2024 SVG Sports Production Yearbook

YEAR IN REVIEW

A LOOK BACK AT THE TOP SPORTS STORIES OF 2023

FEATURING

SVG DEEP DIVE: Sports Production Roundtable and The State of the Remote Production Business PLUS THE SPORTS BROADCASTING HALL OF FAME Class of 2023

Spin up/down cloud infrastructure for single live events on demand

Turn to Amagi DYNAMIC to launch pop-up channels for single live events. Run the cloud infrastructure only for the duration of the event and retire them when not needed.

Save costs, expand distribution, add new viewers, increase ad revenues, maximize content rights and demonstrate immediate ROI!

For more information on how next-gen cloud solutions can transform your broadcast and streaming operations, write to cloudandme@amagi.com

CREATE THE ULTIMATE FAN EXPERIENCE

Streamline game-day production while delivering a truly immersive experience for fans with the Unified Venue Control solution from Ross.

Our tailored end-to-end production solutions combine the power of production control room technology with LED content management systems to enable sports venues to deliver the best possible fan experience.

Explore the solution by visiting: rossvideo.com/sports-venue

Whether it’s a slate of games for a major sports league, a regional athletic meet, an international esports tournament, a concert festival, or a live or virtual enterprise event, The Switch has production and delivery services to suit every need.

Our Cloud Video Services platform, MIMiC, is an end-to-end offering that includes remote IP video Live Production, Clipping & Editing + Publishing and Transmission.

MIMiC – The Complete Package

SPORTS VIDEO GROUP

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

EXECUTIVE DIRECTORS

Executive Director

paul@sportsvideo.org | 212.696.1799

Executive Director

kenkersch@sportsvideo.org | 646.205.1810

Executive Director marty@sportsvideo.org | 516.446.2029

Chief Editor jason@sportsvideo.org | 646.861.2373

Director of Digital brandon@sportsvideo.org | 646.861.2370

Senior Editor kristian@sportsvideo.org | 646.880.4902

SAMANTHA GABAY, Digital Content and Social Media Coordinator samantha@sportsvideo.org

Copy Editor susan@sportsvideo.org

Art Director riva@sportsvideo.org

SVG SERVICES

8

13

SPORTS PRODUCTION 2024SVGYEARBOOK

99

141

146

150

154

158

162

166

174

178

Director of SVG Services karen@sportsvideo.org | 646.559.0434

Production and Operations Manager katie@sportsvideo.org | 646.524.7497

Event Operations Director cris@sportsvideo.org | 917.309.5174

Meetings and Events Manager alicia@sportsvideo.org | 646.880.4901

Membership & Client Services Manager andrew@sportsvideo.org | 212.481.8133

Managing Director, Worldwide Sponsor Development rob@sportsvideo.org | 212.481.8131

agabel@sportsvideo.org | 646.998.4554

Sponsorship Coordinator dylan@sportsvideo.org | 646.559.0435

General Manager joe@sportsvideo.org | Tel: +44 74290 90134

The Sports Video Group was formed in 2006 to support the professional community that relies on video, audio, and broadband technologies to produce and distribute sports content. Leagues, owners, teams, broadcasters, streamers, and venues have joined SVG to learn from each other, turn vision into reality, and implement innovations, while sharing experiences that will lead to advances in sports production/distribution and the overall consumer sports experience.

To advance the creation, production, and distribution of sports content. To provide a knowledge resource for the growing community of sports video professionals working for broadcast/broadband organizations, professional teams and leagues, collegiate and secondary schools, and facilities. To facilitate a dialogue with manufacturers, suppliers, and technology developers that will improve the quality and profitability of sports programming. © 2023 Sports Video Group.

ES Broadcast

Filmwerks Power, A Sunbelt Rentals

Fletcher Sports

200 FlyCam

Game Creek Video

Gravity Media

HLW

Illumination Dynamics

Integrated Media Technologies

JPM Technology

Key Code Media

KMH Integration

204 LBISat

LH Computer Services

Live Media Group

Markertek

Mediapro

MeyerPro

Mobile TV Group

Nathaniel Howe Studios

NEP

OSA International

208 Pixera

PRG

Program Productions

PSSI Global Services

Pure Mobile Productions

Reality Check Solutions

RF Wireless Systems

Ross Production Services

Rush Media

Ryval Studios

Skycam

212 Solotech

SOS Global Spalk

ST Engineering iDirect

Suitelife Systems

Systems Innovation

The Famous Group

Veterans-TV

VidOvation

VISTA Worldlink

Association Leadership

The Sports Video Group Advisory Board comprises leading industry figures who are committed to technical excellence in sports production.

CHAIRMAN

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

EXECUTIVE COMMITTEE

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

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

Eric Black, Edgio, Chief Technology Officer / GM Media

Chris Brown, WBD Sports, VP, Technology and Operations

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

Mike Connelly, Bally Sports, EVP

Scott Gillies, SkyRae, President

Steve Hellmuth, SVG Chairman Emeritus

Jeff Jacobs, NEP Group, SVP, Production

Patty Power, CBS Sports, EVP, Operations and Engineering

Tom Sahara, SVG Chairman Emeritus

Susan Stone, MLB Network, SVP, Operations and Engineering

ADVISORY BOARD MEMBERS

Adam Acone, NFL Network, Director, Media Operations and Planning

Glenn Adamo, Ivanhoe Media and Entertainment, President

Peter Angell, Sunset+Vine, CEO

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

Marsha Bird, NBC Olympics, VP, Olympic Operations

Onnie Bose, NFL, VP of Broadcasting

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

Kendall Burgess, MLB, VP of Operations, Local Media

Tab Butler, Industry Consultant

Chris Calcinari, ESPN, SVP, Production Operations, Disney Media and Entertainment

Kevin Callahan, Fox Sports, VP, Field Operations

Mary Ellen Carlyle, Dome Productions, SVP and GM

Brad Cheney, Fox Sports, VP, Field Operations and Engineering

Ken Clausen, HBO, Director of Production

Joe Cohen, Industry Consultant

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

Don Colantonio, Industry Consultant

Scott Davis, CBS Sports, VP of Broadcast Operations

Jim DeFilippis, Industry Consultant

Ken DeGennaro, NBA, SVP of Media Operations and Technology

Ed Delaney, Industry Consultant

Jed Drake, Industry Consultant

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

Patti Fallick, USTA, Managing Director, Broadcast

Mike Francis, CBS Sports, VP, Engineering and Technology

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

Jerry Gepner, IABM, CEO

Steve Gorsuch, Industry Consultant

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

Mark Haden, National Hockey League, Group VP, Broadcast Technology

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

Ed Holmes, The Holmes Group, Principal

Deb Honkus, NEP Broadcasting, Chairman of the Board

George Hoover, Industry Consultant

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

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

John Kvatek, Industry Consultant

John Leland, PSL International, LLC, Principal

Glen Levine, NEP, President, U.S.

Louis Libin, Broad Comm, President

Jodi Markley, Industry Consultant

Geoff Mason, Industry Consultant

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

Grant Nodine, NHL, SVP, Technology

Ken Norris, UCLA, Director of Video Operations

Gary Olson, GHO Group, Managing Director

Del Parks, Sinclair Broadcast Group, SVP and CTO

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

Larry Rogers, FirstInTV, President

Mike Rokosa, Industry Consultant

Scott Rothenberg, NEP, SVP, Technology and Asset Management

Oscar Sanchez, CONCACAF, Executive Producer & Director of Broadcast Operations and Media Distribution

David Schafer, MSG Networks, SVP, Operations

Bruce Shapiro, Broadcast Consulting

Tracey Shaw, Digital Joy, President and Co-Founder

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

Jared Stacy, Amazon, Director, Global Live Sports Production

Jerry Steinberg, Industry Consultant

Steve Stum, NASCAR, VP, Operations and Technical Production

Patrick Sullivan, Game Creek Video, President

Jason Taubman, Game Creek Video, VP Design/New Technology

Tina Thornton, ESPN, EVP, Creative Studio and Marketing

Larry Tiscornia, Industry Consultant

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

Eli Velazquez, NBCUniversal Telemundo Enterprises, EVP of Sports

John Ward, Amazon, Senior Manager, Technical Operations

Ernie Watts,

Mike

Jeff

Dave

Looking Ahead

Welcome to the 2024 SVG Sports Production Yearbook!

By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial

Over the years this publication has evolved with the times, expanding beyond an overview of all the new trucks that hit the road to instead become an annual touchstone that celebrates the wide range of production accomplishments that took place during the year. At its heart is a simple message: the sports production industry is one of the most vibrant, durable, and efficient industries in the broadcast business. But, most importantly, the industry has amazing professionals across the U.S. that work hard to ensure that their productions go off as smoothly as possible.

Along with our annual Gearbase Survey and SVG Sponsor Updates, we also have some great overviews of key events that highlighted the changing nature of sports production. The pandemic laid the foundation for new ways of working, most notably with production team members being able to do their jobs remotely and, often, from home. At the time many wondered whether those new ways of working signaled the end of the old ways (everyone onsite at a location and working in trucks) and the beginning of a new way (a small engineering team and camera and audio professionals on site and everyone else working remotely).

Well, as is often the case, the reality of production in a post-pandemic world is a mix of both the old and the new. Yes, the industry is seeing more personnel working remotely but — and it's an important note — that decision is based on whether it can be done without impacting the quality of the production.

And here is one of the most fascinating developments in 2023 (and most likely for the year ahead as well): the scales of productions continue to grow and that actually causes two points of pressure. First, to have more people onsite because there are more people creating more content (for example, social media and alternative broadcasts as well as teams and even athletes are creating content at the venue) but also to have more people working remotely because there is only so much room in a compound for all of the entities. There was a time when this pressure was limited to something like an Olympics or a World Cup but now it is being felt at nearly every major championship-level event.

So, when the history books will be written, what will 2023 mean with respect to the sports production community? It will be seen as a pivotal year, where major remote production facility providers laid a foundation for more cloudbased and remote control rooms to be tied into a venue (and the trucks onsite). It will be seen as a pivotal year for formats like HDR and 1080p, which increasingly became the norm around the globe. And it will be seen as a pivotal year in the sports rights world as more and more digital platforms snag a piece of rights deals so that sports leagues content can be found not only on traditional broadcast and cable outlets but OTT and streaming.

We hope you enjoy this year's edition of the SVG Yearbook, and we look forward to doing it all again next year!

Introducing the world’s most portable all-in-one television studio!

ATEM Television Studio 4K8 is a professional live production switcher built into a broadcast control panel so it can be used for high end work while being extremely portable. You get a powerful switcher with 8 x 12G-SDI standards converted inputs, 10 x 12G-SDI aux outputs, 4 chroma keyers, 2 downstream keyers, SuperSource, 2 media players and lots of transitions!

Easy to Use and Fast to Learn!

There’s never been a switcher that’s easier to use, as you simply press any of the program row buttons on the front panel to cut between video sources. You can select from exciting transitions such as dissolve, or more dramatic effects such as dip to color, DVE squeeze and DVE push. You can even add a DVE for picture in picture effects with customized graphics. Then you can live stream the results!

Self Contained Broadcast Quality Switcher

The ATEM Television Studio 4K8 combines a switcher and control panel into the same unit, so it’s extremely portable. The front panel includes buttons for selecting sources, triggering transitions and setting up video effects. You also get a built in t-bar for manual transition control! The front panel even has an innovative audio mixer control area with live metering on a dedicated LCD.

Powerful SuperSource Processing!

In addition to the DVE in the ATEM Television Studio 4K8, there is also a powerful SuperSource multi layer processor! Any video input can be used as sources for each DVE, then it’s all layered together over a media pool custom background or live video. SuperSource is perfect for interviews because you can set up the effect so the viewer can see each person being interviewed all within a stylish graphic.

Built In Fairlight Audio Mixer

With a built in Fairlight audio mixer, ATEM Television Studio 4K8 makes it possible to do complex live sound mixing. The internal mixer features enough channels for all SDI inputs, as well as extra channels for the XLR, RCA and MADI inputs! Each input channel features the highest quality 6 band parametric EQ, compressor, limiter, expander and noise gate as well as level and pan controls.

ATEM Television Studio 4K8

$4,595

2023 YEAR IN REVIEW

A Look Back at The Top Sports Stories of 2023

The U.S. live-sports-production industry was as busy as ever in 2023, delivering thousands of events to millions of viewers throughout the country — and across the globe. As the sports-media sector faces new economic challenges, our industry continues to deliver high-quality live coverage despite the constant economic pressure to deliver more for less.

The ensuing pages provide an in-depth look at how the industry continued to innovate in 2023 and the monumental efforts undertaken by leagues and broadcasters to produce the biggest events of the year.

Among the highlights: Fox Sports’ efforts down under at the FIFA Women’s World Cup and in the desert with Super LVII; on the ice for the NHL Winter Classic, All-Star Game, and Stanley Cup Final; on the hardcourt for the NBA All-Star Game, Finals, and inaugural In-Season Tournament; the roar of the iconic Daytona 500 and brand new F1 Las Vegas Grand Prix; the World Baseball Classic, MLB All-Star Game, and World Series on the diamond; cutting down the nets with the NCAA Men’s and Women’s Final Four; ESPN’s worldwide Grand Slam tour headlined by Wimbledon and the US Open; and teeing up the Players Championship, PGA Championship, U.S. Open, Open Championship, and Ryder Cup — plus the NFL Draft and MLS Cup. continued on page 20

Meet the MVPs of Labor Management

Talented Labor

With 50 operations & crewing managers and 18,000 technicians, Program Productions provides top-tier labor at North America’s biggest events - covering 30,000 event days each year.

Get connected at programproductions.com.

Powerful Technology

Discover ProCrewz® , the end-to-end labor management platform and mobile app, using innovative technology to deliver an efficient and collaborative system for operations departments managing remote broadcast crews. Integrated with XLT, ProCrewz® offers a seamless experience from the point of hire through payroll.

Explore key features and watch demos at procrewz.com.

Guaranteed Compliance Assurance

Powered by ProCrewz®, XLT provides a wide range of payroll management services that maximize efficiency and minimize hassle. From data management and employment compliance assurance to payroll processing and beyond – let XLT take on the burden.

Learn more at xltms.com.

YEAR IN REVIEW JANUARY

NHL WINTER CLASSIC

The 2023 NHL Winter Classic marked the second time that Boston’s Fenway Park hosted the New Year’s event. This time, the NHL positioned the rink differently. It’s the first time where a Winter Classic has been hosted at a baseball stadium and the rink hasn’t been positioned running from third base to first base.

This NHL Winter Classic — the 14th in the history of the tentpole New Year’s event — was the second produced by WBD Sports, but in a lot of ways, this was the first where the network has been able to go as “all out” as they envisioned when they first landed the marquee event upon the signing of its rights deal with the NHL in 2021.

“It is so unbelievable,” beamed Lee Estroff, Director, Technical Operations for WBD Sports. “I mean, this is how the Winter Classic should be. The fact that everybody can congregate, be outside and

NHL ALL-STAR GAME

As temperatures dropped in the dead of winter, the NHL’s hottest stars flew south to Florida’s FLA Live Arena for 2023 Honda NHL All-Star Weekend. ESPN was in the driver’s seat for the two-day, show-stopping event with an impressive technological arsenal, including Goalie Cam, aerial views from an indoor Supracam system and a live drone outside the venue, and multiple augmented-reality overlays.

“Since this is our second year covering All-Star Weekend, we get to improve from what we learned last year by finding ways to strengthen our coverage while expanding access and creativity,” said Linda Schulz, coordinating producer, ESPN. “Documentation will

not have to run from trailer to trailer or deal with frostbite, it’s very pleasant. I think we all have a new appreciation for how cold it could be out here. We’re all very happy and we’re very thankful, for sure because I think everybody still has a lot of scars from last year.”

For more, CLICK HERE

always be priority number one, but the fact that it’s an exhibition game means that fun is a close second.”

Similar to coverage of the NFL Pro Bowl, the broadcaster pulled out all the production stops to bring a high-quality broadcast to fans watching at home. The biggest addition was integration of wearable cameras on the chest or head of players and referees. The most notable was Goalie Cam, which provided a view on what it’s like to be between the pipes and inside the goalie’s crease.

Inside the arena, a four-point, gyro-stabilized Supracam system flew above the surface of the ice. Outside, ESPN’s team piloted a drone, which was also joined by Goodyear’s aerial coverage.

For more, CLICK HERE

The 2023 NHL Winter Classic marked the second time that Boston’s Fenway Park has hosted the New Year’s event.

Left: ESPN deployed 55 native cameras and shared resources with Sportsnet, TVA, and NHL Network. Right:The remote studio operations team constructed a tiki bar-inspired set at FLA Live Arena.

HTML5 Broadcast Graphics for the cloud age

No downloads | No hardware | No local installation | All cloud

Sports organizations and broadcasters – engage fans at home and in the stands while streamlining your graphics production workflows with Viz Flowics.

Studio Shows

Integrate fan engagement and sports statistics. Create all graphics, including social media participation, QR codes, polls, live stats and more. Captivate your audience while powering digital properties.

Live Events

Use Viz Flowics, our cloud-based graphics engine to incorporate real-time data and statistics into the production of live games and competitions. Simplify live sports productions with our unique data integration workflows.

Transform your sports broadcasts with the power of cloud-based graphics.

CONNECT WITH A VIZRT SPECIALIST

Photo © 2023 Thomas Fletcher

From the flagship Advanced Digital Audio Matrix (ADAM) systems used to coordinate major network broadcasts of the world’s largest events to the wide range of wired/wireless and IP/digital/analog solutions we offer for applications of any size, RTS is dedicated to innovating the future of global communications.

• ODIN (OMNEO digital intercom matrix)

• TM-10K (Trunkmaster)

• VLINK (virtual intercom app for mobile/remote users)

• KP-SERIES (IP keypanels)

• DBP (Digital Beltpack)

• ROAMEO (DECT-based wireless)

What makes the RTS difference?

• More compatible systems – with open public standards (e.g. ST 2110, OMNEO, Dante, AES67, AES70) AND more backwardscompatibility with legacy systems

• More complete range of IP-based systems –from matrices to keypanels to beltpacks

• More intelligent IP connections for plug and play setup – with automatic recognition of devices on the network

• More scalable systems – with far higher port density possible per frame than with competitors’ products

• Engineering, manufacturing and logistics resources reinforced on a global scale as part of the Bosch Group

YEAR IN REVIEW FEBRUARY

NBA ALL-STAR

For WBD Sports, the NBA All-Star Game Weekend at Vivint Arena in Salt Lake City was a showcase for new technologies and new applications. All-Star Saturday Night and the All-Star Game on Sunday featured the use of drones, two-way audio communications between players and WBD Sports talent during the game, a new way of connecting trucks in the compound via NEP’s Total Facility Control, and a new wrinkle in each team’s roster draft that made the run-up to the game a bit more frenetic.

“Every year, we try to bring things forward a little bit and add some new challenges,” says Chris Brown, VP, production operations and technology, WBD Sports. “One this year is that the draft of each team will be done about 20 minutes before the game rather than on the Thursday night before. And one thing that is important for storytelling are the scoring systems: all of those are going to be populated in around 20 minutes so they can be ready before the game starts.”

The show continued to grow. Among the 80+ cameras deployed was a C360 camera in each basket stanchion, a drone, a Flycam,

DAYTONA 500

Coming off the previous weekend’s exhilarating Super Bowl LVII (turn to page 32 for more), Fox Sports had every right to be a bit exhausted from its all-out coverage of the Big Game. However, the broadcaster returned to Daytona International Speedway for its 20th Daytona 500 with new technology in tow: a brand-new POV camera was integrated into a handful of helmets, and onsite operation of EVS XtraMotion combined with a deep bag of super-slow-motion cameras.

“[This show] comes down to our talent and our crew,” said Mike Davies, SVP, technical and field operations, Fox Sports. “If we didn’t

shallow–depth-of-field cameras (and a new wide-angle Fujinon lens on a Sony HDC-4800 for a cinematic look). Upwards of 60 microphones were used. Handling it all were 14 NEP production trucks parked in the compound, which was located inside Salt Palace Convention Center, right across the street from Vivint Arena, home to All-Star Saturday Night and Sunday’s All-Star Game.

For more, CLICK HERE

have the kind of culture that we have here, I think it would be a lot harder of a job to do.”

On any Fox Sports broadcast property, the production and operations teams put viewers at the heart of the moment. When it comes to motorsports and, more specifically, NASCAR, seeing what’s going on inside a car going more than 200 mph can get anyone’s heart racing. This can be accomplished by the numerous in-car cameras deployed for any given race, but, for the Daytona 500, the number increased to ensure that every detail was covered. Whether its cameras located in the front or rear bumpers, cameras installed near the dashboard for a peek at the driver, Roof Cams to give the perspective of the race from above the car, or the more intimate Visor Cam that puts fans at eye-level in the car, there were no shortage of vantage points during the famous 250 laps.

For more, CLICK HERE

A wide shot of the NBA All-Star Game Weekend compound

This jib, located next to Fox Sports’ studio set, was similar to the jib positioned between Turns 3 and 4.

Fox Sports celebrated NASCAR’s 75th-anniversary season with a new logo displayed on the Chevrolet building.

The Signiant Platform Tackles Growing Files

The Signiant Platform supports the accelerated movement of growing files over any IP network. Transferring growing files is a mission-critical capability in many workflows and is widely used in live sports productions. Learn More

New Solutions for Desktop I/O, openGear and Color

New KONA® X

• Capture/Playback 4K/UltraHD/2K/HD/SD up to 60p, as low as sub-frame latency

• Dual bi-directional 12G-SDI connections with 16-channel embedded audio

• Dual HDMI 2.0, 1x for input and 1x for output

• VESA resolution support on HDMI I/O

• YCbCr 4:2:2 10-bit and RGB 4:4:4 12-bit

• Support for OEM applications with AJA SDK and In-Firmware Microcontroller

• Supports graphics with alpha channel

• HLG and HDR10 support via HDMI

• Includes support for Apple silicon

• Optional KONA Xpand card provides expanded audio and control connectivity

New openGear

® Converters

Four new openGear Converters:

• OG-Hi5-12G - 12G-SDI to HDMI 2.0

• OG-HA5-12G - HDMI 2.0 to 12G-SDI

• OG-12G-AM - 12G-SDI, AES/EBU embed/disembed

• OG-12G-AMA - 12G-SDI, analog audio embed/disembed

• All models include DashBoard support

• OG-Hi5-12G & OG-HA5-12G include an SFP port with available Fiber LC and ST options

• Compatible with openGear rackframes

• Rear I/O card included

HDR Image Analyzer 12G v3.0 Update

Free update for HDR Image Analyzer 12G offering powerful new features:

• Multi-channel signal analysis

- Up to four channels of 4K/UltraHD

• NDI® input

- Mix and match analysis of NDI and SDI

• Dolby Vision dynamic metadata analysis

- Display of SDI embedded DV metadata

• ARRI LogC4 support

- Scene referred camera Log analysis

• Additional 8K video format support

www.aja.com/whatsnew

Expect more

Experience how to navigate the current and future challenges in broadcast, media, and entertainment.

Qvest is the world’s leading end-to-end media consultancy & system integrator, helping to innovate business with custom-fit solutions for the development and modernization of technology projects.

Big Events. Big Screens. Big Expectations.

When it comes to IMAG at live events, every millisecond matters. That’s why Ranger is the ultimate solution for keeping your audience engaged. With its patented zerodelay technology and visually lossless 4K video quality, Ranger immerses everyone in the action.

YEAR IN REVIEW SPOTLIGHT

ROAD

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

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

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

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

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

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

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

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

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

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

For more, CLICK HERE

The Fox Sports main set at Super Bowl LVII made use of AR technology in a big way.

Mike Davies

How to keep up with increasing content demands? Whether you’re creating for sports networks, websites, streaming, or social media, Avid provides reliable, scalable, efficient media production solutions to help you meet rising needs—from ingest and recording, to editing, storage, and logging (plus importing stats feeds). Avid’s industry-leading tools get media to audiences faster.

SECURE CONTENT INGEST, STORAGE, AND PLAYOUT

REAL-TIME MEDIA DISTRIBUTION AUDIENCE ENGAGEMENT

Engage fans everywhere they consume sports content. Scan to learn more.

REAL-TIME HIGHLIGHTS

CREATIVE EDITING

SOCIAL MEDIA INTERACTION

System T Tempest Control App

THE GO TO ON GAME DAY

POWERFUL CONTROL SOLUTIONS FOR LED DISPLAYS & LIVE BROADCASTS

“

We wanted to make our stats and the way we presented a lot of our content more dynamic. We said we need to have Camino. We can’t display stats and information without doing it this way.”

Abbey Thistle Director of Event Presentation & Fan Engagement The Kraft Group

It’s a new era at Gillette Stadium for the Patriots. Hear firsthand from Abbey Thistle, Director of Event Presentation and Fan Engagement, how they’re harnessing the power of Show Control with Camino to reinvent their shows with exciting and dynamic content.

WATCH THE FULL INTERVIEW HERE

Learn more at Daktronics.com/Show

The future of broadcasting is here. Powered by Verizon 5G.

Verizon 5G Ultra Wideband is transforming liveTV production. With more wireless video feeds and less equipment, Verizon can help boost broadcast quality, reduce setup time and control operational costs.

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

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

The network America relies on. Visit verizon.com/entertainmentsolutions

YEAR IN REVIEW MARCH

WORLD BASEBALL CLASSIC

If the Major League Baseball regular season is a marathon, the World Baseball Classic (WBC) can rightfully be seen as a sprint. With domestic and international baseball fans glued to their television sets, MLB Network was tasked with supplying the production and operations foundation for this sprint with a worldfeed model for 63 media partners in 144 countries.

“It’s the sheer volume of 47 games in 14 days in three countries on two continents in multiple time zones,” said Jason Hedgcock, senior director, remote technical operations, MLB Network. “There were a lot of doubleheaders, so we needed to develop a plan that could be executed and replicable.”

Since the launch of the World Baseball Classic in 2006, MLB Network has provided resources to broadcasters looking to showcase the global competition. For this year’s edition, the network constructed a baseline production of eight unilateral hard cameras: a high-speed unit at 6X, a mid-home robotic camera, POVs for

For more, CLICK HERE

PLAYERS CHAMPIONSHIP

The NBC Sports golf-production team once again covered all the action at the PLAYERS Championship at TPC Sawgrass in Ponte Vedra Beach, FL, with a team of 285 for on-course coverage (working with 65 cameras), a team of 60 for Live From coverage, and some new production tweaks.

“Everything has been great,” said Allison McAllister, VP, golf operations, NBC Sports. “We’re lucky that we have a great team in place and a great partnership with the PGA TOUR, along with other vendors to make the PLAYERS a successful event.”

According to Marc Caputo, director, remote technical operations, NBC Sports, Live From coverage was essentially the same as last year’s, an 11-camera complement comprising a Flycam and four Telemetric cameras controlled from Stamford, CT. The Newbert flypack was once again on hand for transmission support between the course and Stamford. One change was that the Rules Official moved into NEP Supershooter 17 unit, giving the production team space for a rain room. NEP ND1 and ND7 were at the center of NBC’s coverage, with NEP XL1, Fiber 2, and ESU in supporting roles.

“We did add a second roving camera this year so we could do two different reporter standups simultaneously,” Caputo added. “Robovision has provided the cameras at the practice range, both down range and back range, as well as the short-game area. They’ve been a good partner.

For more, CLICK HERE

broadcasters to splice into their respective telecasts, and an RF camera for basic angles from a handheld position.

A JitaCam was installed at the 18th hole to provide shot tracing of tee shots.

MLB Network handled camera feeds for the world-feed production of the World Baseball Classic.

Create Impactful Video Content On and Off the Field

The word “Kairos” describes the opportune moment in time and space to make a decision; the moment you have the clarity to move forward. In sports, every moment becomes a KAIROS moment.

KAIROS is a live production platform that gives professionals unlimited control to deliver rich content for broadcast, large screen display and live streams. Manage both your broadcast and streaming feeds as well as the feeds to the video screens in your stadium.

KAIROS delivers unrestricted, customizable layers and M/Es with the simple use of macros for the ultimate freedom to create input sources with different resolutions, such as HD and UHD, simultaneously, making it easy to create video productions in 16:9, portrait or landscape, as well as any custom aspect ratio with resolution up to 32 M pixels (8K).

Scan code to learn how to take your production to the next level

Content Delivery Speed or Security?

With Fortinet, You Don’t Need to Compromise.

