2020 SVG Mobile Production Yearbook by Sports Video Group

MOBILE SPORTS PRODUCTION YEARBOOK 2020

2020

INCLUDING THE 14TH ANNUAL

MOBILE SPORTS PRODUCTION GEARBASE

MOBILE SPORTS PRODUCTION YEARBOOK

A SPORTS VIDEO GROUP PUBLICATION â&#x20AC;¢

FEATURING

EXECUTIVE PERSPECTIVES FROM MOBILE-PRODUCTION LEADERS ROAD WARRIORS: A LOOK BACK AT 2019

70 + REASONS TO SAY ...

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EXECUTIVE DIRECTORS PAUL GALLO, Executive Director paul@sportsvideo.org | 212.696.1799 MARTIN PORTER, Executive Director marty@sportsvideo.org | 516.446.2029 EDITORIAL KEN KERSCHBAUMER, Executive Director, Editorial kenkersch@sportsvideo.org | 646.205.1810 JASON DACHMAN, Chief Editor jason@sportsvideo.org | 646.861.2373 BRANDON COSTA, Director of Digital brandon@sportsvideo.org | 646.861.2370 KRISTIAN HERNANDEZ, Associate Editor and Social Media Manager kristian@sportsvideo.org | 646.880.4902 SUSAN QUALTROUGH, Copy Editor susan@sportsvideo.org RIVA DANZIG, Art Director riva@sportsvideo.org SVG SERVICES KAREN HOGAN KETCHUM, Director of Production karen@sportsvideo.org | 646.559.0434 KATIE CHAMPION, Production and Operations Associate katie@sportsvideo.org | 646.524.7497 CRISTINA ERNST, Event Operations Director cris@sportsvideo.org | 917.309.5174 ALICIA MONTANARO, Meetings and Events Manager alicia@sportsvideo.org | 646.880.4901 ANDREW LIPPE, Membership & Client Services Manager andrew@sportsvideo.org | 212.481.8133 SPONSORSHIP ROB PAYNE, Managing Director, Worldwide Sponsor Development rob@sportsvideo.org | 212.481.8131 ANDREW GABEL, Manager, Sponsor Development agabel@sportsvideo.org | 646.998.4554 DYLAN DAVIDSON, Sponsorship Coordinator dylan@sportsvideo.org | 646.559.0435 SVG EUROPE CONTACTS FERGAL RINGROSE, Executive Editor fergal@sportsvideo.org | Tel: +353 (1) 294 7783 JOE HOSKEN, General Manager joe@sportsvideo.org | Tel: +44 74290 90134 ABOUT SVG

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

MISSION

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

7 LOOKING AHEAD

In Era of Change, Expertise Will Make the Difference

11 EXECUTIVE PERSPECTIVES

Mobile-Production Leaders Sound Off on State of the Industry and What to Expect in 2020

47 ROAD WARRIORS

2019 in Review: A Look Back at SVG’s Onsite Reporting From The Year’s Biggest Sporting Events

87 NEW TRUCK PROFILES &

MOBILE SERVICES PROVIDERS

92 Dome Productions 96 F&F Productions 100 Game Creek Video 108 Mobile TV Group 116 NEP Group 125 3g Admiral Video Advanced Systems Group (ASG) AE Graphics Aerial Video Systems (AVS) All Mobile Video Alpha Video 130 Anthony James Partners (AJP) ARCTEK Satellite Production AV Design Services Azzurro Group BeckTV Bexel Broadcast Services International (BSI) 134 Broadcast Sports International (BSI) C360 CAT Entertainment Services Chesapeake Systems CineSys-Oceana Clark Media Cornerstone 138 CP Communications Creative Mobile Solutions Inc. (CSMI) CSP Mobile Productions CTG Digital Glue Diversified DNA Studios 142 DX3 Media ES Broadcast Filmwerks Geartech Technologies

Gravity Media HB Communications High Rock Mobile Television Illumination Dynamics 146 IMS Productions Integrated Media Technologies (IMT) Intoto Systems Kaufman Broadcast KMH Audio-Video Integration LH Computer Services Live Media Group 150 Lyon Video Markertek Mediapro Metrovision MeyerPro New Box Solutions 154 PCCW Global PRG Program Productions PSSI Global Services RF Wireless Systems RoboVision 158 Ross Mobile Productions Satellite Digital Teleproductions (SDTV) SHOTOVER Skycam SOS Global Express Speedcast T2 Computing 162 The Switch THUMBWAR UNICOM Government Universal Satellite Communications (UniSat) VISTA Worldlink VRmeta

Table of Contents

PUBLISHED BY SPORTS VIDEO GROUP

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

2020MOBILE SPORTS PRODUCTION YEARBOOK

167 VENDOR SERVICES DIRECTORY 172 Crew Services 180 Generators 188 Mobile Production Units 204 Satellite Trucks 211 MOBILE SPORTS PRODUCTION

GEARBASE

Equipment Details From More Than 250 HD and SD trucks

267 AD INDEX Directory of SVG Sponsors

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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Talkback Communicate with camera operators and production staff.

USB Connection For updating switcher software and settings.

Program Mix Listen to the program audio mix.

Source Select Buttons Input buttons for PGM/PVW or cut-bus style switching.

Reference In Supports black burst or tri-sync reference for use with large broadcast systems.

Source and Control Downstream keyer, media players, fade to black and transition selection.

Source Inputs Connect up to 40 x 12G-SDI inputs for HD and Ultra HD or 10 Quad Link 12G-SDI inputs for 8K.

Spin Knob Control Scroll through on screen menus or adjust audio levels.

Independent Assignable Outputs 24 x 12G-SDI outputs for HD and Ultra HD or 6 x Quad Link 12G-SDI outputs for 8K.

Lock Button Locks front panel settings to protect against changes during production.

Multi View Outputs 4 multi view outputs for HD and Ultra HD or 1 Quad Link 12G-SDI multi view output when working in 8K.

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Recording & Playback

Looking Ahead

By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial

he 2020 Mobile Sports Production Yearbook once again highlights the great new trucks that have hit the road in the past 12 months. In a year when there was more and more discussion about REMI and at-home productions, it is pretty clear that the clients who rely on remote production vehicles aren’t shying away from production facilities on wheels. For all involved — equipment manufacturers, facility providers, their clients, freelancers, and production professionals — this is good news. Why? Because it points to a future where trucks will remain a viable component of events big and small in an era of potential upheaval and vast change. Let’s take a quick look at some of the “change agents” that will transform the nature of remote production: The Move to IP It wasn’t too long ago that the hype around IP saw industry trade shows featuring billboards proclaiming that “SDI is Dead.” But, in the intervening months, the reality has become that while IP is a great fit for certain types of shows it doesn’t make sense for everything. The end result is that production facility providers are taking a pragmatic approach to the move to IP, embracing it when it will create new business opportunities or operational efficiencies and sticking with SDI when it doesn’t. It’s clear that SDI will be here for many years to come, although the continued maturity of IP standards (and the subsequent ability to get rid of things like IP gateways) will make IP a more attractive option. The Move to HDR and 4K Is 2020 poised to become the year when HDR 1080p becomes the primary production format to power new consumer experiences? Gazing into the crystal ball, it certainly appears so. That move will add some complexity to the production workflow, especially with respect to meeting the needs of both HDR and SDR viewers, but it looks like gains are being made every couple of months that will make the process smoother and easier. Oh, and as efforts in HDR and 4K expand, look for an uptick in IP-based production facilities as they will more easily accommodate the formats. The Move to Virtualized Technology Of all the change agents, it is the move to virtualized technology that holds the most promise to be transformative. At the IBC show, NEP displayed its “Intelligent OB” (iOB), a production facility without wheels (it measures approximately 24x18 ft.) and, more importantly, without a core technical infrastructure, as the plan is to connect it to a remote data center. It’s the first glimpse at a future when the days of building $20 million trucks gives way to less-costly trucks that can share a technical infrastructure rather than each having their own. Not only will that mean new cost savings for the incumbent players, but it also could open up the opportunity for new players to join the market as the initial financial commitment to get trucks on the road could be a fraction of what it currently is. The good news is that all of these changes provide opportunities for all. And the even better news is that the professionals at the core of all of the remote production facility providers are always up for new challenges as they look to meet the needs of their clients in the best way possible.

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

Association Leadership

In Era of Change, Expertise Will Make the Difference

The Sports Video Group Advisory Board comprises leading industry figures who are committed to technical excellence in the sports industry. Members help guide the direction of the organization, consult on various group initiatives, and enable dialogue across industry segments.

ADVISORY BOARD MEMBERS Adam Acone, NFL Network, Director, Media Operations and Planning Glenn Adamo, Ivanhoe Media and Entertainment, President Peter Angell, Lagardère, SVP Dylan Boucherle, Warner Media/Turner Studios, VP, Technology Strategy and Media Workflows Onnie Bose, NFL, VP of Broadcasting Tab Butler, MLB Network, Senior Director, Media Management and Post Production Chris Calcinari, ESPN, SVP, Remote Production Operations, ESPN and ABC Sports Mary Ellen Carlyle, Dome Productions, SVP and GM Ken Clausen, HBO, Director of Production Joe Cohen, The Switch, President, Sports Michael Cohen, Industry Consultant Don Colantonio, Industry Consultant Scott Davis, CBS Sports, VP of Broadcast Operations Jim DeFilippis, Industry Consultant Ed Delaney, Industry Consultant Jed Drake, Industry Consultant David Dukes, PGA Tour Entertainment, Senior Director, Technical Operations Jerry Gepner, CP Communications, COO Steve Gorsuch, Industry Consultant Ken Goss, NBC Sports Group, SVP of Remote Operations and Production Planning Mark Haden, NHL, Group VP, Broadcast Technology Ed Holmes, The Holmes Group, Principal Deb Honkus, NEP Broadcasting, Chairman of the Board George Hoover, Industry Consultant Darryl Jefferson, NBC Sports Group, VP, Postproduction and Digital Workflow Robert D. Jordan CFE, 1337 Facilities, CEO; Venue Road, Founder John Kvatek, University of Central Florida Knights, Associate AD - Multimedia and Creative John Leland, PSL International, LLC, Principal Glen Levine, NEP, President, U.S. Louis Libin, Broad Comm, President Jodi Markley, ESPN, EVP, Content Operations and Creative Services Bernadette McDonald, Major League Baseball, SVP, Broadcasting Grant Nodine, NHL, SVP, Technology Ken Norris, UCLA, Director of Video Operations Gary Olson, GHO Group, Managing Director Del Parks, Sinclair Broadcast Group, SVP and CTO Scott Rinehart, University of Notre Dame, Director, Broadcast Technology Larry Rogers, FirstInTV, President Mike Rokosa, NHRA, Technology Executive Scott Rothenberg, NEP, SVP, Technology and Asset Management Oscar Sanchez, CONCACAF, Director of Broadcast Operations Bruce Shapiro, Industry Consultant Tracey Shaw, WWE, SVP, Network and TV Operations Jack Simmons, Industry Consultant Don Sperling, New York Giants Entertainment, VP and Executive Producer Jerry Steinberg, Industry Consultant Patrick Sullivan, Game Creek Video, President Jason Taubman, Game Creek Video, VP Design/New Technology Larry Tiscornia, Major League Soccer, VP, Broadcasting Jacob Ullman, Fox Sports, SVP, Production and Talent Development John Ward, Industry Consultant Ernie Watts, Turner, Manager, Transmission Operations Center Mike Webb, YES Network, VP, Broadcast Operations Jeff Willis, Industry Consultant Dave Zur, KSE Media Ventures, SVP, Operations and Engineering

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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Mobile-Production Leaders Sound Off on State of the Industry and What to Expect in 2020 Compiled and edited by Jason Dachman and Kristian Hernandez

he mobile-production business is booming, with more live sports productions in 2019 than ever. But truck providers face a host of challenges when it comes to next-gen technology and their bottom line. They are being asked to deliver more for less as clients look to trim production costs and explore new at-home–production workflows. In addition, technology continues to evolve at a breakneck pace, with the SMPTE ST 2110 suite of standards being integrated into IP-based equipment and infrastructure aboard trucks. These developments will lay the groundwork for the future — including the increasing number of 4K, HDR, and 1080p sports productions — but will also require costly up-front investment. SVG sat down with more than a dozen industry leaders to discuss the current state of the business, the impact of the market’s continuing consolidation, the greatest opportunities for growth, and where they see the business headed in the coming years. Here are the executives we spoke with:

Donald Adydan F&F Productions

Mary Ellen Carlyle Dome Productions

Len Chase CSP Mobile Productions

Philip Garvin Mobile TV Group

Michael Harabin Gravity Media

Mike Johnson Dome Productions

Glen Levine NEP Group

Marc Orgera F&F Productions

Chris Priess Mediapro

Mitch Rubenstein Ross Mobile Productions

Brad Sexton Live Media Group

Chad Snyder Lyon Video

Pat Sullivan Game Creek Video

Jason Taubman Game Creek Video

Dan Turk NEP Group

Peter Wehner Mobile TV Group

Executive Perspectives

turn to page 14 MOBILE SPORTS PRODUCTION YEARBOOK 2020

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Executive Perspectives

Do you consider the current state of the remoteproduction business healthy? Why? What is your forecast for the market over the next 12 months? Carlyle: We think 2020 is going to be a good year in terms

have a higher demand for 4K HDR while also expressing a desire to have lower prices. It’s a difficult situation to manage at times and remain competitive in the industry. Timing is crucial for both the capital investment for the equipment and engineering resources.

of events. We don’t see a huge growth, but we see maintaining our growth so we’re happy with it. Our 18 trucks are keeping busy, and there are a few more events. We’ve scored some contracts, which helps us out. We don’t see it as a downfall; it’s a healthy business.

Priess: We have experienced significant increases in revenue this past year, given our expanded mobile fleet, our ability to provide 4K facilities, and the growing REMI market. With our strategic partnerships and our expanded services, there is no doubt we will have strong growth going forward.

Chase: The remote-production business continues to be healthy and evolving. We are resolved in staying with the latest trends as sports content continues to expand. We are expecting growth along with that over the next 12-24 months.

Rubenstein: I think the remote-production business is healthy because … consumers are demanding live content more than ever. So the need for cost-effective solutions to give it to them is in demand. More networks and online platforms continue to recognize that demand and turn to companies like Ross Mobile. In the next 12 months, needs of the networks will continue to scale to match consumer demand.

Garvin: Yes. There is competition and innovation happening in the remote-production business, and that is a good thing. New technology offers opportunities and challenges while our clients are receiving more value.

Harabin: In terms of the number of events being produced

Snyder: The remote-production industry is healthy and

using this model, yes, I think the remote-production business is fine. I think we’ll see some growth as companies that have been sitting on the sidelines start to deploy the model.

growing.

Sullivan: The business seems to be healthy. Lots of content that needs to go on-air somewhere.

Levine: Yes, the business is healthy, and it is evolving. We

Sexton: Yes, because the market is continuing to change with

continue to work with our clients and suppliers to create integrated solutions that allow for efficiencies in the broadcast compound. A number of the major sports rights [packages will be finalized], setting the stage for technology upgrades in 2021 and beyond.

different opportunities for us as a company. If we continue to adapt to market changes, we will continue to prosper. We see more need for technological advancement in mobile units, while maintaining a competitive cost structure. 1080p and IP will continue to gain traction over the next year.

Orgera: Healthy but very transitional. There are tremendous changes in technology that evolve every day. Clients

TOTAL TRUCKS BY COMPANY

continued on page 20

TOTAL TRUCKS BY COMPANY

65 __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 58

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21 15

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MOBILE SPORTS PRODUCTION YEARBOOK 2020

WHAT’S WHAT IN MOBILE PRODUCTION page 2

SDT V ng V i d e YES o Prod ucti 21 L a ons kes Med ia Gr oup Adm iral CCI C Vide omm o unic atio ns Clar CMG k Me Mob dia ile P rodu ctio ns Corn erst one High A V Roc k Mo bile TV JAS Digi tal PS S I

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Note: Chart above only includes companies with multiple trucks

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Executive Perspectives

continued from page 14

As at-home/REMI productions become more popular, what is the effect on your business? Carlyle: We haven’t seen any growth in REMI. We’ve seen it staying the same. We do AHL and CHL broadcasts, and we do some ESPN REMIs, but it hasn’t really hit our market.

Chase: It continues to change our business’s dynamics. We have seen an increase in the number of at-home/REMI productions for college-level events, which have provided interesting opportunities for us in the full-truck production events as well. Different clients have different approaches and attitudes to at-home/REMI, and we remain flexible and nimble to meet those requests.

Garvin: At-home is a term that fails to describe the variety of options available to our clients. With our 4,000 live events a year, there are dozens of ways to make live TV. In some cases, when resources are already centralized and keeping crew costs low is paramount, what many think of as “at-home” production makes total sense. Other times, keeping people onsite in a mobile unit and remoting in more resources to deliver higher quality is the best solution. We offer both of these as well as traditional mobile-unit services.

Harabin: Gravity Media has provided engineering, mobile units, and general institutional knowledge of the workflow on over 2,000 REMI productions. We are leveraging our leadership position in the REMI space by focusing on two things: 1) perfecting the existing workflow to deliver more value to our clients and 2) designing the next-gen REMI/athome/homerun production model.

Levine: Currently, it has minimal effect since we are already involved with REMI productions. There is a need and investments are being made in building powerful, versatile singletruck units that can streamline workflows, but be flexible enough to scale up to support mid-sized and large events.

Orgera: We provide services to our clients, and REMI [productions] have become a part of how some productions are produced. We will continue to support our clients in every way possible. Priess: It is considerable. We are investing in both the transmission infrastructure and the production facilities dedicated to REMI productions. We just completed our new dedicated REMI control room, upgraded all our in-house transmission capabilities, and have our first remote truck for this market arriving this spring.

Sullivan: We do what our customers ask. If they want REMI/homerun, we give them REMI/homerun. If they want a professional or collegiate championship, we can do that as well. 20

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Dome Productions’ newest mobile production unit Showcase recently rolled out the NHL All-Star Game in San Jose, CA, producing a live NHL 19 esports event onsite.

Sexton: At-home or REMI productions will have a minimal effect on our business. We are positioning ourselves to handle that need as it becomes necessary. The only negative effect could be a lower-than-normal truck revenue per show. Do you see esports production as an important part of the business going forward? Chase: While esports is a very hot trend at the moment and will continue to be a part of our business, it is still too early to label it “the largest potential for growth.”

Orgera: Esports is a growing part of our business, and we look forward to building the brands with our clients. Priess: We have been involved with esports for the past two years, providing production facilities for a daily gaming series and well as competition coverage. There is no doubt to us that both esports and REMI productions will be the largest growth area.

Rubenstein: Ross Mobile has become one of the leading esports-production providers in the industry. A large portion of our business has become esports. We have native 1080p capabilities across our fleet of trucks and flypacks and the ability to [produce] turnkey graphics, workflows, AR, and every aspect of an esports production. RMP has provided some level of service on over 50 esports events this past year alone.

Snyder: Esports is an established portion of our business. Live streams are growing and becoming increasingly sophisticated. Sexton: Esports remains a very important focus for us as an organization across the board. The needs of many partners require more than just a production-facilities provider, one that understands technology and the deliverables as well as the entertainment environment as a whole. continued on page 26

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Executive Perspectives

continued from page 20

What impact do you believe recent industry consolidation has had on the business? Carlyle: I think consolidation is definitely going to continue, whether it’s consolidation or companies dropping off, because, I think, the next leap in technology is a huge capital leap. The smaller vendors are really going to have a challenge. I also look at it as opportunity: since people don’t like to put all their eggs in one basket, it’s an opportunity for those companies that are not part of this consolidation.

Chase: Industry consolidation can limit clients’ choices and their ability to pursue competitive pricing and options. It can also make it difficult for smaller, startup vendors to survive. CSP has been around for 30 years because we continue to be nimble and lean from an organizational standpoint, while providing top-quality engineering and equipment. Garvin: Too much consolidation can limit our clients’ choices, but the trend will continue as long as companies are willing to add debt.

Levine: I do think the industry will continue to see consolidation, especially as clients look for ways to streamline their operations and look for a single or small group of trusted providers that can deliver great service with an integrated set of solutions.

Orgera: It hurts the industry as a whole for both vendors and our mutual clients as it limits competition and stagnates the growth of businesses.

Rubenstein: Consolidation allows companies to better serve its customers. At Ross Mobile, we support the needs of other like companies in the industry with the end goal and result always being to help the content providers and to better serve the viewers. Consolidation is vital to the industry to allow networks to thrive and continue to produce content in a budget-conscious marketplace.

Sullivan: Consolidation is not recent. It has been going on for the 26 years Game Creek has been in business. It shrinks the number of companies that compete for business but does not shrink the competitive nature of those companies. Sexton: Consolidation can be both good and bad for any industry. It allows those companies that struggle financially or with growth to become part of a bigger organization that has the technological and financial resources to help them continue their success. On the negative side, it not only reduces competition but forces others to do business with their competitors. 26

MOBILE SPORTS PRODUCTION YEARBOOK 2020

NEP Group continued to consolidate in 2019, acquiring the seven companies seen in the graphic above.

Has the explosion of OTT and live-streaming content opened new business opportunities? Carlyle: I’m waiting to see how over-the-top comes into the market. Is it going to end up being in the midsize trucks or in the little trucks? We see OTT having more content, and so that’s why we’ve put [our new truck] Showcase on the road. It’s a different revenue model.

Chase: OTT is definitely where the growth portion of our industry is evolving, particularly in the sector of international clients producing U.S. events. Garvin: We are certainly working more OTT events than we have in the past. Multiple feeds is something we have been doing for a long time, but the total number of feeds continues to grow, demanding more resources and feeds from our mobile units.

Levine: We continue to see growth in secondary streaming feeds from the main broadcasts, along with a number of clients broadcasting directly to OTT platforms. With the growth of NEP Media Solutions in the U.S., our clients can manage their content and set scheduled delivery to multiple OTT platforms in an efficient, streamlined process.

Orgera: Yes, we have seen a growth in this area with our clients and welcome opportunities to help our clients grow their projects/business. Priess: OneSoccer, the dedicated soccer-streaming platform in Canada, was recently launched and is certainly one of our largest clients. This season alone, we provided live coverage of 135 soccer games. While our primary clients are broadcast-sports–based, we have experienced a sharp increase in bookings for streaming services, such as Netflix, DAZN, and Twitch. continued on page 32

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Executive Perspectives

continued from page 26

Rubenstein: Ross Mobile has grown considerably through the production of live-streaming content, especially in the areas of esports and supporting productions outside the U.S., doing shows in Mexico and Canada.

Sullivan: Game Creek is doing more events for OTT and more live streaming, but I would hardly call it an “explosion.” Most of the streaming we currently do is in conjunction with one of our standard productions.

Sexton: Certainly. The broadcast ecosystem is changing daily with new technology offerings, which can afford more opportunity, especially for companies that have addressed the streaming/OTT world as a new medium that is growing year over year.

What technical challenges do you see as the most vexing for your engineering team? Carlyle: We’re starting to find that, as technology develops and we start buying [Sony] 4300 cameras and [Sony] 5500 cameras, the venues aren’t keeping up. They’re all triax, and we’re now finding that that’s an issue going forward. Who is going to change all these venues? The vendor? The broadcaster? The venue?

Garvin: We don’t view “technical challenges” as vexing. On the contrary, challenges are opportunities. The major challenge is the transition to end-to-end native IP systems, including the implementation of ISO4 and ISO5. Luckily, with two IP 2110 mobile units recently launched, we have the right people and manufacturer relationships to properly think it through and execute.

Levine: New challenges are here today in the world of IP. New 2110 IP solutions are of great benefit to the future of our industry. Don’t be fooled, it’s not simple. NEP’s skilled engineering talent from around the globe continues to impress me as we overcome challenges every day.

Priess: The transition to a complete IP workflow is one that we are certainly anticipating, given all the benefits. However, until there are more manufacturers onboard with a consistent standard, we are not quite ready to take the leap.

Snyder: It is great that equipment manufacturers build expanded capability into equipment, but getting licensed for specific capabilities takes a long time when it should be a straightforward process.

Sullivan: Dealing with the different and new challenges created by SMPTE 2110.

Outside of technological challenges, what are your biggest commercial (or government-regulation–related) concerns today? Carlyle: I’d say a big part of it is training and the aging freelance market. That’s a challenge that has to be overcome, and we’ve taken that on.

Harabin: On the business side, vendors of other produc32

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Mobile TV Group’s new 46 FLEX unit features a Grass Valley Kayenne K-Frame X IP switcher. tion services or even hardware manufacturers are becoming service providers for REMI productions.

Levine: Staying on top of costs is always a top concern. Working with our clients as a partner allows us to look for cost-efficient solutions to their needs and that helps keep the business sustainable.

Priess: Some client budgets are either stagnant or shrinking due to decreased viewership on traditional platforms. This is requiring us to do more with less — a real challenge at times to maintain the caliber of the production and meet viewer expectations when revenues don’t always justify it. Snyder: Chinese tariffs have certainly added to equipment costs. When and if they are removed, I do not see an immediate return to the prior costs. Our government seems to be interested in tariffs on goods from other regions; this could cause additional cost escalation. Sullivan: Hiring and retaining effective engineers and drivers. Finding trained personnel at every level of our productions is the biggest concern facing our industry.

Sexton: We continue to stay on top of regulation around the international broadcast environment. And what keeps us up at night is the balancing of finances to ensure we keep up with technological advances, which you have to do to be competitive.

What are the biggest opportunities for growth and future success? Carlyle: Over-the-top and esports. We’re excited about that and the technology on over-the-top. Take it right from site to the app or the website, wherever you want to go. And I think esports has rejuvenated our [staff].

Chase: I believe standard changes to 1080p, 4K, and IP production are all opportunities for future growth and success. While we are seeing some of this today, it has a great potential for a much wider adoption in the future. 5G data transmission could very well be the change agent for this. continued on page 38

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Executive Perspectives

continued from page 32

Rubenstein: Ross MP will continue to follow industry trends

Garvin: We are eagerly testing and proving new ways to

and needs with IP-based solutions being one of them to increase our capabilities and take on higher-level productions. We have plans for an IP-based truck coming in 2020.

produce, create, and distribute live video. We are now able to provide ultimate flexibility and efficiency, but production is still a creative art, so, just because we can do something technologically, doesn’t mean we should.

Levine: Opportunities for growth go hand in hand with partnering with our clients on integrated solutions. Working together to create ways to enhance the production and build efficiencies in the compound. Our success will still be measured by the talented engineering teams we have managing the systems.

Priess: Esports and REMI productions will be the stimulus to grow our market share. Our biggest challenges going forward are two-fold. The first is keeping up with the technical transitions, moving into the HDR and possible 8K world. The other is expanding our great team, finding the right people that are essential for our growth.

Rubenstein: We are continuing to pursue higher-level shows with cost-effective solutions. The majority of our facilities are now 1080p, and we are [exploring] more ways to add value to the end product. Future growth and success will come with the ability to scale to the demands of our customers. The cost of doing business keeps rising, so it forces us to get better and more effective in running our business.

Snyder: Lyon has not deployed a project that requires IP technology. We discussed utilizing IP technology on our project in 2019, but the challenges did not make sense for the project. Taubman: Game Creek is all-in on the IP future. Our four latest major truck builds have been IP, and all of the new builds we have coming up will be end-to-end IP utilizing the SMPTE 2110 standard. We will, of course, continue to maintain legacy SDI connectivity for the foreseeable future as the bulk of our fleet and inventory of edge devices will remain SDI-connected.

Turk: We look at each project with what technology makes the most sense. As the IP technology and standard have become more mature, it is getting easier. There is less conversion gear needed. We mostly are doing IP systems because it saves weight and is more distributed in any truck or case.

Wehner: All of our new mobile-unit builds are IP and [based on] SMPTE ST 2110.

Sullivan: The next several years will bring lots of transi-

tion as both regional- and national-rights agreements are negotiated. Future growth will result when it is apparent that the technology and systems we are developing now are the most efficient way for our customers to deliver compelling content to their customers.

Sexton: Growth and future success are dependent on being able to stay on top of technology trends and ahead of the curve, which are constantly changing, and LMGH is in a position to meet these challenges.

Game Creek Video recently rolled out Bravo, an IP-capable mobile production unit, as well as nearly identical Columbia.

IP-based trucks are continuing to be deployed more frequently. What is your company’s approach to IP vs. SDI? Adydan: We have built our last non-IP mobile unit, and IP is

Do you think your vendors are where they need to be with respect to the transition to IP-compatible products? Adydan: Both [IP and HDR] have a moving target. Vendors

the future of [the industry], as well as 12G distribution. Both are being evaluated, though we still have serious concerns about the timing between video and embedded audio.

Johnson: I wouldn’t say we’re very aggressive, but we’re calculated about it. We’ve taken a look at building that IP solution, but we’ve found that it’s an interim kind of solution because of the cost of doing it with a lot of gateways. If you have a lot of gateways, that means that you’re not really taking advantage of IP. So we have mostly held off [with the exception of] a small IP truck that we built to learn from and develop best practices. IP is a big leap, and I think it comes with a little bit of risk element, but IP is getting better every year. We look forward to working in that space. 38

MOBILE SPORTS PRODUCTION YEARBOOK 2020

are constantly changing schemes as new challenges arise. A company must stay in close communication with its vendors to feed back critical situational information.

Johnson: I would say, by and large, they have the core base solutions, but I think that IP is going to require some time to [mature]. [For example, with SDI], we could very easily switch between NTSC frame rate and PAL frame rate. But, on the IP truck, that hasn’t been so easy. So are vendors completely ready or where they’d like to be? Probably not. But I’m sure they’re working feverishly to get caught up. continued on page 44

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Executive Perspectives

continued from page 38

Taubman: Cybersecurity is certainly top of mind for us.

Taubman: The SMPTE 2110 standard is still very new, and

At the moment, most of our media-streaming IP networks are islands within our trucks, but we are starting to develop systems that will bridge from truck to truck and, eventually, truck to studio with IP streaming technology. As we start to extend these IP networks in new ways, we’re working with all of our vendors to develop and implement best-practices around securing our IP networks.

vendor interoperability is still a major hurdle in IP systems. Across the board, we found vendors are working as fast as they can to implement SMPTE 2110 in their products, but we’re still missing the standards to tie it all together. We’re looking forward to integrating NMOS IS-04/IS-05 discovery, registration, and connection management as it becomes a published standard — hopefully, in the near future.

Turk: We are getting closer to IP being easier. There are still many control hurdles that the industry needs to get solved to make the IP systems as flexible as SDI. Wehner: No. The manufacturers need to work on interoperability and compatibility. What about HDR-compatible products? Taubman: By itself, HDR is fairly mature, and an HDRnative production is easy to accomplish with current tools. A hybrid HDR/SDR production is much more complex, and we’re in the middle of developing workflows in conjunction with many of our vendors and clients to deliver a quality SDR product derived from native HDR acquisition to the majority of viewers.

Turk: With the new LUTs, HDR is getting easier, but we are still missing automatic setup. Engineers and operators must manually change settings when an HDR signal is in a monitor. Both technologies are going in the right direction and getting easier with each new version of software.

How is your engineering team dealing with the need to understand IP as well as baseband workflows? Adydan: Engineers are becoming data-systems–certified. A regular exchange of information is conducted amongst the engineering team.

Taubman: We’re transitioning rapidly from traditional broadcast infrastructures to infrastructures that are starting to look more like data centers in our trucks. We’re needing to define new IP-centric skill sets and find ways to train our staff to fully understand and take advantage of our new hybrid baseband/IP environment.

Turk: We have created an IP class that engineers are going through before they get a new IP truck. We also try to make smart decisions with pairing the correct people to get experience and IT on an IP truck. As IP networks become more commonplace at truck compounds, is cybersecurity becoming more of a concern? How are you addressing the issue of compound security in an IP age? Adydan: Cybersecurity is a vital concern. At this point, critical systems are isolated from the outside world. Research on switching portals with cyber sniffing is ongoing. 44

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Turk: Cybersecurity is thought about in every build. We are keeping the video network separate from control or internet. Also keeping to standard IT security procedures. Are you planning for the potential rise of 4K and HDR? If so, how? What are the primary technical challenges related to 4K HDR production, and what equipment must be upgraded? Adydan: The company’s latest mobile unit has been built to service 4K as well as HDR demands. The main concern is the ability to transfer appropriate color-gamut and contrast-ratio information. Parity must exist from the capture through processing to the display process. The ability to adjust to new HDR profiles is the biggest concern. This affects the entire chain but is most notable in the capture and display phases.

Johnson: We’re three years into servicing 4K, and, even in the very early days, we were looking closely at HDR. We learned very quickly that 4K is very achievable but the HDR is going to take a lot more of an infrastructure change because it does impact the entire [ecosystem] from production to customer delivery at the home. The vendors are aligning to provide the right toolsets and advanced capabilities to help us evaluate the quality and the consistency of the HDR while maintaining a good SDR. We cannot compromise the SDR show for the sake of HDR. So that does increase the challenge level. I would say we still have some hurdles to get over in that space, but it’s great that so many [vendors] are jumping in. That pushes us all to get there.

Snyder: We see 4K and HDR productions being done best in IP. In our opinion, proper IP design should be inclusive of 4K HDR signal paths, possibly with software provisions for HDR.

Taubman: A big part of our push to move quickly to IP is the need to develop systems that can produce native 4K content at the scale required by our key clients — a task that is well beyond the capability of currently deployable baseband systems. HDR comes along for the ride as we develop these infrastructures, but all of our purchasing around image acquisition, replay, and signal processing is driven by the need to pave the road to 4K HDR productions.

Turk: Every project, we have a 4K plan. Today, this will require taking the [equipment] levels down. As the IP technology continues to grow to higher bandwidth, this will go away, and we will be able to do the same size show in 4K or 1080p.

Wehner: We’ve been providing 4K and 4K HDR to our customers for several years.

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ROAD 019 IN REVIEW 2 S R O I R R WA

Following on the heels of a year that saw both the 2018 PyeongChang Olympics Games and the 2018 FIFA World Cup, one might have expected the 2019 sportsproduction calendar to be a bit quieter. As this year draws to a close, it’s clear that that could not have been farther from the truth. Broadcast networks and digital distribution platforms alike were busy from January on, upping the production ante on every event from the College Football Playoff National Championship Game to the Super Bowl to the Indianapolis 500 and more. Read on and remember the new technologies and production workflows that were introduced this year, and — most importantly — the people who brought these productions and many more to life.

