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SPORTS PRODUCTION 2021 YEARBOOK SPECIAL REPORT

THE COMEBACK HOW LIVE SPORTS PRODUCTION RETURNED IN THE AGE OF CORONAVIRUS

INCLUDING THE 15TH ANNUAL

BROADCAST SERVICES PROVIDER DIRECTORY and MOBILE SPORTS PRODUCTION GEARBASE


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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

13 LOOKING AHEAD

A Special Yearbook Looks Beyond the Pandemic

132

19 REFLECTIONS 2020

Sports Production Leaders Look Back on “A Year Unlike Any Other”

20 Chris Brown, Turner Sports 22 Mike Davies, Fox Sports 24 Mary Ellen Carlyle, Dome Productions 28 Patti Fallick, USTA 32 Phil Garvin, Mobile TV Group 34 Steve Hellmuth, NBA 36 Patty Power, CBS Sports 38 Peter DelGiacco, Grant Nodine, Mark Haden,Dan O’Neill, and John Frantzeskakis, NHL 42 Mitch Rubenstein, Ross Production Services 44 Dave Shaw, NFL Media 46 Susan Stone, MLB Network 48 Pat Sullivan, Game Creek Video

55 THE COMEBACK

136

140

144

148

CRISTINA ERNST, Event Operations Director cris@sportsvideo.org | 917.309.5174 ALICIA MONTANARO, Meetings and Events Manager alicia@sportsvideo.org | 646.880.4901

152

ANDREW LIPPE, Membership & Client Services Manager andrew@sportsvideo.org | 212.481.8133 SPONSORSHIP ROB PAYNE, Managing Director, Worldwide Sponsor Development rob@sportsvideo.org | 212.481.8131 ANDREW GABEL, Director, Sponsor Development agabel@sportsvideo.org | 646.998.4554 DYLAN DAVIDSON, Sponsorship Coordinator dylan@sportsvideo.org | 646.559.0435 SVG EUROPE CONTACTS 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, broadcasters, streamers, and venues have joined SVG to learn from each other, turn vision into reality, and implement innovations, while sharing experiences that will lead to advances in sports production/distribution and the overall consumer sports experience.

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.

Sports Production 2021 Yearbook © 2020 Sports Video Group. PUBLISHED IN THE USA.

How Live Sports Production Returned in the Age of Coronavirus 115 BROADCAST SERVICES PROVIDER PROFILES

120 3g Admiral Video Advanced Systems Group (ASG) AE Lives Aerial Video Systems (AVS) 124 Alpha Video Anthony James Partners (AJP) ARCTEK Satellite Production BeckTV Bexel Broadcast Management Group 128 Broadcast Services International (BSI ) Broadcast Sports International (BSI) CHESA

156

CineSys-Oceana CIS Group CTI Conference Technologies CP Communications Creative Mobile Solutions Inc. (CSMI) Diversified DNA Studios Dome Productions DX3 Media Encompass ES Broadcast Filmwerks Fletcher Game Creek Media Gravity Media Illumination Dynamics Integrated Media Technologies (IMT) KMH Audio-Video Integration LH Computer Services Lyon Video Markertek Mediapro MeyerPro Mobile TV Group Moviecom NEP PRG Program Productions Ross SHOTOVER Skycam SmartCart Technologies SOS Global Express Southworks Stevens Global Logistics T2 Computing

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

SPORTS PRODUCTION 2021 YEARBOOK

161 VENDOR SERVICES DIRECTORY 166 Crew Services 170 Generators 182 Mobile Production Units 194 Satellite Trucks 202 MOBILE SPORTS PRODUCTION GEARBASE