Today’s consumer expects instant, reliable, high-quality streaming. Hyperscale data centers provide ultrafast content delivery, but when security solutions can’t keep up, you’re left with a tough decision. Fortinet provides security at speed with the industry’s best threat protection performance. Ultra-low latency next-generation firewalls deliver fast and secure entertainment experiences from live sports to family movies. Fortinet’s purpose-built security hardware protects network traffic and sensitive data without constraining bandwidth or compromising customer experience. To learn more, visit www.fortinet.com/m&e

¸PRISMON AUDIO/VIDEO

CONTENT MONITORING AND MULTIVIEWER

Convergent next generation solution for broadcast and streaming services

 Multistandard/multiprotocol support for unmatched versatility (e.g. ASI, (3G-)SDI, SMPTE2022-1/2, SMPTE2022-6/7, SMPTE2110-20/21/30/40, AMWA NMOS, OTT multiprotocol suite, DVB, NDI®, SRT)

 Multi-application approach for A/V monitoring in playout/contribution and distribution environments on a single platform

 Low latency multiviewer solution for IP based studio/production/playout environments

 Fully software defined solution for future-proof extensibility

 Cloud-enabled platform and orchestration-ready design for dynamic and flexible allocation of monitoring capacity

YEAR IN REVIEW APRIL

NCAA MEN’S BASKETBALL FINAL FOUR

The NCAA Men’s Basketball Final Four is an annual breeding ground for technology and sports broadcast innovation, and while that was true again in Houston, the 2023 show was, seemingly more than ever, about the production’s people.

Among some of the key production and operations highlights was the debut of a live drone flying inside NRG Stadium, the rollout of a new version of the RailCam system that sports two cameras instead of one, the move to Game Creek Video’s Encore mobile production unit as the main game truck, and a more comprehensive arsenal of super slow-mos and robotic camera systems.

“The [WBD Sports] team and our team at CBS, started really good, healthy discussions as early as September to talk about, not just the Final Four, but quite frankly all of March Madness,” said Jason Cohen, VP, remote technical operations for CBS Sports. “It’s one giant event, as far as we’re concerned. So mapping out everything from mobile units for each round in each city to the technology that goes into each game — the number of cameras, super slow motions, EVSs, robotics, Steadicams, power providers, and so on — it’s all a part of the plan and we just transition to what we have here at the Final Four.”

There were north of 60 cameras inside NRG Stadium between the

game production and studio shows. Many of those resources get shared by both sides. The game show had access to a whopping 16 super slowmotion cameras — including at standard hard camera and handheld positions, as well as on robos above the rims (4K, two-times cutout), ones shooting at 6x above the backboards, and on Pico cameras buried in the basket stanchion.

For more, CLICK HERE

NCAA WOMEN’S BASKETBALL FINAL FOUR

The 2023 NCAA Women’s Basketball Championship on ESPN delivered big ratings so it was only fitting that the Final Four and the Final got a big treatment as well. More than 40 cameras were deployed around American Airlines Center in Dallas,

including a SkyCam and a railcam, and there was also a pre-game studio show outside on the plaza.

“Clearly we’re thrilled with the ratings, but we’re also thrilled with the production as across the board everyone is 100% into it,” said Pat Lowry, who at the time was VP, Production, ESPN. “At one point we had 16 production teams and two studio teams going and you could go from one to the next without feeling there was a drop off in the quality. It’s a really good place to be. Our operations teams have been killing it and giving us everything we want.”

ESPN Remote Operations Supervisor Catherine Carroon said the partnership with production has been greater than ever as the productions for each round have gotten bigger. “It was great to be able to put so many extra resources towards these really well deserving games,” she added.

For more, CLICK HERE

The RailCam was back at the Women’s Final Four for ESPN (Photo by Allen Kee / ESPN Images)

The camera arsenal included a whopping 16 super slow-motion cameras, including robos above the rims, ones shooting at 6x above the backboards, and Pico cameras buried in the basket stanchions.

MONETIZE FASTER PROTECT FOREVER

The world's leading sports organizations trust Perifery to preserve their content archives.

Perifery is dedicated to delivering world-class solutions to address the growing demands for content archive, preservation, and distribution. Built with your business in mind, Swarm and Object Matrix software, appliances and edge devices, preserve and protect valuable content at the core, edge, and cloud.

To significantly speed up workflows, Perifery includes the revolutionary Perifery Panel plug-in for Adobe Premiere Pro users which accelerates access to digital content, enables advanced metadata enrichment and classification, so projects can get done faster.

Fast, secure, affordable, at any scale, media professionals monetize faster with Perifery Software, Appliances

Get in the Game with

Emerald® DESKVUE

Want to create an exceptional user experience? Personalize your workspace with our new, award-winning solution, Emerald® DESKVUE. Monitor and interact with up to 16 physical and virtual systems from an OB van on up to four 4K screens (one screen can be 5K). Perfect for fast-paced sports production, DESKVUE uses low bandwidth and instantly delivers live play-by-play game action to your viewers’ living rooms.

One small box replaces up to 16 user stations and a multi-viewer

• Connects seamlessly to physical and virtual machines

• Increases situational awareness

• Access essential information fast

Emerald® DESKVUE

YEAR IN REVIEW MAY

NFL DRAFT

The Disney/ESPN family again produced two completely distinct live broadcasts of Draft Weekend, with ESPN providing the more NFL/football-focused perspective and ABC offering College GameDay and its more human-interest–focused approach to the occasion. With its own complement and shared resources with NFL Media, ESPN had more than 60 cameras onsite to cover the massive Draft footprint that expanded from the main theater directly in front of Kansas City’s Union Station out to the far reaches of the World War I Memorial, where the Red Carpet and various fan activations were in place.

“It’s as big as it has ever been,” said Steve Carter, senior operations manager, ESPN. “We look at this not so much as a sporting event but as an entertainment program. With that, sometimes you need cameras that you wouldn’t need for sports to catch some of the reactions and everything going on here.”

The lineup of RF and specialty cameras certainly reflected the uniqueness of the layout. There were upwards of 14 RF cameras across the campus, including in the theater and in the Green Room inside Union Station, where Draft prospects waited to hear their name called. ESPN erected a two-point cabled aerial camera system that extended from beyond the College GameDay set at the base of the War Memorial to inside the theater where, just off to the side of the stage, ESPN’s main studio set was erected. For more on ESPN, CLICK HERE

For television coverage on NFL Network, NFL Media had two primary set positions: one in the corner of the main theater, the other outside the stage near the fountain across the street from Union Station). According to Dave Shaw, VP/ head of media operations, NFL Media, that was a conscious, creative choice to capture more of the event in the backdrop of the shots — a lesson learned from last year’s event in Las Vegas.

“It’s neat having our set further back and behind some of the [fans] because it’s vast, it’s big,” said Shaw. “It’s unique for us to have that. Being out in front of the Bellagio last year, we learned how neat a good backdrop is. You don’t necessarily need to be inside and right on top of the commissioner to cover the event really well.” For more on NFL Network, CLICK HERE

PGA CHAMPIONSHIP

As the PGA Championship’s first round began, so too did a new era for CBS Sports.

The compound at Oak Hill Country Club in Rochester, NY, made the leap to IP and ST 2110, a move that made a difference not just to those working the event but also to viewers at home.

“We started this IP journey in 2015 with [NEP] Supershooter CBS,” said Mike Francis, VP, engineering and technology, CBS Sports. “We needed a truck that could keep up with the expanding show. It’s a dream realized. Back in 2015, we said, ‘Won’t it be great someday when we all just connect to a central switch and can get everything?’ That is finally here.”

Meetings between the CBS team, NEP, Game Creek, and F&F, along with Lawo, Evertz, and Grass Valley on the routing side, set in motion the new ST 2110 workflow. The linchpin was the use of NEP TFC (Total Facility Control), a proprietary software platform designed to enable greater signal control and monitoring. With TFC at the center, the compound moved from a hub-and-spoke to a spine-and-leaf network with fiber strands from the TFC to each truck, allowing anyone anywhere to access the audio and video signals they need while also providing redundancy.

For more, CLICK HERE

At the 2023 NFL Draft, ESPN’s coverage wasanchored from a set erected within the main theater on the steps of Kansas City’s Union Station.

Game Creek Video Prime mobile unit handled back-nine duties for the PGA Championship.

When the Game’s On the Line, Telestream Captures the Moment

Guarantee every moment is captured, processed and delivered with crystal-clear precision.

Built on Vantage, the industry-leading media processing solution.

Trusted by the world’s top broadcasters.

Streamline Your Workflow with IP KVM!

IP KVM is changing live sports broadcasting, and many of the world’s biggest venues and producers are already reaping the rewards.

With the ADDERLink® INFINITY range, you can remotely control multiple cameras, switch between camera angles, and easily manage other equipment, all from a centralized location. This allows for more efficient and cost-effective broadcasting, and a better fan experience.

OB

Remote Production

Live Broadcast

Stadium Experience

Live Events

YEAR IN REVIEW JUNE

NBA FINALS

ESPN’s operations team withstood the challenges of a nationspanning championship between the Denver Nuggets and Miami Heat with logistical know-how and arduous planning.

“[The Finals] have gone very smoothly, but a lot of our job is about reducing risk,” said Eddie Okuno, senior remote operations specialist, ESPN. “We always have to keep an eye on the calendar and the standings to see which cities we’ll be going to.”

Inside the venue, the team had a total of 55 camera feeds to choose from for the 1080p broadcast. Leading the way, the Sony HDC-4800 cinematic 4K camera provided super-slow-motion shots at 8X speed. Sony had a large presence in the productions, with more than 30 cameras deployed in the lower bowl and around the arena, including 18 HDC-4300’s (five handhelds at speeds from 4X to 6X), two P-43’s above-the-rim robos, two HDC-5500’s, and two PXW-Z450’s. More important, the camera manufacturer plays a part in the Skycam system with a Sony HDC-P50 and in ESPN’s preferred shallow–depth-of-field rig with a Sony Alpha 1. For more, CLICK HERE

WBD Sports’ AnkleCam was deployed for TNT’s coverage of the 2023 Eastern Conference Final. The angle was made possible by placing a robotic camera (shooting in shallow depth of field) behind glass in the bottom corner of the end boards of the rink.

NHL STANLEY CUP FINALS

For the operations team at Warner Bros. Discovery Sports, the NHL Stanley Cup Finals presented another opportunity to rise to the occasion of its first professional sports championship moment.

WBD Sports was onsite at T-Mobile Arena with more than 40 cameras, a robust audio plan, and the newly built NEP Supershooter 7 to meet the needs of this unique production for the team. According to Chris Brown, VP, tech operations, WBD Sports, his team has handled countless big-time events before but this Stanley Cup Final demands a unique effort level from the company.

He described it as combining the technical complexity of an event like the NHL Winter Classic with the logistical complexity an NHL of NBA Conference Final.

It’s an effort, though, that Brown was proud to say his team was relishing.

“Its been a long time coming,” said Brown. “To have an opportunity to be on a global stage with this event is truly exciting and has brought life into the operations and production teams alike. This is something we have all wanted an opportunity to showcase for a very long time.”

For more, CLICK HERE

Eddie Okuno was at the helm of ESPN’s remote-operations team for the 2023 NBA Finals.

(Photo: WBD Sports)

AND KVM FEELS RIGHT.

You can‘t always see G&D right away. The products and solutions are often hidden. But they are systemically relevant and work. Always!

You can rely on G&D. And be absolutely certain. That‘s quality you can feel. When working in a control room. With every click. When installing in a server rack or at workplaces. G&D ensures that you can operate your systems securely, quickly, and in high quality over long distances. People working in control rooms can rely on G&D.

G&D simply feels right.

YEAR IN REVIEW JUNE

U.S. OPEN

For the team at NBC Sports, the final day at the U.S. Open Championship at The Los Angeles Country Club marked the end of months of planning and weeks of execution to deliver a final round that had the most dramatic storylines in quite some time.

“We had weekly meetings that started in January because we knew what a challenge this course was going to be,” said NBC Sports, VP, Golf Operations, Allison McAllister. “Our team has executed amazingly. It has been a wonderful thing to see. Obviously, there are always the ‘oh, by the ways’ that pop up at a major, but we’ve been able to pivot and make it work.”

NBC Sports, the USGA, and related partners had to figure out a plan to navigate a country club that has Wilshire Boulevard running right through it. The course, fans, and players were located on the north side of the street, and the TV compound was located on the south side. At the center of the compound were NEP ND7 and ND1 production trucks, supporting the NBC show, and NEP Supershooter 9, handling the Featured Groups coverage.

For more, CLICK HERE

WIMBLEDON

ESPN increased its presence at Wimbledon and built on its already extensive coverage of the annual tennis tournament, amid strong viewership for the 2023 edition of the Championships.

ESPN’s overall linear tournament viewing figures were higher than last year’s, with a 7% increase in viewers across ABC, ESPN and ESPN2, while this year’s tournament was the most-watched tennis tournament on ESPN+ to date.

Against that backdrop of some healthy viewing figures, ESPN and the All England Lawn Tennis Club (AELTC) are about to

embark on a major refurbishment of the facilities used by ESPN to produce its coverage of the tournament.

AELTC head of broadcast, production and media rights Paul Davies said, “We have a new deal with ESPN from next year for 12 years…they’ve shown a huge commitment to us, and our gesture to them is that we’re going to provide a world-class, state-of-the-art production facility.”

ESPN VP production Jamie Reynolds added, “The commitment to making this whole thing bigger, better and bolder has been a long-range plan between us, the club and all their partners.”

For more, CLICK HERE

Handheld cameras allowed close-up coverage of players, such as Rory McIlroy here on the challenging par-5 8th hole.

Jamie Reynolds, left, in the ESPN truck

Simple to use, reliable, and cost effective, BRAVO Studio is a virtual production control suite to help tell your story to the audience.

BRAVO Studio enables users to ingest feeds; live video/audio mixing; replays; clip playout; highlight clipping and packaging; dynamic graphics; and view all inputs/output on an intuitive user interface. BRAVO Studio simplifies the production with its data driven co–pilots that allow small teams produce multiple stories.

45W per channel

TV Tech Best in Show

Up to 2 channels per RU

Award-winning conversion

The most efficient and sustainable option

Trusted by the largest broadcasters

Scalable hardware for global sporting events

The ultimate in standards conversion, handle any content inc. 4K & UHD.

Find out more www.insync.tv

Award-winning live software conversion on prem or in the cloud.

Revolutionizing Cloud Playout for CBS Sports Golazo Network

Collaborating with CBS Sports on the launch of the Golazo Network is a landmark moment for Net Insight. By harnessing the power of cloud-based playout for premium content, we have ushered in a new era of sports broadcasting. Our cloud native Nimbra Edge solution manages all routing of SRT feeds within the cloud.”

Per Lindgren, Group CTO at Net Insight

YEAR IN REVIEW JULY

MLB ALL STAR

The Pacific Northwest took the sports stage when Fox Sports delivered its 24th Major League Baseball All-Star Game. As has become the hallmark of MLB on Fox tentpole events, added emphasis was placed on aerial cameras capturing the star-studded imagery from T-Mobile Park in Seattle.

Fox Sports flew a pair of live drones in partnership with Beverly Hills Aerials. One had MLB permission to fly over the field of play, a first for a Major League Baseball game.

Additionally, Fox Sports didn’t rig up its own cabled aerial camera but instead used the two-point cabled Dactylcam Pro from Defy that was permanently installed in the ballpark in 2020 by Seattle Mariners’ RSN partner ROOT Sports Northwest. The show also deployed a helicopter and a fixed-wing aircraft.

“The big thing for us this year is cameras in air,” said Brad Cheney, VP, field operations and engineering, Fox Sports. “It’s a much different workflow for us here than it has been anywhere else. It’s more aerial coverage than we’ve ever had at an All-Star Game so we’re really excited.”

For more, CLICK HERE

OPEN CHAMPIONSHIP

For the team at NBC Sports covering the 151st Open Championship, one production highlight didn’t have anything to do with the on-course coverage. Instead, the live opening hit for the final round featured NBC Sports golf host Mike Tirico on Little Eye Island, an island off the coast of West Kirby providing a dramatic view of Royal Liverpool Golf Club.

According to NBC Sports VP, Golf Operations, Allison McAllister, the idea came up during the spring survey when producer Tommy Roy and some club members were talking about options for doing something special for the final round.

“They came up with this great idea to go out on Little Eye,” McAllister explained. “The club member was so excited about the plan, he called the Rangers that day for approval and looked at the tidal charts. And now they are making it happen.”

There were more than 160 cameras on the course and available to the NBC golf production team, including 13 unilateral cameras (three of which are on-course RF) for championship coverage. NBC Sports Technical Manager Sam Ruby noted that Live From had four Telemetric robotics on set: a downrange camera, an ACS bunker cam in a practice bunker, and a rover cam. The main broadcast booth and Tirico’s booth shared the same location.

For more, CLICK HERE

Fox Sports’ “Rover Set” took its place on the third baseline at T-Mobile Park for pre/postgame coverage of theMLB All-Star Game.

NBC Sports golf team (from left): Ed Boyer, Marc Caputo, Tavi Wright, Bridget Cugle, Sam Ruby, and Allison McAllister at 151st Open Championship

Sports Captioning Simplified

Many sports fans now expect and rely on captions – and they’re increasingly becoming a legal requirement worldwide.

AI-Media is the perfect partner to deliver the most accurate, reliable cost-effective captions in the sports industry, whether for broadcast, in-venue display or over-the-top content. Powered by our suite of virtual and hardware encoders, our end-to-end captioning solution provides everything you need for any content format.

Why Choose Us

Powered by APIs, the cloud and IP video, our end-to-end captioning solution provides everything you need.

AI-Media is chosen by sports broadcasters, the largest franchises & venues worldwide. Why? Because our captions achieve up to 99.5% accuracy. Plus, our next-gen cloud technology simplifies production workflows to save time and reduce costs.

Enhance The Fan Experience

Dante Connect: Professional audio broadcast from anywhere, to anywhere.

Dante Connect delivers in-sync audio directly from Dante networks to cloud services for seamless online production anywhere, reducing the need for mobile studios and trucks.

www.audinate.com/danteconnect

Through Dante Connect, a network of Dante audio products can send up to 256 channels of synchronized audio ingest directly from any site to virtual machines running on cloud services to do editing and production for broadcast. Dante Connect lets producers use equipment already onpremises while cloud-based editing allows skilled mixing engineers and A1s to do their jobs from wherever they are.

YEAR IN REVIEW SPOTLIGHT

FIFA WOMEN’S WORLD CUP

As the 2023 FIFA Women’s World Cup entered the Quarterfinals Stage, it signaled the end of a long run of long days for everyone involved, with a quick day off to reflect, reset, and focus on the end of the tournament. According to Kevin Callahan, VP, field operations and engineering, Fox Sports, who spoke with SVG during the World Cup, things had gone well for the broadcaster, which had onsite match control rooms for a Women’s World Cup for the first time since 2015 in Vancouver. The team also continued to build, along with FIFA and HBS, on new workflows deployed in Qatar.

“When we were in Qatar,” said Callahan, “what everybody was doing was a science experiment. I think now that science experiment is over. We’ve gone from bleeding edge to cutting edge. We’re still doing things most people aren’t doing, and we’ve taken the next steps and added features rather than just adding to the bug list.”

The Fox Sports production team at the IBC played a key role in nearly every aspect of the effort, as the two match control rooms were where everything came together: the FIFA and HBS match production, graphics, commentary, and much more.

“All of the matches go there, regardless of where the announcers are,” said Callahan. “Whether they are onsite or calling off-tube, it comes here for Fox Box integration and final integration with the studio programming going to and from halftime and the end of the game.”

The IBC was also home to the core engineering team, the mediamanagement team, and the remote-operations center, where all the feeds, both inbound and outbound, were managed. The team was connected to facilities in the U.S. as well as to the studio location at Campbells Cove in Sydney. More than half the crew — all EVS operators, graphics operators, the entire feature team — worked

remotely in the Vault at Fox’s Pico facility in Los Angeles.

“We’re recording all of the feeds coming from FIFA and HBS, whether a watch-party feed, an additional-content feed, or iso feed,” said Callahan. “We want to be able to get all of the content that they are producing and show it to viewers at home.”

The Women’s World Cup was the third event for which the Fox Sports Jewel Event system was deployed. First used at the 2022 FIFA Men’s World Cup and then at Super Bowl LVII, the system leverages IP and SMPTE ST 2110 technology in 20 racks of equipment from TAG Video Systems and EVS, which are pre-cabled and configured before folding down in half for shipping via air from the U.S. There were two in use in Sydney: one at the IBC at Sydney Olympic Park and one at the technicaloperations center for the studio shows at Campbells Cove.

“This is our third deployment of the Jewel Event system,” said Callahan. “We’ve been able to fine-tune things based on the learning experiences we have had. We’re able to use it [the way] we expected to use it, with all the features that we had hoped for when we were designing the system.”

The improvements did not require new gear but rather updates from EVS, TAG Systems, Arista, and Calrec. That involved a lot of testing to minimize risks as much as possible. “When you have the words Jewel Event in the name of the system,” he added, “you, generally speaking, are going to be risk-averse, so we needed things to be tested and resilient.” For more, CLICK HERE

Above: The Fox Sports IBC team was dialedin on match coverage and much more.

Left: Monitoring all incoming FIFA World Cup feeds was a big part of life at the IBC for Fox Sports and other rightsholders.

F A S T E R . P O R T A B L E .

New! DuraPlex® and TwinPlex® Lavalier microphones with Q5X connectors

DuraPlex®

TwinPlex®

Capturing up-close audio from a sporting event can be a monumental task, especially in a dense RF environment and ambient noise from active players Q5X transmitters integrated with Shure Axient Digital (AD) give you the rugged and durable equipment to handle extreme in-game conditions The ADX5D Dual-channel Portable Receiver offers wireless reliability on the sidelines, locker room, or stands The AD600 Digital Spectrum Manager provides real-time scanning to give you clear operating frequencies. And the TwinPlex® and DuraPlex® lavalier microphones are now compatible with Q5X transmitters. Accurate, seamless audio capture. Every time.

www.shure.com/pro

YEAR IN REVIEW SEPTEMBER

US OPEN

Since taking over full control of both the host feed and the domestic feed for the US Open in 2015, ESPN has worked with the USTA to augment the technology toolset with each passing year. After a monumental leap forward in 2022 with the implementation of 4K UHD at Arthur Ashe Stadium and 1080p broadcasts standard across all courts, the 2023 efforts centered on refining those workflows even further.

“It’s a testament to the support that we get from the USTA and [facilities provider] Gravity Media, as well as the planning of the ESPN operations team, that these [1080p and UHD] systems came together last year,” said Larry Wilson, associate director, remote production operations, ESPN. “We’re continuing to [enhance] them this year. The US Open continues to increase in size and scale every single year, and we’re thrilled to be able to support that and bring it to fans.”

To level-up the 1080p workflow this year, all EVS replay servers for both host and domestic feeds were upgraded to EVS XT-VIA live-production servers, and a new high-speed file-transfer system was established to accommodate the flood of content running between the Flushing Meadows venue in Queens, NY, and ESPN facilities in Bristol, CT, over the two-week tournament. For more, CLICK HERE

For Patti Fallick, managing director, broadcast, USTA, and the USTA production team, 2023 was all about building relationships with new rightsholders, ensuring that established rightsholders’ needs were met, and making sure rightsholders were able to tell the story globally with the highest level of production.

RYDER CUP

NBC Sports’ coverage of the 2023 Ryder Cup from Marco Simone Golf and Country Club outside Rome went remote this year, the first time NBC’s golf team has worked this way from Europe since the 2021 Open Championship in the midst of the pandemic. In 2021, the team in Stamford, CT, worked out of two remote production trucks. This time around, the operation is based in the broadcaster’s PCR2 production-control room.

“We’re using PCR2 in Stamford, one of two venue control rooms in Stamford that were upgraded for golf,” said Marc Caputo, senior director, remote technical

“My team has been amazing,” said Fallick. “We are truly fortunate because they are a small team that is just outstanding. They understand what we’re trying to accomplish, and they work incredibly hard for this event. The US Open is now a full threeweek event, with long days and nights. The team consists of Dayna Navata, senior manager, operations; Terry Brady, technical operations; Petro Mynch, lead tech manager; Jennie Silverstein, executive producer, world feed; and Nick Romano, [director, engineering,] NEP, who provides technical support along with NEP’s new IP digital truck to support our world feed."

For more, CLICK HERE

operations, NBC Sports. “It has been doing Golf Channel tournaments, but this is the first time it’s doing a show for [NBC Sport Lead Golf Producer] Tommy Roy, so there’s more people and some more toys.”

Caputo said the world feed, produced by European Tour Productions (ETP), was at the center of NBC’s coverage.

“We have additional cameras for NBC,” he noted, “including four RF cameras, a booth camera, and access to all the ETP cameras using EMG routers controlled in Stamford. In addition, ACS is providing three robotic cameras that are shared by ‘Live From’ and NBC and are also available to Sky. ‘Live From’ has the four Telemetrics cameras on the set, as well as a Rover camera.”

For more, CLICK HERE

Inside ESPN’s domestic-feed production-control room at the US Open

NBC Sports’ Samantha Ruby (left) and Marc Caputo at Marco Simone Golf outside Rome

Engage your audience with amazing content

With decades of experience in real-time 3D graphics, virtual sets and AR solutions, Brainstorm products are perfect for any virtual production requirement in News, Sports or Entertainment

From engaging, data-driven graphics to advanced projects involving XR, AR, and Virtual Sets using Unreal Engine 5, Brainstorm provides any content creator with the perfect tools for the job, regardless you are using real sets, chroma or LEDs.

When you need to add motion graphics, Aston is the designers’ choice to create the most advanced data-driven content, linked to external data sources and compatible with InfinitySet

YEAR IN REVIEW OCT/NOV

WORLD SERIES

With 52 cameras overall — including a custom drone fleet from Beverly Hills Aerials, three Dirt Cams, 13 super-slow-motion cameras, and an Ump Cam — the Fox Sports team covered the MLB World Series matchup between the Texas Rangers and Arizona Diamondbacks from literally all the angles.

“We’re just all excited to get to tonight after a great season that started off on Fox and FS1, which showed our commitment to baseball,” said Brad Cheney, VP, field operations, Fox Sports. “With a team led week in and week out by [Director, Field Ops,] Francisco Contreras; [Operations Manager] Nicole Perrin; [Technical Producer] Tom Lynch; and [Remote Production Operations] Nick Utley; joined by [MLB Network, Director, International Broadcast Operations,] Judy Acone; [freelancer] Pam Chvotkin; and many others during our postseason and jewel events. Alongside the team is our remote studio group, led by [Senior Manager, Remote Studio Operations,] Anil Letherwala. It’s a great team that gels well and has their finger on the pulse of baseball. They make things happen.”

Among the production highlights are a custom three-drone fleet — “Gimbal Bee,”“Hummer Lite,” and “Hummingbird” — from Beverly Hills Aerials.

For more, CLICK HERE

LAS VEGAS F1

The Las Vegas Grand Prix marked a new era for the city of Las Vegas and the sport of F1 as arguably two of the world’s most glamorous entities, the racing action of F1 and the glitz and lights of the Las Vegas Strip came together to create an exciting racing weekend. For Dean Locke, F1 Director of Broadcast and Media the first-time event posed a number of unique challenges, not the least of which is that in Las Vegas everything needs to be bigger, brighter, and bolder.

“It is a tricky race as there’s lots of things going on, lots of entertainment, opening shows, closing shows, moments in front of resorts and things like that,” said Locke. “There is quite a lot more to think about than a normal event like having our resources and facilities

Chris Watson, director of studio & remote lighting, prepped fixtures for use on ESPN’s set in the garage area of the inaugural Las Vegas Grand Prix.

up and running early on for big headline acts at the opening show. And there are some massive challenges around the track infrastructure because they’re opening and closing the track immediately before and after sessions.”

Locke said that there were around 28 cameras around the circuit as well as seven RF handheld cameras and two or three roaming cameras. The track measured 3.8 miles and among the highlights are a permanent grandstand-and-pit facility that will be an F1 fan activation zone year round. And the highlight, for both fans in the stands and those at home, was when F1 cars fly down the 1.18-mile straightaway on the Las Vegas Strip where they are expected to hit speeds in excess of 200 mph. For more, CLICK HERE

ESPN, F1’s U.S. rightsholder, surrounded Saturday’s race telecast with programming and content across platforms including the onsite presence of SportsCenter, a live preview show at 11:30 p.m. ET, a cavalcade of social media and digital content, and two podcasts, as well as support for ABC News’ Good Morning America. In order to pull this all off, ESPN used several different production models and prepared for a variety of unexpected left-turns for the inaugural race.

“Much like the popularity and growth of F1 in the Unites States, ESPN’s onsite presence grows with each race,” said Kate Jackson, VP, Production, ESPN. “There is a lot of interest and excitement around the inaugural Las Vegas Grand Prix race and our crew list and coverage plans reflect that.”

For more, CLICK HERE

Fox Sports deployed 52 cameras for the 2023 World Series.

your media using

Magnifi helps rights-holders supercharge their fan engagement, boost viewership, and generate new revenue streams through its suite of AI products Supports

Digital Highlight Pro

Create & share key-moment highlights in real-time, for live or archived content automatically

Auto-Flip

Auto-resize video into multiple aspect ratios to be compatible with different social media channels

Web Stories

Publish web stories with sposored ads & interactive CTAs to boost visibility & engagement

YEAR IN REVIEW DECEMBER

NBA IN-SEASON TOURNAMENT

It isn’t often that the annual U.S. sports calendar gets a new tentpole event on par with a major championship, but that’s exactly what the NBA In-Season Tournament Semifinal and Championship games shaped up to be. With that in mind, the league, ESPN, and TNT Sports combined their efforts to create productions that rival those of NBA Finals and NBA All-Star Game broadcasts.