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t the 2019 College Football Playoff National Championship, A ESPN once again went all-in for the big game, deploying more than 310 cameras to cover all the action at Levi’s Stadium

in Santa Clara, CA, and providing 17 viewing options via the MegaCast over 11 TV and radio networks and via the ESPN app. “The thing that makes this event is the volume and magnitude of what we put behind it but also the time frame,” said John LaChance, director, remote production operations, ESPN, prior to the January 7 game. “[There are] other marquee events, which stand alone, but, with the volume and viewer enhancements being done here in a 72-hour window to get everything installed, this event [is] in a unique classification.” The core of ESPN’s production efforts were done out of Game Creek Video’s 79 A and B units with Nitro A and B handling game submix, EVS overflow, 360 replay, robo ops,

and tape release. ESPN’s team that created 17 MegaCast offerings was onsite, housed in Nitro and Game Creek’s Edit 3 and Edit 4 trailers and TVTruck.tv’s Sophie HD. Game Creek Video’s Yogi, meanwhile, was on hand for studio operations, and Maverick was also in the compound. All told, 70 transmission paths (50 outbound, 20 inbound) flowed through the compound, and 40 miles of fiber and cable was deployed. Also on hand was Fletcher, which provided robotics; BSI, which handled wired pylons and RF audio and video; 3G, which was in charge of the line-to-gain PylonCam and the firstand-10–marker camera; Vicareo, with the Ref Cams; and CAT Entertainment Services, for UPS and power. SMT was on board for the 1st & Ten lines; PSSI, for uplink; Bexel, for RF audio and other gear; and Illumination Dynamics, for lighting. – Ken Kerschbaumer

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uper Bowl LIII is in the books and, for the production team at CBS Sports, it was the culmination of years of work, site visits, and planning. As usual, it was a massive effort and provided plenty of innovation, including a one-of-a-kind show open that featured an impressive technical undertaking. Out in the truck compound, NEP’s SSCBS A, B, C, and D units were at the center of the effort. The A unit housed game production, game graphics, and goalpost–robo-camera operation. The B unit had game audio and IPG distribution headend; the C unit housed the majority of EVS game replay operators, ChyronHego operations, and SMT first-downline operations. The D unit, meanwhile, handled tease edits. Game Creek Video’s Encore A unit was on hand for additional CBS Sports’ set inside Mercedes-Benz Stadium

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he 2019 NBA All-Star Game in Charlotte, NC, ushered in the T use of Skycam as a production tool deployed to cover game action. It was used first on Friday for the Rising Stars game at the

Spectrum Center and then during last night’s Skills Challenge. For the main event, Skycam coverage was not only integrated into the main broadcast on TNT but was also available as the main camera in an alternative broadcast available on TBS. “People are enjoying the unique angles Skycam gives,” said Chris Brown, director of technical operations, Turner Sports. “It’s similar to what it brought to football coverage in that you can have a sense of the space between players.” Skycam deployment began with the answer to a key question: how can it be used but not be distracting to players or, more important, actually get hit by a basketball in play? Helping to answer those concerns was the use of shot data from Second Spectrum, which tracks the height of every shot taken during NBA games. As long as the Skycam stays above that height (approximately 28 ft.), it should steer clear of any balls in flight. From left: Turner Sports’ Chris Brown and Senior Technical Manager Pete Rintelman in the TV compound

MOBILE SPORTS PRODUCTION YEARBOOK 2020

From left: CBS Sports’ Mike Francis, Patty Power, and Jason Cohen led the operations and technical efforts for Super Bowl LIII in Atlanta.

game video, pre/postgame audio and video, and 8K operations; the B unit handled pre/postproduction, graphics, and C360 operations. The C unit was home to pre/post EVS, the Sony server operators who worked with the Fletcher-provided HDC-4800 4K cameras, and 8K operators. F&F Productions’ GTX17 handled tape-release production, backup production, additional game EVS, and additional game video, and GTX18B was home to comms, Pico replay operators, a second pylon operator, augmented-reality operations, and EA Sports. Game Creek Edit 3, 4, and B-5 also played key roles. Edit 3 handled ingests, game and pre/post editing, color tease, game After Effects operations, and MAM. Edit 4 housed pre/post After Effects, pre/post Duets, and graphics management. And B-5 was home to pan-bar robotic operations and all other Fletcher robos except for those on the goalposts, which were handled in NEP SSCBS A. NEP’s TX/ESU trailer was onsite for router distribution, transmission control, and distribution to the world feed, Mercedes-Benz Stadium, halftime show, and all other outside vendors. And the AVS RF truck managed all RF cameras for game and pre/post as well as camera-feed distribution to SSCBS B, Encore A, and video-paint control in those trucks. – KK

Also new this year was the use of NEP’s EN1 as the production unit for the All-Star Game. NEP refurbished the EN1 C unit, and the layout allowed the Turner production team to consolidate replay and super-slo-mo operations; in previous All-Star events, they needed to be split apart. Game coverage relied on approximately 40 cameras, with the major addition of a robotic camera on a large crane behind the basket. An important part of the weekend was the use of RF cameras, and AVS was on hand with two RF Steadicams and two RF handheld cameras. NEP’s SS16 was used for the halftime show. NCPX returned for All-Star Saturday and was also used to produce the live alternative broadcast that aired on TBS (the main broadcast, produced out of EN1, was seen on TNT). – KK

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Road Warriors

NCAA MEN’S BASKETBALL FINAL FOUR

U.S. BANK STADIUM, MINNEAPOLIS, MN APR 5-8 he 2019 NCAA Men’s Basketball Final Four in Minneapolis T was another massive video operation with two full production compounds (one inside the bowels of U.S. Bank Stadium

and another outside in a parking lot), more than 50 cameras in the bowl of the stadium, and more than 400 CBS staffers alone onsite to pull everything together.

A pair of sets, including this primary position on the stadium’s west end, were built in each of the student sections behind each of the baskets.

NFL DRAFT

LOWER BROADWAY, NASHVILLE, TN APR 25-27 n its 40th consecutive year covering the event, ESPN assembled Iprimetime its largest NFL Draft production to date in Nashville. With dual telecasts on ESPN and ABC for the first time, plus a

cavalcade of onsite studio shows, ESPN’s NFL Draft footprint was bigger than ever. In addition, both ESPN’s traditional Draft telecast and the ABC’s College GameDay-style telecast were produced in 1080p for the first time. “This year is by far our biggest Draft production ever,” said Steve Carter, senior operations manager, ESPN, during the NFL Draft. “We have seven mobile units, five sets, and over 60 cameras — including eight RF cameras — between the main Draft [on ESPN], ABC, and all our other shows out here. Plus, both the Draft [telecasts] are being produced in 1080p. Even though we’ve got all these shows going on here, we’ve built the infrastructure and the interconnection to be able to handle it all pretty seamlessly.” Inside the compound, NEP’s EN1 and ND1 — seven mobile in total — were tightly integrated, allowing any source (video, audio, comms, etc.) from throughout ESPN’s Broadway setup to be accessed from anywhere. NEP’s EN1 and ND1 mobile units were on hand to serve ESPN at the NFL Draft in Nashville.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

“It’s our typical Final Four circus that rolls into town,” said Patty Power, EVP of operations and engineering for CBS Sports, during the tournament. “It’s all working as it should be. Everything is solid.” While there wasn’t much that’s “new” technologically, there were still plenty of fun production staples that have become expected at an event like this, including a SkyCam and RailCam, a robotic camera that slides on a track on the floor along the near sideline. There’s also been a new set of robos installed on the baskets behind the glass of the backboards to add an extra, unique look. Thirty-five cameras in the stadium worked the game coverage while another 13 were dedicated to studio programming. CBS and Turner had two different sets, each in the student sections behind each of the baskets that served as home for pregame and halftime coverage throughout Saturday and Monday evening. The biggest challenges of this year’s venue were lighting and finding the right camera angles in such a massive bowl for basketball. A lot of work went into the blacking out of open-glass features of the stadium, including on the roof and along the front entrance gates. In comparison, last year’s Final Four at the Alamodome served as a much more intimate atmosphere for basketball, so much of the prep in the days leading up to tip off this year was dedicated to calibrating cameras and juggling positions to get the most ideal angles for a basketball television broadcast in a nonbasketball facility. Down inside the main production compound, Game Creek Video’s 79 was the primary game support vehicle, while NEP’s Supershooter 22 ran studio shoulder programming. – Brandon Costa

Meanwhile, NFL Media fully embraced the Nashville scene at the Draft, bookending Lower Broadway with a pair of NFL Network sets located on the Draft Main Stage and attached to the legendary Tootsie’s Orchid Lounge honky-tonk bar. “We always try to tell the story of the city and give viewers the feel of being here at the Draft,” said Dave Shaw, VP Production, NFL Media, in Nashville. “Broadway truly highlights the fabric of Nashville. Of course, we wanted to be right in the middle of all that, so we knew we needed to find a way to make this work. The biggest challenge has been the limitations in terms of space here on Broadway, but I think we were able to handle that really well.” Game Creek Video’s Encore served as home to NFL Media’s Draft production, while the NFL Network’s Red Carpet Show and Good Morning Football shows were at-home productions run out of NFL Media’s Culver City, CA, broadcast center. – Jason Dachman

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Road Warriors

INDIANAPOLIS 500

INDIANAPOLIS MOTOR SPEEDWAY INDIANAPOLIS, IN MAY 26 hen Memorial Day Weekend rolls around in the U.S., W racing fans know what time it is. At the world-renowned Indianapolis Motor Speedway, 33 drivers revved their engines and embarked on a mechanical sprint towards history in the 103rd Indianapolis 500. The weekend also marked a massive milestone for the team at NBC Sports, who took over as the host broadcaster this year, bringing “The Greatest Spectacle in Racing” to homes across America for the very first time.

NBC deployed an impressive arsenal of live video technology to give this year’s race a truly elite on-air look. Much of it was made possible by working alongside the racetrack’s experienced in-house operations unit, IMS Productions. “From the engineering and operational side, it has been a success working directly with IMS Productions,” said Ken Goss, SVP, remote operations and production planning, NBC Sports Group, speaking before the race. “They’ve been great partners, and they did a terrific job [with helping us] converge all of our operations here. We’re looking forward to our first Indy 500 and are happy to forge a strong, ongoing partnership with IMS Productions.” A whopping 80 cameras were scattered across the sprawling 560-acre campus, highlighted by a grouping of five Sony HDC4300s at 6X super-slow motion. These high-speed cameras were located on the cars’ right side at Turns 1, 2, 3, and 4. Inside the operational nucleus, five trucks supplied by IMS Productions housed a fair number of the 200 staffers onsite. The main race coverage operated in IMSP’s HD-3 and HD-5 mobile production units. HD-3 was built around a Grass Valley Kayenne K Frame 5M/E switcher, while HD-5 featured Grass Valley’s Kayenne K Frame 8M/E switcher. The main race telecast also had 103 iso record channels at its disposal and a full slate of replay equipment from EVS: four 12-channel servers with ChannelMAX and 10 eight-channel XT3 servers, two with SpotBox and two with IPDirector. – Kristian Hernandez Crews began to arrive at the TV compound at Indianapolis Motor Speedway by 4:15 a.m. on race day

FIFA WOMEN’S WORLD CUP FRANCE

JUN 7 – JUL 7

he beginning of the 2019 FIFA Women’s World Cup in Paris T marked the end of a long period of planning in which Fox Sports made use of skills the team developed in Canada, home to

the previous Women’s World Cup in 2015, and in Russia during the Men’s World Cup last summer. One of the first things viewers noticed was the studio-show set, which was located at the Café de l’Homme. Paris has plenty of iconic views, but it is the sight of the Eiffel Tower that resonates with people around the world, and the view from the Café — part of the Musée de l’Homme — did not disappoint. The studio had 10 cameras, including a 50-ft. SuperTechno50 crane with a Stype kit for augmented-reality graphics that could show sweeping shots of the Palais de Chaillot and the Trocadéro. There was also a beauty camera that used LiveU’s Matrix IP cloud video-management platform to make it available to Fox TV stations that wanted to integrate live shots into their newscasts. EVS XT-VIA operations, graphics, and playout were done in Los Angeles and the technical director in Paris cut to tape machines located in Los Angeles, not in a B unit. Similarly, the graphics team in Los Angeles controlled three Viz engines in Aurora, and the prompter crew also worked remotely. Bexel helped outfit two trailers located in Fox Sports’ Pico studio lot, and a Century Link trailer helped pull in 120 Gbps of data from Paris. The Fox facility in Los Angeles also built two rooms for offtube needs because all audio and video passed through a control room in Los Angeles. The commentary, whether off-tube or onsite, was matched with a UHD feed that ultimately was down-

MOBILE SPORTS PRODUCTION YEARBOOK 2020

From left: Kevin Callahan (left) and Gabe Nucci, engineering manager, World Cup IBC, Fox Sports, inside the Fox quality-control room at the IBC.

The production area next to Fox Sports’ studio in Paris

converted to 720p for distribution to viewers. This was the first time that a Women’s World Cup had a proper building for its International Broadcast Center (in 2015, the IBC was housed in office trailers). Although Fox has a relatively small footprint of only 300 sq. meters, it packed a lot of technical punch. NEP UK, as it did in Russia last year, provided the equipment and technical support. – KK

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Road Warriors

U.S. OPEN GOLF

PEBBLE BEACH GOLF LINKS, PEBBLE BEACH, CA JUN 13-16 his year’s U.S. Open featured great shots from the drone T patrolling the Pebble Beach Golf Links coastline as well as shots from four robotic hard cameras that were able to capture

the action from new angles. “There are few courses as good as this one to use drone technology,” said Mike Davies, SVP, technical and field operations, Fox Sports, speaking at the tournament. “There are so many active holes along the coastline, and director Steve Beim has done a great job directing the drones and doing some cool things. Drone technology has come of age here at the U.S. Open.” Last year’s U.S. Open at Shinnecock saw two developments in compound layout that have carried over to this year. First, space constraints required some of the personnel and operations (such as camera and audio support) to be moved to a Technology Tent

From left: Fox Sports’ Brad Cheney and Production Manager Penelope Prior at the U.S. Open, where they oversaw a team of more than 600

located closer to the course. But another change was to move beyond a compound full of office trailers lined up next to each other. Instead, under the direction of Fox Sports’ Brad Cheney, VP, field operations and engineering, and Sarita Meinking, director, field operations, multiple trailers were combined, literally eliminating the walls between the operations, production, digital, PR, and other departments. There were three key partners for Fox Sports. Game Creek Video provided the production facilities; CP Communications, fiber and RF infrastructures; and Filmwerks handled power needs. The core of Fox Sports’ U.S. Open coverage was mobile units from Game Creek Video, specifically Encore A, B, and C, which have been at the center of all five of the network’s U.S. Open broadcasts. Pride A and B were also onsite, handling audio submix, superslo-mo replay, graphics, HDR-video support, engineering, and an emergency production area. – KK Fox Sports’ Technology Tent at the U.S. Open housed camera, audio, and RF support as well as robotics operators and AR operations.

COLLEGE WORLD SERIES

TD AMERITRADE PARK, OMAHA, NE JUN 15-26

t the 2019 College World Series, ESPN deployed technology A usually reserved for MLB telecasts, including a 4D Replay system, a POV camera on the mask of the home-plate umpire,

and all-encompassing surround coverage on ESPN3. “The goal is to serve the baseball fan. A large amount of them are accustomed to watching Major League Baseball, so they are accustomed to technologies that are typically available only at that level,” said Chris Swihart, remote operations producer, ESPN. “Our production approach has changed a little bit this year. The overarching production support and production management are being overseen by a group of folks who also do [those] Major League Baseball games. We’re trying to bring that feel to some of our bigger college events as well.” The College World Series crew was in an advantageous situation leading up to the tournament. ESPN had just produced the first MLB game in the state of Nebraska: the Kansas City Royals vs. the Detroit Tigers at TD Ameritrade Park. After the game was over, a majority of the onsite staff and the equipment remained in its place for its use in this tournament. One prime example was NEP’s ND7 production truck, whose four units (A, B, C, and D) were in use. As for transmission going on inside the truck, the games were transmitted in 720p.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Aside from the RF UmpCam and the 100 cameras used for the 4D Replay system, a lineup of 25-30 total cameras were also used for the production. Besides the many POVs and robos on the field, there were three Sony HDC-4300’s with super-slo-mo playback (located at low home plate, tight center field, and high third base), a Fletcher-provided Sony HDC-4800 super-slo-mo with 4K capability, a jib camera from Fully Armed Productions, and a Winged Vision aerial camera. The hardware wasn’t the only technology that was left behind. The College World Series used K-Zone replays for pitch location, which is normally seen on Sunday Night Baseball and other MLB on ESPN telecasts. – KH A, B, C, and D units of NEP’s ND7 were in use for the championship series.

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Road Warriors

MLB ALL-STAR GAME PROGRESSIVE FIELD, CLEVELAND, OH

JUL 9

n true Fox form, the broadcaster rolled out its largest and most technology-rich MLB All-Star production ever, including transporting Virtual Eye Graphics from the golf course to the ballpark, deploying 4DReplay for the first time, and reviving the DirtCam after a three-year absence. “MLB All-Star is obviously one of our huge tent poles and one of our favorite events,” said Mike Davies, SVP, technical and field operations, Fox Sports, speaking at the annual event. “We put all this technology into one event here, but the All-Star Game is, almost by definition, a short game without a lot of time to put all these cool elements in. So, as much as we like to get this technology on TV, the All-Star Game also functions as a very valuable testing ground for this technology in a real-world environment. Then we can have a better gauge whether to use the technology [for MLB Postseason] in October and on other events down the line.”

Fox Sports utilized SportsTime Ohio’s outfield set at the MLB All-Star Game

Fox Sports worked with Animation Research Ltd (ARL) to bring the Virtual Eye graphics system to baseball. The Virtual Eye was provided with MLB ballpark data to create a 3D virtual representation of Progressive Field and the surrounding area in downtown Cleveland. For the All-Star Game, the system leveraged MLB Statcast tracking data to provide AR graphics that track and compare pitches (for example, fastball vs. curveball), home runs, and other key moments in the game. Between game coverage and studio shows, Fox deployed a total of 39 cameras (up from 36 last year). The complement also included seven Sony HDC-P1 robotic systems (provided by Fletcher), an RF MōVI rig and RF handheld system (provided by CP Communications), and an aerial from the Goodyear Blimp (provided by Wingedvision). Fox Sports’ flagship production trucks — Game Creek Video’s Encore A, B, and C units — were back in the All-Star compound for the second consecutive season, along with Game Creek’s Edit 2 truck. The primary control room inside the Encore B unit handled the game production, and a second production area was created in the B unit to serve the onsite studio shows. – JD From left: Fox Sports’ Brad Cheney, Francisco Contreras, and Mike Davies at Progressive Field for the MLB All-Star Game

X GAMES MINNEAPOLIS

U.S. BANK STADIUM, MINNEAPOLIS, MN

AUG 1-4

years, X Games has pushed the envelope not just for what’s Ffororpossible with its athletes on the track or the halfpipe but also sports-video production and technology. This year, Minne-

apolis’s U.S. Bank Stadium was packed with cutting-edge cameras, unique technology deployments powered by an ocean of RF, and a robust audio and comms plan that powered approximately 18 hours of live linear content over the event’s four days. It also wouldn’t be X Games without an impressive camera arsenal ranging from the beefiest of high-speeds to the tiniest of Antelope Picos. ESPN and Echo deployed a base of about 35 Sony HDC2400’s to handle the primary acquisition load. Meanwhile, a sea of specialties added color to the proceedings: five Sony HDC-4300’s offered superslow-motion imagery, Spidercam delivered aerial coverage, and four robotic cameras provided scenic shots.

The teams from ESPN and Echo Entertainment developed a massive production plan for X Games.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

A 50-ft. Technocrane also covered its very first Summer X Games, as did the popular Pylon Cam, which ESPN uses on Monday Night Football and major college football games. With the addition of an Apex Legends esports stage at U.S. Bank Stadium, this year’s X Games production compound expanded to house six trucks, including Dome Productions’ 4K-capable VISTA unit, which produced live Apex Legends esports shows for distribution to Twitch in 1080p. Five of the trucks in the compound were courtesy of Dome: Journey, Pacific, and Silver were there, along with an expando B unit housing communications, robo camera ops, and a MADI router. An extra truck in the compound housed a BSI control center for the large complement of RF cameras and comms. – BC

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Road Warriors

LITTLE LEAGUE WORLD SERIES

HOWARD J. LAMADE STADIUM AND VOLUNTEER STADIUM SOUTH WILLIAMSPORT, PA AUG 15-25

or the Little League World Series, ESPN arrived in WilliamsFSunday port, PA, with both top-of-the-line technologies used on Night Baseball, such as 4DReplay and 1080p, and new

creations, such as the Kidscast second-screen experience. “The partnership between ESPN and Little League has been very strong for many years, and it’s forecast to go long into the future,” said Joe Rainey, senior remote operations specialist, ESPN. “We’ve always got a pretty strong technical commitment to raising the bar. We’ve made a number of changes in our workflow. Although we might look a little smaller than we used to look, we’ve gotten more efficient, using more-powerful equipment, and working a little bit smarter.” Although the action within the foul lines remained the same, the location and structure of the truck compound have changed over the years. The compound used to be a lot closer to the stadiums, with the trucks parked right outside Lamade Stadium. When the concourse was expanded and congestion caused the operation to relocate (the overall number of onsite staffers is more than 300), the network decided to move to higher ground

US OPEN TENNIS

USTA BILLIE JEAN KING NATIONAL TENNIS CENTER, FLUSHING MEADOWS, NY AUG 19 – SEP 8

he 2019 US Open marked the end of an era for ESPN and the T USTA as, next year, the technical infrastructure will make the leap from SDI baseband to IP. The SDI technical core this year

— once again provided by Gearhouse Broadcast, which oversaw the technical aspects of the operations — was put to good use by more than 400 production personnel one last time for both ESPN’s domestic unit, its host broadcaster operations, and other on-site rights partners like Eurosport, Wowow, Prime, and more. ESPN’s ACES area featured nine two-person production teams that handled outer court coverage.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Dome Productions deployed its Silver and Journey trucks for the on-air broadcasts.

and placed everything on a perch overlooking the concourse. Inside the current layout, Dome Productions had an overwhelming influence, with its new Silver truck maintaining the games in Lamade and the Journey truck facilitating the international contests across the way in Volunteer Stadium. A Dome Productions B unit was onsite for other duties, including replay with 12 12-channel EVS machines and eight XT4K servers. For onsite editing, Creative Mobile Solutions provided a trailer on the far side of the lot. ESPN’s Bristol, CT, campus added some edit help via its REMNAS file-transfer server. To ensure a smooth production, CAT Entertainment Services supplied two generators in the case of a loss of power. Outside the compound and within the ballparks, the camera complement was anchored by 12 hard cameras and 12 handhelds, including three super-slow-motion versions. With a big emphasis on the national games, the specialty cameras in Lamade were not the same as those in Volunteer. From the sky, an aerial camera is captured sweeping shots of the entire complex as well. – KH

“We have a phased upgrade plan that as we can’t just think about tomorrow,” said Dennis Cleary, ESPN director, remote operations, during the tournament. “We have to think all the way to 2025.” The IP plans for next year are being finalized but there are plenty of changes this year, most notably changes to the compound. ESPN’s physical presence for the past five years has been a large two-story technical operation center with multiple control rooms, audio rooms, and the core technical facilities. This year, the ESPN administration building also had two floors, expanding its size to 11,000 sq. ft. (ESPN’s total footprint is 22,580 sq. ft.) and allowing for the ESPN team to be more centrally located than ever. The second floor had an expanded production area for the ACES automated production teams that cover the outer courts, two audio rooms that handle audio for those courts, and additional commentary booths that can do off-tube or voice over work. NEP’s growing portfolio of companies was on full display at the US Open. In addition to supporting the USTA and rightsholders with content distribution and communications, three NEP mobile units were onsite, Mediatec deployed a state-ofthe-art LED wrap display on the court at Arthur Ashe Stadium, Bexel provided extensive fiber support, Fletcher had an army of robos on hand and its TRACE camera-tracking system as part of ESPN’s ACES productions on the outer courts, and Big Screen produced content for screens across the grounds. NEP’s Chromium and Nickel mobile units were once again on hand to support the USTA’s world-feed production. In addition, NCP8 was back, serving the ITV multiscreen mosaic production carried by DirecTV in the U.S. – KK and JD

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Road Warriors

ESL ONE NEW YORK

BARCLAYS CENTER, NEW YORK, NY SEP 28-29

SL, the world’s largest esports company, traveled to Barclays EGlobal Center in Brooklyn for ESL One New York, a Counter-Strike: Offensive (CS:GO) competition that filled up the lower

bowl of the arena with thousands of esports fans as the North American roster Evil Geniuses upset Astralis from Denmark. Sven Hoffmann, Global Event Executive Producer, ESL, and Ralf Burkhardt, Head of TV Production, ESL, oversaw a team of 25 ESL core production staffers who travel the world to ensure

the coverage has a consistent feel from one event to the next. The philosophy around esports productions is constantly evolving, especially given that the production team is not only focused on delivering a great show for fans around the world (ESL events are broadcast in 20 different languages around the globe with local partners handling native-language commentary) but also for the fans in the venue. And the in-game experiences for both players and fans are also constantly changing. “We have a whole department doing nothing but improving the in-game experience in the venue and on our streams,” said Hoffmann. “Esports is not as physically visible as regular sports but what makes it as interesting is the athletes’ emotions. We need to help translate what is going on behind the screens as the fans can’t see the faces of the players for most of the time, so we have Marshall POV cameras getting a good mix of player reactions to show how emotional and intense they are and then to bring it to the audience.” The big news from a TV production standpoint was that the event marked the debut of NEP’s SS8 mobile production unit. NEP has provided the back-end TV production facilities for all of ESL’s events for the past three years. The truck features a Grass Valley Kayenne X-Frame production switcher, Sony HDC 3500 cameras, Canon lenses, a Calrec Apollo audio console, the EVS XT-VIA replay servers, and a Lawo IP router. – KK Inside Barclays Center for ESL One New York Photo credit: Carlton Beener and ESL

OVERWATCH LEAGUE GRAND FINALS

WELLS FARGO CENTER, PHILADELPHIA, PA SEP 29

he two best teams of this year’s Overwatch League season, the T San Francisco Shock and the Vancouver Titans — and their fans — arrived in droves to the Wells Fargo Center for the 2019 Overwatch League Grand Finals. “The relationship with Barclays Center was great, but this venue is owned by one of our teams,” said Pete Emminger, VP, global broadcast, Blizzard Entertainment. “Since Comcast Spectacor owns the [Philadelphia] Fusion and this building, they have become one of our constant partners. They’ve been super helpful, and we’ve had a really good collaboration. The [Wells Fargo Center team] has been going through a pretty recent renovation and they’ve kept in the loop on the progress and all of their plans.” Outside of the Wells Fargo Center, two NEP mobile production trucks (EN3’s A and B units) handled all of the typical bells and whistles of a traditional sporting event, but inside NEP’s BT-1 auxiliary unit was where the true magic happened. In a blur of adrenaline and excitement, multiple technicians controlled the observer room that handled all of the in-game coverage.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

In addition to their responsibility of capturing the in-game footage, the observer room controlled the personalized viewing for Overwatch League All-Access Pass subscribers on Twitch. In the other NEP EN3 units, the A unit was the home of the main production crew. Other production duties, such as EVS servers (with 30 channels of replay) and transmission services were in the B unit. With the league’s 20 teams coming from six countries on three separate continents, the viewership for the Grand Finals was on a global scale. With 29 original feeds (plus three backup channels), a total of 32 transmission paths moved the various signals to and from the TV compound via IP distribution through the cloud with AWS. – KH The 171 ft.-wide LED video wall was the centerpiece of the in-venue action.

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ACROSS THE POND FIA ALPINE WORLD SKI CHAMPIONSHIPS ÅRE SKI RESORT, ÅRE, SWEDEN

FEB 5-17

Stion during its host production coverage of the FIS World Ski weden’s SVT and Infront broke new ground in remote produc-

Championships when it sent 80 camera signals from the course via

two 100 Gbps fiber circuits from Telia to three control rooms in Stockholm. Adde Granberg, SVT, director of technology, CTO, said the accomplishment at the World Ski Championships shows how far things have come since 2012 when SVT put remote production to the test for the London Olympics. This event, he said, shows the full potential of remote production. “It’s not about new technology, it’s about a new way of working,” he explained. “This has nothing to do with IP as the facilities at the course are the same if we were not using IP. Only the transport of signals is over IP.” About 150 people were at the course, including technicians, the camera people, and the director. The director had access to a control panel to control the Grass Valley vision mixer located in Stockholm where a production team of about 40 created the ultimate coverage. Grass Valley cameras were the make of choice, serving content to EVS replay operators in Stockholm. FIS handled the creation and management of graphics which were then integrated with the produced feed. – KK The FIS Alpine World Championships TV compound in Åre. Photo credit: Daniela Calandra

FRENCH OPEN

STADE ROLAND GARROS, PARIS, FRANCE MAY 26 – JUN 29 he Roland Garros French Open tournament in T Paris offered tennis fans plenty of stellar matchups and Eurosport, with broadcast rights in more than 50

territories, was on hand to make sure that all of them resonated with viewers across Europe. This was the 31st consecutive Roland Garros tournament that Eurosport has delivered and there were more than 200 staff onsite producing coverage for 10 localized Eurosport versions distributed across the continent. Coverage from all 16 courts (as well as all 160 qualifying matches) was produced and available via the Eurosport Player. With Eurosport’s main production facility located in Paris (and relatively close to Roland Garros, home of the French Open) it was no surprise that the European sports powerhouse looked to leverage its own facilities as much as possible. Last year the broadcaster brought back a finished feed and then integrated it for playout, but this year, all camera signals came back alongside the host feed and were cut from control rooms there. The team at Roland Garros had 14 unilateral cameras in use to cover activities across the grounds, and onsite, there

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Two studios at Roland-Garros gave the Eurosport production teams options to best meet their needs.

were teams from Eurosport France, Germany, Norway, Spain, the UK, Russia, and Italy. The German and French versions of Eurosport’s Roland Garros coverage were produced out of Eurosport’s Paris facility, while the UK channel was produced in London. With two studios and a control room onsite at Roland Garros, the various production teams had the flexibility to best meet the needs of viewers back home. – KK

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ACROSS THE POND WIMBLEDON

ALL ENGLAND LAWN TENNIS AND CROQUET CLUB, WIMBLEDON, UK JUL 1-14 his year’s Wimbledon tennis championships was year two of a T four-year relationship between Wimbledon Broadcast Services (WBS) and NEP whereby the latter is providing technical gear and

engineering services for the tournament. And while year two of deals can occasionally see some major changes and overhauls, the Wimbledon technical plan saw only minor changes as the initial efforts in year one were sufficiently forward-thinking: embracing technologies like ST 2110, UHD, and HDR. “We improved on some things, but technology wise it is the same,” said Richard Lancaster, NEP UK, technical project manager for Wimbledon. “But there were some geography changes like moving our engineering office out of the Master Control Room area.” Another location change was that the Trace operations for the seven outside courts, which were produced using Simplylive production systems and camera systems from Fletcher, moved into the broadcast center. Those systems were improved via software tweaks and also features like a Snapshot function that would allow for the

THE OPEN CHAMPIONSHIP

ROYAL PORTRUSH GOLF CLUB, PORTRUSH, UK JUL 18-21 he 148th Open Championship returned to Royal Portrush in T Northern Ireland for the first time since 1951, which gave some fresh energy to the CTV OB and ETP Production teams. And the effort saw some Open Championship firsts for the production, including the compound’s location on a beachside parking lot and the compound’s shutdown due to serious flooding.

NEP also provided support for ESPN, which operated out of Gallery A.

operator of the system to swap between, say, a player in the foreground or background when working with automated tracking. Operators were also able to work on multiple courts at once and three operators were able to handle all seven courts. The core of the WBS facility provided by NEP inside the Wimbledon Broadcast Centre were once again two completely redundant Grass Valley IQ modular systems that worked in conjunction with Arista Network switches. The router was decentralized with various nodes around the Broadcast Centre for the rightsholders. Outside of the WBC were three NEP OB units: Venus, Ceres, and Emerald from NEP Ireland where matches on Centre Court, No. 1 Court, and No. 2 Court were produced. – KK

“We literally had to shut down the compound and then, the next morning, raised all the power onto platforms,” said Alan Jessop, technical producer, CTV OB. “We solved all the issues and then brought everything up again.” The beachside parking lot was home to 11 CTV OB production trucks, 17 support units, catering, and office trailers. At the core of the production were 175 cameras. RF cameras and mics were also part of the mix, with 29 RF cameras, 79 low-power radio mics, 50 high-power radio mics, and more than 600 walkie talkies. There were also 35 EVS XT3 servers and an EVS VIA server, which was used for UHD and HDR coverage of Holes 5, 6, and 7. A lipstick camera was located at the first tee box, and rail cameras were at Holes 1, 3 (at the tee box), 6, 13, and 16. Four locked-off POV cameras, one Smarthead POV camera, and nine bunker cameras were also part of the plan, and 11 holes were cabled for Toptracer (there are also two RF Toptracers: one for NBC and one for host-feed producer ETP). – KK

The compound at The Open Championship at Royal Portrush was the first to be on a parking lot.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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DOME PRODUCTIONS Dome Productions’ Unique New Showcase Targets Digital-Content Creators By Brandon Costa

ne of the top mobile-production–facility providers in the business, Dome Productions made a splash in 2019 not by introducing another 53-ft. expando or a fully IP facility into the market. Instead, the company rolled Showcase, which is designed to meet the needs of digital-media companies looking to take their onsite productions to a new level. Designed as more of a mobile “studio,” Dome Productions expects Showcase to be used for onsite studio shows, esports productions, and even live podcasting programs. Measuring 40 ft. 10 in. long, 13 ft. high, and 8 ft. 6 in. wide, Showcase is smaller than a traditional production truck, and its tight footprint has a purpose. “We wanted to make it so you can put it into a situation where it could be at an event downtown,” said Mike Johnson, director, engineering, Dome Productions. “If you were interested to host a studio panel onsite as an addition to an event that’s going on, for example. It’s a trailer built to be onsite for special events and around some productions. We may have a larger production going on, but this can supplement that, or it can be just uniquely a small gaming environment.” A good example of Showcase’s deployment was at the 2019 NHL All-Star Game in San Jose, CA, when Dome rolled in the truck outside the home of San Jose Sharks majority owner Hasso Plattner to produce a live NHL 19 esports event to supplement the All-Star festivities around the city. At its core, Showcase hosts space housing (from left to right) engineering; an open studio with a removable wall and a window backdrop to open to the public; a foyer that can double as a makeup room or a green room; and a small, 69-sq.-ft. production area.

Showcase is a small, flexible facility that is completely customizable for broadcasters looking to add onsite digital-centric content.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Inside Showcase’s small production-control room, where customers can customize the gear on board

The truck features a small studio space that opens to the public, making it ideal for onsite studio shows or live podcast recordings.

As for the gear aboard, it doesn’t offer a standard package of gear traditionally seen in rental production trucks. Dome intends Showcase to be a complete custom and à la carte rental. “It’s an à la carte truck,” said Mary Ellen Carlyle, SVP/GM, Dome Productions. “You want to put your own equipment in? We can. Do you want to put a Ross Carbonite [production switcher] in there? You can. Do you want to put an EVS DYVI in there? You can. You want to put nothing in there? You can. I call it a pop-up truck. It can [distribute] right to OTT or web streaming if needed. It’s very, very versatile, and we talked a lot about putting equipment in it, but, in this new era, everybody’s different. So we just decided, you know what, we’re not going to put anything in. You tell us what you want.” Naturally, a big driver for this design was to develop a truck at a lower price point to meet the budgetary needs of many streaming and/or esports-related shows. “With these clients, budgets are small,” said Carlyle. “So what we tried to do is give them everything within a truck. It has the studio in there. It has the production-control room. It has cameras. It has lighting. It has power. It has air-conditioning. “It’s not a Dome truck,” she added. “Use it as your truck.”

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F&F PRODUCTIONS GTX-19 Rises From Ashes to Begin New Chapter for F&F By Ken Kerschbaumer

hen GTX-18, one of the top mobile units in the F&F Productions fleet, was destroyed in a fire last year, it kicked off a rapid process of getting a new unit, GTX-19, on the road. That monumental event happened this summer when the truck made its debut and showed its 4K fire power at a concert in Tampa, FL, then displayed its flexibility by moving from entertainment directly to an NFL preseason game for CBS Sports. Its first big commitment was for CBS’s coverage of SEC football, which began Sept. 14. “This shows we are a player in building these super trucks,” said Marc Orgera, VP/GM, F&F Productions. “It’s a single-truck unit that has the equipment usually found in two trailers.” Jason Cohen, VP, remote technical operations, CBS Sports, says the truck will make a difference when it comes to producing the SEC on CBS coverage. “The college football game we do every Saturday has the luxury of featuring top teams in the nation,” he noted. “Now we are in a position where it can be produced from one of the newest and most state-of-the art mobile units in the marketplace. It not only has a lot of fire power, but it is something we can grow into over the remaining years of the deal.” The F&F and CBS teams worked closely together on the truck’s design, and one of the results is that the main production area is laid out horizontally and features 4K monitors. The new layout also allows the tape room to accommodate two additional operators and the engineering desk to be moved out of the back corner. “The horizontal layout gives extra space and makes it physically completely different from GTX-18,” noted Cohen. The equipment aboard includes 14 Sony HDC-4300 cameras, two Sony HDC-2500 cameras, a Grass Valley HD Kayenne Elite K-Frame production switcher, and a Calrec Apollo audio console with dual faders. One thing it doesn’t have now is an IP core: the accelerated construction timeline mandated tried-and-true SDI routing. According to Orgera, the company’s next truck will have an IP core; however, if needed, GTX-19 can be converted to IP. “We had to build it in a three-month period during a busy season of basketball,” he explained, “so we didn’t want to be under the gun with a move to IP.” New technology includes EVS XT-VIA servers coupled with the latest EVS Multicam 16.00 operating system. The new server platform gives F&F greater flexibility to produce content in multiple formats, including HD 1080p, 4K UHD, and HDR, as well as enabling 1080p content to be upscaled to 4K UHD for playout.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

New replay technology inside GTX-19 gives operators added flexibility to play out content in a variety of formats.

