successes and areas for improvement following each race.”
The F1 directors were already looking at the best options to capture the chaos at Turn 1 before the start of the race in Mexico.
Photo by: Bryn Lennon / Formula 1 via Getty Images
Locke conveyed that modifications have already been made during the year to enhance the coverage of battles occurring on the track, and this includes features such as picture-in-picture displays. For instance, main screen visuals are capable of highlighting the key duel, whereas a smaller inset can display intermediate standings that reflect other competitions simultaneously.
“Innovations launched in the current year facilitate the presentation of a greater number of conflicts and developing stories at any given moment,” Locke elaborated. “A good example is observed during qualifying runs: we now manage three separate time clocks and can use the bar positioned on the left of the screen to relay the story of ten drivers, all positioning themselves within a fraction of a second from each other during their concluding lap of Q3.
“As mentioned earlier, similar advancements are picture-in-picture visuals and related technological approaches. These enable us to display images of the race leader, even when maintaining a consistent lead with no immediate challenges, alongside other unfolding story elements. Increased narrative richness improves the broadcast, although attention to on-track events will continue to be the central consideration.”
