The esports scene has dozens of events to suit every fan’s taste. Among the massive number of genres and titles, any viewer can find esports tournaments to enjoy regardless of their location, because esports events are primarily broadcast. Esports is borderless entertainment that captures fans and followers worldwide.
Each tournament demands high-quality production, which requires a comprehensive team to manage everything from preparation to post-production. While esports events are polished and refined on the scene, behind the curtains is a creative orchestra of fragmented pieces of the process.
It’s time to explore how tournaments are organized, and who better to guide us through this captivating process than a broadcast producer? Nik Fert, a broadcast producer at WePlay Studios with extensive experience in esports tournament production, knows the ins and outs of event organization and is ready to share them.
How every esports event kicks off
“To begin with, every broadcast is a unique project with its specific requirements, meaning there’s no one-size-fits-all manual for all esports events. For clarity, we can break the process down into three stages: pre-production, production, and, in some cases, post-production.
However, before specialists begin their work, everything starts with planning, typically involving kickoff meetings with the client to understand their vision. This step is entirely free of any creative elements, but it is necessary to address initial challenges or constraints, whether budgetary, technical, or creative, so there’s clarity from the start,” says Nik.
To organize an event that lasts several hours, the tournament team works together for months, meticulously planning every detail. Each member has their task—designers prepare the graphic broadcast package, AR specialists create assets, and technical experts set up the stage. The work of each department and individual specialist is crucial to the overall success. However, alongside creativity and imagination, there are key deliverables that must be closely monitored.
The power of control in creative chaos
“As a broadcast producer, I ensure all the process’s pieces — from graphics and content to technology and talent performance — align with the original vision. Quality control is essential, but shouldn’t interfere with the creative process.
While the deliverables are defined during the planning stage, I present them to the team and develop an execution plan during pre-production. This is where pre-production meetings come into play. These sessions give each department — creative, technical, or operations — a clear understanding of the project. They ensure everyone is aligned with the goals and understands how their tasks contribute to the bigger picture.
Time frames are specific to each project, so we discuss deadlines during pre-production and any foreseeable challenges so that every team member can plan their workload effectively. Therefore, in addition to coordinating tasks, I create detailed documentation to keep everyone on the same page, including shared calendars, task trackers, and visual workflows. Tools like Google Docs, Notion, or Asana help streamline workflows, but the key is ensuring the entire team uses them effectively —everyone on the team should have a clear, updated reference point,” says Nik, explaining the stages of production.
In fact, the pre-production stage is the most extensive, creative, and invisible to the viewer. During preparation, each department focuses on its specific tasks while keeping the overall vision in mind. Broadcast day is the most anticipated day for both the viewers and the crew, as it’s when all their hard work comes to life.
One backup is never enough
“Live broadcasts are unique because they’re essentially being ‘edited’ in real-time. A team works under pressure, and as the producer, I’m often the key point of communication during high-stress moments. Whether it’s calming the team or making quick decisions, my role is to keep everything on track and ensure everyone’s aligned,” adds Nik.
At this point, with everything prepared, airtime might seem like smooth sailing for some. But in reality, it’s a moment when everyone is on edge, expecting potential issues and ready to tackle them on the fly.
“Among all the other paperwork, I create a pile of documents like Call Sheets and the Run of Show, the most important documents for the show and the live team, containing the second-by-second schedule that all specialists and participants follow.
However, no matter how well-thought-out your plan is, things can go wrong, and you can’t overlook them. Whether it’s a technical issue or human error, an event can never get a mistake-proof guarantee, even with careful risk assessment. In such cases, I have a Plan B for my plan B — so that any malfunction during the live broadcast doesn’t impact the audience’s experience.
During the WePlay AniMajor, one of the games crashed because of a sudden update right in the middle of the match, and we were left with an hour to fill. On-air talent ended up playing quick games and interacting with Dota characters in anime-inspired visual novels, and we even brought in players and some special unexpected guests for interviews. It might sound easy, but when the pressure is on, you really have to feel the vibe and figure out what works,” adds Nik.
This particular case is a clear example of how the company’s workflow is designed to anticipate and address potential issues, reflecting the general principles that guide all WePlay’s broadcasts.
“During my time at WePlay, I developed a flexible flow for typical esports events that gave viewers more reasons to stay engaged beyond just watching the matches. Our broadcasts encouraged interaction with the on-air talent, showcased fun moments with the production crew around the studio, and incorporated creative elements like augmented reality. The key is a flexible blocking in the RoS. You don’t put everything announced as it should be, and do not set the “main event” as the only attraction.
As a result, many of our events achieved significantly higher total watch hours than average. Viewers preferred staying tuned in to watch the panel segments between games, rather than leaving and coming back just for the matches.
That said, this approach only works if the team remains adaptable and isn’t overwhelmed by stress. A relaxed and creative atmosphere is key to making those moments feel genuine and enjoyable for the audience. And for a broadcast producer, it’s all about staying calm, being flexible, and keeping the show running no matter what,” sums up Nik.
Much like esports, event production is a high-pressure field where every second counts—either you win or lose, and your show is either a success or mediocre. As in esports, the outcome often relies on collective effort. Success depends not just on how well you prepare but also on how quickly you adapt to the changing conditions. You can debate whether it’s better to watch the event from the spectator’s seat or behind the scenes, but one thing is certain: both offer entirely different experiences, each revealing a unique side of the world of esports.