15th-annual SVG Mobile Sports Production Gearbase Survey results

256 AD INDEX Directory of SVG Sponsors

SPORTS PRODUCTION YEARBOOK 2021

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Looking Ahead

By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial

W

elcome to what we hope is a very special and “one-off ” edition of the SVG Sports Production Yearbook. This year’s edition has been transformed by the COVID-19 global pandemic, and it is, I am sure, everyone’s hope that, by the time next year’s edition is put to bed, our industry is on a path to normalcy. Not just a new normal but, increasingly, the old normal of being able to put energy, focus, and financial resources into the production rather than into health and safety protocols. The current situation is one of the reasons we decided to forgo our usual Executive and Engineering Q&A about the state of the industry. Instead, we are offering Executive Perspectives from leaders in the industry. Every organization responded in a different way to the COVID-19 pandemic. And for good reason: every production was truly different this year as the days of “rinse and repeat” gave way to “plan, test, quarantine, plan, wash hands, wear mask, go home, quarantine, repeat.” And that is why we wanted to give some of the industry’s most important leaders a chance to reflect on those efforts. What were the initial challenges in getting back to producing events? What lessons were learned? And what are their thoughts as to how their team and the broader industry responded? Those Executive Reflections are complemented by a special report on “The Comeback.” That special report takes you inside and behind the scenes of the return of nearly every major professional league, college sports, and standalone events. In a way, this year’s edition is a celebration of all those efforts, efforts that have allowed members of the sports-production community to put food on the table, pay a mortgage and rent, and get back to work. Unfortunately, there is still much work ahead, much of it outside the control of our industry, to continue to get more and more people back to work. When they do get back to work, the mix of new workflows and old workflows will create some new opportunities but also, most likely, eliminate some positions. There will be pain ahead, although, for those willing to embrace new ways of doing things, there will be a chance to do more. More and more freelancers will have an opportunity to work from home, with control panels, both physical and virtual, tying them to replay servers, audio mixers, production switchers, graphics devices, and more. Those work-from-home efforts will have an effect on the future of truck design, which has always been at the center of SVG’s Yearbook. Future editions, and nearly all of SVG’s efforts, will reflect new realities, new opportunities, and new challenges. Simply put, a world free of the coronavirus will allow a completely new era of sports production to begin. An era that promises to, ultimately, bring together the best of new technologies, new workflows, and new creativity and production excellence.

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, VENN, CTO Steve Hellmuth, SVG Chairman Emeritus and NBA Entertainment, EVP, Media Operations and Technology Jeff Jacobs, VENN, EVP and GM Patty Power, CBS Sports, EVP, Operations and Engineering Tom Sahara, SVG Chairman Emeritus and Industry Consultant Susan Stone, MLB Network, SVP, Operations and Engineering

Association Leadership

A Special Yearbook Looks Beyond the Pandemic

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, Industry Consultant Michael Cohen, Industry Consultant Don Colantonio, Industry Consultant Scott Davis, CBS Sports, VP of Broadcast Operations Jim DeFilippis, Industry Consultant Ed Delaney, Industry Consultant Jed Drake, Industry Consultant David Dukes, PGA Tour Entertainment, Senior Director, Technical Operations Jerry Gepner, CP Communications, COO Steve Gorsuch, Industry Consultant Ken Goss, NBC Sports Group, SVP of Remote Operations and Production Planning Mark Haden, NHL, Group VP, Broadcast Technology Ed Holmes, The Holmes Group, Principal Deb Honkus, NEP Broadcasting, Chairman of the Board George Hoover, Industry Consultant Darryl Jefferson, NBC Sports Group, VP, Postproduction and Digital Workflow Robert D. Jordan CFE, 1337 Facilities, CEO; Venue Road, Founder John Kvatek, 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 Steve Stum, NASCAR Productions, VP, Operations and Technical Production Patrick Sullivan, Game Creek Video, President Jason Taubman, Game Creek Video, VP, Design/New Technology Larry Tiscornia, 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

SPORTS PRODUCTION 2021 YEARBOOK

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Reflections 2020

Reflections 2020 SPORTS PRODUCTION LEADERS LOOK

BACK ON “A YEAR UNLIKE ANY OTHER”

W

hen the pandemic hit the U.S. full force in early March, sports production was forced to accelerate technology changes that were already in motion but not expected to happen for several years. Health and safety came to the forefront of production concerns at the same time as engineers were racing to enable talent and tech to work from their homes. As always, the production industry came together as a family to deliver sports television to a public that was hungry for live entertainment.

SPORTS PRODUCTION 2021 YEARBOOK

19


Reflections 2020

An Industry Breaks Broadcasting Norms to Bring Sports Back to TV By Chris Brown

VP, Sports Production Tech, Turner Sports

T

he year 2020 began for Turner Sports with the death of an NBA legend, Commissioner David Stern, followed closely by the loss of another NBA great in a much more tragic and impactful way: Kobe Bryant, his daughter, and six others close to the Bryant family were killed in a helicopter crash. In many respects, those two incidents would mark what was to become a year to remember. The 2019-20 NBA season came to an abrupt halt the Thursday before Selection Sunday for the NCAA Men’s D1 basketball tournament. That night, our production teams and technical crews were in place in L.A. and Milwaukee with hopes of producing our two featured NBA on TNT games for the evening. Shortly after that, the NCAA decided to call off the 2020 tournament. Looking back, I think it is fair to say that, at that time, we had absolutely no idea what was in store for us. We had no idea that what would come next would be the beginning of a seismic shift in what would become the future of live sports production. It thrust health and safety into the spotlight, and that has become more important than ever. When I look back on this past spring and summer, I am amazed at how the industry came together as a community, all with the same goal: to produce live sports content, breaking all of the “norms” of conventional broadcasting. From on-air talent and production and technical people managing their roles from home to splitting the broadcast compound between sports venue and broadcast studio. Given the willingness of each group, whether production or the operations and engineering team, to come together, make compromises, and pull everything together, it was great to be a part of such an important effort. As I thanked all of those on our teams at Warner Media, I felt it important to remind everyone how important our role in society is as professional sports broadcasters. We each play an important role in bringing live sports to the public at large. That role is to entertain and inform, to provide our fans with moments where we can all forget about the pressures of the world around us and rally together as family, friends, or team adversaries. It is our job in sports to figure out how to tell the story as thoughtfully and as meaningfully as possible and then deliver that story into homes, showcasing the latest tools that technology has to offer — both seen and unseen. I am so happy to call this Warner Media team, this entire community, my “sports family.” Robotic cameras play a big role in NBA coverage at the Wide World of Sports in Orlando.

