2022 Sports Production SVG Yearbook by Sports Video Group

SPORTS PRODUCTION

YEARBOOK

A YEAR UNLIKE ANY OTHER NAVIGATING LIVE SPORTS PRODUCTION IN A PANDEMIC-ALTERED WORLD

INCLUDING THE 16TH ANNUAL

BROADCAST SERVICES PROVIDER DIRECTORY and MOBILE SPORTS PRODUCTION GEARBASE

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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 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, Associate Editor and Social Media Manager 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 and Operations Associate katie@sportsvideo.org | 646.524.7497 CRISTINA ERNST, Event Operations Director cris@sportsvideo.org | 917.309.5174 ALICIA MONTANARO, Meetings and Events Manager alicia@sportsvideo.org | 646.880.4901 ANDREW LIPPE, Membership & Client Services Manager andrew@sportsvideo.org | 212.481.8133 SPONSORSHIP ROB PAYNE, Managing Director, Worldwide Sponsor Development rob@sportsvideo.org | 212.481.8131 ANDREW GABEL, Director, Sponsor Development agabel@sportsvideo.org | 646.998.4554

2022SVGYEARBOOK 7 LOOKING AHEAD

Welcome to the 2022 SVG Sports Production Yearbook!

11 REFLECTIONS 2021

Sports Production Leaders Weigh In On Challenges, Opportunities Ahead

11 Chris Brown, Turner Sports 14 Bob Carzoli, Program Productions Mike Connelly, Bally Sports 18 Mary Ellen Carlyle, Dome Productions Kate McClure, Dome Productions 22 Mike Davies, Fox Sports Patti Fallick, USTA 26 Phil Garvin, Mobile TV Group Nick Garvin, Mobile TV Group 30 Mark Haden, NHL Grant Nodine, NHL 34 Steve Hellmuth, NBA Patty Power, CBS Sports 38 Glen Levine, NEP Howie Rosenthal, NEP 42 Susan Stone, MLB Network Pat Sullivan, Game Creek Video

107 BROADCAST SERVICES PROVIDER

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.

PROFILES

SVG EUROPE CONTACTS JOE HOSKEN, General Manager joe@sportsvideo.org | Tel: +44 74290 90134 ABOUT SVG

47 A YEAR UNLIKE ANY OTHER Navigating Live Sports Production in a Pandemic-Altered World

DYLAN DAVIDSON, Sponsorship Coordinator dylan@sportsvideo.org | 646.559.0435

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, broadcasters, streamers, and venues 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.

107 3g Advanced Systems Group (ASG) AE Live Aerial Video Systems (AVS) All Mobile Video 112 Alpha Video ARCTEK Satellite Production ASU Productions Azzurro Group BCE BeckTV Bexel Broadcast Management Grp. Broadcast Services International (BSI) 116 Broadcast Sports International (BSI) C360 Cartoni CHESA CineSys-Oceana Clark Conference Technologies, Inc. CP Communications Creative Mobile Solutions

120 CSP Mobile Productions disguise Diversified DNA Studios Dome Productions DX3 Media Encompass ES Broadcast F&F Productions Filmwerks 124 Fletcher Game Creek Media Geartech Technologies Gravity Media Illumination Dynamics Integrated Media Technologies (IMT) intoto Systems Keycode Media KMH Audio-Video Integration LH Computer Services 128 Live Media Group Lyon Video Markertek Mediapro MeyerPro Mobile TV Group NEP PRG 132 Program Productions PSSI Global Services Reality Check Systems RF Wireless Systems Robovision Ross Rush Media SDTV Skycam SmartCart SVX SOS Global 156 Southworks ST Engineering iDirect Thumbwar VidOvation VISTA Worldlink WorldStage

Table of Contents

SPORTS PRODUCTION

141 VENDOR SERVICES DIRECTORY 146 Crew Services 146 Generators 154 Mobile Production Units 162 Satellite Trucks 175 MOBILE SPORTS PRODUCTION

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Looking Ahead

By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial

ike last year, we once again put the focus on the events as well as the production trucks and technologies that defined the year in sports production. But, at the center of all of those trucks, events, and technologies, are the people in our industry who worked harder than ever to not only excel but to also, literally, survive. At first blush, many of the productions at the end of the year look very much like those in the beginning of 2020. Full stadiums, full compounds… the biggest difference is catering is a bit different and people are wearing masks inside the production trucks. Getting to this point — where there is at least some semblance of normalcy — is what 2021 will be most remembered for. The beginning of 2021 was still fraught with tremendous dangers and uncertainly as the COVID-19 vaccine rollout was just beginning and the vast majority of sports production professionals did not qualify for early shots. Events like the Super Bowl, March Madness, and Major League Baseball all took place under a cloud of uncertainty and even danger. But the sports production industry was able to persevere thanks to discipline, guidelines, social distancing, and lots and lots and lots of testing. As you read through the stories in the 2022 SVG Sports Production Yearbook, you will start to see the return of normalcy. More productions transitioned to being onsite rather than having on-air talent and others connected remotely. And vaccinations changed everything, allowing for social interaction to take a big step towards the kind of interactions that can build bonds and friendships that are a building block for professional success. When the COVID-19 pandemic began, topping the list of fears in the industry — clearly — was an outbreak that would not only jeopardize the production but also the lives of all of those who worked on the show. It wasn’t hard to envision a nightmare scenario where 150 people working an event could become ill and possibly even lose their lives. Thankfully, that didn’t happen. So where does the industry go next? What stories will be told in the pages of the 2023 SVG Sports Production Yearbook? We can only hope it will continue to be one where the focus will be on innovations like UHD, HDR, remote workflows, and cloudbased production. The industry is poised at a major tipping point where the capabilities of technology have finally caught up to the dreams of technology. The ability to spin up and spin down a virtual production control room in the cloud will put high-quality sports production tools at the fingertips of nearly every entity, big or small. Want your small-time league content to look as great as the content created by a big-time league? Soon you will be able to do that without having a big-time league budget. And that will change everything. The SVG Sports Production Yearbook has always been a celebration of the entire industry and 2021, more than any previously, is one to truly be celebrated. It was a year of great challenges, great accomplishments, and great moments. And we hope this Yearbook will ensure they are not forgotten.

CHAIRMAN Michael Davies, Fox Sports, SVP, Technical and Field Operations EXECUTIVE COMMITTEE Ken Aagaard, SVG Chairman Emeritus and Sports Broadcasting Hall of Fame Chairman Andrea Berry, PRG, SVP and General Manager, Broadcast and Television Eric Black, NBCUniversal, SVP, Sports & Entertainment Technology Chris Brown, Turner Sports, VP, Sports Production Technology Jason Cohen, CBS Sports and CBS Sports Network, VP, Remote Technical Operations Mike Connelly, Bally Sports, EVP and Executive Producer Scott Gillies, Industry Consultant Steve Hellmuth, SVG Chairman Emeritus and NBA Entertainment, EVP, Media Operations and Technology Jeff Jacobs, VENN, EVP and GM Patty Power, CBS Sports, EVP, Operations and Engineering Tom Sahara, SVG Chairman Emeritus and Industry Consultant Susan Stone, MLB Network, SVP, Operations and Engineering

Association Leadership

Welcome to the 2022 SVG Sports Production Yearbook!

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.

ADVISORY BOARD MEMBERS Adam Acone, NFL Network, Director, Media Operations and Planning Glenn Adamo, Ivanhoe Media and Entertainment, President Peter Angell, D2C Sport, Director Onnie Bose, NFL, VP of Broadcasting Dylan Boucherle, Warner Media/Turner Studios, VP, Technology Strategy and Media Workflows Tab Butler, Industry Consultant Chris Calcinari, ESPN, SVP, Remote Production Operations, ESPN and ABC Sports Mary Ellen Carlyle, Dome Productions, SVP and GM Ken Clausen, HBO, Director of Production Joe Cohen, Industry Consultant 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, CP Communications, COO Steve Gorsuch, Industry Consultant Ken Goss, NBC Sports Group, SVP of Remote Operations and Production Planning Mark Haden, NHL, Group VP, Broadcast Technology 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, 1337 Facilities, CEO; Venue Road, Founder John Kvatek, Industry Consultant John Leland, PSL International, LLC, Principal Glen Levine, NEP, President, U.S. Louis Libin, Broad Comm, President Jodi Markley, Industry Consultant Geoff Mason, Industry Consultant 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 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, Industry Consultant Jack Simmons, Industry Consultant Don Sperling, New York Giants Entertainment, VP and Executive Producer Jerry Steinberg, Industry Consultant Steve Stum, NASCAR Productions, VP, Operations and Technical Production Patrick Sullivan, Game Creek Video, President Jason Taubman, Game Creek Video, VP, Design/New Technology Larry Tiscornia, Industry Consultant 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

SPORTS PRODUCTION 2022 YEARBOOK

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SPORTS PRODUCTION LEADERS WEIGH IN ON CHALLENGES, OPPORTUNITIES AHEAD

Reflections 2021

Reflections 2021 A

s the sports-production industry begins to confront a new normal in a postpandemic world, leagues, broadcasters, and facilities providers have been presented with a host of new challenges and opportunities. In the ensuing pages, some of the top executives in the business offer up their insights as to how they navigated the pandemic, what changed in their production operations as a result, and where they see the sports-production sector headed in the future.

Chris Brown

Turner Sports, VP Sports Production Tech “Our production folks are charging hard right now.”

e’ve had an opportunity to basically reinvent how we do productions. All of these things that we’ve talked about in the shadows [in the past] because we knew production [teams] might not support it, we finally had a chance to really put these ideas out there. We were able to test all these different theories, and a lot of those opportunities came from the manufacturer side. The manufacturers really stepped up to the plate and put a lot of new tools out there and put more energy and emphasis on the kinds of tools we were looking for. The opportunity for us now is really looking at all the different tools that we have out there and trying to see what will actually work for us long-term. From a Turner Sports perspective, we are looking to enhance our productions and looking at where the technology can be an asset to how we are doing those productions. And most importantly, how we can get more out of them — whether it’s cost savings or the ability to add things that we otherwise might not have thought about because the technology was just not available before. Oddly, that opportunity also presents one of our biggest challenges, which is how do we actually incorporate some of this new technology and build a workflow that fits the sport that we’re doing? Are we able to effectively tell the story? Are we able to effectively execute on our production teams’ visions using this technology? Our production folks are charging hard right now. From a creative standpoint, they want to present the best possible show to the audience. So it’s odd that our biggest opportunities also sometimes present some of our biggest challenges. But it’s a problem that I’m happy to have. At the end of the day, I would rather be trying to figure these things out and how to utilize these new workflows than what we were facing early on [in the pandemic]. Right now, we are really trying to take a step back, look at the landscape of where we are, understand all the opportunities and challenges we have, and figure out what makes sense for us moving forward.

SPORTS PRODUCTION 2022 YEARBOOK

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Reflections 2021

Bob Carzoli

Program Productions, CEO and Chairman “...we’ve never seen this much collaboration in the industry among people who generally would consider to be competitors.”

e have two major challenges: one clearly is labor in the field as we’ve lost about 30% of the technology workforce in this country. And as visitors’ shows have come back, I would tell you that we’re struggling enormously to find qualified people. I think the second challenge is the pandemic is not over. Yes, we’re moving in the right direction, but we still have breakthrough cases. We still have contact tracing. We have technicians that refuse to get vaccinated and customers that demand that they get vaccinated. We’re just seeing far more curve balls than we ever saw in the past. The labor shortages aren’t going to be solvable quickly and we’ve got full-time training, we have paid training. But we’re never going to be able to fill the holes fast enough and so we’re going to continue to have to work with our customers on adjusting the size of their shows and the amount of people that have to travel in and out to do games. But I think opportunity-wise, we’ve never seen this much collaboration in the industry among people who generally would consider to be competitors. Whether it’s NEP and Mobile TV Group or Game Creek, whether it’s the transmission people, the equipment vendors, the networks… there’s been so much support in and among the community.

Mike Connelly

Bally Sports, EVP and Executive Producer

“The opportunities are just staring us in the face, and it’s a great time for our business.”

very day is a challenge because we’re so worried about everything besides great productions. We’re so distracted by so many other things, but we just want to get to the point where we’re focused on producing a great event. I think we’re finally inching closer back to just focusing on putting great events on the air. The opportunities are just staring us in the face, and it’s a great time for our business. When the pandemic started and the NBA closed their doors almost two years ago, we got together with the Garvins [at Mobile TV Group] and our ops staff and we said, “this is an opportunity.” We’ve got a break and this is where we can create change. And change came and it’s continuing to come and it’s for the better. The future is here. What I really like about [the industry right now] is we’re closer now than we’ve ever been. The networks are all talking, the truck companies are talking, and the networks are talking to all truck companies. I’m closer with the heads of all the RSNs and the national networks than I’ve ever been. And we’re working together to make a better product. And when we get through this, we’re going to be so much better off and we’re going to be able to do so many more things using technology to take it to the next level. It’s going to be so fun to see what this all looks like 10 years from now.

SPORTS PRODUCTION 2022 YEARBOOK

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Reflections 2021

Mary Ellen Carlyle Dome Productions, GM/SVP

“... if we don’t embrace that transformation, we’re not going to have that opportunity.”

think the opportunity for Dome Productions is we’re going to have different workflows, we’re going to have different clients, we’re going to have different staff, and we’re having different events. We just presented our 2022 business plan, and the main theme of the business plan was transformation. And if we don’t embrace that transformation, we’re not going to have that opportunity. The greatest opportunity in the business side is our distribution business, which is growing leaps and bounds because of the different workflows. We’re able to offer smaller productions like the Canadian Hockey League and bring cameras back to our main NOC and then produce it there. And we also just did an agreement with the National Lacrosse League to produce some games and for the League’s own application. So that’s more content for our distribution businesses as well as our control rooms based in Toronto.

Kate McClure

Dome Productions, Senior Operations Manager

“...this is the chance for people to... come in and do roles that they might not have had exposure to.”

ur challenge today is crewing as we went from zero back to a marketplace that’s thriving with tons of work, which is fantastic. But during those 18 months where there wasn’t a lot of work, people made a lot of choices in their career, and we knew that there was going to be a shift in crew over time. But a lot of talented crew people have left the marketplace. We can bring new people, but how do you train them? And on top of that there are different types of productions, so we are also getting operators up to speed on that and making sure that they understand what we’re trying to do. And it’s great that when people are sick, they are calling in as it is keeping people healthy and safe. But it is those daily last-minute calls when crew is short where you need to ensure the crew is qualified and you’re giving the best for your clients. That being said, this is the chance for people to get an opportunity to come in and do roles that they might not have had exposure to. And we will provide qualified crew to our clients, but it’s a different process and a different challenge than maybe we’ve experienced prior to the pandemic.

SPORTS PRODUCTION 2022 YEARBOOK

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Reflections 2021

Mike Davies

Fox Sports, SVP, Technical and Field Operations SVG Chairman “...it’s a great time to be in this business.”

n terms of opportunities, we’ve said that the pandemic has cut out two years of time in terms of the adoption of new workflows and technologies. That’s by no means scientific, but I think it’s true. That said, we’ve seen a bit of a stabilization in the rapid breakneck adoption of these technologies as we’re starting to see where these technologies fall in line and on which shows and to which workflows they actually apply. So maybe it’s not as rampant as it was before. The one truly exciting thing that I’ve observed in terms of innovation is what we’re seeing on the screen — big screen or small screen. The rapid adoption of shallow depth of field cameras, drones, augmented reality, different camera mounts, high-resolution capture, and 5G augmentation of connectivity has been breathtaking to witness. To boot, we also have a whole host of real-time gathered statistics that I think we’re just scratching the surface on in terms of what our business can do to utilize them, exploring how all of all this data can connect us to one of the next big businesses — online betting, which is certainly growing. This rapid innovation can be challenging to keep up with, whether you’re a customer or a vendor — decisions on what to provide, buy, or invest in. These types of decisions are what makes this business exciting — after all, if one got in this business just to follow the path of what others have done, then it wouldn’t be nearly as fulfilling! There is no question that we are all being challenged to figure out how TV is going to be produced, what is going to be profitable, and what our changing audiences want to see. I think it’s a particularly exhilarating time, and where timely technology decisions can mean something in terms of what the future is going to look like. We’re authoring it right now and it is a tremendous opportunity. This can be intimidating, but it’s a great time to be in this business..

Patti Fallick

United States Tennis Association (USTA), Managing Director, Broadcast “How do we combine the best of working remotely and the best of working onsite...”

he opportunity is the certainty; knowing that we are planning an event that is actually going to happen and at the level we expect it to happen at. 2020 was challenging to say the least; 2021 was actually more challenging because at least in 2020 we knew we weren’t going to have fans, we knew we weren’t going to have broadcasters onsite. In 2021, we did many different budgets and many different plans based on all different iterations of if broadcasters were onsite, if broadcasters weren’t onsite, fans onsite, no fans onsite, 25% fans, 50% fans, 75% fans. That uncertainty was just extremely challenging. Combine that with still dealing with COVID issues, still dealing with the visa issues to get people into the country — both of which, for us, is a major challenge. I can’t wait for the certainty to know what that what we plan is actually going to happen. I think that’s the thing I’m looking forward to the most; going back to doing the event and focusing mainly on the event and without everything else that we’ve had to deal with. continued on page 26

SPORTS PRODUCTION 2022 YEARBOOK

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Reflections 2021

Patti Fallick continued from page 22 We look at the challenge now as — we’ve all adjusted to different workflows, people working remotely from home, doing some of our technical services remotely. How do we combine the best of working remotely and the best of being onsite into what the new best is going to be? What works best for the venue, broadcasters, and for the event? We’ve had a lot of success with the virtual studio for our global broadcasters. Do we still need to do that going forward if more broadcasters are onsite? Are more people going to come onsite or is it still going to be a split world? We just don’t know what new technologies and new operational workflows are going to be the new norm. I think that’s the real challenge. Plus, trying to do all that with really tight budgets because we had a whole year without fans. We lost 80% of our revenue. We made some headway in getting that back this past year, but we still have a way to go. Yet, we still want to do UHD, 1080p, and the things that we planned two years ago and couldn’t do. So that’s the hardest challenge coming forward: what does that new normal look like?

Phil Garvin

Mobile TV Group, President “... on any given day, we have to be ready for a pretty wide gamut of requirements.”

ast season, we had a fairly limited number of workflows with world feeds and the occasional single feed. But, this season, we’re going to have about five flavors of the visiting show plus the home show. So, on any given day, we have to be ready for a pretty wide gamut of requirements. It’s extremely hard to be prepared for all of those and so that’s the challenge. The other challenge is that our clients want to see cost reduction in a fairly significant way. So, the request is do all these different workflows but do them for less. And, most of all, get cloud control going for every single visiting show so we can apply the cost savings of cloud control. And then the final challenge is working towards some point two years from now where cloud control has allowed for the use of yet another workflow that we haven’t even tried yet.

Nick Garvin Mobile TV Group, COO

“...it’s invigorating that these new technologies bring energy to our whole team...”

he pandemic was terrible and, of course, bad for our industry. But the silver lining was that it accelerated our client’s interests in new workflows and technologies. As we deploy dozens of our cloud control rooms, we see this as the first step in unlocking the potential of these new technologies that will help keep the quality of production high and the costs low. And, as a company, it’s invigorating that these new technologies bring energy to our whole team that works very hard these days.

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Reflections 2021

Mark Haden

NHL, Group VP, Broadcast Technology “... all signs point to our revenue getting back to pre-pandemic levels this season.”

020 was harder and easier for us. I don’t have to go through the litany of why the pandemic made it hard. This year, we’re kind of back to what I call quasi-normality. In other words, we are allowing trucks back into facilities, but it sets up four different models for every game. We’ve got to take a look at each of those and it’s dynamically changing. You’ve got host feeds where the away teams have full-blown REMI. You’ve got a unilateral truck side-byside. You’ve also got the really established cloud-anywhere, remotely controlled truck that was pushed on by the pandemic. You’ve got the classic dual feeds where you might have a shortage of truck resources with two shows being produced out of one truck. It’s very dynamic. Our Puck and Player Tracking technology — now known as NHL EDGE — is fully operational. All of our broadcast partners (National and RSN’s) are using the technology in some way, but each time you get to a different production model, specifically for the away show, you have to make sure that you’re offering up the right services. We also deploy Virtual Slot In-Ice Branding, introduced as one of our new revenue opportunities last season, which is electronically burned into the ice. We also have to work with our rightsholders to incorporate that technology and ensure a flawless execution. While the League’s business took a significant hit over the past 19 months, all signs point to our revenue getting back to pre-pandemic levels this season. The new revenue opportunities, such as Virtual Slot In-Ice Branding, and using technology in many different ways has really become the new normal. This presents challenges, but most importantly, opportunity.

Grant Nodine

NHL, SVP, Technology

“Our biggest opportunity right now is opportunities.”

ur biggest opportunity right now is opportunities. Managing the opportunities that we have to leverage in the things that we’ve done remotely that have worked for us really well and to leverage the new technology that we spent some time putting out in the venues, and leverage new partnerships with Verizon and AWS. The biggest challenge is getting the organization to pivot and dig back into workflow automation and R&D to start actually bringing all of those opportunities into products and more defined obvious benefits for the organization. We’re also looking to innovate in how we distribute signals and how we make it more economical to do a distribution deal with a company in [a remote destination like] Senegal that wants to put on a game. That’s something that relies more on the cloud than traditional networks. I think that’s where both the opportunities and the challenges for us are right now.

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Reflections 2021

Steve Hellmuth

NBA Entertainment, EVP, Media Operations and Technology “We have actually found that we retained better people that were sharper and better able to do the job.”

he key opportunity is something that many of my other colleagues are pursuing: 1080p. We’ve made the entire HSAN network, 1080p, everything is converted at the panel. We’re bringing 35 feeds back per venue. Obviously, that benefits the replay center but mostly it benefits those people watching the NBA on mobile devices and on tablets because they’re close enough to see the quality of the pictures. I don’t mention HDR because I’m actually in charge of lighting the arenas and they’re so well-lit that HDR doesn’t help NBA that much. But for outdoor sports, absolutely, HDR is a clear upgrade. You can see, see the improvement of HDR. It’s just I don’t think it’s quite as key in the NBA. The challenge for us is to make a better content. During COVID, we developed many remote production techniques. The NBA Production and Operations team are holding onto many of them. For instance, on any NBA game, we have a logger, a content creator, and an operator switching the feed to create a continuous experience for those around the world that pay for the premium experience without commercials [in NBA League Pass]. We have actually found that we retained better people that were sharper and better able to do the job. We’re going to continue with many virtual workflows. The opportunity is to be back in the office together again for operations, engineering, software development, UI development. It’s great for them to bump into each other in the hallway. You’ve got a great idea, or half and idea, something that’s modified by somebody else that just happens to walk in the room or bumps into a person that can amplify the idea and make it better. That’s essential. I think for operations engineering and software development people to be back in the office it is an opportunity and a challenge to work together to better serve NBA fans globally.

Patty Power

CBS Sports, EVP Operations and Engineering “... technology is advancing rapidly and the productions are getting better.”

OVID was a great innovator for all of us. Specifically on the CBS side, operations and engineering were historically always pushing new things and we finally had production on the same page, going in the same direction as we created workflows using new technology together. We were taking risks, which wasn’t really the way we did things in the past when our priority was first and foremost to produce a high-quality telecast. So now, we’re focused on continuing that momentum and continuing to innovate. This is a great time for all of us as we are developing new ways of doing production. I think technology is advancing rapidly and the productions are getting better. We’re at a point on the CBS side where we look at our competitors and our friends in the industry at what they’re doing and how do we learn and borrow from some of those pages? We are hoping to build out a future facility that can accommodate our rapidly growing business across all platforms.

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Reflections 2021

Glen Levine

NEP US Broadcast Services, President “We are an industry that always wants to do better.”

ith new opportunities come challenges. As it relates to people, our focus is on recruitment, growing our apprentice program, and providing training for new technologies. We are looking to bring more people into the industry across the board. In addition to people, all of these new opportunities require resources, everything from consoles to components. Sourcing these items is increasingly challenging, which is cause for concern. My hope for 2022 is more certainty. We are an industry that always wants to do better, and the sooner we get back to knowing we can get the resources we need, the more comfortable everyone will be making quick decisions to create solutions that move the industry forward.

Howie Rosenthal

NEP US Broadcast Services, President “It’s about being really as versatile as possible.”

orkflows is the hot topic these days. And we benefit from what NEP launched five years ago in Australia with the Andrews Hubs and also in the Netherlands. We’ve successfully built out remote workflows, and here in the U.S., we’re taking the best in what they’ve done and developed and applying it to our own unique systems. We also just recently launched our New York and LA production centers, which are doing an NFL show every Thursday night. So right now, footprint-wise, we have four remote facility locations in the U.S. and growing. And, back in March, we acquired VISTA Worldlink, which really launched us into doing 1,500 events for USL, MLS, NWSL, and other leagues. And transmission is a big part of a growing business because of the VISTA acquisition. Just knowing that we have connectivity in our facilities has kind of brought on new opportunities for us, everything from remote commentary to doing a full game, to just doing transmission services. And, of course, we’re obviously heavily invested in the mobile unit business and we’re going to continue to heavily invest in the mobile unit business. But I think that’s going to be different where our mobile units will have the capabilities to connect to any one of our facilities globally, or any of our client’s facilities, wherever they want to be. It’s about being really as versatile as possible so that as things grow, we have all these answers and all the capabilities within our infrastructure. We have our production hubs, we have trucks being designed, and we have our broadcast control system “TFC” that allows us to connect and control everything. That puts us in a unique position and allows us to continue to innovate from a local level to a global level.

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Reflections 2021

Susan Stone

MLB Network, SVP Operations “We have an opportunity to create a more inclusive and diverse workforce...”

he acceleration of new technologies from the COVID-19 pandemic has given us the opportunity to be flexible with where our shows are produced and who gets to participate in the process. It behooves us to take advantage of this landscape where geography is not the obstacle to participation anymore, including people in front and behind the camera. We have an opportunity to create a more inclusive and diverse workforce, which we must take advantage of on a consistent basis. As we look ahead, we must also acknowledge that a significant challenge facing our business is the way people consume content, which is very different from where it was 10 years, five years, or even two years ago. The linear TV model, which has been one of the bedrocks for economic success for leagues, networks, and clubs, is continually facing pressure by the shifting media landscape. For the networks specifically, it is important that we continue to engage and partner with different media platforms as we figure out new ways to sustain and grow revenue in our industry.

Pat Sullivan

Game Creek Video, President

“... it’s a great time for our industry after coming out of the worst time for our industry.”

he biggest challenge in the mobile business now is we are having a tough time finding drivers, and that is a national problem. And it’s probably just as hard to find engineers, especially really high-quality engineers that can interact effectively with customers. Opportunity-wise, I think we have really turned a great corner with our partners at the leagues and our counterparts in this industry. We’ve come up almost completely with a common solution for remote broadcasting so that our clients can go on the road and save money by not shipping their production folks and others on the road. And I think that opportunity is going to bear a lot of fruit over the next several years and create other opportunities for other ways of doing things that we haven’t really thought about yet. At Game Creek, we’ve got the pedal right to the metal and it’s a great time for our industry after coming out of the worst time for our industry.

SPORTS PRODUCTION 2022 YEARBOOK

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A 2021 saw a wealth of technical enhancements across all networks and sports. Here, two FlyCam systems soared above Coors Field for the MLB All-Star Game.

fter a pandemic-fraught 2020, the live-sports-production industry welcomed 2021 as a return to normalcy. However, new and even great challenges arose as live sports productions continued to navigate the pandemic throughout 2021. Nonetheless, sports broadcasters, technology vendors, and production-service providers worked together to continue to develop unique new workflows — both onsite and remote — that paved the way for a new era of live-sports broadcasts. While early 2021 saw near-constant overlap of sports seasons due to schedule changes, the sporting events calendar began to stabilize in the second half of the year. As a result, sports viewership and ratings began to rise and sports-production teams began to return onsite. The ensuing pages provide an in-depth look at how the industry continued to innovate in 2021 and the monumental efforts undertaken by broadcasters to produce live sports events despite the ongoing pandemic.

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A YEAR UNLIKE ANY OTHER 54

College Football Playoff National Championship January 11, 2021 A

s one of ESPN’s most important properties, the College Football Playoff (CFP) National Championship Game spurs increased innovation and ingenuity. Such events typically generate intuitive ideas, but the magnitude of the game and the curveball that is COVID-19 intensified efforts in pushing limits. ESPN rolled out one of its biggest efforts for the title game, including a 270,000-sq.-ft. compound, 75 in-game and studio cameras, and heavy reliance on remote workflows. “To support the operation and keep a socially distant area, we’ve had to come up with a unique plan here in Miami,” said John LaChance, director, remote production operations, ESPN. “We really transformed into a unique, one-of-a-kind broadcast compound.” Major sports events normally call for a large television compound, but ESPN’s setup next to Hard Rock Stadium was something totally different. COVID-19’s impact resulted in reduction of more than 150 onsite positions. Even so, 465 credentialed personnel were on hand for the game. With total control of the exterior loading docks, LaChance and his colleagues devised a detailed layout of each team’s location within the 270,000-sq.-ft. compound. An essential component to the operation was ensuring that everyone is healthy before they step foot in the area. “This year’s national health crisis,” LaChance said, “required a strategy that features enhanced safety protocols, multiple rounds of testing, health screenings, heightened cleaning and sanitation standards, and ample distribution of PPE.” The compound housed 13 mobile production units and ancillary support vehicles. Game Creek Video had a large presence for the production of the main telecast, College GameDay, and the MegaCast. Live Media Group’s Gracie was responsible for SEC Network’s live coverage, and a BSI truck handled all RF audio and video elements. In addition, a 15,000-sq.-ft. office facility was adjacent to the compound. The massive compound provided a lot of firepower, but, to prepare for any production emergency, the team developed a handful of backup plans to keep the linear and surrounding content on-air. “There is complete redundancy for power, transmission, and infrastructure of the broadcast,” noted LaChance. “We published an eight-page document with all of the backup plans and what-if scenarios that we hope we’ll never have to execute, but it’s comforting to know that we’ll be prepared should the need arise.” A total of 75 cameras and other broadcast gear were SPORTS PRODUCTION 2022 YEARBOOK

ESPN constructed a 270,000-sq.-ft. compound for the National Championship game in Miami.

deployed to capture every play and sound of the title game. The broadcaster brought back a dual Skycam system (the traditional one close to the field and a “hi-sky” version) to get a full look at the playing field. When not traversing the field, the AllCam was positioned at an elevated vantage point for isolated shots of players and wider shots of plays. Up in the air, a fixed-wing aircraft and the Goodyear Blimp transmitted aerial views of the venue and the surrounding city. At field level, ESPN once again leveraged its extensive arsenal near the goal line and first-down line. A total of 28 POV cameras were embedded within the front and rear PylonCam systems. Those in the back-line pylons will have pan, tilt, zoom functionality, which was introduced for last year’s Championship Game in New Orleans. There were two styles of Marker Cam — one regular and one c360 with 180 degrees of movement — and two RF line-to-gain cameras on each sideline. Capping the complement were 26 specialty cameras: 11 Sony HDC-4300’s with super-slo-mo capability, 10 robos, three 4K cameras (two Sony HDC-4800’s and a Sony HDCP43), and two RF handhelds on the field. Bringing the total to 98, 23 cameras covered College GameDay and shows on SEC Network. “Even with the protective measures, this is still a marquee event,” said LaChance. “The company is going to make sure that we have the appropriate coverage.” On the audio side, more than 100 microphones were dispersed on the field and in the stands to give in-venue noise to fans watching at home. – Kristian Hernandez

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A YEAR UNLIKE ANY OTHER

Super Bowl LV February 7

he COVID pandemic has given new meaning to the phrase “best-laid plans”, but CBS Sports and its technology partners at the center of the production of Super Bowl LV were proof positive that one of the world’s biggest televised sports events can innovate, grow, and evolve. “Pre-pandemic, we had a very different plan to where we landed,” said Patty Power, EVP, operations and engineering, CBS Sports. A Super Bowl compound is always large, but social distancing made this year’s even larger. The CBS domestic compound housed 19 trucks and production trailers. According to Mike Francis, VP, remote engineering and planning, CBS Sports, the compound was essentially double the size of what was planned. “It’s definitely a big compound with a lot more facilities to link up,” he added. “And then we need to make sure that everything is available everywhere. When it spread out, we had a lot more to execute on that side of things.” NEP Supershooter SSCBS was the main show and game truck; Supershooter 4 was the tape release. “We have Game Creek Encore handling our studio shows,” Francis added. “Sprinkled in the compound for technology and social distancing, we have F&F GTX19, GTX20, Game Creek B1 for robotics, and all the support trucks that go along with them.” A large flypack deployment was built by NEP Bexel for distribution, transmission, routing, and monitoring. And THUMBWAR was onsite for media management and remote editing. “We will also execute some remote editing in the cloud with Avid and Microsoft Azure,” says Francis. “CBS VP, Post

SPORTS PRODUCTION 2022 YEARBOOK

The CBS Sports exterior set at Super Bowl LV

Production, Ed Coleman is going to use that to provide a lot of the postproduced elements we will use.” Filmwerks and Jack Morton Worldwide collaborated on the concourse set, which was located in the opposite corner from the pirate ship. There was also an exterior set on the south end of the stadium as well as multiple standup locations in the stadium and behind the exterior set. All season long, CBS took advantage of the lack of fans to bring a new look to camera angles and coverage. That look hit new heights during Super Bowl LV with more than 120 cameras deployed. “I think we’ve done a really good job of embracing our environment and the conditions with fewer fans in the stadium and with an LED ribbon across the lower bowl,” said Jason Cohen, VP, remote technical operations, CBS Sports.“We’ve mounted cameras to give the viewer a different look and feel to the game. In addition, we’re just trying to make the game bigger and bolder.” A number of innovations were on display. Most notable, the Trolley Cam point-to-point cabled camera system complemented two Skycams and a Flycam. If there has been one technology story in NFL coverage this year, it is the use of cameras capable of shallow–depth-of-field shooting on the field during warmups and after key plays. “Everyone has been talking about it and is excited about it,” said Cohen. “Obviously, we’re going to continue what we’ve been doing all along in the playoffs, which is to use the Sony Venice camera on a Steadicam.” The sideline Steadicam rigs were also complemented by traditional HD cameras, three of which will had Canon’s CJ20ex5B handheld lens. Those lenses are noted for their 20X zoom and wide angle. – Ken Kerschbaumer

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A YEAR UNLIKE ANY OTHER

Daytona 500 February 14

ox Sports’ live mirrorless camera, dubbed the ‘Megalodon,’ first captured the eyes of television viewers during Week 15 of the NFL regular season and returned for the NFL postseason. For the first race of the new NASCAR season, the broadcaster deployed different variations of it for shots in close-up and far-to-reach areas. “We’re expanding upon the Megalodon that we used for NFL games,” said Kevin Callahan, VP, field operations and engineering, Fox Sports. “In addition to having it on a Ronin-S handheld, we’re also experimenting with it on a DigiBoom [gimbal-stabilized rig] to give us different angles.” The Megalodon became a tech craze in football; in Daytona, both man and machine were in front of the lens. The relatively simple setup, consisting of a Sony a7R IV mirrorless DSLR camera and Sony FE 24-70mm f/2.8 GM lens, was intended to provide a cinematic vibe new to a NASCAR telecast. Since cars blaze down the track at more than 150 mph, capturing the desired shot would be extremely difficult, if not impossible. In an effort to use these stellar live shots, the broadcaster placed the operator in an area with still subject matter. “We’ll try to get those shots that we haven’t really been able to get with a shallow depth of field,” Callahan explained.

