2024 SportsTech Journal

ADVANCING THE CREATION, PRODUCTION, & DISTRIBUTION OF SPORTS CONTENT

LIVE FROM THE PARIS OLYMPIC GAMES

SVG EVENT RECAPS: Sports Graphics Forum, SVG Venue Summit, Sports Cloud Production Forum, SVG College Summit, Regional Sports Production Summit, and More

WHITE PAPERS: Amagi, AWS, Calrec, Dolby, Grass Valley, Sony, and Vizrt

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Advanced Analysis

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FROM THE CHAIRMAN

THE RISE OF MIXED REALITY IN SPORTS PRODUCTION

By Mike Davies Sports Video Group, Advisory Board Chairman

Virtual reality has seen its fair share of experimentation, and while not all of it has proven successful, there’s no denying its resurgence in exciting new ways. One example is Cosm, a company that has taken virtual reality to a whole new level. With venues in Los Angeles, Dallas, and more on the way, Cosm has essentially created life-sized virtual reality through group immersive experiences. It’s impressive, to say the least. Alright... Jeb (CEO of Cosm), give me my twenty bucks to say that.

Sitting under the LED dome at Cosm, surrounded by the immersive visuals, I couldn’t help but think about how these types of “volumes” have grown in the sports industry. The world of immersive content has expanded rapidly, and we’re only beginning to scratch the surface of how LEDs can be used for both production and presentation.

Take Cosm’s experiential side, for example. While the company focuses on creating immersive environments, LEDs have also made significant strides in live production and film. At Fox Sports, Stage A — designed by Gary Hartley, Zac Fields, and their amazing team of engineers and artists — has pushed the boundaries of what’s possible within the four walls of a studio. Interactivity and immersion have breathed new life into studio shows, turning the set itself into a dynamic part of the production.

Gone are the days when monitors were the only changeable element in a studio. Now, entire sets are customizable, interactive, and immersive. Augmented reality (AR) can be used to track Unreal Engine graphics in the foreground while blending seamlessly with immersive graphics in the background. However, this evolution doesn’t come without challenges.

For one, large virtual sets are incredibly complex. As with any complex environment, the potential for problems increases. Additionally, these setups are expensive. From the cost of LED walls to the tracking technology required to make it all work, creating a fully interactive set requires collaboration with multiple vendors. Additionally, the volume is consistently hungry for new content that needs to be designed and implemented.

Beyond the studio, AR has also become a staple in live sports production, with expectations growing in tandem with the scale of the event. Platforms like Unreal give us a foundation to build upon, while companies like Pixotope and Stype provide the means to bring these virtual worlds to life. However, the technology behind camera tracking — the process by which virtual elements are seamlessly integrated with real-world footage — is still evolving.

While tracking in controlled environments like studios or with fixed cameras has become more reliable, things get trickier when cameras move. Whether it’s a Steadicam, Skycam, or handheld camera, maintaining perfect alignment between the virtual and real worlds remains a challenge.

Many promising technologies have stumbled when confronted with the complexities of moving cameras, resulting in issues like drifting or jittering graphics. However, we’re getting closer to a solution. While we’re not at 100% perfect tracking yet, the technology has improved significantly, and we now have several viable options to choose from.

My prediction is that once we crack the code on tracking moving cameras at a reasonable price point and setup time — especially flying ones like Skycam — the demand for augmented reality elements in live sports production will only increase. As the technology matures and costs come down, these immersive elements will become much more commonplace.

It’s an exciting time for technology in sports production. As someone who’s passionate about this industry, it’s been incredible to work in an environment where you can dream it and then make it happen. As fans, we all want to be immersed in the action, to feel like we’re part of the storytelling. Ultimately, one never wants to use these things for the sake of using them alone; it’s all about passing what I call the “bar test”— can you tell what is being done if you’re sitting at a bar watching the game?

Or, you could just head to Cosm, where the entire venue IS a bar. <

> CHAIRMAN

ASSOCIATION LEADERSHIP

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

> EXECUTIVE COMMITTEE

Ken Aagaard, SVG Chairman Emeritus and Sports Broadcasting Hall of Fame Chairman

Craig Bernstein, NBC Sports, VP, Remote Technical Operations and Engineering

Andrea Berry, NBCUniversal –Telemundo and Latin America, EVP, Operations and Technology

Chris Brown, WBD Sports, VP, Technology and Operations

Jason Cohen, CBS Sports and CBS Sports Network, VP, Remote Technical Operations

Mike Connelly, Bally Sports, Regional Networks EVP

Steve Hellmuth, SVG Chairman Emeritus

Jeff Jacobs, NEP GROUP, SVP, 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

Peter Angell, Sunset+Vine, CEO

Dave Barry, NBA, SVP, Head of Broadcast Operations & Engineering

Craig Bernstein, NBC Sports, VP, Remote Technical Operations and Engineering

Marsha Bird, NBC Olympics, VP, Olympic Operations

Eric Black, Edgio, Chief Technology Officer / GM, Media

Onnie Bose, NFL, VP of Broadcasting

Dylan Boucherle, Warner Media/Turner Studios, VP, Technology Strategy and Media Workflows

Kendall Burgess, MLB, VP of Operations, Local Media

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

Michael Cohen, United Soccer League, EVP and Head of Broadcasting and Media

Scott Davis, CBS Sports, VP of Broadcast Operations

Ken DeGennaro, NBA, SVP of Media Operations and Technology

David Dukes, PGA Tour Entertainment, Senior Director, Technical Operations

Patti Fallick, USTA, Managing Director, Broadcast

Zac Fields, Fox Sports, SVP, Graphic Technology and Integration

Mike Francis, CBS Sports, VP, Engineering and Technology

Karen Ganjamie, MLB Network, VP, Broadcast Operations and Network Origination

Nick Garvin, Mobile TV Group, COO

Jerry Gepner, IABM, CEO

Scott Gilles, SkyRae, President

Ken Goss, NBC Sports, SVP of Remote Operations & Production Planning

Scott Gutterman, PGA, SVP Digital Operations

Mark Haden, NHL, Group VP, Broadcast Technology

Rob Hedrick, NHRA, Tech Manager, Director of Production and Supervising Producer

Deb Honkus, NEP Broadcasting, Chairman of the Board

Jeff Jacobs, NEP Group, Head of Production

Darryl Jefferson, NBC Sports and Olympics, SVP, Broadcast Operations and Technology

Robert D. Jordan CVE, 1337 Facilities, CEO; Venue Road, Founder

Glen Levine, NEP, President, U.S.

Louis Libin, Broad Comm, President

Ken Miller, Amazon, Director, Live Content Production and Operations

Grant Nodine, NHL, SVP, Technology

Phil Orlins, ESPN, VP, Production, MLB, Little League & College Baseball

Del Parks, Sinclair Broadcast Group, SVP and CTO

Michael Raimondo, PGA TOUR Entertainment, VP, Broadcast Technology

Scott Rinehart, Fighting Irish Digital Media, Broadcast Technology Program Director

Larry Rogers, FirstInTV, President

Amy Rosenfeld, NBC Sports, SVP, Olympics and Paralympics Production

Scott Rothenberg, NEP, SVP, Technology and Asset Management

Oscar Sanchez, FIFA, Head of Host Broadcast Production

David Schafer, MSG Networks, SVP, Operations

Tracey Shaw, Digital Joy, President and Co-Founder

Scott Sokol, MLB Network, VP, Media Operations

Don Sperling, New York Giants Entertainment, VP and Executive Producer

Jared Stacy, Amazon, Director, Global Live Sports Production

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, EVP, Creative Studio and Marketing

Larry Tiscornia, NEP Group, VP, Production Services

Jacob Ullman, Fox Sports, SVP, Production and Talent Development

Eli Velazquez, NBCUniversal Telemundo Enterprises, EVP of Sports

John Ward, Amazon, Senior Manager, Technical Operations

Mike Webb, YES Network, VP, Broadcast Operations

Mike Werteen, NEP, Global President, NEP Broadcasting Services

Dave Zur, KSE Media Ventures, SVP, Operations & Engineering

>

EMERITUS / CONSULTANTS

Glenn Adamo, Ivanhoe Media and Entertainment, President

Tab Butler, Industry Consultant

Joe Cohen, Industry Consultant

Don Colantonio, Industry Consultant

Jim DeFilippis, Industry Consultant

Ed Delaney, Industry Consultant

Jed Drake, Industry Consultant

Ed Holmes, The Holmes Group, Principal

George Hoover, Industry Consultant

John Kvatek, Industry Consultant

John Leland, PSL International, LLC, Principal

Jodi Markley, Industry Consultant

Geoff Mason, Industry Consultant

Ken Norris, Retired

Gary Olson, GHO Group, Managing Director

Mike Rokosa, Industry Consultant

Bruce Shapiro, Broadcast Consulting

Jerry Steinberg, Industry Consultant

Ernie Watts, MegaWatts B/IT Tech, Founder and CEO

Jeff Willis, Industry Consultant

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PLATINUM SPONSORS

LOOKING AROUND AT A FAST-MOVING INDUSTRY

By Karen Hogan Ketchum, Sports Video Group, Director of SVG Services and Editor, SportsTech Journal

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It’s hard to believe that only three years have passed since the postponed Tokyo Olympic Games, and yet remote workflows that were born out of necessity during those Games have not only become commonplace, they have completely transformed the way that Olympic production is done. What might have seemed impossible pre-pandemic is simply the way things are done these days, and from what our SVG and SVG Europe teams saw at the Paris Olympic Games, there’s no turning back. To paraphrase an ’80s classic, sports production moves pretty fast. You don’t stop and look around once in a while, you could miss it.

In producing this year’s SVG SportsTech Journal, stopping and looking around is exactly what we’re doing. It would be easy to move on quickly from Paris 2024 to the next big thing — after all, we’ve already traveled to Amsterdam for the IBC Show and hey, the next Olympics AND FIFA World Cup are less than two years away — but to do so would be a disservice to the incredible amount of work that went into delivering countless hours of Olympics coverage to a global audience. Not to mention, while the Tokyo Olympics certainly showed the tenacity of our industry, the Paris Olympics showcased the joy, and we must pay tribute to that.

Beginning on page 18, we devote a whopping 25 pages to 2024 Paris Olympics coverage. We go behind the scenes with NBC Olympics in both Paris (page 20) and Stamford (page 26); sit down with some of the key figures in Olympics production like Darryl Jefferson (page 30) and Amy Rosenfeld (page 32); and run through some of the technological highlights of this year’s Games like Gold Zone, Highlights Factory, immersive audio, and much more (pages 34-38). We also catch up with the teams from Telemundo (page 40) and OBS (page 44), as well as global broadcasters from around North America, Europe, Asia, and Oceania (pages 52-64). Of course, the coverage found in these 25 pages only scratches the surface of SVG and SVG Europe’s comprehensive coverage of the Summer Games. For much, much more, be sure to check out our SportsTechLive Blog: Direct From the Paris 2024 Olympic Games

This year’s SVG SportsTech Journal shines the spotlight on the latest technological trends impacting the industry with seven White Papers from seven industry-leading companies. Turn to page 66 for Amagi’s “Mastering Ground-to-Cloud Migration”; AWS’ “NHL Breaks the Ice With Cutting-Edge Live Cloud Production” (page 70); Calrec’s “Bringing the OB Truck to the A1: Remote Mixing With Calrec’s Type R” (page 74); Dolby’s “WAVE-TV takes the lead with historic Kentucky Derby NextGen TV Broadcast (page 78); Grass Valley’s “Remote Productions With Lower Bandwidth Requirements” (page 82); Sony’s “HDR/SDR Workflows for Live Production Applications Utilizing Sony’s SR Live 3D-Luts” (page 86); and Vizrt’s “Score More With Social: How To Engage Sports Audiences in the Digital Age” (page 90).

And, for more technological insights into top industry trends, turn to page 94 for Sponsor Updates from more than 250 SVG Sponsors, including several product announcements from IBC 2024.

Rounding out the SVG SportsTech Journal, as always, is a look back at some of our own events. Once again, SVG had a jam-packed year featuring a number of new and returning events, including our first-ever event in India. Turn to page 10 for a recap of this year’s Sports Graphics Forum, SVG Venue Summit at Allegiant Stadium, Digital Engagement Forum, Sports Cloud Production Forum, SVG College Summit, Regional Sports Production Summit, and Sports Content Management Forum. On page 16, we spotlight three of our Associated Events: Silicon Valley Video Summit, SVG India Summit, and SVG Australia Summit, as well as provide a sneak peak at the next few months, including our annual SVG Summit in NYC on December 16-17.

Don’t miss it. CLICK HERE to register today! <

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SPORTS VIDEO GROUP

EVENTS RECAP 2024 IN REVIEW

> SVG SUMMIT

NEW YORK CITY DEC 11-12, 2023

CLICK HERE TO WATCH

The 17th-annual SVG Summit brought together more than 1,500 sports-production professionals at the New York Hilton Midtown hotel on Dec. 11-12, 2023, for two days of informational panels and workshops, cuttingedge–technology showcases, and, most important, plenty of opportunities for attendees to network face-toface and catch up with friends old and new. The first day of the SVG Summit once again featured a full day of workshops — eight in all — offering a detailed look at the industry’s latest technology trends. And on Day 2, leaders from Remote Production Providers, National Broadcasters, RSNs, and Women’s Sports took the main stage for a day of general sessions punctuated by a keynote conversation with Telemundo EVP, Sports Eli Velazquez.

Fox Sports’ Mike Davies

From left to right:

SVG’s Ken Kerschbaumer, Dome Productions’ Mary Ellen Carlyle, Program Productions’ Robert Carzoli, Mobile TV Group’s Nick Garvin, Game Creek Video’s Pat Sullivan, and NEP’s Mike Werteen

> SPORTS GRAPHICS FORUM

NEW YORK CITY FEB 21

CLICK

The SVG Sports Graphics Forum returned to New York City on February 21, drawing a record crowd of more than 250 sports-graphics technology and creative leaders to The Cutting Room to share ideas, network, and discuss the latest developments in this rapidly evolving industry. The event drew attendees from CBS Sports, ESPN, Fox Sports, NBC Sports, and TNT Sports; MLB, NBA, NFL, NHL, and PGA Tour; a variety of pro and college teams, regional sports networks, and top creative agencies; and Amazon Prime Video, EA, Epic Games, Meta, and dozens of other leading technology companies. The program was spearheaded by the SVG Sports Graphics Advisory Committee and its Chair, ESPN Creative Director Tim O’Shaughnessy.

HERE TO WATCH

ESPN Creative Studio’s Isa Bristol (left) and Amy Nelson

CBS Sports’ JP LoMonaco (left) and Komal Bhukhanwala

> SVG VENUE SUMMIT

LAS VEGAS MAR 4

CLICK HERE TO WATCH

Less than a month after hosting the largest single-day sports event on the planet, Allegiant Stadium welcomed the SVG Venue Summit to Las Vegas on March 4. The event, which drew more than 200 sports-production professionals from 50+ teams and venues, spotlighted the state-of-the-art NFL venue and its role in pulling off Super Bowl LVIII, as well as the latest advances in venue technology, creative videoboard content, and best practices for game-day entertainment.

> DIGITAL ENGAGEMENT FORUM

NEW YORK CITY

MAR 20

CLICK HERE TO WATCH

Formerly the SVG Sports OTT Forum, 200 industry professionals from leagues, teams, broadcasters, and manufacturers attended the 2024 SVG Digital Engagement Forum in New York City on Wednesday, March 20. With the growing trend of engagement through means like live streaming, advanced data integration, interactivity, gamification, alternate video feeds, and more, the day-long event was dedicated to showcasing the technologies and creative visions that are delivering can’t miss experiences for domestic and international sports fans.

SVG’s Brandon Costa (left) and ESPN’s Allison Loucks

From left to right: SVG’s Ken Kerschbaumer, Team Whistle’s Joe Caporoso, Barstool Sports’ Brian Fitzsimmons, NHL’s Chris Foster, FloSports’ John Turner

Las Vegas Raiders’ Justin Casserly

EVENTS RECAP

> SPORTS CLOUD PRODUCTION FORUM NEW YORK CITY MAY 16

CLICK HERE TO WATCH

While the sports production industry has made great strides in the live cloudbased production of sports events in recent years, there is still much work to be done — and much discussion to be had. The SVG Sports Cloud Production Forum, which took place in New York City on Thursday, May 16, provided sports-videoproduction community with a chance to gather, collaborate, and share insights on the current state of live cloud-based production, the cloud’s place in the sports production ecosystem, and what the industry needs to do in order to leverage cloud-based tools and services in more pragmatic and beneficial ways.

Top left: ESPN’s Chris Strong

Bottom left: PGA TOUR’s Anthony Renda

NASCAR’s Patrick Carroll (left) and AWS’s Andrew Reich

> SVG COLLEGE SUMMIT ATLANTA

CLICK HERE TO WATCH

MAY 29-30

As the college-sports industry undergoes seismic change, the video-production portion of the community came together this week for the annual SVG College Summit in Atlanta. With more than 500 college-sports broadcasters, athletic-video producers, technologists, and representatives of a wide variety of universities, collegiate conferences, and technology vendors in attendance at the Hyatt Regency Atlanta, the Summit served as an invaluable confab for the community to discuss the latest challenges and opportunities facing the industry.

From left: SVG’s Ken Kerschbaumer, Vizrt’s Chris Burgos, Diversified’s Patrick Daly, Quince Imaging’s Liam O’Hanlon, Notre Dame Studios’ Scott Rinehart, Ross Video’s Stefan Tribble, and Georgia State’s Chandler Apple

Spalk’s Ben Reynolds (left) and University of Wyoming’s Dennis Trapani

EVENTS RECAP

> REGIONAL SPORTS PRODUCTION SUMMIT

DENVER JUNE 26-27

SVG’s Regional Sports Production Summit headed to Denver on June 26-27, bringing RSN and local-sports-media leaders together to share ideas, learn from one another, and discuss the challenges and opportunities ahead for this rapidly changing sector of the industry. This annual event, which was held at the Grand Hyatt in the heart of Downtown Denver, provided a gathering place for regional-sports leaders and content creators to address the pertinent issues facing their sector as the business undergoes seismic change on multiple fronts. More than 250 RSN and local-sports-media leaders attended the event covering the latest developments in live-production workflows, DTC and authenticated streaming, sports betting and alternate telecasts, 4K HDR and other next-gen technologies, labor and crewing, league and team relationships, and what the future holds for the regional sports media rights.

Bottom left: From left: Former Executive Producer of ATTSN Rocky Mountain Brian Mitchell, Monumental Sports Network’s Ryan Billie, YES Network’s Jared Boshnack, NBC Sports Bay Area & California’s Devon Fox, Altitude Sports & Entertainment’s Matt Krol, and SNY’s Matt Sandulli

> SPORTS CONTENT MANAGEMENT FORUM NEW YORK CITY JULY 24

The annual SVG Sports Content Management Forum returned to New York City on July 24, as more than 230 industry professionals attended to learn about the latest in sports media- and workflow-management. Developed by Sports Video Group’s Sports Content Management (SCM) Advisory Committee and its Chair Anne Graham, Manager, Media Strategy & Project Planning, Warner Brothers Discovery, the event spotlighted the current state of the industry and how sports-media organizations can future-proof their content in an ever-changing world. Key topics included adapting to remote and hybrid workflows, storage and archiving on prem and in the cloud, the rise of AI and ML, best practices in metadata assignment and management, MAM and orchestration planning, and much more.

Bottom right: NASCAR’s Chris Wolford

CLICK HERE TO WATCH

CLICK HERE TO WATCH

ASSOCIATED EVENTS SPOTLIGHT

> SILICON VALLEY VIDEO SUMMIT

MOUNTAIN VIEW, CA JAN 23

CLICK HERE TO WATCH

The Silicon Valley Video Summit is where video and broadcast meets big tech. On January 23, 2024, right in the heart of Silicon Valley, the event once again hosted a landmark exchange of thought leadership on the state of enterprise video production and technology. SVVS has already become the annual video and broadcast event of the year for big tech video users and developers.

> SVG INDIA SUMMIT MUMBAI APR 30

CLICK HERE TO WATCH

The inaugural SVG India Summit was held on April 30 at the Star Sports headquarters in Mumbai, bringing together more than 120 sports-production professionals from across India for a day of panel discussions and networking focused on one of the world’s growing sports marketplaces.

> SVG AUSTRALIA SUMMIT SYDNEY MAY 23

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SVG returned Down Under for the 2024 SVG Australia Summit, where leaders in sports TV and video production took to the stage to discuss the most recent trends and workflows in sports video production and distribution. Attendees received a chance to gather, collaborate, and share insights on the current state of live sports production in Oceania. Topics included generative AI, live production in the cloud, FAST channels, the state of women’s sports, and much more.

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LIVE FROM THE Paris Olympic Games

Everyone expected the 2024 Paris Olympic games to be an amazing event, but it wasn’t until we actually experienced it that it became clear just how special it was. The viewership numbers were record breaking. The athletes’ combination of grace, speed, and strength was inspiring. And the iconic landmarks around Paris — which are arguably the most beautiful in the world — were stunning. For Olympic Broadcast Services (OBS) and dozens of sports broadcasters the event was the culmination of years of planning and months of execution, delivering more true UHD and Surround Sound coverage than the world has ever seen. On the following pages, SVG brings you the story of how the 2024 Paris Olympics were produced by those in Paris as well as those working from afar. For complete coverage of the Olympics, CLICK HERE

NBC’s Paris Broadcast Operations Take ST 2110 to New Heights at the IBC and Beyond

NBC’s footprint for the Paris Olympics was 3,400 sq. meters, down from 5,500 sq. meters for the Tokyo 2020 Olympics. But the broadcaster packed a lot of firepower into that smaller footprint, a place that Todd Donovan, VP, engineering and technology planning, NBC Sports and Olympics called “NBC’s Forward Operating Base.”

“It’s where everybody gets provisioned and deals with things like Games event management, logistics, and food, but it is also our technical hub,” Donovan explained. “[At its heart is] our Broadcast Operations Control, and the BOC has a big function for these Games: it collects more than 80 world feeds from OBS.”

At the BOC, the engineering team monitored not only the OBS feeds but many of the incoming feeds from NBC efforts at the various venues and studios.

For the first time ever, those feeds — everything from event coverage to highlights, beauty camera shots, and more — were taken in by NBC Olympics via a SMPTE ST 2110 stream.

“Normally, we would take them in over 12-Gbps optical,” he said, “and it would be more SDI, ‘video-ish’ style. But now it’s 2110 streaming media, and it comes at us as a multicast. We’re catching that multicast at 4K UHD and converting it to 1080p50 HDR.”

At the core of that transport was a Cisco fabric with a Grass Valley routing-control layer. A Lawo VSM system was used for panel presentation at the IBC. (In Stamford, CT, that operation moved over to EVS Cerebrum).

Making the move fully to ST 2110 paid dividends when it came to setup. “When you are the forward operating base,” said Donovan, “you need to throw things together relatively quickly, and an IP-based environment goes together faster [than an SDI environment]. It means fewer physical cables because fiber carries many more signals. It is also remarkably reliable and scales better. You can have the router very easily do 1080p, 1080i, 4K, HDR or SDR. If it is properly provisioned, it doesn’t care [what the signal is].”

The trick in going to ST 2110 is accepting that, although you will save time pulling cables and fabricating connectors, you also need to have the staff on board to handle IP configuration.

“The elegance of ST 2110,” Donovan explained, “is that there are consoles with only a couple of fibers going to it and they can feed a whole host of devices. If somebody wants to add something, like a monitor, we

Todd Donovan and the NBC engineering team oversaw operations in Paris at the IBC that were tightly tied into home operations in Stamford.

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LIVE FROM PARIS 2024: NBC — PARIS

don’t need to have firefighters standing by to pull a battery of cables from the equipment room; it’s just one more port on an endpoint card.”

NBC took the 1080i SDR feed as a backup to upconvert to 1080p50 in the event of a failure.

“Stamford will get what they’re expecting all the time, which is 1080p50 HDR,” he said. “We do that by handing off the signals to Media Links as part of our AT&T agreement. They handle international transmission to America via two 100-gig circuits that are protected, so it’s more like 400 Gbps. We have two other 10-Gbps circuits also protected to go across the ocean.”

Located next door to that massive video wall was a small shading area, which was new for this Olympics. About 18 cameras were shaded there: cameras used at the smaller venues, by unilateral crews, at the mixed zones, or in the insert studio at the IBC. NBC cameras at large, A-level venues — swimming, athletics, gymnastics — as well as at the four Trocadéro studios were shaded in the trucks at those venues.

“We have great video guys at the IBC with great eyes looking at great scopes in ideal conditions,” noted Donovan. “Being part of the BOC, they have situational awareness as to what’s going on.”

One area of the facility that showed the impact of IP and the move to next-generation technologies was the main equipment room, which was located next to the room where Aggreko provides technical power with NBC-owned uninterruptible power-conditioning units. In the equipment room, NBC’s RIB (Racks in a Box) units housed the hardware behind the control surfaces throughout the IBC, including the fiber platform, the brains of the IP router, standards converters, media management, and file transfers. Two racks called “Meet Me Rack One and Two” were demarcation points between the OBS optical connections and the NBC infrastructure. Previously converted to electrical connections, the optical path was maintained into Grass Valley XIP cards.

“That was what we envisioned when we conceived this a long time ago,” Donovan explained. “It spits out into our ST 2110 environment with all the frame-syncing and channel-mapping capabilities it is supposed to have. We did a test with OBS in Madrid in October to make sure that it worked.”

As with every Olympics, getting the IBC planned, set up, and running was a multi-year effort. OBS took over the building on Jan. 1 and begin putting up the wall systems, ceilings, and other infrastructure and design elements.

“We submitted our final plans about six months prior to that,” said Donovan. “This hall is brand new with modern, sustainably built infrastructure and much higher base-building ceilings than the other halls.”

NBC took delivery of the building in mid-May and, by the end of the month, had created a beachhead. “The process was about putting the furniture in place and starting to move in our RIBs, which are our big racks loaded with the technology, as well as delivering the tools for the wiring crew. Then our early engineers started setting everything up.”

Soon the WiFi was up, and the facility became ready to accommodate more than 1,500 NBC staffers who head to the IBC, get equipment, get questions answered, and more before beginning their assignment.

NBC’s operations at the IBC have become a well-oiled machine. In many ways, the physical setup is consistent from one Games to the next,

providing muscle memory for staffers working more than one Games. The pandemic, and the Beijing Games in particular, did create some new workflows, such as the NBC primetime-control room relocated to Stamford.

NBC had two production galleries in Paris — one at the IBC, the other at the Trocadéro studio — allowing producers and talent there to feel as if they are in the same room as the team in Stamford. The Stamford team, in fact, built out the monitor-wall configuration for those galleries, ensuring that, when someone references a feed in a monitor in one gallery, it was in the same monitor-wall location for everyone. A small telepresence allowed everyone to see all the galleries.

“The basic concept,” Donovan explained, “is that it’s a copy of a good part of the monitor wall in Stamford and that wall is reflected to the Trocadéro, here at the IBC, and to a conference room in our Stamford building. When [staffers are in] the control room, great, and, when they’re not in the control room, they kind of retire to this conference room to plan the next show. They can also keep an eye on all the different networks that NBC has televising the Olympics, as well as the outputs of the edit rooms at the different venues, the line cuts of the different trucks, all the Stamford control rooms doing their thing, and individual remotes. But everyone sees the exact same wall.”

One outgrowth of COVID protocols was that shop operations — where cameras, lenses, and other gear are readied and repaired before heading out to the field — were part of NBC’s presence at the IBC, instead of at an external warehouse. “It made sense to keep the engineering team together in the building,” he said. “Because some other things moved to the city center — mainly our primetime studio, our daytime studio, and a whole lot of office support — we had the space.”

Although Stamford may have had the majority of booths for talent to call competitions or do voiceover work, NBC had two off-tube booths and two regular announce booths at the IBC. Off-tube capabilities connected talent in Stamford and talent in Paris, allowing them to call the same event; spy cameras enabled them to see each other and provide visual cues as if they were side by side.

“If we put an NBC or Peacock logo on it, we put an NBC voice on it,” said Donovan. “It’s how we tell our story. If it just goes out over the internet, it might be an OBS voice. That’s why we need 40 announce booths between here and Stamford, as we have added more and more hours over the years.” – Ken Kerschbaumer

NBC Olympics’ Broadcast Operations Control (BOC) in Paris

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LIVE FROM PARIS 2024: NBC — PARIS

NBC Olympics Venue Operations Shine at Aquatics, Gymnastics, and Athletics

NBC Olympics relied heavily on the Olympic Broadcasting Services (OBS) world feeds for a good portion of their event coverage in Paris, but for three specific venues where Team USA was frequently seen on the podium, NBC deployed additional resources for those competitions so it could produce its own coverage. Through their relationship with OBS, these enhancements included various unilateral cameras and onsite production facilities provided by NEP, which were located in the venue compounds.

“The big three — swimming, athletics, and gymnastics — are where we have our biggest presence,” said Chris Connolly, VP, venue technology and engineering, NBC Olympics. “[These resources] help us concentrate primetime and the best moments from that days competitions, which air live on the networks of NBC and streaming on Peacock.”

The NBC Olympics aquatics production team produced tons of swimming coverage during week one of the Olympics.

sive amount of connectivity from the IBC to Stamford in order to get other event coverage signals back to the control rooms in Stamford that was handling the other events.

At the core of the operation was a fleet of NEP trucks at the trio of venues, including NEP Caspian and Albiorix at Stade de France for athletics, which moved from the Trocadéro to the stadium after Friday evening’s Opening Ceremony; NEP Venus and Mercury at Bercy Arena for gymnastics; and NEP Ceres at Paris La Defense Arena for swimming.

With their own production teams onsite, NBC put a clear focus on American athletes. The production teams utilized OBS camera splits to help augment their own unilateral cameras to tell a more U.S.-centric story.

In addition, NBC had a domestic mobile unit at their headquarters in Stamford, CT specifically dedicated to Daytime Live Gymnastics and later for Semi-Finals & Finals of both Men’s & Women’s Basketball.

Of the three venues, the most challenging production was athletics because of the simultaneous events happening with both track and field.

The three top venues also had dedicated editing facilities for turn around show editing. Those edit facilities allowed the NBC Olympics production team to edit the morning sessions and get them ready for primetime coverage on NBC (those events also streamed live on Peacock, leveraging OBS’s original world-feed production). Although NBC Olympics had this added wrinkle of tech firepower, it still relied heavily on OBS’s world feed.

The three main venues also had dedicated and direct connectivity back to Stamford via 10Gig circuits, but NBC had a mas-

“We have a total of 240G of connectivity that is sending video from the IBC to our U.S.-based control room,” added Connolly.

“We also have a full redundant network that goes between Stanford, 30 Rock [in New York City]; Englewood Cliffs, NJ; Denver, CO and Telemundo Deportes in Miami.”

Diving deeper into the technical execution of primetime, NBC Olympics used 32 total LiveU bonded-cellular flypacks to compile ancillary content that surrounded any of the venues as well as other feature elements around Paris.

“At most venues and around the city of Paris, our ENG crews will tap into these devices to capture the atmosphere around the stadiums or show athletes upon their arrivals before they compete and display the amazing sites of Paris” continued Connolly. “These will also be used in mixed-zone interview areas for the smaller competitions to send these feeds back home.”

This was Connolly’s first Olympics heading up venue operations as previously he oversaw the transmission side of things. He still configured the transmission puzzle for Paris, but the being involved in venue operations gave him a new appreciation of the massive undertaking it takes to produce an Olympics.

“Other tentpole event like the U.S. Open, Ryder Cup, or the Super Bowl is one event where you can put all of your resources towards that one production,” he said. “I never realized how difficult it is to coordinate a dozen productions at one time and make sure that every single thing goes correctly.”

– Kristian Hernández

Behind the Scenes at NBC Sports’ Record-Setting At-Home Operation in Stamford

NBCUniversal’s Tom Popple: “We have some amazing studios here. We also add researchers, writers, and other [support] people for extra support.”

Since cutting the ribbon on its Stamford, CT, broadcast center following the London 2012 Games, NBC Sports Group has escalated the facility’s role in its Olympics broadcast operations with each successive Games.

Implementation of the at-home efforts were accelerated for the Tokyo 2020 and Beijing 2022 Games because of COVID-related challenges, and NBC hasn’t looked back. Stamford was squarely at the center of NBC’s Paris 2024 production with more technical infrastructure, crew, and live shows located there than ever before.

“The period of COVID production expedited a lot of technology and infrastructure that would have been implemented down the road but out of necessity were fast-tracked,” said NBC Olympics Production Executive Producer/President Molly Solomon. “We are now one unified team: there’s no evidence of distance between us [in Paris and Stamford] because of three years of planning between production, operations, and engineering. There is no latency in our interaction. Aren’t you always on a headset anyway [no matter where you are]?”

Nearly 2,000 NBC Sports staffers — nearly two-thirds of the entire Olympics coverage team — worked at the division’s headquarters in Stamford, handling what ultimately was more than 7,000 hours of programming across NBCUniversal’s linear and digital platforms. While the team in Paris focused on capturing the Olympic action as it played out, it was up to the crew in Stamford to take in thousands of live and ENG feeds from Paris and package them for the millions of viewers watching.

NBC Sports’ Kevin Callahan: “Production members get quickly acclimated to the new systems and new facilities, thanks to the flexibility we’ve created here.”

“The collaboration between Engineering, Operations, and Production is so closely knit and is key to our culture here at NBC Sports,” said Tim Canary, SVP, Engineering, NBC Sports. “As with any production, teamwork across all of our groups is critical. I couldn’t be happier with the team here and proud to see the ownership and growth from everybody who has pulled together to make our Olympics productions a success.”

During the 19 days of Paris 2024 coverage, Stamford housed 17 productioncontrol rooms, the lion’s share of NBC’s live studio productions, 28 off-tube announce booths, a dozen “flex rooms” that could serve a variety of needs, 24/7 live ingest and editing, the massive Highlights Factory operation, the broadcast-operations center, and more.

Like NBC’s Paris effort, the Stamford operation was a fully 1080p HDR, 50-Hz production with 10 channels of Dolby Atmos across the board. In addition, nearly the entire operation relied on SMPTE ST 2110 for video and ST 2110-30 for audio, with a separate Dante network for audio, thanks to significant upgrades in IP technology following Beijing 2022.

“The biggest shift for these Games,” said Kevin Callahan, senior director, system engineering, NBC Sports, “is that everything flows through Stamford in some form. There’s not a single control room in Paris that can go to air without passing through Stamford.”

Stamford’s routing core has grown exponentially with the move to 2110: from roughly 3,000×3,000 to 5,000×11,000 sources/destinations with the new IP router (a Cisco switch with Grass Valley orchestration and EVS Cerebrum

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LIVE FROM PARIS 2024: NBC — STAMFORD

router control). Switchers in the larger control rooms went from having 20 router feeds to 128 feeds. Each control room is outfitted with a Densitron 2RU touchscreen router panel, streamlining operations for the production teams.

“With all the rooms being 2110, the sky’s the limit,” said Callahan. “That has really unlocked our remote workflows. We’re now able to do all our REMI workflows with split video and audio levels. Every control room gets their own source list that they can share across the board so they can name every source whatever they want — just like they do in the trucks. That’s a simple thing, but it has been huge for our production teams.”

The 17 production-control rooms in Stamford comprised 12 full PCRs, four Riedel Simplylive rooms, and one mobile unit. That is up from the 11 PCRs and three mobile units deployed for Tokyo 2020.

PCR2 served as the home of NBC’s Primetime in Paris, marking the second Olympics that the primetime show has been produced in Stamford. The fully ST 2110 control room was outfitted with a Sony XVS-9000 switcher, Evertz ev670 multiviewers, EVS Cerebrum router control, and Calrec ImPulse audio-routing core.

With technical infrastructure and layouts similar to PCR2’s, PCR3 handled USA Network’s round-the-clock broadcasts (being made available to distribution partners in 4K HDR with Dolby Atmos audio), and PCR4 serves the NBC broadcast network’s daytime segments.

Two new fully ST 2110 IP control rooms, PCR11 and PCR12, were completed just prior to the start of Paris 2024. PCR11 was the home of diving during the day, NBC’s live Spotlight on Paris TikTok show from Team USA House in the evenings, and the late-night show closing out the day. The much-hyped Gold Zone whip-around show was produced out of PCR12.

PCR6 was shared by E! network, which carried daily Olympics coverage, and CNBC, broadcasting Olympics content on Saturdays and Sundays. PCR6.1 handled the studio segments for both E! and CNBC; PCR6.2, all live competition coverage on E!. PCR10 handled CNBC’s live event coverage on the weekend.

PCR8 produced all Olympics golf-tournament coverage as well as the Golf Central studio show, which covered both Olympic and non-Olympic golf throughout the day.

PCR7, 9, 13, and 17 were Riedel Simplylive–based systems — featuring a Simplylive Vibox production suite and a Calrec Brio audio console — that

< Live ingest was a 24/7 operation for the duration of the Games.

served as REMI control rooms for multiple competition venues in Paris.

“Those are acting as the venue control rooms for us,” noted Callahan. “Three are mostly dedicated to beach volleyball, preliminary basketball rounds, and cycling road racing. We also use them on a rotating basis. Traditionally, we would have deployed flypacks onsite at the venue and incorporated them into a daypart control room either here or in-country. But this has been a great solution.”

Twelve of the flex rooms featured two-seat, multipurpose workstations serving a variety of needs: graphics, EVS replay, and other roles. Born out of the COVID era, these rooms are equipped with sliding glass walls that allow individual rooms to be combined into a larger space when needed.

The 13th flex room — the eight-seat “super flex room” — was used for “Friends and Family” production. “That’s where we are trafficking all the friends and family of athletes, as well as all the watch parties,” said Callahan. “That [production crew] QCs those feeds, making sure the audio sounds good and pictures look good. They have their own EVS so they can bank interviews or watch parties to be incorporated into later shows.

PCR14 and 15 were Ross Video–based master-control rooms that released world-feed coverage of specific sports throughout the day for Paris Extra 1 and Paris Extra 2 channels being made available to distribution partners.

And PCR17 — actually, Mobile TV Group’s 46 Flex mobile unit parked at the loading dock — was the home of daytime gymnastics before shifting to basketball finals.

Although NBC had several impressive studios in Paris, including the primetime and daytime studios, more live content than ever originated from Stamford’s robust complement of studios.

Studio 1, usually the home of Football Night in America and Golf Central, was split to serve the end of the West Coast daytime broadcast (6–9 p.m. ET) and Live From golf coverage. Studio 2, handling USA Network’s 24/7 coverage, has three eight-hour shifts per day. Studio 3, a new state-of-the-art facility normally housing NBC’s Premier League coverage, serves Gold Zone (5 a.m.–5 p.m.), and Studio 7 is home to E! and CNBC Olympics coverage.

“The biggest change this year is the time difference, which I think is a lot more manageable, and we’re able to deliver a lot more live [content],” said NBCUniversal VP, Studio Operations, Tom Popple. “We have some amazing studios here, and all the talent seems to be comfortable. We also add researchers, writers, and other [support] people to the studio floor for extra support, which is something we don’t always do on regular shows. That has been great.”

“I’m immensely proud of the team,” said Callahan. “We haven’t stopped building since Beijing. We went straight into constructing all these new remote workflows for USFL and golf while also building up for the Paris Games... Our team has been able to help production members get quickly acclimated to the new systems and new facilities, as well as deal with any problems that arise and find quick solutions for them, thanks to the flexibility we’ve created here.” – Jason Dachman

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LIVE FROM PARIS 2024: NBC — STAMFORD

Q&A with Darryl Jefferson

Just three days before the Closing Ceremony in Paris, SVG sat down with Darryl Jefferson, SVP, engineering and technology, NBC Sports and Olympics, to discuss the dual focus on daytime and primetime, how the Stamford, CT, broadcast center has evolved since the Tokyo and Beijing Games, the complicated transmission scheme connecting Paris and Stamford, NBC’s Gold Zone success, and what technologies he’s most excited about both for Paris and in the future.

Let’s start with the basics. What has been the most exciting aspect of the Paris Games for you as we head into the closing weekend?

I think the fact that we’re truly presenting these games live in a way that we’ve never done before is incredibly exciting, but we’re also continuing to deliver on that deeper storytelling that NBC is known for at the Olympics and across all our [properties]. We’re not holding anything back for primetime [as was done with] old-school television. Here, we’re letting it rip during the day with tons of live sports on Peacock and our TV networks. And then the best of the best is curated and packaged for primetime on NBC, with more analysis and more behind-the-scenes [content]. Viewers seem to really be enjoying that formula.

Can you speak to how the Stamford facility has grown and evolved since the Toyko 2020 and Beijing 2022 Games?

We have built so much here in Stamford over the years, so it’s pretty amazing to see how far we’ve come. We moved into the plant in the latter part of 2011, then took real residence in 2012 just after the London Olympics, and it has grown and grown from there. During COVID, we learned so much about how we could effectively do remote production and how we could [better utilize] resources and real estate that we already had in the building for the Olympics.

As an example, we had a number of mobile units in our parking lot during Tokyo and Beijing to augment what we had in the building. But we’ve done so much construction here in the last [few years] that we actually have only one mobile unit here [for Paris 2024] despite its being significantly larger. Everything else is using internal resources that we’ve built, rebuilt, rethought, or reimagined [over the past two years]. Why that makes sense is that we’re able to cover so many more sports concurrently because we’re able to shift resources that are already in the building.

Now we can have a team onsite with local reporters or LiveU crews or similar types of things on the frontend and can add expert commentary or analysis or a control room to integrate the show here [in Stamford]. Also, someone can be in the same chair and pivot from one sport to the next in a remote environment. It has proved to be a really good formula for us.

How do you see these facility enhancements benefiting NBC Sports beyond the Olympics?

It’s going to be a huge leg up. These are things that we can use yearround when we do other sports. We have done this all in a sustain-

able way so that we can do more sports and events year-round. We built things that will be able to help us do an even larger volume of content than we’re already doing. That is going to serve us very well and give us a lot more bandwidth to bring on new [properties], like our [expanded] Big Ten deal, or — and I’m excited to finally publicly be able to say — bring the NBA back to NBC in 2025.

Any other new technologies you’re excited about for Paris 2024 that you see being used more in the future? We’re experimenting a lot with AI, and one of the ways we’re doing that is with WSC Sports automated highlights in our Highlights Factory [operation]. It’s something we wanted to test out to see the results compared with our existing [operation] and [whether] we could help better train the AI engine. One of the biggest challenges is getting the AI engine to understand each specific sport, because there aren’t necessarily models for every sport in the Olympics. Having people who actually played field hockey and water polo in that room working with the system is going to provide a lot more insight in terms of what plays and moments are pertinent and important to each sport.

In the long run, we’re looking for a mix of AI-based and humancuration tools. There will always be a place for both. Based on our findings for Paris, I think, next time around, we’ll figure out the right blend of both. – JD

This interview has been condensed and edited. For full interview, CLICK HERE

CLICK HERE TO WATCH NBC Sports’ Darryl Jefferson Goes Behind the Scenes at Stamford, CT Broadcast Center

Darryl Jefferson has been a member of NBC Sports’ Olympics team for every Games since Beijing 2008.

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LIVE FROM PARIS 2024: NBC — STAMFORD

Q&A with Amy Rosenfeld

When Amy Rosenfeld joined NBC Sports as SVP of Olympics and Paralympics production in June 2022, she brought with her a wealth of experience in bigevent production. During a long tenure at ESPN, she had overseen numerous large-scale international sports events — including Men’s and Women’s World Cups, the X Games, and Indy 500 — as well as the launch of ACC Network in 2019. Despite that extensive résumé, however, Rosenfeld describes her first Olympics in her current role as “unlike anything I’ve ever experienced in my career.”

SVG sat down with Rosenfeld at NBC’s Stamford, CT, broadcast center to discuss how the Paris 2024 production has gone, the exponential growth of NBC’s stateside at-home operation (and how it expands opportunities to enhance the on-air product), appealing to different types of viewers, the overwhelming success of NBC’s Gold Zone whip-around show, and much more.

Does having such a large presence at home in Stamford impact your production strategy? What challenges and opportunities does the at-home operation present from a storytelling perspective?

I give NBC a ton of credit because they had to manage under really tough circumstances [during COVID prior to my arrival]. I think COVID expedited a lot of technology that would have come along anyway. NBC had to fast-track a lot of that, and we haven’t gone back. If you can save some budget because the infrastructure is more nimble or more efficient or you don’t need as many people in-country, you can redeploy those resources to the screen. We want the infrastructure to be as efficient as possible so we can give the best presentation on-air. I do believe that NBC has done a great job of doing exactly that. My boss [NBC Olympics Production Executive Producer/President] Molly Solomon is always asking, “What do you need?” Not “What can you get rid of?”

Can you cite any specific examples of how these resources are being redeployed to enhance the on-screen product?

Molly has put a huge emphasis on additive technology, especially when it comes to better educating the viewer on sports that are not part of our everyday lives. We refer to it as “relatable awe”: how do you express what the g-force is for a gymnast doing a vault? I remember, back in my X Games days, we used the analogy that a snowmobiler doing a back flip was like strapping a refrigerator to your back, standing on a diving board, and doing a double back flip. We try to convey the power, the strength, and the speed of competition. The cameras don’t always properly capture that, so we’re working on ways to provide viewers with visuals to demonstrate just how amazing these athletes are.

How are you producing content to appeal to a variety of viewer tastes? For example, live daytime coverage varies drastically from primetime coverage, and Gold Zone is another animal altogether.

With NBCSN and The Olympic Channel sunsetting, I think, it has streamlined the ability to navigate people to the right place. That’s so important. Yes, we still have [the NBC broadcast network], USA, and E! churning all day long plus CNBC on the weekend, but it’s definitely more streamlined because Peacock can be the hub for everything we do and the networks can spin off that.

The European time zone presents challenges that we view as

NBC Sports’ Amy Rosenfeld: “We’ve got the basics down and are exploring what that next level looks like.”

opportunities. It doesn’t make sense to hold back [any live coverage]; that time has passed. We are embracing the live element while also understanding that there is still very much a place for that deeper storytelling. What we’ve tried to do under Molly’s leadership is be something for everyone.