“The competitiveness of these games has set the stage for everything we do,” said Paul Benedict, SVP, broadcast content management, NBA. “So, shout-out to the players, the coaches, the teams for bringing this to life. That has led us here to Vegas on the cusp of an awesome network crossover with WBD and ESPN that’s going to kick off the In-Season Tournament Semifinals in Vegas.”

In addition to the two networks’ side-by-side studio sets outside T-Mobile Arena, the game productions featured numerous production technologies, including RailCam, Skycam, drones, and even PylonCams.

For more, CLICK HERE

MLS CUP

After a highly entertaining eight months of Major League Soccer on Apple TV featuring more than 1,000 matches, the digital platform’s inaugural regular season concluded with the MLS Cup Final, with one of the original clubs, the Columbus Crew, vs. the third-newest team in the Western Conference, Los Angeles FC (LAFC). The three-pronged partnership of MLS, Apple, and NEP Group elevated the production quality of the

league’s biggest event and cap off an exciting first year of MLS Season Pass.

“This is the most complex workflow in the world right now, and we’re delivering an exponential amount of video [because of it],” said Seth Bacon, EVP, media, Major League Soccer. “It’s controlled chaos, but there’s something nice about being able to have a week to plan for an event like the MLS Cup Final.”

For the marquee MLS event, the production and operations teams deployed their tech arsenal as well as their connected-production ecosystem. The match included more than 20 cameras to capture every angle of the action, but the most impressive aspect of the MLS Cup Final was the multi-layered production workflow that debuted at the start of the 2023 regular season. Based at NEP’s data center in Dallas before being dispersed to other locations — VISTA Worldlink’s South Florida-based facility, NEP’s Mediabank MAM operations in Washington, DC, the Apple Live Operations Center (ALOC) in NEP’s Production Center in Los Angeles, the MLS Season Pass studios in New York City — the workflow fired on all cylinders to handle the multiple responsibilities of distributing the match to the masses.

For more, CLICK HERE

ESPN’s set outside T-Mobile Arena in Las Vegas

Inside the control room of Major League Soccer’s headquarters in New York City (Photo: MLS)

Learn more about VITEC’s 2024 GreenPEG committment to sustainability at greenpeg.vitec.com

Sports ProductionRoundtable

ESPN worked for 2½ months with Pixar to redevelop Andy’s room with an NFL twist. Popular characters Woody and Buzz Lightyear watched the game from the sidelines.

One of the highlights of the 2023 SVG Summit was the closing roundtable discussion featuring top leaders in sports production. They discussed the latest trends that are driving their productions, the challenges in continuing to do more as shows get larger and go deeper, and what new technologies are making a difference. Panelists included Chris Brown, VP, Tech and Operations, WBD Sports; Jason Cohen, VP, Remote Technical Operations, CBS Sports and CBS Sports Network; Susan Stone, SVP, Operations and Engineering, MLB Network; and Tina Thornton, EVP, Creative Studio and Marketing, ESPN.

Below are some highlights from their discussion; CLICK HERE to view the full session at SVG Play.

Alternative broadcasts and how they are reshaping sports broadcasting:

Thornton: We’re about cultivating fan relationships. And to me, creating that alt-telecast is about bringing in new and differentiated fans.

Toy Story was created in 1995, and it’s very nostalgic, and lots of families love to watch Toy Story. So why not bring together the greatest IP from the Walt Disney Company with amazing volumetric tracking technology and create a new telecast? The person that’s in charge of our creative studio, Carrie Brzezinski-Hsu, always says: “We want to take sports from game to experience, taking sports from game to experience, or elevating sports from game to experience.” And to me, that’s what that did. We were looking to achieve streaming records, which we did on both Disney Plus and ESPN and it was just a great experience. I remember back in one of my other jobs back in the late ’90s, working for Fred Gaudelli on Sunday Night Football when did the 1st & Ten line for the first time anywhere. And [for the Toy Story game] we used Slinky Dog to do the 1st & Ten line. How cool is that?

Cohen: It’s been a couple of years since we’ve done the Nickelodeon Simulcast. We’ve done a regular season game, last year we did our Nickmas Game, which is the game on Christmas. We’re going to do Nickmas again this Christmas on Monday the 25th. And then obviously our big news was that we’re going to be simulcast in the Super Bowl for Nickelodeon with the Nickified game with slime and all of that.

If you’re going to do something on a simulcast or a second screen, I think the key is to do something that targets a whole different group of people. And success, I think, can be measured on not only just the linear ratings, but also the social media buzz. I think that a show like Toy Story and what we’ve seen with Nickelodeon games is, you’ve got whatever millions of viewers on the linear side, but some of the bigger metrics are what you captured on the social buzz, on the things that you pump out on Instagram, TikTok, Twitter, and so on. I think that’s where you can really make some good penetration.

TINA THORNTON

JASON COHEN

/ Broadcast and Production Microphones Capture Every Detail

Audio-Technica offers a wide selection of shotgun, boundary, and X/Y stereo microphones—plus a state-ofthe-art immersive audio mic—tailored for broadcast and production applications. Whether deployed to capture full stereo sound of fast-moving action, set atop a camera to sync with video, or placed in a common area to pick

up conversation or ambient sound, our versatile, rugged broadcast mics can be grouped to ensure complete capture of any event. The official Broadcast Partner of MotoAmerica, Audio-Technica is the trusted source for detailed, full-spectrum broadcast audio.

BP28L

BP28

VITAC provides a wide variety of accessibility services and solutions:

Live and Prerecorded Captioning

Audio Description

Localization

Transcription

We work closely with all our clients, including the top:

Pro and College Sports Leagues

Broadcast Networks

OTT Providers Stadiums Arenas

Brown: In our postseason coverage we had a side cast that was a different experience for a different community. It was the Nochero broadcast that we did for those in the Latin American community. And I think Jason’s 100% correct that one of the metrics that is now a very common and standard metric is social buzz. Because there’s social equity in a lot of the things that we do, often can be viewed as more important, because certainly that social equity also can come back when you don’t do a good job.

As far as the NBA, we just had an opportunity to really lean into that some going through the IST, the in-season tournament. We had essentially a Betcast that ran in parallel to that, that did also create some social buzz, and also gives the viewer just a different look. I think one thing that I think that’s also very cool about things like the Toy Story, and the Nickcast, and even things like our Betcast, is it gives us a platform to actually teach a new audience about the sport. It gives them an opportunity to start the idea of growing a new fan wherever they’re at [in the journey]. So, in the Nickcast, you’re growing potentially families, you’re reaching young kids. And with things like the Betcast, you are hopefully growing a separate audience that maybe is into betting but didn’t actually watch the game.

Stone: One of our biggest initiatives this year was to grow our show Big Inning, which is on MLB TV and also simulcast on Apple TV+ every day and every night. It’s basically a four-box with games going on and we’ve even incorporated minor league games in there. It really is a way to reach out to a different demographic that maybe wouldn’t be watching baseball but wants to consume it in a different way. And the audio of one of the games is highlighted with a red box so they know what they’re listening to. We saw our audience grow by 89% this year in minutes watched so it was really successful and it’s a great show.

And then there’s also sidecar programming too, or more traditional programming. This year we did the celebrity softball game at the World Series. It had 11 different distribution platforms, and every platform got something slightly different. Those are the kind of things that you’re putting out there, with the goal that you’re going to get a different audience who’s going to see your product, who’s going to see your game, and is going to fall in love with baseball.

From left: Fox Sports’ Mike Davies, WBD Sports’ Chris Brown, CBS Sports and CBS Sports Networks’ Jason Cohen, MLB Network’s Susan Stone, and ESPN’s Tina Thornton

CHRIS BROWN

SUSAN STONE

Augmented reality use continues to grow during game coverage:

Stone: What Ryan Zander and the baseball technology group have done with Statcast and PitchCast, and now with the MLB Next app where you can see everything virtualized, is just becoming a standard part of the game. It’s just like when the Fox introduced the score bug box: it became the norm for every single baseball broadcast that anybody does. Now you expect to see those metrics and they’ve really become part of the game. The fear, however, with any kind of virtual or augmented graphics is that it detracts, and you don’t want it to detract. You want it to be part of the storytelling and you don’t want your story to be about the graphics: you want it to be about the game. And that is always the fine line that you have to walk.

Cohen: Ironically with AR, and I truly believe this, the greatest implementation of AR in the early onset is probably the FirstDown line and it’s actually still the best because it enhances the story and is not taking away from the action. But then there are things like the Nickelodeon NFL game which is a great use case of AR because the show’s backbone is built on AR. It’s not just doing it for the sake of doing it, it’s actually in the fiber of the show and is what the show’s built on. Without AR, it’s just regular game coverage and you’re not going to have all the elements you need to bring in that younger audience. And I think that what we need to pivot to, and where it’s all going with some of the AR vendors and camera manufacturers helping us by making AR easier, is no longer being a science project. And I think we’re on the cusp of that.

For example, we’re starting to see tracking solutions become a little bit more versatile. Things like the flying cameras, Skycams and Flycams and all this stuff is starting to be able to generate their own tracking. And once it becomes ubiquitous and you can do it more easily, then I think the fun part starts to evolve. AR becomes more than something giant hanging from the middle of the sky that you can fly past to becoming something game actionwise that tells a story of the sport you’re covering and enhances the X’s and O’s or the game strategy.

Brown: It’s really about the story, at the end of the day. What are you going to be able to do that tells the story? In the early science experiment days, it was about what cool can you do? What does it look like? What’s just going to maybe be a “Wow.” And often it didn’t really enhance the story. But I think now that we do have our arms around it a little bit more, I think the thinking around AR is changing and focusing on adding to the story.

Major League baseball is a great example because there are additive elements that help the announcers explain to the viewers what they’re seeing. It’s about educating the viewers as much as it is entertaining the viewers. [At WBD Sports] we’ve leaned into it, but now also there’s other pieces of that AR, which include revenue-driven mechanisms like ad placements on the courts or the dasher boards in hockey. Those are also part of it because the other side of it is, “Look, hey, this stuff’s not cheap.”

But AR in the studio environment is a growing sweetspot:

Thornton: I love AR graphics in game, but I also do believe that AR in the studio is really important. And I say that because in the studio at least, you have a controlled element and an infrastructure there that you can do even more than you can potentially do on the road. And I think you can do even more in those spaces with sponsorships and with other things. And not only just overlay those graphics to tell the story but include your talent in the scene. And to me that’s important too, is including your talent. What our fans want to see is our talent associated with those as well.

At ESPN, we have found success in something called a catalyst stage which is a virtual and AR space that we can do all kinds of things in. We can do sponsorship, show trophies, and we’ve done things with uniforms, showing different uniforms in different places. There are just so many use cases.

Stone: We continue to experiment with it, and I think we would love to do more and more. I’m sure there’s nothing more that MLB Network analyst Harold Reynolds would love is to be next to a player on second base and kind of compare the movement. We’re not quite there yet. We don’t quite have those resources. Most of what we do is more graphically, and it really does enhance it. It tells the story, and we have this great canvas to do it on. We’re going to continue to push that envelope with the resources that we have. But it is a very big commitment, and it’s a big design commitment in addition to the technology commitment.

Brown: One of the things that our creative executive actually told us as we were designing the NBA on TNT studio was to think of the studio as another set character. In other cases, for example, when we’re in baseball mode and we’re doing baseball AR, there’s different storytelling components that are really about the actual sport itself, and much less about the actual individual characters of the talent. But there are so many ways that you can work through that and it’s a very focused effort, as you lean into that AR graphic. And it has to be, because otherwise the viewer can see right through it. They want AR to be meaningful.

Former first-baseman Ryan Howard (left) and former pro-softball player Jennie Finch were part of the 2023 MLB All-Star Celebrity Softball Game that MLBN produced for multiple broadcasters.

Orchestrating the perfect sports production from start to

finish

Complete Life Cycle Orchestration of Sports Productions

DataMiner provides you with the right tools to efficiently plan and automate your productions and transmissions, capture footage from any venue, create content at the fastest possible rate, and deliver premium media to any platform anywhere in the world.

Low-Code Apps • AI-assisted automation & orchestration MS Teams integration • Dashboard sharing • ...

skyline.be/sport-event-orchestration

The State of the Remote Production Business

Day two of the 2023 SVG Summit featured a panel discussion with leaders in the sports production facilities and services community. The goal was to discuss change in the world of remote production. There are more ways than ever to produce an event thanks to cloud services, fiber connectivity, and IP but there is still plenty of demand for trucks to be on site.

Below are excerpt highlights from the session which was moderated by SVG’s Ken Kerschbaumer and featured Mary Ellen Carlyle, SVP and GM, Dome Productions; Robert Carzoli, Chairman, Program Productions; Nick Garvin, COO, Mobile TV Group; Pat Sullivan, President, Game Creek Video; and Mike Werteen, Global President, NEP Broadcast Services.

There has been more collaboration than ever between the various remote production facility providers. Mike Werteen and Pat Sullivan weigh in:

Werteen: There’s a lot of collaboration. Of course, we compete against each other, but there’s always been at the core of this industry, a collaboration with everybody that’s on the stage. For NEP, one of the most significant examples of collaboration in 2023 was a new property that we helped MLS launch: MLS Season Pass on Apple. Requirements were for 1080p trucks, and we wanted to make sure that we could accommodate that, but NEP doesn’t have enough 1080p trucks to be able to take on MLS. But with hard work with everyone on this stage [Game Creek Video, Dome Productions, Mobile TV Group, and PPI] we were able to deliver that for 1,100 matches. On match nights we had 76 independent feeds that were being generated and it’s examples like that that show how we can collaborate together to come together, to help the people that are passionate about viewing things like MLS.

Sullivan: What we went through over the last two years is really a historical collaboration amongst the folks here on the labor side but also between our clients, who wanted to have independent productions, and didn’t really want to do a world feed anymore. Between Game Creek and Dome and Mobile TV Group and NEP, we figured out a solution for clients that they could actually do that in a costeffective way. I’m very proud of that development, because I think that maintained a very healthy industry for us, not only on the truck side but on the labor side as well.

PAT SULLIVAN

The labor market has been through a lot of ups and downs in the past couple of years. What is the state of the labor market?

Carzoli: It’s gotten better. We probably lost about 30% of the people that called broadcast sports their main vocation during COVID, but our team has been really active in training, and we probably added over 100 new technicians. And if they each work

MIKE WERTEEN

MAR 20

DIGITAL ENGAGEMENT FORUM New York City

APR 11-13 CHAIRMAN’S FORUM Las Vegas

APR 30 SVG INDIA SUMMIT Mumbai

MAY 16 SPORTS CLOUD PRODUCTION FORUM New York City

MAY 23 SVG AUSTRALIA SUMMIT Sydney

MAY 29-30 SVG COLLEGE SUMMIT & CSMAs Atlanta

JUN 7 JAPAN SPORTS TV FORUM Tokyo

JUN 26-27

JUL TBD

REGIONAL SPORTS PRODUCTION SUMMIT Denver

SPORTS CONTENT MANAGEMENT FORUM New York City

SEP 25-26 REMOTE PRODUCTION FORUM Charlotte, NC

OCT 8 TRANSPORT New York City

NOV TBD ESPORTS PRODUCTION SUMMIT Los Angeles

NOV TBD SVG NEXT: AR, XR, AND BEYOND Los Angeles

DEC 16-17 SVG SUMMIT New York City

State of Remote Production

120 to 150 days a year that means we added 12,000 to 15,000 spots that we don’t have to travel someone.

The good news is that we’ve been able to backfill positions but the challenge for the industry is there is not a line around the block to get into broadcast television anymore. This isn’t the be-all end-all sexy business that it was 10, 15 years ago. People are making more money working in other places, technology companies, Amazon, Apple, and so while the news is good, I still think we’ve got some pretty significant challenges.

The economic climate, especially as it relates to interest rates and inflation, impact the remote production facilities providers as their contracts typically don’t get adjusted for cost increases. How is the industry dealing with those pressures?

Werteen: It’s an interesting time as there are not many times where I’ve spoken with clients and they’ve said, “We’re signing up for a 10% increase in prices.” There are, of course, challenges with some of our clients, financial challenges that they’re very focused on making sure that they’re doing their work as efficiently as possible. And that is driving some of the discussions that we’re having with our clients.

And then the economic situation, whether it’s the inflation, the expectations of workforce of what their compensation is going to be, the ongoing cost of maintaining the equipment, the primary responsibility that we have is to make sure that it’s going to be a reliable solution, and there’s a cost that’s associated with that. That model has been modified by some of the vendors that we work with, so we need to understand that and make sure we formulate that into the business plans as we engage with our clients.

Another cost factor is ongoing support from technology vendors of their equipment, especially those that are near end of life. How have service level agreements (SLAs) made things challenging?

Sullivan: You have to have the ability for your engineers to call vendors and ask for support, while they’re in the field and you have to have the ability to have these vendors send in spare cards overnight. Building new trucks is one thing but if you don’t maintain the fleet that you have, you’re going to be in trouble really fast and the only way to actually do that is to have the SLAs. The problem with the SLAs that we have faced is we’re paying more for SLAs and getting less coverage for it. There are less items that are covered in the SLA and there is more stuff that is closer to end of life that our vendors don’t want to, in effect, insure. It’s a huge part of our business. It represents a material part of the expenses of running a company that does what we do.

Werteen: There was a well-worn path of what that business case for maintenance and ongoing upkeep has been in the past. That’s now changed but we want certainty around what those costs are going to be, and what the expectation is going to be for that level of service. When you sell a product, there’s a responsibility that comes

ROBERT CARZOLI

From left: 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 Broadcast Services’ Mike Werteen

FROM COPPER TO CLOUD

Welcome to the

Enriched

World of Living Content

StorNext® with CatDV and new, powerful push-button AI integration helps you deliver on even the most ambitious content production—automatically tag and surface content hidden across your archives, and automate content logging to free content teams to deliver your unique vision.

Learn more about insight-driven workflows from Quantum at: www.quantum.com/nvidia

custom AI action recognition - bobble>CATCH

sensor data

player tracking

Get ahead of the game with TSL

Simplify complex workflows, manage, monitor and control your facilities with TSL’s solutions.

Audio

Control

Power

Monitor with confidence with our range of audio monitors, tailored to suit any operational environment.

Monitor with confidence with our range of audio monitors, tailored to suit any operational environment

Connect and control your systems with easy-to-use tools, designed to support your broadcast workflow.

Connect and control your systems with easy-to-use tools, designed to support your broadcast workflow.

Manage your infrastructure with cost effective, flexible and sustainable power management solutions.

Manage your infrastructure with cost-effective, flexible and sustainable power management solutions.

Find out more about TSL’s full range of solutions:

Find out more about TSL’s full range of solutions:

E. enquiries@tslproducts.com

sales@tslproducts.com

tslproducts.com

www.tslproducts.com

THE FUTURE OF AI IN SPORT

Achieve greater speed, scale, reach, cost savings, and revenue opportunities with Veritone Sport, the leading AI-powered technology for all sports organizations.

INCREASE REVENUE OPPORTUNITIES

License your short-form video within an intelligent marketplace, and monetize your archive through our licensing specialists.

MANAGE & ACTIVATE CONTENT

Centralize your content and serve stakeholder access with enhanced search and discoverability through AI-powered digital asset management

CREATE NEW FAN EXPERIENCES

Reach new markets and reimagine the fan experience with archival footage, localized content, and more across multiple platforms.

Learn more at

Email us at sport@veritone.com

State of Remote Production

along with that and we need to make sure that there’s a consistent form of economics that are part of the overall cost of ownership.

Carlyle: We’re looking at innovating, again, as this industry does, and maybe we don’t go with the SLA but rather bring that [support] expertise in-house. It will make us a better business and, hopefully, will lower our costs.

Garvin: A message I’m trying to get out to our vendors is anything that can be built on commercial off-the-shelf hardware the better because then we have consistent hardware throughout the mobile unit and our systems. And that means we don’t need such a robust SLA that covers software and hardware as consistent hardware is good for operations team and it’s good for the economics of what we do. If we can have one piece of hardware running different software, I think that can be a longer term solution as we can have our engineering team train on that hardware and we can have replacement parts.

We’re not going to have 25% rate increases for technicians, but listen, it costs more money to put gas in your car, it costs more money to put food on your table, and so we’re hearing from the people that work for us, that they need more money when they’re working a job. We’ve got to pay our people internally more money, and then we’re going to spend a million dollars trying to train the next level of technicians to try to fill the shortcomings, because that’s a responsibility that we have.

We’ve been lucky on the recruitment side to work with Ken [Kerschbaumer] and the people at SVG on helping develop places to find people, referrals from people in this room, but the cost of managing labor, while we don’t have SLAs and we don’t have to worry about equipment, it’s expensive. It’s going to be a challenge for years to come.

Is the truckless future a myth?

Carlyle: I have this argument with our production people on the board when they say we won’t have trucks someday. I ask the question, “How much risk do you want to take?” “Well, none.” “Okay, so the truck’s onsite?” “Yes.” Now, the technology will get better, the Cloud will be easier to go up and down on, and I think once we are technically sound, and the customers say, “Okay, I’m ready to take that risk.” It’s that risk that everybody is so afraid of.

On the financial pressures facing the entire industry:

Carzoli: The state of the remote production business is customers want more technology, better technicians, no travel, and they want to do it all at a lower cost. Essentially, the industry hasn’t changed in the last 25 years.

We all saw the United Auto Workers with the big three automakers got massive increases and our phone was ringing off the hook. Our customers were in a panic. Are we going to have to pay technicians 25% more? Is that going to be the next union agreement? Is that going to be a new market that’s going to pop up with that kind of an issue?

Garvin: We’re building mobile units and we upgraded 15 of our mobile units this year to 1080p. We launched three new mobile units, four trailers, but I think the way that we look at it is hybrid Cloud. There are all these different flavors and I think we’re staying consistent with hybrid Cloud as we built 25 Cloud control rooms around the US. And our clients are either in a Cloud room or at their desk in the mobile unit. That’s where they go to work. They can be anywhere. From there, it’s our job to find the most efficient way to utilize the equipment that we have, and I think that’s going to be in a lot of different ways. In the local media and regional sports world, you have a local mobile unit, a local crew, local engineer, doing 100+ events. In a dual feed scenario, that is the most efficient, we confidently believe is the most efficient solution for regional sports production.

That’s all traditional onsite with maybe remote surfaces with Cloud control. Then you take some of the national events, some of the things that we’re doing for FOX Sports, and we’ve built a 1080p/HDR/Redmi/HRP unit, and that doesn’t have a switcher in it, and that’s remoted back, but that unit does events in different cities every week, so that’s the most economical and efficient way to do that.

MARY ELLEN CARLYLE

NICK GARVIN

Storage

State of Remote Production

I’m staying consistent on the hybrid Cloud, which mean lots of things. Systems onsite, systems in a central location, in a private data center or a public Cloud.

Werteen: There is always going to be the need for trucks to be able to deploy what’s needed in the venue. But it gets complicated when you go past that. When I think about even the ways that we’ve done delivery in different parts of the world and what the expectations are of that delivery, what we do is make sure that we actively engage with our clients and understand what their vision is going to be.

A couple of examples. For the PGA there are going to be nine trucks and a huge facility that’s going to be in northern Florida that we’re working with them on. And also, we are rolling out the NASCAR facility, in Charlotte which is a different solution for their tier two programming. And then in Australia, we did the Women’s World Cup this year with 64 matches held in six venues in Australia and four venues in New Zealand. And that was done all in the centralized production facility that’s in Sydney.

And then there were the World Rally Championships that we do from our facility in Helsinki. Those cars are in remote locations throughout the world and all the signals are pulled back to that facility.

I don’t know that there’s anything that one-size fits-all in this world, so we’re going to make sure that we’re focused on understanding what the vision is of our clients. Truck, data center, centralized controlling, whatever.

The paneliststs paid tribute to NEP Founder Tom Shelburne, who passed away shortly before the 2023 SVG Summit.

Sullivan: I don’t think anybody has actually gotten a sense of how much it would cost to do a full-scale production in the Cloud. We’ve done an experiment in conjunction with AWS last year, at an NHL game and nobody really understands how much that bandwidth is going to cost [for a full tier-one game production].

Just getting back to what Michael was talking about with there isn’t one solution for everybody. We just launched a truck for ESPN called Varsity, and Varsity, our engineering team designed syncs from the top down, basically, so they take what they view to be the highest level of demand for resources and build the truck from there.

The highest level of demand for resources on that particular truck is going to be dealing with is the college football championship game, which is a massive production. There are multiple feeds coming out of there. And then you have our regional business that doesn’t need anything near that, and so you have to build a truck for our regionals that have to operate efficiently in a dual-feed mode. And then you have some other regions that say, ‘By the way, we want to take that truck that you’ve built for us to do day to day Boston Red Sox and Boston Bruins games and turn it into a 4K HDR truck,’ which we did.

There is no single solution. I think everything will evolve. I’m in agreement with Michael that at the end of the day, if everything goes to the data center, you’ve still got to acquire the video and the audio. Honestly, what we know about our customers is they’re not going to want to put up the Cap X to buy all the equipment that’s necessary to do that acquisition. That’s what they have us do as we take the risk of obsolescence and so on.

Supporting our own in times of need...

Do you or someone you know need financial assistance due to illness, disaster, or injury?

In 2011, a 37-year-old CBS Sports freelance cameraman, Jeremy Schultz, passed away following injuries sustained during a fire at his home. His death, and the loss of the home, left his family in a nearly impossible position as they lost their home and all of their possessions.

In the following weeks, however, CBS, with the help of the Alma Foundation and SVG, was able to raise more than $50,000 to help his family begin to rebuild their lives and pay for medical bills. That effort led to the creation of the SVG Sports Broadcasting Fund, which now distributes hundreds of thousands of dollars a year to dozens of sports industry professionals who find themselves in need.

Our goal is simple: to be available as a first responder, providing quick financial assistance. But we are also available to those suffering longterm illnesses or recovery time from surgery or disasters, paying housing expenses, medical bills, and much more.

With more and more freelancers in our industry, there are more and more people who can find themselves financially strapped if they are unable to work. The SVG Sports Broadcasting Fund can close that financial gap, allowing those we help to focus on healing and getting back to work as soon as possible.

The SVG Sports Broadcasting Fund exists thanks to the generous financial support of those in our industry.

CLASS OF 2023

The sports-broadcasting industry came together in New York on December 12 to induct the 16th class of the Sports Broadcasting Hall of Fame. Nine legends from both in front of and behind the camera were inducted during an unforgettable, emotional ceremony at the New York Hilton Midtown Hotel. Hosted by CBS Sports’ James Brown, the event once again donated all table sales to the SVG Sports Broadcasting Fund, which supports industry members in times of need.

This year’s class of inductees included Val Ackerman, Big East Conference commissioner and first president of the WNBA; Lance Barrow, former CBS Sports producer; Cris Collinsworth, NBC Sunday Night Football analyst; Tom Fletcher, inventor of the super-slo-mo camera and other innovations; Steve Hellmuth, former NBA EVP, media operations and technology; Ernie Johnson Jr., long-time NBA on TNT studio-show host; Andrea Joyce, leading sports reporter; Tony Petitti, Big Ten Conference commissioner and former TV-network executive; and Jeff Zachary, legendary camera operator.

From left: Steve Hellmuth and Joe Cohen; Mike Davies and Ken Aagaard; Mike Tirico and Ernie Johnson, Jr.; David Hill, Geoff Mason, Jerry Steinberg, Howard Katz, Dick Ebersol, and Sean McManus

Audazzio embeds micro - signaling into an audio stream, broadcast, or live event, to seamlessly deliver content on a second screen fully synced with the event

IN VENUE OR H OME OR BOTH

Ready to experience Audazzio? Scan now, it could be your last QR code scan!

TAKE YOUR CONTENT WORLDWIDE VIDEO

TRANSFORM YOUR SPORTS CONTENT DELIVERY WITH RELIABLE, GLOBAL DISTRIBUTION

When every second counts, high-quality distribution is essential to deliver premium content. Experience unmatched reach and consistent content delivery powered by Eutelsat. Our extensive video neighbourhoods, and state-of-the-art satellites, will give you instant reach to millions of homes and screens. Visit eutelsat.com to find out more about our extensive audiences across Europe, the Middle East, Africa and the Americas, and professional video solutions to take your content further.

VAL ACKERMAN

Founding president of the Women’s National Basketball Association (WNBA). President of USA Basketball. An executive behind the iconic “Dream Team.” Commissioner of the Big East Conference. Val Ackerman’s life has taken her across the executive offices of her beloved game of basketball and forever reshaped the world of sports — for athletes, for fans, for television, for women, for all of us.

“Val has helped shape men’s and women’s basketball at every level of the game,” said NBA Commissioner Adam Silver. “Her steady leadership combined with her unflappable persistence has elevated so many aspects of the sports media and has left a profound impact on the coverage and scope of the sports industry.”