The camera was swapped with the Ronin-S handheld, which viewers are normally used to seeing in the end zone of NFL telecasts, to grab tight shots of individuals when applicable and with the DigiBoom, which can be used to hang over the barrier wall for shots of the pit crew during tire changes and other activity. Prior to green flag, the Megalodon was located in the garages as drivers prep for the race. The camera complement for this event hit a grand total of 74. Every nook and cranny of the 2.5-mile track was covered by 16 Sony HDC-4300’s (with more than one at 6X speed), 16 Sony HDC-P50’s, two Sony HDC-4800’s at 16X, and a Fletcher high-speed robo at the finish line. The Sony HDC4800’s wee outfitted with two Fujinon 8K lens to capture crystal-clear shots after the sun sets in Daytona. Prior to Sunday’s race, Fox Sports covered the actionpacked NASCAR Speedweeks leading up to the main event. Among the events was the first-ever Busch Clash, which ran on Daytona’s 63-year-old road course, permitting Callahan and the operations team to deploy a handful of cameras that haven’t been used in quite some time. Having made its NASCAR debut at last year’s race, aerial drone coverage was improved dramatically. Capable of 85 mph, the FPV racing drone, operated by Los Angeles-based production company Beverly Hills Aerials, covered the straightaway near the starting line and other areas around the track. Having experience at this specific location, the operator hovered the drone over the cluster of cars and detail the progress of the race from above. To display synchronization with all broadcast cameras (excluding the Megalodon), Fox Sports installed a CyanView Cy-CI0 to this drone for appropriate camera shading. “We’re putting a Dream Chip camera on [the racing drone] to get the best possible image that we can,” said Callahan. “This will allow our video operators to be able to paint it and make sure that it matches the rest of our cameras. Other times when we’ve put out these types of specialty cameras, we’ve lacked that control to get them to match; they’ve always looked a little bit different. Now we’ve been able to make this a reality.” The heavy-lift drone carried extra cargo: a Sony HDC-P50 equipped with Canon’s new 20X5 lens. More traditionally, the Goodyear Blimp was also on hand for shots near the clouds. – KH Beverly Hills Aerials Drone Pilot Michael Izquierdo (left) and Fox Sports Fiber Technician Brian Obert prepare the drones to cover the Daytona 500.

SPORTS PRODUCTION 2022 YEARBOOK

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A YEAR UNLIKE ANY OTHER 66

NCAA Men’s Basketball Final Four April 3-5

he 2021 NCAA Men’s Basketball Tournament required an incredibly comprehensive effort to pull off. For the joint broadcasters of CBS Sports and Turner Sports — who have partnered for more than a decade on this event in one of sports television’s most unique production collaborations — a unique execution that included a bubble environment, 10 unique production crews, and a global pool of remote resources came to a head as Baylor battled Gonzaga for the National Championship. Despite all of the differences with this year, game coverage felt quite familiar to the high-powered effort that CBS and Turner put in on the Final Four year in and year out. There were nearly 50 cameras dedicated exclusively to the game broadcast, including the popular RailCam, a four-point SkyCam, multiple jibs, and 16 super slow motion cameras. There was also a strong commitment to robotic cameras this year as there were as many as 27 robos in the total arsenal. These types of decisions reflect the desire for CBS Sports and Turner Sports to “definitely [lean] into technology” this year in an effort to overcome the challenges presented by the pandemic, as described by CBS Sports’ Executive Producer/EVP, Production Harold Bryant noted before March Madness began last month. Efforts on the lens front also drove up the quality of the images being captured for the game broadcast. Canon glass that included some toys from its TS-E series was used with

SPORTS PRODUCTION 2022 YEARBOOK

the Canon C500 Mark II camera that allowed for camera operators to pull in new and interesting looks. “Disruption breeds innovation and creativity, and this is no different,” Craig Barry, EVP/Chief Content Officer for Turner Sports said prior to the start of the Tournament. “Some of the technology is by design, and some is by necessity. We feel really confident that we have a great mix of technology and innovation. We’re trying to create as much access as possible — to the game, to the court – and get the fan as close as possible. With all the social distancing, we wanted to make sure that that priority stayed intact. And that’s where the technology comes in.” On the audio front, enhanced crowd audio was be implemented to accompany the reactions coming in from the limited attendance inside the stadium. There was also a sizeable compound including 14 mobile production units powered by seven twin packs with 12 UPS units. Shoulder programming was onsite in Indy with two sets covered by seven primary cameras. Those shows — and the main broadcast — were supplemented by eight robotic and POV cameras positioned in places where the networks cannot position physical camera operators for health and safety precautions. Those positions included team bus drop off points as well as the bowels of Lucas Oil Stadium when teams walk from the locker room to the floor. On the studio show side, the two broadcasters are working with Ross for augmented reality graphics on the studio set. – Brandon Costa The Final Four and Championship marked the 10th time that the two broadcasters worked collaboratively to deliver the college men’s basketball championship to viewers.

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A YEAR UNLIKE ANY OTHER 70

The Masters April 8-11

here were numerous firsts at the 2021 Masters Tournament. First, of course, was Hideki Matsuyama’s becoming the first male Japanese golfer to win a major championship. There were several firsts on the TVproduction side as well: most notably, the opening of Augusta National’s Content Center, a new complex of buildings (one for CBS, one for ESPN, and one for the Masters Digital Group) that housed the type of operations typically found in a television compound. “Everybody was really looking forward to working in the new Content Center,” said Patty Power, EVP, Operations and Engineering, CBS Sports. “It’s just incredible to have the experience of being on a remote [production] that size and able to work in a beautifully designed building.” The Content Center more closely resembles a nice neighborhood — with sidewalks, street lamps, even welcome desks inside the buildings — than a traditional broadcast center. “We had management, production, operations, and the VO booths and announcers for ancillary shows — including Featured Groups; Amen Corner; 15-16; and 4, 5, and 6 — all housed in the Content Center,” added Power. “There also was a large camera-storage area, tech management, and a qualitycontrol area for our group.” The Masters was the penultimate significant event during a six-month run for CBS comprising the Masters in November 2020, Super Bowl LV in February, the return of March Madness, and next month’s PGA Championship. “The Super Bowl was the smoothest really large event we had executed,” said Mike Francis, VP, remote engineering and planning, CBS Sports, “but this had another level of complexity and scale that no other event reaches.” Over the previous 13 months, CBS Sports honed a golf-production workflow that relies on personnel working remotely. That was the case for the Masters, for which much of the ARL augmented-graphics team was located in New Zealand and the TopTracer team operated out of a studio at All Mobile Video in Midtown Manhattan. Previous golf workflows were expanded and merged with several new initiatives at the Masters. The compound housed more than 50 vehicles, including NEP SSCBS, which handled second-nine coverage, and Game Creek Video Encore, which handled first-nine coverage. Also in the compound were NEP Supershooter 4 for the featured groups; F&F GTX20, in its Masters debut, handling coverage of Holes 4, 5, and 6; Game Creek Video Spirit, producing 4K HDR coverage of Amen Corner; NEP Supershooter 5, making its debut and housing SPORTS PRODUCTION 2022 YEARBOOK

A new Content Center at Augusta National gave the compound a first-class look as well as improved workflows.

TopTracer and ARL onsite operations; and Game Creek Video Celtic, handling On the Range programming in its first year at the Masters. For many viewers at home, the highlights of tournament coverage included the use of drones, two Flycams, and the Atlas shallow–depth-of-field camera. “I give a lot of credit to the folks at Augusta National for working with us to try new angles and new technologies,” said Jason Cohen, VP, remote technical operations, CBS Sports. “We’ve opened up the show to be able to showcase the course in a way that was never done before. All those angles and all those technologies provide very different benefits but all with outstanding results. And that is capturing the essence of the course and the tournament in a unique and compelling way.” Two drones were used to enable almost continuous coverage. The larger one carried an RF transmitter and sent the signal to the BSI tower receive point and then to the compound. The smaller drone used the RF signal from the controller to get the signal to the controller and from there to the compound. The Flycam units also proved popular, and its effect benefited from the fact that patrons were on the course. The camera rig called Atlas by CBS played a key part in coverage of the final groups on Saturday and Sunday, and Cohen considers the shallow–depth-of-field camera a natural fit for golf coverage. “Golf is a perfect sport for this type of technology,” he explains. “It’s a controlled setting, and you can focus on one athlete at a time. There aren’t a bunch of people at the same time, making the operator try to figure out who to put in focus. It was easy to follow one golfer and create that separation from the backdrop, and I think it was a success.” – KK

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A YEAR UNLIKE ANY OTHER

NFL Draft April 29-May 1

Bristol. On the road,” he noted, “it’s a little bit more difficult, but we’ve had the time to plan and make this work. We absolutely drew from many of the things we accomplished last year.” – KK and BC

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The NFL Draft has always been a big deal for ESPN, and that tradition continues. For this year’s edition, the production team supported two shows: one on ESPN and College Gameday on ABC. About 55 cameras were used to cover the Draft in Cleveland, including multiple jibs, a JITACAM, drone, a two-point cable cam, two Steadicams, and even a blimp. Steve Carter, senior operations manager, ESPN, gave a shoutout to ESPN Remote Operations Specialists Jack Coffey and Joe Rainey for pulling together a great setup for a Draft that was held in a massive tent along the lake front in Cleveland. “The NFL has a well-thought-out plan here,” said Carter. “The stage and the main theater are amazing with the amount of LED screens in there.” ESPN’s main Draft stage was along the Cuyahoga River with ESPN’s show in the back corner of the field. The Gameday set was in a parking lot along the river next to FirstEnergy Stadium. “We have about 250 people onsite and increased the number of trucks for social distancing,” Carter explained. “The compound has 10 trucks with NEP EN1 A, B, C, D, and E handling ESPN and NEP Supershooter 4 A, B, and C handling Gameday on ABC.” A sub-routing location in the compound managed more than 100 feeds coming in from prospects at home and the 32 NFL team facilities. There were also 22 inbound feeds from ESPN in Bristol, CT. One of the production highlights was the two-point cable system that ran from outside FirstEnergy and down into the back corner of the theater in a massive tent beside Lake Erie. In addition, secondary sets for analysts were positioned with city backdrops. “We had an established facility and a lot of support in

After a virtual draft that VP/Head of Media Operations Dave Shaw called NFL Media’s most challenging operation to date, the league’s media arm returned to a semblance of normalcy in Cleveland for the opening night of the 2021 NFL Draft. With a full production and crew onsite, the event marked a bookend of sorts to the pandemic era, which began with a trailblazing decentralized production of last year’s Draft. “I wouldn’t call it a hybrid [production] as much as I would say it’s the best of both worlds,” said Shaw. “We’re taking advantage of what we learned last year with the [Virtual Draft] and also taking advantage of the many years [of onsite coverage] before that. Having a combination of the onsite and at-home live [workflows] this year makes things more complex, but it also makes the show a lot more dynamic. And I think we’re giving viewers a whole new level of coverage.” NFL Media rolled out Game Creek Video’s Encore A, B, and C mobile units for the Draft production. With crews socially distanced in the trucks, HFI Flex 11 was also on hand to accommodate overflow. In addition, three EVS replay operators and all graphics operators were located at NFL Media’s Culver City, CA, Broadcast Center operating EVS servers inside Encore remotely. “It feels very much like we’re getting back to our standard production model but also incorporating everything about [remote production] that we learned last year,” said Bjorn Estlund, senior manager, remote technical operations, NFL Media. “For a show like the Draft with the amount of elements, the precise timing, and all the movement, we’re going to get a much better show with the production [team] here onsite.” This year, NFL Media produced its NFL Network show onsite in 1080p to align with co-broadcast ESPN and Van Wagner Sports and Entertainment Productions, who managed the in-house show and set up a TOC in Cleveland to manage feeds for the respective broadcasts on NFL Network, ESPN, and ABC. In all, NFL Media shared 120 feeds with Van Wagner and ESPN through an IP gateway provided by Game Creek Video. – Jason Dachman NFL Media rolled out Game Creek Video Encore A, B, and C to serve its NFL Draft production in Cleveland.

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A YEAR UNLIKE ANY OTHER 78

MLB All-Star Game July 13

hether it’s the star-studded roster of players or the fact that this game was missing from the MLB calendar last year, the 2021 MLB All-Star Game was one of the more highly anticipated exhibitions in recent memory. Fox Sports was once again at the center of this crown-jewel event, with 65 cameras (including two Megalodons and two FlyCams), 4K HDR workflows, a crowded truck compound, and offsite resources from the Vault in Los Angeles. “A show like the MLB All-Star Game is always a huge team effort,” said Mike Davies, SVP, technical and field operations, Fox Sports. “This will be one of the bigger onsite shows that we’ve had [in quite some time].” Soon after the beginning of the season in April, Fox Sports was ready to go full bore with new technologies and workflows developed during the pandemic. Unfortunately, when Major League Baseball decided to move this year’s All-Star Game from Atlanta to Denver, the broadcaster faced a bevy of production and logistical challenges. Adapting on the fly and making important decisions quickly, Fox Sports shifted to a new production plan. “The team that we have out here have done a remarkable job with planning within a short period of time,” said Francisco Contreras, director, field operations, Fox Sports. “We started in May, so we didn’t have a lot of time to prepare.” A lot of the trouble was mitigated by physically traveling to Denver to check out Coors Field. With so many production elements happening at once, it was imperative to construct a foundation that set the crew up for success. “We had a total of three site visits [in Denver],” said Tom

SPORTS PRODUCTION 2022 YEARBOOK

Lynch, lead technical producer, Fox Sports. “We try to push the idea that we’re going to be extremely organized for our shows.” Fox Sports used this trio of site visits to plot out their camera map as well as to work with local and state officials to solidify a COVID-19 safety plan for employees in the compound. “The challenge with any All-Star Game is finding those special camera spots and where we’ll be able to best showcase the ballpark we’re in,” said Brad Cheney, VP, field operations and engineering, Fox Sports. “We worked within a condensed timeline and with ever-changing operational awareness from the state and the league.” Shallow–depth-of-field cameras have taken the sports world by storm, deployed at almost every sports event since their introduction last December. Fox Sports calls its rig Megalodon and deployed two simultaneous systems at MLB All Start. One, a Sony α1, worked on the field to capture the customary images of the players. The other, featuring a Sony A7R IV with a Sony FE 24-70mm f/2.8 GM lens and DJI Ronin-S gimbal, was used in a relatively new capacity within the crowd and concourse to show cinematic shots of the surrounding areas. Above the field, Fox Sports debuted two FlyCam systems: one traversing the foul line on the first-base side from home plate to the right-field foul pole, the other covering the other side of the field. These aerial systems featured a Sony HDC-P50. Although the two Megalodons may steal the tech headlines, there were other gems sprinkled around the 65-camera show. At the top of the list was the broadcaster’s presentation of Tuesday night’s contest in 4K HDR. A total of 50 cameras were set at 1080p HDR, including the Megalodons, FlyCams, a Sony HDC-P50 on an RF MōVI camera rig, and another RF handheld. – KH On-air talent were located on a studio set in the outfield concourse.

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A YEAR UNLIKE ANY OTHER 82

Tokyo 2020 Olympic Games July 23-August 8

he Tokyo Games are completed and for many the hard work on the Summer Games is giving way to the hard work preparing for the next Olympics: the Beijing Games to be held next February. Dave Mazza, SVP/CTO, NBC Sports Group and NBC Olympics, did take a moment to reflect on an Olympics experience that, for more than a year, has been unlike any other before. “We came in with a bit of trepidation because the extra year of planning saw a plethora of new, good ideas from production to enhance the coverage,” said Mazza. “And then we were also trying to make good on some very aggressive technical initiatives. It made the plan better, but, for every bit of better that it got, it was more daunting as to how we were actually going to pull it off.” Invariably, an Olympics effort is always compared to previous ones, whether it be ratings comparisons, the scale of the show, or the production achievements. Mazza said the Tokyo efforts were about three times more complicated than the 2016 Rio Games. First, a doubling of the complexity around new technologies and workflows like IP, HDR, 1080p, and immersive audio. Another step up was due to the complications from attempting such a large-scale production during a global pandemic. From a production-element standpoint, Mazza noted things like the Friends & Family effort, which allowed athletes to see and talk to family and friends back home immediately after their event. Born out of the pandemic, it was a complicated effort, often taking a tremendous number of worker-hours to simply get a 10-second shot on-air.

SPORTS PRODUCTION 2022 YEARBOOK

Another extra effort that paid off was apparent during the Opening Ceremony. The show was already expected to have a very different feel from the typical Ceremony, not only because fans were absent but also because the teams and parade of nations were being handled in a different way. From a technology standpoint, the big lift this year was to create a wide variety of video formats floating through the ecosystem in Tokyo, the U.S., and Sky in the UK. OBS provided content in 4K HDR and 1080p SDR, which NBC Olympics then intermixed with its own 1080p HDR as the primary production format. But there was also 1080i SDR, which NBC used for all the cable and digital feeds to its Stamford, CT, facility. On top of that, NBC Olympics in Tokyo handed off an HDR signal in the HLG standard to the NBC playout facility in Englewood Cliffs, NJ, where it was flipped to PQ and emitted via HEVC compression. The improvement offered by HDR, 1080p, and immersive audio, he noted, is dramatic and noticeable, especially with proper compression rates and formats. “HEVC compression looks really good at the bitrate we’re using. But we can’t squash it any further, as has happened to HD, because then it won’t look very good. So we’re very pleased with how it looks now.” The pandemic did more than just make people concerned about health issues. It also caused operations to shift out of Tokyo, most notably production facilities for beach volleyball, basketball, indoor volleyball, diving, and golf. And it’s not just COVID. The weather resulted in events’ changing times, venues, and more. And all those details needed to be conveyed to multiple teams in multiple places. Said Mazza, “We could not be doing this [here in Tokyo] without the incredibly hard work of the giant team in Stamford; 30 Rock; CNBC; the NOC; the team in Dry Creek, CO; and Telemundo Center in Miami.” – KK Dave Mazza (left) and Errol Foremaster in Studio A at the NBC Olympics IBC facility.

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A YEAR UNLIKE ANY OTHER 86

Field of Dreams August 12

t was a beautiful blend of the past and the future as Fox Sports delivered a special, 4K HDR live production of the MLB at Field of Dreams game between the New York Yankees and the Chicago White Sox from the famous Field of Dreams movie site in Dyersville, IA. At a new field constructed by Major League Baseball just for this game, Fox Sports deployed a crew of more than 240 people and an arsenal of nearly 40 cameras, 50 microphones, and a commitment to deliver this game in a “cinematic” way that promised to make it quite different from a typical broadcast. “Yes, it’s a baseball game, but it’s more than that,” said Michael Davies, SVP, field operations, Fox Sports.“We want to make this like a movie. So we’ll use cinematic techniques to tell the story. If there ever was a made-for-TV type of event, this is it.” Fox brass acknowledged that this was a unique broadcast for them. The broadcaster has a legacy of deploying flashy, futuristic tech for a big project. However, for an event so steeped in legacy, folks like Davies; VP, Field Operations and Engineering Brad Cheney; Director, Field Operations, Francisco Contreras; and Lead Tech Producer Tom Lynch wanted to integrate technology that would deliver a classical feel, rather than a futuristic one. Among those tools were drones (three supplied by Beverly Hills Aerials), a two-point FlyCam aerial camera system spanning the 1,429 ft. from the movie site to the MLB field, two shallow–depth-of-field Megalodons (each equipped with a mirrorless Sony A1 camera and transmitted to the truck by CP Communications), and a DirtCam buried just off the lefthanded–batters box. Also adding to the classic feel was an entirely new graphics package designed just for this event. Fox Sports EVP/Creative Director Gary Hartley and his team created a package that doesn’t look at all like Fox’s usual MLB scorebug and insert graphics. Although the game was upconverted from 1080p HDR for delivery to homes in 4K HDR, the majority of the show was captured by cameras shooting in 1080p, 4K, and even 6K (in the case of the drones provided by Beverly Hills Aerials). Delivering in 4K HDR, Cheney explained, offers a cinematic look to begin with. “With the grass and the colors, you’re able to capture the contrast that 35mm film gives you. HDR gives SPORTS PRODUCTION 2022 YEARBOOK

A total of 40 cameras and 50 microphones covered the field built a quarter of a mile from the original Field of Dreams movie site.

you that same ability. I think that’s going to translate across, especially to the viewers watching at home on television. You’re going to capture the feeling of a movie with the crispness, the detail, and the contrast.” To meet the challenge of this production, Fox Sports brought in its top talent, including at the front bench of Game Creek Video’s four-truck Encore unit. The Emmy Award-winning tandem of Producer Pete Macheska, Director Matt Gangl, and Technical Director Paul Harveth was at the front bench. In addition, top A1 Joe Carpenter oversaw the unique audio footprint. The studio team, headed by Fox Sports VP, Studio Operations, Rod Conti, delivered a design unique to this event. The pre/postgame set was located over the left-field wall amidst the stalks of corn. During the game, however, it would “aesthetically disappear.” According to Conti, MLB wanted a clear outfield to add to the minimalist mystique of the game. To accomplish that, the studio set was wrapped in a drape that, when dropped, made the set look like an inconspicuous wooden barn. The set was designed with support from Filmwerks, which had a team onsite assisting with the production. “It’s amazing,” said Cheney, “to see how far we’ve come technologically that we’re in a field in Iowa 40 miles from any city, and we have a gig of high-speed internet to interconnect ourselves to our facility in Los Angeles. The things that people built during the pandemic are applicable here in how we are working. We’ve made extremely large leaps over the past five years.” – BC

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A YEAR UNLIKE ANY OTHER 90

US Open

August 30-September 12

SPN’s production of both the domestic and the world feed for the US Open continues to evolve, and, this year, it rose to a new level, with court coverage expanding to every court in the Billie Jean King National Tennis Center. Larry Wilson, associate director, remote production operations, ESPN, zeroed in on the broadcaster’s tennis coverage and saw this year’s Open as an important step after last year’s scaled-down efforts. “It’s nice to be back and great to see the workforce back,” he said. “This is the largest production we’ve done as the coverage of the main draw and qualifying expanded.” The biggest change for tennis fans was that the ACES automated court-production systems was expanded to all outer courts. ACES systems comprised a Simply Live ViBox production system and four Fletcher robotic cameras for each court. “We had 14 ACES positions, and, in years past, that has been only five courts for qualifying, so it is a massive expansion,” said Wilson. “Before the main draw even started, we had covered 224 matches on all 14 courts, and we are now extending coverage to all junior and wheelchair matches. Those courts’ coverage used to pack up after Labor Day, but now they are here through the end of the tournament.” The lack of fans last year gave the ESPN production team and Gravity Media (which oversaw the technical facilities) a huge amount of freedom when it came to new camera locations. For example, last year, Camera 7 was able to be located in the front rows of the stands behind one of the baseline. The return of fans this year meant that that location was not available, but a robotic camera mounted behind the baseline at Arthur Ashe Stadium replaced a camera in the stands.

SPORTS PRODUCTION 2022 YEARBOOK

Camera 9, which was located courtside, was also revamped: it was moved to a small Chapman mount tucked into the first row of the stands along the court. “The cameraman can be in a perfect spot and not be obtrusive to the players,” Wilson pointed out. Another change from last year was that the 100-ft. tall ESPN SupraCam Tower has been moved to a different location because the previous location is now used for van shuttles. “It’s on the exact same line, running over the practice courts and through the grounds,” he said. “And SpiderCam is also back in action on Arthur Ashe Stadium.” The unique challenge this year was not only dealing with evolving COVID-19 protocols but also two massive storms. The first one, Hurricane Henri on Aug. 31, affected the final preparations for the tournament; the second, the remnants of Hurricane Ida on Sept. 1, impacted the tournament itself. “When Hurricane Henri came in on a Saturday,” said Wilson, “our goal was to be on-air on Tuesday, and we basically had to shut everything down and get any hardware that was out on the ground either to higher ground or into cases and containers. On Saturday, all of our cable was lifted, and the sets were strapped down. Then on Sunday, we came up with a plan so that, when we got here on Monday at 6 a.m., we could start from scratch and basically do a set, shoot, strike to get ready for the qualifiers. But it all worked out.” As for Ida, the issue there was the amount of water, which Wilson described as mind-blowing. “The biggest challenge there was the safety of the crew and getting everyone back to their hotels,” he said. “By the time we got on-air the following day, there was only one camera of 172 that still wasn’t working, and that was back up within an hour.” – KK Fans returned to Arthur Ashe Stadium this year.

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Ryder Cup

September 24-26

or NBC Sports at the Ryder Cup, the skies were clear, production plans came together nicely, and team USA put on a performance that energized golf fans across the country. And for Allison McAllister NBC Sports VP, Golf Operations, it added up to a great effort across the board with the PGA of America’s partnership and more cooperation than ever between NBC Sports, Sky Sports, and European Tour Productions. “Things are going well,” said McAllister.“It’s awesome to be here as there’s nothing like a Ryder Cup. The excitement is electric and it’s a very special event and it’s a fun thing to experience.” McAllister said that with more than 500 people onsite safety was the number one priority, and everyone in the compound and on the course embraced the PGA of America and NBC EHS guidelines. While the Ryder Cup matches didn’t tee off until the morning of Sept. 24, the Golf Channel was on hand all week, beginning with coverage of the Ryder Cup Captain’s press conference on the afternoon of Monday, Sept. 20. Live primetime shows also began that evening. “Live From” offered up 50 hours of programming during the week and Marc Caputo, director, remote technical operations, NBC Sports, said innovations included a FlyCam on the first tee that was shared with everyone in the compound. With all the excitement at the first tee, it captured great shots of fans and the unique energy and excitement that defines the Ryder Cup. “We have 16 total cameras for ‘Live From’ including four Telemetrics cameras on the set, a Televator Dolly that gives a jib look, that are controlled from a production control room in Stamford,” said Caputo.“We also have three Robovision robotic cameras in the practice areas and because of the team play we have two rover cameras. And then we also have two LiveU units.” The “Live From” show was cut from PCR8 back in Stamford where there are two EVS playback rooms, two graphics operators, and audio (TopTracer on the range is also

controlled from Stamford). An NBC Newbert flypack was on hand for signal transmission to Stamford with 16 transmit and nine return feeds with Lumens providing 10 Gbs of fiber connectivity into the compound. This was the first Ryder Cup where NBC Sports and Sky Sports were part of the same corporate family. The “Live From” was a hybrid show where Sky produced segments from its studio on the 18th green that air inside the U.S. “Live From” broadcast and vice versa. “At night when the Sky set is not being used, we move the two ‘Live From’ rovers there and host our inside segments from that studio,” said Caputo. NBC’s core production efforts were in ND7 while NEP Supershooter 8 and ND5 were on hand in a support role. BSI handled RF systems for NBC, Sky, and the world feed and Fletcher provided robotics. There was plenty of opportunity for resource sharing with NBC Sports, SKY Sports, and European Tour Productions. For example, course coverage was handled by 63 cameras, including three Inertia Xmo super slo-mos. The camera resources were passed into NEP ESU and made available to each of the entities onsite. In addition to the FlyCam, there was also a camera in a plane, a live drone, and a SteadiCam. Four miles of fiber in the compound and 57 miles across the course kept all facilities connected. Over the years, TopTracer has become a big part of golf production, making it possible for viewers at home to keep track of ball flight. NBC deployed it heavily for the Ryder Cup. Hawkeye servers provided an extra level of redundancy to ensure that shots weren’t missed. Two operators worked remotely from Oklahoma while a third operator was onsite at Whistling Straits. Another technology being used was Whoop. Certain players wore the Whoop wristband that provides heart rate. NBC dropped in a graphic on the first tee that displayed the player’s heart rate in real time as they stepped to the tee which is, arguably, one of the most heart racing tee shots in golf. “It’s amazing to have those metrics that Tommy Roy and his team are pushing and making that vision a reality,” said Ken Goss, NBC Sports, EVP, Studio and Remote Operations and Production Planning. Pinpoint wind speed and direction display were also a big part of the show, as were augmented reality graphics – KK From left to right: Mark Caputo, Bridget Cugle, Allison McAllister, Kate Stefko, and Kristen Moorby made sure NBC Sports operations and facilities ran smoothly.