If you’re obsessed with team handball and want to watch everything live, then go to Peacock, where you can watch every frame of team handball.

If you want to experience the [more high-profile] events live with a big-event feel, go to NBC and USA Daytime.

Primetime in Paris gives us the opportunity to shape the stories a bit more. Even if you already know what happened, can we offer something more to bring you back for primetime? We put it this way: “You know what happened, but do you know what really happened?” It gives us the opportunity — with a relatively quick turnaround edit — to be able to shape the tops and tails of the storyline. For example, what was [gymnast] Brody Malone thinking about in the Athletes Village prior to his event? Can we capture that, save it for primetime, and create almost a documentary-style [program] following the thread of the athlete all the way through their experience, not just during the competition?

As a veteran of several FIFA World Cup productions over the years at ESPN, what’s harder to produce: an Olympics or a World Cup?

The Olympics are harder by a mile. I’ve done some very tough World Cups over the years, but this is an entirely different beast. Yes, World Cups are massive and complex, but it’s still just one sport. An Olympics is like doing multiple World Cups at once.

Over the course of a World Cup, you have a month to say, “I liked this here, or I didn’t like this here.” With an Olympics, you have a very short time to figure out not only what works well but how to continue to grow it over two-plus weeks. You’ve got to grow fast.

I could not be more excited because we’ve got the basics down and are exploring what that next level looks like: what can we do to educate and entertain the viewer even more, while focusing on all these amazing storylines the Olympics have to offer? – JD

This interview has been condensed and edited. For full interview, CLICK HERE

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LIVE FROM PARIS 2024: NBC NOTEBOOK

GOLD ZONE

NBCUniversal had no shortage of ways to consume the Paris 2024 Olympics. From live coverage streaming on Peacock and airing on NBC, USA Network, and E! (plus CNBC on weekends) during the day to curated, deeper storytelling at night on NBC’s Primetime From Paris, fans had a multitude of sources for their Olympics fix.

However, undoubtedly the most buzzed-about and beloved medium was Gold Zone. The daily whip-around show reminiscent of NFL RedZone offered fans non-stop action ranging from athletics at Stade de France to handball at Stade Pierre-Mauroy to water polo at Paris La Défense Arena and anywhere else promising key moments and potential medals.

“It’s all about the idea of discovery,” said Amy Rosenfeld, SVP, Olympics and Paralympics production, NBC Sports. “We want to expose people to more sports than just [the big events like] swimming, gymnastics, and track and field. Gold Zone shows key moments in equestrian, Judo, and fencing. Hopefully, through that discovery, we’re growing Olympic fans for that sport.”

Although the concept of Gold Zone is not new — NBC debuted the coverage model at the Sochi 2014 Winter Olympics — the comprehensive execution took things to a new level for Paris. And the eyeballs followed.

The Gold Zone production team was split into two shifts: 7 a.m.–12 p.m. and 12–5 p.m. ET, with a shift change at noon that took under two minutes. Each shift had one director and two producers — one producer is in the chair executing; the other is directing traffic and keeping an eye on the action in a 16-box multiview. Several other “traffic cops” help guide the “organized chaos,” while ADs monitor what feeds are going into the router at any given moment.

Housed in PCR12 — one of two new fully ST 2110 IP control rooms (along with) at NBC’s Stamford, CT, broadcast center — Gold Zone was by far the most fast-paced in NBC’s army of Olympics production units with as many as 60 feeds at once streaming into the control room from Paris.

Studio 3, a new state-of-the-art facility normally housing NBC’s Premier League coverage, served as the home of Gold Zone. The 360-degree studio was equipped with a jib and a Steadicam, which allowed for plenty of movement inside the studio, as well as a slick new LED floor. – JD

HIGHLIGHTS FACTORY

Since launching for Beijing 2008 out of 30 Rock’s iconic Studio 8H, NBC’s Highlights Factory has evolved into one of most integral cogs in NBC’s sprawling Olympics productions.

“So many things happen simultaneously at the Olympics that it’s easy to get lost even if you’re paying attention to everything,” said Eric Hamilton, director, digital video production, NBC Olympics. “It’s easy to get lost in the forest of everything that’s going on, so having people with experience who can see through all that and understand what’s important is key. Since our mandate is to cover every sport, we try to find Big Little Moments. Those are the little things in big moments that offer a different perspective from [the live linear coverage].”

Housed at NBC Sports Group’s Stamford, CT, broadcast center since Sochi 2014, the Highlights Factory operation was largely built on in-person collaboration, with a sizable crew creating highlights out of a single large room in Stamford. However, COVID restrictions at Tokyo 2020 and Beijing 2022 forced NBC to split the Highlights Factory crew, with half in the usual room and half relocated to the nearby Marriott Hotel. Thankfully, for Paris 2024, Highlights Factory was once again under a single roof.

NBC crammed nearly 80 people into a massive room at the broadcast center to monitor live streams, log and edit clips, and create more than 100 video packages per day on average. The team, largely composed of veterans of the operation was organized by experience: interns at the front and Hamilton and other key leaders at the back.

At one point. Hamilton says, the Highlights Factory produced as many as 200 highlights a day, but, after extensive audience research, NBC refined its approach. “We still cover every sport, but we’ve adjusted how we do it,” he says. “We definitely adjust [based on] the preferences of the audience for each sport. Gymnastics fans are going to want something very different than fencing fans or soccer fans. We pay a lot of attention to how people watch each of these sports, and I think that has been the major difference this year.”

The Highlights Factory was in operation nearly 24 hours per day, although Hamilton said there was a brief quiet period between 11 p.m. and 1 a.m. ET. – JD

PCR12 served as the Gold Zone control room.

NBC’s Eric Hamilton (right) and Wally Bruckner inside the Highlights Factory war room in Stamford.

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LIVE FROM PARIS 2024: NBC NOTEBOOK

IMMERSIVE SOUND

After the relative quiet of the pandemic-plagued previous Summer Olympics, having the noise of the crowds back is the kind of sonic challenge that audio professionals love.

“The biggest challenge for the 2024 Summer Olympics in Paris is a good one to have: the return of crowds to events,” observed Karl Malone, senior director, audio engineering, NBC Sports and Olympics. “The crowd did not disappoint. Thousands are turning out for all sports, and, if French athletes are competing, the decibel level goes up. It’s great to have the crowd bring passion and emotion back to the Olympics.”

The return of crowds is facilitating greater use of immersive mixing techniques and allows audio teams to take full advantage of Dolby Atmos’ overhead channels. “Mixing all those events with 10-channel mixes [in the 5.1.4 Atmos format] has allowed us to spread that crowd out in the immersive soundscape,” he explained. “As immersive sound systems become more common in homes, more people get to appreciate the sounds we are capturing and mixing.”

NBC Sports’ 5.1.4 immersive audio mixes were enhanced when the broadcaster’s parent company, Comcast, requested several months ahead of the Games that cable channel USA Network also be in Dolby Atmos for the Olympics, said Malone.

“We had already built out all incoming audio from OBS and NBC feeds to be 5.1.4, so we were prepared to get it through the facility and out to distribution,” he said. “Having the Stamford [CT] facility run on an ST 2110 infrastructure helped with routing 2110-30 audio around the building and offered us the flexibility that we did not have a couple of years earlier. NBC A1s in Stamford mixed all sports live on USA in 5.1.4, and our edit teams, who were planning to cut across 16 channels for the primetime show, decided to do so for all venues.”

NBC mixed a 5.1-surround mix in remote trucks onsite in Paris, with a pair of iso tracks on channels 7 and 8, and passed through OBSplaced height microphones on channels 9-12 and NBC-placed height microphones on channels 9-16 for a total of eight tracks purely for overhead effects. Those eight tracks were mixed down to four that make up the .4 of the 5.1.4-channel array. Said Malone, “That allows those with Dolby Atmos setups to appreciate these mixes, which immerse the listener in what it’s really like to be at the event in Paris.”

The facility last year upgraded its immersive-mixing capability with three new studios. Audio Control Room (ACR) Submix 1 housed a 128fader Calrec Apollo console; both ACR 12 and ACR Submix 2 have 64-fader Calrec Artemis desks. In addition, two Calrec ImPulse core routing and processing engines were part of the new suite of studios, with one assigned to the Apollo console and the other shared by the two Artemis desks.

As big as the sound was for the Olympics this year, though, there was equal emphasis on sonic intimacy, in pursuit of storytelling.

“Athletes cannot be wired on the Olympic field of play, but working with the host broadcaster, Olympic Broadcast Services, during both of the COVID-era [Summer and Winter] Games has brought broadcast organizations closer to athletes with mic positioning,” said Malone. “We are always trying to get as close to an athlete and alongside their apparatus [as possible], whether they are a gymnast or a high jumper. The camera can zoom in close for an athlete clapping their hands, but, with audio, we have to get the mic to the right place, no matter where the athlete ends up.” – Dan Daley

COMMS INFRASTRUCTURE

“The largest intercom system assembled for a single sports production in history.” That’s how John Pastore, senior director, broadcast communications, NBC Sports, described the sprawling infrastructure connecting hundreds of technicians across the expansive Paris 2024 campus and the broadcaster’s technical mothership in Stamford, CT.

“Comms is one of the most complex things broadcast engineers have to deal with. “Then,” he said, “there’s comms for the Olympics, which completely redefines complexity. We’re breaking records all over the place!”

Pastore, who managed broadcast communications for nine previous Olympics productions, noted how NBC Sports’ broadcast center in Stamford has evolved since replacing the IBC as the hub for the NBCUniversal’s Olympics coverage. For instance, intercom trunking was introduced, and analog and copper gave way to digital and fiber. Miles of analog audio and RS-485 data via Cat 5e cable were replaced with Dante and OMNEO AoIP networking via the same Cat5e. Dozens of TIFs using analog telephone lines were upgraded to RTS VLink SIP and Telos VX SIP interfaces.

“We brought Clear-Com’s LQ VoIP into the mix to launch simple twowire comms remotely via raw internet at smaller locations,” he explained. “Topping things off, we introduced an RTS VLink 128-port virtual intercom. This allowed us to use cellular connected iPhones paired with Jabra headsets to behave like portable intercom panels while roaming the streets of Paris.

“The location change alone from Games to Games,” he continued, “forces us to be super-flexible and open-minded to new designs and ideas while capable of thinking outside the box. All of this together pushed our technical know-how and hardware outside [our] comfort zones at times, but it allowed us to find new and creative workflows that often surprised the manufacturer, inspiring future features and product ideas.”

The massive use of intercom trunking for the large Paris Olympics campus was innovative and inflective.

“RTS’s trunking has been around for a while now,” Pastore said. “The size alone doesn’t win us the gold. That combined with a great design, organized deployment, and careful management sets us apart.” – DD

One of 16 audio-control rooms in NBC Sports’ main control center in Stamford

LIVE FROM PARIS 2024: NBC NOTEBOOK

TRANSMISSION

NBC Olympics’ operations for the Paris 2024 games were a genuine transatlantic operation, with production teams throughout France and at NBC’s Stamford, CT, Broadcast Operations Center (BOC) tied together by a supercharged web of connectivity. Add NBCU’s stateside facilities at 30 Rock in NYC; EC Network Operations Center (NOC) in Englewood Cliffs, NJ; Dry Creek Hub in Denver; and Telemundo Center in Miami; and it’s clear how much transmission fire power NBC Sports had at its disposal for these Games.

“We have what we lovingly call the ‘subway map,’ illustrating all the different services and individual video paths connecting every site and venue in Paris to five of NBCU’s facilities stateside, and it’s bigger than ever,” said Ian Kuchta, VP, BOC and transmission operations, NBC Sports Group. “We have a copy of the [subway map] from the Torino 2006 Games, and it looks miniature compared with this year’s [transmission scheme]. That shows just how much everything has grown and changed.”

Kuchta and Eric Poellot, senior manager, transmission engineering and operations, NBC Sports Group, led the Broadcast Operations Center (BOC) team in Stamford, which monitored hundreds of feeds while keeping an eye out for good 1080p HDR 50 video and 5.1.4-surround audio quality.

NBC relied on four redundant 100-Gbps undersea fiber circuits provided by AT&T (along with two 10-Gbps fibers for extra redundancy), marking a major increase in contribution firepower compared with the five redundant 10-Gbps paths for Tokyo 2020.

A whopping 445 audio and video signals were sent from Paris. This included OBS host feeds, which were backhauled via JPEG XS. NBC deployed Media Links Xscend and MD8000 media-transport platforms for JPEG XS/ J2K contribution.

NBC deployed 26 LiveU IP wireless backpacks as ENG cameras in Paris. The systems focused on family and friends in the crowd (often accompanied by a live mic) inside venues and followed athletes before and after competitions. In addition, NBC deployed the LiveU Matrix cloud-native IP video-distribution platform and LiveU Ingest automatic recording and story metadata tagging solution.

“LiveU was also able to deploy all of that in 1080p HDR,” said Kuchta, “which was a big lift for them and a must-have for us since we’re a wallto-wall 1080p HDR operation here. We have such a large amount because we’re trying to cover stories on a wider level.” – JD

CLOUD-BASED SWITCHING

Every Olympics has its share of proofs-of-concept, with both OBS (Olympic Broadcasting Services) and media-rights holders across the globe hard at work laying a foundation for future workflows. One behindthe-scenes effort this year was undertaken by NBC Olympics and Sony: a Sony production switcher deployed in the cloud shadowed the truck handling the daytime gymnastics production, which was sent to NBC air from a hardware-based control room in Stamford, CT.

For the test, which was intended to compare cloud-based workflows and better understand possible use cases, the NBC Olympics engineering team stood up a workflow fully reliant on cloud-based video-source switching and a software-based touchscreen panel, the Sony M2L-X live-production switcher.

“Half the battle is assigning familiar tools, like a traditional switcher surface to drive the new-fangled backend,” said Darryl Jefferson, SVP, engineering and technology, NBC Sports & Olympics. “User and community adoption depends on some familiarity as we look to the future.”

Along with the Sony M2L-X touchscreen, the NBC Olympics virtual control room used 12 gymnastics video splits from OBS’s cloud directly into NBC’s cloud instance in AWS. Additionally, 16 NBC unilateral camera feeds were sent to the cloud via the NBCU NextGen backbone, for a total of 28 gymnastics-competition video feeds.

In essence, the virtual control room could deploy fully cloud-based switching with excellent accuracy and next to zero latency to produce the show. Sony’s cloud-based video workflow included audio mixing as well as chyron insertion and monitoring to bring back the program fully ready for air and release to a network.

The Sony cloud switcher also worked with a Stream Deck hardware switcher if the operator preferred certain presets or functions to be physically taken versus the overall touchscreen commands on the Sony web-based GUI. Aside from the value of leveraging a non-hardware, on-premises video workflow, the Sony M2L-X allowed a broadcaster to produce a show from any location that has connectivity into the cloud.

“We want to see how this would work if you didn’t have a physical switcher sitting in a truck or an equipment room,” explained Todd Donovan, VP, engineering and technology planning, NBC Sports & Olympics. “You would just launch some NBC unilateral signals and some OBS signals into the cloud and assemble a show. That’s what that experiment’s all about.” – KK

NBC Sports’ broadcast-ops, transmission, and ingest teams in Stamford

Telemundo’s Eli Velazquez on Miami Virtual-Studio Effort and Why In-Venue Commentators Matter

With a team of more than 30 onsite in Paris and nearly 100 at home in Miami, Telemundo ensured that the U.S. Spanish-speaking audience has more than 300 hours of dedicated Olympics coverage. For Telemundo EVP, Sports, Eli Velazquez, the mission was simple: celebrate and highlight Hispanic athletes’ achievements while making sure that the vast soccer-loving community gets their fill.

“We are leaning in heavily on the soccer tournament,” he noted, “both men’s and women’s, of course. We’re very excited about the women’s event for obvious reasons. The one time we may deviate from a soccer match will depend on other events that are going on simultaneously and whether they have Hispanic relevance or high viewer-interest relevance.”

Helping in those efforts was that Telemundo worked more closely than ever with NBC Olympics. For the first time ever, the broadcaster aired the Opening Ceremony (its talent team was located in the media tribune at the stadium where the ceremony ultimately took place), and Telemundo also provided live coverage of gold-medal events and swimming, gymnastics, and track and field as in the past. One big difference from NBC Olympics was that, because Telemundo did not have pre-produced content or primetime programming, live coverage was a big part of the value proposition for viewers at home.

“We feel like we’re giving the Hispanic audience a full accounting of what it means to be in an Olympic Games,” said Velazquez. “That’s really exciting.”

Like many rightsholders in the IBC, Telemundo did not have a control room because all core production work was done remotely in Miami. “Remote production today is part and parcel of our executions as we understand the value of it,” said Velazquez. “The team at the Telemundo Center feels a sense of pride: they are where everything comes together and then gets dispersed out to our audience.”

The last time Telemundo was in France for an event near this size was the FIFA Women’s World Cup in 2019.

“[The Word Cup and the Olympics are] similar in that they bring the world together, attract attention on a global scale, and elicit a passionate following for the sport,” SAID Velazquez. “The difference is from a logistics perspective: with the World Cup, we’re focused on one discipline. And the World Cup schedule is made in such a way to cater to storytelling so there’s time between matches to talk about the match you just saw, to tell the stories of the match you’re about to see, and to have some key interviews, features, and things of that nature to create engagement. But here, with all the events, you’re reacting a lot more to what the events are giving you.”

And, as with the World Cup, Olympic soccer matches were scattered across France, creating logistical challenges that the production team

was familiar but with both men’s and women’s teams and a much tighter schedule.

“Here, in the Group Stage,” Velazquez pointed out, “the games are literally starting one right after the other. There’s this challenge where we’ve got to get off a game, obviously, when it finishes to get to the next game and so on. We’ve had to do a picture in picture because we’re still wrapping up the previous game when the anthems are being played.”

As always, Telemundo was committed to onsite commentary for all those matches. “I’m a big fan of in-venue announcers, especially for soccer,” he explains. “I don’t think anyone will ever be able to prove to me that you can equal the energy and you can equal the performance that one of your announcers gives you in venue versus in studio. [With] the noise and the energy, their performance gets elevated that much more. We’re very much trying to re-create what we did in Qatar [for the FIFA Men’s World Cup in 2022].”

Telemundo also had five ENG crews and additional talent focused on adding depth to the coverage. “We have a very solid, efficient operation,” he said. “The crews are staying here and will keep telling the stories, talking to the athletes, and getting into the intimacy of the family members who come here. They’re going to walk around Paris, sample the culture, and bring that back home. The hosts in Miami will handle going from one event to the next. But the idea is to use innovations on the ground to support the storytelling and justify those innovations.”– KK

CLICK HERE TO WATCH

Telemundo Deportes’ Eli Velazquez on Placing Studio Programming in Front of Two French Icons

Telemundo’s Eli Velazquez (bright blue jacket) chats with anchor Miguel Gurwitz at the broadcaster’s set in Paris.

Telemundo Deportes’ Ops Team Links IBC Workflows, Football Coverage Around France to Miami Facility

Although Paris was the designated host of the 2024 Summer Olympics, multiple sports were played at venues throughout France, and, among those sports, football had the highest priority for Telemundo Deportes. With roaming production teams in the various cities, the Spanish-language broadcaster’s operations team shipped all the video feeds and content from its setup in the IBC to Telemundo Center in Miami, where its live Olympics coverage was remotely produced.

“Whether they’re in Paris or chasing football around France, our five roaming crews are leaning heavily on LiveU to send all of their content straight to Miami,” said Chris SuarezMeyers, SVP, content operations, Telemundo Deportes. “It’s a pretty straightforward workflow that makes it a lot easier to point everything directly back home.”

SUAREZ-MEYERS

For perhaps the most popular sport on its schedule, Telemundo Deportes dedicated a fair amount of time and attention to the football matches. The U.S. Men’s and Women’s National Teams were the center of focus, but, with Spain on both

sides of the tournament and countries like 2022 FIFA Men’s World Cup champions Argentina and Olympic debutant Dominican Republic competing, there were many storylines to cover.

The matches took place in venues outside Paris: Nice’s Allianz Riviera, Lyon’s Groupama Stadium, Bordeaux’s Matmut Atlantique, Marseille’s Orange Vélodrome, and Nantes’s Stade de la Beaujoire — Louis Fonteneau. Handling the extended coverage — a normal day had six hours of daytime coverage, but football game days extended that to 12 hours — were roaming teams comprising ENG camera operators, technical support, and talent to call the main games onsite.

Not only was traveling to the different stadiums important for bringing authenticity and real-time energy to the broadcast, the teams’ travels throughout France offered the opportunity to spotlight French culture for viewers watching from home. Travel involved a mixture of car rides, hopping on a train, or going wheels up on an airplane — an endeavor made a lot less cumbersome by lightweight technology.

“We’re on a pretty hectic pace right now, traveling almost every day,” said Suarez-Meyers. “[The mobile setup] allows us to be a lot nimbler, keep our footprint small, and be able to move from city to city without having to strike a big operation.” – KH

Telemundo Deportes’ Virtual Studio Combines HighQuality Tech, Creative Storytelling With Beauty of Paris

Prime real estate in a popular city like Paris is hard to come by, especially during the 2024 Summer Olympics. Telemundo Deportes shared a rooftop studio with NBC News for the Games’ opening weekend but, since then, has opted for a virtual set in Studio L in Miami’s Telemundo Center.

“I couldn’t imagine what this was going to be when our team started working on it,” said Manashi Mukherjee, VP, technical production, Telemundo. “[The final product] has exceeded everything that I could have imagined. It has been a labor of love, but our team enjoys innovating and being creative.”

Heading into this summer, Telemundo Deportes understood that highlighting the picturesque city of Paris was important. Unfortunately, with broadcasters from all over the world flocking to the French capital, available space in front of marquee monuments and vistas would be at a premium. The perfect solution was an existing virtual studio in Telemundo Center — along with the expertise of Director, Real-Time Graphics, Fabián Albarracín and his team: Technical Artists Osmany Gómez, Edward Tejeiro, Jose Cruz, and Carlos Rivero; Real-Time Specialists Alberto Franca and Diego Soto; and Real-Time Programmer Manuel Romero.

“If you had to build a set in Paris,” said Mukherjee, “there’s a lot of cost involved with aspects like material, time, and labor. We already have this studio setup [in Miami], and Fabián and his team did an amazing job of capturing a photorealistic environment. You feel like you’re walking around a real-life set in Paris.”

To achieve the high level of authenticity and realism, Albarracín and his crew began work on the virtual studio five years ago. The space was brought online for Telemundo Deportes’ extensive coverage of the postponed Tokyo Summer Olympics — for which the studio made a huge difference given the health and safety restrictions imposed by the city to curb the spread of COVID-19 in 2021. Workflows have been refined and improved over the past half decade, including recent activity during last year’s FIFA Women’s World Cup in Australia and New Zealand. The improved operations also allow other entities within Telemundo Enterprises, including the news division, to leverage the high-quality studio.

“Our technology gives us the ability to show something that looks real without our audience noticing that we aren’t in the host city,” said Albarracín. “Since everything is in a controlled environment, we don’t have to worry about inclement weather, like too much rain or sun. Telemundo Deportes has been our main client, and they’ve been very happy with it.”

Though not physically in Paris, the crew nevertheless adjusted to conditions there. To mimic the setting, the atmosphere changed to depict current weather or time of day, which includes illuminating the Parisian skyline with its familiar glow. The accurate portrayal of the daily atmosphere in Paris, along with the actual execution of the virtual set, was achieved via Engine 5.3 (an upgrade from Unreal Engine 4.7, which was used for the 2023 FIFA Women’s World Cup), Blackmagic Design’s Ultimatte chroma keyer, Chyron PRIME VSAR (virtual set and augmented reality) graphics, stYpe’s RedSpy for optical tracking, and four cameras: two hard, a Steadicam, and a jib.

“We easily choose between different time zones – including 11 a.m., 2 p.m., 5 p.m., 8 p.m., and late at night — and Unreal Engine will automatically change the lighting of the sun,” Albarracín explains. “We were so focused on the details that we brought in a sculptor to build the statues that we’re using to replicate the Trocadéro in Paris.” – KH

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OBS CTO Sotiris Salamouris Reflects on the Technical Legacy of the Games

The Paris Olympics are over, and, for the OBS team, there was a brief moment to reflect on its accomplishments before the Paralympics began on Aug. 28. It gave SVG a chance to chat with OBS CTO Sotiris Salamouris about the multi-year effort that produced a nice return to normalcy after the past two the Olympics: the Tokyo 2020 Summer Games and the Beijing 2022 Winter Games were severely affected by the pandemic and, without fans in the stands, lacked much of the energy that transforms an Olympics into something special.

“Empty venues impact us quite negatively in terms of how the sports appear,” he said. “Having fans creates an excitement that gets all the way up to the way that we’re doing the production. It affects the producers; it affects the directors, even the camera people. It doesn’t change the technical setup, but it absolutely contributes to the quality of the final production. Here in Paris, there is also the beauty of the city, and it’s amazing how you see that reflected in the production.”

Displaying the beauty of the Paris Olympics began on July 24, when some competitions began outside of Paris as well as at the Stade de France. But, on Friday, July 26, the Opening Ceremony took place, and the production made waves — both literally and figuratively. Historically, Opening Ceremonies have taken place in a stadium, and certain protocols are observed: an artistic segment reflecting the host city or nation, a parade of nations and athletes, the official opening the Games.

That was not what happened this year. Instead of being held in a stadium, the Opening Ceremony took place on a nearly 8-km-long portion of the Seine, from the Pont d’Austerlitz to the Pont d’Iena. The parade of nations comprised the Olympic teams on boats, artistic elements were performed both on the river and alongside it for the entire route, and the parade culminated at the Trocadero area with the Eiffel Tower in the background.

“What was very different in this ceremony was that the parade was mixed with the artistic elements,” Salamouris pointed out. “That added another dimension of complexity especially if we also consider that on top that we had the aerial operation of seven drones and three helicopters which were also part of our plan.”

The drones and helicopters were part of a massive production plan for, arguably, the largest single-day event ever produced for television. Covering the route required hundreds of cameras, hundreds of microphones, and a lot of signal transport.

“We had close to 120 standard broadcast cameras that are deployed for events like this,” he explained, “but we had 220 additional mobile phones that were also live broadcast sources. And we deployed around 450 microphones. It was a massive number of video plus audio sources. Any kind of technology that works for a live event was used. We had wired connections but also wireless, and we even had a private 5G network along the route as well as at preparation zones.”

Besides the coverage from the shore and bridges and the mobile phones on the boats, the teams motoring down the Seine were covered by six camera boats deployed as chase boats. Four of them had three gyrostabilized robotic cameras each, mounted on a truss atop the boat (shading took place on the boats, but camera control was done remotely from the Opening Ceremony compound near the Trocadéro); the fifth boat had two cameras. The sixth boat served as a landing zone for the drone.

Seven wireless receive sites located along the route ensured that signals were brought back to shore and to the long fiber running along the Seine to the IBC. Featuring 740-strand fiber, the ring began to be installed as soon as the OBS team learned of the plan to have the Ceremony on the Seine.

“Before we saw the production plan,” Salamouris said, “we put the fiber in. That saved the show because it is an amazing number of strands put in by our telecom partner, Orange. All the content from the wired cameras that were deployed in the river or from the wired receivers along the river were connected to that network.”

The compound was built on a massive IP-based infrastructure, with three interconnected production units.

“It was all IP and SMPTE ST 2110,” he said, “with a spine-leaf topology where the spine is implented in two layers: the upper [layer] could also be described as a super spine. It had all the signals coming from the river, plus any signals from the Trocadéro area like the cameras in the grandstands all connected to that multi-layer spine-leaf network. All the cameras and signals were available in all three galleries, so they all had access to the same signals depending on what they were doing. In addition, there

Camera operators braved the elements at the Trocadéro. (Photo: OBS)

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LIVE FROM PARIS 2024: OBS

OBS CEO Yiannis Exarchos on How Tech, Digital Make Olympic Storytelling Better Than Ever

During the second week of the 2024 Paris Olympics, SVG sat down with OBS CEO Yiannis Exarchos to reflect on the effort to get the Games going, the innovations, the changes in storytelling, the challenges around gender equality, and much more.

Into Week 2, what is your impression of how things have gone so far here in Paris?

My impressions are very good because, first of all, we see the impact of the Games and the reception of the Games worldwide. That’s the most important thing. We see record viewership around the world, and this is everywhere. It’s not just in Europe — obviously, you would expect that with the time zone — but in the U.S. and Canada and Brazil. And in Asia, we are seeing similar ratings to what they had in Tokyo.

It’s very, very clear that these Games register as extremely successful Games. From a media point of view, there are many reasons for that. First of all, I think that the vision that France had for these Games was amazing. I was one of the big supporters of this vision of bringing the Games into the city. This is an incredible city also from a point of view of using it as a vector for sports. Having the Opening Ceremony right in the heart of the city, bringing urban sports in Place de la Concorde, and other things, I think, has created an infectious atmosphere around the city, especially after two Games which took place during the pandemic.

Here, it’s very clear that people want to overdo it on the side of having a great time and having a true festival of sports. I also think that, precisely because the world has entered a phase of some new concerns and new conflicts and new divisions, deep down, everybody around the world is trying to make an emotional statement that we still can live together. The best platform for that is the Olympic Games and the best athletes in the world.

How are things different from previous Games from that standpoint?

First of all, the sheer size and diversity of the content we produce. We are producing here in Paris 11,000 hours of content, and about 3,800 of those are competitions. We produce all of that extra content in recognition of the fact that content today is consumed in different ways by different people or different ways, even by the same people in different moments in their daily life. What we wanted to ensure is that people around the world are enveloped by the Olympic reality throughout their 24 hours, whether they go to work in the morning and look at their mobile phone, whether they’re in the office and pretend that they’re working and watch on their laptop, or when they go back home and have a more relaxing time and watch on a big screen. We wanted the Games to be present everywhere but with the narrative that fits each specific way of distributing, whether it’s streaming, whether it’s mobile, whether it’s social, and so on. Also, we’re doing much more production which provides more access to the athletes and their emotions, and we produce more content behind the scenes, the preparation of the athletes, and the reactions among the athletes themselves when they warm up, when they train. And all that is facilitated by technology as we have cameras which are not so intrusive, and reliable, 5G transmissions. We also wanted a beautiful, photogenic background, so we decided to push very much the envelope in using cinematic lenses as television lenses, and film lenses have started to merge. Because of that, we have an opportunity to use narrative techniques that

filmmakers traditionally use. Some of them have a lot to do with expressing better the emotions, the way you film humans against the background, and so on.

The spectators came in the millions, and their interaction with the athletes is incredible. When you capture that with these lenses, the production moves beyond the traditional coverage of sports. We’ve been working with different facets of AI for things that go both in front of the camera and behind, as well as for things like 360° replays that have not happened in most sports. But now the quality of the 360° images is compatible with UHD HDR coverage, and that is not easy to achieve. Most important, the turnaround times allow the directors to use the 360° replays as a third replay during the live cut. Or they can use the stroboscopic enhancements, especially in sports like diving and gymnastics, where the movements of the human body are incredible, to help people really see what is happening.

There was a time during previous Games when the debate would be about whether, if you gave viewers the live event, they would not tune in later to watch it during primetime. But all of the broadcasters I have spoken to say they have both amazing live viewership and amazing non-live viewership. What is going on? Were we wrong to have that debate?

I must say that I was a little bit of a contrarian on that front. We started doing some digital production in Beijing in 2008, and Facebook did not exist. In Sochi in 2014, we created our first digital video player at the time when it was very difficult for broadcasters to stream on their platforms. We said they will not build a huge infrastructure simply to carry all the feeds of the Games for 17 days, so we need to help them. We built a white-label solution, which has progressed a lot. Why? Because we have been huge believers that, for an event like the Olympics, where you want to give ultimate accessibility, digital is a great tool.

I didn’t believe that it was a zero-sum game and that, if you see it here, you will not go and consume it there, and so on. I was almost convinced that you may watch something exciting live and then you want more. You want to see the reaction again, to watch a different angle, to see a different perspective. That also drives our desire and decision to produce so much diverse content.

Today, everybody’s convinced you need to be banging the drum throughout the day, 24/7. And, to do that, you need to use all possible media. Of course, you need to be structured about how you go about monetizing that, and there are still gaps. But there’s no doubt in my mind that, with an event like this, you have to be present everywhere all the time. – KK

This interview has been condensed and edited. For full interview, CLICK HERE

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LIVE FROM PARIS 2024: OBS

How the OBS Virtual Van Project Opens Up a New Era of Production

It is no surprise that, for OBS, every Olympic Games is a massive undertaking that requires a massive amount of support from not only its internal team but also external remote-production-facility providers from around the globe. At Paris 2024, the compound at Champ-de-Mars Arena relied not on trucks or flypacks but on a cabin full of COTS (commercial off-the-shelf) servers that replace dedicated hardware.

The project had a very clear goal: to accelerate the move to virtualized hardware systems and open up a world where, instead of deploying trucks, remote-production-service providers could send flypacks based on general computers. The computers ran the production software, which was controlled by traditional physical hardware and software controls. “When you need 70 galleries like we do,” OBS CTO Sotiris Salamouris explained, “it is a problem to find enough trucks, and those trucks also have to be configured for the Olympics, which is much denser and more complex than a weekend event.” The compound at Champ-de-Mars Arena was home to production cabins instead of trucks. OBS partnered with NEP Group and Intel on the project, and the result was a facility that has equipment racks in one cabin and hardware supporting three production galleries in other cabins, where the production teams work with physical control surfaces tied back to the software running on the COTS servers.

According to Geert Heirbaut, advanced technologies manager, OBS, the system comprised one hub rack — which contained the redundant set of spine switches and the servers running the control stack — and two spoke racks — containing all the Intel-powered COTS servers for the signal processing and the computer necessary to run the software for the production pillars. Those pillars were a breakdown of OBS’s production technical requirements, consisting of north- and south-bound control, vision mixing, audio mixing, replay, multiviewing, and signal processing. All signals were transported via SMPTE ST 2110.

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was of course a DR (Disaster Recovery) option that could be engaged in extreme circumstances if there was a major emergency with our Trocadero facilities.”

All the production planning in the world, of course, can be disrupted by inclement weather, and that happened with Paris 2024: there was a steady, soaking rain for just about the entire Opening Ceremony. Fortunately, the weather in the days prior and the day of had been relatively clear, allowing final preparation to take place. However, about two hours prior to the Ceremony, the heavens opened up, and everyone involved — production crew, athletes, fans — was challenged in a new way.

“There was a good plan about protecting all the cameras lenses, microphones, and personnel,” said Salamouris. “It proved to be very good because nobody was expecting four continuous hours of rain. All the restrictions about moving made it hard to swap things, but we were very happy because the system held for four hours. We lost some microphones, ended up losing some cameras, but we always managed to recover.

The production gallery at Champs-de-Mars

Added Salamouris, “The servers are doing everything that the truck normally does, and they’re concurrently supporting three galleries out of a single, fully integrated IP system. They are also servers that you can order from any vendor supporting Intel’s x86 architecture. Essentially, these are just off-the-shelf servers with standard CPUs and GPUs; in some cases of extensive processing, COTS accelerator cards may also be used.”

Vision mixing, for example, used the Panasonic IT/IP platform KAIROS, and audio mixing was done via an application in the Lawo HOME platform. Replay was via XR-NEO, a COTScompatible software version of the EVS XT-VIA platform; and a manifold CLOUD multiviewer ran on COTS FPGA programmable acceleration cards from Intel. Control was provided by NEP TFC, Total Facility Control.

Working closely with Geert Thoelen, director, technology, NEP Belgium, Dan Murphy, VP, product management, NEP, was involved in the platform development of TFC, which played a big role in keeping the systems running properly. “This is software without the compromise,” Murphy said. “The concept is that the whole production team should not feel different about what’s behind the scenes: no latency, no workflow compromise. They can do everything that they need to do just as they do it with broadcast equipment.” – KK

“There was a kind of continuous fight behind the scenes,” he continued, “to maintain the systems and get them back if we would lose them because of small malfunctions or if we needed to clean up or dry connectors. There was also a struggle to keep the lenses clean because so much water was getting on the lenses. Someone would climb up the camera truss and clean the camera, but, three minutes later, it was covered with water again.”

The Opening Ceremony was very dynamic and very stressful, he added, noting that, in the end, everything worked well, demonstrating the power of technology and the resilience of the production team.

“I have no words to praise them enough for what they managed to pull through!,” said Salamouris. “Our producers, our directors, and the whole production team not only had to cope successfully with a very complex show, but they also managed to do so under the most adverse conditions and under the need for continuous adjustments because of the constant rain. It was an amazing achievement and my highest kudos and respect for what they have managed to accomplish that night!” – KK

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LIVE FROM PARIS 2024: OBS NOTEBOOK

OBS used meticulous sound design to create sound that was better than real life for viewers.

SOUND DESIGN

Olympic Broadcasting Services (OBS) provided rightsholding broadcasters for Paris 2024 with discrete audio through meticulous sound design. This concept, which used immersive audio created within the design, brought every sound of the Games to viewers, from the whip of a ribbon on a rhythmic gymnastic mat to the gasps of the fans watching taekwondo in the echoing atmosphere of the Grand Palais.

OBS sound design and audio manager, Nuno Duarte, said, “This is a concept that we have been pushing for a long time to do the sound like this. All the hard work for the sound of this Olympics has been done before, all in the planning.”

Duarte said the goal was to make the sound of the Olympics better than real life. While in Stade de France, the PA system was hard to understand as it reverbed amongst the sound of the fans cheering for multiple sports going on simultaneously, and music, and the athletes themselves, on TV it was a different story.

“I want to make the sound better than [in the stadium]. What I’m trying to do is if I have a spot microphone there, all the reverbs that you had, everything was picked up. So what have now is around 20 microphones around [the stadium], so I don’t get that reverb because each microphone only gets the main frequency, the main sound, all the reverbs are below the level of understanding.” – Heather McLain

DISCRETE AUDIO

“This is live audio. Real-world live. Live straight from production to our AV system. No Adobe. Everything discrete, no encoding or decoding,” stated Nuno Duarte, OBS sound design and audio manager, on the audio feeds that were delivered to Olympics rightsholders.

“We don’t have a decrease of quality until rightholders distribute to the homes,” he contined. “So for example, if I’m a rightsholder, I receive discrete, I can manage that however I want. I don’t need to decode and then encode, so I can put the commentator on top, I can put the commentator aside, I can mix. It’s easy; I don’t need to encode and align with the video delays, latencies, and all these issues.

“The microphone layout is doing the immersive mix,” he said. “So we don’t use processing. That doesn’t mean that sometimes we don’t need

to get some help in some sports, but the concept is this one; that all the immersive and the highs and the 3D are on the sound design.

“Then I do everything discrete until [the audio is home with the rightsholding broadcasters]. Then if they want to encode it in Dolby Atmos or MPEG-H [or anything else], they can do it to arrive to the set top boxes, but [what they receive] is discrete, no processing, nothing. What they receive, what we are listening to here, is what the guy is mixing in the venue.” – HM

AR STUDIO

The efforts that OBS puts into digital-related projects and services continue to expand. At the Paris Games, the effort was highlighted by an AR studio for athletes at the Olympic Village, the expansion of Athletes Moments to more venues, and content components of the OBS Video Player made available as widgets for easy integration into a rightsholder’s own apps and digital environments.

OBS traded virtual reality for augmented reality, most notably with an augmented-reality studio in the Olympic Village, where athletes could do interviews with rightsholders or have OBS staffers shoot social-media clips. “The beauty of augmented reality for us,” said Matt Millington, director, digital content production, OBS, “is that it is super-easy to distribute, with no app required, no special equipment.”

The studio had 29 cameras in a circle to capture the actions of an athlete in the middle of the circle. The signals from the cameras were processed, and CPUs synthesized all the angles with audio. The end clip was a high-quality digital representation of the athlete that the viewer could spin around and view from any direction. – KK

AI

OBS embraced AI for its coverage of the Paris 2024 games, deploying tools to speed up the content creation process including an automated highlights platform and an Al-driven tool to analyze live commentary transcripts to create summaries for editors.

Speaking with SVG at the IBC in Paris during the Games — when OBS was on track for delivering an unprecedented 11,000 hours of content — OBS director of broadcast engineering Guillermo Navarro explained how the host broadcaster had developed a platform which uses AI technology to identify and compile key moments into reels tailored for multiple platforms.

Since 2018, OBS has tried different ways of tagging athletes to assist with editing, but with facial recognition not permitted in France (AI video surveillance is only allowed as a trial during the Paris 2024 by security services) OBS tried other methods such as OCR (optical character recognition) on athletes’ jerseys or bibs.

“That comes with its own complexity, because you need to isolate the person from any other people within the shot,” Navarro said. “Plus, the bib might not be perfectly aligned, so instead of ‘16’, you might see ‘6’. So it was causing lots of false positives.

“In the end, our main goal was to assist with the generation of highlights in an automated way, and this is how in the end, and for the first time, we came up with a tool that understands each of the sports. Together with a data feed, it provides a selection of cuts according to the rules that the user or the platform predefines.” – George Bevir

LIVE FROM PARIS 2024: GLOBAL BROADCASTERS – NORTH AMERICA

CANADA

The CBC took a different approach to its Olympic operations. It had a technical center at the IBC, but its studio and production operations were located at Canada House, in the Cité des Sciences et de l’industrie. And it paid dividends.

“We are gaining the presence of athletes and families during the evening,” said Francois Messier, executive director, production and sports, CBC. “We get access to the athletes more quickly, and they stay with us longer because they’re not going through a car wash of interviews. Instead of having them for two minutes, we get them for seven or eight minutes.”

The CBC presence at Canada House included a main studio complete with LED walls and comfortable guest and talent seating that doesn’t involve a studio desk. A second studio for morning updates back home had seating for a small audience, and various standup positions were located around Canada House and various activation and fan zones. The CBC also had two standup positions at the TV tower at Trocadéro, one each for its French- and English-language networks.

“The IBC is more of a technical hub, where we take the feeds from OBS and ship them back to Canada,” Messier said. All the signals go to both Montreal and Toronto to meet the specific needs of both the French- and English-language audiences.

About 150 production staffers were in Paris, he added, with another 200 working in Montreal and about 50 in Toronto. French-language primetime programming was produced from Canada House; CBC programming was produced in Toronto. The French-language network had an onsite presence at three venues — swimming, athletics, gymnastics — but all other commentary was called from facilities in Canada.

“With the Olympics being here in Paris,” Messier said, “we felt that [the French-language] network needed to be here, and the gymnastics commentary position will be used by the English-language team when basketball is played in the same arena this week. Back home, we have 12 voiceover booths.”

On the technical side, according to Francois Legrand, lead engineer, Olympics, CBC, a router at the IBC allowed the CBC team to sub-switch signals that go to Canada. The signals from Canada House passed through the IBC before heading to Canada.

“Because we have older equipment here, we still use SDI,” he added, “but that’s going to change.” One challenge for the Milan 2026 Winter Games is that OBS will no longer deliver signals in 1080i, which is the CBC delivery format. Legrand said the broadcaster is determining how that will impact operations. – KK

MEXICO

Olympics fans in Mexico had three channels of TV content to choose from. Televisa’s team in Paris and a team in Mexico City focused on delivering as much live coverage as possible via three over-the-air channels.

“Everything is done via remote production,” said Miguel Angel Garcia, EVP, live events and production services, TelevisaUnivision.

“That is something we’ve been doing since we did the Pan Am Games in 2019 from Lima, Peru.”

Located at the TV tower at the Trocadéro, Televisa’s main production presence in Paris comprised a studio operation (with a dynamic view of the Eiffel Tower in the background) and a production team handling camera shading, lighting, camera operations, staging, and signal transport to the IBC. The signals were sent from the IBC to Mexico City, where production professionals in production-control rooms and master-control rooms create the final product.

“Every channel has their own master control in Mexico City,” said Garcia. “When we go live, we send the same signal to all the different control rooms. The sports-network channel is live with Olympics content from around 4 p.m. to midnight, including a 3½-hour recap of what has happened. At midnight, we start with the live event coverage [because Mexico is eight hours behind Paris].”

The TV tower proved a blessing for Televisa. According to Garcia, the broadcaster considered finding its own rooftop location, but that could have involved unknown issues — where to park, office space for a team of 50 people, connectivity, green rooms, catering and food, power — making the TV tower a much simpler and more efficient option.

“Plus, if it rains when you are on a roof, you are done and can’t even go live,” he added. “But everyone is very happy with this location.”

Televisa’s studio at the Trocadéro TV tower had a view of the Eiffel Tower and a large LED wall displaying graphics and replays, enabling the talent to watch the action.

The operations at the TV tower include a technical presence on the first floor — where signals are managed, monitored, and mixed — and a studio on the third floor.

The Televisa studio featured an oval studio floor designed to be similar in shape to a sports stadium. The studio offers the flexibility to create different looks with a reporting desk or a small table or even standup locations on the stadium-shaped stage or elsewhere. The walls have plenty of branding via a large LED wall and smaller LED panels.

“We have four cameras,” added Garcia, “including a Steadicam and a jib camera to give a feeling of movement while doing intros for different sports. We were also a little bit lucky in that our view also shows the buildings on the sides of the Trocadéro.” – KK

Francois Legrand (left) and Francois Messier in the CBC’s main studio in Paris

Miguel Angel Garcia in Televisa’s studio at the Trocadéro TV tower

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UNITED KINGDOM

Afew days before the Closing Ceremony of the Summer Olympics in Paris, SVG Europe caught up with BBC Sport’s Ron Chakraborty, head of major events and general sport, to see how the operation was working on the ground, come rain or sun.

Chakraborty said the rain, apart from causing problems for some broadcasters in the Olympic Broadcasting Services (OBS) studio block at the Trocadero, actually showed viewers that the backdrop of the Eiffel Tower was real and that the team was onsite in the center of Paris.

Speaking from the production office at the OBS building, he explained: “For the first two days — oh god — it was one of those things. We were lucky because we were on the top floor, the rain went down but the Aussies are right below us and unfortunately, their studio got a little bit flooded and they had to not broadcast for a while. But dare I say, it was almost a good thing to have the rain there; it made people realize, ‘Oh, it’s a real view, this isn’t some virtual reality thing.’”