Born and raised in New Jersey, Ackerman was a multi-sport athlete in high school and went on to be a four-year starter and three-time captain for the University of Virginia Women’s Basketball Team. In the immediate afterglow of Title IX, she was one of the school’s first female scholarship athletes. When she graduated, there wasn’t much available to her in the way of a professional basketball career in the U.S., so she played overseas in France for a year before returning stateside to pursue her law degree at UCLA.

After a short stint at a law firm, Ackerman knew her athletic world and her academic career were meant to unite. She was hired as a staff attorney at the National Basketball Association (NBA) in 1988.

She credits the early growth in her career to working with an impressive set of mentors, including current NHL commissioner and Sports Broadcasting Hall of Famer Gary Bettman (who first hired Ackerman), former NBA deputy commissioner and Naismith Basketball Hall of Famer Russ Granik, and, of course, iconic former NBA commissioner and Sports Broadcasting Hall of Famer David Stern.

In 1990, Ackerman became special assistant to the commissioner, working directly with Stern. “That gave me proximity to the life of a commissioner, what crossed David’s desk, all the things he had to manage,” she recalled.

Her tenacious work ethic and intelligence had her moving up quickly through the ranks at the NBA. Ackerman was one of the NBA’s original appointees to the USA Basketball Board of Directors in 1989 and served as an organizational liaison with USA Basketball during the early years of NBA participation in national-team competitions, including the 1992 and 1996 Olympics and the 1994 World Championships.

Success on the international stage spread to the women’s game as Ackerman played an integral role in the success of the U.S. women’s national program, which has won gold medals at each of the last seven Olympics, dating the 1996 Atlanta Games.

Growth of the USA women’s basketball program and mainstream success on the Olympic stage laid the groundwork for what is perhaps Ackerman’s greatest career accomplishment: spearheading the launch and serving as the first president of a new women’s professional basketball league, the WNBA.

“When we ‘decided’ that we would start the WNBA — and I put the word in quotes because I think Val made it clear that we didn’t have a choice — she was the natural person to lead it, which she did for many years,” said late former NBA commissioner David Stern in 2013 upon Ackerman’s appointment as Big East commissioner. “Not only lead it but launch it and lead it. The fact that the league exists is a result of Val’s efforts and drive behind it.”

Ackerman guided the league through its formation and to its widely successful debut in 1997, heading day-to-day operations for its first eight seasons.

“It was exhausting. It was exhilarating,” she recalled. “Those of us who worked on it — and there were many of us at the league office — felt like it was a cause, not just any old project. It felt like a cause because it was about bringing women more deeply into the game of basketball. It was very exciting, especially in the early years, because our fan support was so strong and there was so much buzz around the league. To be part of that launch was a once-in-aprofessional-lifetime experience.”

Today, the WNBA is enjoying unprecedented success. The 2023 season television-viewership numbers were the highest they have been in more than two decades, and the league continues to grow in star power.

Said current WNBA Commissioner Cathy Engelbert, “Val’s efforts were vital in not only establishing the WNBA but also providing opportunities for women athletes to compete at the professional level in the U.S., setting the stage for the exponential growth the game enjoys today.”

Ackerman’s professional-basketball career is of a caliber most can only dream. She was inducted into the Naismith Memorial Basketball of Fame in 2021, the Women’s Basketball Hall of Fame in 2011. Thanks to her accomplishments, future female basketball players will have opportunities that weren’t afforded to her when she was young.

“The greatest victories in sports are not measured by strength alone,” noted Carol Stiff, former ESPN executive and Women’s Basketball Hall of Famer. “They are achieved by those who broke down barriers, paved new paths, and empowered those around them to pursue excellence. Val continues to be just that: a pioneer, a champion in sports, especially women’s sports. She has inspired us all to push beyond the limits and rewrite history.”

And then there’s her current job as commissioner of the Big East Conference. A league that, at the time of her arrival a decade ago, seemed destined to be the first sacrifice at the altar of conference realignment. Today, the league is again prospering as one of the premier conferences in collegiate athletics; still headlined by her great love: basketball. – Brandon Costa

MATROX® ORIGIN

Breaking new ground in live production

Call us: 1-800-361-4903

Email us: video.americas@matrox.com

Matrox ORIGIN is an asynchronous media framework with native cloud architecture enabling developers to build scalable, best-of-breed, live production applications that broadcasters can use for both cloud and on-premises production. Finally, the cloud can deliver on its promises.

• Faster than real-time processing

• Frame accurate routing

• Low latency

Scan to learn more

• HTTP API

• Live migration

• Built-in redundancy

Elevate your game with OpenDrives, the trusted tech and experts behind the world’s biggest events such as Qatar 2023 and the Big Game.

Win fans over with an enterprise storage and content workflow solution:

Open software platform with intelligent data management capabilities

Mobile, modular, scalable storage solutions

On-premises or public, private, or hybrid cloud

Uninterrupted performance for high-bandwidth, low-latency, and growing-file video workflows

Built for creative teams that need real-time, shared, and remote access

Inquire about our consultative professional services for custom, tailored solutions.

hello@opendrives.com

opendrives.com

ELEVATE EVERY PLAY.

High-end LED video technology trusted by major professional and collegiate venues and backed by construction expertise, systems and control room specialists, engineering-licensed project management teams, and partnerships with the best providers in the business.

Sports Broadcasting Hall of Fame

LANCE BARROW

From the greens of Augusta National to the gridiron of Super Bowl Sunday, Lance Barrow has made an indelible impact on not only the legacy of CBS Sports but the entire sportsbroadcasting industry. During more than 40 years at CBS Sports, he created some of the most memorable moments in sports-television history as coordinating/lead producer of CBS’s golf coverage and NFL coverage for two decades.

“Lance will go down in history as one of the most distinguished and accomplished producers in the annals of sports television,” said CBS Sports lead announcer Jim Nantz. “It’s a massive achievement to be the leader of one network sports package. Amazingly, Lance was in charge of two: CBS Golf and the NFL on CBS. Since 1997, he choreographed our coverage of the Masters, the PGA Championship, and the Super Bowl. He did them all over and over again and won countless Emmys. A true testament to a legendary career.”

If Hall of Famer Frank Chirkinian is “the father of televised golf,” then Lance Barrow is the man who brought the sport into the 21st century. Taking over for his longtime mentor as coordinating producer for CBS Sports’ golf package in 1997, he became just the second man in history to produce the Masters for television and would continue that role until 2020. Simply put, televised golf would not be where it is today without the artistry and imagination of Lance Barrow.

“The images produced by Lance will live on in the memories of sports fans forever,” said CBS Sports Chairman Sean McManus. “From the Masters, Super Bowl, the Olympics, the Daytona 500, and numerous other signature events, his presentation has set the industry standard for over four decades. His legacy as one of the best producers ever is secure for all time.”

During his junior year of college in May 1976, Barrow approached then CBS Sports associate producer Chuck Will and asked for a job at the golf tournament that week. Will put Lance to work immediately, assigning him to the role of spotter for iconic announcer and Sports Broadcasting Hall of Famer Pat Summerall. It was here that his journey began forging a career that would eventually lead him to some of the biggest stages in the world at CBS Sports.

Graduating in 1978, Barrow joined the CBS Broadcast Associates entry-level program in New York. He worked his way up the chain at The Tiffany Network, serving various production roles on NFL, college-football, golf, college-basketball, and The NFL Today throughout the 1980s.

His first big breaks as a producer came in 1990, when he was in the chair for the Norman Challenge — a made-for-TV golf event featuring Greg Norman, Wayne Gretzky, Ivan Lendl, and Larry Bird – and for that year’s NCAA Division I-AA Football Championship Game.

During this period, serving in virtually every capacity of CBS Sports’ golf production, Barrow also developed a close relationship with Chirkinian and eventually became associate director, sitting to the left of the legendary director for 12 years in the CBS Golf truck.

Those formative years under Chirkinian’s watchful eye unlocked the gateway to his greatest opportunity: in 1997, he became only the second-ever coordinating producer of golf at CBS. Barrow would go on to produce every Masters, PGA Championship, and countless PGA tour events for CBS through 2020.

“What stood out during our 25 years of working together at CBS Sports is that Lance was a gamer,” said Sellers Shy, who succeeded Barrow as CBS Golf coordinating/lead producer. “Whether it was the Super Bowl or a major golf championship, Lance was at his best when

the lights were the brightest. I can unequivocally say Lance’s intense gamesmanship, dogged persistence, and overall skill at his craft fit the Hall of Fame description to a tee. This honor is well-deserved.”

Of course, Barrow’s triumphs go well beyond his work on CBS Golf. He served as coordinating producer for NFL on CBS and lead game producer from 2004 to 2017, working four Super Bowls with the No. 1 NFL announce team of Jim Nantz and Phil Simms. In addition to Sunday’s NFL coverage, Barrow also produced the broadcaster’s NFL Thursday Night Football games (2014-16).

Barrow’s longtime NFL on CBS directing partner Mike Arnold (they met in 1981 when Barrow was Summerall’s spotter), said, “He would go on to become one of the titans of the television-sports industry, but perhaps his best quality is his people skills… We were a producer/ director team for CBS Sports’ NFL coverage for almost 20 years, but, as much as I enjoyed our partnership in the production truck, I enjoyed our time outside the actual broadcast even more.”

In 2016, Barrow served as coordinating producer and lead game producer for Super Bowl 50, which was the most-watched single broadcast in television history on an all-or-part basis. He served in the same capacity for Super Bowl XLVII in 2013; for Super Bowl XLIV in 2010; and for Super Bowl XLI in 2007. Before that, he was replay director for CBS Sports’ coverage of Super Bowl XXXV and Super Bowl XXXVIII.

“Lance is an amazing producer of live events who was at the pinnacle of our industry for more than three decades,” says Harold Bryant, EVP, production, CBS Sports. “Lance cares deeply about the on-air product. During his time as lead producer of golf and the NFL, he was always cool and focused under pressure, elevating CBS Sports’ coverage. I am proud to call Lance a friend and an outstanding producer.”

“Lance is one of the most influential figures in sports-television history, and incredibly deserving of this Hall of Fame honor,” adds CBS Sports President David Berson. “He leaves a legacy of producing some of the biggest events of our time, while truly valuing the people and friendships formed throughout his remarkable 44-year career at CBS.” – Jason Dachman

Sports Broadcasting Hall of Fame

CRIS COLLINSWORTH

Hanging up the cleats after a 15-year playing career and going directly into sports broadcasting can be quite daunting, but no one has transitioned as seamlessly as Cris Collinsworth. Becoming synonymous with immense energy, the expertise of breaking down a play with precision, and the smoothest entrance to a broadcast in the business, the 17-time Sports Emmy Award winner — nine as a game analyst and eight as a studio analyst — is one of the most accomplished talent in sports television.

“Cris is among the best to ever work as an analyst on any sport,” said NBCUniversal Media Group Chairman Mark Lazarus. “He has a truckload of Emmys for his work, but he also happens to be a great friend to many — a giving person who belongs in any Hall of Fame. His inclusion in the Sports Broadcasting Hall of Fame is long overdue.”

Collinsworth was born in the official birthplace of aviation: Dayton, OH. Immediately, Collinsworth took flight into a life in sports at an early age, and he earned a scholarship to play college football at the University of Florida in Gainesville, FL. In his sophomore season, he moved from quarterback to wide receiver and ended his college career with three First Team All-SEC selections (1978-1980) and a First Team All-American selection in 1980.

With the Cincinnati Bengals drafting him in the second round of the 1981 NFL Draft, Collinsworth enjoyed a reunion of sorts with his home state with all eight years of his professional career being played in the Queen City. His time in the orange-and-black stripes saw numerous highs, including three consecutive Pro Bowls from 1981-1983, and two Super Bowl appearances (Super Bowl XVI in 1982 and Super Bowl XXIII in 1989).

With his playing days in the rearview mirror, and a short stint as a sports radio talk show host at WLW in Cincinnati, he made his break into the big time as a reporter on HBO’s Inside the NFL in 1989. After one year, Collinsworth experienced his first taste of NBC Sports when he joined as an analyst for the network’s NFL and college football broadcasts with play-by-play commentator Tom Hammond in 1990. Collinsworth would shift to the NFL on NBC pregame show with host Greg Gumbel, analysts Joe Gibbs and Mike Ditka, and reporter Ahmad Rashad in 1996. A young Rob Hyland, who is now the coordinating producer of NBC’s Sunday Night Football, would join the same company in 1997 as Collinsworth started hitting his stride as a reliable voice behind the microphone.

“Cris is one of the most honest and fearless broadcasters of our generation,” said Hyland. “He is curious, thoughtful, and has a great sense of humor, which all play into his unique ability to make football’s most complicated intricacies understandable and enjoyable for 20 million people every Sunday night. With his tireless work making sure we are prepared for every potential scenario, Cris makes everyone he works with better.”

With NBC Sports losing their media rights to the NFL in 1998, he joined Fox Sports as an analyst on Fox NFL Sunday. Opting for a return to the booth, he paired up with Sports Broadcasting Hall of Famer Joe Buck in his first year as lead play-by-play commentator and a recently retired Troy Aikman in 2002. Three years later at Super Bowl XXXIX in 2005, Collinsworth would work his first Super Bowl as a broadcaster. In 2006, Collinsworth’s stock would rise as he was seen on three separate networks during the NFL season: as co-host of HBO’s Inside the NFL, as a studio analyst for

NBC’s Football Night in America, and as a color commentator for live games on the then three-year-old NFL Network. For many, this is where Collinsworth’s success shines the brightest.

“Cris is everything you think of when you call someone a Hall of Famer because he is the rare person in this industry who excelled both in the booth and in the studio,” said NBC Sunday Night Football play-by-play commentator Mike Tirico. “Despite being off the field for more than 30 years, he remains as cutting-edge and current as any analyst in the sport, thanks to his unmatched work ethic.”

Following the announcement that Sports Broadcasting Hall of Famer John Madden would retire from his illustrious broadcasting career in 2009, Collinsworth was tapped as his replacement. He’d be matched up with Sports Broadcasting Hall of Famer Al Michaels, and after their first regular season game between the Tennessee Titans and Pittsburgh Steelers on Sept. 10, 2009, the duo went on a magical run of dominance.

“He was a dream partner for thirteen years that were filled with pure joy,” said Michaels. “No one has ever been more prepared, and his ability to analyze everything on the fly and always read the room never ceased to amaze me. His never-wavering loyalty is another of his strong suits, and off the air, Cris was great company. I will always think of him as a brother – the best of the best.”

From Collinsworth’s introduction in 2009 until 2021, NBC’s Sunday Night Football won 11 Sports Emmy Awards for Outstanding Live Sports Series, including five consecutive trophies from 20092013.

“What elevates Cris as a broadcaster is the ability to educate viewers by explaining the ‘why,’” said NBC Sports Executive Producer & President, Production, Sam Flood. “His unmatched game preparation, ease in storytelling, and ability to not take himself too seriously come across every Sunday. You can tell he’s having fun in the booth. At the end of the night, viewers are smarter because Cris was calling the game.” – Kristian Hernández

TOM FLETCHER

When Sports Broadcasting Hall of Famer Tom Fletcher and his father, Archie, started Fletcher Chicago in 1987, having a big impact on sports production around the globe was most likely not on the to-do list. But the then-fledgling company made a ton of right moves in those early days, making the right hires (like Dan Grainge, Ed Andrzejewski, and Jonathan Stein), building the right relationships with networks and leagues, and understanding how to put new camera systems into new locations to capture sports events in completely new ways.

There are many angles of coverage that you are familiar with that, before Fletcher, did not exist. Take the now ubiquitous camera position in NBA and big-time college basketball coverage of “Above the Rim” (on top of the shot clock) or remote controlled “Slam Cam” (behind the glass). And then there is Fletcher’s favorite sport: hockey. Watch any NHL game today and you will see literally decades worth of innovations on-air that were developed by Fletcher Chicago.

“We had the idea for a goal judge camera when they used to have a physical goal judge cage in Los Angeles,” he said. “They had a still camera located up behind the net above the glass and looking down on the net and the slot area. I asked if we could put a camera there because the technology was still a full-sized hothead. We tested it, and it became a staple shot that they just take on power plays, and just became a go-to angle on all shots.”

NHL Commissioner Gary Bettman said that Fletcher Cams revolutionized the televising of NHL games at about the same time that high definition television was coming into being. “Tom and his group gave us an opportunity to show views of the game that nobody had ever seen before,” said Bettman. “Whether it was the speed shot or the rocker cam, or overhead from the scoreboard or in net, it enabled our fans to get inside a game that up until then, many people thought was too fast to televise.”

Fletcher graduated from the University of Illinois in 1985 with an eye on the film industry when an opportunity to start a new business with his father, who was a regional director for the lighting company Strand Chicago, arose. After a relationship with San Antonio-based Media Specialties soured, a friend suggested that Tom and his father start their own business.

“I called my dad and said, ‘let’s do this together’ and we started an equipment company to sell dimming systems, but we quickly pivoted to sell to news’ mini-cam departments. And I liked going into the mini-cam departments because when you’d go in and show them a new piece of equipment, they’d buy enough for whatever number of crews they had.”

Helping boost sales was the major transition from two-man to one-many crews. And given the weight of cameras back then, close to 30 pounds, helping cut down that weight made the Fletcher team popular in through in the Midwest.

In January of 1991, the company made a big leap into the sports market as it provided the Hot Head overhead camera system for the NHL All-Star Game in Chicago with Neil Flagg. Five months later, Fletcher reinstalled at Chicago Stadium for the NBA Finals.

“It was the first year of NBC’s contract with the NBA and it had Michael Jordan vs. Magic Johnson, and the world noticed the overhead shot,” said Fletcher. “And after we finished the NBA Finals everybody wanted that camera angle, but no one could afford it. Every broadcaster was calling us saying, ‘How much is it? And at the time, I want to say we it cost around $2,850 a game and no one could afford that for a ‘gimmick shot’.”

That led Fletcher to begin to hunt for a corporate sponsor so that the camera could become something like the Goodyear blimp: pay for the camera and get an on-air promotion. Upper Deck Trading Cards stepped up. Unfortunately, it wasn’t long before the bottom dropped out of the trading card business and Upper Deck needed to opt out.

“Dan Grainge said ‘I think we can just make it a regular rental business because everybody wants the shot and we had established it for two years,’” explained Fletcher. “And one of the smart things we did during the Upper Deck era we was gave the feed to out-of-town broadcasters, so we had built relationships with everyone.”

When camera manufacturers moved from using tubes to CCD chips it opened a whole new world for those looking to build smaller and smaller cameras. A key development was the “box camera” and in 1994 Fletcher Chicago and Frost were tapped by Manolo Romero at the FIFA World Cup to create a commentator camera. Another big leap was the move into super slo-mo and high-speed cameras. The 2006 MLB All-Star Game, in Pittsburgh, was the backdrop for the deployment of the first ultra-speed camera for baseball.

In 2018, the Fletcher family sold Fletcher Chicago, which is now owned by the NEP Group, the largest production company on the globe. After a little more than 30 years Tom and family handed NEP a company that had grown from a small company to international force that was key for coverage of NFL, NBA, MLB and NHL and other major sporting events around the world, as well as for highly anticipated political and entertainment events such as presidential debates and the Oscars Red Carpet. Today, Tom is FUJIFILM Director of Marketing

“I’m the idea guy and one of my big skills is watching the trends in the industry and seeing where things are going,” he said. “When you own a rental business and you invest millions of dollars, especially on the motion picture side, you can’t guess wrong. Over the years, we bought all the right gear but more importantly we hired all of the right people to grow a successful business.”

– Ken Kerschbaumer

D id y ou g e tth e n e w g u id e y e t?

W an tto g e t u p- to- da te on the la te s t mo du la r s ig na l pro c e ss ing so lu tions ? Theu pdate d U ltima te o pe n Ge ar Applic a tions G u ide isn e w an d e xpan de d with the la te s t a pplic a tions.

L e a de r P a rtn e rs fe a tu re d in th e g u ide:

26 n e w use cases in clu din g H D R, SRT, m u ltiple xin g , 12G - SD I,IP TV, 4 K U H D an d m ore ...

D o wn loa d th e G u ide free at

www.o pe n g e a r. tv / g u ide

Media Asset Management

by

Vidispine

– The Perfect Fit for Teams and Leagues

Fast Deployment in Cloud or Hybrid Environment

Affordable Subscription Pricing

Greater Efficiency – Leveraging AI and Advanced Workflows

Rights Management & Compliance

Archiving & Disaster Recovery

STEVE HELLMUTH

Firsts are always an important part of a Sports Broadcasting Hall of Fame resume and Steve Hellmuth, the recently retired NBA EVP of Operations and Technology and former chairman of the SVG Advisory Board, oversaw his share of firsts. Under his guidance, the NBA became the first league to develop an advanced statistical system that drove a wide variety of services including becoming the first league to deliver live scores and statistics to the web. In addition, the NBA was the first league to develop a centralized instant replay system, the first league to develop a digital archive, and the first league to tackle new technologies like live streaming, 3D, VR, and volumetric capture in a meaningful way.

Adam Silver, NBA Commissioner, said Hellmuth seamlessly guided the NBA through countless advancements in technology over the past three decades.

“His vision as an experienced and innovative technologist helped transform the broadcast operations of our league and revolutionize the way our content is distributed and consumed around the world,” said Silver. “Steve has no doubt left an indelible mark on the NBA and the broader sports media industry.”

After graduating with a B.A. in Art History from Princeton University, Hellmuth came up a few credits shy of earning a Masters degree in Cinema Studies from New York University’s Film School.

“I thought I was going to go into the entertainment side. My girlfriend at the time was babysitting for someone in charge of the NBC Olympic production managers, and he suggested I apply,” said Hellmuth. “I applied, got the job, and my career trajectory changed and began.”

That first job was as an NBC Sports production administrator, working on the Olympic Profiles of athletes competing in the 1980 Moscow Olympics. Hellmuth travelled through Germany several times doing profiles of athletes, through Czechoslovakia and Poland, and back and forth across the U.S. From the Olympic-profile unit, Hellmuth transitioned into a position as unit manager and production manager at NBC Sports, where he worked from 1979 to 1987.

“I did tennis, college basketball, baseball, everything that came my way,” he said. “I really enjoyed it and became very competent in budgeting, operations, and remote management across the board.”

Hellmuth’s main mentor at NBC Sports was the great Ted Nathanson, a member of the Sports Broadcasting Hall of Fame. The two worked together on NFL games and the NFL studio show for four years, culminating in Super Bowl XX. In his capacity as lead NFL Production Manager, Hellmuth, also oversaw the production and operations of the NBC NFL Studio show.

After marrying his wife, Theresa, Hellmuth accepted an offer to become general manager of Potomac Television, a startup company that produced Washington news for TV stations across the country and provided news releases to Capitol Hill.

However, when the NBA called looking for a director of operations for NBA Entertainment, Hellmuth thought that might be more challenging. He joined the basketball league in 1990 and moved up the ladder from running the postproduction outfit to overseeing all broadcast operations and the launch of Inside Stuff

Hellmuth was also at the NBA when there was a famous lawsuit between the league and Motorola and STATS, Inc., which involved Motorola sending out NBA scores to pagers with around a threeminute delay. Hellmuth took on a project to create a near real-time interface for statistics to the NBC Sports Chyrons for graphics and saw an opportunity to combine the issues.

It was an important, and gamechanging initiative for the entire

industry, as the statistical system could be used to drive everything from on-air graphics to indexing of the media asset management system. Later Hellmuth would oversee a project that made the NBA the first league ever to have live stats on the web.

In 1998, Major League Baseball wooed Hellmuth away from the NBA to serve as senior vice president of MLB Productions, but after three years, he transitioned back to the NBA, where he was put in charge of information technology, broadcast operations, engineering, and internet services. He also had oversight of the construction of facilities for broadcast standards, having developed the arenaconstruction guidelines for camera positions, lighting, and audio that define the theater for NBA basketball.

“Stern and Silver understood well that a great telecast begins control of the venue: bright and lively acoustical profile so the fans can project their support on the field of play, great camera locations and superior lighting,” he said.

Hellmuth designed the LED lights framing the backboard that end every period and overtime for Replay Review and created the clear shot clocks over the basket stanchions.

“Stern and Silver set me to the task after a couple of tough calls at the end of the 2001-02 season to design a system that would assist the referees and allow for video review at courtside,” he recalled. “The lights went into every backboard, and for a few years, the broadcasters assisted the referees providing video for end of game or period scenarios.”

The design and building of the NBA Replay Center was the completion of that system. Debuting in 2014, along with the debut of a new 10 gig private network between arenas and the NBA, Hellmuth went on the journey to design the system with longtime NBA Referee and Head of Official Joe Borgia.

Hellmuth’s career is a testament to having leadership that fostered innovation, and co-workers at NBA, and MLB that stepped up and made it happen.

“Steve was one of the earliest and most impactful technology enthusiasts at the NBA,” said Dallas Mavericks Owner Mark Cuban. “He helped move the NBA into the 21st century at a time many did not understand what he was trying to do.” – Ken Kerschbaumer

Sports Broadcasting Hall of Fame

ERNIE JOHNSON, JR.

Over the past 30 years, the studio show that has cemented its place as the greatest in its class has been Inside the NBA. Although he would be the last to admit it, much of the program’s success reflects its smart, steady, and gifted host, Ernie Johnson Jr.

“EJ is a trailblazer behind the desk,” said Craig Barry, EVP/chief content officer, Warner Bros. Discovery Sports, “and, as impactful as he has been to this industry, he is an even more impactful human being. His ability to bring that authentic human quality creates a unique emotional bond with his audience. It’s a gift, and it’s truly special to have that kind of connection.”

Milwaukee-born Johnson is the son of former Major League Baseball player Ernie Johnson and moved with his family to Atlanta following his father’s retirement from baseball and transition into the broadcast booth for the Atlanta Braves. Junior dreamed of following in his dad’s footsteps as a player.

Following a short stint on the University of Georgia baseball team, however, he turned his sights to broadcasting, getting his start as a local news anchor and expecting to follow a trail of on-air talents he admired, such as Dan Rather. He even studied the late, great Johnny Carson.

In 1989, Turner Sports came calling, and, in 1990, Johnson took over hosting duties for the program that would ultimately define his career: Inside the NBA. The weekly postgame show on TNT has reached iconic status over the decades. A winner of 17 Sports Emmy Awards, the show has the unique distinction of having been inducted into the Naismith Memorial Basketball Hall of Fame. It has also developed a long-standing reputation as one of the more fun and informative studio shows in sports-television history, one whose charm lies in its chaos.

“It’s what we hope happens,” laughed Johnson. “It’s not-goingaccording-to-plan that makes the show go. I think the key for me is always just knowing your role. As the host of that show, I’m just trying to steer the conversation to have at my disposal the things that I think are going to generate conversation. That all goes to the preparation.”

Inside the NBA’s charm comes from a cast loaded with some of the biggest personalities in the history of basketball: Shaquille O’Neal, Kenny Smith, and Sports Broadcasting Hall of Famer Charles Barkley. However, it’s Ernie’s steady hand and respect for his partners that give the chaos a sense of reason.

“I think Ernie has been our moral compass,” said Tim Kiely, veteran former lead producer of Inside the NBA. “When we have tough decisions to make, we all can go to Ernie and ask, ‘What do you think?’ His judgment and his ability to pull apart an argument and look at it from three or four different angles and make sure we are covering everything is part of his brilliance.”

Said Johnson, “When you have the kind of relationship that Kenny, Shaq, Charles, and I have, where we’ve been together for so long, I know how Charles is going to react [to a topic], and, when he reacts that way, I know Kenny’s going to broadside him in the intersection. A lot of that is just knowing each other for so long; knowing just from a look and knowing from past experience how somebody’s going to react and knowing that will create a really cool moment.”

Noted Barkley, “He’s the perfect teammate. That’s why he’s a Hall of Famer. He can work with any teammate and make them successful.”

Johnson’s impact and influence extend far beyond basketball. Over the years, he has occupied the host’s chair on Turner Sports/Warner

Bros. Discovery Sports’ coverage of the NFL (1990-97), Wimbledon (2000-02), two Winter Olympics (Albertville 1992, Lillehammer 1994), a FIFA World Cup (1990), Major League Baseball (2007-present), and the NCAA Men’s Basketball Tournament (2011-present).

“The thing I admire about [Ernie] is his ability to go from sport to sport,” Barkley pointed out. “He does it seamlessly. That tells me he’s well-prepared. That’s what makes him The Godfather. The one word I would use to describe Ernie Johnson is professional.”

He has also been afforded opportunities to handle play-by-play duties for Turner Sports properties, including TNT’s coverage of the PGA TOUR and, in a life-coming-full-circle moment) calling Major League Baseball Postseason games (2010, 2012–18).

Said Scooter Vertino, SVP, programming and production, sports and NBA content, Warner Bros. Discovery Sports, “Ernie is a Hall of Famer because he’s the rare person who has mastered their craft yet still is the hardest worker you’ll ever encounter. He holds himself to an extremely high standard while he makes everyone around him better. It’s a unique combination that’s unmatched.”

Johnson has also established a reputation across the industry as one of its “good” guys. A father of six, he has been an inspiration to many for beating non-Hodgkin’s lymphoma and for his continued commitment to his Christian faith.

