2018
INCLUDING THE 12TH ANNUAL
MOBILE VENDOR SERVICES DIRECTORY & MOBILE SPORTS PRODUCTION GEARBASE
MOBILE SPORTS PRODUCTION YEARBOOK
FEATURING ROAD WARRIORS: A LOOK BACK AT THE YEAR IN SPORTS PRODUCTION
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19 West 21st Street, Suite 301, New York, NY 10010 212.481.8140 | f: 212.696.1783 www.sportsvideo.org EXECUTIVE DIRECTORS PAUL GALLO, Executive Director paul@sportsvideo.org | 212.696.1799 MARTIN PORTER, Executive Director marty@sportsvideo.org | 516.446.2029 EDITORIAL KEN KERSCHBAUMER, Executive Director, Editorial kenkersch@sportsvideo.org | 646.205.1810 JASON DACHMAN, Chief Editor jason@sportsvideo.org | 646.861.2373 BRANDON COSTA, Director of Digital brandon@sportsvideo.org | 646.861.2370 KAREN HOGAN KETCHUM, Senior Editor karen@sportsvideo.org | 646.559.0434 BRITTANY BERKE, Assistant Editor brittany.berke@sportsvideo.org | 646.880.4902 SUSAN QUALTROUGH, Copy Editor susan@sportsvideo.org RIVA DANZIG, Art Director riva@sportsvideo.org SPONSORSHIP ROB PAYNE, Managing Director, Worldwide Sponsor Development rob@sportsvideo.org | 212.481.8131 ANDREW GABEL, Manager, Sponsor Development agabel@sportsvideo.org | 646.998.4554 JENNA LOBRACE, Sponsorship Coordinator jenna@sportsvideo.org | 646.559.0435 MARKETING, MEMBERSHIP, AND OPERATIONS ANDREW LIPPE, Membership & Client Services Manager andrew@sportsvideo.org | 212.481.8133 CATHERINE WORLEY, Marketing Coordinator catherine@sportsvideo.org | 646.524.7497 CRISTINA ERNST, Operations Manager cris@sportsvideo.org | 917.309.5174 ALICIA MONTANARO, Conference & Organizational Coordinator alicia.montanaro@sportsvideo.org | 646.880.4901 SVG EUROPE CONTACTS FERGAL RINGROSE, Executive Editor fergal@sportsvideo.org | +353 (1) 294 7783 JOE HOSKEN, General Manager joe@sportsvideo.org | +44 74290 90134 DAVID DAVIES, Editor david@sportsvideo.org | +44 07989 139816 ABOUT SVG
The Sports Video Group was formed in 2006 to support the professional community that relies on video, audio, and broadband technologies to produce and distribute sports content. Leagues, owners, teams, players, broadcasters, Webcasters, and consumer-technology providers have joined SVG to learn from each other, turn vision into reality, and implement innovations, while sharing experiences that will lead to advances in sports production/distribution and the overall consumer sports experience.
MISSION
To advance the creation, production, and distribution of sports content. To provide a knowledge resource for the growing community of sports video professionals working for broadcast/broadband organizations, professional teams and leagues, collegiate and secondary schools, and facilities. To facilitate a dialogue with manufacturers, suppliers, and technology developers that will improve the quality and profitability of sports programming.
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LOOKING AHEAD
11 A n Industry on the Brink of Change EXECUTIVE PERSPECTIVES
17 Mobile-Production Leaders on State of the Industry and What to Expect in 2018 R OAD WARRIORS 49 2 017 in Review: A look back at SVG’s on-site reporting from the year’s biggest sporting events
81 N EW TRUCK PROFILES &
MOBILE SERVICES PROVIDERS
86 90 94 106 110 118 123
Dome Productions F&F Productions Game Creek Video High Rock Mobile Television Mobile TV Group NEP Group 3g Wireless Aerial Video Systems AerNow All Mobile Video Alliance Productions Alpha Video AmpThink 128 ARCTEK Satellite Productions AV Design Services Azzurro Group Beacon International BeckTV Bexel Broadcast Integration Services 134 Broadcast Services International Broadcast Sports International Calhoun Satellite Communications CAT Entertainment Services CBT Systems Chesapeake Systems CineSys-Oceana 140 Clark Media Communications Engineering Inc. Creative Mobile Solutions CP Communications/Wave Central CSP Mobile Productions CTG Digicaster/Digital Comm Link DigitalGlue 146 Diversified DNA Studios Duncan Video DX3 Media Inc. Encompass Digital Media Filmwerks International Gearhouse Broadcast
152 Globecomm Systems
Illumination Dynamics IMS Productions Integrated Media Technologies Kaufman Broadcast KMH Audio-Video Integration LH Computer Services 158 LiveLike Lyon Video Markertek Measure Metrovision National TeleConsultants NextVR Niles Media Group 164 PCCW Global PRG Program Productions Proshow Broadcast PSSI Global Services Raptor Vision Reality Check Systems 170 Rock-It Cargo Ross Mobile Productions Saunders Electric SDTV SkyCam SmartCart SVX SMT 176 sonoVTS SOS Global Express TNDV: Television The Switch Unity Systems Integration VER VISTA Worldlink
Table of Contents
PUBLISHED BY SPORTS VIDEO GROUP
2018MOBILE SPORTS PRODUCTION YEARBOOK
181 VENDOR SERVICES DIRECTORY 186 Crew Services 198 Generators 210 Mobile Production Units 234 Satellite Trucks 249 MOBILE SPORTS PRODUCTION GEARBASE
Details of equipment found in more than 250 HD and SD trucks 288 AD INDEX Directory of SVG sponsors
MOBILE SPORTS PRODUCTION YEARBOOK 2018
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Looking Ahead
The Sports Video Group Advisory Board comprises leading industry figures who are committed to technical excellence in the sports industry. Members help guide the direction of the organization, consult on various group initiatives, and enable dialogue across industry segments. CHAIRMAN OF THE ADVISORY BOARD Tom Sahara, Turner Sports, VP, Operations & Technology
By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial
M
ore than ever, the 2018 Mobile Sports Production Yearbook reflects what promises to be an exciting transition to new workflows, technologies, and technical facilities that form the framework of an industry that, within five years, might look and feel very different from what it is today. Although, outside and inside, the trucks profiled within this Yearbook may look like those that hit the road three or four years ago, the move to IP-based transport of audio and video signals, as well as intercom systems, is giving the facilities additional fire power and flexibility. It also makes the facilities increasingly capable of addressing next-generation needs, such as 4K and HDR. IP represents the biggest change from the trucks that hit the road in 2016. At that time, the conventional wisdom was that IP transport was best-suited to vehicles designed for the larger, top-level national shows. The vast number of cameras and sources made the benefits of IP worth the headaches of being a pioneer. But today, thanks in part to the collaborative efforts that remote-production–facility providers and equipment manufacturers undertook to solve technical shortcomings, IP is believed to be a part of nearly all future remote-production units. Gathering data for this Yearbook and checking in with leading remote-production– services vendors, an informal survey suggests that baseband routing and IP routing will most likely coexist for several years. Ditto for 720p/1080i production, despite the HDR and 4K eras being upon us. That said, increasingly, a powerful combination of IP-based production units coupled with IP-based venues and broadcast facilities enables audio and video signals to be dynamically sent nearly anywhere. That flexibility lays the foundation for future workflows that could upend the current business relationship between facility providers and clients, production freelancers, and even full-time staffers at leading networks and leagues. More and more, organizations at the center of sports-content creation — networks, leagues, teams, federations, sports agencies — are turning to production models that allow more of the team to work from a centralized facility. The benefits to such a move are clear: the production team spends less time on the road, which means that its members can potentially spend what used to be a travel day producing another event. Also, because the event “comes to them,” production teams working on multiple events on the same day is also possible. How the trend toward at-home workflow will impact the remote-production business is still unclear. Most of the work being done in that area is on smaller, niche events that don’t rely on the major remote-production units profiled in the Yearbook. But, as trust in IP and fiber transport grows, there is the potential that at-home workflows could increase and change the dynamics between remote-production–facility providers and their clients. Five years hence, what will the production units covered in the Mobile Sports Production Yearbook look like? There are plenty of exciting possibilities, especially when the flexibility of IP-signal transport combines with the flexibility of software-based operations and FPGA-based computer processing. And one thing is clear: the engineering and production-operations experts at the leading remote production service providers will be gearing up to make sure their staff and facilities are ready for anything.
ADVISORY BOARD MEMBERS Ken Aagaard, CBS Sports, EVP, Innovation and New Technology Adam Acone, NFL Network, Director, Media Operations and Planning Glenn Adamo, Ivanhoe Media and Entertainment, President Peter Angell, Lagardère, SVP Andrea Berry, The G.A.P. Media Group, CEO Onnie Bose, NFL, VP of Broadcasting Chris Calcinari, ESPN, VP, Event Operations Jason Cohen, HBO Sports Production, VP Joe Cohen, The Switch, President, Sports Michael Cohen, Industry Consultant Don Colantonio, Industry Consultant Michael Davies, Fox Sports, SVP, Technical and Field Operations Scott Davis, CBS Sports, VP of Broadcast Operations Jim DeFilippis, Industry Consultant Ed Delaney, Industry Consultant Jed Drake, SMT, EVP of Emerging Technology David Dukes, PGA Tour Entertainment, Senior Director, Technical Operations Jerry Gepner, L5 Media Services, Media and Technology Executive Scott Gillies, VICE Media, SVP, Global Technology and Infrastructure Steve Gorsuch, Industry Consultant Mark Haden, MLB Network, VP, Engineering and IT Steve Hellmuth, NBA, EVP, Operations and Technology Ed Holmes, The Holmes Group, Principal Deb Honkus, NEP Broadcasting, Chairman of the Board George Hoover, Industry Consultant Jeff Jacobs, Viacom Global Entertainment Group, SVP, Production Planning, Strategies, and Operations Robert D. Jordan CFE, Van Wagner Sports and Entertainment, SVP John Kvatek, University of Central Florida Knights, Associate Athletics Director - Multimedia and Creative John Leland, PSL International, LLC, Principal Louis Libin, Broad Comm, President Jodi Markley, ESPN, EVP, Content Operations and Creative Services Michael Meehan, NBC Sports, SVP, Operations Grant Nodine, NHL, SVP, Technology Ken Norris, UCLA, Director of Video Operations Gary Olson, GHO Group, Managing Director Del Parks, Sinclair Broadcast Group, SVP and CTO Patty Power, CBS Sports, EVP, Operations and Engineering Paul Puccio, Industry Consultant Scott Rinehart, University of Notre Dame, Director, Broadcast Technology Larry Rogers, FirstInTV, President Mike Rokosa, NHRA, Technology Executive Bob Ross, CBS, SVP, East Coast Operations Oscar Sanchez, CONCACAF, Director of Broadcast Operations Bruce Shapiro, Industry Consultant Tracey Shaw, WWE, SVP, WWE Network PMO Jack Simmons, Industry Consultant Don Sperling, New York Giants Entertainment, VP and Executive Producer Jerry Steinberg, Industry Consultant Susan Stone, MLB Network, SVP, Operations and Engineering Patrick Sullivan, Game Creek Video, President Larry Tiscornia, Major League Soccer, VP, Broadcasting Jacob Ullman, Fox Sports, SVP, Production and Talent Development John Ward, AT&T Entertainment Group, SVP, Content Operations Ernie Watts, Turner, Manager, Transmission Operations Center Mike Webb, YES Network, VP, Broadcast Operations Jeff Willis, Industry Consultant Dave Zur, KSE Media Ventures, SVP, Operations and Engineering
MOBILE SPORTS PRODUCTION YEARBOOK 2018
Advisory Board
An Industry on the Brink of Change
11
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Mobile-Production Leaders on State of the Industry and What To Expect in 2018 Edited by Jason Dachman
A
lthough the mobile-production business continues to thrive — with more live-sports events being produced in 2017 than ever before — truck providers face a host of technical and economic challenges as they serve client needs today while also preparing for tomorrow. As major sports broadcasters look to trim costs, remote-facility vendors are being asked to deliver more for less, as well as to confront the increasing use of at-home production workflows. In addition, technology is evolving at a breakneck pace, with more and more mobile units being built on IP infrastructure in preparation for the future. Meanwhile, these vendors are laying out their future roadmaps when it comes to 4K- and HDR-capability in their trucks. SVG sat down with more than a dozen industry leaders to discuss the current state of the business and, more important, where it’s headed in the coming years. Here are the executives we spoke with:
Mary Ellen Carlyle SVP/GM, Dome Productions
Craig Farrell President, Alliance Productions
Philip Garvin GM/Founder, Mobile TV Group
Robby Greene President/COO, IMS Productions
Mike Johnson Director of Engineering, Dome Productions
Glen Levine President, U.S. Mobile Units, NEP Group
Tim Lewis President/Founder, Proshow Broadcast
Mitch Rubenstein President, Ross Mobile Productions
Chad Snyder Account Manager/ GM, Lyon Video
Pat Sullivan President, Game Creek Video
Jason Taubman VP, Design & New Technology, Game Creek Video
Dan Turk Chief Engineer, NEP Group
*Responses compiled by Jason Dachman, Brandon Costa, Karen Hogan Ketchum, and Ken Kerschbaumer
Executive Perspectives
Executive Perspectives
Peter Wehner Director of Engineering, Mobile TV Group turn to page 22
MOBILE SPORTS PRODUCTION YEARBOOK 2018
17
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Executive Perspectives
Do you consider the current state of the remote-production business healthy? Where do you see the industry in headed in the next 12-18 months? Carlyle: We do see a very healthy market, especially since we’re vertically integrated [due to being co-owned by Canadian media giants Rogers and Bell Media]. I see an increase in demand for content. Whether it’s smallformat or large-format production, everybody wants content, so we’re going to see growth next year. I think a lot of our momentum is because we added Vista [4K mobile unit]. I see people starting to play with 4K in the market, and I think entertainment will play a big role in that — just as it did when HD started. Farrell: I think remote production is healthy, but the dynamics are changing. The push towards at-home and cloud-based production is changing the way programming is being produced. Garvin: Yes, I think the industry is healthy. I expect the market to be fairly stable with possible expansion resulting from esports.
Greene: Yes — better than healthy, actually. We’re on track to deliver our best year ever in 2017. Why? New business, growing existing business, and adding services to help our clients and partners. We are budgeting for modest growth in 2018 and have some aggressive goals with specific strategy for ’19 and beyond.
Lewis: We see growth and change right now. Remaining agile and adaptable and paying close attention to trends and client needs is paramount. Each new truck build must reflect the constant change in the market; there’s no more “cookie-cutter” builds for us.
Rubenstein: From where we stand as a company, yes. As the networks and our other partners search for more innovative and cost-effective ways to receive quality produced content, we have proven to be an even more viable solution. Every year, the demand for our services has grown. We’ve ensured that hundreds of events get produced, and crews across the country stay involved. The growth of the industry will continue, and our capacity is growing to include a brand-new 32-ft. expando, eight-camera, 4K-ready truck and a 1080p modular flypack. Snyder: The remote-production business is healthy and growing by event count annually. More assets are
2017 numbers for total trucks broken down by company. Turn to page 249 for Mobile Production Gearbase Study.
being deployed consistently to produce content for an ever widening viewing audience.
Sullivan: The business is in flux. We are experiencing pressures to cut costs, but, at the same time, that is
TOTAL TRUCKS BY COMPANY
colliding with requests to do 1080p HDR, 4K, and 4K HDR. All of these formats cost money.
TOTAL TRUCKS BY COMPANY
65 ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 60 60 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
50 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 45 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 40 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 35 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 30 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 27 25
25 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 19 20 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
15 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 11
11 10
9 8 8 7 10 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 5
5
4 4 4 4 3 3 5 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 2 2 2 2 2 2 2 2 2 1
1
1
1
1
1
1
1
1
1
Tou ri
SDT V ng V ideo YES Prod 21 L ucti ake ons sM edia Grou p Adm iral CCI Vide Com o mun CMG icat Mob ions ile P rodu High ctio ns Roc kM obil e TV HRS Mob ile JAS Digi Jon t al es M Kod obil iak e TV Mob ile T elev isio n PSS I
Gam
NEP e Cr eek Vide Mob o ile T V Gr Dom oup * e Pr odu ctio ns Lyon Vide F&F o Prod ucti Live ons Mob ile G roup All M obil e Vi deo TND V Te levi Pros sion how CSP Bro adc Mob ast ile P rodu ctio IMS ns Prod Ros sM ucti obil ons e Pr odu ctio ns DNA Gea S t udio rhou s se B road cas t Met rovi sion Toke n Cr eek Ray com Vide Spo olin rts es M obil Bou e TV nce Mul time dia Clar kM e dia D2 P Enc rodu omp ctio ass ns Digi tal M LeS edia EA P rodu ctio ns MPS
0 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
* not including VMUs * not including VMUs
22
WHAT’S WHAT IN MOBILE PRODUCTION page 2
MOBILE SPORTS PRODUCTION YEARBOOK 2018
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Executive Perspectives
As REMI and at-home productions become more popular, what is the effect on your business? Carlyle: We are embracing. We built a studio at our home base, so we can offer both sides: the onsite [facility] and the control room back home, where we do 35-40 [events per year]. We’ve also adapted our older trucks so they can be a regular mobile one day and a REMI truck the next day. We also two dedicated REMI trucks.
Garvin: The impact is modest so far. But, as it grows, we will be developing innovative solutions to make [at-home productions] better and easier.
Farrell: These new ways of doing production are shifting work away from certain types of traditional facilities, [particularly] the regular “regional” [trucks]. And repurposing current facilities does not really work from an ROI standpoint; there are too many assets on a truck that are not used in at-home productions. As those demands increase, I think you will see more purpose-built trucks. Greene: We see opportunity. We are in the client-services business and take much pride in delivering options to our clients’ needs. REMI and at-home productions are great options for selected remotes, and we’re happy to play in that space if it solves the needs of our clients.
Levine: We are adapting to the change and looking for other opportunities to use our mobile units in the REMI model to support our clients as long as the schedule works. We are also building REMI-specific studios for customers. Lewis: We’re seeing steady expansion as this is now our primary market sector, and we’ve been an active player since the beginning. More than any other sector, college Olympic sports are driving innovation in new production workflows, such as REMI– and TriCaster-trailer–type productions. Rubenstein: It has had a positive effect on Ross MP. As we continue to evolve, we have remained a valued option [for at-home productions]. Snyder: The production techniques of REMI and at-home productions challenge our industry to be more efficient and focus our energy where clients want them focused. We all have to adapt.
Taubman: We’re beginning to [work] in that market, and our biggest challenge right now is, every entity who’s doing REMI is doing it differently. So it’s hard for us to launch a standardized platform. Fox, ESPN, Pac-12, and Big Ten are all different. We would like to see a conversation where we can figure out a standard platform for REMI that we can deploy and add to our trucks and service our clients that way. Until we get a standardized way of doing REMI, it’s going to be tough to react to all of our client’s needs.
Esports is a hot new property. Are you seeing more demand for esports-production facilities, or do you expect to in the future? If not, in what sector are you seeing the most growth? Carlyle: I think esports is definitely going to grow. Where it’s going to end up is still to be determined. Is it going to end up on broadcast? I don’t know. [For example], Heroes of the Dorm used to be on ESPN and [left] to go to Facebook, [which] could offer a larger audience. Aside from that, we’re seeing growth in terms of overall events on the air. We don’t see large growth in the big markets — there are no more NFL or CFL games — but there are plenty of smaller [shows] both streaming and on linear broadcast. We’re also definitely seeing a resurgence in entertainment shows. Farrell: Esports is one of those segments that no one was thinking about five years ago, but the audience is so huge it is hard not to give it a hard look now. I think college continues to be the growth leader with schools and sports that were never broadcast before seeing coverage of some type.
Garvin: Very possibly, there could be [growth in esports], but it is still modest compared with traditional and major-league sports.
Greene: I’m excited by the opportunities in esports, and we are eager to get involved in this space. In addition, I think, any time there’s change in our industry, growth is a product for those that accept it and effectively 26
MOBILE SPORTS PRODUCTION YEARBOOK 2018
continued on page 30
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Executive Perspectives
continued from page 26 manage their organizations to be nimble. For IMSP, it isn’t in one specific area we’re experiencing growth but small percentages from all sectors.
Levine: Absolutely, we see growth in esports as well as in streaming. Lewis: College continues to increase for us, as well as streaming. Corporate clients are making much more use of streaming technologies, and their demand for higher production values is an excellent opportunity for small and midsize production trucks.
Rubenstein: We have been able to play a role in esports already, providing facilities and crew for several tournaments, with more on the horizon. We’ve invested in converting our facilities to 1080p-capable and acquired all the needed cameras and equipment. We are also still seeing a lot of growth in college-sports properties. Snyder: We are seeing new growth in non-traditional sports and events, like esports, while mainstream sports shows are still growing in size and scope. Esports has been an important part of Lyon Video’s business for many years; we have been lucky to work with several organizations that have been producing content. Lyon Video has developed an understanding of the unique needs of their production process so we support their production team’s creative vision.
100%
Sullivan: College-conference networks are definitely bumping up demand on the low end, and that’s been happening for some time now.
What impact do you believe industry consolidation over the past few years has had on the business? Will this trend continue? Farrell: More consolidation is inevitable. It is making stronger companies that can service a wider range of business, but the downside could be a loss of customer service.
Greene: I believe, the larger companies get, the more challenging it can be to offer the type of client service our partners expect and frankly deserve. Consolidation isn’t new to our space. I believe you have to determine what you’re really good at and what you’re better at than anyone else and then continue to super-serve those that trust you with their business. Will consolidation continue? Of course.
Percentage of survey respondents who answered YES to “Do you consider the current state of the remote-production business healthy?”
Levine: NEP’s growth has given us the ability to offer a wide range of services to customers in the U.S. and around the globe. Our collective talent and team efforts are beneficial to our clients. Lewis: I think it’s inevitable that we will see consolidation continue. With the much greater variety of production models and workflows that we now see in sports, I expect that many future consolidations will be driven by the desire to acquire expertise and technical diversity, rather than just increasing a truck fleet count or adding contracts to the portfolio.
Rubenstein: I think it’s always a plus when like-minded companies work together. Consolidation is good. Snyder: Industry consolidation is pushing the remote-production world to become just that: a worldwide enterprise ignoring geographical boundaries. Organizations who ignore the globalization of remote production will cease to be relevant. This is being led by rights and rightsholders’ national coverage of international events. To be competitive in this marketplace, consolidation may need to accelerate.
Sullivan: In my view, consolidation will never stop; it’s going to happen. There is always a reason to look at consolidating within the industry or an affiliated field. The big question always is, is the reason to consolidate compelling enough to do it? 30
MOBILE SPORTS PRODUCTION YEARBOOK 2018
SVG conducted an informal survey of all major truck companies. The results are included throughout the Executive Perspectives section.
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Executive Perspectives
What technical challenges are the most vexing for your engineering team today? Carlyle: I think IP is going to be our next technical challenge; we are finding that it’s a different skill set. You’ve got to make time to dig into IP, and, if your engineers are good, they will figure it out. HDR is definitely an area that we have to keep on top of. I think we dedicated a lot of time last year and this year and are getting more and more familiar with it. Greene: I think the technical challenges in our space are more about how we design and populate our trucks and ensure our ability to anticipate our clients’ future needs. We’re lucky to have a deep bench of incredibly smart engineers and operations people that stay on top of technology trends and changes.
Levine: Our challenge will always be keeping up with the constant technology changes and the timing of investments. We have successfully moved into the IP world but are now waiting for manufacturers to catch up. Sullivan: Our technical team is trying to meet the conflicting needs of doing REMI-style events while also planning for the yet to be determined UHD formats. That’s a challenging balance.
Taubman: The IP transition continues to be top of mind for us. We’re on the cusp of SMPTE 2110 products and native edge devices. I think our trickiest topic right now is trying to make the correct purchasing decisions that keep our eye firmly on the future. We’re trying to make an investment today that’s going to take us 10 years down the road, and we’ve got to be really careful as we do that.
Turk: As the IT and broadcast worlds have combined, we must train all our engineers on complicated, robust networks. You can’t just put everything on one network anymore. NEP has invested significant time and resources to educate engineering staff; we designed a training course with the goal of teaching our broadcast engineers the architecture and rules you have to work by. We also stress the weaknesses and advantage of a layered network so the engineers onsite are prepared for all situations.
Wehner: Our biggest challenge is always fitting as much technology and flexibility into a mobile unit within the weight and space limitations. I think we do a very good job with this, but it’s a constant challenge as the technology changes and grows.
Outside of technological challenges, what are your biggest concerns?
Carlyle: As always, I think it’s succession planning — whether it’s crews, management staff, or engineering. We have to prepare the next generation. So I would say my biggest concern right now is people. The other thing we focus on is policies and procedures, especially the safety element. We’ve spent quite a bit of time training our staff about proper and safe practices and procedures. Farrell: Controlling costs is our biggest challenge. The clients want events done for less, but our costs are increasing. The margins are getting more and more narrow. Garvin: Travel and crew costs are always a concern. Levine: We must always stay on top of managing cost. This is on everyone’s to- do list. Working as partners with our clients allows us to look for cost-efficient solutions [and] helps keep the business sustainable.
Lewis: Being lumped in with the commercial-trucking industry with little regard for the uniqueness of our business and our mission profiles definitely presents significant challenges as new regulations are imposed. Rubenstein: I am always concerned that the cost of doing business will continue to increase as networks look for cost advantages. It’s a balance we have managed well, and we will continue to strive to do so.
Snyder: Government-legislation inconsistency is challenging for our business. A large part of what our clients’ management and Lyon Video’s management do is “project” what will happen years in advance. To coin a phrase from football, if we do not know where the yardsticks are going to be placed, how do we know how far we need to drive the ball? With legislation in upheaval, projections take more time and are less accurate. This leads the content community to be more conservative and not take chances on new content or produce content that has a more marginal potential return. continued on page 38 34
MOBILE SPORTS PRODUCTION YEARBOOK 2018
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Executive Perspectives
continued from page 34
Sullivan: A big part of it comes down to stability and leadership of our [federal] government. That means both the Executive Branch and Congress. Events in Washington have an impact on everything that we do.
Are you planning for the potential rise of 4K and/or HDR? What is your longterm roadmap for both? Garvin: We have one 4K mobile unit and
Do you have HDR-capable trucks?
30% NO
70% YES
are building all new trucks to be 4K-ready. The 3G infrastructure is okay for now but won’t be adequate for 4K starting in mid 2018 and will require 12G or IP infrastructure. We are also seeing growing interest in HDR and have three trucks with HDR[-capable equipment]. All of our trucks will be HDR going forward. We think there will be a lot of interest in 1080p HDR, but we could even do 1080i HDR if needed. And we also plan to do HDR 4K with our 4K trucks.
Johnson: The good news is that we’ve been spending lots of time in this space and have been happily servicing 4K. I think we’ve pretty much mastered it, and it’s mapped itself out. Now it’s about people becoming comfortable and actually using that format. Almost every manufacturer has support for it, and now it’s about finding the right opportunities. It’s great to see more and more people doing [HD and 4K] shadow cuts; I think that is where the future has to be. Taubman: We modified River Hawk [in 2015] for MLB Network Showcase in 4K. And we took what we
learned and baked it into every one of our trucks built subsequently, all [four of which] are native 4K. We also have clients asking to add HDR on top of 4K and others wanting to do 1080p60 HDR, [and] any truck that has legitimate 4K capability also has 60p HDR capability. In addition, all of our trucks built since 2010 with 3G and 60p capability are also HDR[-capable]; you just need to add HDR cameras, recording devices, and up/ down/crossconversion.
Turk: We have always listened to our clients and provided the appropriate facility for their needs. We have experience in 4K, 4K HDR, and 1080p HDR. Our fleet has the flexibility to provide any of these formats. Our goal is to provide a flexible solution that easily transitions to these new formats as our clients transition their networks.
The SMPTE ST 2110 standards suite for IP video has arrived. What does it mean for you and your team? Johnson: The arrival of SMPTE 2110 is [exciting]. Lots of people have been operating in IP and have been able to produce in that. 2110 simply means that now we’re arriving at a common standard that more manufacturers can effectively interchange based on.
Snyder: The formalization of the SMPTE standard means that the equipment manufacturers can make equipment that conforms to this standard without fear of [its] being [made obsolete]. We expect next-generation equipment will arrive soon and be more mainstream and thus less expensive while being able to be interconnected IP without a PhD working at the local level. The transition will require this additional format, as well as current and legacy formats for all ... to take in, monitor, and route out.
Taubman: We designed Yogi, [our IP-based mobile unit launched in March], with SMPTE 2110 in mind. continued on page 42 38
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Executive Perspectives
continued from page 38 We’re taking that further step with 79 [launching in Q1 2018] by architecting it in a similar way. There are a lot of topics with IP and SMPTE 2110 at the moment, including IP opening up the door for edge devices and how those edge devices are going to connect to the IP core. Today what we can take delivery of is a 10-gig infrastructure, but I think that’s pretty rapidly going to give way to a 25-gig infrastructure.
Turk: We are excited to be able to remove external IP-to-SDI converters from our existing system. When IP is more than just a router, we will be able to see the real benefits of an IP infrastructure. This is all very new, so we are waiting to see how different manufacturers implement it. Will everything be plug-and-play? Will every system participate in NMOS?
What is your philosophy concerning the use of IP routing vs. traditional baseband?
40%
40%
We are committed to baseband signal IP will be in all of transport for the our future truck foreseeable builds. future. 20% We will use IP in trucks built for large shows.
Wehner: I don’t believe SMPTE 2110 means much for us in the immediate future. It solves several of the shortcomings of the other IP standards, so this is encouraging long term. Now that SMPTE 2110 is a standard, it’s my hope that we will start seeing it as a native option in all equipment so we can have a good end-to-end IP solution.
How quickly are you moving away from baseband infrastructure to IP? If you were launching a truck today, would you build it around an IP or an SDI router?
Farrell: The 3G infrastructure is a crutch for 4K. 12G will make 4K much easier to do in the field. Johnson: We have had an all-IP infrastructure on our managed fiber network for several years. On the truck side, not so much. We’ve taken a look at it, and we’ve not been happy with what we could accomplish at this point in time. Others are venturing into that space, and many are doing an IP/SDI hybrid [model]. I do hope that [the standardization of ] SMPTE 2110 will lead to significant implementation of end-to-end IP. End-to-end is key because it doesn’t make sense for us to have a whole bunch of gateway devices to connect SDI devices to an IP core. End-to-end IP with a very small number of gateway devices — that’s our target.
Turk: As more pieces of gear with IP inputs or outputs are available, the transition is becoming easier. We currently have IP systems that are based more on size and remote I/O. We look at each project and make the best decision for that clients’ needs. We are always thinking about new technologies and the advantages they will bring to our company and our clients. Taubman: For us specifically, there’s no sense in putting anything but an IP router into an A-unit build at this point. We were driven to IP more because of the scale required than IP for IP’s sake. To hit the kind of numbers we needed in terms of scale today, you can’t do it in SDI. So, yes, we are IP all-in. And now, the further along we get, we’re starting to explore what we can do with IP, like having native edge devices. Wehner: We continue to build our mobile units around an SDI router, [mainly] to avoid using conversion [gateways] for the equipment that is not IP-ready. Gateways increase the cost significantly and add a potential failure point so this is something we would like to avoid. An SDI router is still able to meet our needs so we will continue to install them in our mobile units for the foreseeable future. There will be a tipping point where enough equipment will support IP and we will make the change to an all-IP infrastructure.
42
MOBILE SPORTS PRODUCTION YEARBOOK 2018
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Executive Perspectives
Is there a specific technology (or technologies) that clients are demanding more these days? Johnson: I think it continues to be specialty cameras — whether you’re talking about VR presentation, high frame rates, 4K, unique POV opportunities, drone-based [tools], SkyCams, and even double SkyCams now. Even what people are doing to extrapolate some of that camera information with the 360 systems creating the player’s-eye view. Those unique camera viewpoints are what catch people’s eye. Taubman: For the [national-]level games, you basically have to come to the party armed with [Sony HDC] 4300’s with the ability to [activate a game-by-game license] for high frame rate, 4K, and soon HDR anywhere they may want on the field. That’s become the standard for all these big productions. Early in the football season, for example, [broadcasters] don’t necessarily want high frame rate at every camera position. But, as the season goes and we get into postseason and then the Super Bowl, that has to evolve into an all–high-framerate infrastructure. We’ve got to have that [licensing model] to enable that. Wehner: We continue to see strong demand for super-motion (SSMO) cameras on our mobile units as part of the normal complement. Several years ago, we started providing one SSMO camera per mobile unit, then two, and now we are providing four as a normal complement on several mobile units. I expect this demand to continue because it adds significant production value to the broadcasts.
Are you seeing any other major engineering/design/technical trends in the truck business? What should the community be keeping an eye on that is currently under the radar? Garvin: 1080p HDR combined with super-slo-mo with HDR looks very promising. Johnson: Certainly, the opportunity that IP brings to extend the truck and make things more accessible from a distance is going to be a big part of our design. How we monitor and support these systems will be important because it’s going to become more complicated. We have to be mindful of interruptions or failures, which can happen in the IT world, and make sure that we’ve got the support to keep us active and on-air.
Snyder: Automation will be interesting to follow as it changes many dynamics we all believed to be the
“normal” in remote production. Automation and machine learning have the potential to be disruptive, while also potentially being very helpful to reduce staff on remote productions.
Taubman: IP is here to stay for sure. HDR is coming on strong. 4K is holding on. There have been some predictions that 4K was going to give way to 60p HDR, and that’s quite possible, but the jury’s still out on that. Regardless, all the bits and pieces you need to be flexible for all those scenarios is what we’re keeping an eye on — like conversion and edge devices. We’re just trying to make sure we’re making good decisions and the stuff we buy today is going to be useful for us in eight to 10 years. Turk: More and more clients are asking about IP audio networks (for example, Dante or AES67). This revolutionized the intercom and audio world. No more two-wire power supplies and large booth kits. Now it can be done through a small POE switch. No more serial data going all over the stadium; it’s an Ethernet port off the closest switch. As a result, most productions become a little easier and take a little less time to set up. That said, freelance audio technicians need to be trained; if they do not understand these IP systems, a small problem can quickly grow into a major one. We all must embrace these changes and continue to educate ourselves about them. If you’re not learning, you’re not keeping up. Wehner: I am starting to see more connectivity from the mobile unit to the studio. We are designing our mobile units to easily become an extension of the studio. This allows everybody at the studio to be able to use the mobile-unit resources to better supplement their studio show or get footage to the web faster. Tallies, intercom, and the replay network will all be connected so everything is available to anybody that wants it. This connectivity has been discussed for several years; however, I’m starting to see it finally happen as faster connections between the venues and studios are becoming available.
46
MOBILE SPORTS PRODUCTION YEARBOOK 2018
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ROAD 2017 IN REVIEW S R O I R R WA
2017 was an eventful year for sports production, with marquee events like the College Football Playoff National Championship Game, Super Bowl, and NBA and MLB All-Star Games test-driving new technologies and production workflows, and annual tournaments like NCAA’s March Madness, U.S. Open golf, and US Open tennis using the best tools that sports broadcasting has to offer to spotlight the best in their respective sports. Add in the FIFA Confederations Cup in Moscow as well as the Daytona 500, Stanley Cup Final, and X Games Minneapolis — not to mention, a wide range of European sports productions — and 2017 certainly shaped up as quite the year for live sports production. And, with the 2018 Winter Olympic Games and FIFA World Cup on the horizon, it’s only the beginning. Here’s a look at some of the highlights from the past year.
COLLEGE FOOTBALL PLAYOFF NATIONAL CHAMPIONSHIP GAME RAYMOND JAMES STADIUM, TAMPA, FL
T
he College Football Playoff National Championship Game is the first truly big day on the sports-production calendar, and ESPN again treated the game like the crown jewel that it is, with a production stunning in both scope and scale. There were 111 cameras inside the stadium supporting the network’s efforts in producing the main game telecast, the 13 additional MegaCast options, and three studio sets around the building. Ninety-five of those cameras were pointed at the game between Clemson and Alabama (the Tigers defeated the Crimson Tide 35-31), with nine super-slow-motion cameras and five 4K-capable cameras accompanying. Pylon cameras were on the four corners of each end zone, and cameras were strategically placed to capture each important boundary from the sidelines to the goal lines. “We’ve got every line covered,” said Ed Placey, senior coordinating producer, ESPN, prior to the game. “We just hope we have a great game where we can show it all off.” Among the camera highlights was a collection of Sony’s HDC4800’s, which debuted at the 2016 NAB Show. The camera is capable of 8X super-slo-mo in 4K and 16X when shooting in HD. A few Canon DIGISUPER 95 telephoto lenses were deployed on some of the cameras at valuable positions. Standing outside Game Creek Video’s Spirit prior to kickoff,
JANUARY 9
ESPN Director, Remote Operations, John LaChance struggled to find the adjectives to describe the sheer magnitude of the event. “It’s mammoth,” he said, indicating the sprawling compound sitting in the shadows of Raymond James Stadium. — Brandon Costa
Top: Inside Game Creek Video’s Spirit, home to the main game production of the CFP National Championship on ESPN; Bottom: Outside Spirit, in the compound
MOBILE SPORTS PRODUCTION YEARBOOK 2018
49
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Road Warriors
SUPER BOWL LI NRG STADIUM, HOUSTON
A
FEBRUARY 5
t Super Bowl LI, Fox Sports introduced several technical innovations that will not fade from memory any time soon. “It’s a showcase, a stage,” noted Mike Davies, SVP, technical and field operations, Fox Sports, “and, the way technology is going, it will always feature some new things.’ The technical advance that had the biggest impact on the production was the use of more super-slo-mo systems and highresolution cameras than had ever been used at a Super Bowl. Sony HDC-4300 and P43 cameras were operating in 4K mode
in key locations — goal line, end line, sidelines — so that the production team could zoom in for high-resolution close-ups. And two Sony HDC-4800 cameras were on hand for super-slomo coverage. Fox Sports also took pylon cameras to the next level with a simple change: the cameras were angled at 45 degrees rather than perpendicular to the lines. “What we like about it is that you can see more of the field. We can potentially do a replay that goes from one camera in the pylon to the next,” said Davies. “And, now that the cameras are HD, it’s shocking how good they are.” Game Creek Video’s Encore production unit made its Super Bowl debut, and Cleatus, which is normally deployed by another network under a different name, was used for pregame coverage. Also on hand at the stadium was Game Creek’s Chesapeake, which was used for the red-carpet show. NEP, meanwhile, handled Fox production needs at Discovery Green with ND1 on hand for the full week of programming. The shows were cut in the ND1 unit and delivered to Pico, Fox’s Los Angeles facility, for graphics insertion. — Ken Kerschbaumer The Fox Sports pre-game set was nestled into the corner of NRG Stadium behind the Patriots end zone.
NBA ALL-STAR GAME SMOOTHIE KING CENTER, NEW ORLEANS
N
ew Orleans hosted the NBA All-Star Weekend only three years after hosting the 2014 festivities. Typically, when a sports event returns to the same city that quickly, the production philosophy remains the same. That was not the case for Turner Sports. “This is a very different show than it was three years ago,” said Chris Brown, senior director, technical operations, Turner Sports. “The big difference is the deliverables and a compelling basketball game that uses as much technology as we can cram.” Among the biggest changes? Turner’s NBA on TNT road show, a 70,000-sq.-ft. fan-activation effort that includes a set for the Inside the NBA studio show, concerts, the final of the Dew NBA 3X three-on-three tournament, interactive fan experiences, basketball clinics, and pop-up stores. It was located at Champions Square, about 1,500 ft. from the Smoothie King Center, which hosted the Rising Stars Challenge on Friday, All-Star Saturday Night on Saturday, and the All-Star Game on Sunday. NEP played a big role in Turner’s production of the weekend’s activities with SS24 at the center of the game coverage, NCP10 NEP had a big presence in the Big Easy in support of Turner Sports.
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MOBILE SPORTS PRODUCTION YEARBOOK 2018
FEBRUARY 19
for All-Star Saturday night, NCP 11 for the studio show, NCP8 for the entertainment and halftime elements, and ND1 for transmission and more. The use of ND1 continued to evolve at the All-Star Game. Turner put 58 cameras to use inside the Smoothie King Center for both the on-the-court and TNT studio coverage (the worldfeed production also had unilateral cameras because the game was seen in 215 countries and territories and in 49 languages). One exciting new production tool was addition of a Spidercam for coverage of the All-Star Saturday Night activities: the slamdunk contest, three-point shooting contest, and skills challenge. It was also the first time a cabled camera flew over the court during on-court action. — KK
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Road Warriors
DAYTONA 500 DAYTONA INTERNATIONAL SPEEDWAY, DAYTONA BEACH, FL FEBRUARY 26
T
he Super Bowl of motorsports, the Daytona 500 shifted into high gear on Fox Sports. Among returning technology favorites was Gophercam (for its ninth season), and there were also some new elements: two dedicated Car Channels on the Fox Sports GO app, a “playbook” for the 3D-cutaway car that helped NASCAR analyst Larry McReynolds get analysis on-air more quickly, more high-speed cameras (two high-framerate 4K Sony HDC-4800 cameras for super zoom, four super-slomo HD units, two Inertia Unlimited X-Mos), and eight in-car camera packages. “Daytona is the first race [of the season], and we want to put resources into it,” said Mike Davies, SVP, technical and field operations, Fox Sports. “It’s helpful that we are here for two weeks as we can test things and see what sticks for the season.” Overall, Fox deployed 20 manned cameras along with the previously mentioned in-track, in-car, and high-speed cameras. Also used were 10 robotic cameras mounted around the track, three robotic cameras at the Hollywood Hotel studio set, a
jib camera with augmented reality, four RF roving pit/garage cameras, two in-car gyro-cams, and more than 150 microphones. Game Creek Video was once again on hand for Fox Sports at the Daytona 500, and 2017 marked the 11th straight event with the FX production unit at the center of the Fox operation. The Game Creek presence at the race comprised FX A, B, and D units; Edit 1 and 2; and a Robo trailer. The two Edit units and the Robo were deployed for the Super Bowl and made the trip to Daytona directly from Houston. — KK
The front bench of Game Creek’s FX shifted into high gear for the Daytona 500.
, NCAA MEN S BASKETBALL FINAL FOUR
UNIVERSITY OF PHOENIX STADIUM, GLENDALE, AZ APRIL 1 – 3
T
he collaborative effort of CBS Sports and Turner Sports continued with the operations and engineering at this year’s Final Four, but it was an “all-CBS” year, and longtime CBS Sports star Patty Power took the helm, overseeing the production compound. “It’s been really great,” said Power, who is EVP, operations
and engineering. “There are so many good people in place that have been here doing this for so long. Where I’m coming from is trying to find ways to do things more effectively. I want us to be smart about it. There are little tweaks here and there and those ideas I get to implement now.” A total of 50 cameras were inside the University of Phoenix Stadium bowl, covering both game action and a studio set located in the student section behind one of the baskets. There was a collection of 4K cameras on the backboards. Nine Sony HDC-4300’s were in various positions shooting at 8X superslow-motion, and Bexel’s new Clarity 800 camera was also lodged into the base of one of the backboards, shooting at 8X. Also back in the mix were RailCam, SkyCam Wildcat, and a fixed-wing aircraft providing aerial views from above the domed stadium. Gone were the “Team Stream” telecasts that CBS and Turner offered previously, although there is a strong possibility that the Team Streams will return when some of the Final Four games return to Turner networks in 2018. In the compound, producer Mark Wolf and director Bob Fishman led the production team from F&F Productions’ GTX16, which served as the main game truck. The compound was a little leaner this year, with the absence of the extra Team Stream telecasts, but the footprint was still robust and included nine full-expando mobile units. — BC Turner and CBS erected two sets on the “Great Lawn” outside University of Phoenix Stadium.
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MOBILE SPORTS PRODUCTION YEARBOOK 2018
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Road Warriors
STANLEY CUP FINAL BRIDGESTONE ARENA, NASHVILLE, AND PPG PAINTS ARENA, PITTSBURGH
N
BC Sports Group deployed its largest contingent yet for Stanley Cup coverage: 155 technicians translated one of the more compelling narratives in recent NHL history — Nashville Predators’ Cinderella theme contrasted nicely with the Pittsburgh Penguins’ crafty-veteran narrative — into gripping must-see TV at home. This year, a total of eight super-slow-motion cameras were deployed: five Sony HDC-4300’s and three Grass Valley LDK highspeed robotic cams, up from two last year. NBCSN provided all but one, which was shared with Canada-rights holder Rogers TV.
MAY 29 – JUNE 11 NBC also deployed a Sony HDC-4800 4K camera in an innovative configuration. “Traditionally, we’d have the 4K camera high and wide, but, this year, we wanted to bring the 4K down closer to the rink and shoot the game a little differently, from an angle closer to the ice,” explained NBC Sports Director Charlie Dammeyer. “The camera is in a low slash position, and the operator shoots the game fairly tight. This allows us to maintain the 4K clarity when we zoom in on points of emphasis during replay sequences.” Viewers saw these shots as part of NBCee IT, which allowed the broadcast team to zoom in on a shot and pan around a frame. For specialty cameras, NBC also used TVA’s robotic netcams, as well as robotic “ankle cams,” positioned on the left and right dasher boards. “We’re putting all [available resources] into the basket in order to get the best show out there,” said Dammeyer. The Nashville games were produced from NEP ND6 and ST28 B units; ND5 and ST32 were onsite in Pittsburgh. The production was fairly conventional: all prerecorded segments were shot on off-days, then transferred to and edited at NBC’s Stamford, CT, facility. — Dan Daley NBC Sports’ primary production in Nashville was located in NEP’s ND6.
U.S. OPEN ERIN HILLS, ERIN, WI JUNE 15 – 18
F
62
ox Sports broadcast its first-ever U.S. Open golf coverage, from Chambers Bay outside Seattle, in 2015, and the 2017 show continued to grow from that, with shot-tracing technology on every hole, three holes of 4K coverage, and an increased presence by other Fox networks. All the shows done for Fox Business Channel, FS1, and other Fox properties were handled by the core Fox Sports production team. “They aren’t standalone; they are part of our main production setup,” explained Brad Cheney, VP, field operations and engineering, Fox Sports. “We’re extremely happy with how all of those extra shows have gone. And it’s just proof of what everyone can get done, from producer Mark Loomis and director Steve Beim to the technicians and our vendors.” Once again, Game Creek Video was onsite in force, with the Encore production unit at the center of the on-course coverage. The only modification from previous lineups was that Maverick replaced Glory for 4K coverage of Holes 13, 14, and 15. Because Maverick had been used by DirecTV at The Masters, rolling it in for the U.S. Open made 4K integration easier because the truck was already set from an engineering standpoint. The HD coverage on those holes relied on Sony HDC-4300 cameras outputting two signals, a 4K and a 720p, via the camera-control unit (CCU).
MOBILE SPORTS PRODUCTION YEARBOOK 2018
The Game Creek Video crew onsite at Erin Hills
The core of the production relied on 110 cameras and 216 microphones, including 26 wireless cameras, 31 wired cameras (12 with 100X Canon lenses, 19 with 95X Canon lenses), three Inertia Unlimited X-Mo cameras, and a Sony HDC-4800 operating at 960 fps. Three RF Tracer cameras were also in use. The Towercam, which allows a camera to be raised 18 ft. into the air, was back but in a bigger way: it was now on a Gator tractor from John Deere. A 75-ft. Strada crane and four jib cameras were also onsite. — KK
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Road Warriors
FIFA CONFEDERATIONS CUP FINAL ST. PETERSBURG STADIUM, ST. PETERSBURG, RUSSIA
D
uring the FIFA Confederations Cup final between Chile and Germany, the highlights on the pitch were plentiful, but it was behind the scenes where the international broadcasting world eagerly deployed the very latest technology to ensure the best possible TV-viewing experience for football fans around the world. “The tournament was a great success, and, while I know there might be a tendency to think of the FIFA Confederations Cup 2017 as a test event for the FIFA World Cup, it’s actually a huge event in its own right,” said Florin Mitu, head of host-broadcast production, FIFA. “The world was watching, and we had 84 rightsholders, 90 non-rightsholders, more than 2,000 accredited TV representatives, and a host-broadcast staff of more than 800
JULY 2
onsite. These numbers speak for themselves, and it’s without doubt one of our biggest tournament operations.” The FIFA Confederations Cup took place across four stadiums with the Zenit Arena in St. Petersburg acting as host to the International Broadcast Coordination Center (IBCC) and serving as test bed for the portable cabins, technical infrastructure, and workflows that the FIFA host-broadcast–production team will deploy for each of the 12 stadiums for the 2018 World Cup. ARD/ ZDF, Fox Sports, Telemundo, NHK, TV Globo Brazil, Megavision Chile, and DirecTV LATAM were onsite at the IBCC sharing a total space of approximately 900 sq. meters. The core production of the FIFA Confederations Cup Final made use of five UHD HDR cameras and 15 HD HDR cameras (all using the Slog-3 gamma curve) as well as HD SDR cameras. Moreover, the Sony HDRC-4000 production converter helped convert HD SDR and HD HDR signals into UHD HDR signals, and the FIFA MAX server operated in 1080p mode. An interesting change in the production of the matches was the decision to replace the HDC-4300 on the camera 1 position with a Sony PMW-F55 camera equipped with a Cabrio lens from the beginning of the tournament. — KK Florin Mitu, Head of Host Broadcast Production at FIFA
MLB ALL-STAR GAME
MARLINS PARK, MIAMI JULY 11
66
F
or Fox Sports, the MLB All-Star Game is not only a chance to deploy its proven production tools but also an opportunity to test technologies that are just coming of age. For the 2017 edition, Fox rolled out one of the most robust high-speed– camera complements and on-field–audio setups ever for a baseball game, along with Game Creek Video’s new 4K-capable, IP-router–based Yogi mobile unit. “As always, the All-Star Game brings a chance to try new technologies out and see what sticks for postseason baseball and our other [properties],” said Mike Davies, SVP, technical and field operations, Fox Sports. “And we have amazing and very flexible operations and engineering teams here that can roll with the punches when it comes to [new technology].” Game Creek’s Yogi A and B units, launched in March 2017, primarily served YES Network during the MLB season. The 4K-capable mobile unit, which features an IP core, was also deployed for Fox’s All-Star Game and served as the primary truck for its World Series coverage in LA. The truck, which can support up to 20 Sony HDC-4300 cameras running in 4K, lends itself to Fox’s high-speed–camera–heavy All-Star plans.