Bringing variety to the coverage was a team of crews on the streets immediately around the studio’s location, using RF cameras to create unique footage. He said: “We do have to remind people we’re here sometimes as well. So we have little roaming radio cameras as well [and yesterday] we had the GB triathletes in a little cafe just outside the studio. It’s just nice to have that variety.”

Chakraborty said that news crews were dotted at the various venues around the city making sure viewers get a firsthand feel for what was going on: “As wonderful as the view is, we’re on for 16 hours a day. There are plenty of ways we can be elsewhere; we are at the athletics, we are at the swimming, just getting as much of the flavor of a Paris and the venues as well. The atmosphere obviously has been brilliant. I think speaking to the other international broadcasters, this will go down as a great Games, unless something weird and wonderful happens in the last few days.”

The Olympic magic for UK viewers was created at the BBC Sport studio under the shadow of the Eiffel Tower in Paris. While the studiobased operation for BBC Sport was just one cog in the large wheel of control and content that spanned various locations across the French capital, including at the IBC, over to Salford in Manchester, England, the operational team had a lot to contend with to get on air.

Malcolm Cowan, broadcast industry professional and tech manager for BBC Sport’s Olympic studio, and his team were tasked with monitoring and managing the equipment to ensure all feeds from the studio and its localized roving cameras and audio flow through to Salford and to the IBC.

“There’s a huge amount of complexity there [in Salford],” said Cowan. “We are just pushing the signals out and receiving any that come back. We are not doing a huge amount of manipulation here; most of what we do here is all about monitoring so we can see what’s happening and make sure we’ve got the right things going to the right place, and everything else is handled outside of here.

“Everything is effectively managed remotely, including the audio,” he went on. “Salford is effectively accessing the MADI streams directly from here via the IBC, because obviously the IBC operation is part of this as well. So all of it is landing back in Salford so that the complexity really is about what happens in Salford, because they’ve got so many feeds

coming in, so much audio coming in; there’s all the comms, there’s all the programme audio, there’s the stuff the host provides, it’s all the talkback, plus the video of course.”

However, before the Games came the rig. On the set-up for the studio, Cowan said: “I got here on 8 July. There was rig already happening, so we were ready for rehearsals about seven days before the Games started. We were still tweaking with bits and bobs to sort out, but the biggest issue is trying to get all the lighting done; you’ve got to get the cameras in and then obviously the cameras need to be set up to do the augmented reality (AR) and virtual reality (VR) stuff that takes a certain amount of mapping and working out.

“Once that’s done, then they’ve got to start thinking about the lighting, and best plans change. So there has to be as much adaptation as possible. All of that takes a certain amount of time to take place; it’s not like you can just walk straight in and go, “Let’s make a program”, we’ve got to map it all out.”

However, an issue with the studio when the rig began was, as it is built within a temporary structure, the floor has some bounce to it which has the potential to cause havoc with the sensitive VR and AR equipment.

Said Cowan: “The floor is quite bouncy, so when people come into the room they can – depending on how heavy footed they are – actually make it bounce a bit. Obviously, with a camera that is trying to work out where it is in 3D space all the time, even if it moves a little bit, it will affect the rendered output. So StarTracker from Mo-Sys is all very good, but things like bouncy cameras don’t help.”

The heat created further challenges for the studio as the Parisian summer pushed temperatures in the city to over 30 degrees centigrade, with Cowan having to negotiate with the host to double the air con units in the studio prior to the Games from two to four to keep the kit cool. Yet still, while standing in the studio, the murmur of lights and equipment trying to cool itself down is audible.

Cowan added: “Along with the studio getting very hot during the day, massive downpours and trying to get the windows cleaned when you’ve got umpteen other broadcasters working at different times has been interesting. We have to choreograph, working with the host, so that when the cherry picker goes up [to clean the windows after heavy rain], they’re not obscuring the view of another broadcaster.” – HM

BBC Sport Olympic presenters, Jeanette Kwakye and JJ Chalmers on the sofa with SVG Europe’s Heather McLean in Paris

LIVE FROM PARIS 2024: GLOBAL BROADCASTERS – EUROPE

FRANCE

Historically, France Télévisions has approached the Olympics with the same philosophy for every Games: build a facility at the IBC, find a studio location, and make sure all the signals are properly delivered to Paris for playout to viewers via free, over-the-air TV. This year, with the Games taking place within an easy drive of headquarters, the national broadcaster took a different approach.

“These Olympics are quite different from the ones we are used to doing,” said Grégory Vital, head of engineering, France Télévisions. “For the first time, we’re doing it on our core facilities. When we do an Olympics in another country, we build a facility specially for that Olympics. This was quite challenging because of things like cybersecurity.”

France Télévisions needed to build additional master-control rooms to meet increased demand for content delivery. The broadcaster produced content for three channels, one of which delivers coverage in UHD HDR (there is also a digital channel for the extreme sports: BMX, skateboarding, and breaking). The technical demand required some changes at headquarters, with the UHD coverage produced out of a France Télévisions-owned TV truck (UM1) and the production-planning team taking over a TV studio. The broadcaster took in all the OBS feeds for live coverage and also recording 40 OBS channels on EVS servers for replay during night sessions.

The decision to forgo a presence at the IBC was driven by budget needs, and the broadcaster had only one person on duty there to make sure the feeds left the IBC correctly. Signals were received as both SDI and ST 2110, ensuring that there is a backup in case of any issues.

“It was quite easy to put in place everything for ST 2110,” said Vital, “and we didn’t have any issues with the 2110 feed. The EVS servers are currently in SDI, but, now that we know we will be going IP, we are in discussion to turn those from SDI to IP.”

The advantage of working in ST 2110 was that it made cabling and signal interchange much easier than working in SDI, he added. “We currently have four studio galleries and six or seven studio sets. It’s a nightmare every year, and we spend all our summers crossing signals between the control rooms and the studio sets. It’ll be a lot easier with 2110, for sure.

“It will also bring us a lot of flexibility in terms of format and resolution,” he continued, “allowing us to do HD but also to do UHD with the same infrastructure. I am not so sure IP brings a lot of flexibility for a small channel, but, when you have a lot of sets and a lot of OB vans where you have to exchange feeds, it makes things better.”

Among other new technologies, AI played a big part in hundreds of daily highlight files sent by OBS, automatically translating them for input into the France TV archive. “If an athlete speaks Chinese,” explained Romuald Rat, technology lab director, France Télévisions, “we can choose the part we want to translate, and it will create a transcript and a clip for editing. We’ve developed that in-house with Whisper. It also gives context and can understand what sport you are talking about as the same word can mean different things in different sports.”

For unilateral operations, France TV built two studios. One was in the Trocadéro for the main channel. The other was in the Club France, which was home to a late-night talk show bringing in athletes and others to close out the evening. “The athletes also come the main news set

for our national news at Trocadéro,” said Vital. “We can have the same athlete on at one set and then, a couple hours later, on at the other.”

Reporters and ENG crews traveled around Paris and beyond with TVU and AviWest bonded-cellular transmission systems. The broadcaster also set up a private 5G network for the Olympic-torch relay, cutting transmission costs by 92% versus a traditional setup.

“We used that eight to 12 hours a day,” Rat explained. “It was connected to the cloud for production. We’re reviewing the return on investment right now, but I can tell you that it was very positive. With a private 5G network, we will be able to produce more and more things with this kind of setup, and it’ll help us to produce things we were not able to produce — not only for sports but also for news. It also helps us to not produce CO2 emissions, and we estimated that we saved production of 600 tons of CO2, which is very important.”

Another France TV development was what Rat called the bicycle video unit, which came in handy during the Olympics, with two bicycle transmission units bouncing around town. Paris can be particularly difficult to get around in: for example, five years ago, when Notre Dame caught fire, it was impossible to get a satellite truck in position. At the Olympic venues, barriers prevent vehicles from getting close to the media entrance, requiring the crew to carry heavy equipment. The bicycle solution makes it much easier to get close to a venue.

“We built a cargo cycle that has the same capacity as a satellite truck,” he pointed out. “One truck is replaced by two bicycles with two technicians, and they each carry 80 kilos of equipment. They connect to public 4G and can produce two live streams at one time.”

For France Télévisions head of production in charge of Olympics and Paralympics Games Frédéric Gaillard and director of production for sport Gilles Silard, it was important for the broadcaster to also showcase the best of the city in their presentation, favoring real-world settings over virtual backdrops for this Olympics, believing that the authenticity of iconic Parisian landmarks adds value to the viewing experience.

“During the last Olympic Games, we were more innovative in the way we used virtual studios,” said Silard.

“But we were thinking that here in Paris, just as spectators want to see the real places around the city, we wanted to do the same. And so, we decided this time we didn’t want to have any virtual studios – we want to show the monuments and we want to show we are here in Paris.”

– KK and GB

France Télévisions’ Frédéric Gaillard (left) and Gilles Silard

LIVE FROM PARIS 2024: GLOBAL BROADCASTERS – EUROPE

WARNER BROS. DISCOVERY

Warner Bros. Discovery (WBD) was out in strength for Paris 2024 at WBD House, its rooftop base of multiple studios and stand-up positions in the center of the city. The creation of the studio center has took two years of planning, and the result was impressive.

Speaking to SVG Europe in blazing sunshine in Studio 1 at WBD House, Scott Young, SVP of content and production at WBD, said: “Going back to the very beginning, when the committee said to us that the mission for their Games was to put as many sports inside the center of Paris, we took that idea and asked: what does that mean for Warner Brothers Discovery? How do we then broadcast from the center of Paris? How do we get above the rooftops and see some of the most famous landmarks in the world, like the Eiffel Tower, and Arc de Triomphe, and how do we then adapt that to the Eurosport model of broadcasting, which is extremely unique?”

WBD wanted to ensure that all 47 rights territories — 11 of which can create their own programming from start to finish each day — and 19 languages, could come together in one location and each get a strong flavor of the city of Paris, the atmosphere of the Games, and to, “create a family environment and a work environment that people want to come to every day across what is — always — a long haul,” Young stated.

He went on: “Nineteen days is an endurance on any Olympics, but we’ve created an environment here where audiences feel like they’re getting the very best stories of the Games. WBD House is really turned into an environment where we can amplify the story of the Games through the eyes of the athletes, through the content that’s being made, through every sport that’s being produced, that’s available on streaming.”

WBD identified the famous Hotel Raphaël — a five-star luxurious pad a couple minutes walk from the Arc de Triomphe — as its rooftop location for the Games in October 2021. Chosen for its stunning 360-degree views of Paris, it became the inspiration for the layout of studios and stand-up positions that are bringing Paris 2024 to the world.

To construct the studios themselves, WBD had to remove the hotel’s roof garden, which Young said was, “76 tons, equivalent to the weight of the space shuttle.” Trees, soil, and plant pots were removed, while 42 tons in weight was then added over a series of 316 crane lifts as the studios were constructed. The process took four days.

Commented Young: “Technically, we’ve done something that means genuinely people walk out [the lift] and are blown away by it. But to turn this into a home was where I was very focused — because we could build studios, and I had no doubt we would build studios that would look spectacular — but how do we build a content house that people wanted to come to and share their story? We want our presenters to come here every day with a massive smile on their faces and want to be broadcasting all across Europe.

Continued Young: “One person’s idea needs hundreds and hundreds of people to become a reality. And some of the smartest production people, engineers, technicians, designers, and creators, have come together in a project over two years to make this a reality. Because it’s one thing to have an idea, it’s another thing to have a team of people who will go with you on a journey to deliver what has turned into being WBD House.”

Warner Bros. Discovery (WBD) was well known for its virtual studio, the Cube, which has played a huge role in its coverage of recent Olympics. However this year, the location of the Summer Games has played into the broadcaster’s hands, allowing it go for a series of real-world studios on top of the Hotel Raphaël near the Arc de Triomphe.

Yet while the Cube has nothing to do with this Games — “the opportunity of proximity replaced the necessity for technology,” said Scott Young, SVP of content and production at WBD — a spin-off of The Cube technology was at play in the Swedish studio.

The Swedish set was single-use for that country’s team, as WBD had the exclusive rights for that market. It ran free-to-air channels as well as Canal 5, and its new streaming channel Max, plus social channels.

To give the Swedish studio the significance it deserved as an exclusive provider of Olympic content to the country, WBD used its proprietary augmented reality (AR) technology commonly seen powering the Cube, running on Unreal Engine to give the studio a virtual edge.

Said Young: “They have a virtual platform here. So all the dots on the floor help locate the AR graphics head that’s in the jib. They superimpose over the glass tabletop different athletes and results, different promos. So they’ve driven this very specifically to one market that would be hard to replicate easily market to market within a half-hour setup change; every other studio can be adapted from one market to the other in 30 minutes.” – HM

Bugs Bunny and Lola Bunny visited WBD House to show off their Olympic medals.

LIVE FROM PARIS 2024: GLOBAL BROADCASTERS – EUROPE

IRELAND

Paris 2024 saw the largest ever Irish contingent travel to the Olympics, with 133 athletes competing in the Games. To cover the action, RTÉ is delivering over 250 hours of live action from France across RTÉ2 and RTÉ PLAYER, including three live daily programs.

“We’ve come a long way, technology wise, from Tokyo,” said RTE live operations support supervisor Michael Moriarty. “Then, everything was analogue, and jack patching for audio was a manual, labor-intensive task.”

This prompted an overhaul of the audio infrastructure, including the adoption of a digital Dante-based system which has allowed RTE to transition from an analogue system to a remote-controlled digital network.

“With Dante, we never touch the front of our racks,” said Moriarty. “Everything is now managed remotely, significantly reducing the need for manual intervention.”

RTÉ used NEP Connect as its service provider. Via that connection, RTÉ sent four HD video streams back to Dublin, with two HD video streams from Dublin back to Paris. A separate trunk was used for audio over IP, which is an AQ-based system, with 16 channels of audio from Dublin, and 16 channels of audio back to Paris. Codecs were all analog, with analog to Dante conversion via Tascam units.

RTÉ also recently upgraded its routing infrastructure in Dublin to SMPTE 2110, with EVS Cerebrum used as the orchestration tool.

“We’ve a remote panel into Dublin from here, which we can control the switching on our lines coming from Dublin to here. So that’s been a really useful tool, because it means in Dublin, we don’t need somebody sitting on the desk, all day and all night.

“And taking on Dante as our as our audio routing and distribution has been a game changer. I wasn’t in this role for Tokyo, but speaking to some of the team they would have to look on patch panels to find audio and headphones so just being able to see it all easily and distribute it easily has been really effective.”

RTE took some 82 feeds in from OBS with a MADI trunk for commentary positions from various stadiums around Paris.

“In terms of marrying the audio with commentary it’s a bit of a combination with some done in Dublin. We’ve got 16 satellite feeds coming into the building via satellite, and the bulk of what goes out to air comes in via satellite. Anything extra, if we have some ad hoc sport that isn’t available on the MDS (multichannel distribution service), we’ll switch it here and send it back via fiber. – GB

AUSTRIA

ORF, Austria’s national over-the-air channel, had 45 people in France, primarily reporters, camera operators, and others focused on getting onsite interviews that resonated with viewers back home. The channel also had only two commentary positions in France: one at Stade de France for athletics and a second at Marseille for sailing.

ORF’s Paris presence included eight camera teams, and 10 reporters were on hand interviewing athletes. All commentary, with the exception of athletics and sailing, was done in Vienna by 10 commentators calling the events off-tube. The broadcaster had mixedzone positions at athletics, sailing, climbing, table tennis, beach volleyball, and judo, and it had booked fixed positions at all other venues to ensure that its reporters have a place to call home. LiveU backpacks were deployed for transmitting reports from anywhere, but, in the mixed zones, the LiveU units used OBS-provided 20-Mbps internet connectivity to guarantee signal quality.

The core of ORF’s IBC operation was a small switching room where the production team preselects signals that are sent to Vienna, where they were produced out of two control rooms. ORF had access to around 100 feeds from OBS and the ability to transport 10 at a time (switching could also be done from Vienna).

“All the control rooms, content management, and four editing suites are in Vienna,” said ORF Olympic Project Leader Martin Krischke “There are around 50 people there working on the Olympics; in former times, they would have been here. But now we have just the people here who need to be here, like the reporters who are doing interviews.”

In Vienna, a new studio featuring augmented reality was at the center of all ORF Olympic and sports programming. It opened two months ago, just prior to the Euros. “The studio has a very big LED screen and full augmented-reality capabilities,” said Krischke. Having a small crane camera for AR allows the studio to virtually extend so that up to six people can be on screen.

The large studio provides multiple looks via different corners. “It’s very flexible,” noted Claudio Bortoli, technical production manager, ORF. “We have the big corner focused on the Olympics, and other corners are for other sports.”

In terms of deliverables, ORF broadcasted up to 10 hours per day on its dedicated sports channel and a second channel. The first one, with around 16 hours of programming per day, focuses on events in which Austrians are competing. The other, which has around 10 hours of programming, zeroes in on other sports in Paris. – KK

Claudio Bortoli (left) and Martin Krishke in front of ORF’s signal-control room at the IBC in Paris

RTE live operations support supervisor Michael Moriarty at the Paris 2024 IBC

LIVE FROM PARIS 2024: GLOBAL BROADCASTERS – ASIA & OCEANIA

AUSTRALIA

In May 2023, Channel Nine acquired the rights to Paris 2024 and to all Olympics through Brisbane 2032, giving its production team only 18 months to figure out a plan of attack. For the 2024 Games, the Australian over-the-air broadcaster had a team of 150 in Paris and 300 at home, delivering for viewers and innovating with an XR studio that makes its set in the Trocadéro TV tower seem much larger than it is.

“It has been a short runway for us,” said Alex Rolls, head of creative and innovation, Channel Nine, “but we’re pleased with how it has come together.”

The decision to be onsite led to the next challenge: bringing Paris home to viewers in Australia. Brent Williams, director, sport, Channel Nine, met with the IOC and discussed the possibility of being located in the Trocadéro TV tower, with windows overlooking the Eiffel Tower.

With the location nailed down, Channel Nine turned to resolve a key production conundrum: how to give the 8-sq.-meter studio a scale that matches the massive (and long) event. That’s where relationships with other rightsholders came in handy.

“I’ve been very interested in getting us into the extended-reality space,” said Rolls. “Brent, our CTO John Brandon, and I jumped on a plane and went to England to meet with an old mate of mine: John Murphy is creative director at the BBC and has been a pioneer in the space. We went up to Manchester and saw their virtual studios in action. By the time we were on the plane home to Australia, we were committed to it.”

With the decision to bring XR to the Games, the next question was whom to work with on ensuring that the virtual studio looked great, camera moves were smooth and realistic, and more. Channel Nine has been working with AE Live for a few years now, and its reputation for creating big, virtual-set extensions all around the world made it a natural fit.

“I’m very proud of the partnership and what we’ve done with them, as well as with Jago Design, a company also based in London,” said Rolls. “Fundamentally, the look of the Games is very much done in-house with our own design team led by Reg Squires, and we’re delighted with how it has all come together.” – KK

Channel Nine’s Alex Rolls: “[Given] the viewing figures that we’re getting, we’re exceeding expectations, and we’re delighted.”

NEW ZEALAND

Sky New Zealand had a small team in Paris, but, much like its team of 95 athletes (from a country with only 5 million people), it punched above its weight when it came to creating content in Paris and producing content at home in Auckland.

For its third Summer Games as a rightsholder, the broadcaster offered 12 channels of Olympics as a pay service and one free-to-air channel.

“The free-to-air channel is the best of the best,” said Andrew Hawthorn, major events producer, Sky. “We put all the New Zealand stuff and the best of everything else there, along with a studio show. The other 12 channels are basically taking the MDS service from OBS English commentary; we reduce that from 16 channels to 12 with the most appropriate content we can find.”

Sky New Zealand’s Andrew Hawthorn said the production team in Paris supplemented the OBS MDS service with interviews and other content captured by ENG crews.

All the cutting down and production work took place in Auckland. “The control room in New Zealand has EVS and is turning stuff around and augmenting the coverage,” Hawthorn explained. “We have a massive room that we call our Games control room, which looks after the 12-channel service, marrying up the feeds so they are on the appropriate channel.”

The main job of the production team in Paris was to supplement the MDS with content that might not be sent down those lines. All the equipment Sky New Zealand had in Paris was its own gear, shipped over from New Zealand.

ENG was a big part of the effort. The crew relied on LiveU for most transmission, but, for mixed-zone interviews, the units plugged into available internet pipes for reliable and steady transport.

“We will cover things, such as qualifying events, that are not being carried,” he added. “We have six unilateral lines for sending feeds, and the commentary is done in New Zealand. On top of that, we have six ENG crews, and our main operation here is to get those six ENG crews to the appropriate venues for interviews.”

An editor in Paris handled mixed-zone cut-downs or feature stories that add color and atmosphere to the production. Noted Hawthorn, “We’re trying to capture the essence of Paris with stories that show what it is like to be here at the Games.” – KK

Sky New Zealand’s Andrew Hawthorn said the production team in Paris supplemented the OBS MDS service with interviews and other content captured by ENG crews.

LIVE FROM PARIS 2024: GLOBAL BROADCASTERS – ASIA & OCEANIA

INDIA

India’s VIACOM18 was all-in on UHD coverage for Paris 2024, delivering 20 UHD streams to consumers in India on the JioCinema OTT app and three streams for TV in HD 1080i, all with Dolby 5.1 immersive audio.

“That’s a carryover from what we started with cricket and the TATA IPL,” Siddharth Sharma, head of content and production, Viacom18 Sports, said of the UHD commitment. “We’ve got the full UHD package coming in from OBS to our switching-control room at IBC. Essentially, we’re creating our own little scheduling pattern and pushing out 20 streams to India.”

Viacom18 aimed to make Paris 2024 the biggest and, obviously, the best Olympic experience ever shown to an Indian audience, and all the innovations for the presentation were designed to keep the audience at the center.

“Fans are leaning into an engaging experience as they cheer for Indian athletes,” said Sharma. “The immersive coverage tipped off with a dedicated camera feed and correspondent on the India boat throughout the Opening Ceremony, giving viewers a ring-side view of the Indian contingent. The Opening Ceremony was covered across 18 channels on our network, besides JioCinema, our digital streaming platform.”

Speaking about the objective behind showcasing the event, he noted that an event of the size and scale of the Olympics often brings unprecedented complexities that Viacom18 tried to address with the most comprehensive presentation of the Olympics in India ever.

“With a chockablock schedule and several Indians in contention for medal positions,” he said, “we ensured that every Indian athlete in action is presented on one of our 20 feeds and that fans can seamlessly switch to their preferred sport. We also built JioCinema for this event, such that fans can not only track live action in a language of their choice but also follow the schedule of the day, medals tally, and results of the day right below the Livestream Player. A dedicated schedule banner showcasing all India events is also shown daily, thus ensuring the streaming platform acts as a one-stop shop for all things Olympics for viewers.”

Viacom18 had close to 20 people in Paris, some located at the IBC handling all the feeds and three ENG crews out covering Indian athletes and events that were of most interest back home. All original content in Paris

was captured in 1080p and upconverted to 4K in Mumbai. Viacom18’s team in Paris ensured that all the signals get to Mumbai at maximum quality.

“The idea is to cover sports of interest in India and also all Indian participating athletes,” explained Sandeep Srikanth, SVP, creative and production, Viacom18 Sports. “We’re not missing any Indian participation whatsoever.” Helping to get all 20 streams of content home are HEVC compression and 4-Gbps circuits.

“While we send 20 switched feeds to India,” he said, “we are further using those as a base to create three hyper-curated streams for TV and digital. Those feeds jump between sports depending on events that matter to India and customize the experience. One is India in Focus, which is always about Indian athletes or events of Indian importance; the other feed has an international focus. We are doing studio shows around both.” – KK

SOUTH KOREA

KBS had a big presence in Paris. The crew of more than 70 included 15 producers (around 20 were working back home in Seoul), and eight reporters and eight ENG crews covered all the action but also zeroed in on key sports for the South Korean market — particularly, fencing, swimming, and archery — and the Opening and Closing Ceremonies.

According to Choi Ho Kyong, outside broadcasting technical team leader in Paris, KBS brought in all the signals from OBS via SDI and produced two channels of 1080p50 content at the IBC here (converting them to 1080p60 to Korea). The two channels were over-the-air, and all the signals were produced out of two production galleries — one for each of the TV channels — in the IBC and were sent ready for air. A mastercontrol room managed all the incoming feeds.

Although other rightsholders transmitted a wide range of signals and produced at home, KBS said that producing the show in Paris meant less bandwidth was required to get the content to Korea. Seven fiber channels sent content for two terrestrial channels, cable channels, and news distribution.

The eight ENG crews used LiveU to send the signals directly to South Korea. And, although the KBS space within the IBC had room for a studio, the broadcaster decided to capitalize on the wealth of iconic backdrops across Paris, and two hosts are roaming Paris and recording introductions for upcoming programming and more.

Commentary was done onsite for the Opening and Closing Ceremonies as well as for swimming, fencing, and archery. About 10 commentary teams called other events off-tube in Seoul. – KK <

Viacom studios in Mumbai used XR to help engage with Olympic fans in India in a deeper way.

KBS master control at the Paris Olympics IBC

WHITE PAPERS

Mastering Ground-toCloud Migration

TBy Marko Horvat, Amagi, Captain of Technology, Eastern Europe

he broadcast industry is currently experiencing a significant transformation.

Global demand for live content has reached an all-time high, with the live streaming market projected to grow substantially, reaching $3.21 billion by 2027, and boasting a remarkable compound annual growth rate (CAGR) of 21.2%. This surge is largely driven by the immediacy and real-time interaction that live content offers. Whether it’s streaming events, concerts, real-time news updates, or interactive social media sessions, audiences are increasingly drawn to the authenticity and spontaneity that live content provides.

In response, broadcasters are strategically migrating their operations to cloud-based platforms to achieve greater flexibility, scalability, and cost efficiency.

As the demand for live event coverage continues to rise, efficiently managing the delivery of high-quality signals from onsite locations to the cloud has become an increasingly complex challenge.

Tier 1 customers, in particular, demand minimal latency while maintaining the highest possible quality of service. It is evident that the future of broadcasting will be cloud centric. However, the primary challenge lies in meeting these stringent expectations, which requires innovative solutions that can effectively balance low latency, high-quality delivery, and the inherent advantages of cloud infrastructure.

> BENEFITS ARE CLEAR, OBSTACLES ARE REAL

Migrating to cloud-based media production and playout workflows offers broadcasters substantial benefits in terms of flexibility, scalability, and cost efficiency. However, these advantages come with the challenge of navigating the limitations inherent in public internet networks. Transmitting high-quality video over shared, unmanaged networks introduces significant technical challenges, including increased latency, packet loss, and bandwidth limitations. These issues can severely degrade the viewing experience and audience satisfaction leading to substantial losses in both revenue and brand trust.

Traditional cloud-friendly protocols, including Secure Reliable Transport (SRT) and other TCP-based protocols, fall short in delivering the sub-20ms latency and near-lossless transmission required

for broadcastgrade video.

The massive bandwidth demands of uncompressed 1080p or UHD signals further complicate direct ground-to-cloud transfers, making them impractical with current network conditions.

Broadcasters are accustomed to uncompromised quality, where even the smallest deviation from perfection is unacceptable. Maintaining the highest possible quality and minimizing latency are non-negotiable requirements. This level of precision extends down to the frame level, where no frames should be lost, dropped, or repeated whenever possible. Ultimately, any solution implemented must seamlessly integrate into existing workflows and offer a high degree of automation to ensure operational efficiency.

This was the exact issue our team faced when developing a solution for a well-known global broadcasting company. Their need was for a cloud solution that successfully met the standards of the broadcasting industry and was able to deliver high-quality video transmission with minimal latency. In other words, a cloud solution that performs on the same level as an on-premises ground solution.

> THE ROUTE TO RESULTS: COMBINE, TRY, SIMPLIFY

Our answer was a combination of advanced video compression and specialized network technologies.

Maintaining Quality and Synchronization

To achieve high-quality video transmission while reducing the required bitrate, we employed JPEG-XS encoding. This allowed us to compress the video to a manageable 350 Mbps for 1080p and 1.2 Gbps for UHD, all without compromising visual quality. Furthermore, this approach supported the inclusion of HDR (High Dynamic Range), which was essential for the project.

To ensure synchronization across video, audio, and ANC (Ancillary) data streams, we adopted the VSF Technical Recommendation TR-07 as our transport protocol. This standard facilitated the transmission of JPEG XS encoded video, PCM and non-PCM audio (formatted in accordance with SMPTE ST 302), and ANC data (formatted using SMPTE

ST 2038). By adhering to these standards, we ensured that the data could be seamlessly integrated with both hardware (such as Imagine Communications) and software (such as TAG VS) components within the customer’s workflow.

The use of industry standards provided an open and straightforward pathway for integrating these data transfers with the various technologies deployed by our partners. Close collaboration with other vendors was crucial in making the integration and implementation of these standards more robust and stable, ultimately contributing to a smoother and more reliable operational workflow.

> ENSURING PACKET DELIVERY

Standard ground-to-cloud connectivity solutions, such as Secure Reliable Transport (SRT), proved inadequate, especially when dealing with high bitrates and planning for UHD transmissions. We conducted extensive testing with the SRT protocol, making numerous adjustments and modifications to the SRT SDK itself (available at Haivision’s SRT GitHub repository). We even collaborated closely with the SRT development team to achieve the required high-bitrate transfers with minimal delay. However, despite these efforts, the results fell short of our expectations.

The solution was a return to fundamentals: utilizing Real-Time Protocol (RTP) over User Datagram Protocol (UDP), but through AWS Direct Connect. By establishing a private, dedicated network connection between the customer’s on-premises infrastructure and the AWS cloud, we were able to ensure sub-10ms latency and virtually lossless transmission, even for the high-bandwidth UHD signals.

To protect data integrity, we implemented the SMPTE 2022-7 standard for Seamless Protection Switching of RTP datagrams. This involved deploying two independent data links to mitigate the risks of packet loss or out-of-order delivery. By developing an in-house Class B, moderate-skew receiver optimized for short-haul links, we were able to provide stream protection with only an additional 50ms of latency, which enabled the delivery of high-quality, low-latency video from the customer’s on-premises facility to the AWS cloud.

Following the implementation of the 2022-7 receiver, we developed an in-house TR07 demuxer, enabling seamless integration with the Amagi CLOUDPORT playout ecosystem. These implementations provided the customer with critical insights into data transfer paths and stream quality, allowing for proactive detection and mitigation of issues such as delay, out-of-order delivery, and packet loss. Additionally, they offered valuable feedback to our development and implementation teams, as well as detailed analysis

of TR07 streams. This helped in identifying and resolving stream issues in collaboration with other vendors, whose hardware solutions contributed to the overall data stream.

> SEAMLESS INTEGRATION INTO THE CUSTOMER’S WORKFLOW

The final step involved integrating all components into the customer’s existing workflow to enable a seamless, one-click experience for performing the Ground-to-Cloud (G2C) transfer. This integration was achieved through open APIs, connecting with the Nevion VideoIPath orchestration and resource management system. This orchestration system was pivotal in managing the ground-to-cloud connections, ensuring efficient, automated operations.

Through the device registration API, we registered each Amagi CLOUDPORT playout input residing within AWS as visible and manageable resources within the customer’s workflow. This step was crucial in providing transparency and operational visibility, aligning cloud-based resources with the customer’s on-premises infrastructure.

Leveraging the orchestration API, we enabled dynamic control over the creation of G2C connections in real-time, responding precisely to the requirements dictated by the channel schedule. This ensured that every on-premises hardware device output was correctly routed to the appropriate 2022-7 receiver instance spun up in the cloud, exactly when needed. Once the live segment concluded, the connection was automatically dismantled, and the cloud receivers were decommissioned, optimizing both resource allocation and network bandwidth utilization.

The integration not only simplified the customer’s workflow but also ensured that resources were used efficiently, minimizing overhead and reducing operational complexity in handling live content transfers from ground to cloud.

> FINAL OUTCOME AND KEY SUCCESS FORMULA

The solution not only effectively addressed the Ground-to-Cloud (G2C) transfer challenge with the required quality and minimal latency, but it also brought significant optimization to the entire Groundto-Cloud-Cloud-to-Ground (GCCG) workflow. The end-to-end round trip times, which initially stood at approximately 12 seconds, were successfully reduced to under 2 seconds. This drastic improvement not only met but exceeded the performance benchmarks, enabling near real-time content delivery and enhancing the overall operational efficiency of the system.

As the industry shift to the cloud continues, broadcasters who want to capitalize on this change and become market and technology leaders will undoubtedly face technical challenges. To avoid unnecessary risks and fully leverage the transition from ground to cloud, the key to success lies in simplicity. Avoid over-engineering complex solutions and instead adhere to well-established principles like KISS (Keep It Simple, Stupid). By strategically combining purpose-built technologies, we were able to seamlessly extend the broadcast experience into the cloud. This approach is what we recommend if your goal is to successfully master the migration from ground to cloud. <

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We got you covered.

Simplifying workflows

Updating infrastructure

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Prioritizing your people throughout

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NHL Breaks the Ice With Cutting-Edge Live Cloud Production Powered by AWS

by Andrew Reich, AWS, Senior Industry Specialist BD, Media & Entertainment, Games & Sports

Alex Murel,

AWS, Senior Media Cloud Architect

AWS Professional

Services

Alex Norrman, AWS, Principal Sports Marketing

Manager

AWS Strategic Sports & Entertainment Partnerships

Luke Potter, AWS, Senior Media Cloud Architect

Live sports production has followed the same formula for decades. To send broadcasts out to fans, production teams have relied on massive production trucks to distribute game feeds from arenas to a fixed control room with workstations and production gear. The National Hockey League (NHL), one of the biggest sports leagues worldwide, is shaping the future of live sports production by turning to the cloud to create more dynamic content with greater efficiency and scalability, all in a more sustainable way. Earlier this year, the League turned heads with its execution of the first fully cloud-based live professional sports broadcast in North America for a face-off between the Washington Capitals and the Carolina Hurricanes. To create, manage, and distribute the live production, it leveraged cloudbased technologies from Amazon Web Services (AWS).

> MILESTONE MATCHUP

As the Capitals took on the Hurricanes in Capital One Arena in Washington, DC, on March 22, fans from all over tuned in to watch the action unfold on NHL Network. Unbeknownst to viewers, the NHL fully produced the live broadcast in the cloud on AWS at 1080p, leaning on a largely remote team for execution. Breaking free of the traditional broadcast workflow mold, the NHL’s live cloud production (LCP) workflow set the stage for a new era of innovation in live sports production. Combining advanced AWS technology with significant expertise from AWS and NHL engineers, the NHL’s LCP workflow successfully demonstrated cloud-based operations for video and audio switching and replay and graphics integration with the same functionality as if it was running on physical local hardware.

The NHL was able to use the live game feed and additional feeds running on AWS to create an alternate live broadcast, “NHL EDGE Unlocked”, as a pilot initiative that incorporated NHL EDGE stats technology to drive data-driven storytelling. The pilot program featured dedicated on-air talent, non-traditional camera angles, graphics, and real-time puck and player tracking, and showcased how cloud-based feeds can be repurposed to deliver innovative fan experiences.

> FOUNDATIONAL ELEMENTS

The collaboration between the NHL and AWS started in 2021 when the league named AWS its Official Cloud Infrastructure Provider, Official Artificial Intelligence (or AI) Cloud Infrastructure Provider, and Official Machine Learning (or ML) Cloud Infrastructure Provider. Along with developing NHL EDGE IQ stats together, the NHL and AWS also built a cloud-based encoding and scheduling pipeline using the League’s preferred solutions. This work has allowed the NHL to send feeds from each venue to AWS, where League personnel, partners, and broadcasters can access them. Always one step ahead, they quickly realized that producing a live game in the cloud was the next logical step.

“Establishing cloud encoding and scheduling was by far the most important pillar we built to enable LCP. We built an orchestration layer for manipulating AWS’s media infrastructure so that we’re able to turn on AWS Elemental MediaConnect flows and connect feeds to compute resources to be able to produce a broadcast,” explained Grant Nodine, NHL SVP of Technology. “We’re abstracting the truck from the broadcast and sending camera feeds to the cloud. LCP allows you to have an unlimited number of outputs, just governed by how much compute you want to dedicate to it.”

Dave Lehanski, NHL’s EVP of Business Development and Innovation, added, “We’re at the point where we have the ability to leverage new technology to create custom experiences for audiences and cloud production is the underpinning of how we’re going to do that. We’re going to take one NHL game and create multiple broadcasts to address avid fans, young fans, fans who may be very casual and interested in more of a lifestyle experience or those looking for a statheavy production. Cloud production is going to be at the forefront of fan development around the world for the NHL in the very near future.”

> REMOTE COLLABORATION

For the inaugural live-to-air NHL LCP broadcast, a single AWS employee equipped with one small flypack containing network switchers, Appear JPEG XS Encoders, a Matrox Monarch Edge Decoder, and

REICH

NORRMAN MUREL POTTER

an Audinate Dante Gateway was onsite at the arena to help coordinate game audio and comm feeds and to troubleshoot any technical issues. An NHL live production crew produced the primary broadcast feed from a makeshift control room set up in the NHL Network studios in Secaucus, NJ, while the NHL Studios team cut the stats-enhanced feed with live studio talent from a control room at the NHL headquarters in Manhattan. Whereas production trucks and control rooms often take months or even a year to commission, the flexibility and scalability of AWS enabled the NHL to create and deploy a robust setup in less than a month.

Though each team was co-located, the LCP workflow has created new possibilities for collaboration. For example, when testing LCP through a shadow deployment for an Anaheim Ducks vs. Seattle Kraken game, the technical director was based in Wisconsin, and two replay operators were in discrete locations in Canada. Rather than losing crew availability to travel days, this approach provides the NHL with more flexible access to staff based on skill set.

> SUSTAINABILITY AT SCALE

Along with enabling remote collaboration, the LCP substantially reduced the amount of onsite personnel and gear needed to produce the broadcast, helping to lower carbon emissions and travel costs. A live sports production of this size would typically require at least one production truck and at least 20 people to manage a single broadcast, generating an estimated 2.05 metric tons of carbon. That environmental impact compounds with each additional truck as well as for international exhibitions.

The minimized footprint of LCP is particularly beneficial for highinterest NHL events, such as the Stanley Cup Playoffs. Each year, the Playoffs require feeds to be produced in English and French, as well as an International feed and the NHL Network broadcast. Delivering all these feeds requires onsite energy consumption along with ample logistical planning to find space for all the trucks. LCP would provide rights holders the opportunity to access live feeds and all camera angles from the cloud, thereby minimizing onsite energy and associated requirements while gaining more content options for their productions.

> PERSONALIZED VIEWING EXPERIENCES

Though the ongoing fragmentation of content viewing platforms has created more competition for viewers, it has also opened opportunities for sports leagues like the NHL to grow their fan base. With the flexibility of an LCP workflow, the NHL can make high-quality content easily available and customizable for targeted viewing, addressing passionate fans and casual viewers with tailored broadcasts. By bringing together LCP and advanced analytics, the NHL is able

to enhance the fan experience—providing more insight, information, analysis, camera views, and statistics during the broadcast to more closely replicate being in-venue.

Since sports are inherently unpredictable, spontaneous magical moments can make any media asset manager scramble for clips. Using the cloud, however, ensures replay editors have quick and easy access to archive footage and create timely highlights; it also shortens time to air for alternative broadcasts and opens the door to fan-tailored highlights.

> SOLUTIONS REPLAY

In executing the Capitals vs. Hurricanes broadcast, feeds from ten onsite cameras operated by Monumental Sports Network were encoded using 12 channels of Appear JPEG XS and Matrox Monarch Edge encoders. The NHL team then sent the content as JPEGXS to AWS Elemental MediaConnect via 2022-7 over diverse ondemand AWS Direct Connects provided by AWS telecommunications Partner LUMEN. Once in the cloud, AWS Cloud Digital Interface (CDI) supported uncompressed video transport to a virtual production environment where video was converted into NDI using Sienna NDI processor engines to connect all live production elements and production regions.

The system’s core harnessed Vizrt’s TriCaster Vectar for production switching, Viz Trio for graphics, and Evertz DreamCatcher for replay, as well as TV Graphics for the clock and scorebug components, Solid State Logic for audio mixing, and Audinate’s Dante Connect for underlying audio transport within the production environment and between production sites. Amazon Elastic Compute Cloud (Amazon EC2) powered the editorial operators’ workstations. Once produced, the feeds were sent directly out of AWS to rights holders with a roundtrip latency of seven frames, meaning fans in-venue could comfortably watch the live broadcasts and not experience a jarring delay.

> PIONEERING NEXT-GENERATION LIVE BROADCASTS

By leveraging AWS for live cloud production, the NHL can sustainably produce live games with more agility, scalability, and flexibility, and deliver immersive viewing experiences for fans worldwide. Bridging production silos — with editing, distribution, and archiving done in the cloud, LCP can eliminate geographic and technical barriers to live broadcast innovation, further broadening opportunities for the league. On the cutting-edge of sports broadcast technology, the NHL is poised to continue elevating the fan experience with help from AWS. <

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Bringing the OB Truck to the A1: Remote Mixing With Calrec’s Type R WHITE PAPERS

By Sean O’Gorman, Universal Remote.tv, Director

Covid-19 pushed the REMI model front and center, but away from pandemic-driven necessities, issues have emerged in achieving the potential of remote productions — reaching the desired level of cost efficiency while maintaining the quality of output required to engage viewers. As highly experienced A1s with audio network engineering skills, we’ve seen this developing. The pressure to reduce costs, while the number of events needing to be covered grows (think Regional Sports Networks or RSNs) has, unfortunately, led to the use of Audio Engineers who are not yet experienced enough to mix shows, help set up audio networks, and troubleshoot. This is combined with a fundamental shortage of A1s in the US and across the globe.

Here, we’ll explore a 2023 proof-of-concept (POC) we carried out with our client the Professional Fighters League and Calrec to solve the problem of how to continue the expansion of REMI productions while not compromising audio quality. In essence, how do we bring the mixing capabilities of an OB truck to where an A1 is without impacting overall transmission timings and can this be done?

The goal with this project was to figure out how to get experienced people working on these types of shows in a cost-effective way, both for the client and for the experienced Engineer, and that the work and workflow appeal to them. The aim is to allow those Engineers to mix multiple small- to medium-sized shows from their home rather than only one or two events per week due to time spent traveling.

As you work to remote anything, and especially audio, leaving the actual processing — the DSP — at the onsite truck mitigates a lot of downstream concerns. As we approached this, we said the DSP — the Core — has to be in the truck to mitigate time alignment. It’s a very hard sell to say, hey, we’re going to ship all this audio to some other facility or person and bring back all those feeds. You’re likely to run into all kinds of issues with transmission and how you deal with IFBs and all

Calrec Type R fader setup used in the proof of concept

Sean O’Gorman,

Director, Universal

Remote.tv with a Calrec Artemis audio console

those processes. The DSP had to stay at the truck and that DSP and audio has to be flexible enough to get on the truck’s network — be that Dante, 2110, MADI — whatever is there. Once that’s solved, how do you get the remote process talking to the Core?

We really wanted to work with Calrec because its technology is in 99% of the trucks in the US and it’s an innovative company, tried and trusted and rock solid. Crucial to this is the technology form factor of the console so it’s economically viable to ship the control surfaces to wherever the A1 is, which can then be set up in a control room in their house. The Type R really fits this bill as it’s compact and modular, allowing us to keep all the DSP at the OB truck onsite and then feed the control signals from the A1’s property to the truck.

In terms of a customer with whom we could carry out this POC, I have worked with Professional Fighters League (PFL -MMA productions) for over five years and, with Shawn Peacock, A1, Universal Remote.tv, joining me, we have also supplied additional vendor

and network services. They were happy to take part. The PFL had an eight-week series of shows that took place at Universal Studios, Florida, from the end of January through February. It’s kind of PFL’s version of a minor league or, perhaps, a pre-season. These are smaller shows, one show per week on Friday night.

There’s a world feed and often with world feeds in the US — which has a very US-centric view of broadcasting — it can be a bit of an afterthought. But as many people recognize, world feeds are important and often have a greater viewership than the domestic feed. It’s not particularly complex but they were trying to use local Audio Engineers and there were issues that needed solving. It wasn’t always the Engineer’s fault; it’s just the chaos of creating TV.

The key thing the Type R does, as compared to other REMI models, is the signals stay onsite with the DSP at the core in the truck. We’re not shipping the audio signals to a console remotely — the audio is not leaving the site: this is about control signals. The only audio that has to come to the Engineer is what hits their monitors. That’s not transmission; that’s not critical to the show infrastructure and going to air other than the A1’s ability to mix the show. If, for example, a control surface did go offline, which is extremely unlikely, the audio is still playing out, unmixed. In other words, whatever status the mixer is in, the transmission isn’t impacted. This is a significant benefit. Then there’s Calrec Assist, a browser-based UI, which in the worst case, the A1 can login on a laptop and mix remotely via Assist. This isn’t a long-term solution, but it’s a viable temporary solution. It’s an added layer of redundancy and failover. For this POC, Calrec provided some Type R control surfaces. The Type R is modular so it’s a couple of Pelicans with a couple of fader panels/LSPs and some cables. It’s a very minimal setup. There’s a router, a POE (power-over-Ethernet) switch and then plug it in and go and they are online via our Universal Remote.tv-developed VPN.

The Type R integrates on our network over DANTE. Everything that goes in and out of a Core is on a DANTE network. We use a low latency, WAN-friendly codec to ship the control room output of that core to the Engineer at their house. They have the same functionality at home as they would in the truck, including comms, of course. They can choose what they want to hear out of their control room surface. Additionally, the Type R’s DSP onsite, with its compact size, diverse I/O with the SMPTE 2110 modular I/O provided a smooth path to integrate into MUs regardless of the existing infrastructure without

Shawn Peacock, A1, Universal Remote.tv with a Calrec Artemis audio console

having to rework any time alignment or transmission concerns.