“[Ernie] is an ambassador for what we do, for the leagues and the properties that we work with,” said Barry. “Quite frankly, he’s an ambassador for the human race.”

A six-time Sports Emmy Award winner, Johnson was named 2023 National Sportscaster of the Year by the National Sports Media Association, has received the Vince Lombardi Award of Excellence, and is a New York Times best-selling author ( Unscripted: The Unpredictable Moments That Make Life Extraordinary). The Sports Broadcasting Hall of Fame induction is another treasured recognition.

“It’s gratifying beyond words,” said Johnson. “When you look at the class, it just points out that, in our business, it takes everybody from every facet of the industry to get things done. You’re talking about engineering; you’re talking about programming; you’re talking about every facet of the business. To be included in this group is ridiculous, it’s crazy. And I’m deeply honored and deeply thankful.” – Brandon Costa

®

N OR T H A M ERI CAN L A UN CH: N

U sed in c onj u nc tion with the Pl ay er Mic ® , this in-ear or behind-the-ear sty le I FB r ec eiver allows c ommentator s to c ommu nic ate with athletes du r ing br oadc ast to inc r ease

au dienc e eng ag ement.

The best seats in the house

Vindral is where the fervor of the stadium meets the finesse of technology. We ensure that every nail-biting moment, from breathtaking goals to edge-of-the-seat plays, is streamed with clarity, sync and minimal latency. It’s not just a broadcast; it's an invitation for your audience to immerse themselves in the game. An invitation to feel every pulse and thrill, in real-time, anywhere. Reach out to us for a demo showcasing both our streaming and in-venue solutions.

ANDREA JOYCE

In any individual’s career, there is a specific and poignant moment that stands out from the rest. For Sports Broadcasting Hall of Famer Andrea Joyce, there were a handful of instances that turned the native of Dearborn Heights, MI into the standard bearer of on-air Olympics coverage and real-time reporting.

Joyce’s earliest sports memories featured her father, uncle, and brothers going to Tiger Stadium to see the Detroit Lions every Thanksgiving. One of her most enjoyable was the entire family heading to that same venue to watch the Al Kaline-led Tigers in a historic game on Sept. 17, 1968.

One year later, the Vietnam War was reaching its boiling point in 1969. Back in the States, Joyce was in junior high and positioned at a crossroads with her future. She stumbled on the byline of a female reporter covering the U.S. military’s efforts real time in Vietnam, and the piece resonated with her so much that, for the first time, she contemplated a career in journalism.

With the eventual blaze that was her love for journalism starting out as kindling, she enrolled in the University of Michigan in the early 1970s. Although she had a relative idea of what she wanted her career to be, she had her reservations after spending four years in Ann Arbor, MI.

Recruiting the help of friends, Joyce recorded a demo reel of a weather segment that she would send to stations — big and small — around the nation. Opting for a gig at KKTV in Colorado Springs, CO as their main weather girl over three job offers in Northern Michigan, she packed her bags and headed west to begin the first chapter of her illustrious professional career. Her travels took her from the mountains of Colorado Springs to KTVH-TV in the plains of Wichita, KS and back home to Detroit’s NBC affiliate, WDIV-TV. There, she was bit by the sports journalism bug through reporting human interest stories that surrounded local sports.

After a brief time in Denver to work for KMGH-TV, where she met her husband — news reporter Harry Smith — her most transformative place of employment at the time was as a weekend sports anchor at WFAA-TV in Dallas, which helped gain the interest of ESPN. She offered her expertise on tentpole events like the NFL Draft and the French Open, but her first taste of the Olympics came during the 1988 Summer Games in Seoul. As a non-rightsholder, ESPN didn’t receive access to players before or after their events. Joyce’s persistence shined to capture a much-needed interview.

“I remember seeing in a newspaper that [German tennis player] Steffi Graf was going to be signing autographs, so if we wanted to talk to her, we needed to go there,” said Joyce. “We stood in line with a camera and a microphone, and that’s how I did my job. We had to figure out a way to make it work when you don’t [have all of the access].”

While the public wasn’t always on board with a woman doing local sports, Joyce received tremendous support from many of her colleagues, and when she made her permanent move to a national network like CBS Sports in 1989, she found others there as well to lend critical support.In an effort to push her outside of her comfort zone, CBS Sports’ Executive Producer Ted Shaker paired Joyce with Sports Broadcasting Hall of Famer Mary Carillo to do play-by-play during the 1989 US Open.

“Look at all of the distinguished members of this industry, and then try to find someone who has a better and healthier sense of it all than Andrea Joyce,” said Carillo. “For decades, she has shown us how

it can be done — with professionalism, grace, humor, and heart.”

This opportunity led to Joyce being involved on numerous properties during her decade-long tenure at the network, including host duties for early rounds of the 1991 NCAA Division I Men’s Basketball Championship, College Football Today with Mike Francesa, the NCAA Division I Women’s Basketball Championship Final Four and title game from 1991 to 1994; the 1990 Heisman Trophy Award show, the 1990 NBA Playoffs, figure skating, and more.

“We wanted our crew of hosts, play-by-play, and analysts, as well as the men and women in the truck and in the studio, to reflect who our audience was,” said Shaker. “This is almost forty years ago, which was before other broadcasters were doing what CBS Sports was doing to build diversity.”

With diversity in mind, Joyce had the honor of working alongside fellow trailblazer and Sports Broadcasting Hall of Famer Lesley Visser.

“Andrea has always been such a joy — a woman of talent and wit and legendary kindness,” said Visser. “With friends across the industry for decades, and a mentor to those coming along, Andrea’s been the prototype for how to succeed, with optimism, self-assurance and a smile.”

A move to NBC Sports at the turn of the century in 2000 also meant a shift to her current and most prominent role at the network: reporter on the network’s coverage of the Winter and Summer Olympics. Playing a role in the last 12 Olympic Games at NBC Sports, she was also a part of three Olympics at CBS Sports: 1992 in Albertville, France; 1994 in Lillehammer, Norway; and 1998 in Nagano, Japan. Since her first one in 1988, Joyce has embraced the communal nature of the Games that brings countries of the world together.

Joyce is most proud of the relationships she’s made along the way, particularly with other women in the industry.

“The most important thing is that, as women in this business, we have always lifted each other up,” said Joyce. “Since I wasn’t an athlete, it’s been a joy for me to be on this amazing world class team.”

– Kristian Hernández

Advanced Data and Insights at your Fingertips

PressBox Live brings speed and convenience to match support, helping you surface and share compelling stories as the match unfolds.

Deliver more impactful commentary with insights surfaced through a live content stream.

Add new context to the match with advanced and predictive metrics.

Tackle complex queries and take insight to the next level through Live Chat with experts.

Find out more at

Sports Broadcasting Hall of Fame

TONY PETITTI

In the storied history of sports broadcasting, few stories are as expansive as that of Tony Petitti’s career. With key roles overseeing programming and production, running TV networks on the local and national level, in Major League Baseball’s front office, in corporate America, and, now, as commissioner of the Big Ten Conference, Petitti has seemingly done it all in more than three decades in the business.

“I don’t know of anyone in our industry who has the combination of street smarts and management skills that Tony does,” said CBS Sports Chairman and Hall of Famer Sean McManus. “Above all else, you will never find a better father, son, or friend. No one deserves to be inducted into the Hall of Fame more than Tony.”

A 14-time National Sports Emmy Award winner, Petitti has played a vital role in the success and evolution of the sports-broadcasting business while serving in senior executive roles at CBS Sports, ABC Sports, MLB Network, the MLB Commissioner’s office, and the Big Ten Conference.

“Tony has had an unbelievable career spanning more than three decades,” said The Montag Group’s Sandy Montag, a close friend and advisor. “From working in production to starting a network, to being a deputy commissioner, and now as a commissioner, he has been a dedicated, hardworking, and loyal teammate who has a great reputation and will leave a lasting legacy on our industry.”

The son of first-generation American immigrants, Petitti grew up in Queens, NY, playing baseball and regularly heading to the ballpark with his father, a New York City police officer. He went on to play Division III ball at Haverford College, catching behind the plate for four years before heading to Harvard Law School. After receiving his law degree, Petitti served a short stint at the law firm of Cadwalader, Wickersham and Taft before kicking off his career in broadcasting in 1988 as a general attorney for ABC Sports.

Petitti’s legal career would come to an end when he took a position in the programming department at ABC Sports, eventually working his way up to VP of programming. He oversaw the acquisition and scheduling of college football and basketball, track and field, and NASCAR events and led the charge to expand coverage of the Little League World Series on ABC and the ESPN family of networks.

In 1997, Petitti joined CBS Sports, teaming with newly appointed President Sean McManus to rebuild the Tiffany Network sports portfolio after it lost its NFL rights package. As senior VP, business affairs and programming, his management responsibilities included all contract negotiations and future acquisitions.

In 1999, Petitti’s career took an unexpected detour when CBS Television CEO/President Mel Karmazin asked him to take over as VP/GM of WCBS-TV New York despite his having no experience in local television. Though new to the local-news game, Petitti went on to oversee the transformation and reshaping of the CBS flagship station. He would return to CBS Sports full-time in 2002, serving as executive producer and, eventually, executive VP.

In 2008, Petitti left CBS for the opportunity to launch a cable sports network from scratch at MLB Network. Named president/CEO in July 2008, he was tasked with assembling a team and building out a 24/7 cable operation in less than six months to meet the launch date of Jan. 1, 2009.

“From the very beginning, which was Jan. 1 of that year, he did remarkable work and turned the network into the ultimate television destination for baseball fans across the country and around the world,” said MLB Commissioner Emeritus Bud Selig, who hired Petitti to run the network. “Tony’s work was a great benefit to the game. Congratulations to Tony — it is certainly well-deserved.”

Petitti led the creation, buildout, and launch of MLB Network in 50 million homes — at the time, the largest launch of a cable network in history.

“Tony’s unique combination of creative and business vision made him the perfect person to chart MLB Network’s launch,” says Rob McGlarry, who succeeded Petitti as the network’s president/CEO in 2014. “Being part of his team in those early days, when everything was new — including graphics, broadcasters, production technology, sets, and programming schedules — is something for which I will be forever grateful.”

From 2008 to ’14, Petitti’s vision touched every aspect of content and operations: programming, on-air talent, production team, studio creation, technical facilities.

“You can’t walk around MLB Network without seeing Tony Petitti,” said Susan Stone, senior VP, operations and engineering. “His legacy is in every corner of Studio 21, in every corner of Studio 42, and in every corner of Studio 3, including MLB Tonight.”

When Rob Manfred took over as MLB commissioner prior to the 2015 season, he brought Petitti in as deputy commissioner and COO. During six years in the role, Petitti played an integral role in leading broadcast and digital media, special events (All-Star Game, Home Run Derby, and MLB Postseason), MLB Network, MLB social media, consumer products and licensing, marketing, youth development, and more.

“For more than a decade,” said Manfred, “Tony was one of the most important and influential people in baseball — first at MLB Network and then with me in the Commissioner’s Office. Tony is truly the father of MLB Network; there would be no MLB Network, certainly not of the quality that we have today, were it not for him.”

After a brief stint as president of Activision Blizzard following his time at MLB, Petitti brought his wide-ranging experience to his biggest role to date in May 2023 when he was named the seventh commissioner in Big Ten Conference history.

For former Big Ten Commissioner Jim Delany, who has known Petitti since the early ’90s and remains close to him, “it would be hard to see a Broadcasting Hall of Fame without Tony Petitti represented.”

– Jason Dachman

GREAT BROADCASTS START WITH

World Leader in Live Video Contribution Over Any Network

Designed for live sports broadcasting and newsgathering, Haivision’s mobile video solutions deliver pristine-quality, low latency, and reliable video contribution over bonded cellular and IP networks from anywhere.

Winning solutions are a product of passion & collaboration

On the eld, at the starting line, or across the court, Comcast Technology Solutions is powering premium live and on-demand sports experiences around the world, at the highest scale. We help sports entertainment providers to bring home the gold with new innovations and the trusted experience to keep fans watching – and cheering.

2022 EMMY AWARD for our patented Linear Rights Management technology

2023 EMMY AWARD for our patented VideoAI™ technology

Sports Broadcasting Hall of Fame

JEFF ZACHARY

It isn’t very often that a child who finds themselves in front of the camera becomes enraptured by what is going on behind the camera, but that is what happened to Sports Broadcasting Hall of Famer Jeff Zachary who, as a child, appeared in Armour hot dog commercials.

“I was more intrigued by the behind the scenes and shooting it,” he recalled.

That intrigue at a young age resulted in a Hall of Fame career as Zachary is considered one of the all-time-great Steadicam operators. He was the first person to bring Steadicam to NFL coverage, Super Bowls, PGA Golf, MLB All-Star Weekends and the Home Run Derby, the Kentucky Derby, FIFA World Soccer Finals, college football starting in 2006 at the BCS Rose Bowl Championship Game, the XFL, and the Jerry Lewis Labor Day Telethons. And he also was an innovator, creating specialty camera systems as well as playing a big role in 3D handheld, Steadicam and hard camera rig designs.

“I was always intrigued with adding lateral movement to a shot,” says Zachary of his love of running a Steadicam. “I was always thinking about if I could get 20 yards in front of the receiver so that when the ball drops in near me, I can take off and make it to the goal line with them, providing a lateral stabilized tracking shot.”

Zachary has received 11 Sports Emmys, often working at some of the most important events in sports history. Among the highlights of his 47-year career as a camera operator and Steadicam operator are working the Ali vs. Holmes fight in 1980; FIFA World Cup Finals 1994; 26 NBA All-Star Games/Slam Dunk Contests; 12 Super Bowls; 15 Kentucky Derbys; 13 MLB All-Star Home Run Derbys; U.S. Open Golf; Indy 500; 36 years of NFL coverage; and much more.

Said Hall of Fame Producer Fred Gaudelli: “Jeff is one of the finest camera operators I ever worked with. He has many qualities that earned him induction to the Sports Broadcasting Hall of Fame, but none larger in my book than creating a position that didn’t exist and then turned into a mainstay camera on all major sports telecast.”

Zachary’s formative years had several kismet moments, like getting a Super 8 film camera with a Slow Motion Feature at 12 years old.

In 1978, Zachary’s family owned their own real estate and video production company, called The Zachary Company, creating videos of the real-estate properties they were representing. The goal was to shoot high-quality video walk throughs of the properties and then provide buyers a way to see multiple listings without having to leave their air conditioned office in Vegas.

“The only way to accomplish that quality was to be fluid, and we tried a Dolly, but it was too time consuming to operate,” recalled Zachary. “My father and I were watching the movie Bound for Glory and there was a camera shot where the cameraman was walking through the set with real fluid movement. So, we purchased the product, a Steadicam, from Cinema Products.”

Amazingly, it was only the 13th Steadicam ever built and Steadicam inventor Garrett Brown (also a Sports Broadcasting Hall of Famer) worked on Bound for Glory. Two years later, the two would meet at the first Steadicam workshop that Brown and his wife, Ellen, ran in Rockport, ME.

In 1981, his sports-related career took a major step when a ringside handheld cameraman was not able to work a fight for ESPN.

“When ESPN launched, there were a lot of new opportunities,” he recalled. “I was being offered everything from gymnastics to CART auto racing Indy car series to NASCAR and golf.”

When ESPN’s College Football package in 1986 started up, Zachary had a chance to work with Payton, Director Chip Dean and Gaudelli. While working with ESPN, he also was able to work with HBO (ultimately for 33 years) on big-time fights like Marvin Hagler-Thomas Hearns, Sugar Ray Leonard-Marvin Hagler, and the legendary Mike Tyson fights.

By the time the late ’80s rolled around, Zachary seemed to be everywhere: with ESPN for Sunday Night Football, with NBC for the 1988 Summer Olympics in Seoul (using a new wireless system), and bringing Steadicam to golf coverage for the first time on the Golf Channel in 1997 with Director Emmett Loughran.

Always an innovator (in 1979, he was part of a design team for a Steadicam helicopter mount), he also introduced, along with his longtime partner in business and in life (and Sports Broadcasting Hall of Famer) Deena Sheldon, the RoverCam at CBS’s PGA Championship and Fox’s US Open Golf, inventing the BoatCam where it has been used for NBC’s Super Bowl LVI and CBS’s Golf coverage, providing a new perspective for sports coverage.

He was also part of the team and instrumental in contributing to the design and operating, for Innovator Vince Pace, ASC and Patrick Campbell, the first 3D Steadicam. Pace and Oscar Winning Director James Cameron brought Zachary and Sheldon on as coVPs of the Sports and Entertainment Division of the newly formed Cameron|Pace Group. The pair played a major role in producing and shooting live 3D sports broadcasts.

Zachary says he owes a debt of gratitude to everyone for what has and continues to be a dream come true career.

“What this career has also done for me is left the most indelible mark in my heart with the many friendships that I have with so many in this industry,” he said. “A family, along with my own, that I cherish.” – Ken Kerschbaumer

Complete Solution for Sports Broadcast Graphics

Our comprehensive range of graphics products mean we can satisfy everything your sports broadcast facility requires.

We stay at the forefront of technology development and have developed a fantastic client list by putting our customer’s needs first - come to our website to read more of their testimonials.

Our modular approach lets you build the solution you want and only pay for what you need. Our prices are incredibly competitive no matter what kind of system you require and our top tier customer list means on-air reliability is never compromised.

Available in HD, UHD or HDR; SDI, NDI or ST2110.

“When we moved to 3D graphics, we needed a product with good, local support – as well as flexibility and value for money. We chose Swift and it has been in daily use since then. We were very impressed, it has been a good choice.”

“Tactic calibrates the pitch very quickly. I click five times and I am ready to start working. It’s incredible!”

Swift CG +

Easy to use broadcast graphics editor and CG used to produce consistent, realtime branding and 3D assets for the entire Swift range.

Swift Studio

Immerse your presenters into cutting edge virtual studios or drop 3D augmented reality scores and stats graphic objects into live sports shows.

Tactic Pro

Premier sports analysis telestrator software aimed for professional broadcasters. Next Gen Analysis lets you create more insightful sequences in a fraction of the time.

Swift Live

Intuitive, web interface to preview and trigger graphics from any control room. Make life for your operators easy by configuring the interface to match your operations.

Tactic Live

Add virtual, ingame markers, explainer graphics or sponsorships into live in game action to enhance your sports fans engagement.

NHL Drafts EVO Cloud For An All-Star Workflow

Hockey moves fast. Players speeding across the ice, pucks flying 100 mph… And it’s not just the players that have to keep up. Behind the scenes, the NHL's production team must travel, shoot, upload, backup, transcode, edit, and deliver quality productions at blazing fast speeds.

“We needed technology for people on the move,” said Taishon Black, NHL’s Senior Director of Broadcast Technology. “EVO Cloud stood out amongst all others to get material to our end users quickly and across multiple locations.”

management (MAM), and remote editing tools for unlimited users so production teams can customize their workflow for their unique needs. And they never have to worry about software license fees.

Wherever their travels take them next—like the Stanley Cup, Awards, and Draft—EVO Cloud will help the NHL production team to keep up their pace of editing in the cloud for years to come.

Read the full story here.

https://www.studionetworksolutions.com/evo-cloud/?utm_campaign=SVG&utm_source=AD23

EVO Cloud packs a punch with robust features to help remote video editing teams search, find, preview, transcode, edit, download, relink, share, backup, and do almost anything they want with their media. It comes with secure remote access, built-in media asset

Wide Area Camera Tracking

AirPixel is a scalable, low latency, radio and inertial sensing camera tracking solution for broadcast TV, live events and virtual production.

Compatible with a wide range of sports broadcast cameras it can be used indoors and outdoors for AR and virtual production in stadiums, large LED studios, concert venues and racetracks.

SCALABLE, LOW LATENCY, RADIO

BROADCAST SERVICES

An RF and Broadcast Engineering Services Company making your vision and event come to life on the World Screen! From our Point of view to you! In 2023 3GMEDIA.TV has changed locations, moving to a new, larger facility allowing our production capabilities to expand. We welcomed a new MU into our inventory that we aptly named Bigfoot. Throughout this summer into the fall Bigfoot has seen our crew through the entire NHRA season. We doubled our gear and personnel for USFL over the spring. Our RF packages were built specifically for USFL delivering both HFR and HDR video transmission for live and remote broadcast. 3GMEDIA.TV is also excited to be partnering up with ESPN for the broadcast of Top Rank Boxing | Delivering exclusive Shallow Depth of Field Cameras capturing crystal clear, sharp footage of all the action.

AIR is building remote video capture, storage, and distribution solutions for the Digital Age. The AIR platform marries robotics, machine-intelligence, and an intuitive interface to simplify high-end camera control and reduce production costs.

Advanced Systems Group (ASG) fuses technical and creative expertise to design, build, and operate media-centric solutions that bring our clients’ visions to life. ASG addresses the need for a cloud-based solution with Virtual Production Control Room. VPCR allows real-time, broadcast-quality coverage for their clients’ live events. VPCR uses cloud-based production tools from several established industry vendors to deliver a powerful virtual control room solution. A complete cloud solution that requires no on-prem services. Deliver cost-effective content complete with dynamic switching effects, graphics, animations, and captions. Video and audio streams are encrypted for security, and access to each production is fully controlled. VPCR supports major videoconferencing applications with multiple live participants. Driven by the need for remote production solutions during the COVID-19 pandemic, VPCR was developed around a multivendor environment that communicated on a standard, unified signal. Refined in real-world environments over the past few years, this system addresses real-world challenges.

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 on-screen graphics and augmented reality.

Aerial Video Systems

Since 1981, Aerial Video Systems has been at the cutting edge of wireless camera technology for sports, entertainment, film, and more. We offer a complete range of solutions for the modern broadcast industry. Our expert team provides in-house, end-to-end engineering and deployment of cameras, aircraft platforms, 4K/UHD RF systems, fiber optic connectivity, and mobile production units.

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

At Allied Broadcast Group (ABG), we’re proud to provide the necessary tools for video production professionals to excel in their work. Since 2011, we’ve established a reputation for being a trusted source in the industry. Last year, we successfully assisted with equipment turnover for an NBA playoff team and the PAC-12, ensuring uninterrupted coverage. We also helped many clients find the right equipment while maximizing returns on their replacements. When an NFL Team urgently needed a flycam lens, our team delivered a replacement before their Thursday night game. Additionally, we have built custom production trailers for several colleges and even for SpaceX. Trust Allied to provide the gear you need for capturing every moment of the action. With our extensive resources and commitment to customer satisfaction, we’re here to be your Ally and Partner for new and preowned professional production gear.

When it comes to virtual

we’re

ALPHA is a technology integrator dedicated to making our client’s vision possible. We’ve been serving the Sports & Live Events market for over 30 years and have the unique ability to deliver a full range of solutions from production control rooms to IPTV, audio, and LED. We continue to lead in design/build systems for sports trucks, stadiums, and venues as well as casino environments including sportsbooks. Recent flagship projects include completing a new production facility for the Atlanta Falcons and a new control room for the Detroit Lions. We’ve also provided the IP-based video production systems for the new MSG Sphere in Las Vegas — a first-of-its-kind entertainment facility in the world. ALPHA also assisted several of our professional and collegiate sports clients with additional upgrade projects to prepare for their upcoming or current seasons.

ARCTEK recently took delivery of its 3rd new uplink encoding truck in the past 3 years, ARCTEK Blue. With the addition of ARCTEK Blue, it shows ARCTEK is committed to the transmission and encoding market. ARCTEK Blue is a 14-source MUX encoding truck with a C-band uplink. The straightforward yet versatile design makes ARCTEK Blue capable of transmitting via satellite, over fiber, or IP back to the head end. ARCTEK Blue can handle all video formats from HD to 1080p, HDR to 4K with Mpeg 4 or HEVC compression. ARCTEKs fleet of 3 KU-band and 2 C-band uplink encoding vehicles continue to crisscross the country covering their true love, sports. Most notably ARCTEK transmitted the 2023 Stanley Cup Finals, 2023 MLV Playoffs, Professional Bull Riding, Professional Bowling, and motocross series. ARCTEK is ready to roll whenever and wherever you have encoding, transmission or production needs. Nothing is more reliable than satellite.

Since 2006, Azzurro has been at the leading edge of technology, delivering turnkey solutions to the broadcast world. With Network Operation Centers in NY and CT, our customer service and real-time monitoring capabilities provide peace of mind to many of the major broadcast networks and streaming platforms. Our video switching center in NYC, provides worldwide video connectivity to our customers. Additionally, we service several large displays in Times Square, including TSX Broadway. Azzurro transmits live events to these screens including the Super Bowl, World Cup, MLB, and MLS games. Azzurro designs, builds and manages professional at-home insert studios for premier on-air talent. Recently, we installed an AzzurroCam at the home of Seattle Seahawk legend Richard Sherman who co-hosts “Undisputed” on Fox Sports. Utilizing NICO, our browser-based platform, all studio aspects are centrally controlled remotely through a user-friendly interface.

Integrating Media Solutions

BeckTV offers complete, brand-agnostic space planning, design, engineering, purchasing, integration, and fabrication services for almost any budget. The company has implemented innovative technology for nearly every type of installation, including broadcast and network television stations, cable and satellite facilities, network operations centers, sports and mobile trucks, professional and university stadium venues, and houses of worship. The company’s projects run the gamut in terms of size and technology — from sports stadiums and large network builds to the smallest call letter stations, and from classic baseband video systems to sophisticated SMPTE ST 2110 deployments. BeckTV has designed and built the

most advanced 4K HDR 2110 deployments in sports and is responsible for every 8K system in the NFL. For more than 40 years, sports venues and broadcasters have trusted BeckTV to create sports video setups that level up the fan experience and help sponsors connect with target audiences.

Bexel is an NEP Broadcast Services Company. From local video equipment rentals to custom control rooms for international broadcasts, we cover it all. For 40 years, Bexel has supported major broadcasters in bringing the most important events to a global audience. Our team of technicians and engineers build custom, scalable broadcast solutions for a range of services including production equipment rentals, RF audio, 4K technology, fiber optic solutions, virtual production, systems integration, product sales, and auction services.

broadcastmgmt.com

Broadcast Management Group was contracted to produce a sports entertainment show for the Kansas City Chiefs and the NFL to kick off the 2023 football season. “The World’s Largest Tailgate” featured 12 cameras, including a jib, steady cam and a wireless handheld. The broadcast had live remote tailgates in 6 locations, including two international venues. The show featured appearances by Roger Goodell and Mama Kelce. The program was produced in less than 3 weeks including show format and graphic development. BMG also handled all event and talent management. The 90-minute live broadcast received more than 2.5 million live views and 77,000 concurrent live views.

Broadcast Services International is a recognized leader in domestic and international broadcast markets, providing full turn-key production solutions, including technical consulting, equipment rentals, RF wireless solutions, commentary systems, and host broadcast packages. BSI concluded its busiest integration season to date, with successful installations for the Tokyo Broadcasting System (TBS) at the World Athletic Championships in Hungary and the FIFA Women’s World Cup in Australia. This fall and winter, BSI is eagerly anticipating a busy season covering events such as the Masters Tournament, the Latin American Amateur Championship (LAAC), NBA, MLB, and a series of other winter sports. Furthermore, BSI has expanded its equipment inventory with a Hitomi Matchbox, 4K HH lenses (both CJ24 dual servo and CJ14 Wide), Tac 24 cable 1000-2000 FT, expansion of our Ultrix Router, RTS KP5032 Omneo panels, and RME Dante / MADI / USB audio converters.

Broadcast Sports International (BSI), a member of the NEP family, continues to be the industry leader in designing and deploying innovative radio frequency products. A focus of our current efforts is concentrated on leveraging the emerging public and private 5G networks to seamlessly deliver audio, video, communications, and data solutions. Development of BSI’s 5G MT-UHD (Mini-TX UHD) provides a solid platform for launching services in demand by our clients and the broadcast industry. Designed with small form factor, low power consumption and support for emerging cellular technologies in mind, it places the 5G MT-UHD clearly on the cutting edge. The 5G MT-UHD won the 2023 IABM BaM award for innovation under the “Connect” category as well as “Best of Show” by TVB Europe. Stay

Accelerate Your Camera-to-Cloud Data Workflow

Built for set-and-forget mass storage management.

Seagate’s tightly integrated portfolio is engineered for media storage efficiency and frictionless data mobility. Elevate your data with the world’s leader in storage solutions. Exos® CORVAULT delivers, pairing the data protection of an Array with self-healing, self-managing capabilities.

Move Video Fast

Sports workflows face some of the tightest deadlines in the media world, so having fast, reliable accelerated file transport is essential.

See how our software's performance and reliability has helped teams and broadcasters meet deadlines while controlling costs:

DataExpedition.com/SVG

Broadcast Services Provider Profiles

tuned for unique implementations. Our goal is to provide seamless technology and services allowing our clients to concentrate on their storytelling.

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

CES Power has done three acquisitions recently. We acquired Infinite Power, a premier provider of temporary mobile power and climate control solutions based in Washington DC, Immedia Event Productions (“Immedia”), a key player in the northeastern events sector known for its robust power and HVAC solutions. This strategic alignment will provide a new hub in New England, strengthening CES Power’s capabilities in Boston and solidifying its commitment to strengthening services in the Northeast & Euro Touring Power (“ETP”), a premier provider of electrical equipment and air conditioning rental for touring productions throughout Europe.

