SVG SportsTech Journal Spring 2023

SPRING 2023 NAB 2023 Preview What to Expect in Las Vegas

VOLUME 17 ISSUE 1 PUBLISHED BY

ADVANCING THE CREATION, PRODUCTION, & DISTRIBUTION OF SPORTS CONTENT

LIVE FROM

2022 FIFA WORLD CUP PLUS

A LOOK BACK AT SUPER BOWL LVII INSIDE SVG EVENT RECAPS: SVG Summit, Remote Production Forum, TranSPORT, Esports Production Summit, and More WHITE PAPERS: Lawo, NVIDIA, and Sony

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in this issue Spring 2023 Volume 17 Issue 1

upfront

6 FROM THE CHAIRMAN A Busy Schedule Gets a Little Help From ChatGPT 8 COVERING THE FIELD A Welcome Return to Normalcy

SVGeventrecap 10

SVG SUMMIT

10

SPORTS BROADCASTING HALL OF FAME

10

REMOTE PRODUCTION FORUM

11

TRANSPORT

11

ESPORTS PRODUCTION SUMMIT

12

TEAMS SUMMIT

12

SILICON VALLEY VIDEO SUMMIT

page 10

page 11

COVER STORY

LIVE FROM THE

2022 FIFA WORLD CUP Starts on page 14

SVG LOOKS BACK

SUPER BOWL LVII Starts on page 44

white papers 62

LAWO | FLEX YOUR BROADCAST MUSCLE

66 NVIDIA | 8K/HFR VIDEO ACQUISITION ON THE EDGE WITH IP FOR SPORTS BROADCAST 68 SONY | ADVANCED VIDEO CODING TECHNOLOGY WITH ULTRA-LOW LATENCY FOR CONNECTED ACQUISITION, REMOTE, AND CLOUD-BASED LIVE PRODUCTION

4

78

NAB 2023 PREVIEW

118

SVG SPONSOR UPDATE

128

SVG SPONSOR INDEX

136

THE FINAL BUZZER Industry at a Crossroads Heading Into NAB SPORTSTECHJOURNAL / SPRING 2023

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ASSOCIATION LEADERSHIP

FROM THE CHAIRMAN

A BUSY SCHEDULE GETS A LITTLE HELP FROM CHATGPT

By Mike Davies Sports Video Group, Advisory Board Chairman Ugh! Me write about technology in sports broadcast production in year 2023.

Me see much fancy stuff now. Big screens show sports big like mammoth. Me see fast moving pictures of sports on rock walls. Me hear sounds of sports in ears like thunder. All come from little magic box with buttons.

Me also hear about robots and drones that help make sports broadcast.

Me no understand what robots and drones are, but me hear they do many things to help make sports better. Me think they like little mammoths.

Me like all this new technology in sports broadcast production. It make me happy. Me hope it make other cavemen happy too.

OK. So it turns out I was a little short of time and decided to write this with ChatGPT, but to spice it up, I had it written in the voice of a caveman, and it didn’t offer as much insight as I had hoped, so let me try again.

My thoughts are not technology-based as they are organizational. One thing for sure is that technology makes more work possible, which then requires more technology, and around we go.

It is true that — to a person — we have been busier as an industry, in terms of work done, shows accomplished, units sold, or flops flipped (or flips flopped as the case may be). Regardless of what technology brings us, the people will wield it, no matter what the Skynet company has to say about it. We continue to be an industry that counts on people to do the work, which is skilled work.

As such, a part of our jobs, and something we talk about frequently at our meetings, is how we fill the feeder lines of talent required to support our industry. We must do more to increase our ranks, but I see bona fide hope and measurable progress. Even evangelizing the career possibilities in our industry can help open young peoples’ minds to its opportunities.

Making our industry more accessible to young people — particularly those who might have difficulty finding it — is a job for all of us. It is a job that we are getting better at addressing. The fact is that while our industry is uniquely susceptible to the ebbs and flows of the broader economy, I am profoundly optimistic about this industry as a career. <

6

SPORTSTECHJOURNAL / SPRING 2023

>CHAIR

Mike Davies, Fox Sports, SVP, Technical and Field Operations

>EXECUTIVE COMMITTEE

Ken Aagaard, SVG Chairman Emeritus and HOF Chairman Andrea Berry, NBCUniversal –Telemundo and Latin America, EVP, Operations and Technology Eric Black, Edgio, CTO/General Manager, Media Chris Brown, WBD Sports, VP, Tech Operations Jason Cohen, CBS Sports and CBS Sports Network, VP, Remote Technical Operations Mike Connelly, Bally Sports, EVP Scott Gillies, SkyRae, President Steve Hellmuth, SVG Chairman Emeritus and NBA Entertainment, EVP, Media Operations and Technology Jeff Jacobs, NEP Group, SVP and Head of Production Patty Power, CBS Sports, EVP, Operations and Engineering Tom Sahara, SVG Chairman Emeritus Susan Stone, MLB Network, SVP, Engineering and Operations

>ADVISORY BOARD MEMBERS

Adam Acone, NFL Network, Director, Media Operations and Planning Glenn Adamo, Ivanhoe Media and Entertainment, President Peter Angell, Industry Consultant Craig Bernstein, NBC Sports, VP, Remote Technical Operations and Engineering Marsha Bird, NBC Olympics, VP, Olympic Operations Onnie Bose, NFL, VP of Broadcasting Dylan Boucherle, Warner Media/Turner Studios, VP, Technology Strategy and Media Workflows Kendall Burgess, Major League Baseball, VP of Operations, Local Media Tab Butler, Industry Consultant Chris Calcinari, ESPN, SVP, Production Operations, Disney Media and Entertainment Kevin Callahan, Fox Sports, VP, Field Operations Mary Ellen Carlyle, Dome Productions, SVP and GM Brad Cheney, Fox Sports, VP, Field Operations and Engineering Ken Clausen, HBO, Director of Production Joe Cohen, Industry Consultant Michael Cohen, United Soccer League, EVP and Head of Broadcasting and Media 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 Patti Fallick, USTA, Managing Director, Broadcast Mike Francis, CBS Sports, VP, Engineering and Technology Karen Ganjamie, MLB Network, VP, Broadcast Operations and Network Origination Jerry Gepner, CP Communications, COO Steve Gorsuch, Industry Consultant Ken Goss, NBC Sports, SVP of Remote Operations & Production Planning Mark Haden, NHL, Group VP, Broadcast Technology Rob Hedrick, NHRA, Tech Manager, Director of Production and Supervising Producer 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 Jordan, CVE, 1337 Facilities, CEO; Venue Road, Founder John Kvatek, FX Group, Director, Sports Broadcast Development 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 Ken Miller, Amazon, Director, Live Content Production and Operations Rama Motwani, WWE, Director, Digital Products 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, Industry Consultant Scott Rothenberg, NEP, SVP, Technology and Asset Management Oscar Sanchez, CONCACAF, Director of Broadcast Operations David Schafer, MSG Networks, SVP, Operations Bruce Shapiro, Broadcast Consulting Tracey Shaw, Digital Joy, President and Co-Founder Don Sperling, New York Giants Entertainment, VP and Executive Producer Jared Stacy, Amazon, Director, Global Live Sports Production Jerry Steinberg, Industry Consultant Steve Stum, NASCAR, VP, Operations and Technical Production Patrick Sullivan, Game Creek Video, President Jason Taubman, Game Creek Video, VP Design/New Technology Tina Thornton, ESPN, SVP, Content Operations Larry Tiscornia, Industry Consultant Jacob Ullman, Fox Sports, SVP, Production and Talent Development John Ward, Amazon, Senior Manager, Technical Operations Ernie Watts, Industry Consultant Mike Webb, YES Network, VP, Broadcast Operations Jeff Willis, Industry Consultant Dave Zur, KSE Media Ventures, SVP, Operations & Engineering

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COVERING THE FIELD PLATINUM SPONSORS

PREMIER SPONSORS

ABSEN • ADDER • APPEAR • ATEME • AMAZON WEB SERVICES • BLACK BOX • CALREC AUDIO / DIGICO • CHYRON • CLEAR-COM • COBALT • DATACORE • EDITSHARE • EVERTZ • EVS • FORTINET • FX DESIGN GROUP • G&D NORTH AMERICA • GRAVITY MEDIA • IHSE USA • IMAGINE COMMUNICATIONS • MARKERTEK • MICROSOFT • NETGEAR AV • PANASONIC • PUGET SYSTEMS • QVEST • ROHDE & SCHWARZ • RTS • SIGNIANT • TAGBOARD • TELESTREAM • TELOS ALLIANCE • TERADEK • TRANSMIT • TVU NETWORKS • UNREAL ENGINE • VERIZON BUSINESS GROUP

CORPORATE SPONSORS

7 POINT AUDIO • AJA • APM MUSIC • ARISTA NETWORKS • ARKONA • ARRI • ARTEL • ASTOUND • ASTRODESIGN • ASTUCEMEDIA • AUDAZZIO • AUDIO-TECHNICA • BACKLIGHT • BELDEN • BEXEL • BITFIRE NETWORKS • BLACKBIRD • BRAINSTORM • BRIDGE DIGITAL • BROADFIELD DISTRIBUTING • CHAMPION DATA • CIS GROUP • CLARK WIRE & CABLE • COMCAST TECHNOLOGY SOLUTIONS • COMPRIMATO • CREATIVE DIMENSIONS • DAKTRONICS • DALE PRO AUDIO • DALET • DATA EXPEDITION • DELL TECHNOLOGIES • DEVLIN DESIGN GROUP • DIZPLAI • DMC BROADCAST GROUP • EDGIO • EEG | AI MEDIA • ELUVIO • ENCOMPASS DIGITAL MEDIA • ESTES FORWARDING WORLDWIDE • EUTELSAT • EVERGENT • EXERTIS • FASTLY • FINGERWORKS TELESTRATORS • FOR-A • FORECAST CONSOLES • FRIEND MTS • GENIUS SPORTS • GLOBECAST • GLOOKAST • GOOGLE CLOUD • GRABYO • HAIVISION • HARMONIC • IMAGEN • INTELSAT • JOSEPH ELECTRONICS • JVC PROFESSIONAL VIDEO • JW PLAYER • LEADER INSTRUMENTS • LEGRAND AV • LTN GLOBAL • LUCIDLINK • M2A MEDIA • MAGNIFI • MARSHALL ELECTRONICS • MATROX • MAXON • MEDIA LINKS • MEDIAKIND • MO-SYS • MOBII • MOBILE TV GROUP • MPE • NEMAL ELECTRONICS • NET INSIGHT • NET SCOUT • NEWSBRIDGE • NEXTOLOGIES • OBJECT MATRIX • OPENDRIVES • OPENGEAR • OSPREY VIDEO • PHENIX • PIXELLOT • PIXOTOPE • PLATINA SYSTEMS • PLIANT TECHNOLOGIES • PRODUCTIONHUB • PROFESSIONAL WIRELESS SYSTEMS • QUANTUM • QUANTUM5X • QUINCE IMAGING • RT SOFTWARE • SEAGATE TECHNOLOGY • SENCORE • SENNHEISER • SES • SHURE • SILVER SPOON ANIMATION • SINGULAR.LIVE • SKYLINE COMMUNICATIONS • SMT • SNA DISPLAYS • SOLID STATE LOGIC • SPECTRA LOGIC • SPIIDEO • SPORTRADAR • SSIMWAVE, AN IMAX COMPANY • STATS PERFORM • STREANN MEDIA • STUDIO NETWORK SOLUTIONS (SNS) • SUPPONOR • SYNAMEDIA • TAG V.S. • TATA COMMUNICATIONS • TECHNICOLOR • TELEMETRICS • TELLYO • TELSTRA • THE STUDIO-B&H • TSL PRODUCTS • UNIQFEED • VARIANT SYSTEMS GROUP • VENUE EDGE • VERITONE • VIDEON • VIDISPINE - AN ARVATO SYSTEMS BRAND • VISLINK TECHNOLOGIES • VISTA WORLDLINK • VITAC • VITEC • VIVARO MEDIA • WASABI TECHNOLOGIES • WAVES AUDIO • WESCO • WSC SPORTS • XYTECH SYSTEMS

MOBILE/INTEGRATOR SPONSORS

3G WIRELESS • ADVANCED IMAGE ROBOTICS • ADVANCED SYSTEMS GROUP • AE LIVE • AERIAL VIDEO SYSTEMS • ALL MOBILE VIDEO • ALLIED BROADCAST GROUP • ALPHA VIDEO • ARCTEK SATELLITE PRODUCTIONS • AZZURRO GROUP • BECKTV • BROADCAST MANAGEMENT GROUP • BROADCAST SERVICES INTERNATIONAL (BSI) • BROADCAST SPORTS INTERNATIONAL (BSI) • C360, A COSM COMPANY • CARTONI • CINESYS • CLARK • CP COMMUNICATIONS • CREATIVE MOBILE SOLUTIONS • CTI • DIGITAL GLUE • DISGUISE • DIVERSIFIED • DNA STUDIOS • DOME PRODUCTIONS • DX3 MEDIA • ES BROADCAST • FLETCHER SPORTS • FLYCAM • GAME CREEK VIDEO • GEARTECH USA • HLW • ILLUMINATION DYNAMICS • INTEGRATED MEDIA TECHNOLOGIES • KEYCODE MEDIA • KMH AUDIO-VIDEO INTEGRATION • LH COMPUTER SERVICES • MEYERPRO • OSA INTERNATIONAL • PLANETCAST INTERNATIONAL • PSSI/STRATEGIC TV • PURE MOBILE PRODUCTIONS • REALITY CHECK SYSTEMS • RF WIRELESS SYSTEMS • RUSH MEDIA COMPANY • SKYCAM/CABLECAM • SOLOTECH • SPALK • ST ENGINEERING IDIRECT • SUITELIFE SYSTEMS • SUPERVIEW • SYSTEMS INNOVATION • THE FAMOUS GROUP • VETERANS TV • VIDOVATION • WJHW • ZERO DENSITY

8

A WELCOME RETURN TO NORMALCY

By Karen Hogan Ketchum, Sports Video Group, Director of Production and Editor, SportsTech Journal Every year, as I sit down to write this letter outlining what the latest edition of the SVG SportsTech Journal will include, I begin by reading what I wrote for previous Journals. Each serves as a time capsule, reminding me where we as a company and as an industry were at that particular moment in time. And the experience of reading what I wrote in Spring 2022 was no different. I was suddenly reminded of the uncertainty we faced heading into the NAB 2022; not only what we might expect from the show but, following two years of cancellations, whether the show would even happen. I was also reminded of the joy we collectively felt when we were finally able to reunite in Las Vegas once again.

With NAB 2023 just around the corner, those concerns have largely faded and our expectations are set for a show that feels — for the most part — normal. As SVG Executive Director Ken Kerschbaumer writes in his letter on page 136, we may not be quite back to where we were pre-pandemic, but “it’s hard to think of an NAB that is as important to attend as this one.” For a preview of the new technology, solutions, and services that you can expect from this year’s show, turn to page 78 for NAB Previews from 250+ leading technology vendors.

The 2022 FIFA World Cup also served as a welcome gathering point for the sportsproduction industry during the past year. We devote the cover story of the Spring 2023 SVG SportsTech Journal to this quadrennial event and the massive production efforts undertaken by FIFA, HBS, Fox Sports, Telemundo, and a cavalcade of international broadcasters. Turn to page 14 to read more, and be sure to check out our SVG SportsTechLive: World Cup Blog, featuring plenty of onsite behind-the-scenes reporting from the SVG and SVG Europe editorial teams.

Following closely on the heels of the World Cup, Fox Sports kicked off 2023 with Super Bowl LVII; not only a thrilling matchup on the field, but an exciting technological leap forward off the field thanks to advances in HDR, augmented reality, and 8K. Turn to page 44 for in-depth coverage of Fox Sports and NFL Media, as well as inside looks at how the Arizona Cardinals, Kansas City Chiefs, and Philadelphia Eagles tackled the Big Game. For more, check out the SVG SportsTechLive: Super Bowl LVII Blog.

Closer to home, the SVG calendar was busier than ever with tentpole events like the SVG Summit and Sports Broadcasting Hall of Fame (page 10), stalwart events like TranSPORT and Esports Production Summit (page 11), virtual events like Teams Summit (page 12), and new events like Remote Production Forum (page 10) and Silicon Valley Video Summit (page 12). Be sure to catch up on VOD from our past events on SVG PLAY (svgplay.sportsvideo.org) and mark your calendars for upcoming events!

Rounding out the Spring 2023 SVG SportsTech Journal are three industry White Papers. Turn to page 62 to read “Flex Your Broadcast Muscle” (Lawo), “8K/HFR Video Acquisition on the Edge With IP for Sports Broadcast” (NVIDIA), and “Advanced Video Coding Technolgoy With Ultra-Low Latency for Connected Acquisition, Remote, and Cloud-Based Live Production” (Sony). And, if you’re looking for further insight into the future of our industry, check out the Sponsor Update section on page 118 featuring updates from 100+ leading manufacturers, integrators, and more.

Enjoy the Spring 2023 SVG SportsTech Journal, and we can’t wait to see what the next year brings! <

SPORTSTECHJOURNAL / SPRING 2023

Live Transcoding Video Optimized Integrated Live Transcoding

EVENTS RECAP

SPORTS VIDEO GROUP CONFERENCES IN REVIEW REVIEW

> SVG SUMMIT NEW YORK CITY DECEMBER 12-13

The 16th-annual SVG Summit brought together more than 1,200 sports-production professionals at the New York Hilton Midtown hotel for two days of informational panels and workshops, cutting-edge technology showcases, and, most important, plenty of opportunities for attendees to network face-to-face and catch up with friends old and new. The Summit crescendoed with a Keynote Conversation with Jimmy Pitaro, Chairman, ESPN and Sports Content, The Walt Disney Company.

The first day of the SVG Summit once again featured a full day of workshops offering a detailed look at the industry’s latest technology trends in Cloud Tools & Services, Cybersecurity, the Future of Remote Production, Audio Production and Distribution, OTT and Streaming, and Content Management, as well as the second-annual SPIRIT (Sports Production Inclusion & Responsibility in Technology) Workshop.

On Tuesday, the Summit featured a full day of main-stage sessions focused on League Perspectives (with speakers from NASCAR, NBA, NFL, and USTA); The State of the Industry (with Bally Sports, Fox Sports, MLB Network, NBA Entertainment, and Sky Deutschland); a presentation from Devoncroft offering a forecast for the future of the industry; Deep Dive sessions with CBS Sports, Fox Sports, NBC Sports, and Women’s Sports Programming and Production leaders; a trio of case studies from Diversified, Dolby and EVS; and the Closing Keynote Conversation with Pitaro.

Above, from left to right: Fox Sports’ Mike Davies (SVG Chairman); Fox Sports’ Mike Davies, Bally Sports’ Michael Connelly, NBA Entertainment’s Steve Hellmuth, Sky Deutschland’s Alessandro Reitano (SVG Europe Chairman), and MLB Network’s Susan Stone; ESPN’s Kevin Lopes; NBA Entertainment’s Steve Hellmuth; and NBC Sports’ Mike Tirico (Host for the 2022 Sports Broadcasting Hall of Fame Ceremony) Below, from left to right: Dolby Laboratories’ Cherylene McKinney, NBC Sports and Olympics’ David Mazza, ESPN’s Sara Gayer, and EVS’s James Stellpflug

> REMOTE PRODUCTION FORUM LOS ANGELES SEPTEMBER 21

SVG’s Remote Production Forum headed out west to dive deep into the increased role of at-home production models within the last two years. At the Luxe Sunset Boulevard Hotel in Los Angeles, the one-day event saw executives from all facets of the industry come together to share ideas about how remote workflows are impacting their content and the way they operate moving forward. Still feeling the lingering effects of the COVID-19 pandemic, these leaders are always adapting to serve highquality productions to their audiences.

Clockwise from upper left: NEP Group’s Brian Sullivan, The Professional Fighters League’s John Faratzis, CONCACAF’s Oscar Sanchez, LTN’s Colin Moran, Fox Sports’ (and SVG Chairman) Mike Davies, and Telemundo’s Donatto Punyed

10

SPORTSTECHJOURNAL / SPRING 2023

Ken Aagaard | Marv Albert | Steve Anderson | Roone Arledge | Fred Aldous | Marvin Bader | Julius Barnathan | Chris Berman | Deane Beman | Andrea Berry | Gary Bettman | George Bodenheimer | Steve Bornstein | Garrett Brown | Jack Buck | Dick Button | Mary Carillo | Mary Ellen Carlyle | Leonard Chapman | Frank Chirkinian | Joe Cohen | Bud Collins | 15th-annual BroadAllanThe B. “Scotty” ConnalSports | Howard Cosell | Bobcasting Costas Hall | Harry Coyle Ceremony | Bob Dixon | of Fame Ray Dolby | Dick Ebersol | Mike “Doc” brought the industry together at Emrick | Dick Enberg | Bob Fishman | theFinch New| York Hilton Midtown Davey Bill Fitts | Chet Forte | Bill France, Barry Frank | Jerry Gepner HotelJr.to |induct nine legends who | Frank Gifford | Ed Goren | Curt Gowdy | made an indelible mark| on Budhave Greenspan | Sandy Grossman David sports-TV Hillthe | Stan Honey |and Deb-media Honkusindus| George Hoover ChuckAdams, Howard Terry | Keith Jackson try: |Terry Brad| Barry Johnstone | Howard Katz | Peter shaw,| Joe Buck, Drew Esocoff, Larsson Steve Laxton | Cory Leible | BobRoger Ley | Goodell, Verne Lundquist | John Madden Ross Greenburg, | Geoffrey Mason | David Mazza | Tim Manolo Romero, Deena Sheldon, McCarver | Mark McCormack | Jim McKay Darrell Wenhardt. | Sean and McManus | Al Michaels | Gene Mikell | Bob Mikkelson | Brent Musburger

> TRANSPORT NEW YORK CITY OCTOBER 18

SVG’s annual TranSPORT conference returned in person for the first time in three years at The Cutting Room in New York City for a full day of sessions focused on the current state of live-sports-transmission technology. TranSPORT addressed the industry’s most pressing contribution and distribution issues including the latest developments in terrestrial and satellite backhaul, IP and bonded-cellular contribution, the potential of 5G and other next-gen technologies, OTT and streaming protocols, 4K and HDR delivery, the rise of REMI and centralized-production workflows, and more. Technology leaders from both major sports broadcasters and broadcast vendors offered up the latest developments in this integral sector of the sports-media ecosystem.

Clockwise from upper left: LiveU’s Janel Moorefield, Lumen’s Vinny Cimino, SES Satellites’ Susanna Mandel-Mantello, Nevion’s Andy Rayner, Verizon Business Group’s Tim Stevens, and Astound Business Solutions’ Sean Sullivan The Rise of Internet-Based Backhaul: RIST, RTMP, SRT, Zixi, and the Future of Contribution panel (from left): Haivision’s Mark Horchler, The Switch’s Alex Joyce, Teradek’s Jon Landman, RIST Forum’s Ciro Noronha, and Zixi’s Emeka Okoli

> ESPORTS PRODUCTION SUMMIT LOS ANGELES NOVEMBER 10

The fifth-annual SVG Esports Production Summit descended on Los Angeles with a full day of panels, keynotes, case studies, and technology showcases delving deep into the nextgen workflows being used by today’s top esports event producers, leagues, and streaming platforms. The esports-production industry has undergone a seismic shift as a result of the pandemic, and, as a result, the way live events are produced has changed dramatically. Production teams at top esports organizations discussed the latest production and technology trends, how they are embracing cloud-based and remote-production workflows, and what it all means for your operation as in-person, onsite events return.

Clockwise from upper left: Riot Games’ James Wyld, EA’s Joseph Lynch, NewTek’s Chris Burgos, Riot Games’ Scott Adametz, Super League Gaming’s Brian Gramo, and Esports Observer Elton “XT” Moc The State of the Industry panel featured (from left to right): Esports Engine’s Ryan Thompson, FACEIT’s Andrew Lane, EA’s Joseph Lynch, and SVG’s Jason Dachman

Riot Games’ Carrie Dunn (top) and Nick Troop presented an opening keynote at the SVG Esports Production Summit on the historic 2021 League of Legends World Championship production.

EVENTS RECAP continued

> TEAMS SUMMIT

VIRTUAL FEBRUARY 7

Always trying to dazzle diehard supporters and attract a new wave of fans, professional sports teams always have their eyes on the next big innovation. At the third-annual SVG Teams Summit, this virtual event provided an update on studio-based productions, took a look at how organizations are developing new ways to connect with audiences, and showcased the latest technologies and workflows that help generate content.

SILICON VALLEY VIDEO SUMMIT MOUNTAIN VIEW, CA JANUARY 26

T

he inaugural Silicon Valley Video Summit drew more than 400 attendees to the Computer History Museum in Mountain View, CA, for a day of presentations and conversations about how tech companies are building their own broadcast infrastructures and producing live video events and corporate video content for internal and external audiences. Produced

by SVG in partnership with the At the inaugural Silicon Valley Video Summit, Dolby’s and SMPTE SF’s Kent Terry (from left) SMPTE San Francisco Chapter, lead a discussion about the future of SMPTE 2110 with Imagine Communications’ John Mailhot the event featured a keynote and LearnIPVideo.com’s Wes Simpson.

by Apple Computer co-founder Steve Wozniak, whose speech and private meeting with local film and television students focused on how NTSC television and, in particular, SMPTE standards were a core basis for his development of the first Apple computer and helped shape his career in electronics engineering.

Clockwise from upper left: Zoom Video Communications’ Andy Carluccio, Advanced System Group (ASG)’s Claudia Souza, NBCUniversal’s Maurissa Dorn, Apple’s Steve Wozniak, Silicon Valley Video Summit Program Chair Peter Thordarson, and LinkedIn’s Gary Schneider

Relive SVG Events with with video on demand available exclusively on SVG PLAY: svgplay.sportsvideo.org 12

SPORTSTECHJOURNAL / SPRING 2023

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SPORTSTECHJOURNAL / SPRING 2023

LIVE FROM THE

2022 FIFA WORLD CUP F

or nearly a month, the world’s sports fans turned their collective attention to Qatar for the 2022 FIFA World Cup. The SVG and SVG Europe team was onsite as well, reporting

from behind the scenes and interviewing key executives from FIFA, HBS, Fox Sports, Telemundo, and a number of other rightsholders.

The compressed event schedule meant busy days and nights for all involved, but the end result was a tournament full of great moments, plenty of drama, and arguably one of the best World Cup Finals ever.

The following pages feature some of our favorite stories from our coverage, and if you want to check out all of our reports, please visit our SVG SportsTechLive: World Cup Blog.

SPORTSTECHJOURNAL / SPRING 2023

15

SVG LIVE FROM 2022 FIFA WORLD CUP

FIFA’s Florin Mitu on the Evolution of World Cup Coverage

By Ken Kerschbaumer

F

lorin Mitu is head of broadcast production for the 2022 FIFA World Cup in Qatar, and this year’s effort was years in the making. And, although the COVID pandemic and the global supply-chain crisis impacted efforts, innovations like a move to IP, new workflows in UHD and HDR, and additional broadcast enhancements lifted the quality of the viewing experience. Midway through the tournament, Mitu sat down with SVG at the IBC to discuss the efforts.

What have been your general impressions of how the World Cup has played out?

It’s an extremely well-organized event on all fronts, and we are very grateful for those who have worked over the last 12 years to put this in place. The stadiums, as you probably have seen, are fantastic. The facilities here at the QNCC [where the IBC is located] are great and unique. I don’t know whether you’ve been already to the presentation facilities at the Souq Waqif, but we benefit from a great location, which is the location that all broadcasters wanted.

As an extension to that, we have also the presentation platforms with the views of the skyline and the Corniche. We spent quite a long time trying to find the best spot to showcase the host country to the viewers of the world.

FIFA’s Florin Mitu: “I think the achievements here are some that will make everybody proud at the end of the tournament.”

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There have been a lot of technology enhancements and evolution. There’s the move to IP; there’s the move to UHD, HDR. What are some of your takeaways, some lessons so far, regarding some of those transitions?

With the move to IP, when you look back at 2018, we were not yet making full use of it. Shortly after that, we decided to go that route for 2022.

Then what happened, with COVID on a global scale, the use of IP and remote was accelerated.

It was still a key decision for us to take, and we had to look at it very carefully. We had to decide whether that made sense in terms of a full-scale remote production for this tournament or not. We weighed the risks and the advantages and then decided against a complete remote production.

That said, we have increased the scope of remote here. The multi-feeds at the IBC that used to be produced at galleries at the venues are all now being done in dedicated galleries at the IBC. That was our first step in this direction.

In the future, there will be more steps in this direction, which I can’t disclose at this point in time, but there’s something very exciting in the pipeline.

IP is still in relatively early days, and there are still some things to be sorted out. What are your thoughts on where IP is in terms of maturity?

For technical providers, I think it’s a matter of getting more experience in using it, getting more training of staff, and getting to know the capabilities of the technology and software better. There’s still a certain element of learning that is happening here. That’s one of the main challenges that our host broadcaster had to fix.

How has the UHD/HDR 12-gig service been received by rightsholders?

We have 24 takers, which is great. It’s the same as in Russia [site of World Cup 2018], but now we are distributing it onsite. It’s an evolution from the Russian model, which, as you may remember, we had a dedicated main camera, which was used for the UHD feed. Here, there’s one hybrid UHD/HD model because you can’t find so many native UHD cameras in the whole world.

We then decided together with HBS to go for the wide-shot cameras in UHD and the close-up and the super-slo-mo [cameras] in 1080p. It’s working great, and we’re very happy with that. We also haven’t received any complaints so far. In 2018, on the broadcaster side, there was still a struggle to understand precisely the HDR workflows and the various flavors and how they applied to your production chain and so on. Now it’s very smooth.

How would you describe the FIFA/HBS LUT for HDR? I know each one has its own characteristics, such as either going for being more realistic or being more vivid.

I think it’s both of that: a more realistic look and different colors.

But, yes, we created our own LUT for this tournament, and we are very happy with how it looks and how it improves the viewers’ experience. That comes together with the immersive sound, of course.

From a production perspective, is there anything you think is still missing?

To be honest, look at what happened here. Camera-wise, where do you go beyond 42? I mean, yes, you can add more cameras, but you are seeing pretty much everything that’s happening down on the field.

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The route we were very excited to take was to integrate some of the work our colleagues from other divisions in FIFA do — such as the High Performance Team, led by Chief of Global Football Development Arsène Wenger, as well as the Football Technology and Innovations Team — and try to improve the viewers’ experience and understanding of the game by incorporating some of their tools.

Therefore, we have introduced, for the first time ever, Enhanced Football Intelligence statistics. They come on augmented reality before the match, halftime, after the match, and then as lower thirds during the match. That has never been done before.

We have a connected ball that sends data to a central server here.

That data is used, for instance, to calculate the speed of the ball. We now have that, which only seems natural.

But you need to have the tools to do it, and the chip in the ball helps us to do that and also allows us to see the spin rate, the speed of the ball as a play develops. We put those stats on the replays for situations when there was a free kick or a nice shot from outside the penalty box or inside the penalty box, which ended up with a goal.

Augmented reality is another development that we brought on the table here. We never had augmented reality before, and there has been quite a lot of work around that.

This is your last Men’s World Cup. What does that mean to you?

It’s interesting, because, in my career, I made various moves but my very first World Cup I worked onsite was in the U.S. in 1994 when I was commentating for Romanian television. All these years later, I have the privilege of leading the production project here for the FIFA World Cup. Next time, in 2026, I’ll be watching it as a fan.

Last question. How has the team done in getting this event to this point?

The team’s doing a great job, the whole team. Whether you’re talking about our people in FIFA, in my team, in the other departments and divisions of FIFA or the host broadcaster or the subcontractors, everybody’s working as one team, and that’s fantastic.

I think the achievements here are some that will make everybody proud at the end of the tournament. Everybody should look with a lot of pride back at this FIFA World Cup in 2022. <

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SVG LIVE FROM 2022 FIFA WORLD CUP

HBS CEO Dan Miodownik, CTO Christian Gobbel Reflect on Efforts

By Ken Kerschbaumer

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uring the first rest day at the 2022 FIFA World Cup, HBS CEO Dan Miodownik had one goal for everyone involved in producing the World Cup coverage: rest.

“We talk about FIFA World Cups and the intensity of the games,” he explained.

“With the way the quarterfinals are lining up, everyone has to refocus because every single match becomes more important every single day.”

Christian Gobbel (left) and Dan Miodownik of HBS inside the main equipment room at the 2022 World Cup IBC in Doha

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HBS was at the center of the production efforts, a role it has performed since 2002. The company coordinated the technical facilities, technology providers, production personnel, and much more. And it produced not only the live coverage of the match but created thousands of hours of content around the event: multi-feeds offering various clips around a match to scenics, social-media and digital content, and much more. HBS also managed the IBC and fulfilled requests from rightsholders for everything from ENG needs to studio space to commentary positions and, of course, IBC operations.

This year’s FIFA World Cup introduced more innovation than any previous Cup: the move to IP, a single-layer production standard based on HDR, and, of course, new digital services and feeds like the Fan Feed, which have been big hits. As with any event, though, innovation comes with challenges. Topping that list this year was the move to IP, which opened up new workflows and flexibility.

IP made a difference, enabling remote production for match-day–minus–one operations, 32 cameras providing four-camera coverage of eight team training sessions per day across 32 training sites, and 24 fully remotecontrolled cameras for unilateral services around live match coverage. In addition, all cameras with remote heads (two tactical cameras and the beauty and the tunnel cameras) at each match were operated from the IBC. “That’s a perfect example of what it will be in the future,” said HBS CTO Christian Gobbel. “You will only deploy cameras; you compress them and have a center where you have shaders and, then you have virtualized galleries.”

Most important, creation of the multi-feed offering, which complemented the main live match feed, could be handled at the IBC instead of having to be deployed at each venue. For example, a multifunctional gallery handled training-ground and press-conference coverage, and four galleries were focused on creating the multi-feed offering.

“We have 14 galleries at the IBC sharing three Grass Valley K-Frame switchers,” said Gobbel. “We have up to 14 hardware or virtual panels on those three K-Frames. And then we kind of virtualized the whole operation and utilize the hardware in a more efficient way.”

Added Miodownik, “Technically, that’s really impressive and truly multifunctional as we are utilizing

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SVG LIVE FROM 2022 FIFA WORLD CUP A look at the various broadcasters’ cabins located in the 2022 FIFA World Cup IBC. our infrastructure in a way that is as flexible as possible. From a product point of view, we have greater consistency because we have the same team working consistently [as opposed to different teams at each venue].”

The coverage from the 32 training grounds also benefited because there were just two technicians with four cameras who can drive around Doha without the need for a production truck.

“Having multi-feeds is allowing us to be much more focused on editorial matters,” said Gobbel.

“For instance, [with] our new clips-compilation workflows, we can connect the venue network back to the IBC so the operators at the IBC are working on the same network. In the past, they had to mark clips and push them via file transfer; that meant a delay of two minutes. Now they have access to everything, and they can prioritize the best angles and push them forward on the playlist.”

Rightsholders also benefited in a variety of ways. For one thing, a unilateral service offering allowed them to hire a technician and one or two cameras and move them between locations, providing only talent and a camera operator.

The move to IP created lots of new ways to work, but the road had its share of nerve-wracking bumps. As for solving some of the issues, Gobbel said there needs to be more work on standards and interoperability, not only between manufacturers but sometimes among their own products.

“I think interoperability is the key thing in a real-world ST 2110 and 2022-7 implementation,” he added. “The standard needs to mature to operate equipment over a more standardized SDN control and having it control not only flows but also the endpoints. NMOS clearly has its limitations in a large facility like the one we have built. There are a lot of customized work-arounds required at the moment, when there is no real solution to specific problems.”

The shift of unilateral and multi-feed operations from the venue to the IBC meant that the compound and space for HBS operations were a little bit leaner.

“Basically,” said Gobbel, “we have a main gallery, audio gallery, the shader room, graphics, and slo-mo replay, and that’s about it.

Rightsholders just turn up with a flight case and get a 1- or 10-GB connection for their unilateral needs. Also, there is less use of the presentation studios and more use of the announcer platform and pitch positions, which they can do with one or two cameras for their onsite presentations.”

As more and more rightsholders get comfortable with remote production, broadcast-compound infrastructure begins to shrink. That was the case at several venues in Doha. A handful of broadcasters continued practices developed over the past two years of the COVID19 pandemic.

“All the tricks that people have learned throughout COVID are being applied here,” noted Miodownik. “Whether it’s the ability to go remote or semi-remote or it’s trusting in bonded cellular, they want to be nimble and agile with their technology.”

Despite these pockets of change, HBS remained bullish on having the bulk of staff onsite instead of opting for a full remote production. To capture the smallest details that pop up during the day or to shift gears and cover a more pressing topic for a particular match on a particular day, sending crews to the stadiums and the IBC in the host country made complete sense.

“There’s this desire to be pitch-side or within the bowl to connect with the viewer and be as close as possible,” added Miodownik. “That puts a lot of pressure on event operations from a technological point of view because they’re handling a lot more equipment.”

If providing the foundation of the linear feed weren’t enough, HBS worked alongside FIFA to augment the fan experience even further with the introduction of new data-infused graphics and visuals. With content produced after the match, near-live productions, and a stronger push for engaging detail content through every broadcaster, fans could be immersed in this global tournament from sunrise to sunset.

“Broadcasters want to get as much value out of this event as possible,” said Miodownik. “The pool of content can take a fan from breakfast to bedtime, so you need a variety of material to do that.”

While broadcasters entertain fans and provide them with a deeper context for a match, he was pleased with the way that semi-automatic offside and the way it was presented gave more clarity to tight decisions throughout the course of play.

“It’s popularly received because it ends the conversation,” he said.

“It doesn’t matter whether you agree or disagree. It says the true outcome in a simple and definitive way.” <

< A cine-style camera among fans at the Portugal v Switzerland round of 16 match.

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SVG LIVE FROM 2022 FIFA WORLD CUP In Conversation With World Cup Final Director Laurent Lachand

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sk Director Laurent Lachand how he’ll approach directing the 2022 FIFA World Cup Final, and his answer is similar to one that a player might give. “A match is a match for me, and I try to have the same investment regardless of the level or the occasion,” he said. “Sure, a World Cup Final is different, but it’s the same in the sense that it is still 90 minutes of normal time. In my position, it’s important not to have too much emotion because if you do, you’re not in control.”

Lachand also expected to have similar production plans for the final, with no major additions to the 42-camera setup that has been used to capture the action since the opening round of fixtures.

“The setup for the World Cup is amazing, and when we have such a good setup, and a good crew, if you add too much for the last match it can make things overly complicated,” he said.

Consistency was a common theme of the conversation with Lachand, whose credits include directing this year’s Champions League final as well as matches at the 2002 and 2018 FIFA World Cups, the FIFA Women’s World Cup in Canada in 2015, UEFA Euro 2016 in France and a host of French domestic and Champions League matches with Canal+.

In total, Lachand and his team had worked on 14 matches throughout the tournament, including two quarter finals, one semi-final, and the final.

“I think we have the most immersive coverage ever for a World Cup,” said Lachand, speaking with SVG in Doha around mid-way through the tournament. For Qatar 2022, FIFA together with host broadcaster HBS introduced a single-layer production standard based on HDR. That, said Lachand, has had an impact on his approach to covering games.

“You need less cutting from the main camera, because with the quality of the images, you see the players very well. So you need to be a little bit more conservative.”

Lachand said that since he started directing, he has gradually become more conservative when it comes to his style of overseeing coverage of a match.

“Not so much in terms of risk,” he explained. “It’s more about not imposing your own vision of the game. Sometimes, the best thing is to stay live because you need to see the interaction between players, or you need to see if the coach does something. So trying to remain live is more important than everything else.”

With some 42 cameras at his disposal, an increase in the amount of data and graphics to incorporate into coverage and FIFA’s efforts to reduce stoppages and the amount time that the ball is out of play, it must be a challenge to balance live coverage with replays and additional information.

“We need to be fast,” said Lachand. “We have to be focused on the game, with a full understanding of what’s happening. And sometimes, one slow-mo replay is enough, and we don’t need three or four. If something needs explaining and one slow-mo replay is enough to resolve it, that is fine. And we have different tools for different moments, so it’s about choosing the right one.”

Those different tools included semi-automated offside technology, provided via 12 dedicated cameras beneath the stadium roof to track the ball (which also had sensors) and up to 29 data points for each player, 50 times per second, to calculate their exact position on the pitch. The

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From left to right: PA Astrid Cimarosti, Director Laurent Lachand, and Vision Mixer Florian Anguise

29 collected data points included all limbs and extremities relevant for making offside calls.

Looking ahead, Lachand said that with pundits and viewers increasingly interested in the tactial aspects of the game, he would like to see further analysis added to replays. “I would like to have the opportunity on a second round of slo-mo to provide simple tools to do some tactical information on the slow-mo to explain a little better the tactical aspect, perhaps using a simple but very fast and quick to use palette.”

Another new addition to this year’s production and broadcast plans was the use of cine-style cameras. Lachand said the cameras have helped to create “very intense and very important moments in the tunnel before the players go to the pitch”.

He said: “For me, it’s very important to focus on the players, and share with viewers a last moment before the game. And I think this tool is very efficient for that, because we can concentrate a viewer’s eyes on one person.

“And then after the tunnel, we use this camera for fans, because it’s one of the most particular things about the World Cup. The beautiful atmosphere with fans is very different to the Premier League, French League 1, or the Champions League. It is more friendly and full of respect, and these cameras are a very efficient way to do this.”

Midway through the tournament, four of the knockout matches at Qatar 2022 were settled by penalty shootout. Viewers noticed that their perspective is different from that at Russia 2018, with a Spidercam now providing a view from behind the penalty taker.

“We [directors] had a discussion with HBS,” said Lachand. “We considered the penalty sequence after extra time, and we decided — HBS decided — to use the Spidercam for coverage of the penalty sequence because it’s clear.

“But if there is a penalty during the game, we stick with the main camera. The reason for that is because during the match there could easily be a second ball. You could cut away from the Spidercam back to the main cameras, but then you might have the Spidercam in shot and we want to avoid seeing the tools we use. I always give the example of a trip to the theatre; you don’t want to see the person moving the scenery.”

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SVG LIVE FROM 2022 FIFA WORLD CUP

Kevin Callahan of Fox Sports on the IP Transition and Return of Match-Day Control Rooms

By Ken Kerschbaumer

A

s the 2022 FIFA World Cup shifted from the grind of the Group Stage, with four matches a day, to the Knockout Stage, SVG caught up with Fox Sports VP, Field Operations and Engineering, Kevin Callahan to discuss how the tournament was progressing for the U.S. broadcaster. For the Fox Sports production team, getting to this point took years of planning and months of onsite activity to ensure that new workflows and old workflows meshed and help deliver a top-level product for fans back home. Callahan was the first to acknowledge that knowing that fans tuning in at a record pace makes a difference.

“It helps, and it’s one reason we like to let everybody know the figures and viewership that we’re getting,” said Callahan. “It’s great to see the work is being appreciated back home and is being consumed.

Being 8,000 miles away, it would be more difficult if we weren’t getting that feedback from friends and family. It helps give you that extra energy on Day 20.”

The IBC facility was 30 x 38 meters and housed the central operations for all Fox Qatar operations.