This is the beauty of it. Let’s say there are 64 sources hitting the DSP but the A1 doesn’t need those 64 sources to be fed to their house. What they’re doing, just as it happens in a production truck, when the A1 calls up the PFL world feed signal, the core routes the source to the A1. This solves both latency and bandwidth concerns as well as DSP.

The latency is fixed — we have dialed it in at 175ms. That’s the delay between an A1 selecting the source and hearing it. There’s an opportunity for us to lower that. This is all going over the public internet with a VPN sitting on top. Being able to do this using public internet rather than dedicated connectivity is a huge boon.

Depending on where the A1 is in relation to the truck, we can dial that latency back. But being able to deploy this to anyone, anywhere with that latency is fully workable, as we have rigorously tested.

Because of the type of sports events we’re targeting, there’s a little more tolerance than, say, mixing the Super Bowl, understandably. The key thing with any latency is being able to maintain the flow of the show, which is easily achievable with this methodology. When we deployed the Type R in the first week, as an A1 when Shawn sat down and started pushing faders, it felt far faster than he’d anticipated and he immediately said to me, even at that early POC stage, this is going to work and he was able to overcome concerns about timing, about hitting a piece of music correctly or tracking a microphone.

We had the POC set up very quickly — a matter of a few days — with only one, small issue, the solution to which was quickly explained by Calrec. To highlight the success of this POC, within the first week, and while finalizing the Type R setup, there was an unrelated audio issue on a show. Shawn, working at home, stepped in on the Type R — and even though we hadn’t set up the meters at this point, the situation was very quickly solved by Calrec — it worked and worked exactly as intended.

Moving forward, in terms of the equipment needed at home, we will ship Type R fader panels to A1s as required but in terms of audio monitors and the other kit, we will supply these to A1s for them to keep and use.

Calrec’s Type R allows us to bring an Audio Control Room to an experienced Engineer so they can work where they want to. On Monday and Tuesday, for example, they could be mixing a dog show out of New York and on Wednesday and Thursday they are mixing a college basketball game in LA. We want to maximize the time experienced Engineers are sitting behind a console and minimize the time they’re sitting on a plane.

We are very grateful to Calrec and Professional Fighters League for their support with this proof of concept. We strongly believe this workflow changes the game for remote mixing. It’s a technically elegant solution to the problem that many productions now face while wanting to capitalize on the full benefits of REMI productions. <

WHITE PAPERS

WAVE-TV Takes the Lead With Historic Kentucky Derby NextGen TV Broadcast

By Phil Kurz, TV Tech Magazine, Contributing Editor

Horseracing fans won’t soon forget the 150th running of the Kentucky Derby May 4 when Mystik Dan nosed out Sierra Leone and Forever Young to claim victory, the first photo finish since 1996, etching the thoroughbred and jockey Brian Hernandez Jr. into the history of the storied race.

WAVE-TV, the Gray Television-owned station serving Louisville and the official station of the Kentucky Derby, put down its own historical marker — at least in terms of television — with its race presentation to NextGen TV viewers in High Definition (HD) enhanced with Dolby Vision High Dynamic Range (HDR) and Dolby Atmos immersive audio.

“The Kentucky Derby is the perfect opportunity to showcase HDR and to start educating viewers on exactly what it is,” said station general manager John O’Brien. “Taking advantage of this opportunity makes it possible to raise awareness about HDR so that we can ramp up adoption of NextGen TV.”

> DOLBY VISION AND DOLBY ATMOS

While HDR is only one of the many new enhancements NextGen TV brings to over-the-air and streaming TV, it is one the viewers will notice.

WAVE-TV, on-air with NextGen TV since September 2022, had already deployed Dolby Vision, an HDR technology that unlocks the full potential of television imaging with a wider color palette, sharper contrast, and richer detail than possible with standard dynamic range (SDR).

While the HDR enhancement of its local newscasts and shows as well as network favorites set the stage for what NextGen TV could do for viewers, it was the station’s HDR coverage of the Derby and leadup to the race that elevated NextGen TV awareness among viewers to a whole new level.

“The station did an amazing job. WAVE had turned on HDR prior to the Derby, but their ratings for the Derby were off the chart,” said Anne Schelle, managing director of Pearl TV, a business organization of eight of the nation’s biggest broadcast groups dedicated to advancing NextGen TV deployment. Thanks to its pre-race promotions and the visible difference of Dolby Vision HDR and Dolby Atmos immersive audio, the station doubled its NextGen TV viewers of the race compared to the preceding year.

Segments on local newscasts were dedicated to explaining NextGen TV and HDR to viewers prior to the Derby, said O’Brien. The station further promoted Dolby Vision HDR and Dolby Atmos immersive audio via social media and its website.

“You can now watch WAVE News, your favorite shows, and all of WAVE’s programming in crystal-clear HDR with a NextGen TV,”

the website reads. “This new signal delivers extraordinary picture quality and immersive audio with Dolby Vision HDR and Dolby Atmos—for free—to all viewers with NextGen TV devices capable of receiving the network broadcast.”

WAVE-TV also partnered with Charlie Wilson’s Appliance & TVs, a retailer across the Ohio River in Clarksville, IN, on a NextGen TV giveaway. The station and retailer gave away 65-inch LG OLED G Series Dolby Vision and Dolby Atmos enabled NextGen TVs to two lucky viewers to help boost awareness and interest among the public.

An on-air promotional campaign encouraged viewers to visit the WAVE-TV website to enter the drawing for the LG NextGen TV sets and to learn more about the new broadcast standard’s capabilities, including Dolby Vision HDR and Dolby Atmos.

The winners joined the ranks of the more than 55 million households nationwide with access to free over-the-air NextGen TV in high dynamic range. More than 11 million viewers already own a NextGen TV receiver, and the Consumer Technology Association (CTA) expects that number to grow by more than 5 million this year.

Such growth is easy to understand in the context of improved pictures and sound. “I’ve been watching the Derby all my life,” said Kyle Fluhr, sales manager at Charlie Wilson’s. “You watch replays from years past. This year is one of the clearest pictures of the Derby that I’ve ever seen.”

Beyond HDR and immersive sound, NextGen TV adoption could be further accelerated if vendors were to train retail sales teams about their latest NextGen TVs, said Fluhr, who points toward the efforts of his other vendors that regularly conduct in-store training as examples.

> THE BIGGER PICTURE

Going forward, HDR and immersive sound will play significant parts in promoting demand for NextGen TV. While there’s nothing quite like actually being at the Kentucky Derby or any other sporting event, the lifelike colors, sharp contrast, and rich detail of Dolby Vision HDR and the spatial sound experience of Dolby Atmos give NextGen TV viewers the next best thing — a way to take part in the electrifying excitement with family and friends without leaving their homes.

Dolby Vision HDR and Dolby Atmos are designed to allow NextGen TVs to give viewers the best sports entertainment experience that their systems can deliver. For now, there is more work to do on the part of stations, retailers and NextGen TV vendors alike to educate viewers about HDR and immersive audio in the view of WAVE-TV’s general manager. But the station’s efforts to promote Next-Gen TV with HDR and immersive audio during the Kentucky Derby point the way.

“The Derby is huge, and it’s the perfect jumping off point,” he said. “But once we do this, I want to look for ways to have continuous promotion of HDR because we have a responsibility to do that so we can speed up the adoption of NextGen TV.”

“We’re at the doorstep of NextGen TV now. We’ve been talking about this for years. We need to get it out there and tell people about all of its great advantages — just like we did back when we were talking about HDTV. We need to do that all over.” <

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WHITE PAPERS Remote Productions With Lower Bandwidth Requirements

RBy Klaus Weber, Grass Valley, Director, Product Marketing

emote production, also known as REMI (Remote Integration Model), allows production teams to manage events from central control rooms, minimizing the need to transport staff and equipment to venues. The choice of workflow depends on the infrastructure, budget, quality requirements, and specifics of the event. Many remote production workflows require significant bandwidth to transmit image signals between the venue and the production site. However, high-performance IP connections, necessary for transmitting many uncompressed signals, are not available at many locations.

Even with sufficient bandwidth, high compression rates can lead to unacceptable signal delays. An alternative approach is to process signals onsite and send only selected high-bandwidth signals to the production center, reducing overall bandwidth requirements.

Various options for decentralized production are presented and analyzed, including their advantages and disadvantages. Innovative solutions such as low-latency codecs and edge computing, which enable more onsite processing and less data transmission, are discussed. Cloud-based solutions for scalable remote production are also explored. Case studies highlight successful low-bandwidth remote productions, providing insights and best practices for adapting workflows to different scenarios and ensuring high-quality broadcasts despite limited infrastructure.

> RETROSPECT

Remote broadcast productions have been used for many years to increase efficiency or to enable production at the desired location.

An early example is a television studio on the 53rd floor of the Main Tower in Frankfurt’s city center, operational since January 2000. This studio, situated 200 meters high and equipped with four digital cameras, was connected via fiber-optic cable to a control room in a broadcasting center in the north of the city. From this control room, the entire production was managed for many years.

The Triax signals between the cameras and base stations were converted to signals that could be sent over dark fiber cables. In these setups, each camera required a separate dark fiber cable, with the maximum cable length limited to approximately 40 kilometers due to the technology used. While the specific technology from that era is now outdated, the challenges faced by production teams in decentralized productions remain the same. This early approach was an important first step in the evolution of remote broadcast productions.

> HIGH BANDWIDTH REMOTE PRODUCTION WORKFLOWS

DirectIP

Today’s technologies allow for much more extensive remote productions over larger distances. For example, during the 2019 World Skiing Championship in Åre, Sweden, 50 television cameras, including 13 operating in Super-Slow-motion mode, were used to cover the event [1]. These cameras were remotely connected via a DirectIP connection to their camera base stations at Swedish Television (SVT) approximately 600 km away.

All signal processing devices and the production team were based at SVT’s headquarters in Stockholm. The camera signals were transmitted completely uncompressed over two 100 Gbps IP connections, resulting in minimal delay. This showcases the significant advancements in remote production capabilities, enabling high-quality, realtime broadcast productions over vast distances, even for extremely demanding applications.

NativeIP

In addition to the uncompressed transmission of signals between cameras and their base stations at the event location and the production center, as used with DirectIP, the required ST 2110 video signal streams can also be compressed using methods optimized for live applications, such as JPEG XS, in a NativeIP connection. This compression typically reduces the bandwidth requirement by a factor of 10 without negatively affecting image quality or signal latency.

For instance, JPEG XS compression was utilized in an international sports production in China, where several cameras were connected to a production center in Europe. This allowed for the integration of cameras from two very distant areas of the world into a single production. Due to the extended preparation time for such an international sports event, a redundant IP connection with the required bandwidth could be organized. This would likely be more challenging with a shorter preparation time.

Despite the efficiency of JPEG XS compression, securing the required IP bandwidth for multiple cameras remains a significant challenge and is not always feasible.

Figure 1

> BANDWIDTH EFFICIENT REMOTE PRODUCTION WORKFLOWS

Since powerful IP connections are often unavailable or prohibitively expensive at many production sites, alternative workflows for remote productions have been developed in recent years. These new options have made it possible for remote productions to become a viable and practical alternative on a larger scale.

Cloud-based Remote Productions

Cloud-based production solutions, combined with SaaS-based production equipment, offer significant increases in flexibility and efficiency. A notable example is the production of LegaPro, the third Italian football league, by the production company NVP [2]. Within a few weeks, NVP established a cloud-based production platform, enabling the production of over 1,100 games within 10 months.

This demonstrates how cloud technology can overcome the limitations of traditional high-performance IP connections, providing scalable and cost-effective remote production solutions.

Since only a few NDI or SRT signal sources need to be transmitted to the cloud for LegaPro productions (Fig. 1), the required IP bandwidths in each football stadium are manageable.

However, if a larger number of signal sources are needed, the bandwidth requirement increases proportionally, potentially leading to higher signal latency. Each additional source requires a specific amount of bandwidth, and if more signals must be transmitted within a limited bandwidth, the compression rate for each signal must be increased. This increased compression rate subsequently results in greater signal delay.

> REMOTE PRODUCTIONS WITH ON-PREMISES PROCESSING

With a workflow based on SaaS applications processed on-premises using COTS servers, additional SaaS applications can be activated as needed without incurring extra costs for cloud processing. If the existing hardware can handle the additional applications, they can be seamlessly integrated. However, if the hardware’s processing capacity is exceeded, additional hardware must be installed, or specific functions may need to be outsourced to the cloud.

This approach enables a customizable balance between on-premises and cloud processing. For regular requirements, maximizing onpremises processing can offer cost advantages, while cloud resources can be leveraged for peak demands. Some installations manage the entire production and playout of several programs entirely with SaaS applications on on-premises processing. Compared to traditional proprietary hardware solutions, this results in significantly lower investment costs and greatly improved flexibility.

However, as with cloud processing, there is still a need to transmit all camera signals from the production locations to the production center. Depending on the number of sources, this can result in a high bandwidth requirement and/or significant signal latency.

> REMOTE PRODUCTIONS WITH ON-VENUE PROCESSING

Given the limited IP bandwidth at many event locations, a new alternative has emerged. The production of the RallyX series by the Scandinavian company DMC exemplifies this shift [3]. Previously, this racing series was produced using OB trucks and large production teams across various Northern and Central European locations. Starting this year, a SaaS-based production solution has been implemented, utilizing COTS servers for on-venue signal processing. This approach requires transferring only selected high-quality signals to

the production centers in Stockholm and Oslo, where all users, except camera operators, are located (Fig. 2).

Typically, two high-quality image signals are sufficient: one from the main production switcher output and a multi-viewer feed with all available sources. On-venue signal processing means the number of input signals does not impact the required IP bandwidth for the connection to the production center(s). This method enables remote productions from locations with limited IP bandwidth while maintaining the possibility to use many signal sources, especially uncompressed, low-latency camera feeds.

This innovative workflow helps minimize production costs and significantly reduces the ecological footprint. However, a slight disadvantage compared to cloud-based processing, or on-premises processing at the production center is the increased need for processing equipment at the event location and a slightly reduced scalability. Despite this, the benefits of reduced bandwidth requirements and environmental impact make this approach a compelling option for modern remote productions.

> SUMMARY

Remote productions have been used for many years, offering significant benefits in cost savings and reducing the environmental footprint. However, achieving widespread use required overcoming various technological hurdles, and advancements in available IP bandwidth have been crucial.

Even today, there is no single solution that meets all conceivable requirements. Different options have emerged to optimize use depending on specific needs. Early applications relied on dark fiber connections to link cameras directly to the infrastructure, while later implementations utilized IP infrastructures to connect devices. The advent of cloud processing and SaaS-based broadcast products has further enhanced the practicality of remote productions by introducing new possibilities.

Depending on the available bandwidth at the venue, different solutions can achieve the best possible results. Particularly when bandwidth is limited, workflows with signal processing on COTS servers located at the venue can be the most effective solution. <

References

[1] https :// www . svgeurope . org / blog / headlines / nordicsummit-2019-lessons-learned-by-svt-from-the-worldslargest-remote-production/

[2] https :// www . grassvalley . com / media / 5gkczipt / nvp cspub-3-1054a-en.pdf

[3] https :// www . grassvalley . com / media / 222bdrwo / rallyx dmc cs-pub-3-1068a-en.pdf

Figure 2 – Overview DMC production workflow of RallyX

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HDR/SDR Workflows for Live Production Applications Utilizing Sony’s SR Live 3D-LUTs

FBy Hugo Gaggioni, Sony, CTO, Sony Imaging Products and Solutions, Americas

or many decades, the Television industry has been in the business of program production and distribution utilizing video signals with Standard Dynamic Range (SDR) characteristics. Currently, after years of technical improvements, these SDR signals in their HD or UHD implementations have reached a high level of picture quality and technical maturity in their color and luminance properties, albeit within the constraints of the SDR specifications.

During the last eight years, the media production industry has seen a rapid growth in the creation of international standards and the adoption for the next level of evolution in video technology — the introduction of High Dynamic Range.

To enable a single HDR/SDR production workflow, numerous operational guidelines have been proposed to make sure that both the SDR and HDR operations achieve high levels of picture quality — and most importantly that no degradations are introduced in the derived SDR programs — matching the traditional high standards of the SDR signals already produced by the studio cameras.

However, it is this very prolific set of methods that is injecting confusion and complexity in the selection of which conversion technique to use during this HDR/SDR program creation, and this is especially evident in live production applications.

Sony, as one of the pioneers in HDR video production, has had enormous experience in HDR/SDR simultaneous productions and has introduced key HDR developments in use at major international sporting events. While Sony is still advocating the use of dedicated hardware-based processors for the ultimate quality in HDR and SDR operations, the industry has shifted to using what is known as 3D-LUTs (Look Up Tables) due to their ease of implementation and use, as well as the flexibility for adding levels of artistic intent.

This article will present an overview of an updated set of 3D-LUTs created by Sony for both Live Production and file-based Post-Production applications, which are called ‘Scene-Referred’ Live LUTs (SR Live LUTs). This novel set of 3D-LUTs not only guarantees the picture quality demanded in the roundtrip of SDR elements (SDR->HDR->SDR), but they can also be used in conjunction with a number of HDR OETFs, produced by Sony’s Live Production cameras, enabling various levels of artistic design for both the HDR and the SDR programs.

> SONY’S SR LIVE LUT (.CUBE FILE)

The set of SR Live LUTs was initially published as V1.0 back in June 2021. This summer, the updated set has been released as V1.10. The new enhancements of the V1.10 package are as follows:

• Improved roundtrip conversion performance around the 0% black region.

• The addition of LUTs for S-Log3 signals.

• The addition of a LUT file package for NLE-use, for both HLG and S-Log3 video material.

The SR Live LUT file package can be freely accessed at the following website: https://www.sony.com/electronics/support/software/00264669

These SR Live 3D-LUTs make use of 33-cube tetrahedral interpolation for best performance during the operations of up and down-mapping in HDR workflows.

The SR Live LUT file package includes two major types of LUT files: “Standard” and “Versatile” — for a total of 18 files for HLG processing and 16 files for S-log3 signals.

The most notable difference between the Standard and Versatile types are the settings for the SDR Knee point and slope for the down-mapping. The Standard LUT is designed to reproduce the most common look of current SDR imagery — so that the converted SDR signals appears pretty much as the SDR signals produced by the system cameras, while still retaining more of the highlight information captured during the HDR process. The Standard LUT set should be the first choice when the priority is the creation of conventional SDR imagery.

Alternatively, the Versatile LUT set should be selected when the production priority is to have more creativity and flexibility in the handling of highlight tones.

The numerical design of these LUTs follow the signal processing dictated by the Scene Referred method — for both up and downconversions. In addition, the Versatile group of the SR Live LUT set takes into account four types of picture appearances (‘Looks’) which can be selected in the system camera control menu.

These picture looks are: Rich(Live), Balanced(Mild), Natural and Bright(Mild). The characteristics of these looks are as follows:

• Rich(Live): the LUT converts vividly colored HDR (either HLG(Live) or S-Log3(Live)) to standard SDR.

• Balanced(Mild): the LUT converts standard HDR (HLG(Mild) or S-Log3(Live)) to standard SDR.

• Natural: the LUT converts moderate colored HDR (HLG(Natural)) to standard SDR.

• Bright(Mild): the LUT converts standard HDR with high luminance values to standard SDR.

Figure 1 - An example of a simplified single-layer HDR/SDR production utilizing SR Live LUTs operating on HDR(Mild) signals produced by the system cameras.

SDR->HDR->SDR ROUNDTRIPPING

In order to ensure the correct SDR->HDR->SDR roundtripping, the SR Live LUTs are initially designed to achieve the down-mapping processing from HDR to SDR — according to the selected picture look. Then, the corresponding inverse of the signal process is calculated to carry out the SDR to HDR up-mapping, in order to reproduce the correct signal level during the creation of the SDR output after the concatenation of the two conversions.

Detailed graphs of the input/output relations of the SR Live LUTs, with their corresponding signal values, can be found in the explanatory notes added in the link above.

Figure 1 below depicts an example of a simplified single-layer HDR/SDR production utilizing SR Live LUTs operating on HDR(Mild) signals produced by the system cameras. This type of HDR processing workflow avoids color artifacts (under/over-saturation) in the creation of the SDR signal while still providing artistic flexibility with additional highlight tones.

CONCLUSION

This paper has presented an overview of a newly release set of 3D-LUTs created by Sony for both Live Production and file-based Post-Production applications. This 3D-LUT set is called ‘SceneReferred’ Live LUTs (SR Live LUTs) because of its dedicated use of Scene Referred signal processing. This novel set of 3D-LUTs guarantees the picture quality demanded in the roundtrip of SDR elements (SDR->HDR->SDR) — which is of special importance for SDR legacy/graded material and graphic elements which are up-mapped and added to the HDR production layer.

This SR Live LUT file set can also be used in conjunction with a number of HDR OETFs produced by Sony’s Live Production cameras to enable various levels of artistic design for the management of highlights for both the HDR and the SDR programs.

Sony is very much indebted to Mr. Greg Coppa of CBS Sports for his technical suggestions on the use of the SR Live LUT file set during CBS’s coverage of major sports events, which aided in the optimization of these LUTs. <

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WHITE PAPERS

Score More With Social: How to Engage Sports Audiences in the Digital Age

TBy Jon Raidel, Vizrt, Global Center of Excellence Lead, Cloud and Live Production

he way in which we consume sports content has changed. No longer are audiences reliant on linear TV for their regular sports fix or even some of the more important match-day or tournament moments. Instead, they are increasingly inclined to consume content via social media platforms in a more piecemeal fashion, and often for shorter periods of time.

Realization of this shift in viewing habits is generating huge commercial challenges for sports broadcasters and rights owners. Yes, people may still tune in to traditional programming for the big ceremonies and finals, a lot of the daily content is being watched on social media sites such as YouTube, TikTok, and X (formerly Twitter). Consequently, the focus of many companies looking to attach their advertising spend to sports is now increasingly geared towards social platforms.

With these platforms expected to wax and wane in popularity more dramatically than their broadcast forerunners, the responsibility is on sports content creators to develop more diversified content distribution strategies if they are to optimize engagement and monetization over the longer-term. In this white paper, we’ll show that a willingness to engage with viewers on their platforms of choice and create content with the latest technologies that is visually impactful and distinctive, can make a massive difference in reaching sports fans of all ages.

> IMMERSIVE EXPERIENCES

Recent research [1] has confirmed that adding immersive elements to content is one of the most effective ways of connecting with

younger audiences. In fact, 79% of sports fans surveyed are more interested in sports content — and thus are more likely to watch it — if graphics and virtual elements like augmented reality (AR) graphics, virtual studios, data analysis, and replay are used.

Retaining viewers so they watch for longer periods is a major challenge in the multi-platform age, so it’s important to note that AR graphics and other immersive technologies also make them want to view for longer. The same survey found that 57% of overall respondents were more likely to watch content for longer if virtual elements were used, and this increased to 63% for those in Gen Z.

There are solutions out there that generate unique telestration, and data-rich analysis, to increase fan engagement and revenue generation capabilities. Sports content creators have a host of options that allow sports analysis to be combined with AR graphics and other immersive aspects, often it just takes finding the right solution and partner to help achieve your vision.

> DEEPER INSIGHTS

UEFA is among the many sports organizations to have achieved remarkable results since using sports analysis tools to create video that give fans a deeper insight into tactical plays. This has yielded a broader range of short-form content that extends the replay value of match information, and as such they’ve developed new ways to monetize content through sponsorship packages.

Before bringing in sports analysis to create short snippets for social, UEFA had around 1 million views/clicks on X (Twitter) and wanted to increase this figure by 20% year-on-year. In fact, the first year’s performance dramatically exceeded this goal, with an increase in views/clicks of more than 78% and a total of 289 million impressions for the 2023 season.

You don’t have to go far to look for other examples of innovative

sports storytelling. In the US, for example, ESPN is also using sports analysis and telestration tools as part of efforts to “raise the bar” with its analysis of NHL matches. Deploying a video editor with laptop in the studio to work alongside the analysts has allowed the broadcaster to quickly generate immersive graphical depictions of critical plays, accompanying the vivid descriptions provided by former NHL players.

Underlining its commitment to generating new types of content, NHL also recently used piloted an ‘alternative live broadcast’, NHL EDGE Unlocked [2] producing its first entirely cloud broadcast. Trialed during a match between the Washington Capitals and Carolina Hurricanes, the innovative project employed highly integrated real-time graphics to showcase how cloud-based feeds can be repurposed to deliver captivating fan experiences.

> OLYMPIAN CHANGES

The Paris 2024 Summer Games has long been perceived by many commentators as a pivotal turning point in how broadcasters make their coverage and bring it to consumers. On a production workflow level, there was almost certainly more use of IP, remote and cloud elements than ever before. From a delivery and consumption perspective, broadcasters were often more public about their partnerships with social platforms.

A notable example is NBC, which produced a one-hour TikTok Live show throughout the Games at 4:45 p.m. ET each day. Presented in partnership with Toyota, the show reflected a distribution strategy that, “whether it’s linear streaming or social, is to make sure that we’re reaching every American that we possibly can, and giving them content on platforms in a voice that they’re accustomed to hearing from,” said Josh Noval, SVP of Olympic Sales at NBC Universal, in an interview with Mashable [3].

Acknowledging the need to connect meaningfully with nontraditional broadcasters, there was also an agreement between the Olympics and YouTube to show the opening and closing ceremonies, as well as exclusive access for YouTube content creators. There was also a partnership with popular free streaming platform CazéTV, as well as many other deals that confirmed an increasingly wide content delivery outlook.

Though we will have to wait a while for the granular analyses, the early signs are positive that leading broadcasters have made a successful transition to a less traditional model. For example, having enlisted celebrities including Snoop Dogg and Kevin Hart to help deliver its coverage, and worked with 27 creators as part of collaborations with TikTok, Overtime and Snapchat, NBC revealed that the opening Saturday of Paris 2024 was watched by more than 32 million viewers across its linear and streaming platforms — representing an 83% increase on the first day of competition at the Covid-afflicted 2020 Games in Tokyo.

> THE WILL TO WIN (VIEWERS)

A few years ago, the debate around future sports viewership tended to be dominated by questions such as: ‘How can we keep viewers watching on this platform?’ More recently, the more forward-looking broadcasters have realized that they actually need to be thinking how about how to reach viewers — especially those who have grown up during the social media age — on the platforms they prefer, and then tailoring the content accordingly.

With technologies which enable efficient and rapid content production and distribution at their disposal, and many opportunities for short- and long-term collaboration with social media platforms, content producers now only require the will to win — and retain — viewers if their future is to remain a sporting one. <

References

[1] https://go.vizrt.com/sports_viewer_engagement [HYPERLINK: https://go.vizrt.com/sports_viewer_ engagement?_gl=1*1qq7qg7*_gcl_au*MjA4OTc5MDk 0NC4xNzIxMDU3NjE4*_ga*MTczOTI0NDU2Ni4xNzIxM DU3NjE5*_ga_Z4WJS057WN*MTcyMzQ1NTgyNS40 LjAuMTcyMzQ1NTgyOC4wLjAuMA..]

[2] https://aws.amazon.com/blogs/media/nhl-breaks-theice-with-cutting-edge-live-cloud-production-poweredby-aws/

[3] https://mashable.com/article/nbc-tiktok-olympics-parisgen-z

SPONSOR UPDATE

10TX BY NEXTOLOGIES

In March 2023, Nextologies launched 10TX to evolve live event transmission workflows. 10TX blends legacy transmission modalities such as fiber and satellite with IP delivery over Nextologies’ private network. Content is delivered to takers via edge devices, traditional IRDs, and digital transports over a variety of public and private transport platforms. Nextologies’ SMPTE 2022-2 compliance and specialized video applications allow sports broadcasters new tools to send more content, enhance broadcasts with additional data, and add robust signal monitoring at a fraction of the price. With geographically diverse Broadcast Operations Centers in Las Vegas and Toronto, AirXFiber, onsite encoding kits, and live event staff, combined with our global data centers and teleport connectivity, the Nextologies/10TX team is well positioned to originate and distribute all live content from the venue to licensed takers. Signals Evolved!

3G WIRELESS

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

3PLAY MEDIA

3Play Media stands at the forefront of sports media accessibility, delivering precision and inclusivity through our AI-enhanced, human-verified solutions. From closed captioning to AI dubbing, our accessibility and localization services ensure that sports content is accessible to every fan. Our commitment to innovation and excellence was showcased during the Paris 2024 Olympics, where we proudly partnered with NBC Sports to provide captioning for over 4,000 highlights. 3Play’s seamless integration, swift turnaround times, and unwavering reliability empowered NBC Sports to deliver an inclusive viewing experience for millions. At 3Play Media, we support our customers by delivering fast, reliable, and scalable solutions that enhance audience engagement and meet the highest standards of accessibility. Trusted by over 10,000 customers, we

are committed to empowering broadcasters to connect with every viewer, everywhere.

ADDER TECHNOLOGY

For more than three decades, Adder Technology has worked with some of the world’s leading broadcasters, sports production specialists, and live event organizers, to deliver unprecedented flexibility and control of their IT infrastructure via KVM technology. As a leader in its field, Adder’s KVM switches, extenders, remote access, and matrix solutions are designed to support the full broadcast and AV workflow - from content creation and post-production through to broadcast control rooms and live event environments.

ADVANCED IMAGE ROBOTICS (AIR)

Advanced Image Robotics (AIR) tech helped capture some of the most enduring images from the Paris Olympics. A fleet of 10 robots in the grids of 6 venues distributed 25 miles across the city gave full PTZ and camera control from onsite or a central NOC. AIR technicians supported the customer remotely from California. Information available at advancedimagerobotics.com/news. AIR One now supports the Sony FX3, shipping Q4 2024. Sony users benefit from our plug-and-play robot, 900 degrees of rotation, interchangeable lenses up to 300mm in length, self-leveling technology, full remote control of all camera functions via the AIR iOS app, and more. AIR users continue to deploy Z CAM in our flagship robots, with multicam use cases throughout professional and amateur sports. Visit our case studies page for details.

ADVANCED SYSTEMS GROUP

Based in the San Francisco Bay Area with offices in the New York Metro Area, Los Angeles, and the Rocky Mountain Region, Advanced Systems Group has provided engineering, systems, integration, support, and training to the multimedia creative and corporate video markets for more than 20 years. With unmatched experience in highspeed shared storage, media asset management, archiving, editing, color and VFX systems, ASG has become one of the largest installers of postproduction and shared storage systems in North America. Highly focused on customer success, the ASG team has installed and supported more than 500 storage networks, along with production and post-production systems. As part of its complete

solution approach, ASG also offers a range of managed services, providing expert staffing for media production and event management.

AE LIVE

AE

Live is a world-leading provider of broadcast solutions to global sports governing bodies, broadcasters and production companies. We specialize in capturing, processing and visualizing live sports data using innovative, attractive and informative onscreen graphics and augmented reality. We create, develop and deliver virtual studios, OTT applications, optimized fan feeds, newsroom graphics systems, virtual advertising and in-stadia feeds across a broad range of platforms in multiple languages.

AGGREKO

As the global leader in temporary power, temperature control and energy solutions, we enable our customers to achieve their goals through a range of innovative, flexible, class-leading modular solutions. Utilizing the latest technologies, we combine innovative thinking with our sector knowledge to deliver the best results; where, when and for as long as needed.

AI-MEDIA

AI-Media is the world’s leading provider of sports broadcast captioning, operating as a key partner for major global sporting events. The company delivers extensive captioning coverage for high-profile sports leagues worldwide, including the most prominent soccer, baseball, and basketball leagues. AI-Media recently secured additional captioning work with a leading OTT platform, known for its extensive sports coverage. This partnership includes captioning in multiple languages underscoring AI-Media’s capability to support global audiences. AI-Media’s success in the sports broadcasting industry is largely attributed to its technology, particularly LEXI automatic captioning and the SDI and IP encoder range, including support for 2110. These solutions have been designed to meet the demands of live sports broadcasting, where precision and real-time delivery are essential. The sports segment has become the fastest-growing area for AI-Media, with increasing interest from broadcasters seeking to enhance content accessibility. AI-Media remains at the forefront of this industry providing reliable and high-quality captioning solutions.

AJA VIDEO SYSTEMS

Since 1993, AJA Video Systems has been a leading manufacturer of cutting-edge technology for the broadcast, cinema, proAV, and post production markets. The company develops a range of video interface and conversion technologies, digital video recording solutions, and color management, streaming, and remote production tools.

ALL MOBILE VIDEO

All Mobile Video continues to innovate and lead the broadcast production industry by providing a wide array of vertically integrated services. 2110 and UHD capable Mobile Production Units, Cine capable mobile units, Sound Stages equipped with LED Volume screens, Post-Production, Transmission and Streaming services, as well as Equipment Sales & Rentals. 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 smart, strategically driven, highly trained engineers and project managers.

ALLIED BROADCAST GROUP

In 2024, Allied Broadcast Group continued to excel in supporting our customers with high-quality broadcast solutions. A highlight of the year was delivering two 24’ custom mobile units for UCLA, tailored for their collaboration with the Big Ten Network. These units are designed to enhance live sports production, ensuring top-tier broadcasts for a demanding audience. This achievement underscores our commitment to empowering clients with innovative, reliable broadcast technology. Beyond this, we’ve assisted numerous other clients, solidifying our reputation as a trusted partner in the broadcast industry. As we move forward, we remain focused on providing cutting-edge solutions and helping our clients buy and sell new and used equipment to meet the evolving needs of the sports broadcasting sector.

ALPHA

Alpha continues to lead in the design, deployment, and service of technology systems that enhance fan engagement, team performance, and revenue expansion in sports and entertainment venues. Recent projects include a new HD production facility at the University of South Carolina that will provide state-of-the-art production technology for their sports programs. Additionally, we completed several IPTV and display projects at Churchill Downs in advance of Derby 150, including the newly opened Race and Sports Book, as well as technology upgrades to the Paddock and Jockey Club Suites, First Turn Club, and Triple Crown Room. Whether you need A/V for your team facility, a new control room for in-venue or live event production, an IPTV system, or a large venue sound system, Alpha has the solutions and award-winning teams to assist you with all your technology needs and make your vision possible.

AMAGI

Reimagining the now and next of live sports broadcasting and streaming with Amagi. Today, when we think of live sports broadcasting or streaming and live production for streaming, the norm has been to invest in an expensive hardware-driven infrastructure that must be well-harnessed to realize expected returns. Not anymore. Amagi’s launch of a non-linear playout solution for live events — Amagi DYNAMIC, and acquisition of Tellyo — a leading real-time live cloud remote production, clipping/editing, and social sharing suite of solutions—have made new strides in the live broadcast and streaming ecosystem. Amagi DYNAMIC, a cloud-based live production and playout system, empowers sports rights owners and holders to launch single live events. With single live events, spin up cloud infrastructure for the duration of the event and terminate it when the event ends to ensure efficient infrastructure resource management. Optimize your live broadcasting strategy by showcasing tier 2/3 single live events on digital platforms alongside tier 1 events on broadcast or cable TV to deliver a comprehensive and complementary viewing experience. With Amagi DYNAMIC, run multiple live events in parallel, expand distribution, widen viewership, and increase ad revenues. Tellyo STUDIO is a cloud-based live production platform for streaming that enables content production using multiple synchronized camera feeds with control over audio, graphics, replays, remote contributors, and more. Instantly increase your studio’s capacity to keep up with the surge in live sports content during events like the Olympics. Tellyo PRO helps media and content teams create short clips, highlights, and compilations of long-form live and VOD content, then publishes them across multiple digital and social media destinations in 30 seconds, amplifying reach and engagement.

AMAZON WEB SERVICES (AWS)

For14 years, Amazon Web Services has been the world’s most comprehensive and broadly adopted cloud platform. AWS offers over 175 fully featured services for compute, storage, databases, networking, analytics, robotics, 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 77 Availability Zones (AZs) within 24 geographic regions, with announced plans for 18 more Availability Zones and six more AWS Regions in Australia, India, Indonesia, Japan, Spain, and Switzerland. 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.

ANYCLIP

AnyClip is The Visual Intelligence Company. AnyClip’s proprietary Visual Intelligence Technology uses AI to revolutionize how businesses do video. It is the missing layer between content creation and online video platforms, instantly activating

video’s innate data. The transformative platform brings to video the power once reserved for text via automation, activation, and optimization.

APPEAR

Since September 2023, Appear has made significant strides in sports production, particularly through its partnerships with leading media service providers. Appear’s technology played a crucial role in the 2024 Summer of Sports, supporting thousands of camera feeds and reaching billions of fans worldwide. This success has solidified Appear’s reputation for reliability and technological excellence in live sports production. In terms of company developments, Appear has focused on enhancing the sustainability and efficiency of its live production solutions. With a growing emphasis on reducing carbon emissions, as seen in the Paris Olympics’ goal to cut emissions by 50%, Appear has optimized its X Platform for better space and power efficiency. Notably, the introduction of a double density JPEG XS module allows for the delivery of 96 full HD channels across a single 2RU chassis, with latency reduced to below 100ms. These advancements underscore Appear’s commitment to sustainability and its position as a preferred partner for global sporting events. Looking ahead to October 2024, Appear plans to introduce new products and services designed to enhance live media production. With the industry’s shift toward reducing carbon footprints, Appear is positioned to meet evolving market demands by delivering integrated, energy-efficient solutions that drive sustainable advancements in media technology.

ARCTEK SATELLITE PRODUCTIONS

ARCTEK took delivery of their newest uplink encoding truck, ARCTEK Red, in July 2024. ARCTEK Red is a 14-source MUX encoding truck with a Ku-band uplink. The straight-forward yet versatile design makes ARCTEK Red capable of transmitting via satellite, ASI over fiber or IP back to the headend. ARCTEK Red can handle all video formats from HD to 1080p, HDR to 4K with Mpeg 4 or HEVC compression. ARCTEK’s 3 KU-band and 2 C-band uplink encoding vehicles are the newest fleet in the country and continue to crisscross North America covering their true love, sports. Most notably, ARCTEK transmitted the Stanley Cup Finals, Super Bowl coverage, pro golf, bowling, pickle ball, and motorcycle racing. In addition, ARCTEK provided multi-camera production services for the CFB National Championship Game. ARCTEK is ready to roll whenever and wherever you have encoding, transmission or production needs. Nothing is more reliable than satellite.

ARISTA NETWORKS

Arista Networks is an industry leader in datadriven, client-to-cloud networking for large AI, data center, campus and routing environments. Its award-winning platforms deliver availability, agility, automation, analytics, and security through an advanced network operating stack.

SPONSORUPDATE

ARKONA

arkona has been busy! Along with technology partner, manifold, arkona has participated in live production infrastructure projects worldwide. 2024 began with manifold CLOUD’s signal processing and multiviewer solutions deployed by NEP Belgium for the launch of its Virtual OB concept at an international sport event in Korea. The Virtual OB concept was later tapped as SVG’s #1 tech pic in Paris during the summer of 2024 where arkona and manifold provided SDI<->IP gateways, audio and video processing and large multiviewing walls in production and master control rooms. In Florida, look for a massive system comprising arkona’s BLADE//runner IP router and manifold CLOUD multiviewer system, and stand by for news of a substantial installation in Australia. At IBC, arkona introduced EASY-IP, a suite of best-of-breed audio/video routing, processing, and multi viewing tools in one multifunctional platform packaged to deliver a quick, safe and economical path to an IP infrastructure.

ARRI

ARRI is a global company within the motion picture media industry, employing around 1,400 staff worldwide. Named after its founders August Arnold and Robert Richter, ARRI was established in Munich, Germany, where the headquarters is still located today. Other subsidiaries are in Europe, North and South America, Asia, and Australia. The ARRI Group consists of the business units Camera Systems, Lighting, Media, and Rental, all dedicated to connecting art and future technologies for moving images. ARRI is a leading designer and manufacturer of camera and lighting systems for the film and broadcast industry, with a worldwide distribution and service network

ASTOUND BUSINESS SOLUTIONS

We are a national telecommunications company that delivers Dark Fiber, Wavelength, and Video Transport service over a diverse, carrier-grade network. Our standards-based Video Transport meets the demands of high bandwidth video productions over dedicated fiber so we can meet the unique needs of the broadcast community, including temporary services for special events. We stand behind our solutions with an end-to-end industry-leading Service Level Agreement (SLA) that extends across our backbone, metro core, and last-mile network for fiber-based services. Recognized by PCMag’s Business Choice readers as the top business Internet Service Provider (ISP) in the nation, we rank #1 in Overall Satisfaction. Covering cities from coast-to-coast, including 8 of the top 10 metro markets and serving over 75,000 businesses, we maintain a local, customer-centric approach, with dedicated industry experts onhand 24/7 — as we partner with businesses and help them grow and remain competitive.

ASTRODESIGN

ASTRODESIGN is a reputable electronic manufacturer of audiovisual test solutions and video production technology that is headquartered in Tokyo, Japan and a office in San Jose, California, USA. Since its founding in 1977, ASTRODESIGN has held high-end niche as a corporate philosophy and sought possibilities in a market that was underdeveloped and technically difficult for large enterprises to enter. We have developed several of the world’s first and first in Japan products, from our history with delivering signal processing technology to introducing 8K video products in as early as 2013. As a global leader and pioneer of image electronics, our solutions have always proven to surpass expectations and satisfaction

AT&T

AT&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, cost-effective 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

Ateme, a global leader in video delivery solutions, is transforming sports production with its state-of-the-art TITAN technology. Renowned for high-efficiency compression and outstanding video quality, TITAN captures every moment with precision and clarity. TITAN empowers production teams to create immersive experiences with advanced motion estimation and HDR video conversion, delivering vibrant HD and UHD visuals. Comprehensive audio toolsets ensure superior sound quality. Adaptable low-latency solutions with universal compressed and baseband gateway capabilities provide seamless flexibility. Available as an appliance or software solution, TITAN caters to diverse needs, from Outside Broadcast to on-premises, Cloud, and SaaS deployments. In the fast-paced world of sports production, Ateme’s TITAN stands out by enabling dynamic and flexible content creation. Its robust performance ensures every game, match, and event is broadcast with unparalleled quality. Partnering with leading

sports networks, Ateme sets new industry benchmarks, making TITAN the preferred choice for top-tier sports production.

AUDAZZIO

Audazzio engaged USA Swimming (USAS) Olympic Trials audiences with real-time, interactive content. By deploying the Audazzio technology for the nine-day national broadcast event, NBC Sports and USAS were able to seamlessly deliver content on home audiences’ mobile devices, delivering a range of real-time interactive campaigns and informative record holders’ facts fully synchronized with the broadcast. Audazzio provided valuable data for USAS — tracking user engagement and preferences and providing insights into the content that resonated most with the audience. As the event progressed, USAS digested this information and modified its content based on this feedback. “Integrating the Audazzio technology is critical to deepening fan engagement and offers seamless delivery of race data and athlete storylines,” said Jacob Grosser, USA Swimming’s Senior Director of Marketing and Communications. “Supplemental information that previously required multiple online searches is now available automatically and without user input directly in the USA Swimming app.”

AUDIO-TECHNICA U.S.

Established in 1962, Audio-Technica has grown to become a leading manufacturer of high-quality audio products, and is recognized as one of the world’s top broadcast audio brands. Pros rely on Audio-Technica’s full suite of professional broadcast microphones — ranging from lavalier and interview mics to camera-mount and shotgun mics — plus broadcast headsets and immersive audio solutions to deliver consistent, natural sound even in the most challenging environments. Products are available for purchase or short-term rental. Contact Audio-Technica for more information.

AVID

Creative people everywhere choose Avid to make today’s most celebrated video and audio content — from iconic movies, binge-worthy TV series, and engaging news and sports shows to chart-topping music and live performances.

AZZURRO HD

At Azzurro HD, we specialize in the design, installation, monitoring, and maintenance of remote insert studios for top broadcasters and sports leagues. Our innovative NICO software integrates control over transmission, camera, lighting, audio, and digital backdrops into a single, user-friendly interface, ensuring a seamless experience from start to finish. In preparation for the NFL season,

New Next Generation Tools

Leading the Way in SMPTE ST 2110, Color Conversions, and More!

KONA IP25

New SMPTE ST 2110 IP PCIe I/O card supporting bidirectional uncompressed video, with advanced capabilities:

• ST 2110-20 Video: Up to 2 Rx and 2 Tx

• Up to 3840x2160p 60 fps Uncompressed

• ST 2110-30 Audio: Up to 2 Rx and 2 Tx

• Up to 16 audio channels per ST 2110-30 stream

• ST 2110-40 Ancillary: Up to 2 Rx and 2 Tx

• ST 2022-7 Redundancy

• 2x SFP cages: 10 GigE or 25 GigE SFPs

• In-Band and Out-of-Band Control

openGear ColorBox

A new high performance, color management and conversion openGear card, with six unique color processing pipelines:

• 12G-SDI I/O and HDMI 2.0 Out

• Up to 12-bit 4:4:4 4K/UltraHD HDR/WCG

• Ultra-low latency, less than 0.5 of a video line

• Extensive AJA Color Pipeline, 12-bit RGB, with 33-point 3D LUT with tetrahedral interpolation

AJA Diskover Media Edition

v2.3 and new plug-ins for the easy to deploy data management software solution designed to let you nondestructively curate, view and build reports for stakeholders from metadata of your media storage, across your entire organization, regardless of where it is physically located; on-prem, local or remote storage, or in the cloud:

• Plug-in for PixitMedia’s Ngenea data orchestration solution

ST 2110

• Six Color Processing Pipelines: AJA Color, Colorfront (option), ORION-CONVERT (option), BBC HLG LUTs (option), NBCU LUTs, ACES

• HDR signaling metadata management

• 4K Down-convert and Crop

• Built-in Frame Store, Overlay on output

• Embedded web server for remote control

• Plug-in for Spectra Logic’s RioBroker, a media management and archiving platform

• New v2.3 software update featuring a new Administrator UI for control directly within Diskover, and a new integrated PDF Viewer

SPONSORUPDATE

we had the privilege of constructing custom home studios for the latest NFL analysts, specifically tailored for ESPN, Fox Sports, and FanDuel. Our technology also made an impact at the Paris Olympics, where our UTX systems were installed in the Olympic Village for athlete interviews. These units were remotely controlled from Stamford, CT using our NICO software. This summer, AzzurroTX systems were once again deployed to several NFL Training Camps, delivering bi-directional transmission and communications to the NFL Network. To learn more, visit us at AzzurroHD.com.