SPORTS PRODUCTION 2022 YEARBOOK

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NHL Puck Drop October 12 ESPN After a 17-year hiatus, the NHL returned to ESPN this year. During the league’s nearly two decades away, live-production technology has advanced by leaps and bounds, and ESPN is leveraging the latest production tools available to bring NHL on ESPN into the modern age. ESPN, for the first time, deployed a mirrorless Steadicam on the ice, a SupraCam aerial system, live RF mics on players and in the nets, a drone outside the arena, and a bevy of high-speed, robotic, and POV cameras. “Our primary goal with the NHL is to bring the game closer to the fan so they see and hear things they’ve never experienced before,” said Chris Calcinari, SVP, remote production operations, ESPN and ABC Sports. “The league has been incredibly open and a great partner in thinking about new technology and new ideas. They are looking to partner with us on trying to bring the fans close to the game, and that has been very exciting.” In a first for a non-exhibition NHL broadcast, a camera operator is allowed onto the ice during dead-puck situations, coming out of breaks, and for shootouts. A skilled skater operates a Sony Alpha 1 mirrorless camera on a DJI Ronin handheld three-axis camera gimbal to create cinematic-style shallow–depth-of-field shots during celebrations and key moments in the game. Another new look for NHL coverage is the smooth, sweeping overhead shots from the four-point SupraCam aerial system. The cable-suspended system features a Sony HDC-P1 box camera and will run along the nearside glass over fans in the stands. Steadicam and SupraCam headlined ESPN’s complement of 35 cameras for its season-opening productions in Las Vegas and Tampa. In addition, ESPN rolled out eight ultra-high-speed

cameras — six of which were Fletcher robos running at 300 fps (a speed shot, between the benches, one in each net, and one each in the left- and right-side rockers). Throughout this season, the NHL EDGE puck- and playertracking system run by SMT is playing a featured role in ESPN’s coverage. Player-pointer graphics will be used live throughout games to highlight movement of players and puck while adding a visual element to analysis. – JD

Turner Sports It’s a new era for the National Hockey League in the U.S. This season, Turner Sports debuted as a national rightsholder for the league. Game production will, over the course of the season, lean aggressively into leveraging player- and puck-tracking data provided by the league and displaying unique graphic enhancements, including dynamic line changes (where tracking data can be used to monitor shift times and display lineup changes in real time) and a virtual power-play clock projected onto the ice (similar to the virtual shot clock used by NBA on TNT). “Our goal is to find ways to inform the diehard fan in ways that they haven’t been informed before,” said Turner Sports VP, Sports Production and Technical Operations, Chris Brown, “while also providing information for the casual fan that is trying to learn the sport.” Onsite, the camera complements rely on super-slow-motion cameras, with more deployed than for a typical show. Of the 25 camera feeds (20 are originated by Turner; five are blue-line cams and net-cam feeds provided by the league), from eight to 11 units on a given night will be high-frame-rate cameras. Coordinating directly with the league on venues and standard game-broadcast operations has proved critical to helping Turner boot up this property in a relatively short time. To help out on the remote technical side, Turner added Eric Grossman, a veteran of hockey broadcasting, as lead tech manager. “One of the biggest things with the NHL is developing all of the new workflows that are going to have to surround it,” said Brown. “[That’s] not just in the remote environment but in the studio as well because of the confluence of highlight operations. There’s tons we have been trudging through to pull this all together. We’re also doing this while maintaining the technical quality for all the productions that we do and giving each property its just attention.” – BC John Buccigross is in the host seat for The Point. (Photo courtesy Kelly Backus/ESPN Images)

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NBA Tip Off October 19 ESPN ESPN’s NBA team is making significant strides toward a return to onsite productions, but, throughout the 2021-22 calendar, remote workflows will still handle the bulk of each broadcast’s on-air elements. Regular REMI-powered workflows, like EVS replay and Clock and Score, and REMCO (remote-controlled) workflows, like Vizrt graphics, will be housed at production facilities in Bristol, CT, and Charlotte, NC. REMCO is the broadcaster’s remote-graphics solution formerly branded as GREMI. “Our REMI-based executions will feature producer and director teams to integrate production assets,” said Mike Foss, senior director, remote production operations, ESPN. “REMI executions will allow us to produce our NBA content with fewer production personnel and fewer technical assets located onsite.” Along with offsite resources, ESPN is using its normal camera complement and extend use of the shallow–depth-offield camera. Aside from onsite and offsite technologies, NBA games on ESPN’s networks will include numerous production highlights. With history being made in Major League Baseball (at both ESPN and AT&T SportsNet Rocky Mountain), motorsports, golf, and other sports, professional men’s basketball on ESPN will be covered by an all-female on-air and production team at a to-be-determined date this season. In addition, the broadcaster will once again dive into alternative broadcasts after the success of its Daily Wager Special between the Philadelphia 76ers and Brooklyn Nets on April 14 and Marvel’s Arena of Heroes between Golden State Warriors and New Orleans Pelicans on May 3. All these new initiatives are testament to the hardworking staffers who work not only on these NBA games every night but on all basketball productions at ESPN. “We’re incredibly lucky to work with so many talented, committed, and accommodating professionals,” said Tim Corrigan, senior coordinating producer, ESPN. “Everyone has been willing to make personal and professional sacrifices, and our team understands the responsibility that comes with covering the NBA, Summer League, G League, FIBA, and the WNBA.” – KH

Turner Sports After centralizing the bulk of its productions at its Techwood Campus in Atlanta and remoting from a truck to the facility for nearly 60 NBA games last season, Turner Sports hit the road again for NBA broadcasts. Deploying NEP TS2 and Supershooter 8 mobile units, Turner plans to deploy nearly all announcers and crew onsite at the arena. “Last year, COVID accelerated a lot of concepts that we were already thinking about,” said Chris Brown, 102

SPORTS PRODUCTION 2022 YEARBOOK

director, technical operations, Turner Sports. “However, because of COVID, we had the unique opportunity to have a lot of space that I don’t anticipate will be available as we push into the new year and start returning to the office. While we’re excited about the technology — and I think there’s going to be a time and a place for us to eventually move to that as one of many different production options — we’re just not quite there yet in terms of core infrastructure and space [in Atlanta]. “What we were able to do last year was prove a concept,” he continued. “I think that was significant because, if and when we have the available infrastructure at the facility in Atlanta to manage things like this on a full-time basis, we now know we can do that.” Turner Sports’ current use of REMI production workflow will be limited to the virtual–shot-clock operator, who will be located in Atlanta. All other crew, however, will be onsite in the truck. Turner rolled out a brand-new graphics package for wraparounds, debuting its revised NBA on TNT look. The package was built on a diamond motif, matching the league’s special diamond-shaped logo for its 75th season. In addition, viewers see refracted light on many graphics elements as if they were looking through a diamond. “We’re coming from a package that was very monochromatic and dark with everything desaturated to a very vibrant, colorful, juicy package,” said Jordan Shorthouse, VP, creative director, Turner Sports. “I think it’s phenomenal, and it’s going to play perfectly into this year’s telecasts. We loved the [previous package], but we’ve been living with that dark package for four or five years and were definitely ready for a change. We just wanted something with more vibrancy, more color, more fun, and that’s what you’re going to see when this package hits air.” – JD

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Provider

PROFILES

hat are the companies that make our industry move? Of course, the content owners and their broadcast partners drive our business from the top. And we wouldn’t be anywhere without a vibrant and “boots-on-the-ground” freelance workforce. But working between these two ends are a host of broadcast services that leverage their engineering prowess and service acumen to integrate the systems, connect the technology, and operationalize the tools. The following series of Broadcast Services Provider Profiles offers an in-depth Who’s Who of What’s What in sports production and facilities technology.

3g is an award-winning broadcast engineering services company that specializes in providing RF products and services for live remote productions, primarily to sports, entertainment, and news companies. While we are a technology and engineering company, we are deep down a people company. 3g is focused on our relationships with the people that are our customers. We are also all about our people and their unrivaled talents. Our people combine an insatiable technical curiosity and well over 100 years of broadcast engineering experience.

Advanced Systems Group has provided engineering, systems integration, support, and training to the multimedia creative and corporate video markets for more than 20 years. With unmatched 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 event management.

Despite the difficult circumstances, the last year has been another exciting one for AE Live. Most notably, we have expanded our global footprint by increasing our presence in North America and we have a number of exciting opportunities in the pipeline to look forward to over the course of the next 12 months and beyond. We have also invested heavily in the field of remote production by installing six purpose-built graphics hubs at our UK office that have already been used to deliver graphics solutions remotely for major clients including Sky Sports, BT Sport, and WTA Media. We have also been involved in a number of high-profile projects,

Broadcast Services Provider Profies

BROADCASTSERVICES

delivering our broadcast services across a number of sports. With soccer in particular, we have had an extremely busy schedule of events including the FIFA Club World Cup in Qatar where we delivered world feed graphics throughout the tournament.

Aerial Video Systems

AVS is part of the NEP Broadcast Services Company and the leader in high-bitrate wireless 4K, HD, and aerial production with over 120 Vislink HD and 4K RF systems, including the new HCAM. AVS offers two 4K GSS and four Cineflex gyro-stabilized camera systems for vehicles, boats, helicopters, or its three Partenavia fixed-wing aircraft for aerial coverage. They also collaborated with Vislink and Canon to provide the Canon C-500 shallow depth of field camera with control. AVS inventories the Sony P-50 cameras and was the first to integrate these into RF Steadicam systems with video return and prompter. This is the preferred package for major sporting events including Sunday, Monday, and Thursday Night Football; the Super Bowl; NBA All-Stars; and virtually every live award and entertainment show. AVS is a part of NEP’s Specialty Capture division alongside BSI and the Fletcher Group.

As one of the country’s premier providers of end-to-end video and audio solutions, All Mobile Video offers a full spectrum of production services: Mobile Production units, Sound Stages, PostProduction, Streaming services, Equipment Sales & Rentals, and Centralized Master Control. The All Mobile Video team commits to serving clients and building relationships, catering to the individual needs of each production with unparalleled attention to detail. From Video and Audio Engineers, Camera Operators, Editors, Graphics Specialists, Sound Designers, to Production Support, AMV boasts an experience level to rival anyone in the broadcast industry with a solid team of smart, strategically driven and highly trained thinkers. All Mobile Video was built on the simple notion that if we are able to find solutions where others see only obstacles everything else will fall into place. By integrating new technologies

SPORTS PRODUCTION 2022 YEARBOOK

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Sports production is changing.... we already have RT Software has been big on sports graphics and on air with leading broadcasters since we set up shop back in 2004. We nailed the emerging standards such as UHD and HDR when we upgraded our core engine to 10 bit a good few years back. Next it was all about virtualisation, which we embraced in 2019 when we went virtual with products that are available over the web - crucial for today’s remote production paradigms.

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Don and Jessica Collopy started American Satellite Uplink in 2007. As the company progressed, they started doing more and more production work forming what eventually would become ASU Productions. Don started his career in the television industry with CBS Sports in New York City. In 1998, he began working for Fox News Channel as a satellite engineer on their New York satellite truck. We wanted to use our many years of experience to provide a dependable solution for all of your uplink and production needs. We have a team of experienced and talented satellite engineers, photographers, and audio technicians who will provide our clients with the professional result they are expecting.

The Azzurro Group is an integrated media services company offering advanced cost-effective solutions for connecting remote talent to air.

Broadcasting Center Europe (BCE) is a European leader in media services, system integration, and software development in the areas of television, radio, production and postproduction, telecommunication, and IT. With more than 200 highly qualified and motivated people, BCE serves about 400 clients in various sectors, such as TV channels, radio stations, film distributors, producers, advertising companies, telecommunications operators, and public services.

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ARCTEK took delivery of their newest uplink encoding truck, ARCTEK Black, in June 2021. Black hit the ground rolling right to motocross and then off to MLB, WNBA and MLS throughout the summer. ARCTEK Black is a 10-source MUX encoding truck with a C-band uplink. The straightforward yet versatile design makes ARCTEK Black capable of transmitting via satellite, ASI over fiber, or GigE back to the head end. ARCTEK Black can handle all video formats from HD to 1080p HDR and 4K with MPEG 4 or HEVC compression. ARCTEKs fleet of 3 KU-band and 2 C-band uplink encoding vehicles crisscrossed the country this summer. Most notably, ARCTEK transmitted the Olympic trials from Eugene, Omaha, and St. Louis, as well as Professional Bull Riding, Professional Bowling, and motorcycle road racing. ARCTEK is ready to roll whenever and wherever you have encoding or transmission needs. Nothing is more reliable than satellite.

Bexel, an NEP Broadcast Services Company, is the leading global provider of broadcast solutions. For 40 years, Bexel has supported major broadcasters in bringing the most important events to a global audience. Our team of technicians and engineers build custom, scalable broadcast solutions for a range of services including production equipment rentals, RF audio, 4K technology, fiber-optic solutions, virtual production, systems integration, product sales, and auction services. Bexel is supported by the strength and resources of the NEP Worldwide Network, ensuring superior, consistent service anywhere in the world, with technical support available 24 hours a day, 7 days a week. We have the proven experience and industry-leading technology to cover your live sporting event, entertainment production, studio facility, venue, or house of worship, and government broadcast. NEP Group is the leading technology partner for content creators around the globe.

The Sports Group continues to be a leader in the design, deployment, and service of technology systems that help our clients engage fans, enhance teams, and expand revenue in their venues and facilities. In addition to assisting several of our professional and collegiate sports clients with small upgrade projects to prepare for their upcoming seasons, we have also begun design/build projects with two MLB teams on major control room renovations, along with the control room for Nashville SC’s new stadium — all of which will be ready for Opening Day 2022. We are also continuing with Phase 2 of the AV systems for the University of Georgia’s Butts-Mehre Football Complex renovation and expansion. Once complete, it will set the standard for college football complexes and cutting-edge technology. Lastly, we are working on multiple sound systems, IPTV systems, and other technology upgrades for several various clients.

With almost 40 years of history in the broadcast industry, BeckTV is a premier design-build systems integrator working with customers across the United States. This past year we were proud to work with customers across the country, including the UFC, TEGNA, Phoenix Suns, PBS Colorado, the Columbus Crew, and Nerd Street Gamers. In virtually every application, from broadcast and cable networks, local TV stations, sports trucks, and stadium venues to educational institutions and houses of worship, BeckTV uses a collaborative approach to assure successful outcomes, on time and on budget.

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Broadcast Services Provider Profiles

and existing capabilities, AMV continues to push the envelope and meet the needs of any production.

cast

mgm

Broadcast Management Group opened its state-of-the-art REMI Broadcast Hub in March 2021. This model allows for centralized technology with decentralized staffing. This facility has three broadcast control rooms, three workstations, playback, video shading, QC, and master control. The facility offers transmissions, master control, content storage, and streaming. BMG has designed several multicamera REMI and at home broadcast packages and a REMI mobile unit. The Big West hired Broadcast Management Group as its production partner for 13 championship events to air on ESPN+. The Big West telecasts will feature live coverage of championship events and 30-to-60-minute highlight shows. BMG recently completed 10 hockey games for the Henderson Silver Knights 2021 season. The CW Las Vegas and MY LVTV hired BMG’s Sports Packaging Division to broadcast 11 home games. The combination of a cuttingedge facility and proven track record of REMI sports production has positioned BMG as the leader in the REMI workflow.

Broadcast Services International is a recognized leader in Domestic and International Broadcast markets. Providing full turnkey production solutions including technical consulting, equipment rentals, RF Wireless solutions, Commentary systems, Host broadcast, and integration packages, BSI is finishing its 2021 season strong. Wrapping up production on three ITU Triathlon events in both Canada and Bermuda while moving quickly into preparation for a busy winter season with a series of Ski and Snowboard events across Canada that will go into production through the 2021-22 winter months. In addition, BSI has been awarded multiple integration contracts starting with design and facility services to the BBC for the Beijing Olympic Winter games along with other design, engineering, and integration services at the Men’s FIFA World Cup in 2022. BSI is also transitioning one of its longest standing customers of 33 years into new production facilities for the 2022 Masters golf Tournament.

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Broadcast Services Provider Profiles

Broadcast Sports International (BSI), an NEP business unit, has provided wireless cameras, microphones, and communications for over 30 years. In 2021, we maintained our high level of service while adding shows to every division. Our Golf sector added USGA events and serviced many Majors, including the Players Championship where we supplied 33 RF Cameras. Racing remained focused on NHRA, NASCAR, Indycar, and more, opening the door to work with the new SRX Series, covering six weeks with 12+ Dual Stream In-car Systems. Our Core Plus division continues to expand with growing pylon systems and shows. BSI’s progress in the industry has generated new hiring across various positions and, as always, we attribute our success to the unmatched talent of our people. We’d especially like to recognize EICs and techs who work closely with clients to manage every issue amid COVID protocols and increased momentum as we look forward to 2022.

C360 is personalizing the sports viewing experience. We’ve entertained millions of viewers worldwide while working with the largest sports broadcasters and Fortune 500 companies across the globe. Our platform integrates the smallest, most innovative cameras and patented software with v-commerce, sports betting, and player/ object tracking. C360 is leading the personalized viewing revolution across every streaming channel, device, and social media service allowing unlimited viewers to control their own fully immersive viewing experience.

PROFESSIONAL CAMERA SUPPORT

Since 1935, out of Rome, CARTONI SpA designs, manufactures, and markets high-end Professional Camera Supports and accessories for the Motion Picture and Television industries. Internationally recognized in the industry as a pre-eminent brand for camera support equipment, CARTONI prides itself on its engineering ability, innovative and leading technology. Constant innovation has ensured the company’s success. CARTONI owns and uses 33 different patents on Fluid Action Counterbalance Systems and tripods, registered in Italy, Europe, United States, China, and India.

Established in 1990, CHESA is a full-service provider of technology systems and solutions that specializes in optimizing media workflows from creation to distribution and preservation. CHESA’s expert architects design pioneering asset management solutions that enable creative teams and drive efficiencies in IT, all backed by steadfast customer support. Dedicated to building long-term relationships as trusted partners, CHESA offers a rare level of passion and understanding in the design, development, deployment, and maintenance of secure, high-performance media asset management solutions (MAM/DAM/ PAM); storage, backup, and archival systems; workflow automation; cloud platforms; media transcoding and delivery; and API integration, among other services. CHESA is headquartered in Baltimore with operations in New York, Los Angeles, DC-metro, and Denver.

CineSys is a Broadcast and Media Systems Integrator providing solutions, development, and support for digital content creators across North America. With extensive IT experience and a foundation in media, CineSys serves a range of industries from postproduction companies to broadcast and sports organizations. This year, CineSys

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has helped businesses large and small push their workflows to the cloud by leveraging existing infrastructures and providing secure remote environments. They also developed the CineStudio kit, while helping a major sports broadcaster record high quality broadcasts from home. If you’re looking to migrate your sports archives, need secure remote access, or more efficient storage for the increasing amounts of data, call CineSys. With development and MAM teams in-house, CineSys can help you make the most of your workflow with customized collaborative solutions. Get in touch to discuss how CineSys can help strengthen your collaborative workflow.

Clark has over 25 years of history revolutionizing how creative content producers engage their audience and further their mission. From the very beginning, Clark has been on the leading edge of innovation by pioneering practical and relevant solutions to today’s challenges. Clark is partnering with a transformative new sports league, Overtime Elite (OTE), on their new Atlanta-based broadcast facility and venue. Clark’s extensive experience with professional broadcast systems and video transmission has perfectly aligned the partnership with OTE. The desire for creative workflows and the mixing of the cinematic and broadcast worlds within their new facility was a task Clark was ready to tackle. The team and Clark’s experience in sports broadcasting has charted a path for expansion and growth well into the future.

Conference Technologies, Inc. is a complete solutions provider for audiovisual, video, and information technology integration that delivers systems design, engineering, installation, technical support, video conferencing, event production, content creation, and broadcast services. Headquartered in St. Louis, MO, with 22 offices operating nationwide, they serve clients in the corporate, education, healthcare, and government markets, since 1988.

When faced with the challenges of broadcasting during a global pandemic, the world’s major broadcasters, sports leagues and teams, and event production companies turned to CP Communications for solutions. With more than three decades of experience, CP has earned the reputation as an industry leader, recognized for innovation in the design, planning, and implementation of seamless live event and broadcast productions. Red House Streaming, a CP subsidiary that focuses on IP, cloud, and bonded cellular technology, launched inhouse studio productions in January 2021. The Red House Streaming ecosystem includes a state-of-the-art 5,600-square-foot production studio and network operations center in St. Petersburg, FL, as well as a complete family of mobile production and streaming packages that are accessible from any location. Offering its core services and the Red House Streaming brand, CP Communications creates the best custom solution for every client and every event — no matter how big or small.

Creative Mobile Solutions provides tapeless workflow solutions for live events and studio-based shows. We stay on the cutting edge of tapeless workflow and use our expertise daily in live production environments. Our goals are increasing efficiency and saving your production time and money. We provide services for television, film, commercial and other video productions. The experts on our team have worked with TV shows like Survivor and The Apprentice, films including Iron Man and Sex and the City: The Movie, award shows like the Oscars, the Golden Globes, and the MTV VMAs, and major sporting events such as ESPN’s ESPY Awards, the Grand Prix de Trois-Rivières, the US Open (Golf Channel & ESPN), ESPN College Football Gameday, the NBA Finals, and the Super Bowl.

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For Analysis, Conversion and Monitoring of HDR Video High Dynamic Range content is fast becoming an industry standard deliverable and you can turn to AJA Video to provide a wide array of devices that can help you with your HDR workflow or pipeline. For deep analysis of HDR 8K/ UltraHD2/4K/UltraHD/2K/HD content, there is the HDR Image Analyzer 12G, designed to analyze HLG, PQ, Rec.2020 and Rec.709 content as well as camera LOG formats. AJA Video also developed powerful HDR conversion tools, with the FS-HDR for real time handling of HDR/WCG material, in both single channel 4K/UltraHD and multi-channel HD, allowing you to convert SDR to HDR, HDR to SDR and HDR to HDR. Recording HDR content is achievable using the Ki Pro Ultra 12G, allowing you to capture the content as intended and also play it back correctly on the appropriate monitor. For monitoring of HDR signals, AJA Video offers the Hi5-4K Plus and the Hi5-12G to output your video correctly with the appropriate display. For HDR conversion of HDMI v2.0 to 12G-SDI you can also use the HA5-12G and HA5-4K. No matter what the project, AJA Video Systems can help you take your HDR workflow to the next level.

Find out more at: www.aja.com/solutions/hdr

Broadcast Services Provider Profiles

In business for over 25 years, CSP Mobile Productions is one of the fastest growing mobile HD and digital television production companies in the U.S. The company provides clients with the highest quality mobile television facilities, the most professional and service-oriented staff, and the best equipment at reasonable prices. With one of the industry’s newest fleets, CSP’s mobile units are cutting-edge, powerful, and efficient, and they can be on location for any level of need in the majority of North America. In a competitive business where you are only as good as your last job, CSP has earned its reputation for being on time, on budget, and on target.

disguise technology platform enables creative and technical professionals to imagine, create and deliver spectacular live visual experiences at the highest level. With a focus on combining real-time 3D visualization-based software with high performance and robust hardware, they enable the delivery of challenging creative projects at scale and with confidence. Turning concepts into reality, disguise has offices in London, Hong Kong, New York, Los Angeles, and Shanghai, with technical teams across all to support customer needs, as well as sales recorded in over 50 countries.

Technology surrounds and engages, permeating the consciousness with sights and sounds. It’s facts, data. Pitch speed. 3-pointers shot and made. Yards needed in a game of inches. But it’s much more. It’s a link. A connection between you and your fans. An announcer recounting the goal to thunderous roars. A fourth quarter hype video bringing the crowd’s soul to your team’s ear. Excitement. Engagement. Empowerment. Images and sounds connecting you, telling your story. With more real-world experience than any other sports technology solutions provider, Diversified understands your technology needs. Replay control rooms, sound, core IT networks, social media platforms, IPTV, electronic security, structured cabling, mobile production units, storage, and archive. Even how to expertly navigate your transition to IP. Diversified is enabling a digital future by designing, building, commissioning and managing everything for you. For your fans. Your brand. Diversified is imagination engineered.

DNA Studios, a mobile production truck and studio vendor, has seen its busiest summer ever. Multiple soccer clients, pageants and government clients have kept the growing staff busy. DNA also debuts two new mobile units for the fall: HD21 and HD12. These units have Ross Carbonite switchers, XPression graphics, and DreamCatcher replay systems. They are designed for regional-level shows with five Grass Valley cams, Dante audio, and large HD box lenses. DNA is also near completion of their 12,000-foot new broadcast facility that will house more REMI control rooms, studios, and offices. With 10 different brands of IP encoders, DNA Studios will be able to connect to many different networks and transmit facilities worldwide. The facility will complete a robust set of resources allowing DNA Studios to transmit up to 12 events per day.

Dome Productions is owned by Bell Media and Rogers Media. As one of North America’s leading production facilities providers, Dome Productions offers mobile production facilities, transmission services, studio facilities, and full turnkey host broadcast services.

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DX3 Media Inc. is a media production management and consulting company. Its Managing Director has a reputation unparalleled in the industry with over 25 years experience providing cost-effective client options on a variety of projects. DX3 Media Inc. excels at providing outof-the-box thinking resulting in creative solutions for clients’ projects.

Encompass provides world-class media services to professional sports leagues, top-tier networks, and platforms, including content acquisition, media processing, playout, distribution, and disaster recovery. On average, Encompass acquires/distributes 100,000 live events/feeds annually and services approximately 1,500 full-time channels globally on a daily basis. As a strategic technology partner, Encompass offers continuous innovation, supporting its customers’ business needs as the next generation of media workflows evolve to a fully managed virtual environment. The company’s private Altitude Media Cloud is designed around broadcast media interfaces, protocols, performance, and service levels. Channels are deployed across diverse geographic regions, supporting both pre-recorded and live events with built-in disaster recovery. Not only does Altitude solve the issue of running critical broadcast applications on virtualized infrastructure, but it also provides exclusive and direct access to Encompass’ global satellite and video fiber footprint.

ES Broadcast’s U.S. operation continues to flourish and, in recent months, has provided broadcast equipment to several NBA teams, to mobile unit companies working in live sports, and to specialist esports broadcast and production services provider Esports Engine. Continuing in the realm of esports, ES Broadcast completed a portable production unit for leading competitive PvP platform FACEIT. The PPU will act as the central production system for a new 12,000 sq. ft. studio facility in Santa Monica, CA, but can also be deployed as a temporary system. Internationally, ES Broadcast supplied a huge roster of rental kit for the Tokyo Olympics, including 80 Sony and 151 Grass Valley UHD channels alongside some 200 lenses and 15 Grass Valley Kahuna switchers. The systems integration division, meanwhile, continued its program of upgrades for global OTT sports broadcast DAZN, with the installation of SMPTE 2110 routing infrastructure in its Northern Ireland playout facility.

For more than three decades, F&F Productions has remained a first choice of veteran producers worldwide for all major league sports, network series and entertainment specials, live concerts, and large-scale corporate events for Fortune 500 companies. Our GTX signature series fleet has provided live network coverage for NCAA Men’s Final Four, US Open Tennis, NFL Football, Super Bowls and their halftime shows, Major League Baseball World Series, Stanley Cup Finals, NBA Playoffs and Finals, The Masters, The Kentucky Derby, NASCAR, countless NCAA Football and Bowl Games, and more.

Filmwerks enjoyed another year of supporting live production at a multitude of events which were able to safely continue to broadcast throughout this past year. The business did see a downturn relating to effects of the pandemic, but several projects outside of live broadcasting helped keep the company on solid financial footing. The return of golf, paired with set construction and scenic elements, gave us the consistent flow of business we needed to bring all of our employees back. Filmwerks’ UPS

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Broadcast Services Provider Profiles

systems for location and permanent studio installation has continued to grow. Filmwerks provides redundant power systems, scenic and specialty structures to the live sports broadcast industry.

FLETCHER For over 25 years, Emmy Award-winning Fletcher Sports has created some of the most innovative and memorable images for the NFL, NBA, MLB, NHL, plus many other sports broadcasts. Fletcher also provides specialty cameras to a variety of Entertainment shows, concerts, and Special Events for broadcast or in-house production. Fletcher serves the international sports broadcasting market with our Fletcher London operation.

Game Creek Video sets the industry standard for facilitating successful live broadcasts and recordings. As a family-run, privately owned company, Game Creek works with the world’s largest television networks, production companies, and news organizations to provide them with comprehensive mobile production solutions. We combine an advanced, state-of-the-art fleet of mobile production units with an accomplished, reliable team of experts to ensure that the largest events in the world are televised flawlessly. For clients requiring dependable technology, exceptional response time, and consistent quality results in high-pressure environments, Game Creek Video delivers award-winning productions of sporting events, concerts, awards ceremonies, corporate events, and more.

Founded in 2007, IMT is a systems integration company servicing media and entertainment, enterprise and institutional clients with a broad range of media technology, IT and video collaboration solutions. Since its inception, IMT’s software team has developed and delivered a broad range of software solutions designed to solve critical customer problems to make technical organizations more accountable and efficient.

All of intoto’s services are influenced by our Agile development approach. We believe in continuous demonstration and client feedback. This gives us the ability to course-correct until the deliverable is exactly right for our client. Intoto adopts a whole-system perspective, considering both technical and business needs. Our interdisciplinary approach is applied through all phases of the design and deployment process, integrating sub-specialties into a single team deliverable. Our goal for every project is to deliver not only a well-engineered product, but to ensure that our client has the capacity to continuously manage and sustain the system — designing, testing, and implementing change as necessary to support the business at it develops.

Since 2003, Geartech Technologies has been offering a variety of highend products in the field of telecommunications, broadcasting, and cable. With offices in strategic cities, the Geartech Technologies team is available to better serve, advise, and support you as a distributor or supplier. Geartech Technologies provides top quality broadcasting and telecommunications equipment for businesses in the North American industrial and commercial markets.

Key Code Media is the preferred resource for audiovisual equipment, installation, and aftermarket support. We approach complex projects with a high-touch customer service focus, ensuring equipment is delivered, installed, and adopted by a customer successfully. Our solutions include: AV (Conference Rooms, Lecture Halls, Classrooms, Video Walls, Collaborative Offices, City Council Chambers); Broadcast (Comm Systems, Flypacks, OB Truck, and Control Rooms); and Production Equipment (Audio Suites, Video Edit Suites, and Networking). We focus on your vision and business needs, deploying solutions that work today and into the future, keeping you ahead of technology.

Gravity Media is a leading global provider of live broadcast facilities and production services. We supply production, programming, and content services for a wide range of broadcast needs, working with content owners, creators, and distributors. We’ve worked both in front of and behind the camera for many years, delivering premium TV content and technical services across a range of live sporting events, including college football, men’s and women’s college basketball, and Olympic sports such as swimming, diving, field hockey, lacrosse, and soccer. The defining feature of all these projects is that they have been REMI productions, utilizing our in-house fleet of mobile production units. Indeed, Gravity Media is one of the leaders in this space, having completed well over 2,000 events in the past eight years. With sophisticated sports consumers demanding increasingly personalized and immersive experiences, Gravity Media has remained at the forefront of production technology and process innovation. We continue to pioneer new AV solutions to offer fresh and unique perspectives in sports coverage, including wearable and on-field RF packages – just two of many specialist camera and microphone solutions we’ve developed as part of our ongoing R&D program.

KMH Integration removes the complexity and reduces headaches for sports broadcast and production teams installing or upgrading an AV system — delivering end-to-end design, integration, and consulting services for any project of any scope. Recent projects include designing studios, production spaces, TV/radio operations, and a file-based MAM workflow for the Pittsburgh Steelers, installing an IPTV system for the New York Giants, and ongoing upgrades for the New York Red Bulls. KMH Integration is also providing ongoing consulting services for customers beyond sports and across several industries to help them adapt to changing business environments: customizing video networks, designing remote production workflows for WFH or hybrid employees, and deploying new media distribution systems and IP encoding platforms.

Illumination Dynamics (ID) is a rental and services provider of automated and conventional lighting and mobile power generation equipment for the motion picture, television, special events, and sports broadcast markets. With locations in Los Angeles, CA, and Charlotte, NC, ID has an excellent reputation in all markets served, and is considered to be an industry leader in quality, customer

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service, and integrity. We are a wholly owned subsidiary of ARRI Rental, which operates through a network of rental facilities in North America and across Europe.

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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 pro-

Content Owners

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Broadcast Services Provider Profiles

viding high-performance collaboration to leading post and broadcast organizations. LH has a variety of manufacturers to draw from providing direct-attached storage, FCSANs, as well as a 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.

Live Media Group offers a complete turnkey solution for our clients and their audience. The company was founded on the fundamental principle of creating the highest quality product and experience for our clients and their viewers. “Status quo” was not good enough, so we created the ultimate turnkey solution. How do we do it? Ownership and invention. Our experienced, interdisciplinary team developed all of our internal systems and processes for encoding and transmission. Furthermore, we own our own production and broadcast equipment (including production vehicles) to reduce cost and maximize control and redundancy. In response to our clients wanting a better solution to less-than-satisfactory video players, we created the fully interactive nowlive video platform, which also provides pay-per-view capabilities with our Virtual Wristband technology. With our comprehensive suite of services and products, Live Media Group can handle every aspect of a live campaign, from initial concept to final delivery to your audience, all with measurable results.

Lyon Video provides mobile production units, event crewing, full service video and film production, postproduction, live streaming, and equipment rentals. We’re a 100% employee-owned company comprised of passionate and highly-experienced video production and broadcasting technicians. Our team is dedicated to continuous innovation and improvement.

Markertek continues to uphold its outstanding 34-year old reputation as America’s Broadcast Supply House for delivering cutting-edge solutions. We have launched an all-new website with enhanced features designed to deliver a more seamless shopping experience than ever before! Markertek is the nation’s exclusive Neutrik opticalCON DRAGONFLY fiber-optic assembler. DRAGONFLY is the world’s first SMPTE Hybrid Fiber connection system to incorporate Expanded Beam technology. Its high performance XB2 lens is 322 times bigger than physical contact surfaces for insensitivity against dust & dirt in UHD transmission. Our Personalized, Award Winning Customer Service reached new heights in 2016 when Markertek became an Employee Owned Company. Know that when you deal with us, you deal directly with an owner. In addition, our Custom Manufacturing for fiber-optic cables, rack panels, wall plates, wall boxes, as well as any copper cable under the sun, deliver added value like no other industry supplier.

Mediapro is a leading group in the global audiovisual sector, unique in content integration, production, and broadcast distribution. It provides the creativity and technical solutions necessary to design, produce, and distribute any audiovisual or multi-channel project. Mediapro offers “end-to-end” production and transmission for the coverage of all kinds of sporting and entertainment events. The company works with highly experienced staff and has established key worldwide relationships that allow it to provide clients with a high-quality, cost-effective proposal for their projects. With mobile units, sports production automation systems, high-end graphics systems, and cameras filming from above and below, Mediapro uses innovation to push boundaries and production technology to a whole new level. Mediapro successfully produced the MLS is Back Tournament 2020 for ESPN with Omnicam4Sky aerial camera system and provided real-time tactical feed to the teams with

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Automatic TV technology. Also, our Omnicam4Sky aerial camera system was used to produce the CONCACAF Nations League and Champions League final rounds. In addition, Mediapro, was selected by fuboTV to provide full studio production services for the South American Qatar World Cup 2022 Qualifiers.

2021 has been an exciting year for MeyerPro. Last year, MeyerPro set the bar for large scale virtual conferences and live events. After fully implementing the xR (Extended Reality) Stage solution, the growing team of skilled technicians at MeyerPro have been consistently delivering next level virtual sets and AR/VR to virtual event production. Additionally, MeyerPro has invested in next-generation equipment and deepened their commitment to providing industry best technical solutions to their clients. For their clients, having MeyerPro as a partner has been a game changer when navigating the uncertain landscape of both live and virtual events. Utilizing MeyerPro’s reliable, flexible, and skilled team broadcasters and event organizers have been able to deliver their message in an engaging and impactful way to their audience.