The XT-VIA servers will be used to replay, edit, and produce all content going into the mobile units; XS-VIA servers record multiple audio and video feeds and provide instant control and multiple channels of playback operations. They are all linked to XNet-VIA, which gives the LSM operators in the three EVS VIApowered GTX mobile units triple the bandwidth of EVS’s legacy SDTI-based network. This will allow them to move high-resolution recorded media between the XT-VIA and XS-VIA production servers at greater speeds. “By expanding and upgrading our extensive EVS fleet, we now have greater capacity and speed, meaning we can deliver more,” said Orgera. “The new VIA-platform–based products that we’re investing in also give us the option to transition the units to IP when we decide that the time is right.” Cohen added that the XT-VIA servers will allow two operators to share a single server, removing a key bottleneck for important replays. “Multiple operators’ having access to crucial angles is probably the most important benefit,” he said. “It is also ready for future formats but maintains current workflows.” Other equipment aboard includes Sony HDC-4300 cameras and HDCP-43 POV cameras, Sennheiser microphones, a Calrec Apollo digital audio console with Bluefin2, an RTS Adam intercom, and Evertz 576x1152 XlinkHD router and VIP routing. CBS Sports deployed the mobile unit through the SEC Championship, as well as for the Army-Navy game, college basketball, and college-football bowl games.

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GAME CREEK VIDEO Game Creek Video Expands Its IP Fleet With Bravo and Columbia By Brandon Costa

he march to all-IP live sports production continues. In October, one of the industry’s leading production-truck providers, Game Creek Video, added two IP-friendly trucks to its fleet. Bravo and Columbia are the company’s fourth and fifth IP-capable units on the road today. Each is a 53-ft. expando that makes a significant achievement in fitting an entire remote IP facility into a single truck, eliminating the need for a secondary B unit for support onsite. “There’s a move towards IP in the industry,” explained Jason Taubman, SVP, technology, Game Creek Video. “We want to make sure the trucks that we put on the road today stay relevant for as long as they possibly can.” How is Game Creek able to fit all of the tech needed for an IP workflow into a single unit? Bravo and Columbia were each built to allow a full SMPTE 2110 infrastructure. Taubman and his engineering team needed to get beyond 576×576 in a router. “There was all of this old infrastructure you needed, like Ethernet switches and gateways and multiviewers that really overran the available rack space,” he said. “We got to a point early in the design of Bravo [and Columbia] where we realized we could probably pull it off and make it IP.” Perhaps most important is a new partnership with Lawo

Bravo and nearly identical Columbia debuted on NFL in September for Fox Sports and CBS Sports, respectively.

and Arista Networks. Game Creek worked with the duo for the first time to install an Arista 7508 enterprise switch as the truck’s core fabric switch. That pushes gateway, multiviewer, and in-network processing and orchestrating into the Lawo network powering the truck. “One of the things that led us in that direction was the size and shape of it,” said Taubman. “We were pressed to fit everything in a regular box, and one of the things that let us do that was the density that we got out of the Arista switch in particular. It [occupies] about a third of the rack space of our previous IP installations.” Another driver in these trucks was accommodating the IP-compatible edge devices — switchers, cameras, replay devices, audio devices — that are starting to emerge in the market. Taubman notes that the switcher deployed — a Grass Valley K-Frame-X — is particularly exciting because Grass Valley will be expanding its capabilities to allow native 4K in a 192×96 switcher. The audio side also has an IP hook. Atop the Calrec Artemis console is an AoIP box, which is a SMPTE 2110 or AES67 audio interface. It takes audio directly to and continued on page 104 Game Creek was able to achieve an all-IP workflow into a single 53-ft. expando, eliminating the need for a B unit.

100

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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GAME CREEK VIDEO continued continued from page 100 Bravo (pictured) and Columbia each have a Calrec Artemis console with an AoIP box attached.

from the Arista network, a first for a Game Creek mobile unit. Both trucks are working their first NFL seasons in the Sunday-afternoon broadcast window: Bravo with Fox, Columbia with CBS. “Bravo is one in a family of IP trucks that break the mold in a lot of ways,” said Michael Davies, SVP, technical and field operations, Fox Sports, the network for which Game Creek built its first truck in 2006. “The design will keep this truck and those like it relevant, adaptable, and cutting-edge for a very long time. We trust Jason Taubman, [VP, Engineering] Paul Bonar, and their exceptional team of OB designers to come up with the forward-thinking ideas while minding the pitfalls down the thorny path of mobile broadcast engineering.” It should be noted that the trucks aren’t exclusively IP. Bravo hit

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MOBILE TV GROUP Mobile TV Group Enters End-to-End Native-IP Age With 45 FLEX, 46 FLEX By Jason Dachman

n 2019, Mobile TV Group rolled out two end-to-end native IP mobile units: 45 FLEX and 45 VMU (visitor mobile unit) in May, followed by 46 FLEX and 46 B Unit in September. Both trucks are fully SMPTE ST 2110-integrated, including the switcher, router, replay systems, audio console, and cameras. 45 FLEX and 45 VMU (visitor mobile unit) are based in St. Louis and are being deployed for dual-feed productions of MLB, NBA, and NHL games across the Midwest and nationally. 46 FLEX and 46 B Unit are handling Fox Sports’ NFL Sunday package. “We’ve been wanting to go IP for a while, but there were two primary factors that caused us to wait,” said Mobile TV Group President Philip Garvin. “One was that the ST 2110 [suite of standards] hadn’t been fully completed. The second was that we were waiting until the major components — switcher, replay, cameras, router, and audio — were also 2110[-compliant] so that all the devices could be connected natively and without going through gateways. So we waited, and, when we felt that both issues had been resolved, we decided that our next truck would be 2110.” With the truck fully IP connected via SMPTE ST 2110, MTVG believes that 45 FLEX and 45 VMU will provide an easier pathway to 4K and HDR productions, as well as serving the evergrowing size of regional and national live sports productions. “In terms of resources, IP gives us the ability to say yes to almost anything,” said Mobile TV Group COO Nick Garvin. “The client might not even know that the truck is IP, but, if they ask for something, the answer now is almost always going to be yes. Can we add these five extra sources? Can we add an extra camera here? Can you send that feed to the NBA [headquarters]? And the answer is just yes. Before, you may have had to say, ‘I’m sorry, we’re out of router capacity.’ I think that’s the beauty of IP in action. [The user] doesn’t see IP or touch IP, but they know that our answer is going to be yes if they need to add something.” 45 Flex is built around a Grass Valley Kayenne K-Frame X IP switcher (7M/E, 96 inputs/48 outputs) and rolls with seven Grass Valley LDX82 Premier cameras and four LDX86 Universe super-slo-mo cameras (with IP XCUs), as well as LDK 8000 3G Elite triax cameras for the announce booths — all with Fujinon lenses.

MTVG’s 45 FLEX and 45 VMU oustide Busch Stadium in St. Louis

“IP gives you a tremendous amount of capacity that you just can’t achieve in SDI without adding significantly more cabling and equipment and taking up more space, and, of course, space is always of the essence on mobile units,” said Philip Garvin. “A 25G path can carry two 4K signals, which would’ve normally taken eight cables previously, and there was simply no space for that — either physically or in the router.” At the core of the truck is an Evertz 384-port EXE 2.0 IP router with up to 9,600 GBps and a Magnum control system to manage the IP infrastructure. Although several mobile units have launched in recent years with IP-based routers that feed into other systems via IP gateways (IPGs), MTVG believes this is the first mobile unit to feature an end-to-end IP ecosystem. “If you were to look at the back of the switcher or an EVS [server] in a mobile unit where only the router is IP, you would see a whole bunch of coax and BNC connectors for the video,” said Philip Garvin. “Everything would be going into IPGs to convert the video to IP on the way in and out of the router. However, if you look at the back of the devices on this mobile unit, you will see only SFPs connected by fiber. We have no IPGs between the switcher, the router, the replay, and the cameras — with the exception of external devices that aren’t 2110[-capable], such as a POV camera. The bottom line is, this truck takes full advantage of the advantages of 2110.” On the replay side, the trucks are equipped with four 12-channel EVS XT-VIA IP full editing replay servers (with 16 channels of embedded audio). Four SSMO and 16 HD inputs/12 HD outputs are available when the truck is running in SSMO mode; two continued on page 112

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MOBILE TV GROUP continued continued from page 108 XT-VIAs can be split into two operator positions with four inputs/two outputs each. In HD mode, 32 HD inputs/16 HD outputs are available (one position uses LSM Connect). The truck also features a four-channel EVS XS-VIA server for SpotBox with two channels per show during dual feeds. A 64-fader Calrec Artemis Beam console (256 routable inputs via IP, 64 analog inputs/64 analog outputs) handles audio for the home show, and the VMU unit is equipped with a 32-fader Studer Vista 1 console. The 10,240×10,240 Evertz audio router is connected via IP to the Calrec console. 45 FLEX rolls with Sennheiser shotgun and stick mics, Sony lavaliers, and Crown cardioid mics. Other key equipment includes Evertz IP multiviewers, a Leader LV7600 IP waveform/vector rasterizer, RTS ADAM-M matrix intercom system (64 ports of OMNEO, 32 channels of MADI, 48 analog ports), Image Video TSI-4000 tally system, and ChyronHego HyperX3 or Vizrt (for Fox Sports shows only) graphics. The 1080p-ready 46 FLEX marks MTVG’s second end-to-end native-IP mobile unit and is fully SMPTE ST 2110-integrated from soup to nuts. “This mobile unit is definitely our most advanced system to date from a technology standpoint,” said Philip Garvin. “It has the latest technology across the board and the fact that it’s native end-to-end IP means that its capacity is enormous. It’s also designed to do 1080p HDR shows and can do 1080p 8x-[high frame rate] for both the cameras and EVS. Because it’s fully IP, there’s no limitation in what it can do for a 1080p show; you have don’t give up anything to do 1080p versus 720p — there is no infrastructure lost whatsoever.” Like its predecessor 45 FLEX, MTVG’s latest mobile unit is built around a Grass Valley Kayenne K-Frame X IP switcher (7M/E, 96 inputs/48 outputs), an Evertz 384-port EXE 2.0 IP router with up to 9,600 GBps, and a Evertz Magnum control system to manage the IP infrastructure. Since both the 46 FLEX unit and the 46 B Unit are connected entirely via IP, every single source is available to either the A unit or B unit at any given time. “MTVG and Fox have had a long and innovative relationship,” said Mike Davies, SVP, technical and field operations for Fox Sports. “We tapped Phil and his team to create a future-proof truck that could see us through the balance of this contract. It was no question that we needed the flexibility to do the shows of today and be ready to adapt to the shows of tomorrow. End-to-end IP was the easy answer to be sure we were ready for whatever comes.” The truck is among the first to roll with Sony’s new HDC5500 multi-format live cameras, which are equipped with the world’s first 2/3-inch 4K global shutter three CMOS sensor. 46 FLEX carries four HDC-550’s aboard capable of up to 8x-highframe-rate in 720p/1080p along with eight Sony HDC-3500

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The shading area inside MTVG’s 46 FLEX truck

cameras and two Grass Valley LDK 8000 Elite cameras for the booth. In terms of glass, the truck is equipped with one Canon UJ111x8.3B long lens and seven XJ95x8.6B lenses (additional Canon 76x lenses long lenses can be added if using the B unit). In the replay room, four 12-channel EVS XT VIA IP replay servers (with full editing capability and 16 channels of embedded audio) carry the load, while another four-channel EVS XS VIA server is on hand for Spotbox (two channels per show during dual feeds). The audio room is built around a Calrec Artemis Beam 64-fader console (with 256 routable inputs via IP and 64 analog inputs/64 analog outputs) and relies on a 10,240x10,240 Evertz audio router connected via IP to the Calrec board. An RTS ADAM-M Matrix system handles the comms (64 ports of OMNEO, 32 channels of MADI, and 48 analog ports) and other key audio gear includes an ENCO Hotshot2 audio playout systems and a variety of Sennheiser microphones. The truck also features Vizrt graphics and 11 frame sync/ cross converters, including seven AJA FS-HDRs to enable HDR production when the client requires. As AMWA’s NMOS IS-04 discovery and registration specification and the IS-05 device connection management specification gain more traction in the industry, MTVG believes live IP production will continue to become more common. As a result, most of the IP gear on 46 FLEX is IS-04 and IS-05 compatible. “That means you should be able to connect an EVS or camera to the router or the switcher and, thanks to IS-04 and IS-05, you will have immediate communication,” said Philip Garvin. “That didn’t exist yet for 45 FLEX, but we have begun to take advantage of it in 46 FLEX and we’re working closely with the manufacturers to perfect the IS-04 and IS-05 discovery and compatibility. We hope that when we launch our 47th mobile unit next year, these developments will make integrating a truck in IP much faster and easier.”

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NEP GROUP NEP SS8 Embraces IP, Creature Comforts By Ken Kerschbaumer

EP SS8 may have just hit the road, but it has already built a solid reputation, serving as the center of ESL One New York at Barclays Center and at MLB playoffs. Now it is settling into a full season of NBA action for Turner Sports. “This truck will be relevant for a long time and is the most advanced system we’ve put together,” said Joe Signorino, VP, systems integration, NEP U.S. Mobile Units division. He adds that there is a lot of flexibility in its design and in the implementation of new technology, such as the Lawo routing infrastructure and EVS XT-VIA servers. According to Stephanie DeMoss, senior director. sales and account management, NEP Group, NEP collaborated quite a bit with Turner Sports, which wanted some additional space and creature comforts. “They wanted more depth for the workbenches in production,” she said, “and it was key that we designed a layout that allowed them to scale up for NBA playoffs and MLB postseason, when they add more operators — especially in the replay room.

NEP collaborated with Turner Sports on the design of SS8, creating space to add operators when needed.

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The main production gallery in NEP’s SS8 mobile unit

“Most important from a technology standpoint,” she continued, “they can grow into 1080p and HDR when they’re ready. It has been a great partnership.” The IP integration went very smoothly, Signorino said, noting that this was the sixth IP-based truck that NEP has put on the road, following the most recent launches of M15 and EN3. “We made the switch to Lawo and Arista Networks, and we have been pretty happy with it as we build a relationship with Lawo,” Signorino said. “And operating in IP is pretty intuitive now, and there is no real different feel to the production and operational side. “The audio room is very capable and [Dolby] Atmos-ready,” he continued. “Audio mixers can move from any of our trucks to the newer units and still be at home. We worked with Dolby to make sure we were in agreement with speaker placement; the room has Atmos audio monitors in the ceiling, which took some work to find the extra space needed given the lighting and duct work.” With 24 CCUs and 11 EVS units, the truck has solid firepower. Twelve of the CCUS are IP, and the other 12 can handle either SDI or IP. That gives the unit the flexibility to bring in third-party

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NEP GROUP continued continued from page 116 cameras and systems that may not be IP-based. “We went full steam ahead with IP,” said Signorino. “The standard complement of equipment cameras, DDRs, switcher, etc. is all connected via IP interface.” According to DeMoss, the truck can handle a wide range of shows, from sports to entertainment. It can support up to 24 cameras and 1080p, 4K, or HDR formats. It’s also complemented by a B unit, when needed, that rolled out two years ago. “That truck can operate in either a closed or open floorplan,” she added. Glen Levine, president, NEP U.S. Broadcast Services, is extremely proud of what the mechanical design and engineering teams accomplished given the change in new technology over the past couple of years. “We’ve made great strides in implementing IP technology,

SS8 can accommodate productions in 1080p, 4K, or HDR.

more-efficient cooling, and reducing weight in our mobile units,” he said. “Our roadmap has always been and will continue to be to advance with technology while improving from one project to the next. EN3, M15, and SS8 have all been great successes using this approach.”

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Admiral Video continues to be the leading source of POV camera solutions for the sports television industry. New for 2019, the company has added the CUSTOM Marshall CV503WP camera with built-in microphone and embedded audio to their “FiOPS” Fiber Optic POV Systems. This third-generation Marshall camera boasts impressive specs and is a noticeable improvement over the previous generation. They also have deployed a “Gooseneck Robo” POV system targeting the esports community. Some other innovative products introduced during the year are a bow-tie camera for boxing and a dual camera “Line to Gain” PylonCam for football. The company also sold its first patented PylonCam system to an NFL team. Admiral Video continues to invest in protecting its intellectual property and is the owner of three U.S. patents for PylonCam systems. To date, Admiral Video remains the only patented pylon camera system in the world

Electronic Arts (EA) not only produces some of the most popular titles for competitive esports in the industry, but it now hosts competitions throughout the year at its headquarters in Redwood City, CA. Its new EA Broadcast Center production facility, designed and installed by Advanced Systems Group, was built in just three months and hosted its first production, the Madden NFL 19 Champions, in March 2019. The facility is a 1080p house, but is designed for a 4K future. The main studio, a 360-degree environment that houses the competitions, features full-size broadcast cameras, a 133-inch LED wall for customized game graphics, and a unique audio system; teams can’t overhear each other, but conversations can be shared with viewers. The smaller “players’ lounge” studio uses PTZ cameras and ceiling array microphones to capture informal social activity between players. The control room layout resembles a production truck but can accommodate up to nine people.

AE Graphics (AE) is recognized globally as one of the leading providers of television graphics and data solutions. With over 25 years

AVS is a leader in wireless 4K, HD, and aerial production with more than 90 HD and 4K RF systems by Vislink/Link Research, including the compact Link L-1700 and GoPro HEROCast systems. AVS has two GSS 4K gyro-stabilized aerial camera systems, four Cineflex camera systems and three Partenavia fixed-winged aircraft for aerial coverage. AVS was the first to integrate Sony’s new P-50 to a RF Steadicam system with RF video return and prompter on Super Bowl LIII. The AVS Steadicam package has become the preferred system for Dancing with the Stars, The Voice, America’s Got Talent, So You Think You Can Dance, World of Dance, Shark Tank, Grease Live, The Wiz, Hairspray, Rent Live, Sunday Night Football, Monday Night Football, NFLN Thursday Night Football, Super Bowl game and Halftime Shows, and the NBA Finals.

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

of successful delivery in the broadcast industry, AE’s reputation has been forged upon an ability to consistently deliver a reliable yet innovative service, in demanding environments around the world. AE offers a complete turnkey solution for clients, beginning with the graphics concept design process, to integration with any third parties or official data streams, to technical and operational installation and workflow, through to successful frontline delivery undertaken by in-house, full-time specialist graphics operators. 2019 has already seen AE provide its services on the Australian Open, Guinness Six Nations Rugby, IPL, The Ashes, BT Sport’s football coverage and BBC Sport’s virtual studio. AE were also the official graphics providers for the recent ICC Cricket World Cup and will be for the Rugby World Cup later this year.

All Mobile Video is the premiere provider of live video solutions to leading broadcast and new media production outlets. AMV continually strives to remain forward thinking, integrating IP, 4K/UHD video ingest/encoding/streaming/delivery, HDR, virtual reality/augmented reality, direct-to-theater distribution, cinematography/broadcast hybrid workflows, and eGaming services to its expanding list of conventional services. Other offerings include control-room equipped sound stages, broadcast and uplink trucks, bonded cellular services, specialized railcam systems, encoding and live streaming, teleports, full-time OTT channels, colocation, event management, and software development. AMV provides insight and expertise, as well as turnkey end-to-end production/delivery solutions to networks, producers, production companies, distributors, and brands.

The Alpha Video Sports Group continues to be a leader in the design, deployment, and service of technology systems that help clients engage fans, enhance teams, and expand revenue in their venues and facilities. For live production, Alpha Video completed facilities for Georgia Tech and Florida State for the upcoming launch of the ACC Network along with a renovation and expansion of Georgia’s SEC Network production facility. Soon, the

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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company will start work on a cutting-edge IP production control room for an NFL client, along with the build out of a production facility at their team headquarters. For team facilities, Alpha Video recently completed the AV systems for LSU’s newly renovated Football Operations Center and is designing AV upgrades for several other teams as well. The company also launched its new sound system solutions with major sound system upgrades for Churchill Downs and for one of the Midwest’s largest arenas.

From North America’s largest custom LED scoreboards to stateof-the-art broadcast studios, control rooms, experiential spaces, concourses, and digital signage systems, AJP sets the industry bar for AV systems design, technology integration, and large-scale project development. Combining roles of Owner’s Representative, AV Consultant, and Design Consultant, the company delivers complex technology projects on time, under budget, and without change orders. With over 500 large-scale technology projects for high-profile stadiums, arenas, entertainment facilities, and collegiate campuses successfully completed, AJP’s proven end-to-end solutions simplify process, maximize product value, and produce significant financial benefits for clients. Recent and upcoming project highlights include: five major ACC Network broadcast production facilities; 5x SEC and Big 10 Network upgrades; highdensity WiFi for the Miami Heat and BYU’s Marriott Center; and AV for Nashville Predators’ Bridgestone Arena, USMA at West Point Michie Stadium, Purdue’s Ross-Ade Stadium, Toronto Blue Jays Rogers Center, and Memphis Redbirds / 901 FC.

ARCTEK Satellite Productions is excited about muxing and, of course, satellites. ARCTEK continues to stay on the cutting edge of technology by investing in a fleet fully capable of providing mux service via the most reliable form of transmission, satellite. At-home transmissions aren’t new to ARCTEK. Actually, ARCTEK completed its first alternative style production in 2009 and the company is pretty proud of the Emmy it earned for technical achievement in that area. Whether you need a traditional back-haul, multi-feed, mux service, international feed, or production, ARCTEK will provide the highest quality, reliable service at an economical rate. ARCTEK’s well-equipped five Sprinter satellite trucks (three Ku-band and two C-band) and talented team are ready to roll nationwide.

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

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The Azzurro Group is an integrated media services company that delivers the engineering and transmission services needed to keep your operations at the leading edge. The company offers an intuitive, all-in-one broadcast-quality production system with AzzurroCAM, a compact system that delivers broadcast-quality, low-latency transmit and receive video over the public internet using minimal bandwidth with AzzurroTX, a fully managed and monitored 24×7 encoder/decoder solution transmitting over the Azzurro Public Internet Network (PIN) with Azzurro PIN Bridge, and an easy-to-set-up location with Azzurro Pop Up Studio.

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BeckTV has designed and built more professional television facilities for more customers than any systems integrator. The company brings the experience you need when delivering diverse content across multiple platforms in a multitude of formats. Your success is the benchmark by which BeckTV measures itself. The idea that BeckTV only wins when its clients win is one of the many reasons the company has the highest level of repeat business in the industry.

Bexel, an NEP Broadcast Services Company, is a leading global provider of outsourced broadcast solutions and production equipment rentals for producers of sports, entertainment, and live events. Coming this Fall 2019, Bexel New York will support rental and sales operations, with space for local clients to prep their rental equipment. To initiate the move, Bexel is currently in a temporary shared spaced with NEP Sweetwater in New York to better serve clients in the Tri-State area before relocating to Long Island City. Stay tuned as Bexel shares details of their East Coast expansion in the coming months. Bexel ESS remains the choice vendor for custom systems integration, managed services, and fiber-optic solutions for permanent facilities, major events, and live game production. The specialty division has had involvement in building robust broadcast infrastructures for professional football stadiums across the nation including Mercedes Benz Stadium, U.S. Bank Stadium, StubHub Center, and Los Angeles Memorial Coliseum. Bexel TSS has announced a rebranding of their division to Bexel Sales. The new brand name and logo illustrate the company’s core mission, and further demonstrates their commitment to equipment sales and asset liquidation with reliable customer service. Bexel Sales will continue to represent nearly 100 leading manufacturers of new equipment, as well as a diverse inventory of pre-owned gear, and services that include broker and consignment options, asset liquidation through equipment auctions, and RF reallocation solutions.

BSI had the pleasure of working in Brazil for Copa America and in France for Women’s World Cup, and was integral in deploying real-time remote broadcast facilities and transport between both locations to the client’s at-home engineering hub. This fall, BSI

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will be providing broadcast equipment, studios, and engineering at the IAAF World Track and Field in Doha, Qatar, as well as international commentary systems at the upcoming MLB World Series. BSI continues to develop their rental inventory focusing on current technologies, fiber solutions, and IP infrastructure. Additionally, the company’s robust inventory includes HD and 4K capable cameras and EVS’s, Simplylive Vibox production suite, commentary systems, audio IP codecs, and a large supply of SMPTE and fiber cable. BSI completes this list of services with traditional flypack studios and IP remote solutions as it recognizes the continuing evolution of technology all while supporting traditional tried-and-true workflows.

At Broadcast Sports International (BSI), an NEP company, the engineering and operations team is at the leading edge of turnkey custom broadcast solutions. BSI works with major broadcasters and production companies to produce compelling content through cutting-edge camera, wireless transmission, and microphone technology. BSI is fully licensed by the FCC for regular broadcast bands as well as additional portions of the wireless spectrum for large events. BSI leads the industry in providing the highest quality, most reliable and robust means of transmission. BSI pioneered onboard NASCAR cameras and brought new perspectives to golf coverage. Television networks use BSI’s customized technology solutions to cover the U.S. presidential inauguration and the Republican and Democratic national conventions. Customers rely on BSI for turnkey live-event coverage, custom engineering challenges, and equipment rentals. But the relationship doesn’t end there. All BSI partners receive continuous back office support during any engagement.

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

CAT Entertainment Services is a worldwide provider of rental power and temperature control, supporting the event and entertainment industries. From planning and engineering to equipment and award-winning technical support, CAT Entertainment Services makes it the company’s business to know yours. From the global stage of a World Cup broadcast to a local music festival or a blockbuster film production to local theater in the park, CAT Entertainment Services knows the power of entertainment and provide the turnkey solutions specific to your event.

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Chesapeake Systems offers an engaged and embedded approach to engineering, implementing, and optimizing highly advanced media technology systems to support revenue growth, content creation, and asset monetization. From consultation and design to installation and support, Chesapeake’s expert team of media technology specialists understands how to get the most out of your assets. Sports organizations within the NFL, MLB, MLS, and others trust Chesapeake to harness their content to make it work for them. The company’s knowledge of systems design and longstanding relationships with a wide array of the best manufacturers and vendors allow clients to make informed decisions that support their business goals.

CineSys-Oceana is comprised of Media IT Specialists providing systems, solutions, integration, and support for digital content creators across North America. With years of IT experience and a foundation in M&E, the company serves a range of industries from broadcast and postproduction to government, corporate, and sports. As an engineering-centric company, CineSys-Oceana has specialists with deep knowledge and experience in designing, implementing, and supporting creative workflows from ingest to delivery and beyond. CineSys-Oceana works with many sports teams and organizations improving their storage, infrastructure, and media asset management systems.

Clark Media provides HD mobile trucks and broadcast equipment rentals including custom-built HD and 4K production systems. Clark Media has a full-time staff of rental managers, engineers, and production professionals ready to provide outstanding support for your next project. The company has locations in Burbank and New York that allow for service nationwide. With a call to Clark Media, the company can discuss clients’ needs, provide the gear with crew and see clients on location. Clark Media’s goal is to let its clients concentrate on the big picture and let them handle the technical stuff.

Cornerstone provides bold, touchable, watchable experiences. The company sleeps, eats, and showers with your project in mind. Cornerstone creative directs a project until it just can’t take it anymore, and then makes it the “live” experience you have been showering with too. This is about branded environments that engage your audience. This is about giving the feels. All of them.

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Mobile Services Providers

CP Communications exhibited the full power of IP streaming and bonded cellular networking for live sports production at the 13th CrossFit Games. CP provided all content acquisition, networking, and delivery services across all areas at the multi-venue Alliant Energy Center complex in Madison, WI. The company deployed six bonded cellular rigs to cover events outside the Alliant Energy Center campus, including the ruck race and the swimming events downtown. According to CEO Kurt Heitmann, the wireless audio, communications, and video systems worked seamlessly inside the coliseum and outside at North Park Stadium and the flexibility was yet another example of CP’s leadership and expertise in building customized, hybrid systems to ensure reliable event coverage across multiple sites. While CP remains RF specialists, the company can simplify the overall infrastructure and ensure 100% coverage by leveraging the power and flexibility of IP and bonded cellular networking.

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

CSP Mobile Productions has been providing broadcasters with quality mobile units since 1988. From sports and entertainment to large corporate and news events, CSP covers the nation from coast to coast, delivering HD productions to ESPN, Fox Sports, CBS Sports, and NBC, to name a few. CSP units and engineers have remained busy during the first half of 2019. Major League Rugby, the Premier Lacrosse League, and Major League Soccer are a few of the top sports covered by the CSP Mobile Productions fleet. The second half had the fleet busy with college football and basketball heading into 2020. If your need is for state-of-the-art facilities, then CSP is ready to provide its mobile units with top-notch engineering. The company also offers full turnkey production services with “above-the-line” and ”belowthe-line” crewing, transmission, and more.

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

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DigitalGlue announces the addition of 16TB helium-based enterprise drives into its complete line of creative.space storage solutions. These drives provide 33% more capacity compared to 12TB drives. Higher density, less rack space, and lower energy consumption all reduce the overall total cost of ownership. Combining 16TB hard drives, 16TB NF1 NVMe PCIe solidstate drives, and 10/25/40/100 GbE network connectivity is a real game-changer for postproduction and content distribution network workflows. 16 TB drives alleviate the need for multiple racks of equipment in a facility or a data center. The 24-bay // AUTEUR and //DEUS EX systems can hold 384 TB in 4 RU. With three //EXPANSION units, over 1.5 PB can be stored in just 16 RU. For even higher density, the //MONTAGE can house 960 TB in 4 RU. For collaboration anywhere, the mobile 4-bay //ROGUE unit can now scale to 64 TB.

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

DNA Studios, a Texas-based mobile production company, just completed the transition to Ross Carbonite switchers. This migration allows easier connectivity to the XPression graphics systems in all trucks. All mobile units, which are a great value to clients, feature five Grass Valley HD cameras, Carbonite switchers, XPression graphics, digital audio, and six channels of replay. DNA currently serves clients from the east coast, Midwest, Texas area, and Las Vegas. The company spent the summer helping with ESPN’s “The Basketball Tournament” regionals in Salt Lake City. Also, DNA will package the SWAC college football game of the week. DNA Studios also boasts a 3,000-square-foot live studio for two new clients: FoxNews and The Weather Channel.

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Mobile Services Providers

DX3 Media Inc. is a media production management and consulting company based in Canada. The company takes pride in providing out-of-the-box thinking resulting in innovative solutions for clients’ projects. Its reputation is founded on delivering higher than anticipated results and always under the clients’ budget. DX3 Media Inc. has a strong network of equipment and crew vendor relationships throughout all North America.

2019 has seen exciting developments for ES Broadcast in the U.S., in both the rental and integrator markets. Esports specialist OGN has launched its Super Arena in Manhattan Beach, CA — with ES Broadcast delivering the systems integration for the project, in partnership with De Tune Company. The venue is purpose-built for Battle Royale esports games such as PlayerUnknown’s Battlegrounds (PUBG) and Fortnite, and was kitted out with Sony XVS-7000X and Ross Carbonite vision mixers, a Calrec audio desk and network, Ross XPression graphics and AR, Evertz routing, and Sony HDC-2400 camera channels. Meanwhile, ES Broadcast Hire’s Orlando office, opened in February 2019, has added Sony HDC-3500 and Panasonic AK-UC4000 UHD camera channels to its already expansive rental fleet, as well as Panasonic UHD and HD PTZ cameras.

Filmwerks has had quite the year of strategic planning for its future. Seaport Capital has come on-board to invest in the evergrowing business of Filmwerks. The support from Seaport has led to many new opportunities for growth. The fast-growing structure division is now complimented with a full scenic design/build department. This department is home to a full fabrication and scenic staff that designs, project manages, and builds scenic elements for broadcast, live events, and other various industries. In addition, Filmwerks has acquired Hale Electric, with a large inventory and experienced personnel to reinforce the new facilities in Nashville and Las Vegas. Filmwerks’ goal is to geographically position equipment to better serve their growing broadcast base. 2019 is the beginning of an aggressive initiative for the development of new systems and advanced training programs to provide the most advanced technicians and equipment in the industry.

Geartech Technologies represents a variety of products relating to the broadcast, telecommunications, cable, industrial, and postproduction industries. The company’s mission statement is simple: “Specific Solutions for Rapid Development”. With over 50 years of industry experience, the Geartech team will provide the proper solution for your technical and production requirements. Clients can count on Geartech to help them develop and deliver their projects from “Cradle to Grave”. Geartech’s involve-

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ment in the telecom and broadcasting industries will “indeed be of great benefit to all of our clientele.” The components of the Geartech product line have been carefully selected and Geartech Technologies is proud to be representing some of the world’s elite technologies.

Gearhouse Broadcast, Hyperactive Broadcast, Input Media, and Chief Entertainment — owned by Gravity Media Group — are now trading under the brand name of Gravity Media. All Gravity Media companies around the world are making this transition and will now go to market as a single brand with a bold new look and purpose. Gravity Media is a leading global provider of complex live broadcast facilities and production services to content owners, creators, and distributors. The group uses the collective pull of its people and resources to capture, craft, and create world-class content that inspires and excites.

Founded in 1946, HB Communications designs, builds, and supports audiovisual communication environments for organizations around the world. Using a wide breadth of knowledge in technology, strategy, and experience design, HB provides the insight and solutions to create communication environments that drive innovation and growth.

High Rock 1, the newest Super Stallion Dual Stage Expansion Class mobile production vehicle built by Gerling and Associates, is High Rock’s solution for bringing your event from the confines of its venue to the world. Regardless of the nature of the event — whether it be sporting, news, corporate, or musical — High Rock 1 can deliver, combining its small onsite footprint with the most advanced and powerful technology to make every project an ease. With technical integration provided by Bennett Systems, High Rock 1 is equipped with a Grass Valley Kayenne Switcher, Sony HDC17000Ls and HDC4300 Super Slo-Motion Production Cameras, EVS XT3 Servers, Calrec Artemis Audio Console, and much more.

Illumination Dynamics (ID) services live broadcast, film, television, theatrical, and special events providing automated and film lighting equipment, transportation, redundant power systems, technical services, and crew. The company’s main locations are in Los Angeles and Charlotte with additional ARRI Rental facilities available for support. ID operates nationwide as well as provides lighting services internationally. ID’s Live Broadcast division is core to the company’s success, providing reliable redundant generator power, UPS Systems, lighting design, equipment, and crew to multiple events. ID’s staff strives to provide a premium

Automate logging, stats, melts and replay data to the CatDV Media Management Platform to grow franchise legacy and boost audience engagement. NFL, college sports and athletics, NBA, MLB, soccer, tennis, horse racing motor racing, drone racing, ocean yacht racing, boxing, eSports More than 80 sports teams win with CatDV

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From concept to completion, AJP provides comprehensive Facility Audit and Benchmarking, Design, Engineering, Financial Modelling/ROI Analysis, Procurement and Construction Management services. • Successful completion of over 500 large-scale technology projects exceeding $1 billion in procurement. • The most innovative designs in the industry. • A proven process that results in significant cost savings. • Straightforward, pragmatic approach to operations and long-term planning.