MOBILE SPORTS PRODUCTION YEARBOOK 2018
“Yogi [affords us] all the ability to have several 4300 cameras as well as our 4800’s,” said Francisco Contreras, director, field operations, Fox Sports. “It enables us to do all the 4300 and 4800 high-speed cameras that we want to [deploy] today but also [prepares us for] 4K or 1080p HDR or anything else in the future. And the footprint is much bigger for us, which is very nice.” In all, Fox Sports deployed eight high-speed–camera systems for the All-Star Game: three Sony HDC-4300’s in 6X slo-mo mode (all in centerfield), two HDC-4800’s shooting at 16X (mid first and mid third), a Fletcher robo with a Sony HDC-P43 POV cam (at mid home), and two Phantoms provided by Inertia Unlimited (at low first and low third). — Jason Dachman One of two Sony HDC-4800 cameras deployed by Fox in 16X slo-mo mode
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Road Warriors
X GAMES MINNEAPOLIS U.S. BANK STADIUM, MINNEAPOLIS JULY 13 – 16
O
ver the summer, Downtown Minneapolis came alive with the sounds of revving dirt-bike engines, clapping skateboards, and wailing rock music as the 23rd edition of the Summer X Games descended on the Midwest. With 18½ hours of linear-television programming and a wallto-wall social-media and live-streaming plan, ESPN worked alongside new production partner Echo Entertainment to make television magic. The two entities kicked off their relationship at Winter X Games in Aspen in January 2017 and were bullish on the relationship heading into their first Summer X Games together. “I’ve been in the action-sports world for a long time,” said Hugh Arian, president, Echo Entertainment, “and it’s the most collaborative [event] we’ve ever worked on.” ESPN and Echo established 73 camera positions inside (and outside when needed) U.S. Bank Stadium. Of those, 43 were handhelds (many receiving RF support from BSI), 13 were hard, 10 were Sony HDC-4300’s for super-slo-mo capture and playback, seven were POVs, and four were robotics; Spidercam provided
aerial shots from inside the stadium bowl. All resources were connected to an all-Dome Productions compound in the stadium’s indoor truck dock. Dome supplied four A units and a B unit (which played host to the VR production). BSI had an RF-support vehicle, and two satellite trucks provided full satellite transmission to ESPN headquarters in Bristol, CT. “Kids are consuming content differently,” said Tim Reed, VP, X Games, ESPN, who worked his 21st U.S. X Games and has been working the property since 1997. “The biggest thing that we do is try to remain aware of what [new] audiences want. They want authentic content, a lot of personality, and brands that stand for something and have an identity.” — BC The high-tech U.S. Bank Stadium provided an elite infrastructure from which ESPN and Echo Entertainment could broadcast.
US OPEN USTA BILLIE JEAN KING NATIONAL TENNIS CENTER, FLUSHING MEADOWS, NY
I
AUGUST 22 – SEPTEMBER 10
n the first two years as host broadcaster and sole domesticrights holder of the US Open, ESPN created a well-oiled machine for its colossal production operation at the NTC. In Year 3 of the 11-year rights deal, with a highly efficient model in full swing, ESPN continued to add to its sizable list of responsibilities onsite while also looking to innovate with Front Row Cam, Silvus Mesh Network, Alteros 6.5-GHz wireless-mic system, Simply Live ViBox all-in-one production system, and other new technologies. “Every year is always fresh, but, certainly, being in Year 3 helps tremendously,” said Terry Brady, director of remote operations, ESPN. “I would say, to some extent, [we’ve gotten into a groove], which has allowed us the opportunity to look at some unique technology this year. At the USTA’s request, we’ve also taken on the
responsibility of distribution to unilateral broadcasters, which was formerly not handled by ESPN. Every year, we add a little something.” To support the USTA’s rightsholders onsite, ESPN enlisted Gearhouse Broadcast (which also integrated the NTC Broadcast Center) to create a single core infrastructure, dubbed the Unilateral Distribution Center (UDC). The TOC-style operation takes in 140 feeds from ESPN, distributing them to unilateral broadcasters and to the USTA’s US Open world feed. In addition to Gearhouse, NEP assisted the USTA with the organization and distribution of feeds. ESPN took over unilateral-content distribution to rightsholders and enlisted Gearhouse Broadcast to construct the UDC. ESPN’s massive camera complement at the NTC featured an exciting newcomer: the telescope-like Front Row Cam, which was used in various court-level positions at the Grandstand, including on the back wall and along the railing next to the line judge. All the starring camera systems from recent ESPN US Open productions were on hand, including Intel’s 28-camera freeD 360-degree replay system, a SpiderCam aerial system, a RailCam, and an NAC Hi-Motion II ultra-slo-mo at Arthur Ashe Stadium. Also among ESPN’s 100-plus complement of cameras (including 60 broadcast cameras) were a HoistCam, four 3X super-slo-mos, 13 robos, four RF cameras, and five jibs. — JD ESPN took over unilateral-content distribution to rightsholders this year.
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MOBILE SPORTS PRODUCTION YEARBOOK 2018
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Road Warriors
ACROSS THE POND L ONDON MARATHON
APRIL 23
EUROPEAN RUGBY CHALLENGE CUP EUROPEAN RUGBY CHAMPIONS CUP
T
he U.S., Canada, and Russia weren’t the only countries to host major sports events in 2017. European broadcasters pushed the envelope and made strides in sports-production technology with their coverage of tennis, rugby, golf, cycling, and more. Here’s a look at a few of those events:
BT MURRAYFIELD STADIUM, EDINBURGH, UK MAY 12 - 13
WIMBLEDON
ALL ENGLAND LAWN TENNIS AND CROQUET CLUB, WIMBLEDON, UK JULY 3 – 16
UEFA CHAMPIONS LEAGUE FINAL T OUR DE FRANCE
PRINCIPALITY STADIUM, CARDIFF, UK JUNE 3
JULY 1 – 23
THE OPEN CHAMPIONSHIP
ROYAL BIRKDALE GOLF COURSE, SOUTHPORT, UK JULY 20 – 23 74
MOBILE SPORTS PRODUCTION YEARBOOK 2018
© 2016 NBAE photo by Maddie Meyer NBAE/Getty Images All Rights Reserved
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DOME PRODUCTIONS Vista Completes 4K-Capable–Truck Trifecta By Karen Hogan Ketchum
D
ome Productions continues its commitment to 4K-native mobile units with the launch of its third. Following in the footsteps of Pioneer and Trillium, Vista is the latest generation and most technologically advanced of Dome’s multiformat trucks capable of producing in 4K UHD. Vista hit the road in July at BMO Field in Toronto, producing a Major League Soccer match between Toronto FC and New York FC live on TSN. Since then, the 53-ft. expando has done a wide variety of sports events — including CFL, NHL, and horse racing — and entertainment shows. “The launch of Vista is another true testament to the qualifications and commitment of Dome’s innovative engineering team,” said SVP/GM Mary Ellen Carlyle, “who have been instrumental in the system design, wiring, and integration of Dome’s expanding fleet including 4K UHD trucks.” Ever since Dome Productions co-owners Bell Media and Rogers Media announced in early 2016 their intention to deliver NBA and NHL games live in 4K, Dome has targeted the 4K-production market. First, the company reconfigured its existing Trillium production truck to handle 4K while it worked on Pioneer, its first purpose-built 4K truck. Pioneer hit the road in July 2016. “That was really our first [move into] 4K,” said Director of Engineering Mike Johnson. “We modified a truck previously, but Pioneer was purpose-built 4K from the ground up. [With Vista,] we hoped that we might be able to take more advantage of IP serviceability, but we did not do that on Vista, so it stayed as an SDI truck. It’s a large router implementation of SDI, but it gives us that serviceability in 4K that we needed.” Dome Productions worked with Unity Systems Integration on the design of Vista, which, in addition to 4K UHD, can
Since debuting in July, Vista has supported a wide variety of sports events and entertainment shows.
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Based on an Evertz EQX baseband router, Vista features Dome’s largest matrix system to date.
produce in 720p, 1080i, or 1080p (50 or 60 fps). The truck is built around an Evertz EQX baseband router with 89x103 UHD video capacity or 558x576 3G-SDI video capacity — Dome’s largest matrix system to date. In addition, Dome installed a 4.5M/E Grass Valley K-Frame production switcher — 2M/E when operating in 4K UHD — as well as four EVS XT4K four-channel replay servers, one EVS UHD XT3 three-channel replay server, and one EVS XS4K four-channel SpotBox. The replay servers support native recording in a wide range of codecs and in multiple formats — 720p, 1080i, 1080p, and 2160p (4K UHD) — and also have the capability to capture high-frame-rate contribution from compatibly equipped cameras. The truck features a ChyronHego Mosaic XL for graphics and, in a first for Dome, a Calrec Apollo digital console for audio. “We made a conscious decision to upgrade the audio board,” said Carlyle, “because we want to play in that even bigger market.” Depending on whether Vista is producing an HD or a 4K UHD show, the truck is equipped with 10 Sony HDC-4300 cameras — which can be configured for 720p, 1080i, 1080p, or 4K60p — and a variety of Fujinon UHD lenses. According to Dome Productions, Vista is HDR-ready and capable of producing a 4K UHD feed in high dynamic range. Since 2016, Dome Productions has supported well over 300 sports and entertainment events live in 4K, and Vista will be instrumental in supporting the company’s ever-growing workload. For larger-scale shows, Vista easily integrates with any of Dome’s B units on the road today. “Based on building blocks that are industry-proven,” said Johnson, “Dome is excited for what Vista can deliver in meeting the most feature-rich production requirements for the sports and entertainment industry.”
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F&F PRODUCTIONS GTX-18 Ushers in Company’s 4K HDR Era By Ken Kerschbaumer
F
&F Productions has entered the 4K HDR production business with the launch of its GTX-18 truck, which comprises a double-expando A unit and a B unit. The unit debuted the last weekend of July on a UFC PPV fight offered in UHD to AT&T Entertainment/DirecTV viewers. “We’ve had a number of customers who asked us about building a 1080p/HDR unit,” said F&F Productions President/ CEO George Orgera. “After rallying our team, we decided to build a 4K HDR mobile unit instead.” It was important, he explained, that the signal remain in native 4K UHD resolution throughout acquisition and distribution and that clients are pleased with the choices made, including fully unlocked Sony HDC-4300 cameras, 4K UHD lenses, and true 4K monitor walls throughout the unit. “There is a lot of uniqueness about GTX-18,” noted VP/GM Marc Orgera, “but the one thing we are hearing from our clients that matters the most is, it offers a complete 4K experience throughout. They are happy to have a one-stop mobile unit that can produce 4K HDR, 1080p HDR, 1080p, 1080i, 720p out of one unit.” The core of the new mobile is a Grass Valley K-Frame Kayenne Elite production switcher with 192 inputs/96 outputs and 9M/E with six downstream keyers per M/E programmable clean feed. A 4K monitor wall with 18 31-in. custom Boland 4K monitors is aboard to give the production team high-quality images. “When our clients are working on a 4K show,” noted Marc Orgera, “we thought it best that they see the same picture quality inside the mobile unit that is going out for transmission.
GTX-18’s monitor wall features 18 31-in. custom Boland 4K models.
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The truck’s audio production centers on a Calrec Artemis Beam V8 digital console with Bluefin2.
We didn’t want to say no to offering them the true signal.” Routing is baseband, via an Evertz 560-input/1,134-output router and an Evertz EMR audio router (192x192 AES/48x96 stereo analog). “It’s baseband because of some heat issues that still exist,” said George Orgera, adding that VP, Engineering, Bill McKechney “still has some concerns, though our future mobile unit will be all IP-based.” The camera/lens complement comprises 14 Sony HDC-4300 and two Sony HDCP-43 cameras that are fully unlocked, four Sony super-slo-mo systems, and 17 Fujinon UHD lenses with eight of the new Fujinon 107x8.4 long lenses and nine handheld/ wide-angle lenses. The video area houses a Sony 30-in. BVMX 300-2 4K monitor and Tektronic 4K vectorscopes. The replay area boasts four 12-channel EVS HD XT4K systems with super-slo-mo, two EVS HD XFile3 archive stations, an EVS Sports Net3 hub, an IPDirector, eight KiPro UHD recorders with 1-TB drives, a Panasonic DVCPRO deck, and a Sony HDCAM deck. There are also four Blackmagic Design 4K Video Assist recorders with dual SD card and USB thumb drive. The audio area features a Calrec Artemis Beam V8 digital console with Bluefin2 (64 faders), Genelec 5.1-surround-sound monitoring, Yamaha SPX2000 multi-effects processor, Rane audio delays, dbx 166 XL compressors, two dbx 1046 quad compressors, and more. “It’s pretty exciting to have some of the most respected engineering teams from the networks walk through the mobile unit and compliment that it is the most capable 4K HDR unit on the road,” said McKechney. “It makes me very proud of our engineering team.”
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GAME CREEK VIDEO Nitro, Yogi, Chesapeake, Edit 2 Make for Busy Year By Ken Kerschbaumer
G
ame Creek Video had a busy 2017, with the launch of four trucks: Nitro, Yogi, Chesapeake, and Edit 2. The first to hit the road was Nitro, home of the National Hot Rod Association’s 2017 production team, which revved into action the weekend of Feb. 9. “From our point of view, NHRA has a compact production that has a lot of stuff going on in a short amount of time,” said Jason Taubman, VP, design and new technology, Game Creek Video. “They need to be nimble for a main production that spans multiple days and requires material to be banked and then played back.” Nitro consists of a double-expando A unit (recommended working area is 64 x 24 ft.), housing the main production team, and a straight B unit, housing a production team focused on the in-venue production, an audio-submix area, and the equivalent of a master-control area for playout of previously recorded content. In the past, those activities required two separate trucks. The A unit will bring a new layout to the NHRA production: the front bench is along the side of the truck rather than facing the end of it. On board are a 9 M/E Grass Valley Kayenne K-Frame production switcher with 192 inputs and 96 outputs; Calrec Artemis audio console; 576x1,152 Evertz EQX baseband video router; EMR audio router (384x384 AES, 256x256 MADI, 288x288 Analog, 128x128x16 HD-SDI Embedded); Boland video monitors (in both units); EVS XT3 replay servers; ChyronHego Mosaic XL for graphics; IHSE Draco Tera KVM Router; 10 Sony HDC-2500 cameras with Canon lenses; and a range of microphones from Sennheiser, Audio-Technica, Electro Voice, and Sony. “Also, with Nitro, we are deploying RTS OMNEO intercom for the first time, with all the internal keypanels now IP, thanks to the RTS KP5032 and KP4015,” said Taubman. OMNEO uses standard IP Ethernet, allowing it to be assembled into networks of two to 10,000 devices via Audinate’s Dante technology. NHRA Technology Executive Mike Rokosa said a move to IP (outside of the intercom) didn’t make sense, given the size of the production. And remaining in the baseband world allows reliability to be maintained, and the production team does not
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MOBILE SPORTS PRODUCTION YEARBOOK 2018
Game Creek Video’s Nitro hit the road for the National Hot Rod Association in Feburary 2017.
Nitro carries 10 Sony HDC-2500 multiformat cameras and a variety of Canon lenses on board.
have to get caught up in learning a new technology. One of the new technologies in Nitro B is a Calrec Brio audio console. Rokosa noted that it is a smaller audio console and has access to the audio resources in the A unit (and is available to the Calrec Artemis console). “That area in the B unit can now produce a second show because it has identical resources available,” he said. “The
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GAME CREEK VIDEO
continued
technical capability is there, and that is pretty exciting.” Nitro’s B unit is designed to operate in standalone mode or alongside other Game Creek Video trucks as well. “It has its own audio router, video router, Evertz multiviewer, Kayenne control surface, and the sort of sandbox area that is useful for graphics, replay, and a small engineering area,” said Taubman. Nitro also carries some Marshall POV cameras from Inertia Unlimited that Taubman said are small and disposable, an important consideration when shooting alongside a track with cars hitting speeds of more than 300 mph. Inertia Unlimited provides a single point of control for all those cameras. Another improvement from last year is that Calrec Hydra boxes will be dropped at strategic locations around the NHRA events to provide audio-signal transport to the truck in the compound via fiber. According to Rokosa, Nitro improves NHRA production with new efficiency, enabling the show to come together much more quickly and making troubleshooting easier. “It can also adapt more easily to the differences in our shows, and it can grow with us, as it is also 4K-capable. Everything can shift around.” IP was considered briefly for Nitro, but Taubman said that going IP on a midsize truck is difficult because there is no midsize IP router on the market and there is not enough space for a larger router and the related IP gateways. He expects that issue to be resolved when more native-IP edge devices roll out. “The promise of IP,” he said, “is IP-enabled edge devices, like cameras and a switcher, that don’t require the middleware that is used right now.” In time for baseball season, Game Creek Video rolled out Chesapeake, a Nitro clone (although the B unit is not as technically sophisticated). It was used by MASN in the Baltimore/Washington market for the upcoming baseball season. Yogi, an IP-based truck, hit the road for the YES Network and Fox Sports’ coverage of the World Series. “Yogi is a big deal for us,” said Taubman. “It serves three masters: the YES Network, the away team as it can work dualfeed, and then, on top of that, the World Series. So, when it came to IP, the question was, if any one of those three things go 4K, the whole infrastructure has to be able to do it on a World Series scale. “Yogi is our second IP effort after Encore two years ago,” he continued. “And, like Encore, it is IP for capacity’s sake: we have 12 12-channel EVS units, need to support dual-feed 98
MOBILE SPORTS PRODUCTION YEARBOOK 2018
Chesapeake handles MLB coverage for MASN in the Baltimore/ Washington, DC market.
Yogi, like its namesake, has made The Bronx its home, handling New York Yankees games for YES Network.
operation, and can do a World Series-level production and operate in 4K. That really pushed baseband routing over the cliff. We can also see the light at the end of the tunnel with the SMPTE 2110 standard that will allow edge devices to natively support IP. I feel like we will be living in a fully IP world pretty rapidly.” Yogi comprises two 53-ft. expando units: an A unit with a recommended work area of 64 x 24 ft. and a B unit with 72 x 19 ft. The two units will bring something new to Yankee Stadium as well: the ability for the YES Network and a visiting Fox regional network to work together, the YES Network calling the A unit home for its productions and the visiting network in the B unit. The A unit features a Grass Valley Kayenne K-Frame production switcher, a Calrec Apollo audio console, a Boland monitor wall, and Evertz multiviewers. There is also a video-
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GAME CREEK VIDEO
continued
shading area for four operators and support for up to 20 Sony HDC-4300 cameras operating in 4K mode. “We changed the replay area in the A unit a bit,” Taubman explained. “It will have 12 12-channel EVS XT4’s, an upgrade from six-channel EVS units. That gives it a lot of replay horsepower.” Each EVS server will be able to have two operators, each working independently. “We are also using the IHSE KVM system,” he said. “That allows us to put replay-server controls wherever we need them to go. Fiber connectivity will play a major role, enabling the A and B units to be tethered to each other in about 10 minutes. “The B unit is a big sandbox with a big monitor wall for production, a second Grass Valley K-Frame production switcher, and a Calrec Brio 64-channel audio console connected via Calrec Hydra2 to the mothership,” said Taubman. “The promise of Brio with the Hydra2 integration is that all the audio resources and associated I/O with the other desk is available. Hydra2 makes it more dynamic.” The B unit has a small video-shading area and an engineering area that can handle another 12RU of gear. RTS intercoms are in use in both trucks, and, according to Taubman, the use of Omneo and Dante IP-based routing makes the intercom capabilities pretty slick. “We also jettisoned analog audio monitors,” he added, “which allows us to reduce the infrastructure, as all of the analog
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MOBILE SPORTS PRODUCTION YEARBOOK 2018
Yogi follows in the footsteps of Game Creek Video’s Encore, an IP-based truck that debuted in 2015. Yogi can accommodate 12 12-channel EVS XT4’s (left) and boasts a Calrec Apollo Surround Sound audio console (right).
patchfields and wires have gone away.” For Mike Webb, VP, broadcast operations, YES Network, the biggest improvement to the YES broadcasts is the addition of the Sony HDC-4300 cameras. Three are licensed for highspeed needs: two recording at 360 fps and one at 480 fps. And, because the cameras are now all the same model, matching color across the entire camera complement will be easier. “We played with the 480-fps 8X camera eight times [during Spring Training],” he pointed out. “It is really cool as it allows the producer and operator to ramp the frame rate up and down so they can slow things down as the ball gets closer to the tip of the glove. We will ship that 8X unit around for all of our games, and the two 6X cameras will be used at our home games.” The Game Creek Video integration team also finished up two additional trucks. Edit 3, a carbon copy of Edit 2, hit the road with Riverhawk for MLB Network’s 4K coverage. And the company’s B2 truck has been revamped to join Chesapeake for MASN pre/postgame coverage. Maverick and Riverhawk recently returned home to be outfitted for 4K productions via expanded Evertz routers and Grass Valley K-Frame production switchers.
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HIGH ROCK MOBILE TELEVISION High Rock 1 Hits the Road for Carr-Hughes Productions and More By Karen Hogan Ketchum
A
s a long-time packager and producer of the world’s biggest sports events, Carr-Hughes Productions was no stranger to working with mobile-production vendors. A few years ago, Carr-Hughes decided to become a mobile-production vendor itself, and High Rock Mobile Television was born. Its first production truck, High Rock 1, hit the road for the first time this summer. “We looked at it as an opportunity,” said producer/director Jim Carr. “The kind of money that we were spending every year in the rental market we could put towards our own vehicle that was built for our programs [and] also would be available for others to rent. I think it’s a very complete package for a truck of this size. It’s got all the equipment that a lot of the bigger trucks would have — just in a smaller footprint, which we think will help us in locations like New York City and in same-day set/ shoot shows. We can set this thing up pretty quickly.” High Rock 1 is a 40-ft. dual-expando constructed on a Gerling & Associates Super Stallion Dual-Stage Expansion Class trailer and integrated by Bennett Systems. Both Gerling and Bennett are based in Sunbury, OH; Carr-Hughes Productions/ High Rock Mobile TV is located in Saratoga Springs, NY. The truck features a 4M/E Grass Valley Kayenne K-Frame switcher, 254x456 SD/HD/3G Utah Scientific 400 Series router, two-channel ChyronHego Mosaic CG, three EVS XT3 replay servers (two 12-channel, one four-channel), and a Calrec Artemis Light digital audio console. In addition, the truck carries a variety of terminal gear from Evertz, Tektronix, Image Video, and Cobalt Digital. Wired for up to 12 cameras, High Rock 1 comes equipped with seven Sony HDC-17000L’s, an HDC-4300 super-slowmotion camera, and a range of Canon HD lenses. The truck also offers several microphone options from Sennheiser, Audio-Technica, and Sony. Additional equipment can be rented separately or combined with the High Rock 1 rental. “We configured the truck to work with anywhere from six to 12 cameras pretty easily,” explained Carr. “Then, we integrated 32 frame syncs, which helps us when we do events like horse races, where we take a lot of split feeds in from the race-track coverage. We may have eight to 10 cameras that we’re doing [from the truck], but then we’re adding 15 to 20 cameras from a venue.” With a wide variety of events comes a wide variety of freelancers. High Rock Mobile TV wanted to ensure that the equipment found in High Rock 1 would be familiar to person-
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MOBILE SPORTS PRODUCTION YEARBOOK 2018
High Rock Mobile Television’s first truck hit the road this summer.
Gear from Grass Valley, EVS, Sony and others help make the truck familiar to freelancers.
nel accustomed to operating out of a 53-ft. truck. Selecting gear like the Grass Valley switcher, EVS XT3 servers, and Sony cameras will also come in handy if High Rock 1 works a larger event and needs to integrate with the facilities of a larger unit. Currently, High Rock 1 is based in Upstate New York, but the team behind the truck sees the possibility for travel outside the Northeast U.S., depending on what productions make sense for the truck. For now, executives at Carr-Hughes Productions — now considered a sister company to High Rock Mobile TV — are excited to have at their disposal a truck designed for their needs. “A big headache for us when we’d go in and do a series of shows was having a different truck every week: different set of engineers, different layout, different equipment. It really made it difficult sometimes to have consistency,” said Carr. “One thing we’re looking forward to is having consistency with this truck: to be able to know this is how we had the router set up, this is how the monitor wall was set up. I think it’ll make our labor and our setup days go a lot easier. That’s a big thing for us.”
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Profile
MOBILE TV GROUP 41HDX, 42FLEX Blur the Line Between National, Regional Productions By Jason Dachman
W
ith the size and sophistication of regional-sportsnetwork productions growing exponentially, Mobile TV Group in 2017 rolled out two trucks that meet the needs of both RSNs and nationally broadcast college football. The latest generation of MTVG trucks is headlined by dual-trailer 41HDX and dual-feed, two-trailer 42FLEX, an HDR- and 4K-ready unit that debuted in October on AT&T SportsNet’s Pittsburgh Penguins coverage. “Both 41HDX and 42FLEX demonstrate that the line between regional and national shows has disappeared,” said Director, Business Development, Nick Garvin. “These trucks are capable of doing your everyday regional show, which is quite large already, and then doing an even bigger national show the next day. We believe there is not much difference between what we’re doing at a regional level and what’s happening at a national level, aside from major playoff and championship shows.” 41HDX and 42FLEX, the largest double expandos MTVG has ever built, provide three rows of seating in both the production and replay areas. In addition, both feature plenty of tech firepower, including Grass Valley Kayenne K-Frame switchers, four Grass Valley LDX 86 Universe 6X super-slomo cameras apiece, 12-channel EVS replay systems, and Calrec Artemis Beam audio consoles. “We’re not saying that these trucks could do a Super Bowl or a World Series, but pretty much any other regular-season national baseball, basketball, hockey, or college-football game would be no problem,” said GM/founder Philip Garvin. “Essentially, with the four super-slo-mos, the tremendous amount of space, the four 12-channel EVSs, and now HDR [capability on 42FLEX], these are national-level trucks that can also do regional shows.” Built primarily for Fox Sports college-football, collegebasketball, and MLB productions, 41HDX is essentially a standalone A unit traveling with a B unit used almost exclusively for freight and extra equipment. Besides the seating in production and replay (eight replay-operator positions total), it sports a versatile utility area that allows operators to be positioned at any workstation. “The thinking behind 41HDX was to be able to [produce] a national college-football game out of one truck,” explained Philip Garvin. “We’ve [accomplished] that.” The truck is built around a Grass Valley 5M/E Kayenne K-Frame switcher and 396x712 Evertz 3G video router.
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41HDX debuted this year, working Fox Sports college football, college basketball, and MLB productions.
41HDX features a spacious production room designed to serve either national sports productions or large RSN shows.
41HDX features a Calrec Artemis Beam audio console.
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Profile
MOBILE TV GROUP
continued
It carries six Grass Valley LDX Premier 720p/1080i triax cameras and four LDX 86 Universe 6X super-slo-mo cameras outfitted with a mix of Canon and Fujinon lenses (as well as a Marshall POV cam). The replay room houses three 12-channel EVS XT3 servers, as well as EVS Epsio FX graphics and C-Cast multiplatform production system. 41HDX also rolls with ChyronHego HyperX3 graphics and a SketchHD telestration system. On the audio side are a 64-fader Calrec Artemis Beam console (256 routable inputs via MADI, 64 analog inputs, and 64 analog outputs) and a 2752x2848 audio router. The RTS ADAM-M Matrix comms system is capable of 64 ports of OMNEO, 64 channels of MADI, and 48 analog ports. “This is an extremely capable truck in one very large unit,” said Philip Garvin, adding, “We were very conscious to [incorporate] weight-saving technologies that have come along recently.” Built on the FLEX model launched in 2015 (with 38FLEX), 42FLEX allows clients to shift among HD mode, SSMO mode, 1080p mode, and 4K mode. However, MTVG’s first truck to offer 1080p HDR capability can produce a 1080 HDR show using almost entirely triax rather than fiber. “The truck is very focused on HDR because the cameras can do 1080p HDR in triax, which is a very big deal in the regional-sports [market],” said Philip Garvin, noting, “When you’re doing same-day set and shoot, fiber is your nemesis because it’s complex and time-consuming. Also, a lot of venues still have only triax and very little or no fiber.” 42Flex rolls with a standard complement of 14 Grass Valley cameras outfitted with Fujinon lenses. Seven Grass Valley LDX 82 Premier cameras can shoot HDR over triax; the only need for fiber for an HDR show would be to accommodate the four LDX 86 Universe 6X super-slo-mo cameras. According to Philip Garvin, FLEX42 is capable of producing a fully HDR show, the only caveat being the need to add HDR monitoring. “All of our trucks will be HDR going forward,” he noted. “We think there will be a lot of interest in 1080p HDR, but we could even do 1080i HDR if needed. And we also plan to do HDR 4K with our 4K trucks.” The new mobile unit represents the next generation of MTVG’s dual-feed regional sports trucks, with the A unit serving the home show and the 42VMU (visitors mobile unit) the away show. Philip Garvin noted, “The visitor show has almost everything [the home show has], including network EVS [access] to the four super-slo-mos, for the dual feed, which is pretty amazing.” Built around a 7M/E Grass Valley Kayenne K-Frame switcher (3M/E assigned to the visitor show), 42FLEX features a 378x802 Evertz 3G/4K video router, 2752x2848 Evertz audio router, and an RTS ADAM-M matrix
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42FLEX’s VMU truck provides the visitor show with plenty of space.
42FLEX sports a robust EVS replay infrastructure, as well as seating for six operators in the A unit (pictured) and three in the VMU.
comms system (with full integration between the A and VMU units). Robust replay capability is provided by two 12-channel EVS XT3 servers, two 12-channel XT4K servers, and a four channel EVS XS3 server for SpotBox (two channels per show on duals). The A unit boasts up to six replay-operator positions (plus a tech-manager spot), and the visitor show has full access to the EVS network with up to three operator positions in the VMU. The A unit features a 56-fader Calrec Artemis Beam audio mixer and ChyronHego Mosaic XL2 graphics. The VMU has a Studer Vista 1 console and rack-mount Vizrt (for Fox RSN shows) or ChyronHego HyperX3 graphics. MTVG continues to refine various aspects of its truck design: for example, angling monitor walls to provide perfect line of sight for the production team. “We’re very focused on fine-tuning every aspect and getting down to the nitty-gritty details for each truck,” said Nick Garvin. “We’re constantly evolving new ways of doing things.”
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LEADER adds HD HDR Monitoring to the LV5333 Portable 3G Waveform Monitor For many years, the LEADER LV5333 waveform monitor has established itself as the de-facto waveform monitor for on-set monitoring of both camera setup and picture quality. It has become the must have tool by DITs (Digital Imaging Technicians) and other video professionals world-wide. Now High Dynamic Range support can be added to the LV5333 with the addition of the LV5333SER02 software option. Able to handle over 20 HD-SDI/SD-SDI signal formats, the LV5333 is designed for deployment on-set, in the studio or in post-production. The 6.5� TFT LCD screen provides high quality images, even in the most demanding of environments and can be used as a camera viewfinder, waveform monitor, vectorscope, histogram display, gamut display and audio monitor. The LV5333 also has two special displays, CINEZONE & CINELITE, that allow production and operational staff to easily monitor camera setup and luminance levels on the set, without the need for a detailed understanding of traditional test and measurement displays. CINELITE is an on-picture exposure measurement tool, that allows the operator to measure, with a cursor, luma and chroma levels in Y%, RGB%. CINEZONE places false colors on the picture display to indicate luminance levels on the picture and help identify "hot spots" and on-set lighting issues. It is perfect for making sure green screens are lit evenly. LV5333SER02 HDR software license option enables the LV5333 to measure HD HDR levels by adding an HDR waveform display and scale. Also included is HDR CINEZONE, which uses false colors to indicate on the picture the areas that contain HDR and the level. LV5333SER02 supports HLG (Hybrid Log Gamma) conforming to ITU-R BT.2100, ARIB STD-B 67, SMPTE ST 2084 and PQ (Perceptual Quantization). In addition, it also supports S-Log 3, C-Log Log-C. For more about our products visit LeaderAmerica.com or call (201) 355-4850
Profile
NEP GROUP 4K Beast Yukon Targets the Entertainment Market By Brandon Costa
W
hile sports-video production continues to enjoy its dominance over television production and captures many of the ratings headlines, live entertainment in the form of musicals, concerts, and now esports tournaments is adding new and exciting opportunities for the mobile-production industry. To meet a rise in demand for high-end, 4K-capable mobile support on the entertainment side of the business, NEP Group’s Denali division rolled out a brandnew, 55-ft. expando named Yukon. NEP Denali describes Yukon, its latest mobile unit to hit the road, as “state-of-the-art” and “designed for the specific needs of entertainment production.” Like many new trucks these days, it’s highly flexible and easily customized for the individual client: many of Yukon’s operating positions can be swapped around and/or can serve multiple functions based on the needs of the given show. Yukon, which has an accompanying B unit, is constructed around an Evertz EQX 558x576 router with 576 XLink outputs at its core. At the front bench is a Grass Valley Kayenne K-Frame production switcher with 9M/E, 128 inputs, and 96 outputs. Rounding out the guts of the production end are an Evertz VIP monitor wall, an IHSE KVM system, 212 de-embedding inputs, and 224 embedding outputs. The truck comes standard with a load of acquisition goodies, including 12 Sony HDC-4300 cameras (with SMPTE fiber) and a collection of Fujinon lenses (two 88X8.8, eight 14X4.5, four 23X7.8, and two 16X6.5). On the audio end, Yukon boasts a Studer Vista X console with A-Link and an Evertz EMR audio router. It carries six Shure SM58 microphones and 10 Sennheiser 416P shotgun microphones. An additional entertainment microphone package is available upon request. Bolstering its case as a highly flexible truck, NEP Denali
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NEP’s Denali division, known for serving the entertainmentproduction industry with trucks like Summit (above), rolled out Yukon to support the market this year.
does not commit Yukon to a specific replay or graphics infrastructure. Both can be provided on request; the truck is wired to accommodate up to 20 VTRs and six EVS servers on the replay end and any two machines for graphics. Yukon’s flexibility, according to NEP Denali, is critical in the entertainment business, where a unit is less likely to work a lengthy package the way a truck may in sports. Many concerts and esports tournaments are massive one-off live-production events, and NEP needs to remain nimble to offer ultra-high-end production on an on-demand basis. The unit is equipped with a 256-port Riedel Intercom system for comms, adds an Evertz 5601 sync generator with auto change, and provides plenty of SMPTE fiber cabling (eight 500-ft., 12 350-ft., 18 200-ft., 20 100-ft. cables) for a standard production. NEP’s Denali division has established itself as the gold standard in entertainment-production support. In fact, its flagship mobile unit, California, has served as the host for the production behind each of the past two Super Bowl halftime shows, including last year’s epic presentation by Lady Gaga at NRG Stadium in Houston. Yukon is prepared to take on many such entertainment assignments in the very near future.
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The University of Oklahoma live streams more events with LiveU Cover events like a pro without a large crew or a large budget.
Aerial Video Systems
AVS is a leader in wireless HD and aerial production with more than 75 HD RF systems by Vislink/Link Research, including the compact Link L-1700 and GoPro HEROCast systems. AVS has four gyro-stabilized Cineflex camera systems and two Partenavia fixed-winged aircraft for aerial coverage. AVS was the first to integrate Sony’s P1-R to an RF Steadicam system with RF video return and prompter. This Steadicam package has become the preferred system for Dancing With the Stars, The Voice, America’s Got Talent, So You Think You Can Dance, World of Dance, Shark Tank, Grease: Live, The Wiz, Hairspray, Sunday Night Football, Monday Night Football, Thursday Night Football, Super Bowl Halftime, and the NBA Finals. AVS’s RF camera systems also play an integral part of virtually every awards show. This summer, AVS took part in Nat Geo’s Earth Live show, providing stunning coverage of migrating humpback whales from remote Kake, AK.
AerNow is a technology and digital-media company building an all-new way to connect audiences everywhere with video content and events. Its capabilities: Capture — easily integrate any digital content into the AerNow ecosystem. Your audiences get a rich, immersive experience that keeps them tuned in. Publish — upload content to the AerNow network from your desktop, AerNow’s virtual master control (AerControl), live feed, or broadcast network. Engage — activate fans with all-new digital experiences. POV switching (through AerBox and AerControl), social feeds, UGC, and one-stop engagement. Expand — increase awareness, drive views, and expand audiences with built-in distribution and syndication technology that connects your content with the viewers you want. Automate — ensure feature and update control across mobile, game, TV, and web devices with new ease and ROI. Monetize — bring the revenue home with full-feature advertising, subscription, PPV, VOD, merchandising, ticket, VIP, syndication, and other business-building features — on your terms.
As a premier provider of end-to-end video and audio solutions, All Mobile Video offers a full spectrum of production services: mobile production units, sound stages, postproduction, streaming services, equipment sales and rentals, and centralized master control. The All Mobile Video team commits to serving clients and building relationships, catering to the individual needs of each production with unparalleled attention to detail. From video and audio engineers, camera operators, editors, graphics specialists, and sound designers to production support, AMV boasts an experience level to rival anyone in the broadcast industry with a solid team of smart, strategically driven and highly trained thinkers. By integrating new technologies and existing capabilities, AMV continues to push the envelope and meet the needs of any production.
Alliance
PRODUCTIONS
Now in its 19th year of business, Alliance Productions is a strategic collaboration of the largest group of mobile-production companies covering North America. Alliance Productions excels in providing clients with the highest-quality HD mobile units and superb customer service. In August, Alliance Productions held its 11th-annual Technology Expo in Indianapolis. A wide variety of broadcast-industry vendors attended this summit and displayed their latest technology and equipment. The Alliance partners, as well as selected invited guests from within the mobile–televisionproduction industry, were able to spend high-quality one-on-one time with the vendors to learn more about their product lines, as well as make requests for future purchases. This event, along with the Alliance Productions Annual NAB Party, helps distinguish Alliance from its competition and reinforces the company dedication to a total production experience that exceeds expectations by excellence of service, facilities, and staff.
MOBILESERVICESPROVIDERS
3g is a broadcast industry leader in RF technology, providing HD video and audio solutions as well as exceptional customer service since 2002. Over the past two years, 3g has made significant investments in the latest RF technologies and has expanded its capabilities dramatically. These investments allow 3g to be able to deliver the highest-quality on-board camera systems, Steadi and MōVI cam systems, RF handheld systems, aerial downlinks for helicopters, RF POVs, wearable RF POV technology (ump cam and ref cam), 1080p/60, and road-racing technologies for marathons and cycling. 3g’s recent successes include 2017 CONCACAF Gold Cup, IMSA, Red Bull GRC, the Boston Marathon, 2017 Tour of Utah, ESPN’s Sunday Night Baseball, and ESPN’s NCAA College World Series. 3g continually looks to stay out in front by seeking and implementing the latest technologies to deliver high quality, robust coverage, and cost savings to its customers.
The Sports Group continues to be recognized as a premier provider of technologies that help clients engage fans, enhance teams, and expand revenue. In the Live segment, Alpha Video completed an HD control room upgrade for the Detroit Lions at Ford Field and is building a five–control-room production facility for Louisiana State University. The company has also completed work at SunTrust Park, the new home of the Atlanta Braves. In the Team segment, Alpha Video has extended its relationship with the University of Kentucky, remodeling the A/V systems in the men’s basketball locker room and providing A/V and IPTV solutions for its new baseball stadium, opening in 2018. In the View segment, Alpha Video’s CastNET digital signage and IPTV solutions looks to set the price/performance standard in the industry as the company adds new features to meet the needs of the market.
AmpThink is an elite team of mobility professionals with deep experience in designing, building, and operating HD WiFi networks in large-scale, public spaces. The company’s longstanding clients include international wireless carriers, multibillion-dollar equipment manufacturers, global stadium-operations compa-
MOBILE SPORTS PRODUCTION YEARBOOK 2018
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Mobile Services Providers
nies, major retail brands and warehousing operations, and dozens of professional and college sports teams.
ARCTEK recently introduced its newest truck, ARCTEK Magenta. The company’s five well-equipped Sprinter satellite trucks (two C-band, three Ku-band), along with its excellent team, are ready to roll nationwide. One of the first in the industry to transmit a REMI-style multiplexed production, for FSN coverage of college hockey, ARCTEK was recognized in 2010 with a Regional Emmy for Technical Achievement. Since being REMI-certified by ESPN, ARCTEK is ready to continue down the path it pioneered, providing a cost-effective approach for at-home sports production. Sports are in ARCTEK’s blood. After a summer providing a multiplexed C-band truck for AMA motocross and covering college baseball and swimming/diving, ARCTEK geared up for football, hockey, and basketball. The company continues to provide production facilities for a fantasy-football show produced by Vikings Entertainment Network and airing nationwide in Buffalo Wild Wings restaurants.
AV Design Services is a national provider of broadcast and professional A/V design and integration services. A leader in engineering, design, consulting, project-management, customfabrication, system-support, and post-installation services, the company has been providing solutions and services to major media and entertainment companies across the U.S. for more than 35 years.
AzzurroTX is a solution for sports clients seeking bidirectional transmission from locations where traditional long-haul fiber connectivity is not available. Easily transported in a TSA-certified carry-on case with wheels and retractable handle, the system provides broadcast-quality, low-latency transmit and receive over the public internet. The standard system includes two encoders and two decoders, enabling transmission of multiple cameras or outputs from a production truck, and can simultaneously receive two sources, such as program and prompter. Two VoIP dial tones are included for communication, such as IFB and PL. Azzurro HD’s 24/7 Network Operations Center can remotely configure and manage the system to offer a complete plug-and-play experience for non-technical operators. AzzurroTX can be used anywhere a public-internet connection is available and is currently deployed at sports venues for live shots on the field as well as offsite press conferences and award ceremonies.
Beacon International represents the Holland Specialty Vehicles division, from a facility located in University Park, IL, less than 45 minutes from most Chicago venues. The Specialty Vehicles engineering team has years of experience in the TV-productiontrailer business. Operating in a 185,000-sq-ft. facility, Holland Specialty Vehicles has the expertise and capacity to do any TV-production-trailer refurbishment, repair, and service, including expando repairs, an onsite trailer paint booth, storage, and
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preventive maintenance. Since 2013, Beacon International has grown to be a worldwide provider of services and equipment to the medical industry and the television-production-trailer industry with offices in Arizona, the UK, and Cairo. The company is intent on providing clients with the highest quality and most beneficial results.
Integrating Media Solutions
BeckTV, a premier TV broadcast system integrator, has been extremely busy in the sports-venue marketplace in 2017. Projects that have been awarded to BeckTV include M&T Bank Stadium, home of NFL’s Baltimore Ravens, and Notre Dame Studios, which is part of a major renovation to the football stadium on the University of Notre Dame campus. Both ND Studios and M&T Bank Stadium deploy a comprehensive IP workflow infrastructure. BeckTV is also completing a new HD video-replay control room as part of a multimillion-dollar renovation of the AlamoDome in San Antonio. The AlamoDome is the home of the University of Texas San Antonio Roadrunners football games and the Alamo Bowl and will host the 2018 NCAA Final Four Men’s Basketball Championship.
Celebrating more than 35 years of broadcast excellence, Bexel, an NEP Broadcast Services Company, skillfully delivers unparalleled production services and engineering expertise for some of the world’s largest televised events. The company continually invests in leading broadcast equipment and technologies to meet the needs of the global broadcast market. It offers a full range of equipment to complement any production: lenses, recorders, servers, LED lighting, fiber-optic solutions, graphics, custom flyaway systems, RF audio and intercom systems, 4K monitors, and terminal gear. All equipment is maintained to the highest standards by a rigorous QC process, conducted by in-house certified engineers for inbound and outbound equipment. Bexel ESS is the vendor of choice for custom systems integration, managed services, and fiber-optic solutions for high-profile broadcasters and networks. Bexel TSS offers the latest new and preowned broadcast video and professional audio equipment.
A proven, highly experienced television-systems–integration and equipment-sales company located in Union City, NJ, BIS builds cost-effective, scalable, and flexible systems that easily adapt to industry innovations. Based on solid engineering principles and a forward-thinking approach encompassing each part of the project lifecycle — pre-design, design, procurement, installation, testing, and training — BIS project management helps guide you through this rapidly changing technical and business landscape. In addition to integration, design, and architectural-consulting services, the BIS web store provides equipment sales to the broadcast and professional audio/visual marketplace. The expanding product line features brand-name components and devices essential for any size system, from cable and connectors to camera lenses and waveform monitors. Further, BIS can meet all of your needs and requirements by
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Your biggest crowds have big wireless voice and data needs. With 15 years of small cell solutions experience, we know how to make sure you’re ready. We’ll design a network that meets the wireless and aesthetic needs of your venue, and build it in a way that accommodates multiple wireless carriers. So no matter what the score on the field, you’ll always be winning in the stands. Speak to a dedicated venue specialist by calling 724.416.9120 or emailing venues@crowncastle.com. The Foundation for a Wireless World. CrownCastle.com
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Mobile Services Providers
furnishing engineering, fabrication, and integration expertise for equipment purchases.
For more than 30 years, Broadcast Services International has been a leader in full-service sports broadcasting, specializing in live remote production, engineering design and integration, rental equipment solutions, and technical consulting. 2017 was an exceptional year for BSI with the acquisition of RF Wireless Systems Inc. and the company’s move to a new facility to accommodate growth. This past year saw BSI’s commentary services working at NBA All Star, NBA Finals, World Gymnastics Championships, and World Series. The company also provided technical supervision, manpower, and equipment to clients at IAAF World Track & Field in London. With the purchase of Simply Live’s new ViBox system, BSI has been servicing the needs of streaming clients, providing content delivery solutions. 2018 shows no signs of slowing down with multiple Olympic technical management contracts and fiber-optic installation in Korea, as well as technical design and engineering services for the upcoming World Cup in Russia.
From the largest sports match-ups to history-making events, BSI works with its partners to produce compelling content through cutting-edge POV-camera, wireless transmission, and microphone technology. The company’s engineers and operations team are at the leading edge of turnkey custom broadcast solutions. BSI is fully licensed by the FCC for regular broadcast bands and for additional portions of the wireless spectrum for large events and leads the industry in providing the highest-quality and most reliable and robust means of transmission. According to the company, no other broadcast-technology company in the world has BSI’s history and experience. BSI’s reputation is built on its ability to deliver on a wide-ranging set of partner needs. With an in-house team of engineers and experienced manufacturing and support staff, BSI prides itself on a long-standing track record of delivering the best solutions and service.
Founded in 1986, Calhoun is the oldest, continuous, transportable earth-station provider in the U.S. The company has grown significantly throughout the years, always maintaining the highest level of customer service and attention to detail. Calhoun’s inventory includes two dual-dish C-/Ku-band trucks, three Ku-band trucks, one C-band and one Ku-band trailer. Its trucks are housed between Miami and Pittsburgh, giving easy access to a wide geographic area throughout North America. As a gateway to the Caribbean, Calhoun has floated trucks to many Island locations as needed. Specializing in high-profile special events, the company’s mobile units can be seen at major sports and news events throughout the country.
CES provided technical services for the CBS Sports broadcast of 2017 CrossFit Games in Madison, WI, including 2.7 MW of generated power and miles of cable to power the massive site.