20

SPORTS PRODUCTION 2021 YEARBOOK


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Reflections 2020

Escalating Sports Production at a Breakneck Speed By Mike Davies

SVP, Technical and Field Operations, Fox Sports

O

perational Tempo (Optempo) is a military term that compares the speed and intensity of actions relative to that of the operational environment. To say the least, this industry is working at high Optempo, sometimes to an extreme. It wasn’t always this way. In fact, if we can think back to “years” ago — March and April 2020, specifically — there wasn’t much going on at all. It was a scary, uncertain time when the wheels of sports production ground to a halt and left us all wondering how this was going to unfold. In those heady days, we worked to unwind what we were doing and attempt to figure out how we were going to accomplish what was next, whenever that was. Since then, it has been a time of at first gradual and then breakneck production escalation as we move back into oddly scheduled seasons; scheduled, then rescheduled productions; bubbles and quasi-bubbles; and a variety of new safety protocols that have changed the very nature of how we get things done. One thing has not changed, though, and that is the resilience and ingenuity of our teams in the field and in our studios, not to mention the manufacturers who worked hard to churn it all out. The necessity of producing shows in a far more distant and distributed manner has announced a new era in accelerated technological advances, as these new workflows get ready for their collective close-up. The state of the industry is strong, even as it reinvents itself in real time. What this has done is add to the Optempo of those working the events, sometimes squeezing what would normally be months of events into a matter of weeks. Because every event takes 10 times the usual amount of time to coordinate in advance and twice the amount of time to execute onsite, a weary yet dedicated industry follows its course, responding to the slings and arrows that have been thrown at it.

22

SPORTS PRODUCTION 2021 YEARBOOK

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Reflections 2020

The Show Must (Safely) Go On! By Mary Ellen Carlyle SVP/GM, Dome Productions

O

ne night back in March, a few members of the Dome team got together at the Sportsnet Grill. It was there we heard collectively that a Utah Jazz player had tested positive and that the game would be canceled. Little did we know when we left that night, our world as we knew it would change. One by one, our events were canceled. Immediately, our scheduling group sprang into action to ensure the safety of our freelance crews and staff engineers who were spread throughout North America covering MLS, NHL, and NBA 2K. We were informed that some might have come in contact with individuals who had tested positive for COVID. Who would have thought we would have protocols for quarantining, but now we do: 14 days quarantine if you experience COVID symptoms or come in contact with someone who has COVID. As the world of sports shut down, our NBA 2K client, Defacto Entertainment, would not surrender: “The show must go on!” Dome’s distribution and engineering team was challenged to come up with a technical solution that allowed players to remain in team houses, casters in their own homes, production in Vancouver, technical-production facilities in Toronto, and the overall executive producer in New York. Did we mention that everyone had to hear each other, see all the sources, and experience minimal latency?!? These new workflows introduced by the Dome team are now considered regular daily routine. While the NBA 2K season continued, other Dome team members were attending SVG’s Clean Freaks weekly sessions to ensure that our business comes back in such a manner that our clients, technicians, and employees are not only safe but also have the confidence that we will provide them with a safe working environment. Plexiglass, sanitizers, bubbles, declarations, “to-go bags,” and clean boxes are all new terms in our regular conversations. Thanks to Clean Freaks and unbelievable companies within our industry, Dome Productions was ready for sports’ restart. Woodbine Entertainment/TSN was the first to be back, with horse racing. A trusted partnership and extreme collaboration allowed a successful and safe return to sports. Next was the return of the NHL, where we were introduced to the “bubble.” Dome received the call to provide technical facilities and crew for the qualifying rounds through to the Stanley Cup. As we have an abundance of hostbroadcast experience, the technical specs were familiar, but nothing could have prepared us for the personal challenges that arose for team members living in a bubble for more than 75 days. Next was the restart of the NBA, where we provided a “REMI on steroids” for the local Raptors home show within another bubble presenting a whole new set of challenges relating to audio/video delays. Then, the restart of MLS — all becoming routine in our new world. When I was asked to write my reflections of 2020, it was suggested that I “give shout-outs to staffers and others who made a difference.” At Dome Productions, we are truly a team that came together, each playing a role to ensure a safe restart of remote production. I believe my team would agree with me that there is only one person we will remember in 2020, and that is Norm Liepold, our engineering maintenance manager, whom we lost during these unprecedented times.