Mobile TV Group (MTVG) has recently launched IP mobile unit 49 FLEX-CC. As part of further expansion to its fleet, MTVG’s 50th mobile unit is nearing completion for a Fall launch! MTVG’s Cloud Control continues its buildout and launch throughout the country, now with over a dozen Cloud Control rooms located in most major U.S. cities. With Cloud Control, MTVG has given its clients remote access to all MTVG production systems without sacrifices. Cloud Control is a complete production system that allows for broadcast level systems, unlimited cameras, SSMO, and even 4K to be controlled remotely with low bandwidth.

NEP Group is the leading media technology partner for content creators around the globe. For more than 35 years, we have created innovative products and services for Live Production, Virtual Production, and Media Processing to enable our clients to make, manage, and show the world their content — anywhere, anytime, on any platform. NEP offers a complete set of end-to-end solutions, from content capture to distribution — including a growing portfolio of transformational cloud-based, software-based, and virtualized technologies. In addition to growing and maintaining our industry-leading fleet of mobile units, NEP continues to develop new technologies for centralized and cloudbased production. After adding VISTA Worldlink — leaders in remote production solutions — to our global network earlier this year, NEP will launch two new U.S.-based centralized production facilities this fall. Based in New York and the Los Angeles area, these adaptable and forward-thinking facilities can flex to meet the needs of any production large or small. In addition, NEP’s Virtual Production solutions start with creative development and end with exceptional execution across ICVFX, augmented reality, LED stages and more. And, our Media Processing solutions provide the tools and products our clients need to ingest, edit, store, search, manage and distribute their digital assets to rights holders across multiple platforms.

The events of the past year have forced transformation in the events industry. PRG has emerged as a new company, ready for a new world, with a focus on the people who deliver endless possibilities in every form of production. It’s the people who make PRG. The gear only matters in the hands of our expert engineers, experts, artisans, and technologists who shape the solutions that bring our customer’s ideas to life. If you call us and ask for the impossible, we’ll say yes — because we have the people capable of delivering it. We’re better, sharper,

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Broadcast Services Provider Profiles

faster, and more broadly skilled than we were before the pandemic started. PRG has historically been the home to the deepest and most respected bench of talent in our business, and that’s more true now than ever. We’re ready for anything a customer may need, individually with our expanded skillsets and collectively with our expanded portfolio of solutions. Rethink what you know about us and discover all we have to offer.

Program Productions is North America’s largest crewing and live event labor management firm. Their geographical network of resources covers all 50 states and Canada. With a projected 15,000 event days in 2021 and over 16,000 technicians in their nationwide database PPI leads the industry in labor management. ProCrewz, the industry’s only labor management software and mobile application built for live broadcast, allows PPI to manage the demands. With over 10,000 current app users, ProCrewz revolutionizes the industry. Scaled to handle an unlimited number of events and technicians, ProCrewz lets clients check availability and book crew, review cost, distribute event information, and track event data. Crews use the ProCrewz Mobile App to accept and confirm jobs, punch in and out with a geo-fenced time clock, submit expenses, communicate to coordinators, view pay information, and more.

With the largest fleet of transmission vehicles in North America, one of the largest privately owned teleports in the world, and an expert team available 24/7 for events across the globe, PSSI Global Services provides comprehensive event, transmission and connectivity solutions via satellite, fiber, IP, and beyond.

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 since 1997 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.

RF Wireless has an extensive inventory of broadcast quality microwave and RF audio equipment as well as two-way radio communications equipment, together with all accessories. RF Wireless has many modes of deployment to meet the constantly changing needs of clients large and small. We have solutions that can ship out in an air-pack format all the way up to our fully integrated mobile trailer with mast and generator onboard. Through the provision of personalized service, RF Wireless Systems ensures client needs are fulfilled in the most efficient and effective manner. RF Wireless Systems Inc. and all of its team members are dedicated to successful events and excellent service delivery to all clients.

Production industries change and so do innovative companies. Robovision has successfully navigated 30 years of production changes and it continues to position itself at the forefront of remote

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camera systems, even in a post-pandemic production environment. Robovision has developed custom camera solutions for numerous high profile broadcasts. Our custom turnkey systems are tailored to address specific client needs. The result has been, and will continue to be, next-level technical performance from every system we install.

With our fleet of cost-effective, full service, remote-production vehicles, Ross Production Services (RPS) delivers consistent, high-quality video and audio content of sports and other live events. We ensure a predictable production experience and outstanding results — all the time, every time. RPS is a full-service turnkey production company. Our unique partnership with Ross lets us scale up or down for each individual production. All RPS trucks and flypacks feature the most current and innovative Ross products.

With clients that include every major network and sports league, Rush Media Company has a proven track record of producing, packaging, and innovating live television productions at every level. With 23 production vehicles currently in our fleet, Rush Media Company is uniquely positioned to provide you with the best production vehicle to fit your needs. All of our production vehicles are equipped with state-of-the-art equipment and world class engineers to ensure that your production is delivered with innovation and creativity.

SDTV began with a simple idea to bring an efficient and valuable product to the television industry. We have since designed, built, and operated mobile production units that have become the industry standard. We have the capacity to provide an instantaneous television or data feed to locations around the world. We are setting a new standard by offering cost-effective high definition television production solutions while using the most advanced broadcasting equipment to clients of all sizes. SDTV is committed to leading the industry in innovation to create the best possible productions for our clientele.. Skycam is a leading designer, manufacturer, and operator of mobile aerial camera systems. Skycam plays a significant role in changing the way sports are broadcasted in America, appearing at marquee broadcast events such as Super Bowl XXXVII, US Tennis Open, NCAA Final Four, NFL Pro Bowl, Monday Night Football, Sunday Night Football, and NCAA College Football.

SmartCart SVX is a highly innovative outdoor mobile interactive touch screen system designed for live production use by TV sports broadcasters worldwide. It uniquely overcomes a number of design hurdles and physical constraints to provide a highly reliable touch experience as well as outstanding system reliability tried and tested on major events in the most extreme conditions likely to be encountered. With a screen as bright as the latest stadium screens in full daylight, it provides a greater ‘presence’ at an event and adds a compelling new dimension to broadcast sports events — enabling TV fans to enjoy in depth video analysis and interviews — away from the traditional studio scenario at a much lower cost.

As we move beyond 2021 and with Tokyo in the rearview mirror, the focus turns to 2022 and the Beijing Olympics, FIFA, Ryder Cup, the

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Streamline Your Productions With Proven Results As a pioneer of innovative camera control for broadcast production, our robotic camera systems have revolutionized the industry. From the popular RCCP platform of control panels to the innovative OmniGlide™ Robotic Roving Pedestal, the RoboEye 4K Pan/Tilt System, the S5 line

of servo-controlled pan/tilt heads to the Televator™ series of remote-controlled elevating columns, and the TeleGlide™ Camera Track System—Telemetrics provides the increased production value your audience demands with the efficiency you require.

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MADE IN USA

Broadcast Services Provider Profiles

World Games, UEFA, IIHF World Champions, and the British Open. 2021 has seen disruption in the logistic chain. With not much relief expected in the near future, the situation reinforces the value of solid partnerships to execute our engineered solutions successfully. Our continued client commitment to assist them in identifying those seen and unseen challenges they face as they move through 2021 and into 2022 is what sets SOS apart as a leader in production logistics. This next year will undoubtedly be filled with unknowns, but with close client communication, it will be yet another great year.

SOUTHWORKS is the global software development firm people turn to for their most complex, high-profile projects. SOUTHWORKS’ global team of remote engineers bring dev-intensity and technology expertise to organizations, delivering quick strategic wins that help sports organizations and broadcasters accelerate, grow, and scale. SOUTHWORKS delivers results, without the endless handholding and do-overs outsourcing is known for.

ST Engineering iDirect has integrated its SCPC or VSAT solution for the modulation and multicast transmission of the NativeIP content over satellite. For unidirectional or bidirectional delivery, ST Engineering iDirect’s solutions provide best in class efficiency of the physical layer with full robust ACM support using Thin Margin Manager (ThiMM) and Noise and distortion estimator (NoDE), to deliver GSE or MPE encapsulation for forward (DVB-S2X) and return paths (Multi-Resolution Coding), with up to 500Mbaud per carrier, full redundancy and reliability, encompassing integration services, network planning, and link budgeting. With its collaboration with Broadpeak, EKT and EasyBroadcast, ST Engineering iDirect is first to market in providing a hybrid system that combines VSAT connectivity with a DTH grade, cost effective, native STB reception.

THUMBWAR co-founders David Vottero and Brian Carr met at Emerson College, where they collaborated often, putting their technical and creative skills to synergistic use. When they moved to Los Angeles and found success as problem-solving freelancers, they quickly decided their clients would be better served by an alliance between their skillsets. Brian is a multitalented engineer and technical problem solver, coming from systems design and project management with a background as a broadcast technician; David is a visionary creative director and pro-

ducer with a background in broadcast television. Together, they created THUMBWAR — a meeting of the technical and creative minds.

VidOvation is a leading technology integrator of live television transmission, contribution, distribution, and streaming systems that easily integrate into your existing workflow. Encompassing Emmy award-winning bonded cellular technology, VidOvation, known for the most significant multi-camera at-home projects in live broadcast, delivers frame-accurate video genlock and audio lipsync across dozens of untethered cameras in the field, delivering true At-Home Production and REMI workflow. VidOvation also provides expertise in wireless video, video streaming, video over IP, encoding, IP probing, monitoring and multiviewer, enterprise IPTV, digital signage, and fiber-optic communications systems. Our solutions improve video transmissions by providing workflow advantage while mitigating the frustrations of signal loss, latency, interference, noise, and security issues. VidOvation excels in helping clients like you integrate custom video transmission, streaming, contribution, and distribution systems into existing infrastructure, with the ability to satisfy almost any application or budget.

Dedicated to providing successful solutions to its increasingly diverse clientele, VISTA is committed to disruptive innovation in the media industry. For over 30 years VISTA has consistently raised the industry standard by developing value-added services for the media industry, consistently maximizing a client’s reach while effectively offering competitive prices.

WorldStage continues our 40-year legacy of providing video, audio, lighting equipment and creative engineering services for a wide variety of sporting events across the country this year! A concert PA at a Surf competition in Long Beach, NJ for Red Bull? No problem! A large LED wall on a barge for the NHL’s Kraken Expansion Draft in Seattle? Got it! Or a Guinness World Record for creating the largest video game display ever while projection mapping the entire side of the Tropicana in Vegas? We’re in it to win it with you, and look forward to supporting your efforts soon! WorldStage Inc., is the ultimate resource for event engineering, technology, and imagination.

CONGRATULATES THE SPORTS BROADCASTING HALL OF FAME 2020-21 HONOREES

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RAISE THE GAME

Virtual Production is increasing fan engagement and creating revenue opportunities for sports teams and broadcasters around the world. Pixotope is a real-time Virtual Production and Mixed Reality tool that’s simple to operate yet gives you complete control. To ﬁnd out more about how we can help you to deliver incredible experiences and push creative boundaries visit

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Courtesy of

141 Crew Services 146 Generators 154 Mobile Production Units 162 Satellite Trucks

nce again, SVG has partnered with ProductionHUB to publish the most comprehensive directory of Vendor Services for Sports Production. ProductionHUB.com, a respected online resource, lists not only the vendors covered here but also a wealth of other production-services companies who serve producers of sports and other forms of live entertainment. The site is also SVG’s jobs-board partner and provides a valuable tool for freelancers seeking work and for today’s growing number of sports networks and content creators. Be sure to visit ProductionHUB.com for ongoing updates and additions to this list of potential suppliers and service providers.

Vendor Services Directory

Directory

Courtesy of

VENDOR SERVICES

Crew Services STATE

CITY

NAME

URL

PHONE

ALABAMA ARIZONA

Birmingham Chandler Phoenix Phoenix Phoenix Phoenix Tucson North Little Rock Gardena Los Angeles San Diego San Francisco San Francisco Aspen Golden Hartford Lake Mary Melbourne Miami Miami Orlando

Crewsouth MarzMotion Burke Brothers Productions LLC Crew West, Inc. Phoenix Production Services Reel Men Crew 4-U Video & Film Film Gear Rentals Aneu Enterprise Inc. WCB Films Crystal Pyramid Productions Branded Content Media Zero One Digital Media Aspen Productions Crew Connection FastLights.com - Hartford, CT Skystorm Productions David Waters Productions, LLC Gato Media Inc. Stonehenge Circle ProductionHUB.com Florida Office of Film and Entertainment Beverly Boy Productions Atlanta, GA LOCAL Swirl Films / Rentals Chris Wade Media Visions of Light Chicago Complete Crewing Clarion - Chicago Program Productions FastLights.com - Boston, MA PixMix Video Services StoneMedia Productions

https://www.crewsouth.com/ https://marzmotion.com/ https://bbptv.com/ http://www.crewwestinc.com/sat-west/ www.filmwithpps.com https://reelmen.com/ https://www.crew4u.com/ https://www.filmgearrentals.com/ https://www.aneuandgoeproductions.com/ www.wcbfilms.com http://www.crystalpyramid.com/ https://www.brandedcontentmedia.com/ www.zodm.co http://www.aspenproductions.com/ www.crewconnection.com www.FastLights.com/ph https://skystorm.com/ https://davidwatersproductions.com www.gatomediainc.com www.stonehengecircle.com www.productionhub.com

(205) 862-4271 (602) 377-2514 (602) 321-0398 (888) 444-2739 (480) 717-4117 (602) 286-6800 (520) 751-4070 (501) 920-3392 (833) 734-0849 (954) 298-4401 (619) 644-3000 (949) 205-9980 (415) 418-4365 (970) 925-1031 (303) 526-4900 (855) 922-5600 (407) 328-4747 (321) 525-1290 (786) 797-1985 (786) 333-3571 (877) 629-4122

https://filminflorida.com/

(850) 717-8990

ARKANSAS CALIFORNIA

COLORADO CONNECTICUT FLORIDA

Tallahassee GEORGIA

Atlanta

Atlanta Atlanta IDAHO Nampa ILLINOIS Carol Stream Chicago Grayslake Lombard MASSACHUSETTS Boston Boston Hudson

https://www.beverlyboy.com/locations/ga/atlanta-videoproduction-company/ https://www.staylocalatl.com www.swirlfilms.com www.chriswademedia.com www.visionsoflight.com http://www.completecrewing.com/ https://programproductions.com/ http://www.fastlights.com/ph pixmix.net www.stonemediapros.com

(404) 474-3823 (470) 344-5860 (404) 228-6938 (208) 850-0400 (312) 829-8244 (773) 645-2000 (847) 543-1188 (630) 792-9700 (855) 922-5600 (617) 254-0590 (978) 568-1200

SPORTS PRODUCTION 2022 YEARBOOK

141

Simplify your sports broadcast workflow with AI and ML-driven technologies. Apply AI and ML technologies to broadcast workflows to auto-generate highly accurate metadata transcripts for video content at an accelerated speed and lower cost. By leveraging high-performance AI capabilities in the cloud, our metadata solution, MetadataIQ, delivers actionable intelligence for media operators and accelerates content search, retrieval, production, and delivery.

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CALIFORNIA Joseph Electronics-West 3045 Teagarden Street San Leandro, CA 94577 510-352-7500

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Crew Services

Vendor Services Directory

Courtesy of

STATE

CITY

MASSACHUSETTS Newton MISSOURI Brentwood NEVADA Las Vegas Las Vegas Las Vegas NEW YORK Baldwin Brooklyn Buffalo New York New York New York New York New York New York NORTH CAROLINA Charlotte OKLAHOMA OREGON PENNSYLVANIA TEXAS

UTAH WASHINGTON WISCONSIN

Wake Forest Oklahoma City Portland Portland Clifton Heights Conshohocken

Austin Austin Austin Houston Salt Lake City Seattle Madison Madison

NAME

URL

PHONE

Green Line Group DreamWelder Productions LLC Avenger Productions, Inc. Carafelli Productions JCS Broadcast Video Productions Flypack New York, Inc. Watts Film Crews Odessa Pictures, Inc. Atlantic Television Broadcast Management Group Filmwerk Media Go To Team NBTV Studios New York Video Crews Beverly Boy Productions - North Carolina ClaryComm Oklahoma Film Commission Doug Birnbaum Photography Picture This Production Services TheCrewStore Wonderful Machine BL&S Lefler Locations Widespread Creative ARTIST. Redman Movies and Stories LDM Worldwide Productions Grassland Media, Inc. Shaman LLC

www.glgtv.com www.dreamwelder.com http://www.avengerproductions.com/ http://www.carafelliproductions.com/ http://jcsvideo.com/ https://www.flypackny.com/ https://trentwatts.com/ http://www.odessapictures.com/ www.atlantictv.com https://www.broadcastmgmt.com/ www.filmwerk.tv https://gototeam.com/ http://www.nbtvinc.com/ www.newyorkvideocrews.com https://beverlyboy.com/locations/nc/charlotte-videoproduction-company/ https://www.clarycomm.net https://www.ok.gov/oklahomafilm/ www.DougBirnbaum.com www.pixthis.com https://www.thecrewstore.com/ www.wonderfulmachine.com www.blsfilm.com https://www.leflerlocations.com/ https://www.widespreadcreative.com/

(617) 663-5240 (314) 397-4565 (702) 290-9212 (702) 525-1129 (800) 791-8671 (516) 867-7300 (703) 609-9490 (716) 316-6710 (212) 625-9327 (866) 494-1208 (212) 645-6668 (843) 884-6222 (646) 277-4900 (888) 858-8625

www.redmanmovies.com www.ldmworldwide.com http://grasslandmedia.com/ www.shamanmotion.com

(919) 904-6097 (918) 645-0127 (949) 205-9980 (503) 235-3456 (484) 688-1200 (610) 260-0200 (817) 565-9835 (239) 537-5296 (512) 481-2182 (321) 926-1285 (801) 978-9292 (206) 463-1902 (608) 238-7575 (608) 316-5510

(704) 230-1080

Generators STATE

CITY

NAME

URL

PHONE

ARIZONA

Mesa Phoenix Phoenix Tucson Mena North Little Rock North Little Rock Burbank Burbank Burbank Calabasas Carson Chatsworth Compton Culver City

Sound Lighting F/X Reel Men United Rentals - Phoenix H & E Equipment Services Laark Honeywagons Event Power Film Gear Rentals AC Power Distribution, Inc. Skye Rentals United Rentals - Burbank Studio Air Conditioning Rentals Multiquip Inc. Cinerep International, Inc. CAT Entertainment Services La Brea Air, Inc. Light It Up - Gear & Truck Rental Aggreko SAS Rentals Star Power Generators Location Air Temp Power Systems Top Productions Andrus Lighting and Grip Illumination Dynamics Cresco Production Express

www.soundlightingfx.com https://reelmen.com/ www.ur.com www.he-equipment.com www.laarkhoneywagons.com eventpowerpro.com/ https://www.filmgearrentals.com/ www.acpowerdistribution.com www.skyerentals.com www.ur.com www.studioairconditioning.com www.multiquip.com www.cinerepamps.com es-cat.com/ www.labrearentals.com

(602) 722-0783 (602) 286-6800 (623) 850-5100 (520) 770-1120 (818) 516-6474 (501) 351-5837 (501) 920-3392 (818) 848-4004 (323) 462-5934 (818) 842-5288 (818) 222-4143 (800) 421-1244 (818) 882-2677 (866) 762-5228 (800) 452-2732

www.LightitupLA.com

(818) 679-4321

https://www.aggreko.com/en-us sasrentals.com https://www.starpowergenerators.com/ www.locationair.tv www.temppower.com www.top-productions.com http://www.andruslighting.com/Andrus_Grip/crew.html www.illuminationdynamics.com www.crescorent.com

(770) 315-9879 (310) 461-9253 (818) 982-2200 (855) 444-4757 (800) 748-6997 (415) 332-3005 (619) 521-0585 (818) 686-6400 (800) 649-6629

ARKANSAS CALIFORNIA

Granada Hills Los Angeles Los Angeles North Hollywood Paramount Placentia Richmond San Diego San Fernando San Francisco

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SPORTS PRODUCTION 2022 YEARBOOK

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

Live Sports Production

OpsNGN™ by Dimetis Optimizing the performance of network environment.

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Generators STATE

CITY

NAME

URL

PHONE

CALIFORNIA

Sun Valley Sylmar Littleton Clearwater Dania Fort Lauderdale Fort Lauderdale Fort Lauderdale Miami Miami Orlando

DADCO, LLC Hollywood Rentals - Los Angeles Lighting Services Inc. Command Corp EmPower Corporation Garrett Sound & Lighting Production Power & Air Production Toolbox Services Americas Generators Megawattage CAT Entertainment Services First Call Location Coach Rentals Hollywood Rentals - Orlando First Unit Production Services CAT Entertainment Services BigCity Leasing & Production Equipment, LLC Herc Rentals Universal Production Services - Atlanta Ross SysCon Visions of Light Chicago Universal Production Services - Chicago Hammer Lighting & Grip Gull Wing Industries, Inc. Musco Lighting Prime Light, Inc. Digital FX, Inc. Available Lighting Inc. Center Staging, Inc. Nola Film Logistics, LLC Silver Screen Supply FastLights.com - Boston, MA

http://www.dadcopowerandlights.com/ http://www.hollywoodrentals.com http://www.lsidenver.com cmnd.com http://empowergenerators.net www.garrettsound.com www.productionpowerandair.com productiontoolbox.com/ gopower.com www.megawattage.com es-cat.com/

(818) 768-8886 (800) 233-7830 (303) 722-4747 (727) 560-0134 (954) 922-3800 (954) 777-3277 (954) 739-2468 (954) 463-4820 (800) 434-0003 (954) 302-3565 (877) 228-2852

www.firstcallcoach.com

(407) 832-2606

http://www.hollywoodrentals.com firstunit.com es-cat.com

(407) 852-0164 (727) 522-2203 (877) 228-2852

www.bigcityleasing.com

(678) 922-2490

https://www.hercrentals.com/us.html

(678) 848-5996

universalproductionservices.com

(404) 662-4035

www.rosssyscon.com www.visionsoflight.com

(912) 238-5800 (312) 829-8244

universalproductionservices.com

(773) 542-1002

www.hammergrip.tv www.gull-wing.com www.musco.com www.paddock.com/primelight www.digitalfx.tv www.availablelighting.com www.centerstaging.net www.nolafl.com www.silverscreensupplies.com http://www.fastlights.com/ph http://content.nestudios.com/film-nestudios?utm_ campaign=Variety411&utm_medium=Profile&utm_ source=Production%20Hub www.equipment4rent.net www.kayelites.com www.michigancrane.com

(317) 547-4747 (800) 838-1482 (800) 825-6030 (913) 226-0849 (888) 898-6010 (504) 831-5214 (504) 247-0020 (504) 309-6612 (504) 737-0555 (855) 922-5600

www.broadwayrental.com

(763) 533-1680

deancat.com www.ckpower.com www.ur.com www.riscorv.com es-cat.com/ www.sbp4juice.com/

(816) 200-5470 (314) 868-8620 (775) 348-0140 (732) 872-7722 (908) 272-8400 (908) 412-8630

universalproductionservices.com

(505) 521-5676

www.seriousgrippage.com

(505) 473-1566

https://cinelease.com/studios/cinelease-studios-brooklyn/ www.OneStopSurplus.com www.onsite-energy.com www.alny.net https://www.silvercupstudios.com/silvertrucks-info

(718) 970-0854 (631) 983-8408 (800) 736-2504 (718) 707-9670 (718) 906-3045

universalproductionservices.com

(646) 762-5880

www.starklighting.com https://partytime-rentals.com/ https://www.scheimpflug.com/ https://www.cookerentals.com/ https://www.petersoncat.com/ www.gafferbaron.com es-cat.com/

(347) 538-6501 (845) 226-2447 (212) 244-8300 (704) 483-2722 (888) 738-3776 (610) 449-6550 (401) 845-2281

Vendor Services Directory

Courtesy of

COLORADO FLORIDA

Orlando Orlando Pinellas Park St. Augustine GEORGIA

Atlanta Atlanta Atlanta

ILLINOIS

Savannah Carol Stream Chicago

Indianapolis Alta Oskaloosa KANSAS Overland Park LOUISIANA Baton Rouge New Orleans New Orleans New Orleans New Orleans MASSACHUSETTS Boston

INDIANA IOWA

Devens

New England Studios

MICHIGAN

West Bridgewater Woburn Detroit

MINNESOTA

Brooklyn Park

MISSOURI NEVADA NEW JERSEY

Kansas City St. Louis Reno Farmingdale Piscataway South Plainfield

NEW MEXICO

Albuquerque

Equipment 4 Rent Kaye Lites, Inc. Great Lakes Michigan Crane Broadway Rental Equipment Company Dean Machinery Co. CK Power Products United Rentals - Reno Risco Inc. CAT Entertainment Services SBP Industries Universal Production Services New Mexico Serious Grippage & Light Company Cinelease Studios RANTECH, Inc. On Site Energy Available Light Silvertrucks Lighting Universal Production Services Long Island City, NY Stark Lighting & Generator PartyTime Rentals Scheimpflüg Cooke Rentals Inc. Peterson Caterpillar Gaffer Baron Ltd CAT Entertainment Services

Santa Fe NEW YORK

Brooklyn Deer Park Hicksville Long Island City Long Island City Long Island City

New Paltz Poughquag New York NORTH CAROLINA Denver OREGON Portland PENNSYLVANIA Havertown RHODE ISLAND North Kingstown

150

SPORTS PRODUCTION 2022 YEARBOOK

(978) 615-5500 (508) 583-5500 (781) 932-0005 (313) 365-1800

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

BRINGING ALL THE PIECES TOGETHER SO YOU MAY FOCUS ON THE CONTENT

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Generators STATE

CITY

Courtesy of

RHODE ISLAND North Kingstown SOUTH CAROLINA Charleston Charleston TENNESSEE Franklin Knoxville Nashville

Vendor Services Directory

Nashville TEXAS

Nolensville Dallas Houston Houston

VERMONT

Irving Rowlett Hinesburg

VIRGINIA

Falls Church

WASHINGTON

Manassas Seattle Spokane

NAME

URL

PHONE

CAT Entertainment Services High Output, Inc. - Charleston Neff Rental Cine Power Systems The Smoky Mountain Grip & Lighting Co. Nashville Lighting & Grip, Inc. Sunbelt Rentals Pump & Power Services Saunders Electric Companies CAT Entertainment Services Juice Goose / Whitenton Industries MC Lighting & Production Services Panavision - Dallas Burrell Enterprises, Inc. NRG Systems, Inc. Carnage Brothers Grip & Electric Temp Power Pacific Grip & Lighting - Seattle Shutterworks Rentals Spokane

www.es-cat.com http://www.highoutput.com/locations/charleston/ www.neffrental.com

(888) 296-4492 (781) 364-1800 (843) 760-6333 (615) 521-6857

www.smokymtngrip.com

(865) 947-5483

http://www.nashvillegrip.com

(615) 678-2727

www.sunbeltrentals.com

(800) 667-9328

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(270) 535-6336 (214) 638-1400

www.juicegoose.com

(713) 772-1404

www.mclighting.com

(713) 723-1393

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(972) 929-8585 (972) 475-8111 (802) 482-2255

carnagebrothers.com

(703) 824-8389

www.temp-power.net http://www.pacific-grip.com/ www.shutterworksrentals.com

(703) 330-3663 (206) 622-8540 (509) 720-8162

Mobile Production Units STATE

CITY

NAME

URL

PHONE

ALABAMA ARIZONA

Spanish Fort Mesa Phoenix

www.avsmediagroup.com www.rvrentaloutlet.com www.coxcreativestudios.com

(251) 621-1200 (480) 461-0023 (623) 328-4778

http://www.floodstream.com

(480) 535-5002

www.skylinevideo.com www.hailstonecreek.com www.jmtv.com www.clarksvideogroup.com www.apacherentalgroup.com http://www.touringvideo.com/ www.pacsatplus.com www.cinerepamps.com https://www.e-n-g.com/ https://www.corporatestreams.com/ http://www.090.media/ https://www.auxch.com/ https://www.thunderstudios.com www.champion.biz http://www.globalinktv.com/ http://www.mspslive.net/

(480) 345-8009 (501) 371-9515 (501) 376-1993 (479) 636-7111 (818) 842-9944 (818) 504-3500 (855) 672-2728 (818) 882-2677 (800) 662-4522 (657) 253-8595 (858) 324-5500 (562) 334-0445 (323) 647-7557 (323) 850-4990 (408) 465-2787 (877) 354-6777

www.sdtv.com

(619) 293-7777

www.crescorent.com http://takeitlive.com https://mobeon.com/ www.digitalmedia.tv http://www.streamingmedialive.com www.pacificobroadcast.com www.bigfootmobilecarts.com

(800) 649-6629 (818) 271-7949 (888) 789-2463 (818) 974-4000 (818) 974-4000 (310) 497-4226 (707) 602-5548

www.pssiglobal.com

(310) 575-4400

www.unisatmobile.com

(562) 483-4800

Denver Denver Parker Suffield

AVS Media Group RV Rental Outlet Cox Studios- Phoenix FLOODstream - Mobile Broadcast & Webcast Production Skyline Productions, Inc. Hailstone Creek Productions Jones Mobile Television Clark's Video Group, Inc. Apache Rental Group Touring Video, Inc. PACSAT plus Cinerep International, Inc. E-N-G Mobile Systems, Inc. Corporate Streams 090 Media Auxiliary Channel Thunder Studios Champion Site + Sound Global Link Productions, Inc. MS Production Services Satellite Digital Teleproductions (SDTV) Cresco Production Express TAKEITLIVE MEDIA Mobeon Digital Media Group, Inc. Streaming Media Live Pacifico Television Engineering Bigfoot Mobile Systems PSSI Global Services - Strategic Television UniSat - Universal Satellite Communications Base Camp RMD Mobile HD Loclyz Media Services VideoPort Communications, Inc.

www.bvsecvmp.com www.rmdhd.com http://www.loclyz.com www.videoportc.com

(303) 921-9511 (720) 259-2277 (720) 452-2361 (413) 478-1745

Washington

Skehan Communications, LLC

http://www.skehan.com/

(202) 833-3310

Phoenix ARKANSAS

CALIFORNIA

Phoenix Little Rock North Little Rock Rogers Burbank Burbank Burlingame Chatsworth Concord Fullerton La Jolla Long Beach Long Beach Los Angeles Morgan Hill Ripon San Diego San Francisco Santa Clarita Santa Monica Studio City Studio City Sun Valley Vacaville Van Nuys Van Nuys

COLORADO CONNECTICUT DISTRICT OF COLUMBIA

154

SPORTS PRODUCTION 2022 YEARBOOK

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

NORTH AMERICA’S LEADER IN SPORTS CAPTIONING

VITAC supports sports leagues, broadcasters, TV networks, OTT providers, stadiums, and arenas with reliable, high-quality captions for live and recorded sporting events.

Let's connect:

vitac.com info@vitac.com

We provide quick-turnaround captioning for live clips of sporting events, simultaneous encoder and IP connectivity for web and TV captioning, and dual-mode delivery of captions to ribbon boards and handheld devices in stadiums, arenas, and convention centers. Providing FCC, ADA, Section 508 & WCAG compliant captioning

MATCHBOX MEASURES LATENCY... IT’S ABOUT TIME! Point to Point Latency Measurement The new latency feature for MatchBox measures the actual time of flight from the front of multiple cameras, all the way through the broadcast chain, with milli-second accuracy. Complete timing quality assurance, end to end. Whether you need to align the outputs from a variety of cameras - wired and wireless - at a live event or in a virtual production studio, MatchBox Latency takes the guesswork out of the equation and precicely calculates the delays between them in seconds.

www.dmcbroadcast.com sales@dmcbroadcastgroup.com +1 908 998 1080 | Don Cardone

Delays between different camera types, especially in different locations - whether around a stadium, virtual production studio or from remote production units around the world - can be quickly and accurately measured by the MatchBox Analyser by simply holding an iPhone running the MatchBox Glass app in shot.

