2019 SVG Mobile Sports Production Yearbook by Sports Video Group

2019

INCLUDING THE 13TH ANNUAL

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MOBILE SPORTS PRODUCTION YEARBOOK

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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 KRISTIAN HERNANDEZ, Assistant Editor and Social Media Coordinator kristian@sportsvideo.org | 646.880.4902 SUSAN QUALTROUGH, Copy Editor susan@sportsvideo.org RIVA DANZIG, Art Director riva@sportsvideo.org SVG SERVICES KAREN HOGAN KETCHUM, Director of Production karen@sportsvideo.org | 646.559.0434 KATIE CHAMPION, Production Assistant katie@sportsvideo.org | 646.524.7497 ANDREW LIPPE, Membership & Client Services Manager andrew@sportsvideo.org | 212.481.8133 CRISTINA ERNST, Operations Manager cris@sportsvideo.org | 917.309.5174 ALICIA MONTANARO, Conference & Organizational Coordinator alicia@sportsvideo.org | 646.880.4901 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 DYLAN DAVIDSON, Sponsorship Coordinator dylan@sportsvideo.org | 646.559.0435 SVG EUROPE CONTACTS FERGAL RINGROSE, Executive Editor fergal@sportsvideo.org | Tel: +353 (1) 294 7783 JOE HOSKEN, General Manager joe@sportsvideo.org | Tel: +44 74290 90134 DAVID DAVIES, Editor david@sportsvideo.org | Tel: +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.

11 L OOKING AHEAD Tech Evolution Promises Increased Options 17 E XECUTIVE PERSPECTIVES Mobile-Production Leaders Sound Off on Challenges, Opportunities Ahead for the Industry 49 R OAD WARRIORS 2018 in Review: A Look Back at SVG’s Onsite Reporting From the Year’s Biggest Sporting Events 91 N EW TRUCK PROFILES &

MOBILE SERVICES PROVIDERS

96 Clark Media 100 Game Creek Video 108 Mobile TV Group 116 NEP Group 124 Ross Mobile Productions 128 TNDV 131 3g Wireless Advanced Systems Group AE Graphics Aerial Video Systems All Mobile Video Alpha Video AmpThink 134 ARCTEK Satellite Productions AV Design Services Azzurro Group Beacon International BeckTV Bexel Broadcast Services International 138 Broadcast Sports International C360 CAT Entertainment Services CBT Systems Chesapeake Systems Chilefilms CineSys-Oceana 142 Cognizant Communications Engineering Inc. CP Communications/ Wave Central Creative Mobile Solutions Inc. CSP Mobile Productions CTG DigitalGlue Diversified 146 DNA Studios Dome Productions

146 DX3 Media Inc. ES Broadcast F&F Productions Filmwerks International 150 Gearhouse Broadcast High Rock Mobile Television Illumination Dynamics IMS Productions Integrated Media Technologies Kaufman Broadcast KMH Audio-Video Integration 154 LH Computer Services LiveLike Lyon Video M2 Aerials Markertek Metrovision NextVR 158 PCCW Global PRG Program Productions PSSI Global Services Reality Check Systems RF Wireless Systems Rock-It Cargo 162 SDTV Shotover Skycam SmartCart SVX sonoVTS SOS Global Express 166 StorExcel T2 Computing The Switch Unity Systems Integration VER VISTA Worldlink

Table of Contents

PUBLISHED BY SPORTS VIDEO GROUP

19 West 21st Street, Suite 301, New York, NY 10010 212.481.8140 | f: 212.696.1783 www.sportsvideo.org

2019MOBILE SPORTS PRODUCTION YEARBOOK

171 VENDOR SERVICES DIRECTORY 176 Crew Services 184 Generators 192 Mobile Production Units 208 Satellite Trucks 217 MOBILE SPORTS PRODUCTION GEARBASE

Details of equipment found in more than 250 HD and SD trucks 256 AD INDEX Directory of SVG sponsors

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Looking Ahead

By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial

here is sports broadcasting headed? That is the underpinning question for SVG, whose goal as an industry association is to bring the industry together to debate the future, discover new approaches to production, and figure out how to meet an apparently insatiable craving for sports content. When SVG was launched in 2006, the biggest concern was the move to HD. In fact, many of the technologies that have changed the industry, including the iPhone, were not even a consideration. Predictions about where the industry would be in 2018 did not mention 4K, HDR, mobile apps, and OTT, because those things were not even things to be considered. As technology trends have emerged and disappeared in sports broadcasting, one thing has remained: the demand for live sports content. And those that have endured are moving the industry into an era when production teams are seeing every dollar stretched, along with every crewmember’s every waking moment. That double strain on finances and personnel is creating a need for more options to be available to event producers. For many events, trucks will always be the best option. Ditto for flypacks. And, yes, control rooms set in immovable concrete will increasingly become an option. In fact, more and more, the traditional “truck” companies at the center of this Yearbook describe themselves as production-services providers. Wheels, it seems, are optional. The evolution of technology, particularly fiber and IP transport, is opening up a new world of options and decisions. But, as we have seen with some of this year’s exciting developments, the options will be weighed against corporate cultures, ensuring a solid marriage between the needs of the production and the potential for cost savings. A quick side note: 12-Gbps transport at IBC 2018 in Amsterdam was anything but a sideshow. One of the buzziest topics in 2018 was the networks’ growing interest in producing more content with fewer people traveling and more operating from a centralized control room. Clearly, some areas of remote production benefit more from at-home workflows: for example, many of the smaller events that are the key revenue drivers for OTT services or sports-focused cable networks benefit greatly from the cost savings provided by new approaches to production. But major events benefit as well. During the 2018 FIFA World Cup, Fox Sports used control rooms in Los Angeles to produce shows from Red Square in Moscow, and Germany’s ARD and ZDF minimized their presence in Moscow with a team in Germany taking over a soundstage and building multiple control rooms and stages. The at-home model does provide some difficulties for events that have upwards of 20 cameras and have been produced onsite for years and years. Most important, the freelance crews descending on a major sports event typically arrive from various points around the country. Are top-level directors, producers, and others on the team willing to pack up and move so that they can be based in a central location with the rest of the crew? That question remains to be answered, but it is a big one and needs to be addressed if sports production undergoes a transformation in which crews produce events hundreds or thousands of miles from the venue. The 2019 Mobile Sports Production Yearbook is designed to lay out the debates, provide detailed insight into the new trucks that hit the road, and give you a chance to make the best choice for your production needs. Please let us know your thoughts on this year’s edition. See you on the road soon.

CHAIRMAN Tom Sahara,Turner Sports, VP, Operations and Technology EXECUTIVE COMMITTEE Ken Aagaard, SVG Chairman Emeritus and CBS Sports, EVP, Innovation and New Technology Andrea Berry, The G.A.P. Media Group, CEO Eric Black, NBC Sports Group, SVP and CTO Digital Jason Cohen, CBS Sports and CBS Sports Network, VP, Remote Technical Operations Mike Connelly, Fox Sports Regional Networks, SVP and Executive Producer Michael Davies, Fox Sports, SVP, Technical and Field Operations Scott Gillies, VICE Media, SVP, Global Technology Steve Hellmuth, SVG Chairman Emeritus and NBA Entertainment, EVP, Media Operations and Technology Jeff Jacobs, Skyline Sports and Entertainment, Principal Patty Power, CBS Sports, EVP, Operations and Engineering Susan Stone, MLB Network, SVP, Operations and Engineering ADVISORY BOARD MEMBERS Adam Acone, NFL Network, Director, Media Operations and Planning Glenn Adamo, Ivanhoe Media and Entertainment, President Peter Angell, Lagardère, SVP Onnie Bose, NFL, VP of Broadcasting Chris Brown, Turner Sports, Senior Director of Technical Operations Tab Butler, MLB Network, Senior Director, Media Management and Post Production Chris Calcinari, ESPN, VP, Event Operations Mary Ellen Carlyle, Dome Productions, SVP and GM Joe Cohen, The Switch, President, Sports Michael Cohen, Industry Consultant Don Colantonio, Industry Consultant Scott Davis, CBS Sports, VP of Broadcast Operations Jim DeFilippis, Industry Consultant Ed Delaney, Industry Consultant Jed Drake, Industry Consultant David Dukes, PGA Tour Entertainment, Senior Director, Technical Operations Jerry Gepner, L5 Media Services, Media and Technology Executive Steve Gorsuch, Industry Consultant Ken Goss, NBC Sports Group, SVP of Remote Operations and Production Planning Mark Haden, MLB Network, VP, Engineering and IT Ed Holmes, The Holmes Group, Principal Deb Honkus, NEP Broadcasting, Chairman of the Board George Hoover, Industry Consultant Darryl Jefferson, NBC Sports Group, VP, Postproduction and Digital Workflow Robert D. Jordan CFE, Industry Consultant John Kvatek, University of Central Florida Knights, Associate AD Multimedia and Creative John Leland, PSL International, LLC, Principal Glen Levine, NEP, President, U.S. Louis Libin, Broad Comm, President Jodi Markley, ESPN, EVP, Content Operations and Creative Services Bernadette McDonald, Major League Baseball, SVP, Broadcasting 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 Paul Puccio, Industry Consultant Scott Rinehart, University of Notre Dame, Director, Broadcast Technology Larry Rogers, FirstInTV, President Mike Rokosa, NHRA, Technology Executive Scott Rothenberg, NEP, SVP, Technology and Asset Management Oscar Sanchez, CONCACAF, Director of Broadcast Operations Bruce Shapiro, Industry Consultant Tracey Shaw, WWE, SVP, Network and TV Operations Jack Simmons, Industry Consultant Don Sperling, New York Giants Entertainment, VP and Executive Producer Jerry Steinberg, Industry Consultant Patrick Sullivan, Game Creek Video, President Jason Taubman, Game Creek Video, VP Design/New Technology Larry Tiscornia, Major League Soccer, VP, Broadcasting Jacob Ullman, Fox Sports, SVP, Production and Talent Development John Ward, Industry Consultant 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 2019

Association Leadership

Tech Evolution Promises Increased Options

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.

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Mobile-Production Leaders Sound Off on Challenges, Opportunities Ahead for the Industry Compiled and edited by Jason Dachman and Kristian Hernandez

he mobile-production business is booming, with more live sports productions in 2018 than ever before. But truck providers face a host of challenges when it comes to nextgen technology and their bottom line. They are being asked to deliver more for less as clients look to trim production costs and explore new at-home–production workflows. In addition, technology continues to evolve at a breakneck pace; with the initial SMPTE ST 2110 suite of standards officially published, IP-based infrastructure and production tools are becoming commonplace aboard trucks. These developments will lay the groundwork for the future — including the increasing number of 4K, HDR, and 1080p sports productions — but also require costly up-front investment. SVG sat down with a dozen industry leaders to discuss the current state of the business, the impact of the market’s continued consolidation, the greatest opportunities for growth, and where they see the business headed in the coming years. Here are the executives we spoke with:

Mary Ellen Carlyle Dome Productions SVP/GM

Len Chase CSP Mobile Productions President

Mike Johnson Dome Productions Director of Engineering

Glen Levine NEP Group President, U.S.

Mitch Rubenstein Ross Mobile Productions President/Executive Producer

Pat Sullivan Game Creek Video President

Jason Taubman Game Creek Video SVP, Technology

Dan Turk NEP Group Cheif Engineer, U.S.

Philip Garvin Mobile TV Group President

Executive Perspectives

Michael Harabin Gearhouse Broadcast USA President

Chad Snyder Lyon Video COO

Peter Wehner Mobile TV Group Director of Engineering turn to page 22

MOBILE SPORTS PRODUCTION YEARBOOK 2019

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Executive Perspectives

Do you consider the current state of the mobile-production business healthy and why? What is your forecast for the market over the next 12-24 months? Mary Ellen Carlyle: Our remote-production business

to adapt to provide what networks need at effective prices, they will stay viable.

Chad Snyder: Innovation is pushing more content production. Lyon Video has forecast business growth for the next 24 months.

Pat Sullivan: I consider the current state of our

is consistent, and we are forecasting that it will remain constant in the market over the next two years.

industry to be quite transitional. We have pressure from customers to lower prices; we have pressure from customers to deliver high-quality engineering and equipment for less; and we have pressure to produce 1080p, 1080p HDR, 4K, and 4K HDR events — all of which require expensive equipment and extensive engineering time. [As a result], we will continue to have pressure to drop prices while delivering a good product.

Len Chase: The business is definitely changing drastically and very quickly. There is more content [being created] than ever before, and there are new and different opportunities constantly arising. But, at the same time, the traditional base [of customers] that we grew up with is evolving very quickly and changing day to day.

Philip Garvin: There is competition and innovation happening in the remote-production business, and that is a good thing. New technology offers opportunities while clients provide new challenges.

As at-home/REMI productions become more popular, what is the effect on your business? Carlyle: There has been no adverse effect on our busi-

Michael Harabin: From Gearhouse’s perspective, yes.

ness. REMI production appears to have plateaued and has remained consistent over the last three years for Dome.

Our flagship truck Columbus and other assets are busy. Specifically, for Columbus, there is increasing awareness in the market of its capabilities in both the sports and entertainment spaces.

Chase: The ripple effect is that it has changed the dynamics of the business. Not all good, but there are definitely new and different opportunities.

Glen Levine: The business is healthy, and it continues to evolve. We are committed to adapting to these changes with our valued partners.

Garvin: The current demand for at-home/REMI productions have had modest effect on our business, but there is a new version of at-home production coming that we are really excited about. In the future, we expect that there will be multiple approaches to live sports productions.

Mitch Rubenstein: I do consider it healthy because there is still a growing need to produce content at all levels. Onsite remote production will continue to be an important part of our business, and, as long as any company is able

continued on page 26

TOTAL TRUCKS BY COMPANY TOTAL TRUCKS BY COMPANY

____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

26 25

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WHAT’S WHAT IN MOBILE PRODUCTION MOBILE SPORTS PRODUCTION YEARBOOK 2019 page 2

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Executive Perspectives

continued from page 22

Harabin: I’m not sure I judge the model to be “popular.” To me, popular means wide and deep deployment throughout a broadcaster’s schedule, and REMI is not there yet. I think the REMI model should enjoy wider adoption than it has. Entrenched technology is always difficult to displace; entrenched mindsets, even more so. The benefits of the model are numerous and tangible, yet REMIs are not the model of first choice. But they absolutely should be. With Gearhouse’s acquisition of Proshow, a leader in the REMI space, we have made a substantial commitment to the REMI production model. Levine: Since REMI has started, we have used scaledback mobile units to support clients. We will launch a second REMI unit in January. We are adapting to the change in the U.S. as we have around the world. Broadcast hubs may be a good solution for some clients that have the required non-overlapping volume.

Rubenstein: It’s minimal, as we continue to be a great alternative to at-home/REMI. The model we have created at Ross is time-tested for over five years at the network level. We constantly improve our onsite offerings to stay competitive. We have also done some of these types of [at-home] productions.

Snyder: REMI is good for our industry in that it allows

Garvin: Esports will be important, but it’s live sports/ events in general that offers potential for growth.

Harabin: The linear-TV distribution model is good, but it is constant. What is driving growth for the industry is the production required for content distribution on OTT platforms.

Levine: Yes, esports continues to be important to the NEP Group.

Rubenstein: Esports is a very important part of our

coverage for events that would not otherwise be financially sustainable. The overall diversity of mobile-unit type, design, and ability has grown. At-home productions have allowed Lyon Video to focus our investments toward high-quality image-creation units and lessen investments in some other areas.

business going forward. Ross MP and Ross as a whole invested heavily in esports, and it has paid off. On the mobile side, we supported over 30 major productions this year in full 1080p, and that number will increase in 2019. We converted all of our new FIN series trucks and flypacks to join RMP6 in providing 1080p, fiber-based offerings to the esports industry.

Sullivan: We will continue to service REMI productions

Sullivan: Esports, [college-]conference networks, and

to the best of our ability.

streaming entertainment for OTT will all be part of our business going forward.

In what other sector(s) do you see the biggest potential for growth? Specifically, do you see esports production as an important part of the business going forward?

What impact do you believe recent industry consolidation has had on the business? Do you think this trend of consolidation will continue?

Carlyle: Esports is a big part of our business, as Canada

Chase: I’m not sure how much more consolidation there

has just received two Overwatch teams. We expect to be working with Overwatch over the next two years. This part of the market relies on 1080p production, and we expect to see more activity and growth in this area.

Chase: I think esports is definitely a growing avenue in our business. I’m just not sure how large the impact is going to be on our side of the business. I think that [esports shows] are going to become more of a studio-type show versus using remote trucks. 26

Many execs see esports — like the Overwatch Grand Finals production located in NEP’s EN3 (shown here) — as a potential growth vertical for the industry.

MOBILE SPORTS PRODUCTION YEARBOOK 2019

can be, because I’m not sure how much is left to consolidate. I think that the impact has opened up some doors for some of the smaller companies to actually show how unique and how different they can be and how they can work for their clients versus a larger corporation. I do think that the consolidation has hurt the industry to some extent because it has [resulted in] more one-shoe-fits-all type of [solutions], and I don’t think that is the best way to serve our industry. As [for whether] the trend will continue, I think there are a few more [acquisitions] coming in the next year. continued on page 30

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Executive Perspectives

continued from page 26

Garvin: Too much consolidation can limit our clients’ choices, but the trend will continue as long as companies are willing to pile on debt.

Levine: NEP’s growth has given us the ability to offer a wide range of services to clients in the U.S. and around the globe. Integrated solutions will continue to grow, as this builds efficiency in the compound and broadcast hubs, ultimately enhancing the final product and having a positive impact to the bottom line.

Rubenstein: I think consolidation has helped some and hurt others in the business. As long as your offerings are multifaceted and are needed in this industry, you’ll survive and maybe even grow. At Ross, we are always looking to see what’s coming next as far as need and what we can do best for our customers. Consolidation will never stop, because that’s a trend in all business.

Sullivan: Consolidation has been a part of our industry for 25 years. Consolidation and attrition will continue.

Has the explosion of OTT and livestreaming content opened up new business opportunities? Are your facilities working more streaming-only shows? And are more facilities being dedicated to streaming shows on large events like tennis Grand Slams, golf majors, etc.? Chase: We’re seeing a lot added on the OTT side. We’re doing linear broadcasts here in the States, but we may be feeding seven or eight different countries on the OTT side of the world. Whether it’s a back-bench element or in the B unit, you’ve got another small production team [dedicated exclusively] to OTT.

Garvin: There are more live events now with OTT [elements]. The biggest impact comes from events that have both telecast and streaming distribution.

Harabin: I feel this is the growth opportunity. Productions intended only for streaming are a relatively new and high-growth market, one where I believe Gearhouse is perfectly positioned and we have a very real advantage for our clients.

Levine: Yes, we see growth in secondary streaming feeds from the main broadcasts, and we have added a number of events for clients in which the main outlet is streaming.

Rubenstein: We have been fortunate to provide facili30

MOBILE SPORTS PRODUCTION YEARBOOK 2019

A major factor in Gearhouse Broadcast’s acquisition of Proshow Broadcast in 2018 was its desire to expand its at-home-production facilities — like Proshow’s Opus truck (shown here).

ties for some high-level OTT content. It has definitely been a plus for Ross MP, with more coming for us in the future.

Snyder: Event coverage for OTT has exploded the technical needs [of our clients] with multiple feeds being sent to multiple outlets. Streaming-only shows are common and creating demand for additional days and customized production.

Sullivan: Game Creek has done several events for OTT streaming, and I believe this will continue to be a growth area.

What technical challenges do you see as the most vexing for your engineering team? Chase: REMIs are more of a challenge and time-consuming for us. From an engineering standpoint, it is actually easier for us to do a full regular show with a full production team onsite than it is to do a REMI. A standard standalone football game is probably a 12- to 13-hour day. When we do a football REMI job, it’s a 17- to 18-hour day. Most of that goes into all the testing of the signals and everything else between [the remote and the broadcast center].

Garvin: The transition to fully IP systems is certainly a challenge for our engineers, but it also provides opportunities for improvement of our mobile units. Luckily, we have the right people and manufacturer relationships to properly think it through and execute.

Harabin: Gearhouse has an amazing engineering team. Their motivation and dedication are appreciated by our clients on every job we do. The biggest challenge management and engineering face collectively is leaving the world of “TV” behind and embracing IP, IT, and networking. An AWS or Cisco certification is becoming an almost indispensable qualification for a remote-production engineer.

Levine: Challenges will always be keeping up with the constant technology changes and the timing of when we make our investments. With NEP’s engineering teams working together, I’m confident we can overcome anything. continued on page 34

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Executive Perspectives

continued from page 30

Rubenstein: As technical challenges arise, we continue to try and invest into solutions to make things easier for our engineering team. We have revamped our video- and audio-transport methods and invested heavily into fiber-based systems to handle the increasing number of feeds and signals our shows require. We continue to work with our Ross product teams and partners to come up with solutions to innovate.

Snyder: The most vexing challenge is keeping all of our engineering team up-to-date on standards, regulation, and software changes.

Outside of technological challenges, what are your biggest commercial (or government-regulation–related) concerns today? Carlyle: We continue to face challenges and adoption based on government regulations related to items such as driver-log technology (electronic logging), road and weight restrictions, and higher standards of safety and reporting — all of which are better industry standards for us in the end.

Chase: The FCC continues to take frequencies away from us, which is a constant battle for what we need to do with wireless frequencies. Also, drivers’ ELDs [electronic logging devices] don’t fit into our business well and [often result in] extra hours logged for drivers even if the truck is just sitting for 14 hours and not going anywhere.

Harabin: Ensuring that our staff and our customers are well and thriving is a priority. Beyond that, virtualization of production services and getting systems properly integrated and able to communicate with each other to improve efficacy and efficiency occupy a lot of our “thinking” time.

Levine: We must always stay on top of managing costs. Working as partners with our clients allows us to look for cost-efficient solutions; working together helps to keep the business sustainable.

Snyder: Rising interest rates may send our industry into a consolidation spree if the trend of increasing rates continues.

What about the biggest opportunities for growth and future success? Carlyle: Widespread adoption for 4K and IP will take longer than the adoption from SD to HD, but the direction is clear that these will be the platforms of the future. We know 4K and HDR are advancing, and we are ready. We continue to produce and support productions in 4K, HDR, and multichannel sound. We do not see mobiles as a dying art. 34

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Dome Productions has grown its fleet of 4K production trucks to three — including Vista (shown here) — in order to be ready for a potential windfall of 4K and HDR business in the future.

Chase: I think there’s going to be more and more specialty trucks: vehicles or units that cater to a certain type of broadcast or broadcaster or special vehicles that just deal with streaming. But, at the same time, I also see that the larger productions on the professional side of the world are also looking at new avenues and new directions to keep their product current and cutting-edge, which means larger shows as well. Smaller seems to be where everybody wants to go, but, at the same time, we’ve seen shows that have started small grow tremendously within a short period of time when they start to realize what they can do with the tools available to them.

Garvin: We are eagerly testing and proving new ways to produce live video. We are now able to provide ultimate flexibility and efficiency, but production is still a creative art, so just because we can doesn’t mean we should. We avoid calling ourselves a “truck business”: we’re in the live-event/sports-production–services business offering our clients solutions, including mobile units with advanced technologies. We can expect clients to ask us for different production systems from one day to the next — often on the same mobile unit. We have to be flexible and move quickly. And we have to have access to plenty of capital to acquire the equipment clients request.

Harabin: We are trying to see around corners and gauge what our clients are working towards and may need in the future. Being prepared to meet those demands when they manifest themselves is something Gearhouse is always working on, and I truly believe Gearhouse is one of, if not the, most nimble, responsive, and forward-thinking vendors in the market today. I think that makes Gearhouse unique. continued on page 38

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Executive Perspectives

continued from page 34 Levine: Our industry is about technical solutions, innovation, and the teams that manage it. Our commitment to the NEP apprentice program and growth of the broadcast professional will be a big part of future success.

Rubenstein: Trucks these days need to be Swiss army knives: capable at all levels, can set up fast, and be effective on many types of shows. Our company will continue to grow in parts of the industry that need high-level production support in a more affordable model. Esports will present the opportunity for us to grow globally. Here in the U.S., we’ll continue to succeed as we scale up, adding more high-level trucks like RMP6 to our innovative offerings.

Snyder: 5G data transmission will change what is possible in our business with low-cost data transmission.

The SMPTE ST 2110 standard has arrived, and many vendors are now adopting it into their product development. What does this mean to you and your team? Mike Johnson: On IP support, we are seeing more

How quickly are you moving away from baseband infrastructure toward IP-based workflows? If you were launching a truck today, would you build it around an IP router or an SDI router? Taubman: We did IP [on our three IP-based trucks] because it was necessary to overcome the size of the shows [such as the U.S. Open] they were going to work. We have some projects that don’t require that kind of size, so we’re trying to decide if 2110 is the right choice for any infrastructure regardless of size. Also, there is still a premium to be paid for IP [equipment]. We’re having to weigh whether the longevity is worth the initial buy-in since we’re trying to get 10 years of life out of these trucks. The other problem we have with full IP infrastructure is that every piece of hardware that we own has SDI on the back of it, so we need to implement an architecture that supports our legacy devices. For the time being, we’re going to support all those legacy devices even in a brand-new build.

Turk: We look at every project with what is best for our client and the needs of the project. Most projects will have an IP infrastructure, but some make more sense to use crosspointbased SDI. I expect most to be IP going forward.

solutions from manufacturers, but not everything is being answered and addressed as yet, and we look forward to more widespread adoption in the 2110 space along with [AMWA specifications] IS-04 [for NMOS Discovery and Registration] and IS-05 [for NMOS Device Connection Management].

Jason Taubman: Yes, we’re seeing vendors come to us with 2110-based products, including Grass Valley, Sony, EVS — basically from everybody. We have some other vendors who are challenging some of the incumbents in the infrastructure space. And we’re reviewing everything to make the best possible decisions going forward. We plan on switching our three [IP-based] trucks — Encore, 79, and Yogi — to 2110 from ASPEN very shortly to take advantage of what 2110 has to offer.

Dan Turk: SMPTE ST 2110 has been adopted by many manufacturers, but the control side is still lacking. If you want to use multiple vendors for a native 2110 router, there are still many work-arounds to make the system work as a router does now. We are very close, but it still needs some work on the control side and the audio.

Peter Wehner: We are pleased to see that SMPTE ST 2110 is being adopted with most of the equipment we use. This will allow us to transition to a full IP infrastructure quicker instead of needing to use gateways to convert to and from SDI. The more equipment that supports SMPTE ST 2110 also simplifies the design aspect for us.

Yogi (shown here) is one of three IP-based mobile units in Game Creek’s fleet along with Encore and 79.

Wehner: IP-based workflows are something we have been exploring for several years. It has not made sense for us up to build an “IP truck” mainly due to the lack of a full end-to-end IP solution. This has rapidly changed in the past few months, so any future trucks will likely have an IP aspect.

The 2018 IBC Show saw an influx of 12-Gbps SDI-capable gear. What are your thoughts on 12 Gbps? Taubman: It doesn’t really make sense for us right now, at least not in SDI. We still don’t have a way to implement

MOBILE SPORTS PRODUCTION YEARBOOK 2019

continued on page 42

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Executive Perspectives

continued from page 38

Taubman: Our IP infrastructures for video and audio

12G at scale unless you build it as a standalone 12G infrastructure, meaning you have to buy a 12G router and 12G switchers. Until someone comes to me and says, “I need a 4K truck with 12G, and that’s all it’s ever going to do,” 12G still doesn’t make sense. I think IP will solve that problem for us because it provides a single-wire solution for 12G.

transport aren’t currently connected to anything else, so we aren’t vulnerable in that sense. That said, we still have the same concerns in respect to command and control, which we take extra care to protect. We have always been very careful to limit our exposure on the IP front in terms of where the broader internet touches our infrastructure and how it’s possible to get into our systems. We’re working to make recommendations to the industry in regard to best practices for security.

Turk: In the U.S., 12-Gbps makes sense only if you are doing 4K. We do not have many requests for 4K, so we are not looking at this technology. However, that could change as the technology [requirements] change for our clients.

Wehner: I believe that 12G SDI will play an important role for the foreseeable future. There is an advantage to being able to send a UHD or four 3G video signals a short distance using coax, which can be easily maintained vs. fiber. The ease of use will be its main advantage.

How is your engineering team dealing with the need to understand IP as well as baseband workflows? Johnson: IP education takes place through courses and sessions in addition to exposure and practical experience in using IP facilities. We are currently operating IP facilities based on a 2110 environment, and the opportunity to advance knowledge is effective with this environment.

Turk: We take this very seriously and design every facility with that in mind. We have also worked with the networks to come up with best practices to help secure the network on all our facilities.

Are you planning for the potential rise of 4K and HDR? If so, how? What are the primary technical challenges related to 4K HDR production, and what pieces of equipment must be upgraded in order to serve these shows? Johnson: We continue to work with 4K HDR and continue to practice and evolve 4K HDR solutions. It has become a part of our day-to-day routine.

Taubman: When we design these things, we’re learn-

ing right along with everyone else. An entire staff doesn’t need to be up-to-speed with IP, so we have a few groups of people that run our IP trucks. We have to keep those people together because they’re right on the bleeding edge of everything that’s going on. We also make sure to sit down with our vendor partners and go through the whole system, so we can understand how it all comes together.

Turk: We have invested in our workforce by developing an IP class that we are getting our engineers through. We also have a network engineer on staff to help deal with all network issues and designs.

Wehner: Training our engineers to operate and troubleshoot in the IP world will be key. We are trying to give them a basic understanding of how IP works, then build on that for IP video and audio. Our engineers already deal with a complex IP-based control network so we can use that as a base of knowledge and continue to educate our engineers with assistance from the manufacturers.

As IP networks become more commonplace at truck compounds, is cybersecurity more of a concern? How are you addressing the issue of compound security in an IP age? 42

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Mobile TV Group launched its first 4K truck — 38 FLEX — in 2015 and has since added another to its fleet in 39 FLEX.

Taubman: We’re absolutely keeping that in mind. The 4K space hasn’t really changed much from our point of view; we’ve been doing largely the same things for the past two years, so it’s good news that we’re maintaining our foothold in 4K. We were asked to add HDR on top of 4K for MLB Network this year and have done a couple of other HDR experiments. But, as of this moment, we’re not seeing a whole lot of uptake in HDR. But we’re ready to do it. The continued on page 46

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Executive Perspectives

continued from page 42 HDR workflow is still in the very early days. The temptation originally was to treat it like a 4K show with up/down/ crossconversion, but it turns out that there’s a lot more to it than that. We’re doing HDR today, and we’re keeping an eye on it to make sure we have HDR capability everywhere we need it.

Turk: We do many shows with 4K or HDR. The largest change is the servers and codec available to support 1080p HDR.

Wehner: 4K and HDR have been on our radar for some time since we built our purpose-built 4K HDR truck almost three years ago. We have taken the experience and incorporated HDR in every truck since then. The primary technical challenge is the SDR/HDR conversion, which has gotten significantly better in the last three years. We have upgraded this equipment several times, which mostly consists of frame synchronizers and up/down/crossconverters.

Have you seen increased interest in at-home production? If so, how are you adapting your facilities to meet these new market demands? What are the primary technical challenges for at-home shows?

Johnson: Evolution and advances for compression technology and access to bandwidth makes for many opportunities on the at-home/REMI solution, and Dome is active in supporting this area with our own managed fiber network and production facilities.

Taubman: We have been revisiting our B-unit designs and edit trucks and making those trucks more REMIcapable out of the box. We are trying to anticipate what REMI folks will need and tailor our B units to those needs. Most of our B units have now been adjusted to be cameraacquisition trucks in the REMI space when they are called upon to serve in that capacity.

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Fox Sports is producing Thursday Night Football in 60p this season using Game Creek Video’s Encore unit.

Turk: This is an ever-growing conversation with many clients. We have experience with this all over the world and are using our experience to help design and engineer the best solution for every client.

Is there a specific technology (or technologies) that clients are demanding more these days? Taubman: We’ve been doing a lot of 60p, especially for Fox Sports. For example, Thursday Night Football with Encore is being produced totally in 60p, and NFL Network utilizes that 60p product. 60p is looking like it’s starting to take off, and it may even take over 4K in terms of the next big thing. Almost everybody is equipped to do 60p, so it’s not such a big stretch to get it done. And adding HDR on top of that is not that much more difficult. I think the transition to 60p is going to happen faster than the transition to 4K.

Turk: In almost every conversation with clients, HDR comes up. Many are looking to take the HDR step first. Most new facilities are being built 1080p- and HDRready.

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ROAD 2018 IN REVIEW S R O I R R WA

2018 was one of the most eventful years for sports production in recent memory, with the 2018 PyeongChang Olympics and 2018 FIFA World Cup capturing the nation’s attention over the summer and annual events like the College Football Playoff National Championship Game, Super Bowl, NFL Draft, and others breaking production records and test-driving new technologies and workflows. As if there weren’t enough going on stateside, this year’s Road Warriors features an expanded look at what went on across the Atlantic. Here’s a look at some of the sports-production highlights from the past year.

COLLEGE FOOTBALL PLAYOFF NATIONAL CHAMPIONSHIP GAME MERCEDES-BENZ STADIUM, ATLANTA JAN 8 he CFP National Championship Game on ESPN featured the T biggest production ever for a bowl game, thanks to the use of 125 cameras (between game, studio, and MegaCast coverage) and a game

production coming out of nine Game Creek Video remote-production units. Camera and audio developments brought the viewer closer than ever to Alabama’s come-from-behind OT victory over Georgia. “The personal highlight is seeing it all come together,” said John LaChance, director, remote production operations, ESPN, during the lead-up to the massive effort, which capped the 2017 college-football season. “To see the new angles, perspectives, and gadgets we are introducing and watch those get integrated from paper to plan to [execution] gives us a great sense of pride. And it’s a partnership between those technicians, vendors, and production personnel.” A new element in the production was a small RF camera that 3G Wireless installed in each of the four down markers on each side of the field. It had been tested at the Celebration Bowl and the Sugar Bowl. “The cameras are on the top side of the first-and-10 markers and will offer viewers angles they have not seen in the past,” LaChance explained. “It’s a perspective right from the sideline, and they can see whether a player made the first down.” Also new were two hat cams: cameras mounted in the caps of two of the folks who moved the chains up and down the field. According to LaChance, the cameras did not require bodypacks, making them lighter and less obtrusive when worn by officials on the move. The eight pylon cams also got a lift, with a microphone placed in each pylon at the corners of the end zones. They offered a total of 28 angles of video coverage. The specialty cameras complemented the 51 other cameras deployed for game coverage, primarily a mix of Sony HDC-4300,

HDC-2500, and HDC-4800 cameras coupled with Canon lenses, including two 95X super-telephotos. Nine Game Creek mobile production units and support vehicles were onsite: Peacock A and B at the core of the game production, Nitro A and B handling GameDay and SportsCenter needs, Maverick overseeing the MegaCast, Webby on hand for the SEC Network, and Edit 2 and 3 supporting the game and MegaCast. BSI was onsite for RF needs (13 cameras), and PSSI provided satellite-uplink facilities. LaChance expressed his pride in the work done by everyone involved in getting the production facilities up and running in five days. “I think we had a great season for ESPN and the games that aired on ABC,” he said. “We had some great finishes, and to be around college football when you are a college-football fan makes the season fly by. But it was a great season, and that is testament to some great technicians, staff, personnel, and vendors who made it come together and great for the folks at home.” — Ken Kerschbaumer and Brandon Costa

ESPN deployed 125 cameras to capture the CFP National Championship action at Mercedes-Benz Stadium in Atlanta.

MOBILE SPORTS PRODUCTION YEARBOOK 2019

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Road Warriors

SUPER BOWL LII U.S. BANK STADIUM, MINNEAPOLIS FEB 4 year, the Super Bowl broadcaster looks to up the techESuperach nological ante at America’s highest-profile sports event. For Bowl LII, to put it simply, NBC’s overall presence in the

Twin Cities was mind-blowing. And not to be forgotten: just five days after the Philadelphia Eagles won their first Super Bowl title in franchise history, the Peacock embarked on an even largerscale production in Korea with the Opening Ceremony at the 2018 Olympic Games in PyeongChang, South Korea. “This has been 2½ years of planning, and we have meticulously walked through every aspect technically and operationally,” said Ken Goss, SVP, remote operations and production planning, NBC Sports Group, prior to the game. In terms of the game production, camera levels were (not surprisingly) at an all-time high. The 73-camera complement (featuring primarily Canon lenses) included 20 miniature cameras for the Admiral Video PylonCam system added to a bevy of 4K and high-speed systems: four Sony HDC-4800 4K

robos, three HDC-4300s in 4K mode, four HDC-4300’s running at 4X slo-mo, another seven HDC-4300s running at 6X slo-mo, and two more HDC-4300s at 8X slo-mo. NBC once again deployed two Skycam systems — a low and a high — as it did for selected games in the second half of the season on Sunday Night Football and Thursday Night Football. The camera complement also comprised nearly a dozen robos (provided by Fletcher), including a pair of new positions: an HDC-4800 overlooking the entirety of each end zone to capture close plays along the side or back lines. With 14 mobile units onsite, NBC Sports was forced to expand its compound beyond the loading-dock area inside U.S. Bank Stadium. Although this is the norm at any Super Bowl, the potential subzero temperatures of a Minneapolis February made an outdoor compound unviable. Therefore, NBC erected a massive climate-controlled tent just outside the stadium to house the overflow trucks. Inside the primary compound, NEP’s ND1 (A, B, C, and D units) housed the main game production, accompanied by ND4 (A and B) for tape release and additional camera/ replay sources. The pregame studio show’s mobile unit, ND7 A and B, was also in the compound. Because there was no room for a full truck, for transmission and distribution management, NBC worked with NEP to build an ESU flypack, which was also located in the compound. — Jason Dachman and BC Inside NEP ND1’s A unit, which served as the core of NBC’s Super Bowl LII game production in Minneapolis.