All match feeds from HBS and all unilateral feeds from the venues or studios and stages hit this plant before heading to the U.S. and the Fox facilities in Tempe, AZ, and Los Angeles.

The biggest change for this World Cup compared with the previous few was that all matches are being put together in one of two match-control rooms, each comprising an audio room and a video-mixing room.

“We insert the clock and score as well as do transitions to and from the studio show,” said Callahan. “The audio is here as well, taking our announcers from the stadium and incorpo-

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Fox Sports Kevin Callahan: “We’ve always talked about converged networks and things coming together, and we truly are there now with a singular network.”

SVG LIVE FROM 2022 FIFA WORLD CUP

rating them with the effects that come from HBS. We haven’t had those match-control rooms in-country since 2015, when we did the Women’s World Cup in Canada.”

The reason for the change? There was an additional commercial break between the national anthems and kickoff.

“Because of the tightness of that break and some elements we are required to get in as a condition of that,” said Callahan, “we wanted to have the match-control rooms here in-country to give us the most flexibility to work with the studio show.” Ross Carbonite production switchers and Calrec audio consoles were key components in those rooms.

The advantages of having match control onsite was that it reduces the number of signals Fox needs to send between facilities.

“We’re able to deliver our final composited program from here in Doha; that cuts down latency with return feeds back to the venue and it makes for a smoother integration with the studio,” he said. “The downside is, we need to travel more people and it’s taking up real estate in the IBC.” The IBC was also where Fox Sports drives its media-management and central-ingest operations.

“The Google IAS MAM system makes our content instantly available wherever somebody needs it,” Callahan said. “We are writing that content to storage located here at the IBC and sending the growing files up to the cloud. We’re also doing some live streaming to our storage in Los Angeles direct from here. The latter is for post and quick-turnaround stuff.”

In terms of innovations, the biggest advance was the use of the EVS Strata media-infrastructure products.

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The Fox Sports crew at the IBC takes a welcome break.

“That’s the core behind everything we’re doing here,” he said.

“Their Neuron Compress, Neuron Convert, and Neuron Bridge are at the core of our signal management and routing. They’re extremely flexible: [for example,] Convert allows for up-, down-, cross-, and tone-mapping natively in the ST 2110 environment.

We don’t have to go through a gateway.”

Callahan noted that it has flexibility in terms of LUTs (Look Up Tables) that can be loaded in for the UHD/HDR side of things.

“The FIFA LUT is slightly different from the ones we’ve used in our other broadcasts,” he added. “And the Neuron Shuffle gives us greater flexibility with audio and having different group sizes.

With that, we can take in what comes from the host, use it in our own production, but then archive something different, and create the different versions that are needed throughout Fox.” FIFA and HBS offered a choice of feed formats, and Fox took both the 12-Gbps 4K HDR feed and then the 3G HDR feed with the latter being the base level.

“Everything in this facility is operating at a minimum of 1080p50 HDR,” said Callahan. The studio operations are limited to 1080p50, primarily because of the current limitations of augmented-reality graphics to be fully 4K HDR-capable. The 4K HDR feed is being sent to a control center in Tempe, AZ, where ad insertion is completed and the signal distributed to MVPDs and the FOX Sports App. continued on page 36

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SVG LIVE FROM 2022 FIFA WORLD CUP Fox Sports Spreads Impressive Studio Presence Along Doha Bay

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here’s the idea that studio coverage needs to create its own environment, and then there’s the philosophy of Fox Sports’ remote studio operations at the FIFA Men’s World Cup in Doha, Qatar. Blending unique applications of creativity and technology with the natural and man-made beauty of the city, the broadcaster developed four sets along the Doha Corniche, the 4.4-mile waterfront promenade that hugs Doha Bay. “We put a lot more attention into not only being correct or architecturally appropriate into the area but making [our sets] shine,” said Rod Conti, VP, remote studio operations, Fox Sports. “It has definitely become the star of our shows.”

Mesmerizing fans at home with bright lights, swooping shots, and bursting energy took two years of planning, planning, and execution by the Fox Sports team. As the city of Doha rose to meet the gargantuan expectations of hosting an event like the FIFA World Cup, Conti and his team chose a location that would identify for viewers what city the tournament is being played in. For past events, this meant choosing St. Basil’s Cathedral in Red Square for the 2018 FIFA Men’s World Cup in Moscow or the Eiffel Tower for the 2019 FIFA Women’s World Cup in Paris. Unlike those two cities, however, Doha is only 127 years old and still developing into the modern age. The crew had some searching to do.

“When we came to Qatar, they didn’t have [an iconic location] that stood out since it’s a fairly new country,” said Conti. “When we were looking around for different options, which involved the Souq Waqif, Al Bidda Park, and the museums, we understood that this is a country on the move when we saw the downtown skyline. We’ve seen it grow incredibly, and everything started to come to life very quickly.”

Working closely with the Supreme Committee for Delivery & Legacy, a Qatari-run group that oversees delivery planning and operations for the 2022 FIFA World Cup, Fox Sports zeroed in on the Doha Corniche: a popular meeting place for locals and tourists alike that provides tantalizing vistas of the skyscrapers and the Doha Bay section of the Arabian Gulf. Since the skyline is continually growing vertically, Conti and VP, Field Operations and Engineering, Kevin Callahan wanted to marry this burgeoning town with its roots.

“We took the dhow boats, which we noticed were an older part of their pearl-diving history, and we said, ‘You know what? The contrast of the old and the new might be the backdrop,’” added Conti. “We saw this picture in our heads and knew that we wanted to have this spot.”

Pen was put to paper, and conceptualizations became drawings.

Collaborating with Los Angeles-based |drive| studio, Fox Sports EVP/ Creative Director Gary Hartley and Art Director Johnny Cho produced the final blueprint for the project. Aiming to showcase the culture and daily life of the host nation, the pair made sure to feature work of local artists on the building’s exterior and integrate symbols and iconography: rectangular flags on the ceiling to honor the Qatari passion for falconry, Persian pillows and tapestry, hand-made pottery, and desert rose, a roselike crystal that can be found in-country.

Planning transitioned into real-world construction in the latter part of 2022. With the set pre-built in Fox Sports’ Charlotte, NC, facility and shipped overseas in 46 containers, operations shifted to Doha in mid-

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The Fox Sports studio in Doha offered plenty of production flexibility to allow for multiple looks.

September. As the sets were installed and put into place, the home of the onsite production team — a control room positioned within a temporary compound a few hundred feet from the sets — needed to be built as well. That project started on Oct. 1 and was completed on Nov. 10, 10 days before the competition’s opening match between Ecuador and Qatar.

With a beautiful vision, the broadcaster faced several challenges with the locale. With massive expanses of desert surrounding Doha, rain wasn’t part of the weather forecast, but high-intensity winds were.

Although the windiest part of the year is February with an average speed of 10.9 mph, average speeds can reach 9.3 mph between Nov. 14 and April 15. Given a breeze from a large body of water and loose sand from the country, Conti deemed it necessary to have fail-safes and called in Filmwerks, Fox Sports’ partner on other remote builds this year: the NASCAR Clash at the Coliseum in February, the 2022 Daytona 500 two weeks later, and MLB at Field of Dreams. Responsible for overall construction of the full 148- x 33-ft. footprint, Filmwerks implemented a system of glass windows that would block the wind and prevent debris from entering the set.

The massive studio had its own dedicated production-control room nearby, which handled FIFA World Cup Today. According to Director, Remote Studio Engineering, Greg Pfeifer, the production-control room at the Corniche studio has a Calrec Apollo and an Artemis mixer, enabling the studio show to have a main mix and a submix. EVS servers and graphics gear onsite to minimize latency are controlled by operators in Fox Sports’ Pico facility in Los Angeles and need to send only command signals.

Whether the production was being powered by a team in Doha or in the U.S., the crew had a ton of equipment at their disposal. AR implementations are capturing fans, but the 19-camera complement also has a Flycam system that stretched across Fox Sports’ area of the Corniche, a Technocrane 22 at the digital set, a main-stage jib, a Steadicam, and K-array speakers disguised as ornate pillars to not take away from the aesthetic. – Kristian Hernández

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SVG LIVE FROM 2022 FIFA WORLD CUP Inside Fox Sports’ Remote Production Ops at Pico Blvd. Facility in L.A.

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hile Fox Sports rolled a robust presence in Doha for the 2022 FIFA World Cup, it’s Pico Blvd. broadcast facility back home in Los Angeles and FOX Media Center in Tempe, AZ, also played a sizeable roll in the network’s sprawling production. In addition to having replay and graphics operators located at The Vault in Pico, Fox produced World Cup Tonight as a Home Run Production (HRP) out of PCR 205 in LA. Tempe, meanwhile, handled the bulk of the origination, affiliate coordination, and commercial insertion for broadcasts on Fox and FS1.

“I’ve worked a lot of World Cups at this point in my career,” said Gabe Nucci, engineering lead for Fox’s World Cup coverage, who came out of retirement to work on the event.

“And what makes this event so special is the technical challenges and the people I get to work with. To be reunited with a group that I’ve worked with on so many World Cups in the past is what it’s all about. It’s an amazing group.”

VP of production and engineering Rob Rees seconded that sentiment, “The World Cup is not a set shoot strike show. It’s a massive, long tournament. So, sure, the days can be a bit of a grind, but having the people to the left of you and the right of you to solve these challenges, it’s hard not to be proud.”

Fox had five EVS replay operator positions in The Vault that remotely control server located in Doha for the studio shows. These stations were staffed by 10 rotating operators and teamed up with another 10 tape producers.

Additionally, Fox had five graphics stations in LA, including two Vizrt Trio systems running in the cloud for lower thirds and full screen graphics for the studio shows. An Unreal Engine station — also in LA — powered all the AR and virtual graphics for the studio shows, as well as two additional Viz systems remotely driving the cavalcade of LED screens inside Fox’s Doha studio. Two Fox Box operators were also on hand at Pico to provide the scorebug graphic for Fox’s live match coverage.

“We have our graphic engines running in the cloud,” explained Fox Sports VP, Field Operations and Engineering, Kevin Callahan, “and we’re using NDI to come out of the cloud, convert back to SDI, and output to the LED displays at the studio. The lower-thirds and inserts are all essentially Viz Trios that are running in the cloud. The graphics operators and replay operators are in Los Angeles sending commands to the equipment here.”

World Cup Tonight, one of two daily shows hosted from Fox’s Doha studio, was produced as a HRP out of PCR 205 at the Pico facility. Eight camera feeds (three of which have AR integration) and their associated audio feed came back to LA, where the show was cut. These camera feeds were converted from 50 fps to 59.94 (all 1080p HDR) in Doha before being shipped back to the U.S. “All the production integration is here [in L.A.],” said Nucci. “We do everything locally here in 59.94 1080p and the graphics are locally generated here for [World Cup Tonight]. And the show’s buttoned up and delivered from here that way.”

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Inside Fox Sports’ FIFA World Cup remote production operating out of The Vault at its Pico Blvd. facility in LA.

The Tempe facility served as the origination point for all of Fox’s domestic transmission. While LA and Tempe paralleled each other to provide redundancy, Tempe served as the origination point for all domestic transmission (with the exception of the Opening Ceremonies, which utilized the L.A. facility for origination).

“We have a network between us so that anything coming in here also goes to Tempe and vice versa,” said Nucci. “Because of how busy it gets with [NFL and college] football operations here on the weekends, we decided it was best to have Tempe handle all of that. And then we protect each other just in case.”

“Everything is designed for redundancy so that both [facilities] are backing each other up,” added Rees. “So if at any moment if Tempe goes down, Pico can take over. Or if in a situation something changes in this distribution or contribution schedule, Pico can take over. So we’ve got essentially everything built so that any match room or studio show can come into either the facility, but Tempe is the originating facility.”

All match feeds from host broadcaster HBS and all unilateral feeds from the venues and studios were sent from Fox’s IBC setup and then onto Tempe and LA. FIFA and HBS offered a choice of feed formats, and Fox took both the 12-Gbps 4K HDR feed and then the 3G HDR feed with the latter being the base level.

Fox established two diverse red and blue 100 Gbps fiber circuits that go through Europe to bring all these feeds back (provided by Lumen and VIDI). In addition, Fox had two paths going through Singapore to serves as failovers for the Europe-based paths.

Fox’s file-transfer operation also ran on these same pipelines. For the 2018 World Cup, Fox sent all its content to the cloud, but this year files were delivered directly to Pico. As a result, all content was instantly available in Fox’s in-house Google Cloud-based IAS media-asset management system across all of Fox’s facilities in LA, Tempe, Doha, and Charlotte.

“A lot of our workflows are centralized around being able to leverage direct connectivity into Google and in-country in Doha, which allows us then to seamlessly access all of our Fox Sports library and content that has already been ingested prior to the start of World Cup,” said Rees. “Now, we can grab both archival footage and streamline our media management workflows by sending [files] either through 100-gig circuits back into Pico or archive it directly into Google. We are also leveraging a complement of storage on onsite in Doha for means of quick turnaround editing and ingest, and it can also be funneled directly into the Google IAS for access to anybody with a Fox Sports login.” – Jason Dachman

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SVG LIVE FROM 2022 FIFA WORLD CUP Fox Sports’ Digital Team Finds Big Success With Live Social Streams

F

ox Sports Digital delivered highlights of every goal, countless articles, and a robust schedule of live streams produced onsite in Qatar and distributed across the network’s social channels, website, and mobile app.

Most notably, Fox Sports saw significant success from an ambitious live-streaming plan that delivers studio shows to the @FOXSoccer account on Twitter.

According to Fox Sports, FIFA World Cup Now, the pre/ postmatch show that streamed exclusively to @FOXSoccer, garnered more than 50 million views on Twitter during the Group Stage.

By the end of the tournament, an incredible 128 live episodes of FIFA World Cup Now were produced, a major chunk of the 160+ live shows produced exclusively for digital and social platforms.

“It’s definitely a grind,” said Michael Bucklin, SVP, Digital, Fox Sports, “but one of the things we generally believe is, these are ‘get to’ jobs, not ‘have to’ jobs. I think the team feels that way. They embrace that as a mantra and are excited to show up every day.”

The game plan for FIFA World Cup Now was to be live for a 20-minute prematch show and then return for a 30-minute postmatch show. During the Group Stage, that meant being live nearly around the clock. This World Cup was the first to host four matches in a single Group Stage day, versus the previous three. During the 2018 Men’s World Cup (in Russia), Fox streamed one Twitter show per day. This required a massive increase in inventory. Not to mention that during the Group Stage, there’s just over one hour between matches, meaning that FIFA World Cup Now was essentially live for the entire break between matches.

For Bucklin, setting a strategy for such a busy schedule meant keeping program rundowns simple: give everyone on the team — from on-air talent to behind-the-scenes crew — clear, defined goals that allow easy repetition.

“We know exactly what we’re going to do every day,” he pointed out.

“It’s a very simple formula. We try to be as creative within that formula as we can. You’re going to share every single goal of every single

Fox Sports’ Michael Bucklin (foreground) monitors a live stream in the digital team’s dedicated control room.

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Fox Sports Digital works with on-air talent to plan out content segments.

(All photos: Fox Sports)

match in the World Cup. When that happens, it’s quick. You’re going to focus your creativity on what the copy is going to be or how you’re going to sell it on the website or the app, but you’re not going to spend any time thinking about what you have to cut.

“You can be more creative when you’re in a smaller box,” he continued. “When you create that smaller box, simpler rundowns, simpler social-content plans, simpler editorial plans, you can be significantly more creative in that smaller box. You also become more efficient.”

FIFA World Cup Now — as well as live episodes of the daily State of the Union Podcast with Alexi Lalas and David Mosse — were overseen in Doha by Ricardo Perez-Selsky, head of production and tech operations, Fox Sports Digital. The operations side was also supported onsite by Head of Technical Operations John Marcus, Head of Production Operations Thomas Meason, Technical Op Chris Cheshire, Production Ops Carla Gutierrez and Erin Schechter, and Camera Operator Jeremy Benbow. The production side was led by Head of Digital and Social Production Nick Rago, who is working with producers Sean Sullivan and Ryan Bartlett.

Bucklin praised the efforts of Perez-Selsky, who joined Fox just over three years ago after a run at successful pop-culture–media company POPSUGAR. Perez-Selsky, Bucklin said, has “probably produced more live social streams than anyone alive” and “has just completely transformed what we’ve done.”

Bucklin added, “We are just so clean with Ric. When we’re clean, we’re confident, and, when we’re confident, you can see it [on-air]. Our guys are having fun. They can always hear their producer cleanly in their ear. They can always see a clean program return so they know what’s on the screen so they can talk to it. Ric has brought this level of experience and expertise to our operation, [taking] us to the next level. I’ve been here for seven years and have done in the realm of a thousand live digital streams, social streams, and I feel confident this is, by far, the best we’ve ever been.”

Key to Fox Sports Digital’s success was the synergy between the linear-television and digital units at Fox’s Qatar facilities. According to Bucklin, digital plans were a key agenda item at content meetings every morning, led by Fox Sports Executive Producer, FIFA World Cup on Fox/ VP, Production, David Neal and VP, Production, Zac Kenworthy. Said Bucklin, “In my seven years here, it is the most integrated that it has ever been.”

– Brandon Costa

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SVG LIVE FROM 2022 FIFA WORLD CUP continued from page 36

“It’s the same source material the linear broadcast would have,” he said.

More than 100 feeds were sent to the U.S., and latency was only 128 ms one way. That opened up the type of remote workflows that signal a future where everything can be done at home. But there was still very much a need to be close to where the signals originate because problem solving and triage is much easier when they can be done onsite.

“That’s one of the reasons we do all our frame-rate conversion here,” said Callahan. “We are sending product back that is ready for air, and we can compare it to the original and say, Okay, we need to change the setting on the Alchemist or we need to do this or do that.”

That said, there was plenty of reliance on the cloud.

“We have our graphic engines running in the cloud,” he explained, “and we’re using NDI to come out of the cloud, convert back to SDI, and output to the LED displays at the studio. The lower-thirds and inserts are all essentially Viz Trios that are running in the cloud. The graphics operators and replay operators are in Los Angeles sending commands to the equipment here.”

Latency, again, was the key driver for that workflow.

“There is less latency on a graphics reveal,” he added. “You don’t need to send fill and key across 8,000 miles, when the likelihood of them falling out of time from each other increases tremendously.

If we can output them both from here and just have the operator remotely controlling them, it is similar to what we do on the NFL, NASCAR, and college football from the Vault [Fox Sports’ graphics/replay facility in Los Angeles].”

Callahan said that the team and its vendor partners continued to learn about operations in an ST 2110 IP world. Although the technical facilities were able to be fully connected and powered up in the shortest time ever — six hours from loading racks off the flatbeds to turned on — configuration of the IP network took some additional time.

“It always comes down to interoperability and making sure everything is talking to each other,” he explained. “In the IP world, you can have anything you want, but you have to define the rules and define the workflows and make sure that everyone is talking the same protocols. There are different manufacturers, different pieces of equipment, and sometimes it’s even different pieces of equipment from the same manufacturer that are not playing well with others.

Some members of the team, Mark Girard and Aavery Mundt in particular, spent countless hours working with vendors to get everything talking. The good news is, all the manufacturers have pledged their support to everyone dealing with this challenge.”

Some of the issues included lack of NMOS support, as well as equipment that wasn’t self-registering on the network and required that each item be defined. The Fox team and the technical 36

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A pre-configured flypack allowed Fox Sports to fire up its Doha-based facilities at the IBC in a fraction of the time it would usually take. teams from key vendors — Riedel, EVS, Calrec, TAG V.S., Grass Valley — were able to work together and overcome the issues to get operations up and running.

As with many events, big and small, there was less SDI than there used to be.

“Everything here is virtual for the most part,” noted Callahan.

“You can’t just put a patch cord in and see video like you could in an SDI truck. There is very little SDI in this place.”

That said, an SDI router was set up and ready to go in case something were to happen to the ST 2110 network.

Another key advance this year, Callahan said, was that the Fox broadcast and digital teams worked more closely than ever. The digital team, for example, had its own stage next to the main Fox stage, a move that gave the main stage some additional exposure as a backdrop (reminding viewers to tune in to the main broadcasts and streams) and also gave the digital team greater access to all the content.

“The Twitter Now show is a completely different production that’s originating at the stage but is taking all the host-broadcast resources provided by HBS so they can composite their show together,” said Callahan. “And then, for the first five minutes of the match, they’re taking our program and sending it out on their line to Twitter to help drive tune-in to linear or digital streaming.”

This was also the first World Cup where the Fox Media and the Broadcast Networking Team worked together to create an IP architecture offering maximum network security.

“It gives us the protection to save ourselves from ourselves,” said Callahan. “It has been a robust system. In this 2110 world, being able to work with your corporate teams to create a network that works for both broadcast and corporate is important. We’ve always talked about converged networks and things coming together, and we truly are there now with a singular network.” <

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SVG LIVE FROM 2022 FIFA WORLD CUP Telemundo Deportes Descends on Souq Waqif for Immersive Studio Coverage

By Kristian Hernández

B

eing at the 2022 FIFA World Cup was an experience unlike any other, but, for Spanish-language fans unable to hop a flight to Qatar to take in the festivities firsthand, Telemundo Deportes brought the vibrant atmosphere from Doha to living rooms around the world. To combine the country’s past with its future, the broadcaster decided to set up its studio headquarters in the Souq Waqif, the traditional Qatari marketplace, and to have a talent location that highlighted the beautiful skyline of downtown Doha.

“When we conceptualized what we wanted to do for this World Cup, we wanted to have it be busy, see a lot of foot traffic, and bring the world together,” said Eli Velazquez, EVP, sports content, Telemundo Deportes. “We thought that it’d be great to see a lot of people working [in the market] while others enjoy the events with one another.”

As with many other Telemundo Deportes projects, SVP, Content Operations, Chris Suarez-Meyers; VP, Sports Content, Robert Pardo; Velazquez; and other colleagues sat down to brainstorm ideas for a month-long competition that would take place in one host city.

Lacking familiarity with locations in Qatar, the team visited the city to scope out the landscape, get a sense of the culture, and decide on a spot that would accentuate the ultimate goal: provide a bountiful serving of flavor that’s distinctly unique to the broadcaster’s brand.

“When we came the first time, we came out of this exit of the Souq and really liked the fact that we saw people constantly coming in and out,” said Velazquez. “We also wanted to get something that spoke to the culture and sense of place. In my opinion, a skyline’s a skyline, and, after a couple of days, you’re probably going to get somewhat bored of it. With constant movement, there’s always going to be something different that you can get from this experience.”

The development of a clear vision allowed the team to bring on partners. Tapping HD Studios as lead designer and needing to get an accurate portrayal of the feelings they wanted to convey, Telemundo brought in HD Studios owner/Principal Designer Bryan Higgason to get a taste of Doha.

As the plan began to take shape, Higgason worked closely with NBCUniversal SVP, Marketing and Creative, Claudia Chagui and VP, Brand Design, Chris Moore to mesh the broadcaster’s marketing promotions, creative vision for the production, and tangible elements.

“We had him come out and walk around to immerse himself in the culture for five days,” added Velazquez.

“He came to snap some photos and look at shapes and different designs that he eventually integrated into the look of our promotional campaign.”

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Once the physical work began, Black Walnut was called on to put the details and pieces together, and LDG Lighting Design Group was tasked with making the set pop. The final product is a hub that perfectly achieves the initial goal. The main piece, a couch set with a window facing the Souq for a conversational vibe during live World Cup editions of Hoy en la Copa, ties together the subtle details immediately noticeable in the wide variety of studio programming.

The details included nods to the venues hosting all 64 matches, including archways reminiscent of the exterior of Lusail Stadium, fabric that matches the carpet covering the interior roof of Al Bayt Stadium, and a ceiling fixture that mimics the broadcaster’s Copa Mundial logo created by Chagui and Moore. An archway taken from the set is positioned at the broadcaster’s permanent studio inside Lusail Stadium, where the FIFA World Cup Final took place on Sunday, Dec. 18. Also emanating from this set were Viva el Mundial, Debate Mundial, and Al Rojo Vivo.

Opposite the couch setting, a desk was available for a more professional aesthetic. In front of another window, a modular desk for halftime analysis could extend or contract depending on the number of talent participating. Each set was equipped with two hard cameras, a jib, and a handheld Steadicam. To maintain branding and continuity, Telemundo had a similar setup in the IBC. From either end, the dual-sided room demonstrated its flexibility in a location that bustles with activity at all hours of the day and night.

“The thing I love about this particular look and feel is the colors that seem to unite all the teams playing in the World Cup,” said Velazquez.

“The people that sit on each of these shows are also extremely fun.” <

The main studio location featured a conversation-style couch and a large window overlooking the marketplace.

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SVG LIVE FROM 2022 FIFA WORLD CUP European Broadcasting Union

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he EBU’s Eurovision Sport division was in Doha for the World Cup, as part of its remit to ensure that major sporting events are available free-to-air across Europe. While FIFA has direct deals with broadcasters in the UK, Germany, France, Italy and Spain and the Nordics, the EBU has a collective agreement with FIFA for some 35 of its members.

“They benefit from that contract for the individual territories,” said Stefan-Eric Wildemann, head of football, Eurovision Sport, who looks after a portfolio of football rights including Qatar 2022.

“Examples are TVP in Poland, NOS in the Netherlands, RTP, in Portugal, BNT in Bulgaria. So we actually have a quite widespread footprint from Portugal to as far as Ukraine.”

Within the IBC at the Qatar National Convention Centre, Eurovision Sport represented 14 of its members, with Wildemann part of a team of three liaising between FIFA and EBU members on site.

“Members deal with FIFA individually for things such as bookings; for example, they want to book an announcement

position on the pitch, they do that directly,” said Wildemann. “But there are a lot of topics such as implementation of rights from the contract, the obligations that we have implementing social, promotional campaigns, and so on.

He continued, “We help to clarify questions, we help also when members don’t comply For example, social media; a member might upload too much match footage to YouTube, so that might be the kind of thing we have to take care of.”

In October, the EBU acquired the rights to Women’s World Cup in 28 territories. However, Qatar 2022 was the last tournament of the current contractual relationship between FIFA and the Eurovision Sport for the Men’s World Cup. “There is an appetite from FIFA to look into more market-bymarket approach, generally speaking,” said Wildemann. “What that means for the EBU, and for individual regions or territories, is up for discussion with FIFA. We need to see where we bring value to both.”

LEFT: Inside the BBC Production Control Room at the IBC in Doha for the FIFA 2022 World Cup CENTER: At the TSN office in the World Cup IBC: (from left) Nicole Anderson, senior production manager, and Lanny Westgard, stadium tech manager.

RIGHT: Donatella Scarnati, RAI Sport team leader UK

Q

atar 2022 was the 15th consecutive FIFA World Cup that BBC and ITV have broadcast together, continuing their longrunning and hugely successful partnership, but this was the first time they shared back-end resources.

It is a measure of how much the technology and the economics of live broadcast have changed since the World Cup’s last outing in Russia that both free to air broadcasters felt able to rely on a remote and shared production infrastructure just four years later.

It speaks to the environmental policies that both broadcasters have pledged to undertake with their programming as much as to the financial advantages to be had in sending fewer technical and crafts personnel out to the Middle East for a month.

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“Neither broadcaster could have gone ahead with such an ambitious production plan without the other,” said Phil Bigwood, executive producer, BBC TV Football, for whom Qatar is his sixth World Cup production. “It’s been a major plus in enabling us to put more facilities in the UK and to share technical crew. We share connectivity and access to the FIFA server and elements like that to help with workflows.”

Timeline TV trailblazed with the provision of joint facilities and services for both ITV Sport and BBC Sport at the 2022 FIFA World Cup, delivering a more sustainable approach to the tournament, as well as providing cost savings for both broadcasters.

“This is one of our biggest and most complex projects to date,” said Quinn Cowper, Timeline TV’s head of engineering. “Timeline

SPORTSTECHJOURNAL / SPRING 2023

are providing end to end facilities for both the BBC and ITV Sport, as a joint operation for both broadcasters.”

CANADA early 50% of Canadians tuned in for the World Cup on TSN, CTV, and RDS, and, for the team in Qatar, thousands of miles from home, it made a difference.

“It makes everyone very happy as it’s what we’re aiming for,” says Francis Guanezo, senior engineering technician, Bell Media Network. “We’re becoming a soccer nation, which is fantastic, and there is definitely an appetite from content like this.”

The Canadian team’s office at the IBC was the central point for gathering all HBS feeds and unilateral feeds from the stadium via the VANDA lines. Lawo gear played a big role in audio and

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video mixing, and the equipment could be controlled and supported remotely by the team in Toronto.

The Canadians also relied on the 1080i/50-fps feeds from HBS, with standards conversion taking place in Toronto.

“We’re basically at the point where we marry commentary audio with the EBIF and send that back to Toronto so they have a really good static feed they can put to air right away,” said Guanezo. “If for some reason our commentary gets cut out, we can fall back to the EBIF with the HBS commentary, which we can integrate seamlessly.”

BRAZIL lobo, the Brazilian mediatech company, announced two showcases to demonstrate to partners, guests and Globo employees, at a Globo-venue in Rio

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SVG LIVE FROM 2022 FIFA WORLD CUP

LEFT: NOS Editor Jeroen Verbaan RIGHT: The Timeline TV operational crew at the IBC. From left to right: Roy Harbour, Quinn Cowper, Lee Russell, Matt Carter, Dan Regan, Oli Barman, Dan Storr, and Oli Johnston. de Janeiro, the evolution of Digital Terrestrial Television (DTT) in Brazil during the FIFA World Cup Qatar 2022 transmissions.

Globo broadcasted and live streamed every match of the tournament using backward compatible improvements from the current TV 2.5 standard and preliminary specifications for TV 3.0, the country’s next-generation DTT system, specified by the Brazilian SBTVD Forum. Both showcases represented a significant technological step towards a better viewing experience. Namely the demonstration of the TV 3.0 system, which was intended to facilitate the distribution of current and future formats, included 8K resolution, High-Dynamic Range (HDR), and Next-Generation Audio (NGA) to over-the-air broadcast (OTA) and over-the-top (OTT) streaming platforms upon its development in the next coming years.

“Globo is committed to the evolution of TV in Brazil, and we are excited to work with all media partners to drive the growth of the technological ecosystem that clears a path towards Brazil TV 3.0. This pioneering project not only shows the bright future of broadcasting but also demonstrates the commitment of its partners and helps to educate the Brazilian broadcast technology community as we get closer to TV 3.0 Project goals led by the SBTVD Forum. Furthermore, it allows viewers the best live coverage quality FIFA World Cup Qatar 2022 matches achievable using TV 3.0 technologies. This is a world’s first, thanks to the effort and dedication of partners like Fraunhofer IIS and

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V-Nova,” said Carlos Cosme, Innovation Specialist at Globo.

ITALY talian national public broadcaster Rai proceed with its coverage plans for the tournament despite the fact that the Italian national team failed to qualify. Donatella Scarnati, team leader for Rai Sport, revealed that the broadcaster took a multimedia, multiplatform approach to its tournament output.

“The 2022 edition of the World Cup will be, from the point of view of viewing, something unique, never seen or heard before,” she said. “We can also talk about great interactivity with the possibility of choosing what to watch, when and how to do it.

“We are, in fact, facing a truly multimedia and multi-platform event that involves TV, radio, web, RaiPlay and even the app. All 64 games will be broadcast by Rai exclusively and free of charge.

In addition, a series of original television products will accompany the event.”

I

NETHERLANDS OS is one of many World Cup rightsholders to have a base at the IBC in Doha, where it switched lines for colleagues back in the Netherlands and sourcing unilateral footage from other broadcasters.

Editor Jeroen Verbaan said the Dutch public service broadcaster had a total of around 30 staff in Qatar for the World Cup, with a few based at the IBC and others moving between stadiums for the Netherlands’ fixtures.

Verbaan’s colleagues in

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Hilversum — where NOS is headquartered with around 150 staff in its sport department — are responsible for cutting match coverage.

For a match featuring the Netherlands, coverage typically begins two hours ahead of kickoff, with preview content featuring interviews with players and coaches. After the match, there is usually a review of an hour although “when the Netherlands win, that may be a little bit more,” says Verbaan. “During the group stages, we had four games per day, which was a lot of games for us to switch lines for Hilversum. It’s really busy, but nice work.”

POLAND he FIFA World Cup brought nations near and far to the IBC, and situated within the Qatar National Convention Centre, countries big and small sent feeds back home in different ways.

Poland’s TVP Sport, for example, is a country that’s blew their coverage of this year’s tournament with an onsite OB van, nine separate shooting positions, and a studio at a local hotel in Qatar.

“We’ve been cooperating with our colleagues from our news division on a daily basis as well,” said Dominik Kopacz, international coordinator, TVP Sport. “From the technical side, everything has gone really well.”

For all four Polish Team matches, TVP secured/requested several onsite facilities on the stadium from the HBS, such as Player Arrival Multilateral Interview/ Coach Pre-Warmup Multilateral

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Interview position, Full Time Flash Interview position, Pitch- Side Announce Position, Dedicated Mixed Zone Position, Outside Announce Position, or Presentation Studio equipped with 3 cameras.

SWEDEN VT Sport delivered every moment of the FIFA World Cup 2022 to football fans across Sweden. SVT Sport shared the 64 World Cup matches 50/50 with TV4 Sweden, and additionally was part of a joint venture with a group of Nordic broadcasters working with Eurovision Services to bring in excess of 35 signals back to Europe. Åsa Edlund Jönsson, SVT Sport’s head of sports, commented that working with fellow Nordic broadcasters has been a highlight of the preparation for her and the team at SVT Sport: “The most exciting bit with our production and workflow is the collaboration we have with other Nordic companies.

“We do a joint venture, bringing home all the feeds to our [respective] countries. We have a designated person in the IBC [in Doha] who will distribute the 64 match package with multiple feeds back to all the Nordic takers.”

SVT Sport will be producing aproximately six hours of live output per day through its TV broadcasts and digital. It will broadcast two matches back-to-back daily with studio time ranging from 30 minutes to up to one hour before each match, and approximately 30 minutes to up to one hour after each match. <

S

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LOOKS BACK AT

SUPER BOWL

LVII

S

uper Bowl LVII in Phoenix this year not only proved to be an exciting game on the field but it also provided plenty of excitement and innovation. Fox Sports was at the center

of it all, working with a number of production service providers to deliver a next-generation broadcast that featured HDR, advanced AR technology, and even 8K cameras, which were used for super zoom and up-close replays. Please enjoy a recap of some of our reports and for more, visit the SVG SportsTechLive: Super Bowl LVII Blog.

SPORTSTECHJOURNAL / SPRING 2023

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SVG LOOKS BACK AT SUPER BOWL LVII

Fox Sports’ Mike Davies on the Team Effort To Be the ‘Steward’ of Super Bowl LVII

By Ken Kerschbaumer

M

ike Davies, SVP, technical and field operations, Fox Sports, and his team worked tirelessly with numerous vendors, technology partners, the NFL, and others to ensure that Fox Sports’ production of Super Bowl LVII, as well as pregame coverage, met the needs of NFL fans across the country. Davies sat down with SVG at State Farm Stadium on the eve of the Big Game to discuss an effort that has been months in the making.

Fox Sports’ Mike Davies: “We try to get the business done but also do so in a way that is sustainable, fun, and relaxed as possible.”

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How did you and the team approach this Super Bowl in terms of production planning?

There are two parts: the game and the pregame. For the game, I don’t have any reluctance in saying that we start from the last time we had the Super Bowl [in 2020 at Hard Rock Stadium, Miami Gardens, FL]. You look at the cameras and other show elements that may not have been available last time. From there, one tries to try to figure out where the tools can be better positioned. But you don’t just add tools for tools’ sake.

The pregame is the part that changes every time and is a complete redo because it is dependent on where you are and what the producer wants to do. In our case, it’s Bill Richards [producer, Fox Super Bowl Sunday pregame show]. One thing about Fox is the collaboration with him and Rod Conti [VP, studio remote operations, Fox Sports, and his] remote studio crew.

Here in Arizona, there’s little in common that this pregame show has with Miami from a technical standpoint. We’re doing it all quite differently, but we are still about tracing the fans’ journey into the stadium. We start with the outside set and then move our show into the stadium to our inside set.

What are some of the key highlights for you in new technologies?

When you do a Super Bowl, the broadcasting network becomes the television steward of the biggest one-day show on Earth. Global sports around the world — the World Cup, the ICC, and the Olympics — are all huge shows, but they don’t happen on one day.

And that means we need to make sure that we are able to demonstrate state of the art while not incorporating gimmicky elements that could take away from the coverage. We’ve worked with our director Rich Russo and our producer Rich Zyontz and President, Production and Operations, Brad

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SVG LOOKS BACK AT SUPER BOWL LVII Zager to come up with those things that we think will be useful in the coverage.

Like Super Bowls before us, we have an extravagant number of cameras for this game — 94 at last count. I’ll bet, though, at least a few of them won’t get tallied at all. We have as many cameras as this so that we have coverage on any eventuality, no matter how unlikely.

I always get asked about the “bells and whistles,” and the important thing in our opinion is not to add technical gimmicks as

tempting as it may be. The tools we seek are the ones that elevate the resources available to production, to broadcast the game and not miss a thing. Some of the unusual items for us — things you wouldn’t see on a regular game — are the 8K high-frame-rate camera on the reverse 50-yard line, all the Sony 4K cameras that we use down the lines and goal lines, the addition of literally dozens of super-motion cameras. They are there for that purpose. Certainly, they can look cool, and that’s great. But, ultimately, it’s to help to do two things: to cover the game and to convey its drama.

Fox Sports Takes Skycam AR to New Heights

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fter two years of development by Fox Sports, Sony, and Racelogic, the augmented-reality system unveiled at Super Bowl LVII definitely qualified as a game-changer: moving beyond optical tracking.

“We’ve been trying to get a better tracking system for Skycam,” explained Zac Fields, SVP, graphic technology and integration, Fox Sports. “[Skycam] currently needs to be looking down at the field so it can optically track [its location]. That limits the speed of the movements but also the flexibility because you can’t have the camera look up and lose the ground.”

The system that debuted at the Super Bowl made use of Racelogic RF beacons placed around the field and can keep track of where the Skycam is. In the Skycam, an RF receiver was mounted beneath the Sony camera, which also had an Inertial Measurement Unit (IMU). The IMU captured camera pan, tilt, and roll data, and the lens and focus data were sent directly from the Sony camera as a single data feed to the Unreal Engine, which rendered the elements created by Silver Spoon.

“We’ll have a big open at the top of the show that will set the mood,” said Fields.

Racelogic’s system was originally built for tracking cars on a track to an accuracy within a centimeter. The two years of development time involved modifying the technology to track a camera and also ensure that it could work in a space as large as a football stadium.

“Then we had to figure out how to merge that with zoom and focus and pan and tilt,” said Fields. “We did two tests at Allegiant Stadium as they were nice enough to accommodate us so we could work through some things.”

Augmented reality was also a big part of the Super Bowl LVII pregame show, including a first: AR from a techno-crane that can extend 75 ft., along with AR capabilities on a 9-ft. techno-crane on the pregame stage and a 26-ft. techno-crane on the demo field.

Explained Fields, “Those three are calibrated with Stype. We will also have a fourth camera, the Flycam. That one will use TrackMen optical-tracking–based solution, and that data gets fed to AR through Silver Spoon, which can do the rendering in the Unreal Engine. It will be nice because the elements we’ve built for outside will be a little more cohesive.”

He added that one of the challenges coming into the game was to figure out how to get more bumper and sales elements in and

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Fox Sports’ Zac Fields has been working with Sony and Racelogic to improve AR technology for Skycam. move away from putting logos in monitors or lower-third graphics.

“It’s a nice added production value to put it in AR, and sometimes it can more seamlessly integrate into things. The talent has gotten used to it, so you’ll see a ton of it throughout the show.”

Another graphics enhancement was courtesy of SMT and its 3D Top Fonts and Telestration technology.

“We’re trying to get quicker turnaround for replays and packages of enhanced elements,” said Fields. “SMT is taking the Next Gen Stats data in real time, and they’ve created a tool that [allows the announcers to] select players and see a preview trail for a replay of where [the players are] going to run. It enhances the replays with data to help the viewer know what they’re looking at.”

– Ken Kerschbaumer

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SVG LOOKS BACK AT SUPER BOWL LVII

And it looks like AR will be a big part of both the studio show and the game coverage.

It is. In fact, there are different flavors of AR here for different use cases. A Stype [optical tracking camera] and our own Unreal Engine is used on the techno-cranes on the outside set like we did at the World Cup in Doha. AE Live will be used on the exterior Flycam outside, which is through-the-lens AR technology from TrackMen. And we have a mashup of Racelogic, Sony, and Silver Spoon to enhance the inside Skycam. Zac Fields, SVP, graphics, is all over this and has become preeminent in the dark arts of the medium.

The big new development is what is being done for the Skycam inside. Can you tell us about that?

People have been doing AR on Skycam for a long time, and it’s really good. We have always thought that there was some room for improvement in terms of stability, especially when the camera is sitting still. What Racelogic brings to the table is a radio-based solution to determine precisely where in space the Skycam is. And Sony brings along the new ability to track the camera’s movements from a pan-and-tilt standpoint and integrate the data that comes out of the lens. Silver Spoon takes all this data to produce the tracked graphics.

An important addition is the Fox Sports Jewel Event system, or FSJE. What does that mean to the production effort?

In 2021, VP, Field Operations and Engineering, Kevin Callahan and Consultant Doug McGee envisioned a multi-use system that was built for the World Cup but would be available to do other large events, like this one. In Arizona, it provides us with the backend for postproduction. It provides us with the switchers and audio boards for a submix and subswitch. It provides us with disaster protection. And it provides us with the routers and monitors that get distributed all over the place. It also eliminates the need for 1½ trucks.

The other bit is doing the massive amount of the distribution, or what we call FATS: Feed Any Truck Something. That basically 50

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The Fox Sports main set at Super Bowl LVII made use of AR technology in a big way. goes to anybody — the international compound, Van Wagner for in-venue, Hawk-Eye, etc. — as the distribution of signals ends up being quite a big job.

There are also a lot of vendors here — Game Creek Video, CP, 3G Wireless, Fletcher/NEP — and a lot of the manufacturers have representatives onsite.

Vendors are in some ways the heartbeat of the technical operation here. What’s great about doing a Super Bowl is that you get to pick from the very best in the world. Game Creek is obviously the main core, and, of course, they’re doing halftime this year, too. NEP helps us with robotics and high-resolution cameras through their Fletcher Group, and CT supplies screens for the studio set.

With respect to RF, we’ve split the baby as we have three vendors. 3G Wireless is in the bowl; we have worked with them all year.

They are quite good at doing super slow motion over RF and will do our Line to Gain pylon. Outside, we have CP Communications and all of our communication through JMA Wireless, utilizing their 5G network and outside video. Digital Black comes in to do the overall comms for pregame.

Filmwerks is one of our main vendors with the sets they’ve constructed here and in Doha. That isn’t easy stuff.