COMPLETE AR & XR SOLUTIONS BUILT ON UNREAL ENGINE

New York • Los Angeles

www.silverspoon.tv

Mobile Production Units STATE

Vendor Services Directory

Courtesy of

DISTRICT OF COLUMBIA FLORIDA

CITY Washington Boca Raton Cape Canaveral Clearwater Clearwater Fort Lauderdale Fort Lauderdale Lake Mary Miami Miami Miami Miami Miami Orlando

GEORGIA

Tampa

FlyMotion Media

Atlanta Atlanta Atlanta

Encompass Digital Media KEF Media Associates, Inc. Narrow Path Productions Inc. Lightnin' Production Rentals, Inc. Keith Nealy Productions John Guild Communications Ron Eggleton CVM Productions, Inc. SOS Productions Chicago ScheffTech Productions, LLC Digital Impact Video, LLC CVM Productions, Inc. WIPB Productions / University Media Services Ball State University LeSEA Productions Satellite Center YES Productions ShowCase Video CSP Mobile Productions Sheffield Audio Video Productions PixMix Video Services Deadly Spider Productions Inc. Remote Facilities Consulting Services Inc. Moonlink Satellite, Inc. Detroit Public Television CTN Studios ARCTEK Satellite Productions Spot Media Transfer Lyon Productions FLOODstream - Mobile Broadcast & Webcast in Las Vegas Game Creek Video Thistle Communications Metrovision Production Group Total Media Productions (formerly Remote Digital Media) Patchamp Jim Houston Productions Inc. Flypack New York, Inc. Admiral Video - InMotion HD Interface Communications Flight 9 Satellite Services StreamByte TV Event Webcasting - New York City All Mobile Video ASU Productions & American Satellite Uplink Cinedeck KoKo - Baz Video & Film Touchdown Productions Zircon Production Vehicles High Rock Mobile Television

Lawrenceville HAWAII ILLINOIS

INDIANA

Hawi Honolulu Mililani Chicago Chicago Morton Tinley Park Granger Muncie

MAINE

South Bend New Orleans New Orleans West Monroe Saco

MARYLAND

Phoenix

LOUISIANA

MASSACHUSETTS Boston Millville Wakefield MICHIGAN

MISSOURI MONTANA

Sterling Heights Wixom Coon Rapids White Bear Lake St. Louis Helena

NEVADA

Las Vegas

MINNESOTA

NEW HAMPSHIRE Hudson Pelham NEW JERSEY Carlstadt Carlstadt NEW YORK

Hackensack Ramsey Baldwin Buffalo Flushing New City New City New York New York New York New York New York New York Saratoga Springs

158

NAME StreamByte TV Event Webcasting - Washington, DC Mobile Studios, Inc. Communications Concepts Inc. F & F Productions, LLC Oshkosh Specialty Vehicles Broadcast Beat Studios MSR Mobile Stage Rentals Skystorm Productions Blue Dolphin Studios Christian Media Group Mediapro MMC Video Corp. Virtual Events, LLC First Call Location Coach Rentals

SPORTS PRODUCTION 2022 YEARBOOK

URL

PHONE

https://www.streambyte.tv

(267) 218-1004

http://www.mobilestudios.com/ http://cci321.com www.fandfhd.tv www.oshkoshsv.com/ http://www.broadcastbeatstudios.com www.mobilestagerentals.com https://skystorm.com/ http://cinematusa.com/blue-dolphin-studios/ http://christianmediagroup.squarespace.com/ https://mediaprous.tv/ www.mmcvideocorp.com https://virtualevents.llc/

(561) 372-0604 (321) 783-5232 (727) 530-5000 (727) 573-0400 (754) 238-3200 (800) 267-8243 (407) 328-4747 (305) 887-7726 (786) 286-4942 (305) 357-6000 (305) 300-8976 (833) 847-8383

www.firstcallcoach.com

(407) 832-2606

www.flymotionmedia.com (media division) www. flymotionus.com (unmanned systems division) www.encompass.tv www.kefmedia.com narrowpath.tv

(800) 548-5844 (678) 421-6834 (404) 605-0009 (770) 715-3611

www.lightnin.net

(770) 963-1234

www.keithnealy.com www.john-guild.com www.xleggs.com http://www.cvmproductions.com/ www.sosproductionschicago.com www.schefftech.com http://www.digitalimpactvideo.com http://www.cvmproductions.com/

(808) 882-7772 (808) 596-2211 (360) 790-1459 (574) 256-0068 (269) 313-1645 (309) 524-5865 (708) 606-2310 (574) 256-0068

https://www.wipb.org/

(765) 285-1249

www.leseaproductions.com www.satctr.com https://www.yesproductions.com/ http://www.showcasevp.com/ www.cspmobile.com

(574) 291-8200 (504) 915-8244 (504) 486-5511 (318) 398-0748 (207) 282-9680

www.sheffieldav.com

(800) 355-6613

pixmix.net www.DeadlySpider.com

(617) 254-0590 (401) 447-5254

http://www.remotefacilities.com/

(781) 246-8300

www.moonlinksat.com http://www.dptv.org/about/production-services/ www.ctnstudios.com www.arcteksat.com http://spotmpg.com/#deliver http://lyongroup.biz/content/

(586) 323-9590 (248) 305-3827 (763) 767-6525 (612) 623-1986 (314) 667-5915 (406) 442-9014

http://www.floodstream.com

(702) 577-3300

www.gamecreekvideo.com www.thistlecommunications.net https://www.metrovision.tv/

(603) 882-5222 (603) 598-5100 (212) 989-1515

http://www.total-media.com/

(973) 800-8387

https://patchamp.com/ www.jimhouston1.com https://www.flypackny.com/ www.PylonCam.com https://www.interfacetv.com/ www.flight9.com

(201) 457-1504 (201) 788-7096 (516) 867-7300 (716) 651-9900 (718) 463-8700 (888) 354-4489

https://www.streambyte.tv

(267) 218-1004

http://www.allmobilevideo.com

(212) 727-1234

www.americansatelliteuplink.com

(917) 861-0468

https://cinedeck.com/ www.kokobaz.com www.touchdown-productions.com www.ZirconProductionVehicles.com https://www.highrockmobiletelevision.com

(888) 490-3360 (212) 674-6601 (917) 746-6240 (888) 675-9995 (518) 584-9181

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

Mobile Production Units STATE

CITY

NORTH CAROLINA Charlotte Charlotte

Vendor Services Directory

Courtesy of

Durham OHIO OKLAHOMA PENNSYLVANIA

Greensboro Cincinnati Columbus Columbus Tulsa Broken Arrow Boyertown Harrisburg Lancaster Malvern Philadelphia Philadelphia Philadelphia Pittsburgh Pittsburgh

TENNESSEE

TEXAS

Goodlettsville Hendersonville Hendersonville Nashville Nashville Argyle Austin Beaumont Dallas Grapevine Houston

UTAH

VIRGINIA WASHINGTON WISCONSIN

URL

PHONE

control1comm.com http://www.theproductiongroup.com/

(205) 706-9524 (704) 333-2595

www.DynamicVideoGroup.com

(800) 930-0962

http://7cinematics.com http://www.cvmproductions.com/ www.lyonvideo.com www.remoteriley.com www.leseaproductions.com/ https://alliedbroadcastgroup.com/ www.broadcastassociates.com

(843) 754-0516 (574) 256-0068 (614) 297-0001 (614) 864-7900 (918) 254-4701 (918) 250-5353 (610) 754-6800

https://www.mythologymps.com/

(717) 409-5161

www.triode.tv www.ccimobileproduction.com

(717) 413-2533 (610) 836-1355

www.PMTV.com

(484) 690-9183

https://www.streambyte.tv

(267) 218-1004

www.tpsweb.com www.nepinc.com

(888) 877-1178 (855) 735-4310

www.viewpoint.tv

(800) 820-0402

www.vopinc.com www.campdigital.net www.stokesvideo.com www.highendtv.com www.tndv.com www.anc.com www.earlmillerproductions.com www.bouncemultimedia.com http://andrews-media.com/ www.tricamvideo.com

(615) 859-1521 (615) 826-0122 (615) 822-6500 (615) 346-9545 (615) 585-6528 (940) 464-2320 (512) 458-4343 (409) 860-5551 (972) 570-1118 (817) 909-4137

www.acsi-us.com

(713) 987-0336

www.satctr.com www.cis-com.com https://www.djprod.biz www.gunnerlive.com http://www.videolinestv.com/ www.moonbouncemedia.com www.ldmworldwide.com www.linkupcom.com www.tokencreek.com

(504) 915-8244 (281) 804-9525 (435) 757-6889 (801) 396-9938 (678) 313-6001 (801) 580-9474 (703) 318-7500 (206) 463-1902 (414) 453-8785 (608) 849-4965

Satellite Trucks STATE

CITY

NAME

URL

PHONE

ARIZONA

Phoenix Phoenix Calabasas Concord Morgan Hill Oakland Santa Barbara Studio City Denver New Castle

Crew West Inc. Crew West, Inc. Coastal Media Group E-N-G Mobile Systems, Inc. Global Link Productions, Inc. Central Coast Uplink Rough House Productions LLC Streaming Media Live ISPN Peak Uplink Diversified Communications, Inc. F & F Productions, LLC Mediapro Lowery Satellite Services Inc. Telepoint Studios Satellite Technology Systems

www.crewwestinc.com http://www.crewwestinc.com/sat-west/ www.coastalmediagroup.com https://www.e-n-g.com/ http://www.globalinktv.com/ www.centralcoastuplink.com www.roughhousehd.com http://www.streamingmedialive.com http://ispn.tv https://peakuplink.com/

(888) 444-2739 (888) 444-2739 (818) 880-9800 (800) 662-4522 (408) 465-2787 (831) 325-5271 (800) 626-2490 (818) 974-4000 (303) 562-6277 (970) 984-9765

www.dciteleport.com

(202) 775-4300

www.fandfhd.tv https://mediaprous.tv/ lowerysatellite.com www.Telepointstudios.com http://stslivetv.com/

(727) 530-5000 (305) 357-6000 (407) 859-7940 (407) 859-7940 (800) 838-1472

CALIFORNIA

COLORADO DISTRICT OF COLUMBIA FLORIDA

ILLINOIS

162

Houston Missouri City Logan Orem Park City Sandy Herndon Seattle Milwaukee Waunakee

NAME Control 1 Communications The Production Group LLC Dynamic Video Group - Live Streaming for North Carolina (On location & Studio) 7 Cinematics CVM Productions, Inc. Lyon Video Mobile Production Services LeSEA Productions Allied Broadcast Group J A Taylor & Associates Mythology Mobile Production Solutions, LLC Triode Media Group LTD CCI Communications PMTV - Broadcast, Production, Streaming Worldwide StreamByte TV Event Webcasting - Philadelphia Total Production Services NEP Viewpoint Production Services, Inc. Video One Productions Inc. Camp Digital Stokes Production Services High End TV Tennessee Digital Video GoVision Earl Miller Productions Inc. Bounce Multimedia Texas TV Trucks Tricam Video Productions, Inc. Advanced Containment Systems Inc. Satellite Center Stage2screenProductions Cis Com digital media Doug Johnson Productions Gunner Live LLC Videolines Mobile Television Moon Bounce Media, Inc. LDM Worldwide Productions Link Up Communications, LLC Token Creek Mobile Television, Inc.

Washington Clearwater Miami Orlando Orlando Crystal Lake

SPORTS PRODUCTION 2022 YEARBOOK

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

Power your live sports streaming.

Immersive video & enveloping sound Broadcast-level latency 4K HDR

www.ateme.com

Vendor Services Directory

Courtesy of

Satellite Trucks STATE

CITY

NAME

URL

PHONE

INDIANA KANSAS LOUISIANA MARYLAND MASSACHUSETTS

South Bend Shawnee New Orleans Potomac Bedford

www.leseaproductions.com www.sateng.com www.leseaproductions.com https://www.absatellite.com www.polatis.com

(574) 291-8200 (800) 932-1555 (504) 681-0120 (301) 605-7629 (844) 765-2847

http://www.remotefacilities.com/

(781) 246-8300

www.moonlinksat.com http://www.rumjungle.com http://ingwellcommunications.com/services.html www.arcteksat.com http://lyongroup.biz/content/ http://www.coveredge.com/ www.thistlecommunications.net https://www.metrovision.tv/

(586) 323-9590 (952) 472-5525 (612) 839-5154 (612) 623-1986 (406) 442-9014 (800) 822-6397 (603) 598-5100 (212) 989-1515

www.satellitedownlink.com

(917) 312-9894

Flushing New City New York West Babylon

LeSEA Productions Satellite Engineering Group LeSEA Productions Asia Broadcast Satellite Polatis, Inc. Remote Facilities Consulting Services Inc. Moonlink Satellite, Inc. RumJungle Media Ingwell Communications ARCTEK Satellite Productions Lyon Productions CoverEDGE Las Vegas Thistle Communications Metrovision Production Group Fulton Production and Consulting Interface Communications Flight 9 Satellite Services All Mobile Video Village Video News

https://www.interfacetv.com/ www.flight9.com http://www.allmobilevideo.com www.vvn.com

(718) 463-8700 (888) 354-4489 (212) 727-1234 (631) 752-9311

Charlotte

Control 1 Communications

control1comm.com

(205) 706-9524

Wake Forest Youngstown Boyertown

ClaryComm First Call UPLinks J A Taylor & Associates Mythology Mobile Production Solutions, LLC Liberty Uplink, Inc. PMTV - Broadcast, Production, Streaming Worldwide Live Mobile Group Skyway Studios Texas TV Trucks Gunner Live LLC Moon Bounce Media, Inc. Wild Hare Satellite, Inc. The Media Center

https://www.clarycomm.net www.firstcalluplinks.com www.broadcastassociates.com

(919) 904-6097 (800) 951-6707 (610) 754-6800

https://www.mythologymps.com/

(717) 409-5161

www.libertyuplink.com

(215) 964-5222

www.PMTV.com

(484) 690-9183

http://www.livemobilegroup.com/ https://skywaystudios.tv http://andrews-media.com/ www.gunnerlive.com www.moonbouncemedia.com www.wildharesat.com www.themediacenter222.com

(877) 959-8638 (800) 605-3590 (972) 570-1118 (678) 313-6001 (703) 318-7500 (360) 573-6850 (304) 720-5466

Wakefield MICHIGAN MINNESOTA

Sterling Heights Minneapolis St. Paul White Bear Lake MONTANA Helena NEVADA Las Vegas NEW HAMPSHIRE Pelham NEW JERSEY Carlstadt Old Bridge NEW YORK

NORTH CAROLINA OHIO PENNSYLVANIA

Harrisburg Malvern Philadelphia TENNESSEE TEXAS UTAH VIRGINIA WASHINGTON WEST VIRGINIA

Nashville Nashville Dallas Park City Herndon Ridgefield Charleston

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

2022 Check out SVG’s calendar of upcoming events at

www.sportsvideo.org/events See You in 2022!

THE GLOBAL NETWORK OF LOCAL CREW & VENDORS. ProductionHUB is the go-to resource for finding exactly what you need for your production. Anywhere in the world.

Get started at ProductionHUB.com.

PEOPLE OVER PRODUCTION WE ARE A TEAM OF CREATIVE DESIGNERS WHO LOVE CREATING CUSTOM SOLUTIONS TO COMPLEX PROBLEMS.

DESIGNING WORLD CLASS AVL SYSTEMS

WWW.CLARK.IS

Expect at-home remote production without the headache. Demand frame-accurate gen-lock and lip-sync across multiple handheld cameras. PRO380 Bonded Cellular & IP Remote Field Encoder • Enhanced HEVC encoding • 65% data cost savings vs. H.264 • 30% data cost savings vs. other HEVC • Patented SafeStreams® transport with FEC, ARQ & bonding • Robust transport with multilayer redundancy • Uses the public Internet and cellular for contribution & distribution • Ideal for at-home and REMI production • Eliminate or reduce the size of your truck on-site • Save satellite, fiber and telecom costs • No dropped packets • Low latency

CALL DIRECT for more information

949.777.5435

vidovation.com/remi sales@vidovation.com

EVERY FRAME. EVERY MILLISECOND. EVERY MOMENT.

DX3media.ca

Remote Production Workflows Sports is Live!

From Source to Screen We Have Your Signals Covered

It doesn’t matter where you are or what you’re covering. Your content deserves to be seen. Using SRT, BRT™, NDI®, even bonded cellular? Exertis Broadcast has all your connectivity needs covered from the field to the studio and back out again. Need to convert or route IP traffic from one format to another? We carry the most flexible toolsets for getting your content where it needs to be. Our team can help you find the best format for your project utilizing industry standards to allow for complete interoperability.

JB&A is now Exertis Broadcast!

BROADCAST

Contact Exertis Broadcast for a Free Remote Production Workflow Consultation with Our Engineers. Call 415.256.2800 or visit www.exertisusa.com/broadcast

POWER TO THE GAME MAKERS audiovisual & broadcast TECHNOLOGY solutions for VENUES With fans returning to venues with an appetite for year-round content, cutting-edge production systems are key to meeting their demands. We can help upgrade your production game with on-premise and remote production solutions that will wow your fans like never before. Whether in the stands, in their living room, or on their devices, you’ve never let the fans down before. Make a great game-day experience even better with solutions from Alpha Video.

Solutions we offer: Recent & current projects: • • • • • •

Toronto Blue Jays Control Room Upgrade Minnesota Twins Control Room Upgrade Nashville SC Control Room Sporting KC Control Room Upgrade Wisdom Gaming Production Facility Cincinnati Bengals Control Room Upgrades

• • • • • • • •

HD Production Control Rooms ESPN+ Production Systems HD Production Studios Edit, Asset Management & Archiving IPTV & Digital Signage Venue Sound Systems Broadcast & Network Infrastructure Team Facility A/V Solutions

SHOOT | REPLAY | POST | PLAY | PRESENT SPORTS & ENTERTAINMENT GROUP

800.388.0008 | info@alphavideosports.com | www.alphavideosports.com

Gearbase

16TH-ANNUAL SVG MOBILE SPORTS PRODUCTION GEARBASE SURVEY RESULTS

ue to the pandemic, the sports-production industry’s fleet of mobile vehicles had a rocky 2020 but was largely able to get back on the road as the year progressed. Then, in 2021, with the return of live sports and overlapping sports seasons, trucks have never been busier. Whether it's a traditional onsite production, a REMIstyle show with the truck at the venue and the crew back home, or a hybrid of the two, mobile live-production facilities are in greater demand than ever before. This year’s SVG Gearbase once again documents our industry’s ongoing investment in cuttingedge technology as liveproduction shifts more and more to IP, cloud, and remote production protocols.

SPORTS PRODUCTION 2022 YEARBOOK

175

The most powerful and reliable remote production system Reduce travel costs and enhance crew safety by working remotely. Cloud Control from Mobile TV Group delivers immediate control and access to all production facilities including unlimited cameras, replay, super slo-mo, graphics, intercom, and audio. The only difference is the event could be thousands of miles away. Cloud Control rooms can be economically deployed in just one day in any place such as a conference room. Find out how Cloud Control can dramatically change your game.

www.mobiletvgroup.com

The essential event labor management platform and mobile app. Learn more at procrewz.com

ProCrewz can do it all – send availability requests, offer jobs, and confirm crew, all in the mobile app. The revolutionary app, now in use by more than 10,000 technicians throughout North America, grants your teams unprecedented access to real-time information and the ability to communicate eﬃciently in a fast-paced event environment.

Job Information

Geo-Fenced Time Clock

Notiﬁcations

Upload Certiﬁcations

Submit Expenses

Streamlined Communication

Personalized Calendar

Conﬁrm Availability & Accept Job Oﬀers

Contact Details

Request a demo at sales@procrewz.com

SPECIALTY CAPTURE FOR SPORTS & ENTERTAINMENT TELEVISION

Our Solutions Include Tr-Ace Follow System Super Slow Motion Augmented Reality Zoom Extraction Robotic

630-537-9920 fletch.com

Your go-to partner for software engineering at scale SOUTHWORKS is the cloud broadcast engineering team behind some of the most demanding, mission-critical implementations currently transforming the live sports OTT landscape. SOUTHWORKS global team of remote engineers bring the devintensity to your organization, delivering quick strategic wins to help you accelerate, grow, and scale.

Learn how we Make Everything Right™ for some of the biggest names in sports

swrks.co/customers

southworks.com

hello@southworks.com

Image credit: Darmah

Make Television History Learn all about extended reality (xR) and why it is the preferred choice for major broadcasts like the 2020 Tokyo Summer Olympics. Discover 8 key reasons why broadcasters are using xR to collaborate globally and engage audiences like never before.

Get your free ebook

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 (32+2 / 64 mono + 8 stereo)

7 GV, 1 Sony HD POV

5 Canon, 4 Fujinon 5/4

Epic Titan Revolution Crossroads

53' double expando 53' triple expando 53' double expando 53' triple expando

Fiber Fiber Fiber Fiber

Studer Vista 8 62 -faders / 250 ch. Studer Vista X 72-Faders / 600 ch. Studer Vista 9 62-Faders / 250 ch. Studer Vista 8 62-Faders / 250 ch.

18 Sony 24 Sony 18 GV 18 Sony

6-H Fujinon 12-HH Fujinon 6-H Fujinon 12-HH Fujinon 6-H Fujinon 12-HH Fujinon 6-H Fujinon 12-HH Fujinon

Sterling

53' triple expando

NYLA Maverick

49' straight 40' expando

Zurich

53' double expando

Eclipse

53' triple expando

HD/1080p 3G HD HD/1080p 3G HD HD/1080p 3G/UHD/ HDR HD HD HD/1080p 3G/UHD/ HDR HD/1080p 3G/UHD/ HDR smpte 2110 IP

Unit A - Matthew

53' expando

Unit B - John

40' straight box

6-H Fujinon 12-HH Fujinon 4-H Fujinon 6-HH Fujinon 4-H Fujinon 6-HH Fujinon

Fiber

Studer Vista X 72-Faders / 600 ch.

18 Sony

16 Fujinon

Fiber

Studer Vista X 72-Faders / 600 ch.

18 GV

6-H. Canon 12-H.H. Canon

Triax

Calrec Omega w/ BlueFin (72 Fader), 128x128 Analog, 128 AES, 128x128 MADI

8 Sony HXC-100

6 Hard, 2 HH

HD/4K

Triax

Soundcraft Performer 3 86 Input, DANTE

6 Sony HXC-100

5 Hard, 2 HH

Yamaha CL5 (72 channel, 24 mix busses, 8 matrices, and 16 DCA’s, 40 5 Sony, wired for 8, 1 fiber (2) 95X, (1) 55X, (1) 42X, 4 Fujinon ENG mic pre amps, 32 analog out, MADI, PTZ, 2 coax clock cameras, Dante interfaces, 16 AES in/out) 2 23X, 2 18X, 2 W/A lenses 1 ENG camera SM fiber connectivity to booth rack for announce positions and PL's

Mobile 2

36' straight

HD/SD

Steel

53' expando trailer

HD/1080p/4K/HDR

SMPTE Fiber

Calrec Artemis Light (56 fader, 196 chs.)

12 Sony HDC-4300 4K (wired for 16)

All 4K: 4 Fujinon 107x, 6 Fujinon 22x8, 2 13x4.5

OB1-Kenobi

53' Gerling expando

4K HDR

SMPTE Fiber

Yamaha, Dante Fiber Network, x 512 Channels

Panasonic 12x AK-UC3000 4x AW-HE130. HD

Fujinon- (H) 2@ 77x, 55x, 42x (HH) 5 @ 20x , 2 @14x ,1@12x

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

N/A 66X

DNA STUDIOS

CSP MOBILE PRODUCTIONS (ALLIANCE)

CCI COMMUNICATIONS

18 Sony 10 Sony 10 Sony

CLARK MEDIA

Studer Vista X 62-Faders / 600 ch. Studer Vista 5 M3 42-Faders / 250 Calrec Omega 48-Faders / 96 ch.

Triax, SM Fiber for PTZ and HD-SDI

DOME PRODUCTIONS

184

Fiber Fiber Fiber

CORNERSTONE AV

BOUNCE MULTIMEDIA

ALL MOBILE VIDEO

Gearbase

COMPANY

HDX1

53' expando

Triax

Yamaha Digital, Calrec Alpha

HD28

28'

Triax

X32 Digital (40 inputs)

HD32 REMI HD20u FLY1

32' box Remote studio 20' box Flypack

HD HD HD HD

Triax Fiber Triax Fiber

Yamaha TCL3 (32 inputs) x32 Digital (40 inputs) X32 Digital (40 inputs) x32 Digital (40 inputs)

HD21

21'

Triax

X32 Digital (40 inputs)

HD12

12'

Fiber

16 Channel

Sony HXC100 GV 6000 and 6200 Super Mo GV 4000 GV 6000 GV 4000 JVC GY HD GV 6000 and 6200 Super Mo Sony PMW320

Gateway 4K

53' expando

HD/1080p/4K/HDR

Fiber only

Calrec Apollo (144/1020)

10 Sony 5500

12 Fujinon UHD

Vista 4K

53' expando

HD/1080p/4K/HDR

Fiber only

Calrec Apollo (144/1020)

10 Sony 5500

12 Fujinon UHD

Silver 4K

53' expando

HD/1080p/4K/HDR

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Fujinon UHD

Trillium 4K

53' expando

HD/1080p/4K/HDR

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Canon UHD

Pioneer 4K

53' expando

HD/1080p/4K

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Fujinon UHD 4 Panasonic

55X 55X 40X 45X 40X 55X 20x

Showcase

40' expando/studio

HD/1080P/4K/HDR

As requested

Yamaha or other

4 Panasonic AW-UE150 PTZ

Journey HD

53' expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Canon

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

Echo HD

53' expando

Both

Calrec Sigma (64)(320)

10 Sony 1500R

12 Canon

SPORTS PRODUCTION 2022 YEARBOOK

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, w/ 3 M/E panel

2 6-ch. GV K2 Dyno

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

Wired for 2 Wired for 2 Wired for 2 Wired for 1

Kits vary Kits vary Kits vary Kits vary

GV K-FRAME, 5M/E Sony MVS-8000X, 5M/E GV K-FRAME, 5M/E Sony MVS-7000X, 5M/E

4 8-ch. EVS 4 6-ch. EVS 4 8-ch. EVS 3 8-ch. EVS

PESA Video 480x480 Audio 640x768 PESA Video 288x512 Audio 768x768 PESA Video 288x288 Audio 1344x1344 PESA Video 256x256 Audio 256x256

Wired for 2

Kits vary

Sony XVS-7000, 5M/E

4 8-ch. EVS

GV Video256x256 Audio 640x640

Wired for 2 Wired for 1

Kits vary Kits vary

Sony MVS-8000G, 4DME Sony MVS-6530, 3M/E

2 6-ch. EVS 2 6-ch. EVS

Pesa Video 128x128 Audio 128x128 Evertz Video 128x512 Audio-336x336

Wired for 2

Kits vary

Sony XVS-8000, 5M/E

4 8-ch. EVS

GV Video 441x846 Audio 6608x13536

Wired for 2

Kits vary

GV K-FRAME-XP, 5M/E

4 8-ch. EVS

Cisco - 2110-20 -1730x2400 2110-30 10000x10000

Vizrt, Ross XPression, ChyronHego Duet

Full complement

GV Kalypso, 4M/E

1 6-ch. EVS, 2-4 ch. EVS (w/ XFile3)

PESA 256x256

Vizrt, Ross XPression, ChyronHego Duet

Full complement

Ross Carbonite Ultra 24 Input, 10 Output, 2 Multiview

1 6-ch. EVS (w/ Xfile 3)

UTAH Scientific 64x64

ChyronHego Mosaic, Ross XPression

HMD 26II headsets w/ Daltech Talkback Boxes, 8 shotgun mics, MD 46 stick mics, lavs, Shure 4 channel ULXD wireless w/ 2 KSM9 stick mics and 2 body packs w/ Lavs/headset mics

GV Karrera K Frame - 3M/E w/ splits/ Lance/EVS Spotbox

2 EVS XT3 LSM, Xfile 3

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

ChyronHego Mosaic or Ross XPression

Senn., Sony, Shure, more as requested

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

2 EVS XT4K 12-ch., 1 Ross Mira 8-ch.

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

2-ch. Ross XPression, 2 x Disguise GX2c Media Server, 3x Solo, 6 x MAC Mini

Senn. (MK416, MKH418, MKH8070) DPA D-fine Broadcast

1x Blackmagic 4K 2M/E ATEM & 2 x Barco E2

4 Position 20-ch. Ross Mira , 20-ch. Atomos Shogun Studio

Ross ULTRIX 144 x144 w/ Multiveiw, 16x Fiber I/O , 16ch per I/O embed, de-embed 2000x2000 Audio RTR, w/ 64x64 MADI to Dante, 12x Ultritouch Control Pannels

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

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

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

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 400 HD (96x216 video/80x80 AES, 40x40 analog, 128x128 MADI) Utah 400 HD (528x528 router/48x48 embedded, 384x384 MADI, 64x64 AES, and 36x36 analog stereo audio) Utah 400 HD (96x216 HD video, 84x84 AES audio, 40x40 analog audio, 128x128 MADI audio) Utah 400 HD (528x528 router/48x48 embedded, 576x576 MADI, 64x64 AES, and 36x36 analog stereo)

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

N/A

Wired for 4 8-ch. EVS XT3

Utah 400 HD (144x144)

Senn.

GV Kalypso, 4M/E

Senn.

Ross Carbonite

Ross XPression/Duet Ross XPression Ross XPression Ross XPression

Senn. Senn. Senn. Senn.

Ross Carbonite BlackmaRoss Carbonite Blackmagic ATEM 2M/E Blackmagic ATEM 2M/E

6-ch. EVS w/ Xfile3 8-ch. EVS Nano w/ X-File; 6-ch. NewTek 3Play 6-ch. NewTek 3Play; 2 GV K2 Solo 4-ch. 6-ch. NewTek 3Play 4-ch.

Evertz (96x96 HD)

Chyron Duet, Ross XPression

Ross XPression

Senn.

Ross Carbonite

6-ch. Dreamcatcher

40x40

Ross XPression

Senn.

Blackmagic ATEM 2M/E

16x16

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame X 4M/E (9 ME HD)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame X 4M/E (9 ME HD)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame X 4M/E (9 ME HD)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame X 4M/E (9 ME HD)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame X 4M/E (9 ME HD)

6-ch. NewTek 3Play 2x EVS XT VIA 8-ch., 2x XT3 12-ch., 1x XS VIA 4-ch. Spot Box 3x EVS XT VIA 8-ch., 1x EVS XT VIA 12-ch., 1x XS VIA 4-ch. Spot Box 2x EVS XT VIA 8-ch., 2x XT3 12-ch., 1x XS VIA 4-ch. Spot Box 2x EVS XT4K 8-ch., 1x EVS XT4K 12-ch., 1x EVS XT3 12-ch., 1x XS VIA 4-ch. Spot Box 2x EVS XT4K 8-ch., 2x EVS XT3 12-ch., 1x XS VIA 4C-ch. Spot Box

As requested

Senn.

Ross/NewTek/For-A or other

As requested

2x EVS XT4K 8-ch., 2x EVS XT4K 12-ch., 1x XS VIA 4-ch. Spot Box 3x EVS XT3 12-ch., 1x XS4K 4-ch. Spot Box 1x EVS XT4K 8-ch., 2x EVS XT3 12-ch., 1x XS4K 4-ch. Spot Box 1x EVS XT4K 8-ch., 2x EVS XT3 12-ch., 1x XS4K 4-ch. Spot Box

Evertz (288x232/128x128)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K- Frame, 4.5M/E

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame, 4.5M/E

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame, 4.5M/E

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

Gearbase

GRAPHICS

40x40 40x40 40x40 16x16 16x32

GV / Cisco ST 2110 IP Core Evertz (558x576/48x96) Evertz (378x414/48x96) Evertz (576x540/48x96) Evertz (540x450/48x96)

Evertz (288x288/128x128) Evertz (288x288/128x128) Evertz (288x180/128x128)

SPORTS PRODUCTION 2022 YEARBOOK

185

Live Sports Production. Covered. NEW & USED EQUIPMENT SALES UHD & HD EQUIPMENT HIRE SYSTEMS INTEGRATION OB TRUCK SALES

Sales and Integration +1 908-500-0532 sales.usa@esbroadcast.com Broadcast Hire +1 407-601-6926 usbookings@esbroadcasthire.com esbroadcast.com

GAME CREEK VIDEO

F&F PRODUCTIONS

FAMILY BROADCASTING ENCOMPASS CORPORATION

DOME PRODUCTIONS

Gearbase

COMPANY

188

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

TRIAX, FIBER, OR BOTH?