BACKBLAZE

Backblaze Introduces Live Read to Level Up Media Production and Other Cloud Workflows Sports media teams and broadcasters need to be able to edit video fast to create everything from social media shorts to let’s-see-that-again highlights. That used to mean they were often limited to expensive on-premises storage and on-site editors. Backblaze B2 Live Read changes everything: it unlocks the ability to access growing objects and growing files while they’re uploading to the cloud — so teams can edit and transform content using their preferred media tools from anywhere. Live Read enables sports and esports teams to create near real-time highlights for broadcast, sports teams’ in-app replays, and much more. This ultimately means faster asset deliveries by team members on and off-site. The patent pending, S3compatible service is designed to be easily accessible via API and/or seamlessly within industrystandard media workflow software.

BACKLIGHT

Live content distribution on web, mobile and social has become a core differentiator for broadcasters and content owners, both in terms of brand recognition and monetization. By using next-gen technologies like speech-to-text, video recognition, and machine learning, we enable our customers to ensure that their offering is well-timed with fans’ rapidly increasing demand for a highly personalized digital experience. In addition to our headquarters in South of France, we now operate on three continents (Europe, US, and Australia), and are moving ahead with commercial expansion and market presence in major industry events internationally. We work with clients across almost all media verticals, from sports to news to entertainment, and have dabbled in some corporate enterprises and government verticals too.

BEAM DYNAMICS

In the past year, Beam Dynamics has continued to innovate on its all-in-one suite of equipment management software. Most recently, Beam added a powerful Reservations module to its toolkit, allowing sports production teams to seamlessly

schedule equipment, people, and locations. With Beam’s new Reservations module, teams can optimize resource utilization, reduce scheduling conflicts, and ensure that every production runs smoothly. This addition not only enhances Beam’s capabilities but also fulfills the company’s promise of managing every stage of the equipment lifecycle under one roof.

BECKTV

BeckTV is one of the United States’ premier design-build systems integrators. With more than 30 years of experience, BeckTV has designed and built more professional television facilities for more customers than any other systems integrator. In virtually every application, from broadcast and cable networks, local TV stations, sports trucks, and stadium venues, to educational institutions and houses of worship, BeckTV uses a collaborative approach to assure successful outcomes, on time and on budget.

BITFIRE

The BitFire Media Platform (BFMP) offers a convergence of physical and cloud tools that empower you to create entire production workflows at any scale. Powered by our ultra-low latency global IP transmission network, the BFMP is the most comprehensive and robust broadcast solution on the market today, enabling seamless hybrid-cloud transmission, production, and distribution. All backed by our industry-leading 24/7/365 US-based Network Operations Center. The BFMP boasts a globally distributed architecture with strategically positioned ingest locations near both sources and destinations. The network leverages multi-hop recovery strategies and realtime routing decisions, ensuring ultra-low latencies with the utmost resiliency. BitFire’s innovative suite of physical and cloud tools replaces multiple products and discrete vendors. Our Cloud Switcher, Cloud Audio Mixer, Cloud Replay, Cloud Multiviewer, and Cloud Control Room seamlessly integrate into our global media ecosystem, streamlining your complex hybrid workflows. Now on air with multiple broadcasters. To learn more, visit https://www.bitfire.tv.

BLACK BOX

Black Box is a trusted IT solutions provider delivering cutting-edge technology solutions and world-class consulting services to businesses around the globe. The breadth of our global reach and depth of our expertise accelerate customer success by bringing people, ideas, and technology together to solve real-world business problems Our IT infrastructure solutions, services, and products enable secure, flawless connectivity and meaningful collaboration for businesses in every major market sector on six continents.

BLACKMAGIC DESIGN

Blackmagic

Design has recently introduced several new creative video products perfect for the sports industry. Blackmagic Replay is a new way of creating live action replays using HyperDecks to record into shared storage while DaVinci Resolve is connected to the same storage as a playback engine. The true power comes from having DaVinci Resolve handle the playback because it’s a powerful editor with collaboration features, color correction, visual effects and audio post production. Now replays can be converted into promos, title sequences and instant social media updates. Blackmagic 2110 IP Converters are new mini and rack mount converter models that support Ultra HD using 10G Ethernet. Designed to integrate SDI equipment into 2110 IP broadcast systems for customers in broadcast, live production and AV, Blackmagic 2110 IP Converters conform to SMPTE ST-2110 standard for IP video. ATEM 1 M/E Constellation 4K and ATEM 2 M/E Constellation 4K switchers are new to the ATEM family with up to 20 x 12G-SDI standards converted inputs. The new 4K models have the same powerful features as the ATEM 1 M/E and 2 M/E Constellation HD models including aux outputs, DVEs, ATEM advanced chroma keyers, multiview and SuperSource. Blackmagic PYXIS 6K is a next generation digital film camera that features a versatile box design, a massive 36 x 24mm 6K sensor with 13 stops of dynamic range and dual CFexpress media recorders in a customizable body. It’s available in three models, with customers able to choose between L-Mount, PL or Locking EF lens mounts.

BRAINSTORM

Brainstorm’s advanced yet user-friendly products meet today’s rapidly evolving broadcast and AV market requirements by providing stateof the art real-time 3D Motion Graphics, VP/ XR (Virtual Production & Extended Reality), AR (Augmented Reality) and virtual studio solutions. With thousands of installations worldwide, our client base includes many of the world’s largest broadcasters, plus smaller and regional stations, production houses, film facilities and other content providers, including esports, corporations, and internet creators. Brainstorm introduces the new version of its flagship product, InfinitySet 6, which features an advanced toolset designed to enhance Virtual Production and XR workflows, streamlining users’ ability to boost their content creation, whether they are using LED video walls or chroma sets to produce virtual content, including in-context AR content. Fully compatible with Unreal Engine 5, InfinitySet has been optimized to reduce the hardware required for virtual production, helping clients to reduce its carbon footprint and power consumption and requirements.

AI-POWERED ARCHIVE MULTI-CAM WORKFLOWS LIVE VIDEO FEEDS

IPV Curator is the leading media asset management system, trusted by professional sports teams and leagues, offering rapid time-to-market, superior ROI, and top-notch archive monetization. It captures live feeds in real-time for instant editing and publishing, with frame-accurate proxies and real-time metadata logging. Seamlessly integrate with Adobe Creative Cloud to deliver dynamic, fan-ready content as the game unfolds.

FEATURES:

Faster media distribution across channels

Quick search and retrieval

Instant media access for editors

Unmatched game day media experiences for fans

Multi-cam, live logging

AI-driven metadata

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BRIDGE DIGITAL

Bridge 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

Broadcast Management Group offers a full suite of broadcast managed and live production services, ensuring seamless execution for largescale live events. Our portfolio includes the Kansas City Chiefs’ “World’s Largest Tailgate”, Taco Bell’s Live Mas Live, and on-location and REMI sporting events for ESPN, CBS Sports, Bleacher Report, and more. BMG handles everything from full-scale event production to custom-tailored broadcast solutions, utilizing our fleet of mobile units and BMG Cloud Control Center in Las Vegas, our West Coast hub. We’re excited to announce recent upgrades to our facilities and services. Our NYC office has moved to Hell’s Kitchen, providing access to more freelance talent. We’ve completed our new Washington Broadcast Center, which will serve as our corporate headquarters and East Coast hub, housing production facilities, master control, transmissions, studios, and engineering systems design. Additionally, we’ve expanded our managed services to include Media Asset Management and Master Control/Playout services.

BROADCAST SERVICES INTERNATIONAL (BSI)

Broadcast Services International is growing! Continuing with its annual events such as NBA Finals, MLB All Star, PGA Championships, LAAC Golf and a host of other winter and summer annual events. A few new notable additions to BSI’s show roster are WTA Tennis, Cricket and Jalsa Salana, a large international cultural event. BSI also had a presence at the Paris Olympics providing technical management and crewing services to NBC Olympics. This growth is reflected across all sections of BSI. Their rentals division has recently enhanced its Ross Ultrix Router to 264 x 264 with additional multiview’s and frame syncs, along with upgrading their POV cameras to Marshal 12G 4k along with adding new Panasonic 4K PTZ UA160 cameras. Additionally, BSI is expanding its physical footprint by adding more office space and warehouse capacity to further bolster its ability to innovate, engineer and respond to its customers’ growing needs. For any broadcast, production, rentals, integration, or commentary services, please reach out to sales@ bsi-tv.com or follow us on LinkedIn for more updates.

BROADFIELD DISTRIBUTING

Broadfield Distributing Inc. has been the leading distributor of video editing and production equipment since 1980. We have grown with the changes in the industry and now we are pleased to offer hardware and software systems from more than 40 manufacturers and thousands of products in-stock, ready to ship. In the past 30 years we have been proud to call thousands of dealers like you our loyal customers, and friends, and we look forward to the next 30 years of success!

CALREC AUDIO

Notre Dame Studios, part of the University of Notre Dame, upgraded its SMPTE-2110 production facility with Calrec IP audio solutions. The Rex and Alice A. Martin Media Center houses a Calrec Artemis in Audio Control Room 2 (ARC2), Type R surface (ARC1) and an ImPulse core. Its three studios cover a range of content, providing sports coverage of approximately 125 annual athletic contests to ESPN’s ACC Network. It’s also the backbone for all of Notre Dame’s home ice hockey games to NBC’s Peacock streaming service. A 48-fader console, the Artemis has an empty bay enabling extension to 56 faders in the future. It has redundant ImPulse cores to maintain full IP workflows and to enable the whole facility to interoperate on the same SMPTE 2110 network. It has a modular I/O unit in the equipment room for interfacing, a 32x32 EDAC I/O unit in ACR2, a 12x4 fixed format I/O box in one of its studios, and three portable 24x8 fixed format units used around campus. Type R is a more compact 36 fader surface with the features of a larger production console, enabling it to mix for shows for ESPN. It’s also well understood by visiting A1s increasing the pool of contractors/freelancers. Its productions go far beyond athletic events and its Calrec IP infrastructure enables it to service the whole university when required. It’s also committed to training the next generation, even nonbroadcast students are learning operational skills giving valuable, real-world paid experience with many considering a broadcast career.

CANON USA

Canon is continuing their commitment to supporting the remote production ecosystem. Recently announced is the CJ27ex7.3B, Canon’s first 2/3” portable lens with a class leading 27x optical zoom, as well as an RF-mount version of the popular and award-winning CINE-SERVO 17-120mm cinema lens. The new EOS C400 cinema camera, with a native RF-mount and full-frame, back-illuminated stacked CMOS sensor, is designed with the film and live production markets in mind. Firmware updates for key models in its Pan-Tilt-Zoom (PTZ) line of cameras provide a variety of new features and improvements to the CR-N700, CR-N500, CR-N300, CR-N100, CR-X300 PTZ cameras, RC-

IP1000 controller, and the Remote Camera Control Application. Notably, the firmware will include a limited feature version of the Auto Tracking AddOn Application on supported cameras at no charge.

CERBERUS TECH

The

Livelink self-service cloud platform for live video provisioning and orchestration simplifies transport of live linear and OTT content from point to point or multi-point. Users can manage video sources, process and transcode across video formats and IP protocols, and schedule and deliver video services to internal customers or to external IP delivery points anywhere with complete global routing and scheduling control. Providing instantly scalable infrastructure ideal for addressing the changing demands of live sports, the intuitive payas-you-go platform is built to handle broadcastgrade sources and variants with best-in-class encoding and advanced monitoring. Users can quickly deploy Livelink for one-off events, projects with short rights cycles, or large scale, multi-site events, all while maintaining exceptional service quality. Livelink offers a versatile solution for primary streaming platforms and backup, flexing overflow requirements into the cloud, and disaster recovery. Get started with Livelink today! info@cerberus. tech or +44 2393 032017

CES POWER

Founded in 2000 and headquartered in Memphis, TN, CES Power has a multi-decade track record of providing reliable and safe power solutions to its blue-chip customer base, including at the world’s most complex and highest profile events. The Company offers a full range of technology driven power services to the broadcasting, entertainment, and industrial sectors.

CHAMPION DATA

Champion Data is United by Sport, Driven by Data. In 2024, Champion Data achieved significant global growth across various sports, from Aussie Rules, to Horse Racing, to Cricket, fostering innovation and enhanced fan experiences. Our team launched the Tennis Data Innovation (TDI) Tennis Data Platform, a groundbreaking solution that manages all contest data sets from the Association of Tennis Professionals (ATP)-sanctioned matches, delivering to all downstream data partners. Our ongoing partnership with LIV Golf continues to bring the story behind the game to life by introducing cutting-edge data visualization products. We launched the first-of-its-kind visual drone tracing technology used on a Golf broadcast, calculating live win probabilities, and more. Additionally, we co-developed individual scorecard graphics for LIV Golf’s “Any Shot, Any Time” OTT product, utilizing a unique HTML5 rendering pipeline and data-driven workflow. We also entered

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into the MLB space in a joint venture with FanDuel TV, supporting their data-driven graphics projects, further expanding our reach and impact within the global sport landscape.

CHEQROOM

Cheqroom eliminates the equipment chaos with a delightfully simple tool that puts equipment managers back in control. Wherever you are. Whenever you want. Cheqroom gives you full visibility of this equipment, holds users accountable, and provides insight into the usage and condition of all your items. We help you track, analyze and improve your equipment management through simple software to organize your world.

CHRISTY MEDIA SOLUTIONS

Over the past year, Christy Media Solutions has continued to strengthen its global position as a leading recruitment partner in the sports media industry. We’ve successfully supported major broadcasters, rightsholders, and tech vendors by sourcing top talent for key projects with the likes of NEP, AE Live, ATP and EMG/Gravity. Our focus has been on delivering exceptional candidates in emerging technology areas, such as remote production, cloud-based workflows, AI, virtual studios and low latency streaming. By aligning with industry trends and deepening our expertise in cutting-edge solutions, we’ve ensured that our clients stay ahead in a competitive market. As we look forward, Christy Media remains committed to driving innovation in sports media recruitment, supporting our partners across Europe, US and APAC, with the expertise and talent required to shape the future of sports broadcasting.

CHROSZIEL

Chrosziel innovates, designs and builds the very best professional camera equipment and lens testing instrument solutions in the marketplace. Our products are now being used around the clock and around the world by working professionals.

CHYRON

Chyron is ushering in the next generation of storytelling in the digital age. Founded in 1966 as Chyron, the company played a pioneering role in developing broadcast titling and graphics systems. With a strong foundation built over 50 years on innovation and efficiency, Chyron has become a household name in broadcast, with a focus on customer-centric solutions. Today, the company offers production professionals the industry’s most comprehensive software portfolio for designing, sharing, and playing live graphics to air with ease. Chyron products are increasingly deployed to empower OTT workflows and deliver richer, more immersive experiences for audiences and sports fans in the arena, at home, or on the go.

CINESYS

CineSys is a Broadcast and Media Systems Integrator providing solutions, integration, and support for digital content creators across North America. With more than 25 years of extensive IT experience, CineSys serves a range of industries from sports and broadcast organizations to postproduction companies. This year, CineSys has worked with sports organizations and teams to implement more efficient solutions for easy data access, faster storage, and secure remote editing. With better management tools comes more opportunities for reusing and monetizing existing content and quicker access to files in fast paced environments. For custom needs, CineSys provides custom development. CineSys also provides fully managed support services, freeing up internal teams to focus on the work at hand. Are you looking to take advantage of your sports archives, or need more efficient storage for the ever-increasing amounts of data? Get in touch with CineSys to discuss how they can help accelerate your workflow.

CIS GROUP

For over 30 years, CIS has been a distributor and digital systems designer and integrator, providing innovative technology solutions to a multitude of clients in various regions. In doing so, we have focused on putting our clients’ budget to good use by optimizing their workflows, ultimately enabling them to maximize creativity. Our core expertise lies in broadcast and entertainment, but we also service non- media institutions, such as houses of worship, educational entities, and corporates.

CISCO

Today, we are proud to celebrate Cisco being named an Official Partner of the LA28 Olympic & Paralympic Games and Team USA. Click here to learn more: https://blogs.cisco.com/news/ the-la28-games-together

CLARK

Clark has over 25 years of history revolutionizing how creative content producers engage their audience and further their mission. From the very beginning, Clark has been on the leading edge of innovation by pioneering practical and relevant solutions to today’s challenges. Clark is partnering with a transformative new sports league, Overtime Elite (OTE), on their new Atlanta-based broadcast facility and venue. Clark’s extensive experience with professional broadcast systems and video transmission has perfectly aligned the partnership with OTE

CLARK WIRE & CABLE

Celebrating 35 years of excellence, Clark Wire & Cable is a distinguished Woman-Owned, Veteran-Owned company known for its innova-

tion and reliability. We specialize in providing top-quality cables, cable assemblies, and custom panels tailored for the Broadcast and Live Production industries. Our commitment to delivering unique solutions for both high-profile projects and everyday needs has cemented our reputation as a trusted supplier. Recent standout projects include Rocket Mortgage Fieldhouse, Lumen Field, Fishers Event Center, The Classic Arena, Baylor, and the National Medal of Honor Museum. At Clark Wire & Cable, we pride ourselves on turning complex challenges into seamless solutions.

CLEAR-COM

Clear-Com continues to deliver innovative voice communication solutions to Sports and Broadcast applications, among others. Offering the widest range of intercom solutions spanning wired, wireless, analog, digital, virtual and cloud client systems, Clear-Com delivers ultimate flexibility to meet your needs. Recent updates to the Arcadia Central Station make it the most flexible and powerful 1RU intercom device on the market, supporting over 285 input/output connections on a single system. The addition of I.V. Direct connections to Arcadia integrates LQ, Eclipse, and other Arcadia systems over LAN, WAN, or public Internet. The new HelixNet Powerline Device augments Arcadia by delivering power and digital audio to all HelixNet endpoints. Over the past year, the deployment of its latest product launch, the cutting-edge Gen-IC Virtual Intercom and SkyPort Virtual System Management Platform at the major 2024 football draft event was a huge success. This groundbreaking technology facilitated seamless communication for 36 at-home users and 20 remote draft picks across the globe, including countries such as Germany, Mexico, Nigeria, Ghana, the UK, Ireland, Australia, and Spain. The latest offering represents a significant advancement in virtual communication technology for the broadcast industry. Designed to seamlessly integrate with existing hardware ecosystems or function as a standalone software solution, the system offers unmatched flexibility and scalability.

COBALT DIGITAL

An overwhelming tool of choice for sports broadcasters is Cobalt Digital’s 9904-UDX4K audio/video processor. Unique in its openGear form-factor, this card delivers numerous and desired capabilities including up/down/cross conversion, audio routing, color correction, 3D-LUT processing, and SL-HDR encoding and decoding powered by Advanced HDR by Technicolor. In Paris this summer, the 9904-UDX-4K helped achieve SDR-to-HDR conversion and color correction, and Cobalt’s 9902-UDX up-down-cross converter with the frame rate conversion option brought news feeds back to Canada. Other Cobalt

IP KVM for Live Sports Broadcast

IP KVM is revolutionizing live sports broadcasting, delivering significant advantages to major venues and producers globally.

With high-performance video and real-time access, Adder’s IP KVM solutions streamline workflows, ensuring reliable, flexible, and scalable broadcast operations.

The ADDERLink® INFINITY range enables seamless remote control of multiple cameras and equipment from a centralized location, enhancing operational efficiency, reducing costs, and elevating the fan experience. • Remote Production • Live Broadcast • OB • Stadium Experience • Live Events •

SPONSORUPDATE

gear in Paris included fiber solutions, products that support 12G and MPEG compression products. Always being enhanced to meet evolving needs, the 9904-UDX-4K is now available with the COBALT INDIGO 2110-DC-01 ST 2110 interface. INDIGO is a factory add-on option for openGear cards that adds native SMPTE 2110 support with 25G Ethernet interfaces and a complete native ST 2110 stack (including NMOS IS 04/05) to audio/ video processing elements.

COMCAST TECHNOLOGY SOLUTIONS

Comcast 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 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.

COSM

Cosm’s C360 brings sports moments to life in stunning detail, transforming the landscape of sports video capture for broadcasters and sports leagues. With its 10.5K ultra-high resolution video capture technology, Cosm’s state-of-the-art wide field of view capture system is more than a tool – it’s a game-changer. Providing definitive game coverage for marquee sporting events like the Super Bowl, the UFL Championship Game, and NBA Summer League, Cosm’s C360 provides broadcasters and sports leagues with unprecedented live and replay controls, ensuring every second of every play is brought to life in ways previously unimaginable.

CP COMMUNICATIONS

CP Communications has launched Flight, a 28foot trailer designed for multi-camera REMI productions. Loaded with a Ross Video Carbonite Black production switcher, Calrec Brio audio console, Evertz NEXX router and two Evertz DreamCatcher replay servers, it supports 16 camera inputs built around Haivision Makito encoding and bonded cellular camera feeds. Since its April debut, the production trailer has been utilized for several high-profile golf events by the Ohlmeyer Kusserow Group (OKG). In April, OKC kept Flight parked at CP’s HQ in St. Petersburg, FL, while producing pro and college golf tournament coverage in Texas and North Carolina. Over the summer, OKG also pro-

vided coverage of several USGA golf events across the country. “Flight is all about delivering broadcast-quality productions with the affordability of REMI-based IP workflows,” said Kurt Heitmann, CEO, CP Communications. “We can deliver multicamera productions without the expense of an RF camera setup or a full-sized mobile unit.”

CREATIVE MOBILE SOLUTIONS

CreativeMobile 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. The experts on our team have worked on major sporting events such as ESPN’s ESPY Awards, the Grand Prix de Trois-Rivières, the US Open (Golf Channel & ESPN), ESPN College Football Gameday, the NBA Finals, and the Super Bowl.

CTI

Since 1988, Conference Technologies, Inc. (CTI) has provided comprehensive technology services including design, engineering, training, and support for professional audio-video, broadcast, and control systems. Through a proven process, CTI designs, integrates, and maintains complete sports production and streaming systems for reliable, interactive experiences

DAKTRONICS

Since its founding in 1968, Daktronics has grown with the sports industry, becoming the leading designer and manufacturer of large-screen video displays and powerful live event control solutions. Today, their display and control technologies create immersive and exciting game-day experiences trusted by thousands of colleges, universities, and professional sports venues worldwide. Most recently, Daktronics has proudly partnered with the Intuit Dome (home of the Los Angeles Clippers), University of Colorado, University of Maryland, Denver Broncos, Baylor University, and many others to deliver exciting game-day presentations with high-resolution video, animated graphics, and real-time data and statistics. The company’s control solution, Show Control, which includes advanced display control software, world-class video processing, data integration and playback hardware, is set to undergo significant advancements. The next generation of Show Control promises enhanced entertainment and improved workflow experiences through innovations like modern scoring and timing, sport-specific data interfaces, advanced graphics and animations, and cloud-hosted access. Daktronics invites those interested in elevating their game-day presentations to schedule a demo and experience the power and ease of Show Control

DALE PRO AUDIO

DalePro Audio has been a distinguished leader in the Broadcast, Live Sound, Contracting, and Studio/Post markets since 1956. Dale carries the industry’s top brands, has an expansive showroom in Jamaica, NY, and is staffed by a dedicated sales and technical team that cares about the success of our customers. A team always works better in service than an individual and that is how Dale operates, as a team. We cherish the opportunity to provide the gear necessary to allow some of the biggest sporting events, concerts, and other live events to happen. In an ever-changing industry, Dale prides itself on adapting to all situations to ensure our customers get the service they deserve. We leverage our seven decades of professional audio expertise, passion, and knowledge to tirelessly partner in our clients’ success. Everyone needs audio, and Dale is where you go for reliable, and honest service all the time.

DALET

Dalet provides comprehensive solutions that streamline content management, production, and distribution, maximizing the value of media assets for sports organizations. With surging demand for sports content driven by evolving fan habits and the proliferation of sports VOD services, Dalet helps manage and monetize media archives through the following: - Licensing Storefronts: Create branded online portals, allowing media partners easy access to licensed content. Dalet partners with Veritone to offer seamless storefront experiences, enhancing B2B transactions and content distribution. - Storefront Ecommerce: Utilize platforms similar to stock image sites, where outside media entities can purchase video clips from the archive. Dalet’s AI-driven metadata tagging ensures quick and accurate searchability of footage. - OTT and FAST Platforms: Over-the-top (OTT) and Free Ad-supported Streaming TV (FAST) platforms revolutionize sports content delivery. Leading leagues and organizations expand reach and revenue through subscription-based and adsupported models. Dalet’s platform helps power these services with workflow orchestration and automation to package and deliver content

DANTE

Audinate is the leading provider of professional AV networking technologies globally. Audinate’s Dante platform distributes digital audio and video signals over computer networks, and is designed to bring the benefits of IT networking to the professional AV industry. AV-over-IP (AVoIP) using Dante-enabled products ensures interoperability between AV devices and allows end users to enjoy high quality, flexible solutions — typically with a lower total cost of ownership.

SPONSORUPDATE

DATA EXPEDITION

Data Expedition, Inc. has been making significant strides in the sports vertical with our high-performance data transfer solutions. Utilizing our proprietary MTP/IP technology, we enable sports organizations to move large volumes of data quickly and efficiently, ensuring real-time access to critical information. One area where this technology is particularly beneficial is sports analytics, where rapid data processing and transfer are essential for performance analysis and strategic planning. By maximizing network throughput and minimizing the effects of latency, Data Expedition, Inc. helps teams and analysts gain timely insights from game footage, player statistics, and other data-intensive resources. This capability enhances decision-making processes, from in-game tactics to long-term player development strategies. Additionally, our solutions support seamless collaboration among coaching staff, scouts, and analysts, regardless of their location. Data Expedition, Inc. is playing a pivotal role in advancing the use of data in sports, driving both competitive edge and operational efficiency.

DEFY PRODUCTS

Defy has worked with industry professionals and engineers to develop a holistic solution for broadcast and cinema professionals.

DELL TECHNOLOGIES

Technology drives human progress. This tenet is the core of our business and vision. Our customers and team members are integral to our continuing success as we provide the essential infrastructure for organizations to transform their digital futures. Dell Technologies helps organizations and individuals build their digital future and transform how they work, live and play. The company provides customers with the industry’s broadest and most innovative technology and services portfolio for the data era. Technology drives human progress. This tenet is the core of our business and vision. Our customers and team members are integral to our continuing success as we provide the essential infrastructure for organizations to transform their digital futures

DELOITTE

Media Solutions leverages the power of Deloitte Engineering to help you modernize the process, technology, and organization for your media pipeline. Create, manage, deliver, and monetize content however your audience wants to consume it — Any Content, Anytime, Anywhere. With modern IP-based production facilities, adaptable creative pipelines, and the agility of cloud all built on the latest standards and processes, you will be ready for any content creation, production or acquisition you need — from the ingest of a simple

photo shoot, to the real-time complexity of managing and delivering a live sports event, or even the design and build of new studios and control rooms. Whatever challenges you face — new formats, more content, expanding channel or platform counts, virtual environments, rights, metadata, insights and analytics, and more — we will help you with manageable, cost-effective steps, so you can remain ahead of the marketplace and in front of your audience.

DEVLIN DESIGN GROUP

Devlin

Design Group is an award-winning, global full-service broadcast set design and lighting design firm. For over 30 years, DDG has created unique and award-winning scenic storytelling environments that captivate and engage audiences in their scope, sweep and scale, the natural result of things we value most… Creativity, Knowledge, Innovation. Our services include set design, virtual set design, set fabrication, project management, 3-D modeling and renders, studio lighting design and direction, studio lighting equipment, turn-key scenic solutions from concept to fabrication to launch. Whether you are evolving your brand, or just starting out, the talented team at DDG offers clients an expertly crafted sports fanfocused design that will stand out in a competitive marketplace. Our custom broadcast environments for sports, esports, online gaming, news, entertainment, game shows and branded events and corporate communications, capture the spirit and elevate the brand message and most importantly resonate with targeted audiences

DIGITAL HARMONIC

Digital

Harmonic’s signature solution, DH/KeyFrame, is transforming sports video delivery by enabling high-quality streaming with dramatically reduced bandwidth. Whether you’re broadcasting live games or delivering on-demand content, DH/KeyFrame ensures your sports videos are sharper, clearer, and more vibrant than ever. Our advanced pre-filtering software optimizes video before it reaches the encoder, enhancing clarity, reducing noise, and maintaining high fidelity even in fast-paced action scenes. This means you can stream sports content at dramatically reduced bitrate, without compromising on quality. For sports networks and streaming services, DH/KeyFrame is the key to delivering a seamless viewing experience to fans everywhere, while significantly cutting costs on bandwidth and storage. Experience the future of sports video with DH/KeyFrame — where every play is in crisp display.

DISGUISE

Disguise is the industry-leading platform sitting at the heart of a new era of visual experiences. One powerful integrated system of software, hard-

ware, and services to help create the next dimension of real-time spectacle. We partner with the biggest entertainment brands and companies in the world to deliver the A-list of live music events, live TV broadcasts, immersive experiences, installations, theatre, film and TV production, corporate communications and brand product launches. Disguise’s Emmy award-winning software and hardware is revolutionizing the broadcast industry. With visual experience software, seamless end-to-end workflows, proven premium hardware and a Cloud suite of applications for global collaboration, we empower the biggest real-time, 3D productions around. In 2024, Disguise was named as Fast Company’s Most Innovative. In 2024 alone, we have powered the immersive graphics and realtime data storytelling in key broadcast coverage across the Olympics, the UEFA Euros tournament, Copa America, and the Mexican elections.

DIVERSIFIED

Diversified is a global leader in AV and media innovation, recognized for designing and building the world’s most experiential environments. Our award-winning team specializes in delivering solutions for the most complex, large-scale and immersive installations. We know that when fans experience the unforgettable, they are no longer spectators — they are a fully connected, larger than life, sports family. Technology brings them together across time and boundaries, amplifying their passion, loyalty, and engagement. Generating experiences of the future hinges on immersive and personalized experiences through machine intelligence, whether in-stadium or from afar. Cloud capabilities are needed that make real-time content retrieval, production and community collaboration possible. Cybersecurity solutions must protect everyone. For over 30 years, Diversified has served a global clientele that includes major media organizations plus sports and live performance venues, partnering with clients to create spaces that bring people together and keep them coming back. Learn more at https://www.onediversified.com/.

DMC BROADCAST GROUP

DMC Broadcast Group represents manufacturers from all over the world. We help them sell, distribute, and market their hardware and software products for broadcast, cable networks, station groups, post-production facilities, and studios. With over 30 years’ industry experience, we source cutting edge solutions from across the globe to provide high quality, cost-effective products from the most trusted manufacturers.

DNA STUDIOS

This year, DNA Studios celebrates its 20th anniversary. To commemorate this milestone, we are upgrading two of our mobile units, HD28 and

ON GAME DAY THE GO-TO

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Entertain and engage fans with dynamic game-day presentations. Show Control delivers cutting-edge technology for LED content management, live broadcasts and total venue control. With powerful production tools, effortlessly manage live video feeds, clip playback and real-time data and graphics.

NEW ADVANCEMENTS COMING

Modernized Scoring

Enhanced Data Integration

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HD21. Both units are equipped with Grass Valley LDX 92 broadcast cameras. For the past two decades, DNA Studios has provided our clients with medium-sized mobile units, REMI vans, broadcast studios, satellite and IP trasnmission, and much more. When it comes to reliability and broadcast expertise, DNA delivers on-time and on-budget.

DOLBY

Letfans experience the excitement of their favorite sports at home like never before with the unmatched combination of Dolby Vision and Dolby Atmos. Every heartstopping, nailbiting moment comes alive with the lifelike colors, sharp contrast, and rich details of Dolby Vision. Every sound of the game feels like it’s coming from all around you. From the electricity of the crowd just before a game-changing moment to the explosion of cheer at a pivotal play, experience them all with the industry leading, spatial sound experience of Dolby Atmos. Bring the emotion and intensity of the game home to your viewers in Dolby.

DOME PRODUCTIONS

Asignificant event took place in 2023, after more than 34 years doing business out of the Rogers Centre in downtown Toronto, Dome Productions moved to a new state-of-the-art broadcast center in midtown Toronto in September of last year. It was the end of an era that began when Dome was founded in May 1989 with an original idea and vision for a live event and post production company. The new 1080p broadcast facility is equipped with three production-control rooms (one more than at Dome’s previous home), a robust network-operations center (NOC), 100-Gbps services, a fully equipped 850-sq.-ft. studio, and a “Shot Box” green-screen studio that can be used for satellite media tours, remote interviews, or off-tube commentary for live productions. Cloud production, individual off prem facility stations and accessible media applications will be available within the year. Dome has a very strong foundation to build upon in live event production, distribution, technical excellence, and innovative solutions. The biggest thing we are telling our customers is that this new facility is one big innovation playground, Dome Productions 2.0.

EDGIO

Edgio is an edge-enabled software solutions provider powering unmatched, secure digital experiences through a seamlessly integrated delivery, applications and streaming platform. Our globally-scaled technology and expert services fuel the world’s top brands with the capacity to deliver the fastest, most dynamic, and frictionless education, entertainment, events and applications to every user.

EDITSHARE

All the major sports teams worldwide now have extensive video production facilities. They collaborate with broadcast partners, they have in-stadium productions, and perhaps most importantly they continue to engage with fans via social media. Many teams are developing new ways of making game day even more exciting. In the US, at least one NHL team bases its pre-game entertainment around projections on the ice. This is driving ever more sophisticated production architectures, built around shared content storage and connectivity. Because EditShare has powerful asset and workflow management software, FLOW, embedded in its storage solutions, it is increasingly seen as the winning solution for sport. Kansas State University has an extensive athletics program, which the school covers through K-StateHD.tv, as well as providing facilities for visiting broadcasters. The EditShare storage network provides the hub and FLOW the content management. The amount of content is continually growing, and Kansas State has a program to transfer its legacy content into the online store, so they rely on the ready scalability of EditShare storage, and its ability to seamlessly archive in the cloud. Florida Panthers — greater Miami NHL team and Stanley Cup finalist — has producers shooting content for screens in the Amerant Bank Arena and online. When on the road with the team, these producers can log into the EditShare shared storage network, upload via the cloud, and access all the content in the archive, thanks to the comprehensive tagging in the metadata.

ELUVIO

Eluvio uses the philosophies of decentralized design and content-centric networking, and we harness breakthroughs in machine learning, blockchain security, advanced cryptography, and low cost compute to achieve efficiency and simplicity. Several of us have spent our careers dealing with the challenges of current architectures and see now an opportunity to change the Internet for the better, for good, and an economic imperative given the imbalances in the content distribution chain working against Content Publishers, Sponsors and Viewers.

EMG / GRAVITY MEDIA USA

EMG and Gravity Media joined forces and expertise at the beginning of 2024, forming an unprecedented partnership in the world of global production and content, media services and facilities. The new entity includes more than 100 outside broadcast trucks and flypacks and over 30 studios and production facilities across the UK, Europe, the Middle East, the United States and Australia. The group is behind many of the world’s mostwatched sports events, such as UEFA EUROs, For-

mula E, the Open Championship, Australian and US Open and Tour de France. Through its studios, production, post-production, outside broadcast facilities, RF and specialist camera technologies, EMG / Gravity Media work in many international markets on Entertainment, News, Live Events and major state occasions; In the US, recent projects include the NFL and College Football, Pre-Season UK Soccer US Tour, Esports, Triathlons, and Golf.

ENCOMPASS DIGITAL MEDIA

The sports distribution landscape is rapidly evolving, with fierce competition for viewer attention and tight budgets impacting even the most prominent events, leagues and federations. Encompass is here to help navigate these challenges with its global reach, extensive resources and deep industry expertise. The company acquires/ delivers over 243,000 live sports events annually, stores 1.1 million hours of media in the Altitude Archive, originates TV channels to 84 countries and reaches 400 million radio listeners weekly. Altitude Media Cloud, Encompass’ scalable and flexible processing platform built for broadcast, runs a comprehensive suite of products, including Altitude Playout, Altitude Stream TV, Altitude Archive, Altitude VOD and Altitude Connect. Our services cover live events, media processing, playout, contribution/distribution, streaming, disaster recovery, and radio. YOUR SPORTS CONTENT. DELIVERED.

EPIC DRONE TOURS

AtEpic Drone Tours, we’re a fast-growing family of creative thinkers and action-takers, united by a passion for revolutionizing videography. Utilizing the latest drone technologies and innovative strategies, we capture captivating video content for various industries, including real estate, hotels, film, and television. Our team of skilled pilots, videographers, and storytellers focuses on safety, precision, and customer satisfaction. With a dedication of transforming ordinary into extraordinary, we work closely with clients to tailor our services to their specific needs, elevating brands through the power of immersive aerial storytelling.

ES BROADCAST

ES Broadcast specializes in service provision to the broadcast, TV production, and film production industries. The company is an international reseller of both new and used professional broadcast and production equipment, and is an approved dealer for Sony, Grass Valley, Ross, Canon, Fujinon, Panasonic, EVS, NewTek, JVC, and many other leading manufacturers. ES Broadcast provides systems integration services and has delivered projects as diverse as OB trucks, studios, portable production units, and esports arenas.

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ESTES FORWARDING WORLDWIDE

As one of the leading domestic and international freight forwarders in the U.S., we take a personal approach to creating customized logistics solutions. Whether it’s air, ground, or ocean freight, we’re able to deliver the most optimal solution for our clients every time. We work with clients around the world and across industries, including retail, e-commerce, government, automotive, healthcare, technology, and exhibit services. Our extensive North American and global coverage, unsurpassed service capabilities through our hybrid transportation network, and unique backing by Estes Express Lines differentiate us from every other freight forwarder

EUROVISION SERVICES

During this last year, Eurovision Services has experienced remarkable advancements, particularly following our acquisition by DUBAG. This acquisition has driven major investments focused on prioritizing our clients’ needs. One of the most significant highlights has been the strategic partnerships formed with top media partners, simplifying our clients’ production workflows while broadcasting. These partnerships turn Eurovision Services into your one-stop-shop for all things broadcasting, integrating all content enrichment tools into our workflow. Our involvement in the largest UEFA Euro event to date further showcased our ability to provide high-quality, uninterrupted coverage, reinforcing our industry leadership. For specific metrics and detailed performance data, you can reach out to Fabien. Over the past year, Eurovision has undergone several key developments to strengthen our position in the sports broadcasting sector. We’ve established a new customer-focused management team to better align our technological offerings with client needs. Additionally, we appointed a new CTO and a Head of Product, positioning us at the forefront of market and broadcasting technology advancements. In terms of technological innovations, we invested in the NESI Project, which integrates SRT with traditional satellite and fiber broadcasting. This innovative approach offers a superior, cost-effective solution for our clients. Our team has also grown significantly, ensuring we can develop and execute projects at an optimal speed while maintaining high quality. These developments have allowed us to deliver exceptional services and stay competitive in the fast-evolving broadcasting landscape. Looking ahead, Eurovision is focused on several strategic initiatives. We will continue refining our technologies to offer the best go-to-market solutions, emphasizing quality delivery and flexibility.

EUTELSAT

Over the past year, Eutelsat has been at the forefront of innovation in the broadcasting industry, focusing on multiscreen streaming via satellite solutions. Our cutting-edge technology ensures seamless, high-quality content delivery for live sports events, providing unmatched reliability and global coverage. We are also excited to include in our portfolio our new hybrid FAST (Free AdSupported Streaming Television) channels model. This groundbreaking initiative combines satellite and streaming technologies to offer sports broadcasters a versatile and cost-effective distribution method. By leveraging our strategic satellite positions and robust streaming platforms, we are expanding the reach of live sports content to diverse audiences worldwide. Eutelsat remains committed to delivering advanced solutions that meet the evolving needs of the sports broadcasting industry, ensuring fans never miss a moment of the action.

EVERGENT

The Evergent Monetization and Subscriber Management Platform is the industry’s #1 choice trusted by the likes of the NBA, MSG Networks, BBC, DirecTV, HBO, FOX, and Sony for helping them onboard over 800 million subscribers; scale across 180 countries; and deliver more than 3200 live sporting events every year. Evergent’s revenue & customer lifecycle management solutions help global digital media, entertainment, and telecommunications providers to unlock what’s possible. Capabilities include seamless global expansion with a multi-tenant architecture, true omnichannel subscriber acquisition and engagement, advanced promotions engine to maximize marketing ROI, AI-powered churn management and loyalty tools, scale to support millions of subscribers and live events, evolution through hybrid monetization models and complex pricing scenarios and a truly next-gen, digital customer experience. The Evergent platform is the only integrated monetization platform with solutions for identity management, product catalog, orders & entitlements, revenue management & billing, churn management, payments, CRM, customer support, self-care, business process orchestration, and analytics.

EVERTZ

The progress of the DreamCatcher BRAVO Studio highlights this year’s technology evolution. A virtual production suite that unifies our Live Media portfolio including, DreamCatcher, Studer Audio, MAGNUM-OS and VUE. Introduced data driven Metadata and Highlight Factory co-pilots for BRAVO Studio that allow operators to automatically create clips, playlists and stories using large language models (LLM), and deep machine learning (ML) technology. Additionally, our Motion+ feature, which offers near-instant ability to turn a

single-phase camera to a multi-phase high-frame rate source for super slo-motion replays; uses AI both on-premises or with the cloud. Launched the latest generation of the popular DreamCatcher DCONE platform. Budget conscious customers are able to utilize DreamCatcher technology and then easily expand as their needs grow. The DC-ONE is popular with colleges, universities, arenas, and stadiums. Oh, and let’s not forget, how our technology was instrumental in big events. The NEXX, routing and processing platform with 12G-SDI support, was the core of several OB trucks that supported the UEFA Euro 2024 and Indian Premier League T20 tournaments. For the Paris Games 2024, several host broadcasters, including NBC, used their IP based facilities based on our SDVN technology to deliver broadcasts across multiple platforms.

EVS

We create return on emotion. EVS is globally recognized as the leading provider in live video technology for broadcast and new media productions. Spanning the entire production process, EVS solutions are trusted by production teams worldwide to deliver the most gripping live sports images, buzzing entertainment shows and breaking news to billions of viewers every day — and in real time. As we continue to expand our footprint, our dedication to sustainable growth for both our business and the industry is clearly demonstrated through our ESG strategy. This commitment is not only reflected in our results, but also in our high ratings from different agencies. Headquartered in Liège, Belgium, the company has a global presence with offices in Australia, Asia, the Middle East, Europe, North and Latin America, employing over 600 team members and ensuring sales, training, and technical support to more than 100 countries.

FINGERWORKS TELESTRATORS

FingerWorks improves Live Tracking Computer Vision technology. The FingerWorks development team has been busy this past year upgrading our Live Computer Vision driven tools to track players, objects, and the playing surface. Building on our success with NFL and College football we are now applying it to NASCAR, NBA, NHL, PGA tour and MLB. Our customers’ analysts can track any player, object, or playing surface in real time making the viewers’ experience much more enjoyable and engaging. The new enhanced Fingerworks Telestration system gives sports announcers simple, effective tools to illustrate the point they are making. FingerWorks has added an iOS support for iPads and iPhones which can be connected as full FingerWorks Client control interfaces. Lastly, we have developed an improved, fully interactive control with Tagboard, bringing social media assets as another option for the Fingerworks user to source and control. All these exciting enhance-

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ments are a game-changer and something the average sports fan is going to LOVE!

FLYCAM INTERNATIONAL

FlyCam has flown over nearly every sport imaginable, capturing some of the most awestriking moments in modern memory. With technology at it’s most impressive today, FlyCam has had the opportunity to help shape the movies you watch, the sports you root for, and the commercials you fast forward through. Having changed the way we watch sports in the 21st century, This Side Up Productions will continue to bring the viewer into the action.

FORECAST CONSOLES

As a technical and broadcast furniture provider for 46 years we service many different industries. But this year Forecast Consoles set a goal to expand our reach within the sports broadcast community. We wanted to grow and provide top notch designs, attentive sales service, and efficient installations to the teams we know and love. This year we worked on some of our most exciting sports broadcast control rooms yet. With the help of our integrators Forecast is now the broadcast furniture provider for The Milwaukee Brewers, PGA Tour, The Houston Rockets, The Clippers and more! We are so grateful for the opportunity to design consoles for those who make these broadcasts a reality for fans watching at home. We are looking forward to another year of growth among our peers!

FORTINET

Fortinet 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, and government organizations choose Fortinet to securely accelerate their digital journey

FUJIFILM/FUJINON

In April 2024, FUJIFILM North America Corporation, Optical Devices Division (“Fujifilm”) announced the FUJINON Duvo HZK14-100mm Portable PL Mount Zoom Lens (“Duvo 14-100mm”), expanding the versatile Duvo series. The addition of Duvo14-100mm to the series covers the wide angle and expands the Duvo series range of focal lengths, covering 14 to 1000mm. Complementing Duvo HZK25-1000mm F2.8-F5.0 PL Mount Cinema Box Lens and Duvo HZK24-300mm T2.9 Portable PL Mount Zoom, Duvo 14-100mm supports dual large-image sensors, covering 14mm at the wide angle to 100mm in Super 35 and 21-150mm in Large Format with its built-in 1.5x Expander. Though it’s built and functions like a broadcast lens, Duvo 14-100mm’s optical quality stops nothing short of the established FUJINON cinema lens standard, giving handheld positions in live pro-

duction the opportunity to take advantage of the classic FUJINON cinema look that’s been developed over Fujifilm’s 90-year heritage. Better still, performance is reliably consistent, holding up through the entire zoom range, thanks to Fujifilm’s Remote Back Focus feature, which automatically adapts to would-be optical pitfalls of other zoom lenses. Duvo 14-100mm achieves 7.1x zoom, and, at 10.5” (266.9mm) in length and weighing 5.6 lbs. (2.54kg), is the smallest and lightest in the Duvo series, producing a comfortable handheld lens that can be utilized for shoulder-mounted operation, as well as with a Steadicam or for high-angle shooting using a crane. It can be operated in the same style as a broadcast lens using zoom and focus demands, is compatible with a variety of accessories specifically designed for portable FUJINON lenses, and, being relatively compact and lightweight, can be easily used to the fullest capacity in various environments, such as filming the entire stage at a concert, or getting a closeup shot of an athlete at a sports venue for immersive storytelling. Fujifilm currently expects Duvo 14-100mm to be released into the U.S. market in fall 2024.