We lean on a lot of other manufacturers. Sony has come in en masse to support us. Most of the cameras are Sony, and we enjoy a fantastic relationship with them. Router systems in both trucks are Evertz, [which is] also doing the 8K replay this year. There is also EVS with our replay servers, Xtra Motion, and our FSJE. And then there are RTS and Riedel on comms, Diversified with their work on the FSJE flypack, and CES Power supplying power. Event Ready is our trucking company but also does all the furnishings and even has onsite carpenters. The vendors and manufacturers are part of the technical heartbeat of this show. <

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SVG LOOKS BACK AT SUPER BOWL LVII

NFL Media Finds New Partners, New Efficiencies for Massive Effort

By Ken Kerschbaumer

E

ven before Super Bowl LVII kicked off, the NFL Media team already had a busy week. It not only worked on the NFL Network’s 85 hours of broadcast content but also on such events as Opening Night, Commissioner Roger Goodell’s press conference, and the increasingly important NFL Honors and its red carpet. In addition, working with Apple to distribute Rihanna’s halftime press conference had the team busy both in Ariziona and at NFL Network’s production center in Inglewood, CA.

From left: Dave Shaw, Jessica Lee, and Adam Acone were part of the NFL Media team producing 85 hours of content around Super Bowl LVII, along with plenty of other content.

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Last year’s Super Bowl was at SoFi Stadium, located next to NFL Network’s production facility. This year’s game, in Phoenix, meant a return to a compound or convention center far from Inglewood, but, as in recent years, the team back home was busy all week with four control rooms cutting a wide variety of shows.

For example, Super Bowl Sunday GameDay Morning’s pregame show brought in video and audio signals from a 32- x 32-ft. set outside State Farm Stadium. Feeds from inside the venue were part of 30 outbound signals from Phoenix to Los Angeles, along with TeamCam feeds from team hotels and Super Bowl Experience.

“We also have some isos from Fox that we can use in our pregame show,” said Adam Acone, senior director, media operations, NFL Media. “And then there are the 11 postgame podium feeds, which are provided by Freeman. We’ll send those as well. But those 30 feeds are supporting an 8½-hour pregame show on Sunday as well as a 90-minute postgame show.”

Tuesday was the big setup day for NFL Media. Game Creek Video RiverHawk rolled in at the Convention Center to serve as the center of NFL Honors red carpet (NEP Denali handled the actual show) on Thursday, and Game Creek Celtic arrived at the international compound at State Farm Stadium.

“We had our trucks parked, and our sets came in,” said Acone. “We started working with Apple on the commissioner’s press conference and were loading in for the Honors Red Carpet, all while continuing our programming from Radio Row. It was a big setup day getting ready for Wednesday and Thursday.”

To Dave Shaw, head of media operations, NFL Media, the event was marked

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SVG LOOKS BACK AT SUPER BOWL LVII Adam Acone (left) and Dave Shaw on the field on Super Sunday

by working with partners in new ways, beginning with Opening Night on Monday. Historically, the NFL Network has produced a host feed for Opening Night, but, because both NFL Network and Fox were doing Home Run Productions, it made sense for Van Wagner to produce a world feed and distribute it to the NFL and Fox. “We had our own talent and then shared the cameras with Fox, who had their own talent,” Shaw pointed out. “We also shared the Game Creek RiverHawk truck with Fox, which we haven’t done before. It worked out well, and we were also both doing Home Run Productions with limited resources. We both had a couple of RF cameras from CP Communications.”

During common moments, such as player introductions, the two networks shared the same feed, but, when the media sessions began, each would use its own cameras.

“RiverHawk was a central hub for Fox and for NFL Network,” said Shaw. “Basically, all resources came into River Hawk. It was really good efficiency.”

For the remote feed to NFL’s primary headquarters in L.A., VP, Studio Operations, Jessica Lee coordinated NFL Media operations onsite, working closely with all teams in the new Inglewood facility, including support of all NFL Network, NFL+ (direct-to-consumer product), and NFL’s digital-production and -content teams.

New this year, Apple Music, which sponsored the Halftime Show, produced the Rihanna press conference on Thursday instead of the NFL Network.

“Apple wanted to build it out, and NFL team suggested they produce it so they can do it the way they want,” said Acone. “They brought in a flypack. It was a terrific collaboration: they brought in the technical infrastructure, and we brought in the transmission infrastructure. And we built in some efficiencies, which is fantastic.”

Another big collaboration was with NBC for the NFL Honors on Thursday night. Because both NFL Network and NBC did a simulcast, the challenge was to ensure that each network had its own direction with its own bugs and graphics.

“NFL Network also produced an eight-camera show on the red carpet produced in RiverHawk,” said Acone. “There were two jibs, two RF cameras, and a robo from Fletcher; AVS was our partner for wireless on the red carpet. We had one RF partner on the red carpet and Honors, which was another efficiency.”

The NFL Network has always had a presence at the Super Bowl Experience, although this year’s was more modest than is typical.

The efforts support Super Bowl Live, the network’s flagship program during Super Bowl Week with around six hours of programming a day, and Total Access.

“We’re using our L.A. facility and our studio and control room 54

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there for those shows,” said Acone. “And we have a two-camera setup in the Experience, where we shoot some segments. We’re using our TeamCam infrastructure with Azzuro to get signals to L.A.” Shaw said the onsite technical team — led by Rhett VanBuskirk, senior manager, technical operations — coordinated each venue with NFL’s engineering team — led by Bruce Goldfeder, VP, broadcast engineering, and Lorey Andres, director, engineering — on coordination and timing of all signals whether using direct fiber, TeamCam, or satellite feeds. Mike Cunningham, director media operations, was instrumental in the convergence of signal management in coordination with partners and vendors.

Super Bowl Sunday marked a transition in NFL Network’s efforts. The team fired up a 32- x 32-ft. outside set at Tillman Plaza near State Farm Stadium and a desk inside the stadium with three cameras in the southeast corner of the stadium (every hour of coverage also has a 15-minute window when NFL Films takes over to give the crew and talent a break).

“We’ve got a great spot,” said Shaw. “About a quarter of the fans come in via that entrance. It’s going to be a great spot to showcase the people.”

After the Big Game, NFL Network’s desk and technical support were carted around to the north end zone to have the trophy presentation in the south end zone. <

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SVG LOOKS BACK AT SUPER BOWL LVII NFL’s Chris Vassallo on Power, Communications, and the Need for a Plan

S

uper Bowl LVII was a bit of reunion for NFL Director, Stadium Infrastructure and Football Technology, Chris Vassallo and his team. Typically, on any given Sunday, game-day crews are spread across the country, but, on this particular Sunday, almost all were in Phoenix. Vassallo spent a few minutes with SVG to discuss Super Bowl LVII and big events’ expanded need for wireless communications, power, and everything in between.

How have the responsibilities for you changed here compared with regular game days?

Obviously, there are a lot of different people involved, but the whole campus expanded. From the football-tech perspective, we obviously have more people onsite and more people who are part of decision processes, and there is no “back to New York” for replay because everyone is here.

Even the football-ops people who are scattered throughout the country during the regular season are here. So we spend a lot of time going over communication plans and power plans and restart plans, making sure things like UPS [universal power supply] are being powered.

I was just talking to the game officials and reminding them that we are here and they don’t have to go far to find us. We have backup equipment, we have testing plans, and we’ve even given them the ability to talk throughout the hallway if they need to, which they can’t do in a regular-season game.

We’ll also test out the coach-communications beltpacks to make sure everything works from the booth to the field and then to each other on the field. We also finished up coach-to-player testing. Right now, we’re in game-ready status for a lot of different services and are just making sure all the little things are checked.

Ultimately, our responsibility is to just be ready to provide support and be able to move fast. But everything relies on our communication plan: clear, concise, what’s the problem, and then making sure there is a good plan to resolve the problem.

What are the advantages of having replay here instead of in New York?

One thing we don’t have to worry about like we do during a normal game is our connectivity out of the building and our circuit that goes from any building back to New York. Sometimes there’s someone who’s jack-hammering somewhere, and they hit a circuit, right? With everyone here, we don’t have to worry about any of that for those critical services. We have some stuff that does leave the building, but it’s nothing game-critical; it’s monitoring and some other stuff.

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NFL’s Chris Vassallo: “There is no ‘back to New York’ for replay because everyone is here.”

The other day, the NFL and Verizon announced a deal to put 5G in every stadium for coach communications. What will that mean to operations?

We won’t be using 5G for this game, but we’ve worked closely with Verizon and have already been installing their equipment. It was tested at the international games, and they’ve worked a lot just to make sure it works fine. They just needed to understand everything about our unique system: there aren’t a lot of Verizon customers that need something like a coach-to-coach system.

You have mentioned that Riedel Head of Professional Services Dan Bakies will play a key role. What will he be in charge of?

We have a tight frequency time slot in the 1.9 GHz DECT band, so there’s a little bit of a dance that Dan’s going to help manage between the Halftime Show and Van Wagner, and there are other things as well, especially with officiating. Dan will act as our replay field tech and will be at the replay cart. He will monitor the game officials and be able to help us quickly troubleshoot anything that comes up. He is also in contact with any Riedel Bolero DECT user; if something happens — like the game officials are working on the field before halftime comes on — he can manage those situations. – Ken Kerschbaumer

SVG LOOKS BACK AT SUPER BOWL LVII Arizona Cardinals, Van Wagner Leverage New IP-Capable Control Room

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early 68,000 fans packed into State Farm Stadium for one of the more dramatic Super Bowls in recent memory. The ones responsible for providing the energy inside of the building on gameday was Van Wagner, and the in-venue production company operated on top of a brand-new IP-capable control room that was constructed by the Arizona Cardinals in January 2023. The decision to conduct the first production in this new space on NFL’s biggest stage was quite a gamble, but a gamble that paid off in spades.

“The stadium’s engineering team had to find the balance of what was the right decision,” said Nate McCoart, director, technical operations, Van Wagner Productions. “They had faith that they could pull it off in the time.”

Insignia Event Services, the club’s in-venue production and engineering department, were in a bit of a tough spot. Working within an environment that has been in use since the stadium’s opening in 2006, equipment began to experience hiccups on a more regular basis.

“We started having outputs that were going bad, multiviewers that were dropping, and a lot of elements that were hard to troubleshoot,” said Jesse Janosky, manager, engineering, Insignia Event Services. “It was so bad that heat sinks were burned off and a lot of cards couldn’t be repaired since they were already at end of life.”

Spearheaded by Engineer Matthew Alvarado, Broadcast Engineers Ian White and Johnathan Wulf, and Janosky, the antiquated control room was completely transformed to handle the latest in production technologies with the assistance of 21 engineering students from Glendale Community College. This extensive project included reorganizing the rack room, rectifying any technological issues, and flipping the room to bring these modernized workflows online in two weeks.

In addition, this massive control-room overhaul was done without a dedicated systems integrator. Deciding to go this route not only allowed for enhanced flexibility, but also broke away from the mold that they operated in for over a decade.

Van Wagner’s Nate McCoart (left) and Bob Becker inside the secondary control room at State Farm Stadium

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Van Wagner’s Brian Scott (left) and Ryan Kehn worked inside the main control room on Super Bowl Sunday.

“We’re trying to get as close to vendor agnostic as possible in order to experiment and try what’s best,” said Janosky. “For an engineer, the goal was to focus more on software and scalability versus what one box can do.”

From Van Wagner’s perspective, the onsite crew tapped this new production space as well as a secondary control room that was constructed at field level of State Farm Stadium. The last time Van Wagner operated at this building — Super Bowl XLIX in 2015 — this secondary control room wasn’t available, but this area eased the stresses on both the production staff in the main control room and the technology being used for the in-venue show.

“During the last Super Bowl here, we cut our Fan Cam show off the [main game] switcher and taxed the efforts of both the people and the equipment,” said Bob Becker, president, productions, Van Wagner Productions. “As shows get more technologically advanced and we’re asked to do more, we began constructing these sub control rooms to give us some more space.”

On the creative side, Van Wagner VP, Productions, Brian Scott, and Senior Creative Director Ryan Kehn worked closely with Arizona Cardinals Senior Director, Game Entertainment and Special Events, Tim Beach and his crew to assemble a captivating show for fans in attendance. Hype videos were updated with recent game footage as well as with top plays from the entire season. To generate the best clips possible, Van Wagner relied on efficient logging services from Adobe and a dedicated staff of five loggers and worked ahead of schedule to meet the necessary deadlines.

“We’ve had to hit it pretty hard after Conference Championship Sunday,” said Scott, “but we also did a lot of setup work prior to that.

In some cases, we knock out the graphics of the four remaining teams, and it takes us a couple of days after [the conference championships] to get the footage together for our videos.” – Kristian Hernández

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SVG LOOKS BACK AT SUPER BOWL LVII

Kansas City Chiefs, Philadelphia Eagles Fire Up Fanbases on Social Media

T

he dust has settled on Super Bowl LVII, and the Kansas City Chiefs emerged victorious after a wire-to-wire battle with the Philadelphia Eagles.

Prior to Super Bowl LVII, representatives from both franchises sat down with SVG to discuss how they got fans ready for the biggest game of the year through engaging and entertaining content on social media.

Kansas City Chiefs

Philadelphia Eagles

After five consecutive trips to the AFC Championship Game, two Super Bowl appearances in four years, and victory in Super Bowl LIV, the Kansas City Chiefs grabbed the final win of the 2022 season to solidify their bonafide dynasty in the National Football League.

Along the way, 65 Toss Power Trap Productions — the organization’s creative media and production department — kept the energy of their fanbase alive throughout the team’s run to State Farm Stadium in Glendale, AZ. Kansas City Chiefs’ VP, Content and Production, Rob Alberino, explained the club’s overall strategy for digital and social-media content, provided examples of content that has entertained fans all postseason long, previewed projects that were still in the works leading up to Super Bowl Sunday, ran down the list of technologies used by his team, and, as a former long-time (1997- 2010) employee of the Philadelphia Eagles, discussed his personal thoughts about the upcoming showdown.

“A lot of what our content strategy has become is planned in October and November when the team on the field is moving in the right direction,” he said. “We sit down with multiple departments and break out what we want to deliver to the fan. As we go through the week, our hard work is slowly manifesting into a beautiful thing.”

If you’ve ever walked down the streets of the City of Brotherly Love or had the chance to interact with die-hard fans of the Philadelphia Eagles, there’s only one phrase that could adequately summarize your experience: “It’s a Philly Thing.” As the beloved Birds flew on the road to Super Bowl LVII, the team’s production staff rallied fans in the hopes of bringing another Lombardi Trophy down Broad Street.

Philadelphia Eagles VP, Content and Production, Eric Long discussed how the team’s creative philosophy tapped into the city’s passionate spirit, the various forms of content that populated its socialmedia channels, how developing a relationship based on players’ trust allowed their personalities to come to the forefront of the videos, gave shoutouts to his hardworking crew, and pondered the possibility of winning a second ring since the franchise’s first-ever championship in 2018.

“When you build a strategy and you’re consistent with it throughout the year, the players understand it,” he said. “We’re at a point [in the season] where they know the cadence of our social media content and what we’re doing when they see us. [Gaining player buy in and trust] is something that you can’t force since it’s out of your control, but when the guys are plugged into these projects, that’s when we turn it loose during this week.” – Kristian Hernández

Click HERE to watch the video interview.

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Click HERE to watch the video interview.

See you at NAB

# C4111

WHITEPAPERS Flex Your Broadcast Muscle

By Axel Kern, Senior Director Cloud and Infrastructure Solutions, Lawo

B

roadcast and AV functionality running on COTS servers is not really new. And the idea of software-defined hardware immediately appealed to a wide audience, because it allowed one device to be used for a variety of tasks. To cope with a rising number of deliverables, new hardware may have to be bought, so crystal-ball gazing is an important asset for planners, because too little processing power means that peak demand cannot be met for top-tier events.

> WHAT ARE WE LOOKING AT? Conversely, having too much hardware sitting idle for the best part of the year is increasingly frowned upon. Choosing the right tools for the job was never easy and is becoming trickier still when you consider the agility that will be required in the future.

Broadcasters are clamoring for more flexibility. Let’s look at how agile true flexibility needs to be. Is it software running on a COTS server? Up to a point, because even though software has been at the heart of most dedicated processing devices for years, an off-the-shelf server could be used for completely different applications tomorrow.

Control surfaces, such as mixing consoles and video switchers, cameras as well as I/O devices and gateways are still needed to allow operators to get signals into, and out of, the system. But the tools used to process them may have to change.

Some vendors would have you believe that the most straightforward solution would be to shift all processing tasks into the cloud.

Mere lifting and shifting, however, would be a pity: it imposes hardware-inspired constraints on a boundlessly flexible software architecture. And what about the ingress and egress charges this entails?

Let’s look at the software and ask ourselves how to make it even more flexible. The more features a software title has, the bulkier it becomes. There are two drawbacks to this approach: a comparatively big amount of compute resource is needed to perform a specific operation, and if some aspect needs fixing, the entire software Figure 1. A new way of distributing processing functionality would provide maximum flexibility 62

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title needs to be updated. That explains why current updates take months to materialize.

So smaller pieces of software would be called for, compact, but highly powerful specialists that do one processing job. Let us agree to call them apps which are completely abstracted from the hardware they run on, thanks to a containerized approach. Under this scenario, the power of a processing task is derived from the collaboration of a number of highly granular specialists.

Although functionally the same as routing video streams to a processing blade that is connected to a monitor screen, the COTS approach allows operators to use the same hardware to process audio when the multiviewer task is finished.

> ASSUME NOTHING And there is more: if we agree that bare metal servers are best placed to do the compute heavy lifting for any task we throw at them, and if we assume that containerized apps are in pole position for an agile workflow, it follows that spinning up additional resources, such as more multiviewer heads, stream transcoders, etc., should be possible while the server still has compute power to spare.

What happens when this is no longer the case? A second COTS server could be installed, again with finite compute power. Or, to be even more flexible, the ability to run the desired processes in a remote datacenter, or on a public cloud service could be leveraged.

Whether the COTS hardware is hosted on-prem, in a datacenter or provided by a public cloud service should only be dictated by the amount of data that need to be transported and processed, and by the acceptable latency. And, of course, by the user’s preferences.

> GRANULAR FLEXIBILITY Another important consideration is how to cope with peak-time

Figure 2. Idea: top up baseline requirements with temporary software licenses to stay nimble and on-budget, with little or no idle hardware

processing demand in the future. After all, even if delivered by software, the processing functionality still needs to be purchased, or licensed. Does this mean we just shift the whole idea into the software domain and keep planning for anticipated peak-time demand?

What if you were free to choose onsite that a portion of your hardware infrastructure processes any top-up functionality requirement for the duration of the event, while the rest covers its cruise-speed (baseline) feature set?

The trouble with existing licensing models is that they usually cover functionality bundles, with quite a few tools only specialists need every so often, while they are too complex to update specific aspects quickly. Adding top-up capacity currently involves more long-term license fees. How about offering both — long-term fees for your staple processing needs and temporary licenses for peaktime demand?

And then there is the idea of granularizing the offering, based on functionality that runs independently of related processing tasks on bare metal, from which it is abstracted. There should be a possibility to granularize the offering based on the smallest possible functional entities, which replace “Multiviewer Yes/No” or “Audio Process Yes/No” options of a clunky software package with significantly more flexibility. Think how to compress a flow using either NDI or JPEG XS, or an individual multiviewer output for the n’th workplace. The hardware doesn’t matter, it stays the same, but the operators are at liberty to scale the production system as required.

This opens up new possibilities: the ability to instantly spin up additional multiviewers, e.g. on a per-seat, per-case basis, more graphics insertion tools or up/down/cross conversion routines for A-tier events, just for the duration of an event. On-premise, in your datacenter or in a public cloud.

Apps providing tasks that are no longer needed could be ignored, while new tasks could be covered by apps just waiting to be activated. Such an amount of flexibility obviously requires a user interface that operators without a solid technical background can use with confidence.

> WHAT’S IN YOUR MIX? So there you have it. The abstraction of functionality, with the hosting platform as the foundation of it all: the ability to run prograde broadcast processing through apps, highly granular and as-a-service; the ability to spin these functions up only when there is demand for them. What usage model fits best?

Depending on how broadcasters plan their infrastructure, three approaches spring to mind:

• Permanent only: no surprises ahead? Fine, stay on the familiar path and go for perpetual licenses.

• Permanent and Flex licensing combined: Perm for cruise-speed usage, flexible licensing for temporary top-ups at peak times, or • Max Flex: licensing resources with a with a high degree of flexibility and more frequent top-ups.

As every operation is different, the perfect mix depends on your typical requirements.

What would be a fair way to charge for models that involve occasional top-ups, considering that different processing services may be needed at different times? The answer to this is a digital wallet that users fill with credits they can spend on all processing services on offer.

Our envisaged credits work as follows: they are available on a subscription basis and can be spent on any kind of processing operators need during a subscription period. After using credits to spin up additional multiviewers for one show, the same credits can be assigned to graphics insertion, format conversion, JPEG XS compression, etc., to run the next show.

> ORCHESTRAL MANEUVERS Now that the table has been laid for a true elastic world, the question arises how this could be implemented in real life, in a way that requires no long-winded configuration sessions or expert knowledge. You know best, what you need and when you need it. This is where the management platform comes in. It gives you full control.

It redefines orchestration from just managing stream flows into managing services, applications, and processing capacity in a fast and intuitive way. Managing your infrastructure means you need to be able to solicit, and spin down, services on demand via a single, unified user interface and without having to worry about everything that needs to happen in the background.

Call it functionality on demand or Infrastructure-as-a-Service if you will, presented in such a way that operators remain firmly in the driver’s seat and are free to run containerized apps on COTS servers in-house, in their OB trucks, in a datacenter or a public cloud — whichever makes most sense.

> KEEPING ALL OPTIONS OPEN It may be clear by now that the proposed paradigm has the potential to provide all the required broadcast functionality as and when it is needed, under a fair pricing scheme, and with a high degree of agility and elasticity. Thanks to the overarching user interface, the entire workflow would be streamlined and intuitive, and address all authentication and security concerns. Your existing hardware is most welcome to join in while it is still up to the job.

Welcome to our humble abode: HOME. < SPORTSTECHJOURNAL / SPRING 2023

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Live Streaming the Future of Broadcast Ease the transition to IP-based workflows and bring the power of AI to your broadcast infrastructure with NVIDIA. www.nvidia.com/professional-broadcast

WHITEPAPERS

8K/HFR Video Acquisition on the Edge With IP for Sports Broadcast

By Thomas True, Senior Applied Engineer for Professional Video, NVIDIA > INTRODUCTION

T

he broadcast of live sports combines real time live action captured in stunningly beautiful high resolution at high frame rate, computer generated augmented reality based upon in-game statistics, and Artificial Intelligence (AI) techniques to produce an engaging viewing experience.

The Graphics Processing Unit (GPU) and the Network Interface Controller (NIC) installed in Common-Off-The-Shelf (COTS) computer systems play a central role in making these creative innovations possible in today’s software-defined video-over-IP workflows.

And, the creativity starts on the edge with the deployment of media gateways for the acquisition of 8K and High Frame Rate (HFR) content. In this article, we discuss 8K and HFR video acquisition on the edge, how COTS media gateways with high-performance GPUs enable it, and why such technologies should be used.

streams. The NICs could also be replaced with Data Processing Units (DPUs), a (System On a Chip) SOC which combines a NIC with a high-performance multi-core ARM Central Processing Unit (CPU) for additional processing of the network essence streams.

While IP cameras are becoming the norm, this media gateway could also include SDI interfaces to support legacy cameras.

Design: This media gateway platform or appliance can be deployed in two different configurations: as a typical large edge server typically found in a data center capable of supporting multiple cameras or as a small form factor computer system that can be colocated with the camera.

> LARGE EDGE SERVER A large edge server capable of supporting multiple cameras consists of a typical COTS server with two NUMA (non-uniform memory access) nodes in four rack space units. In addition to the two CPUs Central Processing Units the system may have up to four NVIDIA RTX 6000 GPUs and two 100 Gbps ConnectX Smart NICs or Bluefield2 DPUs distributed across the two NUMA nodes. The design of this system permits peer-to-peer transfer of the video essence stream data between the GPUs and NICs or DPUs connected

> EDGE COMPUTING Technology: Edge computing is defined as the application of computer processing techniques at the start or end of a workflow.

In the broadcast production of a live sporting event this edge computing takes the form of media gateway devices that take the acquired video, audio and ancillary data essence streams and preprocesses or converts them into a form that both saves transmission costs by reducing the required transmission bandwidth and is more easily used in the production pipeline.

Design: Traditionally, these devices have been single-purpose FPGA-based devices such as format converters and media encoders. However, an emerging trend among broadcasters to utilize scalable microservices constructed with Open Source Software (OSS) frameworks running on COTS hardware is changing the face of edge computing in broadcast production as we know it.

Impact: Media processing gateways on the edge built with COTS hardware and a scalable OSS stack can be easily deployed between the cameras capturing the live action and the on-prem broadcast truck or the cloud, and controlled remotely.

> MEDIA GATEWAYS Technology: A media gateway consists of one or more highperformance GPUs for transcoding and AI processing, combined with one or more high-speed NICs for network I/O of essence 66

SPORTSTECHJOURNAL / SPRING 2023

Figure 1. Large and Small COTS Media Gateways scale to broadcaster needs.

to the same PCI (Peripheral Component Interconnect) switch. For redundancy and scale out multiple servers can be installed in a cluster configuration. In addition to the server computer systems, this configuration requires a high-speed network switch for the interconnection of the one or more servers and the multiple cameras.

> SMALL FORM FACTOR SERVER The small form factor platform to support a single camera is built upon an ARM-based System SOC such as the NVIDIA Orin with a single discrete RTX 6000 GPU and 100 Gbps NIC. The architecture of this system permits peer-to-peer transfers of the video essence stream data between the GPU and NIC. This server uses much less energy and can easily be installed colocated with the camera to which it is directly connected via a high speed network link.

Impact: The same OSS software stack can scale supporting many cameras on a larger remote server or a single camera colocated server. Using COTS components, broadcasters are not locked into a single vendor solution.

> SOFTWARE DEFINED MICROSERVICES Technology: Media processing applications are deployed on the edge media gateway as docker containers built from software components that work equally well in a virtualization environment with a virtualized GPU (vGPU) and virtualized NIC (vNIC) as on bare metal hardware. These microservice applications can be linked together to create a custom video processing pipeline.

Design: The discovery and management of essence stream connections of these software-defined media processing microservices is performed via the Networked Media Open Specifications (NMOS) suite of specifications that provide the common industry solution for the interoperability and management of IP connected media devices developed by the Advanced Media Workflow Association (AMWA).

Impact: The software-defined flexibility of this media gateway allows for all types of applications within the spectrum of sports broadcast production spanning the gamut of transcoding to the application of AI-based enhancements such as player tracking for automatic framing and denoising.

> 8K HIGH-RESOLUTION Technology: The acquisition of high-resolution 8K material provides increased flexibility to the producers. With 4x the number of pixels as 4K, it’s possible to focus the viewing audience on the exact point of action and crop significantly without losing the resolution required for UHD distribution. Capturing 8K also provides much

more freedom when framing shots because it makes it possible to alter the composition and stabilize shots in post. One 8K camera can also be used to provide two shots, the first a wide angle pan shot and the second a close-up shot simply by cropping, saving the expense of a second camera. Higher overall quality can also be achieved by downsampling an 8K video essence stream to 4K. Design: The real time acquisition of 8K without dropping frames requires the tight integration as well as the high performance of the GPU and NIC within the COTS media gateway. The thousands of parallel compute cores of the GPU debayer the RAW image sensor data received from the camera on the network interface into a usable format for production. At nearly 42 Gbps for an uncompressed 10-bit YCbCr video essence stream, the problem with 8K then becomes moving it around within the production pipeline. The solution is to compress the video essence stream into a mezzanine format such as JPEG-XS using the GPU for transmission via the onboard NIC into the broadcast pipeline as ST2110, SRT, RIST, or NDI. Impact: Only the combined performance of the GPU and NIC in a COTS media gateway together with a network of debayer and transcode microservices can efficiently and effectively deliver 8K into a broadcast workflow in real time.

HIGH FRAME RATE Technology: The acquisition of a live action sporting event at a high frame rate serves many goals beyond simply giving the producers more opportunities to creatively improve the viewer experience.

Playing back live action footage captured at a high frame at the normal broadcast frame rate creates the ultimate slow motion replay.

In addition, the same footage can be used by replay officials to make the correct call at the goal line, finish line or foul line. Furthermore teams and leagues can utilize the high-frame-rate video essence streams to conduct detailed motion analysis of the game play.

Design: The COTS media processing gateway creates the ultimate CCU or digital video recorder (DVR) for high-framerate cameras capable of capturing up to 1000 frames per second (FPS) at a bandwidth of up to 100 Gbps. Utilizing an optical fiber network link to connect to the on-board NIC, the high-data rate video essence stream is transferred to the GPU for processing or recording prior to transfer of the video assets into the production workflow. In this case only the thousands of parallel compute cores of the GPU can debayer the RAW sensor image data at the high frame rate while the GPU encoding hardware transcodes the resulting video essence stream for use within the sports broadcast.

Impact: The flexibility of the COTS media gateway allows the easy and quick deployment of a network of debayer and encoding microservices that utilize the NIC and GPU with the required bandwidth to capture and record high frame video streams.

> CONCLUSIONS

Figure 2. Software-defined microservices running on the COTS media gateway can be combined to define a workflow for any production pipeline.

In conclusion, a media gateway with the powerful combination of the GPU and NIC and a software-defined processing pipeline provides the broadcaster an ideal platform for acquisition and processing of high-resolution high-frame rate video on the edge for the production of quality sports broadcasts that keep viewers engaged. < SPORTSTECHJOURNAL / SPRING 2023

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Speed or Security?

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Visit Fortinet.com/M&E

Copyright Copyright©©2023 2023Fortinet, Fortinet,Inc. Inc.AllAllRights RightsReserved.

Reserved.

See us at NAB 2023, Booth #W1821 Visit us at tvunetworks.com to learn more or register for a personal demo.

WHITEPAPERS

Advanced Video Coding Technology with Ultra-Low Latency for Connected Acquisition, Remote and Cloud-Based Live Production

By Hugo Gaggioni, CTO, Sony Imaging Products and Solutions, Americas > INTRODUCTION

O

ver the past few years, the content creation industry has seen the rapid adoption of IP technologies for all aspects in the connection and transportation of processed media during live production applications.

At the same time, the increasing use of image formats with high resolution and with high levels of picture quality have given rise to elevated transmission data rates with their corresponding high network costs.

Also, of equal importance, the increasing demand for high quality connections between acquisition devices and production centers — be them on-premises or cloud-based, requires real-time data streams with very low levels of transmission latency.

All these requirements amount to severe constraints in the number of available programs within a given transmission channel and with the added economic challenge of significant increases in operational costs.

> HEVC ULL (ULTRA-LOW LATENCY) Figure 1 to the right depicts Sony’s vision for IP-based interconnections of devices and applications covering Cloud, Virtualization and Distributed Production centers. It is generally accepted that availability of data payloads in excess of 1 Gbps between transmitting and distant processing sites are difficult if not practically impossible to establish cost effectively.

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The use of video compression techniques is therefore mandatory to address the bandwidth challenges of modern imaging formats.

In the world of video coding, it is commonly encountered that three key characteristics of compression schemes are in constant competition: picture quality, bit-rate efficiency, and coding latency. For example, the use of intra-frame compression coding at high levels of image quality results in fast encoding/decoding latencies but at the expense of requiring modest compression ratios and hence high data rates.

On the other hand, the use of inter-frame techniques, which are favored for high video quality at low data rates, results in large values of latency due to the multi-frame coding process.

To address these issues, Sony has developed a novel video coding architecture based and compliant with the international standard HEVC (H.265) that operates at very high level of picture quality with ultra-low latency and low data rate.

Characteristic of inter-frame coding schemes is the existence of so-called Intra-pictures — which are coded relative to the video data present only within that frame — and Predictive and Bidirectionally-predicted pictures — which make use of information in previously processed blocks of pixels.

The compressed data that comes as a result of these types of coded frames varies differently, with the Intra-frame exhibit-

ing only a very modest reduction in coded data compared to an uncompressed frame. It is this large amount of data (as compared to the smaller size P and B frames) that gives rise to the multiple frames of latency needed for transmitting this coded information over the average bitrate.

One mechanism to accelerate coding in inter-frame schemes is to divide the incoming video frames in slices which are independently coded by multiple coding processors. As each slice is compressed the coded data can immediately begin transmission, reducing latency significantly, with only a minor reduction in coding efficiency.

However, the frame slicing process results in I, P and B slices which are still very different in their size of coded data.

Sony has designed a novel architecture and control of macroblock coding that permits an approximate equality of the data produced by these different coded slices which further reduces the latency of the whole encoding stage.

The complexity of this solution however requires that the implementation of the scheme be carried out in the dedicated hardware of an LSI device.

A single LSI device can handle a UHD video signal (3840x2160 @60/50Hz) or 4 independent 1080P (@60/50Hz) in 4:2:2 10bits and resulting in coding/decoding latency of under 2 frames.

> CODING PERFORMANCE Figure 2 above shows a comparison between uncompressed UHD (data rate approximately 12 Gbps) versus JPEG-XS compression and the new HEVC ULL (Ultra-Low Latency).

The recently introduced JPEG-XS coding scheme is an intraframe only technique with very high levels of picture quality when used at modest compression ratios, say 6 to 10:1. Under critical visual examination a JPEG-XS stream of 2 Gbps (4:2:2 10bits) is visually indistinguishable from the original uncompressed UHD pictures (a compression ratio of 6:1). A further increase in compression ratio resulting in 1.2 Gbps produces also usable results – and with a latency of 1 frame due to its intra-picture coding features.

The new HEVC ULL at 100 Mbps (4:2:2 10bits — a compression

ratio of 120:1) can visually match the 2 Gbps stream of JPEG-XS, while at 60 Mbps it matches the quality of the 1.2 Gbps JPEG-XS stream (a compression ratio of 200:1). This coding performance, by this new HEVC ULL scheme, still entails only under two frames of latency while keeping a high level of picture quality. In other words, 20 times or more HEVC ULL streams, compared to JPEG-XS, can be transmitted in the same network bandwidth.

In resent tests with 1080P (4:2:2 10bits, @60/50Hz) the HEVC ULL results in data rates between 25-35 Mbps with excellent picture quality.

Sony will be using the HEVC ULL LSI in a number of transmission devices for use in WAN applications as well as in connection of mobile camcorders to cloud-based portals and processing centers.

The first of these products to be unveiled at NAB 2023 is a Media Edge Processor, the NXL-ME80, which is capable of handling 8 channels of 1080P or 2 channels of UHD. The coded data uses a very robust protocol, named Sony QoS, protected with FEC, ARQ, and redundancy.

Another device to be exhibited at NAB 2023 is an R&D prototype of a single channel (UHD or 1080P) compression box for transmitting compressed data from mobile camcorders via 5G networks.

> CONCLUSION Sony has completed a new video compression processing architecture based on an Ultra-Low Latency implementation of HEVC (H.265), with coding of 4:2:2 10bit video at very low data rates, very high levels of picture quality and with encoding/decoding latencies under 2 frames.

The advent of these coding devices promises to significantly change the traditionally accepted values of data payloads in the transmission of multi-channel sources. This unique performance will enable not only the transmission of contribution quality feeds from ENG/EFP camcorders via the upcoming 5G wireless infrastructure at cost effective data rates, but also the carriage of multiple UHD and HD high picture quality streams over 1 Gbps data pipes with ultra-low latencies suitable for remote live production applications as well as video transmission between ground and cloud environments. < SPORTSTECHJOURNAL / SPRING 2023

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¸PRISMON AUDIO/VIDEO CONTENT MONITORING AND MULTIVIEWER

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Multistandard/multiprotocol support for unmatched versatility (e.g. ASI, (3G-)SDI, SMPTE2022-1/2, SMPTE2022-6/7, SMPTE2110-20/21/30/40, AMWA NMOS, OTT multiprotocol suite, DVB, NDI®, SRT) Multi-application approach for A/V monitoring in playout/contribution and distribution environments on a single platform Low latency multiviewer solution for IP based studio/production/playout environments Fully software defined solution for future-proof extensibility Cloud-enabled platform and orchestration-ready design for dynamic and flexible allocation of monitoring capacity

WHERE DID EVERYBODY GO?

By Bob Carzoli, Chairperson ProCrewz, Program Productions, XLT PEOPLE. Where have all the field technicians disappeared to during the past three years? Data suggests that over 30% of the people who identified “Sports Broadcasting” as their primary source of income are no longer working in the industry.

The hard costs to the broadcast community have grown into the tens of millions of dollars in additional travel, escalating wages and enormous increases in weekly overtime paid. The costs that are harder to see include prematurely moving underqualified technicians into more senior positions, and the stress, anxiety, and burnout of the remaining personnel who’ve been asked to work ridiculously long stretches of continuous days. Add in the dried-up pipeline of new people entering our industry and we truly have a crisis.

HOW DID WE GET HERE? Simple. The pandemic changed the game of broadcasting. For almost two full years, there was very little work. Visitor shows in the Regional Sports Network ecosystem vanished. Larger network shows were forced to get substantially smaller due COVID protocol restrictions and requirements.

While many of the executives talk about the “five-year acceleration of technology” there was a coincidental “thinning of the workforce” since 2020. Throw in the uncertainty of what a “post-pandemic” broadcasting world may look like (World Feeds, REMI’s, At Home workflows, small form factor mobile units, etc.) and many technicians retired or found work in other technology fields that included work-from-home opportunities.

WHERE DO WE GO FROM HERE? This is an industry problem that can only be solved at the industry level.

You have to identify the best solution to get technicians recruited, trained and placed. Then, you put someone or some organization in charge of overseeing and capitalizing on the opportunities. And finally, you need to track the results, corresponding costs, and effectiveness of the strategy.

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FOR MORE INFORMATION, VISIT WWW.PROCREWZ.COM SPORTSTECHJOURNAL / SPRING 2023 WWW.PROGRAMPRODUCTIONS.COM • WWW.XLMTS.COM

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FOR MORE INFORMATION, VISIT WWW.XLTMS.COM.

RTS INTERCOM SOLUTIONS

SPORTS BROADCASTING Studio truck and hybrid/remote production

RTS is the most trusted name in the game, with over 45 years of industry experience.

From the flagship Advanced Digital Audio Matrix (ADAM) systems used to coordinate major network broadcasts of the world’s largest events to the wide range of wired/ wireless and IP/digital/analog solutions we offer for applications of any size, professionals trust RTS to deliver an optimal combination of forward-thinking functionality, real-world reliability and superior sound quality.

VISIT US AT NAB

BOOTH C3811

Flexible IP intercom solutions with SMPTE ST 2110 What makes the RTS difference?

• More compatible systems – supporting both open public standards (e.g., ST 2110, AES67, AES70, AES10) and manufacturer protocols (e.g., OMNEO and DANTE) to ensure future-proof interoperability AND backwards compatibility for extended ROI • More complete range of IP-based systems – from matrices to keypanels to beltpacks to intercom in the cloud via app • ODIN (OMNEO digital intercom matrix) • TM-10K (Trunkmaster) • VLINK (virtual intercom app for mobile/remote users) • KP-SERIES (IP keypanels) • DBP (Digital Beltpack) • ROAMEO (DECT-based wireless)

• More intelligent IP connections for plug and play setup – with automatic recognition of devices on the network • Highly scalable systems – architected for users to create systems from 16 ports up to 1024 ports in 16-port increments • Engineering, manufacturing and logistics resources reinforced on a global scale as part of the Bosch Group

rtsintercoms.com | #theRTSdifference Information in this document is subject to change without notice.

All trademarks are the copyrights of their respective owners. ©2023 Bosch Security Systems, LLC

Content Creation & Production Content Distribution & Monetization

Software Centric & Cloud-Native Solutions for Content Owners, Broadcasters & Video Service Providers that enable: Live and Studio Production

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NAB2023 PREVIEW

T

he entire broadcast industry will once again come together in Las Vegas in April for the 2023 NAB Show and SVG is once again set to cover the show from every angle. Read on for previews from more than 150 SVG sponsors and stay tuned to the SportsTechLive@NAB Show Blog on www.sportsvideo.org for the latest from the Las Vegas Convention Center.

>ABSEN

A

bsen is excited to be showcasing four important LED solutions for rental and staging, broadcast, and commercial markets. First up is the Polaris Series 2.9 Pro, which features a 2.9-pixel pitch with high brightness and contract ratio for outdoor use. Made of lightweight die-cast aluminum for easy installation and maintenance, PL2.9Pro is perfect for outdoor concerts and festivals. Also debuting in the rental and staging category is the JP8Pro. Made of lightweight aluminum, the JP8Pro features 50% transparency for added clarity, an 8.9 pixel-pitch, and 4000 nits of brightness. Coupled with the use of special effects such as lasers and dry ice, a dreamlike feeling can be created for added stage effects. Absen’s Virtual Studio/XR solution, Pixel Reality (PR) Series 2.5 will also be showcased at NAB 2023, it just won Best of Show Award at ISE this year. A 2.5-pixel pitch, 1500 nit brightness, curvability, and a wide color gamut are key features for a solution that can be used as either a backdrop or ceiling for virtual production films. Finally, the award-winning Clear Cobalt (CL) Series debuts a new 0.7-pixel pitch option for commercial, data-visualization, and luxury display applications. Visit booth C6711.

>ADDER TECHNOLOGY

A

dder Technology, a leader in connectivity solutions and high-performance IP KVM, will be showcasing the ADDERView CCS-MV 4224, its latest desktop multi-viewer switch, at NAB 2023.

Part of its award-winning command and control portfolio, Adder’s KVM multi-viewer provides real-time 4K KVMA (keyboard, video, mouse, and audio) access of up to four computers from a single workstation. For professionals working in highpressure broadcast environments, seamless access to native 4K UHD video, combined with natural automatic switching between computers and enhanced connectivity options, is paramount. During the show, Adder’s team of IP KVM experts will be on hand to demonstrate how the multi-viewer can be combined with other award-winning solutions

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from the ADDERLink INFINITY range to give users simultaneous access to any source on the network. Dynamic and highly creative environments such as broadcast control rooms, post-production houses, outside broadcast trucks, and radio studios, rely on dynamic technology and ergonomic working practices to produce captivating content.

For many, KVM technology is the cornerstone that delivers ultimate productivity, maximized IT efficiency, and better working environments. By moving computers to a centralized location, KVM promotes inter-team collaboration, improves workflow optimization, and eliminates excessive noise and heat emissions from the workspace. Visit booth W2120.

>ADVANCED IMAGE ROBOTICS

A

IR will be exhibiting the AIR One and AIRcloud remote production platform for live events. You can find our cloud-native, app-controlled camera robots at our booth, and other locations throughout the 2023 NAB Show. Visitors to our booth can control cameras remotely using only an iPad and see how our shoot planning portal digitizes prep and radically reduces the time it takes to setup a shoot. We will also be demonstrating how AIR technology enables visualization and diagnostics throughout the production chain, and upcoming AI camera controls.

>AI-MEDIA | EEG

J

oin Ai-Media at the NAB Show to see how you can simplify broadcast captioning. Most broadcasters looking to utilize captioning have three main goals. Firstly, they want to caption more content than ever as they expand into over-thetop streaming. Secondly, they want to power this through APIs and the cloud, without increasing on-premises infrastructure and human workflows.

And thirdly, they want to reduce the cost of captions through new technology. At booth W1267, Ai-Media will showcase our end-to-end solutions that allow broadcasters to tick all these boxes. Plus, we’ll also be making an exciting announcement,

SPORTSTECHJOURNAL / SPRING 2023

so make sure you join us there! Discover our solutions perfect for broadcast. By visiting our booth, you’ll learn about our iCap Alta IP video encoder, which provides a resilient workflow for live multilingual captions across both compressed and uncompressed IP video.