NBA ALL-STAR GAME STAPLES CENTER, LOS ANGELES FEB 18

BA All-Star festivities once again served as a showcase for N Turner Sports’ tech-savvy production efforts on the hardcourt. Included in Turner’s bag of tech toys were an RF pylon

cam on the Skills Challenge, shot-tracking technology for the Three-Point Contest, and an even more intricate ecosystem inside its already massive truck compound. “NBA All-Star really shows what we can do,” said Chris Brown, senior director, technical operations, Turner Sports, said during the weekend. “We definitely have a few cool new [production tools] here, but, in terms of the compound, we try not to mess with the secret sauce. We’ve found a [workflow] that works really well for us, so we are just trying to build on that each year. It’s a lot of fun.” The raucous atmosphere of All-Star Saturday Night tipped off with the Skills Challenge, and fans had a new perspective on the three-round, obstacle-course competition, in which the players dribbled down the sidelines, weaving in and out of pylons. Turner worked with AVS to deploy an RF system featuring a GoPro/ Vislink Herocast miniature camera sitting atop two of the pylons. The pylon cam was just one of a whopping 48 cameras deployed by Turner during the weekend for the All-Star Game, All-Star Saturday Night, Inside the NBA studio sets, and NBA on TNT Road Show concerts throughout the weekend. Also among them were two additional RF cameras (also from AVS) and six robos (from Fletcher). Turner’s truck compound was located at the top of the steps of the L.A. Convention Center and comprised 13 total mobile units, which arrived on Feb. 8 — more than a week before All-Star Turner Sports took over the Staples Center and LA Live in February.

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Weekend. NEP’s ND1 (A, B, C, and D) was once again at the core of the compound, serving as the audio- and video-routing/distribution center for the entire show. ND1’s B unit served as the primary distribution point for the entire compound. All camera and audio feeds were fed into ND1 for distribution to the various trucks in the compound. Thanks to ND1’s robust fiber connectivity, the A, C, and D trucks were also able to serve as signal-distribution points for other trucks, shortening the length of cable runs throughout the compound. In addition, Turner used ND1 for a variety of other needs, including submixing in the B unit’s audio room and transforming the C unit’s EVS replay area into “edit central” to handle its extensive file-based workflows. In addition to ND1, NEP’s SS24 (A, B, and C) and NCP10 (A and B) were onsite. Throughout the weekend, NCP11 served as home to the Inside the NBA onsite studio show. SS16 and ATU handled the entertainment and halftime-show elements, and Cobalt handled the Turner-Intel virtual-reality production. — JD

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Road Warriors

2018 PYEONGCHANG OLYMPICS SOUTH KOREA FEB 9-25 he athletes weren’t the only ones who put in months of T training and preparation ahead of the Winter Olympics. NBC Olympics took its pre-Games preparation to a whole new

level, testing and retesting nearly every technical system at its broadcast-production facility in Stamford, CT, prior to their use at the 2018 PyeongChang Games. “Things are going really well, and it has been a good setup, better than the past three or four Games,” said Dave Mazza, SVP/CTO, NBC Sports Group and NBC Olympics, during the Games. “Our team has been awesome, and, while we had a few snags with people getting sick, fortunately, everyone is doing well now.” He credited a few things for NBC’s being ahead of where it usually is at that stage of preparation. Olympic Broadcast Services (OBS) and the PyeongChang Organizing Committee for the Olympic Games (POCOG) took construction of the International Broadcast Center (IBC), venues, and facilities to a new level of readiness, especially compared with recent Games. The 2016 and 2014 Olympics in Rio and Sochi, respectively, were plagued with construction delays, equipment shortages for things like outlets and power, transportation issues, and more. That was not the case in PyeongChang. “The Koreans understand technology,” Mazza noted. “They also do a nice job with construction. And they don’t do anything halfway. At times, we had to tell them, ‘Hey, guys, this is just a temporary setup’ while they were welding something that was designed to last forever.” This was also the second Games for which OBS had disassembled the previous IBC building, packed it into more than 300 shipping containers, and rebuilt it at the new location.

Clockwise from upper left: A Skeleton competitor speeds by the Olympic rings at the Olympic Sliding Centre; a camera operator captures Short Track Speed Skating; the outside of the International Broadcasting Centre in PyeongChang; Snowboarder Chloe Kim holds an American flag after winning the gold medal

MOBILE SPORTS PRODUCTION YEARBOOK 2019

“All of the panels, columns, and electrical systems were up when we got here. It was a godsend because it took all of the variables out of the equation,” Mazza explained. “Our space was clean, ready to run cables, and the power was good. And, so far, the telco connections have been without incident. Both OBS and the KOBOC have done an excellent job of getting everything ready.” While OBS and the South Koreans were busy getting the venues and the IBC ready to go, the NBC Olympics team in Stamford was spending months making sure the IBC systems were tested and retested to ensure that they would be ready for the massive workload. In terms of the technology and the production, the team made a lot of changes on the venue side of operations and a bunch of small tweaks to the IBC operations. “On the venue side, we took what we have been doing with the at-home efforts in the States and applied it to the venues,” Mazza said. “So we are doing some significant at-home productions in the IBC and also back in the States.” NBC’s NEWBERT flypack was deployed for hockey coverage from the smaller hockey arena and the Closing Ceremony. The NEWBERT system is contained in six flight cases and includes a good-size Evertz EMR 64 router. The flypack also houses a Lawo-based audio core, a small intercom system, and an EVS replay unit. An AT&T Media Links frame sent 36 feeds from the Closing Ceremony to Control Room X in Stamford through a 10-Gbps link. The alpine events also made use of some remote connectivity. The core NBC production-truck facilities, provided by Game Creek Video, were located at the speed hill and connected to an eight-camera flypack and a routing switcher located at the technical-skiing venue, where the slalom events were held. Located an hour apart, the production team at the speed hill were able to cut the technical-skiing show, thanks to a 10-Gbps circuit that delivered eight camera feeds and 20-24 split feeds from the host production. — KK and BC

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Road Warriors

NCAA MEN’S BASKETBALL FINAL FOUR ALAMODOME, SAN ANTONIO MAR 31 – APR 2 n Year 8 of the March Madness partnership between CBS Idome Sports and Turner Sports, Final Four operations at the Alamoran more smoothly than ever. The most notable change

came in the form of a major presence by Game Creek Video. Five mobile units, four supporting the main game production in some capacity, anchored the compound. The new 79, which had debuted just six weeks before, served as host to the main production on TBS. “The whole IP routing infrastructure [of 79] is exciting,” said Chris Brown, director, technical operations, Turner Sports, prior to the event. “It changes the workflow a little bit, not drastically. It also makes things like distribution easier. So it’s a great addition to what we have been doing.”

According to Brown, the refreshed IP backbone helped expand the compound’s capabilities and reduce its footprint. What may have taken four or five trucks in previous years was down to three. NEP also had a robust collection of mobile units onsite, supporting both the TeamCasts and other needs. Chromium was home to TBS’s pre/postgame and halftime onsite studio coverage. Inside the Alamodome were 54 cameras covering action for the main game, supplementing the TeamCasts (which returned for the production), and shooting the onsite studio set positioned at the south end of the arena. Five cameras at Turner’s special set on San Antonio’s iconic River Walk brought the total deployed to 59. Back in the mix were SkyCam Wildcat, a collection of Sony HDC4300 high-speed cameras, Bexel’s Clarity 800 camera (which, for the second year, was positioned at the base of the basket stanchions), and the popular Rail Cam system. The move to Game Creek Video trucks supporting the main game broadcast also delivered a shot in the arm on the lens front. Canon was out in full force, including CJ12x4.3B lenses on the robotic units atop each backboard. The Rail Cam featured a Canon HJ15x8.5B KRSE-V image-stabilized HD lens, and a pair of pedestal cams boasted DIGISUPER 95 Super Telephotos. — BC

An onsite set in the fan section of the south end of the Alamodome anchored Turner Sports’ pre/postgame and halftime coverage at the 2018 NCAA Men’s Final Four.

NFL DRAFT AT&T STADIUM, ARLINGTON, TX APR 26-28

ach year, NFL Media and ESPN roll out an NFL Draft producEa whole tion that is larger than the previous one — and both took it to new level in 2018 at “Jerry’s World” in Arlington, with

Fox Sports also joining the party. With the Draft located in an NFL stadium for the first time and NFL Network’s early-round coverage simulcast on Fox (marking the Draft’s first appearance on broadcast television), NFL Media rolled out its largest Draft production to date at AT&T Stadium in Arlington, TX. “We truly have an open canvas [at AT&T Stadium], as opposed to other locations — like Radio City [Music Hall], Chicago, and Philadelphia — which were all great but had their limitations in terms of space,” said Dave Shaw, VP, production, NFL Media, prior to the event. “We’ve got a lot more room to work with here both inside and outside, which makes the setup easier, and we have a much bigger set than in the past.” Although NFL Network and Fox Sports coverage was co-branded and the on-air talent combined, NFL Media oversaw the entire production in Arlington. For the second consecutive year, NFL Media rolled out Game Creek Video’s Encore (A, B, and C units) to handle NFL Network’s growing Draft production. It served NFL Network’s two primary sets: the interior set inside AT&T Stadium and the exterior one at the NFL Fan Experience. Game Creek Video’s Pride A and B units were also on hand in the overflow compound outside the stadium, producing Good Morning Football each morning and NFL Network’s Red Carpet Special prior to the start of the Draft on Thursday. NFL Network’s camera complement

MOBILE SPORTS PRODUCTION YEARBOOK 2019

NFL Network’s 40×40 exterior set was provided by Filmwerks.

also continued to grow. The network deployed 32 of its own cameras in Arlington and also took 12 feeds from ESPN. ESPN’s coverage featured first dual-network coverage of Round 1, with primary coverage airing on ESPN and a College GameDay alternate broadcast on ESPN2 — both of which had on-site sets at AT&T Stadium. As a result, ESPN rolled out its largest NFL Draft production to date, complete with several innovations, including a DigiBoom gimbal-stabilized camera rig. Although the primary show was produced out of NEP EN1 (A, B, C, D, and E units) and GameDay operated independently out of its normal Game Creek Video Maverick unit, the two shows were still heavily intertwined. “This is really a massive show. I don’t think people realize just how big the Draft really is,” said Senior Ops Manager Steve Carter. “There are always new concepts, ideas, and things that the NFL is looking to do, and then we build out the show from there. It’s a huge challenge, but it’s also very exciting.” — JD

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Road Warriors

PLAYERS CHAMPIONSHIP TPC SAWGRASS, PONTE VEDRA BEACH, FL MAY 10-13

ith the Players Championship always played at TPC SawW grass in Ponte Vedra, FL, NBC Sports and the PGA have refined operations over the years, and the improvements contin-

ued to be evident. “We know the people, and the working relationships are great,” explained Allison McAllister, director, golf operations, NBC Sports. “Because of that, we just know the ins and outs of the course.” The biggest improvement to on-course operations for this edition was that there were no longer cable ramps on the course:

a lot of effort was put into cutting cable-access paths so that all cables could be buried. In the past, upwards of 40 cable ramps would be on the course, but now the 42 miles’ worth of 12-strand cable were out of sight, an important step for an event that is determined to close the gap with The Masters. At the core of NBC’s coverage were 62 cameras, including 34 wired hard cameras, 13 wired handhelds (including a jib), four wireless RF mini cameras, three tee-box robos, a POV bunker cam on the 17th hole, one robotic camera in the scoring cabin, three small sub-tower robos, an Inertia Unlimited X-Mo, and a FlyCam between the 16th and 17th holes. Golf Channel and NBC Sports delivered 90 hours of live programming surrounding the event, and the most notable evolution in its coverage continued to be the rollout of Trackman and Toptracer systems that allow balls to be tracked as they fly. NEP’s ND4/Double Eagle was the main production truck, with SS24 handling the additional camera and replay resources required for the larger golf tournaments. Also on hand were NEP ESU and ND7, producing Live From, which used 13 dedicated cameras, and Launchpad for DirecTV, focused on the 14th hole. CP Communications’ HD11 unit oversaw RF demands. “NEP does a tremendous job for us engineering-wise,” said Ken Goss, SVP, remote operations and production planning, NBC Sports. “We continue to be very happy with their facilities, and the R&D and support we get from them on the other golf tournaments and events really pay off for these bigger shows. We just had the Kentucky Derby and then right to here, so we’re off to a successful start to our championship season, and it’s because of our partnership with NEP.”— KK From left: Allison McAllister, joined by Amanda Short, senior production manager, Golf Channel; and Kristin Xippolitos, senior director, operations, Golf Channel

U.S. OPEN SHINNECOCK HILLS GOLF CLUB, SHINNECOCK HILLS, NY JUN 14-17

he 2018 U.S. Open from Shinnecock Hills Golf Club gave the T Fox Sports team challenges in production planning that led to innovations, the opportunity to refresh old workflows and core infra-

structure, and a chance to chart some new directions for golf coverage. Game Creek Video’s Encore production unit was at the center of the coverage for Fox and FS1, with Game Creek Pride handling RF-video control and submix and providing a backup emergency control room. Pride’s B unit handled production control for one of the featured groups, Edit 4 supported all iso audio mixes, and Edit 2 was home to five edit bays with equipment and support provided by Creative Mobile Solutions Inc. (CMSI). And there was also the 4K HDR show, which was produced out of Game Creek Maverick. “All the Sony HDC-4300 cameras on the seventh through 18th greens are 4K HDR-native with a secondary output at 720p SDR,” said Brad Cheney, VP, field operations and engineering, Fox Sports, during the tournament. There were also six Sony PXWZ450’s for the featured holes and featured groups, the output of two of them delivered via 5G wireless. In terms of numbers, Fox Sports had 474 technicians onsite, making use of 38 miles of 24-strand fiber-optic cable to produce the event captured by 106 cameras (including 21 wireless 1080p, The front-bench area in Game Creek Video’s Encore truck was at the center of Fox Sports’ U.S. Open coverage.

MOBILE SPORTS PRODUCTION YEARBOOK 2019

21 4K HDR units, six 4K HDR wireless units, three Inertia Unlimited X-Mo cameras shooting at 8,000 fps, a Sony HDC4800 at 960 fps, and three Sony HDC-4300’s at 360 fps), and 218 microphones. Tons of data was passed around: 3 Gbps of internet data was managed, along with 83 Gbps of broadcast data, 144 TB of real-time storage, and 512 TB of nearline storage. Each course provides its unique challenges. At Shinnecock Hills, they included the roads running through the course, not to mention the hilly terrain, which also had plenty of deep fescue. But, from a production standpoint, the biggest issue was the small space available for the compound. One big step taken in preparation for the 2018 events was that the IP router in Encore was rebuilt from scratch. RF wireless coverage was provided by CP Communications. There were 26 wireless cameras on the course, along with 18 wireless parabolic mics and nine wireless mics for on-course talent. CP Communications also provided all the fiber on the course. — KK

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Road Warriors 70

FIFA WORLD CUP RUSSIA JUN 14 – JUL 15

since launching in the early 1990s under the charismatic direcEupvertion of President David Hill, Fox Sports has made a habit of shaking and disrupting the sports-media business in the U.S. You could say

it’s in their DNA. That tradition continued when, for the first time in network history, Fox Sports carried live English-language coverage of the 2018 FIFA World Cup for audiences in the U.S. Fox Sports rolled out an impressive production effort in Moscow and around the globe, broadcasting every match live across Fox, FS1, and Fox Sports Go. And, although the tournament itself lasted only a month, the effort, which involved the entire Fox Sports family, was years in the making. The core World Cup efforts were centralized in Moscow, with Fox Sports teams at the IBC and the main studio at Red Square. But that was just the beginning: there were talent and technicians at each of the venues, as well as a large team in Los Angeles handling match control, editing, and other duties. The key was to leverage the work done by FIFA and HBS to provide comprehensive match coverage, technical infrastructure, and production services. “At the end of the day, I think the product Fox Sports has put on with the help of HBS has been fantastic and second to none,” said Kevin Callahan, VP, World Cup operations, Fox Sports, during the event. “And that’s what it should be.” At the center of the IBC operations was a production-control room that was focused on match coverage and prepped the signal before it was sent to Los Angeles, where the mastercontrol team readied it for delivery to viewers. An important part of the ecosystem was 10-Gbps circuits between Moscow, Frankfurt, and Los Angeles, as well as 1-Gbps circuits between the venues. Those circuits allowed the Fox Sports team to embrace remote production and home-run productions, such as having the nighttime studio show from Red Square cut from Los Angeles. With much of the creative team for World Cup Tonight in Los Angeles, the challenge for the technical team was to make the workflows as seamless as possible. That meant changing some workflows that had been used at the 2015 Women’s World Cup and the 2018 Confederations Cup. At those events, ingest and live-playback operations were combined. For the 2018 World Cup in Russia, those groups operated independently, and the ingest team had its own area within the IBC. There were only two edit bays at the IBC with between nine and 17 bays in Los Angeles concurrently running Adobe After Effects and Premiere. The Telestream Lightspeed Live, Vantage media-processing platform, and Telestream cloud services were in use and allowed up to 60 simultaneous record channels in the IBC, with more than 25-55 TB of material uploaded every day to Amazon Web Services in Frankfurt via a 10-Gbps circuit. Once on the AWS service, the content was available to the team in Los Angeles. Also, three of the core feeds from FIFA were sent directly to Los Angeles via 220-Mbps streams. The ingest team’s work also extended to the venues. CMSI provided remote–point-of-capture (RPOC) systems located within the Fox Sports remote kits. Those systems allowed any of the six Fox ENG crews roaming around Russia to plug a card into the system, call the team at the IBC, and have the team transfer the content from the card to the servers in the IBC. CMSI also oversaw the Fox Sports Assignment Desk’s use of LiveU bondedcellular transmission systems. Fox Sports also deployed 10 RTS intercom frames running

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Top to bottom: Fox Sports was onsite in Russia, broadcasting the 2018 FIFA World Cup to U.S. audiences for the first time; a Fox Sports tech manager works in the IBC; Fox Sports’ studio analysts in the network’s Red Square studio

OMNEO: one at the IBC, one at Red Square, one in Los Angeles, one at match control, and one in each of the six remote kits. The six were coupled with the RTS ROAMEO wireless intercom system for more flexibility, and, if necessary, the system could always revert to analog for backup. NEP’s presence at the World Cup extended across a wide number of clients, and, at the IBC, Fox Sports U.S., Fox Sports Brazil, and Telemundo relied on the remote-production–services provider as the backbone of their technical facilities. The NEP presence for Fox Sports was anchored in the IBC with an Imagine 450x650 IP3 router at the hub supporting a production-control room, audio room, EVS replay area, and ingest area. It also supported a technical-manager area for signal switching and managing the CenturyLink circuits that allowed the Fox Sports team at the IBC to connect to the studio at Red Square in Moscow and to Fox Sports in Los Angeles. — KK and BC

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Road Warriors

MLB ALL-STAR GAME NATIONALS PARK, WASHINGTON, DC JUL 17

ith its biggest summer drawing to a close with the MLB AllW Star Game, Fox certainly showed no sign of fatigue technologically. Not only did the network roll out a SkyCam system for

actual game coverage for the first time in MLB history, but Fox also deployed its largest high-speed–camera complement (including all 12 primary game cameras), two C360 360-degree camera systems, and ActionStreamer POV-style HelmetCams on the bullpen catcher, first-base coach, and Minnesota Twins pitcher José Berríos. “People always used to say Fox owned the fall with NFL and MLB Postseason, but, this year, we owned May through July, too, with the U.S. Open, World Cup, and now All-Star,” said Brad Cheney, VP, field operations and engineering, Fox Sports. “The capabilities of our [operations] team here are just unsurpassed. For big events, we used to throw everything we had at it, and it was all hands on deck. That’s still the case, but now, when we have

big events, everybody’s [scattered] across the globe. Yet we’re still figuring out ways to raise the bar with every show.” Between game coverage and studio shows, Fox Sports deployed a total of 36 cameras (up from 33 in 2017) at Nationals Park, highlighted by its largest high-speed–camera complement yet for an All-Star Game. Building on the efforts of Fox-owned RSN YES Network, all 12 of Fox’s Sony HDC-4300 primary game cameras were licensed for high-speed: six at 6X slo-mo, six at 2X slo-mo. This was made possible by the ultra-robust infrastructure of Game Creek Video’s Encore mobile unit. Fox also had two Phantom cameras running at roughly 2,000 fps (at low first and low third) provided by Inertia Unlimited and a pair of Sony P43 6X-slo-mo robos at low-home left and lowhome right provided by Fletcher. Fletcher provided nine robos in all — including low-home Pan Bar robo systems that debuted at the 2017 World Series — and Inertia Unlimited provided a Marshall POV in both teams’ bullpen and batting cage. CP Communications supplied a pair of wireless RF cameras: a Sony P1r mounted on a MōVI three-axis gimbal and a Sony HDC2500 handheld. An aerial camera provided by AVS was used for beauty shots — no easy task in security-conscious Washington. Inside the compound, a reshuffling of USGA golf events allowed Game Creek Video’s Encore mobile unit (A, B, and C units), home to Fox’s U.S. Open and NFL A-game productions, to make its first All-Star appearance. The primary control room inside the Encore B unit handled the game production, and a second production area was created in the B unit to serve the onsite studio shows. — JD Fox Sports had its largest high-speed camera count ever at an MLB All-Star Game.

X GAMES MINNEAPOLIS

U.S. BANK STADIUM, MINNEAPOLIS JUL 19-22

nyone who works in sports-video production will tell you: the A second year in a venue almost always goes more smoothly than the first. True to form, the team from ESPN and X Games produc-

tion partner Echo Entertainment felt very much at home when X Games Minneapolis returned to U.S. Bank Stadium for the second year in a four-year deal. ESPN and ABC televised a combined 19 hours of live action-sports coverage, with an additional eight hours of exclusive coverage live-streamed to X Games’ Facebook, YouTube, and Twitter pages (U.S. only). ESPN and Echo had learned quite a few lessons in their first year at this venue: most notably, that they wanted to lay out and shoot the various courses in a different way. During the 2017 production, there were many points where, even with tens of thousands of fans in the stadium’s bowl, cameras were shooting with sightlines into empty seats. “It’s a very big stadium,” noted Tim Reed, VP, X Games, ESPN, during the event. “One of the things we were trying to do was create more of an arena feel within Park, Street, and Moto to create a smaller environment. We didn’t want to be shooting into seats as much. Also, it gets people closer, so they can have that touch and feel of the actual event.” That thought process also changed how ESPN and Echo approached camera deployment within the bowl of U.S. Bank

MOBILE SPORTS PRODUCTION YEARBOOK 2019

For the second year, U.S. Bank Stadium served as host of X Games Minneapolis.

Stadium. According to Echo Entertainment Technical Producer Pierce Williams, there were as many as 130 unique camera positions with a total of 65 cameras ranging from full-fledged manned cameras to POVs, robos, and slo-mos. Among the highlights were a couple of Grass Valley LDK’s set up as robos shooting down various ramps at 6X and a special proprietary RF-camera solution developed for X Games by RF partner BSI. On-board POVs could be affixed to a helmet, bike, etc., and were described as a “home run” by ESPN and Echo execs. Logistically, behind the scenes, ESPN and Echo again worked with mobile-production–facilities provider Dome Productions. Three A units and a B unit from the Canadian mobile giant were onsite. Echo was the main A-Venue truck; Pacific, the B-Venue truck. Thunder ran the host set onsite, and a B unit housed comms, MADI routers, robo ops, and more. — BC

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Road Warriors

OVERWATCH LEAGUE GRAND FINALS BARCLAYS CENTER, BROOKLYN, NY JUL 27-28 he inaugural Overwatch League season came to a close with the T Grand Finals at Brooklyn’s Barclays Center, and the Blizzard Entertainment production team lent it the “Blizzard polish.” With

a sold-out crowd; millions streaming via Twitch, MLG.com, and OverwatchLeague.com; and live coverage on ESPN and Disney XD followed by a recap show on ABC (part of a recently announced rights deal), the tournament represented one of the largest esports events in North America to date and the culmination of a whirlwind first Overwatch League season. “From a Blizzard Entertainment perspective, this is the largest standalone esports production that we’ve produced,” said Pete Emminger, senior director, global broadcast, Blizzard Entertainment, during the event. “BlizzCon as a whole project is bigger since we have actually have five of our esports finals there, but, in terms of a standalone final, this is just massive. We have an internal term ‘adding the Blizzard polish,’ which basically means all of us are constantly driving to make every single [element] better for every single show. So everything we’re doing here is based on what we learned during Overwatch League Season 1, and, every week, our goal is to make it better than the last week. Our goal this week is to make [Grand Finals] the best show of the season.” With an operation involving more than 100 crew members, Blizzard aimed to replicate its production workflow at Blizzard Arena in Burbank, CA. NEP’s EN3 mobile unit (A and B) served as home to the main production, with A housing the primary

The main Overwatch League Grand Finals control room at Barclays Center was inside NEP’s EN3 A unit.

control room, audio, EVS replay, and camera shading while the B unit housed the edit, transmission, and IT teams. In addition, NEP’s BT-1 auxiliary unit was fully customized by Blizzard to serve its observer-room needs. The show’s main control room inside EN3’s A unit handled the overall show, while the observer room produced the in-game Overwatch action, including live first-person POV, Free Cam, cinematic-style, and “bullet time” (following a bullet frame-by-frame) coverage. The auxiliary unit was rolled out and integrated onsite to become a fully functional observer room. EN3 and the observer unit were fully integrated, with all the signal flows — a hybrid of HD-SDI broadcast feeds and DDI digital computer feeds — integrated through the same router. — JD

US OPEN USTA BILLIE JEAN KING NATIONAL TENNIS CENTER, FLUSHING MEADOWS, NY AUG 27-SEP 9

it simply doesn’t get bigger than US Open tennis. In FrightsortheESPN, network’s fourth year as host broadcaster and sole domesticholder — part of an 11-year rights deal — the technical and

operations teams continued to evolve production workflows and add elements. Highlights this year included the debut of a Fletcher Tr-ACE/SimplyLive ViBox automated production system covering the nine outer courts and several new camera systems. “This truly is the largest event that ESPN produces out of the thousands of events that we do all year, and it’s all done in a 3½-week span,” said ESPN Director, Remote Operations, Dennis Cleary. For the first time, ESPN covered all 16 courts at the US Open, thanks to a new automated production system deployed on the nine outer courts Having debuted at Wimbledon in June, the Fletcher Tr-ACE motion-detecting robotic camera system was Inside ESPN’s Domestic Control Room in the NTC Broadcast Center

MOBILE SPORTS PRODUCTION YEARBOOK 2019

deployed on each court (with four robos per court) and relied on SimplyLive’s ViBox for switching and replay and an SMT automated graphics system. With this workflow, one robotic camera operator and one ViBox director/producer covered each of the nine courts. New this year was a two-point aerial CineLine system (provided by Picture Factory) running between Armstrong and Court 10, a run of roughly 1,000 ft. After a successful debut at Wimbledon in June and the Australian Open in January, Telstra Broadcast Services’ NetCam made its US Open debut. The Globecam HD 1080i/50 POV miniature robotic camera was deployed on each side of the net for singles matches at Arthur Ashe Stadium, Louis Armstrong Stadium, and the Grandstand, providing viewers with a close-up look at the action on the court. In addition, both Intel’s Tru View 360-degree camera system and the SpiderCam four-point aerial system returned to Ashe. The US Open production compound was almost unrecognizable from five years ago, prior to ESPN’s taking over as host broadcaster. What had been a caravan of production trucks became two permanent structures housing ESPN’s NTC broadcast center and production/operations offices, along with two ultra-organized stacks of temporary work pods housing the TOC, vendors, international broadcasters, and ESPN’s automated production operation for the outer courts. NEP’s NCP8 was on hand for ESPN’s ITV operation (serving AT&T/ DirecTV’s US Open Mix Channel), and NEP’s Chromium and Nickel were home to the USTA’s world-feed production. — JD

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Road Warriors

ACROSS THE POND THE OPEN CHAMPIONSHIP CARNOUSTIE GOLF LINKS, ANGUS, UK JUL 19-22 used its Open Zone in new ways to get SkycloserSportsto both players and the public in its role as the UK live broadcaster from Carnoustie. On Thursday and Friday, Sky Sports The Open channel was on the air from 6:30 a.m. to 9:00 p.m. Featured group coverage of the 147th Championships was available each day via the red button and on the Sky Sports website. Viewers could also track players’ progress in Featured Hole coverage on the red button, with cameras focusing on the 8th, 9th, and 10th holes. Sky Sports had a team of 186 people on-site in Carnoustie for The Open, which included Sky production and technical staff and the team from its OB provider Telegenic. — Fergal Ringrose

WIMBLEDON ALL ENGLAND LAWN TENNIS AND CROQUET CLUB, WIMBLEDON, UK JUL 2-15

11:30 a.m. on Monday, July 2, coverage of the AtWimbledon tennis Championships went live from

the All England Lawn Tennis Club (AELTC), produced for the first time by a new host broadcaster. After more than 80 years under the BBC’s expert guidance, the host baton was passed to Wimbledon Broadcast Services (WBS), bringing production of the Championships in-house. Going live on that Monday was the culmination of two years of planning, preparation and testing: a process that has allowed the AELTC to “take control” of the event coverage and provide international rights holders with a better service as well as add some new twists such as Ultra High Definition (UHD), a Net-cam on both Centre Court, and No.1 Court and multi-camera coverage of all 18 courts. — Will Strauss

FRENCH OPEN STADE ROLAND-GARROS, PARIS, FRANCE MAY 27-JUN 10 Channel was once again on hand in a big Tennis way at the French Open. The expanded cover-

age this year meant more than 300 hours of televised coverage for fans in the U.S. as well as 700 hours of court coverage via Tennis Channel Plus. The Fédération Française de Tennis (FFT) increased overall court coverage this year, and Tennis Channel is making sure all of that additional coverage makes it to viewers. Tennis Channel had approximately 175 crew members onsite, working across the grounds as well as in a main production-control room, an asset-management area, six announce booths, and a main set on Place des Mousquetaires. The production facilities were provided by VER for the fifth year. Centurylink provided fiber transport to the U.S. via 10-Gbps circuits. — KK

MOBILE SPORTS PRODUCTION YEARBOOK 2019

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Road Warriors

ACROSS THE POND EUROPEAN CHAMPIONSHIPS BERLIN, GERMANY AND GLASGOW, UK AUG 2-13 was the broadcast partner (representing EuropeEBUan public service media) to the more than 40 Euro-

pean broadcasters taking coverage from the Championships, across 12 venues in Scotland and the Olympiastadion in Berlin over 11 days of competition. EBU’s operational arm, Eurovision Media Services (EMS), and its subsidiary Eurovision Production Coordination (EPC) served as both the host broadcaster (overseeing the overall production of the event), and provider of the international distribution of all signals, not to mention other broadcast services. The major-event production involved 220 cameras on the ground in Scotland and 80 in Berlin, with NEP supplying OB services including 11 trucks to the host in Scotland and Videohouse from Belgium with six OB vans in Germany. — FR

SILVERSTONE MOTOGP SILERSTONE CIRCUIT, TOWCESTER, UK AUG 26 otoGP rights holder Dorna Sports is evolving the M motorbike racing world’s technology and reach with some help from Tata Communications. Dorna

Sports has been the exclusive commercial and television rights holder for the FIM Road Racing World Championship Grand Prix (MotoGP) since 1991. Tata distributed the motorcycle road racing action from five continents to over 80 media partners, reaching over 200 million households, using its global superfast fiber and satellite network. This year, Dorna began doing more remote production through its partnership with Tata. However, despite all the technical expertise at Silverstone for the British Grand Prix, this year the track failed; for the first time since 1980, MotoGP’s organizers were forced to cancel a Grand Prix after heavy rain fall left the newly surfaced Silverstone circuit unfit for racing. — Heather McLean

RYDER CUP LE GOLF NATIONAL, GUYANCOURT, FRANCE SEP 28-30 other year the Ryder Cup affords UK live Eformvery broadcaster Sky Sports the opportunity to transthe way it covers big-time golf. And this year

was big-time golf. The giant stand by the first tee at Le Golf National de Paris sat 6,500 people – compared to 1,668 at Hazeltine in 2016 and 2,134 at Gleneagles in 2014. The format concentrates the huge crowds at Le Golf National, with massive groups of people gathering around various greens out on the course anticipating those putting duels that are the life-blood of the Ryder Cup. Sky had around 250 people on-site, and efficiently leveraged the personnel at Sky’s network headquarters. NBC Sports and Turner Sports were also onsite at the Ryder Cup. Turner leveraged CTV’s OB1 production unit, overseeing a remote production that involved sending 16 feeds to a control room in Atlanta. — FR

MOBILE SPORTS PRODUCTION YEARBOOK 2019

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CLARK MEDIA Clark Media Positions New Truck as Flexible Alternative for 4K UHD Production By Karen Hogan Ketchum

lark Media rolled into NAB 2018 with a brand-new, 53-ft. expando production truck designed specifically to handle 4K UHD and HD productions. The company, which describes itself as “The David Among Goliaths,” designed the truck to be not only powerful but also nimble and flexible to serve a wide variety of productions. “When we commissioned this cutting-edge design, we knew we’d be installing the latest technology across the board, but we wanted to go beyond that,” said President/Chief Engineer Gary Snyder. “We also took the human factor very seriously. We made optimum use of the interior space, so there’s ample room for all crew positions, as well as their tech setup like laptops, encoders, and converters that today no one leaves home without.” The truck features a 5M/E Grass Valley Kayenne K-Frame production switcher and 2M/E Korona panel (on request) and 16 Sony HDC-4300 4K/HD cameras with Fujinon UA22x8 and UA13x4.5 4K Plus Premiere lenses. It also houses a coloraccurate shading room and 4K HDR reference monitors. Extras like matte boxes, filters, and additional engineering support equipment are available. According to Managing Partner Gary Corrigan, a 40-year veteran of the broadcast business, getting the camera mix right in an always changing camera-tech landscape is essential. “We’re taking a hybrid approach,” he said. “Having worked in both single-camera and multicamera environments, I’m excited to see the two formats merging. There are distinct advantages to both the large-format 35mm and the standard

Clark Media’s trucks cover concerts, awards shows, and more.

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Clark Media’s new 53-ft. hybrid cinema truck debuted at the 2018 NAB Show in the Gerling & Associates booth.

2/3-in. sensor, and, increasingly, we’re integrating the two by offering full camera control and communications. One recent project called for 12 Sony F55 cameras cut live to tape.” The company also offers its Mobile Flypack Systems. “With more than 25 years of multicamera production experience,” said Snyder, “we know needs can change on a dime. We always provide custom-designed modular systems that are prewired and configurable to meet the demands of a lively, possibly unpredictable production.” The 5.1-surround audio suite features a Calrec Artemis 56-fader panel with 240 channels, DSP, 24 mic/line inputs, and 24 line outputs, including three MADI inputs and outputs. All noise-generating gear is housed in a separate room, creating a quiet space for the audio mixer to work. “Quality today also means user-friendly,” said Snyder, “Our 5.1 Mixing Audio Suite is not only one of the largest available but also remarkably quiet. All noise-generating equipment, like fans and power supplies, is isolated in a separate room, which the audio teams will appreciate.” For replay, the truck provides up to four EVS XT4K servers with 32 channels of single-mode fiber transmit and receive and up to 24 channels of 4K recording. For graphics, Clark Media offers a ChyronHego Mosaic and Ross Video XPression on request. Rounding out the truck’s gear is an Imagine Communications Platinum IP-3 router with 533 3G inputs and 622 3G outputs. Clark Media’s truck includes seating for 24 (the main production area itself seats 12). Two 12-ton air-conditioning units regulate the interior temperature so the crew keeps cool but doesn’t freeze. “After decades of experience,” noted Snyder, “we’ve learned that a happy crew means a successful production.”

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GAME CREEK VIDEO Game Creek Video Launches 79 With IP Infrastructure, 4K HDR Capabilities By Karen Hogan Ketchum

ollowing a busy 2017 that saw three new trucks hit the road, Game Creek Video kept the momentum going in 2018 with the launch of 79, its most technologically advanced IP truck to date. 79 is serving the biggest shows on ESPN — think College Football Playoff National Championship and the NBA Finals — as well as a host of other marquee events on the sports calendar. Named for the year in which ESPN was founded, 79 is Game Creek’s third IP truck in less than four years, following Encore in 2015 and Yogi in ’17. With each new build, Game Creek has learned from and improved upon the previous IP infrastructure in order to take advantage of existing IP-based technologies and prepare for what’s to come. “Encore was built simply for capacity’s sake,” said Jason Taubman, VP, design/new technology, Game Creek Video. “We’re starting to build trucks now for IP’s sake: what that can bring to the table down the road in terms of capacity and native connectivity to other devices. The industry is clearly going that way, and we’re trying to be right out on the bleeding edge of it.” The 53-ft. expando comprises an A and B unit: the A unit houses the main production area, audio production, and core engineering; B unit, graphics, replay, and editing. One of the most noticeable highlights of 79 is the largest production area ever constructed by Game Creek, with a monitor wall that can display more than 200 images at once.

The monitor wall inside 79 can display more than 200 images at once, ideal for ESPN’s CFP National Championship coverage.

“The College Football Playoff National Championship is basically ESPN’s Super Bowl: it’s the largest single production that they do every year,” said Garrett Sullivan, VP, Game Creek Video. “We have over 100 cameras for that game and the director, Derek Mobley, needs to see every one of them. We needed to have a monitor wall that could provide him with that. With shows like that, ESPN comes out with quite a roster of individuals, and they need a space to be part of the production. That’s what this facility will do for the foreseeable future.” 79 is based on an Evertz IP infrastructure, including an Evertz EXE SVDN 888×1164 video router that services both units. Although the driving force behind launching another IP truck was need for capacity — “If you want to do 4K at college-football-championship scale, that forces you into an IP truck,” said Taubman — the Game Creek Video team has been keeping a close eye on the SMPTE 2110 suite of standards. Game Creek has already begun making changes and upgrades to 79; recently, the team swapped out 79’s original Grass Valley K-Frame production switcher for the new K-Frame X model. “We are fully expecting the K-Frame X from Grass Valley to be 2110-capable shortly, and, as soon as that becomes available, we’re going to start converting that infrastructure into a 2110-style infrastructure,” said Taubman, when 79 first hit the road. “We’re also expecting the future offerings from EVS and Sony to be native IP, so we’re positioning ourselves to take advantage of all of that as it becomes available.” 79 houses a Calrec Apollo surround-sound console with Hydra2 to link desks and an Evertz EMR 20096×20096 audio router.