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Along with power, CES also provided temperature control for the event site and with the supplemental cooling of the mobile units. Earlier this year, CES exhibited a hybrid twin-pack UPS system at the Game Creek Video reception that has become a fixture in the upcoming fall college-football rotation. This will enable CES the latitude to adapt to any of the stadium-power configurations through UPS technology. Currently, CES is heavily involved in college football for ESPN and Fox Sports and continues to work with broadcasters to design innovative power systems, including expanded use of UPS technology.
CBT Systems is a worldwide broadcast-television and videoproduction design, engineering, and integration firm whose commitment to the industry is demonstrated in its knowledge, experience, and confidence. It has built a reputation for providing systems of the finest quality and performance. The company has completed projects demanding imagination, innovation, and precision. CBT Systems’ combination of skills allows it to provide clients with live event and production facilities unparalleled in the industry. The hallmark of the company’s success is due to the emphasis placed on understanding clients’ programming and operational demands coupled with the development of a first-class system and facility in a timely, efficient, cost-effective manner. CBT Systems is a team of dynamic and dedicated professionals, each with a common set of goals: quality work, personable relationships, and client satisfaction.
In today’s media landscape, where content is king, Chesapeake Systems provides sports and media organizations the storage capabilities and collaborative video-workflow solutions they need. It sees the big picture. The company knows there are scores of individuals involved in shooting, editing, sharing, and archiving tremendous amounts of footage and it needs to be immediately accessible. As an IT-centric media-systems integrator, Chesapeake is prepared to provide the right workflow solution for you. The company’s experience runs the gamut from collegiate sports to the NFL, and it has built strong relationships with many leading hardware and software vendors to help meet all your needs.
CineSys-Oceana specializes in innovative workflow solutions and integration, including storage infrastructures, tiered-storage solutions, archiving, and more. The company’s goal is to provide the highest-quality service with an unmatched variety of solutions. CineSys-Oceana currently works with several sports teams in media storage and media-asset management. The microDDP by Dynamic Drive Pool is a silent, fast, and lightweight Ethernet SAN storage solution that works perfectly for remote production; microDDPs have been used at large sports events, including this year’s MLB All-Star Weekend and All-Star Game.
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Mobile Services Providers
Clark Media provides HD/4K production trucks and broadcastequipment rentals, including custom-built HD, HDR, and 4K production systems. With 4K camera options from Sony, Panasonic, and Ikegami, Clark Media can supply their clients with their gear of choice, including every option out there. 4K switchers, cameras, recorders, lenses, and playback systems all under one roof. Locations in Burbank, CA, and New York allow Clark Media to provide services to clients nationwide. A full-time staff of rental managers, engineers, and production professionals are ready to provide outstanding support for your next project. Thirty years of production experience allows Clark Media to not only provide equipment solutions, but also provide trained video experts to scout, attend preproduction meetings, and be with you on the day of production. Clark Media’s goal is to let its clients concentrate on the big picture while we handle the technical stuff..
CEI is an award-winning consulting, design, systems-integration, equipment-sales, and service company working on venue production facilities, including replay-control rooms, TV- and radiobroadcast booths, stadium sound, broadcast-truck interconnects, concourse sound and displays, super-suite IPTV systems, and fanappreciation technology. Sports-media professionals need the latest digital equipment and expert services they can rely on — and that starts with a proven and affordable service provider. CEI represents more than 500 equipment manufacturers for project integration and direct equipment sales. Send in your equipment for repair to CEI’s Service Depot or have the service engineers visit onsite for field repair and maintenance. CEI is an energetic, highly motivated team, focused on the success of customer’s projects. They welcome the most challenging technical issues of today’s sports-media projects to prove why you can always rely on CEI.
CSMI, a Burbank, CA-based boutique postproduction company, specializes in tapeless workflows for live events and studio-based shows. Providing workflow design, Avid, Apple Final Cut Pro, and EVS rentals, plus on-location support, CMSI rises to any challenge. From sports events to award shows to feature films, CMSI’s expert team can help save your production time and money.
CP Communications’ Wave Central is the preferred RF wireless system for the in-house game-day productions. The company has delivered so many systems to various sports teams within the MLB, NFL, NHL, NBA, and MLS that, chances are, if you’ve been to a ball game, you’ve seen the company’s equipment in action. Wave Central equipment has covered major sports events from the World Series to the Super Bowl and beyond. The company’s clients trust its product’s reliability, and, in the event that something does happen, Wave Central’s sales support is only a phone call away. This is one of the key reasons high-demand customers count on Wave Central being there for them 24/7/365.
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Since 1988, CSP Mobile Productions has provided broadcasters with quality mobile units. From sports and entertainment to large corporate and news events, the company covers the nation from coast to coast, delivering HD productions to ESPN, Fox Sports, CBS Sports, NBC Sports, and more. CSP Mobile’s 53-ft. expando HD1 services the needs primarily of West Coast clients; the 53-ft. expandos HD2 and HD4 and the 53-ft. straight HD3 service those east of the Mississippi. CSP Mobile Productions’ 48-ft. B unit can roll wherever you need it. Over the past three decades, the company has gained the trust and respect of the top networks and production companies in broadcasting and prides itself on providing affordable, well-maintained mobile units with unmatched customer service.
For more than 25 years, Comprehensive Technical Group has been a leader in creation, design, and implementation of integrated technical solutions — including media, entertainment, audio/ visual, and customized production — for sports arenas across the U.S. Currently, CTG is constructing a new control room for Sanford Stadium on the University of Georgia campus to meet the requirements of SEC Network. This will be the third control room that the company has collaborated on and will include equipment from Sony, Ross, and Evertz. These upgrades allow linear productions and non-linear editing from the UGA campus, including being able to support six cameras with additional audio channels. As a business that understands the competitive world of media and entertainment, CTG delivers the technology, the talent, and the tools necessary to be on schedule and ready to go on day one.
Digital Comm Link (DCL) is revolutionizing live-video transport. When every millisecond counts in your live broadcast, rely on Digicaster, DCL’s broadcast-quality global video-transport platform delivering IP, SDI, and ASI transmissions over the public internet at ultra-low latency. The platform is a fully managed point-to-point or point-to-multipoint transport solution, which is also supported by a 24/7/365 Network Operations Center. DCL currently offers services in North and South America, UK, Caribbean, East and Western Europe, Africa, and Asia.
DigitalGlue has more than 25 years’ experience deploying largescale network installations. The company’s continued success results from attention to detail and the use of technology to keep customers constantly informed, and a worldwide network of authorized installers guarantees consistency and quality throughout a large-scale deployment. DigitalGlue relies on the latest web-based systems and tools to provide clients a 24/7 window into their current network build-out status and support history. Its position within the broadcasting industry as a highly skilled, neutral, third party enables clients to take advantage of the broadest possible set of technologies, services, and partners. DigitalGlue’s dedicated team is regarded as agnostic on technology, standards-based, highly flexible, and deeply driven to exceed customer expectations. The company’s Professional Services Organization provides a comprehensive set of industry-specific
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For decades, IMT and Vislink have been at the forefront of advanced video transmission technology for use in professional, scholastic and amateur live sports broadcasting. In 2017 this has continued, with their solutions being featured at a number of high-profile sporting events around the world. Get to know their impressive range of award-winning wireless camera systems (including the world’s first 4K UHD systems with low-latency HEVC compression), drone-ready miniaturized transmitters, and ActionCam body-worn video technology that that helps immerse viewers into the action at live sporting events more than ever before. Find out more at:
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INTEGRATED MEDIA TECHNOLOGIES, INC. (IMT) Integrated Media Technologies, Inc. (IMT) is a consulting, design, and systems integration company that specializes in providing business consulting and TCO models for private, hybrid, and public cloud workflow solutions. Customers rely on IMT to deliver mission critical solutions and services focused on media technologies, storage, asset management, high-performance computing, networking, and 24/7 support. Integrated Media Technologies Inc. (IMT) is a Digital Media and Technology Company with offices in Los Angeles, Silicon Valley and Dallas. IMT serves the Media & Entertainment, Information Technology, Government/ Education, and Healthcare sectors with a broad range of solutions designed to drive new value and efficiencies from technology. IMT’s operations are segmented into three principal businesses: Consulting and Systems Integration Business, Interactive Video, and Localized Media Networks. For further information on Quantum Xcellis and IMT, visit: http://imtglobalinc.com/quantum/?svpage=products_workflow-storage_xcellis
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Mobile Services Providers
application solutions, training programs, and technical-support plans designed to meet customers’ diverse needs.
Amplify the game-day excitement with an unparalleled fan experience. Diversified partners with venues across the country to design and deliver expertly engineered and integrated sound, video, and networked broadcast systems. This first-string lineup of industry experts provides consultation, implementation, and management services supporting every aspect of your communications needs. With an expansive portfolio encompassing large-scale A/V integrations, control rooms, managed networks, sports-network designs/builds, and large-scale mobile units, Diversified has more real-world experience than any other sports-technologies integrator. However, that’s just the tip of the iceberg: as your technology-solutions partner, Diversified guides you through the digital transformation, and its multifaceted expertise extends to IT and networking solutions, structured cabling, mobile connectivity, venue campus SOCs for incident management and surveillance, and much more. See how today’s “smart stadiums” are connecting fans as never before, delivering a truly immersive experience while accelerating ROI.
Truck and mobile-studio provider DNA Studios has announced its newest truck: HD20U, a robust and compact remote–sportsproduction truck that supports five Grass Valley HD cameras, 20-input HD switcher, 32-input digital audio board, and GV Dyno replay. Full Ku-band dual-path uplink provides the most reliable transmission in one truck. HD20U was built to provide regional sports, streaming, and REMI productions. Serving the South and Midwest U.S., DNA Studios provides five production trucks. From a 53-ft. expando for large projects to flypack units and studio space, DNA Studios has you covered.
The name Duncan Video may or may not ring a bell, but, for the folks that make up the regional customer base that the company serves, the name has become very familiar over the past 30 years. From one project to another, Duncan Video builds world-class video systems no matter the scale of design. From houses of worship and the educational/corporate sectors to professional sports arenas, the company takes care of event production with passion. Along with delivering product and practices, it offers the close-to-home spirit other competitors cannot. This past summer, Duncan Video upgraded two ballpark production systems for fans to enjoy beautiful HD video inside the park or through at-home broadcasts. These projects were the perfect opportunity for Duncan to implement leading wireless HD-video–transmission technology, and sports fans, as well as the company’s fans, can expect more of this treatment in 2018.
Canada-based DX3 Media, a media-production–management and consulting company, takes pride in providing out-of-the-box thinking that results in innovative solutions for clients’ projects.
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Its reputation is founded on delivering higher-than-anticipated results and always under the clients’ budget. DX3 Media has a strong network of equipment- and crew-vendor relationships throughout North America. It has experience providing turnkey solutions not only for the smallest productions but also for Host Broadcast Services on major World Cup events and Olympic Games projects. With a wide-ranging client base, which includes international media companies, professional sports organizations, broadcasters, independent production companies, and government agencies, it has the experience and track record of generating cost-effective results for clients.
Encompass is a global media- and entertainment-technology– services company focused on supporting sports leagues, TV networks, broadcasters, and digital leaders with the delivery of linear/nonlinear video content across television and digital platforms. The company designs, implements, and operates reliable solutions that capture, process, and deliver clients’ video content from any source, in any format, to any destination in the most efficient and reliable way possible. Encompass’s global connectivity, scalable technology infrastructure, and strategic partnerships create a single, synchronized content-delivery environment for both traditional and digital delivery. Daily, Encompass services 850+ channels, processes 25,000+ hours of TV/OTT, streams 3,000 hours of TVE/OTT content, and acquires/distributes 250+ live events for its clients worldwide via its nine facilities across four continents. Services include global transmission and connectivity, channel playout, OTT/TVE streaming and VOD, events, and disaster recovery.
Filmwerks is expanding its property with a 14-acre purchase of land, where a 100,000-sq.-ft. building will be constructed to house gear and assets for storage. An increasing UPS and generator fleet, along with structure inventory, contributes to the great level of growth the company is experiencing. The simultaneous expansion of both offerings has proved beneficial as Filmwerks continues to establish itself as a turnkey solution to production. Filmwerks has been present at many large events this year, including the Triple Crown horse races, GMA Concert Series, PGA tournaments, Lockn’ music festival, Stanley Cup Finals, and the US Open tennis tournament. Thursday Night Football and the MLB Postseason are just a couple of projects keeping Filmwerks on track for another successful year.
Earlier this year, Gearhouse Broadcast debuted Columbus, the first U.S. truck to feature a full 4K monitor wall. The new mobile unit has been specifically designed, built, integrated, and finished to the highest standards for 4K and HD sports and entertainment productions. Among its many features are extensive integrated– signal-processing and video-format–conversion capabilities. It is IP-ready and equipped with a secondary control room designed for digital streaming, second language, and external screen control (IMAG). The unit also offers integrated RF and wireless communications capability with a telescopic 50-ft. mast.
TVU MLink TVU MLink increases the dependability of live HD video transmission from your satellite or microwave truck by adding cellular uplink. • Aggregates multiple 3G/4G/LTE cellular modems, satellite, • microwave and WiFi transmission mediums. • Features compact, weather-resistant roof mounted antennas • to ensure the best possible signal strength for vehicles. • Add or remove any data connection without disrupting a • live transmission. • Features TVU's proprietary Inverse StatMux Plus technology • and HEVC compression standard for dependable live HD video • broadcast at latency as low as half-second at 3Mbps. • Rack mount design fits easily in satellite and microwave • trucks and vans.
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Big League Coverage from a Single Camera Stream live HD footage over Wi-Fi® or 4G-LTE! GY-HM200SP. The first of its kind, JVC’s GY-HM200SP is a sports production camera that produces real-time score overlays on recorded or streamed HD video without requiring an external CG or production switcher. The camera makes it easy for one person to shoot the game, record, insert graphics, and stream the production live—all directly from the camera! Input scores from a tablet or directly from the facility’s scoreboard with Scorebot from Sportzcast. The camera comes with graphic layouts for a variety of sports including basketball, football, baseball, volleyball, hockey and more. For schools and organizations with limited equipment and personnel resources, the GY-HM200SP provides an innovative and affordable solution for producing professional-quality, single-camera coverage. To learn more visit pro.jvc.com.
Mobile Services Providers
Globecomm Systems understands the video technology and mission-critical workflows needed for live sports production today — from creation to consumption. Whether designing and building new studio or broadcast projects or deploying end-toend IPTV solutions, Globecomm delivers results to broadcasters, service providers, content creators, and enterprises looking for reliability and value. The company’s media-infrastructure deployments provide full contribution and distribution capabilities, from satellite downlinks and broadcasts to fiber/CDN connectivity, and its managed network services offer service quality and efficient bandwidth utilization through global teleports, satellite terminals, and control systems. Globecomm also provides a wide range of enterprise/IoT, cloud, virtualization, and IPTV solutions and is known for reliability, scalability, and integration with customer networks.
Illumination Dynamics (ID) services live broadcast, film, television, theatrical, and special events providing automated and film lighting equipment, transportation, redundant power systems, technical services, and crew. The company’s main locations are in Los Angeles and Charlotte with additional facilities available from ARRI Rental Company; ID operates nationwide as well as providing lighting services internationally. ID‘s Live Broadcast division is core to the company’s success, providing reliable redundant power, quality lighting design, equipment, and crew to multiple events. ID staff strives to provide a premium service for customers and ID recognizes their loyalty has driven the company’s success. In 2017, ID serviced many diverse events: golf, poker, NFL, college football, MLB, tennis, horse racing, soccer, supercross, boxing, extreme sports, award shows, red carpet shows, and many more. This college football season, ID introduced a new uninterruptable powered supply design providing twin generator back-up power and storage.
IMS Productions is a leader in full-service video production, postproduction, satellite services, studio rentals, and mobile production. Reliability, personalized service, and the ability to cover every facet of the production process continues to drive the company’s client diversification and retention. Its Content Division brought home 11 Telly Awards in 2017. The awards span a wide range of disciplines, skills, and content in editing, cinematography, sound design, documentary, event promotion, and sports categories. In 2017, IMS Productions became responsible for ESPN International’s coverage of the Verizon Indy Car Series. Content enhancements to the world-feed international production included addition of real-time telemetry, redesign of the on-screen data ticker, inclusion of “dual-path” in-car cameras on screen, and more.
IMT’s highly skilled staff of engineers, project managers, and workflow specialists provide scalable technology solutions for
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business operations within the sports and broadcast industry. Clients include sports networks, leagues, teams, and broadcast organizations, its work affecting virtually every aspect of an organization’s operations and future multimedia ROI opportunities. IMT collaborates with clients to design, build, implement, and deploy state-of-the-art file-based workflows allowing broadcastand sports-operations personnel — including editorial, graphics, and postproduction teams — to share and archive content. IMT addresses the following major market sectors: broadcast television, media and entertainment, information technologies (IT), education, and telecommunications. IMT will always design, build, and maintain technology systems that deliver optimum results for its clients.
Kaufman provides satellite and fiber transmission, live studio, production, postproduction, and consulting services. For three decades, the company has supplied television-production services in the Midwest. Centrally located in St. Louis, the company’s HD satellite trucks and engineers travel throughout the region covering sports, breaking news, politics, and corporate events. Kaufman provides management services and consulting for the St. Louis Cardinals and the St. Louis Rams and fiber connectivity throughout St. Louis and in Kansas City.
Formed in 2005, KMH is a full-service systems integrator providing end-to-end solutions to both the broadcast and postproduction environments in the professional-sports, retail, financial, and educational-business segments. The company’s technical experts deliver high-quality, personalized service coupled with broad flexibility in diverse business environments. KMH associates have more than 100 years’ combined experience and offer solutions in turnkey file-based workflow for digital-asset management, project planning/management, architectural design and engineering integration, staging, programming/testing, commissioning, maintenance/support, and systems specification. KMH has strong partnerships with the leading vendors in the high-tech and audio/video spaces. Its clients include the New York Giants and the New York Red Bulls, Philadelphia Union, and other MLS teams.
LH is a reseller specializing in video-storage solutions for the M&E marketplace, including professional and collegiate sports. It offers solutions that provide next-generation storage platforms providing content production, distribution, and archive with the performance and reliability needed to meet extreme production and delivery deadlines. The company offers solutions with proven file systems, optimized for video, in an end-to-end solution from ingest to archive and designed for performance from the ground up and built on the foundation of providing high-performance collaboration to leading post and broadcast organizations. LH has a variety of manufacturers to draw from providing direct attached storage, FC SANs, as
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Mobile Services Providers
well as traditional NAS to meet the demanding needs of your workflow. Trust a partner like LH Computer Services, which has a history of architecting and providing solutions to clients in the NBA, NCAA, and more.
LiveLike gives viewers the opportunity to watch sports in live virtual reality from a “private suite” that mimics a real VIPsuite experience, complete with additional feeds, statistics, and a Jumbotron showing the game’s TV broadcast. With a flexible technology platform and device-agnostic approach, LiveLike is able to create tailored mobile experiences for Gear VR, Google Cardboard, and more. LiveLike is the provider of the Fox Sports VR (NCAA Football, Copa América Centenario, MLS) experience. The company has already broadcast games in partnership with Sky Sports (English Premier League games), Roland Garros (French Open), Manchester City (vs. Arsenal), Sky Germany (Bundesliga), and El Clásico.
Lyon Video provides facilities, equipment, technical management, and crewing for mobile television production for a wide variety of sports and event clients. Its recent investment in UHD and high-speed image-capture equipment continues with deployment of EVS XT4K servers, Fujinon UHD lens, and Grass Valley UHD/high-speed camera equipment. Additional investments in fiber audio- and video-transport equipment are highly advantageous for its customers. Lyon Video has found more and more clients are looking for UHD content, especially in sports and entertainment, where differentiation is key. UHD content provides a better viewing experience in the right circumstances, and Lyon Video is always ready to increase its capabilities to meet client’s needs. Content production is in a real transition period in the industry, which means that Lyon Video often needs to provide multiple formats of HD for multiple clients and now even the option to produce UHD content.
Markertek celebrates its 30th anniversary as premier supplier to sports-video broadcasters. The company offers a complete lineup of 12G/4K infrastructure solutions designed to support the future-ready needs of stadium, arena, and remote sports production. Custom SMPTE, opticalCON, and tactical fiber assemblies are a Markertek specialty. Additional services include custom rack-panel and field-box fabrication as well as traditional media cabling. This complete offering of end-to-end custom interface solutions from a single source provides always-on-air confidence. Contact Markertek to learn about how you can benefit from personalized care and customer-first service. The company is now 100% employee-owned through an employee stock-ownership program. This added incentive becomes a winwin as customers directly benefit from a job well done through timely service and product delivery.
The nation’s leading drone-as-a-service company, Measure provides drone video solutions to enterprise customers. It has pioneered drone applications in telecom, construction, energy, disaster response, and media and entertainment and is bring-
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ing its capabilities to sports broadcasting. Measure Media has drone solutions for live broadcasting, recorded content, VR, 3D mapping, custom activations, performances, and more. Measure leverages its highly trained pilots and experienced camera operators to execute projects in a safe, legal, and insured manner that shows viewers their world from new and exciting perspectives. HD
METROVISION Production Group
Metrovision has been offering domestic and international clients a full spectrum of mobile-production, mobile-satellitetransmission, flypacks, IP-media, and live–event-presentation services across North America since 1988. Along with having a fleet of mobile units and an extensive equipment inventory, the company takes a turnkey, solutions-driven approach, combining technical expertise with strong commitment to customer service.
Creating, managing, and distributing content in a real-time, multiplatform world: the challenges are significant, the options vast. Making informed decisions about technology for your business requires insight and experience. National TeleConsultants provides comprehensive advisory and technology services for a wide range of media enterprises, including sports, news, and general-entertainment channels. NTC’s experience spans multiple disciplines, with practical expertise in supply-chain management for acquisition, production operations, asset management, cloud/virtualization, distribution, cybersecurity, and much more. Some of NTC’s recent engagements have included a cloud- and virtual-playout consultation for a domestic and international multichannel programmer and infrastructure design for an IP-based, MPVD OTT multiplatform service. And, in the past year, NTC also completed a critical study to support adoption of new IP-based technologies for the infrastructure refresh of a prominent news and general-entertainment network.
NextVR is a leading platform for delivering live sports and music in virtual reality to fans globally. Launched in 2009, the company has multiple patented technologies that deliver an unparalleled virtual-reality experience, providing fans extraordinary access and immersion. NextVR has world-class partnerships with leaders in sports and entertainment, including the NFL, NBA, Fox Sports, Live Nation, and the International Champions Cup. NextVR was founded by industry leaders with decades of experience in 3D stereoscopic imaging, compression technology, and VR broadcasting.
Niles Media Group has announced the latest university addition to its fast-growing new business unit, Niles Support. NCAA Division I’s Southern Illinois University (SIU) Carbondale has entered into a dynamic partnership with Niles Support to provide year-round production, engineering, and technical support for the school’s production operation, which is responsible for more than 70 athletic-event productions annually, distributed nationally and internationally across ESPN digital platform,
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Mobile Services Providers
ESPN3. The Niles Support service comes at a fraction of the cost of hiring additional employees or contractors. Southern Illinois University Carbondale is taking the entire suite of Niles Support services: onsite support, virtual engineering, and operations, Niles Connect, Niles Audio, and full HD recording and archiving. SIU joins University of Maryland Baltimore County as early adopters of Niles Support.
full-length curbside expando to allow seating for eight people in production and five in tape. In addition to providing traditional production trucks, Proshow also specializes in designing and providing purpose-built mobile facilities for the growing at-home production methodology.
With a reach of 3,000 cities and 150 countries, PCCW Global’s network comprises a rich portfolio of communications solutions, including more than 20 years’ experience in media and broadcast and work with prime broadcasters for major global sports events. PCCW Global’s end-to-end network solutions, powered by a resilient hybrid global TV network, enables the company to deliver full source-to-screen solutions, including live 4K, anywhere in the world. The company’s expertise ranges from deploying a direct-to-customer OTT service in South Africa, developing a full source-to-screen live 360 VR delivery for one of Hong Kong’s largest sports events, and providing live-streaming connectivity for major esports services worldwide. PCCW Global’s best-ofbreed high-quality, scalable media-delivery solutions are ready to lighten up your media projects and cover your needs, even in the most remote locations.
In 2017, PSSI Global Services, a leader in engineering and event management solutions for live broadcasts, assumed full operation and control of the Pittsburgh International Teleport — now called the PSSI International Teleport (PIT). Also included in this acquisition is the Pittsburgh Videotech Center — now called PIT Studio — a state-of-the-art, full-service studio with domestic and international connectivity. PSSI Global Services also took over management of CNN’s mobile satellite transmission operations and fleet of 16 national uplink trucks, establishing PSSI News Group in the process. Additionally, the company is building CNN’s new fleet of SNG trucks. These acquisitions add to PSSI Global Services’ already expansive capabilities and assets, which include a fleet of more than 70 uplink/production trucks as well as international flyaway systems. The company offers 24/7 service worldwide and specializes in multipath transmissions, at-home productions, 4K transmissions, international and domestic programming distribution, IP services, and beyond.
PRG, a leader in entertainment and event production, specializes in wide-ranging solutions that help bring the world’s greatest creative visions to life. From its early innovations in theater, PRG’s expertise is sought out the world over to solve the unique production challenges of a broad range of markets: live music, corporate events, film and television, theater, and scenic installations. As your production partner, PRG always aims to provide personalized, one-on-one service, but each production is also supported by an incredible behind-the-scenes network of highly skilled technicians, engineers, and innovators.
When you’re in the broadcasting business, you need to cover every angle — both the action on the field and what’s happening on the other end of the lens. You need to find a crew, organize invoicing and travel costs, navigate labor rules and rate cards. Luckily, Program Productions has a solution: the new ProCrewz premier data-management platform for the live-broadcasting and event business. The totally revamped software is simple to use, sleekly designed, and custom-built for standardized, streamlined service to staff and clients. The robust interface is reliable and instant, allowing you to view upcoming jobs, post files, keep track of invoices, contact the crew, and keep everyone in the loop. A successful production may have a lot of variables to cover, but, with ProCrewz from Program Productions, you’re powered by passion from every angle.
b r o a d c a s t
Proshow Broadcast is a mobile-production-unit provider offering six HD units. The company’s flagship Maestro features a
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Raptor Vision is building an integrated solution-driven platform designed to enable the sports and entertainment industry’s desire to better know their customers, serve them better, and allow sponsors to personalize marketing communication with fans. Raptor Vision will allow venues, leagues, sport teams, and promoters to take advantage of the proliferation, collection, and analysis of valuable data to enhanced viewer/fan experiences. Raptor Vision is offering a 360/VR solution in a box with clear deployment and execution support.
Soccer season kicked off in August, just as RCS was wrapping up two new LaunchPad integrations for major sports broadcasters in the UK and Germany. The networks have since used the touchscreen’s extensive feature set to bring fans more compelling stories before, during, and after matches, with real-time analysis and dynamic data-driven graphics providing insight into viewers’ favorite teams and players. A versatile touchscreen graphics-and-analysis solution for sports, LaunchPad is powered by Foundation, RCS’s cloud data service, which automatically culls Opta’s soccer-match data, sorts and organizes the information, and makes it accessible via the touchscreen. Available in any language and easily transportable for remote productions, LaunchPad helps leading networks and leagues, such as Univision Deportes, beIN Sports, SBS Discovery, and MBC Sports, among others, connect fans more closely to soccer. It integrates seamlessly with industry-standard tools, and each system arrives tailored to the client’s aesthetic.
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WORKFLOW Atlanta
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Customize. Integrate. Support. CineSys-Oceana specializes in workflow design and custom integrations, providing our customers with top of the line end to end solutions, including products, installation, training and support. We create solutions tailored to your needs, allowing you to focus on the creative. c inesysoc ea na .co m
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Mobile Services Providers
As a leading provider of live-event freight forwarding and logistics services, Rock-It Cargo combines highly seasoned agents with the most trusted global network in the industry to deliver extraordinary events. The company has spent decades building relationships with the most reliable and accredited cargo agencies around the world to ensure that your shipments arrive safely and on time no matter the location. Handcrafted logistics means that meticulous care is given to every project and personal service to every client. From supply chain management, project coordination, and tour planning to ATA carnet processing, insurance procurement and on-site staff, Rock-It Cargo provides complete logistical support tailored to the specific needs of its customers.
With a new generation of cost-effective, full-service, remote-production vehicles, RMP delivers consistent, high-quality live video and audio content from sports and other events and ensures a predictable production experience and outstanding results — all the time, every time. Built using Ross Video’s innovative openTruck design model, RMP trucks use powerful, compact, best-in-class broadcast systems, from Ross Video and other leading technology vendors, that are highly interoperable and have been designed to work together seamlessly. RMP trucks can stream content to the web at the same time that it’s aired live on TV or recorded for future airing. For clients requiring additional production support, RMP provides a graphics package, scorebug, and full pre/postproduction, covering a variety of sports events: college basketball, college baseball, high school and college football, and live studio remotes from the Super Bowl, The Masters, and more.
Saunders provides its Emmy Award-winning mobile UPS power services to the live-broadcast industry, continuing to propagate its leadership in energy-saving systems. Saunders continues its pursuit of excellence and has provided the highest-quality and most reliable redundant power services to the live sports/ entertainment industries since its establishment in 1952. In 2016, Saunders worked with the SEC Network to develop a small pod size UPS system that is designed to redundantly power an A and B unit video truck, uplink, and a small host stage from a 400A switch at location. In the 2016-17 football season, SEC Network eliminated more than 1,369 hours of generator runtime and 9,583 gallons of diesel fuel, with zero tail-pipe emissions, zero issues, and zero failures. Saunders’s fleet of UPS and paralleling generator options provides the ability to size systems to need and power availability.
For more than 30 years, Southern CA-based SDTV has made its mark as an HDTV production industry leader by offering efficiently sized, full-capability expando vehicles with the latest in KU satellite uplink transmission technologies. By using the versatile HDLA Expandolink, SDTV delivers high-quality services to clients such as Fox Sports West, ESPN, CBS Sports,
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Showtime, and HBO PPV. HDLA Expandolink, a 40-ft hybrid mobile unit, is easily able to completely originate and uplink shows with eight Sony 1500 HD cameras, HD box lenses, fullsized 80-input 3 ME GVG Kayenne switcher, 26 frame syncs, loaded Calrec audio board, two full featured EVS machines, and SpotBox. HDLA Expandolink and its smaller sister truck, HD Link, are easily recognizable throughout the industry for their frequent appearances at red carpet events, football, basketball, boxing, MLB, multi-camera split feeds, and other television broadcast events.
SkyCam once again highlights the U.S. football season with unparalleled coverage. As part of Super Bowl LI on Fox, SkyCam expanded its WildCat technology to include live 1st & Ten and augmented reality in partnership with SMT. In conjunction with Sony, SkyCam was first to debut Sony’s Ultra Motion P-43 camera. In 2016, SkyCam received two patents for its technological advances and a Sports Emmy for remote production as part of CBS’s coverage of Super Bowl 50. In 2017, SkyCam — with partners SMT, Ross, and Vizrt — continued to develop new technologies, including player tracking and next-gen stats, leveraging SkyCam WildCat data to allow broadcasters to insert volumetric augmented-reality graphics in real time. SkyCam, a global leader in aerial cameras, covered more than 250 marquee sports events in 2016 with broadcast partners ESPN/ABC, Fox, CBS, NBC, Turner Sports, PBR, IMS, and BSG.
SmartCart SVX has been a feature of the CBS Sports PGA Tour coverage for the last two years and the company looks forward to working with them again in 2018. For the first time, the IMG production team at the Wimbledon Championships 2017 selected the system for delivery of their live daily Wimbledon Channel and IBM transmissions. SmartCart SVX is delighted to be providing its service to Premier League Productions for this season, beginning with the Tottenham vs. Liverpool match at Wembley Stadium. SmartCart SVX has become synonymous with pitch-side, trackside, and golf course presentation and analysis, delivering greater fan engagement and getting deeper into the live event often with surprise interviews, insights, and video reviews with the stars of each sport. The company provides a turnkey full-service package at a modest cost per event compared to what it adds to the production -- bringing fans closer to the game and telling the story (with great insights and interviews).
SMT’s CameraTracker system is a major technological advance that allows virtual- and augmented-reality graphics to seamlessly appear on-screen. With CameraTracker, operators can work remotely while providing an optical data-tracking system on an aerial broadcast camera to insert live 3D virtual graphics onto the playing field. With SMT’s image-processing algorithms that analyze physical anchors, such as yardage lines, to determine graphics placement, CameraTracker allows faster set times when instrumented cameras are not an option and provides maximum operational flexibility with both upstream and downstream keying-workflow options. SMT demonstrated CameraTracker’s capabilities at NAB 2017, teaming up with longtime broadcast
Get closer. Be remote. High-quality local content holds the key to a loyal local audience. But you can’t be everywhere. Remote production or at-home production, means you don’t need to. Send your cameras where the action is, and the feed where your production is. Read more at netinsight.net/solutions/remote-production/
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Mobile Services Providers
partners Brainstorm and SkyCam to show how to virtually insert commentators in real time from a remote, green-screen environment into a live production alongside virtual-3D statistical player graphics, a feat that showcases the potential of REMI production for the broadcast industry.
sonoVTS provides complete application-specific packages for broadcast and professional video and audio companies, including designing and integrating production vans, broadcasting studios, and events for fixed installations or mobile applications. The company offers system design and integration, equipment rental and operation, service and consulting, and distribution of professional broadcast products. sonoVTS also manufactures the successful broadcast display product lines hd2line and Q-Series.
SOS Global charters many flights each year, from 747s to small prop planes, on behalf of its customers. In 2017, the team successfully handled the 2017 FIFA Confederations Cup, ongoing deliveries for the 2018 Olympics in Korea, U.S. Presidential visits to the Middle East and Europe, Super Bowl LI, all Open tennis tournaments, the Worldwide WTA tour, and many other events. SOS Global combined teams in the U.S., UK, Germany, and Russia continue to coordinate activities around major events worldwide. SOS Global teams are preparing for the 2018 World Cup in Russia, the 2018 Korea Winter Olympics, and the 2018 Commonwealth Games in Australia. Planning for all these events include in-country teams, charter flights, and turnkey budgeting, planning, and execution that customers routinely expect of SOS Global.
TNDV: Television is entering its 15th year in business. Having just launched its eighth mobile unit, Exclamation, it easily exceeded 300 remote productions in 2017. From double-expando 4K-capable trucks to a small but powerful 26-ft. HD unit, TNDV has the inventory. The company handles projects from small single-camera productions to multimillion-dollar international TV events and builds custom solutions for challenging productions of any size in any situation. Client accolades confirm that TNDV’s engineering staff is customer-service– focused, always going beyond the call of duty. Recent projects include 12 stops on the Powershares Tennis tour, the RE/MAX Long Drive Challenge on ESPN, and all of the live concert productions at the NCAA Final Four. TNDV also provides HD facilities for NCAA fencing, tennis, golf, and cross-country championships.
The Switch’s Mobile FiveNines brings high-bandwidth, redundant, and diverse service offerings to previously unserved places.
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Each 22-ft. trailer is equipped with a Net Insight Nimbra 680 platform, fully redundant trunk interface, and video and Ethernet interface cards, as well as redundant switch and node controllers. Each trailer can handle a minimum of eight inbound/outbound video or ASI paths and up to 16 Ethernet or internet connections. Trailers also feature monitoring and outboard test equipment. They are equipped with a Honda Eu7000is gasoline generator, true-sine-wave output, and remote start and auto-transfer, powering three APC 3000VA uninterruptible power supplies. Trailers also feature two 1,000-ft. spools of TAC-8 fiber, four pairs of 3G-SDI Telecast Rattlers, three 200-ft. spools of Belden 1694A RG-6 coax cable, and two 200-ft. spools of dual Belden 2412 Cat 6 Ethernet cable.
Working with top Canadian companies Rogers Media and Dome Productions, Unity supported the end-to-end design and integration of live 4K (UHD) broadcasting in 2017. Dome launched its latest mobile, Vista, with Unity — the third 4K truck launched in Canada since the beginning of 2016. While Vista was being completed, Unity researched IP solutions for Rogers Media’s upcoming Master Control project in Toronto. South of the border, Unity has been working with Syracuse University to expand the school’s venue infrastructure in anticipation of the ESPN ACC Network launch in 2019. Whatever you need, Unity will bring your broadcast vision to life.
VER is a leading global provider of sports-production equipment and engineering solutions. With the world’s largest inventory of rental equipment, VER supplies the most advanced technology to a broad array of clients in the corporate, TV, cinema, events, and broadcast markets. Clients rely on VER’s depth of experience in audio, video, lighting, LED, cameras, rigging, media servers, fiber, and more. With 35 offices across North America and Europe, 24/7 support, and unparalleled expertise, the skilled team at VER can support any live or taped production anywhere in the world.
In 2017, VISTA produced more than 300 live REMI sports events at its South Florida facility and integrated graphics, commercials, interstitials, announcers, and languages into more than 2,000 live sports productions. VISTA expanded its capabilities this year, bringing its total number of control rooms to 17 and announce booths to 10. VISTA’s strategic partnership with Tata Communications enables for continued growth, with VISTA integrating robust, broadcast-quality IP transportation into its long list of solution offerings, which empower leagues and conferences of all sizes to professionally produce, transmit, and deliver live events around the world. VISTA continues to embrace emerging technologies, bridging traditional broadcast with digital production-distribution solutions, allowing content to be enjoyed everywhere.
The World’s Media Globalizer
We work with leading sports agencies, organizations and broadcasters to shape premium sports content into the ultimate viewer experience anytime, anywhere, on any device.
Visit: www.mx1.com Mx1.com
The world is our stage For nearly four decades Rock-it Cargo has been the leading freight forwarder and global logistics concierge for music, theater, sports, corporate events and special projects.
We provide customized logistics solutions through a dedicated global network and most experienced team to meet your needs.
rockitcargo.com
Experience. Delivered.
Hundreds of Channels. Multiple Platforms. One Compact Virtualized Solution. Globecomm Vector is a Virtualized Video Headend that simplifies the processing, packaging and customization of video content for multi-platform delivery across DTH, OTT, IPTV, cable and terrestrial TV. SM
Scalable to hundreds of channels, Vector’s IP-centric platform leverages Globecomm’s robust satellite, IP and fiber content delivery networks and the company’s extensive experience with design and integration of media infrastructure. Vector replaces the need for the traditional data center with a compact solution that significantly reduces rack space, cabling and power. Whether hosted on Globecomm’s cloud network or implemented at a customer site, each system is designed with Globecomm’s hallmark resiliency offering high availability. •
Simplified video processing, packaging and customization
•
IP-centric solution DTH, OTT, IPTV, cable & terrestrial TV content delivery
•
Scalable to hundreds of channels
•
Hosted on Globecomm’s network or implemented at a customer site
•
Designed with Globecomm’s hallmark resiliency offering near-zero downtime
•
Cost-effective, compact solution significantly reduces rack space, cabling, power and operational constraints.
The Smartest Connectivity. Anyone to Anything, Anywhere.
www.globecomm.com
Courtesy of
VENDOR SERVICES
Directory The SVG Mobile Sports Production Yearbook has again partnered with ProductionHUB to offer a comprehensive directory for those in search of crew services, generators, mobileproduction units, and satellite trucks. ProductionHUB.com, a respected online resource, lists not only the vendors covered here but also a wealth of other production-services companies as well. The site also boasts one of the
top job boards in the industry, a valuable tool for freelancers seeking work and for today’s growing number of sports networks and content creators. Feel free to use the state-by-state U.S. services directory here as a starting point for finding the providers that best meet your needs, but also be sure to visit ProductionHUB.com for the most up-to-date information on potential suppliers and service providers.
MOBILE SPORTS PRODUCTION YEARBOOK 2018
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Crew Services CITY
NAME
WEBSITE
PHONE
Birmingham
Crewsouth
www.crewsouth.com
(205) 862-4271
ARIZONA
Phoenix
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Phoenix
Burke Brothers Productions LLC
www.BBPTV.com
(602) 321-0398
Phoenix
Guardian Production Services
www.guardianproductionservices.com
(602) 296-7993
Phoenix
High End Labor Pool
www.highendlaborpool.com
(602) 225-2454
Phoenix
Phoenix Production Services
www.filmwithpps.com
(480) 717-4117
Phoenix
Reel Men
www.reelmen.com
(602) 286-6800
Alta Loma
Intramedia Associates, LLC / LocalCrew.tv
www.localcrew.tv
(909) 980-4033
Beverly Hills
Snakebyte Productions and Entertainment Group, LLC
www.snakebyteproductions.com
(855) 228-6478
Burbank
Broadcast Management Group
www.broadcastmgmt.com
(310) 807-4635
Los Angeles
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Los Angeles
Somar Films & Productions
www.somarproductions.com
(888) 533-3396
San Diego
Calabria Lighting and Grip
www.calabrialightingandgrip.com
(760) 692-7915
San Diego
Crystal Pyramid Productions
www.crystalpyramid.com
(619) 644-3000
San Francisco
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Sherman Oaks
Wintech Video
www.wintechvideo.com
(818) 501-6565
Venice
Stellarhead
www.stellarhead.com
(646) 382-8408
Colorado Springs
Film Hardware, LLC
www.filmhardware.com
(719) 888-9902
Denver
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Golden
Crew Connection
www.crewconnection.com
(303) 526-4900
CONNECTICUT
Hartford
FastLights - Hartford, CT
www.FastLights.com
(855) 922-5600
DISTRICT OF COLUMBIA
Washington
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Washington
Beverly Boy Productions - Washington, DC
www.beverlyboy.com/production-hub
(202) 448-2886
Washington
Broadcast Management Group
www.broadcastmgmt.com
(202) 609-7757
Washington
DB Media Productions
www.db-mediaproductions.com
(202) 467-2793
Washington
I.A.T.S.E. Local 22
www.iatselocal22.com
(202) 269-0212
Washington
Optix Creative
www.optixcreative.com
(202) 253-2900
Vendor Services Directory
Courtesy of
STATE ALABAMA
CALIFORNIA
COLORADO
Washington
The Camera 1 Group
www.thecamera1group.com
(301) 252-1010
Boynton Beach
SFL Media Group
www.sflmediagroup.com
(954) 641-8506
Bradenton
Video Crews FLA
www.videocrewsfla.com
(914) 474-7539
Hollywood
Jolly Roger Images, Inc.
www.jollyrogerimages.com
(954) 658-3332
Lake Mary
Skystorm Productions
www.skystorm.com
(407) 328-4747
Lake Park
All Ways Entertainment
www.allwaystv.com/production-hub
(954) 444-8899
Lakeland
Crew West, Inc. / Satellink Communication Service
www.crewwestinc.com/sat-west
(888) 444-2739
Melbourne
David Waters Productions, LLC
www.facebook.com/davidwatersproductions
(321) 525-1290
Miami
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Miami
Stonehenge Circle
www.stonehengecircle.com
(786) 344-3142
Miami
Unique Producers Service Grip & Lighting Rental
www.uniqueproducers.com
(305) 681-7627
Orlando
Beverly Boy Productions - Orlando, FL
www.beverlyboy.com/production-hub
(888) 462-7808
St. Petersburg
Island Girl Locations And Productions
www.ISLGRLPRO.com
(239) 349-1415
Atlanta
6 STRONG MEDIA: Atlanta
www.6strongmedia.com
(800) 390-1621
Atlanta
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Atlanta
Beverly Boy Productions - Atlanta, GA
wwwbeverlyboy.com/production-hub
(404) 474-3883
Atlanta
Gold Crews
www.goldcrews.com
(800) 882-7397
Atlanta
Swirl Films / Rentals
www.swirlfilms.com
(910) 798-2934
HAWAII
Honolulu
Hawaii Camera Rental
www.hawaiicamera.com
(808) 735-3838
Honolulu
Salt and Air Studios
www.saltnairstudios.com
(808) 892-3500
IDAHO
Nampa
Chris Wade Media
www.chriswademedia.com
(208) 850-0400
ILLINOIS
Carol Stream
Visions of Light Chicago
www.visionsoflight.com
(312) 829-8244
Chicago
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Chicago
Beverly Boy Productions - Chicago, IL
www.beverlyboy.com/production-hub
(888) 462-7808
Chicago
Broadcast Management Group
www.broadcastmgmt.com
(312) 586-7366
FLORIDA
GEORGIA
ILLINOIS
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MOBILE SPORTS PRODUCTION YEARBOOK 2018
*All information is subject to change. For the most current contact information, please visit www.productionhub.com
Creation of VoD Highlights
Delivery to Multiple OTT Platforms
Integrated Data and Video with Live Cataloging
Live Transcoding and Streaming
To know how PFT’s flagship product CLEARTM can help you, write to
info@primefocustechnologies.com
The Azzurro Group provides turnkey systems integration and fully managed video transport services for all Major Sports Leagues. We are also proud to feature AzzurroCam, a customizable remote studio technology providing limitless opportunities for producing cost effective on-air content. Call us today to learn more about Azzurro’s full range of products & services.
Azzurro Group • 100 Stonehurst Court • Northvale, NJ 07647 • (201) 767.0850 • www.azzurrohd.com
STATE
CITY
NAME
WEBSITE
PHONE
ILLINOIS
Chicago
Complete Crewing
www.completecrewing.com
(773) 645-2000
Grayslake
Clarion - Chicago
INDIANA
Indianapolis
Beverly Boy Productions - Indianapolis
www.beverlyboy.com/production-hub
(888) 462-7808
IOWA
Des Moines
Beverly Boy Productions - Des Moines
www.beverlyboy.com/videographers-usa
(888) 462-7808
LOUISIANA
New Orleans
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
New Orleans
Beverly Boy Productions - New Orleans
www.beverlyboy.com/production-hub
(888) 462-7808
MAINE
Poland
FastLights - Portland, ME
www.FastLights.com
(855) 922-5600
MASSACHUSETTS
Boston
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Boston
Beverly Boy Productions - Boston, MA
www.videoproductioncompanyboston.com
(617) 314-9267
Boston
FastLights - Boston, MA
www.fastlights.com
(855) 922-5600
Boston
PixMix Video Services
www.pixmix.net
(617) 254-0590
Hudson
StoneMedia Productions
www.stonemediapros.com
(978) 568-1200
Newton
Green Line Group
www.glgtv.com
(617) 663-5240
MICHIGAN
Detroit
Beverly Boy Productions - Detroit
www.beverlyboy.com/production-hub
(313) 879-1228
MINNESOTA
Minneapolis
Beverly Boy Productions - Minneapolis
www.beverlyboy.com/production-hub
(888) 462-7808
MISSOURI
Branson
jackson+appleton
www.youtube.com/jacksonappleton
(417) 294-0711
St. Louis
Beverly Boy Productions - St. Louis, MO
www.beverlyboy.com/production-hub
(888) 462-7808
Las Vegas
Avenger Productions, Inc.
www.avengerproductions.com
(702) 655-3339
Las Vegas
Carafelli Productions
www.carafelliproductions.com
(702) 525-1129
Las Vegas
JCS Broadcast Video Productions
www.jcsvideo.com
(800) 791-8671
Las Vegas
Quantum Arc Media
www.quantumarcmedia.com
(702) 588-4856
NEW HAMPSHIRE Concord
FastLights - New Hampshire
www.fastlights.com
(855) 922-5600
NEW JERSEY
Jersey City
Beverly Boy Productions - New Jersey
www.beverlyboy.com/production-hub
(201) 297-1610
NEW YORK
Albany
FastLights - Albany / Upstate NY
www.fastlights.com
(855) 922-5600
Buffalo
Odessa Pictures, Inc.
www.odessapictures.com
(716) 316-6710
Kings Park
Jammin Design Productions
www.jammindesignproductions.com
(631) 292-9632
New York
Studio 253 NYC @ E.C. Pro Video
www.studio253nyc.com
(212) 333-5570
New York
The People’s DP Inc.
www.thepeoplesdp.com
(646) 415-7782
New York
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
New York
Atlantic Television
www.atlantictv.com
(212) 625-9327
New York
Beverly Boy Productions - New York, NY
www.beverlyboy.com/production-hub
(646) 448-8787
New York
Broadcast Management Group
www.broadcastmgmt.com
(212) 784-6020
New York
Filmwerk Media
www.filmwerk.tv
(212) 645-6668
New York
Jeff Turick
www.NewYorkDirectorofPhotography.com
(917) 817-8721
New York
Man With A Cam, Inc.
www.manwithacam.org
(646) 688-3447
New York
Mobile Video Productions
www.mobilevideonyc.com
(212) 924-9616
New York
NBTV Studios
www.nbtvinc.com
(646) 277-4900
New York
New York Video Crews
www.newyorkvideocrews.com
(888) 858-8625
NORTH CAROLINA Charlotte
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Matthews
Production Management Specialist
www.productionmanagementspecialists.com (803) 228-0271
Raleigh
Beverly Boy Productions - North Carolina
www.beverlyboy.com/production-hub
(888) 462-7808
Wilmington
Shutter Blade Media
www.shutterblademedia.com
(540) 529-5941
Cleveland
Assignment Desk, Inc.
www.assignmentdesk.com/#about
(800) 959-3375
Columbus
Ohio HD Video
www.ohiohdvideo.com
(614) 656-1162
Mansfield
Beverly Boy Productions - Ohio
www.beverlyboy.com/production-hub
(888) 462-7808
OKLAHOMA
Oklahoma City
Oklahoma Film Commission
www.ok.gov/oklahomafilm
(918) 645-0127
OREGON
Portland
Doug Birnbaum Photography
www.DougBirnbaum.com
(949) 205-9980
Portland
Picture This Production Services
www.pixthis.com
(503) 235-3456
Portland
Portland Film Company
www.facebook.com/PortlandFilmCompany
(503) 732-0515
Portland
ROSTER
www.rosterreps.com
(503) 381-2067
Clifton Heights
TheCrewStore
www.thecrewstore.com
(484) 688-0142
Conshohocken
Wonderful Machine
www.wonderfulmachine.com
(610) 260-0200
NEVADA
Vendor Services Directory
Courtesy of
Crew Services
OHIO
PENNSYLVANIA
192
MOBILE SPORTS PRODUCTION YEARBOOK 2018
(847) 543-1188
*All information is subject to change. For the most current contact information, please visit www.productionhub.com
The End Is Near. Are you ready for the FCC Repack?