>AJA VIDEO SYSTEMS

S

ince 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions, and professional cameras, bringing high-quality, costeffective products to the professional, broadcast, and postproduction markets.

>ALL MOBILE VIDEO

A

s one of the country’s premier providers of live entertainment technical services since 1976, AMV offers a full spectrum of production services: Mobile Production Units, Sound Stages, Post-Production, Transmission and Streaming services, as well as Equipment Sales & Rentals.

As an example of one its recent projects, AMV provided UHD mobile production resources, transmission/encoding, and production management services for FanDuel’s live 30 second 2023 Super Bowl commercial. Gronk missed the Field Goal, but AMV scored in its deployment. The All Mobile Video team commits to serving clients and building relationships by catering to the individual needs of each production with unparalleled attention to detail on a show-to-show basis.

AMV prides itself on partnering with its clients in terms of individual project design and boasts an experience level to rival anyone in the broadcast industry with a solid team of forward thinking, strategically driven, highly trained engineers and project managers.

>ALLIED BROADCAST GROUP

A

llied Broadcast Group is a leading provider of broadcast equipment, including stateof-the-art broadcast trailers. These trailers are available rack-ready or fully equipped with the latest technology, providing a self-contained, mo-

bile broadcasting solution for live events, remote broadcasts, and sports coverage. Custom-built trailers are designed to meet specific customer requirements and can be configured with a wide range of equipment options. Rack-ready trailers come without equipment, but are ready for you to install the gear already on your shelves. Allied Broadcast Group also offers a wide range of new and used broadcast gear, including cameras, lenses, tripods, monitors, audio equipment, and more. With over two decades of experience in the industry, we are committed to delivering cuttingedge technology and outstanding customer service. Allied Broadcast Group’s state-of-the-art broadcast trailers will be showcased at the upcoming NAB conference. Visit us at booth C5511 and check them out for yourself!

>AMAGI

A

magi is a next-gen media tech company that provides cloud broadcast and streaming TV solutions to TV networks, content owners and streaming TV platforms. Amagi enables content owners to launch, distribute and monetize live linear channels on Free- Ad Supported TV and SVOD platforms. Amagi also offers 24x7 cloud managed services bringing simplicity, advanced automation, and transparency to the entire broadcast operation for traditional TV networks. Amagi delivers 400+ channels with deployments in over 40 countries.

Amagi has offices in New York, Los Angeles, London, Delhi and Bangalore.

>AMAZON WEB SERVICES

F

or over 15 years, Amazon Web Services has been the world’s most comprehensive and broadly adopted cloud offering. AWS has been continually expanding its services to support virtually any cloud workload, and it now has more than 200 fully featured services for compute, storage, databases, networking, analytics, machine learning and artificial intelligence (AI), Internet of Things (IoT), mobile, security, hybrid, virtual and augmented reality (VR and AR), media, and application development, deployment, and management from 96 Availability Zones within 30 geographic regions, with announced plans for 15 more Availability Zones and 5 more AWS Regions in Australia, Canada, Israel, New Zealand, and Thailand. Millions of customers — including the fastest-growing startups, largest enterprises, and leading government agencies — trust AWS to power their infrastructure, become more agile, and lower costs. To learn more about AWS, visit aws.amazon.com.

>APM MUSIC

A

PM Music will be on site at NAB as a Silver Sponsor of Post | Production World Las Vegas.

APM has the world’s largest and deepest production music library, with over one million tracks available for licensing. For 40 years, APM has provided a full range of music services including custom scoring and a dedicated team of Music Directors for expert research. APM proudly partners with the NHL, MLB, the majority of NFL, NBA, and MLS teams, NFL Films, and Power 5 athletic programs.

>APPEAR

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ppear will demonstrate how the latest advancements in its media processing and delivery technology enable it to lead the industry in efficiency, flexibility, and density at NAB Show 2023. The global technology leader will share with NAB Show attendees how it provides the backbone that production companies, telcos, and broadcasters worldwide trust to make immersive live experiences possible for viewers.

Thomas Bostrøm Jørgensen, CEO at Appear, said: “In the past year, we’ve made several exciting developments in our contribution, OTT, and linear distribution portfolio, all of which make delivering video more efficient, sustainable, and faster.

An on-booth highlight will be the NAB Show launch of revolutionary new solutions that enable operators to align video transport cost with content value. We can’t wait to welcome visitors to our booth once again and re-connect with the industry in-person.” Visitors to Appear’s booth can expect a unique sports-bar style experience, with demonstrations exhibiting its range of energyefficient contribution, OTT and distribution solutions which are continually ranked as being the most dense and reliable in the market. Appear experts will be on-hand to showcase how Appear’s solutions minimize the rack space, power, and operational complexity required to bring highquality live experiences to viewers.

>ARISTA NETWORKS

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rista Networks is an industry leading provider of broadcast network solutions. At the center of the largest broadcast networks and highest profile events in the world you will find Arista. From the inception of professional IP video, Arista has been instrumental in the development of standards used worldwide. With this pioneering presence in the standards process, Arista has been able to cultivate rich partnerships with broadcast vendors across the industry. This broad range of products and solutions incorporated into Arista’s open architecture is further enabled by our skilled and experienced broadcast technology team. Small or large, Arista can support your transition to IP, ensuring reliability, performance, visibility, and simplicity.

>ARKONA TECHNOLOGIES

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rkona is a technology provider for the most advanced and premium live broadcast productions in the world. The company provides IP core infrastructure solutions for audio/video routing, compression, processing, and visualization, with open standards support and an API 1st approach.

API 1st allows for a high degree of flexibility centered around user specific workflows. At NAB, arkona is showing its BLADE//runner software suite of live broadcast production apps which provide a wide variety of tools for professional productions.

Designed for the modern broadcast facility where agility and scalability are essential, BLADE//runner features a highly flexible and modular core, allowing for the creation and deletion of resources and func-

tions on-the-fly. BLADE//runner is controllable by an open API as well as through NMOS IS-04/-05.

World First — Visitors to arkona’s booth will also see a one-of-a-kind, transformational cloud solution unveiled on the first day of NAB.

>ARRI

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RRI is a leader in live action imaging, empowering creative professionals around the world to achieve cinematic excellence. At NAB, ARRI will showcase a live experience with its integrated technologies for cinematic multicamera and lighting, demonstrating an intuitive, flexible, and reliable workflow. The demonstration includes IP-based lighting control and monitoring, color management, and automation, along with traditional fiber and camera control synchronized with creative lighting design. The camera systems showcased will include ALEXA 35, AMIRA LIVE, and ALEXA MINI LF, along with ARRI’s Signature Primes and Zoom lenses with the new impression filters. Dynamic lighting will be demonstrated with ARRI Orbiter and Skypanels. In addition, ARRI will offer traditional product stations for hands-on experience and in-depth conversations. Visitors can also learn about ARRI’s virtual production solutions and see demos of the SRH stabilized remote head and Trinity LIVE. ARRI’s team of experts will be on site to answer all questions.

>ASTRODESIGN

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howcasing new 8Kx 8K Camera, CD-5550, IA1567, IA-1568; 8K transmit by IP JPEGXS and SMPTE 2110, New 4K 240hz Camera and recorder, AM-3825; Audio Monitor, LC-8600; Video platform tester for HDMI 2.1., SC-8229; SDI multiformat conversion.

>AT&T

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T&T is leading the way to the future — for customers, businesses, and the industry. The company continues to develop new technologies to make it easier for customers to stay connected.

AT&T envisions a world where everything and everyone work together, a world that works for you.

AT&T Global Video Service features flexible, costeffective connectivity tailored to suit your business needs. Available in over 200 points of presence globally, including sports venues, production studios, network bureaus, and virtually anywhere content originates, this service features a high-quality network designed to meet the rigorous requirements of the broadcast community — a network built to provide customers a “hitless” switching experience with quick access, more bandwidth, dual and diverse end-to-end routing connection arrangements to help ensure network survivability.

>ATEME

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t NAB, Ateme will show a glimpse of future fan experiences made possible with new technologies such as 5G. These include: push notifications to a mobile phone of the best moments of an event, so you never miss a goal, wherever you are; social interaction in a virtual lounge, where viewers project their avatars into a shared virtual space to

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NAB2023PREVIEW live the thrill of the match together; new in-stadium experiences enabling viewers to choose from multiple camera angles, or to replay the best moments in near-live channels; and low-latency dynamic ad insertion, for optimal monetization of high-value sports events.

>AUDIO-TECHNICA

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isit Audio-Technica to see the BP28 series of Large-Diaphragm shotgun microphones as well as the BP3600 immersive audio microphone solution. Our microphones and headphones are known for great sound and dependability in the toughest broadcast environments.

>BACKLIGHT

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acklight, a global media technology company that dramatically improves every stage of the video and entertainment content lifecycle, will showcase its full stack of software solutions.

Video-forward organizations solve their missioncritical business and operational challenges by partnering with Backlight’s two divisions: Backlight Creative and Backlight Streaming. Backlight Creative provides award-winning software solutions for secure and efficient media management, production tracking and creative collaboration with the iconik, ftrack and Celtx product lines.

Backlight Streaming provides cloud-based OTT video streaming, content management, media production, hyperdistribution, and monetization software to world’s most innovative publishers and broadcasters with the Wildmoka and Zype product lines. For more information visit backlight.co.

>BECKTV

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eckTV offers complete, brand-agnostic space planning, design, engineering, purchasing, and integration services for almost any budget. The company has implemented innovative technology for nearly every type of installation, including broadcast and network television stations, cable and satellite facilities, network operations centers, sports and mobile trucks, professional and university stadium venues, and houses of worship. The company’s projects run the gamut in terms of size and technology — from sports stadiums and large network builds to the smallest call letter stations, and from classic baseband video systems to sophisticated SMPTE ST 2110 deployments. BeckTV has designed and built the most advanced 4K HDR 2110 deployments in sports and is responsible for the only installed 8K replay systems in NFL venues. For nearly 40 years, sports venues and broadcasters have trusted BeckTV to create sports video setups that level up the fan experience and help sponsors connect with target audiences. Visit us at booth C3840.

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>BELDEN

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elden delivers a comprehensive product portfolio of solutions designed to meet the mission-critical network infrastructure needs of sports & entertainment smart districts. With innovative solutions targeted at reliable and secure transmission of rapidly growing amounts of data, audio and video needed for today’s applications, Belden provides reliable, high-performance network infrastructure solutions to maximize new revenue streams while enriching the fan experience. With a legacy of quality and reliability spanning 120-plus years, Belden has a strong foundation to continue building the future. Belden will be showcasing its Broadcast and high-density, end-toend fiber cabling infrastructure solution, the DCX System, at NAB Show 2023. Visit us in booth C3541 to learn more!

>BLACK BOX

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xperience the Evolution of KVM with Black Box at NAB 2023 in booth W1322. Learn how sports broadcasters including the Philadelphia Eagles most recently are using Black Box’s Emerald KVM for flexible, user-friendly virtual access to production systems. Black Box is showcasing the newest addition to the Emerald family, the Emerald DESKVUE receiver. A completely new concept in KVM over IP, DESKVUE is one small box that delivers an exceptional user experience. Personalize your workspace to monitor and interact with up to 16 physical, virtual, and cloud-based systems right from your user desk by connecting a single keyboard, mouse, USB 3/2 devices, audio, and up to four 4K/5K monitors, including ultrawide curved monitors, while providing unique source information for each connected system. Switch instantly between systems with a simple mouse click. Ideal for control rooms, DESKVUE connects to physical systems via Emerald transmitters; virtual machines using RDP, PCoIP, PCoIP ultra, H.264/265 sources; and VNC. Users maintain complete situational awareness to improve efficiency and productivity on a daily basis and take action instantly whenever needed. Contact us to reserve your 1:1 DESKVUE LIVE demo appointment or attend our Connect Innovation Theater W3421 presentation on April 17 at 4:00 p.m.

>BLACKBIRD

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lackbird and Microsoft collaborate to highlight speed and cost efficiencies of professional web editing at NAB 2023. Blackbird, the technology licensor, developer, and seller of market-leading cloud native video editing platform is collaborating with Microsoft to highlight the speed and cost efficiencies of professional web editing. At this year’s NAB, the media and broadcast industry’s largest global event, Blackbird will showcase the multiple benefits of its cloud native video editing

SPORTSTECHJOURNAL / SPRING 2023

and publishing platform with its partner, Microsoft. Providing instant access to content, browserbased Blackbird enables the fast creation of clips, highlights and long form content for rapid publishing to digital channels. During NAB, Blackbird will demonstrate how its platform runs on Microsoft Azure and integrates seamlessly with other leading media production platforms for the fast, efficient turnaround of live content. Blackbird will be exhibiting on the Microsoft booth (W1529) and its own booth (W1375). Please contact commercial@ blackbird.video to schedule a meeting.

>BLACKMAGIC DESIGN

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lackmagic Design introduced several creative video products for the sports industry, including four new Ultimatte 12 real-time compositing processors with incredible edge handling, greater color separation, amazing color fidelity and better spill suppression. With Ultimatte 12 HD Mini, Ultimatte 12 HD, Ultimatte 12 4K or Ultimatte 12 8K, customers get HD, Ultra HD or 8K support for presenting sports in a cinematic-quality environment.

All models include built-in frame stores for keying using stills for backgrounds, eliminating the cost of external equipment. ATEM Constellation HD live production switchers, which include 1 M/E, 2 M/E and 4 M/E models, feature full standards conversion on every SDI input, four ATEM advanced chroma keyers per M/E row, up to four DVEs, media players, larger media pool and more. Blackmagic Studio Camera 4K Plus and Blackmagic Studio Camera 4K Pro have the same features as large studio cameras, miniaturized into a compact and portable design. With digital film camera dynamic range and color science, the cameras can handle extremely difficult lighting conditions while producing cinematic looking images. Features include talkback, tally, camera control, built-in color corrector, Blackmagic RAW recording to USB disks and much more. With DaVinci Resolve for iPad, creators can extend video workflows in new ways.

Optimized for MultiTouch technology and Apple Pencil, DaVinci Resolve for iPad features support for cut and color pages providing access to DaVinci Resolve’s award-winning image technology, color finishing tools and latest HDR workflows. Blackmagic Cloud support allows creators to collaborate with multiple users around the world.

>BRAINSTORM

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rainstorm will showcase the latest developments of its product range, unveiling the latest features and solutions designed to further expand its new XR/AR capabilities to perfectly match current and future content creation requirements from our customers, no matter if they are using LED video walls, chroma sets, or both simultaneously, to produce virtual content. Taking advantage of all the new features present in Unreal Engine 5,

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NAB2023PREVIEW Brainstorm now features full integration of objects created in InfinitySet or Aston within the UE environment and vice-versa, providing unmatched flexibility for content creation. Also, Brainstorm will showcase Edison, which can be used as a simple-to-use virtual studio in a box. Edison also has additional XR features and takes advantage of the new EdisonGO app, which can use an iPhone or iPad to provide video+tracking information to Edison PRO, allowing the creation and management of immersive, live AR presentations.

tual productions, for both cinema and broadcast applications. As well as our proprietary live volumetric data capture system, Canon Free ViewPoint system, which has been making a splash in the sports broadcast world. While everyone knows and loves our Cinema EOS cameras and lenses for the cinematic look they provide to broadcasts and live streams, we continue to expand on the many ways in which our equipment can easily fit into existing productions, we’re excited to demonstrate all of those options at NAB.

>CALREC AUDIO / DIGICO

>CARTONI USA

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alrec’s recently announced ImPulse1 IP audio processing and routing engine is making its NAB debut. ImPulse1 is a compact, powerful version of the industry-established ST2110 native ImPulse with an optional second core for redundancy and a new 128 input channel DSP pack offering entry-level pricing. With the introduction of ImPulse1, Calrec is making the move to IP much more attainable for all its customers, offering a range of options to suit all budget requirements. Get up close and personal at NAB with Calrec’s award-winning Argo Q and Argo S audio mixing control platforms. Designed to adapt to changing production needs, Argo is a new approach to audio mixing, with a flexible control philosophy that breaks the traditional geographic ties between processing and control. Argo is fully modular with interchangeable hardware panels and uses Calrec’s time-served Assist UI at its core.

Whether you are working on physical hardware panels or a remote GUI, the user interface is both familiar and easy to drive. Its modular panel system encourages broadcasters to adapt surface hardware to meet their unique distributed and remote production requirements.

>CANON U.S.A.

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e are excited to meet with our broadcast, streaming, and cinema partners at NAB 2023 and show off all our latest imaging solutions.

Canon will be at NAB 2023 to exhibit our amazing new technology in the areas of virtual production, remote tracking, near-dark image capture, live streaming, and cinematic broadcast solutions.

We’ll be showing our full lineup of robotic PTZ cameras along with new capabilities and features, in wide range of shooting situations and production environments, including outdoor, long distance remote production. We are excited to unveil new features for our EOS R5 C, C70 and other cinema cameras at the show. We continue to offer the most 4K broadcast lenses in the industry, including the highly coveted CJ20ex5B UHDxs as well as our UJ122x8.2B box lens that have been widely used throughout the sports broadcasting world. And, for those innovators exploring new efficiencies, we’ll be showing the incredible possibilities our CINESERVO lenses and Cinema EOS cameras offers vir-

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artoni will showcase its lineup of support products from compact digital devices to large studio cameras. Their products include fluid heads, encoded & nodal heads for VFX, tripods & pedestals. The new encoded E-Maxima 5.0 & E-Maxima 30 will be presented, featuring high resolution encoders with 4 million counts and direct reading. VR & VFX are imperative to accurately track camera movements and match them with virtual elements. Virtual composition is now needed in all the segments of our industry, from sports to the studio to big cine productions. Fast and accurate integration of real and unreal is the new need for our industry. The new motorized elevation column Lifto 25 specifically designed for PTZ, connected via wire or phone app. The Lifto 25 has great versatility in height: minimum 27.5” to 8’. Cartoni offers an unparalleled free, 5-year warranty on all fluid heads and pedestals.

>CHYRON

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t NAB 2023, Chyron features Chyron LIVE, a cloud native, live production offering with legendary Chyron graphics, software-based switching, and powerful illustrated replay. Since launching and winning an NAB 2022 Product of the Year Award, Chyron is now pleased to showcase LIVE’s proof of concept successes — improving coverage and increasing ROI — along with recent innovations including more robust audio controls, a dedicated commentator mode, and streamlined setup and playout. New at NAB 2023 with the 1.3 release of LIVE is MatchPad, a dedicated and intuitive interface specifically for producing soccer/ global football. Other sports-related highlights at the Chyron booth include the PRIME Platform 4.7 release. This flexible, scalable, software-based platform, with deep data integration, offers live motion graphics, switching, video walls, touchscreen, branding, and viewer-controlled edge graphics.

This release includes enhancements to both its design and playout capabilities. Visitors can see realworld case studies of PRIME’s lightning-fast, data driven playout. Additionally, Chyron is announcing the newest release of PRIME Click Effects, the pioneer of unified venue control, in use at major stadiums such as the Rose Bowl and AT&T Stadium

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in Dallas. Version 4.0 features an enhanced UI and streamlined user-friendly navigation, along with user recommended improvements.

>CINESYS

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roadcast and Media Systems Integrator CineSys celebrates their 25th Anniversary this year, providing content creators across North America with solutions, integration and support since 1997.

With extensive IT experience and a foundation in media, CineSys serves a range of industries from post-production companies to broadcast and sports organizations. Recently, CineSys has helped businesses of all sizes implement cloud and hybrid solutions by leveraging existing infrastructures and providing secure remote environments. With growing development and MAM teams in-house, CineSys can help you make the most of your workflow with customized collaborative solutions. Are you looking to take advantage of your sports archives, need easy remote access and sharing capabilities, or more efficient storage for the ever increasing amounts of data? Set up a meeting with CineSys at NAB to discuss how they can help strengthen and accelerate your workflow, so that you can focus on growing your business.

>CLARK WIRE & CABLE

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lark Wire & Cable, NAB 2023 booth C5107, will be showcasing our latest advancements in cable designs including the DBR series of dual rated stadium cable for direct burial and riser install applications, as well as the latest designs in our industry-leading SMPTE splice enclosures with sliding rails and hinged lid. A leader in cabling and interconnect technology with a focus on quality and innovation, Clark Wire & Cable delivers unique and reliable solutions dedicated to broadcast and professional AV applications. With precision engineered cable and cable assemblies to connectors, tools and custom panels, Clark Wire & Cable has provided product for some of the most high-profile stadium projects in the world, from Allegiant Stadium of the Las Vegas Raiders, or Gillette Stadium of the New England Patriots to Gainbridge Fieldhouse of the Indiana Pacers. We’d love to talk about your next project.

>CLEAR-COM, AN HME COMPANY

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lear-Com looks forward to exhibiting at the centennial NAB Show in booth C5507, where the company will showcase innovative new product features of their flagship Eclipse HX Digital Matrix Intercom System and highlight the latest update to their award-winning Arcadia Central Station which combines new features along with expanded capacity for both wired and wireless systems. A popular choice for rental companies, Broadcast OB vans, and the largest and most complex live events, Clear-Com’s Arcadia Central Sta-

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NAB2023PREVIEW tion is a scalable IP intercom platform bringing together HelixNet, FreeSpeak, Encore, other 2W/4W endpoints, and third-party Dante devices in a single, integrated system. Arcadia offers licensedbased scalability that allows it to meet numerous production needs, with support for over 100 beltpacks and up to 128 IP ports. For applications requiring up to 200 beltpacks and the broadest range of point-to-point workflow options, the Eclipse HX Digital Matrix offers a range of unique tools to deliver efficiency, notably the Dynam-EC realtime production assignment software tool. Ideally suited for outdoor settings such as motorsports, Clear-Com’s new V-Series IrisX IP User Panel for Eclipse delivers thin-film-transistor (TFT) displays for brightness and enhanced resolution combined with low latency and high port capacity.

>COBALT DIGITAL

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loud, reliability, and conversion top Cobalt Digital’s NAB highlights. Cobalt is adding a boost of agility and reliability to its software-defined 9992-ENC/ DEC encoders/decoders with the addition of RIST Source Adaptation (VSF TR-06-4 Part 1). This recently approved specification defines a protocol for the stream receiver to provide feedback information to the source to trigger an appropriate action. RIST Source Adaptation allows the encoder to adapt its output data rate to match network conditions based on feedback from the decoder without interruption in operation. Once the network improves, the encoder automatically adjusts to the restored capacity. Cobalt’s SafeLink Gateway transports content over the internet with low latency and is now available as a cloud instance. The SafeLink 8TS-VM is ideal for cloud redundancy switching, and ground-to-cloud/cloud-to-ground transmission using RIST. SafeLink is compression-agnostic and protects any type of transport stream. Cobalt is also announcing availability of 1+1 hardware redundancy for SafeLink Gateway. Also launching — Sapphire 8JXS-8S, a ST 2110 JPEG-XS to SDI bulk gateway in openGear form factor. Sapphire 8JXS-8S includes dual 25Gb/s Ethernet ports for SMPTE ST 2022-7 seamless switching, supports up to 8 SDI signals, up to 1920x1080p60, and supports 40 signal conversions in a standard openGear chassis.

>COMCAST TECHNOLOGY SOLUTIONS

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omcast Technology Solutions, a division of one of the world’s leading media and technology companies, brings Comcast Corporation’s proven technologies to an evolving list of industries worldwide. We believe in continuous innovation, always looking for new and better ways to connect with our customers, as well as aggregate, distribute, and secure our own content, advertising, and data. We invest in and test these solutions, so you don’t have to — freeing you up to focus on accelerating your

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business, not your tech stack. Through our portfolio of solutions, the CTSuite, we bring these innovations to the global marketplace, enabling our partners to think big, go beyond, and lead the way in media and technology.

them off to a highlight reel. Dalet Flex’s cloud native architecture can be deployed on any cloud, hybrid or on-premises with advanced storage tier management allowing for increased access and collaboration while lowering your total costs. Dalet will also be showing its new mobile app, FlexMO>COMPRIMATO BILE, which brings the power of Dalet Flex to your omprimato, the specialist in high performance fingertips. With FlexMOBILE, you now can find, software encoding and transcoding, will show preview, comment, review, and approve your assets the latest version of its Live Transcoder software wherever you go with your mobile phone. at NAB 2023 (W2378). Already widely used for JPEG2000 contribution circuits, Live Transcoder >DATA EXPEDITION also supports NDI and JPEG-XS TR-07. The unique AB is just around the corner and Data Expesolution developed by Comprimato uses the dition, Inc. (DEI) will be there to meet cusmassively parallel processing power of standard tomers, partners, media, and anyone interested in GPUs, which means uncompromised quality for accelerating their digital workflows. Our Emmy broadcast contribution and distribution circuits Award-winning file transfer software is second to can be achieved with encoding and transcoding none in performance and the most flexible in the appliances on premises or in the cloud. This COTS business for workflow integration. Priced far more approach not only achieves the highest quality competitively than other UDP data transfer techat a significantly lower price point than other nologies, our products make it easy to bring accelapproaches, it also means that the software can be erated data transfer to your sports video workflow. implemented in conjunction with other vendors’ Whether you’re targeting cloud storage, like AWS software such as AJA Video Systems (W2600) and S3, or sending content from arenas and stadiums InSync (C2013). Comprimato will be available back to studio, our easy-to-deploy solutions have to discuss both technical considerations around you covered. Learn more about DEI deployments transcoding for contribution circuits and the flexible across the world of sports: https://www.dataexpedibusiness models on offer for on premises and cloud tion.com/news/SVG2023.htmlpk_cpn=SVG&pk_ implementations. kwd=TJ And to schedule a meeting at NAB visit here: https://www.dataexpedition.com/company/ >CREATIVE DIMENSIONS request.php?i=NAB23#pk_cpn=SVG&pk_kwd=TJ n an era where first impressions are everything and capturing your audience’s attention is para- >DATACORE mount, Creative Dimensions provides the visual ataCore Software is the authority on real-time identity resources that make your broadcast and data and is the cornerstone of the next gensideline presence stand out. At Creative Dimen- eration, software-defined data center. We pioneered sions, we design and fabricate custom broadcast software-defined storage and have now expanded studio sets and desks, branded environments, and our technology leadership to hyperconverged ininterior/exterior signage. For over 35 years, our frastructures. We empower IT organizations to team of industry experts, visionary designers, ver- achieve always available, high-performance, and satile project managers, and skilled craftsmen have highly efficient data systems. Our patented technolbuilt a reputation as an innovative collaborator. At ogy eliminates storage bottlenecks with adaptive this year’s NAB Show, we are excited to introduce parallel I/O optimization, enables zero-downtime you to the next generation of our VERSA Pro. Our synchronous mirroring, and provides a true hardflagship modular and portable broadcast desk now ware-agnostic architecture, resulting in flexibility, includes an option with a full LED panel system resource efficiencies, and cost savings. DataCore’s for your video integration needs. Check out our in- value has been proven in over 10,000 deployments booth demo and find out why we are BUILT DIF- across traditional, hyper-converged, cloud, and hyFERENT. brid environments.

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>DALET

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alet will be showcasing its market-leading media asset management and workflow solution, Dalet Flex, which enables you to seamlessly produce, manage, curate, orchestrate, archive, deliver and monetize your content. A centralized, metadata-rich media library enables you to quickly find the exact moments in your content that you are looking for. Imagine being able to pull all the key moments in a game with just a click and send

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D

>DELL TECHNOLOGIES

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t Dell Technologies, we believe great storytelling comes from creative people empowered by advanced technology. Our solutions for storytellers span the workflow, built with leading technologies across storage, servers, networking, workstations, displays, and partnerships with key media software and services vendors. These solutions provide media professionals with the foundation to continue driving innovation without the technology getting

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NAB2023PREVIEW in the way of the art, so they can deliver more powerful stories faster.

>DIGITALGLUE

D

igitalGlue, in partnership with Producer: Maker Machina and Nyriad, is set to showcase the latest media management, cloud-based production management, and high-performance storage solutions at NAB 2023. This collaboration will offer an end-to-end solution that provides production teams of all sizes in the sports industry with a seamless and secure workflow, from pre-production to post-production. At booth N1006, attendees can experience live demonstrations of Producer: Maker Machina’s cloud-based production management software and DigitalGlue’s on-premise creative.space storage platform. These solutions help sports production teams to collaborate more efficiently and streamline their workflow while ensuring media assets are secure. Additionally, at Nyriad’s booth N1029, attendees can see how the creative.space software suite, combined with Nyriad’s UltraIO high-capacity storage system, helps reduce operational and management overhead for sports production teams. The integrated solutions these partnerships offer give production teams the tools they need to create high-quality content and meet the fast-paced demands of the industry.

>DISGUISE

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t NAB 2023, disguise will be presenting a unique and innovative end-to-end Broadcast graphics workflow including dynamic LED studio content control, Augmented and Extended Reality virtual production on LED volume, and datadriven Unreal Engine CG, MOS, and Master Control graphics. disguise will be displaying the latest Porta 2.1 real-time graphics control interface for Unreal Engine 5.1, including UE Avalanche plugin compatibility. The disguise XR LED platform will demonstrate advanced virtual production features like Ghost Frame, instant camera tracking, color calibration, and metaverse storytelling using the latest metahuman and live camera image tracking technology. The disguise booth graphics production solution demos will show the highest level of pixel-accurate video and graphics content control, Unreal Engine graphics data integration to major Sports and News feeds using Ipsum, our cloudbased data aggregator, as well as the showcase of case studies from our latest creative services production projects around the globe.

>DIVERSIFIED

T

echnology 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

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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 the 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. Learn more at onediversified.com/sports.

>DIZPLAI

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izplai makes it easy to add real-time audience engagement and interactivity to live news, sports or entertainment. With the platform, producers can easily and effortlessly gather information from social media, messaging apps, usergenerated-content or sports data and display it in real-time with graphics or on a presenter device.

Dizplai works with some or the world’s biggest broadcasters and sports organizations such as Sky, BT Sport, ITV, DAZN, QVC, Manchester City, and Southampton FC.

> DMC BROADCAST GROUP

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MC Broadcast will be representing: Hitomi Broadcast, N2860 @ the British Pavilion presenting the lasts in 2110 latency and lip sync technology. ProVidius, C1725. ProVidius offers cutting-edge solutions that passively analyze both the IT and the broadcast side of operations, providing a clear and concise picture of your systems in real-time. The unique combination of network telemetry and media analysis on a single dashboard is what sets ProVidius apart, making it the trusted partner of numerous organizations worldwide. View TV Group, by appointment: “BroadcastCDN... A single supplier providing end-toend Opex-cloud based SaaS solution for channel broadcasters, retain your control & quality whilst securing your channel brand, broadcast continuity & revenue streams across multiple global CTV, OTT & OTA Platforms” for LIVE sports, events and all broadcast programing. Contact Don Cardone, Don@dmcbroadcastgroup,.com, call or text: 973477-0565.

>DOLBY

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olby Laboratories is based in San Francisco with offices around the globe. From movies and TV shows, to apps, music, sports, and gaming, Dolby transforms the science of sight and sound into spectacular experiences for billions of people worldwide. We partner with artists, story-

SPORTSTECHJOURNAL / SPRING 2023

tellers, developers, and businesses to revolutionize entertainment and communications with Dolby Atmos, Dolby Vision, Dolby Cinema, and Dolby.io.

>EDGIO

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t NAB Show, Edgio will showcase Uplynk, empowering sports and media organizations to maximize the value of content through an orchestrated solution that simplifies time to market, streamlines workflows, and supports all monetization strategies. Uplynk reduces the complexity of delivering live content across multiple platforms, scaling operations with minimal resources and reaching more viewers. Its advanced advertising solutions include server-side ad insertion and monetization performance monitoring to help customers perfect their revenue strategies. Powered by a secure global edge network designed for complex streaming demands, Uplynk enables high-quality viewing experiences, delivering major sporting events like the Super Bowl. Uplynk has handled hundreds of thousands of live events, generating 2.4 billion event views, 3.3 billion hours of streamed video, and over 220 million hours of advertising in 2022 alone. Edgio will make its NAB Show debut following Limelight’s acquisition of Edgecast to form Edgio in 2022.

>EDITSHARE

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ditShare, the technology leader that enables storytellers to create and manage collaborative media workflows, will use NAB 2023 to unveil its latest productivity and creativity enhancements.

The continuing development of EditShare core functionality is targeted at creative freedom and simpler, more resilient, and secure workflows.

EditShare’s storage and media management solutions are driven by its market-leading EFS Storage, FLOW software, which is supplemented by FLEX for fast cloud implementations. By integrating storage on premises, at multiple locations and in the cloud, connectivity is at the heart of the workflow and serves multiple market verticals and applications in broadcast, production, post, education, corporate, and houses of worship. The latest versions of all of EditShare’s proven storage solutions and workflow software can be seen at NAB 2023 on booth N2100. For further information on all EditShare solutions, please visit the website at www.editshare.com.

>ELUVIO

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t NAB 2023, Eluvio will showcase how Eluvio’s Content Blockchain is unlocking the potential of Web3 media for sports organizations, broadcasters, entertainment companies, content creators and publishers. The Eluvio Content Fabric is a utility blockchain network for owner-controlled storage, distribution, and monetization of video and other digital content at scale. It enables Web3 na-

The future of broadcasting is here.

Powered by Verizon 5G. Verizon 5G Ultra Wideband is transforming live TV production. With more wireless video feeds and less equipment, Verizon can help boost broadcast quality, reduce set-up time and control operational costs.

Now broadcasters can deliver highly immersive experiences that make viewers at home feel like they’re in the middle of the action.

Let Verizon 5G Ultra Wideband help you streamline and step up your next broadcast.

The network America relies on.

Learn more at verizon.com/entertainmentsolutions

NAB2023PREVIEW tive media experiences, allowing creators and fans to directly enjoy and monetize shows, films, concerts, digital albums, digital collectibles, interactive and metaverse experiences, and more. Companies, artists and brands whose content blockchain initiatives have been powered by Eluvio include FOX Entertainment, Globo, MGM Studios, Microsoft, SONY Pictures, Warner Bros. Home Entertainment, Universal Music Group, WWE, The Masked Singer, Dolly Parton, Black Eyed Peas, and Rita Ora. More information at https://live.eluv.io/

>ENCOMPASS DIGITAL MEDIA

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very day, premier brands trust Encompass to deliver their content to audiences worldwide.

As a leading managed service provider, the company supports sports leagues, broadcasters, networks & OTT platforms. Encompass acquires/distributes 100,000 live events/feeds annually; services 1,500 full-time channels globally; stores 1.1+ million hours of media in Altitude Archive; and reaches 355 million radio listeners daily. Encompass offers its customers the next generation of media workflows as the industry evolves to a fully managed virtual environment. The company’s Altitude Media Cloud is designed around broadcast media interfaces, protocols, performance and service levels.

Channels are deployed across diverse geographic regions, offering built-in DR. 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, fiber and IP network. Services: live events, media processing, playout, contribution/distribution, streaming, disaster recovery and radio. YOUR SPORTS CONTENT. DELIVERED.

>EUTELSAT

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e are a Global Satellite Operator shaping a fast-evolving digital society and enabling connectivity for all. Via our global fleet of satellites and associated ground infrastructure, we enable clients across Video, Data, Government, Fixed and Mobile Broadband markets to communicate effectively to their customers, irrespective of their location. Our 1,000 experts in more than 20 offices around the world are driven by the shared ambition to extend the benefits of digital services to users on land, at sea and in-flight. For more about Eutelsat go to www.eutelsat.com.

>EVERGENT

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vergent, the customer management and monetization leader for streaming and digital subscription businesses, is excited to announce the rollout of our product suite, reflecting our ongoing commitment to help enterprises accelerate growth and monetize more creatively. Individually, our suite of solutions, Evergent Monetization Platform (EMP), Evergent Revenue & Royalty Management

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(ERRM), Evergent Go (EVGo) and Captivate, support a range of complex use cases enabling worldrenowned entities including the NBA, Bally Sports, DirecTV, HBO, Britbox and more to scale rapidly, manage more than 700 million accounts globally and produce 500+ high-impact events across the world annually. Together, this interlocking suite combines to deliver tools with the agility and flexibility necessary for a seamless subscriber journey from frictionless onboarding to loyal brand engagement. Visit us to learn how we can power your next big move at evergent.com.

>EVERTZ

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vertz is celebrating the NAB Show Centennial with new innovative features for live production and content monetization. Starting with the 75th anniversary of Studer Audio, the legendary brand has been a leader in the innovation of audio production. Evertz continues the tradition by integrating Studer into both our Software Defined Video Networking (SDVN) solutions using SMPTE ST 2110-30 and BRAVO Studio. Users will be able to add Studer Vista audio consoles and the Infinity ST Core into any IPbased production facility. Evertz has extended the capabilities of VUE, its customized user interface, to include remote controls of the Vista consoles for remote audio production. The Studer VistaMix core is also integrated into BRAVO Studio to allow customers to have a full cloud production for both video and audio for their live events. For content monetization, our evertz.io Stream is a cloudbased Software-as-a-Service (SaaS) offering that allows sports leagues, teams, and others launch services across multiple platforms (including FAST channels) in minutes. For gamification, Evertz is showcasing Ease Live which allows users to get live stats, watch with friends, pick and play, and get loyalty rewards without leaving the video stream or as a second screen on FireTV, AppleTV, and Roku platforms.

>EVS

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VS is globally recognized as the leader in live video technology for broadcast and new media productions. Our passion and purpose are to help our clients craft immersive stories that trigger the best return on emotion. Through a wide range of products and solutions, we deliver the most gripping live sports images, buzzing entertainment shows and breaking news content to billions of viewers every day — and in real-time.

>FINGERWORKS TELESTRATORS

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ingerWorks Telestrators unveils its new Computer Vision software at NAB 2023. This new software solution supports real-time player- and field-tracking. The Player Tracking tool traces the path a player takes and can be applied to a live feed

SPORTSTECHJOURNAL / SPRING 2023

or during a replay. The Field Tracking tool allows any graphic to be placed and positioned under the players, in real time, and remains in that position during camera pans, tilts, and zooms. FingerWorks is also showcasing its new FingerWorks 6 Overlay Mode. This pared-down version of its legacy telestration software allows content creators and streamers to incorporate annotation and analysis tools quickly into any broadcast or stream in realtime without diminishing quality. Overlay Mode enables creators to broadcast analyzed and annotated results via YouTube, Twitch, and Facebook Gaming. Overlay Mode is also compatible with Windows applications including PowerPoint in order to enhance video conferencing meetings such as Teams or Zoom.

>FOR-A CORPORATION OF AMERICA

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s part of the company’s commitment to interoperability and providing broadcast and content distributors with an efficient and seamless upgrade path, FOR-A Corporation of America will head to NAB with a fully NDI-compatible live video production ecosystem. Included among the NDI-supported offerings is the new HVS-190 video switcher, which will debut at the show. The new HVS-190 supports high-bandwidth NDI and NDI|HX input and output and marks the continued expansion of the popular HVS switcher series.

It is a one M/E version of FOR-A’s flagship HVS-490 video switcher and comes standard with 3G/HDSDI and HDMI interfaces. The HVS-190 features frame synchronization and processing amplification on all inputs and is available in two models.

The HVS-190S, with a control panel separate from the main unit, comes with eight inputs/five outputs, and is expandable to 20 inputs/11 outputs.

>FORECAST CONSOLES

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or over 40 years, Forecast Consoles has been designing and producing consoles and technical furniture for an array of industries.

Through years of listening, testing, evaluating, and perfecting, Forecast’s designers and engineers have attained the highest level of knowledge, skill, and experience. Our focus on both form and function enables us to turn customers’ work environment challenges into creative, functional solutions by blending ergonomics and aesthetics. In a world of rapidly changing technology, our ability to anticipate problems and quickly develop creative solutions allows our customers to stay ahead of the curve.

>FORTINET

F

ortinet makes possible a digital world that we can always trust through its mission to protect people, devices, and data everywhere. This is why the world’s largest enterprises, service providers,

Think Bigger. Do More.

FreeSpeak Harness the power of the industry’s leading 5GHz wireless intercom system with nine customizable buttons and 12 kHz audio quality for the win.

www.clearcom.com/edge

NAB2023PREVIEW and government organizations choose Fortinet to securely accelerate their digital journey. The Fortinet Security Fabric platform delivers broad, integrated, and automated protections across the entire digital attack surface, securing critical devices, data, applications, and connections from the data center to the cloud to wherever you work. Fortinet is the only security leader to develop and build custom security processing unit (SPU) technology that offers the best price/performance and value in the industry. More than 635,000 customers trust Fortinet to protect their businesses. Learn more at http://www.fortinet.com/m&e or visit us at NAB 2023 booth W1973.

Barry Nash & Company) which analyzed audience responses to current trends in broadcast aesthetics and uses of technology. These eye-opening and perhaps surprising findings will be exclusively available at NAB for those requesting meetings with FX representatives. For more information, visit the FX NAB landing page here: http://fxgroup. tv/join-fx-design-group-at-nab-booth-c3726-andbea/ To book a meeting with an FX representative at NAB, fill out the meeting scheduler form here: http://fxgroup.tv/fx-design-group-nab-and-bea2023-meeting-scheduler/ Representatives are also always available to discuss your next project via email at contactus@fxgroup.tv.

> FUJIFILM NORTH AMERICA CORPORATION

>G&D NORTH AMERICA

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aking its NAB Show debut at the FUJIFILM Booth is FUJINON HZK25-1000mm F2.8 CineBox PL lens. A totally new category of lens, HZK25-1000 is a native PL-mount box lens that combines broadcast functionality with beautiful bokeh, delivering a cinematic look to live production. HZK25-1000 utilizes optical design technology to achieve a maximum aperture of F2.8 and 40x zoom ratio. This ultra-high zoom ratio lens is compatible with the large sensors of digital cinema cameras, yet provides a brightness of F2.8 at the wide-angle. Not only does it enable filming in low-light environments such as indoor concerts or nighttime events, but the shallow depth of field also provides the advantage of beautiful bokeh, bringing a cinematic look to live production. FUJINON HZK25-1000 will be shown at FUJIFILM Booth C5725 on a Panasonic AK-PLV100 in Super 35 with both traditional broadcast zoom and focus controllers, as well as popular Preston FIZ and Microforce Controllers. To learn more about HZK251000, visit www.fujinon.com/HZK25-1000. Also available for on-site demo will be an assortment of FUJINON UA Series box and portable broadcast lenses, as well as Premista, Cabrio, and MK cinema lenses. FUJIFILM will also be showcasing the world’s first camera-to-cloud native integration for digital stills cameras.

>FX DESIGN GROUP

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X Design Group (booth C3726) is proud to be showcasing the latest in broadcast set, lighting, and VR design at the 2023 NAB Show in Las Vegas. This year’s booth will feature a full-scale LED video wall displaying high-definition video output for maximum broadcast quality. Several of FX’s expert designers and project managers will be on-hand as well to discuss how FX takes a personalized approach to Set, Lighting and VR design, providing the highest quality broadcast environments that will fit any client’s needs. FX is also excited to share insights from a newly-completed research study (commissioned by FX via

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or more than 30 years G&D has been a leading manufacturer of high-end KVM equipment.