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Mobile Services Providers

service for customers, and the company recognizes their loyalty has driven ID’s success. In 2019, ID serviced a vast array of events such as PGA Golf, World Series of Poker, NFL, college football, MLB, tennis, horse racing, MLS, swimming, super-cross, boxing, extreme sports, red carpet shows, and many more.

IMS Productions is a leader in full-service video production, postproduction, satellite services, studio rentals, and mobile facilities. Reliability, personalized service, and the ability to cover every facet of the production process continues to drive the company’s client satisfaction and business diversification. IMSP partnered with NBC Sports in 2019 to produce more than 100 hours of the ‘Greatest Spectacle in Racing’, including the 103rd Indy 500. The “Month of May” included extensive practice, qualifying, carb day coverage; half-hour ‘Indy Live’ specials; and race programming across all NBC platforms. Building on an already significant relationship with the Professional Bull Riders, IMSP is producing a ten-episode reality/documentary series covering the creation the six teams competing in the 2020 PBR Global Cup. International coverage of the NTT Data IndyCar series is being produced and distributed worldwide via IMSP to approximately 100 nations including Canada, the United Kingdom, Japan, Spain, Sweden, France, New Zealand, and Brazil.

Integrated Media Technologies (IMT) is a digital media and technology company with offices in Los Angeles, Boston, and Dallas. IMT serves the telecommunications, media and entertainment, institutional, and enterprise sectors with a broad range of solutions designed to drive new value and efficiencies from technology. IMT’s operations are segmented into three principal businesses: Consulting and Systems Integration Business, Video Collaboration, and IT Services.

Intoto Systems provides systems engineering services to the Media and Entertainment industry, with a focus on software systems integration. Intoto’s experience with virtualized and de-materialized broadcast infrastructure has enabled them to build powerful automation solutions to manage and monitor such environments. In 2018-19, Intoto designed and implemented the integration of production control room automation systems for Telemundo’s FIFA World Cup coverage, providing control room virtual infrastructure, monitoring systems, control panel design, and salvo management. Intoto’s expertise with video over IP, cloud technologies, and control and automation systems helps their clients design and deploy integrated systems that improve agility and deliver increased efficiency.

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4K Ultra HD was launched just in time for the 2019 football season. Kaufman’s HD-3 - 5.5 meter C-Band transportable is booked for 4K UHD straight through the championship. HD-3 also supports HEVC encoding, offering lower bit rates for more efficient bandwidth usage. Kaufman live studios in St. Louis and Kansas City are gearing up for camera upgrades and the shift to VoIP communications. Kaufman offers consulting for facility upgrades and designs custom rack panels. For more than 35 years, Kaufman has been a broadcast services leader nationwide.

KMH Audio-Video Integration is a full-service systems integrator providing end-to-end solutions to broadcast and postproduction environments across several industries. KMH’s audio and video experts deliver the highest quality of personalized service coupled with unmatched flexibility during all phases of project engagement. Over the past year, KMH has continued to deliver quality solutions to customers in the sports world while providing guidance on the direction of the industry and preparing these facilities for the future. Project highlights of the year so far include designing a studio and production control room space for the Pittsburgh Steelers’ existing facility and managing its build out for the 2019-20 NFL season; teaming up with Triple Play to install a new IPTV system for Red Bull Arena; providing ongoing consulting for MetLife Stadium and managing several upgrades; and installing new Sony cameras and production server for the New York Giants Quest Center.

LH Computer Services is a reseller specializing in video storage solutions for professional and collegiate sports. LH offers solutions that provide next-generation storage platforms providing content production, distribution, and archive with the performance and reliability needed to meet extreme production and delivery deadlines. The company offers solutions with file systems, optimized for video, in an end-to-end solution from ingest to archive that are designed for performance from the ground up and built on the foundation of providing high-performance collaboration to leading post and broadcast organizations. LH has a variety of manufacturers to draw from providing directattached storage, FCSANS as well as a traditional NAS to meet the demanding needs of your workflow.

Live Media Group Holdings announced this past June that it had completed a major acquisition of three mobile unit companies as part of its growth strategy in the mobile television industry. TNDV Television of Nashville, Harb Productions Services of Knoxville, and Coastal Media Group of Los Angeles were among the acquisitions. The mobile unit fleet at Harb Productions Services has been merged with the company’s current Live

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Mobile Services Providers

Mobile Group division. Combined with TNDV Television, this creates the largest mid-level mobile unit production company in the U.S., providing unprecedented full-service live event broadcast production to new and existing clientele. The Live Mobile Group fleet consists of 18 40’-45’ mid-level mobile production and hybrid units with uplink. Also included is a 53’ double expando 4K UHD mobile production unit. The company also owns eight HD flypack systems.

Lyon Video still remains in the game with 11 HD mobile units and seven support B units. Joining the game in August/September was Lyon’s new production unit Lyon 15, support units B7 and B8, and — rounding out the roster — investment in its inventory of cameras, lens, audio, fiber, EVS, and support equipment for multiple large-scale events. Yes, Lyon Video is ready for 4K HDR, but what makes Lyon unique? The company’s expert team supplies innovative production solutions including live broadcast, worldwide streaming, remote production solutions, and esports integration with production. Lyon Video’s team loves to create successful and seamless productions.

Markertek, a 100% employee-owned company, is the sports industry’s leading supplier of 12G/4K IP infrastructure solutions for studio, stadium, arena, remote, and esports production. From Embrionix IP SFP systems to Teradek live-streaming encoders to Camplex 12G-SDI fiber converters, no other supplier has everything needed for live coverage solutions. Markertek is a single source warehouse of end-to-end interface products with quality name brands that deliver always-on-air confidence. The in-house shop at Markertek can fabricate custom-length SMPTE, Tac, and opticalCON fiber cables in addition to a complete array of rack panels, field boxes, audio, video, and Ethernet cables. Markertek’s shop expertly repairs any brand of SMPTE, Tac, or opticalCON fiber-optic cables, bringing them back to factory-fresh condition in short order. Production trailers from Markertek are today’s low-cost mobile solution designed to save you thousands over an OB van or similar mobile trucks. Markertek provides a complete range of integrated technology broadcast trailers to the industry including fully cooled units for replay and server-based productions.

Mediapro is a leading group in the global audiovisual sector, unique in content integration, production, and audiovisual distribution. It provides the creativity and technical solutions necessary to design, produce, and distribute any audiovisual

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or multi-channel project. Mediapro offers “end-to-end” sports production and transmission solutions for coverage of all kinds of sporting events. The company works with highly experienced staff and has established key worldwide relationships that allow it to provide clients with a high-quality, cost-effective proposal for their projects. With mobile units, sports production automation, and cameras filming from above and below, Mediapro uses innovation to push boundaries and production technology to a whole new level. With operations worldwide through its 58 offices distributed across 36 countries on four continents, Mediapro provides the creativity and technical solutions necessary to design, produce, and distribute any audiovisual or multi-channel project in any corner of the globe using state-of-the-art technology. HD

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Metrovision has been offering domestic and international clients a full spectrum of mobile production, mobile satellite transmission, flypacks, IP media, and live-event presentation services across North America since 1988. Along with having a fleet of mobile units and an extensive equipment inventory, Metrovision takes a turnkey, solutions-driven approach — combining technical expertise with strong commitment to customer service.

MeyerPro has had the privilege of continuing and extending several amazing partnerships so far in 2019. Once again, MeyerPro was called upon to be a part of the game presentation production for the Portland Trail Blazers opening night and for their thrilling playoff run. By creating a cylindrical screen hanging from the scoreboard as well as projection effects throughout the area, MeyerPro took an already electric environment to the next level. The center screen displayed player highlights and player introduction content, and when the opening was complete and the lights went up, it was gone in an instant. A lot of engineering and programming time and effort as well as flawless onsite execution from MeyerPro’s dedicated team of techs went in to making this vision a reality. The team at MeyerPro is busy working on the next cool project and looks forward to continuing this momentum through 2019 and beyond.

With offices in Los Angeles, Boston, New York City, and Austin, New Box Solutions is a custom audio/visual integrator that specializes in postproduction, event and film festival operations, residential, and cinema installations. The company’s client list includes the most world’s most respected postproduction facilities, producers, directors, studios, international film festivals, awards ceremonies, and red carpet events.

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Mobile Services Providers

PCCW Global, the international operating division of HKT, Hong Kong’s premier telecommunications service provider, provides high-speed, on-demand media connectivity with its Console Connect service, the industry’s first Software-Defined Interconnection platform powered by a Tier 1 global network available in 150 countries. Console Connect’s intuitive software allows sports media companies to create direct, private, and secure connections instantaneously to key media hubs, studios, remote production sites, data centres, and key cloud service providers globally. The company’s Tier 1 global IP network lets you to bypass the public internet, connecting you to key partners over an uncontended, low-latency network connection. Console Connect enables customers to fire up Layer 2 network connections seamlessly to other users, and eliminates the complexity of standard network configuration. Complex media workflows and bulky video data transfers can now be managed efficiently with flexible bandwidth, on demand, and pricing options suitable for those covering short-term sporting events.

PRG is the world’s leading provider of sports and event production solutions, with a diverse resume featuring major live and broadcast sporting events worldwide, including the Super Bowl, Olympics, and World Cup. Clients and partners depend on PRG’s innovation, knowledge, and depth of experience in broadcasting, audio, video, lighting, rigging, staging, scenery, and automated systems for the highest level of excellence in capturing sports and live events. PRG offers the industry’s largest and most diverse inventory of rental production equipment including all major broadcast cameras, audio, media servers, remote production gear, rigging, edit facilities, operations trailers, LED walls, and more. For customized solutions, PRG’s resourceful team of experts creates proprietary tools to move the industry forward like Emmy-winning Front Row Cam, UltraView 4K director’s finder, and Flex Solutions Trucks and production suites. When it comes to lighting, no one surpasses PRG and their array of sophisticated tech, including proprietary systems like the Engineering Emmy Award-winning GroundControl Followspot. For sporting events, awards and half-time shows, and tributes, PRG can deliver turnkey production solutions from preproduction through live upload. For unique and extraordinary moments, the company offers specialized staging and pre-taped hybrid technology like the new Mixed Reality System for dynamic live and broadcast effects.

Live events are fast-paced by nature. With ProCrewz, everyone on your crew has the tools they need to stay several steps ahead. The ProCrewz mobile app seamlessly connects every member of your crew in real-time and makes communication more efficient than ever. Features like the personalized calendar, job-wide messaging, real-time chat, a geo-fenced time clock, and the ability to submit receipts with a photo help your crew work better as a team. And that’s just the beginning. ProCrewz is benefit-

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ting the industry’s most innovative leaders, including Program Productions and XLT Management Services. It’s the Enterprise Resource Management system that makes it easy to get everyone on the same page. The better equipped and organized your crews are, the more they can bring their talents and passion to the forefront of every event.

Since 1979, PSSI Global Services/Strategic Television has specialized in the coordination, production, and distribution of domestic and international programming. As global event, transmission and connectivity experts, PSSI Global Services seamlessly handles transmissions via C-band, Ku-band, fiber, IP, and bonded cellular, and provides live video, audio, and data services across the globe. The company currently owns and operates more than 70 mobile transmission vehicles — more than any other transmission services provider — based throughout North America, international and domestic C/Ku flyaway uplink systems, and the PSSI International Teleport (PIT). PIT recently upgraded its AT&T fiber connectivity, and now offers diverse 20GB circuits with multiple video and data ports. PIT also has full-time, bidirectional connectivity to Europe and Asia, and multiple streaming encoders for distribution to Facebook, YouTube, and multiple other CDNs across various streaming protocols.

With a 30-year history providing wireless solutions to the broadcast industry, RF Wireless Systems continues to maintain relationships and foster new ones. Continued R&D, release of new products, and integration in large-scale events on both sides of the border, the Canadian RF integrator continues to raise the bar and extend its reach. Specializing in camera and low-latency high-quality video solutions for live broadcast, RFW provides fiber transport, wireless audio, customizable UHF intercom integration, and complete event support on an international scale. As rentals grow with RAD intercom and Q5X Player mic products, the company heads into a second winter supporting Rogers Sportsnet’s NHL broadcast with its RefVu patent-pending wearable camera technology. An extensive event background ranging from Ironman World Championships in Hawaii to FIS World Cup Skiing in Canada demonstrates RFW’s commitment to its clients, its partners, and the industry.

RoboVision began in February 1990 by pioneering the use of robotic camera systems at Daytona International Speedway. Soon robotic cameras became a part of every major sporting, news, and entertainment event. Super Bowls, Olympics Games, and many major sporting championships have been covered with RoboVision robotic cameras. RoboVision has a wide variety of experiences to help you solve your camera challenge.

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THE MOST COMPLETE OFFERING IN THE INDUSTRY Largest Dedicated and Experienced Technical Sales Team in the Industry Largest Accessible Product Offering Supporting the Entire Signal Path Customized Solutions and Engineering for Unique Applications Backed by the Power of WESCO, a Fortune 500, Industry Leader

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Mobile Services Providers

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. Ross Mobile Productions (RMP) is an international mobile production company that offers full-service production packages and rental services. Designed around a tightly integrated Carbonite production switcher and XPression graphics core, each RMP facility delivers multi-format camera capabilities, an advanced communication system, and progressive broadcast replay servers. This production power enables RMP’s facilities to deliver high-quality, network level productions at affordable prices and meet consumer demand for coverage of more network sporting and other live events. Events are produced in multiple languages in sports, entertainment, music, fashion, extreme sports, culinary arts, esports, and politics. RMP provides services to customers to enable them to strategize, build, and enhance their production capabilities.

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

In 2019, SHOTOVER unveiled the SHOTOVER B1, a 6-axis, gyrostabilized gimbal platform that delivers an unprecedented level of stability, control, and versatility in an ultra-compact package that accommodates some of the world’s most advanced cameras and lenses. Developed from the ground up, with input from several of the top aerial cinematographers and broadcasters around the world, the B1 was designed to meet the needs of a wide range of markets, including live broadcast, production, industrial survey, and surveillance. Weighing under 40 pounds with a camera and lens, the system is the most compact aerial camera system developed by SHOTOVER. The lightweight design enables it to be utilized on an extensive range of helicopters including the Guimbal Cabri G2, Robinson R44 and R66, Bell 206 and 505, Eurocopter AS350, and Cessna fixed-wing aircraft.

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

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MOBILE SPORTS PRODUCTION YEARBOOK 2020

NEP Group, the leading worldwide outsourced technical production partner supporting premier content producers of live sports and entertainment, has acquired SOS Global Express, an independent international freight forwarding and full-service logistics company that specializes in supporting clients in broadcast, entertainment, music, and professional sports teams and leagues. The addition of SOS is consistent with NEP’s stated strategy to become the world leader in Broadcast Services and Live Events, providing key logistics and shipping services to get equipment where it needs to go, when it needs to get there. With the addition of a well-respected, experienced freight forwarding company, NEP will be able to better utilize its assets and, as a result, provide better service and more streamlined planning and delivery of equipment for client events. Moving forward, SOS will remain independent, continuing to operate under the SOS brand and serving all clients. NEP and the industry will be able to leverage SOS’ services including: air, sea and road freight transportation; logistics planning; customs brokerage services; insurance; packaging; warehousing; and ATA Carnets.

Driven by its customer-first mindset and passion for leveraging communications technology to advance the government and enterprise customers it serves, Speedcast has built an unsurpassed global satellite network and support infrastructure that spans across every region in the world.

T2 Computing is a technology solution provider focused on the creation, management, distribution, storage, and monetization of digital content. T2 provides highly skilled infrastructure engineering and strong technology product know-how to help design, procure, implement, manage, and support systems for the leading media companies in the world. T2’s client base covers a broad spectrum of business verticals, including industry leaders in media and entertainment, sports, financial services, advertising, and many more. The company’s belief that “every company is a media company” allows for it to bring innovative solutions to solve complex problems around how to maximize a company’s content creation, management, and distribution. T2 Computing’s technology partnerships include Apple, Dell, HP, Quantum, Avid, CatDV, Primestream, and Scale Logic. T2 takes a collaborative approach when working with its clients; leveraging its strong internal engineering staff with the vendor’s specialists to provide a state-of-the-art solution to the content creation community.

Do you have legacy archives and old tape libraries piling up?

Itâ&#x20AC;&#x2122;s time to tackle that mountain of data. As sports organizations look to modernize their workflows, many are hesitant at the thought of any kind of larger data migration. When it comes to legacy archive migrations, moving from DIVArchive and other HSMs, the whole process may seem overwhelming. When moving large amounts of data onto new storage systems, into the cloud or a combination of the two, there are many things to consider. What if you could move your legacy archives, old tape libraries, HDD, LTO and more to a flexible storage environment, using a tool that not only indexes your content intelligently with AI, but also allows for easy access across multiple facilities and clouds, without disrupting your daily business? It is possible and not as daunting as you may think. Time to take the next step and migrate your old content, so that it can be securely used, repurposed and monetized again? We can help streamline the process and come up with a solution customized to your specific environment and requirements.

Contact Your Media IT Specialists T: 1-866-905-2050 | W: cinesysoceana.com | E: sales@cinesysinc.com

JOURNEY

Mobile Services Providers

The Switch continues its growth in the live production services market with the expansion of its at-home production facility in Burbank, CA. The Switch At-Home service provides a smarter solution for live event production and has already successfully delivered remote events for the likes of CBS Sports, Fox, ESPN, Univision, MLS, NFL, and TVG Network. The expansion is intended to accommodate the global rise in demand for live content, predominantly driven by live sports events, and offers a single platform whereby multiple live productions can be delivered from any location. The expanded production services will enable The Switch’s customers to focus on their core business — the content — while offering a flexible live production set up, meaning they can quickly scale up or down to match the size and demands of live events. The Switch is harnessing its existing capabilities in production services to create a natural extension of its video transmission services. Its current network connects production facilities with 800+ of the world’s largest content producers, distributors, sports and event venues; seamlessly linking rightsholders, broadcasters, streaming platforms, media outlets, and web services and turning on live content around the world.

THUMBWAR is a Los Angeles-based multi-disciplinary company that provides clients access to technical consultancy and creative solutions under a single roof. THUMBWAR specializes in developing end-to-end workflows for live-event production, creating unique assets with their in-house postproduction and virtualization facilities, and providing equipment and personnel for on-site production and post challenges. All of this is backed up by custom engineering solutions, and an integrated creative and technical workflow. No matter the challenge, THUMBWAR approaches the process for every project the same way: looking at the big picture, doing what is promised, following through on budget and schedule, interrogating the process, and innovating to provide maximum efficiency. And perhaps most importantly, the team at THUMBWAR will stop at nothing to get the job done.

Information technology has grown in power and possibilities over the past quarter-century, and so has UNICOM Government. From its beginnings as a software and peripherals provider for federal agencies, UNICOM has become a national leader in delivering comprehensive IT solutions and services that meet the mission-critical needs of governments at every level. Through strategic partnerships with market leaders, UNICOM combines best-in-class technologies with best-infield experts to create powerful yet cost-effective solutions that closely align your IT objectives with your business goals. UNICOM backs it up with a range of professional services that add to the agility, responsiveness, and speed the company brings to every engagement.

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MOBILE SPORTS PRODUCTION YEARBOOK 2020

Universal Satellite Communications (UniSat) offers complete turnkey services and provides superior mobile television production and mission critical transmission services throughout the Western United States. The company offers the highest quality service and the most complete satellite production units in the industry at competitive rates to meet any budget. A fully integrated supplier of television logistics, mobile production and transmission services, UniSat offers a full range of services, including satellite uplinks, downlinks, multi-camera international live production, fiber, microwave/HD wireless cameras, digital provisions, full production, editing, ENG packages and logistical planning. UniSat delivers exceptional performance and accuracy in satellite transmission and television production.

VISTA Worldlink continues to evolve as their VISTA REMI/athome production workflow expands. VISTA invested in expanding their innovative production capabilities by adding more control rooms and announcer booths while increasing the number of cameras that can be produced downstream at VISTA’s Centralized Broadcast Facility. VISTA successfully utilized their next-generation, agile, and cost-effective production model to produce 83 Lamar Hunt US Open Cup matches on behalf of US Soccer, Major League Soccer, and ESPN. VISTA’s REMI solution allowed for all 83 matches to be professionally produced and distributed on the ESPN+ network. In addition to the 2019 Lamar Hunt US Open Cup, VISTA successfully produced and distributed the CONCACAF U-15 Boys Championship. All camera signals backhauled to VISTA’s REMI facility via VISTA’s proprietary PBU technology were produced via VISTA’s REMI production model. Since 2017, VISTA has produced a few thousand live REMI sporting events at VISTA’s South Florida facility.

VRmeta is a cloud-based asset management and productivity tool ideal for sports broadcasting. With VRmeta, users can apply in frame, time-based descriptive metadata (IFTBD) and time based ‘Quick Tags’, as well as IPTC keyword and caption metadata at a near automated pace to all popular video asset types. Compatible with both MAM and DAM, VRmeta is also used for exporting and sharing videos and their corresponding metadata. From filmmaking to sports to marketing, VRmeta is a must for all industries pertaining to metadata and content management. It’s the only solution that adds the right human element that industries are clamoring for given the UI friendly ‘Smart’ management of auto-tagging. AIDA Content Management is available to discuss the advances in discovery and personalization with In Frame Time Bases Descriptive Metadata (IFTBD) and the only UI for cleansing and enhancing its auto-tag output at a nearly automated pace.

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NECK AND NECK Our ultra-live VDN service delivers sport to your screen as it happens

MotoGP is the home of prototype motorcycles engaged in the closest battles ever witnessed. The thrills and speed keep global audiences on the edge of their seats. Tata Communications delivers this ultra-live VDN service to DAZN, the revolutionary video streaming platform. This promises to deliver optimal live experiences to your favourite device and unleash the power of live over the internet like never before. See how we could help your quest for synchronicity. Visit www.tatacommunications.com

#TrustedToWin

Courtesy of

VENDOR SERVICES

Directory SVG has partnered with ProductionHUB to offer a comprehensive directory in the pages of the Mobile Sports Production Yearbook for those in search of crew services, generators, mobile-production units, and satellite trucks. ProductionHUB.com, a respected online resource, lists not only the vendors covered here but also a wealth of other production-services companies as well. The site also boasts one of the

top job boards in the industry, a valuable tool for freelancers seeking work and for todayâ&#x20AC;&#x2122;s growing number of sports networks and content creators. The following pages feature a state-by-state U.S. services directory to use as a starting point to find the providers that best meet your needs. Be sure to visit ProductionHUB.com for the most up-to-date information on potential suppliers and service providers.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

167

Our streaming technology makes every team look good. No matter how they play.

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info@verizondigitalmedia.com +1.877.334.3236 | vd.ms/msvg19

World Sports IP playbook of choice Capture, contribute, control, manage, deliver over IP

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THE NATION'S LEADER IN SPORTS CAPTIONING

VITAC supports sports leagues, broadcasters, TV networks, OTT providers, stadiums, and arenas with reliable, high-quality captions for live and recorded sporting events. VITAC provides quick-turnaround captioning for live clips of sporting events, simultaneous encoder and IP connectivity for web and TV captioning, and dual-mode delivery of captions to ribbon boards and handheld devices in stadiums, arenas, and convention centers.

VITAC â&#x20AC;&#x201C; Providing FCC, ADA, Section 508 and WCAG compliant captioning

Vendor Services Directory

Courtesy of

Crew Services STATE

CITY

NAME

WEBSITE

PHONE

ALABAMA

Birmingham

6 STRONG MEDIA: Birmingham

www.6strongmedia.com

800-390-1621

Birmingham

Crewsouth

www.crewsouth.com

205-862-4271

Chandler

MarzMotion

www.marzmotion.com

602-377-2514

Phoenix

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Phoenix

Burke Brothers Productions LLC

http://BBPTV.com

602-321-0398

Phoenix

Crew West, Inc.

www.crewwestinc.com/sat-west

888-444-2739

Phoenix

Phoenix Production Services

www.filmwithpps.com

480-717-4117

Phoenix

Reel Men

www.reelmen.com

602-286-6800

Scottsdale

High End Labor Pool, LLC

www.highendlaborpool.com

602-225-2454

www.filmgearrentals.com

501-920-3392

ARIZONA

ARKANSAS

North Little Rock Film Gear Rentals

CALIFORNIA

Alta Loma

Intramedia Associates, LLC / LocalCrew.tv www.localcrew.tv

909-980-4033

Beverly Hills

Snakebyte Productions and Entertainment www.snakebyteproductions.com Group, LLC

855-228-6478

Los Angeles

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Los Angeles

Go To Team

http://gototeam.com

843-884-6222

Los Angeles

Indigenous Productions - Los Angeles

www.indigenous-productions.com

323-425-9906

San Diego

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

San Diego

Calabria Lighting and Grip

www.calabrialightingandgrip.com

760-692-7915

San Diego

Crystal Pyramid Productions

www.crystalpyramid.com

619-644-3000

San Francisco

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Sherman Oaks

Wintech Video

www.wintechvideo.com

818-501-6565

Denver

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Denver

Go To Team

http://gototeam.com

843-884-6222

Golden

Crew Connection

www.crewconnection.com

720-531-9000

CONNECTICUT

Hartford

FastLights.com - Hartford, CT

www.FastLights.com/ph

855-922-5600

DISTRICT OF COLUMBIA

Washington

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Washington

Beverly Boy Productions - Washington, DC

www.beverlyboy.com/locations/dc/ washington-video-production-company

202-448-2886

Washington

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

www.iatselocal22.com

202-269-0212

Bradenton

Video Crews FLA

www.videocrewsfla.com

914-474-7539

Lake Mary

Skystorm Productions

https://skystorm.com

407-328-4747

Melbourne

David Waters Productions, LLC

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

Miami

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Miami

Partner House

www.partnerhouse.com

786-376-0763

Miami

Stonehenge Circle

www.stonehengecircle.com

786-333-3571

Orlando

Beverly Boy Productions - Orlando, FL

www.beverlyboy.com/locations/fl/orlando407-401-8734 video-production-company

Atlanta

6 STRONG MEDIA: Atlanta

http://6strongmedia.com

800-390-1621

Atlanta

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Atlanta

Beverly Boy Productions - Atlanta, GA

www.beverlyboy.com/locations/ga/atlanta404-474-3823 video-production-company

Atlanta

Go To Team

http://gototeam.com

843-884-6222

Atlanta

LOCAL

www.staylocalatl.com

470-344-5860

Atlanta

Swirl Films / Rentals

www.swirlfilms.com

910-798-2934

Atlanta

Synchronicity Motion Pictures

www.synchronicity.online

859-327-7833

Carol Stream

Visions of Light Chicago

www.visionsoflight.com

312-829-8244

Chicago

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Chicago

Beverly Boy Productions â&#x20AC;&#x201C; Chicago, IL

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

312-392-0390

Chicago

Complete Crewing

www.completecrewing.com

773-645-2000

COLORADO

FLORIDA

GEORGIA

ILLINOIS

172

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

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Crew Services

Vendor Services Directory

Courtesy of

STATE ILLINOIS

CITY Chicago

NAME Go To Team

WEBSITE http://gototeam.com

PHONE 843-884-6222

Chicago

Light Modifiers Rental

www.lightmodrents.com

773-940-2654

Grayslake

Clarion - Chicago

www.clarioncrews.com

847-543-1188

INDIANA

Indianapolis

Beverly Boy Productions - Indianapolis, IN

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

317-350-1477

LOUISIANA

New Orleans

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

MAINE

Portland

FastLights.com - Portland, ME

www.FastLights.com/ph

855-922-5600

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Boston

Beverly Boy Productions - Boston, MA

www.beverlyboy.com/locations/ma/boston617-314-9267 video-production-company

Boston

FastLights.com - Boston, MA

www.fastlights.com/ph

855-922-5600

Boston

PixMix Video Services

http://pixmix.net

617-254-0590

Hudson

StoneMedia Productions

www.stonemediapros.com

978-568-1200

Milton

Boston Video Crews

www.bostonvideocrews.com

617-834-3412

Newton

Green Line Group

www.glgtv.com

617-229-6202

MICHIGAN

Detroit

Beverly Boy Productions - Detroit, MI

www.beverlyboy.com/locations/mi/detroit313-879-1228 video-production-services

MISSOURI

Branson

jackson+appleton

www.youtube.com/jacksonappleton

417-294-0711

St. Louis

Go To Team

http://gototeam.com

843-884-6222

Las Vegas

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Las Vegas

Avenger Productions, Inc.

www.avengerproductions.com

702-655-3339

Las Vegas

Carafelli Productions

www.carafelliproductions.com

702-525-1129

Las Vegas

Go To Team

http://gototeam.com

843-884-6222

Las Vegas

HCD Studio 1

www.HCDStudio1.com

917-810-2906

Las Vegas

JCS Broadcast Video Productions

http://jcsvideo.com

800-791-8671

Las Vegas

Olena Z Films Video Production

www.olenazfilms.com

702-713-8855

NEW HAMPSHIRE

Concord

FastLights.com - New Hampshire

www.fastlights.com/ph

855-922-5600

NEW YORK

Albany

FastLights.com - New York

www.fastlights.com/ph

855-922-5600

New York

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

New York

Atlantic Television

www.atlantictv.com

212-625-9327

New York

Beverly Boy Productions - New York, NY

www.beverlyboy.com/production-hub

646-448-8787

New York

Crew 1 TV Inc.

www.crew1tv.com

212-665-8277

New York

Filmwerk Media

www.filmwerk.tv

212-645-6668

New York

Go To Team

http://gototeam.com

843-884-6222

New York

Man With A Cam, Inc.

www.manwithacam.org

646-688-3447

New York

NBTV Studios

www.nbtvinc.com

646-277-4900

New York

New York Video Crews

www.newyorkvideocrews.com

888-858-8625

New York

Studio 253 NYC @ E.C. Pro Video

www.studio253nyc.com

212-333-5570

New York

The Peopleâ&#x20AC;&#x2122;s DP Inc.

www.thepeoplesdp.com

646-415-7782

Chapel Hill

Indigenous Productions - North Carolina

www.indigenous-productions.com

323-425-9906

Charlotte

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Matthews

Production Management Specialist

www.productionmanagementspecialists. com

803-228-0271

Raleigh

Beverly Boy Productions - North Carolina

www.beverlyboy.com/locations/nc/raleigh704-230-1080 video-production-company

OHIO

Cleveland

Assignment Desk, Inc.

www.assignmentdesk.com/#about

800-959-3375

OKLAHOMA

Oklahoma City

Oklahoma Film Commission

www.ok.gov/oklahomafilm

405-522-9635

OREGON

Portland

Doug Birnbaum Photography

www.DougBirnbaum.com

949-205-9980

Portland

Picture This Production Services

www.pixthis.com

503-235-3456

MASSACHUSETTS Boston

NEVADA

NORTH CAROLINA

176

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

v11

On-Prem S3 Storage with Built-in Content Management

Accelerating On-Demand Access to Video Archives Reduce Time to Last Byte with Partial File Restore Speed Time to Ingest with up to 5x Faster File Upload Simplify File Sharing with Streamable URLs

LE ARN MORE

TV & VIDEO SOLUTIONS enCaption Live Automated Captioning Serve your hard of hearing audience and remain compliant with government regulations for a fraction of the cost of traditional captioning services. enCaption is the industry’s only proven and patented solution for providing live automated captioning for video.

enTranslate Real-time Caption Translation enTranslate is a patented solution for providing automatically translated captioning for video. enTranslate allows you to reach your entire audience, regardless of their preferred language, while saving time and money.

ClipFire Complete TV Channel-in-a-Box ClipFire is a complete automated playout system that brings automatic ingest, media asset management, graphics, and playout automation together into one platform. ClipFire seamlessly integrates with a wide range of systems in a source or a switcher role.

HotShot Instant Audio Playout HotShot is the professional ‘button box’ appliance for instant audio playout. With instant access to local and networked audio assets, automatically generated logs of everything that plays, and a virtually unlimited database, HotShot is ready for today’s control rooms, audio suites and broadcast trucks.

Actus Compliance Logging Actus is a modular recording and compliance solution for ensuring broadcasts meet regulatory requirements. Its intuitive HTML5-based user interface allows multiple simultaneous users to monitor, search, create and share clips quickly and easily.