FUSE TECHNICAL GROUP

Fuse is the leader in multi-media design and development technology as a solutions provider for live event and installation markets. Our knowledge base and technologies provide the most innovative uses of hardware and software solutions for presentations, installations, and live events. Our ability to reinvent the industry with custom staging solutions is our key differentiator to our competitors. When you call Fuse, you are calling the most highly skilled, creative collection of brain power in the staging industry.

G&D NORTH AMERICA

G&D, a global leader in KVM and multiviewing solutions, brings its cutting-edge technology to the forefront of sports broadcasting. At the Toyota Center, home of the Houston Rockets, their KVM systems are integral to the ongoing modernization of the control room, setting the stage for enhanced live broadcasts. G&D has also integrated its technology into the futuristic Mercedes-Benz Stadium. This impressive structure in Atlanta serves both the Atlanta Falcons and Atlanta United FC and, together with G&D, elevating the fan experience in and outside the stadium using advanced KVM solutions. The partnership between G&D and the broadcast operations in those major sports venues promises exciting developments in the viewing experience as KVM technology optimizes live sports coverage. With improved AV signal control, viewers will enjoy more immersive sports experiences. This technology-sports synergy creates a captivating future for fans who want to experience sporting events up close despite distance.

G3DVU LLC

G3DVu

LLC provides cutting edge, high-quality & cost-effective Augmented Reality (AR) technology for a variety of business segments. Our broadcast segment leverages OmniVu, a proprietary sport agnostic technology to execute real time AR for baseband video sources via the ARVu System.

GAME CREEK VIDEO

Game

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

GCORE

Gcore’s collaboration with fan.at exemplifies the power of Gcore Edge Network (CDN) and Gcore Edge Cloud in broadcasting sports events at scale. By leveraging the company’s all-in-one cloud infrastructure, fan.at delivers uninterrupted, lowlatency streams across Europe, seamlessly processing over 300 simultaneous live feeds from stadium cameras. Gcore’s comprehensive video streaming solution has significantly enhanced the streaming capabilities of fan.at, ensuring high-quality content delivery without requiring extensive in-house resources. Gcore CDN ensures consistently smooth, low-latency viewer experiences, vital for engaging sports fans. Looking ahead, fan.at plans to integrate AI-driven video streaming features from Gcore, including automatic highlight reels, speech recognition, and content moderation. These innovations promise to further elevate the viewing experience, making it more dynamic and interactive without requiring human resources. The Gcore-fan.at partnership shows how sports broadcasting can be transformed with advanced technology, setting new standards for quality and efficiency in the industry.

GLOBECAST

Globecast Americas service offerings have changed this year. New technologies within a new facility have allowed us to offer a new playout center, live integration services, production services, and improve the quality of monitoring and signal delivery with a new redundant fiber/ IP contribution and distribution architecture. Launching

•Leverage cellular networks and the public Internet as a reliable, low cost video transmission link.

•Consolidate and centralize resources to achieve greater efficiency, all while boosting your production capacity.

•Ensure the capture of all of your video and audio sources.

•Maintain frame accurate genlock and lip sync across multiple untethered cameras.

•Assure your viewers an engaging, high quality program.

•Budget-friendly Technology as a Service eliminates obsolescence.

vidovation.com/remi sales@vidovation.com

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of our new TOC and Network Operations Center as well as new on premises transmission facilities. New services: - Multi Cloud vendor playout and storage solutions as well as On-premises live services : Sports, News and Entertainment Channel service offerings, OTT (end-to-end), Remote Production, Satellite and Terrestrial distribution services. - Large On Premises studio production, head-shot studio, Remi production services, Cloud Storage, FAST Channel, and Pop-Up Channel services. Significant Sporting Events: Weekly Auto Racing live integration and distribution services. Monitoring for globally produced high profile events, troubleshooting third party services and working with regional broadcasters for signal contribution, quality control and continuity. Bringing live services across the Globecast network for contribution and distribution to our facilities in the UK, Paris, Singapore, Rome, South Africa and other regional Globecast points of presence.

GLOOKAST

GLOOKAST develops tools to simplify digital media workflows by offering solutions to today’s most critical aspects of content production and distribution: TRANSCODE - Enables production with any codec, frame rate, raster size, format and scan type INGEST (file, HD/UHD SDI and IP) - GLOOKAST offers a unique set of features (True Remote Ingest, Multi-Res, Multi-Destination, Archive Backup, SDI Player, profile & template driven Metadata Editing) optimizing applications such as News Ingest, Mobile Media contribution, Feed Ingest, Studio Drama Production, Mobile Sports Production, Archive Tape Ingest, Studio & Live Ingest, Archive workflows. LOOP RECORDING (HD, UHD/4K) - for Sports, Live feeds and 7x24 operations. PRODUCTION CONTROLWeb based multi-user control systems for studio and live events production and feed ingest scheduling. WORKFLOW ORCHESTRATION - GLOOKAST offers workflow orchestration and multi-platform integration based on, virtualized, cloud-ready, distributed media services. TECHNOLOGY INTEGRATION - QC, Non-PAM Production Workflows, Archive, Disaster Recovery, co-developed with our partners: Adobe, Arvato, Avid, EditShare, File Catalyst, ObjectMatrix and Spectra Logic.

GOOGLE CLOUD

Sports broadcasting is being transformed by AI and Google Cloud, with McLaren Racing at the forefront. Their use of AI simulations, real-time data analysis, and even fan engagement is a model for the industry. This partnership is pushing the boundaries of what’s possible in sports, showcasing how data can drive wins both on and off the track. Click here to learn more

GRABYO

Overthe past year, Grabyo has developed its advanced live broadcasting feature set by adding compression and custom automations to its 64-channel audio mixer, a brand new tally light system, plus support for SCTE-35 and SMPTE 2308 data passthrough. Broadening its interoperability with sports production workflows, Grabyo has also released a desktop app, which acts as a bridge to local network connections for production teams. This bridge enables users to connect Grabyo’s cloud platform with local devices, such as cameras with in-built tally lights. This functionality has large potential to bridge the gap between traditional and cloud-based production tools. Grabyo has introduced AI highlights to its live clipping platform, giving its users the ability to automate highlights logging and creation for rapid publishing. Its AI highlights workflow doesn’t rely on sports data inputs to generate highlights, but uses computer vision to detect and create clips.

GRASS VALLEY

Grass Valley continues to lead the change in transforming remote sports production. Leveraging AMPP during a number of key sporting events in 2024, our customers have demonstrated the platform’s ability to enhance production capabilities and streamline workflows. AMPP is a scalable Software defined platform that enables broadcasters to execute complex productions from anywhere in the world. This flexibility was crucial for the RallyX Motorsports Championship, which required seamless integration of multiple feeds and real-time collaboration among dispersed teams. The platform’s robust scalability allows efficient live content management, delivering high-quality broadcasts to viewers globally. A key advantage of using AMPP is its ability to simplify the production process while maintaining exceptional quality. By utilizing cloud processing, or alternatively on-premises processing on COTS hardware, AMPP reduces the need for dedicated equipment and on-site operational staff, significantly cutting costs and logistical challenges. This approach not only improves production efficiency and flexibility but also supports sustainability goals by minimizing the carbon footprint associated with traditional broadcasting methods. Grass Valley’s cameras and production switchers are integral to the AMPP workflow, ensuring that media operators can capture and deliver stunning visuals and seamless transitions. These tools provide unparalleled control and flexibility, allowing production teams to adapt to specific needs and tailor each broadcast to perfection. As the industry evolves, Grass Valley’s commitment to innovation ensures that media operators can meet the demands of a rapidly changing media landscape. AMPP is setting a new standard for remote sports production, offering a glimpse into the future of media production where efficiency, quality, and sustainability are integrated.

HAIVISION

Fromvideo encoders to mobile video transmitters, receivers, and cloud management solutions, Haivision continues to be recognized as a world-leader in ultra-low latency, high-quality broadcast video contribution solutions for live sports, news, and events. Thanks to its rock-solid reliability and security, broadcasters around the world trust Haivision technology to deliver great broadcasts that bring audiences closer to the action. Haivision encoders and mobile video transmitters allow broadcasters to securely and reliably transmit pristine-quality video, up to 4K UHD, at ultra-low latency over any type of network and conditions. Whether relying on 5G cellular networks or the internet, Haivision’s live video contribution solutions allow users to contribute superior-quality live video content from anywhere

HARMONIC

Harmonic,

the worldwide leader in video delivery technology and services, enables media companies and service providers to deliver ultrahigh-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

HDR10+ TECHNOLOGIES

HDR10+ is an advanced video format that elevates the viewing experience with enhanced contrast and color accuracy. This dynamic metadata technology optimizes brightness, color, and contrast on a scene-by-scene basis, ensuring superior picture quality. For professional broadcasters, HDR10+ offers the added benefit of automatic metadata generation for live broadcasts using compatible encoders, streamlining the production process. With HDR10+, broadcasters and consumers alike can enjoy: - Enhanced contrast and color accuracy - Scene-by-scene optimization for superior picture quality - Automatic metadata generation for live broadcasts using professional encoders - Compatibility with a wide range of devices and platforms - Support from leading industry partners, including major studios and manufacturers By leveraging HDR10+, broadcasters can deliver stunning visuals to their audience while simplifying their workflow, and consumers can enjoy an exceptional viewing experience.

HIGH ROCK MOBILE TELEVISION

Recent Additions: Sony HDC 3500 cameras for HDR. Sony 3100 CCU’s for existing Sony 1700L cameras to go HDR. EVS Via - 2 12 Channel Servers and Chyron Prime.

Supporting our own in times of need...

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HITACHI KOKUSAI ELECTRIC AMERICA

Hitachi is pleased to be offering the “best priced to performance” production cameras in the market. Starting with our most economical solution and poised for college sports, the Z-HD6500 offers Global Shutter 1080P for under $20,000 while the SK-UHD7000 series offers upgrade paths from 1080P/SDI to ST-2110, 4K/12G and 4 x Speed Slow Motion when needed. Supporting all levels of sports production is a passion we are happy to be involved in once again. The Hitachi Broadcast Product line up is ready to offer technically superior products at affordable prices. We simply offer the advanced technical features needed in sports production at a lower price point of our competition. We are also very proud to promote our partnership with LSU Athletics.

HLW INTERNATIONAL

HLW, 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 Northeast 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. Additionally, HLW is the Architect of Record for this new building.

IHSE USA

As a close partner to some of the best names in mobile production, IHSE provides KVM display management systems that allow multi-user access to computers and servers connected to the KVM matrix. Technicians and Engineers have instant access to any source on the KVM matrix via a single keyboard and mouse. As mobile production companies continue to combine multiple trucks to create one large production studio, the need for a KVM display management system to share sources between A/B units becomes more critical. Setup and configurations become easier as workstations can become agnostic allowing Technical Engineers to assign workspace more efficiently. IHSE offers KVM matrix systems in fixed copper, fixed fiber or hybrid matrix systems where short runs and long runs are needed during the same live event. In addition to our full featured Draco tera line of matrix switches and extenders, IHSE now offers our kvmtec line of KVM-over-IP extenders for DVI/HDMI

and DisplayPort. Compatible with most managed IP network switches, these extenders offer the ability to move signals up to 5K over a 10G network. Our latest line of kvm-tec Scalable extenders provide integrated multiviewer capabilities providing up to 16 channels viewable on a single display.

IKEGAMI

The New England Patriots have purchased 12 Ikegami UHK-X700 4K-UHD cameras for television coverage of NFL home games, as well as display of other events, at their Gillette Stadium headquarters in Foxborough, southwest of Boston. The cameras are integrated into an IP-based scoreboard production system created and installed by broadcast service-provider NEP Group, Inc. All video I/Os, plus intercom and microphone audio feeds, are included in the 25G IP fiber connectivity between the BSX-100 base stations and the system switches. Each UHK-X700 incorporates three 2/3inch CMOS 4K-UHD sensors with a global shutter pixel architecture. Two cameras are licensed for 2x/3x/4x 1080p HFR which can easily be added to additional cameras. Also available is the Extended Range license offering up to 8x 1080p and 2x 2160p. Each UHK-X700 camera head includes full 4K-UHD video processing. Two cameras are free to roam the stadium, outfitted with wireless transmitters.

IKOMG

We are a boutique end-to-end media service partner for broadcasters and content owners. We provide tailor-made solutions focused on our customer needs through dedicated service to a wide range of global and local networks. Our goal is to be a leading and trusted partner to hundreds of global and local networks, iKOMG is identified with expert knowledge, dedicated service and professionalism. We aim at being a true one-stop shop for content owners. We provide innovative and dedicated broadcasting and content distribution solutions that provide real-time value to customers around the globe. We deliver high-end value through cost-effective solutions and services.

ILLUMINATION DYNAMICS

Illumination Dynamics (ID) services Live Broadcast, Film, Television, Theatrical and Special Events providing Automated and Film Lighting equipment, Transportation, Redundant Power systems, Technical services, and Crew. Our main locations are in Santa Clarita, C,A 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 2024 ID has continued its excellent service for PGA Golf, NFL, College Football, MLB, Super-cross, Extreme Sports, and many more.

IMAGEN FROM REUTERS

Imagen’s solutions enable businesses to unlock the value in their ever-growing media libraries — enabling fast, secure and controlled cloudbased access to video content, brand assets and campaign content. Imagen Pro is a powerful, highly customizable digital media management platform that enables sports, media and enterprise organizations to intelligently manage, activate and unlock the value of their digital media. Imagen Go is a smart, intuitive, AI powered platform for creative teams that removes the complexity of managing digital assets — so they can collaborate more efficiently, re-use assets more effectively and spend more time being creative. Imagen’s customers include Major League Baseball, AON, the English Premier League, Ministry of Defence, Reuters, BBC and IMG. Find out more here.

IMAGINE COMMUNICATIONS

ImagineCommunications provides a comprehensive range of infrastructure products tailored for sports production and networks. Central to modern sports production architectures is the Selenio Network Processor (SNP), with over 4,000 units deployed globally. Its versatility and fieldreconfigurable design, including the new SNP-XL with double-density gateway support, contribute to its widespread adoption. Imagine has advanced HDR and UHD production with the SNP Master Control Lite (MCL). This tool facilitates the integration of HDR and UHD animated graphics and branding, enabling the creation of lightweight, UHD/HDR-capable channels. Another key focus for Imagine is the integration of on-prem and cloud solutions, as demonstrated by recent innovations like Magellan Connect, which extends Magellan Control System routing to the cloud, and Aviator Orchestrator, which unifies on-prem and cloud multi-site workflows into a single environment. The highlight of the past year for sports production companies and sports fans alike – Imagine included — were the 2024 Summer Games. There are SNP units actively deployed around the globe for more than 100,000 video channels worth of video processing, and many of them were on the ground this past summer in Paris. It was a watershed event for remote production and Imagine was thrilled to be a part of it.

SUMMIT

It’s time to register for the SVG Summit — the most popular event on the SVG calendar! The heart and soul of SVG are our members and sponsors, and the SVG Summit is where they truly come together with more than 1,000 attendees and 60+ technology showcase exhibits.

We look forward to seeing you on December 16-17 — register and book your travel today!

SPONSORUPDATE

IMAX

IMAX

Streaming and Consumer Technology, a division of IMAX Corporation, provides innovative monitoring, validation and optimization software (StreamSmart and StreamAware) to the world’s leading media and entertainment companies. StreamSmart On-Air, an API-based optimization software, leverages existing encoding and packaging workflows, using an AI-driven manifest manipulation approach to optimize bitrates in real-time. The software employs IMAX ViewerScore (XVS), a patented perceptual quality metric that measures video quality based on human vision, to ensure bitrate reductions only occur when they are visually imperceptible. This results in 15% - 25% bandwidth savings, translating to millions in reduced distribution costs and a better enduser experience. StreamSmart was recently used to optimize the NBA Finals which streamed in high-quality over low-bandwidth public internet to IMAX theaters in China. StreamAware On-Air, a real-time monitoring software for live streams, also leverages XVS to provide video service providers complete visibility of their video quality throughout the delivery chain.

INSIDE EDGE

Inside Edge continues to innovate and expand its offerings. Our flagship video system, eClips, enables broadcasters to quickly convert key (automated) observations into actionable video clips — perfect for pre/post and in-game content. Meanwhile, Remarkable remains a cornerstone of our product suite, delivering powerful and meaningful insights for our broadcast clients and ultimately the fans. We’re thrilled about our recent partnerships with SportLogiq and Infinite Athlete, which are set to enhance our capabilities and provide even more value to our clients. These collaborations are a testament to our commitment to staying at the forefront of sports analytics, and we’re excited to see the impact they’ll have for those we serve, especially in the broadcast space.

INSYNC TECHNOLOGY

InSync Technology’s FrameFormer software is now globally deployed, gaining greater traction in the Americas and in Asia-Pacific. FrameFormer was used by leading Olympic broadcasters throughout the Paris 2024 Olympic Games, and will be used during the upcoming U.S. Open tennis tournament. InSync is launching 2110 on its MCC-HD range, which is ideal for upcoming major sports events, including FIFA World Cup 2026 in the U.S. FrameFormer is now available in even more platforms, continuing the “InSync Inside” campaign, as Brightcove, Grass Valley AMPP, Matrox, Synamedia, and TVU join a long — and growing — list of leading broadcast vendors who have successfully integrated FrameFormer.

INTEGRATED MEDIA TECHNOLOGIES

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

INTEL CORPORATION

Intel is proud to have worked across the Olympic Movement and with the International Olympic Committee (IOC) to help bring AI platforms everywhere, foster connectivity with 5G technology platforms, enhance the fan experience with 360 content development platforms, and deliver compute power for the Olympic Games operations. Intel helped deliver the best of the Olympic and Paralympic Games to fans and athletes by using AI platform enabled OBS to generate customized sports highlight videos automatically in real time, with the objective of reaching every fan with the right piece of content. Broadcasters also used FPGAs and Intel Xeon processors to enable private 5G high-speed technology solutions for quick updates and real-time sharing. Additionally, Intel Xeon processors powered a cost-effective volumetric video platform at the Olympic and Paralympic Games Paris 2024 that captured 3D footage of athletes and made it available for live streaming on TVs, PCs, and smartphones.

INTELSAT

Whenthe 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. Whatever the occasion, combining the reliability of the world’s largest satellite fleet with our dedicated managed media network offering global connectivity has always been a winning strategy. As the media landscape continues to change, Intelsat will remain at the forefront of innovation and a foundational force in media contribution and distribution. With a unified managed global network, and strategically deployed teleports and partners, Intelsat Media can support the most demanding global requirements for the most compelling live content anywhere.

IPV

IPV transforms media storage into an easily accessible, streaming, and highly searchable active archive. The powerful search engine within Curator, IPV’s new generation of Media Asset Management, uses AI-generated metadata, to accurately surface any archived clip, driving users to their

highest value content in seconds. This saves hours of manual searches, enables repurposing and monetization of existing media, and increases productivity and creative quality. Additionally, Curator’s Adobe Creative Cloud plugin seamlessly connects Adobe users to their archive to achieve native cloud editing, collaboration, and intelligent media management, all from within their Adobe apps.

JB&A

JB&A is a value-added distributor with over 80 manufacturer partners as well as server and storage build facilities, offering exclusive access to exciting new product categories. In Sports production, both pre- and post-, JB&A is your go-to partner for cutting edge, best-in-breed technologies. “We don’t move boxes, we Unbox Possible”, JB&A is dedicated to delivering a complete range of broadcast products and solutions tailored to the needs of Sports, Media & Entertainment, Post Production, Corporate, Education, Government, House of Worship, and more.

JETWAVE WIRELESS

JetWave Wireless is a dedicated team of experts who support the production wireless and media industry. We excel at supporting large-scale live events and enterprise-level production facilities. Our clientele spans broadcast news and sports, touring and live sound, location sound, large corporate AV, full-service integration partners and houses of worship. We are proud resellers of top brands and offer exceptional service and support. At this year’s Super Bowl in Las Vegas, we partnered with CP to provide Emmy-winning multi-zone DAS support, ensuring seamless IFB and microphone coverage from the Bellagio to the stadium. Using RF over Fiber and Antenna Matrix solutions, talent had uninterrupted communication from the locker room to midfield. For ABC’s New Year’s Rockin’ Eve, we delivered flawless coverage across Times Square and connected various teams through a hosted Clearcom Matrix solution. Our expertise also recently supported the Belmont Stakes (Fox), Macy’s Thanksgiving Day Parade (NBC), NHL events, Good Morning America’s Central Park Summer Concert Series (ABC), and NBC’s 30 Rock campus, ensuring top-notch RF audio and communication solutions. For more information about how we can help your production wireless needs, contact us at sales@jetwavewireless.com

JOSEPH ELECTRONICS

Joseph

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

JPM TECHNOLOGY CONSULTING

JPM Technology Consulting was founded by Jesse Janosky, a broadcast engineer with over 17 years of experience. Jesse has worked on a variety of projects, including news stations, arenas, football stadiums, and data centers. He has seen firsthand how the broadcast industry is changing, and he believes that the future of broadcast engineering lies in innovation and customization. Jesse created JPM Technology Consulting to provide a different approach to broadcast engineering. He believes that the industry needs to move away from the traditional “cookie-cutter” approach and embrace new technologies and ideas. He also believes that the industry needs to tap into the wealth of talent that exists outside of the traditional broadcast engineering circles

JW PLAYER

JWPlayer (JWP) empowers sports teams, leagues and broadcasters with an end-to-end platform for delivering and monetizing exceptional video content across web, mobile, and OTT platforms. JWP’s integrated, live and on-demand platform manages the streaming workflow from ingest to playout. BeinSports, Bundes Liga, Volleyball World, StreamSports Ireland, Sports NY, Eurosport, PSV and others use JWP to deliver exceptional video experiences, increase video plays and viewing time. Our editorial tools enable these teams to create derivative content to further engage fans. JWP provides simplified, flexible monetization models including subscriptions, advertising (CSAI, SSAI), or both. Read how PSV commercialized their offering: https://jwplayer. com/case-studies/psv/ JWP augments customer operations with expert services for quick implementation, migration services, custom metadata transformation, and integrations. Serving 7,000+ video-driven brands, JWP powers 775M minutes streamed per month. We deliver 500+M SSAI ads and 13+K live events and channels per month. Visit http://www.jwplayer.com.

KERO SPORTS

Kero is a micro betting provider to over 180 sportsbook operators, broadcasters and major league teams. We help brands drive engagement, retention and profitability!

KEY CODE MEDIA

Key Code Media is the preferred resource for audiovisual equipment, installation, and aftermarket support. We approach complex projects with a high-touch customer service focus, ensuring equipment is delivered, installed, and adopted by a customer successfully. OUR SOLUTIONS INCLUDE: A/V (Conference Rooms, Lecture Halls, Classrooms, Video Walls, Collaborative Offices,

City Council Chambers); Broadcast (Comm Systems, Flypacks, OB Truck, and Control Rooms); and Production Equipment (Audio Suites, Video Edit Suites, and Networking).

KISWE

Kiswe helps content owners monetize their content using D2C (direct to consumer) streaming under their own brand. We also provide services such as digital marketing, customer support, analytics, and remote production. Recently, we secured regional deals with NBA and NHL teams (Jazz, Suns, Coyotes) where Kiswe partners with them to maximize their D2C business. Additionally, we supported preseason games for the NFL Lions and Broncos, significantly increasing viewership through our fan engagement features. Kiswe also powers InDemand’s highly successful PPV.COM site, used to monetize professional fights. The key element to D2C success is the collection and deep learning analysis of user data to grow and retain the user base. In partnership with OBS, Kiswe delivered the successful “Athlete Moment” project for the Paris 2024 Olympics. Beyond sports, Kiswe works with top musicians like Kiss, BTS and leading Kpop bands as well as popular creators such as Smosh and Mythical

KMH AUDIO-VIDEO INTEGRATION

KMH Integration is focused on helping customers navigate the changing sports technology landscape. Rapidly evolving technology trends, especially recent advancements in AV over IP protocols including IP 2110, NDI, and IPMX, are creating more opportunities for customers to create immersive, high-end video productions more affordably and efficiently. In addition to long-standing technology relationships with the New York Giants and Pittsburgh Steelers, the KMH team is also busy in the A/V, media, entertainment, corporate, and arts markets, with an expansive list of projects showcasing KMH’s full range of consulting, creative, design, and integration services. KMH can deliver full on-site service combined with experience-driven design and consulting, comprehensive project management and a full slate of creative capabilities and managed services. The team designs and deploys video networks, remote production workflows, IP encoding platforms, IPTV systems, virtual production, studios, control rooms, live-streaming, event spaces, multimedia presentation areas, and conference rooms. Learn more at www.kmh-integration.

LAWO

Between June and August 2024, Lawo’s unified IP infrastructure platform delivered a remarkable performance in live sports productions at two global events in Germany and Paris. Dozens of Lawo .edge gateway devices, mc² consoles, A__ stage I/O stageboxes, A__UHD Core audio DSP engines and more facilitated the transport and multi-format processing of audio streams. In Germany, a vast number of video processing solutions, some of them based on the HOME Apps platform, were also used. Lawo’s unified platform and ser-

vice-first approach clearly seems to resonate with host broadcasters and rightsholders. For the Paris event, 84 .edge blades provided SDI/IP conversion and (un)compressed signal distribution, while 40 mc² audio consoles at the various venues and at the IBC, coupled with15 HOME clusters, provided pristine audio and flexible resource utilization. More than 30 A__UHD Cores, 50 virtual broadcast RELAY licenses, and numerous VSM hard- and software panels were used to deliver production and routing agility. The inclusion of A__stage audio stageboxes and modular Power Core I/O units further contributed to the magnificent storytelling about both heartwarming and unique moments that went far beyond medals. Lawo is honored to be considered an important partner for the coverage of events that are watched by billions.

LBISAT SATELLITE COMMUNICATIONS

LBiSat is a leader in the satellite communications industry, boasting over 35 years of experience in delivering voice, data, video, and media streaming services to customers across the globe. Our flexible and cost-effective packages support all remote enterprise applications. With LBiSat, you can expect advanced network solutions that prioritize Quality of Service (QoS) for seamless integration with your existing or planned equipment. Our managed networks offer scalability of bandwidth and ensure critical reliability for end-to-end security management. What sets LBiSat apart is our engineering team’s exceptional expertise in matching customer requirements with the most suitable and latest technology for their applications. This includes fixed or mobile satellite units, terrestrial circuits, microwave, antenna testing and installation, and much more. LBiSat recently built a new teleport in Eagle Mountain, Utah, that supports their plans of gateway antenna hosting and support. Staffed and operational 24/7/365, LBiSat can assist you with any project, no matter where you are in the world.

LEADER INSTRUMENTS

Leader Electronics Corporation, a renowned manufacturer of test and measurement instruments, has recently launched its new ZEN-W Series, comprising the LV5600W waveform monitor and LV7600W rasterizer. Each supports all the tools of the original ZEN Series, plus a range of new features, including Web RTC, a Web Real-Time Communication interface, allowing secure remote control and monitoring from a web-connected desktop or laptop computer. A new integral bidirectional conversion tool allows HDR content to be viewed in SDR and vice-versa. Processing is based on the desired 3D LUT as color lookup table which can be imported via plug-in USB memory. The 3D LUT capabilities simplify live production workflows by integrating HDR/SDR conversion for applications such as camera shading and HDR supervision. NMOS-based IP video switching is also now available, supporting seamless switching of synchronized ST 2110-20 IP video signals, ensuring visual continuity when switching between transport streams.

SPONSORUPDATE

LEEWARD SOFTWARE

Get ready to dive into the groundbreaking collaboration that unfolded at NAB 2024! Witness the emergence of Leeward Software, born from the collective strengths and resources of MNC Software and SuiteLife Systems. This dynamic partnership is set to revolutionize the landscape of network management, monitoring / control and automation solutions, offering an expanded range of services to meet diverse needs and applications. From remote system monitoring to live event environments for broadcast and sports to feeds management and cloud media supply chains, Leeward Software presents a comprehensive suite of solutions to tackle monitoring and control challenges while streamlining workflows. With a focus on enhancing operational efficiencies, instilling confidence, and delivering scalable, tailored solutions, Leeward Software is poised to elevate operational visibility and protect revenues across organizations, ensuring a seamless, secure, and optimized experience for all.

LEGRAND AV

Legrand | AV brands create amazing AV experiences through innovative solutions and exceptional service. As industry leaders and partners, our 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.

LEIA INC.

LeiaInc. is a leading provider of eyewear-free 3D display hardware and software solutions. Our breakthrough technology, born from pioneering research at HP Labs and Phillips, leverages advanced optics and AI to transform ordinary displays into naturally immersive experiences. We envision a future where the three-dimensional reality of our physical world is seamlessly reflected in the digital space to transform the way we work, play, and connect — and strive to make 3D accessible to anyone, anywhere, on any device.

LH COMPUTER SERVICES

LH Computer Services is a South Florida-based reseller and integrator specializing in data storage and prtection solutions. Established in 1991, we have been providing world-class storage solutions to our customers for many years. You can count on LH Computer Services to be the source for all of your data storage needs. We provide comprehensive solutions, drawing on best-of-breed hardware and software from multiple manufacturers.

LIVE MEDIA GROUP

Live Media Group is a privately held media company founded in 2008. Live Media Group has two divisions, which include its Mobile Unit

Division, as well as its Entertainment Production Division. Its collective group of companies include GameTime Productions and TNDV Television. The company specializes in the production and delivery of live sports and entertainment through its multiple entities. Its mobile unit division offer 38 HD/UHD full-size mid-size production trucks for the broadcast sports and entertainment

LIVEU

The City of Lights was abuzz with the fever of the Summer Games, and LiveU was right in the heart of the action! Our team set up shop across the city in multiple locations. We were the behind-the-scenes athletes of broadcasting, working 24/7 to keep the games streaming smoothly to viewers around the world. Over 1,000 LiveU units were in action in Paris, both rented for the event and with our customers’ using their own units. It’s been quite the journey since our debut at the 2008 Beijing Games. This year, we didn’t just handle fixed stand-up positions, but we supported dynamic live productions — capturing everything from boat rides on the Seine during the opening ceremony to inside scoops from the athletes’ camps, providing back-up for the main competitions and broadcasting live from the venues. Customers consistently chose our solutions for their reliability, cost-efficiency, flexibility, and ease of use. As SVG reported, NBC Olympics’ operations for the Paris 2024 games were a genuine transatlantic operation, with production teams throughout France and at NBC’s Stamford, CT, Broadcast Operations Center (BOC) tied together by a supercharged web of connectivity. NBC deployed 26 LiveU IP wireless backpacks as ENG cameras in Paris. The systems focused on family and friends in the crowd (often accompanied by a live mic) inside venues and followed athletes before and after competitions. Additionally, NBC deployed the LiveU Matrix cloud-native IP video-distribution platform and LiveU Ingest automatic recording and story metadata tagging solution.

LTN

Since 2021, LTN has been integral to the partnership with MLB and Apple, handling crucial elements such as downstream master control and international version creation. We are responsible for ingesting studio and live game feeds, facilitating seamless transitions, and adding enhancements like triggers, closed captions, and videoon-demand (VOD) playbacks. Each MLB game undergoes a dual-versioning process — producing a domestic version enriched with commercial inventory and an international variant featuring slate inserts and beauty shots during breaks. Our final delivery includes multi-point handoffs to Apple TV, ensuring a diverse and engaging broadcast experience for global audiences. Our collaboration with TelevisaUnivision started in January 2021, focusing on high-scale content versioning

for the ViX+ platform. This partnership involves versioning over 2,500 live sports events annually. LTN’s role extends to ingesting and normalizing live sports content globally, incorporating interactive triggers, playing VOD assets, and integrating announcer feeds. We also design and implement custom graphical overlays to enhance the broadcast quality. Following the versioning process, we manage a dual-drop IP delivery system that ensures precise and reliable content distribution to multiple destinations, enhancing our operational efficiencies and viewer satisfaction

LUCIDLINK

Withcloud services and object storage growing exponentially, it became clear to the founders that applying old technology to a new paradigm was broken, and to truly benefit from cloud object storage, a new system had to be built from scratch. LucidLink transforms the cloud into local storage. Our system allows users to stream data directly from the cloud, eliminating the need to download or synchronize. LucidLink is a file system specifically built for modern cloud-computing environments. With LucidLink, any application, process, or workflow can benefit from low costs and elastic storage. LucidLink is at the forefront in the evolution of cloud services and storage

M2A MEDIA

M2A

Media delivers live video products running in public cloud to some of the world’s largest streaming services. We’re all about embracing the power of the cloud for video distribution, enabling cost-effective and flexible workflows. We have that rare mix of savvy software engineering and bullet-proof operational support. Our combined expertise places us at the forefront of innovation and quality in online video delivery.

MAGNIFI BY VIDEOVERSE

Magnifi by VideoVerse is an AI-driven video technology company dedicated to revolutionizing the way short-form video content is created and shared. Our technology enables collegiate sports organizations and conferences to create dynamic, immersive viewer experiences for fans by producing real-time highlights for multiple games across various formats and devices. Recently, we collaborated with the Mountain West Conference (MWC) to enhance its online presence, which led to a significant surge in social media engagement and viewership metrics. This growth included a 151% increase in Facebook views, a 148% rise in YouTube views, a 139% growth in YouTube minutes watched, and a 139% increase in YouTube subscribers. We are excited to continue partnering with collegiate sports organizations to bring our cutting-edge technology to the forefront of sports coverage.

MARKERTEK

Markertek, a 100% Employee Owned Company, continutes it evolution as the go-to supplier in live production sports. From providing a vast number of critical SMPTE fiber cables for February’s big game to a recent partnership with Ross Video, we help bring your vision to reality in the world of real-time televised coverage! The quality of what you bring to sports video fans is how we liken the customer service you receive at Markertek. Our broadcast and live events sales team helps you stay in touch with the ever-changing landscape of technology from the studio to the field. We are uniquely positioned to assist you with special pricing, project consultation, and just-intime delivery. We offer all the right brands at just the right prices. Markertek is the only industry supplier to offer the value-added service of a complete custom shop delivering fiber cables, copper cables, metal panels, and UV printing services. Come see what being a customer should feel like once again. Our house is your house, we’re America’s Broadcast Supply House.

MARSHALL ELECTRONICS

Marshall Electronics’ VMV-402-3GSH is a fourinput, auto-scaling, seamless switch that is designed to become a reliable part of any sports broadcast or AV infrastructure. It can be utilized as an Aux input for existing production switches. Simple command structure allows easy integration with Crestron and other control surfaces and automation systems via Ethernet or RS232. The switcher accepts four 3GSDI sources. Inputs 1 and 2 also accept HDMI. Switching fast and glitch-free, it accepts all common input formats/frame rates and converts to a single output format. Program out is available simultaneously as SDI and HDMI. A second HDMI output provides a full-time quad view. It is easily set up without the need for special apps or cables. The unit is 1RU high and full rack width. The VMV402-3GSH is a great complement to the full range of Marshall PTZ and POV cameras. For more information, visit marshall-usa.com.

MASV

Sports broadcasters and streamers need a fast, simple and secure way to swiftly move huge gameday media files, fan-generated content, and other data from live events to multiple postproduction teams and other destinations. MASV (massive.io) simplifies the movement of heavy media files through a fast, reliable, and secure cloud file transfer platform. - Transfer terabytes over a saturated connection optimized for speeds up to 10Gbps. - Combine multiple internet connections (such as 5G and WiFi) to boost reliability and performance. - Upload in-progress large files simultaneously being written and read/accessed with Growing Files. - Boost productivity with MASV upload Portals, cloud integrations, file transfer automations, and an intuitive web interface. Sports content creators, producers, and distributors can use MASV to effortlessly gather footage and ancillary coverage from the field and easily share it

among multiple OB trucks, post teams, cloud/onprem storage, and other stakeholders.

MATROX VIDEO

2024 has been a big year for Matrox Video customers. Fuse Technical Group used ConvertIP ST 2110/IPMX-ready converters and encoders/decoders and Extio 3 IP KVMs for one of the biggest venues in Las Vegas. Broadcasters across the globe used our NIC cards in their production systems for the summer games, and a tier 1 sports league is producing content in the cloud with Monarch EDGE encoders. Matrox Video customers are improving their IP video workflows thanks to recent product updates. They can add ST 2110 and IPMX support with ConvertIP 2.01; transmit broadcastgrade streams over SRT, contribute feeds with VANC and SCTE, and integrate with distribution platforms with Monarch EDGE 2.07; and securely access and manage systems from control rooms and studios with Extio 3. Showcased at IBC 2024, the brand new Vion EX solves the problem of moving from one IP video format to another and is the first Matrox Video product to support NDI. Also demoed at IBC 2024, the new Avio 2, the world’s first ST 2110/IPMX-ready 4K IP KVM extender.

MAXON

Over the past year, Maxon has continued to empower artists and creatives in various fields, including 2D/3D design, motion graphics, visual effects, and product and architectural visualization. Our industry-leading suite, Maxon One, featuring award-winning tools like Cinema 4D, Red Giant, Redshift, Forger, and ZBrush, has undergone significant updates to meet users’ evolving needs and provide exceptional value. One notable addition is Maxon Studio, which offers a range of user-friendly features to simplify the editing process as part of Maxon aim to empower creatives of all levels to produce professional-quality videos and bring their visions to life. These tools have been used in this year’s Oscar-winning films like “Godzilla Minus One” and “Spider-Man: Across the Spider-Verse,” Emmy-winning title sequences such as “The Last of Us,” acclaimed games like “Spider-Man 2,” and product designs for top brands like Nike, Mulberry, and Samsung, among many other applications.

MEDIA LINKS

Media Links’ entire IP Ecosystem of media gateways, switches and network management software was deployed at the recent 2024 Summer Olympics in Paris, anchored by the company’s powerful and flexible Xscend IP media platform. Hundreds of media and data services were transported across the ocean to the broadcast rights holder as well as from various sporting venues throughout France to the International Broadcasting Center (IBC), all coordinated and monitored by Media Links’ ProMDEMS network management system. Timeline TV in the UK chose our MDP 3020 MAX Series of IP Media Gateways to facilitate the transport media and data services for the recent UEFA Europe 2024 football

tournament. Partnering with leading broadcast providers for major events like the Olympics and UEFA Europe demonstrates the trust and reliability placed in Media Links’ technology. This collaboration underscores our role in delivering high-profile sporting events to a global audience time and time again, with reliability, scalability, and overall efficiency.

MEDIABRIDGE CAPITAL ADVISORS

MediaBridge Capital Advisors is a global, industry-focused investment bank that advises companies on their growth, liquidity and exit strategies by way of mergers, acquisitions and capital investment. MediaBridge concentrates on serving companies within the media technology marketplace with revenue that typically falls between ten million and two hundred and fifty million dollars per year. Led by John Bowen, Ethan Jacks and Courtney Spencer, the MediaBridge senior team has over 50 years of combined experience in digital media, technology, and investment banking. Over the past 15 years, MediaBridge founders have advised on over 50 mergers and acquisitions and private equity financings for industry leading companies in the media sector worldwide, spanning our six primary market segments: Video, Audio, Broadcast, Cinema, Enterprise and Streaming markets. MediaBridge brings deep domain expertise in the digital media sector’s rapidly evolving technologies. MediaBridge and its team of distinguished industry advisors deliver unmatched expertise.

MEDIAKIND

MediaKind 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. For more information, please visit: www.mediakind.com.

MEDIAPRO

MEDIAPRO Group is a leading global production, distribution and content creation group with 58 offices in 36 countries around the world. It operates a fleet of over 80 High Definition and 4K Outside Broadcast units and produces live coverage of more than 12,000 events around the world each year. The Group is currently involved in the production of 16 national soccer leagues around the world and also produces events for the UEFA Champions League, FIFA World Cup, FIFA Confederations Cup, the Africa Cup of Nations, FIBA events, the Euroleague, and Formula 1.

SPONSORUPDATE

MEDIAPROXY

Mediaproxy enables broadcasters and operators to unify compliance, analysis, and monitoring of linear television, IP and OTT video sources all in one place. With origins in broadcast logging, Mediaproxy has become the most trusted compliance, analysis, and monitoring platform for hundreds of customers around the world. Constantly driving developments in this field for almost two decades has resulted in consistently leading the way with new innovations.

MEGAPIXEL

Megapixel is proud to announce another successful year at the forefront of LED Processing with the deployment of a fully redundant 100G ST 2110 network for Eurovision 2024, showcasing our commitment to leading-edge technology in high-profile global events. This year, we have also strengthened our position in the Broadcast market by acquiring contributing GhostFrame intellectual property from our technology partner AGS, enabling us to deliver cutting-edge in-camera solutions that set a new standard in the industry. In addition, we’ve launched our new CLOUD platform, a groundbreaking solution that further expands our portfolio and strengthens our market position. To support our ongoing growth and innovation, we’ve recently hired several new team members, bolstering our capabilities as we look to the future. Our efforts have been recognized with multiple product awards for both our HELIOS LED Processing Platform and our recently launched CLOUD platform, which is already in use by multiple Fortune 500 companies.

MEYERPRO

Anew year — with a new set of challenges, and rewards. In May, we showcased our Ross Carbonite Ultra 60 production switcher and over 100 displays at the Seattle Convention Center for Microsoft Build. In August, we played a key role in PDX airport’s Phase 1 grand opening, providing Sony HDC-5500 cameras and a broadcast flypack. Additionally, this summer we expanded our inventory with Yamaha’s new DM series digital audio consoles, adding DM7’s and DM3’s to our collection of high-quality audio equipment.

MICROSOFT

Microsoft enables digital transformation for the era of an intelligent cloud and an intelligent edge. Its mission is to empower every person and every organization on the planet to achieve more

MIMIR

Mimir has had a busy year — recently pioneering AI scene description into a cloud asset management system. Leveraging AI to accurately, automatically, and instantly detect scenes in a video asset, Mimir now gives users access to meaningful

chunks of material from in all assets. Getting semantic models to do the heavy lifting, automated, detailed and accurate scene descriptions can also be added. This means editors can search for a description of a scene that considers the full context of what is going on — say, “people waiting in line in an airport.” They are then presented with files with pre-chunked transcripts. These can easily be fully or partially dropped onto a timeline, edited, or exported, saving a lot of time. Other recent innovations include rewrapping for lightning rendering, partial downloads to work faster with large assets, editing on growing files and dynamic upload portals — all adding speed and flexibility to Mimir.

MO-SYS

TheMo-Sys product range spans remote heads and 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.

MOBII SYSTEMS

Mobii is thrilled to be part of the Comcast SportsTech Class of 2024, where we’re at the forefront of advancements in real-time sports data and video synchronization. Our patented Microblock Frame Sync Technology delivers ultra-low latency (<300ms) and buffer-free streaming via HLS and DASH protocols, ensuring a seamless experience for large scale audiences online and invenue. This technology enhances live broadcasts and elevates in-venue experiences by synchronizing real-time data and video feeds, offering fans an immersive, interactive experience. Our recent collaboration with LIV Golf showcases our ability to deliver high-quality, reliable streaming for global viewers, proving the scalability and robustness of our solutions. Our continued work in Sports Operations for MLR and SA Rugby further demonstrates our commitment to excellence As we innovate, Comcast SportsTech empowers us to push the boundaries of live sports broadcasting and invenue fan engagement, expanding our solutions to more platforms and audiences worldwide.

MOBILE TV GROUP

Over the past year, Mobile TV Group has experienced significant growth both internally and with its growing client base. In July, former COO Nick Garvin was promoted to CEO. MTVG rolled out its newest mobile unit, 52FLEX, which features a Visitor Mobile Unit that embraces hypermobility and a smaller on-site footprint. The company continues to excel in providing its customers with the most up-to-date live production technology and

services, producing close to 10 Cloud Control remote productions on any given day and supporting over 4,000 live broadcasts annually.

MOMENTS LAB (formerly Newsbridge)

Whatif you could instantly see the most compelling quotes in a video of a post-match press conference or interview? Sound Bite Detection is just one exciting new feature available in MXT-1.5, the latest version of Moments Lab’s award-winning, multimodal AI indexing model. The company has also enhanced its mobile app — popular with sports clubs, leagues, and federations — with a dark mode user interface option and better content search. Finally, Moments Lab’s new Adobe Premiere Pro Plugin provides a complete sync between Premiere’s project panel bin and the Cloud Media Hub powered by MXT-1.5. Editors can now quickly access, search, discover, clip, and repurpose AI-enriched media including recently captured footage, archived content, and even live recordings without needing to switch screens. This plugin enables Adobe users to move clips from Moments Lab to the bin and to their timelines in record time.

MONKS

It’s been an enormously impactful year thus far for Monks in the broadcasting, media, and entertainment space. Monks became the first AWS partner to have a cloud migration services listing on the AWS Marketplace, successfully demonstrated a test broadcast in the cloud for ITV’s “This Morning” show (which was featured in SVG), and will share an exciting announcement at IBC which reflects the company’s commitment to innovation in the broadcasting industry. Monks continues to innovate with its best-in-class engineering, developing new solutions for a unique camera to consumer workflow, including AI Highlights, Intelligent Data Storage, Intelligent Ad Insertion, and a Control Room real-time sentiment dashboard; all expected in the fall. EVP of Strategic Industries, Lewis Smithingham leads a specialized team at Monks focused on media, entertainment, games, and sports. Working across the Monks ecosystem of marketing and technology services, this specialized team delivers domain expertise to its customers.