53' expando

Spirit HD

53' expando

Tribute HD Horizon HD Spring

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

Both

Calrec Sigma (64/320)

10 Sony 1500R

12 Canon

Both

Calrec Sigma (64/320)

10 Sony 2400

10 Canon

Both

Calrec Sigma (64/320)

10 Sony 1500

12 Canon

53' expando

Both

Calrec Omega (56/168)

10 Sony 2400

10 Canon

53' expando 48' trailer

HD HD

Triax Both

Calrec Alpha 100 (64/118) Calrec Brio (36/96)

10 Sony HSC-300 7 Sony 1500

12 Canon 7 Canon

TRUCK NAME

DIMENSIONS/TYPE

Thunder HD Sierra HD

LENSES (H/HH)

Kodiak HD

40'

Both

Calrec S2 (48)

7 Sony 1500

4 Fujinon/3 Canon

Sidecar HD Beacon (Ku uplink) Unite HD

16' trailer 30' non-expando 53' double expando

HD HD As requested

As requested Fiber As requested

Mackie 1402 (10) Yamaha MB02R96 (16) As requested

As requested 5 Sony 1500 As requested

As requested 5 Canon As requested

TES5

32’ Ku-band

SMPTE/TAC fiber

Mackie 1604VLZ

Wired for 5 Panasonic HC-3800

Fujinon HA18X7.6

38' straight

HD 720p/1080i

Triax

Behringer X32

5 GV Focus 75

3 Fujinon 20X, 2 72X

GTX-9

53' expando

Both

Calrec Sigma w/ Bluefin

9 Ikegami 79EC

(6) Fujinon 88x, (4) Fujinon 22x, (2) Fujinon 12x4.5

GTX-11

53' expando

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

12 Sony 1500

(4) Fujinon 101x, (3) Fujinon 87x, (3) Fujinon 22x, (2) Fujinon 13x4.5

GTX-12

53' expando

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

12 Sony 1500

(4) Fujinon 101x, (3) Fujinon 87x, (3) Fujinon 22x, (2) Fujinon 13x4.5

GTX-16

53' double expando

HD/1080p

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

10 Sony 2400 & 2 Sony 2500

(4) Fujinon 101x, (3) Fujinon 88x, (4) Fujinon 23x, (3) Fujinon 14x4.5

GTX-17

53' double expando

HD/1080p

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

12 Sony 2500

(8) Fujinon 99x, (3) Fujinon 23x, (2) Fujinon 18x

GTX-19

53' double expando

HD/1080p/4K/HDR

Fiber

Calrec Apollo w/ Bluefin2

14 4K Sony 4300L

GTX-20

53' double expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin2

12 Sony 3500 (4) 5500

Two 53' expandos

HD/1080p/4K/HDR

Both

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

13 Sony HDC 4300 Multiformat

Apollo

53' expando

HD/1080p

Both

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

10 Sony HDC 2500 MultiFormat, 2 Sony HDC 4300 SSMO

(8) Fujinon 4K 107x, (1) Fujinon 4K 22x, (5) Fujinon 4K 18x, (3) Fujinon 4K 14x4.5 (8) Fujinon 4K 127x, (1) Fujinon 4K 22x, (5) Fujinon 4K 18x, (3) Fujinon 4K 14x4.5 9 Canon Digi Super 95 X 8.6, 4 Canon 22x7.8 ENG, 4 Canon 14x4.7 Wide Angle ENG 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

Bravo (2019)

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

Up to 20 Sony HDC 5500 Multi-format

10 Canon Digi Super 111x 4 Canon 24x

Celtic (2020)

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Ray Surround Sound (72 12-layer Faders/456 Channels)

Up to 20 Sony HDC 5500 Multi-format

10 Canon Digi Super 111x 4 Canon 24x

Chesapeake

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

13 Sony HDC 4300 Multiformat

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

Columbia (2019)

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Ray Surround Sound (72 12-layer Faders/456 Channels)

Up to 20 Sony HDC 5500 Multi-format

10 Canon Digi Super 111x 4 Canon 24x

Discovery

44' dual expando

HD/1080p

Both

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

6 Sony HDC 1500 MultiFormat

Dynasty

53' expando

HD/1080p

Both

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

12 Sony HDC 1500 MultiFormat

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 Multiformat

Freedom

53' expando

Both

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

10 Sony HDC 1500 MultiFormat

Gemini

44' dual expando

HD/1080p

Both

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

6 Sony HDC 1500 MultiFormat

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

SPORTS PRODUCTION 2022 YEARBOOK

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-Classic, 4.5M/E

Evertz (288x180/128x128)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

ChyronHego Mosaic XL2 As requested

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

GV Kalypso, 4M/E As requested

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV Karrera, 2.5M/E

As requested As requested As requested

As requested A-T, Senn., EV, Sony As requested

As requested FOR-A HVS-300HS As requested

1x EVS XT4K 8-ch., 2x EVS XT3 12-ch., 1x XS4K 4-ch. Spot Box 3x EVS XT3 12-ch., 1x XS4K 4-ch. Spot Box 1x EVS XT3 12C-ch., 3x EVS XT3 6-ch., 1x XS 4-ch. Spot Box 1x EVS XT3 12-ch., 2x EVS XT3 6-ch., 1x XS 4-ch. Spot Box 3x EVS XT3 6-ch., 1x XT2+ 6-ch. Spot Box As requested 1x EVS XT3 8-ch., 2x EVS XT3 6-ch., 1x XS 4-ch. Spot Box As requested As requested As requested

N/A

Senn. HMD25-1

Panasonic HS-410n

2 AJA Ki Pro Rec/Play; additional available

Blackmagic (40x40 SDI embedded audio only)

ChyronHego

Lectrosonics, Senn.

GV Karrera, 2M/E

GV 6-ch. K2 Dyno

Miranda CR 6400 (64x64)

Upon Client Request

AT, EV, Senn., Shure, Sony

GV Kayenne Classic 96 Input / 48 Output / 4.5 Mix Effect, 8 GB Image Store

(1) 8-ch. EVS XT3, (2) 6-ch. EVS XT3, (1) XFile3, (1) 4-ch. Spotbox

PESA HD Cheetah (208x464), DRS Audio (256x256 Analog & AES, 128x128 MADI, 128x128 Embedded)

Upon Client Request

Senn., EV, Sony

(4) 8-ch.EVS XT3, (1) XFile3, (1) 4-ch. SpotBox

GV Trinix (256x256), (128x128 Analog, 64x64 AES), (2) 16-ch. Evertz Embedders

Upon Client Request

Senn., EV, Sony

(4) 8-ch. EVS XT3, (1) XFile3, (1) 4-ch. SpotBox

GV Trinix (256x256), (128x128 Analog, 64x64 AES), (2) 16-ch. Evertz Embedders

Upon Client Request

Senn., EV, Sony

Upon Client Request

Senn., Sony

Upon Client Request

Senn., Sony

Upon Client Request

Senn., Sony

GV Kayenne Elite K-Frame 96 Input / 48 Output / 4.5 Mix Effect, 32 GB Still Store, K2 Summit GV Kayenne Elite K-Frame 96 Input / 48 Output / 4.5 Mix Effect, 32 GB Still Store, K2 Summit GV Kayenne Elite K-Frame 128 Input / 64 Output / 9 Mix Effect, 32 GB Still Store, K2 Summit GV Kayenne Elite K-Frame 128 Input / 64 Output / 9 Mix Effect, 32 GB Still Store, K2 Summit GV Kayenne Elite K-Frame 128 Input / 64 Output / 9 Mix Effect, 64 GB Still Store, K2 Summit GV Kayenne Elite K-Frame 128 Input / 64 Output / 9 Mix Effect, 64 GB Still Store, K2 Summit

Vizrt/ChyronHego

Senn., A-T, Sony

ChyronHego Mosaic

Evertz (288x180/128x128)

Gearbase

GRAPHICS

GV Trinix (222x160/160x128) Harris (64x64/128x128) GV Trinix (224x320/96x64) Evertz (86x95) Evertz (84x120/32x32) Blackmagic 16x16 Leitch 16x16 As requested

(1) 12-ch. EVS XT-VIA, (3) 8-ch. EVS XT-VIA, Evertz EQX (288x576), (48x96 Analog, (1) XFile3, (1) 6-ch. Spotbox 192x144 AES), (2) 16-ch. Evertz Embedders (4) 12-ch. EVS 4K, (2) XFile3, (1) 6-ch. SpotBox

Evertz HD (496x980), (96x192 Analog, 288x288 AES, 16x16 MADI), (2) 16-ch. Evertz Embedders

(4) 12-ch. EVS XT-VIA, (2) XFile3, (1) 6-ch. SpotBox

Evertz Xlink (576x1152)

(4) 12-ch. EVS XT-VIA, (2) XFile3, (1) 6-ch. SpotBox

GV Orbit IP (576x746)

GV Kayenne K-Frame, 9M/E

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

Evertz EXE SVDN 744 x 948 + 989

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

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

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Spotbox

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Spotbox

Lawo/Arista Streaming Video Network (432x528 Baseband, 64x64 GCV T2T, 384x96 Multiviewer) Lawo/Arista Streaming Video Network (432x528 Baseband, 64x64 GCV T2T, 384x96 Multiviewer)

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Spotbox

Lawo/Arista Streaming Video Network (432x528 Baseband, 64x64 GCV T2T, 384x96 Multiviewer)

ChyronHego Mosaic

Senn., Beyer, EV, Sony, Shure

GV Kayenne, 4.5M/E

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

Evertz EQX 3G Video Evertz EMR Audio

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 EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

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

A-Unit: 968 x 2214 Multiformat Video Router With 468x378 Embedded MUX/ DEMUX Capability

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

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

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony, Shure

GV Kayenne, 3M/E

2 EVS 6-ch. HXT3, 2 EVS 4-ch. XT2+ RO, 1 EVS XS SpotBox

Evertz EQX 3G Video Evertz EMR Audio

SPORTS PRODUCTION 2022 YEARBOOK

189

We help YOU . . . . . capture every ANGLE Our innovative, dedicated and experienced team provides cuttingedge technology for live events. At BSI, our engineers and operations team are at the forefront of turnkey custom broadcast solutions and we've been doing it for more than 35 years. We tailor audio, video and communications packages to meet the unique needs of every customer and back our UNBEATABLE TECHNOLOGY with FIRST-CLASS, ON-SITE CUSTOMER SUPPORT.

Bring your vision into focus by letting us solve your RF needs. Broadcast Sports International, an NEP Company www.BSIntl.com

PARTNERS IN PRODUCTION

Engineered Structures and Custom Scenic Design

FILMWERKS LLC

Mobile Power and UPS Systems

STAGING | POWER | CLIMATE | LIGHTING 877-782-4310 | www.filmwerks.com

GRAVITY MEDIA

GAME CREEK VIDEO

Gearbase

COMPANY

192

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

Glory

53' expando

HD/1080p/4K/HDR

Both

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

14 Sony HDC 2500 Multiformat

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

Gridiron (2019)

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Ray Surround Sound (72 12-layer Faders/456 Channels)

Up to 20 Sony HDC 5500 Multi-format

10 Canon Digi Super 111x 4 Canon 24x

Gotham (2020)

53' expando

HD/1080p/4K/HDR

Both

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

Up to 20 Sony HDC 5500 Multi-format

10 Canon Digi Super 111x 4 Canon 24x

Justice

53' expando

HD/1080p

Both

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

10 Sony HDC 2400 Multiformat

Larkspur

53' expando

HD/1080p

Both

Calrec Artemis Ray Surround Sound (72 12-layer Faders/456 Channels)

12 Sony HDC 2500-R Multi-format

Legends

53' expando

Both

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

10 Sony HDC 1500-R Multi-format

Liberty

53' expando

Both

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

12 Sony HDC 1500-R Multi-format

MADIson

53' expando w/ a 64' x 24' recommended working area

HD/1080p/4K/HDR

Both

Maverick

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels), (128) Mic/Line Input, (96) AES Input/96 AES Output, (128) Line Out, (512) MADI Input/(512) MADI Output Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

NineFour

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

Nitro

53' expando

HD/1080p/4K/HDR

Both

Northstar

53' expando

Both

Patriot

53' expando

Both

PeacockOne

Two 53' expandos

HD/1080p/4K/HDR

Both

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels) Calrec Sigma w/ Bluefin Surround Sound (80 Dual Layer Faders/320 Channels) Calrec Alpha (64 Faders/108 Stereo Channels/104 Mono Channels/52 Surround Sound Channels) Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

Pride

53' expando

HD/1080p/4K/HDR

Both

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

RiverHawk

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

Spirit

53' expando

HD/1080p/4K/HDR

Both

Victory

53' expando

HD/1080p/4K/HDR

Both

Webby

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

Yogi

Two 53' expando

HD/1080p/4K/HDR

Both

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

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

6-8 Sony HSC 100

Canon

Polaris

32' Gerling Super Nomad expando 32' Gerling Super Nomad expando 27' Gerling Super Nomad 27' Gerling Super Nomad 24' Mercedes Sprinter 24' Mercedes Sprinter 24' Mercedes Sprinter 16 camera flypack 8 camera flypack

Triax

Calrec Brio 36

6 Hitachi SK1200/1300

Canon

Pluto Opus Ovation Busker Solo Trouper Flypack A Flypack B

SPORTS PRODUCTION 2022 YEARBOOK

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

12 Sony HDC 4300 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 1 Canon Digi Super 100x9.3, 4 Canon Digi Super 75x9.3, 4 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG 1 Canon Digi Super 86x9.3, 5 Canon Digi Super 75x9.3, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG 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 6 Canon Digi Super 95, 3 Canon 24x7.8 ENG, 3 Canon 14x4.7 Wide Angle ENG

12 Sony HDC 2500 MultiFormat

7 Canon Digi Super 72x 9.3 Lenses, 2 Canon 11x4.7B Wide Angle ENG Canon Digi Super 76x, 1 Canon Digi 10 Sony HDC 2500 Multi- 5 Super 100x, 3 Canon 22x7.8 ENG, 2 Format Canon 14x4.3 Wide Angle ENG 12 Sony HDC 2500 Multi- 6 Canon Digi Super 95, 3 Canon 24x7.8 format ENG, 3 Canon 14x4.7 Wide Angle ENG 6 Canon Digi Super 75x9.3, 3 Canon 10 Sony HDC 1500-R 22x7.8 ENG, 2 Canon 11x4.7B Wide Multi-format Angle ENG 2 Canon Digi Super 86x9.3, 5 Canon 12 Sony HDC 1500-R Digi Super 75x9.3, 4 Canon 21x7.8 ENG, Multi-format 1 Canon 11x4.7B Wide Angle ENG Canon Digi Super 100x9.3, 6 Canon 23 Sony HDC 4300 Multi- 6Digi Super 95 X 8.6, 8 Canon 22x7.8 format ENG, 4 Canon 14x4.7 Wide Angle ENG 2 Canon Digi Super 100 X 9.3 Lenses, 10 Sony HDC 2500 Multi- 5 Canon Digi Super 75 X 9.3 Lenses, format 4 Canon 22x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG 8 Canon Digi Super 95x8.6, 2 Canon 12 Sony HDC 4300 Multi- 22x7.8 ENG, 2 Canon HJ17ex6.2B IRSE, format 2 Canon 14x4.3 Wide Angle ENG Canon Digi Super 100 X 9.3, 6 Canon 12 Sony HDC 2500 Multi- 2 Digi Super 95 X 8.6, 3 Canon 22x7.8 format ENG, 4 Canon 14x4.3 Wide Angle ENG Canon Digi Super 100x9.3, 5 Canon 12 Sony HDC 2500 Multi- 2 Digi Super 86x9.3, 3 Canon 22x7.8 format ENG, 2 Canon 14x4.7 Wide Angle ENG 6 Canon Digi Super 95 X 9.3 Lenses, 12 Sony HDC 4300 Multi- 2 Canon Digi Super 100 X 9.3 Lenses, Format 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG Digi Super 95 X 8.6, 4 Canon 13 Sony HDC 4300 Multi- 9 Canon 22x7.8 ENG, 4 Canon 14x4.7 Wide format Angle ENG

Triax

Calrec Brio 36

6 Hitachi SK1200/1300

Canon

HD HD HD HD HD HD/3G HD

Both Both Triax Triax Triax Fiber Fiber

Yamaha QL-5 (32/72) Yamaha QL-5 (32/72) Soundcraft Expression (20/20) Soundcraft Expression (20/20) Soundcraft Expression (20/20) DiGiCo SD10 Calrec Brio

6-8 Sony HSC 300 6-8 Sony HSC 300 4-5 Sony HXC 100 4-5 Sony HXC 100 4-5 Sony HXC 100 16 Hitachi SK1200 8 Hitachi SK1200/1300

Canon Canon Canon, Fujinon Canon, Fujinon Canon, Fujinon Canon Canon

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., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Spotbox

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Spotbox

Lawo/Arista Streaming Video Network (432x528 Baseband, 64x64 GCV T2T, 384x96 Multiviewer) Lawo/Arista Streaming Video Network (432x528 Baseband, 64x64 GCV T2T, 384x96 Multiviewer)

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 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 3M/E

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

Evertz EQX 3G Video Evertz EMR Audio

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

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 4.5M/E

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

384x720 Pesa HD Video

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame, 4.5M/E

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

Evertz EQX 3G Video Evertz EMR Audio

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 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G Video Evertz EMR Audio

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

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

4 EVS 6-ch. XT3, 1 EVS SpotBox

Evertz EQX 3G Video Evertz EMR Audio

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 576 x 1152 Multiformat Video Router With 128 x 128 Embedded MUX/DEMUX Capability

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 4M/E

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

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 4.5 M/E

6 EVS 6-ch. XT3, 1 EVS XS4

Evertz EQX 3G Video Evertz EMR Audio

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 3G Video Evertz EMR Audio

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

Ross XPression

Senn.

GV Kayenne K-Frame

4 EVS XT4

ChyronHego HyperX3

Senn., Sony, EV

GV Kalypso, 4M/E

2 EVS XT3

ChyronHego HyperX3

Senn., Sony, EV

Sony MVS-8000, 2.5M/E

2 EVS XT3

Imagine IP3 (1000x1000), Lawo VSM/ Lawo (4096x4096) 128x128 video, 128x128 audio, 72x144 video mon. 64x64 video, 64x64 audio, 72x144 video mon.

NDI capable

Senn., Sony, EV

SimplyLive Vi-Box 16

Vi-Box

SAM Vega 400 72x108

NDI capable

Senn., Sony, EV

SimplyLive Vi-Box 16

Vi-Box

SAM Vega 400 72x108

N/A N/A N/A N/A N/A As requested As requested

Senn., Sony, EV Senn., Sony, EV Senn., Sony, EV Senn., Sony, EV Senn., Sony, EV Senn. Senn.

Blackmagic ATEM Blackmagic ATEM Blackmagic ATEM Blackmagic ATEM Blackmagic ATEM Ross Vision Ross Carbonite

Wired for 6-ch. Wired for 6-ch. Wired for 6-ch. Wired for 6-ch. Wired for 6-ch. 3 8-ch. EVS 1 8-ch. EVS

72/72 video 72/72 video 40x40 video 40x40 video 40x40 video Utah Scientific (288x288) Ross (144x144)

SPORTS PRODUCTION 2022 YEARBOOK

Gearbase

GRAPHICS

193

History making television since 1981

Aerials ■ 4K/UHD Wireless ■ Communications ■ POV ■ RF Support Trucks w w w .aerialvideo.com

@aerial_video_systems

818.954.8842

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

HIGH-ROCK MOBILE

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)

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

HD-3

53' expando

Both

Calrec Artemis (64/704)

HD-5

53' dual expando

Both

Calrec Apollo (144/1504)

6 UC-3000 4K/HD Panasonic 11 Sony HDC-2400, 1 Sony HDC-4300, 9 Sony HDLA-1505 15 Sony HDC-2400, 4 Sony HDC-4300, 12 Sony HDLA-1505

HDX-1 (Lucie)

45' double expando

HD/1080p/4K/HDR

Both

Calrec Artemis

(10) GV LDX-86

HDX-2 (Gracie)

42' double expando

HD/1080p

Both

Calrec Artemis

(8) GV LDX-86

HD-3 (Sadie)

40' expando

HD/1080p

Both

Calrec Artemis

(8) GV LDX-86

HD-4 (Sophie)

40' expando

HD/1080p

Both

Calrec Artemis

(8) GV LDX-80 Premiere

HDX-5 (Jackie)

40' expando

HD/1080p

Both

Yamaha CL5

(8) GV LDX-80 Premiere

HD-6 (Sallie)

40' expando

HD/1080i/720p

Triax

Calrec Artemis

(6) GV LDK-8000

HDX-9

40' expando

Both

DiGiCo SD10B

(8) GVG LDX 80

HDX-10

42' expando

Both

DiGiCo SD5

(8) GVG LDX 80

3 Canon 80x, (2) Canon 95x, (3) Canon 21x, (1) Canon Wide Angle (5) Canon 72x, (3) Canon 21x, (1) Canon Wide-Angle (5) Canon 77x, (2) Canon 20x, (1) Fujinon Wide-Angle (5) Canon 77x, (2) Canon 20x, (1) Fujinon Wide-Angle (2) Canon 60x, (1) Canon 65x, (2) Canon 75x, (2) Canon 20x, (1) Canon Wide-Angle (3) Canon 77x, (3) Fujinon 20x, (1) Fujinon Wide-Angle (3) Canon 86X, (2) Canon 22X, (1) Canon 12X wide-angle (3) Canon 86X, (2) Canon 22X, (1) Canon 14X wide-angle

HD-11 (Exclamation)

53' double expando

HD/1080p/4K/ HDR/24p

Fiber

Studer VISTA X 52 Faders, 344 Channels

(10) Sony 4300

Canon & Fujinon Per Client Specifications

HD-12 (Aspiration)

40' expando

HD/1080i/720p/24p

Fiber

(Up to 12) Hitachi SK-1200

HD-14 (Elevation)

40' straight

HD/1080i/720p

Fiber

HD-15 (Inspiration)

40' straight

HD/1080i/720p

Fiber

Soundcraft Vi3000 24 Faders, 96 Channels Soundcraft Vi3000 24 Faders, 96 Channels Soundcraft Vi3000 24 Faders, 96 Channels

HDX-20

40' expando

Both

Yamaha PM 5D

(6) GV LDK 8000 Elite

HDX-21 (Emma)

48' double expando

HD/1080p/4K/HDR

Both

Calrec Artemis

(12) GV LDX-86

HDX-22 (Ella)

48' double expando

HD/1080p/4K/HDR

Both

Calrec Artemis

(12) GV LDX-86

Lyon 3

43' expando

HD/1080p/HDR

Both

Calrec Artemis (56/240)

7 GV

Lyon 4

43' expando

Both

Calrec Artemis (56/240)

7 GV

Lyon 6

53' expando

Both

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

11 GV, 1 GV Extreme SSMO

Lyon 8

53' expando

Both

Calrec Sigma (64/320)

11 GV, 1 GV Extreme SSMO

Lyon 9

50' expando

Both

Calrec Omega (56/160)

9 GV

Lyon 10

53' expando

Both

Calrec Artemis (56/240)

10 GV, 1 GV Extreme SSMO

Lyon 11

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo (144/1,020)

12 GV, 2 GV Extreme SSMo

Lyon 12

53' expando

HD/1080p/HDR

Both

Calrec Artemis (64/340)

11 GV, 1 GV Extreme SSMO

Lyon 14

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo (144/1,020)

11 GV, 1 GV Extreme SSMO

Lyon 15

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo (96/1,020)

10 GV, 1 GV Extreme SSMO

Lyon 17

53'

HD/1080p/HDR

Both

Calrec Omega (56/160)

10 GV

Odyssey

40' expando

HD/1080p/4K

Fiber

Calrec Artemis (40/196)

10 Sony HDC-4300

Alto

53' expando

HD/1080p

Fiber

Calrec Alpha (76/108)

10 Sony HDC-2500

Delta

45' straight

Fiber

Yamaha PM5D (48/96)

8 Sony HDC-2500

Eclipse

36' straight

Fiber

Yamaha PM5D (48/96)

8 Sony HDC-2500

Cirrus

36' expando

Fiber

Yamaha MC7L (48/56)

8 Sony HDC-2500

Canon & Fujinon Per Client Specifications Canon & Fujinon Per Client Specifications Canon & Fujinon Per Client Specifications (3) AngenieuX 70X, 2 AngenieuX 19X, 1 AngenieuX 10X wide-angle (2) Canon 100x, (4) Canon 88x, (5) Canon 22x, (1) Canon Wide-Angle (2) Canon 100x, (4) Canon 88x, (5) Canon 22x, (1) Canon Wide-Angle 1 Fujinon 88X, 4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X 1 Fujinon 88X, 4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X 2 Fujinon 101X, 2 Fujinon 88X, 6 Fujinon 72X, 6 Fujinon 22X, 2 Fujinon 12X 1 Fujinon 101X, 2 Fujinon 99X, 2 Fujinon 88X, 2 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X 1 Fujinon 101X, 2 Fujinon 88X, 3 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X 1 Fujinon 101X, 2 Fujinon 88X, 4 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X 1 Fujinon 107X, 3 Fujinon 99X, 1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 4 Fujinon 14X 1 Fujinon 101X,3 Fujinon 99X, 2 Fujinon 88X, 1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X 1 Fujinon 107X, 4 Fujinon 99X, 2 Fujinon 80X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 13X 1 Fujinon 107X, 2 Fujinon 99X, 2 Fujinon 88X, 2 Fujinon 72x, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 13X 1 Fujinon 101X, 2 Fujinon 88X, 4 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X 5 Canon 90x / 3 Canon 25x / 2 Canon WA 5 Canon 90x / 3 Canon 25x / 2 Canon WA 4 Canon 90x / 3 Canon 25x / 1 Canon WA 4 Canon 90x / 3 Canon 25x / 1 Canon WA 4 Canon 72x / 3 Canon 22x / 1 Canon WA

MEDIAPRO

LYON VIDEO

LIVE MEDIA GROUP

IMS PRODUCTIONS (ALLIANCE)

Gearbase

COMPANY

196

SPORTS PRODUCTION 2022 YEARBOOK

(Up to 10) Hitachi Z5000 (Up to 10) Hitachi Z5000

Canon 9 H/6 HH) Canon 12 H/8 HH)

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 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 Evertz EQX (384x396+384 X-Link), EMR (96x96 Analog, 92x96 AES, 16x16 MADI, 96x96 embedded) Evertz EQX (540x540+752 X-Link), EMR (96x96 Analog, 96x96 AES, 34x34 MADI, 160x160 embedded)

ChyronHego Mosaic XL

Senn., Shure, Sony

GV K-Frame, 5 M/E

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

2 ChyronHego Mosaic XL

Senn., Shure, Sony

GV K-Frame, 9 M/E

2 12-ch. EVS XT3 LSM, 5 8-ch. EVS XT3 LSM, 1 6-ch. EVS SpotBox

Chyron Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

GV NVision (288x576), EMB, MADI RTR

Chyron Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

Chyron Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

Chyron Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

(2) 8-ch. EVS XT [VIA], (1) XT ch. Max, (1) X-File[3] (2) 8-ch. EVS XT [VIA], (1) XT ch. Max, (1) X-File[3] (2) 6-ch. EVS XT[3], (1) 4-ch. XS, (1) X-File[3] (2) 6-ch. EVS XT[3], (1) 4-ch. XS, (1) X-File[3]

Chyron Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 2.5M/E

(2) 6-ch. EVS XT[3], (1) 4-ch. XS, (1) X-File[3]

GV NVision (144x288), EMB, MADI RTR

ChyronHego Duet HyperX3

Senn., Beyer, EV, Shure, Sony

GV Karrera 2.5M/E

(2) 6-ch. EVS XT[2], (1) 4-ch. XS

GV NVision (144x212), 64X64 AES

Gearbase

GRAPHICS

GV Node (144x288), EMB, MADI RTR GV NVision (144x288), EMB, MADI RTR GV NVision (144x288), EMB, MADI RTR

ChyronHego Duet LEX

As requested

GV Karrera, 4M/E

ChyronHego Duet LEX

As requested

GV Kayenne, 4.5M/E

(2) 6-ch. EVS XT3, (1) 4-ch. XT[2], (1) X-File[3] (1) 8-ch. EVS XT3, (1) 6-ch. XT[3], (1) X-File[3]

As Requested XPression/Chyron Duet Hyper X3

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5 M/E

(2) 8-ch. EVS XT3, (1) X-File[3],

As Requested XPression/Chyron Duet Hyper X3 As Requested XPression/Chyron Duet Hyper X3 As Requested XPression/Chyron Duet Hyper X3

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 3M/E

As Requested

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 3M/E

As Requested

Utah Scientific (216x324), MADI RTR, 32X32 ANA, 32X32 AES Utah Scientific (216x324), MADI RTR, 32X32 ANA, 32X32 AES Harris Platinum 160x224, PESA 128x128 Analog, 64x64 AES, 16x16 MADI Imagine Platinum 128x144, Imagine Panacea 32x32 Analog Imagine Platinum 88x96 Imagine Integrator 16x16 Stereo Analog

Senn., Beyer, EV, Shure, Sony

GV Korona K-Frame 3M/E

As Requested

Harris Platinum 96x96

ChyronHego Duet HyperX3

As requested

GV Kalypso, 4M/E

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

GV Concerto (96x64), 64x64 GV NVision 8500 144x288 (IP/3G)

As Requested

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

As Requested

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

(1) 12-ch. EVS XT[VIA], (2) 8-ch. EVS XT[VIA], (1) X-File[3] (1) 12-ch. EVS XT[VIA], (2) 8-ch. EVS XT[VIA], (1) X-File[3]

Client supplied

Senn., A-T

GV Kayenne K-Frame, 9M/E

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

Evertz (280x458/1312x1696)

Client supplied

Senn., A-T

GV Kayenne K-Frame, 5M/E

3 6-ch. EVS

Evertz (280x442/1312x1696)

Vizrt ChyronHego HyperX3

Senn., A-T

GV Kayenne K-Frame, 9M/E

4-120-ch. EVS

Evertz (268x812/704x800)

Vizrt ChyronHego HyperX3

Senn., A-T

GV Kayenne, 4.5M/E

1-12-ch., 1-8-ch. 2-6-ch. EVS

PESA (256x496/512x512)

Vizrt ChyronHego HyperX3

Senn., A-T

GV Kalypso, 4M/E

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

GV (256x448/256x256)

Vizrt ChyronHego HyperX3

Senn., A-T

GV Kayenne, 4.5M/E

1-12-ch., 1-8-ch., 2-6-ch. EVS

GV (256x448/256x256)

ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 7M/E

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

Evertz (492x746/2016x2016)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 7M/E

4-12-ch. EVS

Evertz (260x784/1344x1504)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 7M/E

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

Evertz (460x902/2720x3328)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 7M/E

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

GV (396x770/992x1184)

Vizrt ChyronHego HyperX3

Senn., A-T

None

Ross Ultrix (48x48/64x64)

GV NVision 8500 144x288 (IP/3G)

Chyron, Vizrt, and XPression available

10 Senn. / 6 EV 6 Sony

GV Kayenne 4.5M/E

2 EVS XT4 12 ch. / 1 EVS VIA spotbox

Imagine 512x432 / 256x256 AES / 16x16 fiber

Chyron, Vizrt, and XPression available

10 Senn. / 6 EV 6 Sony

Sony MV-8000X 4M/E

2 EVS XT3 8 ch. / 1 EVS XS spotbox

Imagine 256x256 / 256x256 AES

Chyron, Vizrt, and XPression available

10 Senn. / 6 EV 6 Sony

GV Karrera 4M/E

2 EVS XT3 8 ch.

Nvision Plus 320x512 / 1024x1024 AES

Chyron, Vizrt, and XPression available

10 Senn. / 6 EV 6 Sony

Sony MVS-8000X 3M/E

1 EVS XT3 12 ch.

Imagine 112x112 / 96x96 AES

Chyron, Vizrt, and XPression available

10 Senn. / 6 EV 6 Sony

Sony MVS-8000X 3M/E

1 EVS XT3 12 ch.

Imagine 64x64 / 64x64 AES

SPORTS PRODUCTION 2022 YEARBOOK

197

Reseller Specializing in Video Storage Solutions

PROVIDING

Media • Entertainment • Sports n Next Generation storage platforms n Content production n Distribution n Archive n Performance and reliability n Focused on extreme production and delivery deadlines. n Proven File Systems n Optimized for Video n End–to–end solution from ingest to archive. n Designed for performance from the ground up n Built on the foundation of high-performance collaboration n Clients include leading post and broadcast organizations n Proven history of providing solutions to clients in both the NBA®, NCAA® and more

Data Storage Solutions Purpose Built to Handle the Demanding Performance of HD, 4K, 8K and Beyond

Scalable Solutions to handle all Workflows from Ingest to Edit to Streaming to Archive

LH COMPUTER SERVICES Doug Cole • DCOLE@LHCOMP.COM • www.LHcomp.com • 954.648.0171

MEDIAPRO MOBILE TV GROUP

METROVISION

Gearbase

COMPANY

200

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

Stratus

34' straight

Fiber

Yamaha MC7L (48/56)

8 Sony HDC-2500

Atlas

26' straight

Fiber

Yamaha GL5 (24/24)

6 Panasonic AK-3000

Omega

26' straight

Fiber

Yamaha GL5 (24/24)

6 Panasonic AK-3000

1 Canon 100x / 3 Canon 72x / 3 Canon 22x / 1 Canon WA 3 Fujinon 70x / 2 Fujinon 22x / 1 Fujinon WA 3 Fujinon 70x / 2 Fujinon 22x / 1 Fujinon WA

Studer Vista 5 (32 AES, 32 analog)

6 Sony HDC-1500

3/3 +

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

6 Sony HDC-1500

3/3 +

Calrec Omega (32 AES, 64 analog)

7 Sony HDC-1500

4/4 +

HD2

40' expando

HD5

40' expando

Fiber (Triax w/ adapter) Fiber (Triax w/ adapter) Fiber (Triax w/ adapter)

12 HDX

Expando

Both

Euphonix

GV / Sony

18 HDX

53' expando

Both

Euphonix

GV / Sony

22 HDX

48' expando

Both

Euphonix

GV / Sony

23 HDX

48' expando

Both

Euphonix

GV / Sony

24 HDX

48' expando

Both

Euphonix

GV / Sony

25 HDX

53'

Both

Euphonix

GV / Sony

26 HDX

53'

Both

Euphonix

GV / Sony

28 HDX

53'

Both

Euphonix

GV / Sony

29 HDX

53'

Both

Calrec

GV / Sony

30 HDX

53'

Both

Calrec

GV / Sony

31 HDX

53'

Both

Calrec

GV / Sony

32 HDX

53'

Both

Euphonix

GV / Sony

33 HDX

53'

Both

Calrec

GV / Sony

33 VMU

53'

Both

Studer

GV / Sony

34 HDX

53'

Both

Calrec

GV / Sony

34 VMU

53'

Both

Studer

GV / Sony

35 HDX

53'

Both

Calrec

GV / Sony

35 VMU

53'

Both

Studer

GV / Sony

36 HDX

53'

Both

Calrec

GV / Sony

36 VMU

53'

Both

Studer

GV / Sony

37 HDX

53'

Both

Calrec

GV / Sony

37 VMU

53'