ENCO.com/TV

sales@enco.com

248.827.4440

Crew Services STATE

CITY

NAME

WEBSITE

OREGON

Portland

Portland Film Company

www.facebook.com/PortlandFilmCompany 503-732-0515

Vendor Services Directory

Courtesy of

PENNSYLVANIA Clifton Heights

www.thecrewstore.com

484-688-1200

Wonderful Machine

www.wonderfulmachine.com

610-260-0200

Philadelphia

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

FastLights.com - Providence, RI

www.fastlights.com/ph

855-922-5600

SOUTH CAROLINA

Charleston

Go To Team

http://gototeam.com

843-884-6222

TENNESSEE

Chattanooga

6 STRONG MEDIA

www.6strongmedia.com

423-414-2313

Knoxville

6 STRONG MEDIA: Knoxville

www.6strongmedia.com

423-414-2313

Nashville

6 STRONG MEDIA: Nashville

www.6strongmedia.com

800-390-1621

Nashville

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Nashville

Beverly Boy Productions - Nashville, TN

www.beverlyboy.com/locations/tn/ nashville-video-production-company

615-246-0228

Austin

Beverly Boy Productions - Austin, TX

www.beverlyboy.com/locations/stx/austin512-215-4461 video-production-company

Austin

Vivian Studio

www.vivianatx.com

512-971-4416

Austin

Widespread Creative

www.widespreadcreative.com

512-481-2182

Dallas

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Dallas

Go To Team

http://gototeam.com

843-884-6222

Houston

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Houston

Beverly Boy Productions - Houston, TX

www.beverlyboy.com/locations/stx/ houston-video-production-company

713-429-4107

TEXAS

Salt Lake City

Fiftyfilms

www.fiftyfilms.com

801-368-7200

Salt Lake City

Redman Movies and Stories

www.redmanmovies.com

801-978-9292

VERMONT

Burlington

FastLights.com - Burlington, VT

www.fastlights.com/ph

855-922-5600

WASHINGTON

Seattle

Assignment Desk, Inc.

www.assignmentdesk.com

800-959-3375

Seattle

Go To Team

http://gototeam.com

843-884-6222

Seattle

LDM Worldwide Productions

www.ldmworldwide.com

206-463-1902

Spokane

Spokane Grip and Lighting

http://spokanegripandlighting.com

509-328-7200

Madison

Grassland Media, Inc.

www.grasslandmedia.com

608-238-7575

NAME

WEBSITE

PHONE

WISCONSIN

TheCrewStore

Conshohocken RHODE ISLAND Providence

UTAH

Generators STATE ARIZONA

ARKANSAS CALIFORNIA

180

PHONE

CITY Mesa

Sound Lighting F/X

www.soundlightingfx.com

602-722-0783

Phoenix

Reel Men

www.reelmen.com

602-286-6800

Phoenix

United Rentals - Phoenix

www.ur.com

833-462-3798

Tucson

H & E Equipment Services

www.he-equipment.com

520-770-1120

Mena

Laark Honeywagons

www.laarkhoneywagons.com

818-516-6474

North Little Rock Film Gear Rentals

www.filmgearrentals.com

501-920-3392

Burbank

AC Power Distribution, Inc.

www.acpowerdistribution.com

818-707-0884

Burbank

Skye Rentals

www.skyerentals.com

323-462-5934

Burbank

United Rentals - Burbank

www.ur.com

818-842-5288

Calabasas

Studio Air Conditioning Rentals

www.studioairconditioning.com

818-222-4143

Carson

Multiquip Inc.

www.multiquip.com

800-421-1244

Chatsworth

Cinerep International, Inc.

www.cinerepamps.com

818-882-2677

Compton

CAT Entertainment Services

http://es-cat.com

866-762-5228

Culver City

La Brea Air, Inc.

www.labrearentals.com

800-452-2732

Granada Hills

Light It Up - Gear & Truck Rental

www.LightitupLA.com

818-679-4321

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

2020 SVG yearbook Net Insightv2.indd 1

2019-10-21 10:29

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Generators STATE CALIFORNIA

WEBSITE http://us.aggreko.com

PHONE 833-777-9093

North Hollywood Star Power Generators

www.starpowergenerators.com

818-982-2200

Location Air

www.locationair.tv

855-444-4757

Placentia

Temp Power Systems

www.temppower.com

800-748-6997

Richmond

Top Productions

www.top-productions.com

415-332-3005

San Diego

Andrus Lighting and Grip

www.andruslighting.com/Andrus_Grip/ 619-521-0585 crew.html

San Fernando

Illumination Dynamics

www.illuminationdynamics.com

818-686-6400

San Francisco

Cresco Production Express

www.crescorent.com

925-961-0130

Sun Valley

DADCO, LLC

www.dadcopowerandlights.com

818-768-8886

Sylmar

Hollywood Rentals - Los Angeles

www.hollywoodrentals.com

818-303-9464

COLORADO

Littleton

Lighting Services Inc.

www.lsidenver.com

303-722-4747

FLORIDA

Clearwater

Command Corp.

http://cmnd.com

727-460-6177

Dania

EmPower Corporation

http://empowergenerators.net

954-922-3800

Fort Lauderdale

Garrett Sound & Lighting

www.garrettsound.com

954-777-3277

Fort Lauderdale

Production Power & Air

www.productionpowerandair.com

954-739-2468

Fort Lauderdale

Production Toolbox Services

http://productiontoolbox.com

954-463-4820

Miami

Americas Generators

http://gopower.com

800-434-0003

Miami

Megawattage

www.megawattage.com

305-299-0324

Orlando

CAT Entertainment Services

http://es-cat.com

407-855-6195

Orlando

First Call Location Coach Rentals

www.firstcallcoach.com

407-832-2606

Orlando

Hollywood Rentals - Orlando

www.hollywoodrentals.com

407-354-2555

Pinellas Park

First Unit Production Services

http://firstunit.com

727-522-2203

St. Augustine

CAT Entertainment Services

http://es-cat.com

866-762-5228

Atlanta

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

678-922-2490

Atlanta

Hertz Energy Services

www.hertzequip.com

404-351-5920

Atlanta

Universal Production Services

http://universalproductionservices.com

404-662-4035

Savannah

Ross SysCon

www.rosssyscon.com

912-238-5800

GEORGIA

Carol Stream

Visions of Light Chicago

www.visionsoflight.com

312-829-8244

Chicago

Universal Production Services

http://universalproductionservices.com

773-542-1002

INDIANA

Indianapolis

Hammer Lighting & Grip

www.hammergrip.tv

317-547-4747

IOWA

Alta

Gull Wing Industries, Inc.

www.gull-wing.com

800-838-1482

Oskaloosa

Musco Lighting

www.musco.com

800-825-6030

KANSAS

Overland Park

Prime Light, Inc.

www.paddock.com/primelight

913-226-0849

LOUISIANA

Baton Rouge

Digital FX, Inc.

www.digitalfx.tv

888-898-6010

New Orleans

Available Lighting Inc.

www.availablelighting.com

504-831-5214

New Orleans

Center Staging, Inc.

www.centerstaging.net

504-247-0020

New Orleans

Nola Film Logistics, LLC

www.nolafl.com

504-309-6612

Portland

FastLights.com - Portland, ME

www.fastlights.com/ph

855-922-5600

FastLights.com - Boston, MA

www.fastlights.com/ph

855-922-5600

New England Studios

ILLINOIS

MAINE

MASSACHUSETTS Boston Devens

www.nestudios.com

978-615-5500

West Bridgewater Equipment 4 Rent

www.equipment4rent.net

508-583-5500

Woburn

Kaye Lites, Inc.

www.kayelites.com

781-932-0005

MICHIGAN

Detroit

Great Lakes Michigan Crane

www.michigancrane.com

313-365-1800

MINNESOTA

Brooklyn Park

Broadway Rental Equipment Company

www.broadwayrental.com

763-533-1680

MISSOURI

Kansas City

Dean Machinery Co.

http://deancat.com

816-753-5300

St. Louis

CK Power Products

www.ckpower.com

314-868-8620

Reno

United Rentals - Reno

www.ur.com

775-348-0140

NEVADA

184

NAME Aggreko

Paramount Courtesy of

Vendor Services Directory

CITY Los Angeles

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

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Courtesy of

STATE NEW HAMPSHIRE NEW JERSEY NEW MEXICO

Vendor Services Directory

NEW YORK

NORTH CAROLINA OREGON PENNSYLVANIA RHODE ISLAND SOUTH CAROLINA TENNESSEE TEXAS

UTAH VERMONT VIRGINIA

COMPANY NAME

WEBSITE

PHONE

Concord

FastLights.com - New Hampshire

www.fastlights.com/ph

855-922-5600

Farmingdale Piscataway South Plainfield Albuquerque Santa Fe Albany Brooklyn Deer Park Hicksville Long Island City Long Island City Long Island City Long Island City New York New York Poughquag

Risco Inc. CAT Entertainment Services SBP Industries Universal Production Services Serious Grippage & Light Company FastLights.com - New York FastLights.com - Brooklyn, NY RANTECH, Inc. On Site Energy Available Light Candle Light and Grip Silvertrucks Lighting Universal Production Services ScheimpflÃ¼g Zircon Production Vehicles PartyTime Rentals

www.riscorv.com http://es-cat.com www.sbp4juice.com http://universalproductionservices.com www.seriousgrippage.com www.fastlights.com/ph www.FastLights.com/ph www.OneStopSurplus.com www.onsite-energy.com www.alny.net www.candlelightandgrip.com www.silvercupstudios.com http://universalproductionservices.com http://theflug.com www.ZirconProductionVehicles.com http://partytime-rentals.com

732-872-7722 908-272-8400 908-412-8630 505-273-5801 505-473-1566 855-922-5600 855-922-5600 516-477-2174 516-937-1500 718-707-9670 718-274-2061 718-906-2000 646-762-5881 212-244-8300 888-675-9995 845-226-2447

Denver

Cooke Rentals Inc.

http://cookerentals.com

704-483-2722

Portland Peterson Caterpillar Havertown Gaffer Baron Ltd. North Kingstown CAT Entertainment Services

www.petersoncat.com www.gafferbaron.com http://es-cat.com

503-288-6411 610-449-6550 401-845-2281

Charleston

High Output, Inc. - Charleston

www.highoutputcharleston.com

843-722-3600

Knoxville Nashville Nashville Dallas Houston Irving Rowlett Southlake Salt Lake City Burlington Hinesburg Falls Church Manassas Seattle

The Smoky Mountain Grip & Lighting Co. Nashville Lighting & Grip, Inc. Sunbelt Rentals Pump & Power Services CAT Entertainment Services Juice Goose / Whitenton Industries Panavision - Dallas Burrell Enterprises, Inc. Dallas Lighting & Grip Redman Movies and Stories FastLights.com - Burlington, VT NRG Systems, Inc. Carnage Brothers Grip & Electric Temp Power Pacific Grip & Lighting - Seattle

www.smokymtngrip.com www.nashvillegrip.com www.sunbeltrentals.com http://es-cat.com www.juicegoose.com www.panavision.com www.litepower.com www.dallaslightingandgrip.com www.redmanmovies.com www.fastlights.com/ph www.nrgsystems.com http://carnagebrothers.com www.temp-power.net www.pacific-grip.com

865-947-5483 615-678-2727 800-667-9328 214-638-1400 713-772-1404 972-929-8585 972-475-8111 972-845-4354 801-978-9292 855-922-5600 802-482-2255 703-824-8389 703-330-3663 206-622-8540

WASHINGTON

CITY

Mobile Production Units STATE ALABAMA ARIZONA

ARIZONA ARKANSAS

188

CITY Spanish Fort Mesa Phoenix Phoenix Phoenix Little Rock North Little Rock Rogers

NAME AVS Media Group RV Rental Outlet Cox Studios - Phoenix FLOODstream Skyline Productions, Inc. Hailstone Creek Productions

WEBSITE www.avsmediagroup.com www.rvrentaloutlet.com www.coxcreativestudios.com www.floodstream.com www.skylinevideo.com www.hailstonecreek.com

PHONE 251-621-1200 480-461-0023 623-328-4778 480-535-5002 480-345-8009 501-371-9515

Jones Mobile Television

www.jmtv.com

501-258-2001

Clark's Video Group, Inc.

www.clarksvideogroup.com

479-636-7111

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

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TR ANSMI T. RECEI V E . C ONNE C T.

Mobile Production Units

Vendor Services Directory

Courtesy of

STATE CALIFORNIA

CITY Burbank Burbank Burbank Burlingame Chatsworth Concord Diamond Bar Los Angeles Los Angeles Los Angeles Los Angeles Morgan Hill Rancho Santa Margarita Ripon San Diego San Francisco San Francisco Santa Monica Studio City Studio City Torrance

NAME Apache Rental Group Pacifico Television Engineering Touring Video, Inc. Bay Area Mobile Production Cinerep International, Inc. E-N-G Mobile Systems, Inc. 21 Lakes Media Group Broadcast Management Group Champion Site + Sound Pacific Satellite Inc. Sharp Eye Industries Global Link Productions, Inc.

WEBSITE www.apacherentalgroup.com www.pacificobroadcast.com www.touringvideo.com www.bamphd.com www.cinerepamps.com www.e-n-g.com www.21lakes.com www.broadcastmgmt.com https://champion.biz www.pacificsat.com http://sharpeyehd.com www.globalinktv.com

PHONE 818-842-9944 310-497-4226 818-504-3500 650-375-8855 818-882-2677 800-662-4522 951-515-1519 310-807-4635 323-850-4990 510-918-3909 866-964-7474 408-465-2787

090 Media

www.090.media

858-324-5500

www.mspslive.net www.sdtv.com www.crescorent.com www.pacificsat.com www.mobeon.com www.digitalmedia.tv www.streamingmedialive.com www.hollywoodrivierastudios.com

877-354-6777 619-293-7777 800-649-6629 510-918-3909 888-789-2463 818-974-4000 818-974-4000 310-237-5653

www.bigfootmobilecarts.com

707-602-5548

www.pssiglobal.com

310-575-4400

www.unisatmobile.com

562-483-4800

Denver Parker

MS Production Services Satellite Digital Teleproductions (SDTV) Cresco Production Express Pacific Satellite Inc. Mobeon Digital Media Group, Inc. Streaming Media Live Hollywood Riviera Studios Mobilized Tech Systems-Bigfoot Mobile Systems PSSI Global Services - Strategic Television UniSat - Universal Satellite Communications RMD Mobile HD Loclyz Media Services

www.rmdhd.com www.loclyz.com

720-259-2277 720-452-2361

Washington

Broadcast Management Group

www.broadcastmgmt.com

202-609-7757

Washington

Skehan Communications, LLC StreamByte TV Event Webcasting Washington, DC Mobile Studios, Inc.

www.skehan.com

202-833-3310

www.streambyte.tv

267-382-0285

www.mobilestudios.com

561-372-0604

Communications Concepts Inc.

http://cci321.com

321-783-5232

F & F Productions, LLC Oshkosh Specialty Vehicles

www.fandfhd.tv www.oshkoshsv.com

727-530-5000 727-573-0400

MSR Mobile Stage Rentals

www.mobilestagerentals.com

450-589-1063

Twilight Features Inc. Outdoor Movies

www.twilightfeatures.com

954-323-2562

Skystorm Productions Blue Dolphin Studios Christian Media Group MMC Video Corp. United Teleports Encanta Productions First Call Location Coach Rentals CP Communications The Zoo Studios FlyMotion Media Encompass Digital Media Inertia Films KEF Media Associates, Inc.

https://skystorm.com http://cinematusa.com/blue-dolphin-studios www.cmgshows.com www.mmcvideocorp.com www.unitedteleports.com http://encanta.com www.firstcallcoach.com http://cpcomms.com www.thezoostudios.net www.flymotionmedia.com www.encompass.tv www.inertiafilms.com www.kefmedia.com

407-328-4747 305-887-7726 786-286-4942 305-300-8976 305-671-3333 954-998-6713 407-832-2606 800-762-4254 727-350-5962 800-548-5844 678-421-6600 404-681-3900 404-605-0009

Vacaville Van Nuys Van Nuys COLORADO DISTRICT OF COLUMBIA

Washington

FLORIDA

GEORGIA

192

Boca Raton Cape Canaveral Clearwater Clearwater Fort Lauderdale Fort Lauderdale Lake Mary Miami Miami Miami Miami Miami Beach Orlando St. Petersburg St. Petersburg Tampa Atlanta Atlanta Atlanta

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

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Mobile Production Units

Vendor Services Directory

Courtesy of

STATE GEORGIA

196

CITY Atlanta Lawrenceville Hawi Honolulu Mililani Chicago Chicago Morton Tinley Park Hammond

COMPANY NAME Narrow Path Productions Inc. Lightninâ&#x20AC;&#x2122; Production Rentals, Inc. HAWAII Keith Nealy Productions John Guild Communications Ron Eggleton ILLINOIS Broadcast Management Group CVM Productions, Inc. ScheffTech Productions, LLC Digital Impact Video, LLC INDIANA Kentucky Trailer WIPB Productions / University Media Muncie Services Ball State University Noblesville LeSEA Productions South Bend LeSEA Productions LOUISIANA New Orleans Satellite Center New Orleans YES Productions West Monroe ShowCase Video MAINE Saco CSP Mobile Productions MARYLAND Phoenix Sheffield Audio Video Productions MASSACHUSETTS Boston PixMix Video Services Hudson D2 Productions Millville Deadly Spider Productions Inc. Remote Facilities Consulting Services Wakefield Inc. MICHIGAN Detroit CVM Productions, Inc. Wixom Detroit Public Television MINNESOTA Coon Rapids CTN Studios Minneapolis ARCTEK Satellite Productions MISSOURI St. Louis Spot Media Transfer MONTANA Helena Lyon Productions NEVADA Las Vegas CoverEDGE Las Vegas Las Vegas FLOODstream Las Vegas RentLEDsigns.com Las Vegas Vegas PBS Studios Stateline Shoot It Live, Inc. NEW Hudson Game Creek Video HAMPSHIRE Pelham Thistle Communications NEW JERSEY Hackensack Patchamp Ramsey Jim Houston Productions Inc. NEW JERSEY Whippany A3 Media LLC NEW YORK Baldwin Flypack New York, Inc. Buffalo Admiral Video - InMotion HD Flushing Interface Communications Flushing Multi Media Network News StreamByte TV Event Webcasting - New New City York City ASU Productions & American Satellite New York Uplink New York Broadcast Management Group New York Cinedeck New York D S Simon Media New York KoKo - Baz Video & Film New York Mediapro New York Metrovision Production Group New York Remote Digital Media, Inc.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

WEBSITE http://narrowpath.tv www.lightnin.net www.keithnealy.com www.john-guild.com www.xleggs.com www.broadcastmgmt.com www.cvmproductions.com www.schefftech.com www.digitalimpactvideo.com www.kytrailer.com

PHONE 770-715-3611 770-963-1234 808-882-7772 808-596-2211 360-790-1459 312-586-7366 574-256-0068 309-524-5865 708-606-2310 888-598-7245

www.wipb.org

765-285-1249

www.leseaproductions.com www.leseaproductions.com www.satctr.com www.yesproductions.org www.showcasevp.com www.cspmobile.com www.sheffieldav.com http://pixmix.net www.d2productions.com www.DeadlySpider.com

317-773-5050 574-231-5218 504-915-8244 800-736-8812 318-398-0748 207-282-9680 800-355-6613 617-254-0590 508-485-0300 401-447-5254

www.remotefacilities.com

781-246-8300

www.cvmproductions.com www.dptv.org/about/production-services www.ctnstudios.com www.arcteksat.com http://spotmpg.com/#deliver http://lyongroup.biz/content www.coveredge.com www.floodstream.com www.RentLEDsigns.com www.vegaspbs.org/production-services www.shootitlive.tv

574-256-0068 248-305-3900 763-767-6525 612-623-1986 314-667-5915 406-442-9014 800-822-6397 702-577-3300 888-653-6800 702-799-1010 808-371-3023

www.gamecreekvideo.com

603-882-5222

www.thistlecommunications.net www.patchamp.com www.jimhouston1.com http://a3mediallc.com www.FlypackNY.com www.PylonCam.com www.interfacetv.com www.multimedianetworknews.com

603-598-5100 201-457-1504 201-788-7096 800-881-0569 516-867-7300 716-651-9900 718-541-3413 718-809-7058

www.streambyte.tv

267-382-0285

www.americansatelliteuplink.com

845-352-0998

www.broadcastmgmt.com www.cinedeck.com http://dssimon.com www.kokobaz.com www.mediaprous.tv www.metrovision.tv www.remotedigitalmedia.com

212-784-6020 888-390-4460 212-736-2727 212-674-6601 305-357-6000 212-989-1515 646-536-7340

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

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Mobile Production Units

Vendor Services Directory

Courtesy of

STATE NEW YORK

NORTH CAROLINA

CITY New York New York Patchogue Saratoga Springs

COMPANY NAME Touchdown Productions Zircon Production Vehicles Luna Video, Inc.

WEBSITE www.touchdown-productions.com www.ZirconProductionVehicles.com http://vimeo.com/75588888

PHONE 917-746-6240 888-675-9995 631-767-8817

High Rock Mobile Television

www.highrockmobiletelevision.com

518-584-9181

Charlotte

Control 1 Communications

http://control1comm.com

205-706-9524

Charlotte

The Production Group LLC Dynamic Videocasting - Live Streaming for North Carolina 7 Cinematics

www.theproductiongroup.com

704-333-2595

www.DynamicVideocasting.com

800-930-0962

http://7cinematics.com

843-754-0516

Spevco Inc.

www.spevco.com

336-924-8100

CVM Productions, Inc. Lyon Video Mobile Production Services Allied Broadcast Group LeSEA Productions Winnercomm, Inc. J A Taylor & Associates Capital Area Communications, Inc. Triode Media Group LTD CCI Communications PMTV - Broadcast, Production, Streaming Worldwide StreamByte TV Event Webcasting Philadelphia Total Production Services NEP Viewpoint Production Services, Inc.

www.cvmproductions.com www.lyonvideo.com www.remoteriley.com www.alliedbroadcastgroup.com www.leseaproductions.com www.winnercomm.com www.broadcastassociates.com www.cacradio.com/hdtv-van-rentals www.triode.tv www.ccimobileproduction.com

574-256-0068 614-297-0001 614-864-7900 918-250-5353 918-254-4701 918-496-1900 610-754-6800 717-561-0800 717-413-2533 610-836-1355

www.PMTV.com

610-768-1770

www.streambyte.tv

267-382-0285

www.tpsweb.com www.nepinc.com www.viewpoint.tv

888-877-1178 855-735-4310 412-369-7171

Myrtle Beach Satellite Papa

www.satellitepapa.com

843-333-5963

Goodlettsville Hendersonville Hendersonville Nashville Nashville Argyle Austin Beaumont Dallas Dallas Houston Houston Logan Orem Park City Alexandria Herndon Seattle Milwaukee Waunakee

www.vopinc.com www.campdigital.net www.stokesvideo.com www.highendtv.com www.tndv.com www.jumbo.tv/home.html www.earlmillerproductions.com www.bouncemultimedia.com http://andrews-media.com www.tricamvideo.com www.acsi-us.com www.satctr.com www.cis-com.com www.djprod.biz www.gunnerlive.com www.astrocasters.com www.moonbouncemedia.com www.ldmworldwide.com www.linkupcom.com www.tokencreek.com

615-859-1521 615-826-0122 615-822-6500 615-346-9545 877-959-8638 914-696-2100 512-458-4343 409-860-5551 972-570-1118 817-909-4137 713-987-0336 504-915-8244 435-752-5367 801-396-9938 678-313-6001 703-531-8233 703-318-7500 206-463-1902 414-453-8785 608-849-4965

Durham Greensboro Winston Salem OHIO Cincinnati Columbus Columbus OKLAHOMA Broken Arrow Tulsa Tulsa PENNSYLVANIA Boyertown Harrisburg Lancaster Malvern Philadelphia Philadelphia Philadelphia Pittsburgh Pittsburgh

SOUTH CAROLINA TENNESSEE

TEXAS

UTAH

VIRGINIA WASHINGTON WISCONSIN

200

Video One Productions Inc. Camp Digital Stokes Production Services High End TV Tennessee Digital Video GoVision Earl Miller Productions Inc. Bounce Multimedia Texas TV Trucks Tricam Video Productions, Inc. Advanced Containment Systems Inc. Satellite Center Cis Com Digital Media Doug Johnson Productions Gunner Live LLC Astrocasters Event Productions Moon Bounce Media, Inc. LDM Worldwide Productions Link Up Communications, LLC Token Creek Mobile Television, Inc.

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

Sports & Entertainment

Our Mission is to Provide a Fantastic Fan Experience

Production From press conferences to large-scale production with complete sound, lighting, staging and video, our team of AV experts can help with any size event.

broadcast With video crews and on site producers, our teams can provide camera, lighting and audio packages tailored to you.

Integration Conference Technologies is the expert you can count on to design, integrate and support your next AV or IT system. www.conferencetech.com/sports-and-entertainment

(800) 743-6051

Reseller Specializing in Video Storage Solutions

PROVIDING

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

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

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

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

Satellite Trucks CITY Phoenix

NAME Crew West Inc.

WEBSITE www.crewwestinc.com

PHONE 888-444-2739

CALIFORNIA

Calabasas

Coastal Media Group

www.coastalmediagroup.com

818-880-9800

Concord

E-N-G Mobile Systems, Inc.

www.e-n-g.com

800-662-4522

Los Angeles

Champion Site + Sound

https://champion.biz

323-850-4990

Morgan Hill

Global Link Productions, Inc.

www.globalinktv.com

408-465-2787

Oakland

Central Coast Uplink

www.centralcoastuplink.com

831-325-5271

Santa Barbara CBTV LLC

www.cbtvhd.com

866-728-3375

Santa Barbara Rough House Productions LLC

www.roughhousehd.com

800-626-2490

Studio City

Streaming Media Live

www.streamingmedialive.com

818-974-4000

Sun Valley

Panarex Electronics

www.manta.com/c/mmldjts/panarex-electronic 818-768-5161

Van Nuys

UniSat - Universal Satellite Communications

www.unisatmobile.com

562-483-4800

COLORADO

Denver

ISPN

http://ispn.tv

303-562-6277

CONNECTICUT

Shelton

Vitec Videocom

www.vitecvideocom.com

203-929-1100

Vendor Services Directory

Courtesy of

STATE ARIZONA

Stamford

Newtec America, Inc.

www.newtec.be

203-323-0042

DISTRICT OF COLUMBIA

Washington

NPR Satellite Services

www.nprss.org

202-513-2626

FLORIDA

Clearwater

F & F Productions, LLC

www.fandfhd.tv

727-530-5000

Fort Lauderdale

Broadcast Beat Studios

www.broadcastbeatstudios.com

954-363-2908

Largo

Advanced Microwave Components

www.advancedmicrowave.com

727-571-1008

Miami

Overon America

www.overonamerica.com

305-357-5891

Miami

United Teleports

www.unitedteleports.com

305-671-3333

Orlando

Lowery Satellite Services Inc.

http://lowerysatellite.com

407-859-7940

Orlando

Telepoint Studios

www.Telepointstudios.com

407-859-7940

GEORGIA

Atlanta

Encompass Digital Media

www.encompass.tv

678-421-6834

ILLINOIS

Crystal Lake

Satellite Technology Systems

http://stslivetv.com

800-838-1472

Peoria

WTVP

www.wtvp.org

309-677-4747

INDIANA

IOWA

Indianapolis

Pistol Enterprises

www.pistolenterprises.com

317-714-1095

Noblesville

LeSEA Productions

www.leseaproductions.com

317-773-5050

South Bend

LeSEA Productions

www.leseaproductions.com

574-231-5218

Mason City

Efficient Antenna Systems, Inc.

www.easisat.com

888-327-4797

Waterloo

Baird Satellite Supporting Systems

www.bairdsatellitesupports.com

319-233-3561

KANSAS

Shawnee

Satellite Engineering Group

www.sateng.com

800-932-1555

KENTUCKY

Florence

Nickless Shirmer & Co Inc.

www.nsccom.com

800-543-1584

MARYLAND

Point of Rocks

LiveOnSite LLC

www.liveonsite.com

703-431-4332

Potomac

Asia Broadcast Satellite

www.absatellite.com

301-605-7629

Polatis, Inc.

www.polatis.com

844-765-2847

Hudson

D2 Productions

www.d2productions.com

508-485-0300

Wakefield

Remote Facilities Consulting Services Inc.

www.remotefacilities.com

781-246-8300

MASSACHUSETTS Bedford

MINNESOTA

MONTANA NEVADA

204

Minneapolis

ARCTEK Satellite Productions

www.arcteksat.com

612-623-1986

Minneapolis

RumJungle Media

www.rumjungle.com

952-472-5525

St. Paul

Ingwell Communications

www.ingwellcommunications.com

612-839-5154

Helena

Lyon Productions

http://lyongroup.biz/content

406-442-9014

Las Vegas

E-Planet Media

www.eplanetmedia.com

310-595-6244

Stateline

Shoot It Live, Inc.

www.shootitlive.tv

808-371-3023

NEW HAMPSHIRE

Pelham

Thistle Communications

www.thistlecommunications.net

603-598-5100

NEW JERSEY

Old Bridge

Fulton Production and Consulting

www.satellitedownlink.com

917-312-9894

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

Xcellis Workflow Storage High Performance, Massively Scalable Primary Storage Coupled with IMT’s Industry-leading Experts in Storage Technologies Quantum Xcellis: Introducing a powerful and scalable system that simplifies storage architecture and streamlines operations. Xcellis enhances workflows, boosts efficiency, improves productivity, and enables business insight.

KEY FEATURES & BENEFITS Efficient, converged architecture Flexible, continuous scalability Unified Access High-Performance Powered by Quantum StorNext

INTEGRATED MEDIA TECHNOLOGIES, INC. (IMT) Integrated Media Technologies, Inc. (IMT) is a consulting, design, and systems integration company that specializes in providing business consulting and TCO models for private, hybrid, and public cloud workflow solutions. Customers rely on IMT to deliver mission critical solutions and services focused on media technologies, storage, asset management, high-performance computing, networking, and 24/7 support. Integrated Media Technologies Inc. (IMT) is a Digital Media and Technology Company with offices in Los Angeles, Silicon Valley and Dallas. IMT serves the Media & Entertainment, Information Technology, Government/ Education, and Healthcare sectors with a broad range of solutions designed to drive new value and efficiencies from technology. IMT’s operations are segmented into three principal businesses: Consulting and Systems Integration Business, Interactive Video, and Localized Media Networks. For further information on Quantum Xcellis and IMT, visit: http://imtglobalinc.com/quantum/?svpage=products_workflow-storage_xcellis

Your studio at the event.

CBS Sports at PGA Championship 2018

The Wimbledon Channel with IBM ‘Daily Debate’

CBS Sports PGA sponsored by Microsoft Cloud

SmartPad Pro—A flyaway system with a small footprint

SmartCart SVX—rent per event or period lease SmartCart SVX is a mobile, cost-effective system designed specifically for live sports broadcasting and remote production. It features a custom designed ultra-bright full HD broadcast quality daylight touch display—meeting the demanding requirements for all weather outdoor sports. An on-site presentation, analysis, and interview hub ‘where the action is’—pitchside, trackside, or on the course. Seamless integration with client graphic systems. SmartPad Pro is a smaller rollabout self-contained and readily shippable system for use in more confined spaces and with the same rugged reliability as SmartCart SVX for sports OB use.

SmartCart Technologies professional products are highly versatile and specifically developed to meet the needs of Sports Broadcasters and OTT Channels

Studio hub for presentation analysis and stand-up interviews

Teams

Pitchside coaching hub

Stadiums

Entertainment hub and sponsorships

Premier League Productions Studio at the game

Satellite Trucks

Vendor Services Directory

Courtesy of

STATE NEW YORK

NORTH CAROLINA

OHIO

NAME Interface Communications

WEBSITE www.interfacetv.com

PHONE 718-541-3413

Hauppauge

Miteq

www.miteq.com

631-231-1700

New City

StreamByte TV Event Webcasting - New www.streambyte.tv York City

267-382-0285

New York

ASU Productions & American Satellite Uplink

www.americansatelliteuplink.com

917-861-0468

New York

D S Simon Media

http://dssimon.com

212-736-2727

New York

Metrovision Production Group

www.metrovision.tv

212-989-1515

Victor

GCS, Inc.

www.globalcoms.com

585-742-9100

West Babylon Village Video News

www.vvn.com

631-753-2500

Charlotte

Control 1 Communications

http://control1comm.com

205-706-9524

Charlotte

Nomadic Communications

www.nomadic-comm.com

866-519-7723

Wake Forest

ClaryComm

www.clarycomm.net

919-904-6097

New Middletown

Live Mobile Group

www.livemobilegroup.com

330-542-0900

Youngstown

First Call UPLinks

www.firstcalluplinks.com

1800-951-6707

PENNSYLVANIA Boyertown

SOUTH CAROLINA TENNESSEE TEXAS

CITY Flushing

J A Taylor & Associates

www.broadcastassociates.com

610-754-6800

Indiana

Quintech Electronics & Communications Inc.

www.quintechelectronics.com

800-839-3658

Malvern

Liberty Uplink, Inc.

www.libertyuplink.com

215-964-5222

Philadelphia

PMTV - Broadcast, Production, Streaming Worldwide

www.PMTV.com

610-768-1770

Philadelphia

StreamByte TV Event Webcasting Philadelphia

www.streambyte.tv

267-382-0285

www.satellitepapa.com

843-333-5963

Myrtle Beach Satellite Papa Nashville

Skyway Studios

https://skywaystudios.tv

615-650-6000

Nashville

StagePost

www.stagepost.com

615-248-1978

Dallas

Texas TV Trucks

http://andrews-media.com

972-570-1118

Denton

WSC HD Productions

http://wschdproductions.com

940-483-9200

Fort Worth

Applied Telecommunications Inc.

www.appliedtelecominc.com

817-763-5992

South Houston

World Teleport

www.worldteleport.org

212-825-0218

UTAH

Park City

Gunner Live LLC

www.gunnerlive.com

678-313-6001

VIRGINIA

Herndon

Moon Bounce Media, Inc.

www.moonbouncemedia.com

703-318-7500

Virginia Beach

Atlantic Satellite Corporation

www.atlanticsat.com

757-318-3500

Ridgefield

Wild Hare Satellite, Inc.

www.wildharesat.com

360-573-6850

The Media Center

www.themediacenter222.com

304-720-5445

WASHINGTON

WEST VIRGINIA Charleston

208

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

Gravity Media is a brand-new company with a 30-year pedigree, formed by the coming together of four broadcast and production houses you may already know: Gearhouse Broadcast, HyperActive Broadcast, Input Media and Chief Entertainment. Our 500 people serve clients across the sport, media, news and entertainment industries from bases in the UK, Australia, USA, France, Germany and Qatar. Weâ&#x20AC;&#x2122;re world leaders in providing complex live broadcast facilities and production services to content owners, creators and distributors. Contact us today to see how we can help with your next production. +1 818 955-9449

enquiries@gravitymedia.com

gravitymedia.com

Gearbase

Inside the Gear Numbers

Results of SVG’s 14th-annual study of mobile-production equipment

he 14th-annual SVG Mobile Sports Production Gearbase Survey provides an ongoing database of production-truck technology for the North American fleet of more than 250 mobile units. Of the 258 mobile units listed in the 2020 Gearbase, only one is an SD-only truck, while 29 are 1080p-capable (up from 23 last year), eight are 4K SDR-capable (up from six), and 48 are 4K HDR-capable (up from 42). The 2020 Gearbase Survey covers 36 participating companies and lists nearly a dozen mobile units that debuted over the past 12 months. On the following pages is a listing of the trucks and their specs (based on data collected from participating companies in October 2019). Here is a brief summary of the Gearbase Survey’s key findings on the North American truck market. • With 58 trucks, NEP still has by far the largest fleet in North America, followed by Game Creek Video with 29, Mobile TV Group with 26 (not including its Visitor Mobile Units), Dome Productions with 21, Live Media Group with 15 (after acquiring TNDV, Harb, and Coastal Media Group in July), and Gravity Media with 12. In sixth place is Lyon Video (11), followed by F&F Productions (nine), and All Mobile Video (eight). Turn to page 14 for the Total Trucks by Company graphic. • Sony and Grass Valley continue to dominate the camera complement aboard, with 140 trucks carrying Sony and 77 deploying Grass Valley. Eighteen use Ikegami, 12 have Hitachi, 11 have Panasonic, and one uses JVC. • The battle for lens market share also remains a two-horse race. Of the 227 trucks that identified lens brand, 121 carry exclusively Canon lenses (53%), 69 have only Fujinon (30%), and 35 have a mix of Canon and Fujinon lenses (15%). Two trucks (1%) also carry Agenieux lenses. • Among switchers, Grass Valley continues to dominate, with its units found at the center of 202 mobile units (79%). Ross Video has switchers on 20 trucks (8%), Sony is in 17 (7%), and Blackmagic Design units are in 10 (4%) trucks.

second, with consoles in 26 audio areas (10%), followed by Studer (22 trucks), Soundcraft by Harman (13), Avid/Euphonix (nine), DiGiCo (six), and Behringer (five). • The video-router sector remains diverse, judging by the 212 trucks that identified router brand. Evertz is atop the market in a total of 73 trucks (34%) with Grass Valley ranking second at 51 (24%). PESA is third with 31 (15%), followed by Imagine Communications (19), Utah Scientific (15), Ross Video (10), and Blackmagic Design (five). As more IP-based mobile units launch, Lawo and Arista IP routing/switching systems have an increased presence in the market, with five units in trucks. • In HD replay devices, EVS is once again the industry standard: 204 HD trucks were identified as relying on some form of EVS system as its primary replay device (although about two dozen trucks also carry some other form of replay device). Currently, nine trucks carry Ross Video Abekas Mira systems, seven trucks carry Grass Valley K2 Dyno replay systems, and five have NewTek 3Play; the majority of these trucks also have EVS replay systems. • ChyronHego is still the market leader in graphics. Its systems are in 147 trucks that identified a platform. Forty-four trucks carry Vizrt systems, and 27 deploy Ross Video graphics.

• Calrec Audio remains the number-one audio console on trucks, with 176 consoles in 65% of the North American fleet. Yamaha is

To view the full 2020 SVG Mobile Production Gearbase, visit sportsvideo.org/gearbase2020

PERCENTAGE OF HD TRUCKS BY VIDEO ROUTER BRAND

PERCENTAGE OF TRUCKS BY FORMAT: HD, 1080P, 4K, AND HDR

PERCENTAGE OF TRUCKS BY FORMAT: HD, 1080p, 4K, and HDR 3% 0.50%

11%

7% 34% 9%

19% 66%

15% 24%

HD (720p/1080i)

4K HDR-capable

HD (720p/1080i)

1080p-capable

WHAT IN MOBILE PRODUCTION 5KWHAT’S SDR-capable page 32

5K SDR-capable

4K HDR-capable SD

Evertz

1080p-capable

Imagine Communications

Data is only representative of trucks that indicated switcher brand

Blackmagic Design

Grass Valley

PESA

Utah Scientific Lawo/Arista

Ross Video Other

MOBILE SPORTS PRODUCTION YEARBOOK 2020

211

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

ADMIRAL VIDEO

NLT-36

36’

Both

Yamaha QL5

7 GV, 1 Sony HD POV

5 Canon, 4 Fujinon 5/4

ALL MOBILE VIDEO

Gearbase

COMPANY

Fiber

Studer Vista 8

16 Sony

16 Fujinon

53’ triple expando

Fiber

Studer Vista 8

24 Sony

24 Fujinon 16 Fujinon

Revolution

53’ double expando

Fiber

Studer Vista 9

16 Sony

Crossroads

53’ triple expando

Fiber

Studer Vista 8

16 Sony

16 Fujinon

Sterling

53’ triple expando

UHD/HD/HDR

Fiber

Studer Vista 8

16 Sony

16 Fujinon

NYLA

49’ straight

Fiber

Studer Vista 5 M3

10 Sony

10 Fujinon

Maverick

40’ expando

Fiber

Calrec Omega

10 Sony

10 Fujinon

Zurich

53’ double expando

UHD/HD/HDR

Fiber

Studer Vista X

16 Sony

16 Fujinon

Unit A - Matthew

53’ expando

Triax

Yamaha M7CL (128 in, 96 out)

6 Sony HXC100

5 Hard, 2 HH

Unit B - John

40’

Triax

Yamaha M7CL (48 in, 40 out)

6 Ikegami 388W

5 70X, 2 HH

36’ straight

HD/SD

Triax, SM Fiber for HD-SDI and Robo

CLARK MEDIA

Steel

53’ expando trailer

HD/1080p/4K/HDR

SMPTE Fiber

Calrec Artemis Light (56 fader, 196 chs.)

