Baseball games in 1976 after an eleven-year hiatus, they were immediately accused of having ill-prepared production crews and announcers on their Monday Night Baseball telecasts. William Leggett of Sports Illustrated would in particular, note that ABC seemed to try to hoodwink viewers with commentary that may sound insightful, but was often dead wrong, and with fancy camera work that was frequently used at inappropriate times during the action. Leggett also criticized ABC for far too often losing batted balls and base runners from view and employing split screens with the wrong men on base. Not only that, but the starting lineups were not being given at the beginning of the games. According to James Walker, professor in the department of communication at Saint Xavier University and co-author of the book Center Field Shot: A History of Baseball on Television, ABC brought the techniques it had perfected in its football coverage, including far more extensive use of replays, isolated cameras, and different angles. In contrast, when looking at NBC's production of the 1969 World Series, very few replays were utilized and it was a much more static broadcast than what you saw later. For their coverage of the 1979 World Series in Baltimore, ABC brought two trucks (and rented a third), 14 cameras, a helicopter and nearly 100 technicians. According to producer Chuck Howard, that was just about twice the number of cameras used during the regular season, and at twice the cost. Director Chet Forte's team of cameramen was, in his words, "built around the camera position high behind home plate (C-2)." Their "coverage camera" was designed to follow the flight of the ball. ABC intended on using this camera 75 percent of the time and was according to Forte, the toughest camera in TV sports. 1980s ABC, under the watch of director Joe Aceti, brought some innovations in time for their coverage of the 1980 National League Championship Series between the Houston Astros and Philadelphia Phillies, such as putting the camera in the gondola in the Astrodome looking straight down on the field. For tight shots, Aceti wanted to see the face of the pitcher and the face of the batter. He didn't want them shown in a split screen but separately in a close-up. He also didn't want to shot players head to toe in a long shot, not even in a medium shot. Chet Forte's directing performance