Pliant Technologies has an affordable, simple to use solution. ®
CrewCom® is a perfect replacement for your existing UHF wireless intercom system. It’s a license-free solution with superior voice quality and wireless range comparable or better than UHF in most cases. It’s also incredibly easy to set up with no frequency coordination required. CrewCom is flexible and simple enough for throw-down applications or can expand for operation in the largest venues around the world. The end of UHF intercom is near, but the future of professional wireless intercom is here now!
i n t e r c o m
E v o l v e d
plianttech nologies.co m 2.4GHz for worldwide operation. 900MHz for North America operation. B o t h b a n d s c a n b e u s e d s i m u l t a n e o u s l y. C o p y r i g h t © 2 0 1 7 P l i a n t Te c h n o l o g i e s , L L C . A l l r i g h t s r e s e r v e d . A S V G 1 7
History making television since 1981
Aerials - HD Wireless - Communications - POV Cameras - RF Support Trucks
www.aerialvideo.com
818.954.8842
one moment, please... sorry, in sports it doesn’t work that way
LSU Control Room
Recent projects include: • US Bank Stadium 4K/HD Control Room • SunTrust Park HD Control Room • LSU HD Production Facility US Bank Stadium 4K/HD Control Room
• Ford Field HD Control Room • MN Vikings HD Production Facility
You don’t get to pause the action to capture a game highlight. That’s why for over 40 years, we’ve designed and integrated video and audio systems that meet the unique challenges of our sports clients. No matter what the application or venue, our mission-critical solutions stand ready for anything.
Solutions we offer: • HD Production Control Rooms • ESPN 3 Production Systems • HD Production Studios • Edit, Asset Management & Archiving • IPTV & Digital Signage • Venue Sound Systems • Broadcast Infrastructure
SPORTS & ENTERTAINMENT GROUP
• Team Facility A/V Solutions
800.388.0008 | info@alphavideosports.com | www.alphavideosports.com
Vendor Services Directory
Courtesy of
Crew Services STATE
CITY
NAME
WEBSITE
PHONE
PENNSYLVANIA
Philadelphia
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Philadelphia
Total Production Services
www.tpsweb.com
(888) 877-1178
Pittsburgh
Beverly Boy Productions - Pittsburgh
www.beverlyboy.com/production-hub
(412) 212-1330
Pittsburgh
Smitten Productions
www.smittenproductions.net
(412) 716-4087
RHODE ISLAND
Providence
FastLights - Providence, Rhode Island
www.fastlights.com
(855) 922-5600
TENNESSEE
Chattanooga
6 STRONG MEDIA
www.6strongmedia.com
(423) 414-2313
Nashville
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Nashville
Beverly Boy Productions - Nashville
www.beverlyboy.com/production-hub
(888) 462-7808
Nashville
Dace & Mohr
www.daceandmohr.com
(615) 473-8710
Austin
Beverly Boy Productions - Austin, TX
www.beverlyboy.com/production-hub
(888) 462-7808
Austin
Earl Miller Productions Inc
www.earlmillerproductions.com
(512) 458-4343
Dallas
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Houston
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Houston
Beverly Boy Productions - Houston, TX
www.beverlyboy.com/production-hub
(888) 462-7808
UTAH
Salt Lake City
Fiftyfilms
www.fiftyfilms.com
(801) 875-8049
VERMONT
Burlington
FastLights - Burlington, VT
www.fastlights.com
(855) 922-5600
VIRGINIA
Charlottesville
The Camera 1 Group
www.thecamera1group.com
(301) 252-1010
Richmond
Beverly Boy Productions - Richmond, VA
www.beverlyboy.com/production-hub
(888) 462-7808
TEXAS
WASHINGTON
WISCONSIN
Richmond
The Camera 1 Group
www.thecamera1group.com
(301) 252-1010
Seattle
Assignment Desk, Inc.
www.assignmentdesk.com
(800) 959-3375
Seattle
LDM Worldwide Productions
www.ldmworldwide.com
(206) 463-1902
Spokane
Spokane Grip and Lighting
www.spokanegripandlighting.com
(509) 328-7200
Madison
Grassland Media, Inc.
www.grasslandmedia.com
(608) 238-7575
Generators
198
STATE
CITY
NAME
WEBSITE
PHONE
ARIZONA
Mesa
Sound Lighting F/X
www.soundlightingfx.com
(602) 722-0783
Phoenix
Reel Men
www.reelmen.com
(602) 286-6800
Phoenix
United Rentals - Phoenix
www.ur.com
(623) 850-5100
Tucson
H & E Equipment Services
www.he-equipment.com
(520) 770-1120
ARKANSAS
Mena
Laark Honeywagons
www.laarkhoneywagons.com
(818) 516-6474
CALIFORNIA
Burbank
AC Power Distribution, Inc.
www.acpowerdistribution.com
(818) 848-4004
Burbank
Skye Rentals
www.skyerentals.com
(323) 462-5934
Burbank
United Rentals - Burbank
www.ur.com
(818) 842-5288
Calabasas
Studio Air Conditioning Rentals
www.studioairconditioning.com
(818) 222-4143
Carson
Multiquip Inc.
www.multiquip.com
(800) 421-1244
Chatsworth
Cinerep International, Inc.
www.cinerepamps.com
(818) 882-2677
Compton
CAT Entertainment Services
www.es-cat.com
(866) 762-5228
Culver City
La Brea Air, Inc.
www.labrearentals.com
(800) 452-2732
Granada Hills
Light It Up - Grip and Lighting Truck Rentals
www.LightitupLA.com
(818) 679-4321
Los Angeles
Aggreko
www.us.aggreko.com
(770) 315-9879
Los Angeles
CFG - Grip Truck and Lighting Rental in LA
www.CFGRentals.com
(323) 977-8520
North Hollywood
Star Power Generators
www.starpowergenerators.com
(818) 982-2200
Paramount
Location Air
www.locationair.tv
(855) 444-4757
Placentia
Temp Power Systems
www.temppower.com
(800) 748-6997
Richmond
Top Productions
www.top-productions.com
(415) 332-3005
San Diego
Andrus Lighting and Grip
www.andruslighting.com/Andrus_Grip/ crew.html
(619) 521-0585
San Fernando
Illumination Dynamics
www.illuminationdynamics.com
(818) 686-6400
San Francisco
Cresco Production Express
www.crescorent.com
(415) 920-2801
MOBILE SPORTS PRODUCTION YEARBOOK 2018
*All information is subject to change. For the most current contact information, please visit www.productionhub.com
Supplying and supporting high-end wireless systems for live and broadcast events since 1992.
Rental | Services | Products | Sales AKG | beyerdynamic | Clear-Com | Comtek | Countryman | DPA | HME | IAS Software | Lectrosonics Masque Sound | Pelican | Professional Wireless | Q5X | Radio Active Designs | Sennheiser | Shure | Telex
Professional Wireless Systems specializes in developing new gear and delivering advanced solutions for events and productions that continue to increase their demand for and use of RF equipment.
www.professionalwireless.com
Reseller Specializing in Video Storage Solutions
PROVIDING
Media • Entertainment • Sports n Next Generation storage platforms n Content production n Distribution n Archive n Performance and reliability n Focused on extreme production and delivery deadlines. n Proven File Systems n Optimized for Video n End–to–end solution from ingest to archive. n Designed for performance from the ground up n Built on the foundation of high-performance collaboration n Clients include leading post and broadcast organizations n Proven history of providing solutions to clients in both the NBA®, NCAA® and more
Data Storage Solutions Purpose Built to Handle the Demanding Performance of HD, 4K, 8K and Beyond
Scalable Solutions to handle all Workflows from Ingest to Edit to Streaming to Archive
LH COMPUTER SERVICES Doug Cole • DCOLE@LHCOMP.COM • www.LHcomp.com • 954.648.0171
2017 VR STARTUP OF THE YEAR
THE BEST LIVE SPORTS VIEWING EXPERIENCE IN VR, MOBILE & TABLET
THE BSI HAT TRICK
Great Shot. Great Production. Great Experience.
From home ice to home entertainment, BSI offers the very best in technical production, consulting and engineering services for major sporting events around the world. First, we capture the action. Second, we broadcast every pixel of it. Third, we bring it all home for the ultimate viewing experience. With 21 Emmys to our credit, it’s easy to see why over 20 Olympic games, 19 NBA Finals and 27 Masters tournaments have counted on BSI to deliver the “hat trick” of sportscasting excellence – with experienced production, top engineering and the right equipment.
Find out how we can deliver for you at www.bsi-tv.com
905.332.2171 | www.bsi-tv.com
STATE
CITY
NAME
WEBSITE
PHONE
CALIFORNIA
Sun Valley
DADCO, LLC
www.dadcopowerandlights.com
(818) 768-8886
Sylmar
Hollywood Rentals - Los Angeles
www.hollywoodrentals.com
(800) 233-7830
West Hills
Conjunction, LLC
www.conjunctionentertainment.com
(310) 385-8459
COLORADO
Littleton
Lighting Services Inc.
www.lsidenver.com
(303) 722-4747
CONNECTICUT
Hartford
FastLights - Hartford, CT
www.FastLights.com
(855) 922-5600
FLORIDA
Clearwater
Command Corp
www.cmnd.com
(727) 560-0134
Dania
EmPower Corporation
www.empowergenerators.net
(954) 922-3800
Fort Lauderdale
Garrett Sound & Lighting
www.garrettsound.com
(954) 777-3277
Fort Lauderdale
Marty’s Grip and Lighting Inc.
www.griptrucks.com
(561) 440-3659
Fort Lauderdale
Production Power & Air
www.productionpowerandair.com
(954) 739-2468
Fort Lauderdale
Production Toolbox Services
www.productiontoolbox.com
(954) 463-4820
Hollywood
Rental Stages
www.RentalStages.com
(954) 989-8898
Hollywood
Sidram Power
www.sidrampower.com
(954) 989-8898
Miami
Americas Generators
www.gopower.com
(800) 434-0003
Miami
Megawattage
www.megawattage.com
(954) 302-3565
Miami
Unique Producers Service Grip & Lighting Rental
www.uniqueproducers.com
(305) 681-7627
Opa Locka
MAGIC II Lighting and Grip
www.magic2lighting.com
(305) 685-1811
Orlando
CAT Entertainment Services
www.es-cat.com
(877) 228-2852
Orlando
First Call Location Coach Rentals
www.firstcallcoach.com
(407) 832-2606
Orlando
Hollywood Rentals - Orlando
www.hollywoodrentals.com
(407) 852-0164
Pinellas Park
First Unit Production Services
www.firstunit.com
(727) 522-2203
St. Augustine
CAT Entertainment Services
www.es-cat.com
(877) 228-2852
Vendor Services Directory
Courtesy of
Generators
GEORGIA
Atlanta
BigCity Leasing & Production Equipment, LLC
www.bigcityleasing.com
(678) 922-2490
Atlanta
Hertz Energy Services
www.hertzequip.com
(678) 848-5996
Savannah
Ross SysCon
www.rosssyscon.com
(912) 238-5800
ILLINOIS
Carol Stream
Visions of Light Chicago
www.visionsoflight.com
(312) 829-8244
INDIANA
Indianapolis
Hammer Lighting & Grip
www.hammergrip.tv
(404) 351-5920
IOWA
Alta
Gull Wing Industries, Inc.
www.gull-wing.com
(800) 838-1482
Oskaloosa
Musco Lighting
www.musco.com
(800) 825-6030
KANSAS
Kansas City
Lights On Kansas City
www.lightson.com/rental/kansascity
(913) 362-6940
Overland Park
Prime Light, Inc.
www.paddock.com/primelight
(913) 226-0849
KENTUCKY
Louisville
Red Star Pictures
www.redstarpictures.com
(855) 522-5272
Baton Rouge
Digital FX, Inc.
www.digitalfx.tv
(888) 898-6010
New Orleans
Available Lighting Inc.
www.availablelighting.com
(504) 831-5214
New Orleans
Center Staging, Inc.
www.centerstaging.net
(504) 247-0020
New Orleans
Nola Film Logistics, LLC
www.nolafl.com
(504) 309-6612
New Orleans
Silver Screen Supply
www.silverscreensupplies.com
(504) 737-0555
MAINE
Poland
FastLights - Portland, ME
www.FastLights.com
(855) 922-5600
MARYLAND
Baltimore
Plus One Rentals
www.plusonerentals.com
(410) 279-5344
MASSACHUSETTS
Boston
FastLights - Boston, MA
www.fastlights.com
(855) 922-5600
Devens
New England Studios
content.nestudios.com/filmnestudios?utm_campaign=Variety411&utm_ (978) 615-5500 medium=Profile&utm_ source=Production%20Hub
West Bridgewater
Equipment 4 Rent
www.equipment4rent.net
(508) 583-5500
LOUISIANA
204
Woburn
Kaye Lites, Inc.
www.kayelites.com
(781) 932-0005
MICHIGAN
Detroit
Great Lakes Michigan Crane
www.michigancrane.com
(313) 365-1800
MINNESOTA
Brooklyn Park
Broadway Rental Equipment Company
www.broadwayrental.com
(763) 533-1680
MISSOURI
St. Louis
CK Power Products
www.ckpower.com
(314) 868-8620
NEVADA
Reno
United Rentals - Reno
www.ur.com
(775) 348-0140
NEW HAMPSHIRE
Concord
FastLights - New Hampshire
www.fastlights.com
(855) 922-5600
NEW JERSEY
Farmingdale
Risco Inc.
www.riscorv.com
(732) 872-7722
Piscataway
CAT Entertainment Services
www.es-cat.com
(908) 272-8400
MOBILE SPORTS PRODUCTION YEARBOOK 2018
*All information is subject to change. For the most current contact information, please visit www.productionhub.com
Q5X
速
Wireless Audio Solutions
Put an audio spotlight on your stars PlayerMic AquaMic RefMic
速
速
速
Used by professional sports teams worldwide www.Q5X.com
W W W. T H I N K L O G I C A L . C O M
O N E W OR KS TAT IO N
MULTIPLE USES EDITING
R E P L AY
GRAPHICS
AUDIO
Reconfigure a Workstation with a Single Keystroke Extend and Switch Uncompressed 4K Video @ 60Hz 4:4:4 Scalable, Modular, Future-Proof Hybrid 10G System Reduce Infrastructure and Lower Total Cost of Ownership
TLX: Available with Fiber, CATx or Hybrid Connectivity
“Any-to-Any” Flexibility for Mobile Sports Production Trucks
THE ONLY KVM capable of extending and switching UNCOMPRESSED 4K@60Hz 4:4:4 Video, KVM and USB with no added latency,and smooth control surface performance.
TLX is the first KVM system in the market capable of extending and switching uncompressed 4K and Ultra High Definition video at full resolution and color depth (up to 4096 x 2160 resolution, 4:4:4 color depth) and full 60Hz frame rate, using only two fiber-optic or CATx cables. With the lowest signal latency in the industry (microseconds, vs. milliseconds for compressed solutions), TLX offers precise pixel-for-pixel transmission and distribution of 4K/UHD video and computer peripherals with no visual artifacts, jitter or lost frames.
CBT Systems is a broadcast television and video productions facility design, engineering, and integration firm whose commitment to the industry has been demonstrated time and again over 19 years of business. CBT Systems has built a reputation for providing systems of the finest quality and performance by completing projects demanding imagination, innovation, and precision. CBT Systems is a pioneer in the concept of Advanced Systems Integration, using the knowledge gained in building state-of-the-art facilities to conceive hardware and software solutions to glue rapidly advancing sub-system technologies together. Use CBT Systems to consult at the conception of your project to assist in facilities and site evaluation, to create advanced technical specifications and documentation, to conduct efficient and accurate systems installation.
ADVANCED SYSTEMS INTEGRATION Broadcast and Video Production facilities are far from plug and play. Integration is more than hooking up boxes with traditional cable and connectors, but rather the melding together of advanced hardware and software technologies to make the user interfaces intuitive to learn, and easy to use. CBT Systems embraces the philosophy of constant evaluation of products and solutions to select the correct systems for your application. Visit us at cbtsystems.tv to view our Project Portfolio.
Let everyone know you are “ON-AIR� with a CBT Systems classic ON-AIR Light. Custom Legends Available Power Requirement: 120V AC, 24/12V AC/DC Optional LED Lighting Mounts on a Single/Double Gang J-Box or Wall Dimensions - 14 1/4" H x 2 5/8" W x 4" D Approximate Weight 4 Pounds
12585 Kirkham Court Poway, CA 92064 858-536-2927 Info at www.cbtsystems.tv
Change Up Your Video Game Plan
At Chesapeake Systems, we’re able to step back and see the bigger picture. We analyze how you work, determine your pain points and bottlenecks and then we design and deploy a system that will enhance your data storage capabilities and streamline your workflow. Our team is made up of industry experts who have experience working with a variety of organizations from collegiate sports to the NFL.
STORAGE
ACCESSIBILITY
WORKFLOW
Chesapeake Systems provides sports and media organizations the storage capabilities and collaborative video workflow solutions they need.
We know there are scores of individuals involved in game day shooting, editing, sharing and archiving tremendous amounts of footage and it needs to be immediately accessible.
We are prepared to provide the right workflow solution for you. We have established strong relationships with leading hardware and software vendors to help meet your needs and budget.
Ready to transform the way you work? chesa.com
Media Asset Management (MAM) is complex and the MAM vendor landscape is vast. Visit chesa.com/e-book-mam-rescue to download our FREE E-Book and let us be your resource.
Broadcast Power & Lighting • Expert Generator & Lighting Technicians • Unmatched Quality and Performance • Specialized Equipment
Los Angeles 818.686.6400
North Carolina www.Illuminationdynamics.com
704.679.9400
Generators STATE
CITY
COMPANY NAME
WEBSITE
PHONE
NEW JERSEY
South Plainfield
SBP Industries
www.sbp4juice.com
(908) 412-8630
NEW MEXICO
Santa Fe
Serious Grippage & Light Company
www.seriousgrippage.com
(505) 473-1566
Vendor Services Directory
Courtesy of
NEW YORK
Albany
FastLights - Albany / Upstate NY
www.fastlights.com
(855) 922-5600
Hicksville
On Site Energy
www.onsite-energy.com
(800) 736-2504
Long Island City
Available Light
www.alny.net
(718) 707-9670
Long Island City
Silvertrucks Lighting
www.silvercupstudios.com
(718) 906-3045
New Paltz
Stark Lighting & Generator
www.starklighting.com
(347) 538-6501
New York
Scheimpflüg
www.theflug.com
(212) 244-8300
New York
Zircon Production Vehicles
www.zirconproductionvehicles.com
(888) 675-9995
Cooke Rentals Inc.
www.cookerentals.com
(704) 483-2722
NORTH CAROLINA Denver High Point
Shadows and Light Inc.
www.shadowsandlightinc.com
(336) 885-5997
OREGON
Portland
Peterson Caterpillar
www.petersoncat.com
(503) 288-6411
PENNSYLVANIA
Havertown
Gaffer Baron Ltd
www.gafferbaron.com
(610) 449-6550
RHODE ISLAND
North Kingstown
CAT Entertainment Services
www.es-cat.com
(401) 845-2281
SOUTH CAROLINA Charleston
TENNESSEE
TEXAS
UTAH VERMONT
High Output, Inc. - Charleston
www.highoutputcharleston.com
(843) 722-3600
Charleston
Neff Rental
www.neffrental.com
(843) 760-6333
Charleston
Paladin Equipment Rentals
Franklin
Cine Power Systems
www.cinepowersystems.com
(615) 521-6857
Knoxville
The Smoky Mountain Grip & Lighting Co.
www.smokymtngrip.com
(865) 947-5483
Nashville
Sunbelt Rentals Pump & Power Services
www.sunbeltrentals.com
(800) 667-9328
Dallas
CAT Entertainment Services
www.es-cat.com
(214) 638-1400
Fort Worth
Jeff Watts Productions, Inc.
www.jwproductions.org
(817) 233-6462
Houston
Juice Goose / Whitenton Industries
www.juicegoose.com
(713) 772-1404
Irving
Panavision - Dallas
www.panavision.com
(972) 929-8585
Rowlett
Burrell Enterprises, Inc.
www.litepower.com
(972) 475-8111
Sandy
Mullet Production RVs
www.mulletproductionrvs.com
(801) 913-1558
(843) 819-6401
Burlington
FastLights - Burlington, VT
www.fastlights.com
(855) 922-5600
Hinesburg
NRG Systems, Inc.
www.nrgsystems.com
(802) 482-2255
WASHINGTON
Seattle
Pacific Grip & Lighting - Seattle
www.pacific-grip.com
(206) 622-8540
WISCONSIN
Madison
Red Star Pictures
www.redstarpictures.com
(855) 522-5272
Mobile Production Units STATE
CITY
NAME
WEBSITE
PHONE
ALABAMA
Daphne
AVS Media Group
www.avsmediagroup.com
(251) 621-1200
ARIZONA
Mesa
RV Rental Outlet
www.rvrentaloutlet.com
(480) 461-0023
Phoenix
Cox Studios - Phoenix
www.coxcreativestudios.com
(623) 328-4778
Phoenix
FLOODstream
www.floodstream.com
(480) 535-5002
Phoenix
Skyline Productions, Inc.
www.skylinevideo.com
(480) 345-8009
Little Rock
Hailstone Creek Productions
www.hailstonecreek.com
(501) 371-9515
North Little Rock
Jones Mobile Television
www.jmtv.com
(501) 376-1993
Rogers
Clark’s Video Group, Inc.
www.clarksvideogroup.com
(479) 636-7111
Burbank
Apache Rental Group
www.apacherentalgroup.com
(818) 842-9944
Burbank
Broadcast Management Group
www.broadcastmgmt.com
(310) 807-4635
Burbank
Pacifico Television Engineering
www.pacificobroadcast.com
(818) 566-9706
Burbank
Touring Video, Inc.
www.touringvideo.com
(818) 504-3500
Chatsworth
Cinerep International, Inc.
www.cinerepamps.com
(818) 882-2677
Concord
E-N-G Mobile Systems, Inc.
www.e-n-g.com
(800) 662-4522
Costa Mesa
OC Production Truck
www.orangecountyproductiontruck.com
(949) 515-0100
Diamond Bar
21 Lakes Media Group
www.21lakes.com
(951) 515-1519
Glendale
Glendale Studios
www.glendalestudios.com
(818) 550-6000
Joshua Tree
Mojave Film Services
ARKANSAS
CALIFORNIA
210
MOBILE SPORTS PRODUCTION YEARBOOK 2018
(760) 799-4414 *All information is subject to change. For the most current contact information, please visit www.productionhub.com
Solutions Anywhere, Anytime
+ 70+ C-Band and Ku-Band Satellite Uplink Trucks + Worldwide Leader in Live Event Management Services
+ PIT Studio and Teleport + 4K Transmissions + Fiber and IP Data Transport Solutions
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+ At-Home Productions
+ Exceptional Rates as an Intelsat SSP
+ Dedicated News Coverage 24/7
PSSIGLOBAL.COM | 1-800-SATLINK
www.sonovts.com
KICK-OFF. Whether state-of-the-art TV productions or audience focused live events, our wide range of rental equipment will offer everything you need to create unforgettable sports moments on television.
BRINGING YOUR BROADCAST VISION TO LIFE
PROJECT MANAGEMENT
•
SYSTEMS DESIGN
EQUIPMENT PROCUREMENT
•
LOGISTICS SUPPORT
• •
•
INSTALLATION
•
TEST AND COMMISSIONING
• •
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PCCW Global Delivers Your Content Across The Globe
Global TV Network Whether you need full time or occasional use, our Global TV Network delivers the video contribution, distribution and live event coverage you need. We grant direct access to video network service providers and media hubs around the world with PoPs in Hong Kong, Macau, Singapore, Korea, Malaysia, Japan, London, Paris, Frankfurt, Athens, Dubai, Johannesburg, Sydney, Istanbul and the U.S. Global TV Network
APOLLO
London Paris
New York San Jose Los Angeles
Beijing
Istanbui
Seoul
Tokyo Shanghai APCN2
Athens
AEC-1
Cairo
Miami
TEA-3+RJCN
Frankfurt
RNAL
Hawk + Falcon
Dubai
Trans-Saudi + TGN-EA
EIG
Hong Kong
EIG+SMW4+i2i
UNITY
Macau
AAG-1
Kuala APCN-2 Lumpur IACS
TIC+NLD+TGN-EA SMW-4
WACS
SJC
Taipei IACS
J-US
Singapore
AJC
SEACOM
SMW-3
Legend Satellite Teleport TV PoPs
Johannesburg Sydney
To learn more about PCCW Global please visit www.pccwglobal.com or contact us at mediasolutions@pccwglobal.com.
I N N O VAT I V E • C R E AT I V E • C U S T O M E R F O C U S E D • R E L I A B L E
NEXT GENERATION
RF SOLUTIONS
THE NEXT GENER ATION OF BROADCAST TECHNOLOGY
3GWIRELESS.TV • 410-969-3501
Mobile Production Units CITY
NAME
WEBSITE
PHONE
Los Angeles
Flying Cow Satellite Services LLC
www.flyingcowsat.com
(310) 372-4759
Los Angeles
Pacific Satellite Inc.
www.pacificsat.com
(510) 918-3909
Los Angeles
Sharp Eye Industries
www.Sharpeyehd.com
(866) 964-7474
Los Angeles
SoHo Coaches & Catering
www.sohocoaches.com
(310) 272-6467
Morgan Hill
Global Link Productions, Inc.
www.globalinktv.com
(408) 465-2787
Norwalk
UniSat: Universal Satellite Communications
www.unisatmobile.com
(562) 483-4800
Ripon
MS Production Services
www.mspslive.net
(877) 354-6777
Sacramento
PACSAT - California
www.pacsat.com
(800) 672-2728
San Carlos
Bay Area Mobile Production
www.bamphd.com
(650) 375-8855
San Diego
Satellite Digital Teleproductions (SDTV)
www.sdtv.com
(619) 293-7777
San Diego
SWATV Entertainment
www.swatv.com
(619) 567-9288
San Francisco
Cresco Production Express
www.crescorent.com
(800) 649-6629
San Francisco
Pacific Satellite Inc.
www.pacificsat.com
(510) 918-3909
Santa Monica
Mobeon
www.mobeon.com
(888) 789-2463
Studio City
Digital Media Group, Inc.
www.digitalmedia.tv
(818) 974-4000
Studio City
Streaming Media Live
www.streamingmedialive.com
(818) 974-4000
Sunland
Schulman Mobile Video
www.schulmanmv.com
(323) 785-2528
Torrance
Hollywood Riviera Studios
www.hollywoodrivierastudios.com
(310) 237-5653
Vacaville
Mobilized Tech Systems Bigfoot Mobile Systems
www.bigfootmobilecarts.com
(707) 602-5548
Van Nuys
PSSI Global Services - Strategic Television
www.pssiglobal.com
(310) 575-4400
Denver
FLOODstream - Colorado
www.floodstream.com
(303) 217-8700
Denver
RMD Mobile HD
www.rmdhd.com
(720) 259-2277
Parker
Loclyz Media Services
www.loclyz.com
(720) 452-2361
Hartford
D2 Productions - Connecticut
www.d2productions.com
(877) 356-3232
Milford
Conover Production Services
www.conover.net
(203) 877-5427
Washington
Broadcast Management Group
www.broadcastmgmt.com
(202) 609-7757
Washington
Mobile Video Services, Ltd
www.mobilevideo.net
(202) 331-8882
Washington
Skehan Communications, LLC
www.skehan.com
(202) 833-3310
Boca Raton
Mobile Studios, Inc.
www.mobilestudios.com
(561) 372-0604
Cape Canaveral Communications Concepts Inc.
www.cci321.com
(321) 783-5232
Clearwater
F & F Productions, LLC
www.fandfproductions.com
(727) 530-5000
Clearwater
Frontline Communications
www.frontlinecomm.com
(727) 573-0400
Clearwater
Oshkosh Specialty Vehicles
www.oshkoshsv.com
(727) 573-0400
Fort Lauderdale MSR Mobile Stage Rentals
www.mobilestagerentals.com
(877) 882-8889
Fort Lauderdale Ross Mobile Productions
www.rossmp.com
(613) 652-4886
Fort Lauderdale Twilight Features Inc. Outdoor Movies
www.twilightfeatures.com
(954) 323-2562
Lake Mary
Skystorm Productions
www.skystorm.com
(407) 328-4747
Miami
Christian Media Group
www.cmgshows.com
(786) 286-4942
Miami
MMC Video Corp.
www.mmcvideocorp.com
(305) 300-8976
Miami
Tfactor Mobile Television
www.tfactor.tv
(305) 597-0430
Miami
UNITED TELEPORTS
www.unitedteleports.com
(305) 671-3333
Miami Beach
Encanta Productions
www.encanta.com
(954) 998-6713
Orlando
CP Communications - Orlando, FL
www.cpcomms.com
(407) 843-4225
Orlando
First Call Location Coach Rentals
www.firstcallcoach.com
(407) 832-2606
Orlando
Orbital Communications
www.orbitalcom.tv
(800) 682-4364
Orlando
TMR Television Mobile Resources
www.tvmr.com
(407) 737-0046
St. Petersburg
The Zoo Studios
www.thezoostudios.net
(727) 350-5962
FlyMotion Media
www.flymotionmedia.com (media division) www.flymotionus.com (unmanned systems)
(800) 548-5844
Vendor Services Directory
Courtesy of
STATE CALIFORNIA
COLORADO
CONNECTICUT DISTRICT OF COLUMBIA
FLORIDA
Tampa
West Palm Beach National Teleproductions, Inc. GEORGIA
216
(561) 689-9271
Atlanta
Encompass Digital Media
www.encompass.tv
(678) 421-6600
Atlanta
Inertia Films
www.inertiafilms.com
(404) 681-3900
Atlanta
KEF Media Associates, Inc.
www.kefmedia.com
(404) 605-0009
Atlanta
Narrow Path Productions Inc.
www.narrowpath.tv
(770) 704-8000
MOBILE SPORTS PRODUCTION YEARBOOK 2018
*All information is subject to change. For the most current contact information, please visit www.productionhub.com
VISTA WOR L D L I NK I S INTE GRATI ON EMBRACING EMERGING TECHNOLOGY CHANGING SPORTS PRODUCTION
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BarnMini Small portable, cost effective, devices for the single channel extension of BNC, SFP, GPIO, Ethernet, and/or HDMI connections. Supports cable equalization and reclocking. Can be used standalone or as nodes in a Barnfind network.
MSA Compliant SFPs Non-proprietary, Single and Multi Mode, BIDI, CWDM, DWDM, and Speciality Video SFP Transceivers. Interface to nearly any source or destination imaginable. Low cost, fully tested, and warrantied by Barnfind. Choose from over 50 different SFP options.
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KEEP YOUR FANS ENGAGED Wazee Digital Media Hub enhances the engagement of your event by allowing real-time access and distribution of content.
FOR MORE INFORMATION
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Š 2016 Wazee Digital, Inc. All rights reserved. Google and the Google logo are registered trademarks of Google Inc., used with permission.
Vendor Services Directory
Courtesy of
Mobile Production Units STATE
CITY
COMPANY NAME
WEBSITE
PHONE
GEORGIA
Lawrenceville
Lightnin’ Production Rentals, Inc.
www.lightnin.net
(770) 963-1234
HAWAII
Hawi
Keith Nealy Productions
www.keithnealy.com
(808) 882-7772
Honolulu
John Guild Communications
www.john-guild.com
(808) 596-2211
Mililani
Ron Eggleton
www.xleggs.com
(360) 790-1459
Chicago
Broadcast Management Group
www.broadcastmgmt.com
(312) 586-7366
Chicago
Trio Video
www.triovideo.com
(312) 421-7060
Crystal Lake
Satellite Technology Systems, Inc.
www.stslivetv.com
(800) 838-1472
Monee
Advanced Mobility Specialty Vehicles
www.amstcorp.com
(708) 235-2800
Peoria
ScheffTech Productions, LLC
www.schefftech.com
(309) 524-5865
Tinley Park
Digital Impact Video, LLC
www.digitalimpactvideo.com
(708) 606-2310
Hammond
Kentucky Trailer
www.kytrailer.com
(888) 598-7245
Mishawaka
CVM Productions, Inc.
www.cvmproductions.com
(574) 256-0068
Muncie
WIPB Productions
www.wipbproductions.com/teleplex_site/index.php
(765) 285-1625
Noblesville
TV40Productions
www.whmbtv.com
(317) 773-5050
South Bend
LeSEA Productions
www.leseaproductions.com
(574) 291-8200
KANSAS
Olathe
Freebird Communications, Inc.
www.freebirdtv.com
(913) 209-2788
LOUISIANA
New Orleans
Satellite Center
www.satctr.com
(504) 915-8244
New Orleans
YES Productions
www.yesproductions.org
(800) 736-8812
West Monroe
ShowCase Video
www.showcasevp.com
(318) 398-0748
MAINE
Saco
CSP Mobile Productions
www.cspmobile.com
(207) 282-9680
MARYLAND
Phoenix
Sheffield Audio Video Productions
www.sheffieldav.com
(800) 355-6613
MASSACHUSETTS
Boston
PixMix Video Services
www.pixmix.net
(617) 254-0590
Hudson
D2 Productions
www.d2productions.com
(508) 485-0300
Springfield
VideoPort Communications, Inc.
www.videoportc.com
(413) 478-1745
Wakefield
Remote Facilities Consulting Services Inc.
ILLINOIS
INDIANA
www.remotefacilities.com
(781) 246-8300
Sterling Heights Moonlink Satellite, Inc.
www.moonlinksat.com
(586) 323-9590
Wixom
Detroit Public Television
www.dptv.org/about/production-services
(248) 305-3827
Coon Rapids
CTN Studios
www.ctnstudios.com
(763) 767-6525
Minneapolis
Arctek HD Satellite Productions
www.arcteksat.com
(612) 623-1986
Kansas City
Cashmark Media, Inc.
www.cashmarkmedia.com
(816) 861-4200
St. Louis
Spot Media Transfer
www.spotmpg.com/#deliver
(314) 667-5915
MONTANA
Helena
Lyon Productions
www.lyongroup.biz/content
(406) 442-9014
NEVADA
Las Vegas
CoverEDGE Las Vegas
www.coveredge.com
(800) 822-6397
Las Vegas
FLOODstream - Las Vegas
www.floodstream.com
(702) 577-3300
Las Vegas
RentLEDsigns.com
www.RentLEDsigns.com
(888) 653-6800
Las Vegas
Vegas PBS
www.vegaspbs.org/production-services
799-1010
Stateline
Shoot It Live, Inc.
www.shootitlive.tv
(808) 371-3023
Hudson
Game Creek Video
www.gamecreekvideo.com
(603) 882-5222
Manchester
D2 Productions - New Hampshire
www.d2productions.com
(877) 356-3232
Pelham
Thistle Communications
www.thistlecommunications.net
(603) 598-5100
Hackensack
Patchamp
www.patchamp.com
(201) 457-1504
Ramsey
Jim Houston Productions Inc.
www.jimhouston1.com
(201) 788-7096
Whippany
A3 Media LLC
www.a3mediallc.com
(201) 951-0619
Baldwin
Flypack New York, Inc.
www.FlypackNY.com
(516) 867-7300
Buffalo
Admiral Video - InMotion HD
www.ImHD.tv
(716) 651-9900
Flushing
Interface Communications
www.interfacetv.com
(718) 463-8700
Flushing
Multi Media Network News
www.multimedianetworknews.com
(718) 809-7058
New City
Flight 9 Satellite Services
www.flight9.com
(888) 354-4489
New City
StreamByte TV Event Webcasting - New York City
www.streambyte.tv
(267) 382-0285
New York
Broadcast Management Group
www.broadcastmgmt.com
(212) 784-6020
New York
Cinedeck
www.cinedeck.com
(888) 390-4460
New York
D S Simon Media
www.dssimon.com
(212) 736-2727
New York
KoKo - Baz Video & Film
www.kokobaz.com
(212) 674-6601
New York
Remote Digital Media, Inc.
www.remotedigitalmedia.com
(646) 536-7340
New York
Touchdown Productions
www.touchdown-productions.com
(917) 746-6240
MICHIGAN MINNESOTA
MISSOURI
NEW HAMPSHIRE
NEW JERSEY
NEW YORK
222
MOBILE SPORTS PRODUCTION YEARBOOK 2018
*All information is subject to change. For the most current contact information, please visit www.productionhub.com
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2017 Signiant. All rights Reserved.
SPORTS GRAPHICS TECHNOLOGY From cost eective clocks and score overlays, through to award winning telestration and multi-camera studio AR graphics RT Software delivers.
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Mobile Production Units STATE
CITY
COMPANY NAME
WEBSITE
PHONE
NEW YORK
Patchogue
Luna Video, Inc.
www.vimeo.com/75588888
(631) 767-8817
Aviv Moon Productions
www.avivmoon.tv
(704) 746-3974
Charlotte
Control 1 Communications
www.control1comm.com
(205) 706-9524
Charlotte
The Broadcast Group, Inc.
www.thebroadcastgroup.com
(704) 522-4466
Charlotte
Two Roads Video, LLC
www.tworoadsvideo.com
(704) 975-5061
Raleigh
7 Communications
www.7commedia.com
(919) 332-1572
Winston Salem Spevco Inc
www.spevco.com
(336) 924-8100
Columbus
Lyon Video
www.lyonvideo.com
(614) 297-0001
Columbus
Mobile Production Services
www.remoteriley.com
(614) 864-7900
Poland
First Call UPLinks
www.firstcalluplinks.com
(800) 951-6707
Sunbury
Bennett Systems
www.tvmobile.net
(740) 965-5727
Sunbury
Gerling and Associates
www.gerlinggroup.com
(740) 965-2888
Wapakoneta
Game Face Ohio
www.gamefaceohio.com
(419) 581-9905
Broken Arrow
Allied Broadcast Group
www.alliedbroadcastgroup.com
(918) 250-5353
Broken Arrow
Kodiak Mobile Television
www.kodiakmobile.tv
(918) 925-9877
Tulsa
LeSEA Productions
www.leseaproductions.com
(918) 254-4701
Tulsa
Winnercomm, Inc.
www.winnercomm.com
(918) 496-1900
Boyertown
J A Taylor & Associates
www.broadcastassociates.com
(610) 754-6800
Harrisburg
Capital Area Communications, Inc.
www.cacradio.com
(717) 756-1870
Harrisburg
Invica, LLC
www.invica.net
(717) 577-6601
Harrisburg
Media Solutions
www.mediamadeeasy.com
(877) 860-5255
King of Prussia PMTV - Producers Management TeleVision
www.PMTV.com
(484) 690-9180
Lancaster
Triode Media Group LTD
www.triode.tv
(717) 413-2533
Malvern
CCI Communications
www.ccivideo.com
(610) 836-1355
Philadelphia
StreamByte TV Event Webcasting Philadelphia
www.streambyte.tv
(267) 382-0285
Philadelphia
Total Production Services
www.tpsweb.com
(888) 877-1178
Pittsburgh
NEP
www.nepinc.com
(855) 735-4310
Pittsburgh
Viewpoint Production Services, Inc.
www.viewpoint.tv
(800) 820-0402
SOUTH CAROLINA Myrtle Beach
Satellite Papa
www.satellitepapa.com
(843) 333-5963
TENNESSEE
Video One Productions Inc.
www.vopinc.com
(615) 859-1521
Hendersonville Camp Digital
www.campdigital.net
(615) 826-0122
Hendersonville Stokes Production Services
www.stokesvideo.com
(615) 822-6500
Memphis
KNO Productions
www.knoproductions.com
(901) 729-8770
Nashville
Concerto HD
www.locationhd.com
(615) 257-0158
Nashville
Tennessee Digital Video
www.tndv.com
(615) 585-6528
Argyle
GoVision
www.jumbo.tv/home.html
(940) 464-2320
Austin
Earl Miller Productions Inc.
www.earlmillerproductions.com
(512) 458-4343
Austin
L2 Productions
www.l2productions.tv
(512) 560-4566
Dallas
Texas TV Trucks
www.TexasTVTrucks.com
(972) 570-1118
Dallas
Tricam Video Productions, Inc.
www.tricamvideo.com
(817) 909-4137
Fort Worth
Jeff Watts Productions, Inc.
www.jwproductions.org
(817) 233-6462
Houston
Advanced Containment Systems Inc
www.acsi-us.com
(713) 987-0336
Houston
DNA Studios, LLC
www.dnawebs.com
(281) 657-7292
Houston
Satellite Center
www.satctr.com
(504) 915-8244
Missouri City
Stage2screenProductions
www.stage2screenproductions.com
(281) 804-9525
Park City
Gunner Live LLC
www.gunnerlive.com
(678) 313-6001
Salt Lake City
MSI Live Productions
www.msiliveproductions.com
(801) 349-4610
Sandy
Videolines Mobile Television
www.videolinesmobiletv.com
(801) 580-9474
VIRGINIA
Herndon
Moon Bounce Media, Inc.
www.moonbouncemedia.com
(703) 318-7500
WASHINGTON
Seattle
Jonas Jensen Studios
www.fremontstudios.com
(206) 838-9080
Seattle
LDM Worldwide Productions
www.ldmworldwide.com
(206) 463-1902
Milwaukee
Link Up Communications, LLC
www.linkupcom.com
(414) 453-8785
Waunakee
Token Creek Mobile Television, Inc.
www.tokencreek.com
(608) 849-4965
Vendor Services Directory
Courtesy of
NORTH CAROLINA Charlotte
OHIO
OKLAHOMA
PENNSYLVANIA
TEXAS
UTAH
WISCONSIN
228
Goodlettsville
MOBILE SPORTS PRODUCTION YEARBOOK 2018
*All information is subject to change. For the most current contact information, please visit www.productionhub.com
STORAGE MODERNIZED The way you deliver sports content has changed. Why hasn’t your storage? Modernize your sports video workflow with Spectra’s BlackPearl® Converged Storage System. Easy to use and built to expand, BlackPearl combines NAS and S3-based interfaces with multiple storage targets into a simple, flexible, and cost-effective solution that eliminates the need for third-party data movers. Growth is easy with a company you can trust. To modernize your storage, visit spectralogic.com/blackpearl ©2017 Spectra Logic. All trademarks and registered trademarks are properties of their respective owners.
REALTIME SCOREBOARD DATA
DIRECT FROM THE SCOREBOARD
INTO YOUR PRODUCTION ENVIRONMENT
YOUR LIVE SCORES. AUTOMATIC.
A Sportzcast Scorebot can automate your game data in real-time. Connecting a Sportzcast Scorebot in a venue allows you to automate the most difficult process of your production: live scoreboard data. Scorebots can connect to virtually any scoreboard type and provide standardized real-time scoreboard data into your production environment. Whether you are a mobile full-scale production, permanent installation on your campus, REMI “at-home production style” or single camera streaming, the Scorebot is your automated solution.
REAL-TIME DATA
GRAPHIC OVERLAYS
REPLAY SYSTEMS
COACHES TOOLS
REMOTE PRODUCTION MEDIA OUTLETS
IN-VENUE DISPLAYS SOCIAL MEDIA
OFFICIAL REPORTING WORKFLOW TOOLS
APPS
REMI NDI
www.sportzcast.net | 321-888-3800
DIGITAL MEDIA DELIVERY SHOW CONTROL
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MEDIA ASSET MANAGEMENT
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Vendor Services Directory
Courtesy of
Satellite Trucks STATE
CITY
NAME
ARIZONA
Chandler
ATCI - Antenna Technology Communications, www.atci.net Inc.