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continued

Game Creek wired 79 for up to 32 full CCUs in 4K and carries Sony HDC 4300 cameras with Canon lenses onboard. Fifteen 12-channel EVS XT4K replay servers — all 3G- and 4K-capable — add up to 180 total channels of available replay. Image Video is responsible for tally, and Vizrt and ChyronHego graphics systems are also on board. The truck is HDR-ready and able to handle 4K or 1080p HDR at the scale of a World Series or Super Bowl. “Instead of having one, two, three trucks at one particular location, we can have one system that services all sorts of different needs. 79 is going to do that,” said Sullivan. “We’re seeing a big push for 4K HDR and 1080p HDR. This truck is ready to go on both fronts.” For audio, Game Creek selected a Calrec Apollo surroundsound console with Hydra2 to link desks, and an Evertz EMR 20096×20096 audio router manages all connectivity (the audio router breaks down to 288×288 analog, 480×480 AES, 2944×2944 MADI, and 16384×16384 embedded). A DirectOut Technologies MADI speaker for audio monitoring and an RTS Omneo IP-based intercom were also installed. “It basically allows us to deal with audio everywhere, so we have the ability now in the IP infrastructure to embed and de-embed audio from any stream, anywhere,” said Taubman. “It just makes it a lot more flexible for us.” 79 officially hit the road in February, covering a Sundayafternoon Cleveland Cavaliers vs. San Antonio Spurs game for ABC. Its schedule filled up quickly, with several big shows on ESPN and others over the following months. And Game Creek wasn’t done yet; a new edit truck, Edit 4, made its long-awaited debut at the Final Four in San Antonio. Edit 4, a 53-ft. expando, provides space for up to nine spacious edit suites. At the Final Four, it was used to cut postproduced content: from teases to transitions, features, and more. Turner Sports works with Los Angeles-based Thumb War Productions to help manage its complex 79 is wired for 32 full CCUs in 4K, and carries Sony HDC-4300 cameras and Canon lenses.

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79’s B unit is wired for 180 channels of replay and houses four edit spaces.

Despite having a two-tier design (Encore has three), 79 features the largest production area ever built on a Game Creek truck.

editing infrastructures, and the company played a key role, working with both Turner and Game Creek to get the suites in Edit 4 humming. The unit has been wildly popular with editors because it is highly customizable, with retractable sliding walls that allow collaborative work or secluded focus. “The guys at Game Creek really thought of all of the little nuances,” said Chris Brown, director, technical operations, Turner Sports. “For example, even just the rack depth is extra long. It’s been thought-out, all the different things we’d want in there. It’s a really well-built truck.” Following the Final Four, Edit 4 hit the road for Fox Sports’ coverage of the U.S. Open, MLB All-Star, PGA Championship, and the network’s NFL coverage. Brandon Costa contributed to this report.

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MOBILE TV GROUP Mobile TV Group’s FLEX Series Hits West Coast With 44 FLEX; 45 FLEX To Be Fully IP By Jason Dachman

n 2018, Mobile TV Group rolled out its latest two-trailer, dual-feed mobile unit: 44 FLEX and its 44 VMU (visitors mobile unit) companion truck. Although the “FLEX” model is nothing new for MTVG — which has been launching these two-trailer, dual-feed mobile units for half a decade now — 44 FLEX is the first to operate on the West Coast, serving primarily Fox Sports West, Prime Ticket, and Fox Sports San Diego. “44 brings our FLEX series, dual-feed approach to the West Coast for the first time, which we’re very excited about,” said Mobile TV Group CEO Philip Garvin. “It has all the standard Mobile TV Group regional-sports systems, including four superslo-mo [cameras]. So we now have an extremely powerful truck in the second-largest media market in the country, which is great.” The two-trailer 44 FLEX/VMU system, like Denver-based 43 FLEX/VMU launched in May 2017, allows the home and visitor productions to be housed in separate trailers while sharing all sources and equipment, including super-slo-mo cameras. 44 FLEX is built around a 7M/E Grass Valley Kayenne K-Frame X switcher (96 inputs/48 outputs) and 378x802 Evertz 3G router. It rolls with eight LDX82 Premier 720p/1080i triax cameras (additional LDX82 cameras if the VMU is used) and four LDX86 Universe super-slo-mo HD/3G fiber cameras — all with Fujinon lenses. For replay, the units feature two 12-channel EVS XT3 servers, two 12-channel XT4K’s, and a four-channel EVS XS3 server for SpotBox (two channels per show during dual feeds). There are four SSMOs, 20 HD inputs, and 12 HD outputs when the truck is running in SSMO mode. The two XT4K’s can be split into two operator positions, each with four inputs/two outputs. Up to three EVS replay-operator positions are available in the VMU. On the audio side, the truck features a 64-fader Calrec Artemis Beam console (256 routable inputs via MADI, 64 analog inputs/64 analog outputs) and a 2,752x2,848 Evertz audio router (embedded audio, 18 MADI, 48 AES, 96x192 analog), as well as an RTS ADAM-M Matrix intercom system (64 OMNEO ports, 32 MADI channels, 48 analog ports).

Top: Mobile TV Group’s 44 FLEX and 44 VMU continue the company’s trend of building two-trailer, dual-feed mobile units. Middle: 44 FLEX features a 64-fader Calrec Artemis Beam console Bottom: A close-up look at 44 FLEX’s 7M/E Grass Valley Kayenne K-Frame X switcher, which includes 96 inputs and 48 outputs.

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continued

Top left: 44 FLEX comes equipped with eight Grass Valley LDX82 Premier 720p/1080i triax cameras; additional LDX82 cameras are available if 44 VMU is used. Middle left: The front-bench area inside 44 FLEX Bottom left: 44 FLEX’s replay area features two 12-channel EVS XT3 and two 12-channel XT4K servers. Top right: The production area inside 44 VMU

“Our goal is to use this FLEX dual-feed model with all this equipment as the standard in all regions, so there is there consistency,” said Mobile TV Group COO Nick Garvin. “When people walk into an MTVG mobile unit, it will feel familiar on our FLEX units all over the country.” 44 FLEX will be working Angels, Ducks, Kings, Clippers, and Padres for Fox Sports RSNs and will periodically handle visitor shows at Dodger Stadium and other one-off shows in the L.A. area, such as boxing events at Staples Center. “We are very pleased with 44 Flex,” said Nick Davis, executive producer, Fox Sports West, Prime Ticket, and Fox Sports San Diego. “The built-in technical advances have given us more flexibility in designing and executing our game-production plans. We’ve used it for Padres and Angels baseball, Kings hockey, and Clippers basketball shows so far, and it’s been terrific.” 44 FLEX/VMU is largely similar to its recent predecessors, but MTVG’s next truck will take a bold step in the direction of IP. Set to hit the road in spring 2019, 45 FLEX/VMU will be almost entirely IP-based, housing an IP router, switcher, cameras, and EVS. “I think, when you walk into 45, it’s going to look and feel and operate just like 44 and our other [recent trucks], but the infrastructure under the hood is going to be all-IP,” said Philip Garvin. “We were determined to do this right, so, when we say allIP, we really mean it. It’s not just the [router] with a whole bunch of gateways. It will be natively interconnected via SMPTE 2110 to all devices, so it’s a full-IP ecosystem. We waited [to go IP] until we could do it right.” 112

MOBILE SPORTS PRODUCTION YEARBOOK 2019

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NEP GROUP NEP Rolls Out Ultra-Flexible EN3 With SMPTE ST 2110 IP Core for ESPN By Jason Dachman

very NEP launch pushes the technological envelope. The debut of EN3 for ESPN on March 30, however, was historic: it’s the first truck in North America built around a SMPTE ST 2110 IP routing core. After a long standardization process, SMPTE officially published the first standards within ST 2110 Professional Media Over Managed IP Networks in December 2017, and EN3 is the first mobile unit to be designed and integrated specifically around the new standards suite. Of course, installing the first SMPTE 2110 core was about much more than bragging rights for NEP. Rather, the IP infrastructure in EN3 allowed NEP to create one of the most flexible mobile units ever. The ability to function as a twin-trailer or a single-trailer unit will enable ESPN to “assign this resource to just about every level of show,” said ESPN VP, Remote Operations, Chris Calcinari. “The primary concern that ESPN had was the flexibility of the mobile unit,” explained Nick Romano, engineering manager, NEP U.S. Mobile Units. “They wanted to be able to do a remote show [ranging] from a very large show to a GREMI [graphics remote integration] to a REMI [remotely integrated at-home production], which would lessen the amount of people onsite and allow more people to work [on the show from] Bristol. It needed to be very versatile in terms of the systems integration. We gathered that information and sat down with our systems-integration team, who did a phenomenal job in hearing the requests and coming up with one of the most flexible units that I’ve seen in the industry.” The two-trailer EN3 builds on NEP and ESPN’s previous two top-level projects — EN1 (home of Monday Night Football) and EN2 (home of Sunday Night Baseball) — and is being used primarily for the network’s NBA coverage. With EN3, ESPN has the option of multiple configurations: as a twin, the A unit as a standalone truck, or, in confined areas, with the B unit’s expanding side closed. “For ESPN’s changing production workflows, it had to have the firepower and production space to do a big-level NBA on ABC show but also the scalability and flexibility to go in and operate as a single-truck unit for a regional broadcast

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NEP designed EN3 to have flexible workstations that allow the unit to adapt to the needs of the client.

or a collegiate-sports broadcast, where we don’t necessarily need to utilize a B unit,” said NEP Senior Account Manager Michael Pean. “[Joe Signorino, VP, systems integration, NEP U.S. Mobile Units] and his team have done an amazing job of giving us the flexibility to be able to do any type of show.” The B unit houses several flex console positions, allowing workstations ranging from replay to graphics to be positioned anywhere in the truck. In addition, all monitors at the individual workstations are on rails, so that they can slide together to build a production-monitor wall for a second control room if need be. “The technical flexibility is important because the future is packed full of different execution models and potential standards,” said Calcinari. “One day, we could be doing a REMI or GREMI from this truck, and, the next, we could be doing a 1080p or 4K HDR show. The IP backbone, along with the most recent multi-standard production tools in every single area, will ensure that we are prepared to handle whatever comes our way. “From a workspace perspective,” he continued, “NEP has done an incredible job allowing each space to be customized for a particular show. We required this system to run with or without the B unit, which allows us to maximize this resource across large as well as mid-level shows.” Although EN3 is NEP’s fourth truck to feature an IP router, it’s the first with a “classic” footprint.

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continued

“We learned a lot over the last several years in relation to IP,” Signorino explained. “This is the fourth IP-based truck we’ve done, but they were primarily huge, five-truck systems. We always had an eye towards creating a more [classic] footprint and a lot quicker setup and strike. I think this unit helps define the near future for what we’ll be doing at NEP.” Built around an Evertz EXE router (732×732 HD video) and Grass Valley Kayenne X-Frame switcher (128 inputs/96 outputs, 5.5M/E), EN3 is the first North American truck in which the router and switcher are fully interconnected via SMPTE 2110. “When we started on the project [over a year ago], SMPTE 2110 was well on its way to completion of the video and audio portions of the standards,” said Signorino. “Obviously, we didn’t want to build something that we’d have to end up changing shortly, so we pushed several manufacturers to get on the bandwagon with us for a 2110 deployment and started getting more equipment connected via IP. You have to [accept that] certain gear may not be ready to work in the standard yet, but we decided to focus on a couple of key things. One was working very closely with Grass Valley and Evertz on the interface between the switcher and the router so that we could have those two devices connected together.” By installing the IP router, NEP not only saved weight and space but also reduced power needs, noise, and heat. Nearly all the louder, heat-generating components are centrally isolated in the engine room behind a slider door, significantly reducing ambient noise and excessive heat. The truck rolls with 12 Sony cameras (10 HDC2500’s and two HDC4300’s) with Canon lenses (eight 95×8.6 hard lenses, four 22:1 handhelds, and two 4.3X wide angles). On the replay side, EN3 is equipped with four EVS XT4K 12-channel LSM (10-GB) systems, one EVS 4K six-channel SpotBox (10-GB), two EVS XFile3’s, and three EVS XHub3’s, EVS IPDirector, and EVS XT Access systems. Also on board are Vizrt graphics. “Baseband still works very well, so the question becomes What does IP really bring to the table?” said Signorino. “It Inside EN3’s main production room, the switcher is tied to the router via SMPTE 2110.

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EN3’s primary replay/tape room includes four EVS XT4K servers.

not only brings more flexibility but also scale, so you are able to scale the size of the system from one show to another and make something that is a lot larger than would be possible in an SDI-based system. That is certainly the case with EN3.” Inside the A unit’s audio room is a Calrec Apollo audio console (1,020 channels with full signal processing); the B unit has a submix room featuring a Calrec Artemis Beam (340 channels with full signal processing). Both units have Bluefin2 high-density signal processing. EN3 also marks the first NEP unit to feature Waves DSP servers in lieu of terminal equipment for audio-signal processing. The IP infrastructure and use of IP Gateways (IPGs) have also allowed NEP to significantly shrink its field fiber kits from the size of a small refrigerator down to a max of 16RU, according to Romano. For comms, EN3 is equipped with a 368-port RTS Adam Intercom System. ESPN’s growing use of the GREMI model — in which graphics and some replay operators are located in Bristol but the equipment remains on the truck — played a key factor in EN3’s design. The network believes that IP-based trucks like EN3 will enable increased use of these workflows. “[GREMI was] a very important factor,” said Calcinari. “The GREMI model has been very successful for us, and we are continuing to develop workflows that will allow further expansion of controlling devices, sitting in a truck at site, from our various studio hubs. The IP layer will clearly allow us to take the hub model to the next level.” Although EN3 is fully capable of 4K and HDR production, there are no near-term plans to utilize these capabilities. However, Calcinari said, EN3 will be ready should ESPN seek to produce shows in these next-gen formats. “Having this fully capable resource will allow us to continue our field testing,” he pointed out. “To the extent that ESPN has a requirement for one of these standards, we will be prepared to execute.”

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ROSS MOBILE PRODUCTIONS Ross Mobile Productions Targets Esports, Preps for 4K With New RMP6 By Jason Dachman

n 2018, Ross Mobile Productions (RMP) rolled out its most technologically advanced production truck to date. RMP6, a 30-ft. expando, is the company’s first 4K-capable unit and is designed to cover a variety of sports, including RMP’s growing esports business. “4K is something that all of us at Ross want to help bring into the marketplace. As the need for it grows, we want to be in a position, like with everything else we do, to meet the demands of our customers,” said Ross Mobile Productions President/Executive Producer Mitch Rubenstein. “RMP6 is an all-fiber truck with 1080p, IP capabilities, and field audio, required for our growing esports customer base. The on-board eight to 12 [Hitachi] cameras and production layout make it ideal for boxing and larger sporting events. With the addition of our legacy [Ross Video] Furio, Cambot, Pivot [robos], and wireless cameras, it’s a great concert truck as well.” Designed around a tightly integrated 3M/E Ross Video Carbonite BLACK production switcher and XPression graphics core, the all-fiber RMP6 features three eight-channel replay systems (one EVS XTnano and two Ross Abekas Mira servers), a Ross Carbonite eXtreme video router, Ross Ultrix audio router, and up to 22 multiview screens. The truck is also equipped with internet to and from the truck via WiFi. The unit is wired for 12 CCUs and rolls with eight Hitachi SK-UHD-4000 cameras — two of them high-speed systems operating at 180 fps — and Canon lenses. The audio side features a DiGiCo SD9B console with fiberoptic SM ST connectivity, Sennheiser and Audio-Technica mics, and a Clear-Com Median intercom matrix frame for comms. In addition, the truck travels with two field kits, each providing a mixer stage box for analog audio I/O. RMP6 launched in January 2018 with some four- and five-camera basketball games. Its first major event, a PBC Primetime Boxing on Fox show on Feb. 17 in El Paso, TX, deployed eight cameras, Abekas Mira slow-motion replay, and full 5.1 stereo audio. The truck has also worked PBC on Bounce, the AAC Tournament for ESPN, the Inaugural 3x3 Basketball National Championship for Twitter and ESPN, the Diving World Cup on NBCSN, NBC World Rugby Sevens, Women’s Baseball World Cup, ESL PUBG mobile tournament, and the Myrtle Beach Invitational for ESPN. “At Ross,” said Rubenstein, “we are all tasked with

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Ross Mobile Productions’ new 30-ft. expando caters to a number of different sports, including the company’s growing esports business.

RMP6 features a variety of Ross gear, including a Carbonite BLACK switcher, XPression graphics, and Carbonite eXtreme video router.

understanding our customer’s requirements and evolving our offerings on a yearly basis to better meet their needs. RMP6 gave us the ability to again scale to a higher level and more complex show while maintaining affordable pricing in a larger footprint. RMP6 is another platform we have introduced to show the commitment Ross and our mobile division have toward servicing and benefiting the broadcast industry. Our goal will always be to improve our level of services, showcase what Ross equipment can do, and continue to invest back into our offerings to ensure the success of the companies that hire us.”

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TNDV TNDV’s Destination Is Mainly for Music But Has Sports in Mind By Jason Dachman

NDV’s relaunched Destination mobile unit has a lengthy history. The Tennessee-based mobile-production-services provider is actually the third owner of the truck, which was known as Blackjack when TNDV took ownership and was often used for sports production by its previous owner, Greystone Media. For the past four years, the truck has supported all in-house A/V production for the Atlanta Hawks at Phillips Arena (renamed State Farm Arena in 2018), and, when the venue’s A/V system was overhauled prior to the 2018-19 NBA season, TNDV opted to do the same for Blackjack and put it back on the road under the new Destination moniker. “When Phillips Arena did a complete revamp of their in-house A/V system, we put the truck back into our rotation,” said TNDV Owner Nic Dugger. “Destination has become a one-off event truck, versus serving long-term needs at a specific venue. That meant it was time for a design change.” With Destination, TNDV is targeting primarily the concert/ festival market — although Dugger says there will be plenty of room for sports as well. “We are seeing a lot of interest in this truck for large concerts, festivals, and entertainment events,” said Dugger. “We have specialized the infrastructure to handle a high density of video and audio feeds. We can switch multiple outputs from within the truck, which is a nice feature for these large musical events. “That said, Destination is also built with sports production in mind,” he continued. “There is a high camera count, and we have a full 3M/E switcher. We can switch three outputs at the same time or build multiple banks for effects. That’s an unusually large switcher for a production truck [of this size].” The 40-ft. expando truck is built around a Ross Carbonite 3M/E switcher and Imagine Communications Platinum router and rolls with four Hitachi HD-SK1200 cameras (wired for six camera chains) outfitted with Fujinon lenses. Audio is handled by a Soundcraft Si Expression 1 (16 faders/64 input channels) console and A-T, Telefunken, and Studio Tech microphones; comms, via an RTS 24-port Matrix intercom system. A NewTek 3Play is on board for replay (with EVS and Ross Video Abekas Mira systems available on request). In addition, the truck is wired for five DDR/VTR record decks and features AJA Ki-Pro digital disc recorders. Graphics are available on request (ChyronHego HyperX3, Ross XPression, or Avid Deko).

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Destination conforms with TNDV’s -ation suffix concept, joining Exclamation, Aspiration, Inspiration, and Vibration.

“We’re sticking with traditional favorites with Destination,” said Dugger. “This includes Hitachi HD-SK1200 cameras, which have been a go-to for high-end cameras... We are sticking with Ross on the switching side, with a Carbonite model. And we like Imagine Communications’ Platinum line for signal routing and multiviewing.” The unusual layout features two main production areas and an audio suite. The back area of the truck is very separated from the front area, providing a sizable area for producers or editors to work during a live production. TNDV has added a full “picnic-style” bench, as well as a small kitchenette with a refrigerator and table seating for the crew to use. Beyond multi-stage festivals and large entertainment events, Dugger sees opportunity for Destination to serve high school and college sports. He also considers the truck an ideal companion truck for larger award shows and sports events that require one of TNDV’s flagship trucks (for example, redcarpet shows or interview desks at a sports event). With a total of nine trucks, TNDV continues to grow its fleet and serve the niche market of customers requiring high-end production facilities with a smaller footprint than 53-footers can offer. “There are plenty of full-size trucks in the country, but there aren’t many medium- and smaller-footprint trucks that offer the same firepower as the large truck. Our clients still expect a large switcher, significant routing capabilities, and many cameras and multiviewer outputs,” said Dugger. “But they often need this in a smaller footprint that can fit backstage or in a tight alley. Having a 40-ft. truck with expanding sides allows our clients to fit productions in places where a full-size truck otherwise would not. We’re definitely filling a void in this niche market.”

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Based in Northern California with offices in the New York Metro Area, Los Angeles, Pacific Northwest, Houston, and the Rocky Mountain Region, Advanced Systems Group of Emeryville, CA, has provided engineering, systems integration, support, and training to the multimedia creative and corporate video markets since 1997. With experience in high-speed shared storage, media asset management, archiving, editing, color, and VFX systems, ASG has become one of the largest installers of postproduction and shared storage systems in North America. Highly focused on customer success, the ASG team has installed and supported more than 500 storage networks, along with production and postproduction systems. As part of its complete solution approach, ASG also offers a range of managed services, providing expert staffing for media production and IT services on a temporary or ongoing basis.

AE Graphics offers a complete turnkey solution for clients, incorporating graphics design, data integration, technical and operational installation, and successful frontline delivery. AE Graphics solutions cover all areas of the industry, including live graphics delivery, sports data systems, remote production, broadcast design, augmented and virtual reality, analysis systems, OTT, and social media.

Aerial Video Systems

AVS is a leader in wireless HD and aerial production with more than 90 HD and 4K 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 three Partenavia fixed-winged aircraft for aerial coverage. AVS was the first to integrate Sony’s P1-R to a RF Steadicam system with RF video return and prompter. This Steadicam package has become the preferred system for Sunday Night

All Mobile Video has deployed a new “Teleport on Wheels” 40-foot transmission truck that features a 2.4m KU-band and 2.4m C-band antenna. It is capable of 10 encode paths and 20 receive paths, as well as 10 channels of muxing and demuxing. The power system is designed to make sure it offers a new level of reliability and flexibility for live broadcasts. It consists of two 30KW generators with auto changeover and two UPS systems. The truck has the capability of receiving four channels of wireless LiveU sources on an LU2000 frame as well as the capacity to transmit four signals over IP via the use of LU600s. Three operator positions make for a very comfortable and capable work environment. Also on board is an RTS M-frame intercom system with Omnio and Romeo capability, 12 TIFFs, a 128x128 router with 12Gig SDI capability, and multiviewer with 14 outputs.

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3g is the broadcast industry leader at providing the latest RF video and audio solutions. 3g combines outstanding customer service with the best technologies in order to create the perfect solution for each production, no matter the size. 3g’s team is continually seeking the latest technologies and making significant investments in the development and deployment of the latest RF technologies. Currently, 3g is leading the way in IP-over-RF technologies, 360-degree streaming video via RF, the highest quality on-board camera systems, Steadi and MōVI cam systems, RF HH systems, aerial downlinks for helicopters, RF POV’s, wearable RF POV technology (ump cam and ref cam), and roadracing technologies for marathons and cycling.

Football, Monday Night Football, Thursday Night Football, Super Bowl Halftime, the NBA Finals, and many other shows. AVS’ RF camera systems also play an integral part of virtually every awards show including the Academy Awards Main Show and Red Carpet.

The Sports Group continues to be recognized as an industry leader in helping clients find ways to use technology to engage fans, enhance teams, and expand revenue. For live production, Alpha Video assisted the Green Bay Packers and Oklahoma State University with control room renovations, helped the SunBelt Conference roll out ESPN production systems to their member schools, and will soon start work on Allianz Field, the new home of Minnesota United FC. For studio production, the company completed new studio and production facilities for the Minnesota Vikings and Tennessee Titans and is just starting work on a new facility for the Denver Broncos. For team facilities, Alpha Video recently completed the A/V and IPTV systems for Georgia Tech’s newly renovated football locker room and is nearing completion on all the A/V and IPTV systems for the University of Kentucky’s new baseball stadium.

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, equipment manufacturers, global stadium operations companies, major retail brands and warehousing operations, and dozens of professional and college sports teams. Services include vendor and design consultation, venue construction, connectivity products, network operations for remote productions, and monetization software.

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HD ARCTEK Satellite Productions has added the highly anticipated Adtec Affiniti, a single-rack 8-channel mux unit, to its flagship 2017 Ku-band Sprinter uplink, ARCTEK Magenta. The Affiniti, along with the mux capabilities of ARCTEK Purple, have made ARCTEK the uplink company of choice for multiple networks. ARCTEK Satellite Productions spent the spring and summer in mux mode, providing another season of multi-feeds for AMA Motocross, a mux feed for the grand opening of the Milwaukee Bucks’ arena, as well as REMI feeds of soccer and baseball. Muxing continues to dominate the fall with a busy football season on tap. ARCTEK Satellite Productions should be the company you think of when you think mux. The company’s well-equipped five Sprinter satellite trucks (three Ku-band and two C-band) and talented team are ready to roll nationwide.

AV Design Services is a professional design and systems integration company, providing specialized video display solutions to the broadcast and commercial A/V markets. AVDS is an industry leader in all phases of the project process including system design and engineering, project management, programming, integration, and post-installation services, and is comprised of seasoned broadcast and pro-A/V industry veterans with more than 100 years of combined experience.

The Azzurro Pop Up Studio is a portable production system that captures and delivers broadcast-quality, low-latency transmit and receive video over the public internet using minimal bandwidth. The self-contained briefcase is equipped with wheels and retractable luggage handle, allowing for easy transport. It is compact enough to check at the airport or send via common carrier direct to event sites. Offered for purchase or rental, Azzurro Pop Up Studio can be used anywhere a public internet connection is available. The systems have been deployed by major networks and sports venues, interviews, and sideline coverage. Azzurro’s 24x7 Network Operations Center (NOC) manages the public internet network while monitoring the video riding over it. The NOC is also responsible for monitoring the real time health of all associated equipment. As an added value, Azzurro HD’s broadcast video switching hub serves as a bridge to existing customers with traditional video circuits.

Beacon International represents the Holland Specialty Vehicles division, having their facility located less than 45 minutes from most Chicago venues in University Park, IL. The Specialty Vehicles engineering team has years of experience in the TV production trailer business. Operating in an 185,000 sq. ft. facility, Holland Specialty Vehicles has the expertise and capacity to do any TV production trailer refurbishment, repair, and service

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including expando repairs, an on-site trailer paint booth, storage, and preventative maintenance. Since 2013, Beacon International has grown to be a worldwide provider of services and equipment to the medical industry and television production trailer industry with offices in Arizona; the UK; and Cairo, Egypt.

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BeckTV specializes in the complete process of the venue and professional broadcast facility construction. The company offers a portfolio with a wide variety of customers, including television, distribution and cable, mobile units, sports stadiums, corporate and government, places of worship, and production. BeckTV provides multiple solutions for the industry including systems integration, equipment procurement and specification, fabrication, budget and scheduling, architectural planning, and engineering. BeckTV offers comprehensive services for anyone needing broadcast-television expertise, and the company provides its customers a one-stop shop for all of their television-facility and system requirements.

For more than 35 years, Bexel has been a worldwide broadcast solutions provider, supporting producers of sports, live events, and entertainment with operational excellence and technical expertise. The company routinely invests in leading broadcast equipment and technologies to meet the needs of the production industry. Along with equipment for hire, Bexel also designs and builds scalable solutions for custom flypacks, 4K production, graphics, fiber optics, and RF audio and intercom. Bexel continues to push the envelope in developing technologically advanced, yet cost-effective solutions. The company pioneered the design and implementation of the Sideline Audio/Video Cart, a plug-and-play system for streamlining the acquisition of field audio and video feeds for stadium sports productions. Bexel is supported by the strength and resources of the NEP Worldwide Network, ensuring reliability for providing valueengineered solutions and services, with technical support available 24 hours a day, 7 days a week.

BSI had an action-packed year, with new events on the horizon. With its 21st Olympic Games, BSI provided venue infrastructure and technical management in PyeongChang. BSI also completed a contract for technical engineering and design integration at the 2018 FIFA World Cup and will be returning for the 2019 Women’s World Cup in Paris. The team finished another successful year with NBA Finals, Stars on Ice, and Canadian Open. BSI’s equipment inventory has grown to include a new Lawo NC36, EVS XT3 servers, a complete 18-position commentary system, gyro-stablilized and wide-angle lenses, and more fiber gear. The Dejero partnership is a continued success, with BSI at its primary rental supplier. The BSI team also has a fully certified and insured DJI Inspire 1 drone, with 4K capability.

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At Broadcast Sports International (BSI), the engineering and operations team is at the leading edge of turnkey custom broadcast solutions. BSI works with major broadcasters and production companies to produce compelling content through cutting-edge camera, wireless transmission, and microphone technology. BSI is fully licensed by the FCC for regular broadcast bands as well as additional portions of the wireless spectrum for large events. BSI leads the industry in providing the highest quality, most reliable and robust means of transmission. BSI pioneered onboard NASCAR cameras and brought new perspectives to golf coverage. Television networks use BSI’s customized technology solutions to cover the US presidential inauguration and the Republican and Democratic national conventions. Customers rely on BSI for turnkey live-event coverage, custom engineering challenges, and equipment rentals.

c360 is a leading provider of add-on products, industry solutions, and development tools for the Microsoft Dynamics CRM platform. c360 products are sold through a network of over global partners that have delivered c360 solutions to more than 2,200 Dynamics customers worldwide, representing a base of more than 500,000 users. c360 products have been widely adopted by customers in all industries including hightech, financial services, manufacturing, distribution, professional services, and retail.

A multi-tier event package awarded by the NHL kept CAT Entertainment Services technicians busy last winter providing power to a trio of celebratory events, including The Scotiabank NHL100 Classic at TD Place Stadium in Ottawa, ON, in December; the Bridgestone NHL Winter Classic in January at Citi Field in Queens, NY; and the Coors Light NHL Stadium Series game at the U.S. Naval Academy football stadium in Annapolis, MD, in March. Each of these events required installing an 800kW Twinpack system to power the ice plant that maintains optimum temperature for the temporary rinks, as well as a 375-kVA UPS and a 500kW Twinpack to keep the television compounds operating. CES technicians also installed a 375kVA UPS with a 500kW twin for the TV compound and cabled the house power distribution for the in-house entertainment acts at the 2018 NHL All Star Game in Tampa, FL.

CBT Systems provides consultation, design engineering, and systems integration for world-class digital broadcast and production turnkey systems. By adapting to open-space design and off-site IP-based solutions, CBT Systems continues to be an

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industry leader, ready for the next content delivery method. CBT Systems is leading the esports revolution with the perfect fusion of broadcast quality and reliability with digital streaming. Recent projects include Esports Arena in Las Vegas for Allied Esports and video media production studios for the Marlborough School of Los Angeles.

Chesapeake Systems offers an engaged and embedded approach to analyzing, engineering, implementing, and maintaining highly advanced media technology systems for organizations involved in the creation, distribution, and preservation of content. As specialists in M&E workflows, Chesapeake also provides targeted solutions for sports video content. Chesapeake’s superior skill set is built on years of collaboration with leading sports organizations, such as the Philadelphia Eagles, Philadelphia Phillies, and Los Angeles Rams, among others. As leaders in understanding and assessing media technology needs, Chesapeake prepares clients for future asset demands, and develops systems that optimize the specific needs of their workflow.

Since 1942, Chilefilms has provided technical production for TV events. This year, the company has delivered more than 500 live events for Chile and the world, including Copa América Femenina, Campeonato Nacional de Futbol de Chile, Copa Libertadores, Copa Sudamericana, Copa Chile, UFC, Lollapalooza, Festival de Viña del Mar, and Riot Games. The company offers seven production HD OB Vans, 80 cameras, 16 EVS, and a variety of large lenses, as well as DSNG, flypack, and C- and Ku-band services. Recently, Chilefilms was awarded the 2019-22 field-production contract for Conmebol (confederación Sudamericana de Fútbol), for Copa Libertadores de América (simil UEFA Champions League), Copa Sudamericana (simil Eurofa League), and Recopa.

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 of service with an unmatched variety of solutions. CineSys-Oceana currently works with several sports teams in media storage and media asset management. There is increasing demand for sports broadcasters to ingest, edit, and review high-quality material on location quickly. The microDDP by Dynamic Drive Pool is a silent, fast, and lightweight Ethernet SAN storage solution that works perfectly for outside broadcast. For 20 years, CineSysOceana has remained at the forefront of technology. The company has specialists to analyze your needs and create a solution tailored to you.

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Cognizant is one of the world’s leading professional services companies, transforming clients’ business, operating, and technology models for the digital era. The company’s unique industry-based consultative approach helps clients envision, build, and run more innovative and efficient businesses. Headquartered in the U.S., Cognizant is ranked 195 on the Fortune 500 and is consistently listed among the most admired companies in the world. In Fall 2017, the Football Association chose Cognizant as the league’s official digital transformation partner and its Emirates Cup. New digital solutions developed and managed by Cognizant will make it easier for all to get involved in the sport, improve themselves, be rewarded, and be inspired to nurture football communities across the nation. Along with the idea of getting involved in the sport, Cognizant helped the FA launch the For Girls digital program, a centralized location for all female football fans.

Communications Engineering Inc. (CEI) is an award-winning consulting, design, systems integration, and equipment sales and service company. The company represents over 500 of the media industry’s most valued equipment manufacturers for project integration and direct equipment sales. CEI also operates a large service and support organization, available to the sports media industry nationwide, from both its Service Depot in Virginia to onsite field repair and maintenance services. CEI Service Engineers receive regular industry training and authorized certification to keep pace with new products and technologies. 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 is an energetic, highly motivated team, focused on the success of its customer’s projects. The company welcomes the most challenging technical issues of today’s sports media projects to prove why you can always rely on CEI.

CP Communications has been providing high-quality and costeffective live-event production solutions to a wide range of clients, including major broadcasters, sports leagues and teams, and event and production companies. The company’s solutions include access to experienced professionals, state of the art equipment, and innovative technologies and techniques for wireless audio and video content acquisition, transport, and delivery. Wave Central offers high-quality RF cameras and broadcast solutions for all types of events. The company’s clients are among the top names in the industry who trust all their wireless needs to Wave Central for sports, news, education, worship, and entertainment coverage.

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Creative Mobile Solutions Inc. (CSMI) is a Burbank, CA-based boutique postproduction company specializing in tapeless workflows for live events and studio-based shows. Providing workflow design, Avid, Final Cut Pro, and EVS rentals, plus on-location support, CMSI rises to any challenge. From sporting events to award shows to feature films, CMSI’s expert team can help save your production time and money.

CSP Mobile Productions has been providing broadcasters with quality mobile units since 1988. From sports and entertainment to large corporate and news events, CSP Mobile covers the nation from coast to coast, delivering HD productions to ESPN, Fox Sports, CBS Sports, NBC Sports, and more. CSP Mobile’s 53’ expando HD1 primarily services the needs of its west coast clients, while the 53’ expandos HD2 and HD4 and the 53’ straight HD3 continue to service those east of the Mississippi. CSP Mobile’s 48’ B unit can roll wherever you need it. Over the past three decades, CSP Mobile has gained the trust and respect of the top networks and production companies in broadcasting.

Founded in 1991, CTG is a recognized leader that brings extensive experience, resources, and know-how to each client. CTG’s quality approach has been consistent — provide the very best audio/visual and broadcast solutions. CTG designs, integrates, installs, and maintains individually tailored systems. Regional and national in scope, the company offers a complete suite of products and services to businesses large and small.

DigitalGlue provides equipment, integration, software development, and training for the production and distribution of digital video. The DigitalGlue team will work with you to efficiently deliver your programming over fiber, cable, satellite, IPTV, and OTT. DigitalGlue has also introduced an entirely new concept in media storage with its launch of creative.space. The creative.space OPMS (On-Premise Managed Storage) solution is designed to provide the performance you need at an affordable monthly rate that scales as you grow both your team and the caliber of your work. OPMS removes storage as a bottleneck, helping creatives achieve uninterrupted creative flow. No matter what formats you work with, DigitalGlue can build a solution that can handle it.

Diversified partners with venues nationwide to design and deliver expertly engineered and integrated sound, video, and networked broadcast systems. This first-string line-up of industry experts provides consultation, implementation, and management services supporting every aspect of your communications needs. With

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a comprehensive portfolio of technology solutions encompassing large-scale A/V integrations, sound reinforcement, control rooms, managed networks, electronic security, sports network design/ builds, and large-scale mobile units, Diversified has more realworld experience than any other sports technologies integrator. As your technology solutions partner, Diversified not only guides you through the digital transformation, but the company’s multifaceted expertise extends to IT and networking solutions, structured cabling, mobile connectivity, venue campus SOC’s for incident management and surveillance, and much more.

DNA Studios, a Texas-based mobile facilities company, recently acquired Legacy Sports Productions. This brings its total TV trucks to seven. The company’s largest truck is a 53-ft. expando; it also has several 32-ft. trucks. Units are based in North Carolina, Louisiana, Texas, and Denver. DNA also completed its second REMI studio, located in Houston. Whether it’s a full production or a budgetfriendly at-home event, DNA Studios has you covered coast-tocoast. Call today and schedule your next event.

Dome Productions has been extremely active in the esports space, recently providing all technical production facilities, engineering, and crew for the inaugural season of the NBA 2K League. This ambitious effort, first of its kind by a major sports league, came to a successful close August 25 with Knicks Gaming crowned NBA 2K Finals Champion. The 15-week regular season, playoffs, and finals were streamed on Twitch from the NBA 2K League Studio. Dome, in partnership with Defacto Entertainment, provided plenty of production firepower and innovative technology. Dome’s mobile fleet has grown to 18 HD production trucks, including three 4K. In addition to the HD/4K fleet are two REMI HD trucks, supported by a state-of-the-art offsite production control room. Dome owns six B units including a purpose-built double expando resembling a rolling IBC, one hybrid production/uplink mobile, three Ku-band uplink tractors, and a digital media HD production trailer.

DX3 Media is a media production management and consulting company based in Canada. The company takes pride in providing out-of-the-box thinking resulting in innovative solutions for clients’ projects. 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 all North America.

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2018 has seen further substantial growth for ES Broadcast’s systems integration, equipment sales, and hire operations. The company’s SI team has completed an upgrade of two OB vehicles for leading outside broadcast company Telegenic. Three brandnew HD OB vehicles will be delivered in late 2018 to RaceTech, the UK’s foremost horseracing broadcast services provider. And, in the U.S., ES Broadcast will soon be commencing work to build a large e-gaming studio in Los Angeles. The company has also continued to expand its UHD hire fleet — already one of the largest in the world — with Europe’s first Canon CJ45ex9.7B lenses arriving, as well as additional Fujinon UA107 and Canon CJ12, CJ20, and UJ90 lenses; Sony XVS-8000 vision mixers; and Sony BVM-X300 monitors. The majority of this UHD fleet was utilized for both the Winter Olympics in South Korea, and the FIFA World Cup Finals in Russia.