CES Power recently provided all of the temporary power, distribution and HVAC along with the broadcast power for LIV Chicago. CES Power successfully completed the MLB Little League Classic in Williamsport, PA, as well as the kickoff of the 2023 Fox college football season.

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 post-production companies. This year, CineSys has helped creative teams implement hybrid solutions by leveraging existing infrastructures and providing secure remote environments. The engineering team also created a live edit and ingest system for live events. With a growing Development and Media Asset Management team in-house, CineSys can help create customized solutions. They also provide 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, need easy access and sharing capabilities, or more efficient storage for the ever-increasing amounts of data? Get in touch with CineSys to discuss how they can help accelerate your workflow.

Overtime Elite (OTE) has increased its market presence this year through an exclusive deal with Amazon Prime to broadcast their basketball games live and produce a documentary that was released in September 2023. In addition, the arena’s LED boards received a much-needed content management system upgrade utilizing Ross’ XPression Tessera. In late Spring, OTE completed Season 2 of OT7, the brand’s 7-on-7 flag football league, that showcases the next generation of college and pro players. The league play spanned across four regional locations that used REMI technology through BitFire to capture and broadcast the events. Finally, in late summer, OTE launched OTX, OTE’s boxing league which sold out in its first season

at the OTE arena. Clark has worked hand-in-hand with Overtime Elite over the past year utilizing our 25+ years of experience to ensure OTE’s success. Clark looks forward to where Overtime Elite will take the sports world!

We make events sound better, look better, and more exciting for the fans! In the last year, CTI has completed two Division 1 projects, including the new broadcast control center at the University of Michigan’s Michigan Stadium and the new scoreboard at Lindenwood’s Hunter Stadium. Our work on Subaru Park, the home stadium of the Philadelphia Union Major League Soccer Club, was named one of the best installations of 2021 by SCN magazine. CTI has also worked extensively in MLB, NBA, NFL, and NHL stadiums. From decades of experience, we know a world-class AV deployment requires a solid relationship between the integrator and the client. We have the talent to combine immersive technology, sound, video, broadcast TV, and custom programming into an unparalleled customer experience for the fans in your stadium. CTI’s collaborative approach, built around our EDGE system, will deliver your desired results!

CP Communications leads the way in content acquisition, live production, equipment supply, and customer service for broadcast sports, entertainment, and live events of all sizes, with offices in NYC, LA, and Tampa/St. Petersburg. From in-venue production to live streaming, CP remains an inventive visionary for content creation, management, and delivery, with a diverse range of technology solutions, mobile units, and technical experts. CP Communications and its Red House Streaming subsidiary today provide flexible RF, IP, cloud, and bonded cellular solutions that can be customized for each event. For major sporting events such as the Super Bowl and MLB All-Star Game, CP’s expertise in RF event coverage and frequency coordination makes them the undisputed choice for mission-critical live broadcasts. Red House Streaming’s embrace of networked technologies for challenging coverage requirements, reliable signal transport, multi-platform streaming, and NOC-based monitoring has established RHS as a trusted brand for local and remote productions.

Creative Mobile Solutions provides tapeless workflow solutions for live events and studio-based shows. We stay on the cutting edge of tapeless workflow and use our expertise daily in live production environments. Our goals are increasing efficiency and saving your production time and money. We provide services for television, film, commercial and other video productions. The experts on our team have worked 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.

Deloitte is one of the largest professional services companies in Italy, where it has been present for about 100 years. Our services are offered by various separate and independent companies and firms specializing in individual professional areas, but all part of the Deloitte network. Our approximately 11,000 professionals assist the more than 8,000 customers of the network in achieving excellence thanks to the high quality of the service offered, our multidisciplinary approach and widespread presence throughout the country.

Wesco Broadcast Solutions – Your Global Technology Partner

We live and work in a world that challenges us every day. In the broadcast business there are always bumps in the road. Wesco understands this and has the global reach, technical knowledge and local expertise to keep things moving forward so you can live life uninterrupted.

AFTER 20 YEARS, WE JUST GET IT

With over 20 years of experience serving the broadcast & media industries, our dedicated team of experts understand the nuances of live broadcasts and events. Our solutions are carefully crafted, meticulously mapped, and flawlessly executed with the specificity and attention to detail your event demands. Whether it’s a 1 pound shipment or one that requires a dedicated truckload, we know that each project brings its own unique set of demands and timesensitive deadlines. We see each as an opportunity to deliver a concierge-type service you’ve never experienced before. Broadcast & media logistics isn’t just something we do. We live and breathe it. And we do it better than anyone else.

EXPEDITE

• Next flight out

• Ground expedite

• Next-day air

• Second-day air

• Time/day/delivery specific

SPECIALIZED SERVICES

• Concierge-level communications

• Onsite event presence

• Dedicated point of contact

• Reverse logistics

• Warehouse

INTERNATIONAL SERVICES

• International Door-to-Door

• Customs brokerage services

• Carnets

Broadcast Services Provider Profiles

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. There is a lot at stake to make that possible. The sports media industry must execute fully connected, immersive and efficient technology capabilities and solutions that permeate facilities, operations, broadcast, marketing, and IT regardless of complexity or scale. 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. Diversified has delivered and executed advanced technology strategies and solutions for over 30 years. We understand the connection between advanced technology, businesses and fans like no other. Talk with us today about designing and delivering unforgettable experiences of the future.

At Epic 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.

Every day, premier brands trust Encompass to deliver their content to audiences worldwide. As a leading managed service provider, the company supports sports leagues, broadcasters, networks and OTT platforms. Encompass’ interconnected facilities and 1,250 mediaobsessed professionals allow the company to acquire/deliver 100K live events/feeds annually, store 1.1M hours of media in Altitude Archive, originate TV to 84 countries and reach 400M radio listeners weekly. Altitude Media Cloud, Encompass’ scalable and flexible processing platform built for broadcast, runs a suite of products: Altitude Playout, Altitude FAST, Altitude Stream TV, Altitude Archive, Altitude VOD and Altitude Connect. Services: live events, media processing, playout, contribution/distribution, streaming, disaster recovery and radio.

DNA Studios is now DNA Studios Plus! The Houston, TX, mobile production company now has a new headquarters in Dallas, TX. Expansion includes a new studio and event center in Dallas that includes remi control room and trucks. DNA added 2 new Super Nomad trucks built by Gerling. Trucks have 6 cameras, Ross switchers, and graphics. EVS and Canon lens round out the Dante capable trucks. Both trucks are Remi-approved by ESPN. This brings the total to 9 mobile units. DNA’s experienced broadcast staff is ready to help you take your next production across the finish line.

Dome Productions continues its commitment to push the technological envelope and could not be more thrilled to share this milestone! Meet “Titan,” Dome’s new state-of-the-art broadcast mobile. Following on the footsteps of Gateway, Titan is Dome’s second ST 2110 IP mobile. Titan hit the road in July 2023 at Percival Molson Memorial Stadium in Montreal, producing a CFL game between Montreal Alouettes and Calgary Stampeders for TSN. The successful first show marked a continued commitment of delivering top-notch technology to Dome’s clients. Titan can produce in a variety of formats — 720p, 1080i, or 1080p at both 50 and 60 fps — with HDR color space. The truck is powered by a redundant Evertz NATX IP switch fabric, with 6.4 Tbps throughput and full ST 2022-7 redundancy. In addition, Dome chose a Grass Valley K-Frame XP switcher with 128 x 64 ST 2110 I/O, 5 ME control panel.

We are proud to announce that the RF services in the EMG Group are united as EMG Connectivity. This means that the activities of Eurolinx, Broadcast RF and the RF activities of EMG France are consolidated within EMG Connectivity. As a global market leader, this new combination will continue to deliver the bespoke customer service for which EMG is world renowned. More than 1,500 RF events per year are covered by the 80+ EMG Connectivity specialists including the most prominent sporting events and entertainment shows of the world.

Earlier this year, ES Broadcast completed arguably its most significant North American systems integration project to date, in the shape of Van Wagner’s new multi-million dollar broadcast control center in Raleigh, NC. Van Wagner’s productions include some of the biggest events in the US sporting calendar, while the facility’s debut production for the 2023 Department of Defense Warrior Games saw more than 100 hours of programming over several days, fed from San Diego via LiveU bonded cellular. The control center incorporates a range of cutting-edge equipment from Ross Video, Evertz, NewTek, Calrec, LiveU, and Haivision. ES Broadcast’s extensive rental fleet of Sony HDC-3500, HDC-4300 and HDC-5500 cameras and Canon and Fujinon UHD lenses meanwhile has seen action on sporting events as diverse as the Masters and US Open golf, drafts for the NBA and NHL, the MLB All Star Game, women’s college basketball, and more.

This has been a strong year of growth and innovation for the Filmwerks Power Division as well as Sunbelt Rentals as a whole. Sunbelt Rentals continues to lead the charge in sustainable solutions with a significant investment in new green technologies. Part of our investment this fiscal year included 25 new UPS systems for the Filmwerks Power fleet. With over 1,200+ locations across the United States and Canada, an expansive rental equipment offering, and a team of industry and equipment experts, we are here to be your rental partner.

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

Conceived soon after the Atlanta Games as a high-speed pointto-point flyer, FlyCam entered the television history books with a 500 foot flight over the Popemobile and has since drawn raves for super-close, dynamic coverage of sporting events and concerts on six continents. FlyCam has flown over nearly every sport imaginable, capturing some of the most awe-striking moments in modern memory. With technology at its 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.

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

Home to state-of-the-art equipment, cutting edge technology and world-class production and post-production facilities, Gravity Media is leading the way in global sports and entertainment content creation. In April 2023, Gravity expanded its USA Mobile Unit fleet with Aspen, a brand-new 3G HDR Mobile Broadcast facility. An innovative truck designed for the specific demands of the US broadcast market. Aspen joined its expanding outside broadcast truck presence in the US and underlined its commitment to further grow its presence in the world’s largest broadcast market. Aspen has already been deployed for ESPN’s XFL package, plus a variety of entertainment shows, including Ant-Man and The Wasp: Quantumania Red Carpet Premiere, and Darts. In July 2023, Gravity announced a partnership with NBC Sports to support their coverage of Big Ten football and basketball. Aspen, along with flagship mobile unit, Columbus traversed the Midwest covering college football.

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.

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, CA, and Charlotte, NC, with additional ARRI Rental facilities available to us for support. ID operates nationwide as well as providing lighting services internationally. Our Broadcast division is an essential component of ID’s success providing reliable redundant generator power, UPS Systems, lighting design, equipment, and crew to multiple events. ID’s staff strives to provide a premium service for our customers and we recognize their loyalty has driven our success. Our staff remains on call for support 24 hours 7 days a week. In 2023 ID has continued its excellent service for PGA Golf, The NFL, The XFL, College Football, MLB, Super-cross, Extreme Sports, and many more.

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.

JPM Technology Consulting is pleased to announce that we have successfully completed our first year in the broadcast space. We have assembled a team of experienced consultants with over 25 years of combined experience in broadcast engineering and IT, including Zack Bacon, who has joined our team as CTO. In our first year, we had the privilege of working on two 2110 systems with multi-vendor deployments. These systems used a variety of equipment from different manufacturers, including Imagine, EVS, Evertz, Harmonic, Riedel, Lawo, Black Box, G&D, Sony, Dell, TAG, and Calrec. We are committed to helping our clients choose the best workflow for their needs, and we bridge the gap in interoperability to ensure that all of their equipment works together seamlessly.

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

Sports media professionals need to focus on engaging fans, creating content, and strengthening their brand, not worrying about the newest production technologies. KMH Integration removes the complexity for sports organizations installing or upgrading an A/V system or production workflow. Offering a full range of consulting, system integration, and project management services, the KMH team works collaboratively with customers from initial design through project completion to ongoing support. Our team helps customers design more efficient production workflows, expand their operations, reach new audiences and use technology most effectively for long-term growth — whether it’s ongoing network technology upgrades, IPTV deployments, or studio and production space redesigns.

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.

LH Computer Services is a South Florida-based reseller and integrator specializing in data storage and protection 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 serve customers throughout the southeastern United States from our location in Coral Springs, FL. We provide comprehensive solutions, drawing on the best of breed hardware and software from multiple manufacturers.

Your leading source for broadcast sports and entertainment events, including HD mobile production units, fly-pack systems and turn-key production services.

Markertek, a 100% Employee Owned Company, continues its 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-in-time 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.

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.

What a fantastic year 2023 has been. The event business is roaring, and we continue to expand our footprint in Portland and Seattle with over 12 new staff additions. We launched our new website in February, elegantly displaying our most exciting and breathtaking events — and summarizing our many service options in a few concise categories. Head over to meyerproinc.com to see the new design. During the summer we finalized our purchase of outdoor LED tiles manufactured by AOTO. The SW 3.7 panels are a new product, and we are thrilled to get them out in the sunshine. In July we offered support for the MLB draft at Lumen Field in Seattle, providing our flagship Sony HDC-5500 cameras, and in August sent a team with Xbox to Cologne, Germany for the world’s largest gaming event — Gamescom.

Mobile TV Group (MTVG) has recently launched mobile unit 53-RP. This unit is a capture only system made to connect to the cloud or centralized production hub with 8+ 1080P HDR cameras including 4 super slo-mos. It features 4 107x lenses and a Calrec Artemis. MTVG enters the fall with six new partnerships covering the NBA, NHL, and MLB and is on track to complete over 4,000 events in 2023.

We are coming out of a busy summer of production at Nathaniel Howe Studios. We are currently immersed in the branding, animation, and design of TGL, a tech-infused team golf league. This new venture, spearheaded by golf legends Tiger Woods and Rory McIlroy in partnership with the PGA TOUR, is set to tee off in January 2024. The project encompasses a vast array of deliverables, ranging from promo design to main titles, live insert graphics, scoring components, in-arena displays, AR live shots, and dynamic 3D broadcast graphics. In addition to this, we recently completed the design and animation for ‘Sterling’ a stunning season-long promo package for the UEFA Champions League. The toolkit, featuring exquisite 3D renders of the coveted trophy, is now being broadcast on Paramount+ & CBS. Our team has also successfully delivered a Global Brand Toolkit for Bally Sports.

You have a vision. We see it, too. And at NEP, we continue to grow our industry-leading Global Production Ecosystem with a full spectrum of solutions to meet the needs of our clients. Today, this outstanding network of leading experts, advanced technology, and exceptional facilities includes global fleet of over 200 mobile units, 150 flypacks, and 25 connected production hubs — all supported by the most experienced team in the business. In 2023 we’ve launched 15 new connected production facilities including mobile units, flypacks and production hubs enabling our clients to work how they want whether fully on site, hybrid or remote. Through this ecosystem we offer complete end-to-end solutions including: specialty capture and RF; connectivity; unilateral and alternative feed production; live ingest; commercial insertion and SCTE triggering; AR and Graphics; media asset management and archiving; distribution and transmission solutions; logistics and shipping – and so much more.

OSA has had a busy year supplying equipment in a variety of sports including baseball, softball, tennis and cricket. We are supporting our strategic partner FingerWorks deploying systems now featuring FingerWorks 6 player tracking. Our Las Vegas location moved into a new 130,000 sq ft warehouse.

Broadcast Services Provider Profiles

AV Stumpfl 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. As a family business, its founders started the company out of a passion for the advancement of presentation and installation technologies. The product range is warranted for 24/7 usage. AV Stumpfl is located in Wallern, Austria, and is supported by a global network of distribution and service partners.

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, virtual production, staging, scenery and automation systems to bring their stories to life. With 42 offices across six continents and 29 counties, PRG has capabilities to provide services worldwide.

As North America’s #1 provider of live event labor, Program Productions will crew a record-breaking amount of broadcast event days in 2023 — more than 30,000 — with a database of 18,000 skilled technicians. We’re providing our clients with the reliable and innovative solutions they need to make each event a success. PPI’s global reach, combined with our local expertise, continues to benefit our clients through cost-effective crew placement and scheduling. In 2022, we launched a training program to rebuild the post-COVID deficit of skilled technicians. Since the inception of the program, 100 technicians across 21 markets have been trained in 14 positions. Program Productions continues to join forces with ProCrewz, the event labor management platform and mobile app, a recent winner of the 2023 NAB Show Product of the Year Award.

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

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.

Reality Check Solutions (RCS) ignites on-air viewing experiences for some of the most-watched sporting, esports and entertainment events on television, second screen and OTT services. With offices in

Burbank, CA and London, RCS has partnered with the world’s leading sports leagues, federations, networks and social media giants since 1997 to fuel audience engagement through a customized fusion of dynamic graphics, real-time data, and social media. To give shape to each client’s unique vision, RCS develops sophisticated graphics and production systems that can be seamlessly deployed in a wide array of professional environments.

With 30 great years behind us, we are looking forward to the next 30! The little Canadian RF engine that could has had some huge wins over the last year. UmpVu for MLB, the very innovative Natural Selection Tour, WTS Triathlon series, and many more. Innovation, creativity and outstanding client integration remain the focus of this growing company. RF video, audio, communications rentals, and integration.

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

With clients that include every major network and sports league, Rush Media Company has a proven track record of producing, packaging and innovating live television productions at every level. With 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.

Ryval Studios has had a great 2023 welcoming new clients Duke University, Madison Square Garden Sports, Chicago Bears, and NC State University. Ryval is working with these new clients to provide production services for their open videos, intro videos graphics and post-production needs. Ryval is a live-action production company that works with professional and collegiate sports teams to help produce in-venue, social media and marketing/advertising content needs.

Skycam is a leading designer, manufacturer and operator of mobile aerial camera systems. Skycam plays a significant role in changing the way sports are broadcasted in America, appearing at marquee broadcast events such as Super Bowl XXXVII, US Tennis Open, NCAA Final Four, NFL Pro Bowl, Monday Night Football, Sunday Night Football, and NCAA College Football.

Solotech is your single source for audio, video, lighting, rigging, soft goods, control and collaboration solutions & services. Our worldrenowned notoriety in live productions, systems integration and equipment makes us unique.

Connecting the Fan Experience Now and Into the Future.

Belden’s end-to-end cabling and connectivity solutions bring never-before-seen technology, Wi-Fi 6, digital ticketing and highly sophisticated DAS systems to life in some of the world’s biggest and most well-known stadiums.

High-performance infrastructure supports extraordinary experiences for fans at home or at the game.

Ready to Start a Project?

Speak to An Expert!

No one knows freight forwarding and logistics like SOS Global Express. After all, we’ve been doing it at the highest levels for nearly four decades and we’re not slowing down. At SOS Global Express, we are an engineered solutions partner whose multimodal logistics services (air / sea / ground freight and solutions for dangerous goods & batteries) are trusted by premier clients in several industries, including sports broadcasting and music touring. We are more than a freight forwarder, we partner with our clients to engineer logistics solutions that are reliable, timely, and cost-effective. Our clients trust us to handle all aspects of their time sensitive freight movements, requiring precision and proven experience. Whether it requires moving a few dozen miles or traversing an ocean, our team is ready to turn any challenge into an opportunity.

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.

ST Engineering iDirect is a global leader in satellite communications (satcom) providing technology and solutions that enable its customers to expand their business, differentiate their services and optimize their satcom networks. With over 35 years of innovation focused on solving satellite’s most critical economic and technology challenges, we are committed to shaping the future of how the world connects.

Suitelife Systems, a leading provider of monitoring, QC, and video and hardware management solutions, worked with a national football team, providing monitoring tools for their international game. They used Suitelife’s Logging as a Service tools to qualify international distribution of their pre-season games, monitoring SCTE, audio levels, and local and national automated ad insertion to monetize their content.

Systems Innovation is not a typical AV integrator. Our company evolved from the world of live events and creating innovative experiences for audiences. Using our live events DNA, we merge technology with design for experiential impact.

The Famous Group is an award-winning creative technology company specializing in live events and experiences. Over the past two decades, The Famous Group has spearheaded mixed, virtual and augmented reality experiences for the biggest brands, venues, and events in the world. The Famous Group has created activations for leagues and organizations including: NFL, NBA, NHL, NCAA MLB, MLS, WWE, La Liga, F1, and PGA while also collaborating with brands such as Verizon, Nike, Mercedes Benz, Viacom, Live Nation among numerous others. The Famous Group additionally leverages proprietary technology to enhance the in-game experience including VIXI, a real-time social media platform that integrates fans’ social media posts at sporting events, as well as VIXI LIVE, which is powered by TFG’s Virtual Seat software. In just under two years since its creation, VIXI Suite is currently used by over 100 venues and has seen over 5 million fans actively participate in the platform.

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.

VidOvation is a leading manufacturer of video and data communication products to the broadcast television and sports, corporate audiovisual, and government markets. VidOvation offers a wide selection of best-in-class products that fits into any application or budget for wireless video, video streaming, video networking, and fiber optic applications. In addition to its product offerings, the company excels in helping its clients readily integrate complete customized solutions into existing infrastructure and third party systems.

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

We have had an incredible 2023 delivering the most exciting projects in Sports including the new PPG Paints Arena center-hung LED for the Pittsburgh Penguins, where additional technology upgrades are underway again for next year. In Houston, we are supporting a multiyear technology and LED renovation at the Toyota Center. We were excited to design and oversee delivery on new SMPTE 2110 4K systems for both the Detroit Lions and the Green Bay Packers who also turned on significant concourse and audio upgrades as well as a sports performance facility, all with WJHW. We’re very excited about the new 25k square feet of displays for the Denver Broncos in Empower Field at Mile High Stadium. WJHW also oversaw the design and installation of the largest display in baseball for the NY Mets at Citi Field and the Miami Heat are debuting new Video and LED technology this season with our support.

Zero Density

Zero Density is an international technology company dedicated to develop creative products for the industries such as broadcasting, augmented reality, live events and esports. Zero Density offers the next level of virtual studio production with real time visual effects. It provides Unreal Engine native platform, “Reality Engine”, with advanced real-time compositing tools and its proprietary keying technology. Reality is the most photo-realistic real-time 3D Virtual Studio and Augmented Reality platform in the industry.

C o n s u l t a n t s a n d D e s i g n e r s

f o r T e c h n o l o g y a n d

A c o u s t i c s

W J H W p r o v i d e s c o n s u l t i n g a n d d e s i g n s e r v i c e s o n t e c h n o l o g y f o r v e n u e s , i n f r a s t r u c t u r e a n d e d u c a t i o n O u r g o a l i s t o e m p o w e r o u r c l i e n t s

a n d p r o v i d e e f f i c i e n t , l o n g - t e r m s o l u t i o n s t o t h e e n d u s e r

C o n t a c t U s

9 7 2 . 9 3 4 . 3 7 0 0

W W W . W J H W . C O M

DALLAS ---

SAN ANTONIO ---

DENVER ---

LONDON ---

MELBOURNE

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

GOLD Winner : Sports Titles 2022 Promax Global Excellence Awards

Amazon Prime : Roland Garros Titles & Graphics

Nickelodeon : Super Bowl AR Simulcast

Premier League Productions : AR Studio

Vision: Realized.

ALPHA helped bring Sphere to life. Imagine what we can do for you.

Access the talent, ingenuity and resources of a world-leading solutions provider for live event & sports venues. The same combination of multi-industry mastery and end-to-end capabilities that ALPHA brought to Sphere, we bring to every client. Just tell us about the experience you want to create. And see how we make your vision possible.

Learn more about our solutions and projects at AlphaX.us

EVERY SECOND. EVERY ANGLE. EVERY PLAY.

Produce Once, Distribute Everywhere

C360 covers every angle from capture to processing and production tools enabling seamless distribution to any destination.

C360 Capture Systems

A cutting-edge video capture system, boasting custom built, ultra-high resolution, high frame rate, and a wide field of view.

CX Video Hub

A comprehensive, technologically advanced approach to sports broadcasting, featuring Digital PTZ, Auto-ISO™, and Time Machine.

C360 is a Cosm Company. Cosm, is the leading experiential media and immersive technology company, transforming global content experiences across sports, entertainment, art, and education. Through cutting-edge technology, Cosm bridges virtual and physical worlds, connecting people in Shared Reality.

BROADCAST & LIVE EVENTS

BROADCAST & LIVE EVENTS

BROADCAST & LIVE EVENTS

BROADCAST & LIVE EVENTS

W H Y C T I ?

W H Y C T I ?

W H Y C T I ?

W H Y C T I ?

With our broad industry insight, experience from top technicians and engineers, and a full-range of products, CTI can meet and exceed your broadcasting expectations.

With our broad industry insight, experience from top technicians and engineers, and a full-range of products, CTI can meet and exceed your broadcasting expectations.

With our broad industry insight, experience from top technicians and engineers, and a full-range of products, CTI can meet and exceed your broadcasting expectations.

With our broad industry insight, experience from top technicians and engineers, and a full-range of products, CTI can meet and exceed your broadcasting expectations.

If We Build It... They Will Come

Taking You From Legacy to Legend

With 100+ sports projects completed for the NFL, MLB, NBA, NHL, MLS, NCAA - the size, scale and complexity of our projects are unmatched.

Diversified has a proven track record of bringing firsts to fruition including...

• Building the first fly pack broadcast system transportable by airbringing the 2022 World Cup and Super Bowl into homes across the world

• Engineering the first control room to display content on a circular display at the Mercedes Benz Stadium

• Engineering the first high-density pixel canvas to display HD content at that scale for the Vornado, Marriott Marquis LED Display in Times Square

https://onediversified.com/sports

LIVE-DRONE FOOTAGE

BRINGING EVERY BROADCAST TO THE SKIES

We provide the most engaging and cost-effective live-drone footage directly into broadcasts, with our team of licensed and insured drone pilots with decades of experience and creative development. Our capabilities range from traditional scenic live-drone to dynamic FPV drone footage, all LIVE.

2022

2022

2022 Commonwealth

2022 Winter

2023 FIFA Womens World Cup, Sydney Australia

FIFA World Cup, Doha Qatar

European Championships, Munich Germany

Games, Birmingham UK

Olympics, Beijing China

Our work tells your story.

HLW’s media and entertainment practice designs facilities that support the creation of advanced sports, film, television, and new media content.

To learn more contact Jeremiah Hancock Associate Principal, Media & Entertainment jhancock@hlw.com

n Next Generation storage platforms

n Content production

n Distribution

n Archive

n Performance and reliability

n Focused on extreme production and delivery deadlines.

n Proven File Systems

n Optimized for Video

n End–to–end solution from ingest to archive.

n Designed for performance from the ground up

n Built on the foundation of high-performance collaboration

n Clients include leading post and broadcast organizations

in both the NBA®, NCAA® and more

VIRTUAL STUDIO EXTENDED REALITY AUGMENTED REALITY

Tell your story, your way with Reality5’s unrivaled creative capabilities

Welcome to the place where next takes shape. Reality5 is a virtual production platform that brings limitless possibilities to life. Redeveloped from the ground up, with dynamic visuals, data-driven graphics, and seamless workflow integration, it is, simply put, a new paradigm for visual storytelling.

Supports the full range of the virtual production stack. From XR to AR and Virtual Studio.

The unique node based compositor is intuitive and manages complex setups with ease.

3D Compositing pipeline blends real and virtual elements to create a seamless, uniquely realistic environment.

3D PixelPerfect Keyer sets the standard for precision in real-time post production quality keying. Preserving real shadows and other essential details.

The PixelRestore process recreates lifelike transparency in a single render pass.

Bidirectional dynamic shadows and reflections seamlessly blend physical and virtual objects.

New architecture lowers RAM usage and boosts render process efficiency by 40%. Total delay from input to output is just 5 frames.

New versions of Unreal Engine are supported within two weeks of their release.

Integrates seamlessly with your current technology and editorial systems.