Phoenix
Crew West Inc.
www.crewwestinc.com
(888) 444-2739
CALIFORNIA
Calabasas
Coastal Media Group
www.coastalmediagroup.com
(818) 880-9800
Concord
E-N-G Mobile Systems, Inc.
www.e-n-g.com
(800) 662-4522
Montecito
CBTV West
www.cbtvhd.com
(866) 728-3375
Morgan Hill
Global Link Productions, Inc.
www.globalinktv.com
(408) 465-2787
Norwalk
UniSat: Universal Satellite Communications
www.unisatmobile.com
(562) 483-4800
Oakland
Central Coast Uplink
www.centralcoastuplink.com
(831) 325-5271
Pasadena
The SPACECONNECTION
www.thespaceconnection.com
(800) 537-7223
Sacramento
PACSAT - California
www.pacsat.com
(800) 672-2728
San Diego
Hurst USA, Inc.
www.hurstusa.com
(619) 277-9990
San Juan Capistrano
Todocast
www.todocast.tv
(866) 510-7889
Santa Barbara
Rough House Productions LLC
www.roughhousehd.com
(800) 626-2490
Studio City
Streaming Media Live
www.streamingmedialive.com
(818) 974-4000
Sun Valley
Panarex Electronics
www.manta.com/c/mmldjts/panarex-electronic
(818) 768-5161
Sunland
Schulman Mobile Video
www.schulmanmv.com
(323) 785-2528
CONNECTICUT DISTRICT OF COLUMBIA
FLORIDA
ILLINOIS
INDIANA IOWA
PHONE (480) 844-8501
Shelton
Vitec Videocom
www.vitecvideocom.com
(203) 929-1100
Stamford
Newtec America, Inc.
www.newtec.be
(203) 323-0042
Washington
Media X Presentations
www.mxp.live
(833) 697-5483
Washington
NPR Satellite Services
www.nprss.org
(202) 513-2626
Clearwater
F & F Productions, LLC
www.fandfproductions.com
(727) 530-5000
Clearwater
Frontline Communications
www.frontlinecomm.com
(727) 573-0400
Dania
Calhoun Satellite Communications, Inc.
www.calhounsatellite.com/index.html
(305) 655-2629
Lakeland
Crew West, Inc. / Satellink Communication Service
www.crewwestinc.com/sat-west
(888) 444-2739
Largo
Advanced Microwave Components
www.advancedmicrowave.com
(727) 571-1008
Miami
GLASAT.com
www.glasat.com
(786) 210-2235
Miami
Overon America
www.overonamerica.com
(305) 357-5891
Miami
UNITED TELEPORTS
www.unitedteleports.com
(305) 671-3333
Orlando
Lowery Satellite Services Inc.
www.lowerysatellite.com
(407) 859-7940
Orlando
Telepoint Studios
www.Telepointstudios.com
(407) 859-7940
Orlando
TMR Television Mobile Resources
www.tvmr.com
(407) 737-0046
Crystal Lake
Satellite Technology Systems, Inc.
www.stslivetv.com
(800) 838-1472
Peoria
WTVP
www.wtvpvideo.org
(309) 677-4747
Wauconda
Satellite Communication Systems
www.1800usalink.com
(847) 556-1056
Noblesville
LeSEA Productions
www.leseaproductions.com
(317) 773-5050
South Bend
LeSEA Productions
www.leseaproductions.com
(574) 291-8200
Mason City
Efficient Antenna Systems, Inc.
www.easisat.com
(888) 327-4797
Waterloo
Baird Satellite Supporting Systems
www.bairdsatellitesupports.com
(319) 233-3561
KANSAS
Shawnee
Satellite Engineering Group
www.sateng.com
(800) 932-1555
KENTUCKY
Florence
Nickless Shirmer & Co Inc.
www.nsccom.com
(800) 543-1584
LOUISIANA
New Orleans
LeSEA Productions
www.leseaproductions.com
(504) 681-0120
MARYLAND
Baltimore
Videolink LLC - Baltimore
www.videolinktv.com
(617) 340-4200
Point of Rocks
LiveOnSite LLC
www.liveonsite.com
(703) 431-4332 (301) 605-7629
MASSACHUSETTS
234
WEBSITE
Potomac
Asia Broadcast Satellite
www.absatellite.net/services/index.html
Bedford
Polatis, Inc.
www.polatis.com
(844) 765-2847
Hudson
D2 Productions
www.d2productions.com
(508) 485-0300
Wakefield
Remote Facilities Consulting Services Inc.
www.remotefacilities.com
(781) 246-8300
MICHIGAN
Ann Arbor
Michigan Satellite Systems
www.misat.com
(586) 323-9590
MINNESOTA
Cottage Grove
PSB Satellite
www.PSBsatellite.com
(651) 300-9538
Minneapolis
Arctek HD Satellite Productions
www.arcteksat.com
(612) 623-1986
MOBILE SPORTS PRODUCTION YEARBOOK 2018
*All information is subject to change. For the most current contact information, please visit www.productionhub.com
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Satellite Trucks STATE
Vendor Services Directory
Courtesy of
MINNESOTA
NAME
WEBSITE
PHONE (952) 472-5525
Minneapolis
RumJungle Media
www.rumjungle.com
St. Paul
Ingwell Communications
www.ingwellcommunications.com
(612) 839-5154
MONTANA
Helena
Lyon Productions
www.lyongroup.biz/content
(406) 442-9014
NEVADA
Stateline
Shoot It Live, Inc.
www.shootitlive.tv
(808) 371-3023
NEW HAMPSHIRE
Pelham
Thistle Communications
www.thistlecommunications.net
(603) 598-5100
NEW JERSEY
Old Bridge
Fulton Production and Consulting
www.satellitedownlink.com
(917) 312-9894
Whippany
A3 Media LLC
www.a3mediallc.com
(201) 951-0619
NEW YORK
Baldwin
Flypack New York, Inc.
www.FlypackNY.com
(516) 867-7300
Congers
American Satellite Uplink
www.americansatelliteuplink.com
(845) 352-0998
Flushing
Interface Communications
www.interfacetv.com
(718) 463-8700
Hauppauge
Miteq
www.miteq.com
(631) 439-9108
New City
Flight 9 Satellite Services
www.flight9.com
(888) 354-4489
New City
StreamByte TV Event Webcasting - New York City
www.streambyte.tv
(267) 382-0285
New York
Metrovision Production Group
www.metrovision.tv
(212) 989-1515
New York
Touchdown Productions
www.touchdown-productions.com
(917) 746-6240
Victor
GCS, Inc.
www.globalcoms.com
(585) 742-9100
West Babylon NORTH CAROLINA Charlotte OHIO
Village Video News
www.vvn.com
(631) 752-9311
Control 1 Communications
www.control1comm.com
(205) 706-9524
Charlotte
Nomadic Communications
www.nomadic-comm.com
(866) 519-7723
Cincinnati
Central Satellite Service
www.centralsat.com
(513) 821-7200
New Middletown
Live Mobile Group
www.livemobilegroup.com
(330) 542-0900
Poland
First Call UPLinks
www.firstcalluplinks.com
(800) 951-6707
Rocky River
TeleNet Media
www.telenetmedia.net
(216) 276-8841
Sunbury
Gerling and Associates
www.gerlinggroup.com
(740) 965-2888
OKLAHOMA
Broken Arrow
Kodiak Mobile Television
www.kodiakmobile.tv
(918) 925-9877
PENNSYLVANIA
Boyertown
J A Taylor & Associates
www.broadcastassociates.com
(610) 754-6800
Indiana
Quintech Electronics & Communications Inc. www.quintechelectronics.com
(800) 839-3658
King of Prussia PMTV - Producers Management TeleVision
www.PMTV.com
(484) 690-9180
Lancaster
Triode Media Group LTD
www.triode.tv
(717) 413-2533
Malvern
Liberty Uplink, Inc.
www.libertyuplink.com
(215) 964-5222
Philadelphia
StreamByte TV Event Webcasting Philadelphia
www.streambyte.tv
(267) 382-0285
Philadelphia
Total Production Services
www.tpsweb.com
(888) 877-1178
Videolink LLC - Philadelphia
www.videolink.tv
(617) 340-4200
Satellite Papa
www.satellitepapa.com
(843) 333-5963
Philadelphia SOUTH CAROLINA Myrtle Beach TENNESSEE
TEXAS
UTAH VIRGINIA
240
CITY
Cordova
Prolink Satellite
www.prolinksat.com
(901) 356-2394
Gallatin
Brightlink HD
www.BrightlinkHD.com
(615) 289-4319
Nashville
Skyway Studios
www.skywaystudiosnashville.com
(800) 605-3590
Nashville
StagePost
www.stagepost.com
(615) 248-1978
Austin
Earl Miller Productions Inc.
www.earlmillerproductions.com
(512) 458-4343
Dallas
Texas TV Trucks
www.TexasTVTrucks.com
(972) 570-1118
Denton
WSC HD Productions
www.wschdproductions.com
(940) 483-9200
Fort Worth
Applied Telecommunications Inc.
www.appliedtelecominc.com
(817) 763-5992
South Houston World Teleport
www.worldteleport.org
(281) 741-8753
Park City
www.gunnerlive.com
(678) 313-6001
Gunner Live LLC
Falls Church
Dawnbreaker Communications, LLC
www.dawnbreakercommunications.com
(202) 288-0805
Herndon
Moon Bounce Media, Inc.
www.moonbouncemedia.com
(703) 318-7500
Virginia Beach
Atlantic Satellite Corporation
www.atlanticsat.com
(757) 318-3500
WASHINGTON
Ridgefield
Wild Hare Satellite, Inc.
www.wildharesat.com
(360) 573-6850
WEST VIRGINIA
Charleston
The Media Center
www.themediacenter222.com
(304) 720-5466
MOBILE SPORTS PRODUCTION YEARBOOK 2018
*All information is subject to change. For the most current contact information, please visit www.productionhub.com
When it comes to Duncan Video, the name may or may not ring a bell. Our name has become very famililar over the past 30 years for the folks that we serve, though. Project by project, Duncan Video builds world-class video systems no matter the scale of design. Whether you produce mobily, live, or work in post, Duncan has you covered with industry-leading brands that fit your needs. Don’t waste time wondering who can help you with a solution. Contact Duncan Video today!
For more info, please visit www.duncanvid.com
New technologies can be confusing CTG has the knowledge and expertise to help you through When it’s time to upgrade CTG is the company that can lead you through the maze of options. With everything under one roof we have the knowledge and expertise to guide you. Contact CTG today and let us help you get through the maze.
2030 Powers Ferry Rd. SE • Ste. 130 • Atlanta, GA 30339 • P. 404.352.3000 • TF. 888.557.4264 • F. 404.352.2962
ctgatlanta.com
Score big with live events. No matter what the sport, our end-to-end online video platform solves the streaming live event challenges of: location variability, event life cycle, resource scheduling, content delivery, data gathering and monetization. Introducing our 1 to 1 session management technology, Smartplay by Verizon. With smarter delivery, smarter advertising, smarter insights and more, you can now deliver a winning experience.
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Š2017 Verizon Digital Media Services
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We Power Deeper Storytelling With 35 years of sports intelligence, STATS makes the world's sports data simple, meaningful, and intuitive. S TAT S . C O M
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Better From Every Angle
ATTENTION SVG SPONORS! SVG’s members rely on you for technology information that drives innovation, efficiencies, and the fan experience. SVG proudly announces the new SVG TechXchange, which gives SVG sponsors a unique opportunity to inspire and inform our members on what’s new, disruptive, or transformative. Sponsored white papers, research surveys, case studies, and much more will be featured in the Tuesday and Wednesday editions of the SVG Insider e-newsletter, with top-line social media support. FOR MORE INFORMATION, CONTACT: ROB PAYNE: (212) 481-8131, rob@sportsvideo.org or ANDREW GABEL: (646) 998-4554, agabel@sportsvideo.org
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Gearbase
What’s What in Mobile Production Results of SVG’s 12th-annual study of mobile-production equipment
T
he 12th-annual SVG Mobile Sports Production Gearbase Survey provides an ongoing database of production-truck technology for the North American fleet of more than 250 broadcast vehicles. The 2018 Gearbase comprises 258 total mobile units, only two of which are SD-only. With SD officially dead and HD the status quo, 4K- and HDR-capable trucks — as well as units featuring IP-based infrastructure — are on the rise. Of the 258 mobile units covered in the survey, 35 are listed as 4K-capable (up from 20 last year), 43 are HDR-capable (the previous survey did not ask for data on HDR-capability), and 55 are 1080p-capable (up from 30 last year). The 2018 Gearbase Survey drew more participating companies than ever before — 39 in all — and lists nearly a dozen mobile units that debuted over the past 12 months. On the following pages is a listing of the trucks and their specs (based on data collected from participating companies in October 2017). Here is a brief summary of the Gearbase Survey’s key findings in the North American truck market. • With 60 trucks, NEP still has by far the largest fleet in North America, followed by Game Creek Video with 27 and Mobile TV Group with 25 (not including its Visitor Mobile Units). In fourth place is Dome Productions with 19, followed by Lyon Video (11), F&F Productions (10), Live Media Group (nine), and All Mobile Video and TNDV Television (eight each). Turn to page 22 for the Total Trucks by Company graphic. • Of the 251 trucks whose camera complement was identified by brand, 132 use Sony (52%); 80 deploy Grass Valley (32%); 20, Ikegami (8%); 15, Hitachi (6%); and four, Panasonic (2%). • The battle for lens-market share remains a two-horse race. Of the 229 trucks that identified lens brand, 119 trucks carry exclusively Canon lenses (52%), 78 have only Fujinon (34%), and 28 have a mix of Canon and Fujinon lenses (12%). 2% of trucks carry Agenieux lenses. • Among switchers, Grass Valley continues to dominate, with its units found at the center of 204 mobile units (80%). Sony switchers are in 19 trucks (7%), Ross Video switchers in 15 (6%), Blackmagic 2% in eight (3%), and FOR-A in four 2% Design (2%).
a total of 65 trucks (32%) with Grass Valley close behind in 56 (28%). PESA is third with 36 (18%), followed by Imagine Communications with 16 (8%), Utah Scientific with 15 (7%), and Ross Video with eight (2%). • ChyronHego is still the market leader in graphics. Its systems are in 88% of trucks on the road (153 of the 173 that specified a system). Thirty-seven trucks carry Vizrt systems, and 21 deploy Ross Video graphics (although the majority of these trucks also carry a ChyronHego system). • In HD replay devices, EVS is once again the industry standard: 201 HD trucks were identified as relying on some form of EVS system as its primary replay device. Currently, 18 trucks carry Grass Valley K2 Dyno replay systems, although the majority of them also have EVS replay systems. • Calrec Audio remains the number-one audio console on trucks, with 160 consoles in 63% of the North American fleet. Yamaha is second, with consoles in 27 audio rooms (11%), followed by Studer (21 trucks), Harman Soundcraft (14), Avid/Euphonix (12 trucks), Music Group’s Behringer/Midas (5), and DiGiCo and Mackie (four apiece) .
F TRUCKS BY PRODUCTION SWITCHER BRAND -2018 • The video-router sector remains diverse, judging by the 202 3% trucks that identified router brand. Evertz is atop the market in 6%
To view the full 2018 SVG Remote Production Gearbase, visit sportsvideo.org/gearbase2018
7% PERCENT OF HD TRUCKS BY PERCENT OF HD TRUCKS BY AUDIOCONSOLE CONSOLE BRAND PRODUCTI0N SWITCHER BRAND PERCENTAGE OF TRUCKS BY AUDIO BRAND
RCENTAGE OF TRUCKS BY PRODUCTION SWITCHER BRAND -2018 2% 6%
2%
2%
80%
3%
3%
5%
5%
7%
1.5%
8% 80%
Grass Valley
Grass Valley Blackmagic Design Blackmagic Design
Sony
Sony FOR-A
WHAT’S WHAT IN MOBILE PRODUCTION page 6
11%
Ross Other
FOR-A
Ross Other
63%
Calrec
Calrec
Avid
Avid
Data is only representative of trucks that indicated switcher brand
Yamaha Yamaha Music Group
Studer Harman
Studer DiGiCo
Music Group
Mackie
WHAT’S WHAT IN MOBILE PRODUCTION page 7
Mackie
DiGiCo
Data that
Other
Data is only representative of trucks
WHAT’S WHAT IN MOBILE PRODUCTION page 6
Harman
Other
that indicatedYEARBOOK switcher brand2018 MOBILE SPORTS PRODUCTION
249
EXPERIENCE LIVE EVENTS IN VIRTUAL REALITY We are the world’s largest distribution platform for sports & entertainment VR programming.
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NLT-36
ALL MOBILE VIDEO CSP MOBILE PRODUCTIONS DNA STUDIOS DOME PRODUCTIONS
Both
Yamaha LS9-32
5 GV, 2 Sony HD POV
4 Canon, 4 Fujinon 4/4
Ross XPression/ChyronHego HyperX2
UHD/HD/HDR
Fiber
Studer Vista 8
16 Sony
16 Fujinon
Wired for 2
UHD/HD/HDR
Fiber
Studer Vista 8
24 Sony
24 Fujinon
Wired for 2
HD
Fiber
Studer Vista 9
16 Sony
16 Fujinon
Wired for 2
HD
Fiber
Studer Vista 8
16 Sony
16 Fujinon
Wired for 1
UHD/HD/HDR
Fiber
Studer Vista 8
16 Sony
16 Fujinon
Wired for 2
HD HD
Fiber Fiber
Studer Vista 5 M3 Calrec Omega
10 Sony 10 Sony
10 Fujinon 10 Fujinon
Wired for 2 Wired for 1
UHD/HD/HDR
Fiber
Studer Vista X
16 Sony
16 Fujinon
Wired for 2
HD SD HD RF
Triax Triax Fiber Triax, SM fiber for HD-SDI and robo
Yamaha Yamaha N/A
Sony HXC100 Ikegami 388W 24 RF camera paths
5 Hard, 2 HH 5 70X, 2 HH As requested
ChyronHego Duet, Vizrt ChyronHego Duet N/A
Yamaha 02R96 (24 faders/3 layers/56 channels)
5 Sony HSC-300, wired for 8, 1 Sony BRC-H900 robo, 2 clock cameras
2 95X, 1 55X, 1 42X, 4 Fujinon ENG 2 23X, 2 18X, 1 Canon WA
ChyronHego HyperX3, Ross Xpression
HD/1080p/4K
SMPTE fiber
Calrec Artemis Light
10 Sony 2500, 4300
Canon XJ95X8.6B, Canon HJ22X7.6, Canon HJ14X4.3B
ChyronHego Mosaic, HyperX3
Steel
53’ expando
HD/1080p/4K
SMPTE fiber
Calrec Artemis Light
16 Sony, Panasonic, Ikegami
Canon and Fujinon HD and UHD
ChyronHego and Ross
Integrity
50’ trailer
HD 720p/ 1080i/ 1080p24
Both
Yamaha PM5000 (56)
10 GV LDX 80 Premier
4 H/6 HH
ChyronHego HyperX3
HD1
53’ expando
SD/HD/1080p
Both
Calrec Omega
9 Ikegami, wired for 12
10 Canon
ChyronHego HyperX3
HD2
53’ expando
SD/HD/1080p
Both
Calrec Artemis
10 Ikegami, wired for 16
10 Canon
ChyronHego HyperX3
HD3
53’
SD/HD/1080p
Both
Calrec Omega
8 Ikegami, wired for 12
10 Canon
ChyronHego HyperX3
HD4
53’ expando
SD/HD/1080p
Both
Calrec Artemis
11 Ikegami, wired for 16
12 Canon
ChyronHego Mosaic
HD-B1
53’
SD/HD/1080p
N/A
N/A
N/A
N/A
Wired for 3 graphic units, 2 bugs units, 2 1st & Ten units
Genesis
24’
HD
Fiber
Soundcraft GB8 (32/32)
5 Hitachi, 2 POV
Fujinon, Canon 3/2
ChyronHego IP
Zeppelin HDX1
40’ 53’ expando
HD HD
Fiber Triax
Soundcraft GB8 (32/32) Yamaha Digital 48
5 Hitachi, 2 POV Sony HXC-100
Fujinon, Canon 3/2 66X
HD28
28’
HD
Triax
Behringer X32 Digital (40 inputs)
GV 6000 and 6200 Super Mo
55X
REMI HD20u
Remote studio 20’ box
HD/4K HD
Fiber Triax
Behringer X32 Digital (40 inputs) Behringer X32 Digital (40 inputs)
GV 6000 GV 4000
40X 45X
Pioneer 4K
53’ expando
HD/4K
Fiber only
Calrec Artemis Beam (64/320)
10 Sony 4300
12 Fujinon
Journey HD
53’ expando
HD
Both
Calrec Artemis Beam (64/320)
10 Sony 2400
12 Canon
Silver HD
53’ expando
HD
Both
Calrec Artemis Beam (64/340)
10 Sony 2400
12 Fujinon
Pacific HD
53’ expando
HD
Both
Calrec Artemis Beam (64/340)
10 Sony 2400
12 Fujinon
Atlantic HD
53’ expando
HD
Both
Calrec Artemis Beam (64)(340)
10 Sony 2400
12 Fujinon
Thunder HD
53’ expando
HD
Both
Calrec Sigma (64/212)
10 Sony 1500
12 Canon
Echo HD
53’ expando
HD
Both
Calrec Sigma (64)(212)
10 Sony 1500
12 Canon
Sierra HD
53’ expando
HD
Both
Calrec Sigma (64/212)
10 Sony 1500
12 Canon
Spirit HD
53’ expando
HD
Both
Calrec Sigma (64/212)
10 Sony 1500
12 Canon
53’ expando
HD
Fiber only
10 Sony 4300
12 Canon
53'
4K
N/A
Calrec Alpha 100 w/Bluefin (72/318) N/A
N/A
N/A
53’ expando
HD
Triax
Calrec Alpha 100 (64)(118)
10 Sony HSC-300
12 Canon
ChyronHego HyperX3 Vizrt ChyronHego Duet, Ross XPression Ross XPression Ross Xpression ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro N/A ChyronHego HyperX3.0, Lyric Pro
Trillium HD w/B unit Trillium 4K B unit Horizon HD
252
HD
40’ expando
Zurich
D2 PRODUCTIONS
36’
Slate
NYLA Maverick
CMG MOBILE PRODUCTIONS
GRAPHICS
HD/SD
Sterling
CLARK MEDIA
LENSES (H/HH)
36’ straight
Crossroads
CCI
# CAMERAS & MAKE
Mobile 2
Revolution
COMMUNICATIONS
AUDIO CONSOLE (FADERS/CHANNELS)
Unit A Unit B Golf 5
Titan
BSI
TRIAX, FIBER, OR BOTH?
53’ double expando 53’ triple expando 53’ double expando 53’ triple expando 53’ triple expando 49’ straight 40’ expando 53’ double expando 53’ expando 40’ 52’
Epic
BOUNCE MULTIMEDIA
SD/HD/ 1080P/4K/ HDR-CAPABLE
ADMIRAL VIDEO
DIMENSIONS/ TYPE
COMPANY
Gearbase
TRUCK TRUCK NAME NAME
MOBILE SPORTS PRODUCTION YEARBOOK 2018
All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities
SWITCHER, M/E
REPLAY REPLAY DEVICES DEVICES
ROUTER (VIDEO/AUDIO SIZE)
Senn., Sony, A-T, EV
Ross Carbonite, 2 M/E
2 6-ch. GV K2 Dyno
Ross (72x72 HD/64x64 AES, 32x32 analog)
Kits vary
Sony MVS-8000X, 5M/E
4 8-ch. EVS
PESA
Kits vary
Sony MVS-8000X, 5M/E
4 8-ch. EVS
PESA
Kits vary
Sony MVS-7000X, 5M/E
4 8-ch. EVS
PESA
Kits vary
Sony MVS-8000G, 4M/E
3 8-ch. EVS
PESA
Kits vary
Sony XVS-7000, 5M/E
4 8-ch. EVS
GV
Kits vary Kits vary
Sony MVS-8000G, 4M/E Sony MVS-6350, 3M/E
2 6-ch. EVS, 6 Miranda HMP 1801 2 4-ch. EVS XT NANO
PESA Evertz
Kits vary
Sony XVS-8000, 5M/E
4 8-ch. EVS or Sony PWS 4500
GV
Full complement Full complement 38 RF wireless
GV Kalypso, 4M/E GV Kalypso, 4M/E N/A
1 6-ch. EVS, 2-4 ch. 1 6-ch. EVS N/A
256x256 64x64 Harris (32x32)
5 HMD 26II, 5 Daltech, 7 shotguns, 3 MD46, 4 RE 50 hand, 6 ECM77
GV Karrera, 3M/E with Lance/EVS Spotbox
2 EVS XT3 LSM
GV Concerto w/Encore (128x128 HD-SDI/64x64 AES)
GV Kayenne, 4M/E
2 6-ch. EVS XT3 LSM
Imagine Platinum IP3 (288x312 3G HD-SDI, 52x30 4K UHD)
GV Kayenne, 4M/E
4 EVS XT4K
Imagine Platinum IP3 (512x512 3G HD-SDI, 64x56 4K UHD)
45
GV Karrera K-Frame, 4M/E
3 EVS LSM 6-ch., 2 DVCHD, 1 KiPro, 1 Hyperdeck
Nvision HD (512x512/256x256)
Senn., EV, Sony
GV 400/35 HD Kayenne 4-5M/E
Senn., EV, Sony
GV 400/35 HD Kayenne 4-5M/E
Senn., EV, Sony
GV 400/25 HD Kayenne 4-5M/E
Senn., EV, Sony
GV 400/35 HD Kayenne 4-5M/E
6 Senn. shotguns, 6 Sony ECM-77B, 6 Shure SM58, more as requested 6 Senn. shotguns, 6 Sony ECM-77B, 6 Shure SM58, more as requested
N/A
2 6-ch. EVS HD LSM XT2, 1 4-ch. HD LSM XT2, 1 4-ch. HD XT2 Utah Scientific 400 HD (96x216 video/80x80 AES, 40x40 analog, SpotBox/RO, 1 XF3 w/XFile3 transcoding; 1 Sony 1800 HDCam, 128x128 MADI) 1 Panasonic AJ-HD 1800 DVCPRO HD 2 6-ch. EVS HD LSM XT3, 1 8-ch. HD XT3 RO can be split into two 4-ch. ROs, 1 4-ch. HD LSM XT3 SpotBox, 1 XF3 w/XFile3 transcoding, Utah Scientific 400 HD (528x528 router/48x48 embedded, 4 LSM connect tablets; 1 Sony 1800 HDCam, 1 Panasonic AJ-HD 384x384 MADI, 64x64 AES, and 36x36 analog stereo audio) 1800 DVCPRO HD 2 6-ch. EVS HD LSM XT2, 1 4-ch. EVS HD XT2, 1 4-ch. EVS HD XT2 Utah Scientific 400 HD, 96x216 HD video, 84x84 AES audio, SpotBox/RO, 1 EVS XF3 w/XFile 3 transcoding; 1 Sony 1800 HDCam, 40x40 analog audio, 128x128 MADI audio 1 Panasonic AJ-HD 1800 DVCPRO HD 2 6-ch. EVS HD LSM XT3, 1 8-ch. HD XT3 SpotBox/RO can be split into two 4-ch. ROs, 1 4-ch. HD LSM XT3 SpotBox, 1 XF3 w/XFile3 Utah Scientific 400 HD (528x528 router/48x48 embedded, transcoding, 4 LSM connect tablets; 1 Sony 1800 HDCam, 576x576 MADI, 64x64 AES, and 36x36 analog stereo) 1 Panasonic AJ-HD 1700 DVCPRO HD Wired for 4 8-ch. EVS XT3 with 10 gig
Utah 400 HD (144x144)
6-ch. NewTek 3Play, 2-ch. TriCaster DDR
Blackmagic (40x40)
2 6-ch. NewTek 3Play; 4-ch. Abekas Tria 6-ch. EVS w/XFile
Blackmagic (72x72) Evertz (96x96 HD)
Senn.,EV, Sony, Crown, Røde Senn.
NewTek TriCaster 8000, 8M/E Sony MVS-3000, 2M/E GV Kalypso, 4M/E
Senn.
Ross Carbonite
4-ch. w/2-ch. Supermo
40x40
Senn. Senn.
Blackmagic ATEM 4K Blackmagic ATEM 2M/E
80x80 16x16
Senn., EV
GV K-Frame, 4M/E
Senn., EV
GV K- Frame, 4M/E
Senn., EV
GV K- Frame, 4M/E
A-T, Senn., EV, Sony
GV K-Frame, 4M/E
A-T, Senn., EV, Sony
GV K-Frame, 4M/E
A-T, Senn., EV, Sony
GV K-Classic, 4M/E
A-T, Senn., EV, Sony
GV K-Classic, 4M/E
A-T, Senn., EV, Sony
GV K-Classic, 4M/E
A-T, Senn., EV, Sony
GV Kalypso, 4M/E
4-ch. 4-ch. 4 EVS XT4K, 1 XT3 MAX, 4-ch. XT3 SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 3 EVS XT3 MAX, 1 6-ch. XT3, 4-ch. XS SpotBox, XFile 3, 2 XHub; HDCAM, XDCAM 3 EVS XT3 MAX, 1 6-ch. XT3, 4-ch. XS SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 MAX, 1 8-ch. XT3, 4-ch. XS SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 MAX, 1 8-ch. XT3, 1 6-ch. XT3, 4-ch. XS SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 MAX, 1 8-ch. XT3, 4-ch. XS SpotBox, XFile 3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 MAX, 1 8-ch. XT3, 4-ch. XS SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 MAX, 1 8-ch. XT, 4-ch. XS SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 6-ch, 1 8-ch. XT3, 1 4-ch. XS SpotBox, XFile3, XHub; 2 HDCAM/XDCAM
A-T, Senn., EV, Sony
GV K-Classic, 4M/E
3 EVS XT4K, 2 XT3 MAX, 4-ch. XS, XFile3, XHub3; 2 HDCAM/XDCAM
GV Trinix (256x256/256x256)
N/A
GV K-Frame, 4M/E
GV Trinix (512x512/128x128)
A-T, Senn., EV, Sony
GV Kalypso, 4M/E
As requested, 6 frames of 4K service based on 2 in/2 out per frame 2 EVS XT3 6-ch, 1 XT2 6-ch., 1 XT2 6-ch. SpotBox, XFile3, XHub; 2 HDCAM/XDCAM
Senn., EV, Sony, Crown, Røde
N/A
Gearbase
MICROPHONES
Evertz (540x450/48x96) Evertz (288x232/128x128) Evertz (282x197/128x128) Evertz (282x282/128x128) Evertz (282x282/128x128) Evertz (288x180/128x128) Evertz (288x180/128x128) Evertz (288x180/128x128) GV Trinix (222x160)
GV Trinix (224x320/96x64)
MOBILE SPORTS PRODUCTION YEARBOOK 2018
253
www.cspmobile.com 207.282.9680
4 Mobile Units 25+ Years Experience One 3,000 sq. ft. Studio in Houston, TX ONE CALL FOR ALL YOUR NEEDS
281-657-7292 OR DNAWEBS.COM DNA Studios, LLC is a Houston, TX based media company that provides HD mobile trucks, flypacks, REMI studios, live transmission and green screen facilities. Our Texas-sized footprint provides mobile units for over 50 pro, college and minor league teams within a 250 mile radius. Recent clients include ESPN, Fox Sports SW, MLB.com, Premier League and many more. Contact us today and find out why we were the choice for our clients during Super Bowl LI and the 2017 World Series.
DIMENSIONS/ TYPE
SD/HD/ 1080P/4K/ HDR-CAPABLE
COMPANY DOME PRODUCTIONS
Gearbase
TRIAX, FIBER, OR BOTH?
AUDIO CONSOLE (FADERS/CHANNELS)
# CAMERAS & MAKE
LENSES (H/HH)
53’ expando
HD
Triax
Calrec Alpha 100 (72/108)
10 Sony HSC-300R
12 Canon
53’ expando
HD
Triax
Calrec Omega w/Bluefin (56/168)
10 Sony 2400
12 Canon
Hudson HD
53’ expando
HD
Both
SSL C-100 (72/128)
9 Sony 1500
11 Canon
Kodiak HD
40’
HD
Both
Calrec S2 (48)
7 Sony 1500
7 Canon
TRUCK NAME
Majestic HD Tribute HD
Sidecar HD Beacon (Ku uplink) Unite HD
F&F PRODUCTIONS
ENCOMPASS DIGITAL MEDIA
TES45
HD
Triax
Mackie 1402 (10)
3 GV LDK 6000
As requested
30’ non exp
HD
Fiber only
Yamaha MB02R96 (16)
5 Sony 1500
5 Canon
As requested
HD
As requested
As requested
As requested
As requested
As requested
HD
Fiber
PreSonus StudioLive 24.4.2
4 Panasonic HDX-900
Fujinon HA18X7.6
Ross XPression
Mackie 1604VLZ
Wired for 5 Panasonic HC-3800
Fujinon XA20X8.5 BERM
N/A
53’ double expando 34’; C- or Ku-band
TES5
32’; Ku-band
HD
GTX-7
53’ expando
HD
Both
Calrec Artemis Light w/Bluefin2 (340)
8 Sony 1500
6 Fujinon 88X, 4 Fujinon 22X, 2 Fujinon 12X4.5
ChyronHego HyperX3
GTX-8
53’ expando
HD
Both
Calrec Sigma w/Bluefin
12 Sony 1500
2 Fujinon 101X, 4 Fujinon 88X, 4 Fujinon 22X, 4 Fujinon 12X4.5
ChyronHego HyperX3
GTX-9
53’ expando
HD
Both
Calrec Sigma w/Bluefin
9 Sony 1500
6 Fujinon 88X, 4 Fujinon 22X, 4 Fujinon 12X4.5
ChyronHego HyperX3
GTX-10
53’ expando
HD
Both
Calrec Artemis Beam w/Bluefin2 (340)
8 Sony 2400
6 Fujinon 88X, 4 Fujinon 22X, 4 Fujinon 12X4.5
ChyronHego HyperX3
GTX-11
53’ expando
HD
Both
GTX-12
53’ expando
HD
Both
GTX-14
53’ expando
HD
Both
Calrec Artemis Beam w/Bluefin2 (340)
14 Ikegami
HD/1080p
Both
Calrec Artemis Beam w/Bluefin2 (340)
14 Ikegami
HD/1080p
Both
Calrec Apollo w/Bluefin2 (1,020)
14 Sony HDC-2500
GTX-17
GAME CREEK VIDEO
16’ trailer
ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro As requested
SMPTE/TAC fiber
GTX-16
256
GRAPHICS
53’ double expando 53’ double expando
Calrec Artemis Beam w/Bluefin2 (340) Calrec Artemis Beam w/Bluefin2 (340)
4 Fujinon 101X, 3 Fujinon 87X, 5 Fujinon 22X, 2 Fujinon 12X4.5 4 Fujinon 101X, 3 Fujinon 87X, 5 Fujinon 22X, 2 Fujinon 12X4.5
14 Ikegami 14 Ikegami
3 Fujinon 101X, 4 Fujinon 87X, 5 Fujinon 22X, 2 Fujinon 12X4.5 4 Fujinon 101X, 3 Fujinon 88X, 4 Fujinon 22X, 3 Fujinon 12X4.5 8 Fujinon 88X, 4 Fujinon 23X, 3 Fujinon 16X4.5
ChyronHego HyperX3 ChyronHego HyperX3 ChyronHego HyperX3 ChyronHego HyperX3 ChyronHego HyperX3
GTX-18
53’ double expando
HD/1080p/4K/ HDR
Fiber
Calrec Artemis Beam V8 w/highdensity Bluefin2
Sony HDC-4300L
3 Fujinon 4K 14X4.5
As requested
94
53’ expando
HD/1080p/ HDR
Both
Calrec Artemis (144 12-layer faders/1,020 channels)
10 Sony HDC-2500
5 Canon DIGISUPER 76X, 1 Canon DIGISUPER 100X, 3 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG
ChyronHego Mosaic
Webby
53’ expando
HD/1080p/ HDR
Both
Calrec Artemis (144 12-layer faders/1,020) channels)
10 Sony HDC-2500
6 Canon DIGISUPER 95 X 9.3, 2 Canon DIGISUPER 100 X 9. 3 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG
ChyronHego Mosaic
Apollo
53’ expando
HD/1080p/ HDR
Both
Calrec Artemis (144 12-layer faders/1,020 channels)
10 Sony HDC-2500
5 Canon DIGISUPER 76X9.3, 1 Canon DIGISUPER 100X9.3, 3 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG
ChyronHego Mosaic
Maverick
53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Artemis (144 12-layer faders/1,020 channels)
12 Sony HDC 2500 multiformat
7 Canon DIGISUPER 72X9.3, 2 Canon 11X4.7B wide-angle ENG
ChyronHego Mosaic
Dynasty
53’ expando
HD/1080p/ HDR
Both
Calrec Alpha w/Bluefin (96 duallayer faders/512 channels)
12 Sony HDC 1500 multiformat
Freedom
53’ expando
HD/1080p
Both
Calrec Alpha w/Bluefin (96 duallayer faders/512 channels)
10 Sony HDC 1500 multiformat
MOBILE SPORTS PRODUCTION YEARBOOK 2018
2 Canon DIGISUPER 100X9.3, 4 Canon DIGISUPER 86X9.3, 3 Canon DIGISUPER 75X9.3, 3 Canon 22X7.8 ENG, 1 Canon 11X4.7 wide-angle ENG 4 Canon DIGISUPER 75X9.3, 2 Canon DIGISUPER 86X9.3, 1 Canon DIGISUPER 100X9.3, 4 Canon 21X7.8 ENG, 1 Canon 11X4.7B wide-angle ENG, 1 Canon 21AX7.8
ChyronHego Mosaic
ChyronHego Mosaic
All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities
SWITCHER, M/E
A-T, Senn., EV, Sony
GV Kalypso, 4M/E
A-T, Senn., EV, Sony
GV K-Classic, 4M/E
A-T, Senn., EV, Sony
GV Kalypso, 4M/E
ROUTER (VIDEO/AUDIO SIZE)
2 EVS XT3 6-ch., 1 8-ch. XT3, 4-ch. XS SpotBox, XFile3, 1 XHub3; HDCAM/XDCAM 2 EVS XT3 6-ch., 1 8-ch. XT3, 4-ch. XS SpotBox, XFile3, XHub; 2 HDCAM/XDCAM 3 EVS XT2 6-ch., 4-ch. XS SpotBox, XFile2D, XHub; 2 HDCAM/XDCAM
GV Trinix (224x320/96x64) Harris (64x64/128x128) GV Trinix (256x256/256x256)
None
FOR-A HVS-300HS
2 EVS XT2+ 6-ch., 1 2-ch. XS SpotBox, XFile2, XHub2; HDCAM/ XDCAM As requested
A-T, Senn., EV, Sony
FOR-A HVS-300HS
N/A
Leitch (16x16), Kramer (16x16)
As requested
As requested
UNITE is integrated with a router and intercom system and is ready to deploy for multipurpose function as a host facility
Available
N/A
Ross Crossover Solo
1 Ki Pro Rec/Play; additional available
Blackmagic (40x40 SDI embedded audio only)
N/A
Panasonic HS-410n
1 Ki Pro Rec/Play; additional available
Blackmagic (40x40 SDI embedded audio only)
A-T, EV, Senn., Shure, Sony
GV Kalypso, 4M/E
2 6-ch. EVS XT2+, 2 4-ch. RO XT2+, 1 4-ch. SpotBox, XFile3, 1 XHub2; 2 Sony DVW-A500, 1 DVCPRO 1700, 1 HDCam 1800 3 6-ch. EVS XT2, 2 4-ch. XT2, 2 4-ch. RO XT2, 1 4-ch. SpotBox, XFile2, 2 XHub2, IPDirector, XTAccess; 2 Sony M2000, 2 DVCPRO 1700, 1 DVCPRO 1400, 1 HDCam 1800
PESA HD multirate video (144x352), DRS audio (128x128 analog, 128x128 AES, 128x128 MADI, 256x256 embedded)
A-T, Senn., EV, Sony
GV Karrera, 2.5M/E
A-T, EV, Senn., Shure, Sony
A-T, EV, Senn., Shure, Sony
A-T, EV, Senn., Shure, Sony Senn., EV, Sony Senn., EV, Sony Senn., EV, Sony Senn., EV, Sony Senn., EV, Sony Senn., EV, Sony 8 Senn. HMD 26 headsets, 8 Daltech announce/cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH-8070 long shotgun, 6 Senn. MKH-416 short shotgun, 2 Senn. MKH 418 stereo shotgun, 4 A-T AT4027 stereo shotgun, 6 EV RE50 HH, 12 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Daltech announce/cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH-8070 long shotgun, 6 Senn. MKH-416 short shotgun, 2 Senn. MKH 418 stereo shotgun, 4 A-T AT4027 stereo shotgun, 6 EV RE50 HH, 12 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Daltech announce/cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 5 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Daltech talkback/cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headset, 8 Studio Tech. 210 talkback/cough box, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav
REPLAY DEVICES
GV Kayenne, 4.5M/E; K2 Solo, GV Kayenne Image Store GV Kayenne, 4.5M/E; K2 2 6-ch. EVS XT2, 2 4-ch. RO XT2, 1 4-ch. SpotBox, XFile2, 2 XHub2; Solo, GV Kayenne Image 2 Sony M2000, 1 DVCPRO 1700, 1 DVCPRO 1400, 1 HDCam 1800 Store GV Kayenne, 4.5M/E; K2 2 6-ch. EVS XT2+, 2 4-ch. RO XT2+, 1 4-ch. SpotBox, XFile2+, 2 Solo, GV Kayenne Image XHub2; 1 Sony M2000, 1 DVCPRO 1700, 1 DVCPRO 1400, Store 1 HDCam 1800 GV Kayenne, 4.5M/E; GV 4 8-ch. EVS XT3, 1 4-ch. XT2 SpotBox, 1 XFile, 2 XHub; 1 DVCPRO, Kayenne Image Store 1 DigiBeta GV Kayenne K-Frame, 6M/E; 2 6-ch. EVS XT2, 2 4-ch. HD XT2, 1 XFile2, 1 4-ch. XT2 SpotBox; GV Kayenne Image Store 1 DVCPRO, 1 DigiBeta GV Kayenne K-Frame 6M/E; GV Kayenne, Image Store, 4 6-ch. EVS XT2, 1 XT2, 4-ch. SpotBox, 1 XFile2; 2 DVCPRO; DigiBeta 4-ch. K2 Summit GV Kayenne K-Frame, 9M/E; 4 8-ch. EVS HD XT3, 1 6-ch. XT3 SpotBox, 2 XFiles; 1 IPDirector; GV Kayenne Image Store 2 XHub; 2 SRW5500, 1 DVCPRO; 10 G Network GV Kayenne K-Frame, 9M/E; 4 8-ch. EVS HD XT3, 1 6-ch. XT3 SpotBox, 2 XFiles, 1 IPDirector, GV Kayenne Image Store 2 XHubs; 2 SRW5500, 1 DVCPRO GV HD Kayenne Elite 4 12-ch. EVS HD XT4, 1 6-ch. XT3 SpotBox, 2 XFiles, 1 IPDirector, K-Frame, 9M/E; GV Image 2 XHubs; 6 Ultra KiPros Store GV HD Kayenne K-Frame, 3M/E
GV HD Kayenne K-Frame, 4.5M/E
GV HD Kayenne, 3M/E
3 EVS 6 ch. HD XT3 LSM w/high-speed XNet, 2 12-ch. HD XT3 VTR emulators w/XNet, 1 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 XFile3; 1 Sony DVW A500 DigiBeta, 1 Sony HDW-D1800 HDCam, 1 Sony XDS-PD2000 XDCam, 4 DVD/VHS recorders 3 EVS 6-ch. HD XT3 LSM w/XNet, 2 EVS 12-ch. HD XT3 w/XNet, 1 EVS 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 EVS XFile3, 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Sony HDW-D1800 HDCam, 1 Sony XDS-PD2000 XDCam, 2 Mac Minis, 4 DVD/VHS recorder 3 EVS 6-ch. HD XT3 LSM w/XNet, 2 EVS 4-ch. HD XT3 RO VTR Emulators w/XNet, 1 EVS 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 EVS XFile3, 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Sony HDW-D1800 HDCam, 1 Sony XDS-PD2000 XDCam, 4 DVD/VHS recorder
Gearbase
MICROPHONES
Evertz (84x120/32x32) N/A
PESA HD multirate video (192x448), DRS audio (512x512 analog, 512x512 AES, 128x128 MADI) PESA HD multirate video (208x464), DRS audio (256x256 analog, 256x256 AES, 128x128 MADI, 128x128 embedded) PESA HD multirate video (192x416), DRS audio (256x256 analog, 256x256 AES, 128x128 MADI, 256x256 embedded) GV Trinix (256x256 HD/SD) GV Trinix (256x256 HD/SD) GV Trinix (256x256 HD/SD) Evertz (288x516 HD) Evertz (496x962 HD) Evertz 576x1134 w/Xlink HD router Evertz EQX HD video (396x684), EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels, 40-button multicolor panels Evertz EQX HD video (396x684), Evertz EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), Evertz 72-button multicolor panels, Evertz 40-button multicolor panels Evertz EQX HD video (396x684), EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels
GV HD Kayenne K-Frame, 4.5M/E
3 EVS 12-ch. HD XT3 LSM w/XNet, 1 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 XFile3 w/DNF controllers; 1 Panasonic DVCPRO AJ-HD1700, 4 DVD/VHS recorders
Evertz EQX HD video (396x684), EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels, 40-button multicolor panels
GV HD K-Frame, 4.5M/E
6 EVS 6-ch. HD XT3 LSM w/XNet, 2 12-ch. HD XT3 w/XNet, 1 4-ch. HD XS SpotBox w/Lance TDC 100 controller, 1 XFile3; 1 Sony DVW A500 DigiBeta w/DNF controllers, 1 Sony M2000 HDCAM VTR, 4 DVD/VHS recorders
Evertz multiformat video (576x1152), audio (1024x1024)
GV HD Kayenne, 3M/E
5 EVS 6-ch. HD XT2 LSM w/XNet, 1 SpotBox w/Lance TDC 100 controller, 1 XFile; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic AJ HD 1700A DVCPRO VTR, 4 DVD recorders
Evertz EQX HD video (288x288 + 288 XLink), GV Nvision mono audio (512x512 AES and analog)
MOBILE SPORTS PRODUCTION YEARBOOK 2018
257
INSPIRED BY VISIONARY DESIGN, COMMITTED TO ENGINEERING EXCELLENCE
For more than four decades, F&F Productions has remained a first choice of veteran producers and directors worldwide for all major league sports, network series, entertainment specials, live concerts and large scale corporate events for Fortune 500 companies. Our commitment to our clients remains driven by the goals created from our beginning; Listen to your clients, provide a solution for their need and have a relentless drive for engineering excellence, backed by our 24/7 technical support and unparalleled customer service. Simply put, F&F Productions believes the true measure of our success is our clients’ success and we are proud to provide our clients with the kind of product and expertise that has distinguished us from our competition. GTX-18 4K – DOUBLE EXPANDO, MULTI FORMAT, 4K W/HDR, 1080P, 1080I, 720P VIDEO PRODUCTION Grass Valley HD Kayenne Elite K-Frame Switcher • 192 Inputs / 96 Outputs / 9 Mix Effects • 6 Downstream Keyers per M/E • FlexiKey Programmable Clean Feed • 12 iDPM / 4 eDPM / 4 Chroma Keys per Full M/E • DoubleTake • 32 GB Still Store w/ 10 Fill & Key Channels • Grass Valley K2 Summit 4-Dual Channel Clip Store • EVS XS Spot Box w/ Interface & Lance Controller • Evertz 576x1134 w/ Xlink HD Router • 4K Virtual Monitor Wall • Evertz VIP-X Routing & Multi-Image Display • (18) 31” Custom Boland 4K Monitors 4096x2160 •
4 Point Star Filters & Variable Speed Shutter Available (8) Sony HDLA Lens Adapter • (4) 12x Super-Mo • (8) Vinten VECTOR 750 Panhead • (8) Vinten Heavy Duty Tripods • (2) Vinten 100 Handheld Tripods • (3) Vinten 10-AS Handheld Tripods • (3) Vinten Dolly Wheels for Hard Cameras • (4) Studio Build-Up Kits for Handheld Cameras *Mobile Unit Wired For 24 Cameras *Fiber Operation Only
•
•
•
4K ULTRA HIGH DEFINITION LENSES (8) Fujinon UA 107x8.4 Studio/Field w/ Stabilization (5) Fujinon UA 18x5.5 Wide Angle/Handheld Lens • (3) Fujinon UA 14x4.5 Wide Angle Lens • (1) Fujinon UA 22x7.8 Handheld lens • •
VIDEO SHADING 1 Sony 30” BVMX 300-2 Monitor 2 Tektronix 4K WFM/Vector Scopes • 1 Tektronix 3G WFM/Vector Scopes • •
AUDIO Calrec Artemis Beam Digital Console V8 w/ High Density Blue Fin2 • (64) Multi-layer faders w/Hydra2 Networking • LCD Bar Graph and VU Metering • (4) MADI Interface - 2-Streams •
4K Software w/ HDR Unlocked on All Cameras • (14) Sony HDC 4300L Multi-Format Camera • (2) Sony HDCP-43 POV Camera
TAPE/REPLAY AUDIO
PRODUCTION/GRAPHICS
PRODUCTION
PRODUCTION
•
TRANSMISSION
VIDEO
RECORD/REPLAY (4) EVS XT4K 12-Channel LSM (w/ SSMO Option) (2) EVS XFile 3 Archive Station • (2) EVS Sports Net3 Hub • (1) EVS IP Director Package • (8) KiPro Ultra Plus w/ 16 1TB Drives • (1) Sony HDW-2000 HDCAM • (2) Panasonic AJ-HD1800 DVC Pro • (4) Black Magic 4K Video Assist w/ Dual • SD Card & USB Thumb Drive Recorder • •
20 TON A/C UNIT
CAMERAS & ACCESSORIES
128x128 AES Audio / 128x128 Analog Audio Dual Processor Engines • Evertz EMX Router • 192x192 AES Audio / 48x96 Analog Audio • 20x21 MADI I/O • Genelec 5.1 Surround Sound Monitoring • DK Stereo Surround Audio Display • Yamaha SPX2000 Multi-Effects Processor • Rane Audio Delays • dbx 166 XL Compressors • (2) dbx 1046 Quad Compressors • 360 Systems Digicart/E Ethernet Audio Recorder (1) w/ SD Card & (1) w/ Zip Drive • (1) CD Player • (2) DTS Neural Upmix Decoders • (2) DTS Neural Downmix Encoders • (2) DTS Neural Mono to Stereo 4-Channel Synthesizers • (1) DTS Neural Loudness Meter *Upon Request 96 Channel Hydra Stage Box
•
FOR THE “COMPLETE” SPECS FOR GTX-18 OR ANY OF OUR 10 HD UNITS PLEASE SEE
www.fandfhd.tv
Copyright 2017 F&F Production, LLC 14333 Myerlake Circle I Clearwater, FL 33760 I 727.530.5000 I www.fandfhd.tv
DIMENSIONS/ TYPE
SD/HD/ 1080P/4K/ HDR-CAPABLE
COMPANY GAME CREEK VIDEO
Gearbase 260
TRIAX, FIBER, OR BOTH?