12 Sony HDC 4300 4K (wired for 16)

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

OB1-Kenobi

53’ Gerling expando

4K HDR

SMPTE Fiber

Yamaha, Dante Fiber Network, x 512 channels

Panasonic 12xAK-UC3000

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

CMG MOBILE PRODUCTIONS (ALLIANCE)

Integrity

50’ trailer

HD 720p, 1080i

Both

Yamaha PM5D digital faders

10 GV LDX 80 Premier

4 H/6 HH

HD1

53’ expando

SD/HD

Both

Calrec Omega

9 Ikegami, wired for 12

10 Canon

HD2

53’ expando

SD/HD/1080p

Both

Calrec Artemis

10 Ikegami, wired for 16

10 Canon

HD3

53’

SD/HD

Both

Calrec Omega

8 Ikegami, wired for 12

10 Canon

HD4 (with HD-B1)

53’ expando

SD/HD/1080p

Both

Calrec Artemis

11 Ikegami, wired for 16

12 Canon

CSP MOBILE PRODUCTIONS (ALLIANCE)

CCI COMMUNICATIONS

Yamaha CL5 (72 channel, 24 mix busses, 8 matrices, and 16 DCA’s, 40 analog in, 24 analog out, MADI, 5 Sony, wired for 8, 1 robo, 2 2 95X, 1 55X, 1 42X, 4 Fujinon ENG 2 Dante interfaces, 16 AES in/out) clock cameras 23X, 2 18X, 1 Canon WA SM fiber connectivity to booth rack for announce positions and PL’s

Mobile 2

DOME PRODUCTIONS

DNA STUDIOS

D2 PRODUCTIONS

212

53’ double expando

CORNERSTONE AV

BOUNCE MULTIMEDIA

Epic Titan

Genesis

24’

Fiber

Soundcraft GB8 (32/32)

5 Hitachi, 2 POV

Fujinon, Canon 3/2

Zeppelin

40’

Fiber

Soundcraft GB8 (32/32)

5 Hitachi, 2 POV

Fujinon, Canon 3/2

HDX1

53’ expando

Triax

Soundcraft Digital 48

Sony HXC100

66X

X32 Digital (40 inputs)

GV 6000 and 6200 Super Mo

55X

HD28

28’

Triax

FLY1

Flypack

Fiber

x32 Digital (40 inputs)

JVC GY HD

40X

REMI

Remote studio

HD/4K

Fiber

x32 Digital (40 inputs)

GV 6000

40X

HD20u

20’ box

Triax

x32 Digital (40 inputs)

GV 4000

45X

HD32

32’ box

Triax

Yamaha TCL3 (32 inputs)

GV 4000

55X

Pioneer 4K

53’ expando

HD/1080p/4K/HDR

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Fujinon

Trillium 4K

53’ expando

HD/1080p/4K/HDR

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Canon

Vista 4K

53’ expando

HD/1080p/4K/HDR

Fiber only

Calrec Apollo (144/1020)

10 Sony 4300

12 Fujinon

Journey HD

53’ expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Canon

Silver HD

53’ expando

HD/1080p

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 5500

12 Canon/Fujinon

Pacific HD

53’ expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Fujinon

Atlantic HD

53’ expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Fujinon

Thunder HD

53’ expando

Both

Calrec Sigma (64/320)

10 Sony 1500R

12 Canon

Showcase (2019)

40’ expando/studio

HD/1080P/4Kcapable/HDR

As requested

Yamaha or other

4 Panasonic AW-UE150 PTZ

4 Panasonic

Echo HD

53’ expando

Both

Calrec Sigma (64/320)

10 Sony 1500R

12 Canon

Sierra HD

53’ expando

Both

Calrec Sigma (64/320)

9 Sony 2400

10 Canon

Spirit HD

53’ expando

Both

Calrec Sigma (64/320)

10 Sony 1500

12 Canon

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Ross XPression/ChyronHego HyperX3

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

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

2 6-ch. GV K2 Dyno

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

Wired for 2

Kits vary

Sony MVS-8000X, 5M/E

4 8-ch. EVS

PESA

Wired for 2

Kits vary

Sony MVS-8000X, 5M/E

4 6-ch. EVS

PESA

Wired for 2

Kits vary

Sony MVS-7000X, 5M/E

4 8-ch. EVS

PESA

Wired for 1

Kits vary

Sony MVS-7000X, 5M/E

3 8-ch. EVS

PESA

Wired for 2

Kits vary

Sony XVS-7000, 5M/E

4 8-ch. EVS

Wired for 2

Kits vary

Sony MVS-8000G, 4ME

2 6-ch. EVS

PESA Evertz

Wired for 1

Kits vary

Sony MVS-6530, 3M/E

2 6-ch. EVS

Wired for 2

Kits vary

Sony XVS-8000, 5M/E

4 8-ch. EVS

ChyronHego Duet, Vizrt

Full complement

GV Kalypso, 4M/E

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

256x256

ChyronHego Duet

Full complement

GV Kalypso, 4M/E

1 6-ch. EVS

64x64

ChyronHego HyperX3, Ross XPression

HMD 26II headsets with Daltech Talkback Boxes, 8 shotgun mics, MD 46 stick mics, lavs, VP88 Stereo mic

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

2 EVS XT3 LSM

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

ChyronHego Mosaic or Ross XPression

Senn., Sony, Shure, more as requested

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

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

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

2ch Ross XPression, 12ch 4K Media Server, 6 x MAC Mini

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

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

ChyronHego HyperX3

GV Karrera K-Frame, 4M/E

3 EVS LSM 6-ch.

NVision HD (512x512/256x256)

ChyronHego HyperX3

Senn., EV, Sony

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

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

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

ChyronHego HyperX3

Senn., EV, Sony

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

ChyronHego HyperX3

Senn., EV, Sony

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

ChyronHego Mosaic

Senn., EV, Sony

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

Gearbase

GRAPHICS

Ross Ultrix 144 x144 w/ Multiveiw, 16x 2 position 8-ch Ross Mira, 20-ch Atomos Fiber I/O , 16-ch. per I/O embed,de-embed Shogun Studio 2000x2000 Audio RTR, w/ 64x64 Madi to Dante, 12x Ultritouch Control Pannels

Utah 400 HD (528x528 router/48x48 2 6-ch. EVS XT3, 1 8-ch. HD XT3 RO, 1 4-ch. embedded, 384x384 MADI, 64x64 AES, and EVS XT2 36x36 analog stereo audio) 2 6-ch. EVS XT2, 1 4-ch. EVS XT2, 1 4-ch. EVS XT2 RO

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

Utah 400 HD (528x528 router/48x48 2 6-ch. EVS XT3, 1 8-ch. HD XT3 RO, 1 4-ch. embedded, 576x576 MADI, 64x64 AES, and HD XT3 SpotBox 36x36 analog stereo)

Ross XPression

Senn., EV, Sony, Crown, Røde

Ross Carbonite 2M/E

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

Blackmagic (40x40)

ChyronHego HyperX3

Senn.,EV, Sony, Crown, Røde

Sony MVS-3000, 2M/E

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

Blackmagic (72x72)

Vizrt

Senn.

GV Kalypso, 4M/E

6-ch. EVS with Xfile3

Evertz (96x96 HD)

ChyronHego Duet, Ross XPression

Senn.

Ross Carbonite

8-ch. EVS XT3 with IP DR

40x40

Ross XPression

Senn.

Blackmagic ATEM 2M/E

4-ch.

16x32

Ross XPression

Senn.

Blackmagic ATEM 4K

4-ch.

20x20

Ross XPression

Senn.

Blackmagic ATEM 2M/E

6-ch. NewTek 3Play

16x16

Ross XPression/Duet

Senn.

Ross Carbonite

6-ch. NewTek 3Play; 2 GV K2 Dyno

40x40

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

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

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

Evertz (540x450/48x96)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

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

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

Evertz (576x540/48x96)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

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

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

Evertz (558x576/48x96) Evertz (288x232/128x128)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K- Frame, 4.5M/E

2 EVS XT4K, 2 XT3 MAX, 4-ch. XS-VIA SpotBox

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K- Frame, 4.5M/E

1 EVS XT4K, 3 XT3 MAX, 4-ch. XS-VIA SpoBox

Evertz (378x414/48x96) Evertz (288x288/128x128)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame, 4.5M/E

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

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame,4.5M/E

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

Evertz (288x288/128x128)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

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

Evertz (288x180/128x128)

As requested

Senn.

Ross/NewTek/FOR-A or other

As requested

As requested Evertz (288x180/128x128)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

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

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

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

Evertz (288x180/128x128)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

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

GV Trinix (222x160/160x128)

MOBILE SPORTS PRODUCTION YEARBOOK 2020

213

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GAME CREEK VIDEO

F&F PRODUCTIONS

ENCOMPASS

DOME PRODUCTIONS

Gearbase

COMPANY

218

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

Horizon HD

53’ expando

Triax

Calrec Alpha 100 (64/118)

10 Sony HSC 300

12 Canon

Majestic HD

53’ expando

Triax

Calrec Alpha 100 (72/108)

10 Sony HSC 300R

12 Canon

Tribute HD

53’ expando

Both

Calrec Omega (56/168)

9 Sony 2400

10 Canon

Hudson HD

53’ expando

Both

SSL C-100 (72/128)

9 Sony 1500

11 Canon

Spring

48’ trailer

Both

Calrec Brio (36/96)

7 Sony 1500

7 Canon

Kodiak HD

40’

Both

Calrec S2 (48)

7 Sony 1500

4 Fujinon/3 Canon As requested

Sidecar HD

16’ trailer

As requested

Mackie 1402 (10)

As requested

Beacon (Ku uplink)

30’ non-expando

Fiber

Yamaha MB02R96 (16)

5 Sony 1500

5 Canon

Unite HD

53’ double expando

As requested

TES45

34’ C- or Ku-band

Fiber

PreSonus StudioLive 24.4.2

4 Panasonic HDX-900

Fujinon HA18X7.6 Fujinon HA18X7.6

TES5

32’ Ku-band

SMPTE/TAC Fiber

Mackie 1604VLZ

Wired for 5 Panasonic HC-3800

GTX-7

53’ expando

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

8 Ikegami 79EC

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

GTX-9

53’ expando

Both

Calrec Sigma w/ Bluefin

9 Ikegami 79EC

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

GTX-10

53’ expando

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

10 Ikegami 79EC

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

GTX-11

53’ expando

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

12 Sony 1500

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

GTX-12

53’ expando

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

12 Sony 1500

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

GTX-14

53’ expando

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

12 Sony 1500

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

GTX-16

53’ double expando

HD/1080p

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

10 Sony 2400 and 2 Sony 2500

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

GTX-17

53’ double expando

HD/1080p

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2

12 Sony 2500

8 Fujinon 99x, 3 Fujinon 23x, 2 Fujinon18x

GTX-19 (2019)

53’ double expando

HD/1080p/4K/HDR

Fiber

Calrec Apollo w/ Bluefin2

14 4K Sony 4300L

8 Fujinon 4K 107x, 1 Fujinon 4K 22x, 5 Fujinon 4K 18x, 3 Fujinon 4K 14x4.5

Two 53’ expandos

HD/1080p/4K/HDR

Both

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

13 Sony HDC 4300 Multiformat

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

Apollo

53’ expando

HD/1080p

Both

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

10 Sony HDC 2500 Multiformat 2 Sony HDC 4300 SSMO

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

Bravo (2019)

53’ expando

HD/1080p/4K/HDR

Both

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

Up to 20 Sony HDC 5500 Multiformat

10 Canon Digi Super 111x 4 Canon 24x

Chesapeake

53’ expando

HD/1080p/4K/HDR

Both

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

13 Sony HDC 4300 Multiformat

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

Columbia (2019)

53’ expando

HD/1080p/4K/HDR

Both

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

Up to 20 Sony HDC 5500 Multiformat

10 Canon Digi Super 111x 4 Canon 24x

Discovery

44’ dual expando

HD/1080p

Both

Calrec Artemis Light Surround Sound (56 12-Layer Faders/240 Channels)

6 Sony HDC 1500 Multiformat

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

12 Sony HDC 1500 Multiformat

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

14 Sony HDC 4300 Multiformat

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

Dynasty

53’ expando

HD/1080p

Both

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

Encore

Three 53’ expandos

HD/1080p/4K/HDR

Both

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

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

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

GV Trinix (224x320/96x64)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

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

GV Trinix (224x320/96x64)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

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

Harris (64x64/128x128)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

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

GV Trinix (256x256/256x256)

As requested

A-T, Senn., EV, Sony

As requested

Evertz (86x95)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV Karrera, 2.5M/E

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

Evertz (84x120/32x32) Blackmagic 16x16

As requested

A-T, Senn., EV, Sony

FOR-A HVS-300HS

As requested

Leitch 16x16

As requested

Ross XPression

Senn. HMD25-1

Ross Crossover Solo

1 AJA Ki Pro Rec/Play; additional available

Blackmagic (40x40 SDI embedded audio only)

N/A

Senn. HMD25-1

Panasonic HS-410n

2 AJA Ki Pro Rec/Play; additional available

Blackmagic (40x40 SDI embedded audio only)

ChyronHego HyperX3

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

GV Kayenne Classic 96 Input/48 4 6-ch. EVS XT2+, 1 XFile3, 1 4-ch. SpotBox Output/4.5M/E, 8 GB Image Store, K2 Solo

PESA HD Cheetah (144x352), DRS Audio (128x128 Analog, AES & MADI, 256x256 Embedded)

ChyronHego HyperX3

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

GV Kayenne Classic 96 Input/48 Output/4.5M/E, 8 GB Image Store

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

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

ChyronHego HyperX3

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

GV Kayenne Classic 96 Input/48 Output/4.5M/E, 8 GB Image Store, K2 Solo

4 6-ch. EVS XT3, 1 XFile3, 1 4-ch. SpotBox

PESA HD Cheetah (192x416), DRS Audio (256x256 Analog & AES, 128x128 MADI, 256x256 Embedded)

ChyronHego HyperX3

Senn., EV, Sony

GV Kayenne Classic 96 Input/48 Output/4.5M/E, 32 GB Still Store, K2 Summit

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

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

ChyronHego HyperX3

Senn., EV, Sony

GV Kayenne Elite K-Frame 96 Input/48 Output/4.5M/E, 32 GB Still Store, K2 Summit

3 6-ch. EVS XT2+, 1 4-ch. EVS XT2+, 1 XFile3, 1 4-ch. Spotbox

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

ChyronHego HyperX3

Senn., EV, Sony

GV Kayenne Elite K-Frame 96 Input/48 GV NVision 288x576 HD, 128x128 Analog, 4 8-ch. EVS XT-VIA, 1 XFile3, 1 4-ch. SpotBox Output/6M/E, 32 GB Still Store, K2 Summit 64x64 AES, 2 16-ch. Evertz Embedders

ChyronHego HyperX3

Senn., EV, Sony

GV Kayenne Elite K-Frame 128 Input/64 Output/9M/E, 32 GB Still Store, K2 Summit

1 12-ch. EVS XT-VIA, 3 8-ch. EVS XT-VIA, 1 XFile3, 1 6-ch. Spotbox

Evertz EQX 288x576, 48x96 Analog, 192x144 AES, 2 16-ch. Evertz Embedders

ChyronHego HyperX3

Senn., Sony

GV Kayenne Elite K-Frame 128 Input/64 Output/9M/E, 32 GB Still Store, K2 Summit

4 12-ch. EVS 4K, 2 XFile3, 1 6-ch. SpotBox

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

Upon client request

Senn., Sony

GV Kayenne Elite K-Frame 128 Input/64 Output/9M/E, 64 GB Still Store, K2 Summit

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

Evertz Xlink (576x1152)

Vizrt/ChyronHego

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EXE SVDN 744 x 948 + 989

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

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

Evertz EQX HD Video (396x684)

GV Kayenne K-Frame X, 9M/E

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

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

GV Kayenne K-Frame, 9M/E

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

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

GV Kayenne K-Frame X, 9M/E

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

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

ChyronHego Mosaic

Senn., A-T, EV, Sony

ChyronHego Mosaic

Senn., Beyer, EV, Sony, Shure

GV Kayenne, 4.5M/E

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

Evertz EQX HD Video (288x288)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 4.5M/E

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

Evertz Multiformat Video Router (576x1152)

ChyronHego Mosaic

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

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

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

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Gearbase

GRAPHICS

219

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GAME CREEK VIDEO

Gearbase

COMPANY

224

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

Freedom

53’ expando

Both

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

10 Sony HDC 1500 Multiformat

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

Gemini

44’ dual expando

HD/1080p

Both

Calrec Omega Surround Sound (64 Faders/160 Channels)

6 Sony HDC 1500 Multiformat

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

14 Sony HDC 2500 Multiformat

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

Glory

53’ expando

HD/1080p/4K/HDR

Both

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

Gridiron

53’ expando

HD/1080p/4K/HDR

Both

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

Up to 20 Sony HDC 5500 Multiformat

10 Canon Digi Super 111x 4 Canon 24x

Justice

53’ expando

HD/1080p

Both

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

10 Sony HDC 2400 Multiformat

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

Larkspur

53’ expando

HD/1080p

Both

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

12 Sony HDC 2500-R Multiformat

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

Legends

53’ expando

Both

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

10 Sony HDC 1500-R Multiformat

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

Both

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

12 Sony HDC 1500-R Multiformat

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

12 Sony HDC 4300 Multiformat

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

Liberty

53’ expando

Madison

53’ expando with a 64’ x 24’ recommended working area

HD/1080p/4K/HDR

Both

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

Maverick

53’ expando

HD/1080p/4K/HDR

Both

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

12 Sony HDC 2500 Multiformat

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

NineFour

53’ expando

HD/1080p

Both

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

10 Sony HDC 2500 Multiformat

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

Nitro

53’ expando

HD/1080p/4K/HDR

Both

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

12 Sony HDC 2500 Multiformat

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

Northstar

53’ expando

Both

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

10 Sony HDC 1500-R Multiformat

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

Patriot

53’ expando

Both

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

12 Sony HDC 1500-R Multiformat

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

PeacockOne

Two 53’ expandos

HD/1080p/4K/HDR

Both

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

23 Sony HDC 4300 Multiformat

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

Pride

53’ expando

HD/1080p/4K/HDR

Both

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

10 Sony HDC 2500 Multiformat

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

RiverHawk

53’ expando

HD/1080p/4K/HDR

Both

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

12 Sony HDC 4300 Multiformat

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

Spirit

53’ expando

HD/1080p/4K/HDR

Both

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

12 Sony HDC 2500 Multiformat

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

Victory

53’ expando

HD/1080p

Both

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

12 Sony HDC 2500 Multiformat

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

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

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

Evertz EQX HD Video (288x288 + 288 XLink)

ChyronHego Mosaic

Senn., Beyer, EV, Sony, Shure

GV Kayenne, 3M/E

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

Evertz EQX HD Video (288x288)

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

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

GV Kayenne K-Frame X, 9M/E

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

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

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 3M/E

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

Evertz EQX HD Video (396x684)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 3M/E

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

Evertz EQX HD Video (396x684)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

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

288x576 Pesa HD Video

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 4.5M/E

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

384x720 Pesa HD Video

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX Capability

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame, 4.5M/E

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

Evertz EQX HD Video (396x684)

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 3M/E

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

Evertz EQX HD Video (396x684)

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX Capability

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 4.5 M/E

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

288x576 Pesa HD Video

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

4 EVS 6-ch. XT3, 1 EVS SpotBox

Evertz EQX HD Video (288x288 + 288 XLink)

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Two 576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX Capability

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX Capability

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 4M/E

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

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX Capability

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX Capability

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 4.5 M/E

6 EVS 6-ch. XT3, 1 EVS XS4

576x1152 Multiformat Video Router With 128x128 Embedded MUX/DEMUX Capability

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Gearbase

GRAPHICS

225

We are what you see

OPEN FOR BUSINESS ACROSS NORTH AMERICA Growing fleet of state-of-the-art 4K-UHD/HD multi format mobile units and flypacks. Turnkey solutions for your production needs.

• Extensive rentals department • Complete crew coordination services • Highest level of technical expertise

Email US: sales.us@mediapro.tv Email Canada: sales.ca@mediapro.tv Email Mexico: sales.mx@mediapro.tv

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We Are Invested In Our People In Our Equipment In YOUR Production

Lyon Video employees are some of the most experienced professionals in the industry. We strive to have the latest technology and quickest set-up across our fleet. This combination ensures your production will be successful and stress-free. Contact us today at www.lyonvideo.com/contacts and youâ&#x20AC;&#x2122;ll see that Lyon Video is fully invested in remote production.

GAME CREEK VIDEO GRAVITY MEDIA

Gearbase

COMPANY

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

Webby

53’ expando

HD/1080p

Both

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

12 Sony HDC 4300 Multiformat

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

Yogi

Two 53’ expando

HD/1080p/4K/HDR

Both

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

13 Sony HDC 4300 Multiformat

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

Columbus

53’ expando

4K UHD/HD

Fiber

Lawo

20 Sony HDC 4300

Fujinon

Maestro

40’ Gerling Super Stallion expando

Both

Calrec Omega (48/112)

6-12 Sony HSC 300

Canon

Prodigy

40’ Gerling Stallion

Both

Calrec Brio 36

6-8 Sony HSC 100

Canon

Polaris

32’ Gerling Super Nomad expando

Triax

Calrec Brio 36

6 Hitachi SK1200/1300

Canon

Pluto

32’ Gerling Super Nomad expando

Triax

Calrec Brio 36

6 Hitachi SK1200/1300

Canon

Opus

27’ Gerling Super Nomad

Both

Yamaha QL-5 (32/72)

6-8 Sony HSC 300

Canon

Ovation

27’ Gerling Super Nomad

Both

Yamaha QL-5 (32/72)

6-8 Sony HSC 300

Canon

Busker

24’ Mercedes Sprinter

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon

Solo

24’ Mercedes Sprinter

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon

Trouper

24’ Mercedes Sprinter

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon

Flypack A

16 camera flypack

HD/3G

Fiber

DiGiCo SD10

16 Hitachi SK1200

Canon

Flypack B

8 camera flypack

Fiber

Calrec Brio

8 Hitachi SK1200/1300

8 Sony HDC 1700L, 7 Sony Calrec Artemis Light w/ Bluefin2 and HDCU 2500L, 1 Sony HDC Hydra2 (40 Faders) 4300 4K, 1 Sony HDCU 4300L

Canon 2 Canon HD 95x8.6, 2 Canon HD 80x8.8, 2 Canon HD 14x4.3 ENG/ EFP Wide Angle, 3 Canon 24x7.5 ENG/EFP

High Rock 1

40’ dual expando

Fiber

HRS-TV1

40’ expando

Triax

Yamaha DM-2000 (24/96)

8 GV LDK Elite

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

HRS-TV2 4K

26’ straight

4K-capable

Fiber

Midas 3224 (24/36)

6 UC-3000 4K/HD Panasonic

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

IMS PRODUCTIONS (ALLIANCE)

HIGH-ROCK MOBILE

TRUCK NAME

HD-3

53’ expando

Both

Calrec Artemis (64/704)

11 Sony HDC 2400, 1 Sony HDC 4300, 9 Sony HDLA 1505

Canon 9 H/6 HH

HD-4

53’ expando

Triax

SSL C100 (56/224)

11 GVG LDK-8000, 7 Large Lens Expanders

Canon 7 H/4 HH

HD-5

53’ dual expando

Both

Calrec Apollo (144/1504)

15 Sony HDC 2400, 4 Sony HDC 4300, 12 Sony HDLA 1505

Canon 12 H/8 HH

HD-6

53’ expando plus a second control room and expando

SMPTE

Calrec Artemis (64/1472)

11 Sony HDC 3500, 1 Sony HDC 4300, 6 Sony HDLA 1505

Canon 6 H/4 HH

JAS DIGITAL

New Wave

30’

Fiber

Yamaha M7CL (32)

8 Sony

8 Fujinon

38’ straight

HD 720p/1080i

Triax

Behringer X32

5 GV Focus 75

4 Fujinon 20X, 1 72X

40’ expando

HD 720p/1080i

Triax

Calrec Artemis Light (40 faders)

6 GV LDX 80

3 Fujinon 77X1, 3 Fujinon 22X1

HDX-1 (Lucie)

45’ double expando

HD/1080p/4K/HDR

Both

Calrec Artemis

10 GV LDX-86

3 Canon 80x, 2 Canon 95x, 3 Canon 21x, 1 Canon Wide Angle

HDX-2 (Gracie)

42’ double expando

HD/1080p

Both

Calrec Artemis

8 GV LDX-86

5 Canon 72x, 3 Canon 21x, 1 Canon Wide Angle

HD-3 (Sadie)

40’ expando

HD/1080p

Both

Calrec Artemis

8 GV LDX-86

5 Canon 77x, 2 Canon 20x, 1 Fujinon Wide Angle

HD-4 (Sophie)

40’ expando

HD/1080p

Both

Calrec Artemis

8 GV LDX-80 Premiere

5 Canon 77x, 2 Canon 20x, 1 Fujinon Wide Angle

HDX-5 (Jackie)

40’ expando

HD/1080p

Both

Yamaha CL5

8 GV LDX-80 Premiere

2 Canon 60x, 1 Canon 65x, 2 Canon 75x, 2 Canon 20x, 1 Canon Wide Angle

HD-6 (Sallie)

40’ expando

HD/1080i/720p

Triax

Calrec Artemis

6 GV LDK-8000

3 Canon 77x, 3 Fujinon 20x, 1 Fujinon Wide Angle

HDX-9

40’ expando

Both

DiGiCo SD10B

8 GVG LDX 80

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

HDX-10

42’ expando

Both

DiGiCo SD5

8 GVG LDX 80

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

HD-11 (Exclamation)

53’ double expando

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

Fiber

Studer VISTA X 52 Faders, 344 Channels

10 Sony 4300

Canon and Fujinon per client specifications

HD-12 (Aspiration)

40’ expando

HD/1080i/720p/24p

Fiber

Soundcraft Vi3000 24 Faders, 96 Channels

Up to 12 Hitachi SK-1200

Canon and Fujinon per client specifications

HD-14 (Elevation)

40’ straight

HD/1080i/720p

Fiber

Soundcraft Vi3000 24 Faders, 96 Channels

Up to 10 Hitachi Z5000

Canon and Fujinon per client specifications

HRS MOBILE

LIVE MEDIA GROUP

LESEA

230

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 4.5M/E

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

Evertz EQX HD Video (396x684)

Vizrt/ChyronHego

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EXE SVDN 744x948 + 989

Ross XPression

Senn.

GV Kayenne K-Frame

4 EVS XT4

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

ChyronHego HyperX3

Senn., Sony, EV

GV Kalypso, 4M/E

2 EVS XT3

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

ChyronHego HyperX3

Senn., Sony, EV

Sony MVS-8000, 2.5M/E

2 EVS XT3

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

NDI capable

Senn., Sony, EV

Simply Live Vi-Box 16

Vi-Box

SAM Vega 400 72x108

NDI capable

Senn., Sony, EV

Simply Live Vi-Box 16

Vi-Box

SAM Vega 400 72x108

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

72/72 video

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

72/72 video

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

40x40 video

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

40x40 video

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

40x40 video

As requested

Senn.

Ross Vision

3 8-ch. EVS

Utah Scientific (288x288)

As requested

Senn.

Ross Carbonite

1 8-ch. EVS

Ross (144x144)

ChyronHego Mosiac

Senn., Sony, A-T

GV Kayenne K-Frame, 4.5M/E

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

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

ChyronHego Duet HyperX2

12 shotgun, 6 HH

GV Kalypso, 4M/E

1 XT3 EVS 12-ch.

HD/SD router (288x288)

Upon request

6 shotgun, 6 HH

Ross Carbonite Black Plus

1 XT3 6 ch. EVS

Ross Ultrix 64x64

ChyronHego Mosaic XL

Senn., Shure, Sony

GV K-Frame, 5M/E

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

Evertz EQX (384x396+384 X-Link), EMR (96x96 Analog, 92x96 AES, 16x16 MADI, 96x96 embedded)

ChyronHego Mosaic

Senn., Shure, Sony

GV Kalypso

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

Evertz EQX 288x288, NVision Audio 256x256

2 ChyronHego Mosaic XL

Senn., Shure, Sony

GV K-Frame, 9M/E

Evertz EQX (540x540+752 X-Link), EMR 2 12-ch. EVS XT3 LSM, 5 8-ch. EVS XT3 LSM, (96x96 Analog, 96x96 AES, 34x34 MADI, 1 6-ch. EVS SpotBox 160x160 embedded)

ChyronHego Mosaic

Senn., Shure, Sony

GV K-Frame, 7M/E

1 12-ch. EVS XT3 LSM, 3 6-ch. EVS XT3 LSM, 1 6-ch. EVS SpotBox

Evertz EQX (504x518+448 X-Link), EMR (96x96 Analog, 0x96 AES, 18x18 MADI, 142x160 embedded, 1024x1024 H2O)

ChyronHego HyperX2

Shure

Sony MFS-2000, 1.4M/E

EVS available on request

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

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

Lectrosonics, Senn.

GV Karrera, 2M/E

GV 6-ch. K2 Dyno

Miranda CR 6400 (64x64)

ChyronHego Mosaic, Vizrt Trio

Senn., Lectrosonics, Sony

GV Kayenne, 4M/E

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

NVision (138x249 with integrated AES audio)

ChyronHego Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

2 8-ch. EVSXT VIA, 1 XT ch. Max, 1 X-File3

GV NVision (288x576), EMB, MADI RTR

ChyronHego Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

2 8-ch. EVSXT VIA, 1 XT ch. Max, 1 X-File3

GV Node (144x288), EMB, MADI RTR

ChyronHego Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

2 6-ch. EVS XT3, 1 4-ch. XS, 1 X-File3

GV NVision (144x288), EMB, MADI RTR

ChyronHego Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

2 6-ch. EVS XT3, 1 4-ch. XS, 1 X-File3

GV NVision (144x288), EMB, MADI RTR

ChyronHego Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 2.5M/E

2 6-ch. EVS XT3, 1 4-ch. XS, 1 X-File3

GV NVision (144x288), EMB, MADI RTR

ChyronHego Duet HyperX3

Senn., Beyer, EV, Shure, Sony

GV Karrera 2.5M/E

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

GV NVision (144x212), 64X64 AES

ChyronHego Duet LEX

As requested

GV Karrera, 4M/E

2 6-ch. EVS XT3, 1 4-ch. XT2, 1 X-File3

Utah Scientific (216x324), MADI RTR, 32X32 ANA, 32X32 AES

ChyronHego Duet LEX

As requested

GV Kayenne, 4.5M/E

1 8-ch. EVS XT3, 1 6-ch. XT3, 1 X-File3

Utah Scientific (216x324), MADI RTR, 32X32 ANA, 32X32 AES

As requested Ross XPression/ ChryronHego Duet Hyper X3

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5 M/E

2 8-ch. EVS XT3, 1 X-File3,

Harris Platinum 160x224, PESA128x128 Analog, 64x64 AES, 16x16 MADI

As requested Ross XPression/ ChryronHego Duet Hyper X3

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 3M/E

As requested

Imagine Platinum 128x144, Imagine Panacea 32x32 Analog

As requested Ross XPression/ ChryronHego Duet Hyper X3

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 3M/E

As requested

Imagine Platinum 88x96, Imagine Integrator 16x16 Stereo Analog

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Gearbase

GRAPHICS

231

When Reliability Matters.