New builds and upgrades occupied much of F&F’s engineering teams time this summer. F&F launched its first double-expando B unit, which joined F&F’s 4K mobile unit that launched in August 2017. B18 made its debut at the PGA Championships and moved to its new home on SEC College Tour. It features its own edit and video rooms, router, and comms, and is wired for 10 12-channel EVS’s. B18 has the ability to be a standalone unit when needed. Summer also proved a perfect time for many upgrades to the entire fleet in various areas; the biggest changes were made to GTX-16 and GTX-14. GTX-16 received camera and audio upgrades and GTX-14 received a new customizable monitor wall, switcher upgrades, audio upgrades, eight-channel EVS’s, new XFile3, and 10 gig network, as well as a complete rewire and the addition of 40 HD re-clocking DA’s and Sony cameras.

Filmwerks won the bid to provide power for Fox Sports and their 2018 golf tournaments across the country. Specifically, at the 2018 U.S. Open Men’s Tournament in Southampton, NY, Filmwerks supplied Fox with generator-UPS-generator power for the TV trucks and B-units. The first generator acted as “house power” with the UPS as back-up to auto-start the second generator if “house power” was lost. The Fox office/edit trailers, A/C, carts, and catering ran on redundant generator systems. Filmwerks’ in-house designers and fabricators built custom batteries with weatherproof housing for the USOM. Each battery box replaces what would normally be a Honda generator ran on gasoline. Making these custom boxes provided a more environmentally friendly option for Fox Sports and their EHS group. Filmwerks finished the golf season with Fox Sports in Charlotte, NC, after a summer filled with multiple network broadcasts.

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Mobile Services Providers

Gearhouse Broadcast has continued its commitment to delivering a wider range of services for its clients with the recent acquisition of Proshow Broadcast and appointment of Jeff Hallman as its Director of Sales and Operations on the East Coast. The Proshow acquisition allows Gearhouse to deliver flexible and unique solutions as well as integrate a fleet of 10 production units and team of 32 personnel with its offices in Charlotte and Los Angeles. Hallman’s 25 years’ experience in the media and entertainment industry and expertise in managing relationships and contracts will further enhance Gearhouse’s customer experiences and help it to deliver services to more of the East Coast. Gearhouse Broadcast USA recently introduced three new mobile production units into the North American market: Columbus, its LA-based 4K mobile unit, and Skye and Iona, two multi-purpose mobile production units that serve the East Coast from Charlotte.

High Rock Mobile Television’s inaugural truck, High Rock 1 (HR1), shows continued success in its freshman year as a compact, powerful, mobile-production facility. HR1 has been contracted on NBC Horse Racing – The Breeders Cup Challenge Series, international track and field broadcasts, and entertainment projects with corporations such as Hulu. Engineers and senior production staff alike have praised HR1 for having the onboard capability to handle large network broadcasts within a reduced physical footprint. This success has led to renewed contracts and continued demand from both domestic and international clients. The High Rock Mobile Television team has kept the truck busy and on the road, bringing state-of-the-art facilities to its long-term partners and forging new relationships in the industry.

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 ARRI Rental facilities available for support. 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 generator power, UPS systems, lighting design, equipment, and crew to multiple events. ID’s staff strives to provide a premium service for its customers and the company recognizes their loyalty has driven its success. In 2018, ID serviced a vast array of events such as PGA golf, World Series of Poker, NFL, college football, MLB, tennis, horse racing, MLS, swimming, supercross, boxing, extreme sports, and more.

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IMS Productions is an industry leader in full-service video production, postproduction, studio rentals, satellite transmission, and live-event production. Creativity, technical reliability, and meticulous attention to exceed client expectations continue to drive the company’s brand and vision. IMS Productions recently acquired the mobile trucking assets of Calhoun Satellite Communications. IMS Productions will maintain, manage, and upgrade their impressive inventory, which includes two dual-dish C/Ku-band trucks, one C/Ku-band Hybrid truck, one C-band truck and one flyaway unit. These five units will join IMS Productions’ existing Ku-band truck, UD-1, which serves the Verizon IndyCar Series racing package, as well as entertainment and news specials. In 2018, IMS Productions, launched its new business division, IMSP Design Studio, and continued to provide broadcast production facilities and personnel for the Verizon IndyCar Series.

Integrated Media Technologies (IMT) is a digital media and technology company with offices in Los Angeles, Boston, and Dallas. IMT serves the telecommunications, media and entertainment, institutional, and enterprise 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, Video Collaboration, and IT Services.

Kaufman Broadcast continues its expansion with HD-3, a 10-path C-band Transportable Uplink utilizing a 5.5m antenna designed around at-home and REMI productions. In addition to C- and Ku-band uplinks, Kaufman has live studios in St. Louis and Kansas City, and continues to grow its IP-based network of sports venues and corporate studios including Sprint, Federal Reserve Bank, Edward Jones, and Centene Corporation. Kaufman also integrates studios, consults, and designs custom rack panels for new and existing facilities. For more than 35 years, Kaufman has supplied the television production industry with services at locations coastto-coast.

KMH Audio-Video Integration is a full-service systems integrator providing end-to-end solutions to both the broadcast and postproduction environment and the retail, financial, and educational business segments. The company’s subject matter experts deliver the highest quality of personalized service coupled with unmatched flexibility during all phases of each project engagement.

MULTI-CHANNEL CONTRIBUTION ENCODERS

Trusted for REMI Productions

Mobile Services Providers

LH Computer Services is a reseller specializing in video storage solutions for professional and collegiate sports. LH 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 file systems, optimized for video, in an end-to-end solution from ingest to archive that are 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, FCSANs, and traditional NAS to meet the demanding needs of your workflow. Trust a partner like LH Computer Services that has a proven history of architecting and providing solutions to clients in the NBA, NCAA, and more.

LiveLike delivers the best interactive live experiences in sports. By blending social connectivity with emerging technologies that are redefining streaming models, LiveLike is at the forefront of the live broadcast experience. Over the past three years, the company has innovated upon the live stream with cutting-edge tools and methods for their broadcast partners. From easily adoptable workflows to on-brand advertising activations that excite the imagination of audiences, LiveLike’s teams are designed to push the broadcast forward in fresh and exciting ways. Their streamlined programs enable clients to ideate, ship, and deliver live-event experiences in a scalable format on multiple platforms. This past June, LiveLike shipped more than 20 VR apps for 10 broadcast partners on multiple continents, simultaneously, for the world’s largest soccer tournament in Russia. These experiences offered soccer fans from around the globe to experience the game like never-before.

Lyon Video’s demanding 2018 schedule included some notable events such as IMDb’s Oscars party, College Home Run Derby, Champions League Soccer, NCAA Men’s National Lacrosse Championships, and U17 Soccer in Bradenton, FL. These events among others utilized Lyon Video’s proprietary high-frame-rate cameras and replay systems along with Lyon Video’s custom engineered fiber audio and video booth kits. Lyon Video provided ESPN with mobile units for the 2018 edition of Little League Southwest Regional Softball and Baseball series, Midwest Regional, Great Lakes, and Jr. League Baseball Championship. This series of playoff games showcased Lyon Video’s mobile unit flexibility and productivity covering between one and four games per day. ESPN’s production teams utilized Lyon Video equipment telling the story of each team’s journey into the championships. The Lyon Video engineering teams and mobile units excel at providing specialized broadcast/ streaming solutions along with managing effective workflows.

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M2 Aerials is an aerial cinematography production company that delivers compelling and memorable visual experiences for scripted productions and live events. The company’s insight, drone technology, pilots, and project management work together to bring the customer’s vision to life. Whether it’s scripted productions or broadcast news and sports, M2 Aerials provides clients with highly trained professionals that operate in dynamic, high-pressure scenarios, equipment to deliver broadcast quality footage, and any necessary precautions for operation, including permits, aviation liability coverage, safety procedures, and FAA approval.

Markertek supplies 12G/4K IP infrastructure solutions for studio, stadium, arena, remote, and esports production. From Embrionix IP SFP systems to Teradek live-streaming encoders to Camplex 12G-SDI fiber converters, Markertek has everything needed for live coverage solutions. Markertek is a single-source warehouse of end-to-end interface products with quality name brands that deliver always-on-air confidence. The in-house shop at Markertek can fabricate custom-length SMPTE, Tac, and opticalCON fiber cables in addition to a complete array of rack panels, field boxes, audio, video, and Ethernet cables. Markertek’s shop expertly repairs any brand of SMPTE, Tac, or opticalCON fiber-optic cables, bringing them back to factory-fresh condition in short order. Production trailers from Markertek are today’s low-cost mobile solution designed to save you thousands over an OB van or similar mobile trucks. Markertek provides a complete range of integrated technology broadcast trailers to the industry including fully cooled units for replay and server-based productions. HD

METROVISION Production Group

Metrovision has been offering domestic and international clients a full spectrum of mobile production, mobile satellite transmission, 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, Metrovision takes a turnkey, solutions-driven approach, combining technical expertise with strong commitment to customer service.

NextVR is a leading virtual-reality 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 NBA, NFL, Fox Sports, Live Nation, and the International Champions Cup.

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Be a contender by Implementing a Spectra® BlackPearl® Converged Storage System, an object storage platform that enables sports content lifecycle management and eliminates expensive legacy middleware. Be a contender by Implementing a Spectra® BlackPearl® Converged Storage System, an object •storage Consolidate of storage • Enable groups within your organization to platformislands that enables sports content lifecycle management and eliminates expensive access and use sports content legacy middleware. • Share content among multiple applications • Create efficient workflows • Consolidate islands of storage • Enable groups within your organization to access and useplatform, sports content With BlackPearl’s software in a purpose-built hardware you’ll go the • Share content feature-rich among multiple distance with a simple modern storage solution from Spectra Logic that allows you to share applications • Create efficient workflows and protect your digital sports assets. With BlackPearl’s feature-rich software in a purpose-built hardware platform, you’ll go the distance with a simple modern storage solution from Spectra Logic that allows you to share and protect your digital sports assets.

Every millisecond counts In live sports broadcasting a millisecond can be the difference between good and great. That’s why GTT’s high-performance video network platform uses our ultra-lowlatency Tier 1 IP network to transport highdefinition video in any format to anywhere. To learn more about GTT’s comprehensive portfolio of cloud networking and video services, please visit www.gtt.net or call +1 703 442 5500.

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Mobile Services Providers

PCCW Global, the international operating division of HKT, Hong Kong’s premier telecommunications service provider, launched Console Connect earlier this year, the industry’s first softwaredefined interconnection platform powered by a leading Tier 1 global IP network available in 150 countries. For the first time, the intuitive software lets sports media companies create instant, direct, private, and secure connections to data centers, offices, partners, and cloud services across the world. The platform has been designed with customer experience at its heart and enables users to instantly set up predictable, secure, private connectivity. Console Connect eliminates the complexity of network configuration and introduces an efficient automated process. Now, any media cloud workloads or video data transfers can be addressed with a few clicks and the connection speed turned up or down on-demand; no more lengthy contracts and long set up times.

PRG is a leader in entertainment and event production specializing in wide-ranging solutions that help bring the world’s greatest creative visions to life. PRG’s expertise is sought out the world over to solve the unique production challenges for a broad range of markets. 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.

The big moment is here! Meet the all-new ProCrewz App, the leading enterprise resource management system that’s changing the game for the broadcast business. Designed by industry leader Program Productions, the ProCrewz App is built with the features modern crews can’t go without, like a customizable calendar that can schedule and keep you up to speed on your own events, the ability to call the crew coordinator directly from the app, and a chat feed that keeps everyone on the job in real-time contact. With the power of ProCrewz in the palm of your hand, you can snap and submit a photo to file a receipt, send job-wide messages with the tap of a finger, and even punch-in with a geo-targeted time clock within a select radius of the venue. The big moment is here. Are you ready to capture it with Passion From Every Angle?

PSSI Global Services’ already-expansive fleet of uplink/production trucks just got bigger and better. In collaboration with Frontline Communications, the company designed and built 16 state-ofthe-art Ku-band SNG vehicles for PSSI News Group’s exclusive partnership with CNN. PSSI Global Services absorbed the former CNN vehicles into its own fleet, and after a series of upgrades, they’re now available to all PSSI Global Services clients. The trucks, which have been deployed in major cities throughout the country,

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are built for multipath transmissions and small productions, with switchers, comms infrastructure, and audio mixers. Each truck is outfitted with high-throughput satellite modems and features advanced compression, multiplexing, and IP equipment to support sports, entertainment, and news projects. With more than 70 uplink/production trucks based throughout North America, PSSI Global Services is a leader in broadcast engineering and event management solutions. The company also owns and operates PSSI International Teleport and PSSI Pittsburgh Videotech Center.

Reality Check Systems (RCS) ignites on-air viewing experiences for some of the most-watched sporting, esports, and entertainment events on television, second screen, and OTT services. With offices in Burbank, CA, and London, RCS has partnered with the world’s leading sports leagues, federations, networks, and social media giants to fuel audience engagement through a customized fusion of dynamic graphics, real-time data, and social media. To give shape to each client’s unique vision, RCS develops sophisticated graphics and production systems that can be seamlessly deployed in a wide array of professional environments.

With a 30-year history providing wireless solutions to the broadcast industry, RF Wireless Systems turns a new page and sets sights on the next 30! Built on integral relationships and ultra-reliable deliverables, this little Canadian ‘engine that could’ continues to utilize progressive strategy and blends proven technology with exciting new products. Specializing in camera and low-latency, high-quality video solutions for live broadcast, RFW provides fiber transport, wireless audio, customizable UHF intercom integration, and complete event support on an international scale. As a new retailer of the acclaimed RAD intercom and the addition of the Q5X player mic to its inventory, the company begins a shift as it supports its clients with a desire to both own and integrate wireless technology on a more permanent level. An extensive event background ranging from ITU Triathlons to FIS World Cup Skiing in Canada demonstrates RFW’s commitment to its clients and its partners.

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.

REAL-TIME, PHOTOREALISTIC MOTION GRAPHICS Aston, Brainstorm’s motion graphics creation, CG and playout solution, not only performs at its best at a broadcaster’s premises, but can also be integrated in a truck for further flexibility on-site. Aston is widely used at Sports, Entertainment, Events and News because of its speed, reliability and advanced animation toolset for data-driven graphics. And teaming up with InfinitySet, they make a winning combination for creating high-end, photorealistic Augmented Reality content.

• Amazing 2D/3D real-time motion graphics. • Easy-to-use, fast creation, CG and playout. • Contextual interface. • StormLogic: Advanced, intuitive template interaction and animation toolset. • Enhanced integration with InfinitySet for advanced Augmented Reality graphics.

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Speed to market, choice and ease of access are critical to maximizing the value of your content and its impact on your audience during key moments in your sporting calendar. Imagen preserves your media for the future and connects your fans and commercial partners around the world - increasing ROI and unlocking the value from legacy, live and near-live video. www.imagenevp.com | info@imagenevp.com

Evolving with you. G4 captures the magic with such ease, almost as if you had planned it for years. G4 is the leading choice amongst film-makers and journalists alike. The 100P Series has become the industry standard. The new 500P Series takes the evolution of wireless film sound further, thanks to its ease of use, versatility and reliability in any kind of environment. www.sennheiser.com/g4

Mobile Services Providers

Satellite Digital Teleproductions (SDTV) has been a pioneer in remote satellite uplink and downlink with multi-camera television production for 25 years. The company was the first to design and build a multi-camera broadcast vehicle with Ku-band satellite uplink all packaged in a rapidly deployable format. SDTV has the capabilities to provide an instantaneous television or data feed to locations around the world. Additionally, the company is setting a new standard by offering cost-effective HD television production solutions while using the most advanced broadcast equipment for clients big and small. As specialists in the television industry, SDTV uses the latest in broadcast quality technologies. The company’s fully redundant equipment affords its clientele extra security with their programming needs. Domestically and internationally, SDTV has expertly covered all types of breaking news, press tours, sporting events, and teleconferences.

Shotover is a developer of high-performance camera systems and UAVs for the motion picture and broadcast industries. The company’s line of gyro-stabilized camera platforms offers aerial cinematographers an unprecedented level of stability, control, and versatility in a compact package easily configured for 2D, 3D, and Ultra HD shooting with the world’s most advanced cameras and lenses. Developed in partnership with the motion picture industry’s top aerial cinematographers, Shotover systems are fully user upgradeable, allowing operators to utilize new professional cameras, lenses, and accessories as they come to market.

SkyCam continues to highlight the American football season with unequaled coverage. As part of Super Bowl LII on NBC, SkyCam expanded the use of its dual system for both play-by-play coverage and as a broad replay-focused angle. The Dual Systems continued to be utilized on Fox’s Thursday Night Football and various NBC Sunday Night Football events. SkyCam continues to enhance SkyCommand, providing remote operating services as well as augmented reality to put SkyCam on the forefront of providing audiences with a stimulating experience in sports viewing. In addition to the installation at M&T Bank Stadium for the Baltimore Ravens, SkyCam installed a system at U.S. Bank Stadium to provide the Minnesota Vikings with coverage on all home game. SkyCam continues to expand and partner with ESPN, Fox, NBC, and CBS on both NFL and college football, as well as NFL UK International Series games.

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SmartCart SVX finished another successful deployment on 2018 PGA Tour with CBS Sports where the charismatic and highly talented Amanda Balionis has contributed to increased viewing figures and higher fan engagement. The company is proud to have become trusted suppliers to leading U.S. sports broadcast networks. Since its formation in 2014, SmartCart SVX has been used on F1 Racing, Premier League soccer, Euro Champions, rugby football, NFL, Wimbledon, and more. Seamless turnkey services include transportation, full system integration, and operation/guarantee on site. Designed specifically as an adaptable presentation hub for live productions worldwide, the system’s mobile interactive super-bright daylight touchscreen provides a highly reliable user experience and meets the rigorous demands of on-site sports production. SmartCart SVX brings a new dimension to broadcast sports event coverage with live game analysis, compelling interviews with video reviews, fan feedback, and any other production elements the broadcaster wishes to introduce.

sonoVTS is in the midst of one of its busiest and most successful years to date, thanks to a renewed business strategy and a raft of landmark systems integration and supply projects. Strategically, the company is reaping the benefits of a recent concentration of interests into clearly defined Products, Rental, and Systems units. Each of the units had their turn in the spotlight at IBC 2018, with Head of Business Development Tobias Kronenwett noting the company’s ability to perceive all sides of a project – and anticipate potential arising issues – because of the company’s multifaceted approach. Landmark projects include the specification and integration of equipment room containers used at 12 venues during the FIFA World Cup. sonoVTS has just completed integrating a comprehensive IP-production infrastructure at Plazamedia’s new broadcasting center near Munich.

As 2018 moves into its final quarter, SOS Global teams successfully closed out their chapter on the PyeongChang Winter Olympic Games and the 2018 FIFA World Cup in Russia. SOS Global’s combined teams located in Russia, U.S., UK, Germany, and Brazil brought collaboration to a new level to handle the challenges of these two major events. Teams built around these events worked around the clock on behalf of the host broadcasters and numerous other clients to bring these events to a successful close. Elsewhere, SOS Global continued to build experience and expand, coordinating activities around major events such as the Commonwealth Games, WWE Saudi Arabia, and Presidential Summits in Singapore and Helsinki. In 2019, the team magnifies its efforts on France for Women’s World Cup, Peru for the Pan Am Games, and continuing to Japan for the Rugby World Cup.

Largest Dedicated and Experienced Technical Sales Team in the Industry Largest Accessible Product Offering Supporting the Entire Signal Path Customized Solutions and Engineering for Unique Applications Backed by the Power of WESCO, a Fortune 500, Industry Leader Capabilities to Support Small to Huge Multi-Stage Projects Plates and Panels / Fiber and Copper Assemblies High and Low Voltage Applications

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Mobile Services Providers

StorExcel provides professional services through a comprehensive service delivery offering called Content360°. The framework of the company’s services can be broken into five areas surrounding digital media supply chain and data lifecycle management environments: Content360° (consulting services, delivery services, support services, managed and hosted services, and development services).

T2 Computing is a technology company specializing in video workflow within the media and entertainment space. Their clients include the NBA, NBC, CBS, HBO, Showtime, and many other organizations with a sports focus. Recently completed work includes numerous MAM installations, editing studio buildouts, and standing up data centers with accompanying disasterrecovery sites. T2’s partnerships include a variety of technology vendors like Apple, Dell, HP, Quantum, Avid, AJA, Blackmagic, ATTO, CatDV, Primestream, Telestream, Scale Logic, and many more. Their collaborative approach allows them to leverage not only internal resources but also specialists in each of the above companies. Their stable of talent includes the best engineers in the business. Contact T2 Computing if you have any upcoming video workflow projects. While T2’s strength rests in its ability to provide end-to-end solutions, they have assets that can conceive, expedite, and complete any project, large or small.

The Switch Mobile brings high-bandwidth, redundant, and diverse service offerings to previously unserved places. 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.

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Working with top Canadian companies, Unity led the industry in the design and integration of live IP broadcasting in 2018. Unity has used its knowledge and experience working with broadcastbased datacenters like Echostar and applied it to the broadcasting industry in Canada. Consulting with Roger Media Engineering department, Unity launched the first fully uncompressed IP-video routing system in Canada. Unity designed and integrated the entire system from origination to transmission, including video, file, and control switch architectures; SDI-to-IP video-conversion workflows; IP master control implementation; uncompressed IP-video multiviewer networks; fiber infrastructure; file-based workflows; storage systems; and AES67 audio integration. Unity also designed and implemented an IP-based video core at TVO studios in Toronto to replace an SDI production switcher and supporting video router. Currently, Unity is working with Dome Productions on their first IP-based mobile broadcasting trailer. Unity makes your broadcasting vision a reality!

VER is the world’s go-to company for bringing experiences to life. Clients in TV, cinema, live music, sports, and the corporate world rely on VER for the greatest depth and breadth of rental equipment in the industry as well as unmatched expertise in audio, video, lighting, led, camera, rigging, media servers, fiber and more.

VISTA is a global leader in transmission services provisioning satellite capacity, mobile and fixed uplinks, fiber optics, streaming services, and creative and production services. VISTA Worldlink is a full-service provider delivering world-class customer service to the sports, entertainment, news, corporate, religious, government, and PR industries worldwide. Since 2017, VISTA has produced approximately 1,000 live REMI sporting events at its South Florida facility and has integrated graphics, commercials, interstitials, announcers, and languages to thousands of other live sports and entertainment events. As VISTA celebrates its 30th year in the media industry, the company continues to invest in expanding its production capabilities, adding more REMI control rooms and announcer booths. VISTA continues to embrace emerging technology, bridging traditional broadcast with digital production solutions, allowing for content to be consumed everywhere.

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Global Leader in Broadcast Quality Video over IP Easily deliver live video events and linear channels by enhancing unmanaged IP networks to perform at broadcast quality, securely leveraging cloud infrastructures at scale. ENGAGE Improving the quality of experience (QoE) and fast deployment is critical to driving revenue from your content. Zixi software delivers the highest quality video over IP for top media, broadcast, and service, companies.

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VENDOR SERVICES

Directory SVG has partnered with ProductionHUB to offer a comprehensive directory in the pages of the Mobile Sports Production Yearbook for those in search of crew services, generators, mobile-production 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 todayâ&#x20AC;&#x2122;s growing number of sports networks and content creators. The following pages feature a state-by-state U.S. services directory to use as a starting point to find the providers that best meet your needs. Be sure to visit ProductionHUB.com for the most up-to-date information on potential suppliers and service providers.

MOBILE SPORTS PRODUCTION YEARBOOK 2019

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This is not an empty stadium. It just sounds like one with the Bose SoundComm B30 Headset. Whether you’re on the coaching staff or broadcast crew, you’ll feel the roar of a packed house. But with Bose B30 headset active noise cancellation, you won’t hear it. Focus on the play – and get the shot, not the noise.

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FingerWorks Users • LIVE Sports production • E Sports production • Post production • Corporate presentations • Education FingerWorks Versions Finger • Broadcast LIVE • ReVu clip ingest/control • Fusion with Stats import • Sidecar ﬁle based editor

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Support for all SDI formats and streaming Intuitive and easy to use Live stats and Social Media import VR and HDR support Network multi-screen connectivity technology

www.telestrator.com

Crew Services CITY

NAME

WEBSITE

PHONE

Birmingham

6 STRONG MEDIA: Birmingham

www.6strongmedia.com

(800) 390-1621

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

Crew West, Inc.

www.crewwestinc.com/sat-west

(888) 444-2739

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

ARKANSAS

North Little Rock

Film Gear Rentals

www.filmgearrentals.com

(501) 920-3392

CALIFORNIA

Burbank

Particular Productions

www.particularproductions.com

(440) 317-3718

Long Beach

FiveSix Productions - Los Angeles

www.fivesix.com/long-beach-videoproduction

(562) 786-8456

Los Angeles

6 STRONG MEDIA: Los Angeles

www.6strongmedia.com

(800) 390-1621

Los Angeles

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Los Angeles

Pawhama Mama’s Doggy Day-n-Stay

fb://Pawhama Mama’s Doggy Day-n-Stay

(424) 241-0508

Oceanside

Minty Motion Studio

www.mintymotionstudio.com

(760) 265-1959

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

San Francisco

S3 Productions

www.s3productions.com

(415) 854-2252

Centennial

Grip Tuff Inc.

www.griptuffcolorado.com

(720) 320-1901

Denver

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Golden

Crew Connection

www.crewconnection.com

(303) 526-4900

CONNECTICUT Hartford

FastLights - Hartford

www.FastLights.com

(855) 922-5600

Ivoryton

Rat Race Productions

www.ratraceproductions.tv

(860) 235-0430

Washington

6 STRONG MEDIA: Washington, DC

www.6strongmedia.com

(800) 390-1621

Washington

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Washington

Beverly Boy Productions - Washington, DC www.beverlyboy.com/locations/dc/ washington-video-production-company

Vendor Services Directory

Courtesy of

STATE ALABAMA

COLORADO

DISTRICT OF COLUMBIA

FLORIDA

Washington

I.A.T.S.E. Local 22

www.iatselocal22.com

(202) 269-0212

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

Melbourne

David Waters Productions, LLC

www.facebook.com/davidwatersproductions (321) 525-1290

Miami

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Miami

Somar Films & Productions - Miami

www.somarproductions.com

(888) 533-3396

Beverly Boy Productions - Orlando

www.beverlyboy.com/locations/fl/orlandovideo-production-company

(407) 401-8734

Orlando GEORGIA

ILLINOIS

INDIANA

176

(202) 448-2886

Tampa

Surging Media Group

www.surgingmediagroup.com

(786) 456-4266

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

www.beverlyboy.com/locations/ga/atlantavideo-production-company

(404) 474-3823

Atlanta

Crafty Batch Craft Services & Catering

www.CraftyBatchCatering.com

(503) 501-8463

Atlanta

Finding Flavor

Atlanta

Somar Films & Productions

www.somarproductions.com

(888) 533-3396

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

www.beverlyboy.com/locations/il/chicagovideo-production-company

(312) 392-0390

Chicago

Complete Crewing

www.completecrewing.com

(773) 645-2000

Beverly Boy Productions - Indianapolis

www.beverlyboy.com/locations/in/ indianapolis-video-production-company

(317) 350-1477

Indianapolis

MOBILE SPORTS PRODUCTION YEARBOOK 2019

(678) 207-9519

*All information is subject to change. For the most current contact information, please visit www.productionhub.com

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Crew Services STATE

Courtesy of

IOWA

Des Moines

WEBSITE

PHONE

Beverly Boy Productions - Des Moines

www.beverlyboy.com/locations/ia/desmoines-video-production

(888) 462-7808

KENTUCKY

Lexington

Synchronicity Motion Pictures

www.synchronicity.online

(859) 327-7833

New Orleans

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

New Orleans

Beverly Boy Productions - New Orleans

www.beverlyboy.com/locations/la/neworleans-video-production-company

(504) 273-5157

Portland

FastLights - Portland

www.FastLights.com

(855) 922-5600

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Boston

Beverly Boy Productions - Boston

www.beverlyboy.com/locations/ma/bostonvideo-production-company

(617) 314-9267

Boston

FastLights - Boston

www.fastlights.com

(855) 922-5600

Boston

PixMix Video Services

www.pixmix.net

(617) 254-0590

Milton

Boston Video Crews

www.bostonvideocrews.com

(617) 834-3412

Beverly Boy Productions - Detroit

www.beverlyboy.com/locations/mi/detroitvideo-production-services

(313) 879-1228

MASSACHUSETTS Boston

MICHIGAN

Detroit

MINNESOTA

Minneapolis

Go To Team

www.gototeam.com

(888) 455-4333

MISSOURI

Branson

jackson+appleton

www.youtube.com/jacksonappleton

(417) 294-0711

St. Louis

Beverly Boy Productions - St. Louis

www.beverlyboy.com/locations/mo/st-louis- (888) 462-7808 video-production-company

Henderson

Stagewise Productions

www.stagewiseproductions.com

(702) 722-6988

Las Vegas

6 STRONG MEDIA: Las Vegas

www.6strongmedia.com

(800) 390-1621

Las Vegas

FiveSix Productions

www.fivesix.com

(702) 749-5456

NEVADA

Mr. Camera, Inc.

www.mrcamera.tv

(702) 451-1411

Concord

FastLights - New Hampshire

www.fastlights.com

(855) 922-5600

NEW JERSEY

Jersey City

Beverly Boy Productions - New Jersey

www.beverlyboy.com/locations/nj/jerseycity-video-production

(201) 297-1610

NEW YORK

Albany

FastLights - Albany / Upstate NY

www.fastlights.com

(855) 922-5600

Buffalo

B-roll Video Productions

www.b-rollvideoproductions.com

(716) 479-9307

Buffalo

Odessa Pictures, Inc.

www.odessapictures.com

(716) 316-6710

New York

6 STRONG MEDIA: New York City

www.6strongmedia.com

(800) 390-1621

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

www.beverlyboy.com/production-hub

(646) 448-8787

New York

Hideoki Productions, Ltd.

www.hideoki.com

(212) 255-6116

New York

Man With A Cam, Inc.

www.manwithacam.org

(646) 688-3447

New York

NBTV Studios

www.nbtvinc.com

(646) 277-4900

New York

New York Video Crews

www.newyorkvideocrews.com

(888) 858-8625

New York

Somar Films & Productions - New York

www.somarproductions.com

(888) 533-3396

New York

Studio 253 NYC @ E.C. Pro Video

www.studio253nyc.com

(212) 333-5570

Charlotte

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Raleigh

Beverly Boy Productions - North Carolina

www.beverlyboy.com/locations/nc/raleighvideo-production-company

(704) 230-1080

Cleveland

Assignment Desk, Inc.

www.assignmentdesk.com/#about

(800) 959-3375

Mansfield

Beverly Boy Productions - Ohio

www.beverlyboy.com/locations/oh/ columbus-video-production-company

(614) 283-9258

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

Wonderful Machine

www.wonderfulmachine.com

(610) 260-0200

Philadelphia

6 STRONG MEDIA: Philadelphia

www.6strongmedia.com

(800) 390-1621

Philadelphia

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Philadelphia

Beverly Boy Productions - Philadelphia

www.beverlyboy.com/locations/pa/ philadelphia-video-production

(215) 279-9332

Pittsburgh

Beverly Boy Productions - Pittsburgh

www.beverlyboy.com/locations/pa/ pittsburgh-video-production-company

(412) 212-1330

FastLights - Providence, RI

www.fastlights.com

(855) 922-5600

Las Vegas NEW HAMPSHIRE

NORTH CAROLINA

OHIO

PENNSYLVANIA Conshohocken

RHODE ISLAND Providence

180

NAME

LOUISIANA

MAINE

Vendor Services Directory

CITY

MOBILE SPORTS PRODUCTION YEARBOOK 2019

*All information is subject to change. For the most current contact information, please visit www.productionhub.com

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www.gcmvp.com

Crew Services CITY

NAME

WEBSITE

PHONE

Mount Pleasant

Go To Team

www.gototeam.com

(888) 455-4333

TENNESSEE

Chattanooga

6 STRONG MEDIA

www.6strongmedia.com

(423) 414-2313

Knoxville

6 STRONG MEDIA: Knoxville

www.6strongmedia.com

(423) 414-2313

Nashville

6 STRONG MEDIA: Nashville

www.6strongmedia.com

(800) 390-1621

Nashville

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Nashville

Beverly Boy Productions - Nashville

www.beverlyboy.com/locations/tn/nashville- (615) 246-0228 video-production-company

Austin

Beverly Boy Productions - Austin

www.beverlyboy.com/locations/stx/austinvideo-production-company

(512) 215-4461

Austin

Earl Miller Productions Inc.

www.earlmillerproductions.com

(512) 458-4343

Austin

Widespread Creative

www.widespreadcreative.com

(512) 481-2182

Dallas

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Houston

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Beverly Boy Productions - Houston

www.beverlyboy.com/locations/stx/houston- (713) 429-4107 video-production-company

Vendor Services Directory

Courtesy of

STATE SOUTH CAROLINA

TEXAS

Houston UTAH

Houston

Simmons Twins Films

www.simmonstwins.com

(832) 817-9517

Salt Lake City

Fiftyfilms

www.fiftyfilms.com

(801) 875-8049

VERMONT

Burlington

FastLights - Burlington

www.fastlights.com

(855) 922-5600

WASHINGTON

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

Generators STATE ARIZONA

ARKANSAS

184

CALIFORNIA

CITY

NAME

WEBSITE

PHONE

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

Mena

Laark Honeywagons

www.laarkhoneywagons.com

(818) 516-6474

North Little Rock Event Power

www.eventpowerpro.com

(501) 351-5837

North Little Rock Film Gear Rentals

www.filmgearrentals.com

(501) 920-3392

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

Chatsworth

HALA Lighting and Grip

www.halastudios.com

(818) 288-6004

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 - Gear & Truck Rental

www.LightitupLA.com

(818) 679-4321

Los Angeles

Aggreko

www.us.aggreko.com

(770) 315-9879

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

MOBILE SPORTS PRODUCTION YEARBOOK 2019

*All information is subject to change. For the most current contact information, please visit www.productionhub.com

Real-time, cloud-based video tools built for the demands of digital audiences. • Manage content anywhere, anytime. • Publish & edit video content in real-time. • Flexible, digital-first production for live streams. • Create new viewing experiences optimized for digital audiences. • Simplify storytelling for digital teams. • Generate new revenues from social platforms.

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Vendor Services Directory

Courtesy of

Generators STATE

CITY

NAME

WEBSITE

PHONE

CALIFORNIA

San Francisco

Cresco Production Express

www.crescorent.com

(800) 649-6629

Santa Clarita

Santa Clarita Movie Ranch

www.scmovieranch.biz/index.html

(661) 268-1891

Sun Valley

DADCO, LLC

www.sunray-lighting.com

(818) 768-8886

Sylmar

Hollywood Rentals - Los Angeles

www.hollywoodrentals.com

(800) 233-7830

COLORADO

Littleton

Lighting Services Inc.

www.lsidenver.com

(303) 722-4747

CONNECTICUT

Hartford

FastLights - Hartford

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

Martyâ&#x20AC;&#x2122;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

Miami

Americas Generators

www.gopower.com

(800) 434-0003

Miami

Megawattage

www.megawattage.com

(954) 302-3565

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

Atlanta

BigCity Leasing & Production Equipment, LLC www.bigcityleasing.com

(678) 922-2490

Atlanta

Hertz Energy Services

www.hertzequip.com

(678) 848-5996

Atlanta

Production Services of GA

www.psog.biz

(678) 333-4155

GEORGIA

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 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

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

Portland

FastLights - Portland

www.FastLights.com

(855) 922-5600

FastLights - Boston

www.fastlights.com

(855) 922-5600

New England Studios

content.nestudios.com/film-nestudios

(978) 615-5500

West Bridgewater Equipment 4 Rent

www.equipment4rent.net

(508) 583-5500

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

Kansas City

Dean Machinery Co.

www.deancat.com

(816) 200-5470

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

South Plainfield

SBP Industries

www.sbp4juice.com

(908) 412-8630

NEW MEXICO

Santa Fe

Serious Grippage & Light Company

www.seriousgrippage.com

(505) 473-1566

NEW YORK

Albany

FastLights - Albany / Upstate NY

www.fastlights.com

(855) 922-5600

Deer Park

RANTECH, Inc.

www.OneStopSurplus.com

(631) 983-8408

Hicksville

On Site Energy

www.onsite-energy.com

(800) 736-2504

KANSAS LOUISIANA

MAINE

MASSACHUSETTS Boston Devens

188

MOBILE SPORTS PRODUCTION YEARBOOK 2019

*All information is subject to change. For the most current contact information, please visit www.productionhub.com

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Generators CITY

COMPANY NAME

WEBSITE

PHONE

Lake Placid

FastLights - Lake Placid

www.FastLights.com

(855) 922-5600

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

Poughquag

PartyTime Rentals

www.partytime-rentals.com

(845) 226-2447

NORTH CAROLINA

Denver

Cooke Rentals Inc.

www.cookerentals.com

(704) 483-2722

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

North Kingstown

CAT Entertainment Services

www.es-cat.com

(888) 296-4492

Charleston

High Output, Inc. - Charleston

www.highoutputcharleston.com

(843) 722-3600

Charleston

Neff Rental

www.neffrental.com

(843) 760-6333

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

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

UTAH

Salt Lake City

Mullet Production RVs

www.mulletproductionrvs.com

(801) 699-5409

VERMONT

Burlington

FastLights - Burlington

www.fastlights.com

(855) 922-5600

Hinesburg

NRG Systems, Inc.

www.nrgsystems.com

(802) 482-2255

Falls Church

Carnage Brothers Grip & Electric

www.carnagebrothers.com

(703) 824-8389

Richmond

Temp Power & Annapolis Mobile Power Services www.annapolismobilepower.com

(804) 308-3414

Seattle

Pacific Grip & Lighting - Seattle

(206) 622-8540

Vendor Services Directory

Courtesy of

STATE NEW YORK

SOUTH CAROLINA TENNESSEE

TEXAS

VIRGINIA WASHINGTON

www.pacific-grip.com

Mobile Production Units STATE

CITY

NAME

WEBSITE

PHONE

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

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

Burlingame

Bay Area Mobile Production

www.bamphd.com

(650) 375-8855

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

Diamond Bar 21 Lakes Media Group

www.21lakes.com

(951) 515-1519

Los Angeles

Pacific Satellite Inc.

www.pacificsat.com

(510) 918-3909

Los Angeles

Sharp Eye Industries

www.sharpeyehd.com

(866) 964-7474

Morgan Hill

Global Link Productions, Inc.

www.globalinktv.com

(408) 465-2787

ARKANSAS CALIFORNIA

192

MOBILE SPORTS PRODUCTION YEARBOOK 2019

*All information is subject to change. For the most current contact information, please visit www.productionhub.com

Find out more: www.mx1.com

Cognizant's Intelligent VideoXperience Bringing a seamless video experience to your customers and compelling economic value to your business, faster than ever.