24

SPORTS PRODUCTION 2021 YEARBOOK

Plexiglass, sanitizers, bubbles, declarations, “togo bags,” and clean boxes are all new industry terms; thanks to Clean Freaks and others, Dome Productions was ready for sports’ restart.


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.

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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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Reflections 2020

The Power of an Unfaltering “Get it Done” Attitude By Patti Fallick

Managing Director, Broadcast, USTA

T

he 2020 US Open was played on its regularly scheduled dates at its home, the USTA Billie Jean King National Tennis Center in New York. In this tough and trying year, beset by the global COVID-19 pandemic, that was not just good news; it was remarkable news! The successful staging of this year’s US Open was testament to the hard work, dedication, and support of many, including our US Open Domestic Broadcaster and Host Broadcaster, ESPN, and our Global broadcast partners. The US Open was played without fans and governed by strict safety protocols. The considerations were enormous to make this happen; U.S. government, foreign governments, New York State, and New York City all played key roles. We needed to arrange for 1,800 visas and no quarantine, not only for the players but also for the Gravity Media crews, ATP Media crews, production staff, and announcers. And then there was staffing, logistics, partnership fulfillment, medical preparedness/testing, the fan at-home experience, social distancing, sanitizing equipment, segmenting bathrooms, safely providing more than 40,000 “to-go” meals for the crews, enforcing safety guidelines, and more for a compound that had 700 persons onsite. We had to be vigilant for six weeks, not only for the US Open but also for the Western and Southern Open, which was held prior to the US Open. The efforts embodied the professionalism, respect that the team had for each other, expertise, positive attitudes, commitment, and heart that led us all to two successful events. The US Open provided opportunities for vendors, freelancers, and announcers, many of whom had not worked for many months. This meant a great deal to me personally and provided motivation on a daily basis. The unfaltering “get it done” attitudes of Jamie Reynolds and the ESPN team, the Gravity team, Nick Romano and the NEP team, Filmwerks, Veritone, Thumbwar, Boardwalk, Greyline, and the USTA world-feed production team led by Jennie Silverstein, our world feed and radio announcers, and our USTA team led by the remarkable efforts of Dayna Navatta — all were the silver lining and true gift to this US Open. That we did it under the most challenging of circumstances, with laughter and good spirits, is even more impressive. Our hope is, everyone continues to stay safe and well and celebrates their contributions to this historic 2020 US Open.

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SPORTS PRODUCTION 2021 YEARBOOK

Masked, socially distanced interviews helped share the players’ stories from the site of a US Open without fans in the stands.


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Reflections 2020

Finding Opportunities Amidst Unprecedented Upheaval By Phil Garvin

President, Mobile TV Group

F

or mobile-unit vendors, 2020 was an exercise in survival, taking care of employees and trying to anticipate inevitable changes in our industry. Seminal upheavals such as we are experiencing are an occasion for companies to re-examine their priorities and look for opportunities to offer technological solutions for the new environment. At Mobile TV Group, we decided to continue investing in the future while using much of our cash to minimize disruption to employees’ income. So we proceeded with our plans to build new mobile units (including 48 FLEX and 49 FLEX-CC). And we completed the R&D of Cloud Control, MTVG’s response to networks’ demands for more and better remote production. On Sept. 25, MTVG successfully demoed Cloud Control using a “visitor feed” of an MLB game. Altitude provided a producer, director, EVS operator, and graphics and bug-box operators for a full-blown Cloud Control production. It was shown on a Zoom feed so that anyone interested could see it and ask questions. The response was very positive because the effort was able to achieve production quality equal to pre-COVID visitor feeds but without exposing production staff to the cost and risk of traveling to events. We expect to roll out Cloud Control for many RSNs for the upcoming NBA and NHL seasons and beyond. One “good” result of COVID is that the leaders and engineers of the four leading mobile-unit vendors in the U.S. and Canada have had several virtual meetings to find common ground on how to deploy such remoteproduction systems.

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SPORTS PRODUCTION 2021 YEARBOOK

MTVG’s successful Cloud Control MLB demo was born of necessity and will roll out for many RSNs next season and beyond.