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METROVISION

MEDIAPRO

LYON VIDEO

Gearbase

COMPANY

236

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

HD-15 (Inspiration)

40’ straight

HD/1080i/720p

Fiber

Soundcraft Vi3000 24 Faders, 96 Channels

Up to 10 Hitachi Z5000

Canon and Fujinon per client specifications

HDX-20

40’ expando

Both

Yamaha PM 5D

6 GVG LDK 8000 Elite

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

HDX-21 (Emma) (2020)

48’ double expando

HD/1080p/4K/HDR

Both

Calrec Artemis

12 GV LDX-86

2 Canon 100x, 4 Canon 88x, 5 Canon 22x, 1 Canon Wide Angle

HDX-22 (Ella) (2020)

48’ double expando

HD/1080p/4K/HDR

Both

Calrec Artemis

12 GV LDX-86

2 Canon 100x, 4 Canon 88x, 5 Canon 22x, 1 Canon Wide Angle

Lyon 3

43’ expando

HD/1080p/HDR

Both

Calrec Artemis (56/240)

7 GV

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

Lyon 4

43’ expando

Both

Calrec Artemis (56/240)

6 GV

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

Lyon 6

53’ expando

Both

Lyon 7

53’ expando

Both

Calrec Sigma (64/320)

10 GV, 1 GV Extreme SSMO

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

Lyon 8

53’ expando

Both

Calrec Sigma (64/320)

11 GV, 1 GV Extreme SSMO

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

Lyon 9

50’ expando

Both

Calrec Omega (56/160)

9 GV

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

Lyon 10

53’ expando

Both

Calrec Artemis (56/240)

10 GV, 1 GV Extreme SSMO

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

Lyon 11

53’ expando

HD/1080p/4K/HDR

Both

Calrec Apollo (144/1,020)

12GV

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

Lyon 12

53’ expando

HD/1080p/HDR

Both

Calrec Artemis (64/340)

11 GV, 1 GV Extreme SSMO

1 Fujinon 101X,3 Fujinon99X, 2 Fujinon 88X, 1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X

Lyon 14

53’ expando

HD/1080p/4K/HDR

Both

Calrec Apollo (144/1,020)

11 GV

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

Lyon 15

53’ expando

HD/1080p/4K/HDR

Both

Calrec Apollo (96/1,020)

10 GV, 1 GV Extreme SSMO

1 Fujinon 107X, 2 Fujinon 99X, 2 Fujinon 88X, 2 Fujinon 72x, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 13X

Odyssey

40’ expando

HD/1080p/4K

Fiber

Calrec Artemis (40/196)

10 Sony HDC-4300

5 Canon 90x/3 Canon 25x/2 Canon WA

Alto

53’ expando

HD/1080p

Fiber

Calrec Alpha (76/108)

10 Sony HDC-2500

5 Canon 90x/3 Canon 25x/2 Canon WA

Cirrus

36’ expando

Fiber

Calrec Brio (36/96)

8 Sony HDC-2500

4 Canon 90x/3 Canon 25x/1 Canon WA

Stratus

34’ straight

Fiber

Yamaha MC7L (48/56)

8 Sony HDC-2500

1 Canon 100x/2 Canon 86x/3 Canon 22x/2 Canon WA

Atlas

34’ straight

Fiber

Lawo MC2-36 (36/192)

8 Sony HDC-1500

3 Fujinon 72x/4 Fujinon 22x/1 Fujinon WA

Eclipse

22’ Sprinter

Fiber

Yamaha GL1 (24/24)

6 Sony HDC-1500

2 Fujinon 70x/4 Fujinon 22x

HD1

40’ expando

Fiber (Triax w/ adapter)

Studer Vista 5 (32 AES, 32 analog)

6 Sony HDC-1500

3/3 +

HD2

40’ expando

Fiber (Triax w/ adapter)

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

6 Sony HDC-1500

3/3 +

HD5

40’ expando

Fiber (Triax w/ adapter)

Calrec Omega (32 AES, 64 analog)

7 Sony HDC-1500

4/4 +

12 HDX

53’ expando

Triax

Euphonix

GV LDK 8000 Elite

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

18 HDX

53’ expando

Triax/Fiber for Booth

Euphonix

GV LDK 8000 Elite, Panasonic AG-HPX370

6 Canon 72X9.3, 1 Canon 18X7.8 ENG, 1 Fujinon XA 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG

22 HDX

48’ expando

Triax/Fiber for Booth

Euphonix

GV LDK 8000 Elite, Panasonic AG-HPX370

6 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 12X4.3 wide-angle ENG

23 HDX

48’ expando

Triax and SSMO Fiber

Euphonix

GV LDX 80, GV 6X SSMO

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

24 HDX

48’ expando

Triax/Fiber for Booth

Euphonix

GV LDK 8000 Elite, Sony EX3 HD XD

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

25 HDX

53’ expando

Triax and SSMO Fiber

Euphonix

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Calrec Alpha (72/480), Calrec Omega 14 GV, 2 GV Extreme SSMO (56/160)

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

GV LDX 80, GV 6X SSMO, GV 7 Canon 72X9.3, 3 Canon 17X7.6 ENG, LDK 8000 Elite, Panasonic 1 Canon 10X4.5 wide-angle ENG AG-HPX370 All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

As requested Ross XPression/ ChryronHego Duet Hyper X3

Senn., Beyer, EV, Shure, Sony

GV Korona K-Frame 3M/E

As requested

Harris Platinum 96x96

ChyronHego Duet HyperX3

As requested

GV Kalypso, 4M/E

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

GV Concerto (96x64), 64x64

As requested

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

1 12-ch. EVS XT VIA, 2 8-ch. EVS XT VIA, 1 X-File3

GV NVision 8500 144x288(IP/3G) GV NVision 8500 144x288(IP/3G)

As requested

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 4.5M/E

1 12-ch. EVS XT VIA, 2 8-ch. EVS XT VIA, 1 X-File3

Client supplied

Senn., A-T

GV Kayenne K-Frame, 5M/E

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

Evertz (280x442/1312x1696)

Client supplied

Senn., A-T

GV Kalypso, 3M/E

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

Evertz (280x442/1312x1696)

Vizrt, ChyronHego HyperX3

Senn., A-T

GV Kayenne K-Frame, 7M/E

5 12-ch. EVS

Evertz (268x812/704x800)

Vizrt, ChyronHego HyperX3

Senn., A-T

GV Kayenne, 4.5M/E

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

GV (128x128/512x512)

Vizrt, ChyronHego HyperX3

Senn., A-T

GV Kayenne, 4.5M/E

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

PESA (256x496/512x512)

Vizrt, ChyronHego HyperX3

Senn., A-T

GV Kalypso, 4M/E

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

GV (256x448/256x256)

Vizrt, ChyronHego HyperX3

Senn., A-T

GV Kayenne, 4.5M/E

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

GV (256x448/256x256)

ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 5M/E

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

Evertz (492x746/2016x2016)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 5M/E

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

Evertz (280x802/1344x1504)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 5M/E

4 12-ch. EVS

Evertz (460x902/2720x3328)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 7M/E

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

GV (396x770/992x1184)

ChyronHero HyperX3, Ross XPression

8 Senn./6 EV/6 Sony

GV Kayenne 4.5M/E

2 EVS XT4 12 ch./1 EVS VIA spotbox

Imagine 512x432/256x256 AES/16x16 fiber

ChyronHero HyperX3, Ross XPression

8 Senn./6 EV/6 Sony

Sony MV-8000X 4M/E

2 EVS XT3 8 ch./1 EVS XS spotbox

Imagine 256x256/256x256 AES

ChyronHero HyperX3, Ross XPression

8 Senn./6 EV/6 Sony

Sony MVS-8000X 3M/E

2 EVS XT3 8 ch.

Imagine 256x256/256x256 AES

Ross XPression

8 Senn./6 EV/6 Sony

Ross Extreme 2M/E

1 EVS XT3 12 ch.

Talia 32x48/64x64 AES

Ross XPression

8 Senn./6 EV/6 Sony

GV Kayak 2.5M/E

2 EVS XT3 6 ch.

Sony 128x128/128x128 AES

Ross XPression

8 Senn./6 EV/6 Sony

Ross Carbonite

2 EVS XT2 6 ch.

Sirius 64x64

ChyronHego Duet HyperX3

8 shotgun, 4 lav, 5 HH

GV Kalypso, 4M/E

2 EVS XT2, w/ XFile3

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

ChyronHego Duet HyperX3

8 shotgun, 4 lav, 5 HH

GV Kalypso, 4M/E

2 EVS XT2, w/ XFile3

Leitch Platinum (256x256/112x96 HDSD/8x8 analog)

ChyronHego Duet HyperX3

9 shotgun, 6 lav, 5 HH

GV Kayenne, 2.5 M/E

2 EVS XT2, w/ XFile3

Evertz Xenon (128x128)

ChyronHego HyperX3

A-T, Senn., Sony, EV

GV Kalypso

EVS: XT2, XT3, XT4K, or VIA

PESA Cheetah video, Euphonix audio

ChyronHego HyperX3

A-T, Senn, Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, EV

GV Kalypso

EVS: XT2, XT3, XT4K, or VIA

Harris Platinum video, Euphonix audio

Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, ChyronHego HyperX

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

PESA video, Euphonix audio

Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

PESA video, Euphonix audio

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Gearbase

GRAPHICS

237

MOBILE TV GROUP

Gearbase

COMPANY

242

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

26 HDX

53’ expando dual-feed

Triax and SSMO Fiber

Euphonix

28 HDX

53’ expando dual-feed

Triax and SSMO Fiber

Euphonix

GV LDX 80, GV 6X SSMO, Panasonic AG-HPX370

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

29 HDX

53’ expando dual-feed

Triax and SSMO Fiber

Calrec

GV LDX 80, GV 6X SSMO, Panasonic AG-HPX370

8 Canon 72X9.3, 4 Canon 17X7.6 ENG

30 HDX

53’ expando dual-feed

Triax and SSMO Fiber

Calrec

GV LDX 80, GV 6X SSMO, Panasonic AG-HPX370

8 Canon 72X9.3, 1 Canon YJ18x9B, 3 Canon 17X7.6 ENG, 1 Canon 10x4.5 wide angle

31 HDX

53’ expando dual-feed

Triax and SSMO Fiber

Calrec

GV LDX 80, GV 6X SSMO

9 Canon 72X9.3, 4 Canon 17X7.6 ENG

32 HDX

53’ expando dual-feed

Triax and SSMO Fiber

Euphonix

GV LDX 80, GV 6X SSMO

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

33 HDX

A 53’ expando, B 53’

Triax and SSMO Fiber

Calrec

GV LDX 80, GV 6X SSMO

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

33 VMU

53’

Triax and SSMO Fiber

Studer

Access to GV LDX 80, GV 6X SSMO, Panasonic AG-HPX370

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

34 HDX

A 53’ expando, B 53’

Triax and SSMO Fiber

Calrec

GV LDX 80, GV 6X SSMO

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

34 VMU

53’

Triax and SSMO Fiber

Studer

Access to GV LDX 80, GV 6X SSMO

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

35 HDX

A 53’ expando, B 53’

Triax and SSMO Fiber

Calrec

GV LDX 80, GV LDX SSMO

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

35 VMU

53’

Triax and SSMO Fiber

Studer

Access to GV LDX 80, GV LDX SSMO, Panasonic AG-HPX370

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

36 HDX

A 53’ expando, B 53’

Triax and SSMO Fiber

Calrec

8 Canon 76X9, 1 Canon 72X9.3, 1 GV LDX 80, GV 6X SSMO, GV Canon 17eX7.7B, 3 Canon 17X7.6 ENG, LDK 8000 Elite 1 Canon 10X4.5 wide-angle ENG

36 VMU

53’

Triax and SSMO Fiber

Studer

Access to GV LDX 80, GV Access to 8 Canon 76X9, 1 Canon 6X SSMO, GV LDK 8000 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon Elite, Panasonic AG-HPX370 10X4.5 wide-angle ENG Fiber

37 HDX

A 53’ expando, B 53’

Triax and SSMO Fiber

Calrec

8 Canon 76X9, 1 Canon 72X9.3, 1 GV LDX 80, GV 6X SSMO, GV Fujinon 18X5.5 ENG, 3 Canon 17X7.6 LDK 8000 Elite ENG, 2 Canon HJ 15X8

37 VMU

53’

Triax and SSMO Fiber

Studer

Access to 8 Canon 76X9, 1 Canon Access to GV LDX 80, GV 6X 72X9.3, 1 Fujinon 18X5.5 ENG, 3 SSMO, GV LDK 8000 Elite Canon 17X7.6 ENG, 1 Canon 17eX7.7B, Canon HJ 15X8

38 FLEX

A 53’ expando, B 53’

HD/4K/HDR

Triax and SSMO Fiber

Calrec

1 Canon 95X8.6, 4 Canon 76X9, 4 GV LDX 80, GV 6X SSMO, GV Canon 72X9.3, 1 Fujinon XA 20sX8.5, LDK 8000 Elite 2 Fujinon 18X5.5 ENG, 2 Canon 17X7.6 ENG

38 VMU

53’

Triax and SSMO Fiber

Studer

Access to 1 Canon 95X8.6, 4 Canon Access to GV LDX 80, GV 6X 76X9, 4 Canon 72X9.3, 1 Fujinon XA SSMO, GV LDK 8000 Elite 20sX8.5, 2 Fujinon 18X5.5 ENG, 3 Canon 17X7.6 ENG

39 FLEX

53’ double expando

HD/4K/HDR

Fiber and SSMO Fiber

Calrec

Sony HDC-4300

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

40 HDX

A 53’ double expando, B 53’

Triax and SSMO Fiber

Calrec

GV LDX 80, GV 6X SSMO, GV Focus 75 Live

2 Fujinon XA 99X8.4, 7 Fujinon XA 77X9.5, 1 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5, 2 Fujinon ZA 17X7.6

40 VMU

53’

Triax and SSMO Fiber

Studer

Access to GV LDX 80, GV 6X SSMO, GV Focus 75 Live

Access to 2 Fujinon XA 99X8.4, 7 Fujinon XA 77X9.5, 2 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5, 2 Fujinon ZA 17X7.6

41 HDX

53’ double expando

Triax and SSMO Fiber

Calrec

GV LDX 82, GV 6X SSMO

3 Canon XJ 95X8.6, 4 Canon XJ 80X8.8, 1 Canon XJ 76X9, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon UA 13X4.5 ENG

MOBILE SPORTS PRODUCTION YEARBOOK 2020

CAMERAS

LENSES (H/HH)

9 Canon 72X9.3, 1 Canon 18X7.8 ENG, GV LDX 80, GV 6X SSMO, GV 2 Canon 17X7.6 ENG, 1 Canon 11X4.7 LDK 8000 Elite wide-angle ENG

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

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

2 Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, EV

GV Kayenne

EVS XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, 2 ChyronHego HyperX3

A-T, Senn., Sony, Røde

GV Kayenne

EVS XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, Røde, EV

GV Kayenne

EVS XT2, XT3, XT4K, or VIA

GV Trinix video, Calrec audio

2 Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, EV

GV Kayenne

EVS XT2, XT3, XT4K, or VIA

GV Trinix video, Calrec audio

2 Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, Crown

GV Kayenne

EVS XT2, XT3, XT4K, or VIA

GV Trinix video, Calrec audio

2 Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, Crown

GV Kayenne

EVS XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, ChyronHego HyperX3

A-T, Senn., Sony

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Access to Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Access to Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Access to Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Access to Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Access to Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

GV NVision video, NVision audio

Vizrt, ChyronHego HyperX3

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Access to GV NVision video, NVision audio

ChyronHego Mosiac Duo

Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Access to Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Gearbase

GRAPHICS

243

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

US Broadcast Hire +1 407-242-3332 Broadcast Sales +44 (0)1923 650 080 Systems Integration +44 (0)1733 214 888 esbroadcast.com

History making television since 1981

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

@aerial_video_systems

818.954.8842

CONNECTING YOUR GAMING EVENT TO THE NEXT LEVEL. We provide broadcast support for a wide range of eSports events ranging from massive mull-day arena shows to small single day events. We would love to put that experience to work for you. Letâ&#x20AC;&#x2122;s chat about your upcoming show!

503-855-8585

esports@meyerproinc.com

NEP GROUP

MPS ALLIANCE)

MOBILE TV GROUP

Gearbase

COMPANY

248

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

42 FLEX

53’ double expando

HD/4K/HDR

Triax or Fiber/SSMO Fiber

Calrec

2 Fujinon XA 99X8.4, 5 Fujinon XA GV LDX 82, GV 6X SSMO, GV 77X9.5, 2 Fujinon ZA 22X7.6 ENG, 2 LDK 8000 Elite Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG

42 VMU

53’

HD/4K/HDR

Triax or Fiber/SSMO Fiber

Studer

Access to 2 Fujinon XA 99X8.4, 7 Access to GV LDX 82, GV 6X Fujinon XA 77X9.5, 1 Canon 72X9.3, 2 SSMO, GV LDK 8000 Elite Fujinon ZA 22X7.6 ENG, 3 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG

43 FLEX

53’ double expando

HD/4K/HDR

Triax or Fiber/SSMO Fiber

Calrec

2 Canon XJ 95X8.6, 6 Canon 76X9, GV LDX 82, GV 6X SSMO, GV 2 Fujinon XA 20sX8.5, 2 Fujinon HA LDK 8000 Elite 18X5.5 ENG, 2 Fujinon ZA 17X7.6

43 VMU

53’

HD/4K/HDR

Triax or Fiber/SSMO Fiber

Studer

Access to 2 Canon XJ 95X8.6, 7 Access to GV LDX 82, GV 6X Canon 76X9, 1 Canon 72X9.3, 3 SSMO, GV LDK 8000 Elite Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

44 FLEX

53’ double expando

HD/4K/HDR

Triax or Fiber/SSMO Fiber

Calrec

1 Fujinon UA 107X8.4 UHD, 1 Fujinon GV LDX 82, GV 6X SSMO, GV XA 99X8.4, 6 Fujinon XA 77X9.5, 1 LDK 8000 Elite Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG, 3 Fujinon ZA 17X7.6

Studer

Access to 1 Fujinon UA 107X8.4 UHD, 1 Fujinon XA 99X8.4, 7 Fujinon Access to GV LDX 82, GV 6X XA 77X9.5, 2 Fujinon XA 20sX8.5, 2 SSMO, GV LDK 8000 Elite Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

CAMERAS

LENSES (H/HH)

44 VMU

53’

HD/4K/HDR

Triax or Fiber/SSMO Fiber

45 FLEX

53’ double expando

HD/4K/HDR

Triax or Fiber/SSMO Fiber

Calrec

GV LDX82, GV 6X SSMO, GV LDK 8000 Elite

45 VMU

53’

HD/4K/HDR

Triax or Fiber/SSMO Fiber

Studer

Access to 2 Fujinon XA 99X8.4, 6 Access to GV LDX 82, GV 6X Fujinon XA 77X9.5, 1 Canon 72X9.3, SSMO, GV LDK 8000 Elite 2 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

46 FLEX

53’ double expando

HD/4K/HDR

Fiber/Triax for Booth

Calrec

Sony HDC-5500, Sony HDC3500, GV LDK 8000 Elite

1 Canon UJ111X8.3B, 7 Canon XJ95X8.6B, 1 Canon KJ22eX7.6B, 1 Fujinon XA20sX8.5, 2 Canon CJ14EX4.3B wide-angle ENG Access to 1 Canon UJ111X8.3B, 7 Canon XJ95X8.6B, 1 Canon 76X9, 1 Canon KJ22eX7.6B, 2 Fujinon XA20sX8.5, 2 Canon CJ14EX4.3B wide-angle ENG

2 Fujinon XA 99X8.4, 5 Fujinon XA 77X9.5, 1 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

46 B Unit

53’

HD/4K/HDR

Fiber/Triax for Booth

Calrec

Access to Sony HDC-5500, Sony HDC-3500, GV LDK 8000 Elite

MU-6 HIAWATHA

53’ straight

HD 1080i

Triax

Calrec Omega

12 GV LDK-8000

AngenieuX 6/4

MU-8 GRIZZ

45’ straight

HD 1080i

Triax

Calrec Omega

7 GV LDK-3000+

Fujinon 3/4

Atlantic

40’ expando

Fiber

Calrec Artemis Beam

10 Sony 1500

Canon

California

53’ expando

HD/1080p/4K/HDR

Fiber

Calrec Apollo

Sony 4300

As requested

Chromium

53’

Both

Calrec Apollo

12 Sony 1500

Fujinon

EN1

53’ expando twin w/ third unit

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin

16 Sony 2500/4300

15 Canon

EN2

53’ A and B unit

HD/1080p/4K/HDR

Both

Calrec Apollo

16 Sony 2500/4300

Fujinon

EN3

53’ A and B unit

IP2110/HD/1080P/4K/ HDR

Both

Calrec Apollo

10 Sony HDC 250, 2 Sony HDC 4300

8 Canon 95x8.6 Hard Lens, 4 Canon 22:1 Hand Held Lens, 2 Canon 4.3x Wide-Angle Lens Fujinon

Gold

53’ expando

Fiber

Studer Vista 9

10 Sony 1500

Iridium

53’ expando

Both

Calrec Sigma

12 Sony 1500

Canon

M11HD

53’ expando

Both

Calrec Sigma w/ Bluefin

Sony 1500

Fujinon 7H/3 HH, 1 wide angle

M12HD

53’ expando

Both

Calrec Artemis Beam w/ Bluefin2 and Hydra2

Sony 2500

Fujinon 10 H/3 HH, 2 wide angle

M14HD

53’ expando

Both

Calrec Artemis Beam w/ Bluefin2 and Hydra2

GV 8000

Fujinon 7 H/3 HH, 2 wide angle

M3HD

SxS dual-feed: 48’ expando

Both

Yamaha 5000

3 GV LDK

Fujinon, Canon

M4HD

53’ expando

Both

Calrec Omega w/ Bluefin

8 Sony 1450

Canon 6 H/3 HH

M5HD

53’ expando

Both

Calrec Omega w/ Bluefin

16 cameras

Fujinon 6 H/3 HH, 2 wide angle

M6HD

53’ expando

Both

Yamaha 5000

10 cameras

Fujinon 5 H/2 HH, 1 wide angle

M7HD

53’ expando

Both

Calrec Sigma w/ Bluefin

16 cameras

Fujinon 7H/3HH, 2 wide angle

M8HD

48’ expando

Both

Calrec Omega w/ Bluefin

10 cameras

Fujinon 5 H/3 HH

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Vizrt, ChyronHego Mosiac XL 2

Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4K, or VIA

Access to Evertz HD video, EMR audio

Vizrt, ChyronHego Mosiac XL 2, ChyronHego HyperX3

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

Access to Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn., Sony, Crown

GV Kayenne K-Frame X

EVS XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn.

GV Kayenne K-Frame X

EVS XT2, XT3, XT4K, or VIA

Access to Evertz HD video, EMR audio

Vizrt, ChyronHego HyperX3

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS XT2, XT3, XT4K, or VIA

Evertz IP video, EMR audio

Vizrt, ChyronHego HyperX3

Senn.

GV Kayenne K-Frame X

EVS: XT2, XT3, XT4K, or VIA

Access to Evertz IP video, EMR audio

Vizrt

A-T, Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS XT2, XT3, XT4K, or VIA

Evertz IP video, EMR audio

Vizrt

None

EVS XT2, XT3, XT4K, or VIA

Access to Evertz IP video, EMR audio

ChyronHego HyperX3/Ross XPression

EV, Sony, Shure, Senn., Rohde

GV Kalypso, 4M/E

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

PESA

GV Kayanne 2.5M/E

2 x 6-ch. EVS XT Nano, EVS X File, Tightrope Media ZePlay 8 ch.

Utah Scientific 400S

Chyron Hyper X3/Ross XPression

EV, Sony, Shure, Senn., Rohde

As requested

Senn., EV

GV Karrera, 2.5M/E

Upon request

Evertz EQX, EMR

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Up to 16 VTRs and 5 servers as requested

Evertz EQX mux/demux, EMR

As requested

Senn., Shure, Sony

GV Kayenne K-Frame

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

Evertz EQX mux/demux, EMR

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

Evertz EQX mux/demux, EMR

As requested

Senn., Studio Tech, EV

GV Kayenne K-Frame

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

Evertz EQX mux/demux, EMR

Gearbase

GRAPHICS

Evertz EXE HD video - 732 inputs x 732 outputs, 224 inputs x 256 outputs embed/ 4 12-ch. EVS XT4K, 1 6-ch. EVS 4K SpotBox de-embed, MADI 35 inputs x 35 outputs, AES 96 inputs x 96 outputs, analog audio 192 inputs x 192 outputs

Vizrt

Senn., EV and Sony

GV Kayenne K-Frame

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Up to 16 VTRs as requested

Harris

As requested

Senn., Shure

GV Kayenne K-Frame

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

Evertz EQX mux/demux, EMR

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kalypso, 4M/E

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

PESA mux/demux, DRS audio 334x462 HD/96x96 AES, 48x96 stereo 334x476 HD/96X96 AES, 48x96 stereo

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne, 4.5M/E

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

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame, 4.5M/E

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

ChyronHego HyperX3

Senn., EV, Sony

GV Kalypso, 4M/E

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

96x96 HD, 128x128 SD

ChyronHego HyperX3

Senn., Beyer, EV, Shure, Sony

GV Kalypso, 4M/E

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

96x96 HD, 128x128 SD, 96x96 audio

ChyronHego HyperX3

Senn., EV, Sony

GV Kalypso, 4M/E

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

288x512 HD, 256x256 SD/256x256 audio

ChyronHego HyperX3

Senn., A-T, Sony, EV

GV Kalypso, 4M/E

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

192x288 HD/64x64 audio

ChyronHego HyperX3.1

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame

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

288x576 HD, 128X128 AES audio, 128x128 stereo audio

ChyronHego HyperX3

Senn., Shure, Sony

GV Kalypso, 4M/E

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

192x304 HD/128x128 AES, 128x128 stereo

MOBILE SPORTS PRODUCTION YEARBOOK 2020

249

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NEP GROUP

Gearbase

COMPANY

254

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

M9HD

53’ expando

Both

Calrec Sigma w/ Bluefin

16 cameras

Fujinon 7 H/3 HH, 2 wide angle

NCPII

53’ expando

Both

Calrec Artemis Beam

12 Sony 2500/4300

12 Canon

NCPVII

53’ expando

Triax

Calrec Alpha

10 Sony 1500

16 Canon

NCPVIII

53’ expando

Both

Calrec Alpha w/ Bluefin

12 Sony 1500

9 Canon

NCPX

53’ expando

Triax

Calrec Alpha w/ Bluefin

12 Ikegami 97 Series

18 Canon

NCPXI

53’ expando

Both

Calrec Sigma w/ Bluefin

10 Sony 1500

11 Canon

NCPXIV

53’ expando

Both

Calrec Artemis Beam

10 Sony 1500

18 Canon

ND1

53’ expando twin w/ third unit

HD/1080p/4K/HDR

Both

Calrec Apollo

24 Sony 2500/4300

20 Canon

ND2

53’ expando

Both

Calrec Q2

10 GV 6000

10 Canon

ND4/Double Eagle

53’ expando twin

Both

Calrec Apollo

18 Sony 2500/4300

16 Canon

ND5

53’ expando

Both

Calrec Artemis Beam w/ Bluefin

12 Sony 2500/4300

14 Canon

ND6

53’ expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam w/ Bluefin

12 Sony 2500/4300

15 Canon

ND7

53’ expando

Both

Calrec Apollo w/ Bluefin

24 Sony 2500/4300

14 Canon

Pacific

A: 47’, B: 40’

Fiber

Calrec Sigma

Sony, according to needs

Fujinon, according to needs

Phoenix

53’ expando

Triax

Calrec Sigma

10 GV 6000

10 Fujinon

Rhythm

53’ expando

Triax

Calrec Sigma w/ Bluefin

10 GV 8000

10 Fujinon

Silver

53’ expando

Fiber

Calrec Apollo

Sony 4300

2 Canon, 9 Fujinon

Skyline

53’ expando

Both

Calrec Sigma w/ Bluefin

10 GV 8000

11 Canon

SS1

53’ expando

HD/1080p/4K

Both

Calrec Alpha

12 Sony 2500, GV LDX 8300

Canon

SS11

53’ expando

Triax

Calrec Omega w/ Bluefin

10 GV 8000

13 Canon

SS14

53’ expando

Triax

Calrec Alpha

10 GV 6000

11 Fujinon

SS15

53’ expando

Both

Calrec Sigma w/ Bluefin

12 Sony 1500

9 Canon, 2 Fujinon

SS16

53’ expando

Both

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

11 Canon

SS17

53’ expando

Both

Calrec Sigma w/ Bluefin

10 Sony 2500

11 Canon

SS18

53’ expando

Triax

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

11 Canon

SS20

53’ expando

Both

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

10 Canon, 2 Fujinon

SS22

53’ expando w/ B unit

Both

Calrec Apollo w/ Bluefin

12 Sony 2500/4300

13 Canon

SS23

53’ expando w/ B unit

Triax

Calrec Alpha

12 Sony 2500/4300

13 Fujinon

SS24

53’ expando twin w/ third unit

Both

Calrec Alpha w/ Bluefin

14 Sony 2500/4300

17 Canon

SS25

53’ expando twin

Both

Calrec Alpha w/ Bluefin

12 Sony 2500/4300

12 Canon, 2 Fujinon

SS28

53’ expando w/ B unit

Triax

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

Canon, Fujinon

SS29

53’ expando

Both

Calrec Artemis

12 Sony 1500

13 Canon

SS3

53’ expando or flypack

Both

DiGiCo SD10B

10 GV LDK 6000

8 Canon

SS32

53’ expando

HD/1080p/4K/HDR

Both

Calrec Alpha w/ Bluefin

12 Sony 2500

As requested

SSCBS

53’ expando triple w/ fourth unit

HD/1080p/4K/HDR

Both

Calrec Apollo

18 Sony 2500/4300

Fujinon, Canon

Summit

53’ expando twin

Fiber

Calrec Apollo

Sony 4300

2 Canon, up to 20 Fujinon

TS2

53’ expando

HD/1080p/4K

Both

Calrec Alpha

12 Sony 2500

Canon

Yukon

53’ expando w/ B unit

HD/1080p/4K/HDR

Both

Studer Vista

12 Sony 4300

Fujinon

XP-1

Sprinter van

Both

Yamaha

5 GV 6000

Canon

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne, 4.5M/E

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

288x576 HD/128x128 AES, 128x128 stereo

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

Utah Scientific mux/demux

As requested

Senn., Sony, EV, Shure

GV Kayenne

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

Utah Scientific mux/demux

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

Utah Scientific mux/demux

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

6 6-ch. EVS XT3, 1 XT3 SpotBox

Utah Scientific mux/demux

As requested

Senn., Sony, EV, Shure

GV Kayenne

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

Utah Scientific mux/demux Utah Scientific mux/demux

As requested

Senn., Sony, EV, Shure

GV Kayenne

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

As requested

Senn., Shure, Sony

GV Kayenne K-Frame

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

Evertz EQX mux/demux, EMR

As requested

Senn., Sony, EV, Shure, Sanken

GV Kalypso, 4M/E

Wired for 8 VTR and 4 EVS as requested

PESA video, DRS audio

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

6 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

6 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio

As requested

Senn., Sony

GV Kayenne K-Frame

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

PESA mux/demux, DRS audio

As requested

Shure, Senn.

GV Kayak, 2.5M/E

As requested

Senn., Sony

GV Kalypso, 4M/E

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

As requested

Senn., Sony

GV Kalypso, 4M/E

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

As requested

GV Kayenne K-Frame

As requested

Evertz EQX mux/demux, EMR

As requested

Senn., Beyer, EV, Shure, Sony

GV Kalypso, 4M/E

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

PESA video, DRS audio

As requested

Senn., Sony

GV Kayenne K-Frame

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

Evertz

As requested

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

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

As requested

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

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

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

5 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

5 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

PESA mux/demux, DRS audio

As requested

GV Kayenne K-Frame

5 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio GV

As requested

Senn., Sony, EV

GV Kalypso, 4M/E

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

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

6 6-ch. EVS XT3, XS SpotBox

Evertz EXE mux/demux, EMR

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

As requested

Senn., Sony, EV, Shure

GV Kayenne, 4M/E

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

Evertz EQX mux/demux, EMR

As requested

Sony

1 GV K2 Solo, 2 K2 Dyno Summit

PESA video, DRS audio

As requested

GV Kayenne K-Frame

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

Evertz EQX mux/demux, EMR

As requested

A-T, Senn.

GV Kayenne K-Frame

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

Evertz EXE mux/demux, EMR

As requested

GV Kayenne K-Frame

20 VTRs or 7 EVS on request, 2 SpotBox

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

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

Upon request

Senn.

GV Kayenne K-Frame

Upon request

Senn., Shure

GV Kayenne K-Frame

Wired for 6 EVS

As requested

Senn.

FOR-A MVS-1000

1 4-ch. EVS XT; others as requested

MOBILE SPORTS PRODUCTION YEARBOOK 2020

Gearbase

GRAPHICS

255

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NEP GROUP

Gearbase

COMPANY

ROSS MOBILE PRODUCTIONS

RAYCOM SPORTS (ALLIANCE)

PSSI/ STRATEGIC TV

TOKEN CREEK (ALLIANCE)

SDTV (ALLIANCE)

21 LAKES MEDIA

TOURING VIDEO

VIDEOLINES MOBILE TELEVISION

YES PRODUCTIONS (ALLIANCE)

260

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

M15

53’ double expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam

8 GV LDX 86N WorldCam, 2 GV LDX 86N XtremeSpeed

12 Fujinon

SS8

53’ double expando

HD/1080p/4K/HDR

Both

Calrec Apollo

12 Sony HDC 3500

12 Canon

K34

A unit: 36’, B unit: 35’

Triax

Yamaha M7CL (48 analog inputs/24 configurable outputs)

6 GV 3000

4 Fujinon hard, 5 Canon HH

RHD1

53’ expando

HD/720p/1080i

Triax or SMPTE

Calrec Omega w/ Bluefin2 (48)

9 Sony 1550R (Sony SMPTE adaptors)

Canon 6 hard 86x/4 HH 21x

Phoenix (RHD3)

48’ expando

HD/720p/1080i

Triax

Calrec Artemis Light w/ Bluefin2 (40)

9 Sony 2550R

Canon 6 hard 80X/4 HH 22x

RKU2

27’ combo Ku-band and Production

HD/1080i

SMPTE Fiber

Mackie (32 channels)

4 Hitachi Z-HD6000

Fujinon 2 hard 55x/2 HH 20x

Silver

23’ Sprinter

Triax

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

6 Ikegami HDK-95C

Canon 2 60X, 2 40X, 2 22X

Blizzard

20’

Both

DigiCo SD11B w/ D-Rack (80 channels)

5 Hitachi SK-HD1300

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

FIN3

24’ Sprinter

HD/1080p

Both

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

6 Ikegami HDK-95C

Canon 2 60X, 1 80X, 2 22X, 1 10X

FIN4

24’ Sprinter

HD/1080p

Both

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

6 Ikegami HDK-95C

Canon 2 60X, 1 80X, 2 22X, 1 10X

FIN5

24’ Sprinter

HD/1080p

Both

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

6 Ikegami HC-HDK95C

Canon 2 60X, 1 95X, 2 22X, 1 10X

RMP6 4K

30’ expando

HD/1080p/4K-capable

Fiber

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

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

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

Sprinter Van (2020)

1080p

Fiber

Calrec Audio

6 cameras

Sprinter Van (2020)

1080p

Fiber

Calrec Audio

6 cameras

HDLA

40’ combo/expando

HD/SD/1080/720/24pcapable

Both

Calrec Zeta (56)

8 Sony

10 Canon, 2 Fujinon

HD Link

32’ combo

HD/SD

Both

Yamaha 02R96 (24)

4 Sony

2 Canon

Chippewa

48’ expando

Triax/single-mode

Calrec Artemis (64 faders)

10 GV LDK 8000

6 hard/5 HH

Sioux

48’ expando

Triax/single-mode

Calrec Artemis (40 faders)

10 GV LDX 80

5 hard/5 HH

Varsity

53’ expando

Triax

Calrec Sigma w/ Bluefin (56 faders)

10 GV LDK 8000

6 hard/4 HH

Pioneer

53’ expando

Triax

Calrec Artemis

10 GV LDX80

5 hard/4 HH

Riley

40’ expando

Triax

Yamaha PM5000

8 GV LDK 6000, 2 Marshall POVs

2 Canon 72X, 1 Fujinon 50X, 1 Canon J55X Super, 4 Canon 17X HH, 2 Cannon 11X Wide Angle

TV-3

43’ single expando

SD/HD

SMPTE Fiber and TAC

Stagetech Crescendo (40 faders)

12 Sony HDC 1500

Per request

TV-4

53’ single expando

SD/HD/1080p/4Kcapable

SMPTE Fiber and TAC

Stagetech Crescendo (40 faders)

16 Sony HDC 2500

Per request

HD-1

53’

Triax

Yamaha M7CL-48

Ikegami 79E

2 76X, 2 66X, 2 20X

HD-2

53’

Fiber

Yamaha 2000

Ikegami 77EX

4 55X, 2 18X

HD-3

16’ box

Fiber

Yamaha (16 channels)

Ikegami 77EX

2 55X, 2 18X

HD1

53’ expando

Both

Calrec Sigma w/ Bluefin (64/96)

10 Ikegami HDK 79 EC

Fujinon hard 2 101X, 4 87X/HH 3 22X, 1 4.5

HD2

53’ expando

Both

Calrec Omega w/ Bluefin (56/48)

10 Ikegami HDK 79EX

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

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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

MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

ChyronHego Mosaic and HyperX3

As requested

GV Kayenne X-Frame

3 12-ch. EVS XT3, 1 8-ch. XT3, 1 6-ch. XS Spotbox; 1 EVS X-File3

Lawo/Arista IP Router

As requested

GV Kayenne X-Frame

2 12-ch. EVS XT-VIA, 1 8-ch. XT-VIA, 1 6-ch. EVS XT-VIA Spot Box, EVS Xhub3, EVS X-File3, EVS XT Access

Lawo IP Router

ChyronHego HyperX3

Senn., Sony

GV Karrera, 2M/E

8-ch. EVS XT3

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

ChyronHego HyperX3

Senn., A-T, Sony

GV Kayenne K-Frame, 4M/E

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

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

ChyronHego HyperX3

Senn., A-T, Sony

GV Kayenne K-Frame, 4M/E

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

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

Ross XPression

Senn., A-T

Ross Carbonite, 2M/E

NewTek 3Play 425

34x34

Ross XPression, XPression (TD Elements)

Senn., EV, A-T

Ross Carbonite Black, 3M/E

Ross XPression, XPression GO! (TD Elements)

Senn., EV, A-T

Ross Carbonite, 2.5M/E

8-ch. Ross Abekas Mira

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

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

Senn., EV, A-T

Ross Carbonite Black, 3M/E

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

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

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

Senn., EV, A-T

Ross Carbonite Black, 3M/E

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

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

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

Senn., EV, A-T

Ross Carbonite Black, 3M/E

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

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

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

Senn., EV, A-T

Ross Carbonite Black, 3M/E

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

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

Ross XPression

Ross Carbonite Black, 3M/E

Ross XPression

Ross Carbonite Black, 3M/E

Gearbase

GRAPHICS

8-ch. EVS XTnano, 8-ch. Ross Abekas Mira Ross NK-3G72 scalable (72x72 3G HD/SDSDI), Ross NK-A64-HQ stereo analog audio

ChyronHego Duet HyperX3

Senn., Sony

Grass Valley Kayenne, 4M/E

2 EVS XT3, 1 4-ch. SpotBox

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

N/A

Senn., Sony

Sony MFS-2000, 1.5M/E

Four open slots - multiple format capable

PESA Cougar HD/SDI video (32x32)

ChyronHego HyperX3

As requested

GV Kayenne, 4.5M/E

2 6-ch. EVS XT3, 1 4-ch. RO XT3, SpotBox XS3 X-File 3

PESA 256X (128x256 HD-SDI), DRS (128x128 analog, 384x384 AES, 256x256 MADI, 256x256 embedded)

ChyronHego HyperX3

As requested

GV Karrera, 3M/E

2 6-ch. EVS XT3, 1 4-ch. RO XT3, SpotBox XS3 X-File 3

PESA 256X (128x256 HD-SDI), DRS (128x128 analog, 256x256 AES, 256x256 MADI, 256x256 embedded)

ChyronHego HyperX3

As requested

GV Kayenne, 4M/E

2 6-ch. EVS XT3, 1 4-ch. RO XT3, SpotBox XS3 X-File 3

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

ChyronHego HyperX3

As requested

GV Kayenne

2 6-ch. EVS XT2, 1 4-ch., SpotBox XS3 X-File 3

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

ChyronHego Duet HyperX3

Full complement including wireless

GV Kalypso, 60 Input 4M/E

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

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

Per request

Sony MVS 7000X, 6M/E

Per request

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

Per request

Sony XVS 7000X, 6M/E

Per request

Imagine IP3 (422 in/560 out) audio128 in

ChyronHego HyperX3

8 shotgun, 4 stick

GV Kayak, 4M/E

3 EVS

32x23 video/2-ch. audio

ChyronHego HyperX2

8 shotgun, 4 stick

GV Kayak, 2M/E

2 Tightrope ZEPLAY

32x23 video/2-ch. audio

ChyronHego HyperX2

4 shotgun, 4 stick

Blackmagic ATEM, 1M/E

1 NewTek 3Play

16x16 video Video 128x128 HD, 256x128 SD; audio 128x128 analog, 128x128 AES Video HD 256x128/audio analog 128x128 AES 128x128

ChyronHego HyperX3

Standard audio

GV Kayenne K-Frame

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

ChyronHego HyperX3

Standard audio

GV Kalypso Duo

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

MOBILE SPORTS PRODUCTION YEARBOOK 2020

261

MARK YOUR CALENDAR FOR THESE UPCOMING SVG EVENTS! 2020 CALENDAR February 26

SPORTS GRAPHICS FORUM

New York City

March 6

SPORTS OTT FORUM

New York City

March TBD

VENUE SUMMIT

San Francisco

April 16-18

CHAIRMANâ&#x20AC;&#x2122;S FORUM

Las Vegas

April 18

PRE-GAME PARTY AT NAB 2020

Las Vegas

May 20

AUSTRALIA SUMMIT

Sydney

May 27-29

COLLEGE SUMMIT AND CSMAs

Atlanta

June TBD

RSN SUMMIT

TBD

July 22

SPORTS CONTENT MANAGEMENT FORUM

New York City

September 30

IP PRODUCTION FORUM

Las Vegas

October 20

TRANSPORT

New York City

November 4

REMI SPORTS SUMMIT

Miami

November 17

ESPORTS PRODUCTION SUMMIT

Los Angeles

December 14-15

SVG SUMMIT

New York City Dates and locations are subject to change

FOR MORE INFORMATION GO TO

WWW.SPORTSVIDEO.ORG

FAST. DEPENDABLE. AFFORDABLE. The new Sport 200, a heavy-duty sports tripod designed for Outside Broadcast. When it comes to critical shots, Emmy-winning camera operator Deena Sheldon chooses the Cartoni Magnum and Sport 200 tripod for high performance when it counts. The latest innovative and robust tool from Cartoni.