History making television since 1981

Aerials - HD Wireless - Communications - POV Cameras - RF Support Trucks

www.aerialvideo.com

818.954.8842

Mobile Production Units CITY

NAME

WEBSITE

PHONE

Ripon

MS Production Services

www.mspslive.net

(877) 354-6777

Sacramento

PACSAT - California

www.pacsat.com

(800) 672-2728

San Diego

FLOODstream - San Diego

www.floodstream.com

(619) 430-4222

San Diego

Satellite Digital Teleproductions (SDTV)

www.sdtv.com

(619) 293-7777

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

COLORADO

Parker

Loclyz Media Services

www.loclyz.com

(720) 452-2361

CONNECTICUT

Milford

Conover Production Services

www.conover.net

(203) 877-5427

Suffield

VideoPort Communications, Inc.

www.videoportc.com

(413) 478-1745

Washington

Broadcast Management Group

www.broadcastmgmt.com

(202) 609-7757

Washington

Cardinal Production

www.Cardinalproduction.net

(571) 398-1849

Washington

Skehan Communications, LLC

www.skehan.com

(202) 833-3310

Washington

StreamByte TV Event Webcasting Washington, DC

www.streambyte.tv

(267) 382-0285

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

Twilight Features Inc. Outdoor Movies

www.twilightfeatures.com

(954) 323-2562

Lake Mary

Skystorm Productions

www.skystorm.com

(407) 328-4747

Miami

Blue Dolphin Studios

www.cinematusa.com/blue-dolphin-studios

(305) 887-7726

Miami

Christian Media Group

www.cmgshows.com

(786) 286-4942

Miami

MMC Video Corp.

www.mmcvideocorp.com

(305) 300-8976

Miami

UNITED TELEPORTS

www.unitedteleports.com

(305) 671-3333

Miami Beach

Encanta Productions

www.encanta.com

(954) 998-6713

Miami Beach

Mirikesh Production Motorcoach & Trailer

www.mirikesh.com

(786) 295-3969

Orlando

CP Communications - Orlando

www.cpcomms.com

(407) 843-4225

Orlando

First Call Location Coach Rentals

www.firstcallcoach.com

(407) 832-2606

Parrish

Xtreme Angles Production Services LLC

www.xtremeangles.com

(941) 313-3681

St. Petersburg The Zoo Studios

www.thezoostudios.net

(727) 350-5962

Tampa

FlyMotion Media

www.flymotionmedia.com (media division) www.flymotionus.com (unmanned systems)

(800) 548-5844

West Palm Beach

National Teleproductions, Inc.

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

Lawrenceville Lightninâ&#x20AC;&#x2122; Production Rentals, Inc.

www.lightnin.net

(770) 963-1234

Hawi

Keith Nealy Productions

www.keithnealy.com

(808) 882-7772

Honolulu

John Guild Communications

www.john-guild.com

(808) 596-2211

Vendor Services Directory

Courtesy of

STATE CALIFORNIA

DISTRICT OF COLUMBIA

FLORIDA

GEORGIA

HAWAII

196

MOBILE SPORTS PRODUCTION YEARBOOK 2019

(561) 689-9271

*All information is subject to change. For the most current contact information, please visit www.productionhub.com

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Mobile Production / Rentals ClarkMedia.com (Rentals & Systems) Clark4k.com (Mobile Production Division)

WEST COAST Clark Media 28606 Hasley Canyon Rd Valencia, CA, 91384 (818) 435-4689

Mobile Production Units STATE

CITY

COMPANY NAME

WEBSITE

PHONE

HAWAII

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

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

Granger

CVM Productions, Inc.

www.cvmproductions.com

(574) 256-0068

Hammond

Kentucky Trailer

www.kytrailer.com

(219) 845-1695

Muncie

WIPB Productions / University Media Services Ball State University

www.wipb.org

(765) 285-4245

Noblesville

LeSEA Productions

www.leseaproductions.com

(317) 773-5050

Noblesville

TV40Productions

www.whmbtv.com

(317) 773-5050

South Bend

LeSEA Productions

www.leseaproductions.com

(574) 291-8200

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

Vendor Services Directory

Courtesy of

ILLINOIS

INDIANA

LOUISIANA

MASSACHUSETTS Boston

MICHIGAN

www.pixmix.net

(617) 254-0590

D2 Productions

www.d2productions.com

(508) 485-0300

Millville

Deadly Spider Productions Inc.

www.DeadlySpider.com

(401) 447-5254

Wakefield

Remote Facilities Consulting Services Inc. www.remotefacilities.com

(781) 246-8300

Southfield

Comcast Local Origination

www.comcastnetworktv.com

(248) 359-6517

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-NEWS

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 Studios

www.vegaspbs.org/production-services

(702) 799-1010

Stateline

Shoot It Live, Inc.

www.shootitlive.tv

(808) 371-3023

Hudson

Game Creek Video

www.gamecreekvideo.com

(603) 882-5222

Pelham

Thistle Communications

www.thistlecommunications.net

(603) 598-5100

Hackensack

Patchamp

www.patchamp.com

(201) 457-1504

MINNESOTA

MISSOURI

NEW HAMPSHIRE NEW JERSEY

NEW YORK

200

PixMix Video Services

Hudson

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

MOBILE SPORTS PRODUCTION YEARBOOK 2019

*All information is subject to change. For the most current contact information, please visit www.productionhub.com

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Mobile Production Units CITY

COMPANY NAME

WEBSITE

PHONE

New York

Metrovision Production Group

www.metrovision.tv

(212) 989-1515

New York

Remote Digital Media, Inc.

www.remotedigitalmedia.com

(646) 536-7340

New York

Touchdown Productions

www.touchdown-productions.com

(917) 746-6240

New York

Zircon Production Vehicles

www.ZirconProductionVehicles.com

(888) 675-9995

Patchogue

Luna Video, Inc.

www.vimeo.com/75588888

(631) 767-8817

Saratoga Springs

High Rock Mobile Television

www.highrockmobiletelevision.com

(518) 584-9181

Charlotte

Control 1 Communications

www.control1comm.com

(205) 706-9524

Charlotte

The Production Group LLC

www.theproductiongroup.com

(704) 333-2595

Greensboro

7 Cinematics

www.7cinematics.com

(843) 754-0516

www.spevco.com

(336) 924-8100

NORTH CAROLINA

Winston Salem Spevco Inc. OHIO

OKLAHOMA

Lyon Video

www.lyonvideo.com

(614) 297-0001

Mobile Production Services

www.remoteriley.com

(614) 864-7900

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

Tulsa

LeSEA Productions

www.leseaproductions.com

(918) 254-4701

Tulsa

Winnercomm, Inc.

www.winnercomm.com

(918) 496-1900

New Century Productions

www.nepinc.com/welcome/ncp

(610) 841-5217

Boyertown

J A Taylor & Associates

www.broadcastassociates.com

(610) 754-6800

Harrisburg

Capital Area Communications, Inc.

www.cacradio.com

(717) 756-1870

- Broadcast, Production, King of Prussia PMTV Streaming Worldwide

www.PMTV.com

(484) 690-9180

Lancaster

Triode Media Group LTD

www.triode.tv

(717) 413-2533

Malvern

CCI Communications

www.ccimobileproduction.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

Goodlettsville 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

Nashville

Concerto HD

www.locationhd.com

(615) 257-0158

Nashville

Tennessee Digital Video

www.tndv.com

(615) 585-6528

Nashville

Tennessee Digital Video

www.tndv.com

(877) 959-8638

Argyle

GoVision

www.jumbo.tv/home.html

(940) 464-2320

Austin

Earl Miller Productions Inc.

www.earlmillerproductions.com

(512) 458-4343

Dallas

Tricam Video Productions, Inc.

www.tricamvideo.com

(817) 909-4137

TEXAS

UTAH

Houston

Advanced Containment Systems Inc.

www.acsi-us.com

(713) 987-0336

Houston

Satellite Center

www.satctr.com

(504) 915-8244

Missouri City Stage2screenProductions

www.stage2screenproductions.com

(281) 804-9525

Orem

Doug Johnson Productions

www.djprod.biz

(801) 396-9938

Park City

Gunner Live LLC

www.gunnerlive.com

(678) 313-6001

Sandy

Videolines Mobile Television

www.videolinesmobiletv.com

(801) 580-9474

Herndon

Moon Bounce Media, Inc.

www.moonbouncemedia.com

(703) 318-7500

Woodbridge

Glass River Media

www.glassrivermedia.com

(703) 646-9192

WASHINGTON

Seattle

LDM Worldwide Productions

www.ldmworldwide.com

(206) 463-1902

WISCONSIN

Milwaukee

Link Up Communications, LLC

www.linkupcom.com

(414) 453-8785

Waunakee

Token Creek Mobile Television, Inc.

www.tokencreek.com

(608) 849-4965

VIRGINIA

204

Columbus Columbus

PENNSYLVANIA Allentown

Vendor Services Directory

Courtesy of

STATE NEW YORK

MOBILE SPORTS PRODUCTION YEARBOOK 2019

*All information is subject to change. For the most current contact information, please visit www.productionhub.com

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Satellite Trucks STATE

CITY

NAME

WEBSITE

PHONE

ARIZONA

Phoenix

Crew West, Inc.

www.crewwestinc.com/sat-west

(888) 444-2739

Vendor Services Directory

Courtesy of

CALIFORNIA

CONNECTICUT DISTRICT OF COLUMBIA

FLORIDA

ILLINOIS

INDIANA

IOWA

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

Oakland

Central Coast Uplink

www.centralcoastuplink.com

(831) 325-5271

Sacramento

PACSAT - California

www.pacsat.com

(800) 672-2728

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

Shelton

Vitec Videocom

www.vitecvideocom.com

(203) 929-1100

Stamford

Newtec America, Inc.

www.newtec.be

(203) 323-0042

Washington

NPR Satellite Services

www.nprss.org

(202) 513-2626

Washington

StreamByte TV Event Webcasting Washington, DC

www.streambyte.tv

(267) 382-0285

Clearwater

F & F Productions, LLC

www.fandfproductions.com

(727) 530-5000

Fort Lauderdale

Studio 4028

www.studio4028.com

(855) 788-3464

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

(877) 476-8556

Miami

UNITED TELEPORTS

www.unitedteleports.com

(305) 671-3333

Orlando

Legend Media Productions

www.legendmediaproductions.com

(407) 574-4208

Orlando

Lowery Satellite Services Inc.

www.lowerysatellite.com

(407) 859-7940

Orlando

Telepoint Studios

www.Telepointstudios.com

(407) 859-7940

Crystal Lake

Satellite Technology Systems

www.stslivetv.com

(800) 838-1472

Peoria

WTVP

www.wtvpvideo.org

(309) 677-4747

Wauconda

Satellite Communication Systems

www.1800usalink.com

(847) 556-1056

Indianapolis

Pistol Enterprises

www.pistolenterprises.com

(317) 714-1095

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

Point of Rocks LiveOnSite LLC

www.liveonsite.com

(703) 431-4332

Potomac

Asia Broadcast Satellite

www.absatellite.com

(301) 605-7629

MASSACHUSETTS Bedford

208

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

Minneapolis

RumJungle Media

www.rumjungle.com

(952) 472-5525

St. Paul

Ingwell Communications

www.ingwellcommunications.com

(612) 839-5154

MONTANA

Helena

Lyon Productions

www.lyongroup.biz/content

(406) 442-9014

NEVADA

Las Vegas

E-Planet Media

www.eplanetmedia.com

(310) 595-6244

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

NEW YORK

Baldwin

Flypack New York, Inc.

www.FlypackNY.com

(516) 867-7300

MOBILE SPORTS PRODUCTION YEARBOOK 2019

*All information is subject to change. For the most current contact information, please visit www.productionhub.com

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LSU Control Room

Recent projects include: LSU SEC Network Production Facility Georgia Tech ACC Network Prod. Facility Sun Belt Conference ESPN 3 Roll-Out US Bank Stadium 4K/HD Control Room

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We know your fans will have a great experience when they come to a game, but it’s your job to define what great is. 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, we’ll help you enhance the fan experience and make a lasting impression.

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Satellite Trucks CITY

NAME

WEBSITE

PHONE

NEW YORK

Congers

American Satellite Uplink & ASU Productions

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

Victor

GCS, Inc.

Vendor Services Directory

Courtesy of

STATE

NORTH CAROLINA

OHIO

(585) 742-9100

www.vvn.com

(631) 752-9311

Charlotte

Control 1 Communications

www.control1comm.com

(205) 706-9524

Charlotte

Nomadic Communications

www.nomadic-comm.com

(866) 519-7723

Wake Forest

ClaryComm

www.clarycomm.net

(919) 904-6097

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

J A Taylor & Associates

www.broadcastassociates.com

(610) 754-6800

Quintech Electronics & Communications www.quintechelectronics.com Inc.

(800) 839-3658

PENNSYLVANIA Boyertown Indiana

- Broadcast, Production, Streaming www.PMTV.com King of Prussia PMTV Worldwide

(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

SOUTH CAROLINA

Myrtle Beach

Satellite Papa

www.satellitepapa.com

(843) 333-5963

TENNESSEE

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

Denton

WSC HD Productions

www.wschdproductions.com

(940) 483-9200

Fort Worth

Applied Telecommunications Inc.

www.appliedtelecominc.com

(817) 763-5992

TEXAS

www.globalcoms.com

West Babylon Village Video News

South Houston World Teleport

www.worldteleport.org

(281) 741-8753

UTAH

Park City

Gunner Live LLC

www.gunnerlive.com

(678) 313-6001

VIRGINIA

Falls Church

Dawnbreaker Communications, LLC

www.dawnbreakercommunications.com

(202) 288-0805

Herndon

Moon Bounce Media, Inc.

WASHINGTON

www.moonbouncemedia.com

(703) 318-7500

Virginia Beach Atlantic Satellite Corporation

www.atlanticsat.com

(757) 318-3500

Ridgefield

Wild Hare Satellite, Inc.

www.wildharesat.com

(360) 573-6850

The Media Center

www.themediacenter222.com

(304) 720-5466

WEST VIRGINIA Charleston

212

MOBILE SPORTS PRODUCTION YEARBOOK 2019

*All information is subject to change. For the most current contact information, please visit www.productionhub.com

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Your studio at the event.

CBS Sports at PGA Championship 2018

The Wimbledon Channel with IBM ‘Daily Debate’

CBS Sports PGA sponsored by Microsoft Cloud

SmartPad Pro—A flyaway system with a small footprint

SmartCart SVX—rent per event or period lease 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 the demanding requirements for all weather outdoor sports. An on-site presentation, analysis, and interview hub ‘where the action is’—pitchside, trackside, or on the course. Seamless integration with client graphic systems. 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.

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Studio hub for presentation analysis and stand-up interviews

Teams

Pitchside coaching hub

Stadiums

Entertainment hub and sponsorships

Premier League Productions Studio at the game

Gearbase

Inside the Gear Numbers Results of SVG’s 13th-annual study of mobile-production equipment

he 13th-annual SVG Mobile Sports Production Gearbase Survey provides an ongoing database of production-truck technology for the North American fleet of more than 250 mobile units. Of the 258 mobile units listed in the 2019 Gearbase, only one is an SD-only truck — making the official death of SD nearly complete. With SD firmly in the rear-view mirror, a parade of 4K- and HDR-capable trucks has hit the road, with many more on the way in 2019. In addition, with the arrival of the SMPTE ST 2110 suite of standards, several companies are rolling out IP-based mobile units with an eye to the future. The 2019 Gearbase Survey covers 37 participating companies 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 2018). Here is a brief summary of the Gearbase Survey’s key findings on the North American truck market. • With 59 trucks, NEP still has by far the largest fleet in North America, followed by Game Creek Video with 26, Mobile TV Group with 25 (not including its Visitor Mobile Units), Dome Productions with 19, and Gearhouse Broadcast with 12 (after acquiring the Proshow Broadcast fleet in July). In sixth place is Lyon Video (11), followed by F&F Productions (nine), and All Mobile Video and TNDV Television (eight each). Turn to page 22 for the Total Trucks by Company graphic. • Of the 258 mobile units covered in the survey, 48 are listed as 4K-capable (up from 35 last year), 43 are HDR-capable (even with last year), and 71 are 1080p-capable (up from 55 last year). • Of the 254 trucks whose camera complement was identified by brand, 137 use Sony (54%); 73 deploy Grass Valley (29%); 24, Ikegami (9%); 16, Hitachi (6%); four, Panasonic (2%), and one, JVC. • The battle for lens-market share remains a two-horse race. Of the 225 trucks that identified lens brand, 115 trucks carry exclusively Canon lenses (51%), 78 have only Fujinon (36%), and 25 have a mix of Canon and Fujinon lenses (11%). Three trucks (1%) also carry Agenieux lenses. • Among switchers, Grass Valley continues to dominate, with its units found at the center of 192 mobile units (76%). Sony and Ross Video have switchers 22 trucks apiece (8.5% of the market each), and Blackmagic Design units are in eight (3%) trucks.

• Calrec Audio remains the number-one audio console on trucks, with 161 consoles in 61% of the North American fleet. Yamaha is second, with consoles in 27 audio areas (10%), followed by Studer (26 trucks), Soundcraft by Harman (18), Avid/Euphonix (10), and DiGiCo (five). • The video-router sector remains diverse, judging by the 215 trucks that identified router brand. Evertz is atop the market in a total of 73 trucks (34%) with Grass Valley close behind at 53 (25%). PESA is third with 39 (18%), followed by Utah Scientific with 16 (7.5%), Ross Video with 15 (7%), Imagine Communications with 14 (6.5%), and Blackmagic Design with five. • In HD replay devices, EVS is once again the industry standard: 213 HD trucks were identified as relying on some form of EVS system as its primary replay device (although 23 of these trucks also carry some other form of replay device). Currently, 19 trucks carry Grass Valley K2 Dyno replay systems, nine have NewTek 3Play, and seven have Ross Video, although the majority of these trucks also have EVS replay systems. • ChyronHego is still the market leader in graphics. Its systems are in 150 trucks that identified a platform (109 exclusively carry ChyronHego graphics). 50 trucks carry Vizrt systems (11 exclusively Viz), and 21 deploy Ross Video graphics (14 exclusively). To view the full 2019 SVG Remote Production Gearbase, visit sportsvideo.org/gearbase2019.

PERCENT OF HD TRUCKS BYPERCENTAGE OF TRUCKS PERCENT OFCONSOLE HD TRUCKS BY BY AUDIO BRAND PRODUCTI0N SWITCHER BRAND AUDIO CONSOLE BRAND 8.5%

2% 1%

4% 7%

8.5%

10% 76%

61%

10%

Grass Valley

Sony

Design Grass Valley BlackmagicSony

Blackmagic WHAT’S WHATDesign IN MOBILE PRODUCTION page 5

Ross Video OtherRoss

Video

Other

Calrec Data is only representative of trucks that indicated switcher brand

Euphonix

Calrec

Euphonix

Yamaha Yamaha DiGiCo

DiGiCo

Studer Studer Behringer

Behringer

Soundcraft

Mackie

Soundcraft

Other

Mackie

Other

WHAT’S WHAT IN MOBILE PRODUCTION page 6

MOBILE SPORTS PRODUCTION YEARBOOK 2019

217

Data that

When Reliability Matters.

HD • 4K • UHD • HDR 4 Leader in UHD/4K and HDR production 4 Over 4,000 live events per year 4 35 mobile units ready to go throughout the US 4 Newest and most advanced technology 4 Most cost-effective solutions

mobiletvgroup.com

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TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS

LENSES (H/HH)

ADMIRAL VIDEO

NLT-36

36’

Both

Yamaha QL5

7 GV, 1 Sony HD POV

5 Canon, 4 Fujinon 5/4

Epic

53’ double expando

UHD/HD/HDR

Fiber

Studer Vista 8

16 Sony

16 Fujinon

Titan

53’ triple expando

UHD/HD/HDR

Fiber

Studer Vista 8

24 Sony

24 Fujinon

Revolution

53’ double expando

Fiber

Studer Vista 9

16 Sony

16 Fujinon

Crossroads

53’ triple expando

Fiber

Studer Vista 8

16 Sony

16 Fujinon

Sterling

53’ triple expando

UHD/HD/HDR

Fiber

Studer Vista 8

16 Sony

16 Fujinon

CLARK MEDIA

CHILEFILMS

CCI COMMUNICATIONS

BOUNCE MULTIMEDIA

ALL MOBILE VIDEO

Gearbase

COMPANY

DNA STUDIOS

D2 PRODUCTIONS

CSP MOBILE PRODUCTIONS

CMG MOBILE PRODUCTIONS

220

NYLA

49’ straight

Fiber

Studer Vista 5 M3

10 Sony

10 Fujinon

Maverick

40’ expando

Fiber

Calrec Omega

10 Sony

10 Fujinon

Zurich

53’ double expando

UHD/HD/HDR

Fiber

Studer Vista X

16 Sony

16 Fujinon

Unit A - Matthew

53’ expando

Triax

Yamaha M7CL (128 in, 96 out)

6 Sony HXC-100

5 Hard, 2 HH

Unit B - John

40’

Triax

Yamaha M7CL (48 in, 40 out)

6 Ikegami 388W

5 70X, 2 HH

Mobile 2

36’ straight

HD/SD

Triax, SM Fiber for HD-SDI and Robo

Yamaha CL5 (72 channel, 24 mix busses, 8 matrices, and 16 DCA’s)

5 Sony, wired for 8, 1 robo, 2 clock cameras

2 95X, 1 55X, 1 42X, 4 Fujinon ENG 2 23X, 2 18X, 1 Canon WA

39’

Fiber

Soundcraft Vi6 (44/148x96)

10 Sony

10 Fujinon

47’

Both

Studer Vista 5 (42/260x192)

16 Ikegami

16 Fujinon

28’

Fiber

Soundcraft Vi1 (26/84x84)

8 Sony

8 Fujinon

47’

Both

Studer Vista 5 (42/316x248)

16 Ikegami

16 Canon

47’

Fiber

Soundcraft Vi6 (42/148x96)

10 Ikegami

10 Fujinon

47’

Fiber

Studer Vista 5 (42/256x192)

10 Ikegami

10 Canon

36’

Fiber

Studer Vista 1 (32/88x80)

6 Ikegami

6 Fujinon

Slate

40’ expando truck

HD/1080p/4K/HDR

SMPTE fiber

Calrec Artemis Light (40/196)

10 Sony HDC-4300 4K

All 4K: 2 Fujinon 107x, 4 Fujinon 22x8, 4 13x4.5

Steel

53’ expando trailer

HD/1080p/4K/HDR

SMPTE fiber

Calrec Artemis Light (56/196)

16 Sony HDC-4300 4K, Sony F-55/CA-4000

All 4K: 4 Fujinon 107x, 6 Fujinon 22x8, 4 13x4.5

Integrity

50’ trailer

HD 720p, 1080i

Both

Yamaha PM5D digital faders

10 GV LDX 80 Premier

4 H/6 HH

HD1

53’ expando

SD/HD

Both

Calrec Omega

9 Ikegami, wired for 12

10 Canon

HD2

53’ expando

SD/HD/1080p

Both

Calrec Artemis

10 Ikegami, wired for 16

10 Canon

HD3

53’

SD/HD

Both

Calrec Omega

8 Ikegami, wired for 12

10 Canon

HD4

53’ expando

SD/HD/1080p

Both

Calrec Artemis

11 Ikegami, wired for 16

12 Canon

HD-B1

53’

SD/HD/1080p

N/A

Genesis

24’

Fiber

Soundcraft GB8 (32/32)

5 Hitachi, 2 POV

Fujinon, Canon 3/2

Zeppelin

40’

Fiber

Soundcraft GB8 (32/32)

5 Hitachi, 2 POV

Fujinon, Canon 3/2

HDX1

53’ expando

Triax

Yamaha Digital 48

Sony HXC100

66X

HD28

28’

Triax

X32 Digital (40 inputs)

GV 6000 and 6200 Super Mo

55X

FLY1

Flypack

Fiber

x32 Digital (40 inputs)

JVC GY HD

40X

REMI

Remote studio

HD/4K

Fiber

x32 Digital (40 inputs)

GV 6000

40X

HD20u

20’ box

Triax

X32 Digital (40 inputs)

GV 4000

45X

HD32

32’ box

Triax

Yamaha TCL3 (32 inputs)

GV 4000

55X

HD18

Sprinter

Fiber

Mackie 24

Panasonic

40X

MOBILE SPORTS PRODUCTION YEARBOOK 2019

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Ross XPression/ChyronHego HyperX3

Senn., Sony, A-T, EV, Shure

Ross Carbonite, 2 M/E + 4 MiniME, with 3 M/E panel

2 6-ch. GV K2 Dyno

Ross (72x72 HD/64x64 AES, 32x32 analog)

Wired for 2

Kits vary

Sony MVS-8000X, 5M/E

4 8-ch. EVS

PESA

Wired for 2

Kits vary

Sony MVS-8000X, 5M/E

4 8-ch. EVS

PESA

Wired for 2

Kits vary

Sony MVS-7000X, 5M/E

4 8-ch. EVS

PESA

Wired for 1

Kits vary

Sony MVS-8000G, 4M/E

3 8-ch. EVS

PESA

Wired for 2

Kits vary

Sony XVS-7000, 5M/E

4 8-ch. EVS

Wired for 2

Kits vary

Sony MVS-8000G, 4DME

2 6-ch. EVS

PESA

Wired for 1

Kits vary

Sony MVS-6350, 3M/E

2 4-ch. EVS XT NANO

Evertz

Wired for 2

Kits vary

Sony XVS-8000, 5M/E

4 8-ch. EVS

ChyronHego Duet, Vizrt

Full complement

GV Kalypso, 4M/E

1 6-ch. EVS, 2-4 ch EVS

256x256

ChyronHego Duet

Full complement

GV Kalypso, 4M/E

1 6-ch. EVS

64x64

ChyronHego HyperX3, Ross XPression

HMD, Daltech

GV Karrera, 3M/E with Lance/EVS Spotbox

2 EVS XT3 LSM

GV Concerto w/ Encore (128x128 HDSDI/64x64 AES)

Vizrt

Senn.

Sony, 2.5M/E

2 EVS

Ross 128x128

Vizrt

Senn.

Sony, 2.5M/E

3 EVS

NVision 128x128

Vizrt

Senn.

Sony, 2M/E

1 EVS

NVision 64x64

Vizrt

Senn.

Sony, 3M/E

3 EVS

Evertz 128x128

Vizrt and Ross

Senn.

Ross, 3M/E

2 EVS

Ross 128x144

Vizrt

Senn.

Ross, 2.5M/E and 1.5M/E

2 EVS

Ross 144x168

Vizrt

Senn.

Ross, 2M/E

2 EVS

Ross 144x144

ChyronHego Mosaic and Ross XPression

Senn., Sony, Shure, more as requested

GV Kayenne 5 M/E, GV Korona 2 M/E

2 EVS XT3 6-ch.

Imagine Platinum IP3 (288x312 3G HD-SDI, 52x30 4K UHD)

ChyronHego Mosaic and Ross XPression

Senn., Sony, Shure, more as requested

GV Kayenne 5 M/E, GV Korona 2 M/E

4 EVS XT4K 12-ch.

Imagine Platinum IP3 (533 3G inputs, 622 3G outputs, 56 de-embedders, 80 embedders, 32 fiber inputs/outputs, 4 64x6 multiviewers)

ChyronHego HyperX3

GV Karrera K-Frame, 4M/E

3 EVS LSM 6-ch.

NVision HD (512x512/256x256)

ChyronHego HyperX3

Senn., EV, Sony

GV 400/35 HD Kayenne 4-5M/E

2 6-ch. EVS XT2, 1 4-ch. EVS XT2, 1 4-ch. HD XT2

Utah Scientific 400 HD (96x216 video/80x80 AES, 40x40 analog, 128x128 MADI)

ChyronHego HyperX3

Senn., EV, Sony

GV 400/35 HD Kayenne 4-5M/E

2 6-ch. EVS XT3, 1 8-ch. HD XT3 RO, 1 4-ch. EVS XT2

Utah Scientific 400 HD (528x528 router/48x48 embedded, 384x384 MADI, 64x64 AES, 36x36 analog stereo audio)

ChyronHego HyperX3

Senn., EV, Sony

GV 400/25 HD Kayenne 4-5M/E

2 6-ch. EVS XT2, 1 4-ch. EVS XT2, 1 4-ch. EVS XT2 RO

Utah Scientific 400 HD (96x216 HD video, 84x84 AES audio, 40x40 analog audio, 128x128 MADI audio)

ChyronHego Mosaic

Senn., EV, Sony

GV 400/35 HD Kayenne 4-5M/E

2 6-ch. EVS XT3, 1 8-ch. HD XT3 RO, 1 4-ch. HD XT3 SpotBox

Utah Scientific 400 HD (528x528 router/48x48 embedded, 576x576 MADI, 64x64 AES, 36x36 analog stereo)

Wired for 3 graphic units, 2 bugs units, 2 1st & Ten units

N/A

Wired for 4 8-ch. EVS XT3

Utah Scientific 400 HD (144x144)

Ross XPression

Senn., EV, Sony, Crown, Røde

Ross Carbonite 2M/E

6-ch. NewTek 3Play; 4-ch. Abekas Tria

Blackmagic (40x40)

ChyronHego HyperX3

Senn.,EV, Sony, Crown, Røde

Sony MVS-3000, 2M/E

2 6-ch. NewTek 3Play; 4-ch. Abekas Tria

Blackmagic (72x72)

Vizrt

Senn.

GV Kalypso, 4M/E

6-ch. EVS with XFile3

Evertz (96x96 HD)

ChyronHego Duet, Ross XPression

Senn.

Ross Carbonite

8-ch EVS Nano with XFile; 6-ch NewTek 3Play

40x40

Ross XPression

Senn.

Ross Carbonite

4-ch.

16x32

Ross XPression

Senn.

Blackmagic ATEM 4K

4-ch.

80x80

Ross XPression

Senn.

Blackmagic ATEM 2M/E

6-ch NewTek 3Play

16x16

ChyronHego Duet, Ross XPression

Senn.

Blackmagic ATEM 4K

6-ch NewTek 3Play; 2 GV K2 Solo

40x40

Ross XPression/AJT

A-T

Blackmagic ATEM 2M/E

6-ch NewTek 3Play

20x20

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Gearbase

GRAPHICS

221

SOUTH AMERICAN SPORTS TV EXPERTS 7 OBVans, flexible configuration, Ikegami /SONY, EVS, Evertz 100x lenses

+28 YEARS SERVING NATIONAL AND INTERNATIONAL CUSTOMERS ON SPORTS, CONCERTS, RACES AND SPECIAL EVENTS: National Soccer League Conmebol Copa America FIFA´s World Cup Qualifiers Conmebol Copa Libertadores de América Conmebol Copa Sudamericana FIFA´s Woman Soccer World Cup FIFA´s U-17 Soccer World Cup Horse Racing (CHS) Lolapalooza Festival de Viña del Mar UFC, Formula E Davis Tennis Cup Latam F3, League of Legends (LOL) Valle Nevado Sky & Snowboard

Martín Alonso Pinzón # 5935 Las Condes (7580243) Santiago CHILE +56-2-2337-1200 www.chilefilms.cl info@chilefilms.cl

GAME CREEK VIDEO

F&F PRODUCTIONS

ENCOMPASS DIGITAL MEDIA

DOME PRODUCTIONS

Gearbase

COMPANY

224

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS

LENSES (H/HH)

Pioneer 4K

53’ expando

HD/1080p/4K/HDR

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Fujinon

Trillium 4K

53’ expando

HD/1080p/4K/HDR

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Canon

Vista 4K

53’ expando

HD/1080p/4K/HDR

Fiber only

Calrec Apollo (144/1020)

10 Sony 4300

12 Fujinon

Journey HD

53’ expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Canon

Silver HD

53’ expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Fujinon

Pacific HD

53’ expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Fujinon

Atlantic HD

53’ expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Fujinon

Thunder HD

53’ expando

Both

Calrec Sigma (64/320)

10 Sony 1500

12 Canon

Echo HD

53’ expando

Both

Calrec Sigma (64/320)

10 Sony 1500

12 Canon

Sierra HD

53’ expando

Both

Calrec Sigma (64/320)

10 Sony 1500

12 Canon

Spirit HD

53’ expando

Both

Calrec Sigma (64/320)

10 Sony 1500

12 Canon

Horizon HD

53’ expando

Triax

Calrec Alpha 100 (64/118)

10 Sony HSC-300

12 Canon

Majestic HD

53’ expando

Triax

Calrec Alpha 100 (72/108)

10 Sony HSC-300R

12 Canon

Tribute HD

53’ expando

Both

Calrec Omega (56/168)

10 Sony 2400

12 Canon

Hudson HD

53’ expando

Both

SSL C-100 (72/128)

9 Sony 1500

11 Canon

Spring

53’ trailer

Both

Calrec Brio (36/96)

7 Sony 1500

7 Canon

Kodiak HD

40’

Both

Calrec S2 (48)

7 Sony 1500

4 Fujinon/3 Canon

Sidecar HD

16’ trailer

Triax

Mackie 1402 (10)

3 GV LDK 6000

As requested

Beacon (Ku uplink)

30’ non-expando

Fiber

Yamaha MB02R96 (16)

5 Sony 1500

5 Canon

Unite HD

53’ double expando

As requested

TES45

34’ C- or Ku-band

Fiber

PreSonus StudioLive 24.4.2

4 Panasonic HDX-900

Fujinon HA18X7.6

TES5

32’ Ku-band

SMPTE/TAC fiber

Mackie 1604VLZ

Wired for 5 Panasonic HC-3800

Fujinon HA18X7.6

GTX-7

53’ expando

Both

Calrec Artemis Light w/ Bluefin2 (340)

10 Ikegami

6 Fujinon 88X, 4 Fujinon 22X, 2 Fujinon 12X4.5

GTX-9

53’ expando

Both

Calrec Sigma w/ Bluefin

9 Ikegami

6 Fujinon 88X, 4 Fujinon 22X, 4 Fujinon 12X4.5

GTX-10

53’ expando

Both

Calrec Artemis Beam w/ Bluefin2 (340)

10 Ikegami

6 Fujinon 88X, 4 Fujinon 22X, 4 Fujinon 12X4.5

GTX-11

53’ expando

Both

Calrec Artemis Beam w/ Bluefin2 (340)

14 Ikegami

4 Fujinon 101X, 3 Fujinon 87X, 5 Fujinon 22X, 2 Fujinon 12X4.5

GTX-12

53’ expando

Both

Calrec Artemis Beam w/ Bluefin2 (340)

14 Sony 1500

4 Fujinon 101X, 3 Fujinon 87X, 5 Fujinon 22X, 2 Fujinon 12X4.5

GTX-14

53’ expando

Both

Calrec Artemis Beam w/ Bluefin2 (340)

14 Sony 1500

3 Fujinon 101X, 4 Fujinon 87X, 5 Fujinon 22X, 2 Fujinon 12X4.5

GTX-16

53’ double expando

HD/1080p

Both

Calrec Artemis Beam w/ Bluefin2 (340)

14 Sony HDC-2400

4 Fujinon 101X, 3 Fujinon 88X, 4 Fujinon 22X, 3 Fujinon 12X4.5

GTX-17

53’ double expando

HD/1080p

Both

Calrec Artemis Beam V8 w/ highdensity Bluefin2

14 Sony HDC-2500

8 Fujinon 88X, 4 Fujinon 23X, 3 Fujinon 16X4.5

GTX-18

53’ double expando

HD/1080p/4K/HDR

Fiber

Calrec Apollo w/ Bluefin2 (1,020)

14 Sony HDC-4300L

8 Fujinon 4K 107.8.4, 5 Fujinon 4K 18X4.5, 1 Fujinon 4K 22X4.5, 3 Fujinon 4K 14X4.5

53’ expando

HD/1080p

Both

Calrec Artemis Surround Sound (144 12-Layer Faders/1020 Channels)

10 Sony HDC 2500 MultiFormat

5 Canon Digi Super 76x, 1 Canon Digi Super 100x, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Webby

53’ expando

HD/1080p

Both

Calrec Artemis Surround Sound (144 12-Layer Faders/1020 Channels)

12 Sony HDC 4300 MultiFormat

6 Canon Digi Super 95 X 9.3 Lenses, 2 Canon Digi Super 100 X 9.3 Lenses, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

MOBILE SPORTS PRODUCTION YEARBOOK 2019

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame, 4M/E

4 EVS XT4K, 1 XT3 MAX, 4-ch. XT3 SpotBox

Evertz (540x450/48x96)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame, 4M/E

4 EVS XT4K, 1 XT3 MAX, 4-ch. XT3 SpotBox

Evertz (576x540/48x96)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame, 4M/E

4 EVS XT4K, 1 XT3 MAX, 4-ch. XT3 SpotBox

Evertz (558x576/48x96)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV K- Frame, 4M/E

3 EVS XT3 MAX, 1 6-ch. XT3, 4-ch. XS SpotBox

Evertz (288x232/128x128)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV K- Frame, 4M/E

3 EVS XT3 MAX, 1 6-ch. XT3, 4-ch. XS SpotBox

Evertz (282x197/128x128)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame, 4M/E

2 EVS XT3 MAX, 1 8-ch. XT3, 4-ch. XS SpotBox

Evertz (282x282/128x128)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame, 4M/E

2 EVS XT3 MAX, 1 8-ch. XT3, 1 6-ch. XT3, 4-ch. XS SpotBox

Evertz (282x282/128x128)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4M/E

2 EVS XT3 MAX, 1 8-ch. XT3, 4-ch. XS SpotBox

Evertz (288x180/128x128)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4M/E

2 EVS XT3 MAX, 1 8-ch. XT3, 4-ch. XS SpotBox

Evertz (288x180/128x128)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4M/E

2 EVS XT3 MAX, 1 8-ch. XT, 4-ch. XS SpotBox

Evertz (288x180/128x128)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

2 EVS XT3 6-ch, 1 8-ch. XT3, 1 4-ch. XS SpotBox

GV Trinix (222x160)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

2 EVS XT3 6-ch, 1 XT2 6-ch, 1 XT2 6-ch. SpotBox

GV Trinix (224x320/96x64)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4M/E

2 EVS XT3 6-ch, 1 8-ch. XT3, 4-ch. XS SpotBox

GV Trinix (224x320/96x64)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4M/E