With the broadest catalog of KVM solutions on the market, G&D serves broadcasters around the globe by equipping studios or outside transmission, OB vans and technical rooms with top-quality KVM gear. Thanks to G&D’s KVM extenders, computers can be removed from sensitive environments and placed miles away from their users. Our KVM products allow you to use your technical equipment with more flexibility, offering stability in 24/7 operations while performing reliably. Resolutions up to 8K@60Hz are possible. KVM switches allow for the operation and administration of many computers via one user console, eliminating the need for multiple peripheral devices. Digital KVM matrix switches allow users to operate multiple computers over multiple consoles. Additionally, G&D offers KVM-over-IP: a solution for working in network structures. As the core competencies of development, production and service are all handled in-house, which grants G&D the flexibility to act in the best interest of its customers.

>GENIUS SPORTS

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enius Sports Group is the official data, technology and commercial partner that powers the global ecosystem connecting sports, betting and media. We are a global leader in digital sports content, technology and integrity services. Our technology is used in over 150 countries worldwide, empowering sports to capture, manage and distribute their live data and video, driving their digital transformation and enhancing their relationships with fans. We are the trusted partner to over 500 sports organizations globally, including many of the world’s largest leagues and federations such as the NBA, Premier League, AFA, FIBA, NCAA, NASCAR and PGA TOUR. Genius Sports Group is uniquely placed through cutting-edge technology, scale and global reach to support our partners. We are more than just a technology company, we build long-term relationships with sports at all levels, helping them to control and maximize

SPORTSTECHJOURNAL / SPRING 2023

the value of their content while providing technical expertise and round-the-clock support.

>GLOOKAST

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LOOKAST’s mission is to simplify some of the most challenging and nuanced aspects of content production by making media assets available when they are needed, where they are needed, and to the users who need them. We achieve this by leveraging our portfolio of real-time and file-based products that are aimed at ingest and workflow optimization use cases, while remaining flexible and open to continuously enhancing our solutions alongside customers, based on their requirements.

GLOOKAST fundamentally believes that in today’s world it is more important than ever to be intentional and strategic about how media assets are created and managed within a production environment, as well as an archive environment. At GLOOKAST, we’ve worked with sports teams and leagues to help implement our ingest and workflow tools in a way that enables their media teams to do just that: ensure that their assets are created in an efficient, usable, secure, and monetizable fashion, all while allowing users to have the freedom of choice in relation to which production and post-production environments they adopt.

>GRABYO

M

eet the most powerful cloud-based live video production and distribution platform.

Grabyo empowers production teams to deliver live content and real-time clips to all broadcast, OTT and social channels, driving deeper fan engagement and more monetization opportunities.

Grabyo is trusted by major media organizations worldwide, and continues to lead in broadcast innovation. At NAB this year, we’ll be showcasing the latest updates to our platform, including our advanced audio mixer and new hardware integrations, pushing cloud production technology towards wider broadcast adoption. Our new audio console will give A1s all the tools they need for top-tier productions. Plus, for the first time, we’ve added hardware integrations, including MIDI controllers and ShuttlePro for instant replays. Don’t miss the chance to experience the next-generation of cloud production — book a meeting at about. grabyo.com/nab-2023/. Use code LV39946 at registration for a discounted exhibit pass and swing by booth N2873.

>GRASS VALLEY

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rass Valley’s end-to-end ecosystem of reliable, open standards-based solutions helps content creators, broadcasters and media organizations to produce brilliant content and build successful media businesses. We are the trusted partner to many of the biggest and most creative names in the media and entertainment business,

The Signiant Platform Tackles Growing Files The Signiant Platform supports the accelerated movement of growing files over any IP network.

Transferring growing files is a mission-critical capability in many workflows and is widely used in live sports productions.

Learn More

NAB2023PREVIEW enabling the production of rich, high quality content that brings the viewer closer to the action; engages them with the story and connects them with each other. Headquartered in Montreal, Grass Valley has been engaged in the media technology business for 60 years and is owned by Black Dragon Capital.

>IHSE USA

I

ravity Media is a team of experienced technical, engineering and creative experts with world-class global production capabilities are the people that bring some of the most iconic sporting moments and memorable, much-loved entertainment to screens across the globe is the home of state-of-the-art equipment, technology, production and post production facilities. At NAB, our team will be showcasing our latest project highlights from across the globe as well as introducing the newest addition to our fleet, our state of the art mobile unit Aspen. Aspen is fitted with the latest technology, allowing for scaled complex productions. Designed and built for the US market, it covers every possible broadcast from live sports to entrainment and media shows. Mobile unit, Aspen can also be supplied with a crew of experienced engineers.

HSE will have several new KVM display management products on display at NAB 2023 designed to meet the workflow demands of operators requiring real-time access to computer-based systems. Operators working in broadcast-related environments will be able to access a wide variety of sources, whether they are local, remote, or accessed virtually. As more companies come to depend on network-centric solutions, IHSE’s KVM display management systems allows them to integrate all types of workstations in a hybrid concept that can be seamlessly configured to a physical KVM matrix system that is non-intrusive to critical workflow needs. As a close partner of some of the best names in mobile production, IHSE provides display management systems for A/B truck designs allowing multiple sources to be easily accessed from a single keyboard and mouse — no matter which unit the source resides in. Other highlights for NAB will include 4K multiviewers, IP Gateway switch products, high frame rate extenders for eSports applications and a wide range of product offerings from our KVM-TEC line of KVM over IP products. Visit us at booth N2946 to learn more on how IHSE can simplify your display management requirements.

>HAIVISION

>IMAGEN

>GRAVITY MEDIA

G

J

oin Haivison at the centennial NAB Show 2023 to discover how our latest technology advancements empower broadcasters to deliver the most engaging sports, news, and live events coverage.

From our high-performance video encoders to our game-changing mobile transmitters and receivers, Haivision experts will be demonstrating how our pioneering technology enables live broadcast contribution over any network to fuel ultra-low latency, pristine-quality cloud and remote production workflows.

>HARMONIC

H

armonic, the worldwide leader in video delivery technology and services, enables media companies and service providers to deliver ultra-high-quality broadcast and OTT video services to consumers globally. The company has also revolutionized cable access networking via the industry’s first virtualized CCAP solution, enabling cable operators to more flexibly deploy gigabit internet service to consumers’ homes and mobile devices. Whether simplifying OTT video delivery via innovative cloud and software-as-aservice (SaaS) technologies or powering the delivery of gigabit internet cable services, Harmonic is changing the way media companies and service providers monetize live and VOD content on every screen. More information is available at www. harmonicinc.com.

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magen, the media asset management software company, is exhibiting at NAB 2023 at booth N2866 at the Great Britain and Northern Ireland pavilion in the North Hall. Imagen will be showcasing their latest product enhancement, Live Connect, at NAB. Renowned as the leading platform for broadcasters, production companies, rightsholders and sports federations, teams and leagues to provide a secure access portal to archive media, Imagen are adding the ability to ingest live feeds for archive and redistribution. Synchronizing live data feeds, creating an archive and allowing rightsholders to restream directly from the platform is a step-change in sports, news and event-based media management. Imagen’s unique ability to provide a custom branded interface with granular user access controls, brings an elegant user experience to engaging with your rights controlled content. You can find out more at booth N2866. Or prebook a meeting at imagen.io/resources/nab-2023/.

>IMAGINE COMMUNICATIONS

I

magine Communications continues to push the boundaries of traditional signal processing with its Selenio Network Processor (SNP), which has cemented its place as an indispensable part of modern broadcast environments. More than 70,000 video channels of the powerful 1RU appliance are currently operational around the world.

In one recent implementation, leading Australian OTT sports streaming service Stan Sport deployed

SPORTSTECHJOURNAL / SPRING 2023

SNP for transcoding of multiple SDI, HDI and 4K signals, making it easy to meet the operational demands of handling high volumes of live, technically diverse sports feeds. Many sports production companies use SNP with the Magellan Control System, a powerful combination that enables an efficient and cost-effective transition to UHD and HDR workflows over traditional or COTS-based, IP networking fabrics. One high-profile example is MultiChoice, operator of Africa’s premier sports broadcaster, SuperSport, which used an Imagine hybrid SDI-IP infrastructure featuring SNP and Magellan to take UHD channels to air for the first time — providing sports fans with premium-quality coverage of the football tournament in Qatar.

The latest SNP features include DSP-enabled advanced audio processing algorithms; coordinated switching of 8K signals to support multi-stream 8K workflows; and enhanced JPEG XS connectivity offerings that enabling high-quality connectivity between facilities and around the world.

>INTEGRATED MEDIA TECHNOLOGIES

I

ntegrated Media Technologies, Inc. (IMT) is a technology systems integrator and managed services provider headquartered in Los Angeles with offices in New York, Boston, Dallas and Atlanta. IMT services the Telecommunications, Media & Entertainment, Corporate IT, Legal, Financial Services Healthcare, Education and Defense sectors with a broad range of technology solutions and services designed to drive new value and efficiencies from technology. In 2022, CRN ranked IMT #183 on the Solution Provider 500 List and to their Tech Elite 250.

>INTELSAT

W

hen the game is on the line, there are no excuses. Which is why broadcasters have relied on Intelsat Media services for decades to deliver the most compelling content around the world. From sporting events to breaking news coverage, combining the reliability of the world’s largest satellite fleet with the connectivity of the IntelsatOne terrestrial global network has always been a winning strategy. As the media landscape changes, Intelsat remains at the forefront of innovation with continued investments, optimizing contribution and distribution services for broadcasters. From launching new satellites to expanding terrestrial capabilities and building strategic partnerships, Intelsat’s Media services continue to be a transformative force by providing customers with managed, reliable, and secure services they need for live event coverage.

>JOSEPH ELECTRONICS

J

oseph Electronics (JE) is an authorized stocking distributor for more than 100 premier broadcast

NAB2023PREVIEW and pro A/V brands with stocking locations in both Illinois and California. JE also designs, manufactures, and supplies innovative custom fiber solutions — such as the Caddie Series, DFT Series, and 4K fiber transport gear — for broadcasters and system integrators alike. Equipped with a state-ofthe-art fiber lab staffed with fully certified professionals, JE can fabricate, terminate, or repair any connector, assembly, panel, breakout, or interface in use today. JE has served the broadcast industry for more than 75 years and has representatives in California, New York, Georgia, and London. More information about Joseph Electronics can be found at www.josephelectronics.com.

>JVC PROFESSIONAL VIDEO

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VC adds “Ball On” and “Play Clock” overlays for its GY-HC500SPCU and GY-HC500SPCN CONNECTED CAM Sports Production Cameras. Added in response to requests from all three professional American football leagues and several NCAA conferences, these new overlays, in addition to its pre-installed overlay and lower-thirds graphics for a variety of other sports, further enhance any sports production. With built-in streaming and connectivity options, these camcorders allow users to stream live video to Facebook and YouTube.

The new “Ball On” graphic allows broadcasters to display the yardage and ball position directly on-screen for viewers. This feature can be set to remain on throughout the duration of the game.

Additionally, the “Play Clock” graphic shows viewers a countdown to the time when the play begins or resumes. This feature must be switched on or off as necessary. A new “Clean Video via SDI” function provides a simultaneous video signal free of overlays.

>JW PLAYER (JWP)

A

t NAB (booth W3953), JW Player (JWP) will be providing demos of its end-to-end broadcasting solution for VOD and live streaming. JWP’s SaaS platform for Live & VOD streaming easily scales your video strategy, removes the complexities of video management, and lowers your operating costs. Simply the most comprehensive SaaS video platform with customizable 24/7 live channels, world’s fastest HTML5 player, and studio-approved DRM will ensure you’re delivering state-ofart viewing on any device. Deploy videos quickly and easily to your iOS & Android applications with our mobile SDKs or OTT Apps solution as needed.

See firsthand how SportsNet New York (SNY), one of the top US sports broadcasters, increased ad impressions in the first year by 190% after deploying the JW Player video platform and had an overall ROI of $3.1M (net present value). Stop by and get demo.

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>KMH AUDIO VIDEO INTEGRATION

K

MH Integration (Booth C5539) will highlight its A/V system integration, design, consulting, and creative services at NAB 2023. The New York City-based integrator works collaboratively with professional sports teams and media organizations from initial design to project completion to ongoing support, addressing their current production requirements and anticipating their future needs.

KMH sports venue projects include a multi-phase upgrade for the Pittsburgh Steelers, redesigning the team’s production and studio facilities and installing a media asset management system; designing control room and production spaces for the New York Red Bulls; and ongoing production, technology and communications workflow upgrades for the New York Giants. KMH also helps customers continually adapt their communications and production operations to work remotely and efficiently distribute content. KMH recently expanded its operations with the Marquee Pro streaming environment, combining an NDI streaming lab and a fully customizable and portable studio set.

For information, call (929) 295-6347 or visit kmhintegration.com.

>LAWO

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t this year’s special NAB show, Lawo will exhibit in excess of 10 new products and major updates to its existing audio, video, control and monitoring portfolio. After successfully integrating the entire Lawo product catalog, welcoming third-party vendors, and implementing HOME’s comprehensive NMOS IS-04 and IS-05 compatibility, Lawo announces the next step in flexible media infrastructure: HOME Apps add COTS-based processing to Lawo’s IP management platform.

With single-click spin-up and spin-down, the Multiviewer, UDX Video Format Converter, Graphics Inserter and Stream Transcoder (NDI, JPEG-XS, SRT and ST2110) apps benefit from a flexible licensing model for media infrastructures, with elasticity as a core design principle. The audio production community can look forward to the launch of version 10.6 for the mc² and A__UHD Core platform, which delivers a new level of immersive audio mixing and cutting-edge advancements for multi-channel processing and downmixing. V10.6 supports the new, optional, Pooling 8 license designed to share one A__UHD Core among up to up to eight mixing surfaces. In line with this development, Lawo is rumored to unveil a new console model at NAB. Lawo’s line-up of on-air/radio solutions will be expanded with a new processing core, a new software version for its radio portfolio, an additional I/O card for the Power Core’s rear-panel bays, an extension for its R3LAY radio software, and the first radio app to run natively with HOME. Finally, Lawo will announce that its broadcast con-

SPORTSTECHJOURNAL / SPRING 2023

trol system, VSM, is on its way to becoming a key first-class citizen within its HOME ecosystem for forward-looking broadcast and AV applications.

> LEADER INSTRUMENTS CORPORATION

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eader Instruments Corporation has once again renewed its Corporate level sponsorship of SVG. Test and measurement products from Leader and PHABRIX, a Leader company, are specified for broadcast, production, post-production, research, product development and engineering service applications. “SVG continues to be a useful interface with the broadcast production sector,” says Shuji Okada, Head of Marketing. “Our key message to SVG members is that we are firmly focused on making the SDI/ST2110 transition smooth, from field production through to MCR. At the April 2023 NAB Show, we will be demonstrating Leader and PHABRIX products in a combined product display centered on their respective strengths based on applications. The presentations will focus on simultaneous and hybrid approaches to SDI/ST2110 test and measurement. These offer the versatility broadcasters need as they transit from SDI to IP, HD to UHD, SDR to HDR, onsite and cloud-connected virtual remote production, and volumetric production.

> LEGRAND

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egrand | AV brands create amazing AV experiences through innovative solutions and exceptional service. As industry leaders and partners, Legrand’s brands unite to form a union that is greater than the sum of its parts to provide a comprehensive offering that connects people through technology in education, corporate, house of worship, government, and more. Legrand is committed to a culture of sustainability both globally and locally.

> LIVEU

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iveU is changing the rules of the game for live news and dynamic sports coverage, with flawless 5G 4K HEVC live streaming and remote production. Together with its cloud-based management and next-gen IP distribution platforms, LiveU offers the most cost-effective end-to-end contribution, production and distribution solution.

The inventor and innovator of cellular bonding, the Company is synonymous with high-quality live video solutions, transmitted from anywhere in the world. Our broad portfolio of products sets the industry standard for live video production ranging from our newest, portable production-level field units and smartphone app to satellite/cellular hybrid and external antenna solutions. LiveU creates a consistent bandwidth and a reliable connection so you can acquire, manage and distribute highquality remote live broadcasts. With over 3,000

Efficiency unleashed Appear is a leading provider of media processing and

delivery technology. Headquartered in Oslo, Norway and with customers in over 100 countries, Appear provides the backbone that production companies, telcos and

broadcasters rely on to make immersive live experiences possible for its viewers.

Power efficiency unleashed...

Operational efficiency unleashed...

Ultimate capacity unleashed...

...with platforms that ensure 5 x less energy consumption than other marketleading solutions

...with the most flexible and resilient platforms that minimise total cost of ownership

…with the densest, most scalable media processing and delivery solutions on the market

appear.net

NAB2023PREVIEW customers in 130+ countries, LiveU’s technology is the solution of choice for global broadcasters, news agencies, sports and entertainment, streaming live video to TV, mobile, online and social media. LiveU units are used to cover all the major news, sports and entertainment events worldwide, including the US Presidential Election, the FIFA World Cup, Winter and Summer Olympic Games, Super Bowl, US Collegiate Championships and red-carpet events.

> LTN

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TN will showcase how its award-winning solutions, built on the world’s most reliable IP multicast video network, empower media companies to cost-effectively deliver tailored content experiences to global cross-platform audiences. At LTN’s booth W2621, visitors will get firsthand insight into how its innovative product portfolio is revolutionizing the broadcasting landscape, opening up new reach and revenue opportunities for media companies. LTN Arc, is the fully managed, cloudenabled production solution that handles every aspect of live event versioning for rights holders and sports broadcasters, enabling them to scale their content to new audiences. LTN’s IP-based transmission solutions, LTN FT Transport and LTN Wave, empower media companies to transition to the new digital era with flexible, reliable, and intelligent alternatives to satellite distribution. Finally, LTN will demonstrate LTN Lift, the cloud-based playout solution with automated versioning capabilities to seamlessly spin up new channels and deliver customized programming across digital/ OTT/FAST services.

> LUCIDLINK

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ucidLink is excited to be hosting, on the main stage at NAB 2023, the talented team behind the BAFTA award-winning and Oscar-nominated short film animation, The Boy, the Mole, the Fox and the Horse. Learn how the creative team worked remotely, seamlessly, in more than 15 different countries using LucidLink to create this phenomenal movie. Join us Sunday, April 16, at 2:00 p.m.

PST, and be sure to come early to grab a seat. This exclusive session is open to all attendees. Start your conference off inspired as we cover everything from the creative process to the innovative workflows used to produce this brand-new holiday classic. If you are looking to optimize your workflows, remote or hybrid, from live production to postproduction, stop by booth N1513. Learn how LucidLink is the common denominator used in live events like the Super Bowl, hit shows like The Bear and Atlanta, and movies like Devotion and Missing.

> LUMEN TECHNOLOGIES

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his NAB, Lumen will showcase a rich set of end-to-end solutions to help broadcasters and

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content producers establish a modern, secure, scalable platform from acquisition to distribution. The Lumen platform can help you move applications and key content to the edge designed to improve delivery performance, reduce latency, and contain costs. Our edge capability also brings new security options such as Secure Access Services Edge (SASE) and Zero Trust Architecture along with API security, Web Application Firewall, bot management and Distributed Denial of Service (DDoS) capabilities. Lumen can help modernize your entire process. Accelerate hybrid production models with low latency streaming workflows. Lumen Advanced Media Delivery helps media companies scale profitably with a solution that grows with their audiences offering real-time multi-sourcing and network awareness around the world. Customizable metrics and analytics can help improve user experiences no matter the location, content or device type. See how Lumen delivers 40% less buffering at high bit rates, delivery of video traffic over mesh networks and 10x the delivery capacity versus Content Delivery Network-only approaches. Ready to modernize your platform? Come see Lumen at NAB in W238 LMR, 2nd Floor West Hall or set up a meeting with our experts via https://bit. ly/2023NABMeetings

> M2A MEDIA

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2A Media will be showcasing its two headline products, M2A LIVE and M2A CONNECT, at NAB Show this year. M2A CONNECT is a feature-rich product for the B2B aggregation and distribution of live video streams in AWS cloud, while M2A LIVE helps broadcasters to deliver reliable, low latency, highest quality streams to millions of viewers worldwide. These products offer core functionality via an intuitive console. Broadcasters and rights owners can then choose to tailor their licenses via M2A Add-Ons, including features such as live capture, cloud frame rate conversion, VOD to Live and Dynamic Content Insertion. M2A LIVE and M2A CONNECT are trusted by major brands, including DAZN, Britbox, ITV, Channel 4, ATP Media and FIBA Media. More recently, the Japan Rugby Football Union (JRFU) adopted a combined solution featuring M2A CONNECT, along with M2A’s live capture feature and managed operations service to help future-proof its broadcast needs.

> MAGNIFI BY VIDEOVERSE

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agnifi by VideoVerse is changing the game in sports content and fan engagement, providing ground-breaking and innovative video analysis and editing technologies that are uniquely designed to offer solutions for the transformation of videos into digital-ready content assets — serving enterprises across numerous industries including OTT players, broadcasters, sports clubs, leagues,

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marketing agencies, e-gaming platforms, schools, colleges and more. Visitors to Magnifi’s NAB booth (W1272) will get a first-hand demonstration of the power of its distinct cloud-agnostic solution that uses artificial intelligence (AI) and machine learning (ML) technology to revolutionize how content is refined and consumed — helping enterprises and individuals create impact and tell immersive stories across all media genres at speed and at scale. Magnifi will also be discussing an all-new product solution designed specifically for the entertainment sector and, as event platinum sponsors, the company will be sharing the latest insightful research at the NAB Innovation Theater.

> MARKERTEK

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arkertek continues to uphold its outstanding 35 year old reputation as America’s Broadcast Supply House for delivering cutting edge solutions. Markertek will showcase Plura’s industry exclusive TRUE-IP 25GbE portable broadcast & media monitor solution, supporting uncompressed UHD based on SMPTE ST 2110, ST 20226 & ST 2022-7 and it supports up to 4096 x 2160 resolutions. We are the nation’s exclusive Neutrik opticalCON DRAGONFLY fiber optic assembler.

DRAGONFLY, built by Camplex, is the world’s first SMPTE Hybrid Fiber connection system to incorporate Expanded Beam technology. Camplex adds the QPC brand of Expanded Beam cables to its repertoire in 2023. Markertek will partner with Bittree to showcase its 12G+ Midsize and Micro video patch panel solutions. Bittree’s Patch32A Dante patchbay eliminates the complexity of analog and Dante audio patching in broadcast and professional AV infrastructures. Providing a ramp to instantly move 16 channels of analog audio onto and off of Dante networks. Join us at booth C2219 in the Central Hall!

> MARSHALL ELECTRONICS

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arshall, known for its wide range of POV and PTZ offerings, has cameras installed across the globe in a variety of sports production applications, from professional and collegiate stadiums to secondary school sports facilities. The company is introducing several new products at the upcoming NAB Show (Booth C5520), including four (4) new camera models with the latest NDI codecs — the CV570/CV574 Miniature Cameras and CV370/ CV374 Compact Cameras. All feature low latency NDI|HX3 streaming as well as standard IP (HEVC) encoding with SRT, while also offering an HDMI simultaneous output for traditional workflows.

The CV570-ND3 miniature and CV370-ND3 compact NDI|HX3 cameras both contain a new Sony HD sensor, while the CV574-ND3 miniature and CV374-ND3 compact NDI|HX3 cameras both contain a new Sony 4K (UHD) sensor. The cameras feature interchangeable lenses, multiple broadcast

EXPERIENCE THE NEXT. Qvest is your paatner for realizing media solutions and infrasttuctures to enable live spoots around the world.

Whether it’s consulting, workflow design, or technology implementation: With proven expeetise and expeeience, we suppoot the global spoots broadcasting industty to simplify complexity.

Join us at NAB Show to leaan how we can help streamline your media supply chain to reduce costs and generate new revenue streams. www.qvest.com/nab2023

Booth W2042

NAB2023PREVIEW frame rates, and very discreet and durable bodies made of lightweight aluminum alloy with rear I/O protection wings.

and Unrivalled Expandability: Pluggable modules, software and license upgrades, part of the Media Links Ecosystem.

> MATROX VIDEO

> MEDIAKIND

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he broadcast industry is looking for ways to transition tier-one live sports production to the cloud. The challenge is how to overcome the technical hurdles while at the same time achieving a more economical model. What if you could distribute your workflows on-premises as well as in the cloud, enabling you to optimize your CAPEX and OPEX? Matrox Video is about to reframe this discussion. At NAB 2023, we will unveil a truly innovative approach: a software-only, asynchronous framework that can achieve highly scalable, responsive, low latency, easy-to-control, and frameaccurate broadcast media facilities for on-premises and cloud deployments. We encourage you to visit us at NAB to discover a disruptive new mediaspecific asynchronous framework, a new origin for broadcast facilities.

> MAXON

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axon makes powerful, yet approachable software solutions for content creators working in 2D and 3D design, motion graphics, visual effects and visualization. Maxon’s innovative product portfolio helps artists supercharge their creative workflows. Our product lines include the awardwinning Cinema 4D suite of 3D modeling, simulation and animation technology; the creativity-onthe-go Forger mobile sculpting app; the diverse Red Giant lineup of revolutionary editing, motion design and filmmaking tools; the leading-edge, blazingly fast Redshift renderer; and ZBrush, the industry-standard digital sculpting and painting solution.

> MEDIA LINKS

C

elebrating its 30th year anniversary in Media over IP innovation, Media Links will be debuting its new ultra-dense, ultra-versatile Xscend IP Media Platform. Xscend empowers connectivity, transporting up to 128 high quality media and data services across both managed and unmanaged IP networks and is compatible with the entire Media Links Ecosystem. Its adaptable, media-tuned architecture supports software-defined upgrades, accommodating evolving protocols, workflows, physical interfaces, codec algorithms and video formats. Key platform attributes include: Flexible configurations: Numerous media interfaces and video codecs for managed & unmanaged networks; Multi-function IP Gateway: Wide gamut of signal workflows, SMPTE standards & network protocols; High Density / High Capacity: Compact 2RU size, up to 400Gb/s bandwidth, 128 media services; Mission Critical Availability: Rugged design, redundancy, hot swappable, remote downloads;

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ediaKind is a global change leader in media technology and services. Its mission is to deliver transformation by building a continuously better media universe alongside its customers and partners. Drawing on a pioneering industry heritage and fueled by innovation, MediaKind embraces and champions new standards, methodologies, and next-generation, immersive live and on-demand media experiences worldwide.

Its end-to-end media solutions portfolio includes Emmy Award-winning video compression for contribution and direct-to-consumer video service distribution, advertising and content personalization, high-efficiency cloud DVR, and TV and video delivery platforms.

> MEDIAPRO US

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ediapro US kicked off 2023 with a series of International Soccer Friendlies and tournaments, prepping us for another exciting year.

From January 10-21, top local South American and European teams, such as River Plate, Millonarios, Vasco da Gama, Hertha Berlin, and the Rayados of Monterrey, gathered to face off in friendly soccer matches throughout Florida and Texas. Mediapro US produced and distributed the international feed and captured each thrilling moment for fans around the world. February also had us on our feet as Mediapro US arrived in Venezuela for the most anticipated baseball event of the year. The Caribbean series played its 65th edition February 2-10, at the new La Riconda Baseball Stadium in Caracas, Venezuela. The league champions of Mexico, Venezuela, Colombia, Panama, Dominican Republic, Puerto Rico, Cuba, and Curacao went headto-head for the title, but ultimately The Tigres De Licey DR won against the Leones de Caracas in a thrilling game. Mediapro US distributed the international feed to fans worldwide. Follow our socials to say up to date and learn more about the leading audiovisual group, Mediapro, at NAB 2023. Book a meeting with our experienced representatives to help you find a personalized plan for all your broadcasting and production needs.

> MICROSOFT

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icrosoft empowers media & entertainment organizations to achieve more through a trusted and secure platform supported by a comprehensive partner ecosystem with industry-leading solutions to streamline content production, enhance creativity and collaboration, optimize content discovery and delivery, transform audience and content intelligence, and reimagine and monetize experiences.

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> MO-SYS

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he Mo-Sys product range spans remote heads & motion control, broadcast robotics, mechanical and optical camera tracking for AR & VR, VP and on-set visualization. For the past 20+ years, visionary, inventor and technopreneur Michael Geissler has grown Mo-Sys into an industry leader, cultivated close ties to community of broadcast and production clients in 50+ countries including BBC, Netflix, Fox, ZDF, CNN and ESPN. Mo-Sys remote heads and robotics are used on many Hollywood blockbusters and HETV shows including Gravity, Life of Pi, Westworld, Birdman, and Tron Legacy. We have also delivered boundary-pushing technology for broadcast projects like Red Bull Air Race and Strictly Come Dancing.

> NEMAL ELECTRONICS

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isit Nemal at NAB 2023 booth C4822 to see our newest product innovation, Nemal Stadium Scoreboard cable, selected for the new UBS Arena in New York. We have also introduced a number of new products to meet the specific needs of sports broadcasters including Tactical SMPTE cable, Tactical CAT5 and CAT6, CAT6 etherCON snakes, AVFlex cables for high power sound and lighting, a family of hi-rel XLR adapters, and a complete line of opticalCON DUO and QUAD adapters. Nemal XLR adapters provide a reliable and rugged solution to interconnecting intercoms and headsets with different I/O interfaces. Our Stadium4 plenum cable has become the cable of choice for sports venue infrastructure and has drastically simplified and reduced the cost of SMPTE cabling, even in smaller venues. Nemal Electronics is Miami-based Emmy Award-winning manufacturer of Audio, Video, and RF cable, connectors, custom panels, and cabling systems for sports broadcasting.

> NEP GROUP

Y

ou have a vision. We see it, too. With a worldwide network of experts and cutting-edge technology, our unique Global Production Ecosystem empowers content creators and rights holders to tell stories in breakthrough ways. We’re built on 35 years of trusted experience across broadcast, live event, and virtual production to deliver the solutions you need — anytime, anywhere. Headquartered in the United States, NEP has operations in 25 countries with over 5,000 employees. Together, we have supported productions in over 100 countries on all seven continents, and we’re still growing. Learn how we help our clients bring content to life at nepgroup.com.

> NET INSIGHT

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HO YOU ARE MATTERS! Our solutions are clearly tailored to different media customer challenges and requirements in production,

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contribution, or distribution. We help broadcasters, service providers, production companies, and enterprises to create live sports video workflows using the networks for their needs. We have the market’s most open and cloud-ready media delivery platform. Giving customers the tools they need to produce, manage and deliver content to viewers anywhere simply and cost-effectively. Leveraging Net Insight’s broadcast heritage, unique R&D experience and deep IP knowledge, our portfolio provides all the key features needed to support any existing, transitional and all-IP use case — at any scale. Find out more at NAB Show 2023 at booth W1725 where we will showcase and offer live demos of our latest IP Media & Cloud solutions. IP Media gateways, such as the Nimbra 1060 with IP Media Trust Boundary, as well as our cloudbased Nimbra Edge.

> NETGEAR AV

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ETGEAR AV (booth W2566) is focused on addressing networking challenges and solutions specific to the AV market and to differentiate AVfocused networking products from business and consumer products. From feature sets to pricing structure, NETGEAR AV products are designed to help AV integrators overcome the inherent challenges of delivering fast, reliable networking solutions to their residential and commercial customers. At NAB 2023, NETGEAR AV will showcase the award-wining M4250 series of switches built for 1G AV over IP, the powerhouse M4300 switches built for 10G AV over IP, and the groundbreaking AV User Interface in the new NETGEAR Engage Controller. With models from 8 to 96 ports, PoE++, and up to 100 Gig throughput, no one has a more complete selection of switches built for Pro AV. Plus, our Pro AV Design team will be available to answer any questions or help with your next network installation. Stop by booth W2566 and find out for yourself what NETGEAR AV is all about.

> NEWSBRIDGE

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ewsbridge will be showcasing groundbreaking advancements in its AI indexing technology at NAB 2023, including human-like descriptions of video context, and a new landmark and landscape detection feature. The leading AI & cloud-media company is solving the video searchability problem for sports and media organizations, enabling them to undertake live and archive indexing and metadata enrichment at scale — and monetize their media assets. Newsbridge’s cloud media hub with semantic search capabilities means users can browse their large video collections as easily and intuitively as they search the web. Sports rightsholders can put match highlights and interviews at players’ and sponsors’ fingertips with self-service content sharing features. Booth visitors will be able to demo the latest AI index-

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ing tech, along with Newsbridge’s core solutions for media workflow efficiency, collaboration and content monetization: Just Index, Media Hub, Live Asset Manager, and the white label Media Marketplace. Booth W2073 www.newsbridge.io.

> NVIDIA

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ealize the future of Media and Entertainment with AI, IP video workflows, and advanced graphics powered by NVIDIA’s full technology stack. NVIDIA Professional GPUs, NVIDIA Networking technologies, as well as systems, pretrained AI models, developer toolkits and software platforms deliver a production infrastructure that is flexible, hybrid, software-defined and hardwareaccelerated. At NAB 2023, NVIDIA and its ecosystem of partners will be showcasing the latest innovations for the industry including the NVIDIA RTX 6000 Ada generation, NVIDIA BlueField and NVIDIA Rivermax SDK for SMPTE ST 2110 adoption, virtual production, remote collaboration, and IP-based workflows.

> OBJECT MATRIX

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bject Matrix specializes in best-of-breed, on-prem, hybrid, and cloud-based storage, designed for the sports media industry. Meet us at NAB 2023 to discuss our object storage solutions and new partnership with DataCore. Demos: Editing with your cloud object store. MatrixStore Cloud seamlessly integrates professional editing workflows. Use your favorite tools including Media Composer, Premier Pro and DaVinci Resolve and intuitively access the sports archive wherever you are. Treat your data with the gravity it deserves.

MatrixStore Hybrid combines on-premise and cloud components, to optimize media storage.

Find out how to achieve more content processing flexibility, better protection, and wider sharing options, leveraging the best of both worlds. How to augment your LTO infrastructure. MatrixStore On-Prem means creative professionals have instant and predictable access to content. Got 20PB+ of LTO data? Discover ways to monetize your content archive, through an authentic, secure, and ondemand platform.

> OPENDRIVES

O

penDrives is a software company with unparalleled expertise in data storage, ancillary data services for information access and movement, and corporate workflows such as the challenging ones found in M&E. Our flagship software platform — Atlas Core — provides all the necessary power and functionality to drive enterprise data storage solutions and complementary enterprise applications. We promote an Open ecosystem for enterprise data by leveraging open standards, open protocols, and open integration, which enables 3rd-party technology vendors and their offers to interoperate with our software to create high-value

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solutions. The business outcomes for customers include highly optimized workflows, more efficient operations, and longer-term ROI. We understand that most vendors at trade shows spend the bulk of their time focusing on themselves. This year at NAB, we intend to take a more customer-centric approach, because we recognize and are committed to the realization that it’s not about us. It’s about our customers, their corporate journeys, and the data obstacles they’re trying to overcome. At NAB 2023, we are proud to demonstrate how the Open ecosystem has evolved with the close cooperation and collaboration of our technology partners to generate tangible and long-lasting benefits for all our customers.

> OPENGEAR

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ee the newest openGear modular signal processing at these NAB booths: AJA Video Systems: W2600, Apantac: N2038, Cobalt Digital: C2108, MultiDyne C4730, Ross Video: N2201, VITEC: N2238. As the world’s first modular infrastructure platform open to other manufacturers, openGear gives you solutions derived from hundreds of individual cards from myriad companies.

This cooperative effort gives you best-of-breed product and budget options, all while ensuring that you have common control and monitoring within the DashBoard ecosystem. The openGear leader partners all have new modules for you to see that give you the flexibility to use a multitude of signal types and formats from analog to UHD to IP, all architected to meet the most complex processing demands of evolving IP and UHD applications.

> OSPREY VIDEO

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sprey Video will showcase its Hardware Encoder and Decoder Platform. The premier combination for point-to-point delivery and for platforms looking to deliver content easily, efficiently, and securely with the highest quality and lowest latencies. Also on display will be our Video Capture cards. In the market for over 25 years, Osprey capture cards have proven to be the preferred ingest point for ISV’s and OEM’s in mission-critical applications ranging from media & entertainment, medical, remote production and military applications. Osprey Video will be showing Demos with industry leaders like Bitmovin, Dolby.io, Red5Pro, and others.

> PANASONIC CONNECT

A

t NAB 2023, Panasonic Connect will showcase its broad portfolio of video solutions, including the KAIROS production platform, and its industry-leading PTZ ecosystem and studio cameras. Visit booth C3308 to demo two of its newest cameras that are transforming video operations: the AW-UE160 and AK-PLV100. The AW-UE160 4K PTZ camera features a 4K 1” MOS sensor — the highest sensitivity of the entire lineup — and

3 Modems. 3 Providers.

100-Mile Coverage.

With one hand on the lens and the other gripping the motorcycle’s subframe, you lean with your pilot through the last few corners of the Mid-Mountain Velocross hill climb. Your trained eye keeps a solid frame on 50 cyclists tailing you up the mountain. The last thing that should be on your mind is your stream health.

In the past? You had a single modem that would drop when a random turn blocked the cell tower.

Now? There’s Prism Mobile. Carry three carriers in its compact, lightweight chassis – keeping your stream solid and your shoulder strain-free. Sending your bonded video stream to Core Cloud, Teradek’s IP video orchestration platform, your team can remotely monitor, manage, and route the video feed to any desired destinations.

Attack tough terrain with comprehensive coverage using Prism Mobile.

Learn more at teradek.com/prism-mobile

NAB2023PREVIEW a high-speed frame rate, great for capturing slow motion shots in HD for replays. The AK-PLV100 4K CINELIVE Camera is equipped with a large format, 5.7K Super 35mm sensor and PL Lens mount to accommodate cinema lenses for shallow-depth of field. To support productions moving to IP-based workflows, both cameras feature SMPTE2110 compatibility for more streamlined connection to KAIROS. Panasonic Connect will also show the next generation of KAIROS hardware, the KC200 and KC2000. Both mainframes increase the platform’s scalability to deliver larger and more complex productions. The KC2000 offers the largest input and output capacity yet, with greater video processing power and a 900 GB internal clip player. KAIROS is the best option for productions interested in moving to a next-generation IT/IP platform, and offers a flexible workflow, no matter the format or content destination.

> PIXOTOPE

P

ixotope, the leading software platform for endto-end realtime virtual production solutions, invites NAB Show attendees to learn all about its latest innovations on booth C8725: Pixotope Graphics XR Edition and Pixotope Tracking - Fly Edition. Based on the company’s award-winning Virtual Production graphics software, XR Edition was developed in response to the growing use of LED volumes in virtual production. It includes tools to simplify setup and operation by reducing the technical complexities and associated resource costs of XR workflows and environments. Pixotope Tracking - Fly Edition is a first of its kind TTL camera tracking software solution that simplifies creating and tracking augmented reality (AR) elements with drones and cable cameras. The unique markerless technology eliminates the complex set up and creative constraints previously imposed by tracking markers. As a result, Pixotope Fly enables producers to add exciting realtime aerial AR graphics anywhere a drone can film, indoors or outdoors.

> PLANETCAST MEDIA SERVICES LIMITED

P

lanetcast has deep expertise in managing, monetizing, and distributing high value live sports content, with a long history as the technical partner for the world’s premier cricket tournament, IPL, enabling low latency delivery and seamless advanced ad insertion to maximize monetization.

Planetcast’s media services already touch a billion lives across India and Southeast Asia through customers such as Disney, Amazon, and Viacom. At NAB Show 2023, Planetcast will showcase how it empowers content providers, sports broadcasters, streaming services, and rightsholders to deliver first-class live sports experiences to global viewers while driving business growth with cloud-

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first media services. The company will display its cutting-edge solutions for enhancing, protecting, organizing, and delivering video content, including cloud playout, OTT, FAST, post-production, IP distribution, and disaster recovery services. At Planetcast’s booth, you can also learn more about cloud-enabled media asset management (MAM) workflows, driving efficiencies and creativity in sports production.

technicians, the integrated cloud-based ProCrewz mobile app also allows crew members to accept job offers, punch in using the geo-fenced virtual time clock, and much more. Join PPI, ProCrewz and XLT at NAB Show 2023 to see this powerful technology in action and discover how we’re revolutionizing labor management. Learn more at procrewz.com, programproductions.com or xltms.com.

> PLIANT TECHNOLOGIES

> PSSI GLOBAL SERVICES/ STRATEGIC TV

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liant Technologies CCU-08 Control Unit, which will be on display at NAB (booth C4221), is the latest addition to the CrewCom intercom system giving users the ability to use up to eight 4-Wire ports while retaining all the same features of the existing CCU-22 and CCU44 products. The CCU-08 contains no radio, is frequency agnostic and can control and monitor any device across CrewNet regardless of the radio frequency bands being utilized. When used with CrewCom Radio Transceivers, the CCU-08 supports up to 82 Radio Packs, 18 in Normal mode and 64 in High Density mode, across all RF bands. Up to four CCU-08s can be used in one system for larger user counts. CrewCom is an innovative, professional wireless system used on a range of sports applications, featuring excellent voice quality with 4- or 2-conference full-duplex Radio Packs, Seamless Roaming, and the highest density of users in the industry.

> PROGRAM PRODUCTIONS

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orth America’s #1 provider of live event labor is joining ProCrewz and XLT Management Services to showcase groundbreaking labor management technology at NAB Show 2023.

This year’s NAB Show brings together the biggest players in broadcast, media and entertainment to explore next-generation technology and bestin-breed products. You can catch PPI, ProCrewz and XLT at booth C4429, where our team will be showcasing live ProCrewz demos and the latest advancements in labor management solutions.

Following a busy year — PPI is on track to cover 28,000 events in 2023, more than any other North American labor management company — Program Productions continues to join forces with the ProCrewz event labor management platform and mobile app, as well as XLT. Together, we offer an unrivaled, fully integrated solution. While PPI provides event labor, ProCrewz and XLT together offer seamless, end-to-end labor and payroll management. Powered by ProCrewz, XLT equips you with a custom-built platform for event labor management backed by a dedicated team of experts. This all-in-one solution enables you to communicate with crews in real time, tap into HR & legal support, and access customized labor and financial data reports. Used by more than 16,000

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t PSSI Global Services, our sole focus is making your television broadcast the best it can be. From transmission services and engineering solutions to complete event management, our team is here to support your success. We are the leading experts in our industry, and we support our expertise with cutting-edge technology across the largest fleet of transmission vehicles in North America and the PSSI International Teleport (PIT). PIT is the largest privately-owned teleport in the U.S., providing global video and data transmission services 24 hours a day, 7 days a week, 365 days a year, as well as co-location and disaster recovery for several major broadcast entities.

> PUGET SYSTEMS

P

uget System is expanding into Canada, opening significant opportunities for new growth and a new opportunity to bring its highly-refined consulting and custom workstation builds to the Canadian market. In preparation for its launch into Canada, Puget Systems has invested heavily in refining its approach to its partners and have positioned themselves well to deliver to Canadian markets the same customer-centric, specialized white glove experience it has painstakingly developed through its 20-year history.

> Q5X (QUANTUM5X SYSTEMS)

Q

5X (Quantum5X Systems) has introduced three new products that enhance the use of our PlayerMic in sports. NESO2.4 is an IFB system the that allows 2-way communication with an athlete in the game when worn with our PlayerMic transmitter. This is provided as an alternative to Phonak systems. Chameleon is a modified PlayerMic with an internal antenna, making it more comfortable to hide in smaller articles of clothing.

Chameleons can be ordered in custom colors for easier coordination between multiple sets of gear for different teams. Like the PlayerMic, this is available in analog (compatible with a variety of receivers) or digital (compatible with Shure Axient receivers). FlexClip is an accessory that allows for easier placement of a PlayerMic or Chameleon when sewn-in pouches are not available on a jersey. The unique design preserves the safety of our transmitter by avoiding any sharp wires.