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Reflections 2020

Unity of Purpose and Creative Partnerships Key to NBA Restart By Steve Hellmuth

Executive Vice President, Media Operations, NBA

W

ith Adam Silver and the Players Association leading the way and Disney providing a venue at ESPN’s Wide World of Sports, along with a schedule of games, the NBA broadcasting community — including ESPN, TNT, NBA TV, and the regional sports networks, supported by our important vendors and technology providers — plotted the restart of the NBA season. The NBA greatly benefited from the decade’s-long partnership with ESPN and Turner Sports, as well as the integration of the NBA’s in-house LP&E (Live Production and Entertainment) unit. A working relationship forged over many All-Star Games and Finals allowed the team to ideate and build the studios at the NBA arenas in Orlando. The medical success of “The Bubble” came from unity of purpose. We were all united by respect and a focus on keeping each other healthy. Testing was axiomatic, but most important, as Dr. Leroy Sims, the NBA doctor in charge of The Bubble reminded us frequently, stick with the big prevention fundamentals: wear a mask, maintain distance, eat outdoors only, keep your hands away from your face, and use good judgment always. From my notebook of April 2, 2020, the guiding principles for media in the restart: • Innovative Game Production • Personalization • Community • Arena Experience Much of the innovation on display at the Restart in Orlando was developed at the Summer League in Las Vegas with ESPN and Turner. While ESPN and Turner produced games for air, the NBA maintained a full production truck for innovation (a place to fail) staffed with NBA RSN production personnel; much of the content did not go to air. ESPN’s Eddie Okuno and Turner Sports’ Chris Brown were present and engaged, and together we developed a rail-cam, experimented with the court-side cameras, established new, better slashcamera locations, and robotic camera placements. The initial testing on virtual placement that resulted in the TNT on-court shot clock was conducted at the Summer League and helped guide the extensive and successful use of virtual signage in Orlando. At the Summer League, the NBA engineering under the direction of Dave Barry learned to install and operate the HSAN

34

SPORTS PRODUCTION 2021 YEARBOOK

The robotics control room at the NBA Production Center

to accommodate the needs for the operation of the Replay Center, content creation, and program transmission. In Orlando, the NBA used encoding gear from three NBA arenas to create 66 paths from Orlando to Secaucus with 18 return paths. The NBA was virtually connected via a 255x255 router onsite integrated with the Secaucus router via Evertz Magnum. This onsite router, dubbed the IBC (International Broadcast Center), distributed all signals in the venue for Turner Sports and ESPN as well (with great assistance from NEP engineering). The in-arena atmosphere was conceived by Carlton Myers of NBA LPE to represent a dynamic basketball theater with the designated home-team game production director in the lead, controlling the videoboards, the music, the fan prompts, the in-venue announcer, and the crowd. The court was surrounded with four speaker clusters that brought an in-venue audio experience to the players, the players responded well, asking the LPE crew to turn it up. This worked very well for broadcast, with the mixers using in-venue ambient and direct sources to create a mix that protected the players. The Michelob Ultra Fan Zone featured fans virtually on 17-foothigh video walls, which was made possible by delivering low-latency feeds to fans who signed up for the experience. It was difficult, but when former President Obama joined a group of Legends for the first game of the Finals, we knew we had arrived. All are on board for a new season — with the cadence of a regular season we look forward to again connecting with NBA fans to bring the game to them anywhere and on any device.


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Reflections 2020

Turning Our Biggest Challenges into Our Biggest Triumphs By Patty Power

EVP, Operations and Engineering, CBS Sports

With no fans in the stands this NFL season, Skycam will have extra space to fly.

O

ur team had a great start to 2020, great NFL playoffs, and a fantastic start to the PGA TOUR and was preparing for another NCAA Men’s D1 Tournament and Masters. Then came March 12, and everything was turned upside down. We were days away from the NCAA tournament and in the middle of conference championships, when everything was canceled and the Masters and PGA TOUR were postponed. We had to unwind all of our work in very short order and make decisions that would impact our crews immediately. On top of that, our Broadcast Center was closed due to COVID, and, although all live sports were suspended, we still had daily shows and weekend programming that we needed to return to air. The team quickly devised a plan to deliver audio and video equipment to our teams so that they could operate from home in a virtual control room and our talent could broadcast from home. It was a massive undertaking in a short time, but nothing compared with what followed. Given the week of June 8 as the return for the PGA TOUR, with health and safety as the priority, we had a little over two months to reimagine how to produce live golf.We relied more on technology as we reduced on our onsite footprint with the majority of our staff working remotely from around the world.We changed the entire workflow, adding mobile units onsite and reconfiguring them to maximize social distancing. It was a major adjustment for all involved, but it worked, and we were proud to lead the industry back to producing multiple-day, weekly events with great success. We learned many lessons, which we have applied to our return to football and will continue to use as we move forward in all our production, operations, and engineering planning. This was an amazing team effort. The teamwork, collaboration, and communications were key to our success. Without the leadership of CBS Sports Chairman Sean McManus and President David Berson, the partnership with EVP/SVP Harold Bryant and his production team, along with the innovation and ingenuity of my operations team — Mike Francis, Jason Cohen, Scott Davis, Greg Coppa, Marianne Fischer, Tom McShane, Ed Coleman, Mike Angeloni — we would not have been as successful as we were. Special thanks to Rodney North and his team, who led our health and safety initiative and helped establish our protocols. For many, it was the biggest challenge of our career, but, as we continue working together in this new landscape, we believe, in the end, it will be one of our biggest triumphs. Looking forward to the challenges of 2021!