MANIOSDIGITAL.COM

SAAS ‐ MOBILE ‐ ENTERPRISE ‐ SUPPORT

INVIGORATING INDUSTRIES AS TO METADATA, MEDIA ASSET MANAGEMENT AND INCREASING THE VALUE OF BIG DATA

DAM/MAM GLAM LIBRARIES SPORTS & NEWS BROADCASTING VIDEO‐JOURNALISM IMMERSIVE/360 CONTENT MARKETING ECOMMERCE FILMMAKING STOCK‐FOOTAGE

As the demand for innovative metadata and media asset management spreads across industries with the geometric growth of digital video production/creation, persistent challenges existing in the DAM/MAM world are drastically constraining progress and innovation as to viable data for customer acquisition and retention. The partnership of AIDA Content Management and Allied Vaughn with In Frame Time Based Descriptive Metadata of VRmeta Technology* enables metadata at the point of asset creation immediately establishing value to ultimately drive robust client/customer/subscriber acquisition growth and retention. VIDEO META HUB (SAAS) - ENTERPRISE WORKFLOW - ADVISORY EMAIL JENNA OR PETER (below) FOR DEMO OR REGISTER AT VRMETA.IO FOR SAAS WITH INDUSTRY SPECIFIC ON-BOARDING DURING 30 DAY FREE TRIAL

DRONE‐VIDEO FORENSIC RESEARCH FRAME LEVEL DISCOVERY ‐ AI ENABLED UNPARALLED PRECISION

*The VRmeta solution created by Mark Milstein, Managing Director of Microstocksolutions is licensed to AIDA Content Management for Sale, Platform Deployment, On Boarding and Adoption across industries.

Have you heard about the NECF Marketplace? Over the past two years, five major networks started using our new marketplace of high-quality resources at lower prices. Now you can now access this same proven, reliable marketplace where you can conveniently arrange for any high-level broadcasting resource at an affordable price. The marketplace offers name-brand equipment, manpower, telecom and talent at an affordable price. Have excess capacity that you would like to offer as supply? See what NECF can do for you today!

NECFGlobal.com raw version.indd 1

contact@necfglobal.com 8/16/19 4:49 PM

Connecting Networks, Clouds and Businesses On-demand, private connectivity to 34 countries worldwide over PCCW Globalâ&#x20AC;&#x2122;s Tier 1 network

On-Net Data Center

Partner Site-to-site connectivity

AWS

B2B connectivity

Google Cloud

Private access to public cloud

Office

Business critical SaaS application

Data Center

SaaS

Azure

MISSION CRITICAL CLOUD

Download The Guide to Hybrid Cloud Strategy at consoleconnect.com info.consoleconnect.com/resources

PAGE

LEVEL

CONTACT

PHONE

3G WIRELESS

251

Mobile

Gordon Capaccio

GordonC@3gwireless.tv

410-969-3501

ADDER TECHNOLOGY

Premier

Tim Conway

usasales@adder.com

888-932-3337

ADMIRAL VIDEO

229

Mobile

Paul Halsey

paul@imhd.tv

716-651-9900

ADORAMA

Corporate

Jeff Mondlock

jmondlock@adorama.com

212-741-0401 x2244

Mobile

Neale Connell

neale@aegraphics.co.uk

[44] 1442 234 531

AERIAL VIDEO SYSTEMS

245

Mobile

Argyle Nelson

argyle@aerialvideo.com

818-954-8842

AJA VIDEO SYSTEMS

Premier

Christina Oliver

christinao@aja.com

530-271-3326

AE GRAPHICS

ALDEA SOLUTIONS

Premier

Daniel Gonzalez

daniel.gonzalez@aldea.tv

514-461-4136

ALL MOBILE VIDEO

240

Mobile

Eric Duke

eduke@amvchelsea.com

212-727-9862

ALPHA VIDEO

198

Mobile

Jeff Volk

jeff.volk@alphavideo.com

952-841-3311

ANTHONY JAMES PARTNERS

145

Mobile

Mark Roberts

markr@anthonyjamespartners.com

609-751-4379

APERI

Corporate

Joop Janssen

jjanssen@apericorp.com

[32] 4 717 171 79

APM MUSIC

102

Corporate

Betsy McColl

bmccoll@apmmusic.com

323-461-3211 x131

ARCTEK SATELLITE PRODUCTIONS

233

Mobile

Brian Stanley

bstanley@arcteksat.com

612-308-9079

ARISTA NETWORKS

101

Corporate

Bryan Obeidzinski

bryano@arista.com

917-940-0097

Corporate

Joanne Pederson

sales@artel.com

978-263-5775

ARVATO SYSTEMS

Corporate

Thomas Mauro

tom.mauro@arvatosystems.com

646-589-3859

ASG (ADVANCED SYSTEMS GROUP)

252

Mobile

Chris Payne

cpanye@asgllc.com

917-807-1804

Platinum

Scott Beckett

sb9485@att.com

214-647-0486

ARTEL VIDEO SYSTEMS

AT&T ATEME

Corporate

Dave Brass

d.brass@ateme.com

484-860-0358

AUDIO-TECHNICA

115

Corporate

Mike Edwards

medwards@atus.com

330-686-2600 x2030

Mobile

Jim Landy

jmlandy@avds.tv

609-531-2642

AV DESIGN SEVICES AVID

Premier

Meghan Ross

meghan.ross@avid.com

708-602-8125

AWS

Platinum

Holly Farmer

hollyfar@amazon.com

503-888-5203

AZZURRO GROUP

Mobile

Mark Lowden

mlowden@azzurrogroup.com

212-625-2372

BECK TV

Mobile

Fred Wright

fwright@becktv.com

972-505-8941

BEXEL

214

Platinum

Craig Schiller

cschiller@bexel.com

818-565-4202

Corporate

Adrian Lambert

A.Lambert@blackbird.video

[44] 7905863352

Platinum

Bob Caniglia

bobc@blackmagicdesign.com

408-954-0500 x319

BLUE FRAME TECHNOLOGY

135

Corporate

Ben Kant

benkant@blueframetech.com

859-619-4288

BRAINSTORM

119

Corporate

Brad Rumler

brumler@brainstorm3d.com

201-888-9599

Corporate

Richie Murray

richie@bridgedigitalinc.com

615-859-5754

BLACKBIRD VIDEO BLACKMAGIC DESIGN

BRIDGE DIGITAL BROADCAST SERVICES INTERNATIONAL (BSI)

257

Mobile

Jim Eady

jim@bsi-tv.com

905-332-2171

BROADCAST SPORTS INTERNATIONAL (BSI)

216

Mobile

Jeremy Pink

jeremy.pink@bsintl.com

410-564-2621

Mobile

Evan Wimer

ewimer@c360live.com

724-940-3277

C360 CALREC AUDIO/DIGICO (GROUPONE)

Platinum

Jack Kelly

jackk@g1limited.com

631-396-0184 x102

CAMPLEX

Premier

Daniel Coscarella

daniel@camplex.com

800-445-7568 x7409

CANON

Platinum

Richard Eilers

reilers@cusa.canon.com

609-480-6019

CARINGO

178

Corporate

Adrian Herrera

adrian.herrera@caringo.com

619-665-8153

CARTONI USA

263

Corporate

David Butler

david@maniosdigital.com

818-760-8240

Mobile

Greg Landa

greg.landa@es-cat.com

904-494-7532

CAT ENTERTAINMENT SERVICES CATDV

143

Corporate

Jeremy Strootman

jeremy@squarebox.com

314-229-6012

CENTURYLINK

Platinum

Jennifer Cleveland

jennifer.cleveland@centurylink.com

571-485-8781

MOBILE SPORTS PRODUCTION YEARBOOK 2020

SVGSPONSORDIRECTORY / ADINDEX

SPONSOR

267

SVG Sponsor Directory / Ad Index

SPONSOR

PAGE

LEVEL

CONTACT

PHONE

182

Mobile

Jessica Mantheiy

jessica@chesa.com

410-752-7729

CHYRONHEGO

Premier

Doug Price

k.douglas.price@chyronhego.com

817-239-9626

CINESYS-OCEANA

160

Mobile

Brent Angle

brent.angle@cinesysinc.com

713-272-0732

CIS GROUP

Corporate

Matt Silva

matt.silva@cisgroup.tv

954-257-9938

Mobile

Gary Snyder

garys@clarkmedia.com

610-694-9800

CLARK WIRE & CABLE

Premier

Tom Yatabe

tom.yatabe@clarkwire.com

800-222-5348 x18

CLEAR-COM, AN HME COMPANY

Premier

Rachel Archibald

Rachel.Archibald@Clearcom.com

510-337-6676

CLOUDIAN

Premier

Sean Coughlin

scoughlin@cloudian.com

914-715-8261

COBALT DIGITAL

Premier

Chris Shaw

chris.shaw@cobaltdigital.com

217-344-1243

COMCAST TECHNOLOGY SOLUTIONS

156

Corporate

Lynn Green

Lynn_Green@comcast.com

720-670-0762

COMREX

Premier

Chris Crump

ccrump@comrex.com

978-784-1776

Corporate

Gary Cooper

g.cooper@worldcastconnect.com

305-249-3110

Mobile

Matt Endicott

me@cornerstoneav.com

801-221-0099

CHESAPEAKE SYSTEMS

CLARK MEDIA

CONNECT CORNERSTONE AV

234

CP COMMUNICATIONS

221

CREATIVE DIMENSIONS CREATIVE MOBILE SOLUTIONS CROWN CASTLE CSP MOBILE PRODUCTIONS

Kurt Heitmann

kurt.heitmann@cpcomms.com

914-345-9292

Joel Roy

jroy@gowithcd.com

203-250-6517

Mobile

Noah Gusdorff

noah@cmsi.tv

818-847-7390

Corporate

Sergio Amatangelo

sergio.amatangelo@crowncastle.com

724-416-2710

Mobile

Matt Keske

mkeske@cspmobile.com

312-914-2616

CTG (COMPREHENSIVE TECHNICAL GROUP)

202

Mobile

Ry Alford

ryalford@ctgatlanta.com

404-352-3000

DAKTRONICS

Premier

Sales

sales@daktronics.com

800-325-8766

DALE PRO AUDIO

Corporate

Eric Eldredge

eric@daleproaudio.com

212-475-1124

DELAPLEX

Corporate

Mark Rivers

Mrivers@delaplex.com

404-867-3334

DELL EMC

147

Corporate

Jeff Grassinger

jeff.grassinger@dell.com

206-315-7598

DIGITALGLUE

129

Mobile

Christina Anderson

christina.anderson@digitalglue.com

949-388-9078

Corporate

Kai Bechtold

kbechtold@dimetis.de

[49] 6074 3010 0

DIMETIS DIVERSIFIED

132

Mobile

Christopher Sullivan

CSullivan@diversifiedus.com

201-670-6548

DNA STUDIOS

247

Mobile

Sam Schrade

sam@dnawebs.com

281-802-8000

Platinum

Cherylene McKinney

cherylene.mckinney@dolby.com

646-823-1523

DOLBY DOME PRODUCTIONS

220

Mobile

Mary Ellen Carlyle

mcarlyle@domeprod.com

416-341-2022

DVEO

185

Corporate

Don Cardone

don@dmcbroadcastgroup.com

908-998-1080

DX3 MEDIA INC.

235

Mobile

Dale Smith

dalesmith@DX3media.ca

416-433-3261

EASY LIVE

Corporate

Philippe Laurent

PHIL.LAURENT@GOEASYLIVE.COM

415-310-1129

ECODIGITAL

183

Corporate

Justin Russell

justin.russell@goecodigital.com

443-926-2673

EDITSHARE

Premier

Tracy Geist

tracy.geist@editshare.com

415-298-1290

EEG ENTERPRISES

126

Corporate

Eric McErlain

ericm@eegent.com

516-293-7472 x502

ELUVIO INC

173

Corporate

Amy Meadows

amy.meadows@eluv.io

314-799-5564

ENCO SYSTEMS

179

Corporate

Ken Frommert

ken@enco.com

248-827-4440

ENCOMPASS DIGITAL MEDIA

149

Corporate

Joe Garzillo

jgarzillo@encompass.tv

203-965-6334

ENDEAVOR STREAMING

268

Mobile Corporate

Corporate

Kayla Conover

Kayla.Conover@endeavorstreaming.com

516-622-8381

ES BROADCAST

244

Mobile

Bob Hawkanson

bob@esbroadcasthire.com

407-601-6926

EUROVISION SERVICES

Platinum

Jim Scott

jim.scott@eurovision.net

973-650-9577

EUTELSAT

Premier

Paul Kosac

pkosac@eutelsat.com

678-722-1107

EVERTZ

Premier

Orest Holyk

orest@evertz.com

905-335-3700

EVS

Premier

William Walz

w.walz@evs.com

973-575-2116

MOBILE SPORTS PRODUCTION YEARBOOK 2020

All information subject to change. Please contact the truck vendorâ&#x20AC;&#x2122;s Website for the most current information on equipment and capabilities

PAGE

LEVEL

CONTACT

PHONE

F&F PRODUCTIONS

238

Mobile

George Orgera

GeorgeO@fandfhd.tv

727-535-6776

FILMWERKS INTERNATIONAL

241

Mobile

Michael Satrazemis

michaels@filmwerksintl.com

910-675-1145

FINGERWORKS TELESTRATORS

186

Corporate

Bryan McKoen

bryan@telestrator.com

604-762-1477

FLETCHER SPORTS

117

Corporate

Dan Grainge

dan@fletch.com

312-932-2704

FOR-A

Premier

Adam Daniul

daniul@for-a.com

305-773-7608

FUJIFILM

Platinum

Gordon Tubbs

gtubbs@fujifilm.com

973-686-2769

Corporate

Christian Dundee

cdundee@fuse-tg.com

818-827-6057

G&D NORTH AMERICA

106

Corporate

Craig Abrams

cabrams@gd-northamerica.com

818-748-3383

GAME CHANGER MVP

Corporate

Matt Coy

mcoy@gcmvp.com

602-625-1049

Mobile

Pat Sullivan

psullivan@gamecreekvideo.com

603-821-2205

GEARTECH USA

201

Mobile

Brad Wensley

bwensley@geartech.ca

647-295-6672

GIRRAPHIC

189

Corporate

Grant Werle

grant@girraphic.com

917-903-5306

GLOBECAST

187

Corporate

Tim Jackson

tim.jackson@globecastna.com

310-849-3901

GLOOKAST

Corporate

Guilherme Silva

guilherme.silva@glookast.com

945-719-4827

Platinum

Sarah Lum

lums@google.com

408-718-2678

137

Corporate

Mike Kelley

mike@grabyo.com

914-584-7324

FUSE TECHNICAL GROUP

GAME CREEK VIDEO

GOOGLE CLOUD GRABYO GRASS VALLEY

Platinum

David Cohen

david.cohen@grassvalley.com

215-837-8699

GRAVITY MEDIA

210

Premier

Mark Allatt

Mark.Allatt@gravitymedia.com

[44] 1923 691421

HAIVISION

177

Corporate

Karen McCone

kmccone@haivision.com

514-993-2683

HARMONIC

165

Corporate

Eric Kenyon

eric.kenyon@harmonicinc.com

408-490-7665

HB COMMUNICATIONS

239

Mobile

Cristina Schussler

cristina.schussler@hbcommunications.com

203-747-7187

Mobile

Phil Engborg

phil@carr-hughes.com

518-584-0202

HIGH ROCK MOBILE TELEVISION IBM ASPERA

Premier

Laura Petrosillo

laura.petrosillo@ibm.com

510-849-2386 x222

IBM STORAGE

Premier

Bill Martinson

billmar@us.ibm.com

650-400-7078

IBM WATSON MEDIA

140

Corporate

Therese DeMatteo

therese.dematteo@us.ibm.com

917-318-8488

IHSE USA

Premier

Dan Holland

dholland@ihseusa.com

732-738-8780

IKEGAMI

123

Corporate

Teri Zastrow

tzastrow@ikegami.com

201-368-9171 x234

Mobile

Rich Williams

rich@illuminationdynamics.com

818-686-6400

IMAGE VIDEO

109

Corporate

Zach Wilkie

zwilkie@imagevideo.com

416-750-8872 x228

IMAGEN

127

Corporate

Ryan Rolf

Ryan.Rolf@imagen.io

240-506-1831

IMAGINE COMMUNICATIONS

Premier

Mary Schoof

mary.schoof@imaginecommunications. com

703-869-2042

ILLUMINATION DYNAMICS

IMS PRODUCTIONS

226

Mobile

Kevin Sublette

ksublette@imsptv.com

317-492-8770

INFORTREND

155

Corporate

Frank Lo

frank.lo@infortrend.com

408-988-5729

INTEGRATED MEDIA TECHNOLOGIES

206

Mobile

Tom McGowan

tom.mcgowan@imtglobalinc.com

818-761-9770

Corporate

Sales

sales.na@intelsat.com

703-559-6800

Mobile

Stephanie Rowen

srowen@suitelifesystems.com

310-405-0839

INTELSAT INTOTO SYSTEMS IO INDUSTRIES

103

Corporate

Brittany Fitchett

bfitchett@ioindustries.com

519-663-9570 x242

IPTEC

Corporate

Glen Green

ggreen@v-tech-llc.com

936-520-6042

IRON MOUNTAIN

Premier

Amy Krofssik

amy.krofssik@ironmountain.com

508-612-3365

Corporate

Matt Crissman

mcrissman@istreamplanet.com

702-323-5234

JB&A

Corporate

Maria Casey

sales@jbanda.com

415-256-2800

JOSEPH ELECTRONICS

Premier

John Cleary

jcleary@josephelectronics.com

800-323-5925

JOURNEY

161

Corporate

Dave Walzer

dave@d2journey.com

508-739-0823

JUNIPER NETWORKS

Corporate

Nancy Shah

nashah@juniper.net

201-682-5568

ISTREAMPLANET

MOBILE SPORTS PRODUCTION YEARBOOK 2020

SVG Sponsor Directory / Ad Index

SPONSOR

269

SVG Sponsor Directory / Ad Index

SVG SPONSOR

PAGE

LEVEL

CONTACT

PHONE

JVC PROFESSIONAL VIDEO

Corporate

Dan Skirpan

dskirpan@us.jvckenwood.com

724-747-9301

KAUFMAN BROADCAST

215

Mobile

Bill Kaufman

bill.kaufman@kaufmanbroadcast.com

314-533-6633

Corporate

Preston Phillips

preston.phillips@klipsports.com

214-287-7776

194

Mobile

Kevin Henneman

khenneman@kmh-integration.com

800-590-2520

Platinum

Jeff Smith

jeff.smith@lawo.com

888-810-4468

KLIP SPORTS KMH AUDIO-VIDEO INTEGRATION LAWO LEADER INSTRUMENTS

Corporate

Scott Cannon

cannon@leaderamerica.com

800-645-5104

LEGRAND AV DIVISION

113

Corporate

Gordon Wason

gordon.wason@legrand.com

516-350-2327

LEVELS BEYOND

Corporate

Donnie Gilbert

dgilbert@levelsbeyond.com

720-508-8947

LH COMPUTER SERVICES

203

Mobile

Doug Cole

dcole@lhcomp.com

954-752-5805

LIMELIGHT NETWORKS

Corporate

Meredith Johnson

meredithj@llnw.com

602-850-5384

LIVE MEDIA GROUP

223

Mobile

Brad Sexton

brad@livemediagroup.com

818-435-3006

LIVEU

Platinum

Dave Belding

daveb@liveu.tv

714-916-8275

LTN GLOBAL

133

Corporate

Rich Rozycki

rrozycki@ltndigital.com

646-832-1952

LYON VIDEO

228

Mobile

Chad Snyder

chad@LyonVideo.com

614-319-4071

MARKERTEK

Premier

Adam June

adam@markertek.com

800-522-2025 x7361

MARSHALL ELECTRONICS

121

Corporate

Jackson Root

jackson@marshallelectronics.net

310-333-0606

MASSTECH INNOVATIONS

Premier

Luc Tomasino

Luc.tomasino@masstech.com

918-605-3236

MATROX

107

Corporate

Francesco Scartozzi

fscartoz@matrox.com

514-822-6075

Corporate

Paul Babb

paul@maxon.net

805-376-3331

MEDIA LINKS

170

Corporate

Tom Canavan

tcanavan@medialinks.com

860-206-7326

MEDIAKIND

205

Corporate

Dan Burnett

daniel.burnett@mediakind.com

678-689-6535

MEDIAPRO

34, 227

Premier

Mario Sousa

msousa@mediapro.tv

305-357-5893

MAXON

METROVISION

Mobile

Jim McGillion

jim@metrovision.tv

212-989-1515

MEYERPRO

246

Mobile

Steve Meyer

steve@meyerproinc.com

503-638-2096

MICROSOFT

Premier

Scott Bounds

sbounds@microsoft.com

646-225-4380

MOBILE TV GROUP

232

Mobile

Nick Garvin

ngarvin@mobiletvgroup.com

303-542-5555

MPE

111

Corporate

Neal Pilzer

neal@mpenyc.com

303-618-4423

MULTIDYNE

124

Corporate

Frank Jachetta

frank@multidyne.com

516-629-0373

NCAM

105

Corporate

Phil Ventre

phil.ventre@ncam-tech.com

[44] 7581 482750

NECF

265

Corporate

Joseph Maar

Joseph.Maar@necfglobal.com

860-881-360

NEP GROUP

Platinum

Susan Matis

smatis@nepgroup.com

412-423-1339

NET INSIGHT

181

Corporate

David Dellafave

david.dellafave@netinsight.net

201-669-2037

NEVION

Corporate

Sales

sales@nevion.com

212-380-0550

Mobile

Sales

info@newboxsolutions.com

323-393-0216

Premier

George Valentim

gvalentim@newtek.com

704-998-1602

NEW BOX SOLUTIONS NEWTEK

NEXSAN

151

NOVELSAT NUTANIX

OBJECT-MATRIX

270

Corporate

Michael McDermott

mmcdermott@nexsan.com

732-616-4586

Corporate

Sean Tietjen

sean.t@novelsat.com

201-284-2550

Platinum

Jarrett Schwenzer

jarrett.schwenzer@nutanix.com

646-660-5898

Corporate

Nick Pearce-Tomenius

nick.pearce-tomenius@object-matrix.com

[44] 2920 382308

OPENDRIVES

114

Corporate

Paul Swanson

p.swanson@opendrives.com

310-659-8999

PANASONIC

Premier

Carter Hoskins

carter.hoskins@us.panasonic.com

770-619-1779

PCCW GLOBAL

266

Mobile

Koby Zontag

kzontag@pccwglobal.com

212-389-6257

PIXELLOT

139

Corporate

Stephen Hamilton

stephenH@pixellot.tv

213-321-9554

PLIANT TECHNOLOGIES

199

Corporate

Gary Rosen

sales@plianttechnologies.com

334-321-1160 x540

PRG

Platinum

Andrea Berry

andrea.berry@prg.com

818-252-2645

PRIMESTREAM

136

Corporate

Marisa Timko

marisatimko@primestream.com

305-625-4415

MOBILE SPORTS PRODUCTION YEARBOOK 2020

PAGE

PRIMEVIEW

LEVEL

CONTACT

PHONE

Corporate

Chanan Averbuch

chanan@primeview.biz

212-730-4905

PRODUCTIONHUB

256

Corporate

Steve Rotz

srotz@productionhub.com

877-629-4122

PROGRAM PRODUCTIONS

217

Mobile

Amy Scheller

ascheller@programproductions.com

630-792-9700

PSSI GLOBAL SERVICES

222

Mobile

Clint Bergeson

info@pssiglobal.com

310-575-4400

QUANTUM

Premier

Ruth Compton

ruth.compton@Quantum.com

949-856-7793

QUANTUM5X

164

Corporate

Paul Johnson

pjohnson@q5x.com

519-675-6999

QUMULO

169

Corporate

Molly Presley

mpresley@qumulo.com

720-940-5736

Corporate

Sean Sullivan

sean.sullivan@rcn.net

571-623-4332

RCN BUSINESS SERVICES REALITY CHECK SYSTEMS

258

Mobile

Jeff Heimbold

j.heimbold@realitychecksystems.com

323-465-3900

RED BEE MEDIA

193

Corporate

Oliver Abadeer

oliver.abadeer@ericsson.com

[44] 7500 104 133

RF WIRELESS SYSTEMS

209

Mobile

Rob Bunn

rob.bunn@rfwireless.com

613-228-7171

RIEDEL COMMUNICATIONS

Platinum

Joyce Bente

sales-us@riedel.net

818-559-6900

Mobile

Richard Glandorf

rich@robovision.com

973-879-1096

Corporate

Hillary Nosbisch

hillaryn@rockitcargo.com

940-465-0303

ROBOVISION ROCK-IT-CARGO ROSS VIDEO

Platinum

Kevin Cottam

kcottam@rossvideo.com

613-228-0688 x4366

RT SOFTWARE

110

Corporate

Mike Fredriksen

mike.fredriksen@rtsw.co.uk

[44] 020 7384 2711

SANKEN/BRAINSTORM ELECTRONICS

175

Corporate

Jim Pace

jpace@plus24.net

323-855-1404

Mobile

Mark Parikka

operations@sdtv.com

619-293-7777

Corporate

Brandon Aleckson

brandon.aleckson@seagate.com

408-658-1852

SDTV SEAGATE

195

SENNHEISER

Premier

David Missall

david.missall@sennheiser.com

774-253-1036

SES

Premier

Richard Lamb

richard.lamb@ses.com

[31] 70 306 4211

SHOTOVER

253

Mobile

Gordon Barry

gbarry@shotover.com

[64] 275458777

SHURE

Premier

Bill Ostry

ostry_bill@shure.com

847-600-6282

SIGNIANT

141

Corporate

Jon Finegold

jfinegold@signiant.com

781-221-4000

SIMPLYLIVE

Corporate

Gregory Macchia

g.macchia@simplylive.tv

484-273-0760

SKYCAM

Mobile

Stephen Wharton

stephen.wharton@skycam.tv

719-963-4150

SKYLINE COMMUNICATIONS

174

Corporate

Thomas Gunkel

thomas.gunkel@skyline.be

[32] 51 31 35 69

SMARTCART

207

Mobile

Gil Cowie

gil@smartcartsvx.com

646-863-6263

SMT

152

Corporate

Patricia Hopkins

p.hopkins@smt.com

919-493-9390

SNEAKY BIG STUDIOS

128

Corporate

Ben Grafchik

bgrafchik@sneakybig.com

502.523.0268

SONY

Platinum

Deon LeCointe

Deon.Lecointe@sony.com

201-930-6926

SOS GLOBAL

Platinum

Stephen Oâ&#x20AC;&#x2122;Connell

soconnell@sosglobal.com

252-635-1400

SPECTRA LOGIC

197

Corporate

Hossein ZiaShakeri

hosseinz@spectralogic.com

303-449-6400

Mobile

Mike Scotto

mikes@globecomm.com

631-974-2311

SPORTRADAR

Corporate

Stephen Byrd

s.byrd@sportradar.com

847-274-3322

SPORTZCAST

Corporate

Michael Connell

mike@sportzcast.net

321-888-3800 x101

STATS PERFORM

Corporate

Stephanie Brown

sbrown@stats.com

646-324-2444

SUPERSPHERE VR

Corporate

Lucas Wilson

lucas@superspherevr.com

310-593-1111

Isabel Najera

Isabel.najera@supponor.com

[44] 77 8988 2431

SPEEDCAST

SUPPONOR

104

Corporate

SWIFTSTACK

Premier

Vince Auletta

vince@swiftstack.com

415-625-0293

Mobile

Dominick Tarabocchia

dominick@t2computing.com

212-220-9600

T2 COMPUTING TAG V.S.

120

Corporate

Abe Zerbib

abe@tagvs.com

315-646-8400

TATA COMMUNICATIONS

166

Corporate

Utkarsh Gosain

utkarsh.gosain@tatacommunications.com

917-499-0236

TEDIAL

Premier

Jay Batista

jay.batista@tedial.com

424-645-5300 x602

TELESTREAM

Premier

Scott Murray

scottmu@telestream.net

530-470-1306

TELLYO

159

Corporate

Richard Collins

richard@tellyo.com

[44] 7799 117 269

MOBILE SPORTS PRODUCTION YEARBOOK 2020

SVG Sponsor Directory / Ad Index

SPONSOR

271

SVG Sponsor Directory / Ad Index

SVG SPONSOR

PAGE

CONTACT

PHONE

TELOS ALLIANCE

Premier

Martin Dyster

martin.dyster@telosalliance.com

717-735-3611

TELSTRA

190

Corporate

Anna Lockwood

Ana.Lockwood@team.telstra.com

877-835-7872

TERADEK

Premier

Jon Landman

jon@teradek.com

818-667-4258

THE STUDIO - B&H

Premier

The Studio Team

thestudio@BandH.com

800-947-9962

THE SWITCH

Premier

Christian Kneuer

christian.kneuer@theswitch.tv

212-239-3715

THE VIDEO CALL CENTER

259

Corporate

Larry Thaler

LThaler@TheVCC.TV

212-235-7019 x720

Mobile

Brian Carr

brian@thumbwar.tv

310-910-9030

THUMBWAR

Corporate

Greg Siers

greg.siers@tslproducts.com

301-272-0939

TVU NETWORKS

TSL PRODUCTS 144

Corporate

Ken Valdiserri

kvaldiserri@tvunetworks.com

312-316-3776

UNIQFEED

Corporate

Marcel Naef

marcel.naef@uniqfeed.com

347-401-2020

UNISAT UTAH SCIENTIFIC

Mobile

Anne Komarovsk

anne@unisatmobile.com

310-717-7643

Corporate

Barry Singer

bsinger@utsci.com

917-880-5366

V-NOVA

163

Corporate

Matt Hughes

matt.hughes@v-nova.com

[44] 7780 998 902

VERITONE

148

Corporate

Logan Ketchum

lketchum@veritone.com

818-519-0054

VERIZON MEDIA

168

Corporate

Jeff Casey

jeffrey.casey@verizon.com

908-559-2036

Corporate

Todd Erdley

todd@videon-central.com

814-235-1111

jimj@vidovation.com

949-777-5435 x1001

VIDEON VIDOVATION

250

Mobile

Jim Jachetta

VIMOND

153

Corporate

Megan Wagoner

megan@vimond.com

202-422-6844

VISLINK TECHNOLOGIES

Premier

Dana Hare

dana.hare@vislink.com

908-852-3700

Corporate

Joshua Liemer

jliemer@vistaworldlink.com

954-838-0900 x210

VISTA WORLDLINK VITAC

171

Corporate

Sales

info@vitac.com

800-278-4822

VITEC

Premier

Geol Yeadon

geol.yeadon@vitec.com

650-230-2563

VIZRT

Corporate

Mark Gederman

mgederman@vizrt.com

401-787-0120

VRMETA

264

Mobile

Peter Flood

peter.flood@aidacm.com

201-693-5451

Corporate

Roberto Duif

rduif@vsn.es

305-677-9820

WAVE CENTRAL

191

Corporate

Anthony Sangiovanni

anthony@wavecentralrf.com

973-222-5270

WESCO BROADCAST & NETWORK SOLUTIONS

157

Corporate

Mike Vivian

mvivian@wesco.com

256-604-6362

Platinum

Seth Cohen

seth.cohen@wdc.com

203-500-4099

Corporate

Brad Wright

brad.wright@wowza.com

720-608-4733

Corporate

Galit Shiri

galit@wsc-sports.com

[972] 54 471 6862

Corporate

Greg Dolan

gdolan@xytechsystems.com

347-746-4734

VSN

WESTERN DIGITAL WOWZA MEDIA SYSTEMS

131

WSC SPORTS XYTECH

ZAXCOM

122

ZAYO ZIXI

272

LEVEL

118

Corporate

Colleen Goodsir

colleen@zaxcom.com

973-835-5000

Corporate

Michael Waters

michael.waters@zayo.com

918-978-1899

Corporate

Eric Bolten

eric@zixi.com

978-853-8482

MOBILE SPORTS PRODUCTION YEARBOOK 2020

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