• 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

Gearbase

18TH-ANNUAL SVG SPORTS PRODUCTION GEARBASE SURVEY RESULTS

With 2024 off and running, production services and facilities providers are as busy as ever with a record number of live sporting events set to be produced this year. As the industry continues to evolve, live-sportsproduction clients are demanding new workflows and technologies that often blend the line between remote and on-site. While REMI production has become more commonplace, mobile units are as popular as ever and these organizations are committed to rolling out innovative, new trucks to meet the growing demand from broadcasters and content creators. This year’s Sports Production Gearbase features more IP-based and 4K/HDR-capable trucks than ever, laying the foundation for a future that offers more flexibility and production quality than ever before. Data from Q4 2023

Fujinon 6-HH Fujinon

Maverick 40' expando HD Fiber Calrec Omega 48-Faders / 96 ch. 10 Sony 4-H Fujinon 6-HH Fujinon

Zurich 53' double expando HD/1080p 3G/ UHD/HDR Fiber Studer Vista X 72-Faders / 600 ch. 18 Sony 16 Fujinon

Eclipse 53' triple expando

HD/1080p 3G/ UHD/HDR SMPTE 2110 IP Fiber Studer Vista X 72-Faders / 600 ch. 18 GV 6-H. Canon 12-HH Canon BROADCAST MANAGEMENT GROUP

RMU-1 58' x 10'9" HD / 1080P Both Yamaha CL5 (x2), Yamaha M7L GV LDX-86 Worldcam STD (x6) up to 12

Canon SuperDigi 23x (1), Canon SuperDigi 95x (2), Canon SuperDigi 100x (6), Canon 11x (2), Canon 14x (2), Canon 17x (1), Canon 22x (1), *NOTE: Lens compliment split among both units

Canon SuperDigi 23x (1), Canon SuperDigi 95x (2), Canon SuperDigi 100x (6), Canon 11x (2), Canon 14x (2), Canon 17x (1), Canon 22x (1), *NOTE: Lens compliment split among both units BOUNCE MULTIMEDIA Unit AMatthew 53' expando HD Triax Calrec Omega w/ BlueFin (72 Fader), 128x128

RMU-2 54'2" x 12'2" HD / 1080P Both Yamaha CL5 (x2), Yamaha M7L GV LDX-86 Worldcam STD (x6) up to 16

Ross XPression, 3-Channel (x3)

Ross XPression, 3-Channel (x3)

Senn. 416 Shotgun Mics (x5), Senn. HMD 26-11 Headset (x5), Handheld GLX-dMics (x2), Icemics AKG PCC160 PZM (x10)

Senn. 416 Shotgun Mics (x5), Senn. HMD 26-11 Headset (x5), Handheld GLX-dMics (x2), Icemics AKG PCC160 PZM (x10)

Vizrt, Ross XPression, ChyronHego Duet Full complement

Vizrt, Ross XPression, ChyronHego Duet Full complement

Vmix Graphics w/Custom Looks Senn., Sony, A-T, EV, Shure

Ross Acuity 3M/E (x1), Ross Vision 4M/E (x1), Newtek Tricaster VMC (x1)

NewTek 3-Play, 8-In / 2-Out (x3), NewTek 3-Play, 4-in / 2-Out (x1) AJA Kumo 64 by 64

Ross Acuity 3M/E (x1), Ross Vision 4M/E (x1), Newtek Tricaster VMC (x1)

NewTek 3-Play, 8-In / 2-Out (x3), NewTek 3-Play, 4-in / 2-Out (x1)

Ross NK-3G72 72×72 3G / HD / SD SDI Router

GV Kalypso, 4M/E 1 6-ch. EVS, 2-4 ch EVS (w/ XFile3) PESA 256x256

Ross Carbonite Ultra 24 Input, 10 Output, 2 Multiview 1 6-ch. EVS (w/ Xfile 3) UTAH Scientific 64x64

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

2 Dreamcatcher 428 with controllers BMD 40x40 with Router Hub, 6 XY routers

Imagine Communications

ChyronHego Mosaic or Ross XPression Senn., Sony, Shure, more as requested GV Kayenne 5M/E and GV Korona 2M/E 2 EVS XT4K 12-ch., 1 Ross Mira 8-ch.

ChyronHego HyperX3 Senn., EV, Sony GV 400/35 HD Kayenne 4-5M/E 2 6-ch. EVS XT2, 1 4-ch. EVS XT2, 1 4-ch. HD XT2

ChyronHego HyperX3 Senn., EV, Sony GV 400/35 HD Kayenne 4-5M/E 2 6-ch. EVS XT3, 1 8-ch. HD XT3 RO, 1 4-ch. EVS XT2

ChyronHego HyperX3 Senn., EV, Sony GV 400/25 HD Kayenne 4-5M/E 2 6-ch. EVS XT2, 1 4-ch. EVS XT2, 1 4-ch. EVS XT2 RO

ChyronHego Mosaic Senn., EV, Sony GV 400/35 HD Kayenne 4-5M/E 1-12 ch. EVS

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

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

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

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

Utah 400

(528x528

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2 (56 Faders/340

Channels) (8) Sony 2500(4) Sony 1500 (5) Fujinon 101x, (2) Fujinon 88x, (6) Fujinon 22x, (2) Fujinon 14x4.5 GTX-12 53' Expando HD/1080i Both Calrec Artemis Beam V8 w/ High Density Bluefin2 (56 Faders/340 Input Channels) (8) Sony 2500(4) Sony 1500 (5) Fujinon 101x, (2) Fujinon 88x, (2) Fujinon 22x, (2) Fujinon 13x4.5, (2) Fujinon 12x4.5

GTX-16 53' Double Expando HD/1080i Both

GTX-17 53' Double Expando HD/1080i Both

GTX-19 53' Double Expando

Calrec Artemis Beam V8 w/ High Density Bluefin2 (64 Faders/340 Input Channels)

(8) Sony 2500 & (2) Sony 4300 (2) Sony 1500

Calrec Artemis Beam V8 w/ High Density Bluefin2 (64 Faders/340 Input Channels) (12) Sony 2500

Both Calrec Apollo w/ Bluefin2 (72 Faders/ 1020 Input Channels)

(12) Sony 3500 (4) 4K Sony 4300L (2) Sony 1500

Both Calrec Apollo w/ Bluefin2 (72 Faders/ 1020 Input Channels) (10) Sony 3500 (4) 5500 (2) Sony 4300

(5) Fujinon 101x, (2) Fujinon 88x, (2) Fujinon 22x, (1) Fujinon14x4.5, (3) Fujinon 13x4.5, (2) Fujinon12x4.5

(8) Fujinon 99x, (3) Fujinon 23x, (2) Fujinon18x5.5, (2) Fujinon 13x4.5

(8) Fujinon 4K 107x, (3) Fujinon 4K 23x, (5) Fujinon 4K 18x5.5, (2) Fujinon 4K 14x4.5, (2) Fujinon 22x

(8) Fujinon 4K 125x, (4) Fujinon 4K 24x, (1) Fujinon 4K 18x5.5, (3) Fujinon 4K 13x4.5, (1) Fujinon 22x, (1) Fujinon 17x

HD/1080p/4K/ HDR

GTX-20 53' Double Expando HD/1080p/4K/ HDR

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Frame XP 4M/E (9 ME HD)

EVS XT VIA 8CH, 2x XT VIA 12CH, 1x XS VIA 4CH Spot Box, Xhub VIA

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Frame XP 4M/E (9 ME HD) 1x EVS XT VIA 8CH, 2x XT VIA 12CH, 1x XS VIA 4CH Spot Box, XHub VIA

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Frame X 4M/E (9 ME HD) 1x EVS XT VIA 8CH, 2x XT VIA 12CH, 1x XS VIA 4CH Spot Box, XHub VIA

Evertz NAT-X ST 2110 -IP Core with ST 2022-7 Redundant Switch Fabric

Evertz NAT-X ST 2110 -IP Core with ST 2022-7 Redundant Switch Fabric

GV / Cisco ST 2110-IP Core with ST 2022-7 Redundant Switch Fabric

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Frame X 4M/E (9 ME HD) 1x EVS XT VIA 8CH, 2x XT VIA 12CH, 1x XS VIA 4CH Spot Box, Xhub VIA Evertz (558x576/48x96)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Frame X 4M/E (9 ME HD) 1x EVS XT4K 8CH, 1x XT4K 12CH,1x XT3 12CH, 1x XS VIA 4CH Spot Box Evertz (378x414/48x96)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Frame X 4M/E (9 ME HD) 1x EVS XT4K 8CH, 2x XT VIA 12CH, 1x XS VIA 4CH Spot Box Evertz (576x540/48x96)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Frame X 4M/E (9 ME HD) 1x EVS XT VIA 8CH, 2x XT VIA 12CH, 1x XS VIA 4CH Spot Box Evertz (540x450/48x96)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K- Frame, 4.5M/E 1x EVS XT4K 8CH, 1x XT4K 12CH, 1x XT3 12CH, 1x XS VIA 4CH Spot Box Evertz (288x232/128x128)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Frame, 4.5M/E

1x EVS XT4K 8CH, 2X XT3 12CH,1x XS VIA 4CH Spot Box Evertz (288x288/128x128)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Frame, 4.5M/E 1x EVS XT4K 8CH, 1x XT4K 12CH,1x EVS XT3 12CH, 1x XS4K 4CH Spot Box Evertz (288x288/128x128)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Classic, 4.5M/E 1x EVS XT4K 8CH, 2x EVS XT3 12CH, 1x XS4K 4CH Spot Box Evertz (288x180/128x128)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Classic, 4.5M/E 1x EVS XT4K 8CH, 2x EVS XT3 12CH, 1x XS4K 4CH Spot Box Evertz (288x180/128x128)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Classic, 4.5M/E

1x EVS XT4K 8CH,2x EVS XT3 12CH, 1x XS4K 4CH Spot Box Evertz (288x180/128x128)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV Kalypso, 4M/E 2x EVS XT3 12CH, 1x EVS XT3 6CH, 1x XS 4CH Spot Box GV Trinix (222x160/160x128)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Classic, 4.5M/E 2x EVS XT3 12CH, 1x EVS XT3 6CH, 1x XS 4CH Spot Box Harris (64x64/128x128)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV Kalypso, 4M/E 2x EVS XT3 12CH,1x EVS XT3 6CH 1x XT3 6CH Spot Box GV Trinix (224x320/96x64)

ChyronHego Mosaic XL2 A-T, Senn., EV, Sony GV K-Classic, 4.5M/E 2x EVS XT3 6CH, 1x XS 4CH Spot Box Evertz (84x120/32x32)

As requested Senn. Ross/NewTek/For-A or other As requested As requested

As requested A-T, Senn., EV, Sony As requested As requested Evertz (86x95)

As requested As requested As requested As requested Ross Ultrix 64 x 64

As requested As requested As requested As requested As requested

As requested As requested As requested As requested Blackmagic 16x16

Upon Client Request Senn., A-T,

Upon Client Request Senn., EV, Sony

Upon Client Request Senn., EV, Sony

Upon Client Request Senn., Sony

Upon Client Request Senn., Sony

Upon Client Request Senn.,

GV Kayenne Elite K-Frame 128 Input / 64 Output / 9 Mix Effect, 32

GB Still Store, K2 Summit

(3) 12-CH EVS XT3, (1) 8-CH EVS XT3(w/SSMO Option), (1) XFile3, (1) 6-CH Spotbox w/ Interface&Lance Controller

Embedders

Evertz EQX (288x576), (48x96 Analog, 192x144 AES), (2) 16-CH Evertz Embedders

Evertz HD (496x980), (96x192 Analog, 288x288 AES, 16x16 MADI),

F&F

GTX-21 53' Double Expando

HD/1080p/4K/ HDR Both

Calrec Apollo w/ Bluefin2 (72 Faders/ 1020 Input Channels) (14) Sony 5500 (2) 3500

79 Two 53' expandos

Apollo 53' expando

Bravo (2019) 53' expando

Celtic (2020) 53' expando

Centennial (2022) 53' expando

HD/1080p/4K/ HDR Both

HD/1080p/4K/ HDR Both

HD/1080p/4K/ HDR Fiber

HD/1080p/4K/ HDR Fiber

HD/1080p/4K/ HDR Fiber

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

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

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

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

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

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

12 Sony HDC 4300 Multi-format

10 Sony HDC 2500 Multi-Format

Up to 20 Sony HDC 5500 Multi-format

to 20 Sony HDC 5500 Multi-format

to

Sony HDC

9 Canon Digi Super 95 X 8.6, 2 Canon 22x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

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

10 Canon 100 X 9.3 Lenses, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

8 Canon Digi Super 111x 3 Canon 24x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

Discovery 44' dual expando

Dynasty 53' expando HD/1080p

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

to 20 Sony HDC 5500 Multi-format 8 Canon Digi Super 111x 3 Canon 24x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

Sony HDC 1500 Multi-Format 4 Canon Digi Super 72 X 9.3 Lenses, 2 Canon 22x7.8 ENG, 1 Canon 14x4.3 Wide Angle ENG

(8) Fujinon 4K 125x, (4) Fujinon 4K 24x, (1) Fujinon 4K 18x5.5, (3) Fujinon 4K 13x4.5, (1) Fujinon 22x, (1) Fujinon 17x GAME

Upon Client Request Senn., Sony

GV Kayenne XP K-Frame 192 Input / 96 Output / 9 Mix Effect, 64 GB Still Store w/Movies, K2 Summit

(6) 12-CH EVS VIA(x/SSMO Option), (1) IPDirector, (2) XFile3, (1) 6-CH SpotBox w/ Interface&Lance Controller

GV IP (576x746)(128x128 Analog, 128x128 AES, 256x256 Dante, 256x256 MADI)

Upon Request Senn., A-T, Sony GV Kayenne K-Frame, 9M/E 5 EVS 12-ch. XT4K, 1 EVS XS4 SpotBox Evertz EXE SVDN 744 x 948 + 989

Upon Request Senn., Beyer, EV, Sony GV Kayenne, 3M/E 3 EVS XT4k, 1 EVS 6-ch. XT3 Spotbox Evertz EQX 3G Video Evertz EMR Audio

Upon Request Senn., Beyer, EV, Sony GV Kayenne K-Frame X, 9M/E Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Spotbox

Upon Request Senn., Beyer, EV, Sony GV Kayenne K-Frame X, 9M/E Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Spotbox

Upon Request Senn., Beyer, A-T, EV, Sony GV Kayenne K-Frame-XP, 9M/E

ChyronHego Mosaic Senn., A-T, EV, Sony GV Kayenne K-Frame, 9M/E

Upon Request Senn., Beyer, EV, Sony GV Kayenne K-Frame X, 9M/E

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

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

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

2 EVS 12-ch. XT3, 2 EVS 8-ch. XT3 , 1 EVS XS4 SpotBox Evertz EQX 3G Video Evertz EMR Audio

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

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

Upon Request Senn., Beyer, EV, Sony, Shure GV Kayenne, 4.5M/E 3 EVS 6-ch. XT3 1 EVS 4-ch. XT3 SpotBox Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic Senn., Beyer, EV, Sony GV K-Frame, 4.5M/E

2 EVS 12-ch. XT3, 1 EVS XT4k , 2 EVS 6-ch. XT3 1 SpotBox Evertz EQX 3G Video Evertz EMR Audio

Upon Request Senn., A-T, Sony GV Kayenne K-Frame, 9M/E 11 EVS XT-VIA

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

ChyronHego Mosaic Senn., Beyer, EV, Sony GV Kayenne, 3M/E 3 EVS 6-ch. XT3, 1 EVS SpotBox Evertz EQX 3G Video Evertz EMR Audio

Upon Request Senn., Beyer, EV, Sony, Shure GV Kayenne, 3M/E 1 EVS 12CH, 1 EVS 6-ch. XT3,, 1 EVS SpotBox Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic Senn., A-T, EV, Sony GV Kayenne K-Frame, 9M/E

Upon Request Senn., Beyer, EV, Sony GV Kayenne K-Frame X, 9M/E

ChyronHego Mosaic Senn., Beyer, EV, Sony GV Kayenne K-Frame X, 9M/E

XT-VIA, 1 EVS XS-VIA Spotbox Lawo/Arista Streaming Video Network (432x528 Baseband, 64x64 GCV T2T, 384x96 Multiviewer)

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

ChyronHego Mosaic Senn., Beyer, EV, Sony GV K-Frame, 3M/E 2 EVS 12-ch. XT3, 2 EVS 6-ch.

NineFour 53' expando HD/1080p/4K/ HDR Fiber

Nitro 53' expando HD/1080p/4K/ HDR Both

Northstar 53' expando HD Both

Patriot 53' expando HD Both

PeacockOne Two 53' expandos

HD/1080p/4K/ HDR Fiber

Pride Two 53' expandos HD/1080p/4K/ HDR Both

Prime (2022) Three 53' expandos, One 53' straight HD/1080p/4K/ HDR Fiber

RiverHawk 53' expando

Spirit Two 53' expandos

Victory Two 53' expandos

Webby 53' expando

Yogi Two 53' expando

HD/1080p/4K/ HDR Both

HD/1080p/4K/ HDR Both

HD/1080p/4K/ HDR Both

HD/1080p/4K/ HDR Fiber

HD/1080p/4K/ HDR

Moonshine (2023) 53' expando, 53' Straight HD/1080p/4K/ HDR Fiber

Gameday (2023) 53' expando

HD/1080p/4K/ HDR Fiber

Varsity (2023) Two 53' expando

HD/1080p/4K/ HDR Fiber

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels) 10 Sony HDC 2500 Multi-Format

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels) 8 Sony HDC 4300 Multi-Format / 3 HDC5500 multi-format

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels) 10 Sony HDC 2500 Multi-format

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

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

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

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

Calrec Apollo Impulse Core Surround Sound (144 12-layer Faders/1020 Channels), Calrec Artemis Ray Surround Sound (72 12-layer Faders/456 Channels)

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

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

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

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

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

Calrec Apollo Impulse Core Surround Sound (144 12-layer Faders/1020 Channels)

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

Calrec Apollo Impulse Core Surround Sound (144 12-layer Faders/1020 Channels)

Aspen 43' expando trailer HD 1080P HDR Fiber Calrec Artemis 56

Columbus 53' expando trailer 4K UHD/HD Fiber Calrec Artemis 64

Maestro 40' Gerling Super Stallion expando HD (REMI only) Both Calrec Omega (48/112)

10 Sony HDC 1500-R Multi-format

5 Sony HDC 1500-R Multi-format

23 Sony HDC 4300 Multi-format

8 Sony HDC 4300 Multi-format / 2 HDC5500 MultiFormat

26 Sony HDC5500 Multi Format

8 Sony HDC 2500 Multi-Format / (2) HDC4300 Mulit-format

12 Sony HDC 2500 Multi-format

10 Sony HDC 4300 Multi-format

11 Sony HDC 4300 Multi-Format

13 Sony HDC 5500 Multi-format / 3 Sony HDC2500 1080p

5 Canon Digi Super 75x 9.3 Lenses, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

6 Canon Digi Super 95, 1 Canon Digi 100x 3 Canon 24x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

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

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

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

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

6 Canon Digi Super 95 X 9.3 Lenses, 3 Canon Digi Super 75 X 9.3 Lenses, 4 Canon 22x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

20 Canon Digi Super 122x 6 Canon 24x7.8 ENG, 6 Canon CJ14x Wide Angle

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

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

2 Canon Digi Super 100x9.3,

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

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

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

7 Canon Digi Super 122x3, 6 Triservo CJ14EX4.3B, 4 CJ24EX7.5

Up to 20 Sony HDC 5500 Multi-format

6 Triservo CJ14EX4.3B, 1 CJ24EX7.5

Up to 32 Sony HDC 5500 Multi-format

Wired for 16 Sony SMPTE, typically carries 8 x HDC3500 Canon or Fujinon

Wired for 20 Sony SMPTE, typically carries 8 x HDC4300 Canon or Fujinon

Wired for 12 Sony TRIAX / SMPTE, typically carries 6 x HSC-300 Canon or Fujinon

8 Canon Digi Super EJ122x3, 2 Triservo CJ14EX4.3B, 3 CJ24EX7.5 GRAVITY MEDIA

Opus 27' Gerling Super Nomad HD (REMI only) Triax Yamaha QL-5 (32/72)

Wired for 8 Sony TRIAX, typically carries 5 x HSC-300 Canon

Ovation 27' Gering Super Nomad HD (REMI only) Triax Yamaha QL-5 (32/72) Wired for 8 Sony TRIAX, typically carries 5 x HSC-300 Canon

Busker 24' Mercedes Sprinter HD (REMI only) Triax Soundcraft Expression (20/20)

Wired for 5 Sony TRIAX, carries 4 x HXC-100 Canon

Upon Request Senn., Beyer, EV, Sony GV Kayenne K-Frame, 4.5M/E 3 EVS 6-ch. XT3, 1 EVS SpotBox Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic Senn., A-T, EV, Sony GV Kayenne K-Frame, 3M/E 2 EVS XT-VIA, 2 EVS XT4K, 1 EVS XS4K Spot box Evertz EQX 3G Video Evertz EMR Audio

Upon Request Senn., A-T, EV, Sony GV Kayenne K-Frame, 9M/E 4 EVS 12-ch. XT3, 1 EVS XS4 SpotBox Evertz EQX 3G Video Evertz EMR Audio

Upon Request Senn., Beyer, EV, Sony GV Kayenne, 4.5M/E 3 EVS 6-ch. XT3 , 1 EVS SpotBox 288x576 Pesa HD Video

Upon Request Senn., Beyer, EV, Sony GV Kayenne, 3M/E 3 EVS 6-ch. XT3, 1 EVS SpotBox Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic Senn., A-T, EV, Sony GV Kayenne K-Frame, 9M/E 9 EVS XT-VIA

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

Upon Request Senn., A-T, EV, Sony GV Kayenne K-Frame, 9M/E 4 EVS XT-VIA, 3 6-ch. XT3 LSM, 1 Spt box Evertz EQX 3G Video Evertz EMR Audio

Upon Request Senn., Beyer, A-T, EV, Sony GV Kayenne K-Frame-XP, 9M/E 17 EVS XT-VIA, , 1 Spt box

ChyronHego Mosaic Senn., A-T, EV, Sony GV Kayenne K-Frame, 4M/E 2 EVS 12-ch. XT3, 2 EVS 6-ch. XT3, 1 EVS SpotBox Evertz EQX 3G Video Evertz EMR Audio

Upon Request Senn., A-T, EV, Sony GV Kayenne K-Frame, 9M/E 4 EVS XT4K, 3 EVS 6-ch. XT3, 1 EVS XS 4 SpotBox Evertz EQX 3G Video Evertz EMR Audio

Upon Request Senn., Beyer, EV, Sony GV Kayenne K-Frame, 4.5M/E 1 EVS 12-ch. XT3, 3, EVS XT4K, 2 EVS 8CH XT3, 1 EVS 6ch spot box Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic Senn., A-T, EV, Sony GV Kayenne K-Frame, 4.5M/E 4 EVS XT4k , 1 EVS XS4k Evertz EQX 3G Video Evertz EMR Audio

Vizrt Senn., A-T, Sony GV Kayenne K-Frame, 9M/E 6 EVS 12-ch. XT-VIA , 1 EVS XS4 SpotBox Evertz EXE SVDN 744 x 948 + 989

Upon Request Senn., Beyer, A-T, EV, Sony GV Kayenne K-Frame-XP, 9M/E 8 EVS 12-ch. XT-VIA , 1 EVS XS4 SpotBox

Upon Request Senn., Beyer, A-T, EV, Sony GV Kayenne K-Frame-XP, 9M/E

Upon Request Senn., Beyer, A-T, EV, Sony GV Kayenne K-Frame-XP, 9M/E

8 EVS 12-ch. XT-VIA , 1 EVS XS4 SpotBox

Lawo/Arista Streaming Video Network (432x528 Baseband, 64x64 GCV T2T, 312x96 Multiviewer)

Lawo/Arista Streaming Video Network (432x528 Baseband, 64x64 GCV T2T, 312x96 Multiviewer)

Lawo/Arista Streaming

S Y S T E M S

I N T E G R A T I O N

C i n e S y s i s a B r o a d c a s t & M e d i a S y s t e m s I n t e g r a t o r p r o v i d i n g s o l u t i o n s a n d s u p p o r t .

C i n e S y s ’ c u s t o m s o l u t i o n s

i n t e g r a t e s e a m l e s s l y w i t h e x i s t i n g w o r k f l o w s t o o p t i m i z e p r o d u c t i o n s p e e d a n d e f f i c i e n c y .

info@cinesys.io

C O N N E C T I N G W O R K F L O W S W E C A N

Solo 24' Mercedes Sprinter HD (REMI only) Triax Soundcraft Expression (20/20) Wired for 5 Sony TRIAX, carries 4 x HXC-100 Canon

Trouper 24' Mercedes Sprinter HD (REMI only) Triax Soundcraft Expression (20/20) Wired for 5 Sony TRIAX, carries 4 x HXC-100 Canon

HIGH ROCK MOBILE TELEVISION High Rock 1 40' dual expando HD Fiber Calrec Artemis Light w/ Bluefin2 and Hydra2 (40 Faders)

8 Sony HDC1700L 8 HDCU2500 CCU's , 1 Sony HDC 4300 4K, 1 Sony HDCU4300L, 4 Sony HDC 3500

HD-3 43' expando HD/1080p/HDR Both Calrec Artemis (56/240) 8 GV LDX

HD-4 43' expando HD/1080p Both Calrec Artemis (56/240) 8 GV LDX

HD-6 53' expando HD Both Calrec Alpha (72/480) 10 GV LDX, 1 GV LDX Extreme SSMO

HD-8 53' expando HD Both Calrec Sigma (64/320) 11 GV LDX, 1 GV Extreme SSMO

HD-9 50' expando HD Both Calrec Omega (56/160) 9 GV LDX

HD-10 53' expando HD Both Calrec Artemis (56/240) 10 GV LDX, 1 GV LDX Extreme SSMO

HD-11 53' expando

HD-12 53' expando

HD-14 53' expando

HD/1080p/HDR Both Calrec Apollo (144/1,020)

12 GV LDX, 1 GV LDX Extreme SSMo

HD/1080p/HDR Both Calrec Artemis (64/340)

11 GV LDX, 1 GV LDX Extreme SSMO

HD/1080p/4K/ HDR Both Calrec Apollo (144/1,020) 10-Sony 3500

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

1 Fujinon 88X, 4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X

1 Fujinon 101X, 1 Fujinon 99x, 3 Fujinon 88X, 1 Fujinon 72X, 4 Fujinon 22X, 2 Fujinon 12X

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

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

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

1 Fujinon 107x, 3 Fujinon 99X, 2 Fujinon 72X, 4 Fujinon 22X, 2 Fujinon 14X

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

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

2 Canon HD 95x8.6, 2 Canon HD 80x8.8, 1 Canon HD 76x9.0 , 4 Canon HD 14x4.3 ENG/EFP Wide Angle, 3 Canon 24x7.5 ENG/EFP LIVE MEDIA GROUP

HD-16 53' expando HD/1080p/UHD/ HDR Fiber Calrec Argo (144/8192) 12-Sony 3500

1 Fujinon 107X, 2 Fujinon 99X, 2 Fujinon 88X, 2 Fujinon 72x, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 13X

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

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

1 Fujinon 107, 3 Fujinon 99x, 2 Fujinon 72x, 2 Fujinon 22x, 1 Fujinon 18X, 2 WA HD-21

N/A Senn., Sony, EV

N/A Senn., Sony, EV

Blackmagic ATEM none 40x40 video

Blackmagic ATEM

ChyronHego Mosiac & Ross XPression Senn., Sony, A-T GV Kayenne K-Frame, 4.5M/E 1 EVS XT3 12-ch., 1 EVS XT3 6-ch.; 1 EVS 4-ch. XS3

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

Client supplied Senn., A-T GV Kayenne K-Frame, 9M/E 1-12-ch. 2-8ch. 6 SpotBox EVS Evertz (V-280x474/A-1312x1696)

Client supplied Senn., A-T GV Kayenne K-Frame, 5M/E 3-6-ch. 4-ch Spot Box EVS Evertz (V-280x458/A-1312x1696)

Vizrt, ChyronHego HyperX3 Senn., A-T GV Kayenne K-Frame, 9M/E 2-12-ch, 2-8-ch. EVS Evertz (V-268x812/A-704x800)

Vizrt, ChyronHego HyperX3 Senn., A-T GV Kayenne, 4.5M/E 2-12-ch, 1-8-ch. EVS PESA (V-256x496/A-512x512)

Vizrt, ChyronHego HyperX3 Senn., A-T GV Kayenne K-Frame, 5M/E 3-6-ch. 1-4-ch. RO, 1 4-ch. EVS GV (V-256x448/A-256x256)

Vizrt, ChyronHego HyperX3 Senn., A-T

ChyronHego HyperX3 Senn., Beyer, A-T

GV Kayenne, 4.5M/E 1-12-ch., 1-8-ch. 2-6-ch. EVS GV (V-256x448/A-256x256)

GV Kayenne K-Frame, 7M/E 4-12-ch, EVS Evertz (V-506x760/A-2528x2272)

Vizrt, ChyronHego HyperX3 Senn., Beyer, A-T GV Kayenne K-Frame, 7M/E 4-12-ch. EVS Evertz (V-280x620/A-1344x1504)

Vizrt, ChyronHego HyperX3 Senn., Beyer, A-T GV Kayenne K-Frame, 7M/E 4-12-ch., 1-6-ch. EVS Evertz (V-556x934/A-2720x3328)

Vizrt, ChyronHego HyperX3 Senn., Beyer, A-T GV Kayenne K-Frame, 7M/E 4-8-ch. 1-6-ch. EVS GV (V-396x770/A-992x1184)

Senn., Beyer, A-T GV Kayenne K-Frame, 7M/E 5-12-ch. EVS EVS/Arista IP (V- 3288x3228)

Vizrt, ChyronHego HyperX3 Senn., A-T For A 490 2M/E 1-6-ch. Ross Ultrix (80x80/1152x1152) Senn., A-T

Kayenne K-Frame, 7M/E 4-12-ch. 1-6ch Spotbox EVS Evertz (V-384x960/A-3072x3072)

Client supplied Senn., A-T GV Kayenne K-Frame, 5M/E 1-12-ch., 2-8-ch., 4-ch. EVS GV (V-252x378/A-992x1184)

Client supplied Senn., A-T GV Kayenne K-Frame, 5M/E 1-12-ch., 2-8-ch. EVS GV (V-144x288/A-1856x1856)

Client supplied Senn., A-T GV Kayenne K-Frame, 5M/E 2-8-ch., 4-ch. EVS GV (144x288/640x640)

ChyronHego HyperX3 Senn., A-T GV Kayenne K-Frame, 2.5M/E 2-7-ch., 4-ch. EVS GV (144x288/640x640)

Client supplied Senn., A-T GV Kayenne K-Frame, 3.5M/E 3-6-ch., 4-ch. EVS GV (192x252/1088x1088)

Client supplied Senn., A-T GV Kayenne K-Frame, 5M/E 2-7-ch., 4-ch. EVS GV (144x288/1600x1600)

Ross XPression Senn, A-T GV Kayenne K-Frame, 5M/E 2-8-ch. EVS Evertz (288x288/1024x1024)

Ross

Ross XPression Senn, A-T GV Kayenne, 2.5M/E

(198x234/1024x1024)

(144x252/256x256)

Ross XPression Senn, A-T GV Kayenne K-Frame, 3M/E 2-6-ch. EVS Imagine (96x96)

Let Mobile TV Group Up Your Game

Mobile TV Group, the live broadcast technology and services company, provides production solutions for over 4,000 live events across the country. Using centralized and distributed systems, the company delivers trusted, flexible and fully integrated broadcast services for major sports leagues and events.