AUDIO CONSOLE (FADERS/CHANNELS)
# CAMERAS & MAKE
LENSES (H/HH)
GRAPHICS
2 53’ expando
HD/1080p
Both
Calrec w/Bluefin Alpha (96 dual-layer faders/162 stereo,78 surround-sound, 156 mono channels)
14 Sony HDC 1500 Multiformat
12 Canon DIGISUPER 100X9.5, 4 Canon 21X7.8 ENG. 2 Canon 11X4.7B wide-angle ENG
ChyronHego Mosaic
44’ dual expando
HD/1080p
Both
Calrec Omega (64 faders/160 channels)
6 Sony HDC 1500 Multiformat
4 Canon DIGISUPER 72X9.3, 2 Canon 22X7.8 ENG, 1 Canon 14X4.3 wide-angle ENG
ChyronHego Mosaic
Discovery
44’ dual expando
HD/1080p
Both
Calrec Alpha w/Bluefin (80 duallayer faders/320 channels)
6 Sony HDC-1500
4 Canon DIGISUPER 72X9.3, 2 Canon 22X7.8 ENG, 1 Canon 14X4.3 wide-angle ENG
ChyronHego Mosaic
Pride
44’ dual expando
HD/1080p/ HDR
Both
Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)
10 Sony HDC-2500
2 Canon DIGISUPER 100X9.3, 5 Canon DIGISUPER 75X9.3, 4 Canon 22X7.8 ENG, 2 Canon 14X4.7 wide-angle ENG
ChyronHego Mosaic
River Hawk
53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Artemis (144 12-layer faders /1,020 channels)
12 Sony HDC-4300
8 Canon DIGISUPER 95X8.6, 2 Canon 22X7.8 ENG, 2 Canon HJ17eX6.2B IRSE, 2 Canon 14X4.3 wide-angle ENG
ChyronHego Mosaic
Glory
53’ expando
HD/1080p/ HDR
Both
Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)
14 Sony HDC-2500
Justice
53’ expando
HD/1080p/ HDR
Both
Calrec Apollo (144 12-layer faders/1,020 channels)
10 Sony HDC-2400
Larkspur
53’ expando
HD/1080p/ HDR
Both
Calrec Alpha w/Bluefin (80 duallayer faders/320 channels)
10 Sony HDC-1500-R
1 Canon DIGISUPER 100X9.3, 4 Canon DIGISUPER 75X9.3, 4 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG
ChyronHego Mosaic
Legends
53’ expando
HD/1080p/ HDR
Both
Calrec Alpha w/Bluefin (80 duallayer faders/320 channels)
10 Sony HDC-1500-R
1 Canon DIGISUPER 86X9.3, 5 Canon DIGISUPER 75X9.3, 3 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG
ChyronHego Mosaic
12 Sony HDC-1500-R
2 Canon DIGISUPER 100X9.3, 4 Canon DIGISUPER 86X9.3, 2 Canon DIGISUPER 75X9.3, 2 Canon 22X7.8 ENG, 2 Canon 11X4.7B wide-angle ENG
ChyronHego Mosaic
TRUCK NAME
FX
Gemini
5 Canon DIGISUPER 100X9.3, 3 Canon DIGISUPER 86X9.3, 2 Canon DIGISUPER 75X9.3, 2 Canon 22X7.8 ENG, 2 Canon 14X4.7 wide-angle ENG 1 Canon DIGISUPER 100X9.3, 1 Canon DIGISUPER 86X9.3, 3 Canon DIGISUPER 75X9.3, 2 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG
ChyronHego Mosaic
ChyronHego Mosaic
Liberty
53’ expando
HD/1080p
Both
Calrec Alpha w/Bluefin (80 duallayer faders/320 channels)
Northstar
53’ expando
HD/1080p
Both
Calrec Alpha w/Bluefin (64 duallayer faders/320 channels)
10 Sony HDC-1500-R
6 Canon DIGISUPER 75X9.3, 3 Canon 22X7.8 ENG, 2 Canon 11X4.7B wide-angle ENG
ChyronHego Mosaic
Patriot
53’ expando
HD/1080p
Both
Calrec Alpha (64 faders/108 stereo, 104 mono, 52 surroundsound channels)
12 Sony HDC-1500-R
2 Canon DIGISUPER 86X9.3, 5 Canon DIGISUPER 75X9.3, 4 Canon 21X7.8 ENG, 1 Canon 11X4.7B wide-angle ENG
ChyronHego Mosaic
Spirit
53’ expando
HD/1080p/ HDR
Both
Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)
12 Sony HDC-2500
2 Canon DIGISUPER 100X9.3, 6 Canon DIGISUPER 95X8.6, 3 Canon 22X7.8 ENG, 4 Canon 14X4.3 wide-angle ENG
ChyronHego Mosaic
Victory
53’ expando
HD/1080p/ HDR
Both
Calrec Apollo w/Bluefin (144 12-layer faders/1,020) channels)
12 Sony HDC-2500
2 Canon DIGISUPER 100X9.3, 5 Canon DIGISUPER 86X9.3, 3 Canon 22X7.8 ENG, 2 Canon 14X4.7 wide-angle ENG
ChyronHego Mosaic
PeacockOne
2 53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)
23 Sony HDC-4300
6 Canon DIGISUPER 100X9.3, 6 Canon DIGISUPER 95X8.6, 8 Canon 22X7.8 ENG, 4 Canon 14X4.7 wide-angle ENG
ChyronHego Mosaic
Encore
3 53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)
14 Sony HDC-4300
6 Canon DIGISUPER 100X9.3, 4 Canon DIGISUPER 95X8.6, 4 Canon 22X7.8 ENG, 4 Canon 14X4.7 wide-angle ENG
ChyronHego Mosaic
MOBILE SPORTS PRODUCTION YEARBOOK 2018
All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities
SWITCHER, M/E
REPLAY DEVICES
ROUTER (VIDEO/AUDIO SIZE)
8 Senn. 416, 4 Senn. ME-66, 4 Senn. ME-6, 8 Audix D-3, 4 Senn. MKH-70, 18 A-T 815-ST, 6 Senn. MD-46, 8 Shure VP-88, 10 Senn. E-825, 8 A-T 825
GV HD Kayenne K-Frame, 4.5M/E
6 EVS 6-ch. HD XT3 LSM w/XNet, 1 4-ch. HD XS4 SpotBox w/dual Lance TDC 100 controllers, 2 XFile, 1 IPDirector; 1 Sony DVW A500 DigiBeta VTR, 1 Panasonic AJ HD 1800A DVCPRO VTR, 1 Panasonic D-5 HD VTR, 4 DVD/VHS recorders
PESA HD video (512x1024), DRS mono audio (2048x2048 AES and analog)
GV HD Kayenne, 3M/E
2 EVS 6-ch. HD XT2+ LSM w/XNet, 2 4-ch. HD XT2+ RO VTR emulators w/XNet, 1 4-ch. HD XT2+ SpotBox w/Lance TDC 100 controller, 1 XFile2; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 4 DVD/VHS recorders
Evertz EQX HD video (288x288), EMX audio (384x384 AES, 1024x1024 MADI, 192x192 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels, 40-button multicolor panels
GV HD Kayenne, 4.5M/E
2 EVS 6-ch. HD XT2+ LSM w/XNet, 2 4-ch. HD XT2+ RO VTR emulators w/XNet, 1 4-ch. HD XT2+ SpotBox w/ Lance TDC 100 controller, 1 XFile2; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 4 DVD/VHS recorders
Evertz EQX HD video (288x288), EMX audio (384x384 AES, 1024x1024 MADI, 192x192 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels, 40-button multicolor panels
6 Senn. HMD 25 headsets, 6 Daltech announce/cough boxes, 4 Beyer M58 HH, 4 Senn. MD-46 HH, 7 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 4 Senn. MKH 416 shotgun, 5 EV 635A HH, 1 Shure SM58 HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 6 Senn. HMD 25 headsets, 6 Daltech announce/cough boxes, 4 Beyer M58 HH, 4 Senn. MD-46 HH, 7 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 4 Senn. MKH 416 shotgun, 5 EV 635A HH, 1 Shure SM58 HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes,12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 2 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Daltech announce/cough boxes, 12 Senn. MD-46, 6 Senn. MKH 416 shotgun. 2 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T AT4027 stereo shotgun, 6 EV RE50 HH, 12 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 6 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Daltech announce/cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Daltech announce/cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 6 Beyer M58 HH, 10 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Daltech talkback/cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Daltech talkback/cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 2 Senn. MKH 418S stereo shotgun, 4 AT-BP4071L long shotgun, 6 EV RE50 HH, 12 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 6 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav
6 Senn. ME66, 6 Senn. ME67, 6 Senn. MKH 416, 6 Senn. MKH 418, 6 Senn. MKH 8070, 12 Senn. MD 46,10 Senn. HMD 26 II announce headsets, 4 A-T 4050ST, 6 Sony ECM 77B
GV HD K-Frame, 4.5M/E
GV Kayenne K-Frame
576x1152 multiformat video router w/128x128 embedded 4 EVS 6-ch. HD XT3 LSM w/XNet, 1 XS4 SpotBox XFile3; 1 Sony DVW mux/demux capability; 192x192 AES audio (384x384 mono A500 DigiBeta VTR w/DNF controllers, 1 Panasonic DVCPRO AJchannels), 288x288 analog audio, 1x16 MADI (1024x1024 HD1700, 4 DVD/VHS recorders mono channels), 128x128 video I/O w/16 channels of embedded audio each (2048x2048) 576x1152 multiformat video router w/128x128 embedded mux/ 4 EVS 8-ch. HD XT3 LSM w/XNet, 1 XS4 SpotBox, 1 XFile3; 1 Sony demux dapability, 192x192 AES audio (384x384 mono channels, DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic DVCPRO 288x288 analog, 16x16 MADI (1024x1024 mono channels), AJ-HD1700, 4 DVD/VHS recorders 128x128 video I/O w/16 channels of embedded audio each (2048x2048)
GV HD Kayenne K-Frame, 4.5M/E
6 EVS 6-ch. HD XT3 LSM w/XNet, 1 XS4 SpotBox w/Lance TDC 100 controller, 1 XFile3, 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic DVCPRO AJ-HD1700, 4 DVD/VHS recorders
576x1152 multiformat video w/128x128 embedded mux/demux capability, 192x192 AES audio (384x384 mono channels), 288x288 analog, 16x16 MADI (1024x1024 mono channels), 128x128 video I/O w/16 channels off embedded audio each
GV HD K-Frame, 3M/E
2 EVS 12-ch. HD XT3 LSM w/XNet, 1 6-ch. HD XT3 Network 1 XS 4-ch. SpotBox, 1 XFile3
Evertz EQX HD video (396x684), EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels
GV HD K-Frame, 3M/E
4 EVS 6-ch. HD XT2+ LSM w/XNet, 1 4-ch. HD XT2+ SpotBox w/ Lance TDC 100 controller, 1 XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 2 Panasoinc AJHD1800P DVCPRO, 4 DVD/VHS recorders
Evertz EQX HD video (396x684), EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels
GV HD Kayenne, 3M/E
2 EVS 12-ch. HD XT3 LSM w/XNet, 1 6-ch. HD XT3 RO VTR Emulators w/XNet, 1 XS 4-ch. SpotBox w/Lance TDC 100 controller, 1 XFile; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 2 Sony HDW D-1800 VTR, 4 DVD/VHS recorders, 1 DNF VTR controller
PESA HD video (288x576), DRS mono audio (704x576 AES and analog)
GV HD Kayenne, 4.5M/E
4 EVS 6-ch. HD XT2+ LSM w/SportNet, 1 4-ch. HD XT2 SpotBox w/ Lance TDC 100 controller; 1 EVS XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic AJ HD 1800A DVCPRO VTR, 4 DVD/VHS recorders
PESA HD video (384x720), DRS mono audio ( 2048x2048 AES, analog, and MADI)
GV HD Kayenne, 4.5M/E
4 EVS 6-ch. HD XT2 LSM w/XNet, 1 EVS 4-ch. HD XT2 SpotBox w/ Lance TDC 100 controller, 1 XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic AJ HD 1800A DVCPRO VTR, 1 Sony HDW M-2000 VTR, 4 DVD/VHS recorders
PESA HD video (288x576), DRS mono audio (704x576 AES and analog)
GV HD Kayenne, 3M/E
GV HD Kayenne K-Frame, 4.5M/E
GV HD K-Frame, 4.5M/E
GV HD Kayenne K-Frame, 9M/E
GV HD Kayenne K-Frame, 9M/E
Gearbase
MICROPHONES
2 EVS 6-ch. HD XT2 LSM w/XNet, 3 EVS 4-ch. HD XT2 RO VTR emulators w/XNet, 1 EVS SpotBox w/Lance TDC 100 controller, 1 EVS Evertz EQX HD video (288x288 + 288 XLink), 72-button XFile; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic multicolor panels; Nvision mono audio (512x512 AES and analog) AJ HD 1700A DVCPRO VTR, 2 HiFi VHS, 2 DVD recorder 2 EVS 12-ch. HD XT3 LSM w XNet, 6 EVS 6-ch. HD XT3 RO VTR 576x1152 multiformat video router w/128x128 embedded mux/ emulators w/XNet, 1 4-ch. HD XT3 SpotBox w/Lance TDC 100 demux capability; 92x192 AES audio (384x384 mono channels), controller, 5 LSM connect tablets, 1 IPDirector, 1 C-Cast Agent, 1 288x288 analog, 16x16 MADI (1024x1024 mono channels); database server, 1 XT Access, 1 XFile3; 1 Sony DVW A500 DigiBeta 128x128 video I/O w/16 channels of embedded audio each VTR w/DNF controllers, 2 Panasonic DVCPRO AJ-HD1700, 2 DVD/VHS (2048x2048) recorders, 2 Mini Mac/Blackmagic H264 disk recorders 576x1152 multiformat video w/128x128 embedded mux/demux 3 EVS 12-ch. HD XT3 LSM w/XNet, 1 4-ch. HD XT3 SpotBox w/Lance capability; 192x192 AES audio (384x384 mono channels), TDC 100 controller, 1 XFile3 w/DNF controllers; 1 Panasonic DVCPRO 288x288 analog, 16x16 MADI (1024x1024 mono channels); AJ-HD1700, 4 DVD/VHS recorders 128x128 video I/O w/16 channels of embedded audio each (2048x2048) 21 EVS 6-ch. HD XT3 LSM w/XNet, 3 6-ch. HD XT2+ SpotBox w/ Lance TDC 100 controller, 2 EVS XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic DVCPRO AJ-HD1700, 4 DVD/ VHS recorders
2 576x1152 multiformat video router w/128x128 embedded mux/demux dapability; 192x192 AES (384x384 mono channels), 288x288 analog, 16x16 MADI (1024x1024 mono channels); 128x128 video I/O w/16 channels off embedded audio each
10 EVS 6-ch. HD XT3 LSM w/XNet, 1 6-ch. HD XT2+ SpotBox w/ Lance TDC 100 controller, 2 XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic DVCPRO AJ-HD1700, 4 DVD/VHS recorders
A unit: 968x2214 multiformat video router w/468x378 embedded mux/demux capability; 192x192 AES audio (384x384 mono channels), 192x288 analog, 37x37 MADI; 468x378 video I/O w/16 channels of embedded audio; IHSE Draco Tera 192-port KVM router w/RS data transport. B unit: 96x96 AES audio (192x192 mono channels), 48x96 analog (96x192 mono channels), 12x12 MADI. C unit: 96x96 AES audio (192x192 mono channels), 48x96 analog audio (96x192 mono channels), 12x12 MADI
MOBILE SPORTS PRODUCTION YEARBOOK 2018
261
INTRODUCING
HIGH ROCK 1 Designed for all levels of production. This 40 foot duel expando production truck is every company’s solution to bringing sports, entertainment and corporate programming to life. Grass Valley Kayenne Switcher EVS XT3 Servers Calrec Artemis Audio Console SONY HDC17000L Cameras SONY HDC4300 Super Slo-Motion Camera UTAH Scientific Router Cobalt Multiviewer System
www.highrockmobiletelevision.com (518) 584-9181 “Ready to support all your sports, entertainment and corporate production needs”
Whether it is entertainment or main event sports, IMS Productions has the facilities and experience to execute ANY event.
Six state-of-the art HD trucks on the road and a fleet of support vehicles... HD 1 -16 camera capability -Kalypso switching -Chyron Mosaic graphics -Calrec audio HD 2 -10 camera capability (expandable to 16) -Kayenne switching -Chyron Mosaic graphics -Calrec audio
HD 3 -4K capable -12 camera capability -Kayenne K frame switching -Chyron Mosaic graphics -Calrec audio HD 4 -12 camera capability -Kalypso switching -Chyron graphics -SSL audio
HD 5 -4K capable -20 plus camera capability -Kayenne K frame switching -Chyron Mosaic graphics -Calrac audio D1 -5 Camera Multi-Cam -Evertz Router -Evertz Multi-Viewer -Broadcast Quality Shading Position
ROBOTIC CAMERAS Our studios are HD deliverable via our in-house VYVX circuit for all types of productions.
Recent clients include: NBC SPORTS, ABC SPORTS, TIME WARNER CABLE, NBA, INDYCAR, PROFESSIONAL BULL RIDING, PAC 12 AND MANY MORE! Kevin Sublette VP of Broadcast Operations ksublette@imsptv.com (317)-492-8723
www.imsptv.com
Robby Greene President rgreene@imsptv.com (317)-492-8710
DIMENSIONS/ TYPE
SD/HD/ 1080P/4K/ HDR-CAPABLE
# CAMERAS & MAKE
LENSES (H/HH)
GRAPHICS
53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)
12 Sony HDC-4300
6 Canon DIGISUPER 95, 3 Canon 24X7.8 ENG, 3 Canon 14X4.7 wide-angle ENG
ChyronHego Mosaic
53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Artemis (144 12-layer faders/1,020 channels)
12 Sony HDC-2500
6 Canon DIGISUPER 95, 3 Canon 24X7.8 ENG, 3 Canon 14X4.7 wide-angle ENG
Vizrt, ChyronHego
Chesapeake
53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Artemis (144 12-layer faders/1,020 channels)
13 Sony HDC-4300
9 Canon DIGISUPER 95, 3 Canon 24X7.8 ENG, 3 Canon 14X4.7 wide-angle ENG
ChyronHego Mosaic
Yogi
2 53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)
13 Sony HDC-4300 multiformat
9 Canon DIGISUPER 95X8.6, 4 Canon 22X7.8 ENG, 4 Canon 14X4.7 wide-angle ENG
As requested
79 (2018)
2 53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Apollo w/Bluefin (144 12-layer-faders/1,020 channels)
13 Sony HDC-4300
9 Canon DIGISUPER 95X8.6, 4 Canon 22X7.8 ENG, 4 Canon 14X4.7 wide-angle ENG
Vizrt, ChyronHego
Columbus Skye Iona The Brain
4K UHD/HD HD/3G HD/3G HD/3G
Fiber Fiber Fiber Fiber
Lawo Calrec Calrec Calrec
Fujinon Canon Canon Canon
As requested As requested As requested As requested
HIGH ROCK MOBILE TV
High Rock 1
53’ expando Sprinter Sprinter Sprinter 40’ dual expando
HD
Fiber
Calrec
GAME CREEK VIDEO
COMPANY
AUDIO CONSOLE (FADERS/CHANNELS)
GEARHOUSE BROADCAST
Gearbase
TRIAX, FIBER, OR BOTH?
IMS PRODUCTIONS
HRS MOBILE
JAS DIGITAL
LIVE MEDIA GROUP
LESEA PRODUCTIONS
JONES MOBILE TV KODIAK MOBILE TELEVISION
264
TRUCK TRUCK NAME NAME
Madison
Nitro
20 Sony HDC-4300 6 Hitachi SK1200/1300 8 Hitachi SK1200/1300 8 Hitachi SK1200/1300 7 Sony HDC1700L, 7 Sony HDCU2500L, 1 Sony HDCU4300L
Canon
ChyronHego Mosiac ChyronHego Duet HyperX2
HRS-TV1
40’ expando
HD
Triax
Yamaha DM-2000 (24/96)
8 GV LDK Elite
1 72X H, 2 55X H, 2 wide-angle, 3 15X, 1 22X HH
HD-1
53’ expando
HD
Both
Calrec Sigma (64/256)
8 Sony HDC-1000 studio, 8 Sony HDC handheld, 4 Sony HDLA-1500
Canon 10 H/8 HH
ChyronHego Mosaic XL
HD-2
53’ expando plus a second control room and expando
HD
Both
Calrec Sigma (64/256)
4 Sony HDC-1000 studio, 4 Sony HDC handheld, 2 Sony HDLA-1500
Canon 6 H/4 HH
ChyronHego Mosaic XL
HD-3
53’ expando
HD/1080p
Both
Calrec Artemis Beam (64/544)
10 Sony HDC-2400L, 2 Sony HDC2500L
6 Canon HH 22X, 4 Canon XJ95X8.6, 5 Canon XJ80X8.8
2 ChyronHego Mosaic EFX XL
HD-4
53’ expando
HD
Triax
SSL (56/128)
12 GV LDK 8000
4 Canon 22X HH, 8 Canon hard
ChyronHego HyperX3
HD-5
53’ double expando
HD/1080p
Both
Calrec Apollo (144/1,504)
14 Sony HDC-2400, 4 Sony HDC-2500
8 Canon 22X HH, 6 Canon 100X9.3, 6 Canon 95X8.6
2 ChyronHego Mosaic EFX XL
New Wave
30’
HD
Fiber
Yamaha M7CL (32)
8 Sony
8 Fujinon
ChyronHego HyperX2
VisionHD
51’ expando
HD
Both
Calrec Summa (44/128)
8 Sony HDC-2400
Grizz HD
45’
HD
Triax (fiber available)
Calrec Omega (40/80)
7 GV LDK 3000+, 2 Panasonic HPX 250, 2 Marshall POV
S4
38’ straight
HD 720p/1080i
Triax
Behringer X32
5 GV Focus 75
4 Fujinon 20X, 1 72X
S2
40’ expando
HD 720p/1080i
Triax
Calrec Artemis Light (40 faders)
6 GV LDX 80
3 Fujinon 77X1, 3 Fujinon 22X1
HD-1
38’ expando
HD
SMPTE fiber
Yamaha M7CL; Avid S3
5 GV LDK 8000
HD-2
38’ expando
HD
SMPTE fiber
Yamaha DM2000; Avid S3
5 GV LDK 8000
HD-3
40’ expando
HD
SMPTE fiber
Avid S3
5 Sony HDC-1500R
HDX-6
32’
HD
Triax (SMPTE)
Allen & Heath WZ3
3 GV LDK 6000, Sony 1500R
HDX-7
40’ expando
HD
Triax
Yamaha PM 5D
6 GV LDK 8000
HDX-8
40’ expando
HD
Triax
Yamaha PM 5D
6 GV LDK 8000
HDX-9
40’ expando
HD
Triax
DiGiCo SD5
6 GV LDK 8000
MOBILE SPORTS PRODUCTION YEARBOOK 2018
10 Fujinon, 4 88X, 2 77X, 3 23X, 1 14X 3 Fujinon77X, 3 Fujinon 17X, 1 Fujinon 12X wide-angle, add'l wide-angle and long available
1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 12X wide-angle 1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 12X wide-angle 1 Canon 86X, 2 Fujinon 22X, 2 Fujinon 12X wide-angle
ChyronHego Duet HyperX3 ChyronHego HyperX3 Pro Presenter Apple Mac Mini Sports Graphics HD scorebug w/OCR clock ChyronHego Mosaic, Vizrt Trio Wired for 1 Wired for 1 Wired for 1 N/A
3 Angenieux 70X, 2 Angenieux 19X, 1 Angenieux 10X wide-angle 3 Angenieux 70X, 2 Angenieux 26X, 1 Angenieux 10X wide-angle 3 Canon 86X, 2 Canon 22X, 1 Canon 12X wide-angle
ChyronHego Duet HyperX3 ChyronHego Duet HyperX2 ChyronHego Duet LEX
All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities
SWITCHER, M/E
REPLAY DEVICES
GV HD Kayenne K-Frame, 9M/E
3 EVS 12-ch. HD XT3 LSM w/XNet, 1 XS4 SpotBox w Lance TDC 100 controller, 1 XFile3
GV HD Kayenne K-Frame, 9M/E
3 EVS 12-ch. HD XT3 LSM w/XNet, 1 XS4 SpotBox w/Lance TDC 100 controller, 1 XFile3
GV HD Kayenne K-Frame, 9M/E
4 EVS 12-ch. HD XT3 LSM w/XNet, 1 4-ch. XS4 SpotBox w/Lance TDC 100 controller, 1 XFile3
GV HD Kayenne K-Frame, 9M/E
6 EVS 12-ch. HD XT4K LSM w/XNet, 1 XS4 SpotBox w/Lance TDC 100 controller, 1 XFile3
Evertz EXE SVDN video (744x948 + 98), EMR audio (31,968x31,968 all embedded)
GV HD Kayenne K-Frame, 9M/E
6 EVS 12-ch. HD XT4K LSM w/XNet, 1 XS4 SpotBox w/Lance TDC 100 controller, 1 EVS XFile3
Evertz EXE SVDN video (744x948 + 989), EMR audio (31,968x31,968 all embedded)
GV Kayenne K-Frame SimplyLive ViBox SimplyLive ViBox SimplyLive ViBox
4 EVS XT4 1 8-ch EVS (6 in 2 out) 1 8-ch EVS (6 in 2 out) 1 8-ch EVS (6 in 2 out)
Imagine IP3 (1000x1000), Lawo VSM/Lawo (4096x4096) SAM Halo (64x64) SAM Halo (64x65) Ross (144x144)
Senn., Sony, A-T
GV Kayenne K-Frame, 4 M/E
2 EVS XT3
Utah Scientific (254x456)
12 shotgun, 6 HH
GV Kalypso, 4M/E
1 XT3 EVS 12-ch. with dual controls and XFile
HD/SD router (288x288)
8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 6 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 6 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 2 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 6 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav 6 Senn. ME66, 6 Senn. ME67, 6 Senn. MKH 416, 6 Senn. MKH 418, 6 Senn. MKH 8070, 12 Senn. MD 46, 10 Senn. HMD 26 II announce headsets, 4 A-T 4050ST, 6 Sony ECM 77B 6 Senn. ME66, 6 Senn. ME67, 6 Senn. MKH 416, 6 Senn. MKH 418, 6 Senn. MKH 8070,12 Senn. MD 46, 10 Senn. HMD 26 II announce headsets, 4 A-T 4050ST, 6 Sony ECM 77B Senn. Senn. Senn. Senn.
ROUTER (VIDEO/AUDIO SIZE)
576x1152 multiformat video router w/128x128 embedded mux/demux capability; 192x192 AES audio (384x384 mono channels), 288x288 analog, 16x16 MADI (1024x1024 mono channels); 128x128 video I/O w/16 channels of embedded audio each 576x1152 multiformat video router w/128x128 embedded mux/demux capability; 192x192 AES audio (384x384 mono channels), 288x288 analog, 16x16 MADI (1024x1024 mono channels); 128x128 video I/O w/16 channels of embedded audio each 576x1152 multiformat video router w/128x128 embedded mux/demux capability; 192x192 AES audio (384x384 mono channels), 288x288 analog, 16x16 MADI (1024x1024 mono channels); 128x128 video I/O w/16 channels of embedded audio each
Gearbase
MICROPHONES
8 Senn. HMD 26 announce headset, 8 announce boxes with talkback, 8 Senn. ME 66 short shotguns, 8 Senn. ME 67 long 2 6-ch. EVS XT2 LSM, 4 6-ch. XT2 RO, 4-ch. SpotBox, XFile, Nvision w/Jupitor control (288x236 HD/SD/224x256 AES, GV Kalypso shotguns, 4 BP4027 stereo shotgun, 6 Shure Beta 58, 6 EV SportsHub; AJ-HD-1800 DVCPRO; PDW75 XDCam, 2 DVD recorders 192x192 analog) 635, 4 EV RE 50, 6 Sony ECM 77, 4 Sony ECM 66 6 Senn. HMD 25 announce headset, 6 announce box, 5 2 6-ch. EVS XT2 LSM, 1 6-ch. XT-2 RO, 1 4-ch. XT2 RO, 1 4-ch. Senn. ME 66 short shotgun, 5 Shure SM 89 long shotgun, 5 Nvision with Jupitor control (288x504 HD/SD/224x256 AES, GV Kayenne, 4.5M/E SpotBox, XFile, SportsHub; 2 AJ-HD-1800 DVCPRO; 2 HDW-1800 BP4027 stereo shotgun, 2 VP 88 stereo, 4 Shure Beta 58, 4 192x192 analog) HDCam; 2 DVD recorders Senn. MD 46, 4 Sony ECM 77, 4 Sony ECM 66, 6 Senn. HMD 26 announce headset, 6 announce box, 6 2 6-ch. EVS XT3 LSM; 3 6-ch. XT3 RO, 1 6-ch. XS SpotBox, Senn. ME 66 short shotguns, 6 Senn. ME 67 long shotguns, 1 XFile2/3, 1 IPDirector; 1 Sony HDWD 1800 HDCAM, IMX, DigiBeta, Evertz EQX (314x314 3G/HD/SD, of which 80x80 support audio, GV Kayenne K-Frame, 5M/E 6 Senn. MKH 416 shotgun, 2 VP 88 stereo, 8 Senn. MD 48, 6 SX; 1 Sony HDW 1800 HDCAM; 2 Sony PDWHD 1500 XDCAM; wired 96x96 stereo analog, 96x96 unbalanced AES, 19x19 MADI) Sony ECM 77, 2 Sony ECM 66 for 8 tape machines 2 6-ch. EVS LSM XT2, 1 4-ch. XT2 RO, SpotBox, IPDirector, XFile; 8 Senn. HMD 25 announce headset, 12 Sony ECM77B lav, wired for 2 additional 6-ch. EVS; 1 Panasonic AJ-HD1800 DVCPRO; Evertz EQX (288x288 HD/SD), Nvision (256x256 unbalanced 10 Senn. ME-66 shotgun, 8 Senn. MKH-416P shotgun, 8 GV Kalypso 1 Sony PDW-F75 HD VTR, 1 HDW-D1800 HDCAM/DigiBeta, AES) Senn. MKH-70-P48 shotgun, 8 EV RE-50 HH, 8 EV 635B HH 1 HDW-M2000 HDCAM/DigiBeta 8 HMD-26 announcer headset, 6 Senn. MKH-816 shotgun, 2 8-ch. EVS XT3 LSM, 4 8-ch. XT3 RO, licensed for slo-mo, Evertz EQX (314x1276 3G/HD/SD, of which 160x160 support 6 Senn. MKH-416 shotgun, 6 Senn. ME-66 shotgun, 4 A-T 1 6-ch. XS3 SpotBox, 1 XFile2 with XT Access, 1 IPDirector; 1 Sony GV Kayenne K-Frame, 7M/E audio, 96x96 stereo analog audio, 96x96 unbalanced AES, AT-4029 stereo shotgun, 12 Senn. MD-46, 2 Shure VP-88 HDW-D1800 HDCam, 1 SRW-HDCam, 2 PDWHD 1500 XDCam; 34x34 MADI) stereo, 2 EV RE50, 8 Sony ECM-77 lav 1 Panasonic 1800 DVCPRO Harris Panace video (32x32 HD-SDI), Panace audio (32x32 Shure Sony MFS-2000, 1.4M/E EVS available on request HD-SDI analog) GV Kayenne, 4.5M/E; GV 1 12-ch. EVS LSM XT3, 4-ch. XT3 RO, 4-ch. XS SpotBox, XFile3; A-T, Sony, EV PESA Cheetah 64XE, Cheetah DRS (128x128) Kayenne HDCAM, DVCPRO, DigiBeta, DVD Senn. HMD-25 and HMD-26 announcer headsets, 14 A-T Utah Scientific 400S (72x204) HD-SDI I/O with embedding and GV Kayenne, 2.5 M/E; 2 6-ch. EVS XTnano, XFile3, 4-ch. SpotBox; 10 AJA KiPro, 2 DVCPRO and Senn. mono and stereo shotguns, 4 Sony lavs, 4 Senn. de-embedding, (64x64) AES I/O, (192x192) MADI I/O, (64x64) K2 Dyno decks, 1800 HDCam recorder, A500 DigiBeta, 2 DVD recorders MD-46 HH, 2 Shure SM-58 HH analog I/O
Lectrosonics, Senn.
GV Karrera, 2M/E
GV 6-ch.K2 Dyno
Miranda CR 6400 (64x64)
Senn., Lectrosonics, Sony
GV Kayenne, 4M/E
6-ch. EVS XT3 LSM, 4-ch. XT3 RO; Panasonic DVCPRO HD; Blackmagic
Nvision (138x249 with integrated AES audio)
As requested
GV Kalypso, 2.5M/E
Wired for 2
GV Concerto (32x32)
As requested
GV Kalypso, 2.5M/E
Wired for 2
GV Concerto (32x32)
As requested
Ross Carbonite, 2.5M/E
Wired for 1
Ross (72x72)
As requested
Ross Synergy, 1M/E
Wired for 1
Leitch (16x16)
As requested
GV Kalypso, 4M/E
1 6-ch. EVS XT-3, 1 4-ch. XT2, 1 XFile2
GV Concerto (32x32)
As requested
GV Kalypso, 2M/E
1 6-ch. EVS XT2, 1 4-ch. XT2 RO, 1 XFile2
GV Concerto 32x64
As requested
GV Karrera, 4M/E
1 6-ch. EVS XT3, 1 6-ch. XT2, 1 XFile3
GV Trinix (96x64)
MOBILE SPORTS PRODUCTION YEARBOOK 2018
265
PRODUCTION INNOVATION FOR THE TOP CONTENT CREATORS IN THE U.S.
HD | 4K | UHD | HDR
TEAMWORK. RELIABILITY. TRUST. MobileTvGroup.com
DIMENSIONS/ TYPE
SD/HD/ 1080P/4K/ HDR-CAPABLE
COMPANY LIVE MEDIA GROUP MOBILE TV GROUP
METROVISION
LYON VIDEO
Gearbase 268
TRIAX, FIBER, OR BOTH?
AUDIO CONSOLE (FADERS/CHANNELS)
# CAMERAS & MAKE
42’ expando
HD
Triax
DiGiCo SD5
6 GV LDX 80
51’ expando
HD
Triax
Calrec Omega (5.1)
10 LDK 3000
Lyon 3
43’ expando
HD
Both
Calrec Artemis (56/240)
6 GV
Lyon 4
43’ expando
HD
Both
Calrec Artemis (56/240)
6 GV
Lyon 5
53’ expando
HD
Triax
Calrec Q2 (120/120)
10 GV
Lyon 6
53’ expando
HD
Both
Calrec Alpha (72/480)
14 GV, 2 GV Extreme SSMO
Lyon 7
53’ expando
HD
Both
Calrec Sigma (64/320)
10 GV, 1 GV Extreme SSMO
Lyon 8
53’ expando
HD
Both
Calrec Sigma (64/320)
12 GV
Lyon 9
50’ expando
HD
Both
Calrec Omega (56/160)
9 GV
Lyon 10
53’ expando
HD
Both
Calrec Omega (56/160)
10 GV
Lyon 11
53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Apollo (144/1,020)
11 GV
Lyon 12
53’ expando
HD/1080p/ HDR
Both
Calrec Artemis (64/340)
10 GV
Lyon 14
53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Apollo (144/1,020)
10 GV
HD-1
40’ expando
HD
Both
HD-2
40’ expando
HD
Both
HD-3
40’
HD
Both
HD-5
40’ expando
HD
Both
12HDXs
53’ expando
HD
Triax
18HDX
53’ expando
HD
20HDX
53’ expando dual-feed
22HDX-U
TRUCK NAME
HDX-10
HD-11
Studer Vista 5 (32 AES, 32 analog) Calrec Omega w/Bluefin (64 AES, 64 analog) Midas M32 (40 ch.) Calrec Omega (32 AES, 64 analog)
LENSES (H/HH)
3 Canon 86X, 2 Canon 22X, 1 Canon 14X wide-angle 1 Angenieux 70X, 3 Angenieux 62X, 2 Angenieux 26X, 1 Angenieux 19X, 1 Angenieux 15X, 1 Canon 21X, 1 Canon 18X, 1 Fujinon 12X wide-angle 4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X 4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X 1 Fujinon 101X, 3 Fujinon 87X, 2 Fujinon 72X, 3 Fujinon 22X, 1 Fujinon 12X 2 Fujinon 101X, 2 Fujinon 88X, 6 Fujinon 72X, 6 Fujinon 22X, 2 Fujinon 12X 1 Fujinon 101X, 5 Fujinon 87X, 1 Fujinon 72X, 4 Fujinon 22X, 2 Fujinon 12X 1 Fujinon 101X, 1 Fujinon 99X, 3 Fujinon 88X, 2 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X 1 Fujinon 101X, 2 Fujinon 87X, 3 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X 1 Fujinon 101X, 3 Fujinon 88X, 3 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X 2 Fujinon 99X, 2 Fujinon 88X, 3 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X 1 Fujinon 101X,2 Fujinon99X, 3 Fujinon 88X, 1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X 5 Fujinon 99X, 2 Fujinon 80X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X
GRAPHICS
ChyronHego Duet LEX
ChyronHego Duet HyperX
Client supplied Client supplied ChyronHego HyperX3
ChyronHego HyperX3
Vizrt, ChyronHego HyperX3
Vizrt, ChyronHego HyperX3
Vizrt, ChyronHego HyperX3
Vizrt, ChyronHego HyperX3
ChyronHego HyperX3
Vizrt, ChyronHego HyperX3
Vizrt, ChyronHego HyperX3
6 Sony HDC-1500
3/3 +
ChyronHego Duet HyperX3
6 Sony HDC-1500
3/3 +
ChyronHego Duet HyperX3
5 Sony HDC-1500
2/3 +
ChyronHego Duet HyperX3
7 Sony HDC-1400
4/4 +
ChyronHego Duet HyperX3
Euphonix
8 GV LDK 8000 Elite
6 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 11X4.7 wideangle ENG
ChyronHego HyperX
Triax
Euphonix
8 GV LDK 8000 Elite
6 Canon 72X9.3, 1 Canon 18X7.8 ENG, 1 Canon 11X4.7 wide-angle ENG, Fujinon XA 17X7.6 ENG
ChyronHego HyperX
HD
Triax/SSMO fiber
Euphonix
9 GV LDX 80, 2 GV 6X SSMO
8 Canon 72X9.3, 1 Canon 86X9.3, 4 Canon 17X1.6 ENG
2 Vizrt, 1 ChyronHego HyperX
48’ expando
HD
Triax
Euphonix
7 GV LDK 8000 Elite
7 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 12X6.5 ENG
1 ChyronHego HyperX
23HDXs
48’ expando
HD
Triax
Euphonix
8 GV LDK 8000 Elite
6 Canon 72X9.3, 3 Canon 18X7.8 ENG
1 Vizrt, 1 ChyronHego HyperX
24HDXs
48’ expando
HD
Triax
Euphonix
8 GV LDK 8000 Elite
6 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 11X4.7 wideangle ENG
1 Vizrt, 1 ChyronHego HyperX
25HDX
53’ expando
HD
Triax/SSMO fiber
Euphonix
6 GV LDX 80, 2 GV 6X SSMO
6 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wideangle ENG
1 Vizrt, 1 ChyronHego HyperX
26HDX
53’ expando dual-feed
HD
Triax/SSMO fiber
Euphonix
9 GV LDX 80, 2 GV 6X SSMO
8 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 18X7.8 ENG, 1 Canon 11X4.7 wide-angle ENG
2 Vizrt, 1 ChyronHego HyperX
MOBILE SPORTS PRODUCTION YEARBOOK 2018
All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities
SWITCHER, M/E
REPLAY DEVICES
ROUTER (VIDEO/AUDIO SIZE)
As requested
GV Kayenne, 4M/E
1 6-ch. EVS XT3, 1 6-ch. XT2, 1 XFile2
Utah Scientific (216x324)
As requested
GV Kayenne, 3.5M/E
1 6-ch. EVS XT2, 1 4-ch. XT2, 1 4-ch. XT RO, 1 2-ch. XT SpotBox, 1 XFile2
Miranda (162x286)
Senn., A-T
GV Kalypso, 3M/E
2 6-ch. EVS, 1 4-ch. RO SpotBox
Evertz (280x442/1312x1696)
Senn., A-T
GV Kalypso, 3M/E
3 6-ch. EVS, 1 4-ch. RO SpotBox
Evertz (280x442/1312x1696)
Senn., A-T
GV Kalypso, 4M/E
3 6-ch. EVS, 1 4-ch.RO SpotBox
GV (video 256x448, audio 256x256)
Senn., A-T
GV Kayenne, 4.5M/E
5 12-ch. EVS
Evertz (268x812/704x800)
Senn., A-T
GV Kayenne, 4.5M/E
1 8ch, 2 6-ch. EVS, 1 4-ch. RO, 1 4-ch. RO SpotBox
GV (128x128/512x512)
Senn., A-T
GV Kayenne, 4.5M/E
2 12-ch. EVS, 1 4-ch. RO SpotBox
PESA (256x496/512x512)
Senn., A-T
GV Kayenne K-Frame, 4M/E
3 6-ch. EVS, 1 4-ch. RO, 1 4-ch. RO SpotBox
GV (256x448/256x256)
Senn., A-T
GV Kayenne K-Frame, 5M/E
2 6-ch. EVS, 1 4-ch. RO, 1 4-ch. RO SpotBox
GV (256x448/256x256)
Senn., Beyer, A-T
GV Kayenne K-Frame, 5M/E
4 12-ch. EVS, 1 6-ch. RO SpotBox
Evertz (492x746/2016x2016)
Senn., Beyer, A-T
GV Kayenne K-Frame, 5M/E
4 12-ch. EVS, 1 6-ch. RO SpotBox
Evertz (280x802/1344x1504)
Senn., Beyer, A-T
GV Kayenne K-Frame, 5M/E
5 12-ch. EVS
Evertz (460x902/2720x3328)
8 shotgun, 4 lav, 5 HH
GV Kalypso, 4M/E
2 EVS XT2/SpotBox/XFile3
Leitch Platinum (256x256/128x136 HD-SDI/32x32 analog)
8 shotgun, 4 lav, 5 HH
GV Kalypso, 4M/E
2 EVS XT2/XFile3
Leitch Platinum (256x256/112x96 HD-SD/8x8 analog)
6 shotgun, 4 lav, 5 HH
Sony MVS-8000A, 2.5M/E
1 EVS XT2/XFile2
Leitch (64x64 HD/32x32 analog, 64x64 audio)
9 shotgun, 6 lav, 5 HH
GV Kayenne, 2.5 M/E
2 EVS XT2/XFile3/XHub3
Evertz Xenon (128x128)
A-T, Senn.
GV Kalypso, 4M/E
A-T, Senn.
GV Kayenne, 4.5M/E
A-T, Senn., EV
GV Kayenne, 4.5M/E
A-T, Senn., Sony, EV
GV Kalypso, 4M/E
Senn., Sony, EV
GV Kalypso, 4M/E
Senn., Sony, EV
GV Kalypso, 4M/E
Senn., Sony, EV
GV Kayenne, 4.5M/E
A-T, Senn., Sony, EV
GV Kayenne, 4.5M/E
Gearbase
MICROPHONES
PESA Cheetah video (128x256); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI GV Trinix video (128x320); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 4 6-ch. EVS XT2, 4-ch. XS server for SpotBox, XFile3; DVD MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI GV Trinix video (128x320); Euphonix audio, 48 preamps, 168 3 XT2, 4-ch. XT2, 4-ch. XT2 RO Unit, 4-ch. XS Server for SpotBox, 2 analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 XFile 3; Panasonic P2 Deck, GV K2 Summit/Dyno MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI. Harris Platinum video (128x256); Euphonix audio, 48 preamps, 2 6-ch. EVS XT2, 2 4-ch. XT2 RO, 2-ch. XS server for SpotBox, 168 analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 XFile3; DVD MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI GV video (128x256); Euphonix audio, 48 preamps, 168 analog2 6-ch. EVS XT2, 2 4-ch. XT2 RO, 2-ch. XS server for SpotBox, to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-toXFile3; DVD AES; all Euphonix console inputs and outputs avaliable in the router via MADI PESA video (128x256); Euphonix audio, 48 preamps, 168 2 6-ch. EVS XT2, 2 4-ch. XT2 RO, 2-ch. XS server for SpotBox, XFile3; analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 DVD, Panasonic P2 Deck MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI PESA video (144x320); Euphonix audio, 48 preamps, 168 2 6-ch. EVS XT2, 2 4-ch. XT2 RO, 2-ch. XS server for SpotBox, XFile3; analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 DVD, GV K2 Summit/Dyno MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI GV video (160x352); Euphonix audio, 48 preamps, 168 analog1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 2 XFile3, 4-ch. XS to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-toserver for SpotBox, 2 XFile3; GV K2 Summit/Dyno, P2 Deck, DVD AES; all Euphonix console inputs and outputs avaliable in the router via MADI 2 6-ch. EVS XT2, 4-ch. XT2, 4-ch. XT2 RO, 4-ch. XS server for SpotBox, XFile3; DVD
MOBILE SPORTS PRODUCTION YEARBOOK 2018
269
CONSTELLATION DUAL PATH Ku UPLINK + CAMERAS: HD.
Switcher 2ME HD Sony 8000. Multiviewers 2 Evertz VIP. Cameras Up to 4 + POV & Robo. Intercom RTS Matrix. Audio Mix Soundcraft Digital 24 Input. Audio Record Video Devices PIX270. Video Record 6 AJA KiPro Racks. Seats 6.
ORIGINATION SMALL FOOTPRINT, FULLY LOADED: HD. Switcher 2ME HD Ross Carbonite. Multiviewers 2. Cameras Up to 8 + POV & Robo. Intercom RTS Matrix. Audio Mix Soundcraft Digital 48 Input. Audio Record Video Devices PIX270. Video Record 10 AJA KiPro Racks Seats 8.
BLACKJACK SMALL FOOTPRINT, FULLY LOADED: HD or 4K UHD. Switcher 2.5ME HD Ross Carbonite. Multiviewers 2. Cameras Up to 8 + POV & Robo. Intercom RTS Matrix. Audio Mix Mackie Analog 24 Input. Audio Record JoeCo BBR. Video Record 8 AJA KiPro Racks. Seats 8. ELEVATION MEDIUM FOOTPRINT, FULLY LOADED: HD. Switcher 3ME HD Ross Vision. Multiviewers 8. Cameras Up to 10 + POV & Robo. Intercom RTS Matrix. Audio Mix Soundcraft Digital 64 Input. Audio Record ProTools + Video Devices PIX270. Video Record 12 AJA KiPro Racks. Seats 10. INSPIRATION MEDIUM FOOTPRINT, FULLY LOADED: HD. Switcher 2ME HD Ross Vision. Multiviewers 4. Cameras Up to 10 + POV & Robo. Intercom RTS Matrix. Audio Mix Soundcraft Digital 64 Input. Audio Record ProTools + Video Devices PIX270. Video Record 12 AJA KiPro Racks. Seats 10. ASPIRATION EXPANDING SIDE, FULLY LOADED: HD. Switcher 3ME HD Sony 8000. Multiviewers 8. Cameras Up to 12 + POV & Robo. Intercom RTS Matrix. Audio Mix Soundcraft Digital 96 Input. Audio Record ProTools + Video Devices PIX270. Video Record 16 AJA KiPro Racks. Seats 14. VIBRATION LARGE AUDIO MIX + CAMERAS: HD.
Audio Mix Studer Vista 9 Digital 256 Input. 5.1 / 7.1 Capable. Audio Record ProTools + JoeCo BBR (all 256 inputs) Switcher 2ME HD FOR-A HVS-390. Multiviewers 2. Cameras Up to 4 + POV & Robo. Intercom RTS Matrix. Video Record 8 AJA KiPro Racks. Seats 5 + Client Lounge.
EXCLAMATION DOUBLE EXPANDING SIDE: HD or 4K UHD.
Switcher 4ME GVG Kayenne with Double Take. Multiviewers 24. Cameras Up to 24 + POV & Robo. Intercom RTS Matrix. Audio Mix Studer Vista X Digital 256 Input. Audio Record ProTools + Video Devices PIX270. Video Record 26 AJA KiPro Racks. Seats 30.
TNDV: TELEVISION, LLC. | 515 BRICK CHURCH PARK DR. NASHVILLE, TN 37207 | 877.959.TNDV (8638) | TNDV.COM
HD Production Mobiles anywhere you need them Proshow Broadcast provides a fleet of agile HD mobile production trucks thoughout the US and Canada. In addition to two 40’ traditional production units, we offer trucks specifically designed for the growing “At-Home" and “REMI” production models. Learn more about our fleet at www.proshow.tv
Los Angeles
inquiry@proshow.tv 1-888-776-7469
Vancouver
DIMENSIONS/ TYPE
SD/HD/ 1080P/4K/ HDR-CAPABLE
COMPANY MOBILE TV GROUP
Gearbase 272
TRIAX, FIBER, OR BOTH?