MOTION PICTURE ENTERPRISES (MPE)

Motion Picture Enterprises (MPE), based in NYC, is a premier full-service post-production facility providing comprehensive, costeffective solutions nationwide. MPE offers both out-of-house editorial rentals and advanced remote hosting, enabling your team to work securely and efficiently from anywhere. Our cutting-edge remote infrastructure features state-of-the-art data centers with dedicated internet circuits,

firewalls, and separate fiber-optic networks. Our expert in-house technical team and IT engineers provide support, ensuring seamless operation 24/7/365. MPE’s expansive 60,000 sq. ft. NYC facility is designed for a flexible hybrid work model, supporting both in-person and remote needs for editing, collaboration sessions, and screenings. MPE Finishing has broadened its service offerings to include color grading, sound mixing, and final delivery. Complete your projects either remotely or in-person in our Dolby Atmos Certified Sound Mix Studios and Dolby Vision 4K UHD Online and Color Grading Suites. MPE delivers a high-quality, end-to-end post-production experience tailored to your specific requirements.

MULTICASTING

MultiCasting.io is a next-generation platform for enhanced real-time video experiences. Our patent-pending technology makes events more interactive, and provides a completely new level of functionality, whether in person or virtually streaming.

MULTIDYNE

Sports happen everywhere, and across many levels of competition. Venues differ based on the sport and competitive level. Production needs vary greatly within this big universe. Whether capturing footage for team use, game action for inhouse projection or multicamera video feeds for broadcast trucks, MultiDyne’s sports production solutions span far and wide. Furthermore, proven interoperability across the entire range provides technicians with the freedom to mix and match products and assemble the production workflow you need. Imagine the biggest stadium event you can and the expanse of the production that comes with it. These events need a system that doesn’t care about the scale. That’s a job for HoneyBadger, our ruggedized 5RU field fiber solution for content producers faced with an array of formats, signals and connectors for jobs that go the distance. On board the truck, our VF-9000 Series manages the abundance of signals coming in and going out with exceptional redundancy to ensure that live broadcast operations without disruption. Production teams will find other tried-and-true MultiDyne systems valuable on any field of play including our SMPTE-HUT transceivers, which bring greater freedom to camera operators; and our robust, adaptable VB Series solution to transport signals from most PTZ/POV cameras.

NATHANIEL HOWE STUDIOS

Our creative team at Nathaniel Howe Studios has had a busy summer. Some notable updates include: Design & animation for this season’s Fox MLB Saturday national commercials. Main Title and in-film animation for the upcoming NIL college documentary “The Money Game” on Amazon. On-air, social, and in-arena animation for Tiger Woods’s new innovative golf league TGL. Gearing up for more Las Vegas Sphere work during the upcoming F1 Race. As well as designing the visual identity for the broadcast of the upcoming TYSON

v PAUL fight on NETFLIX. For more please visit NathanielHowe.com

NEMAL ELECTRONICS

Nemal is proud to announce the opening of our new state-of-the-art panel design and fabrication facility. With literally cutting-edge waterjet and laser technology, we now offer custom panel manufacturing up to 8ft rack height, including full color printing, directly from your CAD files or using our design. 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 and panel system 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.

NEP GROUP

NEP’s

legacy extends over four decades, marked by a commitment to achieving the highest standards in every dimension of the media production landscape. We are driven by an industry-leading team of experts around the globe, with local operations across the Americas, Europe, Middle East and Asia Pacific. Together we pride ourselves on providing hands-on service and creative problem solving with a deep understanding of the needs and nuances of each region we serve. Our portfolio, with services from capture through distribution, includes innovative solutions designed to solve the challenges our clients face in a rapidly shifting technology landscape. We know that the needs of every production are unique, and changes can happen fast, so we can easily flex and adapt, supporting clients with anything from a single service to a complete end-to-end solution. And with a deep bench of talent and kit around the globe, we offer resources, redundancy and peace of mind that are unmatched in the industry. Exceptional service is at the core of our company culture — it’s our passion. It is this dedication that our team brings to every project, along with our clientdriven solutions and reliability, that have earned us the trust of our partners for 40 years.

NET INSIGHT

NetInsight has made several significant advancements that have reinforced its position in sports broadcasting. One of the key developments was the launch of Nimbra Connect iT, designed to simplify live media transport for expanding networks. This cloud solution addresses the growing demand for agile, efficient and reliable media transport, facilitating seamless integration and operation across diverse broadcasting environments. Net Insight has also boosted the capability of its Emmy Award-winning internet media transport offering through the Nimbra 400.

Designed to meet the growth in richer and more interactive events production, the new version of the Nimbra 414 increases channel density and support for UHD content. With these advances, the Nimbra 414 encoder/decoder is perfectly placed to help broadcasters deliver immersive productions that enhance viewer engagement. The Nimbra 400 platform also offers multi-channel HEVC 4:2:2 video encoding and decoding, setting a new standard for video quality and bandwidth efficiency.

NETAPP

Whetherproducing FIFA’s World Cup or taking victory lap with TAG Heuer Porsche Formula E Team NetApp is driving toward a more sustainable future. NetApp helps ensure broadcasters and partners like Signiant, Grass Valley and EVRTZ have the right data at the right place at the right time. NetApp helps transform broadcasters’ content with an AIready network via data-driven insights & future-proof on premise and cloud infrastructures. Build an intelligent data infrastructure that breaks down silos and simplifies management. Sports and entertainment run on data, and data runs on NetApp. Intelligent data infrastructure is a critical part of every organization’s operation. Our relationships with motorsports and sports venues like Sofi Stadium and the San Jose Sharks gives their team the data infrastructure they need to reach out and build connections with all their fans, wherever they are. Let’s talk about what NetApp Googler Cloud Volumes can do for you.

NETGEAR BUSINESS

AtNETGEAR, AV and IT products are created with business needs in mind and a goal of providing the most powerful solutions. This year, EMG, a leading provider of broadcast and AV services that has worked with events including the FIFA World Cup, found its match with the NETGEAR M4300 series — one of NETGEAR’s flagship AV products. The flexibility and density of the switch’s ports paired with its best-in-class performance provided EMG with simplified customization and greater control, helping them expertly support major sporting events. NETGEAR also provided Q-SYS professional audio and lightningfast network capabilities to the AVIXA esports pavilion for InfoComm Esports Live 2.0, which brought together the top college and university programs in the esports arena. Not stopping there, New Zealand’s national stadium, Eden Park, has perfected the optimal fan experience, with top-ofthe-line audio pouring from 80 output channels, supported by NETGEAR AV line switches.

NETSCOUT

Netscout 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

SPONSORUPDATE

NOMAD MEDIA

Nomad Media recently released our new advanced Generative AI search capability that enables business users to find and discover their media instantly that otherwise could never have been found with the ability to identify locations, players, plays, sponsors and more. Ask us about how Madison Square Garden brought over 80 years worth of historical media footage to life in less than 3 months with Nomad Media! We’ve also released our new live channel scheduling engine where companies like FanDuel power their entire OTT app experience with Nomad Media through a simple, yet powerful interface that lets them schedule hundreds of streaming and real-time video sporting events each day. Finally, Nomad Media is coming up on our 7-year anniversary as a media asset management and discovery platform that’s built natively in the AWS cloud and empowers business users with rich searching, sharing and collaboration features.

OPENDRIVES

OpenDrives, a global provider of software-defined media workflow solutions powered by the Atlas storage management platform, recently released Atlas 2.8, the first composable software platform for the media & entertainment industry. Atlas 2.8’s composable design delivers increased workflow flexibility and cost predictability without sacrificing the performance that content creators need in the form of two convenient feature bundles: the scaled-down Atlas Essentials and our flagship Atlas Comprehensive. Choose Essentials if you’re a smaller team with remote locations and specialized workflows or Comprehensive if you’re an enterprise dealing with resource-intensive workflows. No matter which Atlas bundle you choose, you’ll get to experience the exceptional performance of the Atlas Performance Engine, greater operational agility, and the confidence that comes with knowing your storage environment evolves with your business. Visit opendrives. com to learn more and check out our Resources to download the 2.8 fact sheet.

OPENGEAR PARTNER PROGRAM

OpenGear leader partners were at IBC: AJA Video Systems, Apantac, Cobalt Digital, Decimator, MultiDyne, Ross Video, VITEC. openGear gives you the freedom to choose the technology you want for your video, production, or broadcast facility while maintaining a compatible openGear frame infrastructure. openGear is the industry standard platform of choice for modular signal processing. openGear is a registered trademark of Ross Video. Get the new 2024 Ultimate openGear Applications Guide: www.opengear.tv/guide

OSA INTERNATIONAL

OSA debuted in 1985 with a promise to provide the best talent, service and equipment in the industry. Our process was based around system packaging that saved our engineers time so that they could have more time to focus on your event. Before long, we became widely known for our leading audio solutions. Today, OSA delivers world-class entertainment technology, event production, and systems integration. Meeting the broad range of our clients’ needs, no matter the scale, from audio to video to lighting, and more. We are proud to supply our clients with the On Stage Advantage, which starts from the design and results in flawless execution.

PANASONIC CONNECT

Panasonic Connect’s state-of-the-art audiovisual solutions capture and deliver vivid, engaging visuals to elevate fan experiences. Capturing every second of action, and distributing that content to multiple sources, both in-person and remotely, begs the need for easy-to-use, scalable, and flexible solutions. Panasonic Connect continues to evolve with new technology that allows sports production teams to operate in challenging environments. KAIROS live video production platform has supported customers like Pacers Sports & Entertainment, to develop more dynamic content and smooth event operations for fans within Gainbridge Fieldhouse. Companies like GlobeStream Media continue to use KAIROS to provide high-quality livestreaming to fans at events, like the USA Softball GOLD National Championships, and Louisiana Tech. Panasonic has recently expanded its lineup with the AT-KC200L1 Main Frame and the AW-UR100 4K Outdoor Professional PTZ Camera. The new Kairos expansion allows SDI-centric customers to take advantage of KAIROS’ offerings and future-proof their productions to help customers expand IP workflows and grow their capabilities over time. Stay tuned as more enhancements to Panasonic’s glass-to-glass AV solutions are coming this fall to further support customer needs.

PERFECT MEMORY

PERFECT

MEMORY solves the most important problems faced by companies: heterogeneous data scattered across several sources on many kind of content. All those data need to be reconciled to transform it into valuable, meaningful and usable information at the heart of daily decision-making and business-critical human workflows. Thanks to a powerful technology, which combines the best of Reasoning AI and Knowledge Graph, all professionals in the sport and media industry can truly benefit from a fast, intuitive, continuous and comprehensive access to all content, irrespective their nature and origin. Far more powerful and

operational than traditional MAM & DAM systems, the Cognitive Asset Management solution (Trouvé™) has been recently chosen by NASCAR, Major Soccer franchises and IBU to manage all their assets by their own rules. They are using this user-friendly interface to navigate, search, explore, extract, update and enrich any data or content with +80% accuracy and +200% faster.

PERIFERY

The last year has seen Perifery solidify its position as a leading storage provider in the world of sports. As well as strengthening our leadership team, we have expanded our network of partners with new technical integrations that help organizations manage and monetize their video assets. Our offerings continue to improve and expand, and we proudly announced the updated release of our advanced AI software suite. AI+ 2.0 provides customers with a comprehensive set of AI and workflow automation tools, including transcription and translation, metadata generation, and facial and object recognition. More recently, we announced the full integration of our storage, asset management, workflow applications, and AI technologies, delivering a comprehensive workflow solution that enhances the preservation, protection, and monetization of assets. We continue to work closely with our valued customers around the world, including ATP Media, Intersport, the Welsh Rugby Union, FOX Sports, and many more. We published a case study highlighting our work with a Premier League football club. With growing content demands and evolving work practices, the Club chose Perifery’s solutions to optimize its storage environment and content management workflows. The Club is benefitting from unlimited scalability, robust data protection, and seamless collaboration across multiple sites.

PHENIX REAL TIME SOLUTIONS

Phenix has built a global platform for delivering real-time video with less than 1/2 second (500 milliseconds) of latency/delay, complete audience synchronization (within 100ms), and can scale to broadcast size audiences (across 34 PoPs). With our latest feature releases of real-time server-side ad insertion (SSAI) and digital rights management (DRM), we can now match the required functionality for primetime sports OTT solutions while decreasing traditional video streaming latency from 15-90+ seconds down to less than 1/2 second. Real-time streaming prevents the “spoiler effect” and enables new interactive user experiences including multi-angle viewing, watch parties, betting, gamification, and remote commentary, all of which drive engagement and incremental revenue. Please reach out to us at info@phenixrts.com to discuss how to build next-gen video streaming solutions.

Pinnacle creates memorable experiences for top brands around the world. Activations, exhibits, environments, and events — wherever brands have an opportunity to connect with their audience live, we’re there. Our clients are the biggest brands in the electronics, gaming, tech, automotive, fashion and medical industries — and Pinnacle is passionate about making them shine.

PIXELLOT

Pixellot has emerged as the world’s end-to-end automated sports media and data solution. The year began with the NBC Sports Next’s SportsEngine expanded partnership revolutionizing youth sports across N. America, the continued broadcasting of MLB’s draft leagues using Pixellot’s automated multi-camera DoublePlay solution, the broadcast of youth sports across Canada on CBC Sports Connect’s OTT (operated by Pixellot), and the FPF (Portuguese Football Federation) choosing Pixellot as its digital transformation partner, to mention a few. We launched the award-winning S3 camera for next-gen sports streaming, integrated new data solutions on our open platform with Stats Perform, Track160, and Dark Horse, and were awarded the first ever approval for an Automated Video Solution for basketball by FIBA. We continue to break world records for live streaming, live capture, distribution, analysis, and monetization at a rate of over 150,000 games per month from 40,000 fields in over 80 countries.

PIXERA

AVStumpfl is an award-winning Austrian company that designs, manufactures and markets a range of high-performance mobile and installation projection screens and media server software for professional and business applications.

PIXOTOPE

Pixotope

Living Photo revolutionizes volumetric capture with a streamlined, cost-effective solution. Unlike traditional methods that require extensive equipment and setup time, resulting in flat, lifeless models, our technology offers a superior alternative. Utilizing a rotating platform and green screen, Pixotope Living Photo captures subjects in stunning 360-degree views. Advanced computer vision and image processing seamlessly stitch the footage, allowing viewers to explore from every angle. This innovative approach, recently showcased in the BBC’s Olympic coverage, delivers interactive visuals that create a powerful sense of engagement. Living Photo technology makes the subject appear to make eye contact and follow the camera movements, bringing images to life in an immersive way into your virtual environments. With lower costs, higher quality, and unmatched versatility, Pixotope Living Photo is ideal for diverse industries, from news and sport, to fashion. It empowers creators to elevate their visual content, offering a dynamic, engaging experience that captivates audiences.

PRG

PRG 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. PRG is owned by The Jordan Company and GSO Capital Partners and PRG Management. For more information, please visit https://www.prg.com/.

PRODUCTIONHUB

24 years ago, our founder, John Pokorny, faced two big challenges in the production industry: finding reliable crew and avoiding the high costs of local advertising. That’s when ProductionHUB was born. Today, we’re a global network connecting local crew and vendors to all areas of film and video production. Whether you’re working on a commercial, a traditional film, a corporate video, or anything in between, we have the right team for you — or the perfect gig! ProductionHUB is your one-stop solution for hiring experienced crew or marketing your production services affordably. We’re here to simplify the process for everyone — from crew members and vendors, to the brands and companies looking to hire the best team for their production. Our live support team is ready to help you Find Crew or Find Work, five days a week.

PROFESSIONAL WIRELESS SYSTEMS

Professional Wireless is one of the industry’s leading experts in supplying and supporting wireless sound systems for live and broadcast events. As a wholly owned subsidiary of Masque Sound, PWS specializes in developing new gear and delivering advanced solutions for the many events and productions that are increasingly raising the demands of RF equipment. PWS develops and manufactures a full range of antenna system products and is also a dealer for such manufacturers as Shure, Sennheiser, Lectrosonics, Radio Active Designs, Clear-Com, Riedel and other trusted brands. All items recommended and sold have been tested by PWS under real-world conditions in the field.

PROGRAM PRODUCTIONS

Program Productions’, XLT Management Services, Rhino Staging and ProCrewz together form a leading suite of companies, positioned as North America’s top resource for tech-enabled human capital solutions. The tech-forward approach for workforce management provides clients with the advantage of centralized data, enabling better analytics for more efficient handling of complex schedules and logistics. Program Productions, projected to handle more than 30,000 event days,

leverages ProCrewz, the custom-built technology to provide scalable services for live event crews. Additionally, expert crewing and operations managers on the ground in major markets, clients have the advantage of local knowledge supported by a national network. XLT Management delivers tech supported payroll services that ensure employment compliance, streamline administrative processes and provide comprehensive support. Advanced technology guarantees accuracy and adherence to relevant labor laws and regulations and ensures timely and precise payroll management. Additionally, XLT provides access to expert HR, Legal & Compliance support services. ProCrewz resource management software platform and mobile app, offers seamless integration and is designed to handle complex human capital scenarios. Providing users with real time information and data analytics, ProCrewz enhances organizational efficiency and streamlines operations. In 2024 Program Productions proudly announced Rhino Staging as a new partner. Rhino is the nation’s top provider of human capital solutions to the entertainment industry, powering over 25,000 events in 2023. Find out more at: programproductions.com | xltms.com | rhinostaging.com | procrewz.com

PSSI GLOBAL SERVICES

PSSI

Global Services, led by a seasoned staff of project managers and engineers, provides comprehensive transmission solutions for major live events around the world. Through one of the largest privately-owned teleports in the world, PSSI International Teleport (PIT), PSSI maintains the premier North American gateway for broadcasters and rightsholders, with extensive connectivity to hubs in EMEA, Latin America, and the Pacific Rim. PSSI’s industry experts also work closely with our clients to design and install connectivity facilities at their physical locations worldwide. Recognized for unparalleled engineering experience coupled with innovative thinking, PSSI is best known for the ability to create solutions for clients faced with virtually any sort of broadcast, transmission, or connectivity challenge.

PURE MOBILE PRODUCTIONS

Founded in Salt Lake City, Utah in 2010, Pure Mobile Productions has a fleet of two advanced, state-of-the-art HD mobile production trucks and five production support trucks, providing live sports broadcasts for the NBA’s Utah Jazz, MLS’ Real Salt Lake, the Utah Royals FC, ESPN events, including Monday Night Football and College GameDay, as well as NBC Universal’s The Golf Channel in the United States and Canada. Pure Mobile Productions has also provided trucks for the NBA Finals, NFL Playoff games, the NFL Draft, numerous College Football Bowl Games, and UFC Events, to name a few.

Q5X

In 2024, Q5X, long trusted for their flexible, rubber PlayerMic, unveiled their latest development in Axient Digital audio transmitters: the Switch-

SPONSORUPDATE

Mic family. This family of transmitters features the CoachMic, ToggleMic, and PushMic, which are designed specifically for coaches, referees, broadcasters, and professionals who need on-device control of their audio. Each unit in the SwitchMic family includes a configurable “switch” that can be programmed to control the mute and talkback functions, offering increased flexibility and ease of use. Also this year, Q5X began distribution of the NESO 2.4 long range IFB system, which is newly FCC certified. This system features both in-ear and behind-the-ear, hearing aid style receivers and a 280 mW base station transmitter that is capable of discreetly transmitting audio over distances of up to 300 feet. Q5X is committed to deliver state-of-theart audio technology that meets the specialized, rigorous demands of the sports sector worldwide.

QUANTUM

Quantum has your future of end-to-end sports content production workflows covered−including high-speed collaboration from on-premises to the cloud and back, AI-enabled content enhancement, and more including: 1. Myriad All-Flash File and Object Storage that delivers consistent, low-latency performance that is ideal for AI, VFX, animation, and virtual workflows and rendering. 2. Agile, efficient shared workflows that bring together sports content production teams with StorNext. 3. Content enhancement automation with AI and ML powered by CatDV. 4. Content protection and large-scale archives at any scale on the most cost-effective and energy-efficient storage with ActiveScale. Learn more about insightdriven workflows at quantum.com/sports

QUINCE IMAGING

Quince

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 high-resolution 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 live-event video production, creative content development, and permanent display system design and installation.

QVEST

Qvest is the global leader in business and technology consulting for media and entertainment companies. For over three decades, we have been a trusted partner to the world’s leading broadcast groups, sports leagues, Hollywood studios and digital media companies. With a proven

track record for delivering excellence, Qvest drives complex transformations across broadcast systems integration, streaming, digital media supply chain, generative AI and data & analytics. Learn more at www.qvest.com.

REALITY CHECK SOLUTIONS

Reality

Check Solutions (RCS) ignites on-air viewing experiences for some of the mostwatched sporting, esports, and entertainment events on television, second screen and OTT services. With offices in Burbank, CA and London, RCS has partnered with the world’s leading sports leagues, federations, networks and social media giants since 1997 to fuel audience engagement through a customized fusion of dynamic graphics, real-time data, and social media. To give shape to each client’s unique vision, RCS develops sophisticated graphics and production systems that can be seamlessly deployed in a wide array of professional environments.

RED DIGITAL CINEMA

Firstly, RED Digital Cinema is thrilled to have joined SVG and SVGE in 2024, marking an exciting step in telling the world about how and why we are bringing cutting-edge cinematic imagery to live sports productions around the globe. Additionally, RED recently unveiled the RED CineBroadcast Module. With that announcement, along with the advancements of our DSMC3 cameras systems — including the all-new V-RAPTOR XL [X] and V-RAPTOR [X], which are the world’s first 8K large format global shutter cinema cameras, we feel that we now have quite a compelling offering for our friends in the broadcast and sports world. We’ve been busy over the past 9-12 months getting the new cameras and our new Cine-Broadcast module into the hands of a few early users that we’re excited to talk about soon.

RED5

Red5

is excited to announce the launch of Red5 Cloud. The full power of Red5’s real-time streaming... Simplified. Built on our Experience Delivery Network (XDN) architecture, Red5 Cloud offers an automated, ultra-low latency, and scalable streaming infrastructure, enabling businesses to focus on creating innovative applications without infrastructure management complexities. With sub-250ms live streaming latency, seamless integration, and advanced features like TrueTime Solutions, Red5 Cloud enables real-time interaction, in-stadium and at-home fan engagement as well as streamlined sports production use cases. Our fully managed service, user-friendly interface, and comprehensive API integration simplify the process of setting up and managing streaming environments. As the demand for real-time video streaming grows, Red5 Cloud is a reliable solution for businesses aim-

ing to deliver exceptional experiences to their audience. Experience the full power of Red5’s real-time streaming, simplified, with Red5 Cloud.

RF WIRELESS

RF Wireless has an extensive inventory of broadcast quality microwave and RF audio equipment as well as two-way radio communications equipment, together with all accessories. RF Wireless has many modes of deployment to meet the constantly changing needs of clients large and small. We have solutions that can ship out in an airpack format all the way up to our fully integrated mobile trailer with mast and generator onboard

RIEDEL COMMUNICATIONS

In 2024, Riedel Communications stayed at the forefront of real-time communication and live production technology with a series of impactful achievements. The company played a key role in upgrading communication systems at Pittsburgh’s major sports venues — PNC Park, PPG Paints Arena, and Acrisure Stadium — through a comprehensive Artist, Bolero and SmartPanel deployment, enhancing game-day operations, ensuring seamless and reliable communication. Riedel’s solutions were also pivotal at a major global esports championship which utilized Bolero and Artist systems to overcome wireless communication challenges in dense environments, enabling smooth interaction across multiple venues. At the NAB Show, Riedel expanded its RiCapture ingest solutions with new models offering increased channel density and UHD resolution, plus MediorNet HorizoN video processing and conversion platform won multiple awards. Liberty University leveraged Riedel’s Artist ecosystem to transform communications across its expansive campus, supporting a wide range of events with improved flexibility and efficiency. Additionally, Riedel’s technology was showcased at high-profile events like SailGP, the Big Game at Allegiant, the Masters, the Paris Games, and the pinnacle of motorsports event in Las Vegas, where extensive deployments of Bolero, Artist, and often Simplylive Production Suite and MediorNet highlighted their advanced capabilities. Overall, Riedel Communications continued to push the limits of live event production and broadcasting.

ROSS VIDEO

Ross 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. Sports & Live Events Success Stories

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 US Bank Stadium and Rogers Sportsnet Studios. 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. Introducing Carbonite Ultra Mosaic This past NAB, the Sports & Live Events group added to its ever-expanding range of products with the introduction of Carbonite Ultra Mosaic – a video image processor designed for sports venues with ever expanding LED Displays. Mosaic seamlessly adapts video to displays of massive scale, delivering unparalleled image quality with pixel-perfect accuracy on screens exceeding 49 million pixels in UHD mode or 20 million pixels in HD mode. Pair Mosaic with XPression Tessera graphics engine, and you get an industry-leading LED Content Management System that delivers high-quality video alongside pixelaccurate graphics. Add DashBoard control software to the mix to achieve complete control over all your displays and layouts. Mosaic can also be integrated with any pixel-accurate media system. To learn more about Ross Video’s Sports & Live event solutions visit https://www.rossvideo.com/industries/sports/sportsvenue

RT SOFTWARE

AtRT Software, our expertise in broadcast graphics solutions drives us to continually innovate in the realms of news, sports, entertainment, and channel branding. In particular, our expertise in AI is delivering major benefits for users of our Tactic Pro telestration system. We recently launched Tactic Pro 8.0, which includes the latest AI feature, Team ID. Incredibly, we now not only automatically identify players but also determine their team and can instantly add the correct formation graphics. Recently, we’ve leveraged this AI graphics expertise to expand our relationship with a major sports brand. We now deliver much more than the usual on-screen scores and augmented reality graphics. Our AI player tracking technology has been adapted to identify the individuals on board catamarans during live races. This innovation helps viewers understand the roles of the team as they move around on board during very intense races.

RTS INTERCOM SYSTEMS

RTS systems are scalable for a wide range of applications. From broadcasting to in-house production communications for houses of worship and live entertainment. RTS also has field-proven failsafe communications solutions for mission critical communications like emergency response centers, aerospace control, and power plants. RTS is the most-trusted name in intercom for the world’s largest TV networks, an essential element of successfully broadcasting the biggest events on the planet, including the Olympics, FIFA World Cup and many other international sports tournaments. Space and

weight limitations of OB Trucks mean that every piece of equipment needs to earn its place onboard an outside broadcast vehicle. ADAM and ADAM-M matrix systems from RTS are trusted by broadcasters around the world for their superior reliability and seamless scalability (via technologies such as RTS Trunking and OMNEO), providing a robust mobile hub for comms between multiple locations. Smaller television stations need cost-effective solutions, and RTS has the broadest range of options to suit your needs and your budget. RTS combines efficient use of power and space with uncompromising performance, condensing sophisticated technology into compact and lightweight form factors such as the 1RU ODIN digital matrix, ROAMEO wireless digital beltpacks and our range of IP-ready KP series keypanels.

RUSH MEDIA COMPANY

Withclients 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

RYVAL STUDIOS

Ryval Studios is an Emmy award winning sports production company known for producing content that competes. What this really means is that we work with top sports teams, leagues, networks and brands to create content so good it’s unfair to the competition. We’re based in St. Louis, but we work all over. We have made a name for ourselves because we’re a small shop that produces big time quality. We are experts in sports production that can scale our approach to whatever sized project you throw our way.

SEAGATE TECHNOLOGY

Seagate Technology is a leading innovator of masscapacity data storage. We create breakthrough technology so you can confidently store your data and easily unlock its value. Founded over 45 years ago, Seagate has shipped over four billion terabytes of data capacity and offers a full portfolio of storage devices, systems, and services from edge to cloud.

SENCORE

Sencore, a longtime player in the live sports broadcasting world, is offering cutting-edge solutions for contribution encoding, decoding, and internet distribution. Central to their offerings is the AFN-1000, a premier 4K 4:2:2 10-bit encoder, paired with the MRD 7000 decoder, providing unmatched video quality and reliability essential for live sports production. Sencore’s internet dis-

tribution solution, leveraging the Secure Reliable Transport (SRT) protocol, ensures robust and cost-effective content delivery over public internet connections. The Centra Gateway platform, combined with edge devices like the SCP 2110 and Omnihub, enables rapid deployment and flexible operations, ideal for the dynamic demands of live sports broadcasting. These solutions, designed for high-stakes environments, empower broadcasters to deliver seamless, high-quality live sports coverage, meeting the ever-evolving expectations of today’s viewers. Visit www.sencore.com to learn more about how Sencore continues to lead the way in enhancing the efficiency and reliability of live sports production.

SEQUIN AR

Recently,

Sequin AR teamed up with Embassy Row to create an LED virtual production workflow utilizing Unreal Engine, resulting in a stunning digital twin of the NFL Network set. This season, “Good Morning Football” is relocating its production to LA, and this virtual production solution enables seamless live remote segments with east coast talent. Sequin AR helped Embassy Row not just meet their immediate production needs but also paved the way for future scalability. They’ve transformed a production challenge into a golden opportunity to produce more content with virtual production techniques to optimize budgets. Virtual production can be used to deliver splashy, spectacular moments, but also efficient time and money-saving solutions for daily operations. When the right technology is combined with premium creative content, the possibilities are limitless.

SES

SES is the partner of choice for sports properties globally, and has helped deliver all ten of the world’s most watched sporting events ever to broadcasters and TV audiences. With a multi-million-dollar investment in infrastructure and technology, our global reach helps you unlock massive audiences worldwide. From the largest, multiweek events to more niche sports, we distribute over seven hundred hours a day of live content, providing the ultimate in TV viewing experiences to sports fans everywhere on any screen. SES has a bold vision to deliver amazing experiences everywhere on Earth by distributing the highest quality video content and providing seamless data connectivity services around the world. As a provider of global content and connectivity solutions, SES owns and operates a geosynchronous orbit fleet and medium earth orbit (GEO-MEO) constellation of satellites, offering a combination of global coverage and high performance services. By using its intelligent, cloud-enabled network, SES delivers high-quality connectivity solutions anywhere on land, at sea or in the air, and is a trusted partner to telecommunications companies, mobile network operators, governments, connectivity and cloud service providers, broadcasters, video platform operators and content owners around the world. The company is headquartered in Luxembourg and

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listed on Paris and Luxembourg stock exchanges. Further information is available at: www.ses.com

SHURE

For more than 90 years, Shure Incorporated has developed best-in-class audio products that provide high-quality performance, reliability and value. Our history of innovation and expertise in acoustics, wireless technology, networked audio systems and digital signal processing, enables us to deliver seamless, transparent audio experiences. Our diverse product line includes world-class wired and wireless microphones, networked audio systems and signal processors, conferencing and discussion systems, and award-winning earphones and headphones

SIGNIANT

The Signiant Platform is the trusted choice for premier sporting events, providing accelerated content flow for high-profile global events, including the Paris Summer Games, the World Cup and the NFL Super Bowl, with petabytes distributed and accessible before, during, and after the games. With sports content demands exploding, driven by millions of fans worldwide seeking high-quality, real-time content, rights holders, broadcasters and sports clubs are under pressure to create and deliver more content across streaming platforms, social media, stadium screens, and mobile devices. Signiant has observed this surge with Media Shuttle and Jet transfers, with customers increasing their transfer payloads, on average, by 81% since 2020. The Signiant Platform enables elite sports teams, including Manchester City, AC Milan, the Dallas Cowboys, and Atlanta Hawks, to manage this explosion and meet the content demands of the modern era. In the last year, Signiant and NEP Group, a global leader in broadcast services and live event production known for its expertise and reliability in managing complex, high-profile events, expanded their partnership by integrating Signiant Jet into their OB Trucks. This collaboration has bolstered NEP Group’s live production capabilities by automating system-to-system content transport, complementing their existing Media Shuttle operations.

SKYCAM

Skycam is a leading designer, manufacturer, and operator of mobile aerial camera systems. Skycam plays a significant role in changing the way sports are broadcasted in America, appearing at marquee broadcast events such as Super Bowl XXXVII, US Tennis Open, NCAA Final Four, NFL Pro Bowl, Monday Night Football, Sunday Night Football, NCAA College Football.

SKYLINE COMMUNICATIONS

Skyline Communications is the global leading supplier of end-to-end multi-vendor NMS, OSS and orchestration software solutions for the broadband and media industry. Our flagship DataMiner network management platform enables end-toend integration of the most complex technical ecosystems and has been deployed by leading operators around the world.

SMT

SMT’s

newest division, SMT Games, has launched Super Tiny Football, its first premium mobile game now available on the Apple Store and Google Play. This family-friendly game lets players manage tiny but mighty football teams using intuitive touch controls, featuring drafting, scouting, a deep career mode and an immersive 3D environment with endless replayability. SMT Games, led by Jason MacRae, VP of Gaming & Digital Development, includes a multi-talented team of designers and engineers who have contributed to SMT’s live data visualization solutions for NFL, NASCAR, NHL, PGA TOUR and others. Rooted in SMT’s legacy as The Yellow First Down Line Company, with 70 patents and 38 Emmys, Super Tiny Football brings three decades of sports technology expertise directly to mobile devices, delivering an immersive and interactive football experience.

SNA DISPLAYS

From retrofits to new construction, we build dynamic video experiences with large-format LED video displays and powerful backend systems for sports and live-event venues throughout the world. We offer a full range of sports display solutions: LED spectaculars, videoboards, tickers and ribbon displays, scoreboards, field-level displays, courtside tables, scoring and timing equipment, control systems, audio systems, and much more. And we support our display offerings with expert project management and installation teams, solutions design, and proprietary proactive monitoring tools to ensure uptime. SNA Displays provides expertise and specialized skillsets at each phase of a project, from design all the way through to content operations and service management. Our SNAPros — engineers, skilled PMs, solutions experts, installation managers, and support staff — excel in the most complex and innovative project environments. Visit us at snadisplays.com.

SOLID STATE LOGIC

2024 has been an exciting year with the public release of SSL’s System T Cloud, a solution which pushes the boundaries of what was previously considered possible in terms of audio processing scale when it comes to cloud production. System T Cloud provides a high capacity, powerful audio processing and control solution that can run in the public

cloud, with control presented to the operator using the same dedicated surfaces that operators are used to, or new portable control options utilizing fader tiles and Tempest Control App. The complete System T feature set is available with System T Cloud, including AoIP routing from the console, native immersive audio support, an inbuilt FX Rack and much more. On the ground, the addition of Tempest Control App and the Desktop Fader Tile to the System T range means the power of System T can be utilized across an even greater range of applications, including where portability or physical size are a consideration. Following successful POCs, System T Cloud is in use by a major US sports broadcaster for the handling of the complex audio requirements associated with live-to-air sports broadcasting. Perhaps the greatest compliment paid to the technology has been feedback from operators that if they hadn’t been told the console was running in the cloud they wouldn’t know; the experience provided to the operator is the same. Further POCs have been performed in all corners of the globe as broadcasters begin to look at the benefits available from the cloud production model. We are excited to be at the forefront of this step-change in technology and are working closely with key partners to create what is required for our customers. Upcoming System T software releases will continue to add functionality to both hardware consoles and System T Cloud, leveraging the benefits of the shared underlying platform that we have across the System T range.

SOLOTECH

AtSolotech, we specialize in delivering cuttingedge AV Systems Integration and Design solutions tailored to the unique demands of Sports Production. We recognize that Game Presentation is just as technically complex and audience-driven as the global music tours we support, with fans that are equally, if not more, passionate and invested in the experience. As your dedicated partner in sports production, Solotech is committed to excellence when the show is everything. For decades, we’ve worked closely with Producers, Directors, Engineers, Designers, Consultants, and Team Executive Staff across a range of leagues and institutions, including NFL, NBA, NHL, and colleges and universities, to deliver unparalleled expertise and innovative solutions. Our portfolio spans audio, video, lighting, control rooms, controls, direct view LED, projection, immersive experiences, and managed services. We collaborate with you at every step to design and implement advanced, tailormade technological solutions that enhance the fan experience and meet your production objectives. At Solotech, we are passionate about enabling your team to achieve its goals through world-class AV solutions. www.solotech.com

Sony Electronics is a subsidiary of Sony Corporation of America and an affiliate of Sony Group Corporation, one of the most comprehensive entertainment companies in the world, with a portfolio that encompasses electronics, music, motion pictures, mobile, gaming, robotics, and financial services. Headquartered in San Diego, CA, Sony Electronics is a leader in electronics for the consumer and professional markets. Operations include research and development, engineering, sales, marketing, distribution, and customer service. Sony Electronics creates products that innovate and inspire generations, such as the award-winning Alpha Interchangeable Lens Cameras and revolutionary high-resolution audio products. Sony is also a leading manufacturer of end-to-end solutions from 4K professional broadcast and A/V equipment to industry leading 4K and 8K Ultra HD TVs.

SOS GLOBAL

SOS Global are very proud to support some of the largest sports leagues around the world with creative logistics solutions. We’ve several major events that we service, such as the Super Bowl, World Series and the NCAA football and basketball seasons. Our team are working on the Paris Olympics, preparing for the Winter Olympics in Milan and other major global sporting events. Our reputation is built on our ability to deliver custom logistics solutions that are cost effective, reliable, and on time this incudes door to door collections, multi modal freight, customs services, warehousing, onsite assistance and insurance. Successful international events like these reinforce the confidence our clients have in us and show that our team can turn any challenge into an opportunity. This year SOS became part of the Global Critical Logistics (GCL) Group. This significant investment has expanded the SOS Global portfolio of services and solutions by adding additional experts to our team and innovation investment. We have recently introduced insurance options on all freight for those clients looking to have cost effective coverage on their high value shipments. We are also rolling out digital carnets, as first executed by our sister company Rock-it Cargo and taking initiatives to be more sustainable. We see these new technologies giving us an advantage as they not only measure but anticipate the always challenging and evolving supply and demand needs. This serves as a force multiplier and ensures we’re always providing dynamic, agile, and highly customizable, flexible solutions for our clients, supporting them as they bring their amazing sporting events to life on a global stage. We understand what you need. Trust SOS Global Express to keep your production running smoothly. Contact us today to learn more about how we can support your next event.

SPALK

We help the world’s leading sports properties tell their stories to the world. We do this by building powerful software, partnering with leading commentators and using our unique commercial insight to allow sports leagues & broadcasters

to drive fan engagement & achieve their goals. Our Virtual Commentary Studio and Media Gateway are used to produce and distribute hundreds of sporting events into TVs and mobile phones around the world every week

SPECTRA LOGIC

Spectra Logic empowers sports organizations to create, manage and deliver stories rapidly, preserving content for today’s audiences and future generations with unmatched resilience and efficiency. Sports media creates a constant flow of valuable content. Protecting these assets while ensuring quick access is critical. Spectra Logic solutions enhance sports video production, ensuring fast, secure access to valuable media assets. By integrating intelligent tiering, lifecycle management and integrated workflows, the Spectra architecture supports seamless media movement, archiving and sharing across on-premises, hybrid, and cloud environments. With its intuitive web UI and robust media management features, the Spectra solution enables efficient archiving, quick retrieval and partial file recovery, ensuring content is always available. The Spectra platform bridges the gap between different storage mediums whether it’s Spectra Logic or third-part storage, offering protection and continuity. With Spectra Logic, users can easily scale, manage and protect their media investments.

SPIIDEO

Autocasting with Spiideo Play combines the role of camera operator, producer, director and commentator into a professional broadcast tool that can be managed by anybody. Spiideo’s AI cameras and automated, end-to-end Spiideo Play platform are the most compact and cost-effective setup to deliver TV-class productions with minimal human interaction – eliminating up to 90% of manual production costs. Our goal is not only to engineer the mechanical parts of sports broadcasting, but to use AI and automation to remove friction and empower rights holders and production companies at all levels to capture more diverse content, tell better stories, and deliver a product worth paying for. Visit www.spiideo.com/spiideo-play

SPORTRADAR

Sportradar, founded in 2001, is a leading global sports technology company creating immersive experiences for sports fans and bettors. Positioned at the intersection of the sports, media, and betting industries, the company provides sports federations, news media, consumer platforms and sports betting operators with a best-in-class range of solutions to help grow their business.

STATS PERFORM

Stats Perform has introduced OptaAI Studio, a cutting-edge platform designed to transform how broadcasters, media outlets, and sportsbooks engage with audiences. Powered by AI and Opta’s extensive sports data, OptaAI Studio enables users to craft data-driven stories that captivate and retain viewers, readers, and subscribers. With tools

like Opta Search for deep statistical insights, Opta Live for dynamic real-time game analysis, and Opta Graphics for creating branded, visually compelling content, OptaAI Studio simplifies complex data into impactful narratives. This platform not only enhances the speed and accuracy of content creation but also empowers users to deliver unique, insightful coverage across thousands of games, teams, and players. OptaAI Studio represents a significant leap forward in sports broadcasting and media, helping professionals save time and drive engagement with innovative, data-fueled storytelling.

STREAM STATION

Stream Station is a provider of services for video production and distribution. They offer superior value for top tier personalized services. Steam Stations team of video engineers is ready to provide custom solutions and support to meet your needs. Some of Stream Station’s services include: Video Stream End to End Management; Creator Studio; Meeting and Conference Room Video Streaming and Recording; Live Captioning; Video Podcast; Remote Production Intercom Systems; TV Channel Management and Scheduling; In House Live and VOD Media Distribution to Mobile Devices; Virtual Control Room; Configured Storage; Custom App Development; Show Production; and Live Shot Carolina Studio. Stream Station solutions are available on premise, in the cloud or hybrid. Stream Station is ready to provide personalized services to work with you on your video production and distribution needs.

STUDIO NETWORK SOLUTIONS (SNS)

In 2024, SNS earned three awards in cloud computing/storage and remote production for MOD Powered by EVO, a travel-friendly edit server and cloud edge device for creative professionals. SNS also previewed new features coming to the EVO Suite, including subclipping in ShareBrowser MAM, new cloud storage integrations, and improvements to EVO’s built-in transcoding capabilities. SNS is a creative, award-winning, media technology company specializing in high-performance shared storage workflow solutions for media production and post-production teams. On premise, in the cloud, or both, SNS’s scalable EVO shared storage solutions come with the award-winning EVO Suite, featuring built-in media asset management and advanced workflow tools that integrate with other leading creative technologies, including Premiere Pro, Final Cut Pro, Resolve, Media Composer, and more. Trusted by video professionals worldwide, SNS empowers post-production, broadcast, and VFX teams in over 80 countries to create amazing content, faster, from anywhere. Visit snsevo.com.

SUNBELT RENTALS

We have provided solutions for networks, agencies, retailers, designers, artists, producers, and owners across the entire broadcast, live event, retail and themed entertainment markets. With our culture rooted in live events, Film-

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werks is a collaborative partner that focuses on solutions and value, innovative methods and materials, and out-of-the-box thinking. Over the years, we have evolved to support not only temporary but permanent and semi-permanent projects across the world. We are a solutions provider, helping our partners build their dreams behind the scenes.

SUPPONOR

Supponor provides commercially and technically proven solutions that deliver virtually enhanced advertising spaces in live sports broadcast. We do this by respectfully and authentically overlaying physical TV visible signage – such as dynamic perimeter LED boards or static billboards; by placing new or additional virtual assets in and around the field of play; or by delivering a combination of both. Our solutions are integrated directly within the TV broadcast of an event, working in parallel with and downstream of the existing production, which allows for unlimited, virtually enhanced, signals to be distributed throughout the world on broadcast, OTT or social platforms

SYNAMEDIA

Synamedia helps video service providers connect bigger audiences. Its Video Network portfolio consists of innovative technology that targets key customer needs such as B2B distribution solutions, D2C streaming SaaS solutions, and IP network optimization products. Specifically, these categories include compression, CDN switching and in-stadium experiences to transform viewing experiences for sports fans around the globe — wherever they’re watching — at home, in the stadium or on the move. At IBC 2024, Synamedia will showcase game-changing technologies strategically designed to boost revenues for content owners and video service providers, powering the future of intelligent streaming and value-added viewing experiences, while lowering the cost of delivery and distribution. Synamedia will also launch new cloud-based services with the flexibility to support customer requirements including major sports events, onboarding customers to SaaS, and managed services.

SYNDICATE

Syndicate creates interactive television experiences for some of the world’s largest brands.

SYSTEMS INNOVATION

From the conceptual phase of your project to reality, we have the knowledge, resources, and partnerships to create next-level immersive environments. We’ve worked on projects all over the world, and our technical expertise spans across solutions such as virtual technology, multi-dimensional sound, and the highest quality crystal LED, to name a few. All backed by our team of certified

engineers, designers, production partners, and manufacturers that represent the best innovation ecosystem in the industry.

T-MOBILE

T-Mobile

US is America’s supercharged Uncarrier, delivering an advanced 4G LTE and transformative nationwide 5G network that will offer reliable connectivity for all. T-Mobile’s customers benefit from its unmatched combination of value and quality, unwavering obsession with offering them the best possible service experience and undisputable drive for disruption that creates competition and innovation in wireless and beyond. Based in Bellevue, WA, T-Mobile provides services through its subsidiaries and operates its flagship brands, T-Mobile and Metro by T-Mobile.

TAG VIDEO SYSTEMS

TAG Video Systems, a leading provider of software-based IP monitoring and visualization solutions, continues to innovate to meet the evolving needs of the media industry. This year, TAG introduced key enhancements that improve efficiency, streamline operations, and ensure exceptional content quality. The highlights include the introduction of advanced user management (RBAC - Role Based Access Control) functionality that strengthens security and optimizes workflows. Advancements in content matching technology and the intuitive operator console provide broadcasters with unprecedented control over content accuracy. TAG’s language detection feature enables automatic subtitle quality monitoring, ensuring accessibility and compliance. Additionally, the new preview of TAG’s Heatmap feature streamlines troubleshooting in large networks, and QC Elements provides engineers with critical technical data for proactive issue resolution. Strategic partnerships with industry leaders like Amagi and Dataminer further demonstrate TAG’s commitment to providing comprehensive solutions that empower media professionals to achieve their goals.

TAGBOARD

Tagboard 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.

TECHEX

Trusted by the biggest sports broadcasters with their most valuable live workflows, Techex transports, protects and transforms live video over IP and in the cloud. Its unparalleled expertise ensures the safe and secure delivery of highvalue content, where precision, scalability and flexibility are paramount. Techex develops its own award-winning real-time software and partners

with market-leading technology companies developing an ecosystem of best-in-class solutions and services which can handle the most challenging scenarios. In live sports streaming, content providers demand solutions that deliver high performance, efficiency and scalability with real time monitoring and analytics. The launch of tx darwin alongside tx edge delivers disruptive solutions to monetization whilst offering unprecedented levels of flexibility and agility to optimize costs and capitalize on business opportunities. During the 2024 Summer of Sports, billions of minutes were streamed flawlessly by several major broadcasters using Techex software. Techex bridges the gap between the demands of traditional broadcast and the agility of cloud-native infrastructure.