From its flagship remote production solution Cloud Control to the innovative MTVG Edge, and MTVG Services, there’s a live production solution for everyone. Combine that with the best on-site technology on the market, and unmatched service, backed by decades of experience, and MTVG is fully-equipped to take your next broadcast to the next level. Mobile TV Group has offered high-quality broadcast engineering for nearly 30 years, and continues to explore new ways to innovate the live production industry.

Find out how Mobile TV Group can level-up your live productions.

www.mobiletvgroup.com

Stratus 34' straight

22x / 1 Canon WA

(48/56)

Sony HDC-2500 1 Canon 100x / 3 Canon 72x / 3 Canon 22x / 1 Canon WA

YJ18x9B ENG lens, Canon 17X7.6 ENG lenses, Canon 10x4.5 wide-angle ENG lens 31

Canon 72X9.3 long lenses, Fujinon 18x5.5 ENG lenses, Canon 17X7.6 ENG lenses 33

Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens

Access to: Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens 34

Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens 34

Access to: Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wideangle ENG lens 35

Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses

Client

Client

A-T, Senn., Sony, EV GV Kayenne EVS: XT2, XT3, XT4k, or VIA GV Trinix video, Euphonix audio

Vizrt A-T, Senn., Sony, EV GV Kayenne

XT2, XT3, XT4k, or VIA PESA video, Euphonix audio

Vizrt A-T, Senn., Sony, EV GV Kayenne EVS: XT2, XT3, XT4k, or VIA PESA video, Euphonix audio

Vizrt A-T, Senn., Sony, Røde GV Kayenne EVS: XT2, XT3, XT4k, or VIA GV Trinix video, Euphonix audio

Vizrt A-T, Senn., Sony, Røde, EV GV Kayenne EVS: XT2, XT3, XT4k, or VIA GV Trinix video, Calrec audio

Vizrt A-T, Senn., Sony, EV GV Kayenne EVS: XT2, XT3, XT4k, or VIA GV Trinix video, Calrec audio

Vizrt A-T, Senn., Sony, Crown GV Kayenne EVS: XT2, XT3, XT4k, or VIA GV Trinix video, Calrec audio

Vizrt A-T, Senn., Sony, Crown GV Kayenne EVS: XT2, XT3, XT4k, or VIA GV Trinix video, Euphonix audio

Vizrt A-T, Senn., Sony GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn. GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt A-T, Senn., Sony, Crown GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn. GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt A-T, Senn., Sony, Crown GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Up your broadcast studio and graphics game with Disguise

Our extended reality solutions and content services are designed to deliver the best quality content at any pixel resolution. Use our intuitive content workflow solution Porta, together with powerful studio configurator and visualizer Designer to deliver your best production yet.

Get started today

Image credit: Disney’s ESPN Catalyst Stage, Courtesy of ESPN

Access to: Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses

Canon XJ95x8.6 long lens

Canon 76X9 long lenses, Canon 72X9.3 long lens, Canon 17X7.6 ENG lenses, Canon 10X4.5 wide-angle ENG lens

Access to: Canon XJ95x8.6 long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Canon 17X7.6 ENG lenses, Canon 10X4.5 wide-angle ENG lens

Canon XJ95x8.6 long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses

Access to: Canon XJ95x8.6 long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses

Canon XJ100x9.3 Long lens Canon 95X8.6 long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses

Access to: Canon XJ100x9.3 Long lens Canon 95X8.6 long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses

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

Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses

Access to: Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses

Canon XJ 95X8.6 long lenses, Canon UJ86x9.3B long lenses, Canon XJ80X8.8 long lenses, Fujinon ZA 22X7.6 ENG lenses, Fujinon HA 18X5.5 ENG lenses

Access to: Canon XJ 95X8.6 long lenses, Canon UJ86x9.3B long lenses, Canon XJ 80X8.8 long lenses, Fujinon ZA 22X7.6 ENG lenses, Fujinon HA 18X5.5 ENG lenses

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

Access to: Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Canon 72X9.3 long lens, Fujinon ZA 22X7.6 ENG lenses Fujinon HA 18X5.5 ENG lenses

Canon XJ100X9.3B long lens, Canon XJ 95X8.6 long lenses, Canon XJ80x8.8 long lenses

Canon XJ76x9 long lenses, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses

MOBILE

35

36

36

37

37

38

38

39

42

53'

43 FLEX 53' expando HD/4K/HDR

Vizrt Senn. GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt A-T, Senn., Sony, Crown GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn. GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt A-T, Senn., Sony, Crown GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn. GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn., Sony, Crown GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Miranda 3G/UHD router, Miranda audio

Vizrt Senn. GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Miranda 3G/UHD router, Miranda audio Senn., Sony, Crown GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn., Sony, Crown GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn. GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt A-T, Senn., Sony, Crown GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn. GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn., Sony, Crown GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

VizRT Senn. GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn., Sony, Crown GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Catch up on every SVG event— ON DEMAND!

45 FLEX 53' expando HD/4K/HDR Both Calrec GV / Sony

45 VMU 53' HD/4K/HDR Both Studer GV / Sony

Access to: Canon XJ100X9.3B long lens, Canon XJ 95X8.6 long lenses, Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses

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

Access to: Fujinon UA 107X8.4 UHD long lens, Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses

Fujinon XA 99X8.4 long lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses

Access to: Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Canon 72X9.3 long lens, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses

46 FLEX 53' expando HD/4K/HDR Both Calrec GV / Sony

46 B Unit 53' HD/4K/HDR Both Calrec GV / Sony

47 FLEX 53' expando HD/4K/HDR Both Calrec GV / Sony

47 VMU 53' HD/4K/HDR Both Studer GV / Sony

48 FLEX 53' expando HD/4K/HDR Both Calrec GV / Sony

Canon UJ111X8.3B long lens, Canon XJ95X8.6B long lenses, Canon KJ22eX7.6B ENG lenses, Canon CJ14EX4.3B wide-angle ENG lens

Access to: Canon UJ111X8.3B long lens, Canon XJ95X8.6B long lenses , Canon 76X9 long lens, Canon KJ22eX7.6B ENG lenses, Canon CJ14EX4.3B wide-angle ENG lenses

Fujinon XA99x8.4 long lenses

Fujinon XA77x9.5 long lens

Fujinon ZA22X7.6 ENG lenses

Fujinon HA18x5.5 ENG lenses

Access to: 6 Fujinon XA99x8.4 long lenses 3 Fujinon XA77x9.5 long lenses 2 Fujinon ZA22X7.6 ENG lenses 2 Fujinon HA18x5.5 ENG lenses

Canon UJ111x8.3 long lens, Canon XJ95X8.6B long lenses, Canon XJ80X8.8B long lenses

Fujinon KJ22eX7.6B lenses, Fujinon HA18x5.5 ENG lenses

48 VMU 53' HD/4K/HDR Both Studer GV / Sony

49 FLEX-CC 53' expando HD/4K/HDR Both Calrec GV / Sony

Cloud- C1 20’x 8′ x 8’6″ unit HD/4K/HDR Both Calrec GV / Sony

Access to: Canon UJ111x8.3 long lens, Canon XJ95X8.6B lenses, Canon XJ80X8.8B long lenses, Canon XJ76x9 long lens, Fujinon KJ22eX7.6B lenses Fujinon HA18x5.5 ENG lenses

Canon XJ95X8.6B long lenses, Canon XJ76x9 long lens, Fujinon ZA22X7.6 ENG lenses, Fujinon HA18x5.5 ENG lenses

Canon XJ95X8.6B long lenses, Canon XJ76x9 long lens, Fujinon ZA22X7.6 ENG lenses, Fujinon HA18x5.5 ENG lenses

Fujinon UA107x8.4B long lenses, Fujinon, XA99x8.4 long lenses, Fujinon XA77x9.5B long lenses, Fujinon ZA22X7.6 ENG lenses, Fujinon HA18x5.5 ENG lenses

Access to: Fujinon UA107x8.4B long lenses, Fujinon, XA99x8.4 long lenses, Fujinon XA77x9.5B long lenses, Fujinon ZA22X7.6 ENG lenses, Fujinon HA18x5.5 ENG lenses

50 FLEX-CC 53' expando HD/4K/HDR

50 VMU 53' expando HD/4K/HDR

Vizrt Senn. GV Kayenne K-Frame EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn., Sony, Crown GV Kayenne K-Frame X EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn. GV Kayenne K-Frame X EVS: XT2, XT3, XT4k, or VIA Evertz HD video, EMR audio

Vizrt Senn., Sony, Crown GV Kayenne K-Frame X IP EVS: XT2, XT3, XT4k, or VIA Evertz IP video, EMR audio

Vizrt Senn. GV Kayenne K-Frame X IP EVS: XT2, XT3, XT4k, or VIA Evertz IP video, EMR audio

Senn., Sony, Crown GV Kayenne K-Frame X IP EVS: XT2, XT3, XT4k, or VIA Evertz IP video, EMR audio

None None EVS: XT2, XT3, XT4k, or VIA

Access to: Evertz IP video, EMR audio

Vizrt Senn., Sony, Crown GV Kayenne K-Frame X IP EVS: XT4k, or VIA Evertz IP video, EMR audio

Vizrt Senn. GV Kayenne K-Frame X IP EVS: XT4k, or VIA Evertz IP video, EMR audio

Vizrt A-T, Senn., Sony, Crown GV Kayenne K-Frame X IP EVS: XT4k, or VIA Evertz IP video, EMR audio

Vizrt Senn. GV Kayenne K-Frame X IP EVS: XT4k, or VIA Evertz IP video, EMR audio

Vizrt Senn., Sony, Crown GV Kayenne K-Frame X IP EVS: XT4k, or VIA Evertz IP video, EMR audio

Vizrt Senn., Sony, Crown GV Kayenne K-Frame X IP EVS: XT4k, or VIA Evertz IP video, EMR audio

Vizrt | Ross Senn., Sony, Crown GV Kayenne K-Frame X IP EVS: XT4k, or VIA Evertz IP video, EMR audio

Vizrt | Ross Senn, Sony, Crown GV Kayenne K-Frame X IP EVS: XT4k, or VIA Evertz IP video, EMR audio

MOBILE TV GROUP

51 FLEX 53' expando HD/4K/HDR Both Calrec GV / Sony

MPS (ALLIANCE)

51 VMU 53' HD/4K/HDR Both Calrec GV / Sony

Canon UJ111X8.3B long lens, Canon XJ95X8.6B long lenses, Canon UJ90X9B long lenses, Canon XJ76x9 long lenses, Fujinon ZA22X7.6 ENG lenses, Fujinon HA18x5.5 ENG lenses, Fujinon ZA17x7.6 ENG lens

Access to: Canon UJ111X8.3B long lens, Canon XJ95X8.6B long lenses, Canon UJ90X9B long lenses, Canon XJ76x9 long lenses, Fujinon ZA22X7.6 ENG lenses, Fujinon HA18x5.5 ENG lenses, Fujinon ZA17x7.6 ENG lens

53-RP 53' HD/4K/HDR Fiber Calrec GV / Sony Fujinon UA107x8.4B long lenses, Fujinon UA24x7.8 ENG lenses, Fujinon UA14x4.5 ENG lenses

MU-6 HIAWATHA 53' straight 1080i/720p switchable Triax Calrec Omega

MU-8 GRIZZ 45' straight HD 1080i Triax Calrec Omega

Atlantic 49.5' expando HD Fiber Calrec Artemis Beam w/ Bluefin 2

12 GV LDK-8000, 2 JVC GY-HD 250 POV Cameras

7 GV LDK-3000+, 2 Panasonic HVX 250 Cameras, 3 Marshall 502 CVM POV Cameras

4 Angenieux 70×9.5 HD, 1 Angenieux 60×9.5 HD,3 Angenieux 26×7.8 BESM-HD, 1 Angenieux 19×7.3 BESM-HD, 1 Canon 4.5 & 1 Canon 5.5 wide angle lens

3 Fujinon 77x9.5 , 3 Fujinon 17x7.6, 1 Fujinon 12x4.5

NEP GROUP

Vizrt Senn., Sony, Crown GV Kayenne K-Frame X IP EVS: XT4k, or VIA Evertz IP video, EMR audio

Vizrt Senn., Sony, Crown GV Kayenne K-Frame X IP EVS: XT4k, or VIA Evertz IP video, EMR audio

None A-T, Senn., Sony, Crown None None Evertz NEXX Router, EMR audio

Chyron HyperX3 HD Graphics System / Ross XPression 9.5 Software 2-channel Data Link Shure, Senn. GV Kayenne 4M/E 1 EVS 6-channel, 2 EVS 4-channel QuStream PESA 256x, 128×208 HD SDI router

Chyron HyperX3 / Ross XPression 9.5 Software 2-channel Data Link EV, Sony, Shure, Senn. GV Kayenne 2.5M/E 2 x 6-ch EVS XT Nano, EVS X File Utah Scientific 400S

As requested Senn. GV Karrera, 2.5M/E Upon Request Evertz EQX, EMR

As requested As requested GV Kayenne K-Frame Up to 16 VTRs and 5 servers as requested Evertz EQX mux/demux, EMR

Upon request Senn., Shure, Sony GV Kayenne K-Frame, 5M/E 5 12-ch. EVS XT3, 1 6-ch. XT3 SpotBox Evertz EQX mux/demux, EMR

As requested Senn., Sony, EV, Shure GV Kayenne K-Frame, 9M/E 8 12-ch. EVS XT VIA, 2 6-ch. XS VIA SpotBox NEP TFC/Cisco IP Router

As requested Senn., Studio Tech, EV GV Kayenne K-Frame, 5.5M/E 4 8-ch. 4 12-ch. EVS XT3, 6-ch. XT3 SpotBox Evertz EQX mux/demux, EMR

As requested Senn., EV and Sony GV Kayenne K-Frame 6 12-ch. EVS XT4K, 1 6-ch. EVS 4K SpotBox Evertz EXE HD video

As requested Senn., Shure GV Kayenne X-Frame Up to 20 VTRs as requested Evertz EQX, EMR

Upon request Senn., Shure GV Kayenne K-Frame, 9M/E 5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox Evertz EQX mux/demux, EMR

ChyronHego HyperX3 Senn., Beyer, Shure, Sony GV Kayenne K-Frame, 5M/E 2 8-ch., 3 6-ch. EVS XT3, 1 4-ch. XS3 SpotBox PESA mux/demux, DRS audio

ChyronHego HyperX3 Senn., Beyer, Shure, Sony GV Kayenne, 5M/E 2 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox 334x462 HD/96x96 AES, 48x96 stereo

ChyronHego HyperX3 Senn., Beyer, Shure, Sony GV Kayenne K-Frame, 5M/E 3 12-ch., 2 8-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox GV SIRIUS Enterprise Router

ChryonHego Mosaic Senn. GV Kayenne K-Frame, 5.5M/E 3 12-ch., 1 8-ch. EVS XT3, 1 6-ch. XS SpotBox Lawo IP Router

ChyronHego Mosaic XL Senn., Beyer, Shure, Sony GV Kayenne K-Frame 3 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox PESA mux/demux, DRS audio

ChryonHego Hyper X3.1 Senn., Sony, EV, Shure GV Kayenne K-Frame, 5M/E 2 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox Utah Scientific, mux/demux

Upon request Senn., Sony, EV, Shure GV Kayenne X-Frame, 9M/E 1 12-ch., 1 8-ch., 7 6-ch., 1 12ch. EVS XT3, 1 6-ch. XS3 SpotBox Utah Scientific mux/demux

ChryonHego Hyper X3 Senn., Sony, EV, Shure GV Kayenne K-Frame, 5M/E 5 6-ch. EVS XT3, 2 12-ch. EVS VIA, 2 6-ch. XT3 SpotBox Utah Scientific mux/demux

ChryonHego Hyper X3 Senn., Sony, EV, Shure GV Kayenne X-Frame, 5.5M/E 5 12-ch EVS VIA, 1 6-ch. XS3 SpotBox Utah Scientific mux/demux

Upon request Senn., Sony, EV, Shure GV Kayenne 1 12-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox Utah Scientific mux/demux

ChryonHego Mosaic XL Senn., Shure, Sony GV Kayenne K-Frame, 9M/E 8 12-ch. XTVIAs, 1 6-ch. XS VIA SpotBox Evertz EQX mux/demux, EMR

ChryonHego Mosaic XL Senn., Sony, EV, Shure GV Kayenne K-Frame, 5M/E

5 12-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox PESA mux/demux, DRS audio

SS24

IP2110/

HDR Both Calrec Apollo AOIP 12 Sony 3500/5500 Canon 8H/5 HH, 2 wide-angle

SS61 53' expando HD Both Calrec Alpha 10 Sony 2500 9 Canon, 5 Fujinon

SS62 53' expando IP/HD/1080p/4K/ HDR Both Calrec Artemis Beam w/ Bluefin 2 14 Sony 2500/4300 Canon 8H/4HH, 2 Wide-angle

SS7 53' expando w/ B unit IP/HD/1080P/4K/ HDR Both Calrec Apollo AOIP 12 Sony 3500/1500 Canon 8H/5HH, 2 Wide-angle

ND2 53' expando twin w/ C and D unit IP/HD/1080p/4K/ HDR Both Calrec Apollo AOIP 30 Sony 5500/4300 Canon 20H/8HH, 6 wide-angle

Wasatch 53' Expando 4K/1080p Both Calrec Artemis Light; 56 Fader Panel Console with; (240) Channels DSP (10) Sony HDC-4300 4K/UHD/HD Fiber Cameras

(4) Fujinon UA 107 x 8.4 BESM Semi-Servo 4K Lens, (6) Fujinon UA 22 x 8 Plus Premier 4K Lens, (2) Fujinon UA 13 x 4.5 Plus Premier 4K Lens Stockton 51' Expando 1080i Both Calrec Artemis 4096x4096 • Full redundancy 36+8 multi layer faders • Hydra 2 I/O • Full 5.1 capable mixing

10 Sony HDC 2400L HD cameras, 2 Sony HDC 4300 SSMO Camera Systems

6 Canon 95x Lenses, 4 Canon 22x 7.5 Lenses, 2 Canon 4.5 WA Lenses

As requested Senn., Sony GV Kayenne K-Frame, 9M/E

As requested

As requested GV Kayenne K-Frame

Upon request Senn., Sony GV Kayenne K-Frame

ChryonHego Hyper X3 Senn., Sony, EV, Shure GV Kalypso, 4M/E

8 12-ch. EVS XT3, 1 6-ch. XS3 SpotBox PESA mux/demux, DRS audio

As requested Evertz EQX mux/demux, EMR

4 12-ch. XTVIA's 1 6-ch. XSVIA SpotBox Evertz EQX, EMR

2 6-ch. EVS XT3, 1 6-ch. XS3 SpotBox GV Concerto

ChryonHego Hyper X3 Senn., Sony, EV, Shure GV Kalypso, 4M/E 4 6-ch.EVS XT3, 1 4-ch. XT3 SpotBox Thompson

ChryonHego Hyper X3 Senn., Sony, EV, Shure GV Kayenne K-Frame, 9M/E 5 6-ch. EVS XT3, 1 6-ch. XT3 SpotBox PESA mux/demux, DRS audio

As requested Senn., Sony, EV, Shure GV Kayenne K-Frame, 9M/E 2 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox PESA mux/demux, DRS audio

ChryonHego Hyper X3 Senn., Sony, EV, Shure GV Kayenne K-Frame, 9M/E

ChryonHego Mosaic Senn., Sony, EV, Shure GV Kayenne K-Frame, 9M/E

As requested Senn., Sony, EV, Shure GV Kayenne K-Frame, 8M/E

2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox PESA mux/demux, DRS audio

6 12-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox Evertz EXE mux/demux, EMR

5 12-ch. EVS XT3, 1 6-ch. XS3 SpotBox Evertz EQX mux/demux, EMR

As requested As requested GV Kayenne K-Frame, 9M/E 4 12-ch, 1 8-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox Evertz EQX mux/demux, EMR

As requested Senn. GV Kayenne X-Frame, 9M/E 6 12-ch. EVS VIAs, 1 6-ch. XSVIA SpotBox NEP TFC/Arista IP Router

As requested Senn. GV Kayenne X-Frame, 5.5M/E 2 12-ch., 1 8-ch. XT-VIA, 1 6-ch. XT-VIA SpotBox NEP TFC/Arista IP Router

As requested Senn. GV Kayenne X-Frame, 9M/E 4 12-ch., 1 8-ch. XT VIA, 1 6-ch. XT-VIA SpotBox NEP TFC/Arista IP Router

As requested A-T, Senn. GV Kayenne K-Frame, 9M/E 8 12-ch. XT VIA, 1 6-ch. XS VIA SpotBox NEP TFC/Cisco IP Router

Upon request

As requested Senn. GV Kayenne X-Frame, 9M/E

As requested Senn. GV Kayenne X-Frame, 9M/E

Upon request Wired for 16 input production switcher

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

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

TFC/Arista IP Router

TFC/Arista IP Router

Upon request Wired for 4 EVS servers NEP TFC/Arista IP Router

Upon request

Kayenne X-Frame, 9M/E 5 12-ch. EVS VIA, 1 6-ch EVS XS VIA Spotbox NEP TFC/Arista IP Router

ChryonHego Prime GV Kayenne X-Frame, 9M/E 16 12-ch EVS XT VIA, 1 6-ch. EVS XS VIA Spotbox NEP TFC/Cisco IP Router

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

Chyron Mosiac Duo

(4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416

Shotgun Microphones, (6) Sony ECM-77B Lavalier Microphones, (6) Senn. MD46 Handheld Microphones

(4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416

Shotgun Microphones, (6) Sony ECM-77B Lavalier Microphones, (6) Senn. MD46 Handheld Microphones

(1) GV 5M/E Kayenne Switcher, K-Frame

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

Imagine Communications

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

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

GV Kayenne HD Switcher 4.5 ME, 96 Input, 48 outputs, 6 Keyers per ME

(1)12 channel XT3 EVS • (3) 6 Channel XT3 EVS • (1) XS Spotbox

FIN4 26' Sprinter 16' B-Unit HD/1080p Fiber

FIN5 26' Sprinter 16' B-Unit HD/1080p Fiber

RMP6 4K 32' Expanding Unit

HD/1080p/4Kcapable Fiber

FIN7 26' Sprinter 16' B-Unit HD/1080p Fiber

FIN8 26' Sprinter 16' B-Unit HD/1080p Fiber

RPS Box Truck 40' Double Expando HD/1080p/4Kcapable Fiber

Calrec Brio 36 (36 Faders, 96 input channels, 5.1 Capable, 2 Fiber Field Kits)

Calrec Brio 36 (36 Faders, 96 input channels, 5.1 Capable, 2 Fiber Field Kits)

Calrec Brio 36 (36 Faders, 96 input channels, 5.1 Capable, 2 Fiber Field Kits)

Calrec Brio 36 (36 Faders, 96 input channels, 5.1 Capable, 2 Fiber Field Kits)

Calrec Brio 36 (36 Faders, 96 input channels, 5.1 Capable, 2 Fiber Field Kits)

Calrec Apollo 96-Fader Surface with Hydra2 Core (256 Channels, 5.1 Capable, 2 Fiber Field Kits)

6 Sony HDC-3500 Cameras, with 3x Super Mo

6 Sony HDC-3500 Cameras, with 3x Super Mo

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

6 Sony HDC-3500 Cameras, with 3x Super Mo

6 Sony HDC-3500 Cameras, with 3x Super Mo

12 Ikegami HDK-99C Cameras

3 95X, 3 22X, 1 10X (lenses change based on season)

Canon 3 95X, 3 22X, 1 10X (lenses change based on season)

Canon 3 95X, 3 22X, 1 10X (lenses change based on season)

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

Canon 3 95X, 3 22X, 1 10X (lenses change based on season)

Canon 3 95X, 3 22X, 1 10X (lenses change based on season)

Canon (5) UHD-90x, (4) UHD22x, (3) 10x (lenses change based on season)

Chyron Mosiac Duo

Chyron Mosiac Duo

Ross XPression 4K Datalync

(4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416

Shotgun Microphones, (6) Sony ECM-77B Lavalier Microphones, (6) Senn. MD46 Handheld Microphones

(4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416

Shotgun Microphones, (6) Sony ECM-77B Lavalier Microphones, (6) Senn. MD46 Handheld Microphones

(4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416

Shotgun Microphones, (6) Sony ECM-77B Lavalier Microphones, (6) Senn. MD46 Handheld Microphones

GV Kayene Classic HD Switcher: 4.5 ME 35 Button Control Surface, 96 Input, 48 Output, 6 Keyers per ME, Flexikey and DoubleTake, AMP, 2 Floating ChromaKeyers, Machine Control Module

(2) EVS XT3 4RU XRec LSM: 7 Channel capable as a single 4 In/3

Out LSM or 6 In/1 Out LSM •

(1) EVS XS 4RU SpotBox: 4 Channel capable as a single 4 Out SpotBox with Lance Design

TDC-100 • (1) EVS XHub3 3gbps SDTI network for EVS clip shares

(1) EVS XFile3 for clip ingest and export

None

2 EVS XT2 6 Channel LSM, 1 EVS XS Spotbox, 1 EVS Xhub3

PESA Cheetah 128XE HD/3G Router

• Redundant PERC 3000 System Controllers • Populated as 128x256, with 32x64 of those as deembedders and embedders • 256x256 Calrec/PESA MADI Interface • 128x128 Analog I/O and 64x64 AES I/O

PESA Cheetah 128x128 HD/3G router

3M/E GV Kayenne K Frame Switcher 80 HD Inputs / 20 4K HDR 12 Channel EVS XT4K with dual operator config 144x144 Ross 12G Ultrix Router Vizrt, Chyron GV KFrame, 4M/E EVS XT VIA 22-ch. Evertz - 170x134

Vizrt, Chyron GV Kayenne, 3M/E EVS XT3 16-ch.

(3)

(3)

(3)

(3)

(3)

(3)

(3)

(3)

Vizrt Senn., Sony, Shure Ross Carbonite 3 ME 1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR Evertz EQX 64x64, 512x512

Vizrt Senn., Sony, Shure Ross Carbonite 3 ME 1 8-ch. Dreamcatcher, 1 8-ch.

Dreamcatcher with HFR Evertz EQX 64x64, 512x512

Vizrt Senn., Sony, Shure Ross Carbonite 3 ME 1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR Evertz EQX 64x64, 512x512

Vizrt Senn., Sony, Shure Ross Carbonite 3 ME 1 8-ch. Dreamcatcher, 1 8-ch.

Dreamcatcher with HFR Evertz EQX 64x64, 512x512

Vizrt Senn., Sony, Shure Ross Carbonite 3 ME 1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR Evertz EQX 64x64, 512x512

Vizrt Senn., Sony, Shure Ross Carbonite 3 ME 1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR Evertz EQX 64x64, 512x512

Vizrt Senn., Sony, Shure GV Kayenne 3 ME 1 8-ch. Dreamcatcher, 1 8-ch.

Dreamcatcher with HFR Evertz EQX 72x72, 512x512

Chyron Senn., Sony, Shure GV Kayenne 4 ME 2 6-ch. EVS XT3, 1 4-ch. EVS XT3 Pesa 192x288, 512x512

Chyron Senn., Sony, Shure GV Kayenne 4 ME 2 6-ch. EVS XT3, 1 4-ch. EVS XT3 Pesa 128x256, 1024x1024

Chyron Senn., Sony, Shure GV Karerra 3 ME 2 6-ch. EVS XT3, 1 4-ch. EVS XT3 Pesa 128x256, 1024x1024

Blackmagic 40x40

Blackmagic 40x40

Chyron Duet HyperX3 Senn., Sony Grass Valley Kayenne, 4M/E 2 EVS XT3, 1 4-ch. SpotBox

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