Both

Studer

GV / Sony

HD1

40' expando

SPORTS PRODUCTION 2022 YEARBOOK

Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens Canon 72X9.3 long lenses, Canon 18X7.8 ENG lens, Fujinon XA 17X7.6 ENG lens, Canon 11X4.7 wide-angle ENG lens Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 12X4.3 wide-angle ENG lens Canon 72X9.3 long lenses, Canon 18X7.8 ENG lenses, Canon 17X7.6 ENG lens Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 10X4.5 wide-angle ENG lens Canon 72X9.3 long lenses, Canon 18X7.8 ENG lens, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Fujinon 17x4.5 ENG lenses Canon 72X9.3 long lenses, Canon YJ18x9B ENG lens, Canon 17X7.6 ENG lenses, Canon 10x4.5 wide-angle ENG lens Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses Canon 72X9.3 long lenses, Fujinon 18x5.5 ENG lenses, Canon 17X7.6 ENG lenses Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens Access to: Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens Access to: Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses Access to: Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses Canon 76X9 long lenses, Canon 72X9.3 long lens, Canon 17eX7.7B ENG lens, Canon 17X7.6 ENG lenses, Canon 10X4.5 wide-angle ENG lens Access to: Canon 76X9 long lenses, Canon 72X9.3 long lens, Canon 17eX7.7B ENG lens, Canon 17X7.6 ENG lenses, Canon 10X4.5 wide-angle ENG lens Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses, Canon HJ 15X8 ENG lenses Access to: Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses, Canon 17eX7.7B ENG lens, Canon HJ 15X8 ENG lenses

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

10 Senn. / 6 EV 6 Sony

Ross Extreme 2 M/E

1 EVS XT3 8 ch.

Talia 32x48 / 64x64 AES

Ross XPression

10 Senn. / 6 EV 6 Sony

Ross Carbonite 2 M/E

1 EVS XT2 6 ch.

Imagine 64x64 / 64x64 AES

Ross XPression

10 Senn. / 6 EV 6 Sony

Ross Carbonite 2 M/E

1 EVS XT2 6 ch.

Imagine 64x64 / 64x64 AES

ChyronHego Duet HyperX3

8 shotgun, 4 lav, 5 HH

GV Kalypso, 4M/E

2 EVS XT2, w/ XFile3

ChyronHego Duet HyperX3

8 shotgun, 4 lav, 5 HH

GV Kalypso, 4M/E

2 EVS XT2, w/ XFile3

Leitch Platinum (256x256/128x136 HDSDI/32x32 analog) Leitch Platinum (256x256/112x96 HDSD/8x8 analog)

ChyronHego Duet HyperX3

9 shotgun, 6 lav, 5 HH

GV Kayenne, 2.5 M/E

2 EVS XT2, w/ XFile3

Evertz Xenon (128x128)

Vizrt, Chyron

A-T, Senn., Sony, EV

EVS: XT2, XT3, XT4K, or VIA

PESA Cheetah video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kalypso

EVS: XT2, XT3, XT4K, or VIA

Harris Platinum video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

PESA video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

PESA video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, Røde

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, Røde, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Calrec audio

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Calrec audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Calrec audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

SPORTS PRODUCTION 2022 YEARBOOK

Gearbase

GRAPHICS

201

Celebrating 35 Years Your Trusted Production Partner

Broadcast Rentals

LYON LABS FlyPack Systems

FHD & UHD Mobile Units

FHD & UHD Broadcast Mobile Units LYON LABS & WorkSpace Flypack Systems & Equipment Rentals Lyon Video Entertainment LYON CLOUD & Streaming Services Production Crewing Production Facility Design & Integration

An Employee-Owned Company Visit us at:

www.lyonvideo.com

THIS AD IS FOR YOU

MOBILE TV GROUP

Gearbase

COMPANY

204

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

38 FLEX

53'

HD/4K/HDR

Both

Calrec

GV / Sony

38 VMU

53'

Both

Studer

GV / Sony

39 FLEX

53'

HD/4K/HDR

Both

Calrec

GV / Sony

40 HDX

53'

Both

Calrec

GV / Sony

40 VMU

53'

Both

Studer

GV / Sony

41 HDX

53'

Both

Calrec

GV / Sony

42 FLEX

53'

HD/4K/HDR

Both

Calrec

GV / Sony

42 VMU

53'

HD/4K/HDR

Both

Studer

GV / Sony

43 FLEX

53'

HD/4K/HDR

Both

Calrec

GV / Sony

43 VMU

53'

HD/4K/HDR

Both

Studer

GV / Sony

44 FLEX

53'

HD/4K/HDR

Both

Calrec

GV / Sony

44 VMU

53'

HD/4K/HDR

Both

Studer

GV / Sony

45 FLEX

53'

HD/4K/HDR

Both

Calrec

GV / Sony

45 VMU

53'

HD/4K/HDR

Both

Studer

GV / Sony

46 FLEX

53'

HD/4K/HDR

Both

Calrec

GV / Sony

46 B Unit

53'

HD/4K/HDR

Both

Calrec

GV / Sony

SPORTS PRODUCTION 2022 YEARBOOK

LENSES (H/HH) Canon 95X8.6 long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Fujinon XA 20sX8.5 ENG lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses Access to: Canon 95X8.6 long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Fujinon XA 20sX8.5 ENG lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses Fujinon UA 107X8.4 UHD long lenses, Fujinon XA 99X8.4 long lenses, Fujinon 77X9.5 long lenses, Fujinon ZA 22X7.6 ENG lenses, Fujinon HA 18X5.5 ENG lenses Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon XA 20sX8.5 ENG lens, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Access to: Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Canon XJ 95X8.6 long lenses, Canon XJ 80X8.8 long lenses, Canon XJ 76X9 long lens, Fujinon ZA 22X7.6 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon UA 13X4.5 ENG lens Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon ZA 22X7.6 ENG lenses, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses Access to: Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Canon 72X9.3 long lens, Fujinon ZA 22X7.6 ENG lenses, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses Canon XJ 95X8.6 long lenses, Canon XJ80x8.8 long lenses, Canon 76X9 long lenses, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Access to: Canon XJ 95X8.6 long lenses, Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Fujinon UA 107X8.4 UHD long lens, Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon XA 20sX8.5 ENG lens, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Access to: Fujinon UA 107X8.4 UHD long lens, Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon XA 20sX8.5 ENG lens, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Access to: Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Canon 72X9.3 long lens, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Canon UJ111X8.3B long lens, Canon XJ95X8.6B long lenses, Canon KJ22eX7.6B ENG lenses, Fujinon XA20sX8.5 ENG lenses, Canon CJ14EX4.3B wide-angle ENG lens Access to: Canon UJ111X8.3B long lens, Canon XJ95X8.6B long lenses, Canon 76X9 long lens, Canon KJ22eX7.6B ENG lenses, Fujinon XA20sX8.5 ENG lenses, Canon CJ14EX4.3B wide-angle ENG lenses

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, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Miranda 3G/UHD router, Miranda audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Miranda 3G/UHD router, Miranda audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame X

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT2, XT3, XT4K, or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame X IP

EVS: XT2, XT3, XT4K, or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT2, XT3, XT4K, or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

None

EVS: XT2, XT3, XT4K, or VIA

Access to: Evertz IP video, EMR audio

SPORTS PRODUCTION 2022 YEARBOOK

Gearbase

GRAPHICS

205

ARE YOU READY FOR THE GAME? So many games, so much footage to access, store and manage. We can help. CineSys is a Broadcast and Media Systems Integrator providing solutions, integration and support for digital content creators across North America. If you’re looking for more efficient data management, storage, secure networking, or collaboration, get in touch with us at CineSys.io.

Your Workflow (re) imagined.

1-866-905-2050

info@cinesys.io

NEP

MPS (ALLIANCE)

MOBILE TV GROUP

Gearbase

COMPANY

208

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

47 FLEX

53'

HD/4K/HDR

Both

Calrec

47 VMU

53'

HD/4K/HDR

Both

Studer

48 FLEX

53'

HD/4K/HDR

Both

Calrec

48 VMU

53'

HD/4K/HDR

Both

Studer

49 FLEX-CC

53'

HD/4K/HDR

Both

Calrec

50 FLEX-CC

53'

HD/4K/HDR

Both

Calrec

MU-6 HIAWATHA

53' straight

1080i/720p switchable

Triax

Calrec Omega

MU-8 GRIZZ

45' straight

HD 1080i

Triax

Calrec Omega

Atlantic California

49.5' expando 53' expando

HD HD/1080p/4K/HDR

Fiber Fiber

Calrec Artemis Beam w/ Bluefin 2 Calrec Apollo

Chromium

53' expando w/ B unit

1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin 2

EN1

53' expando quad w/ fifth unit

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin 2

18 Sony 2500/4300

19 Canon, 3 Fujinon wide-angle

EN2

53' expando A and B unit

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin 2

14 Sony 2500/4300

Fujinon 12H/5 HH, 3 wide-angle

EN3

53' expando A and B unit

Both

Calrec Apollo w/ Bluefin 2

12 Sony 2500/4300

Canon 8H/4 HH, 2 wide-angle

Gold Iridium

53' expando 53' expando w/ B unit

IP2110/HD/1080P/4K/ HDR HD/1080p HD

Fiber Both

Studer Vista X Calrec Sigma

Fujinon Canon 8H/6 HH, 2 wide-angle

M11HD

53' expando

Both

Calrec Sigma w/ Bluefin

10 Sony 2500 12 Sony 2500 10 Sony 1450, 1 Sony 3300, 1 Sony 4300

Fujinon 7H/5 HH, 2 wide-angle

M12HD

53' expando

Both

Calrec Artemis Beam w/ Bluefin2

10 Sony 2570, 2 Sony 4300

Fujinon 7 H/5 HH, 4 wide-angle

M14HD

53' expando

HD/1080p

Both

Calrec Artemis Beam w/ Bluefin2

11 GV 8000, 1 Sony 3300, 1 Sony 4300

Fujinon 7 H/5 HH, 2 wide-angle

M15

53' expando

IP/HD/1080p/4K/HDR

Both

Calrec Artemis Beam w/ Bluefin2

10 GV LDK 86

Fujinon 7H/3 HH, 2 wide-angle

M5HD

53' expando

Both

Calrec Omega w/ Bluefin

9 Sony 1550

Fujinon 6 H/2 HH, 2 wide-angle

M7HD

53' expando

Both

Calrec Sigma w/ Bluefin

6 GV LDX80

Fujinon 7H/3HH, 2 wide-angle

M9HD

53' expando

Both

Calrec Sigma w/ Bluefin

10 Sony 1550

Fujinon 7 H/3 HH, 2 wide-angle

NCPII

53' expando

Both

Calrec Artemis Beam w/ Bluefin 2

10 Sony 2500

Canon 8H/4 HH, 2 wide-angle

NCPVII

53' expando w/ B unit

Both

Calrec Alpha w/ Bluefin

13 Sony 2500, 2 Sony 4300

Canon 5H/5 HH, 5 wide-angle

NCPX

53' expando

HD/1080p

Both

Calrec Alpha w/ Bluefin

12 Ikegami 95 Series

Canon 8H/2 HH, 2 wide-angle

NCPXI

53' expando

HD/1080p/4K

Both

Calrec Artemis Beam w/ Bluefin

12 Sony 2500/4300

Canon 6H/4 HH, 4 wide-angle

NCPXIV

53' expando

Both

Calrec Artemis Beam w/ Bluefin2

10 Sony 2500

Canon 5H/3 HH, 8 wide-angle

ND1

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin2

28 Sony 2500/4300

Canon 19H/13 HH, 5 wide-angle

ND4

53' expando twin w/ C and D unit 53' expando twin w/ third unit

Fiber

Calrec Apollo w/ Bluefin 2

14 Sony 2500/4300

Canon 8H/9 HH, 3 wide-angle

ND5

53' expando

Both

Calrec Artemis Shine w/ Bluefin 2

12 Sony 2500/4300

Canon 6H/6 HH, 2 wide-angle

SPORTS PRODUCTION 2022 YEARBOOK

CAMERAS

LENSES (H/HH)

Fujinon XA99x8.4 long lenses Fujinon XA77x9.5 long lens Fujinon ZA22X7.6 ENG lenses Fujinon XA20sX8.5 ENG lenses Fujinon HA18x5.5 ENG lenses Access to: Fujinon XA99x8.4 long lenses, Fujinon XA77x9.5 long lenses, GV / Sony Fujinon ZA22X7.6 ENG lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Canon XJ95X8.6B long lenses, Canon XJ80X8.8B long lenses, Canon XJ76x9 GV / Sony long lens, Fujinon KJ22eX7.6B lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Access to: Canon XJ95X8.6B lenses, Canon XJ80X8.8B long lenses, Canon GV / Sony XJ76x9 long lens, Fujinon KJ22eX7.6B lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Canon XJ95X8.6B long lenses, Canon XJ76x9 long lens, Fujinon ZA22X7.6 GV / Sony ENG lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Fujinon UA107x8.4B long lenses, Fujinon XA77x9.5B long lenses, GV / Sony Fujinon ZA22X7.6 ENG lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses 4 Angenieux 70×9.5 HD, 1 Angenieux 60×9.5 HD,3 Angenieux 26×7.8 12 GV LDK-8000, 2 JVC GY- BESM-HD, 1 Angenieux 19×7.3 BESMHD 250 POV Cameras HD, 1 Canon 4.5, 1 Canon 5.5 wide angle lens 7 GV LDK-3000+, 2Panasonic HVX 250 3 Fujinon 77x9.5 , 3 Fujinon 17x7.6, 1 Cameras, 3 Marshall 502 Fujinon 12x4.5 CVM POV Cameras 10 Sony 2500 Canon Sony 4300 As requested 11 Sony 2500/4300, 3 Sony 10 Fujinon, 8 Canon 1500R GV / Sony

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, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn.,, Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Chyron Hyper X3 HD Graphics System/ Ross XPression 9.5 Software 2-ch. Data Link

Shure, Senn.

GV Kayenne 4 M/E

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

QuStream PESA 256x, 128×208 HD SDI router

Chyron HyperX3 / Ross XPression 9.5 Software 2-ch. Data Link

EV, Sony, Shure, Senn.

GV Kayenne 2.5 M/E

2 x 6-ch. EVS XT Nano, EVS X File

Utah Scientific 400S

As requested As requested

Senn. As requested

GV Karrera, 2.5M/E GV Kayenne K-Frame

Evertz EQX, EMR Evertz EQX mux/demux, EMR

ChyronHego HyperX3

Senn., Shure, Sony

GV Kayenne K-Frame, 5M/E

Upon Request Up to 16 VTRs and 5 servers as requested 4 6-ch., 1 12-ch.. EVS XT3, 1 6-ch. XT3 SpotBox

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

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

Evertz EQX mux/demux, EMR

6 8-ch. 3 12-ch. EVS XT3, 6-ch. XT3 SpotBox 46 12-ch. EVS XT4K, 1 6-ch. EVS 4K SpotBox Up to 20 VTRs as requested 5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox 2 8-ch., 3 6-ch. EVS XT3, 1 4-ch. XS3 SpotBox 2 12-ch., 2 8-ch., 1 6-ch. EVS XT3, 1 6-ch. XS3 SpotBox 1 12-ch., 2 6-ch. EVS XT3, 2 4-ch. RO XT3 SpotBox 3 12-ch., 1 8-ch. EVS XT3, 1 6-ch. XS SpotBox 1 12-ch., 1 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox 3 12-ch., 2 8-ch. EVS XT3, 4-ch. XT2, 1 6-ch. XS3 SpotBox 4 6-ch. EVS XT3, 1 4-ch. XS3 SpotBox 2 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox 1 12-ch., 1 8-ch., 7 6-ch., 1 12ch. EVS XT3, 1 6-ch. XS3 SpotBox 5 6-ch. EVS XT3, 2 12-ch. EVS VIA, 2 6-ch. XT3 SpotBox 2 12-ch., 3 6-ch. EVS XTS, 1 6-ch. XS3 SpotBox 2 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox

Evertz EQX mux/demux, EMR

As requested

Senn., Studio Tech, EV

GV Kayenne K-Frame, 5.5M/E

As requested

Senn., EV and Sony

GV Kayenne K-Frame

As requested ChryonHego HyperX3

Senn., Shure Senn., Shure

GV Kayenne K-Frame GV Kayenne K-Frame, 9M/E

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame, 5M/E

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne, 5M/E

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame, 5M/E

ChryonHego HyperX3

Senn.

GV Kayenne K-Frame, 5.5M/E

ChyronHego HyperX3

Senn., EV, Sony

GV Kalypso, 4M/E

ChyronHego Mosaic XL

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame

Evertz EQX mux/demux, EMR

Evertz EXE HD video Evertz EQX, EMR Evertz EQX mux/demux, EMR PESA mux/demux, DRS audio 334x462 HD/96x96 AES, 48x96 stereo Evertz EQX, EMR Lawo IP Router PESA mux/demux, DRS audio PESA mux/demux, DRS audio

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne, 5M/E

ChryonHego HyperX3.1

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 5M/E

ChryonHego HyperX3

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

ChryonHego HyperX3

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 5M/E

ChryonHego HyperX3

Senn., Sony, EV, Shure

GV Kayenne X-Frame, 5.5 M/E

ChryonHego Mosaic XL

Senn., Sony, EV, Shure

GV Kayenne

ChryonHego Mosaic XL

Senn., Shure, Sony

GV Kayenne K-Frame, 9M/E

14 12-ch. XTVIA;s, 1 6-ch. SpotBox

Evertz EQX mux/demux, EMR

5 12-ch., 3 6-ch. EVS XT3, 1 6-ch. XT3 SpotBox 2 12-ch., 1 8-ch., 3 6-ch. EVS XT3, 1 4-ch. XS3 SpotBox

GV Trinix

ChryonHego Mosaic XL

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

ChryonHego HyperX3

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 5M/E

Gearbase

GRAPHICS

PESA mux/demux, DRS audio Utah Scientific, mux/demux Utah Scientific mux/demux Utah Scientific mux/demux Utah Scientific mux/demux Utah Scientific mux/demux

PESA mux/demux, DRS audio

SPORTS PRODUCTION 2022 YEARBOOK

209

C A P TU R E CAPTURE C R A F T C R AF T C R E ATE C R E AT E

Gravity Media - a new company with a 30-year pedigree - offers full production services including remote facilities, above-the-line production, control rooms, crewing, transmission, and all administration. Gravity Media has over 500 individuals serving clients all over the world, with bases in the United Kingdom, Australia, France, Germany, Qatar and – of course – the United States. The US operation runs a fleet of mobile units with advanced technology from sprinter-based vans to custom-built semis capable of serving the most expansive productions. Gravity Media pioneered the REMI production model – a model which grew and flourished during the pandemic. Gravity Media is also one of the industry leaders in live-from-home technology and has become one the primary packagers of live events for numerous networks. From sports and media to news and entertainment, our projects are varied but have one thing in common: flawless execution and excellent client-service. We help you create world-class content that inspires and excites. Contact us today to see how we can help with your next production. +1 818 955-9449

enquiries@gravitymedia.com

#CaptureCraftCreate

gravitymedia.com

Innovative, creative and data-rich broadcast solutions to the live sports market

. .

Remote & Centralized Production Creative Augmented Reality Virtual Studio Data Integration

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

HD/1080p/4K/HDR

Both

Calrec Artemis Shine w/ Bluefin2

12 Sony 3500/4300

Canon 6H/6 HH, 2 wide-angle

Both

Calrec Apollo w/ Bluefin 2

12 Sony 2500/4300

Canon 8H/11 HH, 9 wide-angle

1080p HDR

Fiber

Calrec Apollo

Sony 4300

As requested

HD/1080p/4K

Both

Calrec Alpha w/ Bluefin

11 Sony 2500/4300

8 Fujinon, 4 Canon

HD HD HD HD

Triax Fiber Both Both

Calrec Omega w/ Bluefin Calrec Alpha Calrec Sigma w/ Bluefin Calrec Sigma w/ Bluefin

8 Sony 1500 5 Sony 1000, 5 Sony 1500 5 Sony 1500, 6 Sony 1000 12 Sony 2500/4300

Canon 7H/4 HH, 2 wide-angle Fujinon 7H/3 HH, 2 wide-angle 10 Canon, 2 Fujinon Canon 6H/4 HH, 1 wide-angle

53' expando

Both

Calrec Sigma w/ Bluefin

13 Sony 2500/4300

Canon 6H/4 HH, 2 wide-angle

SS20

53' expando

Both

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

14 Canon, 2 Fujinon

SS24

53' expando twin w/ third unit

Both

Calrec Alpha w/ Bluefin

13 Sony 2500/4300

Canon 11H/7 HH, 2 wide-angle

SS29

53' expando

Both

Calrec Artemis Beam w/ Bluefin2

12 Sony 3500/4300

Canon 6H/ 5 HH, 2 wide-angle

TRUCK NAME

DIMENSIONS/TYPE

ND6

Silver

53' expando 53' expando w/ B and D unit 53' expando

SS1

53' expando

SS11 SS14 SS15 SS16

53' expando 53' expando 53' expando 53' expando

SS18

ND7

NEP

Gearbase

COMPANY

PSSI/ STRATEGIC TV PURE MOBILE PRODUCTIONS ROSS PRODUCTION SERVICES

LENSES (H/HH)

SS32

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo

12 Sony 3500/4300

6 Canon, 7 Fujinon

SS4

53' expando twin w/ third unit

Both

Calrec Apollo w/ Bluefin 2

12 Sony 3500/5500

20 Canon, 2 Fujinon

SS8

53' expando w/ B unit

Both

Calrec Apollo w/ Bluefin 2

12 Sony 3500/4300

Canon 6H/4 HH, 2 wide-angle

SS9

53' expando w/ B unit

IP2110/HD/1080P/4K/ HDR IP2110/HD/1080P/4K/ HDR IP2110/HD/1080P/4K/ HDR

Both

Calrec Apollo w/ Bluefin 2

12 Sony 3500/4300

Canon 6H/ 8 HH, 1 wide-angle

SSCBS

IP/HD/1080P/4K/HDR

Both

Calrec Apollo w/ Bluefin 2

18 Sony 3500/4300

11 Canon, 21 Fujinon

Calrec Apollo w/ Bluefin Calrec Alpha Studer Vista

12 Sony 4300 12 Sony 2500 12 Sony 4300

2 Canon, 12 Fujinon Canon 8H/4 HH, 1 wide-angle 16 Fujinon

Both

Calrec Apollo w/ Bluefin

12 Sony 3500/5500

17 Canon

SS6 (2022)

53' expando

HD/1080p/4K HD/1080p/4K HD/1080p/4K/HDR IP2110/HD/1080P/4K/ HDR IP2110/HD/1080P/4K/ HDR

Fiber Both Both

SS5

53' expando triple w/ fourth unit 53' expando twin 53' expando twin 53' expando w/ B unit 53' expando twin w/ third unit

Both

Calrec Apollo w/ Bluefin 2

12 Sony 3500/4300

Canon 6H/4 HH, 2 wide-angle

K34

A unit: 36', B unit: 35'

Triax

Yamaha M7CL (48 analog inputs/24 configurable outputs)

6 GV 3000

4 Fujinon hard, 5 Canon HH

Wasatch

53' expando

4K/1080p

Both

Calrec Artemis Light; 56 Fader Panel Console with; (240) Channels DSP

(10) Sony HDC-4300 4K/ UHD/HD Fiber Cameras

(4) Fujinon UA 107 x 8.4 BESM SemiServo 4K Lens, (6) Fujinon UA 22 x 8 Plus Premier 4K Lens, (2) Fujinon UA 13 x 4.5 Plus Premier 4K Lens

Stockton

51' expando

1080i

Both

Calrec Artemis 4096x4096, full redundancy 36+8 multi layer faders, Hydra 2 I/O, Full 5.1 capable mixing

Malone

51' expando

1080i

Fiber

Calrec Summa 128 with 36+8 Faders with 4096x4096 Core, Full 5.1 Capable (Encoders/Decoders by request), (1) 32x32 Analog I/O o (1) 64x64 AES I/O, (1) 128x128 MADI I/O for Truck I/O

8 Sony HDC 1400r Fiber Cameras

4 Fujinon 88x Lenses, 2 Fujinon 77x Lenses, 2 Fujinon 22x7.5 Lenses, 1 Fujinon 4.5 WA Lens

Olympus

40' expando

1080i

Fiber

Soundcraft Vi9 Audio Console

6 Sony HDC 1400r Fiber Cameras

3 Fujinon 77x Lenses, 2 Fujinon 22x Lenses, 1 Fujinon 4.5WA Lenses

Bulldog

30' expando

4K/1080p

Fiber

Calrec Summa 128 Channels

8 Sony 2400r Fiber Cameras

2 Canon 86x Lenses, 2 Canon 72x Lenses, 2 Canon 22x Lenses, 1 Canon 4.5WA Lens

Silver

23' Sprinter, 16' B unit

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 22X, 2 10x (additional lenses as needed)

Blizzard

20' cargo van, 14' B unit

Both

DiGiCo SD11B w/ D-Rack (80 channels)

5 Hitachi SK-HD1300

Fujinon 1 70X, 1 36X, 3 20X (additional lenses as needed)

FIN3

24' Sprinter 16' B unit

HD/1080p

Both

6 Ikegami HDK-95C

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

FIN4

24' Sprinter, 16' B unit

HD/1080p

Both

6 Ikegami HDK-95C

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

FIN5

24' Sprinter, 16' B unit

HD/1080p

Both

6 Ikegami HDK-95C

Canon 2 60X, 1 95X, 2 22X, 1 10X (additional lenses as needed)

Summit TS2 Yukon

212

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

SPORTS PRODUCTION 2022 YEARBOOK

Soundcraft EXPression 3 (30 faders, 64 analog inputs/24 analog outputs/18 AES inputs/34 AES outputs ) Soundcraft EXPression 3 (30 faders, 64 analog inputs/24 analog outputs/18 AES inputs/34 AES outputs ) Soundcraft EXPression 3 (30 faders, 64 analog inputs/24 analog outputs/18 AES inputs/34 AES outputs )

10 Sony HDC 2400L HD 95x Lenses, 4 Canon 22x 7.5 cameras, 2 Sony HDC 4300 6 Canon Lenses, 2 Canon 4.5 WA Lenses SSMO Camera Systems

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

MICROPHONES

ChryonHego Mosaic XL As requested

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 5M/E

5 12-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox

PESA mux/demux, DRS audio

Senn., Sony

GV Kayenne K-Frame, 9M/E

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

PESA mux/demux, DRS audio Evertz EQX mux/demux, EMR

As requested

GV Kayenne K-Frame

ChryonHego HyperX3.1

Senn., Sony

GV Kayenne K-Frame

ChryonHego HyperX3 ChryonHego HyperX3 ChryonHego HyperX3 ChryonHego HyperX3

Senn., Sony, EV, Shure Senn., Sony, EV, Shure Senn., Sony, EV, Shure Senn., Sony, EV, Shure

GV Kalypso, 4M/E GV Kalypso, 4M/E GV Kayenne K-Frame, 9M/E GV Kayenne K-Frame, 9M/E

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

ChryonHego Hyper X3

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

As requested

Senn., Sony, EV, Shure

GV Kayenne, 8M/E

As requested

GV Kayenne K-Frame, 9M/E

As requested 2 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox 2 6-ch. EVS XT3, 1 6-ch XS3 SpotBox 4 6-ch.EVS XT2, 1 4-ch. XT2 SpotBox 5 6-ch. EVS XT3, 1 6-ch. XT3 SpotBox 5 6-ch. EVS XT3, 1 6-ch. XT3 SpotBox 2 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox 2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox 2 12-ch., 2 8-ch., 1 6-ch. EVS XT3, 1 6-ch. XT3 SpotBox 3 12-ch. EVS XT3, 1 8-ch. XT3, 1 6-ch. XS3 SpotBox 1 12-ch., 4 6-ch. EVS XT3, 1 6-ch. XT3 SpotBox

As requested

Senn.

GV Kayenne K-Frame, 9M/E

6 12-ch. EVS VIAs, 1 6-ch. XSVIA SpotBox

Lawo IP Router

As requested

Senn.

GV Kayenne K-Frame, 5.5M/E

Lawo IP Router

As requested

Senn.

GV Kayenne K-Frame, 9M/E

2 12-ch., 1 8-ch. XT-VIA, 1 6-ch. XT-VIA SpotBox 2 12-ch., 3 8-ch. XT VIA, 1 6-ch. XT-VIA SpotBox

As requested

A-T, Senn.

GV Kayenne K-Frame, 9M/E

8 12-ch. XT VIA, 1 6-ch. XS VIA SpotBox

Evertz EQX/EXE mux/demux, EMR

As requested ChryonHego HyperX3 Upon request

As requested Senn. Senn., Shure

GV Kayenne K-Frame GV Kayenne K-Frame, 4M/E GV Kayenne K-Frame, 9M/E

20 VTRs or 7 EVS on request, 2 SpotBox 5 6-ch. EVS XT3, 1 4-ch. XS3 SpotBox Wired for 6 EVS

Evertz Evertz EQX mux/demux, EMR Evertz EQX mux/demux, EMR

As requested

Senn.

GV Kayenne K-Frame

XT-VIA

Lawo IP Router

As requested

Senn.

GV Kayenne K-Frame, 5.5M/E

XT-VIA

Lawo IP Router

ChyronHego HyperX3

Senn., Sony

GV Karrera, 2M/E

8-ch. EVS XT3

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

(2) EVS XT-4K, 12-ch. UHD/HD Servers, each with LSM and EVS Connect Controllers*, Wired to support (4) EVS 12-ch. Servers, (1) EVS X-File3 With 10Gb Network

Imagine Communications Platinum IP3 with (533) 3G Inputs (622) 3G Outputs

(1) 12-ch. XT3 EVS, (3) 6-ch. XT3 EVS, (1) XS Spotbox

PESA CHEETAH 288x400 HD/3G Video Router 288XE+populated to 288x400 (288x576 capable), 144 de-embedding inputs (2304 audio channels), 144 embedding outputs (2304 audio channels), 3 E-DXE Audio Routers (4608x4608 channels), 768x768 MADI In/Out Calrec Interface, 128x128 analog in/out

Wired for (2) 2-Channel HD or (1) 1-Channel 4K/UHD Graphic/Character Generators, Chyron Mosaic or Ross XPression

Chyron Mosiac Duo

Ross XPression 4K Datalync

SWITCHER, M/E

(4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416 Shotgun Microphones, (1) GV 5 M/E Kayenne Switcher, K-Frame (6) Sony ECM-77B Lavalier Microphones, (6) Senn. MD46 Handheld Microphones (4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416 Shotgun Microphones, (6) Sony ECM-77B Lavalier Microphones, (6) Senn. MD46 Handheld Microphones

GV Kayenne HD Switcher 4.5M/E, 96 Input, 48 outputs, 6 Keyers per M/E

Gearbase

GRAPHICS

Evertz EQX, EMR GVG Concerto Thompson GV PESA mux/demux, DRS audio PESA mux/demux, DRS audio PESA mux/demux, DRS audio Evertz EXE mux/demux, EMR Evertz EQX mux/demux, EMR Evertz EQX mux/demux, EMR

Lawo IP Router

(2) EVS XT3 4RU XRec LSM: 7 Channel PESA Cheetah 128XE HD/3G Router, Kayene Classic HD Switcher: 4.5M/E capable as a single 4 In/3 Out LSM or 6 Redundant (4) Senn. MKH 70 Shotgun Microphones GV 3000 System Controllers 35 Button Control Surface, 96 Input, 48 In/1 Out LSM, (1) EVS XS 4RU SpotBox: 4 o PopulatedPERC (10) Senn. MKH 416 Shotgun Microphones, as 128x256, w/ 32x64 of those Output, 6 Keyers per M/E, Flexikey Channel capable as a single 4 Out SpotBox (6) Sony ECM-77B Lavalier Microphones, and embedders, 256x256 and DoubleTake, AMP, 2 Floating w/ Lance Design TDC-100, (1) EVS XHub3 as deembedders (6) Senn. MD46 Handheld Microphones ChromaKeyers, Calrec/PESA MADI Interface, 128x128 Machine Control Module, 3gbps SDTI network for EVS clip shares (1) Analog I/O and 64x64 AES I/O EVS XFile3 for clip ingest and export (4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416 Shotgun Microphones, 2 EVS XT2 6-ch. LSM, 1 EVS XS Spotbox, None PESA Cheetah 128x128 HD/3G router (6) Sony ECM-77B Lavalier Microphones, 1 EVS Xhub3 (6) Senn. MD46 Handheld Microphones (4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416 Shotgun Microphones, 3M/E GV Kayenne K Frame Switcher 80 12-ch. EVS XT4K with dual operator config 144x144 Ross 12G Ultrix Router (6) Sony ECM-77B Lavalier Microphones, HD Inputs / 20 4K HDR (6) Senn. MD46 Handheld Microphones

N/A

SPORTS PRODUCTION 2022 YEARBOOK

213

EVERY WEEK, HUNDREDS OF HOURS ARE PRODUCED WITH BCE'S REMOTE VOICE-OVER SOLUTION.