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Reflections 2020

Bubble Broadcasting: How the NHL Pulled Off “Return To Play” by Peter DelGiacco, Grant Nodine, Mark Haden,Dan O’Neill, and John Frantzeskakis

DelGiacco CTO, NHL

Nodine

SVP, Tech, NHL

Haden

VP, Engineering and IT, NHL

O’Neill

VP, Arena and Event Operations, NHL

Frantzeskakis VP, Arena/Game Technology, NHL

O

n Sept. 28, the Tampa Bay Lightning were crowned 2020 Stanley Cup Champion after defeating the Dallas Stars in Game 6 of the 2020 Stanley Cup Final to end an unprecedented postseason that started with players arriving in the hub cities of Toronto and Edmonton on July 26 and ended with Tampa Bay captain Steven Stamkos hoisting the Stanley Cup surrounded by teammates — nearly one year after the 2019-20 season began on Oct. 2, 2019. The clinching victory came 363 days after the puck dropped on the regular season, 201 days after the pause began, and 65 days after players entered “bubbles” in Edmonton and Toronto for a postseason unlike any other in league history. The NHL became the first North American major professional sports league to successfully complete its season. The two highly complex, secure bubbles in Toronto and Edmonton included administration of 33,394 COVID-19 tests to the 24 teams’ players and staff with zero positive test results. The NHL’s Return To Play plan and bubble success presented 1,042 hours of Stanley Cup Playoffs broadcast coverage across North America. Games were also broadcast worldwide to more than 160 countries and territories, using a host/world-feed broadcast system (NBC in Toronto, Rogers in Edmonton). It was a challenge for all involved to keep everyone safe, along with supporting the needs of the NHL’s national and regional rightsholders as part of the world-feed format. Rightsholders produced the shows remotely, minimizing More than 20 cameras, including five robotic cameras shooting in super-slo-mo, covered all the action at Rogers Place in Edmonton.

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SPORTS PRODUCTION 2021 YEARBOOK


Reflections 2020

The NHL hosted Stanley Cup Final Games 4 and 5 in Edmonton.

the number of personnel onsite. Every NHL staffer worked tirelessly, leading up to and in the hub cities. Leading the technical project were the NHL’s Peter DelGiacco, EVP/CTO; Grant Nodine, SVP, technology; Mark Haden, group VP, broadcast technology; Dan O’Neill, VP, arena and event operations; and John Frantzeskakis, VP, arena technical operations. Leveraging the NHL’s extensive outdoor-event experience, the crew designed, rigged, and built in-arena stages, LED displays, theater-style lighting rigs, and graphic displays, transforming the respective arenas into a sophisticated, giant television studio, flooding the arenas with as much visual excitement as the cameras could take in. The world feed featured enhanced in-game audio and an arsenal of cameras, including super-slo-mo robotics, around the rink and in the dasher boards, and JITACAM, which enabled producers and directors to showcase the sounds, speed, and skills of each game. The NHL worked with EA Sports, NBC, and Rogers to design and deploy a solution based on the Ableton Live software platform to dynamically change the sound of the crowd to correspond to the action on the ice. The mixers did an incredible job of providing that layer of sound both on the broadcasts and in the bowl. In fact, one day, the house PA forgot to track it, and the players pointed this out immediately. With no fans in the stands, player profanity could be easily heard, so Ross’s Air Cleaner was deployed. Its advantage was to garble the on-ice audio instead of blanking it out. Evertz’s Scorpion MIO solution was used to delay the myriad signals being ingested remotely in the rightsholders’ Integration-Control Rooms (ICRs). Having a plethora of score-bugs shipped to site made no sense to the NHL. The scoreboard serial data was wired into an Evertz card, shipped out, de-embedded by the end users, and wired into score-bugs in the respective ICRs. With up to three games per day in the early rounds, the league had to significantly increase the content-capture and -distribution systems. Zixi was deployed to enable multiple end users to get content quickly, efficiently, and with high-quality monitored delivery. The NHL’s puck- and player-tracking technology system and virtual graphics were successfully integrated into NBC’s and Rogers’s broadcasts during the Conference Finals and Stanley Cup Final. Contributing effort, collaboration, and expertise in support of such a dynamic event were the NHL’s partners and vendors: Rogers/Sportsnet, Dome Productions, NBC Sports, NEP, Cat Entertainment Services, World Stage, SoloTech, HoTopp, AWS/Elemental, Apple, SAP, Daktronics, Aurora Productions, JITACAM, SMT, Fletcher, Bexel, All Mobile Video, Ross Video, SOS Global, Kenny Lighting, Arup, Evertz, CenturyLink, The Switch, Zixi, Encompass, and Just Lighting These games were a challenge to plan, build out, and run but were a major success. A lot of work but worth every minute!