2 EVS XT3 6-ch, 1 8-ch. XT3, 4-ch. XS SpotBox, XFile3, XHub; XDCAM

Harris (64x64/128x128)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

3 EVS XT2 6-ch., 4-ch. XS SpotBox

GV Trinix (256x256/256x256)

ChyronHego HyperX 3.0, Lyric Pro

A-T, Senn., EV, Sony

Ross Carbonite Black 3M/E

2 EVS XT2 6-ch 2-ch XS Spot Box

Evertz (86x95)

ChyronHego HyperX 3.0, Lyric Pro / Mosaic XL2

A-T, Senn., EV, Sony

GV Karrera, 2.5M/E

2 EVS XT2+ 6-ch, 1 4-ch. XS SpotBox

Evertz (84x120/32x32)

As requested

FOR-A HVS-300HS

As requested

Blackmagic 16x16

As requested

A-T, Senn., EV, Sony

FOR-A HVS-300HS

UNITE is integrated with a router and intercom system and is ready to deploy for multipurpose function as a host facility

N/A

As requested

1 AJA Ki Pro Rec/Play; additional available

Available

Ross XPression

N/A

Ross Crossover Solo

2 AJA Ki Pro Rec/Play; additional available

Blackmagic (40x40 SDI embedded audio only)

N/A

Sony

Panasonic HS-410n

2 6-ch. EVS XT2+, 2 4-ch. RO XT2+, 1 4-ch. SpotBox

Blackmagic (40x40 SDI embedded audio only)

ChyronHego HyperX3

A-T, EV, Senn., Shure, Sony

GV Kalypso, 4M/E

2 6-ch. EVS XT2, 2 4-ch. RO XT2, 1 4-ch. SpotBox

PESA HD multirate video (144x352), DRS audio (128x128 analog, 128x128 AES, 128x128 MADI, 256x256 embedded)

ChyronHego HyperX3

A-T, EV, Senn., Shure, Sony

GV Kayenne, 4.5M/E; K2 Solo, GV Kayenne Image Store

2 6-ch. EVS XT2+, 2 4-ch. RO XT2+, 1 4-ch. SpotBox

PESA HD multirate video (208x464), DRS audio (256x256 analog, 256x256 AES, 128x128 MADI, 128x128 embedded)

ChyronHego HyperX3

A-T, EV, Senn., Shure, Sony

GV Kayenne, 4.5M/E; K2 Solo, GV Kayenne Image Store

4 8-ch. EVS XT3, 1 4-ch. XT2 SpotBox

PESA HD multirate video (192x416), DRS audio (256x256 analog, 256x256 AES, 128x128 MADI, 256x256 embedded)

ChyronHego HyperX3

Senn., EV, Sony

GV Kayenne, 4.5M/E; GV Kayenne Image Store

2 6-ch. EVS XT2, 2 4-ch. XT2, 1 4-ch. XT2 SpotBox

GV Trinix (256x256 HD/SD)

ChyronHego HyperX3

Senn., EV, Sony

GV Kayenne K-Frame, 6M/E; GV Kayenne Image Store

4 6-ch. EVS XT2, 1 XT2, 4-ch. SpotBox

GV Trinix (256x256 HD/SD)

ChyronHego HyperX3

Senn., EV, Sony

GV Kayenne K-Frame 6M/E; GV Kayenne, Image Store, 4-ch. K2 Summit

4 8-ch. EVS XT3, 1 6-ch. XT3 SpotBox

GV NVision (288x576)

ChyronHego HyperX3

Senn., EV, Sony

GV Kayenne K-Frame, 9M/E; GV Kayenne Image Store

4 8-ch. EVS XT3, 1 6-ch. XT3 SpotBox

Evertz EQX (288x576)

ChyronHego HyperX3

Senn., EV, Sony

GV Kayenne K-Frame, 9M/E; GV Kayenne Image Store

4 12-ch. EVS XT4, 1 6-ch. XT3 SpotBox

Evertz (496x962 HD)

Client request

Senn., EV, Sony

GV Kayenne Elite K-Frame, 9M/E; GV Image Store

4 12-ch. EVS XT4, 1 6-ch. XT3 SpotBox

Evertz 576x1134 w/ Xlink HD router

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 3M/E

3 EVS 6-ch. XT3, 2 EVS 12-ch XT3, 1 EVS 4-ch. XT3

Evertz EQX HD Video (396x684), Evertz EMX Audio (384x384 AES, 256x256 MADI, 288x288 Analog, 128x128x16 HD-SDI Embedded)

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 4.5M/E

3 EVS 6-ch. XT3, 2 EVS 12-ch. XT3, 1 EVS 4-ch. XT3

Evertz EQX HD Video (396x684), Evertz EMX Audio (384x384 AES, 256x256 MADI, 288x288 Analog, 128x128x16 HD-SDI Embedded)

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Gearbase

GRAPHICS

225

www.gamecreekvideo.com

207.282.9680 | sales@cspmobile.com | www.cspmobile.com

GAME CREEK VIDEO

Gearbase

COMPANY

228

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS

LENSES (H/HH)

Apollo

53’ expando

HD/1080p

Both

Calrec Artemis Surround Sound (144 12-Layer Faders/1020 Channels)

10 Sony HDC-2500 multi-format, 2 Sony HDC-4300 SSMO

5 Canon Digi Super 76 X 9.3 Lenses, 1 Canon Digi Super 100 X 9.3 Lenses, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Maverick

53’ expando

HD/1080p/4K/HDR

Both

Calrec Artemis Surround Sound (144 12-Layer Faders/1020 Channels)

12 Sony HDC-2500 multi-format

7 Canon Digi Super 72x 9.3 Lenses, 2 Canon 11x4.7B Wide Angle ENG

Dynasty

53’ expando

HD/1080p

Both

Calrec Alpha w/ Bluefin (96 Dual Layer Faders/512 Channels)

12 Sony HDC-1500 multi-format

2 Canon Digi Super 100 X 9.3 Lenses, 4 Canon Digi Super 86 X 9.3 Lenses, 3 Canon Digi Super 75 X 9.3 Lenses, 3 Canon 22x7.8 ENG, 1 Canon 11x4.7 Wide Angle ENG

Freedom

53’ expando

Both

Calrec Alpha w/ Bluefin (96 Dual Layer Faders/512 Channels)

10 Sony HDC-1500 multi-format

4 Canon Digi Super 75 X 9.3 Lenses, 2 Canon Digi Super 86 X 9.3 Lenses, 1 Canon Digi Super 100 X 9.3 Lenses, 4 Canon 21x7.8 ENG, 1 Canon 11x4.7B Wide Angle ENG, 1 Canon 21Ax7.8

Gemini

44’ dual expando

HD/1080p

Both

Calrec Omega Surround Sound (64 Faders/160 Channels)

6 Sony HDC-1500 multi-format

4 Canon Digi Super 72 X 9.3 Lenses, 2 Canon 22x7.8 ENG, 1 Canon 14x4.3 Wide Angle ENG

Discovery

44’ dual expando

HD/1080p

Both

Calrec Artemis Surround Sound (144 12-Layer Faders/1020 Channels)

6 Sony HDC-1500 multi-format

4 Canon Digi Super 72 X 9.3 Lenses, 2 Canon 22x7.8 ENG, 1 Canon 14x4.3 Wide Angle ENG

Pride

53’ expando

HD/1080p

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-Layer Faders/1020 Channels)

10 Sony HDC-2500 multi-format

2 Canon Digi Super 100 X 9.3 Lenses, 5 Canon Digi Super 75 X 9.3 Lenses, 4 Canon 22x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

River Hawk

53’ expando

HD/1080p/4K/HDR

Both

Calrec Artemis Surround Sound (144 12-Layer Faders/1020 Channels)

12 Sony HDC-4300 multi-format

8 Canon Digi Super 95x8.6, 2 Canon 22x7.8 ENG, 2 Canon HJ17ex6.2B IRSE, 2 Canon 14x4.3 Wide Angle ENG

Glory

53’ expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-Layer Faders/1020 Channels)

14 Sony HDC-2500 multi-format

5 Canon Digi Super 100x9.3, 3 Canon Digi Super 86x9.3, 2 Canon Digi Super 75x9.3, 2 Canon 22x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

Justice

53’ expando

HD/1080p

Both

Calrec Apollo Surround Sound (144 12-Layer Faders/1020 Channels)

10 Sony HDC 2400 Multiformat

1 Canon Digi Super 100x9.3, 1 Canon Digi Super 86x9.3, 3 Canon Digi Super 75x9.3, 2 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Larkspur

53’ expando

HD/1080p

Both

Calrec Alpha w/ Bluefin Surround Sound (80 Dual Layer Faders/320 Channels)

12 Sony HDC-2500-R multi-format

1 Canon Digi Super 100x9.3, 4 Canon Digi Super 75x9.3, 4 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Legends

53’ expando

Both

Calrec Alpha w/ Bluefin Surround Sound (80 Dual Layer Faders/320 Channels)

10 Sony HDC-1500-R multi-format

1 Canon Digi Super 86x9.3, 5 Canon Digi Super 75x9.3, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Liberty

53’ expando

Both

Calrec Alpha w/ Bluefin Surround Sound (80 Dual Layer Faders/320 Channels)

12 Sony HDC-1500-R multi-format

2 Canon Digi Super 100x9.3, 4 Canon Digi Super 86x9.3, 2 Canon Digi Super 75x9.3, 2 Canon 22x7.8 ENG, 2 Canon 11x4.7B Wide Angle ENG

Northstar

53’ expando

Both

Calrec Alpha w/ Bluefin Surround Sound (64 Dual Layer Faders/320 Channels)

10 Sony HDC-1500-R multi-format

6 Canon Digi Super 75x9.3, 3 Canon 22x7.8 ENG, 2 Canon 11x4.7B Wide Angle ENG

Patriot

53’ expando

Both

Calrec Alpha (64 Faders/108 Stereo Channels/104 Mono Channels/52 Surround Sound Channels)

12 Sony HDC-1500-R multi-format

2 Canon Digi Super 86x9.3, 5 Canon Digi Super 75x9.3, 4 Canon 21x7.8 ENG, 1 Canon 11x4.7B Wide Angle ENG

Spirit

53’ expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

12 Sony HDC-2500 multi-format

2 Canon Digi Super 100 X 9.3, 6 Canon Digi Super 95 X 8.6, 3 Canon 22x7.8 ENG, 4 Canon 14x4.3 Wide Angle ENG

Victory

53’ expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

12 Sony HDC-2500 multi-format

2 Canon Digi Super 100x9.3, 5 Canon Digi Super 86x9.3, 3 Canon 22x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

PeacockOne

Two 53’ expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

23 Sony HDC-4300 multi-format

6 Canon Digi Super 100x9.3, 6 Canon Digi Super 95 X 8.6, 8 Canon 22x7.8 ENG, 4 Canon 14x4.7 Wide Angle ENG

Encore

Three 53’ expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

14 Sony HDC-4300 multi-format

6 Canon Digi Super 100x9.3, 4 Canon Digi Super 95 X 8.6, 4 Canon 22x7.8 ENG, 4 Canon 14x4.7 Wide Angle ENG

Madison

53’ expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

12 Sony HDC-4300 multi-format

6 Canon Digi Super 95, 3 Canon 24x7.8 ENG, 3 Canon 14x4.7 Wide Angle ENG

NITRO

53’ expando

HD/1080p/4K/HDR

Both

Calrec Artemis Surround Sound (144 12-layer Faders/1020 Channels)

12 Sony HDC-2500 multi-format

6 Canon Digi Super 95, 3 Canon 24x7.8 ENG, 3 Canon 14x4.7 Wide Angle ENG

Chesapeake

53’ expando

HD/1080p/4K/HDR

Both

Calrec Artemis Surround Sound (144 12-layer Faders/1020 Channels)

13 Sony HDC-4300 multi-format

9 Canon Digi Super 95, 3 Canon 24x7.8 ENG, 3 Canon 14x4.7 Wide Angle ENG

Yogi

Two 53’ expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

13 Sony HDC-4300 multi-format

9 Canon Digi Super 95 X 8.6, 4 Canon 22x7.8 ENG, 4 Canon 14x4.7 Wide Angle ENG

Two 53’ expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

13 Sony HDC-4300 multi-format

9 Canon Digi Super 95 X 8.6, 4 Canon 22x7.8 ENG, 4 Canon 14x4.7 Wide Angle ENG

MOBILE SPORTS PRODUCTION YEARBOOK 2019

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame, 4.5M/E

3 EVS 12-ch. XT3, 1 EVS 4-ch. XT3

Evertz EQX HD Video (396x684), Evertz EMX Audio (384x384 AES, 256x256 MADI, 288x288 Analog, 128x128x16 HD-SDI Embedded)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 4.5M/E

6 EVS 6-ch. XT3, 2 EVS 12-ch. XT3, 1 EVS 4-ch. XS SpotBox

Evertz Multiformat Video Router (576x1152), Evertz Audio Router (1024x1024)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

5 EVS 6-ch. XT2+, 1 EVS SpotBox

Evertz EQX HD Video (288x288 + 288 XLink), 512x512 NVision Mono Audio Router (AES and Analog)

ChyronHego Mosaic

Senn., Beyer, EV, Sony, Shure

GV Kayenne, 3M/E

Evertz EQX HD Video (288x288), Evertz EMX 2 EVS 6-ch. HXT3, 2 EVS 4-ch. XT2+ RO, 1 EVS Audio (384x384 AES, 1024x1024 MADI, 192x192 XS SpotBox Analog, 128x128x16 HD-SDI Embedded)

ChyronHego Mosaic

Senn., Beyer, EV, Sony, Shure

GV Kayenne, 4.5M/E

Evertz EQX HD Video (288x288), Evertz EMX 2 EVS 6-ch. XT2+, 2 EVS 4-ch. XT2+ RO, 1 EVS Audio (384x384 AES, 1024x1024 MADI, 192x192 4-ch. XT2+ SpotBox Analog, 128x128x16 HD-SDI Embedded)

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV K-Frame, 4.5M/E

4 EVS 6-ch. XT3, 1 EVS XS4 SpotBox

576x1152 Multiformat Video Router With 128x128 -Embedded MUX/DEMUX, 192x192 AES Audio, 288x288 Analog Audio, 16x16 MADI

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 4M/E

4 EVS 12-ch. XT4K, 1 EVS XS4 SpotBox

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX, 192x192 AES Audio, 288x288 Analog Audio, 16x16 MADI

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 4.5M/E

6 EVS 6-ch. XT3, 1 EVS XS4 SpotBox

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX, 192x192 AES Audio, 288x288 Analog Audio, 16x16 MADI

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 3M/E

2 EVS 12-ch. XT3, 1 EVS 6-ch. XT3, 1 EVS XS 4-ch. SpotBox

Evertz EQX HD Video (396x684), Evertz EMX Audio 384x384 AES, 256x256 MADI, 288x288 Analog, 128x128x16 HD-SDI Embedded

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 3M/E

6 EVS 6-ch XT3, 1 EVS 4-ch. XT2+ SpotBox

Evertz EQX HD Video (396x684), Evertz EMX Audio 384x384 AES, 256 x 256 MADI, 288x288 Analog, 128x128x16 HD-SDI Embedded

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

2 EVS 12-ch. XT3, 1 EVS 6-ch. XT3 RO, 1 EVS XS4 SpotBox

288x576 Pesa HD Video, 704x576 Pesa DRS Mono Audio Router (AES and Analog)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 4.5M/E

3 EVS 12-ch. XT4K, 1 EVS XS4 SpotBox

384x720 Pesa HD Video, 2048x2048 Pesa DRS Mono Audio Router (AES, Analog, and MADI)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 4.5 M/E

2 EVS 12 -ch. XT4K, 1 EVS XS4 SpotBox

288x576 Pesa HD Video, 704x576 Pesa DRS Mono Audio Router (AES and Analog)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

4 EVS 6-ch XT3, 1 EVS SpotBox

Evertz EQX HD Video (288x288 + 288 XLink), 512x512 NVision Mono Audio Router (AES and Analog)

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame 4.5M/E

3 EVS 12-ch. XT3, 3 EVS 6-ch. XT3 RO, 1 EVS XS 4 SpotBox

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX, 192x192 AES Audio, 288x288 Analog Audio, 16x16 MADI

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 4.5 M/E

6 EVS 6-ch. XT3, 1 EVS XS4

576x1152 Multiformat Video Router With 128x128 -Embedded MUX/DEMUX, 192x192 AES Audio, 288x288 Analog Audio, 16x16 MADI

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

21 EVS 6-ch. XT3, 3 EVS 6-ch XT2+ SpotBox

Two 576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX, 192x192 AES Audio, 288x288 Analog Audio, 16x16 MADI

ChyronHego Mosaic

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

8 EVS 12-ch. XT4K, 1 EVS XS4 SpotBox

A-Unit: 968x2214 Multiformat Video Router With 468x378 Embedded MUX/DEMUX, 192x192 AES Audio, 192x288 Analog Audio, 37x37 MADI

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

3 EVS 12-ch. XT3, 1 EVS XS4 SpotBox

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX, 192x192 AES Audio, 288x288 Analog Audio, 16x16 MADI

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

3 EVS 12-ch. XT3, 1 EVS XS4 SpotBox

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX, 192x192 AES Audio, 288x288 Analog Audio, 16x16 MADI

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

4 EVS 12-ch. XT3, 1 EVS 4-ch. XS4 SpotBox

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX, , 192x192 AES Audio, 288x288 Analog Audio, 16x16 MADI

Vizrt/ChyronHego

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

6 EVS 12-ch. XT4K, 1 EVS XS4 SpotBox

Evertz EXE SVDN 744 x 948 + 989, Evertz EMR 31,968x31,968 all embedded

Vizrt/ChyronHego

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

6 EVS 12-ch. XT4K, 1 EVS XS4 SpotBox

Evertz EXE SVDN 744 x 948 + 989, Evertz EMR 31,968x31,968 all embedded

Evertz EQX HD Video (396x684), Evertz EMX 3 EVS 6-ch. XT3, 2 EVS 12-ch. XT3, 1 EVS 4-ch. Audio (384x384 AES, 256x256 MADI, 288x288 XT3 Spotbox Analog, 128x128x16 HD-SDI Embedded)

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Gearbase

GRAPHICS

229

GEARHOUSE BROADCAST

Gearbase

COMPANY

HIGH ROCK MOBILE TV

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS

LENSES (H/HH)

Columbus

53’ expando

4K UHD/HD

Fiber

Lawo

20 Sony HDC-4300

Fujinon

Maestro

40’ Gerling Super Stallion expando

Both

Calrec Omega (48/112)

6-12 Sony HSC-300

Canon

Prodigy

40’ Gerling Stallion

Both

Calrec Brio (36/72)

6-8 Sony HSC-100

Canon

Ocean

36’ ocean-going trailer

HD/3G

Fiber

Calrec Brio

8 Hitachi SK1200/1300

Canon

Opus

27’ Gerling Super Nomad/ REMI

Both

Yamaha QL-5 (32/72)

6-8 Sony HSC-300

Canon

Ovation

27’ Gerling Super Nomad/ REMI

Both

Yamaha QL-5 (32/72)

6-8 Sony HSC-300

Canon

Busker

24’ Mercedes Sprinter/REMI

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon

Solo

24’ Mercedes Sprinter/REMI

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon

Trouper

24’ Mercedes Sprinter/REMI

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon

Skye

24’ Mercedes Sprinter

HD/3G

Fiber

Calrec

6 Hitachi SK1200/1300

Canon

Iona

24’ Mercedes Sprinter

HD/3G

Fiber

Calrec

6 Hitachi SK1200/1300

Canon

The Brain

Sprinter

HD/3G

Fiber

Calrec

8 Hitachi SK1200/1300

Canon

Flypack A

16 camera flypack

HD/3G

Fiber

DiGiCo SD10

16 Hitachi SK1200

Canon

Flypack B

8 camera flypack

Fiber

Calrec Brio

8 Hitachi SK1200/1300

Canon

2 Canon HD 95x8.6, 2 Canon HD 8 Sony HDC-1700L, 7 Sony 80x8.8, 2 Canon HD 14x4.3 ENG/EFP HDCU-2500L, 1 Sony HDC4300 4K, 1 Sony HDCU-4300L Wide Angle, 3 Canon 24x7.5 ENG/EFP

40’ dual expando

Fiber

Calrec Artemis Light w/ Bluefin2 and Hydra2 (40 Faders)

HRS-TV1

40’ expando

Triax

Yamaha DM-2000 (24/96)

8 GV LDK Elite

1 72X H, 2 55X H, 2 wide-angle, 3 15X, 1 22X HH

HRS-TV2 4K

26’ straight

4K-capable

Fiber

Midas 3224 (24/36)

6 UC-3000 4K/HD Panasonic

2 55x, 1 22x, 1 wide-angle, 4 15x

HD-1

53’ expando

Both

Calrec Sigma (64/256)

8 Sony HDC-1000 studio, 8 Sony HDC handheld, 4 Sony HDLA-1500

Canon 10 H/8 HH

HD-2

53’ expando plus a second control room and expando

Both

Calrec Sigma (64/256)

4 Sony HDC-1000 studio, 4 Sony HDC handheld, 2 Sony HDLA-1500

Canon 6 H/4 HH

HD-3

53’ expando

HD/1080p

Both

Calrec Artemis Beam (64/544)

10 Sony HDC-2400L, 2 Sony HDC-2500L

6 Canon HH 22X, 4 Canon XJ95X8.6, 5 Canon XJ80X8.8

HD-4

53’ expando

Triax

SSL (56/128)

12 GV LDK 8000

4 Canon 22X HH, 8 Canon hard

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

JAS DIGITAL

New Wave

30’

Fiber

Yamaha M7CL (32)

8 Sony

8 Fujinon

JONES MOBILE TV

VisionHD

51’ expando

Both

Calrec Summa (44/128)

8 Sony HDC-2400

10 Fujinon, 4 88X, 2 77X, 3 23X, 1 14X

38’ straight

HD 720p/1080i

Triax

Behringer X32

5 GV Focus 75

4 Fujinon 20X, 1 72X

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

SMPTE fiber

Yamaha M7CL; Avid S3

6 GV LDK 8000

1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 12X wide-angle

HD-2

38’ expando

SMPTE fiber

Yamaha DM2000; Avid S3

6 GV LDK 8000

1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 12X wide-angle

HDX-7

40’ expando

Triax

Yamaha PM 5D

6 GV LDK 8000 Elite

3 AngenieuX 70X, 2 AngenieuX 19X, 1 AngenieuX 10X wide-angle

HDX-8

40’ expando

Triax

Yamaha PM 5D

6 GV LDK 8000 Elite

3 AngenieuX 70X, 2 AngenieuX 26X, 1 AngenieuX 10X wide-angle

HDX-9

40’ expando

Triax

DiGiCo SD5

7 GV LDX 80

3 Canon 86X, 2 Canon 22X, 1 Canon 12X wide-angle

HDX-10

42’ expando

Triax

DiGiCo SD5

8 GV LDX 80

3 Canon 86X, 2 Canon 22X, 1 Canon 14X wide-angle

Lyon 3

43’ expando

HD/1080p/HDR

Both

Calrec Artemis (56/240)

7 GV

4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X

Lyon 4

43’ expando

Both

Calrec Artemis (56/240)

6 GV

4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X

Lyon 5

53’ expando

Both

Calrec Q2 (120/120)

10 GV

1 Fujinon 101X, 1 Fujinon 88X, 4 Fujinon 72X, 3 Fujinon 22X, 1 Fujinon 12X

LIVE MEDIA GROUP

LESEA PRODUCTIONS

IMS PRODUCTIONS

HRS MOBILE

High Rock 1

LYON VIDEO

232

TRUCK NAME

MOBILE SPORTS PRODUCTION YEARBOOK 2019

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Ross XPression

Senn.

GV Kayenne K-Frame

4 EVS XT4

Imagine IP3 (1000x1000), Lawo VSM/Lawo (4096x4096)

ChyronHego HyperX3

Senn., Sony, EV

GV Kalypso, 4M/E

2 EVS XT3

128x128 video, 128x128 audio, 72x144 video mon.

ChyronHego HyperX3

Senn., Sony, EV

Sony MVS-8000, 2.5M/E

2 EVS XT3

64x64 video, 64x64 audio, 72x144 video mon.

As requested

Senn.

Ross Carbonite

1 EVS XT3

Ross (144x144)

As requested

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

72/72 video

As requested

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

72/72 video

As requested

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

40x40 video

As requested

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

40x40 video

As requested

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

40x40 video

As requested

Senn.

SimplyLive ViBox

1 8-ch. EVS

SAM Halo (64x64)

As requested

Senn.

SimplyLive ViBox

1 8-ch. EVS

SAM Halo (64x65)

As requested

Senn.

SimplyLive ViBox

1 8-ch. EVS

Ross (144x144)

As requested

Senn.

Ross Vision

3 8-ch. EVS

Utah Scientific (288 x 288)

As requested

Senn.

Ross Carbonite

1 8-ch. EVS

Ross (144 x144)

ChyronHego Mosiac

Senn., Sony, A-T

GV Kayenne K-Frame, 4.5M/E

1 EVS XT3 12-ch., 1 EVS XT3 6-ch.; 1 EVS 4-ch. XS3

Utah Scientific 400 Series 2 (528 router 254x456 SD/HD/3G, 72x72 disembed/reembed, 12x12 fiber and 9x9 madi)

ChyronHego Duet HyperX2

12 shotgun, 6 HH

GV Kalypso, 4M/E

1 XT3 EVS 12-ch.

HD/SD router (288x288)

Upon request

6 shotgun, 6 HH

Ross Carbonite Black Plus

1 XT3 6 ch. EVS

Ross Ultrix 64x64

ChyronHego Mosaic XL

Senn., Shure, EV, Sony

GV Kalypso

2 6-ch. EVS XT2 LSM, 4 6-ch. XT2 RO, 4-ch. SpotBox

NVision w/ Jupitor control (288x236 HD/ SD/224x256 AES, 192x192 analog)

ChyronHego Mosaic XL

Senn., Shure, Sony

GV Kayenne, 4.5M/E

2 6-ch. EVS XT2 LSM, 1 6-ch. XT-2 RO, 1 4-ch. XT2 RO, 1 4-ch. SpotBox

NVision w/ Jupitor control (288x504 HD/ SD/224x256 AES, 192x192 analog)

2 ChyronHego Mosaic EfX XL

Senn., Shure, Sony

GV Kayenne K-Frame, 5M/E

2 6-ch. EVS XT3 LSM; 3 6-ch. XT3 RO, 1 6-ch. XS SpotBox

Evertz EQX (314x314 3G/HD/SD, of which 80x80 support audio, 96x96 stereo analog, 96x96 unbalanced AES, 19x19 MADI)

ChyronHego HyperX3

Senn., Sony, EV

GV Kalypso

2 6-ch. EVS LSM XT2, 1 4-ch. XT2 RO SpotBox

Evertz EQX (288x288 HD/SD), NVision (256x256 unbalanced AES)

ChyronHego Mosaic EFX XL

Senn., A-T, Shure, EV, Sony

GV Kayenne K-Frame, 7M/E

2 8-ch. EVS XT3 LSM, 4 8-ch. XT3 RO, 1 6-ch. XS3 SpotBox

Evertz EQX (314x1276 3G/HD/SD, of which 160x160 support audio, 96x96 stereo analog audio, 96x96 unbalanced AES, 34x34 MADI)

ChyronHego HyperX2

Shure

Sony MFS-2000, 1.4M/E

EVS available on request

Harris Panace video (32x32 HD-SDI), Panace audio (32x32 HD-SDI analog)

ChyronHego Duet HyperX3

A-T, Sony, EV

GV Kayenne, 4.5M/E; GV Kayenne

1 12-ch. EVS XT3, 4-ch. XT3 RO

PESA Cheetah 64XE, Cheetah DRS (128x128)

Pro Presenter Apple Mac Mini Sports Graphics HD scorebug w/ OCR clock

Lectrosonics, Senn.

GV Karrera, 2M/E

GV 6-ch. K2 Dyno

Miranda CR 6400 (64x64)

ChyronHego Mosaic, Vizrt Trio

Senn., Lectrosonics, Sony

GV Kayenne, 4M/E

6-ch. EVS XT3, 4-ch. XT3 RO

NVision (138x249 with integrated AES audio)

Wired for 1

As requested

GV Kalypso, 2.5M/E

Wired for 2

GV Concerto (32x32)

Wired for 1

As requested

GV Kalypso, 2.5M/E

Wired for 2

GV Concerto (32x32)

ChyronHego Duet HyperX3

As requested

GV Kalypso, 4M/E

1 6-ch. EVS XT-3, 1 4-ch. XT2

GV Concerto (96x64)

ChyronHego Duet HyperX2

As requested

GV Kalypso, 2M/E

1 6-ch. EVS XT2, 1 4-ch. XT2 RO

GV Concerto (96x64)

ChyronHego Duet LEX

As requested

GV Karrera, 4M/E

1 6-ch. EVS XT3, 1 6-ch. XT2

Utah Scientific (216x324)

ChyronHego Duet LEX

As requested

GV Kayenne, 4M/E

1 6-ch. EVS XT3, 1 6-ch. XT2

Utah Scientific (216x324)

Client supplied

Senn., A-T

GV Kalypso, 3M/E

2 6-ch. EVS, 1 4-ch. RO SpotBox

Evertz (280x442/1312x1696)

Client supplied

Senn., A-T

GV Kalypso, 3M/E

3 6-ch. EVS, 1 4-ch. RO SpotBox

Evertz (280x442/1312x1696)

ChyronHego HyperX3

Senn., A-T

GV Kalypso, 4M/E

3 6-ch. EVS, 1 4-ch.RO/SpotBox

GV (video 256x448, audio 256x256)

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Gearbase

GRAPHICS

233

INTRODUCING THE ALL NEW

GTX-18B

DOUBLE EXPANDO, MULTI FORMAT, 4K W/HDR, 1080P, 1080I, 720P · Multi-functional Double Expandable B Unit that can act as standalone unit when needed · Wired for 10-12 channel EVS’s

SAND BOX

VIDEO

GRAPHICS

REPLAY/ROBO

· Edit Room/Sand Box · Separate router & comms

GRAPHICS

ENGINEERING

UPPER STORAGE CABINET FOLD DOWN TABLE FOR MAINTENANCE

1ST&10/REPLAY

For the complete specs on any of our HD Units, go to fandfhd.tv

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. INSPIRED BY VISIONARY DESIGN, COMMITTED TO ENGINEERING EXCELLENCE

P 727.530.5000

WWW.FANDFHD.TV

BRINGING YOUR BROADCAST VISION TO LIFE

PROJECT MANAGEMENT

•

SYSTEMS DESIGN

EQUIPMENT PROCUREMENT

•

LOGISTICS SUPPORT

• •

•

INSTALLATION

•

TEST AND COMMISSIONING

• •

•

MOBILE TV GROUP

METROVISION

LYON VIDEO

Gearbase

COMPANY

236

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS

LENSES (H/HH)

Lyon 6

53’ expando

Both

Calrec Alpha (72/480), Calrec Omega (56/160)

14 GV, 2 GV Extreme SSMO

2 Fujinon 101X, 2 Fujinon 88X, 6 Fujinon 72X, 6 Fujinon 22X, 2 Fujinon 12X

Lyon 7

53’ expando

Both

Calrec Sigma (64/320)

10 GV, 1 GV Extreme SSMO

1 Fujinon 101X, 2 Fujinon 88X, 4 Fujinon 72X, 4 Fujinon 22X, 2 Fujinon 12X

Lyon 8

53’ expando

Both

Calrec Sigma (64/320)

12 GV

1 Fujinon 101X, 2 Fujinon 99X, 2 Fujinon 88X, 2 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X

Lyon 9

50’ expando

Both

Calrec Omega (56/160)

9 GV

1 Fujinon 101X, 2 Fujinon 88X, 3 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X

Lyon 10

53’ expando

Both

Calrec Omega (56/160)

10 GV

1 Fujinon 101X, 2 Fujinon 88X, 4 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X

Lyon 11

53’ expando

HD/1080p/4K/HDR

Both

Calrec Apollo (144/1,020)

11 GV

2 Fujinon 107X, 3 Fujinon 99X, 3 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 14X

Lyon 12

53’ expando

HD/1080p/HDR

Both

Calrec Artemis (64/340)

11 GV

1 Fujinon 101X,3 Fujinon 99X, 2 Fujinon 88X, 1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X

Lyon 14

53’ expando

HD/1080p/4K/HDR

Both

Calrec Apollo (144/1,020)

11 GV

1 Fujinon 107X, 4 Fujinon 99X, 2 Fujinon 80X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 13X

HD-1

40’ expando

Both

Studer Vista 5 (32 AES, 32 analog)

6 Sony HDC-1500

3/3 +

HD-2

40’ expando

Both

Calrec Omega w/ Bluefin (64 AES, 64 analog)

6 Sony HDC-1500

3/3 +

HD-3

40’

Both

Midas M32 (40 channels)

5 Sony HDC-1500

2/3 +

HD-5

40’ expando

Both

Calrec Omega (32 AES, 64 analog)

7 Sony HDC-1400

4/4 +

12HDXs

53’ expando

Triax

Euphonix

8 GV LDK 8000 Elite

6 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG

18HDX

53’ expando

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

22HDX-U

48’ expando

Triax

Euphonix

8 GV LDK 8000 Elite

6 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 12X6.5 ENG

23HDXs

48’ expando

Triax and SSMO fiber

Euphonix

6 GV LDX 80, 2 GV 6X SSMO

6 Canon 72X9.3, 2 Canon 18X7.8 ENG, 1 Canon 17X7.6 ENG

24HDXs

48’ expando

Triax

Euphonix

8 GV LDK 8000 Elite

6 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG

25HDX

53’ expando

Triax and SSMO fiber

Euphonix

6 GV LDX 80, 2 GV 6X SSMO

6 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wide-angle ENG

26HDX

53’ expando dual-feed

Triax and 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

27HDX

53’ expando dual-feed

Triax and SSMO fiber

Euphonix

9 GV LDX 80, 2 GV 6X SSMO

8 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 21X7.5 ENG, 1 Canon 9X5.5 wide-angle ENG

28HDX

53’ expando dual-feed

Triax and SSMO fiber

Euphonix

8 GV LDX 80, 2 GV 6X SSMO

8 Canon 72X9.3, 1 Canon 18X7.8 ENG, 3 Canon 17X7.6 ENG

29HDX

53’ expando dual-feed

Triax

Calrec

9 GV LDX 80

1 Fujinon UA107x8.4, 1 Fujinon, XA99x8.4, 6 Canon 72X9.3, 4 Canon 17X7.6 ENG

MOBILE SPORTS PRODUCTION YEARBOOK 2019

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Vizrt, ChyronHego HyperX3

Senn., A-T

GV Kayenne, 4.5M/E

5 12-ch. EVS

Evertz (268x812/704x800)

Vizrt, ChyronHego HyperX3

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)

Vizrt, ChyronHego HyperX3

Senn., A-T

GV Kayenne, 4.5M/E

2 12-ch. EVS, 1 4-ch. RO SpotBox

PESA (256x496/512x512)

Vizrt, ChyronHego HyperX3

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)

Vizrt, ChyronHego HyperX3

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)

ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 5M/E

4 12-ch. EVS, 1 6-ch. RO SpotBox

Evertz (492x746/2016x2016)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 5M/E

4 12-ch. EVS, 1 6-ch. RO SpotBox

Evertz (280x802/1344x1504)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 5M/E

5 12-ch. EVS

Evertz (460x902/2720x3328)

ChyronHego Duet HyperX3

8 shotgun, 4 lav, 5 HH

GV Kalypso, 4M/E

2 EVS XT2

Leitch Platinum (256x256/128x136 HDSDI/32x32 analog)

ChyronHego Duet HyperX3

8 shotgun, 4 lav, 5 HH

GV Kalypso, 4M/E

2 EVS XT2

Leitch Platinum (256x256/112x96 HD-SD/8x8 analog)

ChyronHego Duet HyperX3

6 shotgun, 4 lav, 5 HH

Sony MVS-8000A, 2.5M/E

1 EVS XT2

Leitch (64x64 HD/32x32 analog, 64x64 audio)

ChyronHego Duet HyperX3

9 shotgun, 6 lav, 5 HH

GV Kayenne, 2.5 M/E

2 EVS XT2

Evertz Xenon (128x128)

ChyronHego HyperX

GV Kalypso, 4M/E

PESA Cheetah video (128x256); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 2 6-ch. EVS XT2, 2 4-ch. XT2, 4-ch. XS SpotBox MADI-to-analog, 30 AES-to-MADI, 30 MADI-toAES; all Euphonix console inputs and outputs avaliable in the router via MADI

ChyronHego HyperX

A-T, Senn, Sony, EV

GV Kayenne, 4.5M/E

4 6-ch. EVS XT2, 4-ch. XS SpotBox

GV Trinix video (128x320); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADIto-analog, 30 AES-to-MADI, 30 MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, EV

GV Kalypso, 4M/E

2 6-ch. EVS XT2, 4-ch. XT2 RO, 4-ch. XT2, 4-ch. SpotBox

Harris Platinum video (128x256); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-toAES; all Euphonix console inputs and outputs avaliable in the router via MADI

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, EV

GV Kayenne, 4.5M/E

1 12-ch. EVS XT3, 2 4-ch. XT2, 4-ch. SpotBox

GV Trinix video (128x256); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADIto-analog, 30 AES-to-MADI, 30 MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, EV

Senn., Sony, EV

GV Kayenne, 4.5M/E

Gearbase

GRAPHICS

PESA video (128x256); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADI-to2 6-ch. EVS XT2, 2 4-ch. XT2, 4-ch. XS SpotBox analog, 30 AES-to-MADI, 30 MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI 2 6-ch. EVS XT2, 2 6-ch. XT3, 2 4-ch. XT2, 2 4-ch. XT3 RO, 4-ch. XS SpotBox; GV K2 Summit/Dyno

PESA video (144x320); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADI-toanalog, 30 AES-to-MADI, 30 MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, EV

GV Kayenne, 4.5M/E

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, EV

GV Kayenne, 4.5M/E

GV Trinix video (160x352); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADI1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 2 to-analog, 30 AES-to-MADI, 30 MADI-to-AES; XFile3, 4-ch. XS SpotBox; GV K2 Summit/Dyno all Euphonix console inputs and outputs avaliable in the router via MADI

Vizrt, ChyronHego HyperX

A-T, 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, DVD

PESA video (192x352); 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 Trinix video (160x352); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADIto-analog, 30 AES-to-MADI, 30 MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI GV Trinix 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