BCE SPORTS IS GEARED UP WITH NUMEROUS SERVICES TO ENHANCE YOUR SPORT CONTENT AND EVENTS. MORE INFO: BCE.LU/BCE-SPORTS

BCE - Broadcasting Center Europe

www.bce.lu

contact@bce.lu

OVER 35 YEARS OF EXPERIENCE IN MEDIA & BROADCAST Remote Production IP Newsgathering DTH Broadcasting Primary Distribution to DTT & Radio Towers Fixed IP Distribution OTT over Satellite

idirect.net/media-and-broadcast

ROSS PRODUCTION SERVICES YES PRODUCTIONS (ALLIANCE)

VIDEOLINES MOBILE TELEVISION

TOURING VIDEO

21 LAKES MEDIA

SDTV (ALLIANCE)

RUSH MEDIA

Gearbase

COMPANY

216

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

RMP6 4K

32' expanding unit

HD/1080p/4K-capable

Fiber

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

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

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

FIN7

24' Sprinter, 16' B unit

HD/1080p

Fiber

5 Ikegami HDK-99, 1 HiNAC SuperMo

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

FIN8

24' Sprinter, 16' B unit

HD/1080p

Fiber

5 Ikegami HDK-99, 1 HiNAC SuperMo

Canon 1 60X, 1 95X, 3 22X, 1 10X (additional lenses as needed)

RMZ-1 RMZ-2 RMZ-3 RMZ-4 RMZ-5 RMZ-6 RMZX-1 RMTC-1 RMTC-2 RMTC-3 RMTC-4 RME-1 RME-2 RME-3 RMDX-1 RMDX-2 RMDX-3

40' expando 40' expando 40' expando 40' expando 40' expando 40' expando 40' expando 53' expando 48' expando 48' expando 53' expando 24' 24' 24' 18' 18' 18'

HD HD HD HD HD HD HD HD HD HD HD HD HD HD HD HD HD

Triax/fiber Triax/fiber Triax/fiber Triax/fiber Triax/fiber Triax/fiber Triax/fiber Triax Triax/fiber Triax/fiber Triax/fiber Triax Triax Triax Fiber Fiber Fiber

Calrec Brio 36 (36 Faders, 96 input channels, 5.1 Capable, 2 Fiber Field Kits) Calrec Brio 36 (36 Faders, 96 input channels, 5.1 Capable, 2 Fiber Field Kits) Calrec Brio 36 fader Calrec Brio 36 fader Calrec Brio 36 fader Calrec Brio 36 fader Calrec Brio 36 fader Calrec Brio 36 fader Calrec Brio 36 fader Calrec Sigma 56 fader Calrec Artemis 64 fader Calrec Artemis 40 fader Calrec Artemis 32 fader Behringer x32 Behringer x32 Behringer x32 Soundcraft Signature 16 Soundcraft Signature 16 Soundcraft Signature 16

8 GV 8 GV 8 GV 8 GV 8 GV 8 GV 8 GV 10 GV 10 GV 10 GV 8 GV 5 GV 5 GV 5 GV 5 Blackmagic 5 Blackmagic 5 Blackmagic

3 Hard, 5 HH 3 Hard, 5 HH 3 Hard, 5 HH 3 Hard, 5 HH 3 Hard, 5 HH 3 Hard, 5 HH 3 Hard, 5 HH 6 Hard, 4 HH 6 Hard, 4 HH 6 Hard, 4 HH 5 Hard, 4 HH 2 Hard, 3 HH 2 Hard, 3 HH 2 Hard, 3 HH 2 Hard, 3 HH 2 Hard, 3 HH 2 Hard, 3 HH

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

2 Canon 72X, 1 Fujinon 50X, 1 Canon 8 GV LDK 6000, 2 Marshall J55X Super, 4 Canon 17X HH, 2 Cannon POVs / 2 Canon PTZ 11X Wide Angle

Riley

40’ expando

Triax

Yamaha PM5000 / Yamaha M7

TV-1

28' trailer

Stagetech Crescendo (40 faders)

Sony HDC-1500

Canon - Per Request

TV-2

48' straight body

HD/1080p/4K-digital cinema

Stagetech Crescendo (40 faders)

Sony HDC-1500/F55

Canon - Per Request

TV-3

43' single expando

HD/1080p

Stagetech Crescendo (40 faders)

Sony HDC 2500

Canon - Per Request

TV-4

53' single expando

HD/1080p/4K/HDR

SMPTE, TAC Fiber SMPTE, TAC Fiber SMPTE, TAC Fiber SMPTE, TAC Fiber

Studer Vista-X (40 faders)

Sony HDC 4300

Canon - 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

HD2

53' expando

Both

Calrec Omega w/ Bluefin (56/48)

10 Ikegami HDK 79EX

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

SPORTS PRODUCTION 2022 YEARBOOK

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)

N/A

Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt Chyron, Vizrt

Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure Senn., Sony, Shure

Ross Carbonite 3M/E Ross Carbonite 3M/E Ross Carbonite 3M/E Ross Carbonite 3M/E Ross Carbonite 3M/E Ross Carbonite 3M/E GV Kayenne 3M/E GV Kayenne 4M/E GV Kayenne 4M/E GV Kayenne 3M/E GV Kayenne 3M/E Ross Carbonite 3M/E Ross Carbonite 3M/E Ross Carbonite 3M/E Blackmagic 2M/E Blackmagic 2M/E Blackmagic 2M/E

2 8-ch. Evertz Dreamcatcher 2 8-ch. Evertz Dreamcatcher 2 8-ch. Evertz Dreamcatcher 2 8-ch. Evertz Dreamcatcher 2 8-ch. Evertz Dreamcatcher 2 8-ch. Evertz Dreamcatcher 2 8-ch. Evertz Dreamcatcher 2 6-ch. EVS XT3, 1 4-ch. XT3 2 6-ch. EVS XT3, 1 4-ch. XT3 2 6-ch. EVS XT3, 1 4-ch. XT3 2 6-ch. EVS XT3 Simply Live 8 ch. Simply Live 8 ch. Simply Live 8 ch. Simply Live 8 ch. Simply Live 8 ch. Simply Live 8 ch.

Chyron Duet HyperX3

Senn., Sony

Grass Valley Kayenne, 4M/E

2 EVS XT3, 1 4-ch. SpotBox

Evertz EQX Evertz EQX Evertz EQX Evertz EQX Evertz EQX Evertz EQX Evertz EQX Pesa Pesa Pesa GV Blackmagic 40x40 Blackmagic 40x40 Blackmagic 40x40 Blackmagic 40x40 Blackmagic 40x40 Blackmagic 40x40 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 Duet HyperX3 / Ross XPression Version 9.1

Full complement including wireless

GV Kalypso, 60 Input 4M/E

2 6-ch. EVS HD XT2, 1 EVS Xfile, 1 16-ch. DreamCatcher

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

Per Request

Senn. 416

Sony MVS-3000, 2M/E

Per Request

Senn. 416

Sony MVS-6530, 3M/E

Per Request

Senn. 416

Sony MVS-7000x, 6M/E

EVS

Imagine Platinum (256 in/ 256 out) audio 128 in Riedel MediorNet Decentralized Video/ MADIRouting Imagine Platinum (248 in/344 out) audio 128 in

Ross XPression

Senn. 416

Sony XVS-7000, 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 Kalypso Duo

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

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

SPORTS PRODUCTION 2022 YEARBOOK

Gearbase

GRAPHICS

217

AD PAGE

3G WIRELESS

LEVEL

CONTACT

PHONE

Mobile

Gordon Capaccio

GordonC@3gwireless.tv

410-969-3501

ADDER TECHNOLOGY

Premier

Laura Robinson

laura.robinson@adder.com

+44 7525098556

AE LIVE

211

Mobile

Gavin Bunker

gavin.bunker@ae.live

+44 07775 627984

AERIAL VIDEO SYSTEMS

195

Mobile

Argyle Nelson

anelson@aerialvideo.com

818-954-8842

AJA VIDEO SYSTEMS

119

Corporate

Christina Oliver

christinao@aja.com

530-271-3326

ALDEA SOLUTIONS

151

Corporate

Daniel Gonzalez

daniel.gonzalez@aldea.tv

514-461-4136

ALL MOBILE VIDEO

178

Mobile

Eric Duke

eduke@amvchelsea.com

212-727-9862

ALPHA VIDEO

174

Mobile

Jeffrey Volk

jeff.volk@alphavideo.com

952-841-3311

AMAGI

Corporate

Sanjay Kirimanjeshwar

sanjay@amagi.com

+91 98440 39275

AMAZON WEB SERVICES

Premier

Lisa Epstein

epsteinl@amazon.com

503-953-4743

ARCTEK SATELLITE PRODUCTIONS

194

Mobile

Brian Stanley

bstanley@arcteksat.com

612-308-9079

ARISTA NETWORKS

161

Corporate

Ed Chapman

echapman@arista.com

408-888-4839

ARRI

Corporate

Debra Kasparian

DKasparian@ARRI.com

818-618-2665

Mobile

Tom Menrath

tom@asgllc.com

415-405-5320

Mobile

Don Collopy

don@asuproductions.com

917-861-0468

Platinum

Catherine A. Palaia

cp286m@att.com

972-936-2612

ASG (ADVANCED SYSTEMS GROUP) ASU PRODUCTIONS

206

AT&T ATEME

163

Corporate

Dave Brass

d.brass@ateme.com

484-860-0358

ATOM CREEK

126

Corporate

Kimberly Miles

kmiles@atomcreek.com

720-613-3028

Corporate

Kurt Van Scoy

kvanscoy@atus.com

330-686-2600 x2780

AUDIO-TECHNICA AVIWEST

Corporate

Valerie Dekeyser

vdekeyser@aviwest.com

+33 2 90 78 84 77

AZZURRO GROUP

181

Mobile

Anthony Sotomayor

asotomayor@azzurrogroup.com

212-625-2372

BCE

214

Mobile

Laurent Seve

Laurent_Seve@bce.lu

+352 24 80 7111

Mobile

Matt Weiss

info@becktv.com

512-252-7555

BECK TV BELDEN

Corporate

Christine Williamson

Christine.Williamson@belden.com

412-327-9973

BEXEL

Platinum

Craig Schiller

cschiller@bexel.com

818-565-4202

Premier

Eamon Drew

eamon@bird-dog.tv

+61 421382474

Teresa Sarte

tsarte@bitcentral.com

949-783-3253

BIRDDOG BITCENTRAL

Corporate

BITFIRE NETWORKS

164

Corporate

Ben Grafchik

bgrafchik@bitfirenetworks.com

502-523-0268

BLACKBIRD VIDEO

Corporate

Adrian Lambert

A.Lambert@blackbird.video

+44 7905863352

BLACKMAGIC DESIGN

Platinum

Blackmagic Design

info-usa@blackmagicdesign.com

408-954-0500

Premier

Matt Ruwe

Matt_Ruwe@bose.com

508-766-4054

BOSE BRAINSTORM

Corporate

Miguel Churruca

mchurruca@brainstorm3d.com

+34 91 781 6750

BRAINSTORM ELECTRONICS

110

Corporate

Jim Pace

jpace@plus24.net

323-845-1155

BROADCAST MANANGMENT GROUP

198

Mobile

Joe Scionti

jscionti@broadcastmgmt.com

847-372-0487

BROADCAST SERVICES INTERNATIONAL (BSI)

180

Mobile

Jim Eady

jim@bsi-tv.com

905-332-2171

BROADCAST SPORTS INTERNATIONAL (BSI)

190

Mobile

Peter Larsson

Peter.Larsson@BSINTL.COM

410-564-2612

Mobile

Evan Wimer

ewimer@c360live.com

724-940-3277

C360 CALREC AUDIO/DIGICO

Premier

Chris Fichera

chris.fichera@calrec.com

310-927-7788

CANON

Platinum

Richard Eilers

reilers@cusa.canon.com

609-480-6019

Mobile

David Butler

david@maniosdigital.com

818-760-8240

CARTONI

SPORTS PRODUCTION 2022 YEARBOOK

SVGSPONSORDIRECTORY / ADINDEX

SPONSOR

219

SVG Sponsor Directory/Ad index

SPONSOR

CHESA

AD PAGE

CONTACT

PHONE

Mobile

Louise Shideler

louise@chesa.com

410-752-7732

CHYRON

Premier

Carol Bettencourt

carol.bettencourt@chyron.com

631-845-2000

CINESYS

207

Mobile

Brent Angle

brent@cinesys.io

866-905-2050

CISCO SYSTEMS

114

Corporate

Chris Lapp

chlapp@cisco.com

408-894-5499

CLARK

169

Mobile

JB Bowling

jb.bowling@clark.is

678-578-3451

CLARK WIRE & CABLE

Corporate

Tom Yatabe

tom.yatabe@clarkwire.com

800-222-5348 x18

COBALT DIGITAL

149

Corporate

Suzana Brady

suzana.brady@cobaltdigital.com

217-531-0173

CP COMMUNICATIONS

186

Mobile

Aaron Segarra

sales@cpcomms.com

800-762-4254

CREATIVE DIMENSIONS

Corporate

Daniel Kiley

dkiley@gowithcd.com

203-250-6512

Mobile

Noah Gusdorff

noah@cmsi.tv

818-847-7390

Corporate

Sergio Amatangelo

sergio.amatangelo@crowncastle.com

724-416-2710

CSP MOBILE PRODUCTIONS

Mobile

Len Chase

len@cspmobile.com

207-282-9680

CTI (CONFERENCE TECHNOLOGIES INC.)

Mobile

Tim Albright

talbright@conferencetech.com

618-567-6467

CREATIVE MOBILE SOLUTIONS CROWN CASTLE

DAKTRONICS

Corporate

Trisha Schuver

trisha.schuver@daktronics.com

605-691-1456

DALE PRO AUDIO

100

Corporate

Eric Eldredge

eric@daleproaudio.com

212-475-1124

Corporate

Irina Slavitch

islavitch@dalet.com

212-269-6700

165

Corporate

Shawne Dickerson

Shawne.Dickerson@datacore.com

512-590-9322

DEVLIN DESIGN GROUP

Corporate

Diane 'DiFi' Fiolek

DiFi@ddgtv.com

248-975-9565

DIGIGRAM

137

Corporate

Brittany Hilton

brittany@synthax.com

828-399-0819

DIGITAL NIRVANA

142

Corporate

Suresh Babu

suresh@digital-nirvana.com

+91 888 679 8800

DIMETIS

147

Corporate

Norman Krebill

nkrebill@dimetis.com

916-842-6514

DISGUISE

183

Mobile

Caroline Niedzwiecki

caroline.niedzwiecki@disguise.one

646-704-4382

DIVERSIFIED

Mobile

Duane Yoslov

dyoslov@diversifiedus.com

415-305-8047

DMC BROADCAST GROUP

156

Corporate

Don Cardone

don@dmcbroadcastgroup.com

908-998-1080

Mobile

Sam Schrade

sam@dnastudios.tv

281-657-7292

DALET DATACORE

DNA STUDIOS DOLBY

Platinum

Ellis Reid

ereid@dolby.com

415-558-0299

DOME PRODUCTIONS

Mobile

Mary Ellen Carlyle

mcarlyle@domeprod.com

416-341-2022

DX3 MEDIA

171

Mobile

Dale Smith

dalesmith@DX3media.ca

416-433-3261

EDITSHARE

Premier

Emily McKinzie

emily.mckinzie@editshare.com

650-703-0674

EEG ENTERPRISES

Corporate

Regina Vilenskaya

reginav@eegent.com

516-293-7472 x138

ELUVIO INC

167

Corporate

Michelle Munson

michelle.munson@eluv.io

510-898-8062

ENCOMPASS DIGITAL MEDIA

Corporate

Peter Ostapiuk

postapiuk@encompass.tv

770-331-2890

ES BROADCAST

187

Mobile

Ryhaan Williams

ryhaan.williams@esbroadcast.com

908-500-0532

EUROVISION SERVICES

Platinum

Jim Scott

jim.scott@eurovision.net

973-650-9577

EUTELSAT

127

Corporate

Jim Carroccia

jcarroccia@eutelsat.com

786-609-9637

EVERTZ

Premier

Mo Goyal

mo@evertz.com

905-335-3700

EVS

Premier

Sébastien Verlaine

s.verlaine@evs.com

+32 4 290 28 20

EXERTIS BROADCAST

173

Corporate

Maria Casey

mariac@jbanda.com

415-256-2800

Mobile

George Orgera

GeorgeO@fandfhd.tv

727-535-6776

F&F PRODUCTIONS

220

LEVEL

FASTLY

Corporate

John Agger

jagger@fastly.com

844-432-7859

FILMWERKS INTERNATIONAL

191

Mobile

Michael Satrazemis

michaels@filmwerksintl.com

910-675-1145

SPORTS PRODUCTION 2022 YEARBOOK

LEVEL

CONTACT

PHONE

FINGERWORKS TELESTRATORS

Corporate

Bryan McKoen

bryan@telestrator.com

604-762-1477

FLETCHER SPORTS

179

Mobile

Dan Grainge

dan@fletch.com

312-932-2704

FLOWICS

122

Corporate

Gabriel Baños

gabriel@flowics.com

415-367-3671

FOR-A

133

Corporate

Gerry Nazimek

Nazimek@for-a.com

973-220-8471

FUJIFILM

Platinum

Stosh Durbacz

sdurbacz@fujifilm.com

905-898-1382

FUJITSU

115

Corporate

Richard Harvey

Richard.Harvey@fujitsu.com

925-251-0070

G&D NORTH AMERICA

101

Corporate

G&D North America

sales@gd-northamerica.com

818-748-3383

GAME CREEK VIDEO

Mobile

Pat Sullivan

psullivan@gamecreekvideo.com

603-821-2205

GEARTECH USA

Mobile

Brad Wensley

bwensley@geartech.ca

647-295-6672

GENIUS SPORTS

Corporate

George Smith

george.smith@geniussports.com

+44 (0) 7375 087 125

Corporate

Jodi Morelli

jodi.morelli.ext@globecast.com

203-249-2839

Corporate

Kari Szul

kariszul@google.com

212-565-0448

Corporate

Jorge Ramirez

jorge@grabyo.com

646-844-6634

Platinum

Steve Stubelt

Stephen.Stubelt@grassvalley.com

862-216-7070

GLOBECAST

GOOGLE CLOUD GRABYO

GRASS VALLEY GRAVITY MEDIA

210

Premier

William Wright

William.Wright@gravitymedia.com

818-955-9449

HAIVISION

Corporate

Karen McCone

kmccone@haivision.com

514-993-2683

Mobile

Keith Hanadel

khanadel@hlw.com

212-353-4946

Premier

Dan Holland

dholland@ihseusa.com

732-963-2291

Mobile

Rich Williams

rich@illuminationdynamics.com

818-686-6400

HLW INTERNATIONAL IHSE USA ILLUMINATION DYNAMICS IMAGEN

153

Corporate

Nick Ashwin

nick.ashwin@imagen.io

214-418-3064

IMAGINE COMMUNICATIONS

Premier

Mary Schoof

mary.schoof@ imaginecommunications.com

703-869-2042

Mobile

Tom McGowan

tom.mcgowan@imtglobalinc.com

818-761-9770

Corporate

Jon Sonsteby

jon.sonsteby@intelsat.com

703-559-7914

INTOTO SYSTEMS

Mobile

Stephanie Rowen

srowen@suitelifesystems.com

310-405-0839

IRON MOUNTAIN ENTERTAINMENT SERVICES

Premier

Alisha Perdue

alisha.perdue@ironmountain.com

614-747-0581

INTEGRATED MEDIA TECHNOLOGIES INTELSAT

JOSEPH ELECTRONICS

143

Corporate

Chris Ahern

cahern@josephelectronics.com

516-428-1069

JVC PROFESSIONAL VIDEO

138

Corporate

Dan Skirpan

dskirpan@us.jvckenwood.com

724-747-9301

KEY CODE MEDIA

Mobile

Matt McClain

mmcclain@keycodemedia.com

818-303-3900

KISWE MOBILE

Premier

Khee Lee

khee.lee@kiswe.com

917-512-9729

KMH AUDIO-VIDEO INTEGRATION

Mobile

Kevin Henneman

khenneman@kmh-integration.com

800-590-2520

Platinum

Forrest Sussman

Forrest.Sussman@lawo.com

914-514-5600

LEADER INSTRUMENTS

Corporate

Kevin Salvidge

salvidge@leadereurope.com

+44 7826 178 752

LEVELS BEYOND

Corporate

Donnie Gilbert

dgilbert@levelsbeyond.com

720-508-8947

Mobile

Doug Cole

dcole@lhcomp.com

954-752-5805

Corporate

Marc Rowley

marc.rowley@liveCGI.com

860-833-6757

Mobile

Brad Sexton

brad@livemediagroup.com

818-435-3006

Platinum

Janel Fleming

janelf@liveu.tv

201-742-5229

LTN GLOBAL

134

Corporate

Joe Ferreira

joe.ferreira@ltnglobal.com

301-957-4842

LUCIDLINK

Corporate

Julie O'Grady

julie.ogrady@lucinlink.com

650-269-9989

LAWO

LH COMPUTER SERVICES

199

LIVE CGI LIVE MEDIA GROUP LIVEU

SPORTS PRODUCTION 2022 YEARBOOK

SVG Sponsor Directory/Ad index

AD PAGE

SPONSOR

221

SVG Sponsor Directory / Ad Index

AD PAGE

LEVEL

CONTACT

PHONE

Platinum

Lauren Gelfound

lauren.gelfound@lumen.com

303-525-5994

LYON VIDEO

202

Mobile

Chad Snyder

chad@LyonVideo.com

614-319-4071

M2A MEDIA

Corporate

Lizzie Lawrence

lizzie.lawrence@m2amedia.tv

+44 203 813 8580

MARKERTEK

Premier

Adam June

ajune@markertek.com

800-522-2025

MARSHALL ELECTRONICS

160

Corporate

Tod Musgrave

tod@marshall-usa.com

310-333-0606

MATROX VIDEO

103

Corporate

Zahraa Al-Haideri

zalhaide@matrox.com

514-822-6000 x7391

Corporate

Paul Babb

p_babb@maxon.net

805-376-3333

SPONSOR LUMEN TECHNOLOGIES

MAXON MEDIA LINKS

Corporate

Tom Canavan

tcanavan@medialinks.com

860-206-7326

MEDIAKIND

125

Corporate

Lisa Aussieker

lisa.aussieker@mediakind.com

408-662-3048

MEDIAPRO

Platinum

Mario Sousa

msousa@mediapro.tv

305-357-6000

MEYERPRO

203

Mobile

Steve Meyer

steve@meyerproinc.com

503-638-2096

Premier

Scott Bounds

sbounds@microsoft.com

646-225-4380

176

Corporate

Nick Garvin

ngarvin@mobiletvgroup.com

303-542-5555

Corporate

Neal Pilzer

neal@mpenyc.com

212-245-0969

MICROSOFT MOBILE TV GROUP MPE NEMAL ELECTRONICS

Corporate

Ben Nemser

bnemser@nemal.com

305-899-0900

NEP GROUP

Platinum

Susan Matis

smatis@nepgroup.com

412-423-1339

NET INSIGHT

Corporate

Mari Fogelberg

mari.fogelberg@netinsight.net

+46 73 514 85 03

Corporate

Amy Dion

amy.dion@netscout.com

978-614-4136

Corporate

Alex HumphriesFrench

alexhf@never.no

+44 7791256636

Corporate

Fernando Aunon

fernandoa@nextologies.com

571-217-7648

NETSCOUT NEVER.NO

118

NEXTOLOGIES OBJECT-MATRIX

130

Corporate

Leanne Tomlin

leanne.tomlin@object-matrix.com

+44 077959 55516

OPENDRIVES

Corporate

Jonathan Adler

j.adler@opendrives.com

888-778-5491

PANASONIC

Premier

Jim Jenson

James.Jensen@us.panasonic.com

201-427-0606

Corporate

Max Sebela

max@parsec.tv

630-421-4222

PARSEC PIXELLOT

Corporate

Yossi Tarablus

yossit@pixellot.tv

+972 522890297

PIXOTOPE

139

Corporate

Brad Rochon

brad.rochon@pixotope.com

805-551-8339

PLATINA SYSTEMS

Corporate

Mark Yin

Mark@platinasystems.com

408-389-4268

PLIANT TECHNOLOGIES

Corporate

Debbie Hamby

debbie.hamby@plianttechnologies. com

800-749-2761

PRG

Platinum

Erin Bates

ebates@prg.com

916-761-0726

PRIMEVIEW

Corporate

Chanan Averbuch

chanan@primeview.biz

212-730-4905

Mobile

Tre James

tre.james@productionrockstars.com

678-508-6767

PRODUCTION ROCKSTARS PRODUCTIONHUB

168

Corporate

Steve Rotz

srotz@productionhub.com

877-629-4122

PROGRAM PRODUCTIONS

177

Mobile

Amy Scheller

ascheller@programproductions.com

617-480-3541

Mobile

Clint Bergeson

info@pssiglobal.com

310-575-4400

QUANTUM

Premier

Skip Levens

skip.levens@Quantum.com

512-921-9722

QUANTUM5X

148

Corporate

Paul Johnson

pjohnson@q5x.com

519-675-6999

Corporate

Sean Sullivan

sean.sullivan@rcn.net

571-623-4332

PSSI GLOBAL SERVICES

RCN BUSINESS SERVICES REALITY CHECK SYSTEMS

172

Mobile

Jeff Heimbold

j.heimbold@realitychecksystems.com

323-465-3900

RF WIRELESS

218

Mobile

Rob Bunn

rob.bunn@rfwireless.com

416-803-9301

RIEDEL COMMUNICATIONS

Platinum

Serkan Guener

Serkan.Guener@riedel.net

+49 202 292-9517

Mobile

Richard Glandorf

rich@robovision.com

973-879-1096

ROBOVISION

222

SPORTS PRODUCTION 2022 YEARBOOK

LEVEL

CONTACT

PHONE

Platinum

Kevin Cottam

kcottam@rossvideo.com

613-228-0688 x4366

RT SOFTWARE

111

Corporate

Luke Harrison

luke.harrison@rtsw.co.uk

+44 7899 796928

RTS INTERCOM SYSTEMS

Corporate

Guy Low

guy.low@us.bosch.com

952-736-3935

Mobile

Tim Eichorst

timeichorst@rushmediaco.com

608-850-7411

104

Corporate

Lauren Rogen Sexton

lauren@safesitescreening.com

617-470-8146

Corporate

Jim Pace

jpace@plus24.net

323-845-1155

Mobile

Mark Parikka

operations@sdtv.com

619-293-7777

ROSS VIDEO

RUSH MEDIA GROUP SAFESITE SANKEN MICROPHONES SDTV SEAGATE TECHNOLOGY

117

Corporate

Seth Cohen

seth.cohen@seagate.com

203-500-4099

SENCORE

Corporate

Brandon Baker

brandon.baker@sencore.com

605-978-4743

SENNHEISER

Corporate

Greg Simon

Greg.Simon@sennheiser.com

860-501-0843

SES

Corporate

Miriam Benedicto

miriam.benedito@ses.com

609-240-5571

SHURE

Corporate

Celino Ullegue

Ullegue_Celino@shure.com

312-736-6048

SIGNIANT

Premier

Jon Finegold

jfinegold@signiant.com

781-221-4000

SILVER SPOON ANIMATION

157

Corporate

Dan Pack

dan@silverspoonanimation.com

646-781-7600 x406

SINGULAR.LIVE

Corporate

Mike Ward

mike@singular.live

+44 7799 660 792

Mobile

Stephen Wharton

stephen.wharton@skycam.tv

719-963-4150

SKYCAM SMARTCART SVX

Mobile

Gil Cowie

gil@smartcartsvx.com

646-863-6263

Corporate

Patricia Hopkins

p.hopkins@smt.com

919-354-4722

Corporate

Ross Gilbert

rossg@solidstatelogic.com

631-396-0184

Platinum

Rob Willox

Rob.Willox@sony.com

201-930-7349

SOS GLOBAL

159

Corporate

Steven Gruning

sgruning@sosglobal.com

252-635-1400

SOUTHWORKS

182

Mobile

Bruce "Zip" Zieper

hello@southworks.com

949-244-5691

SPECTRA LOGIC

Corporate

Hossein ZiaShakeri

broadcast@spectralogic.com

303-449-6400

SPORTRADAR

121

Corporate

Steve Byrd

s.byrd@sportradar.com

847-274-3322

ST ENGINEERING IDIRECT

215

Mobile

Lincoln Biederbeck

lbie@idirect.net

703-648-8002

STATS PERFORM

108

Corporate

Stephanie Brown

sbrown@stats.com

646-324-2444

STORAGEDNA

Corporate

Tridib Chakravarty

tridib.chakravarty@storagedna.com

949-480-7937

STREAMING GLOBAL

Corporate

Austin Schmidt

aschmidt@streamingglobal.com

678-374-3334

STREANN MEDIA

Corporate

Leandro Finol

leandro@streann.com

866-70-ON-AIR

SMT

SOLID STATE LOGIC SONY

STUDIO NETWORK SOLUTIONS (SNS)

Corporate

Ryan Stoutenborough

sales@studionetworksolutions.com

314-733-0551

SUPPONOR

Corporate

David Patton

david.patton@supponor.com

+44 7894 995 655

SYNAMEDIA

152

Corporate

Janice Pearson

jpearson@synamedia.com

323-513-6396

TAG V.S.

Corporate

Roy Falkman

info@tagvs.com

315-646-8400

TATA COMMUNICATIONS

Corporate

Utkarsh Gosain

utkarsh.gosain@tatacommunications. com

917-499-0236

Corporate

Tony Bozinni

tony.bozzini@philips.com

408-910-4689

TECHNICOLOR

TEDIAL

123

Corporate

Claudine Cecille

ccecille@tedial.com

+33 607865552

TELEMETRICS

135

Corporate

Anthony Cuomo

aec@telemetricsinc.com

201-848-9818

TELESTREAM

Premier

Doug Hansel

Doug@highrezpr.com

603-548-1410

TELLYO

Corporate

Richard Collins

richard@tellyo.com

+44 7799 117 269

TELOS ALLIANCE

Premier

Martin Dyster

martin.dyster@telosalliance.com

717-735-3611

TELSTRA

105

Corporate

Anna Lockwood

Ana.Lockwood@team.telstra.com

+44 7725 101038

TEMPUS EX MACHINA

Corporate

Annie Gerhart

annie@tempus-ex.com

813-502-1038

SPORTS PRODUCTION 2022 YEARBOOK

SVG Sponsor Directory/Ad index

AD PAGE

SPONSOR

223

SVG Sponsor Directory / Ad Index

SPONSOR

AD PAGE

TERADEK

CONTACT

PHONE

Corporate

Jon Landman

jon@teradek.com

949-529-9892

THE SWITCH

Platinum

Christian Kneuer

christian.kneuer@theswitch.tv

212-239-3715

THE VIDEO CALL CENTER

Corporate

Larry Thaler

LThaler@TheVCC.TV

212-235-7019 x720

Mobile

Brian Carr

brian@thumbwar.tv

310-910-9030

Corporate

Greg Siers

greg.siers@tslproducts.com

301-272-0434

THUMBWAR TSL PRODUCTS TVU NETWORKS

Platinum

Eric Chang

echang@tvunetworks.com

650-969-6732

UNIQFEED

145

Corporate

Marcel Naef

marcel.naef@uniqfeed.com

347-401-2020

Premier

Craig Laliberte

craig.laliberte@epicgames.com

310-948-4148

UNREAL ENGINE VARIANT SYSTEMS GROUP

144

Corporate

Olaf Bahr

olaf@vsglive.com

503-881-2211

VENUE EDGE

109

Corporate

Eric Bartels

eric@venueedgepro.com

407-493-5135

VERITONE

Premier

Billy Gil

bgil@veritone.com

310-283-6305

VERIZON BUSINESS GROUP

Premier

Stephen Walter

stephen.walter@verizon.com

929-226-5943

Corporate

Ken Ruck

ken.ruck@videonlabs.com

814-235-1111

VIDEON VIDISPINE, AN ARVATO SYSTEMS BRAND

113

Corporate

Kurt Krinke

kurt.krinke@arvatosystems.com

248-755-0676

VIDOVATION

170

Mobile

Jim Jachetta

jimj@vidovation.com

949-954-5290

VISAIC

Corporate

Jason Nicol

jnicol@visaic.com

858-444-6086

VISLINK TECHNOLOGIES

Corporate

Charlotte Van Hertum

charlotte.vanhertum@vislink.com

+31 727000502

VISTA WORLDLINK

140

Corporate

Joshua Liemer

jliemer@vistaworldlink.com

954-838-0900 x210

VITAC

155

Corporate

David Titmus

david.titmus@vitac.com

724-514-4110

VITEC

129

Corporate

Bryan Reksten

bryan.reksten@vitec.com

404-320-0110

VIZRT GROUP

Premier

Jonathan Roberts

jroberts@vizrt.com

+44 7949 526 280

Corporate

Greg Kopchinski

gregk@waves.com

925-325-2807

Corporate

Catherine Cywinska

catherine@wildmoka.com

+33 07 64 89 14 79

Corporate

Brandon Handley

brandon.handley@wwt.com

610-908-5881

Mobile

Michael May

mmay@worldstage.com

615-828-8848

WOWZA MEDIA SYSTEMS

Corporate

Laurie Wherley

Laurie.Wherley@wowza.com

720-608-4414

WSC SPORTS

Corporate

Joe DaCosta

joe.dacosta@wsc-sports.com

832-330-6556

WAVES AUDIO WILDMOKA

106

WORLD WIDE TECHNOLOGY WORLDSTAGE

224

LEVEL

XYTECH SYSTEMS

131

Corporate

Alexandra Kuipers

akuipers@xytechsystems.com

818-698-4958

ZIXI

Platinum

John Wastcoat

john.wastcoat@zixi.com

617-319-0928

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