AUDIO CONSOLE (FADERS/CHANNELS)
# CAMERAS & MAKE
LENSES (H/HH)
GRAPHICS
53’ expando dual-feed
HD
Triax/SSMO fiber
Euphonix
10 GV LDK 8000 3G, 1 GV 6X SSMO
8 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 21X7.5 ENG, 1 Canon 9X5.5 wide-angle ENG
2 Vizrt, 1 ChyronHego HyperX
53’ expando dual-feed
HD
Triax/SSMO fiber
Euphonix
8 GV LDX 80, 2 GV 6X SSMO
8 Canon 72X9.3, 4 Canon 17X7.6 ENG
1 Vizrt, 1 ChyronHego HyperX
29HDX
53’ expando dual-feed
HD
Triax/SSMO fiber
Calrec
9 GV LDK 8000 Elite 3G, 2 GV 6X SSMO
8 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 12X6.5
30HDX
53’ expando dual-feed
HD
Triax/SSMO fiber
Calrec
9 GV LDK 8000 Elite 3G, 2 GV 6X SSMO
8 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 12X6.5
31HDX
53’ expando dual-feed
HD
Triax/SSMO fiber
Calrec
9 GV LDK 8000 Elite 3G, 2 GV 6X SSMO
9 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wideangle ENG
2 Vizrt, 1 ChyronHego HyperX
32HDX
53’ expando dual-feed
HD
Triax/SSMO fiber
Euphonix
9 GV LDK 8000 Elite 3G, 2 GV 6X SSMO
9 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 11X4.7 wideangle ENG
2 Vizrt, 1 ChyronHego HyperX
33HDX
SxS dual-feed: A 53’ expando, B 53’
HD
Triax/SSMO fiber
Calrec
10 GV LDX 80, 2 GV 6X SSMO
33 VMU
53’
HD
Triax/SSMO fiber
Studer
Access to 10 GV LDX 80, 2 GV 6X SSMO
34HDX
SxS dual-feed: A 53’ expando, B 53’
HD
Triax/SSMO fiber
Calrec
10 GV LDX 80, 2 GV 6X SSMO
34 VMU
53’
HD
Triax/SSMO fiber
Studer
Access to 10 GV LDX 80, 2 GV 6X SSMO
35HDX
SxS dual-feed: A 53’ expando, B 53’
HD
Triax/SSMO fiber
Calrec
10 GV LDX 80, 2 GV LDX SSMO
35 VMU
53’
HD
Triax/SSMO fiber
Studer
Access to 10 GV LDX 80, 2 GV LDX SSMO
36HDX
SxS dual-feed: A 53’ expando, B 53’
HD
Triax/SSMO fiber
Calrec
9 GV LDX 80, 2 GV 6X SSMO
36 VMU
53’
HD
Triax/SSMO fiber
Studer
Access to 9 GV LDX 80, 2 GV 6X SSMO
37HDX
SxS dual-feed: A 53’ expando, B 53’
HD
Triax/SSMO fiber
Calrec
9 GV LDX 80, 2 GV 6X SSMO
37 VMU
53’
HD
Triax/SSMO fiber
Studer
Access to 9 GV LDX 80, 2 GV 6X SSMO
38FLEX
SxS dual-feed: A 53’ expando, B 53’
HD/4K/HDR
Triax/SSMO fiber
Calrec
7 GV LDX 80, 4 GV 6X SSMO
38 VMU
53’
HD
Triax/SSMO fiber
Studer
Access to 7 GV LDX 80, 4 GV 6X SSMO
39HDX
53’ double expando
HD/4K/HDR
Triax/SSMO fiber
Calrec
12 Sony HDC-4300
40HDX
SxS dual-feed: A 53’ double expando, B 53’
HD
Triax/SSMO fiber
Calrec
7 GV LDX 80, 4 GV 6X SSMO
40 VMU
53’
HD
Triax/SSMO fiber
Studer
Access to 7 GV LDX 80, 4 GV 6X SSMO
41 HDX
53’ double expando
HD
Triax/SSMO fiber
Calrec
6 GV LDX 80, 4 GV 6X SSMO
42 FLEX
53’ double expando
HD/4K/HDR
Triax or fiber/ SSMO fiber
Calrec
7 GV LDX 82, 4 GV 6X SSMO
TRUCK NAME
27HDX
28HDX
MOBILE SPORTS PRODUCTION YEARBOOK 2018
8 Canon 76X9, 1 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG Access to 8 Canon 76X9, 1 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 wideangle ENG 7 Canon 76X9, 2 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 ENG Access to 7 Canon 76X9, 2 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 ENG 8 Canon 76X9, 1 Canon 72X9.3, 5 Canon 17X7.6 ENG
1 Vizrt, 1 ChyronHego HyperX, 1 ChyronHego Mosiac XL 1 Vizrt, 1 ChyronHego HyperX, 1 ChyronHego Mosiac XL
1 Vizrt, 1 ChyronHego HyperX
1 Vizrt
1 Vizrt, 1 ChyronHego HyperX 1 Vizrt 1 Vizrt, 1 ChyronHego HyperX
Access to 8 Canon 76X9, 1 Canon 72X9.3, 5 Canon 1 Vizrt 17X7.6 ENG 8 Canon 76X9, 1 Canon 72X9.3, 1 Vizrt, 1 ChyronHego 3 Canon 17X7.6 ENG, 1 Canon HyperX 10X4.5 wide-angle ENG Access to 8 Canon 76X9, 1 Canon 72X9.3, 3 Canon 17X7.6 1 Vizrt ENG, 1 Canon 10X4.5 wideangle ENG 8 Canon 76X9, 1 Canon 72X9.3, 1 Vizrt, 1 ChyronHego 3 Canon 17X7.6 ENG, 1 Fujinon HyperX 18X5.5 ENG Access to 8 Canon 76X9, 1 Canon 72X9.3, 3 Canon 17X7.6 1 Vizrt ENG, 1 Fujinon 18X5.5 ENG 1 Canon 95X8.6, 4 Canon 76X9, 1 Vizrt, 1 ChyronHego 4 Canon 72X9.3, 2 Canon 17X7.6 HyperX ENG, 2 Fujinon 18X5.5 ENG Access to 1 Canon 95X8.6, 4 Canon 76X9, 4 Canon 72X9.3, 1 Vizrt 2 Canon 17X7.6 ENG, 2 Fujinon 18X5.5 ENG 2 Fujinon UA 107X8.4 UHD, 2 Fujinon XA 99X8.4, 4 Fujinon 1 ChyronHego Mosiac XL 2 77X9.5, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG 1 Fujinon XA 99X8.4, 8 Fujinon XA 77X9.5, 1 Canon 72X9.3, 1 Vizrt, 1 ChyronHego 2 Fujinon HA 18X5.5, 2 Fujinon HyperX ZA 17X7.6 Access to 1 Fujinon XA 99X8.4, 8 Fujinon XA 77X9.5, 1 Canon 1 Vizrt 72X9.3, 2 Fujinon HA 18X5.5, 2 Fujinon ZA 17X7.6 3 Canon XJ 95X8.6, 4 Canon XJ 80X8.8, 1 Canon XJ 76X9, 1 ChyronHego HyperX 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG 2 Fujinon XA 99X8.4, 7 Fujinon 1 ChyronHego Mosiac XL 2, XA 77X9.5, 2 Fujinon ZA 22X7.6 1 ChyronHego HyperX ENG, 2 Fujinon HA 18X5.5 ENG
All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities
SWITCHER, M/E
REPLAY DEVICES
ROUTER (VIDEO/AUDIO SIZE)
Senn., Sony, EV
GV Kayenne, 4.5M/E
1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 2 XFile3, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD
A-T, Senn., Sony, EV, Røde
GV Kayenne, 4.5M/E
3 12-ch. EVS XT3, 4-ch. XS server for SpotBox, 2 XFile3; Panasonic P2 deck, DVD
A-T, Senn., Sony, Røde
GV Kayenne, 4.5M/E
3 6-ch. EVS XT3, 2 4-ch. XT3 RO, 2 XFile3, 4-ch. XS server for SpotBox; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD
A-T, Senn., Sony
GV Kayenne, 4.5M/E
3 6-ch. EVS XT3, 2 4-ch. XT3 RO, 2 XFile3, 4-ch. XS server for SpotBox; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD
A-T, Senn., Sony
GV Kayenne, 4.5M/E
1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD
A-T, Senn., Sony
GV Kayenne, 4.5M/E
1 12-ch. XT3, 2 6-ch. HD XT3, 1 4-ch. XT3 RO, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Smmit/Dyno, Panasonic P2 Deck, DVD
A-T, Senn., Sony
GV Kayenne K-Frame, 7M/E
2 12-ch. EVS XT3, 1 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, P2 Deck, DVD
Senn.
GV Kayenne K-Frame, 3M/E
2 10-ch. EVS user positions
A-T, Senn., Sony
GV Kayenne K-Frame, 7M/E
1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD
Senn.
GV Kayenne K-Frame, 3M/E
2 8-ch. EVS user positions
A-T, Senn., Sony
GV Kayenne K-Frame, 7M/E
1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD
Senn.
GV Kayenne K-Frame, 3M/E
2 8-ch. EVS user positions
A-T, Senn., Sony
GV Kayenne K-Frame, 7M/E
1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD
Senn.
GV Kayenne K-Frame, 3M/E
2 8-ch. EVS user positions
A-T, Senn., Sony
GV Kayenne K-Frame, 7M/E
2 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. server for SpotBox, 2 XFile3; Panasonic P2 Deck, DVD
Senn.
GV Kayenne K-Frame, 3M/E
2 8-ch. EVS user positions
Senn., Sony
GV Kayenne K-Frame, 7M/E
4 12-ch. EVS XT3, 4-ch. XS server forSpotBox, 2 XFile3; Panasonic P2 Deck, DVD
Senn.
GV Kayenne K-Frame, 3M/E
2 10-ch. EVS user positions
Access to GV Nvision video (477x862); Nvision audio, 96 analog in, 244 analog out, 32 AES pairs in, 32 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out
Senn., Sony
GV Kayenne K-Frame
3 12-ch. XT4K, 4-ch. XS3 server for SpotBox, XFile3; DVD
Evertz HD video (576x828); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out
Senn., Sony
GV Kayenne K-Frame, 7M/E
Senn.
GV Kayenne K-Frame, 3M/E
2 10-ch. EVS user positions
Access to Evertz HD video (378x802); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out
A-T, Senn., Sony
GV Kayenne K-Frame
3 12-ch. EVS XT3, 4-ch. XS3 server for SpotBox, XFile3, EpsioFX, C-Cast; Matrox Monarch. HDX recorder/video encoder
Evertz HD video (396x712), EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out
Senn., Sony
GV Kayenne K-Frame, 7M/E
2 12-ch. EVS XT4K, 2 12-ch. XT3, 4-ch. XS3 server for SpotBox, 2 XFile3; Panasonic P2 deck, Matrox Monarch. HDX recorder/video encoder
Evertz HD video (376x802); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out
PESA video (160x320); Euphonix audio router, 48 pre-amps, 168 analog to MADI, 168 MADI to analog, 30 AES to MADI, 30 MADI to AES, all Euphonix console inputs and outputs avaliable in the router via MADI GV video (160x352); Euphonix audio, 48 preamps, 168 analogto-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-toAES; all Euphonix console inputs and outputs avaliable in the router via MADI GV video (160x320); Calrec audio (256x256), 128 analog in, 128 analog out, 64 AES in, 64 AES out; all Calrec sources are avaliable in the router GV video (160x320); Calrec audio (256x256), 128 analog in, 128 analog out, 64 AES in, 64 AES out; all Calrec sources are avaliable in the router GV video (160x352); Calrec audio (256x256), 128 analog in, 128 analog out, 64 AES in, 64 AES out; all Calrec sources are avaliable in the router GV video (160x352); Euphonix audio, 48 preamps, 168 analogto-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-toAES; all Euphonix console inputs and outputs avaliable in the router via MADI Evertz HD video (198x480); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out
Gearbase
MICROPHONES
Access to Evertz HD video (198x480); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Evertz HD video (230x562); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Access to Evertz HD video (230x562); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Evertz HD video (230x536); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Access to Evertz HD video (230x536); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Evertz HD video (230x536); Evertz EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Access to Evertz HD video (230x536); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Evertz HD video (230x538); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Access to Evertz HD video (230x538); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out GV Nvision video (477x862); Nvision audio, 96 analog in, 244 analog out, 32 AES pairs in, 32 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out
2 12-ch. EVS XT4K, 2 12-ch. EVS XT3, 4-ch. XS3 server for SpotBox, Evertz HD video (378x802); EMR audio, 96 analog in, 244 analog 2 XFile3; Panasonic P2 deck, Matrox Monarch. HDX recorder/video out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, encoder 1152 channels of MADI out
MOBILE SPORTS PRODUCTION YEARBOOK 2018
273
www.nilesmediagroup.com 9420 Liberty Drive Liberty, MO 64068 816.268.5600
Your studio at the game that goes where you go.
The Wimbledon Channel
CBS Sports PGA Tour
SmartPad Pro
Premier League Productions
SmartCart—rent per event or period lease
Contact us today
SmartCart SVX is a mobile, cost-effective system designed specifically for live sports broadcasting and remote production. It features a custom designed ultra-bright full HD broadcast quality daylight touch display— meeting even the most demanding user requirements for all weather outdoor sports. An on-site presentation, analysis, and interview hub ‘where the action is’—pitchside, trackside, or on the course.
Phone U.S.: (646) 863-6263 Phone EMEA: +44 773 4138 545 gil@SmartCartSVX.com www.SmartCartSVX.com
SmartPad Pro is a smaller rollabout self-contained and readily shippable system for use in more confined spaces and with the same rugged reliability as SmartCart SVX for sports OB use.
SmartCart’s versatile and mobile applications are great for Sports Broadcasters and OTT Channels
Studio hub for presentation analysis and stand-up interviews
Teams
Pitchside coaching hub
Stadiums
Entertainment hub and sponsorships
DIMENSIONS/ TYPE
SD/HD/ 1080P/4K/ HDR-CAPABLE
COMPANY MOBILE TV GROUP
Gearbase
TRIAX, FIBER, OR BOTH?
AUDIO CONSOLE (FADERS/CHANNELS)
# CAMERAS & MAKE
53’
HD/4K/HDR
Triax or fiber/ SSMO Fiber
Studer
Access to 7 GV LDX 82, 4 GV 6X SSMO
53’ double expando
HD/4K/HDR
Triax or fiber/ SSMO fiber
Calrec
43 VMU (Q1 2018)
53’
HD/4K/HDR
Triax or fiber/ SSMO fiber
Studer
MU-4
50’ expando
HD
Fiber
Yamaha M7CL
8 Sony
4 Fujinon hard, 4 Canon HH
ChyronHego HyperX2
MU-6
53’
HD
Triax
Calrec Omega
12 Thomson/GV
Angenieux 6/4
ChyronHego HyperX3
Atlantic
40’ expando
HD
Fiber
Calrec Artemis Beam
10 Sony 1500
Canon
As requested
Arctic
53’ expando
Calrec Q2
4 Sony 1500
Canon
As requested
53’ expando
HD HD/1080p/ 4K/HDR
Fiber
California
Fiber
Calrec Apollo
Sony 4300
As requested
As requested
HD
Both
Calrec Apollo
12 Sony 1500
Fujinon
As requested
Both
Calrec Apollo w/Bluefin
16 Sony 2500/4300
15 Canon
As requested
TRUCK NAME
42 VMU
43 FLEX (Q1 2018)
LENSES (H/HH)
Access to 2 Fujinon XA 99X8.4, 7 Fujinon XA 77X9.5, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG 2 Canon XJ 95X8.6, 8 Canon 7 GV LDX 82, 4 GV 6X SSMO 76X9, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG Access to 2 Canon XJ 95X8.6, 8 Canon 76X9, 2 Fujinon ZA Access to 7 GV LDX 82, 4 GV 6X SSMO 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG
GRAPHICS
1 Vizrt
1 ChyronHego Mosiac XL 2, 1 ChyronHego HyperX
1 Vizrt
MPS
Chromium
53’
EN1
53’ expando twin w/3rd unit
EN2 Gold
Calrec Apollo
16 Sony 2500/4300
Fujinon
As requested
Studer Vista 9
10 Sony 1500
Fujinon
As requested
53’ expando
HD
Both
Calrec Sigma
12 Sony 1500
Canon
As requested
M11HD
53’ expando
HD
Both
Sony 1500
Fujinon 7 H/3 HH, 1 wide-angle
ChyronHego HyperX3
M12HD
53’ expando
HD
Both
Sony 2500
Fujinon 10 H/3 HH, 2 wide-angle
ChyronHego HyperX3
M14HD
53’ expando
HD
Both
Calrec Sigma w/Bluefin Calrec Artemis Beam w/Bluefin2 and Hydra2 Calrec Artemis Beam w/Bluefin2 and Hydra2
GV 8000
Fujinon 7 H/3 HH. 2 wide-angle
ChyronHego HyperX3
HD
Both
Yamaha 5000
3 GV LDK
Fujinon, Canon
ChyronHego HyperX3
HD
Both
Calrec Omega w/Bluefin
8 Sony 1450
Canon 6 H/3 HH
ChyronHego HyperX3 ChyronHego HyperX3
M4HD
SxS dual-feed: 48’ expando 53’ expando
M5HD
53’ expando
HD
Both
Calrec Omega w/Bluefin
16 cameras
Fujinon 6 H/3 HH, 2 wide-angle
M6HD
53’ expando
HD
Both
Yamaha 5000
10 cameras
Fujinon 5 H/2 HH, 1 wide-angle
ChyronHego HyperX3
M7HD
53’ expando
HD
Both
Calrec Sigma w/Bluefin
16 cameras
Fujinon 7 H/3HH+2 wide-angle
ChyronHego HyperX3.1
M8HD
48’ expando
HD
Both
Calrec Omega w/Bluefin
10 cameras
Fujinon 5 H/3 HH
ChyronHego HyperX3
M9HD
53’ expando
HD
Both
Calrec Sigma w/Bluefin
16 cameras
Fujinon 7 H/3 HH, 2 wide-angle
ChyronHego HyperX3
NCPII
53’ expando
HD
Both
Calrec Artemis Beam
12 Sony 2500/4300
12 Canon
As requested
NCPIV
53’ expando
HD
Both
Calrec Sigma w/Bluefin
10 Sony 1500
13 Canon
As requested
NCPVII
53’ expando
HD
Triax
Calrec Alpha
10 Sony 1500
16 Canon
As requested
NCPVIII
53’ expando
HD
Both
Calrec Alpha w/Bluefin
12 Sony 1500
9 Canon
As requested
NCPX
53’ expando
HD
Triax
Calrec Alpha w/Bluefin
12 Ikegami 97 Series
18 Canon
As requested
NCPXI
53’ expando
HD
Both
Calrec Sigma w/Bluefin
10 Sony 1500
11 Canon
As requested
NCPXIV
53’ expando
HD
Both
Calrec Sigma w/Bluefin
10 Sony 1500
18 Canon
As requested
HD/1080p/ 4K/HDR HD
Both
Calrec Apollo
24 Sony 2500/4300
20 Canon
As requested
Both
Calrec Q2
10 GV 6000
10 Canon
As requested
HD
Both
Calrec Alpha w/Bluefin
18 Sony 2500/4300
16 Canon
As requested
53’ expando twin w/3rd unit ND2 53’ expando 53’ expando ND4/Double Eagle twin ND1
276
Both Fiber
Iridium
M3HD
NEP
HD/1080p/ 4K/HDR HD/1080p/4K/ 53’ A and B unit HDR 53’ expando SD
ND5
53’ expando
HD
Both
Calrec Artemis Beam w/Bluefin
12 Sony 2500/4300
14 Canon
As requested
ND6
53’ expando
HD/1080p/ 4K/HDR
Both
Calrec Artemis Beam w/Bluefin
12 Sony 2500/4300
15 Canon
As requested
ND7
53’ expando
HD
Both
Calrec Apollo w/Bluefin
24 Sony 2500/4300
14 Canon
As requested
Pacific
A: 47’, B: 40’
HD
Fiber
2 Yamaha DM2000
Sony, according to needs
Fujinon, according to needs
As requested
Phoenix
53’ expando
HD
Triax
Calrec Sigma
10 GV 6000
10 Fujinon
As requested
Rhythm
53’ expando
HD
Triax
Calrec Sigma w/Bluefin
10 GV 8000
10 Fujinon
As requested
Sapphire Silver
40’ expando 53’ expando
HD HD
Fiber Fiber
Yamaha DM2000 Calrec Apollo
Sony, according to needs Sony 4300
Fujinon, according to needs 2 Canon, 9 Fujinon
As requested As requested
Skyline
53’ expando
HD
Both
Calrec Sigma w/Bluefin
10 GV 8000
11 Canon
As requested
MOBILE SPORTS PRODUCTION YEARBOOK 2018
All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities
SWITCHER, M/E
REPLAY DEVICES
ROUTER (VIDEO/AUDIO SIZE)
Senn.
GV Kayenne K-Frame, 3M/E
2 10-ch. EVS user positions
Access to Evertz HD video (376x802); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out
Senn., Sony
GV Kayenne K-Frame, 7M/E
Senn.
GV Kayenne K-Frame, 3M/E
EV, Sony, Shure, Senn., Rohde
GV Kalypso, 4M/E
EV, Sony, Shure, Senn., Rohde
GV Kalypso, 4M/E
Senn., EV
GV Karrera, 2.5M/E
2 12-ch. EVS XT4K, 2 12-ch. EVS XT3, 4-ch. XS3 server for SpotBox, Evertz HD video (376x802); EMR audio, 96 analog in, 244 analog 2 XFile3; Panasonic P2 deck, Matrox Monarch. HDX recorder/video out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, encoder 1152 channels of MADI out Access to Evertz HD video (376x802); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out
2 10-ch. EVS user positions
Senn., EV, Shure, Sanken
GV Kayak, 2M/E
6-ch. EVS LSM-XT2 HD, 4-ch. LSM XT2 HD, XFile; 6 AJA Ki Pro; 2 DVD recorders, DVCD Pro deck 6-ch. EVS LSM-XT2 HD, 4-ch. LSM XT2 HD, 4-ch. LSM XT2 HD (RO), XFile, SpotBox; DVCPRO, 8 AJA Ki Pro 2 6-ch. EVS XT2, 4-ch. XT2 RO, K2 SpotBox, SportNet Hub, XFile2; 1 XDCam, 1 HDCam Positions available for GFX, Edit or VTR
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Up to 16 VTRs and 5 servers as requested
Senn., Shure, Sony
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Studio Tech., EV
GV Kayenne K-Frame
8 8-ch. EVS XT3 LSM, 6-ch. XT3 SpotBox, 3 SportNet Hub, XFile
Evertz EQX mux/demux, EMR
Senn., Sony, EV, Shure
Sony MVS-8000X
Senn., Shure
GV Kayenne K-Frame
Evertz EQX mux/demux, EMR PESA mux/demux, DRS audio
5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox, 2 XHub, XFile; 10 Gb, tape as requested 9 6-ch. EVS XT3, 6-ch. SpotBox, SportNet Hub, XFile2, XTAccess, EVS SQL Database Server; 1 DVCPRO
PESA PESA Evertz EQX, EMR GV Evertz EQX mux/demux, EMR Evertz EQX mux/demux, EMR Evertz EQX mux/demux, EMR
Senn., Beyer, Shure, Sony
GV Kalypso, 4M/E
Up to 16 VTRs as requested 5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox, 2 XHub, XFile; 10Gb, tape as requested 2 6-ch. EVS XT2, 2 4-ch. RO XT2, SpotBox, XFile; DigiBeta
Senn., Beyer, Shure, Sony
GV Kayenne, 4.5M/E
2 6-ch. EVS XT3, 1 6-ch. RO XT3, 1 4-ch. RO XT3, SpotBox, XFile
334x462 HD/96x96 AES, 48x96 stereo
Senn., Beyer, Shure, Sony
GV Kayenne K-Frame, 4.5M/E
2 6-ch. EVS XT3, 2 4-ch. RO XT3, SpotBox, XFile; XDCam, 1 SxS recorder/player
334x476 HD/96X96 AES, 48x96 stereo
Harris
Senn., EV, Sony
GV Kalypso, 4M/E
6-ch. EVS XT2, 4-ch. RO XT2, 4-ch. SpotBox, XFile; DigiBeta
96x96 HD, 128x128 SD
Senn., Beyer, EV, Shure, Sony
GV Kalypso, 4M/E
6-ch. EVS XT2, 4-ch. XT2, 4-ch. RO XT2, SpotBox, XFile; DigiBeta 6-ch. EVS XT2+, 4-ch. XT2+, 6-ch. RO XT 2+, SpotBox, XFile; DigiBeta 6-ch. EVS XT3, 2 4-ch. RO XT2+, SpotBox, XFile; DigiBeta 6-ch. EVS XT2, 4-ch. XT2, 2 4-ch. RO XT2, SpotBox, XFile; XDCAM, HDCAM, DigiBeta 6-ch. EVS XT2, 4-ch. RO XT2, SpotBox, 2-ch. HD FFWD, XFile; DigiBeta 2 6-ch. EVS XT2, 2 4-ch. RO XT2, SpotBox, XFile; DigiBeta 2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XFile; 10 Gb, tape as requested 2 6-ch. EVS XT2, XT, 2 6-ch. RO XT2, XT2, SpotBox; 2 DigiBeta, BetaSP, DVCPRO, Multicam 10 2 6-ch. EVS XT2, 3 4-ch. RO XT2, SpotBox; 2 HD DVCPRO, HDCAM, 2 DigiBeta, Multicam 10 4 6-ch. EVS XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 6 6-ch. EVS XT3, 1 XT3 SpotBox, 3 SportNet Hub, XFile; HDCam, DVCPRO, A500 5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox, 2 XHub, XFile; 10Gb, tape as requested 2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 10 6-ch. EVS XT3, 1 6-ch. SpotBox, XFile2 transfer, 2 IPDirector, 5 SportNet Hub; HDCam, SRW, XDCam Wired for 8 VTR and 4 EVS as requested 10 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox, 2 XHub, XFile; 10 Gb, tape as requested 6 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub; 10 Gb, tape as requested 6 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub, 10 Gb, tape as requested 9 12-ch. EVS XT3, 2 8-ch. XT3, 1 6-ch. XS SpotBox, 4 XHub, 3XF3, 4 IPDirector; 2 database servers, 10 Gb, tape as requested As requested 2 6-ch. EVS XT2 LSM, 4-ch. XT2 LSM, 4-ch. RO XT2, 4-ch. SpotBox, wired for 1 more EVS; GV K2 Dyno; HDW, XDCAM, DigiBeta 6-ch. EVS XT2 LSM, 4-ch. XT2 LSM, 4-ch. RO XT2, 4-ch. XT2 SpotBox, wiring for 2 more EVS; HDW, XDCAM, DVW As requested As requested 3 6-ch. EVS XT2+, 1 4-ch. SpotBox, SportNet Hub; HDW, DigiBeta, XDCam
96x96 HD, 128x128 SD, 96x96 audio
Senn., EV, Sony
GV Kalypso, 4M/E
Senn., A-T, Sony, EV
GV Kalypso, 4M/E
Senn., Beyer, Shure, Sony
GV Kayenne K-Frame
Senn., Shure, Sony
GV Kalypso, 4M/E
Senn., Beyer, Shure, Sony
GV Kayenne, 4.5M/E
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kalypso, 4M/E
Senn., Sony, EV, Shure
GV Kayenne
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne
Senn., Sony, EV, Shure
GV Kayenne
Senn., Shure, Sony
GV Kayenne K-Frame
Senn., Sony, EV, Shure, Sanken
GV Kalypso, 4M/E
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony
GV Kayenne K-Frame
Shure, Senn
GV Kayak, 2.5M/E
Senn., Sony
GV Kalypso, 4M/E
Senn., Sony
GV Kalypso, 4M/E
Shure, Senn. As requested
Sony, 1.5M/E GV Kayenne K-Frame
Senn., Beyer, EV, Shure, Sony
GV Kalypso, 4M/E
Gearbase
MICROPHONES
288x512 HD, 256x256 SD/256x256 audio 192x288 HD/64x64 audio 288x576 HD, 128X128 AES audio, 128x128 stereo audio 192x304 HD/128x128 AES, 128x128 stereo 288x576 HD/128x128 AES, 128x128 stereo Utah Scientific, mux/demux Utah Scientific 400 (228x456 HD, 288x288 SDI), 400 (80x120 analog, 208x168 AES) Utah Scientific HD (288x528), 208x208 AES, 96x96 analog) Utah Scientific mux/demux Utah Scientific mux/demux Utah Scientific mux/demux Utah Scientific mux/demux Evertz EQX mux/demux, EMR PESA video, DRS audio GV PESA mux/demux, DRS audio PESA mux/demux, DRS audio PESA mux/demux, DRS audio GV GV GV GV Evertz EQX mux/demux, EMR PESA video, DRS audio
MOBILE SPORTS PRODUCTION YEARBOOK 2018
277
Sports Broadcast as
BIG as the Sky! BIG mobile antenna, MORE camera angles, covering more excitement! • New C-Band Mobile Satellite Uplink • 5.5 Meter Antenna • 200+ REMI/At Home Transmissions • 35 Years of Broadcasting Excellence
KaufmanBroadcast.com 314-533-6633 HD Satellite • Studios • Fiber • IP Encoding • Engineering • Venue Management
COMPUTER VISION COMPANY PROVIDING INTEGRATED VR/360/AR SOLUTIONS AND TECHNOLOGY FOR TRUSTED BRANDS GLOBALLY
VISIT US AT WWW.RPTRV.COM
proud
MO BIL E SPONSOR
DIMENSIONS/ TYPE
SD/HD/ 1080P/4K/ HDR-CAPABLE
COMPANY
Gearbase
TRIAX, FIBER, OR BOTH?
AUDIO CONSOLE (FADERS/CHANNELS)
# CAMERAS & MAKE
LENSES (H/HH)
GRAPHICS
53’ expando
HD/1080p/4K
Both
Calrec Alpha
12 Sony 2500, GV LDX 8300
Canon
As requested
53’ expando
HD
Triax
Calrec Omega w/Bluefin
10 GV 8000
13 Canon
As requested
SS14
53’ expando
HD
Triax
Calrec Alpha
10 - GV 6000
11 Fujinon
As requested
SS15
53’ expando
HD
Both
Calrec Sigma w/Bluefin
12 Sony 2500/4300
9 Canon, 2 Fujinon
As requested
SS16
53’ expando
HD
Both
Calrec Sigma w/Bluefin
12 Sony 1500
11 Canon
As requested
SS17
53’ expando
HD
Both
Calrec Sigma w/Bluefin
10 Sony 2500
11 Canon
As requested
SS18
53’ expando
HD
Triax
Calrec Sigma w/Bluefin
12 Sony 2500
11 Canon
As requested
SS20
53’ expando
HD
Both
Calrec Sigma w/Bluefin
12 Sony 2500/4300
10 Canon, 2 Fujinon
As requested
HD
Both
Calrec Apollo w/Bluefin
12 Sony 2500/4300
13 Canon
As requested
TRUCK NAME
SS1 SS11
53’ expando w/B unit 53’ expando w/B unit 53’ expando twin w/3rd unit 53’ expando twin 53’ expando w/B unit
HD
Triax
Calrec Alpha
12 Sony 2500/4300
13 Fujinon
As requested
HD
Both
Calrec Alpha w/Bluefin
14 Sony 2500/4300
17 Canon
As requested
HD
Both
Calrec Alpha w/Bluefin
12 Sony 2500/4300
12 Canon, 2 Fujinon
As requested
HD
Triax
Calrec Sigma w/Bluefin
12 Sony 2500/4300
Canon, Fujinon
As requested
SS29
53’ expando
HD
Both
Calrec Artemis
12 Sony 1500
13 Canon
As requested
SS3
53’ expando or flypack
HD
Both
DiGiCo SD10B
10 GV LDK 6000
8 Canon
As requested
Both
Calrec Alpha w/Bluefin
12 Sony 2500
As requested
As requested
Both
Calrec Apollo
18 Sony 2500/4300
Fujinon, Canon
As requested
Fiber
Calrec Apollo
Sony 4300
2 Canon, up to 20 Fujinon
As requested
SS22 SS23 NEP
SS24 SS25 SS28
SS32 SSCBS Summit (2018)
53’ expando
HD
Triax
Calrec Omega
10 GV 6000
10 Canon
As requested
TS2 XP-1
53’ expando Sprinter van 53' expando w/B unit 40’ Gerling Super Stallion expando 40’ Gerling Stallion 27’ Gerling Super Nomad/ REMI 27’ Gerling Super Nomad/ REMI 24’ Mercedes Sprinter/REMI 24’ Mercedes Sprinter/REMI 24’ Mercedes Sprinter/REMI A unit: 36’, B unit: 35’
HD/1080p/4K HD HD/1080p/ 4K/HDR
Both Both
Calrec Alpha Yamaha
12 Sony 2500 5 GV 6000
Canon Canon
Upon request As requested
Fiber
Studer Vista X
12 Sony HDC-4300
Fujinon
As requested
HD
Both
Calrec Omega (48/112)
6-12 Sony HSC-300
Canon 86X
ChyronHego HyperX3
HD
Both
Calrec Brio (36/72)
6-8 Sony HSC-100
Canon 76X
ChyronHego HyperX3
HD
Both
Yamaha QL-5 (32/72)
6-8 Sony HSC-300
Canon 76X
N/A
HD
Both
Yamaha QL-5 (32/72)
6-8 Sony HSC-300
Canon 76X
N/A
HD
Triax
Soundcraft Expression (20/20)
4-5 Sony HXC-100
Canon, Fujinon (76X/60X/50X)
N/A
HD
Triax
Soundcraft Expression (20/20)
4-5 Sony HXC-100
Canon, Fujinon (72X/60X/50X)
N/A
HD
Triax
Soundcraft Expression (20/20)
4-5 Sony HXC-100
Canon, Fujinon (72X/60X/50X)
N/A
HD
Triax
Yamaha M7CL (48 analog inputs/24 configurable outputs)
6 GV 3000
4 Fujinon hard, 5 Canon HH
ChyronHego HyperX3
Maestro Prodigy PROSHOW BROADCAST
HD/HDR
Tempo
Yukon
Opus
Ovation Busker Solo
K34 HD1
53’ expando
HD
Both
Calrec Omega w/Bluefin 2 (48)
9 Sony 1550R (Sony SMPTE adaptors)
Canon 6 hard 86X/4 HH
ChyronHego HyperX3
Phoenix (HD3)
48’ expando
HD
Triax
Calrec Artemis Light w/Bluefin2 (40)
9 Sony 2550R
Canon 6 hard 80X/4 HH
ChyronHego HyperX3
RKU2
27’ combo Ku/ production
HD 1080i
SMPTE fiber
Mackie (32 ch.)
4 Hitachi
Fujinon 2 hard 55X/2 HH
Ross XPression
Silver
23’ Sprinter
HD
Triax
Soundcraft Expression 3 (30 faders/64 analog inputs/24 analog outputs/18 AES inputs/34 AES outputs )
6 Ikegami HDK-95C
Canon 2 60X, 2 40X, 2 22X
1 Ross XPression, 1 Ross XPression (TD Elements)
Blizzard
20’
HD
Both
DiGiCo SD11B w/D-Rack (80 ch.)
5 Hitachi SK-HD1300
Fujinon 1 70X, 1 36X, 3 20X
1 Ross XPression, 1 Ross XPression GO! (TD Elements)
FIN3
24’ Sprinter
HD
Both
Soundcraft Expression 3 (30 faders, 64 analog inputs/24 analog outputs/18 AES inputs/34 AES outputs )
6 Ikegami HDK-95C
Canon 2 60X, 1 80X, 2 22X, 1 10X
1 Ross XPression, 1 Ross XPression (TD Elements), 1 Ross XPression GO!
ROSS MOBILE PRODUCTIONS
PSSI RAYCOM SPORTS
Trouper
280
53’ expando 53’ expando triple w/4th unit 53’ expando twin
HD/1080p/ 4K/HDR HD/1080p/ 4K/HDR
MOBILE SPORTS PRODUCTION YEARBOOK 2018
All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities
SWITCHER, M/E
REPLAY DEVICES
ROUTER (VIDEO/AUDIO SIZE)
Senn., Sony
GV Kayenne K-Frame
Evertz
Senn., Sony, EV, Shure
GV Kalypso, 4M/E
Senn., Sony, EV, Shure
GV Kalypso, 4M/E
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne K-Frame
As requested
GV Kayenne K-Frame
Senn., Sony, EV
GV Kalypso, 4M/E
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne K-Frame
Senn., Sony, EV, Shure
GV Kayenne, 4M/E
1 K2 Summit, 2 SRW; 3 6-ch. EVS XT2, 2 4-ch. XT2, XFile, SpotBox 2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 2 6-ch. EVS XT2, 2 4-ch. XT2, SpotBox, SportNet Hub; DigiBeta, 2 HDCAM 2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 5 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub; 10 Gb, tape as requested 2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 5 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub; 10 Gb, tape as requested 2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 5 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub; 10 Gb, tape as requested 2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox,2 XHub, XF3;10 Gb, tape as requested 6 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub; 10 Gb, tape as requested 2 12-ch. EVS XT3, 3 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested
As requested
Sony
1 GV K2 Solo, 2 K2 Dyno Summit
PESA video, DRS audio
As requested
GV Kayenne K-Frame
5 6-ch. EVS XT3, 6-ch. XT3 SpotBox; 2 SRW, DVCPRO, 2 Blu-ray
Evertz EQX mux/demux, EMR
A-T, Senn.
GV Kayenne K-Frame
2 12-ch. EVS XT3 LSM, 4 8-ch. XT3 LSM, 1 6-ch. XT3 SpotBox, 5 XHub3 for LSM/SpotBox, 1 XFile3, 4 IPDirector, 2 XT/Access
Evertz EXE mux/demux, EMR
As requested
GV Kayenne K-Frame
Senn., Sony
GV Kalypso, 4M/E
Senn. Senn.
GV Kayenne K-Frame FOR-A MVS-1000 GVG Kayenne K-Frame, 9 M/E
Senn., Shure
Gearbase
MICROPHONES
GV GV GV PESA mux/demux, DRS audio GV PESA mux/demux, DRS audio PESA mux/demux, DRS audio PESA mux/demux, DRS audio GV Evertz EXE mux/demux, EMR GV GV Evertz EQX mux/demux, EMR
20 VTRs or 7 EVS on request, 2 SpotBox
GV
6-ch. EVS XT2 LSM, 4-ch. XT2 LSM, 4-ch. RO XT2, 4-ch. XT2, SpotBox, wiring for 1 more EVS; HDW, XDCAM, 2 DigiBeta 1 4-ch. GV K2 Summit; 1 XFile2, 1 4-ch. XS Spotbox 1 4-ch. EVS XT; others as requested
Evertz EQX mux/demux, EMR N/A
As requested
Evertz EQX 558x576
GV
Senn., Sony, EV
GV Kalypso, 4M/E
2 EVS XT3 XFile3; HDCAM, DVCPROHD
128x128 video, 128x128 audio, 72x144 video mon.
Senn., Sony, EV
Sony MVS-8000, 2.5M/E
2 EVS XT3 XFile3; Hyperdeck
64x64 video, 64x64 audio, 72x144 video mon.
Senn., Sony, EV
Blackmagic ATEM
Wired for 6-ch.
72/72 video
Senn., Sony, EV
Blackmagic ATEM
Wired for 6-ch.
72/72 video
Senn., Sony, EV
Blackmagic ATEM
Wired for 6-ch.
40x40 video
Senn., Sony, EV
Blackmagic ATEM
Wired for 6-ch.
40x40 video
Senn., Sony, EV
Blackmagic ATEM
Wired for 6-ch.
40x40 video
Senn., Sony
GV Karrera, 2M/E
8-ch. EVS XT3
Evertz Xenon (64x96 HD) video, Xenon (128x128 analog)
2 6-ch. EVS XT2+, 2 4-ch. RO XT2+, 4-ch. SpotBox, XFile3; HDCAM, DVCPRO, DigiBeta 2 6-ch. EVS XT3, 1 4-ch. RO XT3, 4-ch. SpotBox, XFile3; HDCAM, DVCPRO, DigiBeta
Evertz EQX (170x134/192x192 AES, 96x96 analog, 128x128 MADI) Evertz EQX (170x134/96x96 AES, 96x96 analog, 256x256 MADI)
Senn., A-T, Sony
GV Kayenne, 4M/E
Senn., A-T, Sony
GV Kayenne K-Frame, 4M/E
Senn., A-T
Ross Carbonite, 2M/E
NewTek 3Play 425; AJA Ki Pro
34x34
Senn., EV, A-T
Ross Carbonite, 2.5M/E
1 8-ch. EVS XTnano, 1 XFile3; 1 8-ch. Tightrope ZEPLAY
Ross NK-3G72 scalable (72x72 3G HD/SD-SDI), Ross NK-A64HQ stereo analog audio
Senn., EV, A-T
Ross Carbonite, 2.5M/E
1 8-ch. Abekas Mira
Ross Ultrix (64x64, 128-bit MADI audio Integration, core mux/ demux)
Senn., EV, A-T
Ross Carbonite Black, 3M/E
1 8-ch. EVS XTnano, 1 XFile3; 1 8-ch. Abekas Mira
Ross NK-3G72 scalable (72x72 3G HD/SD-SDI), NK-D64-110 AES/EBU digital audio
MOBILE SPORTS PRODUCTION YEARBOOK 2018
281
HD
METROVISION Production Group
Over Twenty Years Of Getting It Done Right For over twenty years, Metrovision has been providing clients a full spectrum of Mobile production, Mobile Satellite Transmission and Live Event Production across North America. Mobile Production Services We offer the industry’s leading selection of mid-size HD OB Units for: Pre/Post Game Coverage Full Game Coverage Host/Unilateral Services Contact: mobile@metrovision.tv Mobile Satellite Services We are one of the leading independent Providers of Satellite Transmission Services on the East Coast Customized end to end solutions 4 KU Mobile Uplink Units 3 CBand Mobile Uplink Units Point to Point Digital Microwave
Contact: satdesk@metrovision.tv Live Event Production We brings the expertise and experience necessary for the planning and management of technical support for the Sports & Sports Marketing communities. Press Conferences & Award shows Victory parade coverage Pre/Post game & Wraparound Shows
Contact: production@metrovision.tv
NOW OFFERING PRODUCTION COAST TO COAST 315 West 53rd Street, NY, NY 10019 | Ph 212.989.1515 Fax 212.989.8278 | www.metrovision.tv
ia for Los
Clients love our existing 40’ HD/4K production truck because of it’s unique design and flexibility, but the one question we always get asked is, “when are you going to build another one?”
in 2018!
Clark Media’s new 53’ trailer - Specifically designed for HD and 4K HDR production. This will be one of the most flexible and powerful production trailers available for producers who demand the best.
Key Features...
No-compromise 5.1 audio mixing room with 56 fader Calrec Artemis.
Audio room features back benches for second audio console and audio playback station.
Up to sixteen Sony, Panasonic, or Ikegami HD/4K cameras.
Color accurate shading room – with 4K HDR Reference Monitors.
Grass Valley 5ME HD/4K Kayenne production switcher.
Grass Valley 2ME Korona panel for 2nd screen feeds.
Twenty-four channels of 4K recording available.
Wired for up to (4) EVS XT-4K Servers.
(32) channels of SM Fiber Transmit built into I/O Panel.
(32) channels of SM Fiber Receive built into I/O Panel.
East Coast 610-694-9800
www.clarkmedia.com
West Coast 818-435-4689
TOURING VIDEO
YES PRODUCTIONS
VIDEOLINES MOBILE TV
284
SD/HD/ 1080P/4K/ HDR-CAPABLE
TNDV TELEVISION TOKEN CREEK 21 LAKES MEDIA GROUP
DIMENSIONS/ TYPE
COMPANY ROSS MOBILE PRODUCTIONS
Gearbase
SDTV
TRIAX, FIBER, OR BOTH?
AUDIO CONSOLE (FADERS/CHANNELS)
# CAMERAS & MAKE
LENSES (H/HH)
GRAPHICS
24’ Sprinter
HD
Both
Soundcraft Expression 3 (30 faders, 64 analog inputs/24 analog outputs/18 AES inputs/34 AES outputs )
6 Ikegami HDK-95C
Canon 2 60X, 1 80X, 2 22X, 1 10X
1 Ross XPression (GFX), 1 Ross XPression (TD Elements), 1 Ross XPression GO!
24’ Sprinter
HD
Both
Soundcraft Expression 3 (30 faders, 64 analog inputs/24 analog outputs/18 AES inputs/34 AES outputs )
6 Ikegami HC-HDK95C
Canon 2 60X, 1 95X, 2 22X, 1 10X
1 Ross XPression, 1 Ross XPression (TD Elements), 1 Ross XPression GO!
HDLA
40’ combo/ expando
HD/SD/ 1080/720/ 24p
Both
Calrec Zeta (56)
8 Sony
10 Canon, 2 Fujinon
ChyronHego Duet HyperX3
HD Link
32’ combo
HD/SD
Both
Yamaha 02R96 (24)
4 Sony
2 Canon
N/A
Exclamation
53’ double expando
HD/SD/ 1080/720/ 24p
Fiber
Studer Vista X (60/256)
20 Hitachi SK-HD1200
Fujinon, according to specifications
ChyronHego HyperX3, Ross XPression, Avid Deko
Aspiration
40’ expando
HD
Fiber
Soundcraft VI3000 (32/96)
12 Hitachi SK-HD1000
Fujinon, according to specifications
ChyronHego HyperX3, Ross XPression, Avid Deko
Elevation
40’
HD
Fiber
Soundcraft VI3000 (32/96)
10 Hitachi Z-HD5000
Fujinon, according to specifications
ChyronHego HyperX3, Ross XPression, Avid Deko
Inspiration
40’
HD
Fiber
Soundcraft VI3000 (32/96)
10 Hitachi Z-HD5000
Fujinon, according to specifications
ChyronHego HyperX3, Ross XPression, Avid Deko
Vibration
53’
HD
Fiber
Studer Vista 9 (60/384)
8 Hitachi Z-HD5000
Fujinon, according to specifications
ChyronHego HyperX3, Ross XPression, Avid Deko
Constellation
24’ Ku-band uplink hybrid
HD
Fiber
Soundcraft Si Expression 1 (16 faders/64 input channels)
4 Hitachi Z-HD5000
Fujinon, according to specifications
ChyronHego HyperX3, Ross XPression, Avid Deko
Origination
26’
HD
Fiber
Soundcraft Vi1 (16/64)
8 Hitachi Z-HD5000
Fujinon, according to specifications
ChyronHego HyperX3, Ross XPression, Avid Deko
Black Jack
40’
HD
Fiber
Mackie Onyx 24/4 (24/32)
4 Hitachi Z-HD5000
Fujinon, according to specifications
ChyronHego HyperX3, Ross XPression, Avid Deko
Chippewa
53’ expando
HD
Triax/singlemode
Calrec Artemis (64 faders)
10 GV LDK 8000
6 hard/5 HH
ChyronHego HyperX3
Sioux
53’ expando
HD
Triax/singlemode
Calrec Artemis (40 faders)
6 GV LDX 80
5 hard/5 HH
ChyronHego HyperX3
Varsity
53’ expando
HD
Triax
Calrec Sigma w/Bluefin (56 faders)
10 GV LDK 8000
6 hard/4 HH
ChyronHego HyperX3
Pioneer
53’ expando
HD
Triax
Calrec Artemis
10 GV LDX80
5 hard/4 HH
ChyronHego HyperX3
Riley
40’ expando
HD
Triax
Yamaha PM5000
8 GV LDK 8000
Standard 70X wide-angles
ChyronHego Duet HyperX3
TV-4
53’ single expando
SD/HD/ 1080p/4K
SMPTE fiber and TAC
Stagetech Crescendo (40 faders)
16 Sony HDC 2500
As requested
As requested
TV-3
43’ single expando
SD/HD
SMPTE fiber and TAC
Stagetech Crescendo (40 faders)
12 Sony HDC 1500
As requested
As requested
HD-1
53’
HD
Triax
Yamaha M7CL-48
Ikegami 79E
2 76X, 2 66X, 2 20X
ChyronHego HyperX3
HD-2
53’
HD
Fiber
Yamaha 2000
Ikegami 77EX
4 55X, 2 18X
ChyronHego HyperX2
HD-3
16’ box
HD
Fiber
Yamaha 16 CH
Ikegami 77EX
2 55X, 2 18X
ChyronHego HyperX2 ChyronHego HyperX3 ChyronHego HyperX3
TRUCK NAME
FIN4
FIN5
HD1
53’ expando
HD
Both
Calrec Sigma w/Bluefin (64/96)
10 Ikegami HDK 79 EC
Fujinon hard 2 101X, 4 87X/HH 3 22X, 1 4.5
HD2
53’ expando
HD
Both
Calrec Omega w/Bluefin (56/48)
10 Ikegami HDK 79 EX
Fujinon hard 1 101X, 5 87X/HH 3 22X, 1 4.5
MOBILE SPORTS PRODUCTION YEARBOOK 2018
All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities
SWITCHER, M/E
REPLAY DEVICES
ROUTER (VIDEO/AUDIO SIZE)
Senn., EV, A-T
Ross Carbonite Black, 3M/E
1 8-ch. EVS XTnano, 1 6-ch. XTnano, 1 XFile3
Ross Carbonite Xtreme (144x144 3G HD/SD SDI/ASI), 1 NKA64-HQ stereo analog audio
Senn., EV, A-T
Ross Carbonite Black, 3M/E
1 8-ch. EVS XTnano, 1 6-ch. XTnano, 1 XFile3
Ross Carbonite Xtreme (144x144 3G HD/SD SDI/ASI), NK-A64HQ stereo analog audio
Senn., Sony
GV Kayenne, 4M/E
2 EVS XT3, 1 XFile 3, 1 4-ch. SpotBox; 2 HDW-S2000, 1 PDW1500, 1 XDCAM, 1 DVCPRO
Nvision 8288 3-Gig HD/SD video (252x288), Nvision 7512 TDM audio (192x256 AES, 96x80 analog, 32x32 MADI)
Senn., Sony
Sony MFS-2000, 1.5M/E
Four open slots - multiple format capable
32x32 PESA Cougar HD/SDI video, none, digital/analog patch
A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box
GV Kayenne K-Frame, 4M/E
As requested
Video 256x256, audio 320x320
A-T 8035 shotgun, A-T 898 lavs, Telefunken M80 Dynamic, Studio Tech. booth box
GV Kayenne K-Frame, 4M/E
As requested
Video 128x160, audio 96x96
A-T 8035 shotgun, A-T 898 lavs, Telefunken M80 Dynamic, Studio Tech. booth box
Ross Vision 3, 3M/E
As requested
Video 96x96, audio 96x96
A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box
Ross Vision 2, 2M/E
As requested
Video 96x96, audio 96x96
A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box
FOR-A HVS390, 2 M/E
As requested
Video 64x64, audio 128x128
A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box
Sony MVS-8000, 2M/E
As requested
Video 40x40
A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box
Ross Carbonite, 2M/E
As requested
Video 64x64, audio 64x64
A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box
Ross Carbonite, 3M/E
As requested
Video 40x40
As requested
GV Kayenne, 4.5M/E
2 6-ch. EVS LSM XT3, 1 4-ch. RO XT3, SpotBox XS3; 2 AJA Ki Pro, HDCAM, 2 DVCPRO
PESA 256X (128x256 HD-SDI), DRS (128x128 analog, 384x384 AES, 256x256 MADI, 256x256 embedded)
As requested
GV Karrera, 3M/E
2 6-ch. EVS LSM XT3, 1 4-ch. RO XT3, SpotBox XS3; 2 AJA Ki Pro, HDCAM, 2 DVCPRO
PESA 256X (128x256 HD-SDI), DRS (128x128 analog, 256x256 AES, 256x256 MADI, 256x256 embedded)
As requested
GV Kayenne, 4M/E
2 6-ch. EVS LSM XT3, 1 4-ch. RO XT3, SpotBox XS3; 2 AJA Ki Pro, HDCAM, 2 DVCPRO
PESA (192x288 HD/256x256 analog, 256x256 AES)
As requested
GV Kayenne
2 6-ch. EVS LSM XT3, 1 4-ch. RO XT3, SpotBox XS3; 2 AJA Ki Pro
GV Trinix HD video (500x800), Concerto (200x200 AES audio, 64x64 analog)
Full complement, including wireless
GV Kalypso, 4M/E
1 6-ch. EVS XT2, 1 4-ch. XT2; 1 12-ch. Evertz DreamCatcher
Leitch (80x128) video, Leitch (48x48) audio
As requested
Sony XVS-7000X, 6M/E
As requested
Imagine IP3 router 422 in/560 out audio 128 in
As requested
Sony MVS-7000X, 6M/E
As requested
Imagine Platinum 248 in/ 344 out audio 128 in
8 shotgun, 4 stick
GV Kayak, 4M/E
3 EVS
32x23 video/2-ch. audio
8 shotgun, 4 stick
GV Kayak, 2M/E
2 Tightrope ZEPLAY
32x23 video/2-ch. audio
4 shotgun, 4 stick
Blackmagic ATEM, 1M/E
1 NewTek 3Play
16x16 video
Standard audio
GV Kayenne K-Frame
2 6-ch. EVS LSM XT2, 2 RO XT2, 4-ch. XS SpotBox, XFile3; HDCAM, DVCPRO HD, FFV
Video 128x128 HD, 256x128 SD; audio 128x128 analog, 128x128 AES
Standard audio
GV Kalypso Duo
6-ch. EVS LSM XT2, 4-ch. XT2, 2 RO XT2, 4-ch. XS SpotBox, XFile3; HDCAM, DVCPRO HD, XD CAM FFV
Video HD 256x128/audio analog 128x128 AES 128x128
MOBILE SPORTS PRODUCTION YEARBOOK 2018
Gearbase
MICROPHONES
285
SPORTS BROADCASTING FUND Supporting our own in times of need...