K A I ROS Co n t ro l Pa n e l AT- KC1 0 C 1

K A I ROS Co re KC2 0 0 0 Ma i n f ra m e

NAB2023PREVIEW > QUANTUM

Q

uantum’s end-to-end solutions for media and entertainment deliver your fast, cloudenabled, intelligent workflow future — from your facility, to the cloud, and the world including: Allflash storage for animation, VFX, AR/VR; Hybridflash storage for post-production and streaming; AI-enabled asset and workflow management; and Lowest-Cost, Safest Storage for Content Archiving.

Quantum’s solutions are trusted by major movie studios, post-production houses and corporate video teams around the globe. For more information on Quantum solutions to power your entire workflow, visit quantum.com.

>QVEST

Q

vest advises and supports organizations and companies worldwide on all requirements for technology implementations in the context of digital transformation and is a world-leading systems architect, ICT integrator and developer of software products in the innovation-driven media industry. The company’s range of services is aligned to the opportunities emerging from an increasingly digital media value chain such as multi-platform content delivery, artificial intelligence, data & analytics, multi-cloud management, and IP infrastructures. Qvest clients include numerous renowned media networks, telecommunication providers, broadcasters as well organizations and companies from the industrial and public sector. In addition to the headquarters in Cologne, Germany, the globally connected Qvest Group operates further locations in Europe, the USA, the Middle East, Southeast Asia, and Australia.

> RIEDEL COMMUNICATIONS

R

iedel Communications will occupy two booths at NAB 2023! With the integration of Simplylive, Riedel will be showcasing their live video production tools including the Simplylive Production Suite, offering ViBox All-In-One for multicamera productions, with Slomo and RefBox. Additionally, RiMotion replay, RiCapture UHD recorder, the Venue Gateway and the Web Multiviewer enabling simple, scalable production and replay for anyone, anywhere. MediorNet IP solutions for video and audio processing and distribution with innovative MuoN SFP technology, will exhibit an abundance of processing: encoding/decoding, ST 2110 gateways, multiviewers, and newly added HDR conversion between any SDR/ HDR formats, including Slog3, PQ, and HLG. Visitors will also discover the award-winning MicroN UHD media distribution and processing platform, adding bandwidth, I/O, higher resolutions, and processing power to the MediorNet TDM platform. On the comms side, Riedel will present Bolero wireless intercom in both the DECT 1.9Ghz and the new 2.4Ghz versions, including capabilities in com-

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bined networks. Plus, TAC, an ultra-lightweight in-ear headset with noise-cancelling microphone and clip-on-lavalier-mic will be featured. The Artist-1024 will be on display, as will the SmartPanel 1200 and 2300 Series with multifunctional interfaces. Riedel’s SmartPanel concept decouples a keypanel’s capabilities from its hardware and turns it into a software-definable, application platform.

These apps include advanced intercom, control, automation and monitoring functionalities, such as the new Audio Monitoring App (AMA). For the 1200 Series Control Panel App (CPA), third-party implementations of broadcast control and automation software will be on display at stand C4910.

Riedel will also highlight PunQtum digital partyline intercom.

management system that provides over six million broadcast-quality pixels to drive LED displays in sports venues of all sizes. Featuring customizable XPression Graphics and DashBoard Control Panels, several customers have already used Tessera One to successfully elevate their game-day productions while streamlining operations for production teams. At only 1 rack unit, Tessera One delivers up to three 1080P HD outputs, which can be mapped to fill over six million LED pixels. The versatility of the system means that teams can also unlock new revenue streams through enhanced sponsorship opportunities. To learn more about Ross Video’s Sports & Live event solutions visit rossvideo.com/ sports.

> ROHDE & SCHWARZ

V

R

ohde & Schwarz is one of the world’s leading manufacturers of Test & Measurement, Secure Communications, Monitoring and Network Testing with an exceptional expertise in Broadcasting equipment. Founded more than 80 years ago, the independent company has an extensive sales and service network with subsidiaries and representatives in more than 70 countries. Incorporated in the United States since 1978, Rohde & Schwarz USA, Inc. has a large team of sales and application engineers throughout North America offering our customers a world-class service and support experience. The Rohde & Schwarz Broadcast & Media product range spans from post-production, studio production all the way to delivery and distribution.

> ROSS VIDEO

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oss Video’s live broadcast production solutions for sports & live events have helped teams and broadcasters from around the globe to draw fans deeper into the game. The combination of production control room technology, LED content management systems, and stunning 3D data-driven graphics streamlines event production for operators while delivering fully immersive and unforgettable experiences for fans. Ross solutions are entrenched in the workflows for sports broadcasters and in-venue production teams at stadiums and arenas worldwide. Some recent customer success stories include SoFi Stadium in Inglewood, CA, and Kauffman Stadium in Kansas City, MO. Another recent company success was the acquisition of Austria-based Spidercam, the global supplier of broadcast cable camera solutions. Spidercam made its television debut in 2005 and is now the market leader in cutting-edge cable camera solutions used to create unique outdoor shots for sporting events, concerts, esports, and TV shows around the globe.

Last year, the Sports & Live Events group added to its ever-expanding range of products with the introduction of XPression Tessera One — a simple, compact, affordable, and powerful LED content

SPORTSTECHJOURNAL / SPRING 2023

> RT SOFTWARE isit RT Software on booth N2861 at NAB 2023 to see a full range of broadcast graphics solutions perfect for all sports productions.

These include the industry leading Tactic sports analysis and telestration products that harness the power of AI to quickly and easily create the most engaging graphic enhancements and explainer graphics to live and replay content. There will also be demonstrations of Swift CG and Swift Live, our gamechanger for on-screen overlays including must haves such as scores, clocks and leader boards — with Swift Live making remote productions easy with its web based manual graphics command and control. Sports productions can be enhanced further with virtual studios, augmented reality and video walls — and RT will be demonstrating its solutions for all these areas. At the heart of all the products is a modular, scalable graphics engine which delivers the right price points across web, NDI, SDI, HD, UHD and HDR productions.

> RTS

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iscover #theRTSdifference at NAB 2023, booth C3811, and learn how the latest RTS intercom innovations can enable more clear, flexible and reliable comms than ever. Featured solutions include the following: Fail-safe redundancy for the ODIN intercom matrix: What happens if the heart of your comms system loses connectivity? In this interactive exhibit you can experience for yourself how seamless redundancy options for RTS ODIN provide peace of mind in a worst-case scenario. Three flexible redundancy options are now available: Backup and Restore, Frame Swap and Redundant Frame Operation. RTS SMPTE ST 2110 solutions: Our implementation of the SMPTE ST 2110 suite of standards helps professionals communicate clearly with ease and efficiency, and offers some key advantages, including channel-by-channel selectivity, backwards compatibility and simplified native implementation. Glitch-free options: KP-Series keypanels, ODIN matrices and OMI (OMNEO matrix interface cards) are now shipping

NAB2023PREVIEW “hardware ready” to support glitch-free operation.

Also new for NAB — a glitch-free feature set for SMPTE ST 2110 operation. VLink cloud-based communication: VLink is an IP-software multichannel/multi-access communications solution that intelligently connects to RTS intercoms, creating the optimal fusion of hardware and software capabilities. www.rtsintercoms.com.

> SEAGATE TECHNOLOGY

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isit Seagate’s NAB booth to discover innovative solutions for managing large datasets in media companies. Our product and presentation will showcase specific challenges faced by media companies in managing data and highlight practical solutions that can save time and reduce costs.

We’ll discuss the benefits of efficient edge storage LyveMobile, Self-Healing, High-Density Data Storage-CORVAULT, and LyveCloud to enabling multicloud freedom. By implementing these solutions, companies can improve data accessibility, streamline workflows, and stay competitive in a rapidly changing industry. Don’t miss the chance to learn how our solutions can help your media company manage large datasets more effectively.

> SENCORE

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n 2022, we saw many sports organizations select the Sencore DMG 4000 as their go-to platform for high-quality, low latency encoding for contribution and remote production systems and 2023 is shaping up to be even bigger. Contribution over the internet is growing faster than ever and Sencore’s Centra Gateway serves as the nervous center of these adhoc workflows. Pairing both cloud and hardware-based video transport and processing builds the most efficient turn-key solutions for any sized video system. Let us be your gateway to better video delivery. Come see us at booth W2500!

> SENNHEISER

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t NAB 2023, Sennheiser Group will proudly showcase its full range of audio solutions for video production, sound design, recording, and more to equip professionals of all levels, from social media creators to audio mixers for film and television. Sennheiser and its subsidiaries Neumann.Berlin and Dear Reality will present a range of classic and new microphones, monitors, headphones and software to enable end-to-end recording, mixing and mastering of immersive audio.

With this, Sennheiser will debut its newest wireless audio system, designed specifically for video production. Attendees will also have the chance to see Sennheiser’s full range of camera microphones and hear some of its world-class equipment in action. Sennheiser looks forward to welcoming visitors to booth C5217.

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> SES

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ES, the industry’s leading content strategy enabler, has played a part in all ten of the most watched sporting events of all time, and now we arrive at NAB with a host of recent high profile successes and customer wins under our belt. We currently distribute over 700 hours of premium sports and live events each and every day, and are building on our market-leading position by leveraging an extensive ecosystem of technology partners to provide a full range of services to sports broadcasters and rights holders. With dedicated sports media hubs worldwide, including state of the art facilities at Hawley, PA, we provide follow the sun support to over 500 leading sports and events customers and manage and deliver content for 200 sports with governing organisations. Come visit us on booth W3131 to find out how we are still innovating and why we are still growing.

> SHURE INCORPORATED

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hure understands the challenges of capturing accurate audio from sports events, especially in high-density RF environments with players, coaches, and announcers in action. Their Q5X transmitters integrated with the Axient Digital wireless platrform capture high-quality audio under the most extreme in-game conditions. The ADX5D Axient Digital Dual-channel Portable Receiver is a reliable and flexible solution for capturing audio from the sidelines, locker room, or even in the stands. Shure’s newly released AD600 Digital Spectrum Manager streamlines your wireless workflow with real-time scanning capabilities that quickly locate clear operating frequencies and provide full RF spectrum analyses and site surveys. Shure’s microphones and RF solutions have been trusted by broadcast sound engineering professionals for decades, delivering clear and consistent sound to audiences worldwide. From halftime shows to studio productions, Shure is an integral part of the sports broadcasting industry, providing reliable and highquality audio capture and transmission solutions.

> SIGNIANT

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igniant’s unwavering focus on the media and entertainment industry and our large work in sports has led to many new capabilities to show off this year. Here are just a couple highlights that our sports customers are asking for: Now available on Jet, Signiant now makes it easier than ever to work with growing files at the source and destination while supporting both on-prem and cloud storage endpoints. This capability is widely used in live sports productions to enable remote teams to create highlight clips almost immediately as the footage is being captured and dramatically reduces shutdown time after the event. The Signiant Platform — with growing files capability — was used widely in the recent Olympic Games, World Cup

SPORTSTECHJOURNAL / SPRING 2023

and many other major sporting events around the world. More and more, content aggregation and distribution are happening in the cloud. As a result, there are many content exchange operations where both the source and destination are public cloud endpoints. Cloud network capabilities readily support these cloud-to-cloud workflows, so speed typically isn’t a primary challenge. Nonetheless, the industry turns to the Signiant Platform for these mission-critical operations.

> SKYLINE COMMUNICATIONS

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ur DataMiner platform empowers DevOps teams to take full control of their Digital Transformation journey with ease and confidence.

DataMiner offers unlimited convenience and flexibility across the entire supply chain. You can create tailored experiences with user-definable dashboards and no-code apps, empowering everybody in your organization to access actionable data with the highest convenience. Meanwhile, DataMiner Process Automation allows you to streamline all your operational, business, and technology workflows, managing and automating live and file workflows all together. DataMiner also offers a whole range of cloud features allowing smooth collaboration: share live dashboards with customers and suppliers, access actionable data through Microsoft Teams, and enjoy remote and secure access to your DataMiner System from anywhere. Come discuss your Digital Transformation journey with us at booth W1649 and see how DataMiner can help you become a DevOps Pro.

> SOLID STATE LOGIC

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olid State Logic (booth C6107) will present the latest updates to the System T production platform, showcasing a range of processing and control solutions to fit a variety of requirements and broadcasters. This includes the latest enhancements for on-prem, cloud and remote production combined with scalable control solutions. From large-format modular control surfaces, fixed format mid-sized consoles and rack mount controllers to software running on COTS computer hardware or virtual machines, there is a System T processing and control solution to fit your application.

System T’s no compromises immersive/NGA production tool kit will be demonstrated at NAB Show 2023. Featuring object and channel based immersive production, delivered through specifically designed workflows and features, System T makes producing next generation audio content simple and effective. With advanced AoIP at its core, SSL’s System T and Network I/O broadcast products provide flexibility, scalability and interoperability for TV, radio, streaming, and music production.

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NAB2023PREVIEW > SONY ELECTRONICS

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t the NAB Show, Sony will highlight practical workflow solutions and products for professional content creators of all levels. Attendees will discover Sony’s suite of next generation scalable cloud-based applications and services, for both enterprises and individual creators. They will also learn about Sony’s ecosystem of solutions, products, services and partners that combines hybrid on-premises and cloud processing with network connectivity. And they’ll see live demonstrations on how Sony is combining the realism of location shooting with the flexibility of virtual sets to unlock new levels of creative imaging. Sony will also be showcasing their legendary imaging tools ranging from full-frame cameras including the new FR7 4K PTZ System and their award-winning fullframe Cinema Line. The F5500 Super 35mm and 2/3” Global Shutter System cameras will highlight new features important to the sports production community that will give creators added versatility, creativity and flexibility to help them tell their story in exciting new ways and from unique vantage points. Sony will also be highlighting new introductions throughout their booth that will provide added capabilities, streamline workflows and provide enhanced connectivity for live productions. Join Sony at the NAB Show in booth C8101 to learn how their theme of Creativity Connected is helping to connect independent creators within their communities and how the company is enabling resources to be connected, used and shared optimally and seamlessly in productions regardless of their location.

> SPALK

S

palk will be showcasing our Virtual Commentary Studio at NAB, including showcasing some of our new product advancements including: Bonding multiple consumer networks (e.g. Home ISP + Cellular) to produce resilient links and remove single points of failure and produce multiple commentary channels on a single SRT output. Furthermore, we will be showcasing how Spalk can provide additional value to broadcasters and rights holders through our Broadcast Services team and Talent Marketplace of freelance commentators.

> SPECTRA LOGIC

S

pectra Logic is a leader in delivering modern data management and data storage solutions that enable media and entertainment professionals to manage, share and preserve content — from ingest through archive. Spectra’s solutions enhance workflows and advance automation in production and post-production environments. With Spectra, you can safely protect terabytes of valuable sportsrelated content, while ensuring that it’s easily accessible and shareable for the long-term, without the costs and complexities associated with legacy

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archives. Visit Spectra at NAB, booth N3039, to see Spectra Vail and StorCycle software in action and learn about Spectra’s latest solution, Spectra Digital Archive. Spectra’s offerings deliver insight, automation, data management, ransomware resiliency, and long-term preservation of your growing content repositories. From content lifecycle management to multi-cloud collaboration to air-gap protection, Spectra has the solutions and expertise to help you create, share, monetize and preserve your exciting sports stories.

> SSIMWAVE

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SIMWAVE is an IMAX company in the business of maximizing in-home and on-the-go viewing experiences. The company has improved the viewer experience of more than 150 million subscribers over billions of viewing hours to date. The world’s top streaming companies use its enterprise software, including Disney, Paramount, and WarnerBros. SSIMWAVE has won two Emmy Awards (2020 and 2015); NAB Product of the Year Awards (2021 and 2022); Best New Streaming Technology NAB Show (2021). IMAX Corporation (NYSE: IMAX) acquired SSIMWAVE in September 2022.

Meet us at NAB, W1567, to see our enterprise software products in action: Live Monitor — watches every second/channel of a multi-channel live environment to monitor picture quality; VOD Monitor — sees, scans, and validates the picture quality of every frame and every pixel in on-demand streaming; and StreamSmart — enables streamers to dialin and save millions in content delivery costs by optimizing the tradeoff between picture quality and bandwidth usage.

> ST ENGINEERING IDIRECT

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t ST Engineering iDirect, we’re gearing up for another packed NAB show! Join us at booth W3113 where our expert team will be on hand with our comprehensive portfolio of satellitebased broadcast products and solutions. Join us to see our MCX8000 multi carrier satellite gateway, a high density, high availability and fully redundant modular system that is suitable for a variety of broadcast use cases. Highly bandwidth efficient and delivering maximum throughput, the MCX8000 utilizes the DVB-S, DVB-S2, or DVBS2X standard, assuring highly reliable transport stream delivery. At our booth we’ll also have a live demo of the SKYflow ecosystem, a Native IP over satellite solution and a game-changer for broadcast and OTT providers that combines the power and bandwidth of satellite with huge viewer convenience and flexibility.

> STUDIO NETWORK SOLUTIONS (SNS)

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tudio Network Solutions (SNS), the world leader in on-premise, cloud, and hybrid workflow

SPORTSTECHJOURNAL / SPRING 2023

storage solutions for professional media teams, will be exhibiting at booth N2108 at NAB 2023.

Visit SNS to see the latest updates to the highperformance EVO shared storage server — now available both on premise and in the cloud. Get a demo of the 2022 Cloud Computing & Storage and Remote Production Product of the Year award-winning software suite, including media asset management, transcoding, automations, and remote editing tools for unlimited users with every EVO solution. By combining scalable, high-performance shared media storage servers with powerful software and cloud workflow tools for teams working on-premise or remotely with Adobe Premiere Pro, Final Cut Pro, DaVinci Resolve, Avid Media Composer, and other creative applications, SNS solutions empower post-production, broadcast, and VFX teams in over 70 countries to create amazing content, faster, from anywhere. For more information, visit snsevo.com.

> SUITELIFE SYSTEMS

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LS has built “Axess” Remote Site Orchestration software for the Broadcast industry around the Globe. Axess brings vital data back to Studio from Hardware out in the field. It is a Software solution which is scalable to large networks. “Axess” Software is also Agnostic and can communicate with anything.

> SYNAMEDIA

S

ynamedia helps video providers connect with bigger audiences through services designed to protect, enrich and deliver world-class streaming.

Its award-winning portfolio includes video network cloud and software solutions, intelligence-led anti-piracy, advanced advertising, business analytics, broadband and streaming video platforms.

At NAB 2023, Synamedia will showcase its innovative technologies that enable the delivery of high-quality streaming content, including sports.

With its flexible video network solutions, such as Vivid Workflow-as-a-Service and Fluid EdgeCDN, providers can deliver broadcast-equivalent latency and scale from a few thousand streams to multimillion-user streaming events, optimizing sports viewing experiences such as watch parties and betting. Synamedia will also demonstrate its Quortex portfolio, featuring a just-in-time live video streaming SaaS solution, which allows providers to automatically scale cloud resources up or down, reducing waste and costs by using spot instances that leverage spare cloud capacity, all while maintaining the quality of viewing experience.

> TAG VIDEO SYSTEMS

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AG Video Systems brings sharper, more targeted application-specific monitoring to its award-winning Media Control System (MCS) at NAB by introducing dashboard visualizations. The

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.

Find out how the benefits of Telemetrics camera robotics systems can revitalize your studio operations today.

The Innovators In Camera Robotics sales@telemetrics.com • telemetrics.com

NAB2023PREVIEW combination of MCS’s data aggregation functionality and management features, coupled with deep probing and analysis capabilities of the Company’s Multichannel Monitoring (MCM) system enables users to build dashboard visualizations addressing specific focus areas. Well-known open toolsets such as ELK and Grafana enable easy creation of custom dashboards and visualizations to suit exact requirements. Representative visualizations for various workflows and applications will be displayed highlighting the MCS’s depth and flexibility, including application-specific functions, such as MPEG-TS and OTT delivery, audio analysis, SCTE triggers and Nielsen monitoring. Additionally, TAG is introducing Content Matching, a feature that confirms signals being transmitted match the content being delivered without any errors or discrepancies. TAG’s partnership and integration with Sony/Nevion’s VideoIPath system orchestration and management platform and Virtuoso toolsets will also be showcased.

> TATA COMMUNICATIONS

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ata Communications is back at NAB 2023 and we are thrilled to showcase our next-generation digital media platform that is #EmpoweringTomorrow for hyperconnected media and sports ecosystems.

Our global Media and Entertainment Services offer comprehensive solutions covering the entire media value chain, including content acquisition, processing, and distribution at scale. Our agile and seamless solutions supported by a dedicated team of experienced media services personnel have enabled several worldfirst achievements. Drop by at our booth W2429 at NAB Show to know how our #BuiltForMedia cloud, ecosystem and network have been driving innovation and delivering business efficiencies for leading broadcasters, sport federations, OTT platforms, streaming, content owners, and gaming & esports players alike.

We would be showcasing MediaHub, our all-in-one media management platform that consolidates live and file-based video acquisition, orchestration, and distribution; empowering you to take control of all of your broadcast and video streaming workflows in real-time, a true testament of “Embrace the Future of Media”, our theme for NAB 2023. Meet us to know more about industry’s largest media edge deployment for Formula E, our 100G media backbone and how we are redefining fan engagement for global sports with over 19,000+ live events, 1600+ of which were remotely produced!

> TELEMETRICS

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n booth C4425, Telemetrics will demonstrate a wireless video transmission and battery system for its OmniGlide Robotic Roving Platform that allows users to freely move the popular OmniGlide studio camera pedestal and avoid obstacles virtually anywhere in the studio without cables. It will be shown to U.S. broadcasters for the first time

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at the 2023 NAB Show. The lithium-ion battery system provides DC power — which is safer than running AC power, as most rovers do — a long run time and is fully rechargeable, making it ideal for long studio projects. Now users can shoot a production all day on battery power and then charge it overnight to be ready for the next day. The wireless transmitter’s robust features and low latency (sub frame delay of 7 milliseconds) ensure the reliability of exact pedestal movements.

> TELESTREAM

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elestream delivers innovation that drives the digital video industry for broadcasters, media companies, enterprises, and millions of consumers worldwide, helping them communicate in the powerful language of video. Telestream offers software-centric and cloud-native solutions that empower high-quality content creation, production, distribution, and monetization. These solutions span the entire digital media lifecycle, from live and studio production to media processing and workflow automation, content management for media supply chain workflow, cloud VOD transcoding for streaming and broadcast, and video quality monitoring and analytics. At NAB 2023, Telestream is showcasing at booth W1501: Content Creation & Production solutions needed for advanced workflows by Content Owners and Broadcasters, including Live and Studio Production, Post-Production, and Broadcast Operations.

Content Distribution & Monetization solutions that enable Cloud VOD transcoding, QC, and quality monitoring for streaming and broadcast workflows. Plus, solutions for content owners and service providers to be in control of creating revenue streams and generating a return on their investment with Dynamic Ad Insertion. Additional Telestream NAB 2023 highlights are available here. https://www.telestream.net/company/events/nab/ NAB-2023.htm.

> TELLYO

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AB Show 2023 will see Tellyo demonstrating the latest edition of our flagship Stream Studio solution for live video production in the cloud.

Following over a dozen new releases and improvements in 2022, Stream Studio is being updated again for NAB 2023 with a number of important architectural changes that bring significant customer benefits. Near-instantaneous loading of projects helps content creators get to work much faster, helping you to produce more efficiently and meet your deadlines with ease. We’re also pleased to introduce Studio Controller — a new module that enables operators to configure and manage third-party hardware control devices. As the popularity of cloud-native production solutions grows, many customers want the same tactile control experience they’d have with a more traditional stu-

SPORTSTECHJOURNAL / SPRING 2023

dio-based workflow. It’s all about familiarity and choice, and we’re pleased to offer more of both. In addition, we have completely redesigned the user interface of the slow-motion replay engine within Stream Studio, and tripled the buffer size on all four replay inputs, speeding up the process of ‘fast grabbing’ replays and improving the overall user experience. With an ambitious product roadmap in place for 2023 and an ever-increasing list of broadcasters, production houses and sports federations adopting the platform, there has never been a better time to see how Tellyo can make your next live production in the cloud greener, more efficient and more cost-effective — that’s #smaterproduction!

> TELOS ALLIANCE

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t this year’s NAB Show, our customers will be able to experience several new offerings that have been introduced across all our product families, including our Quasar XR and SR consoles, the fully AoIP native and cloud-capable Telos Infinity communications system with its newly introduced mobile app; Forza, the newest member of our Omnia processing family, Linear Acoustic’s audio for video offerings that bring Next Generation Audio to life, and the unparalleled processing power of the AIXpressor with FlexAI processing infrastructure from partner Jünger Audio.

> TELSTRA

W

e believe it’s people who give purpose to our technology. So we’re committed to staying close to our customers and providing them the best experience. And delivering the best tech. On the best network. Because our purpose is to build a connected future so everyone can thrive. We build technology and content solutions that are simple and easy to use, including Australia’s largest and fastest national mobile network. That’s why we strive to serve and know our customers better than anyone else — offering a choice of not just digital connection, but digital content as well. And that’s why we have an international presence spanning 15 countries, including China. In the 21st century, opportunity belongs to connected businesses, governments, communities and individuals. As Australia’s leading telecommunications and information services company, Telstra is proud to be helping our customers improve the ways in which they live and work through connection. Be first to know about Telstra news, advice and offers, as well as updates on our people and partners: tel.st/subscribe.

> TERADEK

T

eradek is making 4K zero-delay live coverage more accessible than ever before. Sports broadcasters worldwide know of Teradek Ranger and its unmatched ability to wirelessly transmit zerodelay 4K HDR video over 5000 ft. Now, Ranger can access 6GHz, giving broadcasters 12 newly opened

NAB2023PREVIEW RF channels for uncongested transmission. Debuting at NAB, Ranger Micro and Ranger Mk II offer expanded options with form factor, range, and RF channels. Perfect for IMAG and live sports production, Ranger’s frequency fine-tuning capabilities in 5MHz increments are crucial for dodging interference for optimal transmission signals. Teradek’s update to Ranger is the latest move in a series of launches revolutionizing live video production, including the recent launch of the 4K camera-back bonded cellular encoder, Prism Mobile. As the lowest-SWaP, camera-back encoder in its class, Prism Mobile finds the perfect balance in form and function — bonding up to 9 network connections with two internal LTE modems, an external modem, dual gigabit ethernet ports, and tethering up to 4 cell phones. Visit meeting room N212 at NAB Las Vegas for exciting live demonstrations. Learn more about Teradek’s newest lineup of live production game-changers by visiting teradek.com or contacting lpgroup@cs.inc.

> THE STUDIO - B&H

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he Studio-B&H is a unique service-based environment dedicated to providing comprehensive solutions to all professional media markets.

The Studio and its state-of-the-art Technology Center offer unmatched access to highend technology as well as a superior level of expertise in all aspects of digital cinema, live broadcast production, post-production, emerging technologies and their related digital workflows. The Studio has assembled a highly skilled team of accomplished professionals to provide solutions for nearly any media environment. These solutions include technology demonstration, testing and experimentation as well as a wide range of system design services and integration for all vertical segments of the media industry, from independent filmmakers to major broadcasters.

> THE SWITCH

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n the action-packed world of live video production and distribution, The Switch is always on and always there — setting the industry benchmark for quality, reliability and unmatched levels of service. Our comprehensive production platform combines mobile and at-home/remote services and includes the provision of highly skilled production personnel to enable our customers to cost-effectively capture, edit, and package compelling live coverage. The Switch global transmission network connects over 800 of the world’s largest content producers, distributors, and sports and event venues — seamlessly linking rights holders, broadcasters, streaming platforms, media outlets and web services. With connections across the United States, Canada, the United Kingdom, France, Switzerland, Australia, New Zealand and Singapore, all our feeds are monitored for utmost

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reliability from our 24/7 Network Operation Centers (NOCs) in Los Angeles, New York and London.

Founded in 1991 and headquartered in New York, we’ve been connecting viewers around the world to live events for almost three decades, bringing them the content they want across linear TV, ondemand and streaming platforms — on multiple screens and devices. Our services are trusted every day by corporate enterprises and leading sports, esports, news, entertainment, house of worship and government organizations that rely on The Switch to turn on their live content. Our customers include: leaders in the Tech industry — Amazon, Facebook, LinkedIn, Microsoft, Twitter and Yahoo; major global broadcasters — BBC, CBS, CNN, Fox, NBC and Sky; and household names in the field of Sports — ESPN, MLB, NBA, NHL, NFL, and PGA.

> TSL

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SL highlights two new products at NAB 2023, each demonstrating new technology and providing an easy path towards an all-IP world: MPA1-MIX-NET Audio Confidence Monitor In high-pressure and dynamically-changing live sports productions, audio confidence monitoring is essential to ensure quality and continuity.

MPA1-MIX-NET is a 1U audio confidence monitor and mixer with 16 quickly recallable independent mixes. Designed to ease the transition towards IP media transport, the unit is ideal for ST 2110 trucks and installations. A 1G AoIP connection provides 64 channels of input, with a further 64 available via an optional MADI SFP. Support for in band NMOS is built-in for integration with TSL control and leading third party systems. MPA1MIX-NET’s UI design was informed by users like global production experts NEP. One example is the “V”-shaped layout of the controls, for accurate fingertip navigation in low-light environments. Additionally, SNMP integration allows remote configuration changes.

> T VU NETWORKS

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VU Networks has an extensive line of REMI solutions for sports broadcasting, including the TVU RPS Link Encoder, which provides multi-camera, synchronized remote production capability up to 1080p. The RPS Link Encoder is ideal for use in remote locations where reliable wired IP connections are inadequate, featuring a 2RU chassis configurable for up to six 5G modems with external high-gain antennas. It comes in both four-channel and six-channel models, with up to two channels of return video, and supports H264 or HEVC encoding up to 15Mb/s per channel (VBR and CBR). It features low glass-to-glass latency over commodity internet, as low as 500ms.

TVU is seeing strong interest and adoption in its TVU Channel, cloud-native playout solution. Unlike traditional infrastructure, TVU Channel can

SPORTSTECHJOURNAL / SPRING 2023

be deployed in minutes to schedule and manage one or hundreds of live content channels, including linear, OTT, and social media, through its intuitive user interface. TVU Channel Plus is a complete solution for launching FAST channels from creation to monetization to distribution, allowing for the embedding of accurate in-stream ad breaks at the source and no upfront cost to deploy. TVU’s full cloud and IP solutions will be demonstrated at NAB 2023 in booth W1821.

> VARIANT SYSTEMS GROUP

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ariant Systems Group is excited to attend NAB Show 2023 and share some much anticipated solutions, as they work to empower your live production workflows. On display is Envivo Replay sporting 10 channels per HD system (8ch UHD), real-time networking between systems offering instant access of clips, playlists and record trains over a 1Gig or 10G NIC, NDI 5, delivering multiple user layouts, built-in multi-viewers, and much more.

VSG will also be demonstrating their cloud production process, as well as, a revolutionary REMI product for on-prem and remote production requirements. Envivo Studio and Envivo Review (official VAR) will also be on display, showing ways to enhance fan engagement, sharing content with public social media accounts, supporting internal and private repository archiving cloud solutions.

While the goal at Variant Systems is to democratize the world of live production with easy-to-use tools, they will also be sharing some powerful partnership developments.

> VCC BY NEXTOLOGIES

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CC — the world’s foremost provider of live television remotes by smartphone and laptop for broadcast, cable, and the web — is now part of Nextologies! Please come visit us and experience the simplicity and efficiency of doing remote the VCC way! Booth W2959. VCC’s production services and AirFirst platform help clients reduce costs while expanding production options by combining the reach and versatility of the web with the strict quality demands of broadcast. Producers & Bookers: Book and bring to air ANY guest, ANYWHERE in the world. Multiple built-in apps can help circumvent firewalls. Contributors: It’s as simple as clicking a link. No downloads, no passwords. Use any device: computer, tablet or phone. Transmission & Control Room: Lightning-fast speed to air — first video connection with guests in as little as 12 seconds. Teams: Shared schedule, contact information, and connection status in real time.

Productivity tools save time and effort. Security & IT Teams: Enterprise grade PII management.

> VERITONE

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oin Veritone at NAB 2023 — Accelerating the Content Journey with Generative AI and Media

NAB2023PREVIEW Solutions. For those looking to be on the edge of new technology. Those leading the way by using industry-breaking AI solutions to solve the biggest challenges facing media and entertainment. Those looking to open a world of unlimited possibilities with the power of AI. Veritone is helping leaders in the world of broadcast and beyond achieve the seemingly impossible through artificial intelligence solutions, services, and technologies. From content and advertising analytics, asset management and licensing, to generative AI, AI voice, and custom solutions, we give people what they need to quickly create, share, or sell content and services so they can keep up with the ever-growing demand for content and grow their organizations’ revenue.

> VERIZON BUSINESS GROUP

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erizon provides connectivity for today’s dynamic applications and tomorrow’s innovations. At NAB we’re excited to share how our advanced connectivity solutions — including private networks and 5G Edge — are revolutionizing the way content is created, protected, distributed, and consumed. As the NFL’s Official Private Wireless Network for Coach-to-Coach Communications, we’ll be showcasing a live demonstration of this product in our booth (W2742). We’ll also be conducting live demos of our 5G Edge Editor, a groundbreaking remote video editing solution which replicates an on-prem experience and enables real-time editing and collaboration from almost any location. Please join us to learn how M&E companies are leveraging private networks, 5G and MEC to deliver core services, protect IP, improve end user experiences and transform operations.

> VIDISPINE - AN ARVATO SYSTEMS BRAND

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ur Vidispine - an Arvato Systems brand, Team of experts will be showcasing our product highlights at the NAB Show 2023 in Las Vegas.

Our media asset management (MAM) system, product asset management (PAM), media supply chain, and VidiNet platform offer a comprehensive solution for sports organizations, who have now become more than just what happens on the pitch.

With the rise of social media, sports clubs are now media companies, creating a wealth of media assets on a daily basis. Vidispine’s MAM system offers a flexible solution for managing these assets, while our PAM system allows for the optimization of product content. The media supply chain facilitates efficient media processing and distribution, and the VidiNet platform enables customers to manage, process, and distribute their media assets more efficiently. At the NAB Show, attendees can expect to learn more about our innovative products and how they can help transform sports organizations’ media workflows. Our experts will be

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available to provide demonstrations and answer any questions about our solutions.

> VIDOVATION

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idOvation provides television production, broadcasting, wireless, distribution, and streaming systems that simplify your workflow and save costs. Expect at-home remote production (REMI) without headaches. Create more Live Content while saving costs. Demand frameaccurate genlock & lip-sync across multiple untethered cameras. Ensure legal compliance in your in-house IPTV & digital signage system. Expect industry-approved Verimatrix or Pro:Idiom DRM & encryption. Integrate a custom TV distribution system into your existing infrastructure. Eliminate the clutter of cabling with wireless video, audio & data links. Demand a robust ultra-low latency, bidirectional radio with dynamic FEC & ARQ with fully integrated intercom & camera control. Get a cinematic look in your live multicamera production. VidOvation provides fiber-optic camera backs that allow you to incorporate large-image-sensor digital cinema cameras into live multicamera productions. Additional technologies include bonded cellular & IP, video over IP transport, encoding, decoding, IRD, IP probing, monitoring, multiviewer, and fiber-optic systems. Encompassing Emmy award-winning technology, VidOvation solutions improve video transmission, contribution, and distribution by removing the frustrations of signal loss, latency, interference, noise, and security issues. In addition to VidOvation-manufactured products, we represent great brands such as ABonAir, Blackmagic Designs, Cobalt Digital, Crestron, Cyanview, DirecTV, Dream Chip, Haivision, Mobile Viewpoint, MultiDyne, Mushroom Networks, QVidium, Ross, Technicolor, Videon, Vislink, Zixi, and more.

> VISLINK TECHNOLOGIES

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islink will feature a range of REMI, AI and 5G solutions for sports and live event production at NAB, including its Ultra-compact Cliq OFDM Mobile Transmitter and its updated Vislink Quantum wireless receiver, which marks the first to unify COFDM and cellular bonding wireless camera workflows into a single, cohesive production system. The Cliq — one of the smallest 4k mobile transmitters in the world — supports 1x full 4k or 2x HD video services. It provides broadcasters an uncontended wireless video network connection to obtain unique and immersive views from freeroaming wireless cameras. As the first COFDM and cellular bonding wireless camera workflow solution using a single receiver, the Quantum receiver is ideal for sports-related applications including stadium sports, marathons and other races that utilize on-pitch OFDM wireless cameras in addi-

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tion to cameras outside the stadium for team and spectator reporting. Vislink will also introduce a new 5G-based solution at NAB.

> VITAC, A VERBIT COMPANY

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ITAC, a full-service captioning and communications accessibility provider with over 35 years of industry experience, is thrilled to exhibit at this year’s NAB Show. A Verbit company, VITAC offers a variety of accessibility solutions and offerings, including captioning, subtitling, transcription, and audio description services.

Captioning hundreds of thousands of programming hours each year, VITAC customers include broadcast companies, cable networks, streaming providers, producers, production houses, and content creators, among others. VITAC will be in booth W2267 in the West Hall to discuss industry trends, showcase accessibility solutions, and demo their new live ASR captioning platform. Developed in-house with media and entertainment clients in mind, VITAC’s accurate live television captioning ASR solution is built on a custom, adaptable, and always-trained engine developed by captioning, speech, and machine-learning experts. It’s designed specifically for the local news market to meet the unique needs and expectations of broadcasters.

Visit www.vitac.com for more information.

> VITEC

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ITEC will showcase a wide range of new products and enhancements at NAB 2023. Following a year of considerable growth for the company, VITEC will be demonstrating a host of workflowenhancing additions and refinements to both the EZ TV and Avedia IPTV and Digital Signage platforms, with new features that fall in line with their principles of productivity, flexibility, security and continually improving user experience. Alongside its range of broadcast-quality Encoders and RF Gateways, VITEC will feature the latest release of the ChannelLink IP Gateway, a central hub where IP channels from the field can be reliably received and retransmitted live, acting as an extremely efficient gateway across any IP network. Especially well-suited for stream management, routing, rebroadcasting or IPTV stream reflection over WAN/Internet, ChannelLink simplifies content delivery of live channels from news agencies and sports or entertainment venues.

> VIVARO MEDIA

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or almost twenty years of its activity, the VIVARO label has turned from just a brand into a synonym of an entire industry, a symbol of stable development and innovative approaches. After the brand alteration, the leading IT company will be henceforth positioned on the market as VBET, and the media company will be presented with the VIVARO label. The creation of VIVARO MEDIA as a sports media platform was not contingency.

CAPTURE CRAFT CREATE ALWAYS CAPTURING THE ACTION AND CREATING COMPELLING CONTENT, SO THE WORLD DOESN’T MISS A THING Aspen is the newest addition to our Gravity Media fleet and is a state-of-the-art mobile unit, fitted with the latest technology, allowing for scaled complex productions.

Designed and built for the US market, it covers every possible broadcast, from live sports to entertainment and media shows. Mobile unit, Aspen can be supplied with a crew of experienced engineers.

enquiries@gravitymedia.com

#CaptureCraftCreate

gravitymedia.com

NAB2023PREVIEW > VIZRT GROUP

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he Vizrt Group stand at NAB will demonstrate the latest in our live production technologies including Vizrt’s Viz Now (https://www. vizrt.com/products/viz-now) and Viz Engine 5 (https://www.vizrt.com/products/viz-engine).

Both products were launched last year and enable the production of high-quality graphics and video content easier and quicker. Viz Now is our cloud-based video production deployment tool that allows users to create a production gallery (Switcher, Replay, Graphics, Audio, talkback and automation) to produce content via the cloud. It takes less than 15 minutes to deploy these assets.

As a result, it streamlines the video production process, making it easier for users to create and share content quickly and sustainably. The latest version of Viz Engine 5 is the most powerful and versatile graphics platform. With its superb photo-realism, stunning effects and advanced compositing features combined with unrivalled performance, decisive integrations, absolute reliability, and sleek workflows, Viz Engine 5 reduces complexity so that users can increase creativity. It is also optimized for virtual and augmented reality and integrates with Unreal 5, making it ideal for creating immersive experiences. All these examples will be unravelled every half hour during our Vizrt Experience, Vegas edition. Don’t miss out! Visit us West Hall — booth W2821 (https:// www.vizrt.com/community/events/nab-2023).

> WASABI TECHNOLOGIES

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top by Wasabi Technologies NAB booth N3167 to hear how Wasabi hot cloud storage is built to store the world’s workflows. Wasabi will be unveiling brand new data from our Global Cloud Storage Index, focusing on M&E tech priorities and how we support those priorities with our leading cloud storage and supporting tools like Wasabi Cloud Sync Manager and Wasabi Account Control Manager, and our new Carbon Footprint Calculator. Visitors will also learn from theater sessions featuring partners like Imagen and LucidLink, and customers like AXS TV and Shadow Magic Studios. As a Proud Partner of the Boston Red Sox, Wasabi will be giving away a weekend in Boston with tickets to a Fenway Park event to one lucky winner who attends a booth presentation.

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> WAVES AUDIO

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aves Cloud MX is a 100% cloud-based audio mixer, delivering pristine audio, high-precision mix control, and creative processing capabilities with Waves plugin integration — in a scalable, broadcast-ready cloud workflow. Powered by a cloud-based version of Waves’ double-precision, 32-bit-floating-point eMotion LV1 mix engine, and augmented by Waves’ industry-leading arsenal of audio plugins, broadcasters and media organizations can now add state-of-the-art audio mixing and processing to their flexible professional cloudbased workflows, Waves Cloud MX makes it easy to scale productions with any number of audio mixers, without the operational costs involved in shipping, maintaining or scheduling on-premise gear and personnel. Cloud MX opens your live production workflows to more creative possibilities, with finer control over your audio streams.

Running chains of up to eight cloud-licensed plugins directly on any channel inside the mixer itself — helping you mix any event, in the cloud, with unmatched processing power.

> XYTECH SYSTEMS

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s sports production continues the shift toward a hybrid of remote and in-person production, having a centralized way to manage your media is more important than ever. Xytech will be on-site at the 2023 NAB show, booth W2949, providing live demos of its Media Operations Platform, including its newest release Granite, which includes over 400 new features and enhancements! Come experience how Xytech can streamline your media production and increase productivity through personnel management, production management, media asset management, media transmission, and media workflow. With the most comprehensive media solution, industry expertise, and deepest integrations, premier media companies like yours turn to Xytech to run their content businesses. Book a meeting with Xytech at xytechsystems.com/nab or visit booth W2949.

> ZERO DENSITY

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ero Density will showcase the latest generation tools to power hyperrealistic virtual studio, augmented reality and LED-based extended reality productions. The team will set up a LED wall

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stage for XR/AR and a cyclorama stage for virtual studio production demos at this year’s NAB Show.

In addition, multiple demo pods will be available for deep dives into the Reality ecosystem. The most photorealistic real-time production platform, Reality Engine 5.1, will power all demos based on Unreal Engine 5. The audience will witness new product launches, releases and numerous previews of upcoming products.