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, Røde

GV Kayenne, 4.5M/E

3 12-ch. EVS XT3, 4-ch. XS SpotBox, GV K2 Summit/Dyno

ChyronHego HyperX

A-T, Senn., Sony, Røde

GV Kayenne, 4.5M/E

2 6-ch. EVS XT2, 2 4-ch. XT2 RO, 4-ch. XS SpotBox; GV K2 Summit/Dyno

MOBILE SPORTS PRODUCTION YEARBOOK 2019

237

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ellis rkflow Storage

Xcellis Xcellis Xcellis Workflow Storage Workflow Storage Performance, Massively Scalable

Primary Storage Coupled IMT’s Industry-leading Experts in Storage Technologies

Workflow Storage

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streamlines operations. Xcellis enhances workflows, Quantum Xcellis: Introducing a powerful and scalable boosts efficiency, improves productivity, and enables Quantum Xcellis: Introducing a powerful and scalable system thatXcellis: simplifies storage architecture and Quantum Introducing a powerful and scalable system that simplifies storage architecture and business insight. streamlines Xcellis enhances workflows, system thatoperations. simplifies storage architecture and

KEY

streamlines operations. Xcellis enhances workflows, boosts efficiency, improves productivity, andworkflows, enables streamlines operations. Xcellis enhances business insight. boosts efficiency, improves productivity, enables boosts efficiency, improves productivity, andand enables FEATURES & BENEFITS business insight. business insight. KEY FEATURES & BENEFITS

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Flexible, continuous scalability scalability Unified Flexible, Access continuous Flexible, continuous scalability Unified Access Unified Access High-Performance Unified Access High-Performance High-Performance Powered by Quantum StorNext Powered by Quantum StorNext High-Performance

INTEGRATED MEDIA TECHNOLOGIES, INC. (IMT)

GRATED MEDIA TECHNOLOGIES, INC.INC. (IMT) INTEGRATED MEDIA TECHNOLOGIES, (IMT)

Integrated Media Technologies, Inc. (IMT) is a consulting, design, and systems integration company that

INTEGRATED MEDIA TECHNOLOGIES, INC. (IMT) specializes in providing business consulting TCO models forsystems private, hybrid, and public cloud workflow ed Media Technologies, Inc. (IMT) isInc. a consulting, design, and integration company that Integrated Media Technologies, (IMT) is and a consulting, design, and systems integration company that

solutions. Customers rely on IMT to deliver critical solutions and services focused oncloud media techspecializes in providing business consulting and TCO models for private, hybrid, public workflow zes in providing business consulting and TCOmission models for private, hybrid, and and public cloud workflow Integrated Media Technologies, Inc. (IMT) is a consulting, design, and systems integration company that nologies, storage, asset management, high-performance computing, networking, and 24/7 support. solutions. Customers rely on IMTmission to delivercritical missionsolutions critical solutions and services focused mediatechtechs. Customers rely on IMT to deliver and services focused onon media specializes in providing business consulting and TCO models for private, hybrid, and public cloud workflow nologies, storage, asset management, high-performance computing, networking, and 24/7 support. s, storage, asset management, computing, networking, and 24/7 support. Integrated Media Technologies (IMT) is mission a Digital Media and Technology with offices Los techsolutions. Customers rely on high-performance IMTInc. to deliver critical solutions andCompany services focused oninmedia Angeles, Silicon Valley and Dallas. serves the Media & computing, Entertainment, Information Technology, nologies, storage, asset management, high-performance networking, 24/7 support. Integrated Media Technologies Inc.IMT (IMT) is a Digital Media and Technology Companyand with offices inGovLos

ernment/ Education, and(IMT) Healthcare sectors with broad range of solutions designed drive new ed Media Technologies Inc. is a Digital Media and Technology Company withtooffices invalue Los Angeles, Silicon Valley and Dallas. IMT serves thea Media & Entertainment, Information Technology, Govand efficiencies from technology. IMT’s operations are segmented into three principal businesses: Con, Silicon Valley and Dallas. IMT serves the Media & Entertainment, Information Technology, Government/ Education, and Healthcare sectors with a broad of solutions designed driveoffices new value Integrated Media Technologies Inc. (IMT) is a Digital Mediarange and Technology Companytowith in Los sulting and Systems Integration Business, Interactive and Localized Media Networks. and efficiencies fromand technology. IMT’s operations areVideo, segmented into three principal businesses: Con-GovAngeles, Silicon Valley Dallas. IMT the range Media & Entertainment, Information Technology, t/ Education, and Healthcare sectors withserves a broad of solutions designed to drive new value sulting and Systems Integration Business, Interactive Video,into and three Localized Media Networks. ernment/ Education, andIMT’s Healthcare sectors with a broad of solutions designed to drive Connew value ciencies from technology. operations are segmented principal businesses: For further information on Quantum Xcellis and IMT, visit: range efficiencies from technology. operations are segmented into threeNetworks. principal businesses: Conand and Systems Integration Business, IMT’s Interactive Video, and Localized Media http://imtglobalinc.com/quantum/?svpage=products_workflow-storage_xcellis

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her information on Quantum Xcellis and IMT, visit: For further information on Quantum Xcellis and IMT, visit: mtglobalinc.com/quantum/?svpage=products_workflow-storage_xcellis

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MOBILE TV GROUP

Gearbase

COMPANY

240

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS

LENSES (H/HH)

30HDX

53’ expando dual-feed

Triax and SSMO fiber

Calrec

9 GV LDX 80, 2 GV 6X SSMO

7 Canon 72X9.3, 1 Canon 60x9, 4 Canon 17X7.6 ENG, 1 Canon 10x4.5 wide-angle

31HDX

53’ expando dual-feed

Triax and SSMO fiber

Calrec

9 GV LDK 8000 Elite 3G, 2 GV 9 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 6X SSMO Canon 10X4.5 wide-angle ENG

32HDX

53’ expando dual-feed

Triax and SSMO fiber

Euphonix

9 GV LDX 80, 2 GV 6X SSMO

9 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Fujinon 18x5.5 ENG

33HDX

SxS dual-feed: A 53’ expando, B 53’

Triax and SSMO fiber

Calrec

10 GV LDX 80, 2 GV 6X SSMO

8 Canon 76X9, 1 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG

33 VMU

53’

Triax and SSMO fiber

Studer

Access to 10 GV LDX 80, 2 GV 6X SSMO

Access to 8 Canon 76X9, 1 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG

34HDX

SxS dual-feed: A 53’ expando, B 53’

Triax and SSMO fiber

Calrec

10 GV LDX 80, 2 GV 6X SSMO

7 Canon 76X9, 2 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG

34 VMU

53’

Triax and SSMO fiber

Studer

Access to 10 GV LDX 80, 2 GV 6X SSMO

Access to 7 Canon 76X9, 2 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG

35HDX

SxS dual-feed: A 53’ expando, B 53’

Triax and SSMO fiber

Calrec

10 GV LDX 80, 2 GV LDX SSMO

8 Canon 76X9, 1 Canon 72X9.3, 5 Canon 17X7.6 ENG

35 VMU

53’

Triax and SSMO fiber

Studer

Access to 10 GV LDX 80, 2 GV LDX SSMO

Access to 8 Canon 76X9, 1 Canon 72X9.3, 5 Canon 17X7.6 ENG

36HDX

SxS dual-feed: A 53’ expando, B 53’

Triax and SSMO fiber

Calrec

9 GV LDX 80, 2 GV 6X SSMO

8 Canon 76X9, 1 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wide-angle ENG

36 VMU

53’

Triax and SSMO fiber

Studer

Access to 9 GV LDX 80, 2 GV 6X SSMO

Access to 8 Canon 76X9, 1 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wide-angle ENG

37HDX

SxS dual-feed: A 53’ expando, B 53’

Triax and SSMO fiber

Calrec

9 GV LDX 80, 2 GV 6X SSMO

8 Canon 76X9, 1 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Fujinon 18X5.5 ENG

37 VMU

53’

Triax and SSMO fiber

Studer

Access to 9 GV LDX 80, 2 GV 6X SSMO

Access to 8 Canon 76X9, 1 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Fujinon 18X5.5 ENG

38FLEX

SxS dual-feed: A 53’ expando, B 53’

HD/4K/HDR

Triax and SSMO fiber

Calrec

7 GV LDX 80, 4 GV 6X SSMO

1 Canon 95X8.6, 4 Canon 76X9, 4 Canon 72X9.3, 2 Canon 17X7.6 ENG, 2 Fujinon 18X5.5 ENG

38 VMU

53’

Triax and SSMO fiber

Studer

Access to 7 GV LDX 80, 4 GV 6X SSMO

Access to 1 Canon 95X8.6, 4 Canon 76X9, 4 Canon 72X9.3, 2 Canon 17X7.6 ENG, 2 Fujinon 18X5.5 ENG

39HDX

53’ double expando

HD/4K/HDR

Fiber and SSMO fiber

Calrec

12 Sony HDC-4300

2 Fujinon UA 107X8.4 UHD, 2 Fujinon XA 99X8.4, 4 Fujinon 77X9.5, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG

40HDX

SxS dual-feed: A 53’ double expando, B 53’

Triax and SSMO fiber

Calrec

7 GV LDX 80, 4 GV 6X SSMO

1 Fujinon XA 99X8.4, 8 Fujinon XA 77X9.5, 2 Fujinon HA 18X5.5, 2 Fujinon ZA 17X7.6

40 VMU

53’

Triax and SSMO fiber

Studer

Access to 1 Fujinon XA 99X8.4, 8 Access to 7 GV LDX 80, 4 GV Fujinon XA 77X9.5, 2 Fujinon HA 18X5.5, 6X SSMO 2 Fujinon ZA 17X7.6

41 HDX

53’ double expando

Triax and SSMO fiber

Calrec

6 GV LDX 82, 4 GV 6X SSMO

3 Canon XJ 95X8.6, 4 Canon XJ 80X8.8, 1 Canon XJ 76X9, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG

42 FLEX

53’ double expando

HD/4K/HDR

Triax or fiber/SSMO fiber

Calrec

7 GV LDX 82, 4 GV 6X SSMO

2 Fujinon XA 99X8.4, 6 Fujinon XA 77X9.5, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG

MOBILE SPORTS PRODUCTION YEARBOOK 2019

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, EV

GV Kayenne, 4.5M/E

4 6-ch. EVS XT3, 2 XFile3, 4-ch. XS SpotBox; GV K2 Summit/Dyno

GV Trinix 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

Vizrt, ChyronHego HyperX

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 SpotBox; GV K2 Summit/Dyno

GV Trinix 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

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, Crown

GV Kayenne, 4.5M/E

1 12-ch. XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS SpotBox; GV K2 Smmit/Dyno

GV Trinix video (160x352); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADIto-analog, 30 AES-to-MADI, 30 MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI

Vizrt, ChyronHego HyperX

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. SpotBox; GV K2 Summit/Dyno

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

Vizrt, ChyronHego HyperX

Senn.

GV Kayenne K-Frame, 3M/E

1 6-ch. EVS position, 1 4-ch. EVS position

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

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, Crown

GV Kayenne K-Frame, 7M/E

1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS SpotBox; GV K2 Summit/Dyno

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

Vizrt, ChyronHego HyperX

Senn.

GV Kayenne K-Frame, 3M/E

1 6-ch. EVS position, 1 4-ch. EVS position

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

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, Crown

GV Kayenne K-Frame, 7M/E

1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS SpotBox; GV K2 Summit/Dyno

Evertz HD video (216x538); 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

Vizrt, ChyronHego HyperX

Senn.

GV Kayenne K-Frame, 3M/E

1 6-ch. EVS user positions, 1 4-ch. EVS user positions

Access to Evertz HD video (216x538); 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

Vizrt, ChyronHego HyperX

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 SpotBox; GV K2 Summit/Dyno

Evertz HD video (216x538); 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

Vizrt

Senn.

GV Kayenne K-Frame, 3M/E

1 6-ch. EVS position, 1 4-ch. EVS position

Access to Evertz HD video (216x538); 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

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, Crown

GV Kayenne K-Frame, 7M/E

2 12-ch. EVS XT3, 2 6-ch. XT3, 4-ch. SpotBox

Evertz HD video (216x538); 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

Vizrt, ChyronHego HyperX

Senn.

GV Kayenne K-Frame, 3M/E

1 6-ch. EVS position, 1 4-ch. EVS position

Access to Evertz HD video (216x538); 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

Vizrt, ChyronHego HyperX

Senn., Sony, Crown

GV Kayenne K-Frame, 7M/E

4 12-ch. EVS XT3, 4-ch. XS SpotBox

GV NVision video (378x802); 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

Vizrt

Senn.

GV Kayenne K-Frame, 3M/E

2 6-ch. EVS positions

Access to GV NVision video (378x802); 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

ChyronHego Mosiac XL 2

Senn., Sony, Crown

GV Kayenne K-Frame

3 12-ch. EVS XT4K, 4-ch. XS3 SpotBox

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

Vizrt, ChyronHego HyperX

Senn., Sony, Crown

GV Kayenne K-Frame, 7M/E

2 12-ch. EVS XT4K, 2 12-ch. EVS XT3, 4-ch. XS3 SpotBox

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

Vizrt, ChyronHego HyperX

Senn.

GV Kayenne K-Frame, 3M/E

2 6-ch. EVS 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

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

3 12-ch. EVS XT3, 4-ch. XS3 SpotBox

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.

Vizrt, ChyronHego HyperX

Senn., Sony, Crown

GV Kayenne K-Frame, 7M/E

2 12-ch. EVS XT4K, 2 12-ch. XT3, 4-ch. XS3 SpotBox

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

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Gearbase

GRAPHICS

241

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MOBILE TV GROUP

Gearbase

COMPANY

NEP

MPS

244

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS

LENSES (H/HH)

42 VMU

53’

HD/4K/HDR

Triax or fiber/SSMO fiber

Studer

Access to: 9 GV LDX 82, 4 GV 6X SSMO

Access to 2 Fujinon XA 99X8.4, 7 Fujinon XA 77X9.5, 1 Canon 72X9.3, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG

43 FLEX

53’ double expando

HD/4K/HDR

Triax or fiber/SSMO fiber

Calrec

7 GV LDX 82, 4 GV 6X SSMO

2 Canon XJ 95X8.6, 6 Canon 76X9, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

43 VMU

53’

HD/4K/HDR

Triax or fiber/SSMO fiber

Studer

Access to 9 GV LDX 82, 4 GV 6X SSMO

Access to 2 Canon XJ 95X8.6, 7 Canon 76X9, 1 Canon 72X9.3, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

44 FLEX

53’ double expando

HD/4K/HDR

Triax or fiber/SSMO fiber

Calrec

8 GV LDX 82, 4 GV 6X SSMO

1 Fujinon UA 107X8.4 UHD, 1 Fujinon XA 99X8.4, 6 Fujinon XA 77X9.5, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

44 VMU

53’

HD/4K/HDR

Triax or fiber/SSMO fiber

Studer

Access to 9 GV LDX 82, 4 GV 6X SSMO

Access to 1 Fujinon UA 107X8.4 UHD, 1 Fujinon XA 99X8.4, 7 Fujinon XA 77X9.5, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

45 FLEX (Q1 2019)

TBD

45 VMU (Q1 2019)

TBD

MU-6

53’ straight

HD 1080i

Triax

Calrec Omega

12 GV LDK-8000

AngenieuX 6/4

Atlantic

40’ expando

Fiber

Calrec Artemis Beam

10 Sony 1500

Canon

California

53’ expando

HD/1080p/4K/HDR

Fiber

Calrec Apollo

Sony 4300

As requested

Chromium

53’

Both

Calrec Apollo

12 Sony 1500

Fujinon

EN1

53’ expando twin w/ third unit

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin

16 Sony 2500/4300

15 Canon

EN2

53’ A and B unit

HD/1080p/4K/HDR

Both

Calrec Apollo

16 Sony 2500/4300

Fujinon

EN3

53’ A and B unit

IP2110/HD/1080P/4K/ HDR

Both

Calrec Apollo

10 Sony 2500, 2 Sony 4300

14 Canon

Gold

53’ expando

Fiber

Studer Vista 9

10 Sony 1500

Fujinon

Iridium

53’ expando

Both

Calrec Sigma

12 Sony 1500

Canon

M11HD

53’ expando

Both

Calrec Sigma w/ Bluefin

Sony 1500

Fujinon 7H/3 HH, 1 wide-angle

Sony 2500

Fujinon 10 H/3 HH, 2 wide-angle

M12HD

53’ expando

Both

Calrec Artemis Beam w/ Bluefin2 and Hydra2

M14HD

53’ expando

Both

Calrec Artemis Beam w/ Bluefin2 and Hydra2

GV 8000

Fujinon 7 H/3 HH, 2 wide-angle

M3HD

SxS dual-feed: 48’ expando

Both

Yamaha 5000

3 GV LDK

Fujinon, Canon

M4HD

53’ expando

Both

Calrec Omega w/ Bluefin

8 Sony 1450

Canon 6 H/3 HH

M5HD

53’ expando

Both

Calrec Omega w/ Bluefin

16 cameras

Fujinon 6 H/3 HH, 2 wide-angle

M6HD

53’ expando

Both

Yamaha 5000

10 cameras

Fujinon 5 H/2 HH, 1 wide-angle

M7HD

53’ expando

Both

Calrec Sigma w/ Bluefin

16 cameras

Fujinon 7H/3HH, 2 wide-angle

M8HD

48’ expando

Both

Calrec Omega w/ Bluefin

10 cameras

Fujinon 5 H/3 HH

M9HD

53’ expando

Both

Calrec Sigma w/ Bluefin

16 cameras

Fujinon 7 H/3 HH, 2 wide-angle

NCPII

53’ expando

Both

Calrec Artemis Beam

12 Sony 2500/4300

12 Canon

NCPIV

53’ expando

Both

Calrec Sigma w/ Bluefin

10 Sony 1500

13 Canon

NCPVII

53’ expando

Triax

Calrec Alpha

10 Sony 1500

16 Canon

NCPVIII

53’ expando

Both

Calrec Alpha w/ Bluefin

12 Sony 1500

9 Canon

NCPX

53’ expando

Triax

Calrec Alpha w/ Bluefin

12 Ikegami 97 Series

18 Canon

NCPXI

53’ expando

Both

Calrec Sigma w/ Bluefin

10 Sony 1500

11 Canon

NCPXIV

53’ expando

Both

Calrec Sigma w/ Bluefin

10 Sony 1500

18 Canon

ND1

53’ expando twin w/ third unit

HD/1080p/4K/HDR

Both

Calrec Apollo

24 Sony 2500/4300

20 Canon

ND2

53’ expando

Both

Calrec Q2

10 GV 6000

10 Canon

ND4/Double Eagle

53’ expando twin

Both

Calrec Alpha w/ Bluefin

18 Sony 2500/4300

16 Canon

MOBILE SPORTS PRODUCTION YEARBOOK 2019

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Vizrt, ChyronHego HyperX

Senn.

GV Kayenne K-Frame, 3M/E

2 6-ch. EVS 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

ChyronHego Mosiac XL 2, ChyronHego HyperX

Senn., Sony, Crown

GV Kayenne K-Frame, 7M/E

4 12-ch. EVS XT3, 4-ch. XS3 SpotBox

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

Vizrt

Senn.

GV Kayenne K-Frame, 3M/E

2 6-ch. EVS 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

Vizrt, ChyronHego HyperX

Senn., Sony, Crown

GV Kayenne K-Frame X, 7M/E

2 12-ch. EVS XT4K, 2 12-ch. XT3, 4-ch. XS3 SpotBox

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

Vizrt, ChyronHego HyperX

Senn.

GV Kayenne K-Frame X, 3M/E

2 6-ch. EVS 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

TBD

ChyronHego HyperX3

EV, Sony, Shure, Senn., Rohde

GV Kalypso, 4M/E

6-ch. EVS XT2, 4-ch. XT2, 4-ch. XT2 RO

PESA

As requested

Senn., EV

GV Karrera, 2.5M/E

2 6-ch. EVS XT2, 4-ch. XT2 RO, GV K2

Evertz EQX, EMR

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Up to 16 VTRs and 5 servers as requested

Evertz EQX mux/demux, EMR

As requested

Senn., Shure, Sony

GV Kayenne K-Frame

5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox

Evertz EQX mux/demux, EMR

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

9 6-ch. EVS XT3, 6-ch. SpotBox

Evertz EQX mux/demux, EMR

As requested

Senn., Studio Tech, EV

GV Kayenne K-Frame

8 8-ch. EVS XT3, 6-ch. XT3 SpotBox

Evertz EQX mux/demux, EMR

Vizrt

Senn., EV, and Sony

GV Kayenne K-Frame

4 12-ch EVS XT4K, 1 6-ch EVS 4K SpotBox

Evertz EXE HD video (732x732, 224x256 embed/de-embed), MADI and analog audio

As requested

Senn., Sony, EV, Shure

Sony MVS-8000X

Up to 16 VTRs as requested

Harris

As requested

Senn., Shure

GV Kayenne K-Frame

5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox

Evertz EQX mux/demux, EMR

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kalypso, 4M/E

2 6-ch. EVS XT2, 2 4-ch. RO XT2 SpotBox

PESA mux/demux, DRS audio

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne, 4.5M/E

2 6-ch. EVS XT3, 1 6-ch. RO XT3, 1 4-ch. RO XT3

334x462 HD/96x96 AES, 48x96 stereo

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame, 4.5M/E

2 6-ch. EVS XT3, 2 4-ch. RO XT3, SpotBox

334x476 HD/96X96 AES, 48x96 stereo

ChyronHego HyperX3

Senn., EV, Sony

GV Kalypso, 4M/E

6-ch. EVS XT2, 4-ch. RO XT2, 4-ch. SpotBox

96x96 HD, 128x128 SD

ChyronHego HyperX3

Senn., Beyer, EV, Shure, Sony

GV Kalypso, 4M/E

6-ch. EVS XT2, 4-ch. XT2, 4-ch. RO XT2, SpotBox

96x96 HD, 128x128 SD, 96x96 audio

6-ch. EVS XT2+, 4-ch. XT2+, 6-ch. RO XT 2+, SpotBox

288x512 HD, 256x256 SD/256x256 audio

ChyronHego HyperX3

Senn., EV, Sony

GV Kalypso, 4M/E

ChyronHego HyperX3

Senn., A-T, Sony, EV

GV Kalypso, 4M/E

6-ch. EVS XT3, 2 4-ch. RO XT2+, SpotBox

192x288 HD/64x64 audio 288x576 HD, 128X128 AES audio, 128x128 stereo audio

ChyronHego HyperX3.1

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame

6-ch. EVS XT2, 4-ch. XT2, 2 4-ch. RO XT2, SpotBox

ChyronHego HyperX3

Senn., Shure, Sony

GV Kalypso, 4M/E

6-ch. EVS XT2, 4-ch. RO XT2, SpotBox

192x304 HD/128x128 AES, 128x128 stereo

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne, 4.5M/E

2 6-ch. EVS XT2, 2 4-ch. RO XT2, SpotBox

288x576 HD/128x128 AES, 128x128 stereo Utah Scientific mux/demux

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox

As requested

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

2 6-ch. EVS XT2, XT, 2 6-ch. RO XT2, XT2, SpotBox

Utah Scientific 400 (228x456 HD, 288x288 SDI), 400 (80x120 analog, 208x168 AES)

As requested

Senn., Sony, EV, Shure

GV Kayenne

2 6-ch. EVS XT2, 3 4-ch. RO XT2, SpotBox

Utah Scientific HD (288x528), 208x208 AES, 96x96 analog)

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

4 6-ch. EVS XT3, 1 4-ch. XS3 SpotBox

Utah Scientific mux/demux

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

6 6-ch. EVS XT3, 1 XT3 SpotBox

Utah Scientific mux/demux

As requested

Senn., Sony, EV, Shure

GV Kayenne

5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox

Utah Scientific mux/demux Utah Scientific mux/demux

As requested

Senn., Sony, EV, Shure

GV Kayenne

2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox

As requested

Senn., Shure, Sony

GV Kayenne K-Frame

10 6-ch. EVS XT3, 1 6-ch. SpotBox

Evertz EQX mux/demux, EMR

As requested

Senn., Sony, EV, Shure, Sanken

GV Kalypso, 4M/E

Wired for 8 VTR and 4 EVS as requested

PESA video, DRS audio

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

10 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Gearbase

GRAPHICS

245

CONSTELLATION DUAL PATH Ku UPLINK + HD PRODUCTION

FOR-A 2 M/E HD Switcher. Multiviewers: 3. Cameras: Up to 4 + POV & Robotic. Intercom: RTS Zeus Matrix. Audio Mix: Soundcraft Digital 24 Input. Audio Record: Sound Devices Pix 270. Video Record: 6 AJA KiPro Racks. Seats: 6.

ORIGINATION SMALL FOOTPRINT, FULLY LOADED: HD. Ross Carbonite HD Switcher. Multiviewers: 2. Cameras: Up to 8 + POV & Robotic. Intercom: RTS Cronus Matrix. Audio Mix: Soundcraft Digital 48 Input. Audio Record: Sound Devices Pix 270. Video Record: 10 AJA KiPro Racks Seats: 8. DESTINATION MEDIUM FOOTPRINT, FULLY LOADED: HD or 4K. Ross Carbonite HD Switcher. Multiviewers: 2. Cameras: Up to 6 + POV & Robotic. Intercom: RTS Zeus Matrix. Audio Mix: Soundcraft Digital 24 Input. Audio Record: Sound Devices Pix 270. Video Record: 8 AJA KiPro Racks. Seats: 8. ELEVATION MEDIUM FOOTPRINT, FULLY LOADED: HD. GVG Kayenne K-Frame. Multiviewers: 8. Cameras: Up to 10 + POV & Robotic. Intercom: RTS ADAM Matrix. Audio Mix: Soundcraft Digital 64 Input. Audio Record: ProTools + Sound Devices Pix 270. Video Record: 12 AJA KiPro Racks. Seats: 10. INSPIRATION MEDIUM FOOTPRINT, FULLY LOADED: HD. GVG Korona K-Frame. Multiviewers: 8. Cameras: Up to 10 + POV & Robotic. Intercom: RTS ADAM Matrix. Audio Mix: Soundcraft Digital 64 Input. Audio Record: ProTools + Sound Devices Pix 270. Video Record: 12 AJA KiPro Racks. Seats: 10. ASPIRATION EXPANDING SIDE, FULLY LOADED: HD. GVG Kayenne K-Frame. Multiviewers: 8. Cameras: Up to 12 + POV & Robotic. Intercom: RTS ADAM Matrix. Audio Mix: Soundcraft Digital 96 Input. Audio Record: ProTools + Sound Devices Pix 270. Video Record: 16 AJA KiPro Racks. Seats: 14. VIBRATION LARGE AUDIO MIX + MULTITRACK & PRODUCTION SUITE

Studer Vista 9 Audio Mix Digital 256 Input. Audio Record: ProTools + JoeCo Backup (all 256 inputs). Intercom: RTS Zeus Matrix. Designed with space for secondary mix or other production use. Seats: 5 + Client Lounge.

EXCLAMATION DOUBLE EXPANDING SIDE, 4K & HD.

GVG Kayenne K-Frame. Multiviewers: 24. Cameras: Up to 20 + POV & Robotic. Intercom: RTS ADAM Matrix. Audio Mix: Studer Vista X Digital 128 Input. Audio Record: ProTools + Sound Devices Pix 270. Video Record: 24 AJA KiPro Ultra. Seats: 25.

TNDV: TELEVISION, LLC. | 515 BRICK CHURCH PARK DR. NASHVILLE, TN 37207 | 877.959.TNDV | TNDV.COM

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

NEP

Gearbase

COMPANY

ROSS MOBILE PRODUCTIONS

RAYCOM SPORTS

PSSI

248

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS

LENSES (H/HH)

ND5

53’ expando

Both

Calrec Artemis Beam w/ Bluefin

12 Sony 2500/4300

14 Canon

ND6

53’ expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam w/ Bluefin

12 Sony 2500/4300

15 Canon

ND7

53’ expando

Both

Calrec Apollo w/ Bluefin

24 Sony 2500/4300

14 Canon

Pacific

A: 47’, B: 40’

Fiber

Yamaha DM2000

Sony, according to needs

Fujinon, according to needs

Phoenix

53’ expando

Triax

Calrec Sigma

10 GV 6000

10 Fujinon

Rhythm

53’ expando

Triax

Calrec Sigma w/ Bluefin

10 GV 8000

10 Fujinon

Sapphire

40’ expando

Fiber

Yamaha DM2000

Sony, according to needs

Fujinon, according to needs

Silver

53’ expando

Fiber

Calrec Apollo

Sony 4300

2 Canon, 9 Fujinon

Skyline

53’ expando

Both

Calrec Sigma w/ Bluefin

10 GV 8000

11 Canon

SS1

53’ expando

HD/1080p/4K

Both

Calrec Alpha

12 Sony 2500, GV LDX 8300

Canon

SS11

53’ expando

Triax

Calrec Omega w/ Bluefin

10 GV 8000

13 Canon

SS14

53’ expando

Triax

Calrec Alpha

10 GV 6000

11 Fujinon

SS15

53’ expando

Both

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

9 Canon, 2 Fujinon

SS16

53’ expando

Both

Calrec Sigma w/ Bluefin

12 Sony 1500

11 Canon

SS17

53’ expando

Both

Calrec Sigma w/ Bluefin

10 Sony 2500

11 Canon

SS18

53’ expando

Triax

Calrec Sigma w/ Bluefin

12 Sony 2500

11 Canon

SS20

53’ expando

Both

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

10 Canon, 2 Fujinon

SS22

53’ expando w/ B unit

Both

Calrec Apollo w/Bluefin

12 Sony 2500/4300

13 Canon

SS23

53’ expando w/ B unit

Triax

Calrec Alpha

12 Sony 2500/4300

13 Fujinon

SS24

53’ expando twin w/ third unit

Both

Calrec Alpha w/ Bluefin

14 Sony 2500/4300

17 Canon

SS25

53’ expando twin

Both

Calrec Alpha w/ Bluefin

12 Sony 2500/4300

12 Canon, 2 Fujinon

SS28

53’ expando w/ B unit

Triax

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

Canon, Fujinon

SS29

53’ expando

Both

Calrec Artemis

12 Sony 1500

13 Canon

SS3

53’ expando or flypack

Both

DiGiCo SD10B

10 GV LDK 6000

8 Canon

SS32

53’ expando

HD/1080p/4K/HDR

Both

Calrec Alpha w/ Bluefin

12 Sony 2500

As requested

SSCBS

53’ expando triple w/ fourth unit

HD/1080p/4K/HDR

Both

Calrec Apollo

18 Sony 2500/4300

Fujinon, Canon

Summit

53’ expando twin

Fiber

Calrec Apollo

Sony 4300

2 Canon, up to 20 Fujinon

Tempo

53’ expando

Triax

Calrec Omega

10 GV 6000

10 Canon

TS2

53’ expando

HD/1080p/4K

Both

Calrec Alpha

12 Sony 2500

Canon

Yukon

53’ expando w/ B unit

HD/1080p/4K/HDR

Both

Studer Vista

12 Sony 4300

Fujinon

XP-1

Sprinter van

Both

Yamaha

5 GV 6000

Canon

6 GV 3000

4 Fujinon hard, 5 Canon HH

K34

A unit: 36’, B unit: 35’

Triax

Yamaha M7CL (48 analog inputs/24 configurable outputs)

HD1

53’ expando

HD/720p/1080i

Triax or SMPTE

Calrec Omega w/ Bluefin 2 (48)

9 Sony 1550R (Sony SMPTE adaptors)

Canon 6 hard 86x/4 HH 21x

Phoenix (HD3)

48’ expando

HD/720p/1080i

Triax

Calrec Artemis Light w/ Bluefin 2 (40)

9 Sony 2550R

Canon 6 hard 80X/4 HH 22x

RKU2

27’ combo Ku-band/ production

HD/1080i

SMPTE fiber

Mackie (32 channels)

4 Hitachi Z-HD6000

Fujinon 2 hard 55x/2 HH 20x

Silver

23’ Sprinter

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

Blizzard

20’

Both

DiGiCo SD11B w/D-Rack (80 channels)

5 Hitachi SK-HD1300

Fujinon 1 70X, 1 36X, 3 20X

FIN3

24’ Sprinter

HD/1080p

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

MOBILE SPORTS PRODUCTION YEARBOOK 2019

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

6 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

6 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio

As requested

Senn., Sony

GV Kayenne K-Frame

9 12-ch. EVS XT3, 2 8-ch. XT3, 1 6-ch. XS SpotBox

PESA mux/demux, DRS audio

As requested

Shure, Senn

GV Kayak, 2.5M/E

As requested

Senn., Sony

GV Kalypso, 4M/E

2 6-ch. EVS XT2, 4-ch. XT2, 4-ch. RO XT2, 4-ch. SpotBox, wired for 1 more EVS; GV K2 Dyno

As requested

Senn., Sony

GV Kalypso, 4M/E

6-ch. EVS XT2, 4-ch. XT2, 4-ch. RO XT2, 4-ch. XT2 SpotBox, wired for 2 more EVS

As requested

Shure, Senn.

Sony, 1.5M/E

As requested

GV Kayenne K-Frame

As requested

Evertz EQX mux/demux, EMR

As requested

Senn., Beyer, EV, Shure, Sony

GV Kalypso, 4M/E

3 6-ch. EVS XT2+, 1 4-ch. SpotBox

PESA video, DRS audio

As requested

Senn., Sony

GV Kayenne K-Frame

1 K2 Summit; 3 6-ch. EVS XT2, 2 4-ch. XT2

Evertz

2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox

As requested

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

As requested

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

2 6-ch. EVS XT2, 2 4-ch. XT2, SpotBox

GV GV

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

5 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

5 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio PESA mux/demux, DRS audio

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox

As requested

GV Kayenne K-Frame

5 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio

As requested

Senn., Sony, EV

GV Kalypso, 4M/E

2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

6 6-ch. EVS XT3, XS SpotBox

Evertz EXE mux/demux, EMR

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

2 12-ch. EVS XT3, 3 8-ch. XT3, 1 4-ch. XS3 SpotBox

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox

As requested

Senn., Sony, EV, Shure

GV Kayenne, 4M/E

2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox

Evertz EQX mux/demux, EMR

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

Evertz EQX mux/demux, EMR

As requested

A-T, Senn.

GV Kayenne K-Frame

2 12-ch. EVS XT3, 4 8-ch. XT3, 1 6-ch. XT3 SpotBox

Evertz EXE mux/demux, EMR

As requested

GV Kayenne K-Frame

20 VTRs or 7 EVS on request, 2 SpotBox

GV GV

As requested

Senn., Sony

GV Kalypso, 4M/E

6-ch. EVS XT2, 4-ch. XT2, 4-ch. RO XT2, 4-ch. XT2, SpotBox. wiring for 1 more EVS

Upon request

Senn.

GV Kayenne K-Frame

1 4-ch. GV K2 Summit; 1 EVS XFile2, 1 4-ch. EVS XS SpotBox

Evertz EQX mux/demux, EMR

Upon request

Senn., Shure

GV Kayenne K-Frame

Wired for 6 EVS

Evertz EQX mux/demux, EMR

As requested

Senn.

FOR-A MVS-1000

1 4-ch. EVS XT; others as requested

N/A

ChyronHego HyperX3

Senn., Sony

GV Karrera, 2M/E

8-ch. EVS XT3

Evertz Xenon (64x96 HD) video, Xenon (128x128 analog)

ChyronHego HyperX3

Senn., A-T, Sony

GV Kayenne, 4M/E

2 6-ch. EVS XT2+, 2 4-ch. RO XT2+, 4-ch. SpotBox

Evertz EQX (170x134/192x192 AES, 96x96 analog, 128x128 MADI)

ChyronHego HyperX3

Senn., A-T, Sony

GV Kayenne K-Frame, 4M/E

2 6-ch. EVS XT3, 1 4-ch. RO XT3, 4-ch. SpotBox

Evertz EQX (170x134/96x96 AES, 96x96 analog, 256x256 MADI)

Ross XPression

Senn., A-T

Ross Carbonite, 2M/E

NewTek 3Play 425

34x34

Ross XPression, XPression (TD Elements)

Senn., EV, A-T

Ross Carbonite Black, 3M/E

8-ch. EVS XTnano, 8-ch. Ross Abekas Mira

Ross NK-3G72 scalable (72x72 3G HD/SD-SDI), Ross NK-A64-HQ stereo analog audio

Ross XPression, XPression GO! (TD Elements)

Senn., EV, A-T

Ross Carbonite, 2.5M/E

8-ch. Ross Abekas Mira

Ross Ultrix (64x64, 128-bit MADI audio Integration, core mux/demux)

Ross XPression, XPression (TD Elements), XPression GO!