SPORTS PRODUCTION 2021 YEARBOOK

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• Managing Costly Live Production

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Reflections 2020

Reinventing Our Company and Our Industry by Reinventing Ourselves By Mitch Rubenstein

President/Executive Producer, Ross Production Services

A

fter the weekend of March 14-15, I knew that events would be going away for us for the foreseeable future. What I did not know was how and when they would return. My message and blueprint I’d leave behind: We can reinvent our company by reinventing ourselves, and, through the process, we can help reinvent and restart our industry. I told my team, Let’s not just wait for events as we know them to come back for us to start working again; let’s find a way to work again and make ourselves a needed part of our industry and let’s help bring them back. I knew we’d be working from home, so communication was key, how we worked together and still pushed ourselves. Every week, we set goals to get better as individuals and as a company. Following the message “Find ways to contribute,” we began to innovate and find a new even more elevated place in our industry. Ross Mobile Productions became Ross Production Services (RPS), with an even greater focus on innovation through collaboration with our partners. We created the Ross Cloud Solution and our Ross Production Portal, allowing on-air talent and production people all over the world to work together with us from home. When Reese Witherspoon was talking to Jennifer Aniston on a show in our Production Portal created by our talented staff and I saw fans on College GameDay come in through our Cloud Solution, I knew we had truly evolved. Our RPS team worked long hours, stayed safe working alongside Tennis Channel, World Team Tennis, WNBA, College GameDay, CBS, Athletes Unlimited, EA, BoomBox, NBC, Red Bull, and others, doing our part to let broadcasts continue while bringing an innovative and new approach to live production with all of our Ross products. At Ross, we work every day under a code of ethics with numbers one and two being, respectively, that we will always act in our customer’s best interest and we will do our best to understand our customer’s requirements. Our code guides us daily, and, through this past year, we were able to act on it to an even greater extent, and we’ll continue to do so as the industry turns to us for forever expanding production needs. In December, we will have three brand-new state-of-the-art Ross control rooms for at-home production and any and all customer needs in our 25,000-sq.-ft. Wallingford, CT, facility. The Below the Rim camera system was powered by Ross Video’s Furio live robotic system.

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Reflections 2020

Tackling the Impossible: From a Virtual Draft to a Season Kickoff By Dave Shaw VP, Production, NFL Media

W

hen the COVID pandemic hit in March, the Super Bowl had been played. Timing did not affect our league business as much as other sports leagues, but we did have one of our pillar events, the NFL Draft, quickly upon us in April. Instead of preparing for a year, we worked with the NFL Events team on transforming a live gala in Las Vegas into a “live virtual” event in coordination with our friends at ESPN. Nobody had yet done a live virtual event of this magnitude. Live coverage using more than 600 at-home cameras was delivered by an amazing team and a solid plan that was concocted in a few weeks. NFL’s IT team (led by Michelle McKenna, John Cave, and Aaron Amendola) coordinated hundreds of iPhone/light kits and helped coordinate a workflow with AWS. Our NFL engineering team, led by superstar Bruce Goldfeder, tackled the live connectivity working closely with DTAGs (led by all-around great guy Mike Burk), which championed his facility. At-home talent (AJ Wainwright and Mike Cunningham) used Azzurro’s reliable system/team and used LiveU. Bjorn Estlund created at-home setups. Brad Boim spearheaded in-cloud editing along with Zach Saile. Traffic flow was handled through three call centers: Van Wagner (Bob Becker and Nate McCoart) handled the clubs’ GMs and HCs; VCC (Larry Thaler) worked with player prospects coordinated by the NFL Business Development team, and The Famous Group using Vixi managed fan reactions. Since April, we all have adjusted to COVID safety issues, and mask-wearing, disinfecting, testing, contact tracing, 6-ft. distancing, UV filters are commonplace now. At NFL Media, it is no different. While the league spent a lot of time and is commended for getting the season off on time in safe environments, we, too, have been doing the same at our facilities, both current and future (when we open in 2021). Our operations team (Jessica Lee, Leon Schweir) and engineering team (Bruce Goldfeder, Jim Naughton, Lorey Anders, and others) have reimagined our stage programming to accommodate 25% staffing in the facility, with most people working from home. Our graphics team has developed dynamic backgrounds for in-house talent and adjusted to on-air changes. We continue to feel for all of those affected most by COVID and the surrounding events, including our core of freelance personnel, and look forward to whatever the new normal becomes in the future. Instead of preparing for a year, Shaw worked from home with the NFL Events team on transforming a live gala in Las Vegas into a “live virtual” event in coordination with ESPN. Nobody had done something of this magnitude ever before.