> ZIXI

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t NAB 2023 Zixi will be demonstrating new features and functionality of the SoftwareDefined Video Platform developed in collaboration with our customers and partners. There has been a shift in sports media rights being acquired

by IP infrastructure-based platforms, and the ZEN Master Live Events Manager has been engineered to deliver advanced event schedule management, enabling operations teams to define the event schedule programmatically or manually. Event stages unlock automated stream switching and alerting rules tailored to pre/live/post event stage workflows. New alerting templates and sophisticated live event monitoring ensure that events are running smoothly and operational dashboards provide ‘at a glance’ confidence monitoring across all scheduled events. With these innovations, sports broadcasters can now easily distribute thousands of live sporting events with automated end-to-end control and visibility. With the high value and criticality of the content, several escalation enhancements have been added including the ability to define objects as VIP for elevated alerting and a notifications tray for designated “High Priority” alerts ensuring immediate attention. Complementing the transport management are dramatic improvements in the throughput and ultra-low latency of the Zixi protocol up to 1Gbps per core, enhanced traffic shaping and the removal and replacement of broken frames with the prior good frame. Additional protocol features include MLdriven encoder rate control and lightweight source rate control, all for the superior Quality of Service and Quality of Experience that result in consumer satisfaction and retention. <

Supporting our own in times of need...

PROUD SPONSOR

SPONSOR UPDATE

>3G WIRELESS

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g is a recognized leader in providing state-ofthe-art cameras, audio and RF equipment & services to the broadcast and film industry. 3gMedia.TV continues to invest in the latest technologies to make certain we supply our customers with the most advanced rental equipment currently available worldwide. In 2022, we provided equipment and services to broadcasters televising NFL, MLB, and college football games, NHRA Motor Sports, Pro Cycling in Maryland and most recently for Super Bowl LVII in Glendale, AZ. We ensure that each broadcast and film production have the most up-to-date and dependable HD video and audio systems including high frame rate RF handhelds and MADI & Dante audio & distribution systems. We have recently added to our fleet a new 53 ft. state-of-the-art RF production trailer. 3G specializes in formulating solutions for those hardto-solve production problems. info@3gmedia.tv.

>7 POINT AUDIO

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Point Audio is the easiest, fastest, and most powerful sports music software on the market, enabling Sports DJs & Sound Directors to engage and entertain fans excited to cheer for their home team. Effortlessly Import, organize, playback, & report your custom selection of music using built-in tools while maintaining the highest fidelity audio possible. With the groundbreaking ability to allow immediate access to chart-topping music natively within the app, seamless remote control functionality, playlist scheduling, and more, 7 Point Audio has more functionality and features than all other alternatives in the market combined. Couple this with a host of affordable subscription options, and it’s no surprise that 7 Point Audio is the fastest growing sports and live events audio playback software in North America.

>ADVANCED SYSTEMS GROUP

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dvanced Systems Group, LLC (ASG) fuses technical and creative expertise to design, build, and operate media-centric solutions that bring our client’s visions to life. ASG addresses the need for a cloud-based solution with Virtual Production Control Room. VPCR allows real-time, broadcast-quality coverage for their clients’ live events. VPCR uses cloud-based production tools from several established industry vendors to deliver a powerful virtual control room solution. A complete cloud solution that requires no on-prem

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services. Deliver cost-effective content complete with dynamic switching effects, graphics, animations, and captions. Video and audio streams are encrypted for security, and access to each production is fully controlled. VPCR supports major videoconferencing applications with multiple live participants. Driven by the need for remote production solutions during the COVID-19 pandemic, VPCR was developed around a multi-vendor environment that communicated on a standard, unified signal. Refined in real-world environments over the past few years, this system addresses realworld challenges, including redundancy and reliability while producing multiple shows with ASG clients.

>AE LIVE

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E Live is a world-leading provider of broadcast solutions to global governing bodies, broadcasters, and production companies. We specialise in capturing, processing, and visualising live sports data using innovative, attractive, and informative on-screen graphics and augmented reality. Over the past 12 months AE Live has played an integral role at some of the world’s largest and most watched sporting events. In November 2022, a crew of over 50 employees were in Qatar for the FIFA World Cup where we provided a range of services on all matches. In addition to our core graphics provision, we delivered augmented reality content, multi-language graphics, data services, pundit analysis tools and infotainment content. More recently we were present at Super Bowl LVII where we provided camera tracking and AR services for Fox Sports’ coverage of the showpiece event. We are now looking ahead with excitement at various other upcoming US-based projects throughout 2023.

>AERIAL VIDEO SYSTEMS (AVS)

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VS 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, Sony and Canon to provide various shallow depth of field camera options 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

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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.

>ALPHA

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lpha leverages multi-industry mastery and end-to-end capabilities to engage fans, expand revenue, and enhance team performance for some of America’s premier sports franchises and entertainment venues. They rely on Alpha for nextgeneration on-premises, cloud, and hybrid production facilities, as well as experiential displays, digital signage and IPTV, collaboration & presentation solutions, and sound system integration. Recently, Alpha has worked with clients including the Arizona Cardinals, Atlanta Falcons, Churchill Downs, Cincinnati Bengals, Detroit Lions, Indiana State University, Jacksonville Jaguars, James Madison University, Minnesota Twins and Vikings, Oklahoma City Thunder, Sporting KC, and Wichita State University, to name a few. Notable upcoming projects include full ST-2110, IP, control-room builds for an NFL client, an NBA client, and a notable, new Las Vegas entertainment venue. Combining leading-edge technology solutions with incomparable systems documentation and training, Alpha delivers captivating and exceptional experiences that make our clients’ visions possible. Learn more on how we can help you Experience Possible at AlphaX.us.

> ARCTEK SATELLITE PRODUCTIONS

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RCTEK took delivery of their newest uplink encoding truck, ARCTEK Gray, in July 2022.

ARCTEK Gray is a 12-source MUX encoding truck with a Ku-band uplink. The straight-forward yet versatile design makes ARCTEK Gray capable of transmitting via satellite, ASI over fiber or IP back to the headend. ARCTEK Gray can handle all video formats from HD to 1080p, HDR to 4K with Mpeg 4 or HEVC compression. ARCTEK’s fleet of 4 KU-band and 2 C-band uplink encoding vehicles continue to crisscross the country covering their true love, sports. Most notably ARCTEK transmitted the MLB playoffs, NHL playoffs, Super Bowl coverage, bull riding, bowling, pickle ball, and motorcycle racing. In addition, ARCTEK provided multi-camera production services for studio shows

at multiple bowl games. ARCTEK is ready to roll whenever and wherever you have encoding, transmission or production needs. Nothing is more reliable than satellite.

> ARTEL

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rtel Video Systems is a world-class provider of innovative, real-time, multimedia delivery solutions serving global markets. Today the majority of the live events in the US traverse Artel products to support their mission critical work-flows. Artel’s expertise in IP- and fiber-based technologies spans more than 30 years and has established Artel as a trusted partner in the development of reliable, standards-based, IP infrastructures. Artel’s integrated solutions include fiber and IP based multimedia delivery, data networking, IP streaming, and precision timing. Artel is an employee-owned business. More information is available at www. artel.com > ASTOUND BUSINESS

SOLUTIONS

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stound Business Solutions provides IT leaders with high-capacity, secure connectivity for their mission-critical applications while increasing overall agility and responsiveness. A part of Astound Broadband, the award-winning national telecommunications provider offers advanced solutions that are delivered over a diverse, carriergrade network that provides the speed, bandwidth, and reliability businesses need to support growing data demands. With coast-to-coast connectivity to over 75,000 business customers, Astound Business Solutions maintains a local, customer-centric approach, with dedicated industry experts on-hand around the clock to help businesses stay on top of today’s evolving IT technology and remain competitive in their markets. Over the past few years Astound has continued to add venues, stadiums, and content distribution centers to our national media delivery network. We provision commercial broadcast standards compliant media services on-net over our dedicated, owned, monitored, and managed fiber network connections in the local networks we operate.

> ASTUCEMEDIA

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e do it in real time! We enhance the world’s largest sports events coverage with advanced statistics, player tracking, interactive graphics, and augmented reality. 2022 eSkootr Championship Event in Sion: Immensely satisfying to see our Motorsports App, specifically built for the real-time integration of telemetric data into live racing coverage, being used again during the eSkootr Championship (eSC) in Sion. Credits: Design Graphics: Popup Media 360 Data Provider: Al Kamel Systems S.L. Motorsports data management app + live event support: Astucemedia. Actually working on innovative VS/XR with the main Canadian Sports Channel — Something exciting is coming soon for CFL season!

> AUDAZZIO

> BITFIRE NETWORKS

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udazzio gives sports & entertainment the power to control a fan’s second screen experience. Delivering groundbreaking technologies, Audazzio enables broadcasters and event producers to seamlessly change the content on a fan’s mobile device, in real time, fully coordinated with their broadcast or event. In much the same way a QR code graphic provides a unique digital fingerprint, Audazzio embeds micro-signaling into an audio stream, broadcast or live, to seamlessly deliver content on a phone or tablet. By leveraging the Audazzio Live QR technology, marketers have access to an entirely new channel reaching consumers’ mobile devices, at critical moments in an event or broadcast, when they crave more information and storytelling. Audazzio can deliver any web page, at any time, to any device within range of the Live QR signaling, opening the door to a whole new world of applications for savvy broadcasters, sponsors and beyond.

> A ZZURRO GROUP

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zzurro HD designs, installs, monitors and supports studios for some of the biggest names in broadcast. Our NICO software provides a single interface incorporating control over transmission, camera, lighting, audio and digital backdrops. This provides an elegant user experience from start to finish. Azzurro had great success providing wraparound coverage of Super Bowl LVII. Multiple AzzurroTX, AzzurroUTX and PopUp studios were utilized across four stages at the Media Center.

These systems provided solutions for NFL Network, Fox Sports and FanDuel TV. Azzurro technicians were on site to manage all equipment and live video streams. An AzzurroTX system was also used to distribute the international pool feed for the MVP press conference the morning after the game. In NYC, we live-streamed the game to Times Square’s newest screen, TSX Broadway. Azzurro has connectivity to three other screens in Times Square used for live events. To learn more visit us at AzzurroHD.com

> BEXEL

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exel, an NEP Broadcast Services Company, is the leading global provider of broadcast solutions. For over 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 and systems integration. 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.

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itFire provides custom live video production and transmission solutions to the leading sports broadcasters. Its extended-reality production studio features an immersive LED soundstage for interactive productions, combined with centralized control rooms, edit and graphics suites, and an advanced IP transport network for a complete lens-to-screen experience.

BitFire delivers live sports programming for a wide range of broadcasters: The MLB and NHL networks use BitFire to integrate remote contributors; HBCUGo works with BitFire to produce and transmit college basketball games; Notre Dame uses BitFire to transmit its coverage for men’s hockey. The company also delivers broadcast and streaming solutions for CBS Sports, NFL Radio, 33rd Team, the PGA Tour, NCAA Tournament, and Skycam, supporting the World Series and the Super Bowl.

> BRIDGE DIGITAL

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ridge Digital is a US based integrator and value added reseller with expertise in digital video workflows and the technologies to make them work better. We help creators and owners of digital content build an infrastructure to create, manage, distribute, and monetize their video assets effectively.

> BROADCAST MANAGEMENT GROUP

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roadcast Management Group had a busy 2022 covering baseball, indoor football, college football, hockey, and e-gaming events. We also supported a full-time local sports channel that launched last year. In addition, we created a new insert and animation package for an existing sports client. A recent sports related customer win was when ESPN called us with four days’ notice to produce a college football game over the Thanksgiving weekend with significant post season implication. We were able to utilize our production relationships with above the line talent, crew and truck companies to get the job done. We are expanding out Cloud Control Broadcast center by adding additional REMI mobile units and a series of RM kits that can be used by other truck vendors to connect with the BMG cloud. Once connected to the Cloud Control Center BMG can scale up staff and technology on demand.

> BROADCAST SERVICES INTERNATIONAL (BSI)

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roadcast Services International is a recognized leader in domestic and international broadcast markets. Providing full turn-key production solutions including technical consulting, equipment rentals, RF wireless solutions, commentary systems, and host broadcast packages. BSI has recently finished production on a series of major international integration projects for BBC Sport at the Beijing Olympics, Commonwealth Games and European Championships and for Telemundo at the FIFA World Cup in Doha, Qatar. Adding to their international projects BSI provided produc-

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SPONSORUPDATE tion services for LAAC Golf and will be looking towards the masters in April, and commentary services to the Superbowl, NBA Finals and All Stars along with the PGA among others. Domestically BSI is looking towards a busy 2023 with multiple skating and snow sport World Championships across the country. BSI has also added to its equipment roster with new Sony 4300 cameras, a Calrec Brio, and a host of new gear to ensure BSI’s clients continue to receive world-class production services and equipment.

> BROADCAST SPORTS INTERNATIONAL (BSI)

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t Broadcast Sports International (BSI), our engineers and operations team are at the leading edge of turnkey custom broadcast solutions - we’ve done it for more than 35 years. Our work spans some of the largest and most important events in broadcast history. Founded in 1979 by an entrepreneurial team of engineers, BSI now employs nearly 200 people worldwide and boasts a 50,000 square foot U.S. headquarters just outside of Baltimore and an international office near London. Our fleet of state-of-the-art production trailers are in action every weekend of the year at major live events.

> BROADFIELD DISTRIBUTING

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roadfield Distributing is the source for sports related production gear including PTZ cameras, cellular encoders from LiveU and Live Production and replay systems. Our sales engineers have helped integrators across the US design production systems and camera solutions for MLB & NFL stadiums and we supplied several integrators with the BirdDog PTZ cameras used by NBA teams and in the “NBA Bubble.”

> C360 A COSM COMPANY

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or a company that specializes in enhanced event presentation the past year has been quite eventful for C360. Their continuing efforts to deliver the highest quality non-stitched immersive video products, live output for broadcast and OTT platforms for sports rightsholders and leagues led to its acquisition by global technology giant Cosm.

The software and technology developed by C360 expands Cosm’s linear offering with additional complementary elements to capture content entirely in-house for its fully immersive venues, including its recently announced forthcoming locations in Los Angeles and Dallas. The company’s proprietary “pylon view” technology also provided definite proof for its broadcast partners and gave American football fans a pivotal view into one of the most-watched sports moments of the year.

> CES POWER

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ith over 20 years of exceptional power distribution experience, and the best equip-

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ment, distribution, and team in the business, we deliver specialized support services for large-scale festivals, concerts, films, broadcasts, sporting events, disaster response, military exercises, and field hospitals. Our fully integrated power solutions are customized for your event and backed by worldwide, 24/7 service. Our people are committed, our equipment is industry-leading, and our experience is unmatched. Our company has an outstanding reputation for performance, quality, and reliability, and we are committed to helping events succeed. We show that care through our streamlined processes and our trademark VIP customer experience. Work with us and get the peace of mind that comes with knowing we are as invested in your event’s success as you are. When all eyes are on your event, trust the name that earns applause every time.

> CHAMPION DATA

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hampion Data has delivered sport stats for over 20 years. We have an unsurpassed record across elite performance in sport, media and broadcasting. Precision. Performance. Success Sport Specialists: We capture the richest, most precise data in every moment of the game. Providing in-depth analysis — translating numbers into elite performance. Stats Simplified: We analyze complex and time consuming data sets. Sending vital stats to your screen — showcased in easy to understand, dynamic visuals. Progressive Technology: We adopt rigorous methods and cutting-edge, agile technology, to support the merging of multiple data sets within complex sporting eco systems.

Reliable Partner: We create truly collaborative and enduring relationships with sports governing bodies, broadcasters, digital stakeholders and agencies on a domestic and global stage.

> CIS GROUP

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ince 1988, CIS Group has been a Media Technology solutions provider & systems integrator with core competencies across the professional services spectrum. Over the years our scope has evolved to include: Consulting & Workflow Design, Integration, Full System Commissioning & Installation, Technical & Operational Training, Maintenance & Support, DevOps, and Managed Services. Focused exclusively on the MediaTech space, CIS has delivered countless solutions aimed at a variety of use cases throughout the Content Supply Chain — including live production, postproduction, archiving, and distribution. In relying on CIS’s expertise, our clients, which include a variety of sports teams and networks, have been able to outsource a lot of their technical challenges, and focus their energy and resources on how the technology we implement ultimately delivers business value and creative value to their organizations.

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> CLARK

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lark 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 continues to partner with Overtime Elite (OTE) on their new Atlanta-based broadcast facility and venue. Clark’s extensive experience with professional broadcast systems and video transmission have 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.

> CP COMMUNICATIONS

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ed House Streaming now offers two mobile production vehicles along with custom flypacks to support REMI productions and livestreamed events. Red House Streaming’s flagship RHS-36 mobile production is built for larger events, while the new Spark HD trailer provides an affordable, compact on-location solution for high school/college sports and more. The recent Cayman Islands Classic college basketball tournament showcases RHS’ flexibility to customize a production workflow. Red House Streaming shipped ProductionSTREAM flypacks with eight cameras and a Dante audio VPN to the Caymans for onsite production support. RHS backhauled individual audio and video streams, while switching, graphics and transmission were managed from our Red House Streaming Production Center control room. RHS36 was added to manage video replays and audio mixing within the truck’s control room, and synchronized via Dante and fiber in the Production Center. This established Red House Streaming’s flexible HD-SDI and IP Hybrid workflow from production through transmission.

> CREATIVE MOBILE SOLUTIONS

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reative Mobile Solutions provides tapeless workflow solutions for live events and studiobased 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. Click on the buttons to the right to learn more about the specific solutions we provide. We provide services for television, film, commercial and other video productions. The experts on our team have worked with major sporting events such as ESPN’s ESPY Awards, the Grand Prix de TroisRivières, the US Open (Golf Channel & ESPN), ESPN College Football Gameday, the NBA Finals, and the Super Bowl.

> CTI

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TI is a broadcast integrator focused on the customer experience. Your job is to help get your message out. Ours is to help you do just that; from design to deployment.

> DAKTRONICS

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t Daktronics, we design and manufacture reliable, high-performance audio-visual solutions to lay a solid foundation for dvLED project success.

We’re a US-based company providing high-performance dvLED display solutions focused on solving our customers’ challenges while standing behind our quality products, reliable services and experience. Our partners depend on secure technology systems to present a real-time picture of sensitive data that informs decisions with far-reaching impact. Daktronics complete line of dvLED displays fit any size, space, or application. Most recently, we were excited to announce landmark new projects with the Minnesota Twins and the Philadelphia Phillies. Each team has upgraded their ballpark’s Daktronics LED video super systems prior to opening day of the 2023 MLB season. In addition, we announced news of our partnership with the LA Clippers and the opening of the Intuit Dome, which will feature the largest ever double-sided arena halo display, coming in 2024.

> DALE PRO AUDIO

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he broadcast audio world may be constantly changing, but one thing has stayed the same at Dale Pro Audio: over 65 years of commitment to customer service and expertise. We have a sales and support team second to none, carry hundreds of the industry’s best brands, and stock thousands of products in our NYC warehouse. We’re tirelessly helping audio professionals find ways to maximize their workflows, face logistical challenges, and get sound where it needs to go as efficiently as possible. Whatever today’s (or tomorrow’s) audio landscape may look like, you can count on us to continue to be “A Partner in Your Success”.

> DEVLIN DESIGN GROUP

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hen it comes to sports, esports and online sportsbook scenic design, the team at Devlin Design Group covers all the bases. We understand engaging your fans is at the top of your game winning strategy. We’re all in it to help you win them over! Fans like stories and react to captivating content about their favorite teams and players. Content comes alive with custom scenic design for your on-air team’s expert analysis of the day’s match, insightful interviews with your fan’s favorite athletes, and dynamic visuals. Our recent clients, the Tennis Channel, FanDuel, Monumental Sports, Riot Games LCS, and Marquee Sports Network, chose us because of what makes us different in sports and esports production. We’re constantly seeking out new ways to offer a fresh aesthetic to set design. We stand by our mantra…Creativity, Knowledge and Innovation. Our services include scenic design, lighting direction, virtual set design, fabrication, and lighting equipment.

> DNA STUDIOS

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NA Studios, a Houston, TX-based broadcast company, has just completed phase 2 of their broadcast facility. Now boasting double the REMI control rooms and studios, DNA provides TV network clients with high quality and affordability on their projects. The broadcast facility can handle 12 events per day and utilizes DNA’s already broad scope of mobile trucks, trailers and REMI-vans for acquisition. 24-hour news and weather networks rely on DNA Studios for live shots and 2-way paths utilizing over 10 different brands of encoders and decoders.

> DOME PRODUCTIONS

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ome is very happy and proud to launch two new 4K/HDR production trucks with an IP core maintaining compatibility between the different worlds of SDI and IP workflows. In addition, we are introducing, Wavelink, a state-of-the-art Ku uplink, capable of IP transmission, Remi production contribution and backhaul. The future of media and the broadcasting industry will rely strongly on innovative technology to deliver content to multiple platforms through different workflows. With this in mind Dome continues its innovative look into the future with the foresight to build our new production facilities and contribution facilities that are leading edge and capable of serving current and trending future production methods. The new truck builds join our growing fleet of over 20 mobile production A and B units that will serve to complement our growing @ homeproduction, virtual and on-prem production control rooms in our highly connected Toronto facilities. Dome is providing production technical facilities for MLS Soccer for 2023.

> DX3 MEDIA INC.

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X3 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 out-ofthe-box thinking resulting in creative solutions for clients’ projects.

> ESTES FORWARDING WORLDWIDE

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stes Forwarding Worldwide (EFW) is one of the leading domestic and international freight forwarders in the United States, providing customized logistics solutions for clients around the world and across all industries including retail, government, automotive, health services, technology, and exhibit services via air, ground, and ocean freight.

A subsidiary of Estes Express Lines and located in Richmond, VA, EFW is uniquely backed by Estes Express Lines’ extensive linehaul network, providing EFW clients with a hybrid transportation network along with a personal client relationship approach ensuring the optimal logistics solution is identified and executed each and every time. With offices strategically placed across the United States and over 400 employees nationwide, the company earned its billionth dollar in revenue in 2017.

> EUROVISION SERVICES

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urovision Services’ portfolio is designed to offer the agility and ability to enhance and adapt content to the needs of all digital platforms. But what really sets us apart is that we see the bigger picture. As an EBU company, we are in a unique position to understand the needs and challenges our clients face. That’s why we guarantee to maximize their content value while leaving them free to focus on every other aspect of running the most successful event possible.

> E XERTIS BROADCAST

> EQUINIX

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quinix is the world’s digital infrastructure company, enabling digital leaders to harness a trusted platform to bring together and interconnect the foundational infrastructure that powers their success. Equinix enables today’s businesses to access all the right places, partners and possibilities they need to accelerate advantage. With Equinix, they can scale with agility, speed the launch of digital services, deliver world-class experiences and multiply their value.

> ES BROADCAST

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sporting events in the US has similarly ramped up in recent months. Our Sony HDC-P50 and P1 POV cameras and wide-angle lenses have seen action on some of the biggest NFL fixtures of the year, from the NFC championship game in Philadelphia between the 49ers and the Eagles, to Super Bowl LVII as the Chiefs brought home the Vince Lombardi trophy for the third time in an all-time classic. Our HDC-4300s were also in use at the MLB American League Championship Series, and — alongside Fujinon lenses and Sony monitors — at the NHL All-Star Game held in Sunrise, Fort Lauderdale.

Our Canon CJ45 lenses meanwhile took in P1 Powerboat races in St Petersburg, Clearwater, and Nassau.

ith a fleet of Sony HDC-F5500 Super 35mm camera channels now making themselves at home in our Orlando warehouse, alongside HDC5500s, HDC-3500s, and a wide selection of Canon and Fujinon lenses, ES Broadcast’s support for

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xertis’ value-added Broadcast division offers more than 80 manufacturer partners, unmatched credit facilities for qualified resellers, and exclusive access to exciting new product categories. Exertis is the one business partner you need to expand both business volume and profits.

In fact, Exertis is the only company able to offer you the complete range of Broadcast products and systems that today’s Media & Entertainment, Post Production, Corporate, Education, Retail, Hospitality, Government, and House of Worship customers want most. Exertis’ product lines consist of live broadcast, IP, video streaming, media management, storage, archive, video cameras, document cameras, audio gear, video distribution, as well as AI, VR, AR, XR, digital display, and digital signage.

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SPONSORUPDATE Exertis also carries all the products and connectivity tools that complement these rapidly growing fields.

helps make those “hard to get” camera shots a breeze to capture.

> FASTLY

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2

023 marked the 11th year of Fastly’s involvement in the Super Bowl. Back in 2013, Fastly secured dedicated bandwidth to online businesses advertising throughout the game. However, since 2018 Fastly has been actively involved in delivering the live Super Bowl stream from broadcasters to millions of online viewers around the globe. This year, again, Fastly helped multiple online broadcasters and aggregators deliver high-resolution streams to a myriad of fans and their devices. Fastly Media Shield — an industry staple when it comes to live sport delivery in multi-CDN environments — helps consolidate origin requests and lets content distributors regain lost insight. Also, Fastly’s actionable insight data is available in real-time giving online broadcasters a unique position to see internet weather and bottlenecks as they occur. Fastly is proud to help the world’s largest and best broadcasters deliver content online, and in particular congratulate FOX Sports for another successful live-streaming event.

> FILMWERKS POWER, A SUNBELT RENTALS COMPANY

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s a prominent partner in the live broadcast and streaming industry, Filmwerks Power continues to offer its customers the same high level of service and equipment, now enhanced by the support and capabilities of Sunbelt Rentals’ wide array of equipment and solutions offering. Together, the team will continue to focus on what matters most: providing reliable solutions to its customers to ensure a flawless fan experience nationwide. With its investment in a new, custom-built 1600 AMP Uninterruptible Power Supply (UPS) mobile trailer, Sunbelt Rentals is committed to providing best in class equipment for its customers. This mobile trailer, which features the latest UPS technology and redundant communication systems, will provide backup power to the Thursday Night Football broadcast among other events. Through investments in innovative, dependable, sustainable solutions, and unmatched customer service, Sunbelt Rentals will continue to support and build on the reputation and partnerships that Filmwerks Power has created.

> FLETCHER SPORTS

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or the last three decades, Fletcher Sports has helped deliver the iconic images that have made for some of the most memorable moments in sports broadcasting. This Emmy award-winning company, with offices in both the United States and London, provides specialty cameras and services to all the major sports and leagues, as well as concerts and entertainment, and other special events across the globe. Their unique approach to new technology

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> FLYCAM INTERNATIONAL his Side Up Productions has been involved with innovative camera technologies since its inception in 1994. The company has continued to develop and perfect the ultralight aerial FlyCam following its incredible debut in February 1998 during the Papal Visit in Mexico City. Pat Hally, the founder and president of This Side Up Productions originally worked with inventor Garrett Brown to develop the tracking camera systems used in the 1996 Summer Olympics in Atlanta.

Conceived soon after the Atlanta Games as a highspeed point-to-point flyer combining the best features of Garrett’s ground and aerial systems, FlyCam entered the television history books with that 500 foot flight over the Popemobile and has since flown over nearly every sport imaginable, capturing some of the most awe-striking moments in modern memory.

> FRIEND MTS

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riend MTS is the world leader in live sports content intelligence and security. Our solutions safeguard the live and on-demand video content of the biggest names in global sports and the most recognised brands in media and entertainment, using unrivalled data collection technology and curated data analysis supported by more than 20 years of content security expertise. The services Friend MST provides include forensic watermarking, fingerprint-augmented content monitoring and enforcement across web, IPTV, closed IPTV and social platforms, all underpinned by the most advanced data capture and analysis technologies available to the sports and entertainment industries. In 2022, UEFA and FIFA joined the list of Friend MTS’s renowned customers, which includes Sky, Premier League, WWE, Rogers, Bell, BT Sports Serie A and beIN.

> GAME CREEK VIDEO

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ame 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 awardwinning productions of sporting events, concerts, awards ceremonies, corporate events, and more.

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> GEARTECH USA

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ince 2003, Geartech Technologies has been offering a variety of high-end 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 North American markets.

> GLOBECAST

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023 has already been a busy year with a significant Globecast announcement that resonates across the sports market. Globecast revealed fiber backbone expansion — part of the company’s global fibre network GCBN — to 100G from March this year, satisfying ever-growing bandwidth requirements. It’s working in partnership with Net Insight, using its technology at POPs and customer sites to ensure maximum quality via very low latency and the tight synchronization of feeds, vital in edge processing for remote production. Initial European expansion — specifically POPs in London, Frankfurt and Paris — will be followed by other regions. Globecast supplies a seamless, endto-end service, including the first and last miles, which are architected on a case-by-case basis. Globecast connects the event site to GCBN and then delivers the feed(s) to whomever requires it, be that a physical remote production center, into the cloud for remote production or any other processing, or direct to a broadcaster.

> GOOGLE CLOUD

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oogle Cloud accelerates organizations’ ability to digitally transform their business with the best infrastructure, platform, industry solutions and expertise. We deliver enterprise-grade cloud solutions that leverage Google’s cutting-edge technology to help companies operate more efficiently and adapt to changing needs, giving customers a foundation for the future. Customers in more than 200 countries and territories turn to Google Cloud as their trusted partner to solve their most critical business problems.

> HLW INTERNATIONAL

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LW, a full-service design firm, is a leader in sports broadcast facilities design. For more than 25 years, our dedicated Media + Entertainment Studio — comprised of architects, interior designers, and industry specialists — has designed elegant spaces that feature efficient workflow and fully integrated, top-tier technology. Our client list includes ESPN, Fox Sports, NBC Sports, CBS Sports, and PAC 12. HLW is currently working on a new media production building for PGA TOUR Entertainment. Located in Ponte Vedra Beach, FL, PGA TOUR’s new home brings the entire North-

east Florida organization to one central location for the first time. HLW is assisting with the design and detailing of production studios, control rooms, a newsroom, a café, and an open office workspace within the 165,000-square-foot project.

> ILLUMINATION DYNAMICS

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llumination Dynamics (ID) services Live Broadcast, Film, Television, Theatrical and Special Events providing Automated and Film Lighting equipment, Transportation, Redundant Power systems, Technical services, and Crew. Our main locations are in Santa Clarita, CA, and Charlotte, NC, with additional ARRI Rental facilities available to us for support. ID operates nation-wide as well as providing lighting services internationally. Our Broadcast division is an essential component of ID’s success providing reliable redundant generator power, UPS Systems, lighting design, equipment, and crew to multiple events. ID’s staff strives to provide a premium service for our customers and we recognize their loyalty has driven our success. Our staff remains on call for support 24 hours 7 days a week. In 2023, ID has continued its excellent service for PGA Golf, The NFL, College Football, MLB, Super-cross, Extreme Sports, and many more.

> KEY CODE MEDIA

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ey 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: A/V (Conference Rooms, Lecture Halls, Classrooms, Video Walls, Collaborative Offices, City Council Chambers), Broadcast (Comm Systems, Flypacks, OB Truck, and Control Rooms), 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.

> LH COMPUTER SERVICES

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H Computer Services is a reseller specializing in video storage solutions for professional and collegiate sports. LH offers solutions that provide next-generation storage platforms providing content production, distribution, and archive with the performance and reliability needed to meet extreme production and delivery deadlines. The company offers solutions with file systems, optimized for video, in an end-to-end solution from ingest to archive that are designed for performance from the ground up and built on the foundation of providing high-performance collaboration to leading post and broadcast organizations. LH has a variety of manufacturers to draw from providing direct-attached storage, FCSANs, 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.

> MEYERPRO

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eyerPro looks to build upon the momentum from an amazing 2022 and so far 2023 has been off to an exciting start. The MeyerPro team received an Emmy for “Outstanding Esports Championship Coverage” for their work on The International 10 — DOTA2 broadcast. The crew at MeyerPro provided top to bottom broadcast technical support for the event which took place in Bucharest, Romania. With this latest addition to the trophy case the MeyerPro team is looking forward to supporting their amazing clients again in 2023. A couple months ago the engineering team at MeyerPro commissioned a new series of powerhouse 4K/UHD flypacks that are designed with native 12G infrastructure. These flypacks are designed to take advantage of a fully 12G, MADI and Dante workflow as well as be efficient to deploy and amazingly capable. To learn more go to www.meyerproinc.com or call 503-855-8585. We’d love to talk to you!

> MOBII

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obii is leading the charge in the streaming world, with its advanced Microblock Technology providing a seamless and lightning-fast streaming experience. With a global latency of under 250ms, Mobii is the fastest scalable streaming platform in the world. Mobii’s real strength is in its ability to combine multiple data and video sources in real-time, creating immersive real-time viewing experiences that integrate capabilities such as dynamic user-controlled overlays, multi-camera switching, live betting and fan engagement directly into the video player itself. Mobii empowers organizations to gain a competitive edge in remote production, OTT, sports, and broadcasting. With its suite of powerful applications and commitment to innovation, Mobii is the go-to solution for organizations seeking to push the boundaries of what’s possible in streaming. Mobii empowers your organization to reach new heights in streaming, setting you apart from the competition.

> MOBILE TV GROUP

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obile TV Group (MTVG) has recently launched IP mobile unit 51FLEX & 51VMU that runs in 1080P HDR. Additionally, MTVG has two special mobile unit projects set to launch this summer. MTVG’s Cloud Control has grown to 25 Cloud Control rooms spread out across the U.S, giving its clients remote access to all of MTVG’s services that now include access to the MTVG private cloud. Additionally, MTVG’s Edge Series continues to grow supporting small to mid tier sized productions using its software defined computer system that can be easily shipped.

> MPE

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otion Picture Enterprises (MPE) now offers all-encompassing, cost-effective resources and services to host Remote Post-Production. Your entire post team can complete offline and online work remotely, from anywhere in the nation, safely, securely, and without lag. MPE’s brand new infra-

structure includes state-of-the-art data centers with multiple dedicated internet circuits and firewalls, operating across separate fiber optic cables by different providers running at 10gbps. All the heavy lifting in terms of hardware and software is performed by MPE’s systems and is supported by their in-house engineering team, who are available 24/7/365. Your team simply connects with a basic computer. Need a flexible hybrid work model as well? MPE’s 60,000 sq.ft. NYC facility is available and fully equipped for in-person editing, on-site collaboration sessions, screenings, and finishing.

Finish your projects, in-person or remotely, in MPE’s Dolby Atmos Certified Sound Mix Studios and Dolby Vision 4K UHD Online and Color Correct Suites.

> NETSCOUT

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etscout Systems assures digital business services against disruptions in availability, performance, and security. Our market and technology leadership stems from combining our patented smart data technology with smart analytics. We provide real-time, pervasive visibility, and insights customers need to accelerate, and secure their digital transformation. Our approach transforms the way organizations plan, deliver, integrate, test, and deploy services and applications. Our mission is protecting the global leaders of industry from the risks of disruption, allowing them to solve their most challenging network performance and security problems, ensuring the connected world runs safely and smoothly.

> OSA INTERNATIONAL

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SA recently provided full production support for events, meetings and press conferences at the 2023 NBA All Star Game. We are also providing production support for The Great American Rodeo in Dallas, Texas. OSA provides full 360 production support and services.

> PHENIX REAL TIME SOLUTIONS

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s the leader in delivering interactive video at scale, Phenix powers innovative digital experiences that drive acquisition, engagement and retention for some of the world’s biggest brands.

Its patented technology is essential for delivering content in real-time that engages audiences with interactive experiences and generates revenue for sportsbooks, sports and gaming properties as well as broadcasters with real-time video streaming to global audiences at broadcast scale. This year, Phenix delivered real-time video for Verizon’s multiview experience app at the F1 in Miami and Indy 500, among other high-profile sporting and media and entertainment events. The Verizon Multi-View Experience app allows patrons to watch a program, concert, sporting event or staged performance from five different camera angles at the same time.

Video delivery is in real-time (less than ½ second from live action) and is synchronized across all devices regardless of location or network condition.

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SPONSORUPDATE > PIXELLOT

> PRODUCTION ROCKSTARS

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ixellot pioneered the concept of AI-automated sports video production solutions to enable fans and families to watch the events that matter most to them. Pixellot’s A to Z solution includes filming, producing, broadcasting, data analytics, and a fully-featured integrated OTT platform with built-in monetization options for creating multiple revenue streams for our partners. Pixellot continues to be the largest producer and broadcaster of live sports in the world. To date, we have broadcast nearly 2.5 million live games, at a growing pace of over 150,000 live games per month from over 72 countries worldwide. Coupled with our multiple built-in monetization options, we are creating new opportunities for additional revenue streams for our partners. For example; MLB chose Pixellot systems to broadcast over 500 games from 2 MLB leagues, or the Maccabiah games which were broadcast live for the first time thanks to Pixellot systems.

> PLATINA SYSTEMS

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latina Systems, the infrastructure management provider making it easy to run your own modern, private cloud, worked with a large professional sports organization to build a growing, multi-site 40 PB private storage cloud housing decades of game video and audio assets. The project empowered the organization to confidently preserve the treasures of the game while opening new monetization opportunities through personalization and data analytics. Implemented with proven open-source software, Platina operates your infrastructure “as-a-Service” and provides a highly effective TCO for durable, private storage scaling to hundreds of petabytes via: your own private object storage accessible via S3; with predictable, low costs; free from proprietary lock-in; and free from operational complexity and burdens! With a Platina-managed private cloud, you will be in control of your valuable assets and destiny in no time! To learn more, visit: https://www.platinasystems.com/

> PRG

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RG is the world’s leading provider of entertainment and event technology solutions and has the largest inventory of rental production equipment. PRG provides comprehensive and discreet services to an array of clients in the live music, TV/ Film, Broadway, sports, gaming, corporate experiential, and live events markets. Clients and partners depend on PRG’s innovation, experience, and depth of experience in audio, video, lighting, rigging, staging, and scenery and automation systems to bring their stories to life. With 70 offices across North America, South America, Europe, Middle East, Asia, and Australia, PRG has capabilities to provide services worldwide. For more information, please visit https://www.prg.com/.

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roduction Rockstars is a boutique production management firm specializing in delivering interpersonal service by producing virtual production and live streaming events, live TV and events, and social/digital content for our clients. Our work spans across a variety of sectors, from the precision-based detailing in the virtual streaming and corporate world to the fast-paced action of the sports and entertainment industry. Production Rockstars has worked with and for a variety of clients including but not limited to Comedy Central, Netflix, BET Networks, Essence, Tidal, ESPN, Complex, TNT, T-Mobile, Patrón Tequila, the Smithsonian and more. Whether it’s three cameras or thirty, virtual or live, we work hard to make you look and feel like a rockstar from the first pre-production conference to the final deliverable.

> PRODUCTIONHUB

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fter nearly 20 years, ProductionHUB has grown beyond an alternative to production guides and the yellow pages into the largest global network of film and video professionals ready to bring your content to life. ProductionHUB has come a long way since their lean beginnings. No matter what you need for a production, they’ll help you find it with plenty of time before the cameras start rolling. Search their growing network of over 150,000 professionals, place a request for something specific, post a full-time job or let them do all the crewing for you. Beyond their crewing services, they keep you up to date with emerging trends in the industry with their blog and press from leading, innovative companies. Whether you’re a seasoned pro or looking to hire someone from the industry, ProductionHUB is your resource for everything in the film and video production industry.

> PROFESSIONAL WIRELESS SYSTEMS

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rofessional Wireless Systems (PWS) continues to be the leading company in supporting RF and wireless equipment. PWS provides on-site RF coordination support for live production events in the sports, entertainment and corporate industries. Our latest events include the Super Bowl half time show and LIV Golf as well as NBA All Star Game entertainment. Setting up a stable RF system can be difficult to understand and complicated to deploy. PWS knows that stable, repeatable RF is vital to a successful event or installation. Whatever solution is appropriate, PWS is your one-stop-shop for all RF system rentals, specialized products, and onsite support. PWS is the only manufacturer of RF hardware that also provides design, deployment and coordination services for some of the most critical events in the world. As a result, this unique combination ensures that all PWS products solve real world RF problems.

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> PURE MOBILE PRODUCTIONS

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ure manages a growing fleet of multi-format mobile production trucks servicing 1080i, 1080p, and 4K events. Currently servicing productions with NBA, MLS, F1 Racing, NCAA (FB, Basketball, VB, Gymnastics, Baseball), Concerts, Corporate events, Cricket, Cycling, Equestrian, LaCrosse, Music Festivals, MMA, Off-Road Racing, Olympic Sports, Rugby, Skiing, Speed Skating, and others. 2022-23 saw Pure build out and relocate to a new facility in Salt Lake City, UT to house its current fleet and is currently developing production studio space and control rooms to support Remi and IP / Cloud based remote productions in the near future. Please consider Pure Mobile Productions for your upcoming live event needs.

> QUINCE IMAGING

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uince Imaging is an innovative experiential display and design firm located in the suburbs of Washington, DC. Fusing a unique combination of creativity, technical process management, and unmatched expertise in the area of highresolution graphic development, Quince is known for continuously raising the bar when it comes to providing awe-inspiring immersive experiences on the world stage. Quince’s loyal client base spans a diverse spectrum of markets, ranging anywhere from corporate entities, to non-profit associations, professional sports teams and venues, and global outreach organizations. Quince specializes in liveevent video production, creative content development, and permanent display system design and installation. View our Company Profile video here: http://bit.ly/QuinceProfiled

> REALITY CHECK SOLUTIONS

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CS remains focused on delivering innovative, live production solutions for our clients encompassing video, data and graphics. Over the last year we have continued our work with major sports federations and media giants across the world while adding new clients to our portfolio. Our most recent projects include high profile graphics solutions for the J League/Photron, Norwegian Football Federation, Amazon Prime Video, UFC and MLS/Apple. RCS has expanded our team as we continue to drive innovation with new graphics workflows across traditional, hybrid and cloud-native infrastructure utilizing the most widely used graphics engines in the industry including Vizrt, XPression, Unreal, and Singular.

> RF WIRELESS

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F 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 airpack 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 Inc. 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.

> RUSH MEDIA COMPANY

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ith 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 a fleet of more than 23 mobile production units, offices and facilities located around the country, Rush Media Company is the leader in packaging live events. 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.

> SILVER SPOON ANIMATION

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ilver Spoon is a New York-based real-time animation and virtual production studio. In 2022, we partnered with CBS and Nickelodeon for the largest “Nickified” football simulcast yet.

Held on Christmas Day at SoFi Stadium in LA, the 2022 “Nickmas” broadcast moved the chains on storytelling, entertainment, and technology. A holiday invasion of mixed reality characters and effects, including Santa Claus, a crew of mischievous snowballs, and a giant Yeti, filled the broadcast with over 35 minutes of AR antics. The game broke new ground in real-time broadcasting, built entirely in Unreal Engine 5.0, featuring gamecontrolled characters on live TV, and utilizing real-time facial capture technology for live on-air commentary from an animated character, Patrick Star. Viewership was record-breaking, with double digit increases over last year, and becoming the highest-rated Christmas Day telecast since 2011.

View more of our work in sports broadcasting and beyond at https://silverspoonanimation.com/

> SINGULAR.LIVE

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ingular was built from scratch to be different.

A platform with a purpose, built for the next generation of content creators; a new industry standard for live graphics. Capable of delivering everything you need from a graphics platform plus a whole load of new features to take your production to the next level. As a cloud native platform, everything is done via a web browser making it fully accessible to anyone and everyone. No dedicated hardware. No software. No expensive upgrades or updates to worry about. We don’t care who you are, how much money, resources or experience you have. The future we imagine is collaborative and accessible, where all digital content is sustainably produced and delivered, interactive and personalized,

deeply engaging and delivered on your terms, in real time, to your device. So no matter who you are or where you’re from, you can join our revolution now and help create that future.

> SKYCAM/CABLECAM

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kycam 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, NCAA College Football.