Life happens. Fires destroy homes. Illness costs money. Surgery needs recovery time. Accidents disable. The SPORTS BROADCASTING FUND, established in 2012 by SVG, is designed to offer financial support for industry professionals who find The SVG Sports Broadcasting Fund exists themselves in a difficult financial spot due to thanks only to the generous financial support of those in our industry. As you or your calamity, illness, injury, or loss of life. company lays out charitable contributions, Our goal is simple: to be available as a “first please make sure to include the SVG Sports responder” and to quickly help those we serve Broadcasting Fund in your plans! pay bills, enabling recipients to stretch their The SVG Sports Broadcasting Fund is a designated fund of the Alma own cash reserves so that stress related to Foundation, Inc., a 501(c)(3) non-profit charity.We are proud to say that of every dollar goes directly to charities. For more information or to financial challenges are not piled onto an 90¢ view our 990 tax return, please visit us online at www.almafoundation. already stressful situation. net. FL REG# CH34972 • AL REG# AL11-461.
MAKE A DIFFERENCE. DONATE! www.sportsbroadcastingfund.org
WHEN IT COMES TO TECHNOLOGY, SPORTS TELEVISION LEADS THE WAY
We’re proud to represent those professionals who enrich the fan’s experience, break new barriers, and establish new standards for all forms of live television, mobile, and broadband entertainment. SVG’s advocacy, communication, education, and market development activities are made possible by the following sponsors: PLATINUM SPONSORS
Pantone + Solid Coated 2623 Process Match C 70 M 100 Y 28 K 16 Process Black C 0 M 0 Y 0 K 100
PREMIER SPONSORS
ADOBE • AJA VIDEO SYSTEMS • AJT SYSTEMS • AKAMAI • ALDEA SOLUTIONS • ASPERA, AN IBM COMPANY • AVECO • AVID • CAMPLEX FIBER SOLUTIONS • CHYRONHEGO • CISCO • CLEAR-COM, AN HME COMPANY • CLOUDIAN • COBALT DIGITAL • COMREX CORPORATION • EUTELSAT • EVERTZ • EVS • FX DESIGN GROUP • HITACHI • IBM • IHSE USA • IKEGAMI • IMAGINE COMMUNICATIONS • JOSEPH ELECTRONICS • MARKERTEK • MASSTECH INNOVATIONS • MICROSOFT • MULTIDYNE • NEOTI • NEP GROUP • NEWTEK • NTT ELECTRONICS • PANASONIC • QUALCOMM • SES • SOS GLOBAL • TERADEK • THE STUDIO – B&H • THE SWITCH • VITEC • VIZRT • WAVE CENTRAL/CP COMMUNICATIONS
CORPORATE SPONSORS ADDER TECHNOLOGY • ADORAMA • ANIXTER • APERI • APM MUSIC • ARISTA NETWORKS • ARTEL VIDEO SYSTEMS • ARVATO SYSTEMS • ASTUCEMEDIA • ATEME • AUDIO-TECHNICA • BITCENTRAL • BLUEFRAME TECHNOLOGY • BOXX TECHNOLOGIES • BRAINSTORM • BROAMAN • BSI (BROADCAST SPORTS INTERNATIONAL) • BURST • CANARE CORPORATION OF AMERICA • CATDV • CONVERGENT DESIGN • CORESITE • CRAWFORD MEDIA SERVICES • CREATIVE DIMENSIONS • CROWN CASTLE • DAKTRONICS • DALE PRO AUDIO • DALET DIGITAL MEDIA SYSTEMS • DELL EMC • DELUXE • DPA MICROPHONES • EEG ENTERPRISES • ENCOMPASS DIGITAL MEDIA • ERICSSON • FANCONNECT • FINGERWORKS TELESTRATORS • FIS BLUE • FLETCHER SPORTS • FOR-A • FRAUNHOFER • GERLING & ASSOCIATES • GLOBECAST • GRABYO • GRIMM • G&D NORTH AMERICA INC. • HAIVISION • HARMONIC • IMAGE VIDEO • IMAGEN • IMT/VISLINK • INTELSAT • INTERXION • IPTEC • IRDETO • ISTREAMPLANET • JB&A • JVCKENWOOD • LEADER INSTRUMENTS • LIVEU • LTN GLOBAL COMMUNICATIONS • MEDIA LINKS • MOEBAM! VENUE MEDIA SERVICES • MPE • MX1 • NET INSIGHT • NEULION • NEUTRIK USA • NEVION • NOKIA • OPTICAL CABLE CORPORATION • ORACLE • PANASAS • PLIANT TECHNOLOGIES • PRG • PRIME FOCUS TECHNOLOGIES • PRIMESTREAM • PRODUCTIONHUB • PROFESSIONAL WIRELESS SYSTEMS • QUANTUM5X • ROCK-IT CARGO • RT SOFTWARE • SANKEN/BRAINSTORM ELECTRONICS • SCALE LOGIC • SENNHEISER • SHURE • SIGNIANT • SIMPLYLIVE • SIXTY AS • SMT • SOLID STATE LOGIC • SPECTRA LOGIC • SPORTZCAST • STATS • STUDIO TECHNOLOGIES • T-21 TECHNOLOGIES • T2 COMPUTING • TATA COMMUNICATIONS • TECHNICOLOR • TEKTRONIX • TELESCOPE • TELESTREAM • TELOS ALLIANCE • TELESTRA • THE VIDEO CALL CENTER • THINKLOGICAL, A BELDEN BRAND • TIMECODE SYSTEMS • TSL PRODUCTS • TV GRAPHICS • TVU NETWORKS • UTAH SCIENTIFIC • VENTUZ TECHNOLOGY • VERIZON DIGITAL MEDIA SERVICES • VISTA WORLDLINK • VITAC • VSN • WARNER/CHAPPELL PRODUCTION MUSIC • WAZEE DIGITAL • WESCO • WHEATSTONE • WOWZA MEDIA SYSTEMS • WTVISION • YAMAHA COMMERCIAL AUDIO SYSTEMS • ZIXI • ZYPE
MOBILE/INTEGRATOR SPONSORS
3G WIRELESS • AERIAL VIDEO SYSTEMS • AERNOW • ALL MOBILE VIDEO • ALLIANCE PRODUCTIONS • ALPHA VIDEO • AMPTHINK • ARCTEK SATELLITE PRODUCTIONS • AV DESIGN SERVICES • AZZURRO GROUP • BEACON INTERNATIONAL • BECKTV • BROADCAST INTEGRATION SERVICES • BSI (BROADCAST SERVICES INTERNATIONAL) • CALHOUN SATELLITE COMMUNICATIONS • CAT ENTERTAINMENT SERVICES • CBT SYSTEMS • CHESAPEAKE SYSTEMS • CINESYS-OCEANA • CLARK MEDIA • COMMUNICATIONS ENGINEERING INC. (CEI) • CREATIVE MOBILE SOLUTIONS • CSP MOBILE PRODUCTIONS • CTG • DIGICASTER/DIGITAL COMM LINK • DIGITALGLUE • DIVERSIFIED • DNA STUDIOS • DOME PRODUCTIONS • DUNCAN VIDEO • DX3 MEDIA INC. • ES BROADCAST • F&F PRODUCTIONS • FILMWERKS INTERNATIONAL • GAME CREEK VIDEO • GEARHOUSE BROADCAST • GLOBECOMM SYSTEMS • HIGH ROCK MOBILE TELEVISION • ILLUMINATION DYNAMICS • IMS PRODUCTIONS • INTEGRATED MEDIA TECHNOLOGIES • KAUFMAN BROADCAST • KMH AUDIO-VIIDEO INTEGRATION • LH COMPUTER SERVICES • LIVELIKE • LYON VIDEO • MEASURE • METROVISION • MOBILE TV GROUP • NATIONAL TELECONSULTANTS • NEXTVR • NILES MEDIA GROUP • PCCW GLOBAL • PROGRAM PRODUCTIONS • PROSHOW BROADCAST • PSSI/STRATEGIC TV • RAPTOR VISION • SAUNDERS ELECTRIC • SDTV • SKYCAM/CABLECAM • SMARTCART SVX • SONOVTS • TNDV • UNITY SYSTEMS INTEGRATION
ADVANCING THE CREATION, PRODUCTION, & DISTRIBUTION OF SPORTS CONTENT
WWW.S PO RTSVI D EO.O R G
SVGSPONSORDIRECTORY / ADINDEX 288
SPONSOR
PAGE
LEVEL
CONTACT
PHONE
3G WIRELESS
215
Mobile
Gordon Capaccio
GordonC@3gwireless.tv
410-969-3501
ADDER TECHNOLOGY
144
Corporate
Tim Conway
usasales@adder.com
888-932-3337
ADOBE
28
Premier
Kathy Scibetta
waiteassociates@gmail.com
408-564-8909
ADORAMA
157
Corporate
Raymond Blumenthal
raymondb@adorama.com
516-356-3825
AERIAL VIDEO SYSTEMS
195
Mobile
Argyle Nelson
argyle@aerialvideo.com
818-954-8842
Mobile
Darcy Lorincz
dlorincz@aernow.com
480-384-0898
AJA VIDEO SYSTEMS
60
Premier
Christina Oliver
christinao@aja.com
530-271-3326
AJT SYSTEMS
53
Premier
Marilyn Monteagudo
sales@ajtsystems.com
954-776-4591
AKAMAI
16
Premier
Mark Ramberg
mramberg@akamai.com
206-674-5926
ALDEA SOLUTIONS
67
Premier
Larry Tonon
larry.tonon@aldea.tv
514-461-4136
ALL MOBILE VIDEO
250
Mobile
Eric Duke
eduke@amvchelsea.com
212-727-9862
ALLIANCE PRODUCTIONS
247
Mobile
Craig Farrell
craig@allianceproductions.com
501-219-2653
ALPHA VIDEO
197
Mobile
Jeffrey Volk
jeff.volk@alphavideo.com
952-841-3311
AMPTHINK
295
Mobile
Chip Foley
chip.foley@ampthink.com
917-496-6800
ANIXTER
161
Corporate
Jon Roberts
jon.roberts@anixter.com
310-795-2600
APERI
37
Corporate
Joop Janssen
jjanssen@apericorp.com
[32] 4 717 171 79
APM MUSIC
125
Corporate
Betsy McColl
bmccoll@apmmusic.com
323-461-3211 x131
ARCTEK SATELLITE PRODUCTIONS
173
Mobile
Brian Stanley
bstanley@arcteksat.com
612-308-9079
ARISTA NETWORKS
Corporate
Bryan Obeidzinski
bryano@arista.com
917-940-0097
ARTEL VIDEO SYSTEMS
Corporate
Joanne Pederson
sales@artel.com
978-263-5775
AERNOW
ARVATO SYSTEMS
131
Corporate
Thomas Mauro
tom.mauro@arvatosystems.com
646-589-3859
ASPERA, AN IBM COMPANY
33
Premier
Francois Quereuil
francoisq@us.ibm.com
510-849-2386 x207
ASTUCEMEDIA
88
Corporate
Alex Leclerc
alex@astucemedia.com
514-903-6159
AT&T GLOBAL VIDEO SERVICE
C2
Platinum
Scott Beckett
sb9485@att.com
214-647-0486
ATEME
130
Corporate
Dave Brass
d.brass@ateme.com
484-860-0358
AUDIO-TECHNICA U.S.
112
Corporate
Mike Edwards
medwards@atus.com
330-686-2600 x2030
AV DESIGN SERVICES
235
Mobile
Jim Landy
jmlandy@avds.tv
609-531-2642
AVECO
39
Premier
Jim O’Brien
jim.obrien@aveco.com
818-292-1489
AVID
31
Premier
Doug Price
doug.price@avid.com
817-239-9626
AWS ELEMENTAL
4
Platinum
Manuel De Peña
manueldp@elemental.com
703-819-1644
AZZURRO GROUP
189
Mobile
Mark Lowden
mlowden@azzurrogroup.com
212-625-2372
BEACON INTERNATIONAL
239
Mobile
Michael Hardesty
michael@beaconequip.com
623-975-2300
BECKTV
190
Mobile
Fred Wright
fwright@becktv.com
972-505-8941
BEXEL
64
Platinum
Craig Schiller
cschiller@bexel.com
818-565-4202
BITCENTRAL
155
Corporate
Mary Crebassa
mcrebass@bitcentral.com
949-417-4190
BLACKMAGIC DESIGN
23
Platinum
Bob Caniglia
bobc@blackmagicdesign.com
408-954-0500 x319
BLUEFRAME TECHNOLOGY
150
Corporate
Darren Brown
darren@blueframetech.com
859-619-4288
BOXX TECHNOLOGIES
156
Corporate
Martin Cody
mcody@boxxtech.com
512-835-0400 x324
BRAINSTORM
97
Corporate
Brad Rumler
brumler@brainstorm3d.com
201-888-9599
BROADCAST INTEGRATION SERVICES
238
Mobile
Joseph Policastro
jpolicastro@bis-tv.com
201-777-3986 x51
BROADCAST SERVICES INTERNATIONAL (BSI)
203
Mobile
Jim Eady
jim@bsi-tv.com
905-332-2171
BROADCAST SPORTS INTERNATIONAL (BSI)
57
Corporate
Jeremy Pink
jeremy.pink@bsintl.com
410-564-2621
MOBILE SPORTS PRODUCTION YEARBOOK 2018
PAGE
LEVEL
CONTACT
PHONE
BROAMAN
129
Corporate
Florian Myrus
f.myrus@broaman.com
[49] 89 8999 640
BURST
147
Corporate
Paul Levy
paul@burst.com
617-977-9500
CALHOUN SATELLITE COMMUNICATIONS
296
Mobile
Kevin Husband
k.husband@calhounsat.com
305-655-2629
CALREC AUDIO/DIGICO
87
Platinum
Jack Kelly
jackk@g1limited.com
631-396-0184 x102
CAMPLEX
119
Premier
Daniel Coscarella
daniel@camplex.com
800-445-7568 x7409
CANARE
89
Corporate
Jose Martinez
jmartinez@canare.com
973-837-0070 x101
CANON U.S.A.
8
Platinum
Richard Eilers
reilers@.cusa.canon.com
609-480-6019
CAT ENTERTAINMENT SERVICES
63
Mobile
Greg Landa
greg.landa@es-cat.com
904-494-7532
CATDV
231
Corporate
Ryan Servant
ryan@squarebox.com
646-423-3017
CBT SYSTEMS
207
Mobile
Darrell Wenhardt
darrell@cbt-net.com
858-536-2927
CENTURYLINK (formerly Level 3 Communications)
71
Platinum
Lauren Relay
lauren.relay@centurylink.com
720-888-6810
CHESAPEAKE SYSTEMS
208
Mobile
Nick Gold
nick@chesa.com
410-400-8932
CHYRONHEGO
117
Premier
Jesper Gawell
jesper.gawell@chyronhego.com
646-469-2272
CINESYS-OCEANA
167
Mobile
Brent Angle
brent.angle@cinesysinc.com
713-272-0732
CISCO
21
Premier
Joseph Bischof
jobischo@cisco.com
212-714-4009
CLARK MEDIA
283
Mobile
Gary Snyder
garys@clarkmedia.com
610-694-9800
CLEAR-COM, AN HME COMPANY
68
Premier
Bradley Kellogg
Bradley.Kellogg@Clearcom.com
510-337-6601
CLOUDIAN
41
Premier
Sean Coughlin
scoughlin@cloudian.com
914-715-8261
COBALT DIGITAL
121
Premier
Bob McAlpine
Bob.McAlpine@cobaltdigital.com
217-531-0165
COMMUNICATIONS ENGINEERING INC. (CEI)
233
Mobile
James Baldwin
sales@commeng.com
703-550-5800
COMREX
15
CONVERGENT DESIGN
Chris Crump
ccrump@comrex.com
978-784-1776
Mike Schell
mike@convergent-design.com
720-221-3861
CORESITE
36
Corporate
Moe Younes
moe.younes@coresite.com
212-574-5876
CRAWFORD MEDIA SERVICES
163
Corporate
Emily Halevy
ehalevy@crawford.com
678-536-4871
CREATIVE DIMENSIONS
166
Corporate
Joel Roy
jroy@gowithcd.com
203-250-6517
CREATIVE MOBILE SOLUTIONS INC. (CMSI)
51
Mobile
Noah Gusdorff
noah@cmsi.tv
818-847-7390
CROWN CASTLE
133
Corporate
Scott Davidson
Scott.Davidson@crowncastle.com
678-366-1265
CSP MOBILE PRODUCTIONS
254
Mobile
Len Chase
len@cspmobile.com
207-282-9680
CTG (COMPREHENSIVE TECHNICAL GROUP)
242
Mobile
Jim Lee
Jlee@ctgatlanta.com
678-387-5507
Corporate
Sales
sales@daktronics.com
800-325-8766
DAKTRONICS DALE PRO AUDIO
Corporate
Michael Descoteau
miked@daleproaudio.com
857-756-6980
DALET DIGITAL MEDIA SYSTEMS
Corporate
Eric Carson
ecarson@dalet.com
918-327-9171
DELL EMC
Corporate
Bhavesh Lad
bhavesh.lad@dell.com
818-633-1228
Corporate
Rick Phelps
rick.phelps@bydeluxe.com
212-444-5805
Mobile
Said Khan
SKhan@dclinc.net
954-236-2993
DELUXE ENTERTAINMENT
101
159
DIGICASTER/DIGITAL COMM LINK
Premier Corporate
DIGITALGLUE
218
Mobile
John McCluskey
john.mccluskey@barnfindamericas.com
888-491-6903
DIVERSIFIED
185
Mobile
Christopher Sullivan
CSullivan@diversifiedus.com
201-670-6548
DNA STUDIOS
255
Mobile
Sam Schrade
sam@dnawebs.com
281-802-8000
DOLBY LABORATORIES
95
Platinum
Cherylene McKinney
cherylene.mckinney@dolby.com
646-823-1523
DOME PRODUCTIONS
258
Mobile
Mary Ellen Carlyle
mcarlyle@domeprod.com
416-341-2022
DPA MICROPHONES
142
Corporate
Christoper Spahr
csp@dpamicrophones.com
914-582-4399
MOBILE SPORTS PRODUCTION YEARBOOK 2018
SVG Sponsor Directory / Ad Index
SPONSOR
289
SVG Sponsor Directory / Ad Index
SPONSOR
PAGE
LEVEL
CONTACT
PHONE
241
Mobile
Bryan Adams
badams@duncanvid.com
317-815-6300
Mobile
Dale Smith
dalesmith@DX3media.ca
416-433-3261
EEG ENTERPRISES
169
Corporate
Eric McErlain
ericm@eegent.com
516-293-7472 x502
ENCOMPASS DIGITAL MEDIA
65
Corporate
Joe Garzillo
jgarzillo@encompass-m.com
203-965-6334
Corporate
Dan Burnett
daniel.burnett@ericsson.com
678-689-6535
Mobile
Alan Henry
alan@esbroadcast.com
[44] 0 1923 804645
DUNCAN VIDEO DX3 MEDIA
ERICSSON ES BROADCAST EUROVISION
75
Platinum
Jim Scott
jim.scott@eurovision.net
973-650-9577
EUTELSAT
43
Corporate
Paul Kosac
pkosac@eutelsat.com
678-722-1107
EVERTZ
48
Premier
Orest Holyk
orest@evertz.com
905-335-3700
EVS
115
Premier
James Stellpflug
j.stellpflug@evs.com
973-575-2140
F&F PRODUCTIONS
259
Mobile
George Orgera
GeorgeO@fandfhd.tv
727-535-6776
FANCONNECT
168
Corporate
Larry Witherspoon
larry@fan-connect.com
704-837-7099
FILMWERKS INTERNATIONAL
69
Mobile
Michael Satrazemis
michaels@filmwerksintl.com
910-675-1145
FINGERWORKS TELESTRATORS
137
Corporate
Bryan McKoen
bryan@telestrator.com
604-762-1477
FIS BLUE
132
Corporate
Derek Curtis
dcurtis@fisblue.com
315-768-8179
FLETCHER SPORTS
56
Corporate
Dan Grainge
dan@fletch.com
312-932-2704
FOR-A
Corporate
Ken Truong
truong@for-a.com
201-944-1120
138
Corporate
Robert Bleidt
robert.bleidt@dmt.fraunhofer.org
408-573-9901
FUJIFILM/FUJINON
1
Platinum
Gordon Tubbs
gtubbs@fujifilm.com
973-686-2769
FX DESIGN GROUP
24
Premier
Mack McLaughlin
mmclaughlin@fxgroup.tv
407-877-9600
GAME CREEK VIDEO
246
Mobile
Pat Sullivan
sullgame@aol.com
603-821-2205
FRAUNHOFER
GEARHOUSE BROADCAST
73
Mobile
Marc Genin
mgenin@gearhousebroadcast.com
818-955-9449
GERLING & ASSOCIATES
107
Corporate
Fred Gerling
fredg@gerlinggroup.com
740-965-2888
GLOBECAST
139
Corporate
Tim Jackson
tim.jackson@globecastna.com
310-849-3901
GLOBECOMM SYSTEMS
180
Mobile
Mike Scotto
mikes@globecomm.com
631-457-1179
GRABYO
127
Corporate
Mike Kelley
mike@grabyo.com
914-584-7324
GRASS VALLEY, A BELDEN BRAND
111
GRIMM
Steve Stubelt
stephen.stubelt@grassvalley.com
862-216-7070
Christine Piry
christine@grimm-co.com
202-499-0886
HAIVISION
124
Corporate
Karen McCone
kmccone@haivision.com
514-993-2683
HARMONIC
126
Corporate
Bill Cordo
bill.cordo@harmonicinc.com
201-669-0890
2
Platinum
Erik Weaver
erik.weaver@wdc.com
408-717-9217
HGST/G-TECHNOLOGY HIGH ROCK MOBILE TELEVISION
262
Mobile
Phil Engborg
phil@carr-hughes.com
518-584-0202
HITACHI
85
Premier
Sean Moran
sean.moran@hitachikokusai.us
516-682-4431
Premier
Scott Wig
swig@us.ibm.com
905-696-4945
IBM
290
Platinum Corporate
IHSE USA
96
Premier
Dan Holland
dholland@ihseusa.com
732-738-8780
IKEGAMI
82
Premier
Erin Rice
erice@ikegami.com
859-333-4636
ILLUMINATION DYNAMICS
209
Mobile
Rich Williams
rich@illuminationdynamics.com
818-686-6400
IMAGE VIDEO
108
Corporate
Zach Wilkie
zwilkie@imagevideo.com
416-750-8872 x228
IMAGEN
76
Corporate
Ian Mottashed
ian.mottashed@imagenevp.com
[44] 1954 262004
IMAGINE COMMUNICATIONS
14
Premier
Mary Schoof
mary.schoof@imaginecommunications. com
703-869-2042
IMS PRODUCTIONS
263
Mobile
Robby Greene
rgreene@imsptv.com
317-492-8710
IMT/VISLINK
141
Corporate
Andrew Poole
andrew.poole@imt-solutions.com
619-993-4518
INTEGRATED MEDIA TECHNOLOGIES (IMT)
143
Mobile
Tom McGowan
tom.mcgowan@imtglobalinc.com
818-761-9770
INTELSAT
145
Corporate
Sales
sales.na@intelsat.com
703-559-6800
MOBILE SPORTS PRODUCTION YEARBOOK 2018
INTERXION
PAGE
LEVEL
CONTACT
PHONE
79
Corporate
Richard Craig-McFeely
richardc@interxion.com
[44] 07342 949663
Corporate
Glen Green
glen.green@v-tech-llc.com
936-520-6042
IPTEC IRDETO
154
Corporate
John Branigan
john.branigan@irdeto.com
818-508-2333
ISTREAMPLANET
148
Corporate
Eric Weinstein
bd@istreamplanet.com
718-732-0173
JB&A DISTRIBUTION
160
Corporate
Maria Casey
mariac@jbanda.com
415-256-2800
JOSEPH ELECTRONICS
19
Premier
Yohay Hahamy
yohay@josephelectronics.com
847-501-1584
JVCKENWOOD USA
151
Premier
Craig Yanagi
cyanagi@us.jvckenwood.com
973-317-5176
KAUFMAN BROADCAST
278
Mobile
Bill Kaufman
bill.kaufman@kaufmanbroadcast.com
314-533-6633
KMH AUDIO-VIDEO INTEGRATION
174
Mobile
Kevin Henneman
khenneman@kmh-integration.com
800-590-2520
7
Platinum
Jeffrey Stroessner
jeffrey.stroessner@lawo.com
[49] 7222 1002 5150
LEADER INSTRUMENTS
116
Corporate
Scott Cannon
cannon@leaderamerica.com
800-645-5104
LH COMPUTER SERVICES
200
Mobile
Doug Cole
dcole@lhcomp.com
954-752-5805
LAWO
LIVELIKE
202
Mobile
Fabrice Lorenceau
fabrice@livelikevr.com
[33] 14 500 1949
LIVEU
122
Corporate
Mike Savello
mike@liveu.tv
201-742-5227
LTN GLOBAL COMMUNICATIONS
162
Corporate
Rich Rozycki
rrozycki@ltndigital.com
646-832-1952
LYON VIDEO
266
Mobile
Chad Snyder
chad@LyonVideo.com
614-319-4071
MARKERTEK
44
Premier
Gregory DeCelle
greg@towerpower.com
845-246-2357
MASSTECH INNOVATIONS
45
Premier
Luc Tomasino
Luc.tomasino@masstech.com
918-605-3236
MEASURE
100
Mobile
Jon Ollwerther
jollwerther@measure.com
908-868-4674
MEDIA LINKS
136
Corporate
David Herfert
dherfert@medialinks.com
860-206-9163
METROVISION
282
Mobile
Jim McGillion
jim@metrovision.tv
212-989-1515
MICROSOFT
52
Premier
Scott Bounds
sbounds@microsoft.com
646-225-4380
MOBILE TV GROUP
267
Mobile
Philip Garvin
pgarvin@coloradostudios.com
303-542-5555
Corporate
Rick Price
rprice@moebam.com
407-476-9390
MOEBAM! VENUE MEDIA SERVICES MPE
175
Corporate
Neal Pilzer
neal@mpenyc.com
212-245-0969
MULTIDYNE
99
Premier
Frank Jachetta
frank@multidyne.com
516-671-7278 x301
MX1
178
Corporate
Susanna Mandel-Mantello
susanna.mantello@mx1.com
203-661-7971
NEOTI
47
Premier
Derek Myers
d.myers@neoti.com
260-494-1499 x601
NEP GROUP, INC.
248
Premier
Susan Matis
smatis@nepgroup.com
412-423-1339
NET INSIGHT
171
Corporate
David Dellafave
david.dellafave@netinsight.net
201-669-2037
NEULION
182
Corporate
Dana Williams
Dana.williams@neulion.com
516-622-8301
NEUTRIK USA
183
Corporate
Mic Cardone
mcardone@neutrikusa.com
704-972-3050
NEVION
184
Corporate
Mike Root
sales@nevion.com
212-380-0550
NEWTEK
35
Premier
Ruben Ruiz
rruiz@newtek.com
210-370-8000
NEXTVR
251
Mobile
Todd Cogan
todd@nextvr.com
949-494-4321
NILES MEDIA GROUP
274
Mobile
John Denison
jdenison@nilesmediagroup.com
816-457-1798
Corporate
James Kim
james.1.kim@nokia.com
415-640-8000
NOKIA NTC (NATIONAL TELECONSULTANTS)
72
Mobile
Laurie Morse
laurie.morse@ntc.com
818-265-4415
NTT ELECTRONICS
27
Premier
Atsushi Takahara
takahara@nel-america.com
201-556-1770
OPTICAL CABLE CORPORATION
191
Corporate
Eric Altizer
eric.altizer@occfiber.com
800-622-7711
Corporate
Frank Boensch
frank.boensch@oracle.com
646-303-5187
ORACLE
PANASAS
196
Corporate
Michael Tortorello
michael@panasas.com
908-295-5255
PANASONIC
91
Premier
Carter Hoskins
carter.hoskins@us.panasonic.com
770-619-1779
PCCW GLOBAL
214
Mobile
Koby Zontag
kzontag@pccwglobal.com
212-389-6257
MOBILE SPORTS PRODUCTION YEARBOOK 2018
SVG Sponsor Directory / Ad Index
SVG SPONSOR
291
SVG Sponsor Directory / Ad Index
SVG SPONSOR
PAGE
LEVEL
CONTACT
PHONE
PLIANT TECHNOLOGIES
193
Corporate
Gary Rosen
Gary.Rosen@PliantTechnologies.com
818-264-9730
PLUS24/SANKEN
194
Corporate
Jim Pace
jpace@plus24.net
323-855-1404
PRG
Corporate
Brian Edwards
bedwards@prg.com
818-252-2630
PRIME FOCUS TECHNOLOGIES
187
Corporate
Chris Ziemer
chris.ziemer@primefocus.com
917-459-7469
PRIMESTREAM
188
Corporate
Robert Lisman
robertlisman@primestream.com
305-625-4415
Corporate
Steve Rotz
srotz@productionhub.com
877-629-4122
Corporate
Jim Van Winkle
JimmyV@ProfessionalWireless.com
407-240-2880
PRODUCTIONHUB PROFESSIONAL WIRELESS SYSTEMS
199
PROGRAM PRODUCTIONS
C3
Mobile
Robert Carzoli
rcarzoli@programproductions.com
630-282-0155
PROSHOW BROADCAST
271
Mobile
Tim Lewis
timlewis@proshow.com
604-293-1771
PSSI/STRATEGIC TV
211
Mobile
Clayton Packard
cpackard@pssiglobal.com
310-575-4400
QUALCOMM
13
Premier
Deep Sen
dsen@qti.qualcomm.com
858-860-4185
QUANTUM
C4
Platinum
Ruth Compton
ruth.compton@Quantum.com
949-856-7793
QUANTUM5X SYSTEMS
205
Corporate
Paul Johnson
pjohnson@q5x.com
519-675-6999
RAPTOR VISION
279
Mobile
James Francis
james@rptrv.com
212-771-6110
REALITY CHECK SYSTEMS
12
Platinum
Jeff Heimbold
j.heimbold@realitychecksystems.com
323-465-3900
RIEDEL COMMUNICATIONS
10
Platinum
Joyce Bente
joyce.bente@riedel.net
818-559-6900
ROCK-IT CARGO
179
Corporate
Hillary Nosbisch
hillaryn@rockitcargo.com
940-465-0303
9
Platinum
Kevin Cottam
kcottam@rossvideo.com
613-228-0688 x4366
226
Corporate
Mike Fredriksen
mike.fredriksen@rtsw.co.uk
[44] 020 7384 2711
6
Platinum
John Shike
John.Shike@s-a-m.com
650-703-4906
SAUNDERS ELECTRIC
237
Mobile
Candace Saunders
candace@saunderselectric.com
615-514-8140
SCALE LOGIC
220
Corporate
Drew Wanstall
dwanstall@scalelogicinc.com
651-746-4319
Mobile
Mark Parikka
operations@sdtv.com
619-293-7777
SENNHEISER
92
Corporate
Chris Clay
Chris.Clay@Sennheiser.Com
860-434-9190
SES
25
Premier
Richard Lamb
richard.lamb@ses.com
[31] 70 306 4211
SHURE
120
Corporate
Bill Ostry
ostry_bill@shure.com
847-600-6282
SIGNIANT
225
Corporate
Danielle Rita
drita@signiant.com
781-791-4611
SIMPLYLIVE
103
Corporate
Gregory Macchia
g.macchia@simplylive.tv
484-273-0760
SIXTY AS
227
Corporate
Henriette Sæther
henriette@sixty.no
[47] 47 97 60 22 36
SKYCAM/CABLECAM
50
Mobile
Endre Buxton
endre.buxton@skycam.tv
817-984-6840
SMARTCART SVX
275
Mobile
Gil Cowie
gil@smartcartsvx.com
646-863-6263
SMT
59
Corporate
Patricia Hopkins
p.hopkins@smt.com
919-493-9390
SOLID STATE LOGIC
172
Corporate
Steve Zaretsky
stevez@solidstatelogic.com
212-315-9506 x15
SONOVTS
212
Mobile
Franz Olbert
Franz.Olbert@sonovts.de
[49] 89 419 671 114
SONY
3
Platinum
Deon LeCointe
deon.lecointe@am.sony.com
201-930-6926
SOS GLOBAL EXPRESS
40
Premier
Stephen O’Connell
soconnell@sosglobal.com
252-635-1400
SPECTRA LOGIC
229
Corporate
Hossein ZiaShakeri
hosseinz@spectralogic.com
303-449-6444 x 1118
SPORTZCAST
230
Corporate
Michael Connell
mike@sportzcast.net
321-888-3800 x101
STATS
244
Corporate
Herrman Taraporewalla
htaraporewalla@stats.com
847-728-4463
Corporate
Gordon Kapes
gkapes@studio-tech.com
847-676-9177
ROSS VIDEO RT SOFTWARE SAM (SNELL ADVANCED MEDIA)
SDTV
STUDIO TECHNOLOGIES
292
MOBILE SPORTS PRODUCTION YEARBOOK 2018
PAGE
LEVEL
CONTACT
PHONE
201
Corporate
Kevin Ancelin
KAncelin@t-21.biz
904-673-6131
Corporate
Ian Ash
iash@t2computing.com
212-220-9600 x367
TATA COMMUNICATIONS
78
Corporate
David Moore
david.moore@tatacommunications.com
704-806-6679
TECHNICOLOR
219
Corporate
Carole Bernard
Carole.Bernard@technicolor.com
323-817-6988
TEKTRONIX
109
Corporate
Mike Wright
mike.wright@tektronix.com
818-200-3008
TELESCOPE
236
Corporate
Katrina Moran
Katrina.Moran@telescope.tv
424-270-2900
TELESTREAM
245
Corporate
Scott Murray
scottmu@telestream.net
530-470-1306
TELOS ALLIANCE
113
Corporate
Martin Dyster
martin@LinearAcoustic.com
717-735-3611
TERADEK
83
Premier
Jon Landman
jon@teradek.com
818-667-4258
THE STUDIO - B&H
84
Premier
The Studio Team
thestudio@BandH.com
800-947-9962
THE SWITCH
29
Premier
Christian Kneuer
christian.kneuer@theswitch.tv
212-239-3715
T-21 TECHNOLOGIES T2 COMPUTING
THE VIDEO CALL CENTER
177
Corporate
Larry Thaler
LThaler@TheVCC.TV
212-235-7019 x720
THINKLOGICAL, A BELDEN BRAND
206
Corporate
Richard Cooper
richard.cooper@thinklogical.com
484-467-5633
TIMECODE SYSTEMS
80
Corporate
Paul Scurrell
paul.scurrell@timecodesystems.com
[44] 1700 808 600
TNDV: TELEVISION
270
Mobile
Rob Devlin
rob@tndv.com
877-959-8638
TSL PRODUCTS
77
Corporate
Greg Siers
greg.siers@tslproducts.com
301-272-0939
TV GRAPHICS
104
Corporate
Joseph Jopplin
josephj@tv-graphics.com
281-397-9100
TVU NETWORKS
149
Corporate
Eric Chang
echang@tvunetworks.com
650-288-0843
UNITY SYSTEMS INTEGRATION
213
Mobile
Doug Waldron
Doug.waldron@unity-si.com
905-707-3802
UTAH SCIENTIFIC
Corporate
Chris Harmon
charmon@utahscientific.com
801-575-3233
VENTUZ TECHNOLOGY
Corporate
Bruce Levine
Bruce.levine@ventuz.com
516-528-3599
VER
18
Platinum
Bob Hawkanson
rhawkanson@ver.com
407-582-0350
VERIZON DIGITAL MEDIA SERVICES
243
Corporate
Jeff Casey
jeffrey.casey@verizon.com
908-559-2036
VISTA WORLDLINK
217
Corporate
Joshua Liemer
jliemer@vistaworldlink.com
954-838-0900 x210
VITAC
223
Corporate
Brenda Nowicki
brenda.nowicki@vitac.com
303-468-4714
VITEC
20
Premier
Geol Yeadon
geol.yeadon@vitec.com
650-230-2563
VIZRT
61
VSN
Premier
Melanie Crandell
mcrandall@vizrt.com
506-988-7005
Corporate
Doug Wynn
doug@vsn-tv.com
608-345-1568
WARNER/CHAPPELL PRODUCTION MUSIC
135
Corporate
Jennifer Stowe
jennifer.stowe@warnerchappellpm.com
615-687-6859
WAVE CENTRAL/CP COMMUNICATIONS
55
Premier
Kurt Heitmann
kurt.heitmann@cpcomms.com
914-345-9292
WAZEE DIGITAL
221
Corporate
Mike Arthur
mike.arthur@wazeedigital.com
720-318-8157
WESCO BROADCAST AND ENTERTAINMENT
224
Corporate
Mike Vivian
mvivian@wesco.com
256-604-6362
WHEATSTONE
105
Corporate
Phil Owens
philowens@wheatstone.com
252-638-7000
WOWZA MEDIA SYSTEMS
165
Corporate
Brad Wright
brad.wright@wowza.com
720-608-4733
WTVISION
232
Corporate
Mario Sousa
mario.sousa@wtvision.com
305-357-5893
YAMAHA PROFESSIONAL AUDIO
93
Corporate
Paul Furtkamp
pfurtkamp@yamaha.com
714-522-9011
ZIXI
153
Corporate
Eric Bolten
eric@zixi.com
978-853-8482
ZYPE
32
Corporate
Chris Bassolino
cbass@zype.com
908-913-0880
MOBILE SPORTS PRODUCTION YEARBOOK 2018
SVG Sponsor Directory / Ad Index
SVG SPONSOR
293
ve Bornstein | Garrett Brown | Jack Buck | Dick Button | Leonard Chapman | Frank Chirkinian | Joe Cohen | Allan B. “Scotty” Connal | Howard Co
Coyle | Bob Dixon | Ray Dolby | Dick Ebersol | Dick Enberg | Davey Finch | Chet Forte | Bill France, Jr. | Barry Frank | Frank Gifford | Ed Goren | Curt G
dy Grossman | David Hill | Stan Honey | Deb Honkus | George Hoover | Chuck Howard | Keith Jackson | Barry Johnstone | Howard Katz | Steve Lax
Leible | Verne Lundquist | John Madden | Geoffrey Mason | Tim McCarver | Mark McCormack | Jim McKay | Sean McManus | Al Michaels | Bob Mikkel
Musburger | Ted Nathanson | Don Ohlmeyer | George Orgera | Chuck Pagano | Mike Pearl | Val Pinchbeck | John Porter | Bill Raftery | Linda Rheins Roberts | John Roché | Dan Rooney | Pete Rozelle | Ed Sabol | Steve Sabol | Craig Sager | Ron Scalise | Joe Schiavo | Chris Schenkel | Vin Scully
rman | Allan “Bud” Selig | Tom Shelburne | Chester “Chet” Simmons | Jack Simmons | Charles A. Steinberg | Jerry Steinberg | George Steinbrenner |
| Pat Summerall | Pat Sullivan | Paul Tagliabue | Larry Thorpe | Ted Turner | Lesley Visser | John A. Walsh | Bill Webb | Jack Weir | George Wensel |
ker | Mickey Wittman | Ken Aagaard | Marv Albert | Roone Arledge | Fred Aldous | Marvin Bader | Julius Barnathan | Deane Beman | Andrea Berry | G
nheimer | Steve Bornstein | Garrett Brown | Jack Buck | Dick Button | Leonard Chapman | Frank Chirkinian | Joe Cohen | Allan B. “Scotty” Connal | Ho
l | Harry Coyle | Bob Dixon | Ray Dolby | Dick Ebersol | Dick Enberg | Davey Finch | Chet Forte | Bill France, Jr. | Barry Frank | Frank Gifford | Ed Go
Gowdy | Sandy Grossman | David Hill | Deb Honkus | George Hoover | Chuck Howard | Keith Jackson | Barry Johnstone | Howard Katz | Steve Laxton | | Verne Lundquist | John Madden | Geoffrey Mason | Tim McCarver | Mark McCormack | Jim McKay | Sean McManus | Al Michaels | Bob Mikkelson
anson | Don Ohlmeyer | George Orgera | Chuck Pagano | Mike Pearl | Val Pinchbeck | John Porter | Robin Roberts | John Roché | Dan Rooney | Pete R
Sabol | Steve Sabol | Craig Sager | Ron Scalise | Joe Schiavo | Chris Schenkel | Vin Scully | Bob Seiderman | Tom Shelburne | Chester “Chet” Simm
es A. Steinberg | Jerry Steinberg | George Steinbrenner | David Stern | Pat Summerall | Pat Sullivan | Paul Tagliabue | Larry Thorpe | Ted Turner | Bill
k Weir | Michael Weisman | George Wensel | Jack Whitaker | Mickey Wittman | Ken Aagaard | Marv Albert | Roone Arledge | Fred Aldous | Marvin Ba
s Barnathan | Deane Beman | Chris Berman | Andrea Berry | George Bodenheimer | Steve Bornstein | Garrett Brown | Jack Buck | Dick Button | Le
man | Frank Chirkinian | Joe Cohen | Allan B. “Scotty” Connal | Howard Cosell | Harry Coyle | Bob Dixon | Ray Dolby | Dick Ebersol | Dick Enberg | D
| Chet Forte | Bill France, Jr. | Barry Frank | Frank Gifford | Ed Goren | Curt Gowdy | Sandy Grossman | David Hill | Stan Honey | Deb Honkus | G
er | Chuck Howard | Keith Jackson | Barry Johnstone | Howard Katz | Steve Laxton | Cory Leible | Verne Lundquist | John Madden | Geoffrey Mason
rver | Mark McCormack | Jim McKay | Sean McManus | Al Michaels | Bob Mikkelson | Brent Musburger | Ted Nathanson | Don Ohlmeyer | George Org
k Pagano | Mike Pearl | Val Pinchbeck | John Porter | Bill Raftery | Linda Rheinstein | Robin Roberts | John Roché | Dan Rooney | Pete Rozelle | Ed
ve Sabol | Craig Sager | Ron Scalise | Joe Schiavo | Chris Schenkel | Vin Scully | Bob Seiderman | Allan “Bud” Selig | Tom Shelburne | Chester “Chet”
| Jack Simmons | Charles A. Steinberg | Jerry Steinberg | George Steinbrenner | David Stern | Pat Summerall | Pat Sullivan | Paul Tagliabue | Larry T
Turner | Lesley Visser | John A. Walsh | Bill Webb | Jack Weir | George Wensel | Jack Whitaker | Mickey Wittman | Ken Aagaard | Marv Albert | R
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Button | Leonard Chapman | Frank Chirkinian | Joe Cohen | Allan B. “Scotty” Connal | Howard Cosell | Harry Coyle | Bob Dixon | Ray Dolby | Dick Ebe
Enberg | Davey Finch | Chet Forte | Bill France, Jr. | Barry Frank | Frank Gifford | Ed Goren | Curt Gowdy | Sandy Grossman | David Hill | Deb Hon
e Hoover | Chuck Howard | Keith Jackson | Barry Johnstone | Howard Katz | Steve Laxton | Cory Leible | Verne Lundquist | John Madden | Geoffrey M
McCarver | Mark McCormack | Jim McKay | Sean McManus | Al Michaels | Bob Mikkelson | Ted Nathanson | Don Ohlmeyer | George Orgera | Chuck Pa
e Pearl | Val Pinchbeck | John Porter | Robin Roberts | John Roché | Dan Rooney | Pete Rozelle | Ed Sabol | Steve Sabol | Craig Sager | Ron Scalise
vo | Chris Schenkel | Vin Scully | Bob Seiderman | Tom Shelburne | Chester “Chet” Simmons | Charles A. Steinberg | Jerry Steinberg | George Steinbr
id Stern | Pat Summerall | Pat Sullivan | Paul Tagliabue | Larry Thorpe | Ted Turner | Bill Webb | Jack Weir | Michael Weisman | George Wensel |
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ard | Marv Albert | Roone Arledge | Fred Aldous | Marvin Bader | Julius Barnathan | Deane Beman | Andrea Berry | George Bodenheimer | Steve Borns
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tt Brown | Jack Buck | Dick Button | Leonard Chapman | Frank Chirkinian | Joe Cohen | Allan B. “Scotty” Connal | Howard Cosell | Harry Coyle | Bob
December 12, 2017
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e Orgera | Chuck Pagano | Mike Pearl | Val Pinchbeck | John Porter | Robin Roberts | John Roché | Dan Rooney | Pete Rozelle | Ed Sabol | Steve Sa
Sager | Ron Scalise | Joe Schiavo | Chris Schenkel | Vin Scully | Bob Seiderman | Tom Shelburne | Chester “Chet” Simmons | Charles A. Steinberg |
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