Senn., EV, A-T

Ross Carbonite Black, 3M/E

8-ch. EVS XTnano; 8-ch. Ross Abekas Mira

Ross NK-3G72 scalable (72x72 3G HD/SD-SDI), NK-D64-110 AES/EBU digital audio

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Gearbase

GRAPHICS

249

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS

LENSES (H/HH)

ROSS MOBILE PRODUCTIONS

FIN4

24’ Sprinter

HD/1080p

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

FIN5

24’ Sprinter

HD/1080p

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

RMP6 4K

30’ expando

HD/1080p/4K-capable

Fiber

DiGiCo SD9B (96 input channels, 5.1-capable, fiber field kits)

6X Hitachi 4K UHD SKUHD-4000, 2X Hitachi SuperSlow Motion SK-UHD-4000 (wired for 12)

Canon 3 60x, 2 80x, 2 22x, 1 10x (additional lenses as needed)

HDLA

40’ combo/expando

HD/SD/1080/720/24pcapable

Both

Calrec Zeta (56)

8 Sony

10 Canon, 2 Fujinon

HD Link

32’ combo

HD/SD

Both

Yamaha 02R96 (24)

4 Sony

2 Canon

Exclamation

53’ double expando

HD/1080p/4K/HDR

Fiber

Studer Vista X (60/256)

20 Sony HDC-4300

Fujinon, according to specifications

Aspiration

40’ expando

Fiber

Soundcraft VI3000 (32/96)

12 Hitachi SK-HD1200

Fujinon, according to specifications

Elevation

40’

Fiber

Soundcraft VI3000 (32/96 )

10 Hitachi Z-HD1000

Fujinon, according to specifications

Inspiration

40’

Fiber

Soundcraft VI3000 (32/96)

10 Hitachi Z-HD5000

Fujinon, according to specifications

Vibration

40’

N/A

Studer Vista 9 (60/384)

N/A

4 Hitachi Z-HD5000

Fujinon, according to specifications

TOKEN CREEK

TNDV TELEVISION

SDTV

Gearbase

COMPANY

YES PRODUCTIONS

VIDEOLINES MOBILE TV

TOURING VIDEO

21 LAKES MEDIA GROUP

252

Constellation

24’ Ku-band uplink hybrid

Fiber

Soundcraft Si Expression 1 (16 faders/64 input channels)

Origination

26’

Fiber

Soundcraft Vi1 (16/64)

8 Hitachi Z-HD5000

Fujinon, according to specifications

Destination

40’

Fiber

Soundcraft Si Expression 1 (16 faders/64 input channels)

4 Hitachi Z-HD5000

Fujinon, according to specifications

Chippewa

53’ expando

Triax/single-mode

Calrec Artemis (64 faders)

10 GV LDK 8000

6 hard/5 HH

Sioux

53’ expando

Triax/single-mode

Calrec Artemis (40 faders)

6 GV LDX 80

5 hard/5 HH

Varsity

53’ expando

Triax

Calrec Sigma w/ Bluefin (56 faders)

10 GV LDK 8000

6 hard/4 HH

Pioneer

53’ expando

Triax

Calrec Artemis

10 GV LDX80

5 hard/4 HH

Riley

40’ expando

Triax

Yamaha PM5000

8 GV LDK 8000

Standard 70X wide-angles

TV-3

43’ single expando

SD/HD

SMPTE fiber and TAC

Stagetech Crescendo (40 faders)

12 Sony HDC-1500

Per request

TV-4

53’ single expando

SD/HD/1080p/4Kcapable

SMPTE fiber and TAC

Stagetech Crescendo (40 faders)

16 Sony HDC-2500

Per request

HD-1

53’

Triax

Yamaha M7CL-48

Ikegami 79E

2 76X, 2 66X, 2 20X

HD-2

53’

Fiber

Yamaha 2000

Ikegami 77EX

4 55X, 2 18X

HD-3

16’ box

Fiber

Yamaha (16 channels)

Ikegami 77EX

2 55X, 2 18X

HD1

53’ expando

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

Both

Calrec Omega w/ Bluefin (56/48)

10 Ikegami HDK 79EX

Fujinon hard 1 101X, 5 87X/HH 3 22X, 1 4.5

MOBILE SPORTS PRODUCTION YEARBOOK 2019

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Ross XPression (GFX), XPression (TD Elements), XPression GO!

Senn., EV, A-T

Ross Carbonite Black, 3M/E

8-ch. EVS XTnano; 8-ch. Ross Abekas Mira

Ross Carbonite Xtreme (144x144 3G HD/SD SDI/ASI), 1 NK-A64-HQ stereo analog audio

Ross XPression, XPression (TD Elements), XPression GO!

Senn., EV, A-T

Ross Carbonite Black, 3M/E

8-ch. EVS XTnano, 6-ch. XTnano

Ross Carbonite Xtreme (144x144 3G HD/SD SDI/ASI), NK-A64-HQ stereo analog audio

Ross XPression Quad Servers (four outputs each), XPression Studio (two outputs)

Senn., EV, A-T

Ross Carbonite Black, 3M/E

8-ch. EVS XTnano; 2 8-ch. Ross Abekas Mira

Ross Carbonite Xtreme (144x144 3G HD/ SD SDI/ASI), Ross Ultrix 70x70 Video/Audio/ MADI Router

ChyronHego Duet HyperX3

Senn., Sony

Grass Valley Kayenne, 4M/E

2 EVS XT3, 1 4-ch. SpotBox

NVision 8288 3-Gig HD/SD video (252x288), Nvision 7512 TDM audio (192x256 AES, 96x80 analog, 32x32 MADI)

N/A

Senn., Sony

Sony MFS-2000, 1.5M/E

Four open slots - multiple format capable

PESA Cougar HD/SDI video (32x32)

ChyronHego HyperX3, Ross XPression, Avid Deko, according to specifications

A-T, Telefunken, Studio Tech

GV Kayenne K-Frame, 4M/E

2 EVS XT3

Video 256x256, audio 320x320

ChyronHego HyperX3, Ross XPression, Avid Deko, according to specifications

A-T, Telefunken, Studio Tech

GV Kayenne K-Frame, 4M/E

EVS XT2

Video 128x160, audio 96x96

ChyronHego HyperX3, Ross XPression, Avid Deko, according to specifications

A-T, Telefunken, Studio Tech

GV Kayenne K-Frame, 3M/E

1 Abekas Mira 8-ch

Video 96x96, audio 96x96

ChyronHego HyperX3, Ross XPression, Avid Deko, according to specifications

A-T, Telefunken, Studio Tech

GV Korona K-Frame, 3 M/E

1 Abekas Mira 8 ch

Video 96x96, audio 96x96

N/A

A-T, Telefunken, Studio Tech

N/A

Video 40x40, audio 1024x1024

ChyronHego HyperX3, Ross XPression, Avid Deko, according to specifications

A-T, Telefunken, Studio Tech

For-A HVS390, 2 M/E

Per request

Video 40x40

ChyronHego HyperX3, Ross XPression, Avid Deko, according to specifications

A-T, Telefunken, Studio Tech

Ross Carbonite, 2M/E

Per request

Video 64x64, audio 64x64

ChyronHego HyperX3, Ross XPression, Avid Deko, according to specifications

A-T, Telefunken, Studio Tech

Ross Carbonite, 3M/E

1 NewTek 3Play

Video 40x40

ChyronHego HyperX3

As requested

GV Kayenne, 4.5M/E

PESA 256X (128x256 HD-SDI), DRS (128x128 2 6-ch. EVS XT3, 1 4-ch. RO XT3, SpotBox XS3 analog, 384x384 AES, 256x256 MADI, 256x256 embedded)

ChyronHego HyperX3

As requested

GV Karrera, 3M/E

PESA 256X (128x256 HD-SDI), DRS (128x128 2 6-ch. EVS XT3, 1 4-ch. RO XT3, SpotBox XS3 analog, 256x256 AES, 256x256 MADI, 256x256 embedded)

ChyronHego HyperX3

As requested

GV Kayenne, 4M/E

2 6-ch. EVS XT3, 1 4-ch. RO XT3, SpotBox XS3

PESA (192x288 HD/256x256 analog, 256x256 AES)

ChyronHego HyperX3

As requested

GV Kayenne

2 6-ch. EVS XT3, 1 4-ch. RO XT3, SpotBox XS3

GV Trinix HD video (500x800), Concerto (200x200 AES audio, 64x64 analog)

ChyronHego Duet HyperX3

Full complement including wireless

GV Kalypso, 60 Input 4M/E

1 6-ch. EVS XT2, 1 4-ch. XT2; 1 12-ch. Evertz DreamCatcher, 1 6-ch. DreamCatcher

Leitch (80x128) video, Leitch (48x48) audio

Per request

Sony MVS 7000X, 6M/E

Per request

Imagine Platinum (248 in/344 out) audio 128 in

Per request

Sony XVS 7000X, 6M/E

Per request

Imagine IP3 (422 in/560 out) audio128 in

ChyronHego HyperX3

8 shotgun, 4 stick

GV Kayak, 4M/E

3 EVS

32x23 video/2-ch. audio

ChyronHego HyperX2

8 shotgun, 4 stick

GV Kayak, 2M/E

2 Tightrope ZEPLAY

32x23 video/2-ch. audio

ChyronHego HyperX2

4 shotgun, 4 stick

Blackmagic ATEM, 1M/E

1 NewTek 3Play

16x16 video

ChyronHego HyperX3

Standard audio

GV Kayenne K-Frame

2 6-ch. EVS XT2, 2 RO XT2, 4-ch. XS SpotBox

Video 128x128 HD, 256x128 SD; audio 128x128 analog, 128x128 AES

ChyronHego HyperX3

Standard audio

GV Kalypso Duo

6-ch. EVS XT2, 4-ch. XT2, 2 RO XT2, 4-ch. XS SpotBox

Video HD 256x128/audio analog 128x128 AES 128x128

MOBILE SPORTS PRODUCTION YEARBOOK 2019

Gearbase

GRAPHICS

253

CONTINUING THE TRADITION OF EXCELLENCE WITH ARCTEK MAGENTA

ARCTEK Satellite Productions is committed to your satellite transmission needs. ARCTEK Magenta is a 10 path KU uplink truck designed to keep up with the ever-changing production landscape. From "REMI" or “At Home” type broadcast to switched or single source sports backhauls; ARCTEK Magenta can do it all. ARCTEK Magenta is our seventh uplink truck we've built on the efficient Mercedes Benz Sprinter platform. At just 21 feet long by 7 feet wide, ARCTEK Magenta is small enough to fit in any television compound, but big enough to deliver your signal efficiently and with redundancy. Our entire fleet of ARCTEK uplink trucks is ready to assist you throughout the United States and Canada with the reliability and expertise you deserve. When you think satellite uplink trucks and MUX encoding, think ARCTEK Satellite Productions.

612-623-1986 info@arcteksat.com www.arcteksat.com

SVGSPONSORDIRECTORY / ADINDEX

SPONSOR

PAGE

LEVEL

CONTACT

PHONE

3G WIRELESS

202

Mobile

Gordon Capaccio

GordonC@3gwireless.tv

410-969-3501

ADDER TECHNOLOGY

Premier

Tim Conway

usasales@adder.com

888-932-3337

ADORAMA

114

Corporate

Jeff Mondlock

jmondlock@adorama.com

212-741-0401 x2244

Mobile

Dave Frederick

dfrederick@asgllc.com

408-316-0023

ADVANCED SYSTEMS GROUP (ASG) AE GRAPHICS

251

Mobile

Neale Connell

neale@aelgraphics.co.uk

[44] 1442 234 531

AERIAL VIDEO SYSTEMS

195

Mobile

Argyle Nelson

argyle@aerialvideo.com

818-954-8842

AJA VIDEO SYSTEMS

Premier

Christina Oliver

christinao@aja.com

530-271-3326

Premier

Megan Bentz

mbentz@akamai.com

215-527-5442

Larry Tonon

larry.tonon@aldea.tv

514-461-4136

AKAMAI ALDEA SOLUTIONS

Premier

ALL MOBILE VIDEO

230

Mobile

Eric Duke

eduke@amvchelsea.com

212-727-9862

ALPHA VIDEO

211

Mobile

Jeffrey Volk

jeff.volk@alphavideo.com

952-841-3311

Mobile

Chip Foley

chip.foley@ampthink.com

917-496-6800

AMPTHINK APERI

191

Corporate

Joop Janssen

jjanssen@apericorp.com

[32] 4 717 171 79

APM MUSIC

103

Corporate

Betsy McColl

bmccoll@apmmusic.com

323-461-3211 x131

ARCTEK SATELLITE PRODUCTIONS

254

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

ARVATO SYSTEMS

127

Corporate

Thomas Mauro

tom.mauro@arvatosystems.com

646-589-3859

ASPERA, AN IBM COMPANY

Premier

Laura Petrosillo

laura.petrosillo@ibm.com

510-849-2386 x222

AT&T GLOBAL VIDEO SERVICE

Platinum

Scott Beckett

sb9485@att.com

214-647-0486

ATEME

Corporate

Dave Brass

d.brass@ateme.com

484-860-0358

AUDIO-TECHNICA U.S.

Corporate

Mike Edwards

medwards@atus.com

330-686-2600 x2030

AV DESIGN SERVICES

Mobile

Jim Landy

jmlandy@avds.tv

609-531-2642

Doug Price

doug.price@avid.com

817-239-9626

AVID

Premier

AWS ELEMENTAL

Platinum

Dan Marshall

danmarsh@elemental.com

408-398-0354

Mobile

Mark Lowden

mlowden@azzurrogroup.com

212-625-2372

AZZURRO GROUP BEACON INTERNATIONAL

238

Mobile

Michael Hardesty

michael@beaconequip.com

623-975-2300

BECKTV

215

Mobile

Fred Wright

fwright@becktv.com

972-505-8941

BEXEL

Platinum

Craig Schiller

cschiller@bexel.com

818-565-4202

BLACKMAGIC DESIGN

Platinum

Bob Caniglia

bobc@blackmagicdesign.com

408-954-0500 x319

BLUEFRAME TECHNOLOGY

139

Corporate

Darren Brown

darren@blueframetech.com

859-619-4288

BOSE

172

Corporate

Kristi Wasinger

kristi.wasinger@shscom.com

913-829-3320

BRAINSTORM

159

Corporate

Brad Rumler

brumler@brainstorm3d.com

201-888-9599

BROADCAST SERVICES INTERNATIONAL (BSI)

247

Mobile

Jim Eady

jim@bsi-tv.com

905-332-2171

BROADCAST SPORTS INTERNATIONAL (BSI)

Corporate

Jeremy Pink

jeremy.pink@bsintl.com

410-564-2621

BROAMAN

Premier

Florian Myrus

f.myrus@broaman.com

[49] 89 8999 640

Mobile

Evan Wimer

ewimer@c360live.com

724-940-3277

CALREC AUDIO/DIGICO

Platinum

Jack Kelly

jackk@g1limited.com

631-396-0184 x102

CAMPLEX

Premier

Daniel Coscarella

daniel@camplex.com

800-445-7568 x7409

Platinum

Richard Eilers

reilers@.cusa.canon.com

609-480-6019

Corporate

Steven Manios

steve@maniosdigital.com

818-760-8240

Mobile

Greg Landa

greg.landa@es-cat.com

904-494-7532

Corporate

Ryan Servant

ryan@squarebox.com

646-423-3017

C360

CANON U.S.A. CARTONI CAT ENTERTAINMENT SERVICES CATDV

256

MOBILE SPORTS PRODUCTION YEARBOOK 2019

PAGE

LEVEL

CONTACT

PHONE

207

Mobile

Darrell Wenhardt

darrell@cbt-net.com

858-536-2927

CENTURYLINK

Platinum

Jennifer Cleveland

jennifer.cleveland@centurylink.com

571-485-8781

CHESAPEAKE SYSTEMS

210

Mobile

Nick Gold

nick@chesa.com

410-400-8932

CHILEFILMS

223

Mobile

Juan Carlos Arriagada Mons

jcarriagada@chilefilms.cl

[56] 2-2337-1200

CHYRONHEGO

Premier

Jesper Gawell

jesper.gawell@chyronhego.com

646-469-2272

CINESYS-OCEANA

242

Mobile

Brent Angle

brent.angle@cinesysinc.com

713-272-0732

CISCO

Premier

Shawn Tylka

Tylkas@cisco.com

770-236-4603

CLARK MEDIA

199

Mobile

Gary Snyder

garys@clarkmedia.com

610-694-9800

CLARK WIRE & CABLE

143

Corporate

Tom Yatabe

tom.yatabe@clarkwire.com

800-222-5348 x18

CLEAR-COM, AN HME COMPANY

Premier

Rachel Archibald

Rachel.Archibald@Clearcom.Com

510-337-6676

CLOUDIAN

Premier

Sean Coughlin

scoughlin@cloudian.com

914-715-8261

COBALT DIGITAL

Premier

Chris Shaw

chris.shaw@cobaltdigital.com

217-344-1243

COGNIZANT

194

Mobile

Dervin Dcunha

Dervin.Dcunha@cognizant.com

678-527-8525

COMCAST TECHNOLOGY SOLUTIONS

Corporate

Rebecca Mintz

Rebecca_Mintz@comcast.com

720-573-3315

Mobile

James Baldwin

sales@commeng.com

703-550-5800

Premier

Chris Crump

ccrump@comrex.com

978-784-1776

Corporate

Moe Younes

moe.younes@coresite.com

212-574-5876

Corporate

Joel Roy

jroy@gowithcd.com

203-250-6517

Mobile

Noah Gusdorff

noah@cmsi.tv

818-847-7390

Corporate

Nick Hellmuth

Nicholas.hellmuth@crystalco.com

212-504-1827

Mobile

Matt Keske

mkeske@cspmobile.com

312-914-2616

Mobile

Jim Lee

Jlee@ctgatlanta.com

678-387-5507 800-325-8766

CBT SYSTEMS

COMMUNICATIONS ENGINEERING INC. (CEI) COMREX

CORESITE CREATIVE DIMENSIONS

115

CREATIVE MOBILE SOLUTIONS INC. (CMSI) CRYSTAL & COMPANY CSP MOBILE PRODUCTIONS

227

CTG (COMPREHENSIVE TECHNICAL GROUP) DAKTRONICS

Premier

Sales

sales@daktronics.com

DALE PRO AUDIO

149

Corporate

Michael Descoteau

miked@daleproaudio.com

857-756-6980

Corporate

Andy Tuggle

atuggle@delaplex.com

404-867-3334 x331

DELAPLEX DELL EMC

105

Corporate

Jeff Grassinger

jeff.grassinger@dell.com

206-315-7598

DIGITALGLUE (CREATIVE.SPACE)

213

Mobile

John McCluskey

john.mccluskey@digitalglue.com

888-491-6903

DIMETIS GMBH

173

Corporate

Glenn Booth

gbooth@dimetis.com

720-253-5706

Mobile

Christopher Sullivan

CSullivan@diversifiedus.com

201-670-6548

Corporate

Don Cardone

don@dmcbroadcastgroup.com

908-998-1080

Mobile

Sam Schrade

sam@dnawebs.com

281-802-8000

DOCAPTION

Corporate

Renaud Desportes

renaud@docaption.com

[33] 626 98 77 98

DOLBY LABORATORIES

Platinum

Cherylene McKinney

cherylene.mckinney@dolby.com

646-823-1523

DOME PRODUCTIONS

216

Mobile

Mary Ellen Carlyle

mcarlyle@domeprod.com

416-341-2022

Mobile

Dale Smith

dalesmith@DX3media.ca

416-433-3261

168

Corporate

Eric McErlain

ericm@eegent.com

516-293-7472 x502

Corporate

Ken Frommert

ken@enco.com

248-827-4440

DIVERSIFIED DMC BROADCAST GROUP DNA STUDIOS

DX3 MEDIA EEG ENTERPRISES ENCO SYSTEMS ENCOMPASS DIGITAL MEDIA

123

Corporate

Joe Garzillo

jgarzillo@encompass-m.com

203-965-6334

ES BROADCAST

201

Mobile

Alan Henry

sales@esbroadcast.com

[44] 1923 650 080

EUROVISION

Platinum

Jim Scott

jim.scott@eurovision.net

973-650-9577

EUTELSAT

Premier

Paul Kosac

pkosac@eutelsat.com

678-722-1107

EVERTZ

Premier

Orest Holyk

orest@evertz.com

905-335-3700

EVS

Premier

Quentin GRUTMAN

q.grutman@evs.com

973-575-2111

MOBILE SPORTS PRODUCTION YEARBOOK 2019

SVG Sponsor Directory / Ad Index

SPONSOR

257

SVG Sponsor Directory / Ad Index

SPONSOR

F&F PRODUCTIONS

PAGE

LEVEL

CONTACT

PHONE

234

Mobile

George Orgera

GeorgeO@fandfhd.tv

727-535-6776

FANCONNECT

Corporate

Larry Witherspoon

larry@fan-connect.com

704-837-7099

FILMWERKS INTERNATIONAL

255

Mobile

Michael Satrazemis

michaels@filmwerksintl.com

910-675-1145

FINGERWORKS TELESTRATORS

175

Corporate

Bryan McKoen

bryan@telestrator.com

604-762-1477

FLETCHER SPORTS

182

Corporate

Dan Grainge

dan@fletch.com

312-932-2704

FOR-A

Corporate

Gerry Nazimek

nazimek@for-a.com

973-220-8471

FORBIDDEN TECHNOLOGIES (BLACKBIRD)

Corporate

Richie Murray

richie.murray@forbidden.co.uk

615-859-5754

FORECAST CONSOLES

Corporate

Ryan Haberman

ryan@forecast-consoles.com

800-735-2070 x309

106

Corporate

Robert Bleidt

robert.bleidt@dmt.fraunhofer.org

408-573-9901

FUJIFILM/FUJINON

Platinum

Gordon Tubbs

gtubbs@fujifilm.com

973-686-2769

FX DESIGN GROUP

Premier

Mack McLaughlin

mmclaughlin@fxgroup.tv

407-877-9600

G&D NORTH AMERICA

186

Corporate

Carlos YaÃ±ez

cyanez@gd-northamerica.com

786-456-5116

GAME CHANGER MVP

183

Corporate

Matt Coy

mcoy@gcmvp.com

602-625-1049

GAME CREEK VIDEO

226

Mobile

Pat Sullivan

psullivan@gamecreekvideo.com

603-821-2205

GEARHOUSE BROADCAST

219

Mobile

Marc Genin

mgenin@gearhousebroadcast.com

818-955-9449

GERLING & ASSOCIATES

187

Corporate

Fred Gerling

fredg@gerlinggroup.com

740-965-2888

GLOBECAST

129

Corporate

Tim Jackson

tim.jackson@globecastna.com

310-849-3901

GOOGLE CLOUD

Platinum

Sarah Lum

lums@google.com

408-718-2678

GRABYO

185

Corporate

Mike Kelley

mike@grabyo.com

914-584-7324

GRASS VALLEY, A BELDEN BRAND

Platinum

Arlene Campbell

Arlene.Campbell@Belden.com

425-409-8209

GTT

157

Corporate

Neil Fender

neil.fender@gtt.net

310-989-8275

HAIVISION

Corporate

Karen McCone

kmccone@haivision.com

514-993-2683

HARMONIC

165

Corporate

Bill Cordo

bill.cordo@harmonicinc.com

201-669-0890

HIGH ROCK MOBILE TELEVISION

222

Mobile

Phil Engborg

phil@carr-hughes.com

518-584-0202

IBM SYSTEMS

Premier

Scott Wig

swig@us.ibm.com

905-696-4945

IHSE USA

Premier

Dan Holland

dholland@ihseusa.com

732-738-8780

IKEGAMI

Corporate

Erin Rice

erice@ikegami.com

859-333-4636

ILLUMINATION DYNAMICS

243

FRAUNHOFER

IMAGE VIDEO

258

Mobile

Rich Williams

rich@illuminationdynamics.com

818-686-6400

Corporate

Zach Wilkie

zwilkie@imagevideo.com

416-750-8872 x228

IMAGEN

160

Corporate

Nick Ashwin

nick.ashwin@imagenevp.com

857-574-9847

IMAGINE COMMUNICATIONS

Premier

Mary Schoof

mary.schoof@imaginecommunications. com

703-869-2042

IMS PRODUCTIONS

231

Mobile

Kevin Sublette

ksublette@imsptv.com

317-492-8770

IMT/VISLINK

Corporate

John Procacci

john.procacci@imt-solutions.com

619-993-4518

INTEGRATED MEDIA TECHNOLOGIES (IMT)

239

Mobile

Tom McGowan

tom.mcgowan@imtglobalinc.com

818-761-9770

INTELSAT

Corporate

Sales

sales.na@intelsat.com

703-559-6800

INTERXION

Corporate

Richard Craig-McFeely

richardc@interxion.com

[44] 7342 949 663

IPTEC

151

Corporate

Glen Green

glen.green@v-tech-llc.com

936-520-6042

iSTREAMPLANET

Corporate

Eric Weinstein

eweinstein@istreamplanet.com

718-732-0173

JB&A DISTRIBUTION

144

Corporate

Emily Parker

emilyp@jbanda.com

415-256-2800

JOSEPH ELECTRONICS

Premier

Chris Ahern

cahern@josephelectronics.com

516-428-1069

JUNIPER NETWORKS

Corporate

Sam Scheffler

sscheffler@juniper.net

551-427-3537

JVCKENWOOD USA

155

Corporate

Craig Yanagi

cyanagi@us.jvckenwood.com

973-317-5176

KAUFMAN BROADCAST

262

Mobile

Bill Kaufman

bill.kaufman@kaufmanbroadcast.com

314-533-6633

MOBILE SPORTS PRODUCTION YEARBOOK 2019

PAGE

LEVEL

CONTACT

PHONE

KMH AUDIO-VIDEO INTEGRATION

206

Mobile

Kevin Henneman

khenneman@kmh-integration.com

800-590-2520

LAWO

Platinum

Jeffrey Stroessner

jeffrey.stroessner@lawo.com

[49] 7222 1002 5150

LEADER INSTRUMENTS

110

Corporate

Scott Cannon

cannon@leaderamerica.com

800-645-5104

LEGRAND AV DIVISION

Corporate

Gordon Wason

gordon.wason@middleatlantic.com

516-350-2327

LH COMPUTER SERVICES

197

Mobile

Doug Cole

dcole@lhcomp.com

954-752-5805

LIMELIGHT NETWORKS

145

Corporate

Ron Rosenthal

rrosenthal@llnw.com

203-515-0966

Mobile

Fabrice Lorenceau

fabrice@livelikevr.com

[33] 14 500 1949

LIVEU

Platinum

Mike Savello

mike@liveu.tv

201-742-5227

LTN GLOBAL COMMUNICATIONS

177

Corporate

Rich Rozycki

rrozycki@ltndigital.com

646-832-1952

LYON VIDEO

250

Mobile

Chad Snyder

chad@LyonVideo.com

614-319-4071

Mobile

Jon Ollwerther

jon@m2aerials.com

213-294-2299

MARKERTEK

Premier

Gregory DeCelle

greg@towerpower.com

845-246-2357

MARSHALL ELECTRONICS

130

Corporate

Jackson Root

jackson@marshallelectronics.net

310-333-0606

MASSTECH INNOVATIONS

Premier

Luc Tomasino

Luc.tomasino@masstech.com

918-605-3236

MAXON

Corporate

Paul Babb

paul@maxon.net

805-376-3331

MEDIA LINKS

Corporate

Tom Canavan

tcanavan@medialinks.com

860-206-7326

MEDIAKIND

152

Corporate

Dan Burnett

daniel.burnett@ericsson.com

678-689-6535

METROVISION

Mobile

Jim McGillion

jim@metrovision.tv

212-989-1515

MEYERPRO

Mobile

Steve Meyer

steve@meyerproinc.com

503-638-2096

MICROSOFT

Premier

Scott Bounds

sbounds@microsoft.com

646-225-4380

Corporate

Christina Mixon

christina@mixondigital.com

917-383-8121

LIVELIKE

M2 AERIALS

MIXON DIGITAL MOBILE TV GROUP

218

Mobile

Philip Garvin

pgarvin@coloradostudios.com

303-542-5555

MPE

136

Corporate

Tim Okon

tim@mpenyc.com

347-460-2673

Corporate

Frank Jachetta

frank@multidyne.com

516-629-0373

Corporate

Susanna Mandel-Mantello

susanna.mantello@mx1.com

203-661-7971

Corporate

Darcy Lorincz

darcy.lorincz@nagra.com

408-808-0077

Corporate

Morgan Prygrocki

morgan.prygrocki@ncam-tech.com

310-941-4684

MULTIDYNE MX1

193

NAGRA NCAM

137

NEP GROUP

Platinum

Susan Matis

smatis@nepgroup.com

412-423-1339

NET INSIGHT

Corporate

David Dellafave

david.dellafave@netinsight.net

201-669-2037

Corporate

Dana Williams

Dana.williams@neulion.com

516-622-8301

Jeff Lowe

jlowe@neutrikusa.com

704-612-2878

NEULION NEUTRIK

Premier

NEVION

Corporate

Mike Root

sales@nevion.com

212-380-0550

NEWTEK

Premier

Ruben Ruiz

rruiz@newtek.com

210-370-8000

Mobile

Todd Cogan

todd@nextvr.com

949-494-4321

NEXTVR NTT ELECTRONICS

153

OBJECT-MATRIX OOYALA

126

OPENDRIVES OPTICAL CABLE CORPORATION

Premier

Atsushi Takahara

takahara@nel-america.com

201-556-1770

Corporate

Nick Pearce-Tomenius

nick.pearce-tomenius@object-matrix.com

[44] 2920 382308

Corporate

Elliot York

elliot@ooyala.com

917-714-9574

Corporate

Sandra Dunbar

s.dunbar@opendrives.com

310-923-4247

Corporate

Eric Altizer

eric.altizer@occfiber.com

800-622-7711

PANASONIC

Premier

Carter Hoskins

carter.hoskins@us.panasonic.com

770-619-1779

PCCW GLOBAL

205

Mobile

Koby Zontag

kzontag@pccwglobal.com

212-389-6257

PLIANT TECHNOLOGIES

178

Corporate

Gary Rosen

Gary.Rosen@PliantTechnologies.com

818-264-9730

PRG

Corporate

Brian Edwards

bedwards@prg.com

818-252-2630

PRIMESTREAM

190

Corporate

Robert Lisman

robertlisman@primestream.com

305-625-4415

Corporate

Chanan Averbuch

chanan@prineview.biz

212-730-4905

PRIMEVIEW

MOBILE SPORTS PRODUCTION YEARBOOK 2019

SVG Sponsor Directory / Ad Index

SVG SPONSOR

259

SVG Sponsor Directory / Ad Index

SVG SPONSOR

PAGE

LEVEL

CONTACT

PHONE

PRODUCTIONHUB

140

Corporate

Steve Rotz

srotz@productionhub.com

877-629-4122

PROFESSIONAL WIRELESS SYSTEMS

Corporate

Jim Van Winkle

JimmyV@ProfessionalWireless.com

407-240-2880

PROGRAM PRODUCTIONS

198

Mobile

Amy Scheller

ascheller@programproductions.com

630-792-9700

Mobile

Clayton Packard

cpackard@pssiglobal.com

310-575-4400

PSSI/STRATEGIC TV QUANTUM

Platinum

Ruth Compton

ruth.compton@Quantum.com

949-856-7793

QUANTUM5X SYSTEMS

Corporate

Paul Johnson

pjohnson@q5x.com

519-675-6999

RADIO ACTIVE DESIGNS

181

Corporate

Geoff Shearing

gshearing@radioactiverf.com

402-477-0695

REALITY CHECK SYSTEMS

Corporate

Jeff Heimbold

j.heimbold@realitychecksystems.com

323-465-3900

RF WIRELESS

203

Mobile

Rob Bunn

rob.bunn@rfwireless.com

613-228-7171

Platinum

Joyce Bente

joyce.bente@riedel.net

818-559-6900

Corporate

Hillary Nosbisch

hillaryn@rockitcargo.com

940-465-0303

RIEDEL COMMUNICATIONS ROCK-IT CARGO ROSS VIDEO

Platinum

Kevin Cottam

kcottam@rossvideo.com

613-228-0688 x4366

RT SOFTWARE

109

Corporate

Mike Fredriksen

mike.fredriksen@rtsw.co.uk

[44] 020 7384 2711

SANKEN/BRAINSTORM ELECTRONICS

122

Corporate

Jim Pace

jpace@plus24.net

323-855-1404

Mobile

Mark Parikka

operations@sdtv.com

619-293-7777

Corporate

Chris Clay

Chris.Clay@Sennheiser.Com

860-434-9190

SDTV SENNHEISER

161

SES

SHOFLO

Richard Lamb

richard.lamb@ses.com

[31] 70 306 4211

Stephen Bowles

stephen@shoflo.tv

866-774-0026

SHOTOVER

264

Mobile

Fabio dos Santos

fabio@shotover.com

818-285-1654

SHURE

107

Corporate

Bill Ostry

ostry_bill@shure.com

847-600-6282

SIGNIANT

179

Corporate

Jon Finegold

jfinegold@signiant.com

781-221-4000

SIMPLYLIVE

118

Corporate

Gregory Macchia

g.macchia@simplylive.tv

484-273-0760

SIXTY AS

167

Corporate

Cecilie Hjortland

cecilie.hjortland@sixty.no

[47] 958 33 465

SKYCAM/CABLECAM

209

Mobile

Endre Buxton

endre.buxton@skycam.tv

817-984-6840

SMARTCART SVX

214

Mobile

Gil Cowie

gil@smartcartsvx.com

646-863-6263

SMT

Corporate

Patricia Hopkins

p.hopkins@smt.com

919-493-9390

Corporate

Ben Grafchik

bgrafchik@sneakybig.com

502-523-0268

SNEAKY BIG STUDIOS 263

Mobile

Bart Meeus

Bart.Meeus@sonovts.de

[49] 89 419 671 9313

SONY

Platinum

Deon LeCointe

Deon.Lecointe@sony.com

201-930-6926

SOS GLOBAL EXPRESS

Platinum

Stephen Oâ&#x20AC;&#x2122;Connell

soconnell@sosglobal.com

252-635-1400

SPARK DIGITAL

121

Corporate

Tom Schuyler

tschuyler@sparkdigital.com

401-787-3760

SPECTRA LOGIC

156

Corporate

Hossein ZiaShakeri

hosseinz@spectralogic.com

303-449-6444 x 1118

SPORTRADAR US

Corporate

Stephen Byrd

s.byrd@sportradar.com

847-274-3322

SPORTZCAST

Corporate

Michael Connell

mike@sportzcast.net

321-888-3800 x101

Corporate

Matt Davidowitz

mdavidowitz@stats.com

847-728-4470

SONOVTS

STATS

189

STOREXCEL STUDIO TECHNOLOGIES SUPPONOR

132

Mobile

Lance Hukill

lance.hukill@storexcel.com

303-884-8973

Corporate

Gordon Kapes

gkapes@studio-tech.com

847-676-9177

Corporate

Isabel Najera

Isabel.najera@supponor.com

[44] 77 8988 2431

SWIFTSTACK

Premier

Bert Condensa

bcondensa@swiftstack.com

415-625-0293

SWITCHBOARD

164

Corporate

Sandra Arber

sandra@switchboard.live

732-816-7262

Mobile

Ian Ash

iash@t2computing.com

212-220-9600 x367

T2 COMPUTING

260

Premier Corporate

TATA COMMUNICATIONS

Corporate

Utkarsh Gosain

utkarsh.gosain@tatacommunications.com

917-499-0236

TEDIAL

Premier

Jay Batista

jay.batista@tedial.com

424-645-5300 x602

MOBILE SPORTS PRODUCTION YEARBOOK 2018

PAGE

LEVEL

CONTACT

PHONE

TEKTRONIX

111

Corporate

Mike Wright

mike.wright@tektronix.com

818-200-3008

TELESTREAM

119

Corporate

Scott Murray

scottmu@telestream.net

530-470-1306

TELOS ALLIANCE

Premier

Martin Dyster

martin@LinearAcoustic.com

717-735-3611

TELSTRA

133

Corporate

Anna Lockwood

Ana.Lockwood@team.telstra.com

877-835-7872

TERADEK

Premier

Jon Landman

jon@teradek.com

818-667-4258

THE STUDIO â&#x20AC;&#x201C; B&H

Premier

The Studio Team

thestudio@BandH.com

800-947-9962

THE SWITCH

Premier

Christian Kneuer

christian.kneuer@theswitch.tv

212-239-3715

THE VIDEO CALL CENTER

101

Corporate

Larry Thaler

LThaler@TheVCC.TV

212-235-7019 x720

THE WEATHER COMPANY, AN IBM BUSINESS

117

Corporate

Therese DeMatteo

therese.dematteo@us.ibm.com

917-318-8488

TNDV

246

Mobile

Rob Devlin

rob@tndv.com

877-959-8638

TSL PRODUCTS

Corporate

Greg Siers

greg.siers@tslproducts.com

301-272-0939

TV GRAPHICS

Corporate

Joseph Jopplin

josephj@tv-graphics.com

281-397-9100

Corporate

Eric Chang

echang@tvunetworks.com

650-288-0843

Mobile

Jon Kelly

jon.kelly@unicomgov.com

571-499-0101

Mobile

Doug Waldron

Doug.waldron@unity-si.com

905-707-3802

Corporate

Chris Harmon

charmon@utahscientific.com

801-575-3233

Platinum

Bob Hawkanson

rhawkanson@ver.com

407-582-0350

Corporate

Logan Ketchum

lketchum@veritone.com

818-519-0054

TVU NETWORKS

147

UNICOM UNITY SYSTEMS INTEGRATION

235

UTAH SCIENTIFIC VER

VERITONE VERIZON DIGITAL MEDIA SERVICES

169

Corporate

Jeff Casey

jeffrey.casey@verizon.com

908-559-2036

VIDEOCITES

141

Corporate

Eyal Arad

eyal@videocites.com

[972] 9-9749983

VIDOVATION

125

Corporate

Jim Jachetta

jimj@vidovation.com

949-777-5435 x1001

Corporate

Joshua Liemer

jliemer@vistaworldlink.com

954-838-0900 x210

Brenda Nowicki

brenda.nowicki@vitac.com

303-468-4714

VISTA WORLDLINK VITAC

Corporate

VITEC

Premier

Geol Yeadon

geol.yeadon@vitec.com

650-230-2563

VIZRT

Premier

Melanie Crandall

mcrandall@vizrt.com

506-988-7005

VSN

174

Corporate

Doug Wynn

doug@vsn-tv.com

608-345-1568

Corporate

Jennifer Stowe

jennifer.stowe@warnerchappellpm.com

615-687-6859

WARNER/CHAPPELL PRODUCTION MUSIC WAVE CENTRAL/CP COMMUNICATIONS

Premier

Kurt Heitmann

kurt.heitmann@cpcomms.com

914-345-9292

WESCO BROADCAST AND ENTERTAINMENT

163

Corporate

Mike Vivian

mvivian@wesco.com

256-604-6362

WESTERN DIGITAL

Platinum

Seth Cohen

seth.cohen@wdc.com

203-500-4099

WHEATSTONE

102

Corporate

Phil Owens

philowens@wheatstone.com

252-638-7000

WIPSTER

148

Corporate

Nick Howard

nick@wipster.io

424-236-5172

Corporate

Gary Cooper

g.cooper@worldcastconnect.com

305-249-3110

Corporate

Brad Wright

brad.wright@wowza.com

720-608-4733

Corporate

Galit Shiri

galit@wsc-sports.com

[972] 54 471 6862

Premier

Mario Sousa

mario.sousa@wtvision.com

305-357-5893

WORLDCAST CONNECT WOWZA MEDIA SYSTEMS

WSC SPORTS WTVISION/MEDIAPRO

ZAYO GROUP

Corporate

Michael Waters

michael.waters@zayo.com

918-978-1899

ZEGAMI

113

Corporate

Oliver Abadeer

Oliver@zegami.com

[44] 7500 104 133

ZIXI

170

Corporate

Eric Bolten

eric@zixi.com

978-853-8482

ZYPE

135

Corporate

Chris Bassolino

cbass@zype.com

908-913-0880

MOBILE SPORTS PRODUCTION YEARBOOK 2018

SVG Sponsor Directory / Ad Index

SVG SPONSOR

261

GAME ON (ALWAYS)

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