> SMT

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MT, the “yellow first-down line” company, has teamed up with the XFL as the professional football league’s official scoring and stats provider.

To satisfy fans’ insatiable demand for more data, XFL will rely on QBStat, SMT’s solution that provides customized, real-time stats and scoring platforms built around the XFL’s rules innovations that promote faster-paced, fan-forward games. SMT’s proprietary OASIS data and video platform, used by the NHL and other professional leagues, allows XFL to maintain, administer, and manage centralized control over all phases of its data and video.

For XFL’s official website, SMT has built and designed a downloadable Game Book and widgets with live game results and stats. SMT production teams will work every game, with on-field scorers and QBStat and OASIS operators in the trucks.

Other SMT operators will work from SMT’s remote ROOSTER production studios, providing the XFL broadcast partner with an enhanced feed.

> SNA DISPLAYS

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e bring our clients’ creative visions to life.

SNA Displays builds high-end digital displays as vivid and dynamic as the imagination. Our work is supported by industry-leading expertise and service. We prove to our clients that dreams live digitally.

> SOLOTECH

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olotech is your single source for audio, video, lighting, rigging, soft goods, control and collaboration solutions & services. Our world-renowned notoriety in live productions, systems integration and equipment makes us unique.

> SOS GLOBAL

S

OS Global is a freight forwarder specializing in event and sports logistics. world. SOS has implemented the latest logistic technology and has expanded our highly skilled and experienced international and domestic teams to continue providing custom solutions to clients. SOS Global has been Going Around The World, Around The Clock for over 35 years. Our 24/7/365 dedicated team of over 250 agents worldwide ensures our clients’ on-time logistic solutions. Whether it’s air cargo, trucking, ocean, charters, or customs brokerage, the SOS team is standing by to assist. Reach us at (800) 628-6363. www.SOSGlobal.com.

> SPIIDEO

W

here there is sport, there is Spiideo. Spiideo delivers astonishingly powerful, innovative, and user-friendly solutions to the global sports community that shape the world of sports video production, analysis, and consumption. Spiideo’s fixed and mobile camera systems for both indoor and outdoor sports integrate directly through the cloud with Spiideo Perform (analysis) and Spiideo Play (automated broadcasting). With features such as AutoFollow, AutoData, CloudStudio Anywhere and virtual panorama technology, Spiideo users have a full suite of tools to take their video to the highest level. Sports organizations and mediarights holders are able to eliminate manual filming processes, analyze the performance in a single platform, share footage from the cloud, and automate broadcasts. More than 2,000 organizations are currently using spiideo, including teams in the Premier League, NHL, Serie A, MLS, NBA, Ligue 1, NCAA, and Bundesliga.

> SPORTRADAR

S

portradar is a leading global provider of sports betting and sports entertainment products and services. Established in 2001, the company is well-positioned at the intersection of the sports, media and betting industries, providing sports federations, news media, consumer platforms and sports betting operators with a range of solutions to help grow their business. Sportradar employs more than 2,300 full time employees across 19 countries around the world. It is our commitment to excellent service, quality and reliability that makes us the trusted partner of more than 1,600 customers in over 120 countries and an official partner of the NBA, NHL, MLB, NASCAR, FIFA and UEFA. We cover more than 750,000 events annually across 83 sports. With deep industry relationships, Sportradar is not just redefining the sports fan experience; it also safeguards the sports themselves through its Integrity Services division and advocacy for an integrity-driven environment for all involved.

> STATS PERFORM

S

tats Perform maximizes the value of global sports coverage through AI and machine learning to generate insights for leading sportsbooks, media & tech companies, and leagues & teams worldwide. In 2022, Stats Perform debuted Opta Vision, the newest addition to the Opta data offerings. Opta Vision synchronizes event and tracking data to create a single, merged dataset — delivering richer performance insights to identify new performance trends and tell great stories of the game. Also new to the Opta products is the addition of NFL and NCAA D1 football to PressBox Live. PressBox Live collates data and research tools, empowering teams to bring speed and convenience for storytelling during game week. Users, like The University of Maryland, use PressBox Live to find the most interesting stats, provide personality-driven commentary, deep analysis, and a unique fan experience. For more information, visit our website at www.statsperform.com.

SPORTSTECHJOURNAL / SPRING 2023

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SPONSORUPDATE > SUPER VIEW

S

uper League is a global leader in creating innovative & immersive entertainment experiences, platform & audience monetization, and dynamic content feeding channels across the world’s top gaming platforms. Over the last few years, Super League has been proud of its ongoing partnership with Topgolf, producing a monthly broadcast featuring the online golf game WGT Live Series. Each month, the top players of WGT Live Series from around the world compete in a tournament for exclusive WGT Live Series prizes. In addition to Topgolf, Super League has also partnered with the United States Golf Association (USGA) to produce specialized WGT Live Series shows with Lexus sponsorship, top tier sports casting talent, and even more exclusive rewards. These fully cloud-based livestreams utilize instant replay, live gameplay coverage and remote player cameras from around the globe. These productions have been a huge hit for the Topgolf community, generating increased awareness and excitement around the game.

> SUPPONOR

S

upponor continues its growth as the world-leading virtual advertising solution for sports, thanks to its 100% software-based product Supponor AIR. This technology makes virtual advertising easily accessible to clubs, leagues or federations as part of any live sport broadcast due to its remote production capabilities, lower deployment costs, flexibility, multiple supported applications, and sustainable practices. In early 2023, the company launched a new R&D centre in France, where it will substantially expand its research in AI, computer vision and natural scene rendering to continue enhancing its product capabilities. By March, Supponor will have delivered its 1,000th hockey match since the launch of its partnership with the NHL in October 2022 to deploy digitally enhanced dasherboards (DEDs) league-wide. Besides hockey, Supponor continues commercially deploying Supponor AIR at increasing scale across hundreds of soccer matches a season in LaLiga, Lega Serie A, DFL Deutsche Fußball Liga, A-Leagues, among many more.

> SYSTEMS INNOVATION

S

ystems Innovation is not a typical AV integrator. Our company evolved from the world of live events and creating innovative experiences for audiences. Using our live events DNA, we merge technology with design for experiential impact. System Innovation is a leading provider of customized technical solutions for businesses facing complex challenges. From video and audio to lighting, digital media, LED, CAD/Rendering, rigging, and interactive experiences, we use our suite of technical services to create tailor-made solutions that bring visions to life. Our team of industry-certified professionals work closely with clients to define and establish the

126

primary goals and objectives for each project, ensuring the quality of each project through safety and remote and on-site support. At System Innovation, service comes first. We are solution-driven creators, dedicated to providing customized support to meet each client’s unique needs.

> TAGBOARD

T

agboard is the world’s leading audience experience and cloud production platform, used by thousands of brands, sporting teams, and media companies to create and distribute interactive stories.

TECHNICOLOR

T

echnicolor, a worldwide creative technology leader in the media and entertainment sector, is at the forefront of digital innovation. Our commitment: supporting the delivery of exciting new experiences for consumers in theaters, homes, and on-the-go. Our award-winning artists and technologists work with the creative community to bring the universal art of storytelling to audiences everywhere. We engineer next-generation home network and video solutions that enable bandwidthintensive content to be distributed at gigabit speeds and enjoyed seamlessly regardless of place, device or time, in a context-aware environment. Through perpetual innovation, we constantly improve the tools and technologies of our industry, and the experiences we create, to redefine what’s possible for storytellers and audiences across the globe

> THE FAMOUS GROUP

W

hen you inspire and engage a live audience they become fans. For more than 20 years, we’ve created passionate fans for the biggest brands, venues and events in the world. We begin working with each of our client partners by deeply understanding their brand, their goals, and their audience. We then execute with award-winning creative, rock-solid production and proprietary technology. We’ve been in the experiential business for over 20 years, creating immersive fan experiences for Fortune 500 brands, professional sports events, esports, concerts, festivals and retail environments. That includes 13 Super Bowls, Nike, the NFL, Live Nation, the NBA finals, Ubisoft, NCAA Final Four, Pepsi, NHL All-Star Weekend, AT&T, and more than 90 professional sports teams and venues.

> TRANSMIT LIVE

F

or new-age digital networks and content owners that want to create the new standard of ad supported streaming experiences, Transmit.Live provides a transformative cross screen video publishing & monetization solution. Our technology enables media operators to create new inventory supply through innovative in-content ad experiences that sustain viewer attention across all

SPORTSTECHJOURNAL / SPRING 2023

owned & distributed OTT channels, while establishing a more meaningful connection between brands and viewers.

> UNIQFEED

u

niqFEED develops software-only virtual advertising solutions that enable sports rights holders to maximize the commercial potential of onair sponsorship and advertising inventory, giving brands an efficient and effective new channel to engage with their customers. In 2022, uniqFEED continued its collaboration with ATP Media at the ATP’s Mutua Madrid Open and the Rolex Paris Masters.

For the latter, uniqFEED operated remotely from a central production facility at IMG Studios in the UK. 2023 is off to an exciting start for uniqFEED with a successful new partnership with Swiss Ski, bringing virtual advertising to snow sports for the very first time at the famous Lauberhorn Races in Wengen, Switzerland. Tom Huston has joined as CCO, assuming overall responsibility for uniqFEED’s commercial objectives, creating new revenue streams, and expanding to new markets. In 2023, uniqFEED will also release its eagerly awaited football product, which includes full virtual dynamic overlay of pitchside LED boards.

> UNREAL ENGINE

E

pic Games is a leading interactive entertainment company and provider of 3D engine technology. Epic operates Fortnite, one of the world’s largest games with over 350 million accounts and 2.5 billion friend connections. Epic also develops Unreal Engine, which powers the world’s leading games and is adopted across industries such as film and television, architecture, automotive, manufacturing, and simulation. Epic provides an end-to-end digital ecosystem for developers and creators to build, distribute, and operate games and other content.

> VENUE EDGE

F

ounded by former ESPN Creative Director and Director of Creative Technology David Saphirstein, Venue Edge draws on its extensive experience in sports production, technology, and branding to help you improve fan interaction at stadiums and arenas around the country.

> VERSUS SYSTEMS

V

ersus Systems has developed a proprietary prizing and promotions engine that allows publishers, developers, and creators of streaming media, live events, broadcast TV, games, apps, and other content to offer real world prizes inside their content. Audiences can choose from among the offered prizes and then complete in-game or in-app challenges to win the prizes. The Versus platform can be integrated into streaming media, TV, mobile, console, and PC games, as well as mobile apps. For more information, please visit http://www.versussystems.com

> VETERANS TV

> VISTA WORLDLINK

V

eterans-TV is a nonprofit that offers professional, hands-on TV production and postproduction training to U.S. Veterans. VETV helps veterans start a new career path by teaching them how to use professional-grade equipment so they can apply for entry-level positions at broadcast TV stations. VETV also helps graduates of the program make connections in the broadcast media industry. All equipment is donated by companies in the broadcast media industry and all instructors are volunteers. Would you like to donate equipment or instructor time? Send VETV a LinkedIn message.

> VIDEON

V

ideon, the leader in edge computing for video, makes live video processing and distribution faster and more efficient — with lower costs. It gives the freedom to process video at source by combining built-in functions running on its local video compute platform with additional features from the cloud. Videon includes the right tools to develop innovative video applications to handle anything from simple, low latency encoding and streaming to advanced AI-powered use cases. Getting live video from source to audience is complex and traditionally requires expensive broadcast equipment or costly third-party services. By enhancing the cutting-edge processors normally found in the most advanced smartphones to deliver broadcast-quality video, Videon has created a revolutionary platform capable of game-changing media experiences without the cost and complexity associated with legacy broadcast technology.

> WJHW

D

edicated 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 valueadded services for the media industry, consistently maximizing a client’s reach while effectively offering competitive prices.

> WESCO

W

esco’s Broadcast team has more than 25 years of successful partnership with leading Systems Integrators, Consultants, Owners’ Representatives and Sports Franchises/College Athletic Departments. Wesco provides logistics, supply chain optimization services and risk management solutions for virtually any sports broadcast need. You can count on Wesco’s Broadcast Team to ensure that your projects run smoothly and come in on budget and on time. Wesco brings its global resources and on-site venue project experience knowing there is more going into a project than just procurement and delivery of products. WESCO has the ability to not only Manage Risk, but the tools and experience to increase project profitability. From pre-procurement of materials, strategic/sequestered project inventories, optical and Cu cable cutting and kitting, customized palletizing/labeling to strategic staged deliveries (including Union), seasoned technical broadcast, wireless/DAS, security, electrical, structured cabling teams and more, Wesco’s Broadcast Team has you covered…wherever, whenever, and however you need them.

A

fter an amazing 2022, WJHW continues to lead technology design for sports from iconic venues like SoFi Stadium, Allegiant Stadium, SDSU Snapdragon Stadium, and UBS Arena, to renovations at marquis venues like Bryant-Denny Stadium, Citi Field, Lucas Oil Stadium, Lambeau Field, Gainbridge Fieldhouse, the Charlotte FC renovations at Bank of America Stadium, more than half of all new MLS stadiums built in recent years, and many projects within every NCAA FBS conference.

We are proud to list nearly every professional team, venue, and league in our 33-year resume and look forward to continuing to drive technology in ever more complex venues. WJHW offers comprehensive leading-technology designs: the world’s first 8K instant replay, Ice projection in NHL Arenas, fully redundant SMPTE 2110 4K production systems, and the largest, most breathtaking LED installations like “The Halo” at Mercedes Benz Stadium in Atlanta and the “Infinity Screen” at SoFi Stadium in Los Angeles.

> WSC SPORTS

P

ersonalized videos for every fan – automatically and in real time. WSC Sports’ AI driven platform analyzes live sports broadcasts, identifies each and every event that occurs in the game, creates customized short-form video content and publishes to any digital destination. This seamless and frictionless workflow enables partners to instantly generate and distribute professionally edited videos on a large scale, to maximize exposure and create innovative monetization opportunities. <

DON’T MISS

SVG’S UPCOMING 2023 EVENTS! May 10 May 11 May 31 - Jun 1 Jun 28-29 Jul 26 Sep 27 Oct 24 Nov 16 Dec 11-12

SPORTS CLOUD PRODUCTION SPORTS GRAPHICS FORUM SVG COLLEGE SUMMIT & CSMAs REGIONAL SPORTS PRODUCTION SUMMIT SPORTS CONTENT MANAGEMENT FORUM REMOTE PRODUCTION FORUM TRANSPORT ESPORTS PRODUCTION SUMMIT SVG SUMMIT

NEW YORK CITY NEW YORK CITY ATLANTA CHICAGO NEW YORK CITY LOS ANGELES NEW YORK CITY LOS ANGELES NEW YORK CITY

Event dates and formats are subject to change SPORTSTECHJOURNAL / SPRING 2023

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SPONSORINDEX AD PAGE

SPONSOR

3G WIRELESS 7 POINT AUDIO

LEVEL

CONTACT

EMAIL

Mobile

Carla Massarini

Carlatm@3gwireless.tv

Corporate

Jeff Ball

jeffball@7pointaudio.com

ABSEN INC

57

Premier

Yuki Yu

yuki.yu@usabsen.com

ADDER TECHNOLOGY

85

Premier

Natasha Biggs

natasha.biggs@adder.com

ADVANCED IMAGE ROBOTICS

Mobile

Kevin McClave

info@advancedimagerobotics.com

ADVANCED SYSTEMS GROUP, LLC.

Mobile

Amy Lounsbury

alounsbury@asgllc.com

AE LIVE

Mobile

Stuart Coles

Stuart.Coles@ae.live

AERIAL VIDEO SYSTEMS

Mobile

Argyle Nelson

anelson@aerialvideo.com

AI-MEDIA | EEG

Corporate

Avery Bigford

avery.bigford@ai-media.tv

AJA VIDEO SYSTEMS

Corporate

Christina Oliver

christinao@aja.com

ALL MOBILE VIDEO

Mobile

Eric Duke

eduke@amvchelsea.com

ALLIED BROADCAST GROUP

Mobile

Brad Chapman

brad@alliedbroadcastgroup.com

ALPHA

Mobile

Jeffrey Volk

jeff.volk@alphax.us

AMAGI

13

Platinum

KA Srinivasan (Srini)

cloudandme@amagi.com

AMAZON WEB SERVICES

99

Premier

Paulien Ruijssenaars

paulien@amazon.com

Corporate

Matthew Gutknecht

matthewg@apmmusic.com

Premier

Ed McGivern

Ed.Mcgivern@appear.net

ARCTEK SATELLITE PRODUCTIONS

Mobile

Brian Stanley

bstanley@arcteksat.com

ARISTA NETWORKS

Corporate

Ed Chapman

echapman@arista.com

ARKONA TECHNOLOGIES

Corporate

Erling Hedkvist

erling@arkonatech.com

ARRI

Corporate

Peter Crithary

pcrithary@arri.com

ARTEL VIDEO SYSTEMS

Corporate

Rafael Fonseca

rfonseca@artel.com

ASTOUND BUSINESS SERVICES

Corporate

Sean Sullivan

sean.sullivan@astound.com

ASTRODESIGN

Corporate

Terry Harada

terry.h@astro-americas.com

ASTUCEMEDIA

Corporate

Alexandre Leclerc

alex@astucemedia.com

Platinum

Catherine A. Palaia

cp286m@att.com

APM MUSIC APPEAR

95

AT&T

25

ATEME

43

Premier

Silvia Candido

s.candido@ateme.com

AUDAZZIO

Corporate

Michele Klumb

Michele@Audazzio.com

AUDIO-TECHNICA

Corporate

Gary Dixon

gdixon@atus.com

AZZURRO HD

Mobile

John Bonaccorso

jbonaccorso@azzurrohd.com

BACKLIGHT

Corporate

Catherine Cywinska

catherine@wildmoka.com

BECK TV

Mobile

Matt Weiss

info@becktv.com

BELDEN

Corporate

Christine Williamson

Christine.Williamson@belden.com

BEXEL

Corporate

Craig Schiller

cschiller@bexel.com

BITFIRE NETWORKS

Corporate

Ben Grafchik

bgrafchik@bitfirenetworks.com

BLACK BOX

Premier

Cathleen Gill

cathleen.gill@blackbox.com

BLACKBIRD VIDEO

Corporate

Adrian Lambert

A.Lambert@blackbird.video

Platinum

Blackmagic Design

info-usa@blackmagicdesign.com

BRAINSTORM

Corporate

David Alexander

dalexander@brainstorm3d.com

BRIDGE DIGITAL

Corporate

Richie Murray

richie.murray@bridgedigitalinc.com

BROADCAST MANANGMENT GROUP

Mobile

Todd Mason

tmason@broadcastmgmt.com

BROADCAST SERVICES INTERNATIONAL (BSI)

Mobile

Brodie Bartlett

Brodie@bsi-tv.com

BLACKMAGIC DESIGN

128

7

SPORTSTECHJOURNAL / SPRING 2023

SPONSOR INDEX SPONSOR

AD PAGE

LEVEL

CONTACT

EMAIL

BROADCAST SPORTS INTERNATIONAL (BSI)

Mobile

Peter Larsson

Peter.Larsson@BSINTL.COM

BROADFIELD DISTRIBUTING

Corporate

Jim Bask

Jim@broadfield.com

C360, A COSM COMPANY

Mobile

Evan Wimer

info@c360live.com

CALREC AUDIO

35

Premier

Dave Letson

dave.letson@calrec.com

CANON

27

Platinum

Richard Eilers

reilers@cusa.canon.com

Mobile

Steven Manios

steve@cartoniusa.com

23

Platinum

Mike Hone

mhone@cespower.com

Corporate

Per Von Rosen

Per.vonrosen@championdata.com

Premier

Carol Bettencourt

marketinginfo@chyron.com

CINESYS

Mobile

Brent Angle

sales@cinesys.io

CIS GROUP

Corporate

Matt Silva

matt.silva@cisgroup.tv

CLARK

Mobile

JB Bowling

jb.bowling@clark.is

CLARK WIRE & CABLE

Corporate

Dan Collins

dan.collins@clarkwire.com

CARTONI CES POWER CHAMPION DATA CHYRON

73

CLEAR-COM

89

Premier

Rachel Archibald

rachel.archibald@clearcom.com

COBALT DIGITAL

93

Premier

Suzana Brady

suzana.brady@cobaltdigital.com

COMCAST TECHNOLOGY SOLUTIONS

Corporate

Tonia Wilson

Tonia_Wilson@comcast.com

COMPRIMATO

Corporate

Jiri Matela

jiri@comprimato.com

CP COMMUNICATIONS

Mobile

Aaron Segarra

Aaron.Segarra@cpcomms.com

CREATIVE DIMENSIONS

Corporate

Joel Roy

jroy@gowithcd.com

CREATIVE MOBILE SOLUTIONS

Mobile

Noah Gusdorff

noah@cmsi.tv

CTI

Mobile

Tim Albright

tim.albright@cti.com

DAKTRONICS

Corporate

Tyler Campbell

Tyler.Campbell@daktronics.com

DALE PRO AUDIO

Corporate

Dale Pro Audio

info@daleproaudio.com

DALET

Corporate

Amanda Whitaker

awhitaker@dalet.com

DATA EXPEDITION

Corporate

Dana Merk

dmerk@DataExpedition.com

DATACORE

Premier

Gregg Machon

info@datacore.com

DELL

107

Corporate

Jeff Grassinger

jeff.grassinger@dell.com

DEVLIN DESIGN GROUP

Corporate

Dan Devlin

ddevlin@ddgtv.com

DIGITALGLUE

Mobile

Christina Anderson

christina.anderson@digitalglue.com

DISGUISE

Mobile

Joni Lindes

marketing@disguise.one

DIVERSIFIED

Mobile

Steve Stubelt

sstubelt@onediversified.com

DIZPLAI

Corporate

Ed Abis

ed.abis@dizplai.com

DMC BROADCAST GROUP

Corporate

Don Cardone

Don.Cardone@DENZ.tv

DNA STUDIOS

Mobile

Sam Schrade

sam@dnastudios.tv

DOLBY

Platinum

Ellis Reid

ereid@dolby.com

DOME PRODUCTIONS

Mobile

Mary Ellen Carlyle

mcarlyle@domeprod.com

DX3 MEDIA

Mobile

Dale Smith

dalesmith@DX3media.ca

EDGIO

Corporate

Samantha Tarin

starin@edg.io

EDITSHARE

51

Premier

Mike Wright

mike.wright@editshare.com

ELUVIO INC

111

Corporate

Eluvio

LIVE@eluv.io

ENCOMPASS DIGITAL MEDIA

Corporate

Peter Ostapiuk

postapiuk@encompass.tv

EQUINIX

Platinum

Ilana Trinkenreich

itrinkenreich@equinix.com

ES BROADCAST

Mobile

Ben McKeenan

ben.mckeenan@esbroadcasthire.com

ESTES FORWARDING WORLDWIDE

Corporate

Tom Cross

tom.cross@efwnow.com SPORTSTECHJOURNAL / SPRING 2023

129

SPONSOR INDEX AD PAGE

SPONSOR

EUROVISION SERVICES EUTELSAT EVERGENT

LEVEL

CONTACT

EMAIL

Platinum

Roch Pellerin

pellerin@eurovision-us.net

Corporate

Joanna Estrada Schutz

joanna.estrada@eutelsat.com

Corporate

Seerat Gill

seerat.gill@evergent.com

EVERTZ

53

Premier

Tony Silvestri

tony@evertz.com

EVS

59

Premier

Sébastien Verlaine

s.verlaine@evs.com

EXERTIS BROADCAST

Corporate

Exertis Broadcast

BroadcastMarketing@ExertisNA.com

FASTLY

Corporate

John Agger

jagger@fastly.com

FILMWERKS POWER, A SUNBELT RENTALS COMPANY

Platinum

Aaron Frye

aaronf@filmwerkspower.com

FINGERWORKS TELESTRATORS

Corporate

Bryan McKoen

bryan@telestrator.com

FLETCHER SPORTS

Mobile

Dan Grainge

dan@fletch.com

FLYCAM INTERNATIONAL

Mobile

Patrick Hally

patrick@flycamUSA.com

FOR-A

Corporate

Satoshi Kanemura

kanemura@for-a.com

Corporate

Ryan Haberman

ryan@forecast-consoles.com

Premier

Mimi Jackson

mjackson@fortinet.com

Corporate

Julia Gracheva

jgracheva@friendmts.com Thomas.fletcher@fujifilm.com

FORECAST CONSOLES FORTINET

68

FRIEND MTS FUJIFILM

2

Platinum

Thomas Fletcher

FX DESIGN GROUP

39

Premier

Gary Levitt

glevitt@fxgroup.tv

G&D NORTH AMERICA

Premier

Jon W. Litt

jon.litt@gdsys.com

GAME CREEK VIDEO

Mobile

Pat Sullivan

psullivan@gamecreekvideo.com

GEARTECH USA

Mobile

Brad Wensley

bwensley@geartech.ca

GENIUS SPORTS

Corporate

Michael Connell

michael.connell@geniussports.com

GLOBECAST

Corporate

Jodi Morelli

jodi.morelli.ext@globecast.com

GLOOKAST

Corporate

Matt Silva

matt.silva@cisgroup.tv

GOOGLE CLOUD

Corporate

Richard Lee

itsrichard@google.com

GRABYO

Corporate

Jorge Ramirez

jorge@grabyo.com

GRASS VALLEY

17

Platinum

Julian Fraser

julian.fraser@grassvalley.com

GRAVITY MEDIA

115

Premier

Sean Seamer

Sean.Seamer@gravitymedia.com

HAIVISION

Corporate

Mark Villamor

mvillamor@haivision.com

HARMONIC

Corporate

Eric Kenyon

eric.kenyon@harmonicinc.com

HLW INTERNATIONAL

Mobile

Keith Hanadel

khanadel@hlw.com

Premier

Dan Holland

dholland@ihseusa.com

Mobile

Rich Williams

rich@illuminationdynamics.com

IHSE USA

47

ILLUMINATION DYNAMICS IMAGEN

Corporate

Tom Blake

tom.blake@imagen.io

Premier

Maria Holman

Maria.Holman@imaginecommunications.com

INTEGRATED MEDIA TECHNOLOGIES

Mobile

Brandi Morini

brandi.morini@imtglobalinc.com

INTELSAT

Corporate

Andi Cox

Andrea.Cox@Intelsat.com

JOSEPH ELECTRONICS

Corporate

John Cleary

jcleary@josephelectronics.com

JVC PROFESSIONAL VIDEO

Corporate

Dan Skirpan

dskirpan@us.jvckenwood.com

JW PLAYER

Corporate

Matthew Malanga

mmalanga@jwplayer.com

KEY CODE MEDIA

Mobile

Matt McClain

mmcclain@keycodemedia.com

IMAGINE COMMUNICATIONS

64

KMH AUDIO-VIDEO INTEGRATION LAWO

61

LEADER INSTRUMENTS

130

Mobile

Kevin Henneman

khenneman@kmh-integration.com

Platinum

Wolfgang Huber

wolfgang.huber@lawo.com

Corporate

Joe Castellano

josephc@leaderamerica.com

SPORTSTECHJOURNAL / SPRING 2023

SPONSOR INDEX SPONSOR

AD PAGE

LEVEL

CONTACT

EMAIL

LEGRAND AV

Corporate

Gordon Wason

Gordon.wason@legrand.com

LH COMPUTER SERVICES

Mobile

Doug Cole

dcole@lhcomp.com

Platinum

Janel Moorefield

janelf@liveu.tv

Corporate

Connie Petrides

connie.petrides@ltnglobal.com

Corporate

Julie O'Grady

julie.ogrady@lucinlink.com

Platinum

Elliott Garstin

elliott.garstin@lumen.com

M2A MEDIA

Corporate

Lizzie Lawrence

lizzie.lawrence@m2amedia.tv

MAGNIFI

Corporate

Geetanjali Dogra

geetanjali@magnifi.ai

LIVEU

19

LTN GLOBAL LUCIDLINK LUMEN TECHNOLOGIES

MARKERTEK

3

Premier

Adam June

ajune@markertek.com

MARSHALL ELECTRONICS

Corporate

Tod Musgrave

tod@marshall-usa.com

MATROX VIDEO

Corporate

Stephen Choi

schoi@matrox.com

MAXON

Corporate

Paul Babb

p_babb@maxon.net

MEDIA LINKS

Corporate

Tom Canavan

tcanavan@medialinks.com

MEDIAKIND

Corporate

Murray Barker

murray.barker@mediakind.com

Platinum

Mario Sousa

msousa@mediapro.tv

Mobile

Steve Meyer

steve@meyerproinc.com

MEDIAPRO

105

31

MEYERPRO MICROSOFT

Premier

Charlotte Bielecki

charlotte.bielecki@microsoft.com

MO-SYS ENGINEERING

Corporate

Stephen Gallagher

stephen.gallagher@mo-sys.com

MOBII

Corporate

Greg Schultz

greg@mobii.com

MOBILE TV GROUP

Corporate

Nick Garvin

ngarvin@mobiletvgroup.com

MPE

Corporate

Julia Pilzer

julia@mpenyc.com

NEMAL ELECTRONICS

Corporate

Benjamin Nemser

bnemser@nemal.com

Platinum

Susan Matis

info@nepgroup.com

Corporate

Per Johansson

per.johansson@netinsight.net

NEP GROUP

29

NET INSIGHT NETGEAR AV

Premier

John Henkel

jhenkel@netgear.com

NETSCOUT

Corporate

Sam Scheffler

Sam.Scheffler@netscout.com

NEWSBRIDGE

Corporate

Carlie Bonavia

Carlie.Bonavia@newsbridge.io

NEXTOLOGIES

Corporate

Juli Patty

julip@nextologies.com

NVIDIA

83

Platinum

Jeff Lowe

jelowe@nvidia.com

OBJECT-MATRIX

65

Corporate

Leanne Tomlin

leanne.tomlin@object-matrix.com

OPENDRIVES

Corporate

Jaclyn Taroc

j.taroc@opendrives.com

OPENGEAR PARTNER NETWORK

Corporate

Cindy Zuelsdorf

hello@opengear.tv

OSA INTERNATIONAL

Mobile

Steve Cormier

scormier@osacorp.com

OSPREY VIDEO

Corporate

Scott Whitcomb

scottw@ospreyvideo.com

Premier

Kate Lajeunesse

Kate.Lajeunesse@us.panasonic.com

PHENIX REAL TIME SOLUTIONS

Corporate

Jed Corenthal

jed.corenthal@phenixrts.com

PIXELLOT

Corporate

Yossi Tarablus

yossit@pixellot.tv

PIXOTOPE

Corporate

Ben Davenport

ben.davenport@pixotope.com

PLANETCAST

Mobile

Paul Kosac

paul.kosac@planetcastinternational.com

PLATINA SYSTEMS

Corporate

Mark Yin

mark@platinasystems.com

PLIANT TECHNOLOGIES

Corporate

Gary Rosen

Gary.rosen@plianttechnologies.com

PRG

Platinum

Erin Bates

ebates@prg.com

PRODUCTIONHUB

Corporate

Steve Rotz

srotz@productionhub.com

PROFESSIONAL WIRELESS SYSTEMS

Corporate

Jimmy Van Winkle

JimmyV@ProfessionalWireless.com

PANASONIC

103

SPORTSTECHJOURNAL / SPRING 2023

131

SPONSOR INDEX AD PAGE

LEVEL

CONTACT

EMAIL

75

Platinum

Amy Scheller

ascheller@programproductions.com

PSSI GLOBAL SERVICES

Mobile

Clint Bergeson

info@pssiglobal.com

PUGET SYSTEMS

Premier

Eric Brown

eric@pugetsystems.com

PURE MOBILE PRODUCTIONS

Mobile

Jim Neely

JimN@Puremobileproductions.com

Q5X

Corporate

Paul Johnson

sales@q5x.com

QUANTUM

Corporate

Michele Fanning

Michele.fanning@quantum.com

QUINCE IMAGING

Corporate

Bill Arseneau

barseneau@quinceimaging.com

Premier

Justin Karpowich

justinkarpowich@qvest.us

Mobile

Matt Rohrs

m.rohrs@rcs.live

SPONSOR

PROGRAM PRODUCTIONS

QVEST.US

97

RCS RF WIRELESS

Mobile

Rob Bunn

rob.bunn@rfwireless.com

RIEDEL COMMUNICATIONS

5

Platinum

Joyce Bente

Joyce.Bente@riedel.net

ROHDE & SCHWARZ

72

Premier

Burt Young

Burt.Young@rsa.rohde-schwarz.com

ROSS VIDEO

37

Platinum

Paul Seymour

pseymour@rossvideo.com

RT SOFTWARE

Corporate

Ian Young

ian.young@rtsw.co.uk

Premier

Michael Brown

Michael.Brown2@us.bosch.com

RUSH MEDIA GROUP

Mobile

Tim Eichorst

timeichorst@rushmediaco.com

SEAGATE TECHNOLOGY

Corporate

Mark Anderson

Mark.B.Anderson@Seagate.com

SENCORE

Corporate

Brandon Baker

brandon.baker@sencore.com

SENNHEISER

Corporate

Jennifer Lee

Jennifer.Lee@sennheiser.com

SES

Corporate

Miriam Benedicto

miriam.benedito@ses.com

SHURE

Corporate

Celino Ullegue

ulleguc@shure.com

RTS INTERCOM SYSTEMS

SIGNIANT

76

Premier

Jon Finegold

jfinegold@signiant.com

SILVER SPOON ANIMATION

91

Corporate

Laura Herzing

laura@silverspoonanimation.com

SINGULAR.LIVE

Corporate

Mike Ward

mike@singular.live

SKYCAM

Mobile

Stephen Wharton

stephen.wharton@skycam.tv

SKYLINE COMMUNICATIONS

Corporate

Thomas Gunkel

hi@skyline.be

SMT

Corporate

Patricia Hopkins

p.hopkins@smt.com

SNA DISPLAYS

Corporate

Mitch Leathers

mitch.leathers@snadisplays.com

SOLID STATE LOGIC

Corporate

Ross Gilbert

rossg@solidstatelogic.com

SOLOTECH INC.

Mobile

Christine Latour

christine.latour@solotech.com

SONY

33

Platinum

Rob Willox

Robert.Willox@sony.com

SOS GLOBAL

41

Platinum

Michelle Truman

mtruman@sosglobal.com

SPALK

Mobile

Tom Read

tom@spalk.co

SPECTRA LOGIC

Corporate

Hossein ZiaShakeri

broadcast@spectralogic.com

SPIIDEO

Corporate

Todd Patton

todd.patton@spiideo.com

SPORTRADAR

Corporate

Samantha Karvelas

s.karvelas@sportradar.com

SSIMWAVE

Corporate

Maria Alexandrova

maria.alexandrova@ssimwave.com

ST ENGINEERING IDIRECT

Mobile

Bart De Moor

bdmo@idirect.net

STATS PERFORM

Corporate

Wayne Ford

wayne.ford@statsperform.com

STREANN MEDIA

Corporate

Leandro Finol

leandro@streann.com

STUDIO NETWORK SOLUTIONS (SNS)

Corporate

Steve McKenna

smckenna@studionetworksolutions.com

SUITELIFE SYSTEMS

Mobile

Bobby Stevens

bstevens@suitelifesystems.com

SUPER VIEW

Mobile

Brian Gramo

brian.gramo@superleague.com

SUPPONOR

Corporate

David Patton

david.patton@supponor.com

132

SPORTSTECHJOURNAL / SPRING 2023

SPONSOR INDEX SPONSOR

AD PAGE

SYNAMEDIA

LEVEL

CONTACT

EMAIL

Corporate

Anne-Cecile Soutarue

asoularue@synamedia.com

SYSTEMS INNOVATION (LMG)

Mobile

Neil Morrison

neil.morrison@lmgsi.net

TAG VIDEO SYSTEMS

Corporate

TAG Video Systems

info@tagvs.com

Premier

Elyse Loeb

elyseloeb@tagboard.com

Corporate

Utkarsh Gosain

utkarsh.gosain@tatacommunications.com

TAGBOARD

55

TATA COMMUNICATIONS TECHNICOLOR

Corporate

Rick Dumont

rick.dumont@philips.com

TELEMETRICS

109

Corporate

Anthony Cuomo

aec@telemetricsinc.com

TELESTREAM

77

Premier

Doug Hansel

Doug@highrezpr.com

Corporate

Stuart Russell

stuart.russell@tellyo.com

Premier

Lindsay Klinger

lindsay.klinger@telosalliance.com

Corporate

Telstra Broadcast Services

telstrabroadcastbookings@team.telstra.com

TELLYO TELOS ALLIANCE

81

TELSTRA TERADEK

Premier

Michael Gailing

mike@teradek.com

THE FAMOUS GROUP

Mobile

Eric Burak

eric@thefamousgroup.com

THE STUDIO B&H

Corporate

Michel Suissa

michels@bandh.com

THE SWITCH

Platinum

Christian Kneuer

christian.kneuer@theswitch.tv

TRANSMIT

Premier

Rob Friedlander

robert@transmit.live

TSL PRODUCTS

Corporate

Greg Siers

enquiries@tslproducts.com

Platinum

Eric Chang

echang@tvunetworks.com

Corporate

Marcel Naef

marcel.naef@uniqfeed.com

TVU NETWORKS

101

69

UNIQFEED UNREAL ENGINE

Premier

Craig Laliberte

craig.laliberte@epicgames.com

VARIANT SYSTEMS GROUP

Corporate

Olaf Bahr

olaf@vsglive.com

VENUE EDGE

Corporate

Eric Bartels

eric@venueedgepro.com

VERITONE

Premier

Billy Gil

bgil@veritone.com

VERIZON BUSINESS GROUP

49

Premier

Steve Walter

stephen.walter@verizon.com

VETERANS-TV

Mobile

Robert Lefcovich

robertlefcovich@gmail.com

VIDEON

Corporate

Richard Carreon

richard.carreon@videonlabs.com

VIDISPINE, AN ARVATO SYSTEMS BRAND

Corporate

Kurt Krinke

kurt.krinke@arvatosystems.com

VIDOVATION

Mobile

Rick Anderson

ricka@vidovation.com

VISLINK TECHNOLOGIES

Corporate

Daniel Carpini

daniel.carpini@vislink.com

VISTA WORLDLINK

Corporate

Joshua Liemer

jliemer@vistaworldlink.com

VITAC

Corporate

Dave Titmus

david.titmus@vitac.com

VITEC

Corporate

Bryan Reksten

bryan.reksten@vitec.com

VIVARO MEDIA

Corporate

Renata Cuppen

renata.cuppen@vivaro.com

VIZRT GROUP

87

Platinum

Pino Varile

pbarile@vizrt.com

WASABI TECHNOLOGIES

Corporate

Lindsay Daly

ldaly@wasabi.com

WAVES AUDIO

Corporate

Udi Henis

udih@waves.com

WESCO

Corporate

Jon Roberts

jon.roberts@wescodist.com

WJHW

Mobile

Charles Adkinson

cadkinson@wjhw.com

WSC SPORTS

Corporate

Joe DaCosta

joe.dacosta@wsc-sports.com

XYTECH SYSTEMS

Corporate

Greg Dolan

gdolan@xytechsystems.com

ZERO DENSITY

Mobile

Birim Yamanlar

birim.yamanlar@zerodensity.tv

Platinum

John Wastcoat

john.wastcoat@zixi.com

ZIXI

21

9

SPORTSTECHJOURNAL / SPRING 2023

133

THE FINAL BUZZER

INDUSTRY AT A CROSSROADS HEADING INTO NAB

By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial

PUBLISHED BY SPORTS VIDEO GROUP 19 West 21st St., Ste. 301 • New York, NY 10010 Tel: 212.481.8140 • Fax: 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 KEN KERSCHBAUMER, Executive Director, Editorial

kenkersch@sportsvideo.org | 646.205.1810 EDITORIAL JASON DACHMAN, Chief Editor

Welcome to the 2023 Spring SVG SportsTech Journal, digital edition.

Once again, it’s filled with plenty of information and reflection about the sports production industry as well as some of the amazing accomplishments in recent months.

It also provides an opportunity for you to get a bit of a jump on NAB as our sponsors have provided a glimpse at what many of them will be showing at the show next month. And the best thing about a digital edition? It’s super easy to jump straight from our edition to a company’s webpage to get even more information (we’ve come a long way since my early days of publishing in this industry when companies would fax in product information and I would have to re-type it, but I digress).

Usually I would be one to hype NAB, but a combination of travel cutbacks and staff cuts in general mean that many organizations won’t be at the show in a meaningful way. But it’s hard to think of an NAB that is as important to attend as this one. Why? Technology is clearly at a crossroads with IP maturing and cloud services gathering and making sure your company’s team is large enough at the show to truly learn about the benefits and pitfalls of new offerings is more important than ever.

Previous transitions like the move from linear to non-linear editing, tapeless acquisition, and even HD could all be done in islands that would take a couple of years to spread throughout an organization. But the move to IP and the cloud requires a bit more of a holistic approach... and that also means one has to be sure the best decisions are being made for an organization. And that, in turn, means a greater need for education, information exchange, and hunting for new workflows on a show floor with as many coworkers as possible. Yes, it may mean a couple of thousand dollars more in a travel budget, but it could also mean hundreds of thousands of savings by ensuring your company heads in the right direction.

Exacerbating the need for a big team at NAB is simply that it has been nearly four years since the show has been in a relatively “normal” state. In 2020 and 2021, the show didn’t happen due to the pandemic and even last year’s show was a shadow of what the show has been. This year’s show feels destined to be normal... and also will be cramming three years of innovation and development into the Central, North, and West Halls.

The good news is our coverage of all the technology developments at NAB don’t end here with our SVG SportsTech Journal. We have our SVG SportsTechLive at NAB Blog, which is already up and already includes “all the news that’s fit to print” from both sponsors and non-sponsors alike. And at the show floor, we’ll have arguably the largest editorial team onsite as our SVG U.S. and SVG Europe teams combine forces to make sure we get you all the information you need.

Innovation never stops and neither does our desire to help your organization find the best technology to deliver the best production to sports fans around the globe. <

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SPORTSTECHJOURNAL / SPRING 2023

jason@sportsvideo.org | 646.861.2373 BRANDON COSTA, Director of Digital

brandon@sportsvideo.org | 646.861.2370 KRISTIAN HERNÁNDEZ, Senior Editor kristian@sportsvideo.org | 646.880.4902 SAMANTHA GABAY, Digital Content and Social Media Coordinator samantha@sportsvideo.org | 646.448.9570 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

ALICIA HOPKINS, Meetings and Events Manager

alicia@sportsvideo.org | 646.880.4901

ANDREW LIPPE, Membership & Client Services Manager

andrew@sportsvideo.org | 212.481.8133

CRISTINA ERNST, Event Operations Director

cris@sportsvideo.org | 917.309.5174 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 DYLAN DAVIDSON, Sponsorship Coordinator dylan@sportsvideo.org | 646.559.0435 SVG EUROPE JOE HOSKEN, General Manager

joe@sportsvideo.org Tel: +44 74290 90134 ABOUT SVG

The Sports Video Group was formed in 2006 to support the professional community that relies on video, audio, and broadband technologies to produce and distribute sports content. Leagues, owners, teams, players, broadcasters, Webcasters, and consumer-technology providers have joined SVG to learn from each other, turn vision into reality, and implement innovations, while sharing experiences that will lead to advances in sports production/ distribution and the overall consumer sports experience.

SportsTech Journal is produced and published by The Sports Video Group.

SportsTech Journal © 2023 Sports Video Group.

PRINTED IN THE USA.