TELEMETRICS

Telemetrics has added new improvement to its AI-Assisted OmniGlide Robotic Roving Platform, which has been deployed in hundreds of sports production studios — e.g., ESPN, NBA, NFL, NHL — and provides users with a full slate of programmable moves that are smooth and consistent while making it more operationally safe for the crew. Now considered the most versatile (and aesthetically pleasing) studio camera pedestal on the market, new features for the OmniGlide this year include “Path Planning”, which is performed by the control panel working in tandem with the rover, and Collision Avoidance, which keeps the rover operating safely while it ‘learns” the environment. Combined, these new capabilities allow users to navigate complex nonlinear paths in a studio or event space while avoiding collisions with set pieces and studio personnel. Special AI-assisted software enables the rover to instinctively learn the space it is operating in and find the safest and least obstructed path from Point A to Point B.

TELESTREAM

This year Telestream has achieved several significant milestones in sports media production, particularly by innovating solutions that address budget constraints and technical challenges faced by live sports broadcasters. Recognizing the need to acquire more content without deploying additional hardware, Telestream introduced cloud-based production systems that enable a fully HDR workflow using Live Cloud Ingest. This innovation has been successfully deployed at major global events, including a recent high profile sporting event, providing broadcasters with the ability to run live ingest operations in the cloud via AWS. By leveraging Telestream Lightspeed Servers, sports organizations can deliver content directly to MAM and PAM environments. A pivotal advancement has been the introduction of Telestream’s Live Capture as a Service solution. This service solves common challenges encountered by sports

production companies, especially those related to setting up and maintaining capture systems in remote and distributed locations. Live Capture as a Service facilitates on-demand, real-time aggregation and recording of streams from any location, thereby reducing infrastructure costs and simplifying production processes. This technology is especially beneficial for remote production at major venues, such as stadiums and arenas, without the need for substantial upfront investments or complex buildouts. The service’s combined probing and recording capabilities ensure high-quality content from the point of ingest, ensuring seamless live broadcasts. Looking ahead, Telestream plans to introduce several new products and innovations designed to further streamline live sports production workflows, offering integrated solutions for content ingest, playback, and distribution.

TELOS ALLIANCE

The Telos Infinity Virtual Commentator Panel (VCP) is a new, unique extension for the popular Infinity VIP, the IP-based virtual intercom platform that broadcasters are using to extend comms from master control to field reporters, remote production crews and REMI operations without the need for hardwired infrastructure. Infinity VCP extends VIP’s IP advantage to remote contributors, enabling them to access virtual commentary and announcer stations from virtually anywhere. VCP replicates the controls of the commentary boxes that sports commentators and field reporters are already familiar with, so there’s hardly any learning curve. Features include automatic muting of the on-air microphone feed when comms channels are used, custom monitor mix creation from IFB, program, mix-minus, and aux sources, each with individual gain control. Like VIP, Infinity VCP is easily accessible via any PC, tablet, or smartphone with an HTML5 web browser. For even more convenience, users can access VCP panels using the Telos Infinity VIP app for iOS and Android devices. Or, for those who prefer hardware controls, VCP integrates seamlessly with Elgato Stream Deck+. Infinity Virtual Commentator Panel is a licensed option for Telos Infinity VIP systems running v3.0 software or later, in 4, 8, and 12-button configurations.

TELSTRA

From World Cups to Grand Slams to the most recent global Games, it’s been another busy year for Telstra delivering major sporting events and tours to more than 150+ broadcasters and sports leagues in 40 countries around the world. More than just a Telco, we are a team of media industry professionals who leverage Telstra’s high-capacity fiber networks, online & video cloud platforms, world-class satellite services and 24/7 broadcast centers to offer comprehensive managed solutions that bring live content from stadiums and arenas to screens and devices around the world. Having recently expanded our global media network connectivity through our strategic alliance with BT Media & Broadcast, Telstra now offers customers access to more than 2,000 points of presence in

200 counties. We also provide contribution and distribution services from 1,000+ customers sites and 1,500+ sporting venues worldwide, internet delivery, 24/7 operations support, media production, remote production and virtual advertising. Powered by Supponor, our virtual advertising solution allows rights holders to geo-target their advertising, enhance fan engagement and generate significant revenue through multiple feeds. To find out more about our end-to-end offerings, visit https://www.telstra.com/broadcastservices.

TERADEK

Teradek is making 5G mobile broadcasting over public and private networks easier and more streamlined than ever before with recent launches to their Prism line of award-winning encoders and decoders. Launched in Spring of 2024, Prism Mobile 5G is the ultimate video encoder solution for sports broadcasters, news teams, and live production crews. The system is designed to provide the best possible cellular connectivity without compromising on size and weight, allowing camera operators to stay agile for longer while broadcasting or capturing the action for camerato-cloud workflows. The Prism Mobile 5G has already proven its streaming proficiency at several high-action rally races, including the Circuit of the Americas race track in Austin, TX and the Supercars Championship in Australia. The Prism Mobile 5G seamlessly streams high-definition in-car feeds for several hours of races without a single drop, impressing technical directors, engineers, and clients alike with its reliability and performance. Debuting at IBC this year is the new Prism Rackmount 877 Card, the high-density ultra-flexible codec cards that can switch between encoding and decoding on demand — effectively doubling your rackmount’s working capacity. Learn more about Teradek’s newest lineup of live production gamechangers by visiting teradek.com or contacting live@teradek.com.

THE FAMOUS GROUP

The Famous Group announced the expansion of its award-winning Vixi Suite proprietary technology with the introduction of several new product features. The Vixi Suite technology, which is utilized in more than 225 venues across 15 countries, revealed notable updates to Vixi Live, Vixi Capture, and Vixi Stream last month and also added several new platforms including Vixi Reels and Vixi Home. TFG’s Vixi Suite is designed for endless activations all housed in ONE UI for enhanced creativity and utility for live event producers. TFG’s Vixi Capture updates include: Groov, Message, Cutouts, Mosaic, and an updated Photo Magic. The updates come on the heels of TFG being the first company to add Ai Generative images to the live fan experience when it created Photo Magic last year. Since its launch in 2020, Vixi Suite has become industry standard at major sports and entertainment events, with millions of fans having utilized the technology to date.

THE STUDIO-B&H

The 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 including virtual production 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

In 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 costeffectively 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 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, on-demand 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

TRACK-IT

Founded in 2014, TrackIt is a globally distributed AWS Advanced Tier Services Partner that operates exclusively as a remote organization. Our origins can be traced back to extensive experience in broadcast and media technology which we have successfully transformed into cloud-based software and integration solutions.

TSL

TSL continues to lead in audio monitoring, control solutions, and power distribution and management, optimizing and simplifying workflows for top-tier sports broadcasters. Recently, TSL strengthened its team with three key hires:

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Ed Holland joined as VP of Sales & Business Development (Americas), bringing over 20 years of experience in the industry while Ewerton Araujo stepped in as Business Development Executive. Ewerton will support the team in North America while leading our growth in LATAM with his fluent Spanish and Portuguese. Jeremy Bourque has also been hired as Senior Solutions Engineer (Americas), with 15 years of industry expertise to support our customers with pre-sales and postsales technical consultancy. Additionally, TSL won Product of the Year at NAB 2024 for its GTP-V1 Virtual Control Processor, a versatile solution for streamlined equipment interface, control, and monitoring which can be deployed on prem or in a private or public cloud infrastructure.

TVU NETWORKS

TVU Networks continues to transform live video streaming with innovative solutions for sports organizations. In a recent collaboration with the New York Islanders, TVU Networks’ technology played a pivotal role in the Isles+ fan experience. Utilizing TVU’s cloud-based Producer application and Replay service, after every goal, the Islanders pushed a 4-camera feed of the scoring play to Isles+ mobile browser-based app. Viewers could select an individual angle to re-watch full screen in the palm of their hand. Low-latency, high-quality live video streaming is the hallmark of the TVU SaaS platform. As more teams and broadcasters look for ways to enhance fan engagement, TVU Networks is ready to support with more unique solutions.

TWELVE LABS

Twelve Labs delivers industry-leading video Al solutions that unlock the full potential of enterprise vast video archives. Our proprietary multimodal foundation models bring human-like understanding to videos, enabling precise semantic search, summarization, analysis and Q&A through easy-to-integrate APls.

UNIQFEED

uniqFEED develops virtual advertising (VA) solutions to enable sports rights holders to maximize the commercial potential of sponsorship inventory in live sports. On the 2nd of November 2023, uniqFEED debuted its soccer VA solution at the Grazer Derby as part of the UNIQA ÖFB Cup in Austria. uniqFEED continued work with longterm partner ATP Media on several tennis events in 2024 including the Mutua Madrid Open and the Barcelona Open. uniqFEED formed a new partnership with FIS and Slovak Ski to deploy VA at the Audi FIS World Cup in Jasna in January 2024. uniqFEED has also been conducting extensive testing for different sports including cricket, golf and F1. Growing demand for VA services has prompted uniqFEED to build a new remote operations cen-

ter at its Zurich HQ. Purpose-built to offer Tier 1 connectivity with a 1+1, fully diverse, dual presentation including internet delivery. This built-in flexibility will enable uniqFEED to offer increased resilience and value to diverse clients with varying needs. The uniqFEED ROC will support up to 6 simultaneous sports events, offering VA services in HD and UHD, SDR and HDR production formats.

VARIANT SYSTEMS GROUP

Our approach is to challenge traditional live production tools by using an intuitive framework paired with a user interface that is so easy to use, anyone can instantly become an operator. Let ENVIVO take you to the next level of live production innovation and experience.

VARNISH SOFTWARE

Service providers in the sports streaming market can now significantly reduce energy and carbon emissions in their data centers. Recent tests by Intel Labs on Varnish Software running on standard SuperMicro hardware demonstrated remarkable efficiency, achieving 95% power cost savings and a 95% reduction in carbon footprint. By optimizing software, operating systems, and hardware configurations, these tests projected over $127,000 USD in energy cost savings and a drop in carbon emissions from 207.37 to 12.54 tCO2e over five years at 1 Tbs/PoP. This translates to a 20x reduction in both resources and energy usage, highlighting the impact of mature software engineering on environmental sustainability. For sports streaming providers, leveraging these advancements offers a path to substantial cost savings and a significantly lower carbon footprint, aligning with industry trends towards greener, more efficient operations.

VENUE EDGE

Founded 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.

VENUETECH CONNECT

VenueTech Connect (VTC) is a community platform for sports teams, sports venues, colleges, K-12 schools, and the technology vendors and consultants that support them. The mission of VTC is to improve how technology is bought, sold, and managed in sports venues. We are building the industry’s most comprehensive network of buyers, sellers, and consultants of sports venue tech, coupled with an unparalleled collection of unique tools designed to inform, educate, and connect.

VERITONE

For over a decade, Veritone has pioneered intelligent solutions and services for sports leagues, broadcasters, teams, and some of the most recognizable brands. Veritone empowers clients to take center stage by expanding what’s humanly possible, transforming clips and content into real value and revenue. At Veritone, we use our powerful AI capabilities to: - Help you find and share content from your archive by enhancing discoverability and automating workflows to quickly index, extract, and export media for new uses. - Personalize and scale distribution to reach new audiences through GenAI and synthetic voice solutions. - Grow returns by monetizing your valuable content through custom AI-powered content storefronts and global licensing, clearing up new opportunities for growth and success. Start leveraging AI-powered solutions and services to run more efficiently, accelerate distribution, and increase profitability. Elevate your sports content with Veritone — AI that makes you superhuman. Discover more at veritone.com.

VERIZON BUSINESS GROUP

In today’s rapidly transforming environment, Verizon Business Group integrates, secures and operates the networks, and mobile technologies that help businesses in the Sports and Media & Entertainment sectors expand reach, increase productivity, improve agility, and maintain longevity. Our solutions across Connectivity, Security and Advanced Business Communications are designed to help companies pursue new possibilities and create entirely new revenue streams – more efficiently than ever. VBG can help you prepare for digital transformation, innovation, and accelerated growth in the 5G era.

VETERANS TV

Veterans-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.

VIDEOSHIP

VideoShip delivered a breakthrough product when it debuted its new iNet Sports Media Hub to NBC Sports Bay Area and NBC Sports California on Opening Day of the 2024 MLB season. Working closely with the San Francisco-based RSN, VideoShip solved “The Melt” with a solution that archives all key material from each game

— during the game. Gone are the days of keeping the truck crew on the clock following the game to push clips from the EVS to hard drives. By “melting” during the game, additional in-game content is now available for pre, post, digital, and social teams. Editors are no longer limited to using only the material that made the broadcast. When the pitch clock doesn’t allow another instant replay on the broadcast, the VideoShip Media Hub steps in. One of the standout features of iNet Sports is its seamless integration of AI. Our advanced technology, combined with facial and brand recognition and metadata tagging, significantly enhances the ‘findability’ of your content. VideoShip has been a strong partner with major news networks and organizations that have used its products for many years. News users need things quickly. VideoShip prides itself on creating fast, efficient workflows that fit even the most demanding budgets.

VIDISPINE - AN ARVATO SYSTEMS BRAND

Global IT specialist Arvato Systems supports major companies through digital transformation. Nearly 3,000 staff in over 25 locations epitomize in-depth technology expertise, industry knowledge and focus on customer requirements. Working as a team, Arvato Systems develops innovative IT solutions, transitions clients into the Cloud, integrates digital processes, and takes on IT systems operation and support. Vidispine is a brand of the Arvato Systems Group. The Vidispine portfolio enables companies working with media to focus on their core business by providing easy access to technology that supports their business needs. Arvato Systems’ platform enables customers to get the maximum value from their assets, rights, media inventory and market.

VIDOVATION

VidOvation is your comprehensive partner, offering a range of services to meet all your needs. As a dynamic systems integrator, technology design consultant, value-added reseller, and boutique rental house with offices in NYC, NJ, NV, AZ, and LA, we specialize in empowering broadcast, sports, production, entertainment, and live event clients of all sizes. We seamlessly integrate bespoke video transmission, streaming, content acquisition, production, contribution, and distribution systems into your existing infrastructure, tailored to meet diverse applications and budgets. Our expertise includes at-home production, REMI, bonded cellular, private 4G / 5G, enterprise IPTV, digital signage, cinematic cameras for live production, wireless, and intercom. VidOvation works with 326 trusted vendors and partners, including Haivision, DirecTV, LG, Samsung, ABonAir, AJA, Ross, CyanView, MultiDyne, Peplink, Vislink, Cobalt, Teradek, Thor, For-a, Apantac, and Blackmagic Design. VidOvation’s client base includes the PGA, Tennis Channel, Major League Fishing, Bassmasters, Riot Games, Paramount, Big Ten Network, MGM, ABC, Hard Rock, and the State of Michigan.

VINDRAL (REALSPRINT)

Vindral is a live streaming solution created in Sweden, known for its focus on high-quality video streaming with sub-second latency, synchronized for all viewers. The platform is valuable in various sectors, including sports, iGaming, live auctions, and horse racing, where timing and reliability are important. Vindral constantly strives to stay ahead of the curve in the live streaming industry, focusing our innovations on increasing quality and incorporating new technologies for a better viewing experience. It is a go-to choice for broadcasters who want to bring their audiences closer to the action, regardless of network conditions with synchronized sub-second glass-to-glass viewing. Vindral’s recently announced the world’s first 8K 10-bit HDR live streaming with ultra-low latency, achieved in collaboration with AMD and made public at the NAB Show in Las Vegas.

VINTEN (VIDENDUM)

Vinten continues its commitment to innovation and industry collaboration with the launch of the Versine 360 pan and tilt head, a key development in our camera support lineup. The Versine 360 was engineered with direct input from industry professionals, ensuring that it meets the real-world challenges faced by camera operators. It features our patented compact balance mechanism, allowing for seamless support of various camera and non-box lens configurations. The multi-standard base ensures compatibility across different setups, simplifying rigging and reducing the need for additional equipment. Built with Vinten’s renowned ‘Perfect Balance’ and ‘TF Drag’ technologies, the Versine 360 offers precise control and smooth movement, even during extended broadcasts. Its robust, all-metal construction is designed to withstand the rigorous demands of live events, ensuring long-lasting reliability. The launch of the Versine 360 underscores our ongoing commitment to supporting the broadcast community with highquality, durable products that enhance operational efficiency and elevate production standards. We look forward to continuing our strong partnerships and delivering solutions that meet the challenges of live broadcast.

VISLINK

Vislink and FocalPoint VR have developed a cutting-edge virtual reality over RF wireless solution for use during the inaugural season of the A2RL Abu Dhabi Autonomous Racing League. Vislink’s RF wireless technology provides reliable and lowlatency video and data communication between cars and their control systems. The project is the first of its kind in motorsport entertainment, allowing racing fans to experience real time VR view of the cockpit of autonomous race cars straight to their headsets onsite and at home. Vislink’s reputation as a leader in wireless video and data transmission systems, and long history of providing onboard RF technology for demanding events like MotoGP, led it to be chosen by Focal Point VR to collaborate on solutions that provide event organizers, broadcasters, and viewers a new dimension of engagement and interactivity during live events.

VITAC

VITAC, a Verbit company, is revolutionizing accessibility for broadcasters, cable networks, and streaming platforms by transforming spoken audio and video into text that’s both accessible and actionable, across diverse regions and languages. Recent sports-related successes include the expansion of our AI Captioning Solution, Captivate, which now serves national and regional sports networks. Captivate stands out as the most accurate ASR service available, developed by expert captioners and supported throughout the event lifecycle to ensure precision. This innovative service is currently deployed across multiple networks, OTT platforms, in stadiums across the US and UK, and paired with live AI translation for streaming content. We’re also proud of our recent achievements in human captioning, including providing captions for the Olympics in English, Spanish, and French across US and Canadian broadcasts and streaming networks — over 3,000 hours of coverage in just two weeks. Discover more at www.vitac.com

VIZRT

This year has been about streamlining sports production workflows, making analysis simpler, and content more engaging. Viz Libero, Vizrt’s flagship sports analysis solution, released a first: the ability to crop video to various aspect ratios and share directly from its interface. Built from the demand to create once and publish multiple times to various digital platforms, users can create content during or after a match. Viz Libero and Viz Arena, the leading image-based AR graphics and virtual advertising solution, are available in the cloud, offering greater flexibility for remote production. Viz Arena is added to Viz Now, Vizrt’s free-to-use automated cloud deployment tool. Viz Libero also completed the AWS FTR process, which grants the solution access to AWS’s expansive cloud ecosystem. For sports content creators, this ensures analysis is securely accessed via the cloud and scaled according to user needs. 2024 has seen groundbreaking uses of Vizrt technology to tell sports stories. In March, an NHL game between the Capitals and the Hurricanes in DC was broadcast on the NHL Network, fully in the cloud. The NHL produced the live broadcast on AWS at 1080p, with a mostly remote team, using TriCaster Vectar for production switching and Viz Trio for graphics. Additionally, the Euros and Copa America coverage this summer included FOX Sports’ impressive virtual production set with Viz Engine, and TV2 Denmark’s incredible game analysis with Viz Libero.

WASABI TECHNOLOGIES

Wasabi has formally launched Wasabi AiR, an intelligent cloud object storage service that gives sports, media & entertainment companies the freedom to accelerate media workflows and create new fan experiences. Wasabi AiR combines advanced AI algorithms and Wasabi’s high performant cloud storage to automatically tag content libraries with rich metadata to slash the time spent

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searching for the right media. It optimizes media workflows, streamlines content management, and ensures seamless accessibility. Content production cycles are more agile in response to market trends while reducing costs without unpredictable fees for AI analysis, egress, or API requests. Wasabi AiR enables personalized content delivery and interactive features that keep fans engaged and loyal. Rich data analytics can demonstrate sponsorship ROI, providing partners with clear metrics on brand exposure, fan engagement and content performance. Wasabi AiR provides the most robust levels of data protection, giving organizations the confidence to innovate.

WAVE CENTRAL

Wave Central, now a proud member of the Domo Broadcast Systems (DBS) family, is dedicated to delivering the best RF wireless video solutions for sports broadcasting and fan engagement, cinema and television production. Our state-of-the-art wireless transmission systems are built on a foundation of innovation, featuring our point-to-point ultra-low latency COFDM and MESH waveforms. Every product is meticulously engineered, hand-built, tested, and serviced in our Carlisle, Pennsylvania facility, ensuring the highest standards of quality and reliability. We are committed to providing unmatched picture quality, allowing our clients to capture and broadcast the most critical moments with precision. At Wave Central, our mission goes beyond delivering cutting-edge technology — we focus on exceeding our clients’ expectations with every system we create. This dedication to excellence is more than just a promise; it’s the Wave guarantee.

WAVES AUDIO

With its Cloud MX Audio Mixer, Waves has been supporting customers in transitioning to cloud workflows since September 2023. Cloud MX, with its pristine audio and unequaled proccessing, offers superior audio mixing for cloud-based broadcast enviroments. Waves involvement extends studio broadcast activities ranging from boxing matches to the the 2024 Olympics. Waves’ facilitates smoother workflows and increased flexibility, enabling clients to adapt to new technologies in sports broadcasting. WavesLive, a division of Waves Audio, is a leader in the live sound sector, spearheading the development of solutions for all live platforms. Products from Waves Commercial Audio enable A/V system integrators and installers to deliver superior sound quality for corporate, commercial, government, educational, entertainment, sports and house-of-worship applications. Waves Commercial Audio products empower A/V system integrators and installers to deliver superior sound quality in corporate, educational, entertainment, and other settings.

WESCO INTERNATIONAL

Wesco builds, protects, powers and protects the world. From traditional broadcast network studios to remote, cable and streaming infrastructure to large sports and entertainment venues, Wesco helps your broadcast/cable/streaming business run smoothly by providing technical, logistical and supply chain solutions to increase efficiency, reduce costs and mitigate risk. Wesco’s Broadcast Team has the technical expertise, resources and decades of experience to help solve your most important challenges. With nearly 1.5 million products and locations in more than 50 countries, Wesco delivers the broadcast, infrastructure, supply chain and logistical solutions you need, when, where and how you need them.

WISYCOM

Designed for sports, live events and outside broadcast, the Wisycom RPU500-F full-duplex mobile transceiver includes a one-Watt multiband transmitter (where applicable) and newly designed integrated intercom/IFB receiver. The transmitter works in the 174-960MHz spectrum and the receiver in the 440-700MHz range. It can operate in three selectable modes — ultra-narrowband, narrowband and narrowband enhanced. The latter makes it possible to include up to three embedded audio sources on the same device. It features an ergonomic, compact form ideal for high-movement live applications, its LCD display is legible in direct sunlight for sports and outdoor events, and the battery pack lasts 5+ hours. It also features four programmable push-to-talk buttons for remote audio routing on AUX or through Ethernet with Ember+. Compatible with Wisycom Symphony Series receivers and MTK Series transmitters, Wisycom’s RPU500-F provides users with a broadcast-quality, full-duplex, long-range wireless system. To learn more, visit www.wisycom.com

WJHW

WJHW continues to lead technology design for sports from iconic venues across all major sports both professionally and in both minor league and collegiate sports. 2023 and 2024 have seen us open offices in London, Sydney, and Dubai as we grow into a global organization. We are proud to list nearly every professional team, venue, and league in our 34-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 and only 8K instant replay systems, 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 and massive displays at Intuit Dome in Los Angeles.

WOHLER TECHNOLOGIES

Wohler debuts MAVRIC, a remote monitoring software application service licensed to run with signal probes installed on any of their current iSeries or eSeries monitors, or their new openGear card. MAVRIC enables many users to simultaneously view and listen to signals probes, providing one-to-many remote monitoring capabilities for operators located across diverse global locations. MAVRIC leverages Wohler’s current generation iSeries and eSeries in-rack monitors our customers may already have purchased (or plan to), and which now offer integrated software probes that enable continuous 8 channel audio remote signal-monitoring (listen to one pair of channels remotely at a time) via a freely available software upgrade. These audio signal monitoring probes are complemented by a hardware option card which adds video signal monitoring to the mix, along with 8 channels of audio. The hardware option card itself, is further complemented by an openGear monitor-on-a-card, which adds AoIP (Ravenna/Dante/AES67) and ST2110 remote monitoring.

WSC SPORTS

Personalized

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.

XYTECH SYSTEMS

Xytech Systems, the leading provider of media resource management solutions, recently announced its support of the official U.S. broadcast rights holder for the highly anticipated Summer Olympics. This partnership underscored Xytech’s commitment to enhancing major global events with cutting-edge technology and expertise. In this role, Xytech Systems provided comprehensive support through its media resource management platform, assisting production teams through each event. The company’s robust solutions are designed to enhance broadcast operations’ efficiency, flexibility, and scalability, ensuring a seamless production experience. Xytech’s involvement encompassed a wide range of services, including resource management, media asset management, transmission management, and crewing, while facilitating the management of complex production workflows via a singular solution. By leveraging its industry-leading technology, Xytech helped to assist in smooth and reliable broadcast operations, ensuring that the excitement and spirit of the Sum-

mer Olympics were captured and delivered to audiences with the highest quality.

ZAYO

Zayo empowers some of the world’s largest and most innovative companies to connect what’s next for their business. The Zayo group of companies connects 400 global markets with futureready networks that span over 18 million fiber miles and 145,000 route miles.

ZERO DENSITY

Zero

Density provides integrated solutions for virtual production and real-time motion graphics from best-in-class components. In 2024, the company’s graphics ecosystem expanded with the recently announced Lino platform and the enhanced capabilities of Reality5 at the heart of it. This unified ecosystem based on comprehensive Unreal Engine-based workflow is seamlessly integrated across virtual production and real-time motion graphics, with Reality Hub serving as the central control system and integration layer. This holistic ecosystem sets a new industry standard for efficiency and creative control. Lino is an advanced Unreal Engine-based platform designed specifically for motion graphics and broadcast professionals seeking a powerful, versatile, and efficient solution. Lino transforms real-time motion graphics by improving rendering and compositing quality while reducing cost and complexity. Zero Density’s real-time virtual production platform, Reality5 enables hyper-photorealistic real-time graphics for

Virtual Studio, AR, and XR productions. In addition to its features like 3D compositing pipelines, the 3D PixelPerfect Keyer, unique node-based compositor, Reality5 integrates seamlessly with existing technological and editorial frameworks, reducing complexity and operational errors.

ZIXI

Zixi provides the cloud based and on-premises Software-Defined Video Platform (SDVP) that enables reliable broadcast-quality video delivery over any IP network, any protocol, any cloud provider and any edge device. The company offers technologies for broadcasters, enterprises, over-thetop video providers, sports leagues, service providers, cable operators and Telcos around the world, giving them the lowest TCO in the industry. Many of Zixi’s clients are delivering and managing thousands of streams, and there is no other alternative in the market that can provide 99.999%+ reliability at scale. Zixi simplifies building and managing congestion-aware live video routes on any network, with support for 18-protocols across any operating environment, with products that are purpose built to provide market leading performance, universal interoperability and an operational control plane that simplifies management and orchestration at scale. With 15+ years of innovation and expertise, the Zixi Enabled Network has grown to over 1400+ media customers and 400+ OEM and service providers that deliver 20,000+ channels daily, with 110,000+ deployed instances in over 120 countries, gathering over 9 billion data points a day while

delivering over 100,000 live sporting events a year. This powerful ecosystem of the largest media organizations in the world exchanging live video allows for the creation and acceleration of new content acquisition, business models, and opportunities to reduce cost and generate revenue.

ZTRANSFORM

Seattle-based sports venue technology solutions and services provider ZTransform has recently finished commissioning Southern Methodist University’s (SMU) new SMPTE 2110 production facility. Serving as the epicenter for the university’s coverage of Atlantic Coast Conference (ACC) sporting events, the new ‘Mustang Vision’ broadcast facility produced its first live event on August 15 when SMU hosted the NCAA women’s soccer Northwestern State in-season-opener from Washburne Stadium in Dallas, TX. “When you’re working with a university making a seismic shift in the world of college athletics - moving up to the elite ACC - expectations are understandably high,” said Ben Wolk, managing partner at ZTransform. “With SMU, we delivered a design that matched their exacting standards, including meticulouslythought-out-technology that benefits everyone — from its operators and creatives, to SMU’s student body, faculty and sports fans.” ZTransform delivered design, documentation, system integration, operational readiness and launch services to SMU for the SMPTE 2110 broadcast production facility.

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FUJIFILM NORTH AMERICA CORPORATION 9

FUSE TECHNICAL GROUP

G&D NORTH AMERICA INC.

G3DVU

GAME CREEK VIDEO

GCORE

GLOBALM

GLOBECAST

Cathy Cushman ccushman@fortinet.com

Stosh Durbacz sdurbacz@fujifilm.com

Corporate Doug Kamm dkamm@fusetg.com

Corporate Matt Keske matthew.keske@gdsys.com

Premier Nikhil Deshpande nikhil.deshpande@g3dvu.com

Mobile Pat Sullivan psullivan@gamecreekvideo.com

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Corporate Sara Salvanes sara.salvanes@globalm.media

Corporate Jodi Morelli jodi.morelli@global-mediamarketing.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 21 Platinum Jay Gravina jay.gravina@grassvalley.com

HAIVISION

HARMONIC

Corporate Britni Bates bbates@haivision.com

Corporate Eric Kenyon eric.kenyon@harmonicinc.com

HDR+ TECHNOLOGIES 111 Corporate Marc Finer mfiner@comm-res-inc.com

HIGH ROCK MOBILE TELEVISION

Mobile Jim Carr jim@carr-hughes.com

HITACHI KOKUSAI Corporate Kenneth Cyr Kenneth.Cyr@hitachikokusai.us

HLW Mobile Karishma Patel kpatel@hlw.com

IHSE USA 63 Premier Dan Holland dholland@ihseusa.com

IKEGAMI Corporate Teri Zastrow tzastrow@ikegami.com

IKOMG Corporate Orr Ariel oa@ikomg.com

ILLUMINATION DYNAMICS INC. Mobile Jeff Cookson jcookson@illuminationdynamics

IMAGEN FROM REUTERS Corporate Nick Ashwin nick.ashwin@thomsonreuters.com

IMAGINE COMMUNICATIONS 93 Premier Jimbo Haneklau jimbo.haneklau@imaginecommunications.com

IMAX Corporate Saj Jamal SJamal@imax.com

INSIDE EDGE Corporate Kenny Kendrena kendrena@inside-edge.com

INSYNC.TV Corporate James Taylor james.taylor@insync.tv

INTEGRATED MEDIA TECHNOLOGIES Mobile Brandi Morini brandi.morini@imtglobalinc.com

INTEL Corporate Courtney Willock courtney.willock@intel.com

INTELSAT Corporate Mandy Caseells amanda.cassells@intelsat.com

IPV 99 Premier Michael Cosgrave michael.cosgrave@ipv.com

JB&A Corporate Nick Smith nicks@jbanda.com

JETWAVE WIRELESS

JOSEPH ELECTRONICS

JPM TECHNOLOGY CONSULTING

JW PLAYER

KENTIK

KERO SPORTS

KEY CODE MEDIA

KISWE

KMH INTEGRATION

LAWO 61

LBISAT

LEADER INSTRUMENTS

CORPORATION

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Corporate Greg Siers gregsiers@jetwavewireless.com

Corporate John Cleary jcleary@josephelectronics.com

Mobile Jesse Janosky jjanosky@jpmtechconsulting.com

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Mobile Matt McClain mmcclain@keycodemedia.com

Corporate TK Gore tk.gore@kiswe.com

Mobile Kevin Henneman info@kmh-integration.com

Platinum Wolfgang Huber wolfgang.huber@lawo.com

Mobile Bobby Stevens bobbystevens@lbisat.com

Corporate Joseph Castellano josephc@leaderamerica.com

Mobile Kim Thomas kthomas@leewardsoft.com

SPONSOR

LEGRAND AV

LEIA INC.

LH COMPUTER SERVICES

LIVE MEDIA GROUP

LIVEU

LTN

LUCIDLINK

LUMEN TECHNOLOGIES

M2A MEDIA

MAGNIFI

MARKERTEK

MARSHALL ELECTRONICS

MASV

MATROX VIDEO

MAXON

MEDIA LINKS

39

76

Corporate Gordon Wason

EMAIL

Gordon.wason@legrand.com

Corporate Eric Wijnen eric.wijnen@leiainc.com

Mobile Doug Cole dcole@lhcomp.com

Mobile Brad Sexton brad@livemediagroup.com

Platinum Janel Moorefield janelf@liveu.tv

Corporate Connie Petrides connie.petrides@ltnglobal.com

Corporate Julie O’Grady julie.ogrady@lucinlink.com

Premier Rick Gibson rick.gibson@lumen.com

Corporate George Silvis George.Silvis@M2AMedia.tv

Corporate Jere Hanks jere.hanks@magnifi.ai

Premier Adam June sales@markertek.com

Corporate Bernie Keach bernie@marshall-usa.com

Corporate Jon Riis jon@masv.io

Corporate Zahraa Al-Haideri zalhaide@matrox.com

Corporate Simon Walker s_walker@maxon.net

Corporate Tom Canavan tcanavan@medialinks.com

MEDIABRIDGE CAPITAL ADVISORS Mobile Courtney Spencer courtney@mediabridgecap.com

MEDIAKIND Corporate Bill Cordo William.Cordo@MediaKind.com

MEDIAPRO NORTH AMERICA Platinum Jairo Gonzalez jaigonzalez@mediapro.tv

MEDIAPROXY Corporate Mark Rushton markR@mediaproxy.com

MEGAPIXEL Corporate Joe Bleasdale jbleasdale@megapixelvr.com

MEYERPRO

MICROSOFT

MO-SYS ENGINEERING

Mobile Cody Maxwell cody@meyerproinc.com

Corporate Scott Bounds sbounds@microsoft.com

Corporate Ann Cannon ann@mo-sys.com

MOBII SYSTEMS Corporate Greg Schultz greg@mobii.com

MOBILE TV GROUP Corporate Mobile TV Group Hello@mobiletvgroup.com

MOMENTS LAB Corporate James Fraser james.fraser@newsbridge.io

MONKS Corporate Lewis Smithingham lewis.smithingham@mediamonks.com

MOTION PICTURE ENTERPRISES (MPE)

MULTICASTING LLC

MULTIDYNE

NATHANIEL HOWE STUDIOS

NEMAL ELECTRONICS INTERNATIONAL

NEP GROUP

NET INSIGHT

NETAPP

NETGEAR AV

NETSCOUT

NEXTOLOGIES

NOMAD

OPENDRIVES

OPENGEAR

OSA INTERNATIONAL

PANASONIC CONNECT

PERFECT MEMORY

PERIFERY

PHENIX REAL TIME SOLUTIONS

Corporate Neal Pilzer neal@mpenyc.com

Corporate Nematolah Kashanian nem@multicasting.io

109 Premier Jesse Foster jesse@multidyne.com

Mobile Nate Howe Nathaniel@nathanielhowe.com

Corporate Ben Nemser bnemser@nemal.com

43 Platinum Meredith Knight info@nepgroup.com

Corporate Mark Tomseth mark.tomseth@netinsight.net

Corporate Martin Leslie martin.leslie@netapp.com

Corporate Tod Musgrave tod.musgrave@netgear.com

Corporate Greg Heisz Gregory.Heisz@netscout.com

Corporate Juli Patty julip@nextologies.com

Corporate Branko Lepan blepan@nomad-cms.com

Corporate Jaclyn Taroc j.taroc@opendrives.com

Corporate Cindy Zuelsdorf hello@opengear.tv

Mobile Steve Cormier scormier@osacorp.com

45 Premier Kate Lajeunesse Kate.Lajeunesse@us.panasonic.com

Corporate Jean-Christophe Curelop jean-christophe.curelop@perfect-memory.com

89 Premier Leanne Tomlin leanne.tomlin@perifery.com

Corporate Jed Corenthal jed.corenthal@phenixrts.com

SPONSOR INDEX

SPONSOR

PINNACLE

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PRG 72

PRODUCTIONHUB

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PROXIMAVISION

PSSI GLOBAL SERVICES

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Q5X

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QVEST

REALITY CHECK SYSTEMS

REALSPRINT AB (VINDRAL)

RED DIGITAL CAMERA

RED5

RF WIRELESS SYSTEMS

EMAIL

Corporate Daniel Kiley dkiley@gowithcd.com

Corporate Yossi Tarablus yossit@pixellot.tv

Mobile Conor McGill conor@avstumpflusa.com

Corporate Phil Ventre phil.ventre@pixotope.com

Platinum Erin Bates ebates@prg.com

Corporate Steve Rotz srotz@productionhub.com

Corporate Jimmy Van Winkle JimmyV@ProfessionalWireless.com

Platinum Amy Scheller ascheller@programproductions.com

Premier Claudion Lisman clisman@proximavision.com

Mobile Clint Bergeson info@pssiglobal.com

Mobile Jim Neely JimN@Puremobileproductions.com

Corporate Paul Johnson sales@q5x.com

Corporate Skip Levens Skip.Levens@Quantum.Com

Corporate Eric Gazzillo egazzillo@quinceimaging.com

Jon Christian jon@qvest.us

Matt Rohrs m.rohrs@rcs.live

Daniel Alinder daniel.alinder@realsprint.com

Corporate Frank Fusco frank.fusco@red.com

Corporate Chris Allen chris@red5.net

Mobile Rob Bunn rob.bunn@rfwireless.com

RIEDEL COMMUNICATIONS 27 Premier Sara Seidel Sara.Seidel@riedel.net

ROSS VIDEO

Kevin Cottam kevin.cottam@rossvideo.com

RT SOFTWARE 73 Corporate Mike Fredriksen mike.fredriksen@rtsw.co.uk

RTS INTERCOM SYSTEMS

RUSH MEDIA GROUP

RYVAL STUDIOS

Premier Michael Brown Michael.Brown2@us.bosch.com

Mobile Tim Eichorst timeichorst@rushmediaco.com

Mobile Jon Morgan jon@ryvalstudios.com

SEAGATE TECHNOLOGY Corporate Mark Anderson Mark.B.Anderson@Seagate.com

SENCORE Corporate Brandon Baker brandon.baker@sencore.com

SEQUIN AR Mobile Dan McInerney dmcinerney@sequinar.com

SES Corporate Miriam Benedicto miriam.benedito@ses.com

SHURE INCORPORATED Corporate Jason Waufle Waufle_Jason@shure.com

SIGNIANT

Jon Finegold jfinegold@signiant.com

SKYCAM Mobile Stephen Wharton stephen.wharton@skycam.tv

SKYLINE COMMUNICATIONS Corporate Thomas Gunkel hi@skyline.be

SMT (SPORTSMEDIA TECHNOLOGY) Corporate Patricia Hopkins p.hopkins@smt.com

SNA DISPLAYS Corporate Mitch Leathers mitch.leathers@snadisplays.com

SOLID SATE LOGIC

SOLOTECH INC.

SONY

SOS

Ross Gilbert SVG@solidstatelogic.com

Christine Latour christine.latour@solotech.com

Sony Imaging pro.info@sony.com

Matthew Eversole meversole@nepgroup.com

SPALK Mobile Tom Read tom@spalk.co

SPECTRA LOGIC Corporate Hossein ZiaShakeri broadcast@spectralogic.com

SPIIDEO Corporate Niklas Bergdahl niklas.bergdahl@spiideo.com

SPORTRADAR Corporate Samantha Karvelas s.karvelas@sportradar.com

STATS PERFORM Corporate Stephanie Brown stephanie.brown@statsperform.com

STREAM STATION Corporate Dave DellaFave dave@streamstation.com

STUDIO NETWORK SOLUTIONS (SNS) Corporate Steve McKenna sales@studionetworksolutions.com

SUNBELT RENTALS Platinum Aaron Frye aaronf@filmwerkspower.com

SUPPONOR Corporate Andrew Crean Andrew.crean@supponor.com

SPONSOR

SYNAMEDIA

SYNDICATE

SYSTEMS INNOVATION (LMG)

Corporate Anne-Cecile Soutarue asoularue@synamedia.com

Mobile Mark Harris mark@tvsyndicate.com

Mobile Sean Borowski sean.borowski@lmgsi.net

T-MOBILE 49 Platinum Derek Jenkins Derek.jenkins@t-mobile.com

TAG VIDEO SYSTEMS

TAGBOARD

TECHEX

TELEMETRICS, INC.

Corporate Noa Goerlette noa@tagvs.com

Premier Sky Muller sky@tagboard.com

Corporate Per Johansson Per.Johansson@techex.co.uk

Corporate Michael Grotticelli AMGMedia@aol.com

TELESTREAM 25 Premier Bryn McFadden bryn.mcfadden@telestream.net

TELOS ALLIANCE

TELSTRA

TERADEK

THE FAMOUS GROUP

THE STUDIO-B&H

THE SWITCH

TRACKIT

TSL

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Premier Michael Gailing mike@teradek.com

Mobile Eric Burak eric@thefamousgroup.com

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Platinum Christian Kneuer christian.kneuer@theswitch.tv

Mobile Chris Marchitelli chris@trackit.io

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TVU NETWORKS 101 Premier Matt Keiler mkeiler@tvunetworks.com

TWELVE LABS

UNIQFEED

VARIANT SYSTEMS GROUP

VARNISH SOFTWARE

VENUETECH CONNECT

VERITONE

Corporate Maninder Saini maninder@twelvelabs.io

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Mobile Greg Stocker greg@venuetechconnect.com

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VERIZON BUSINESS GROUP Premier Steve Walter stephen.walter@verizon.com

VETERANS-TV

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105 Premier Larry Klein laklein@videoship.com

VIDISPINE, AN ARVATO SYSTEMS BRAND Corporate Holger Noske Holger.Noske@bertelsmann.de

VIDOVATION

113 Mobile Rick Anderson ricka@vidovation.com

VINTEN 77 Premier Elaine Pritchard elaine.pritchard@videndum.com

VISLINK

VITAC, A VERBIT COMPANY

Corporate Jon Landman jon.landman@vislink.com

Corporate Dave Titmus david.titmus@vitac.com

VIZRT 2 Platinum Amisa Saari-Stout asaari-stout@vizrt.com

WASABI TECHNOLOGIES

WAVE CENTRAL

WAVES AUDIO

WESCO INTERNATIONAL

WISYCOM USA

Corporate Lindsay Daly ldaly@wasabi.com

Mobile Jeff Daubert jdaubert@wavecentralrf.com

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Corporate Marcos Nieves mnieves@wisycom.com

WJHW Mobile Charles Adkinson cadkinson@wjhw.com

WOHLER TECHNOLOGIES

WSC SPORTS

XYTECH SYSTEMS

Corporate John Earnest jearnest@wohler.com

Corporate David Gavant david.gavant@wsc-sports.com

Corporate Jessica Mintz jmintz@xytechsystems.com

ZAYO Corporate Ellery Huhn ellery.huhn@zayo.com

ZERO DENSITY

ZIXI

ZTRANSFORM

Mobile Birim Yamanlar birim.yamanlar@zerodensity.tv

15 Platinum John Wastcoat john.wastcoat@zixi.com

Mobile Bob Hawkanson bob.hawkanson@ztransform.com

OLYMPIC GAMES CONTINUE TO PROPEL INDUSTRY FORWARD

By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial

Attending and working at an Olympics Games is a privilege for anyone, and, except for the Beijing Games in 2022, I have been blessed to go behind the scenes of nine of the last 10 Games and 10 overall (going back to the Salt Lake City 2002 Winter Games). Over the years, I’ve been able to spend time with hundreds of executives, discussing the Olympics and the role they have played in technology advances: the move to HD, UHD, HDR, IP, the Cloud, 8K, Surround Sound (and beyond), social media, OTT and digital services, internet-based transmission, fiber-based transmission, bonded cellular, and, yes, even 3D and virtual reality. If I really want to push it, my reporting days go back to 1992 and the early days of nonlinear editing, digital-video formats, and HD at the Olympics.

Each Olympics is different, reflecting not only new technologies but also the culture of the host city and nation. Each Games is also a step forward in terms of sustainability, venue design, and logistics. And the halls of an IBC are literally a United Nations of the greatest talent in sports production. All that talent has one focus: to create the best viewing experience for sports fans around the globe.

And while it has only been three years since the postponed Tokyo Olympics, much has changed. As SVG reported in 2021 and 2022, workflows born out of the pandemic opened a new era of remote operations, with rightsholders (and their key technology and services partners) innovating out of necessity. At Paris 2024, such workflows took hold at a scale unimaginable only six years ago. More importantly, many of those production capabilities were not at the IBC but rather at broadcast centers in each country.

Clearly, there are some trends at an Olympics that point to even greater workflow improvements. The leaps in productivity, sustainability, and efficiency are a result not only of the move to SMPTE ST 2110 but also of the wide availability of fiber transport, which can handle the vast number of signals moving across the globe.

But what I find fascinating about where the industry is — amidst a convergence of cloud-based and virtualized production, fiber transport, and of course IP — is that the convergence of technologies is acting like a Big Bang, coming together but ultimately creating more ways to produce sports across the universe. More than ever, those who create content can choose their own adventure… produce all of it onsite, a portion onsite, or none of it onsite. Or use the cloud, use IP, use SDI… we are in an age of unrivaled freedom when it comes to deciding how to produce the event.

At Paris 2024, the Olympics entered a new era in production and operations. And that era will evolve again in Italy for the 2026 Winter Olympics and in Los Angeles for the 2028 Summer Olympics. Looking ahead, I expect to see OBS embrace more virtualized OB vans rather than rolling in trucks on wheels, rightsholders to begin doing things like sharing reporters when possible (especially in Italy where the clusters are hours apart), and, of course, deliver more Olympic action than ever to viewers.

The Winter Games are only 16 months away, and that means that by the time you read this, these key decisions will be made around how to produce that event. And, as always, the teams at SVG and SVG Europe look forward to being onsite and helping you understand how rightsholders around the globe, and OBS, deliver winning coverage. <

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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.

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