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SPORTS PRODUCTION 2021 YEARBOOK


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Reflections 2020

Passion and Innovation Drive the Runs Home By Susan Stone

SVP, Engineering and Operations, MLB Network

A

s we look back at the 2020 Major League Baseball season, I am proud to reflect on the creativity, adaptability, and resiliency of the MLB Network team this year. On March 16, MLB Network produced its last shows from our Secaucus, NJ, studios and control rooms for, unbeknownst to us, what would ultimately end up being 100 days. At the time, we hoped it would be a brief hiatus. Our extraordinary tech team thrives on a challenge and started brainstorming ways to produce studio programming remotely. On March 18, Steve Mellace, one of MLB Network’s lead technical directors, developed an idea for a turnkey production-fromhome solution. Steve had been volunteering in the media department of a local school district during which time he had worked with vMix. Gauntlet thrown. Within days, Jake Soto, Dan Stillwell, and the NTT Ballpark Cam team quickly deployed at-home camera kits for our on-air talent. Tony Giner, our lead tech manager, spent hours on end working talent through the technical setup via Zoom and FaceTime. Curt Bose and Kyle Arrowsmith from studio engineering spooled up a Unity solution for comms and figured out how to pass the vMix NDI signal through a Newtek Tricaster to get an HD-SDI output. The Tricaster had fortuitously just been purchased for a separate project pre–COVID-19. Brian Perkins and his IT Production Systems team had serendipitously introduced Singular (cloud-based) graphics earlier this year for set-content purposes and was able to leverage that technology for graphics insertion. Gregg Bishop, Josh Lee, and the postproduction team introduced us to the concept of TGX licenses, which allowed our producers to VPN into their Secaucus-based edit machines remotely. We purchased 10 licenses at the time and now have 60 in our arsenal. Working alongside SVP of Production Dave Patterson, Senior Coordinating Producer Rich Ciancimino, and the production team, we successfully executed our goal to produce MLB Tonight remotely on March 25 for “Opening Day at Home.” As 2020 comes to a close, our dedicated team continues to provide comprehensive baseball coverage by confronting every challenge with passion and innovation.

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SPORTS PRODUCTION 2021 YEARBOOK

Arizona Diamondbacks’ Chase Field was the first MLB stadium to experiment with fake crowd noise.


Reflections 2020

The Mark of Greatness: How an Organization and its People Respond to Adversity By Pat Sullivan

President, Game Creek Video

O

n March 12, Game Creek’s Encore production facility was midway through the Big East Men’s Basketball Championship quarterfinal game when the game and the balance of the tournament were canceled due to the pandemic. March 13, 2020: Game Creek Video was scheduled to provide production units for 13 events around America. They were all canceled or postponed. Between March 14 and Sept. 1, at least 671 events were either canceled or postponed. On March 16, the collective leadership of Game Creek started planning for our business life as we knew it at that time. What evolved after the virtual shutdown of our revenue was an incredible story of dedication, ingenuity, perseverance, and cooperation. Our primary concern and objective were to keep our engineering, transportation, logistics, and office staff safe, employed and engaged. Our finance team went to work with our bank group, formulating projections for a 30-, 90-, and 180-day shutdown. Little did we know we would soon be working on 18-month plans. Our logistics, human-resources, transportation, and operations teams jumped in with both feet, developing and executing safety protocols for the office and our mobile units. This was accomplished in the face of little or no guidance from our government, which was issuing conflicting guidelines for dealing with the spread of the virus. Our engineering team established a series of training seminars with our leading vendors. Every day, from March 30 to June 1, there were seminars on equipment operation and maintenance as well as sessions conducted by our staff on such things as show preparation. We had 80% of our staff participate in these seminars. The engineering team then went to work developing and then deploying GCV Anywhere, a solution that will enable production teams to maximize their capabilities remotely. As travel becomes a more pressing concern for all, Game Creek continues to promote new services that maximize the connectivity-component design of the Game Creek fleet. We are pleased with how this has evolved and excited to present more solutions to our clients as the pandemic creates new avenues for production. The mark of a truly great organization is how the people in that organization respond to adversity. While we have a long way to go to get back to normal, the last several months have set the table for many years of unlimited potential. Game Creek Video’s engineering team responded to the pandemic by developing a range of new services. Pictured: a remote monitoring and contribution setup in a conference room at Hudson, NH headquarters.

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SPORTS PRODUCTION 2021 YEARBOOK


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Reflections 2020 52

Because Media Happens Everywhere

SPORTS PRODUCTION 2021 YEARBOOK

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The Comeback: HOW LIVE SPORTS PRODUCTION RETURNED IN THE AGE OF CORONAVIRUS

W

Since the return of live sports productions, broadcasters have implemented extensive testing protocols across the board in order to keep crews safe and healthy.

hen the pandemic caused the U.S. sports world to suddenly grind to a halt in mid-March, broadcasters and live-event producers were faced with one of the greatest challenges in the industry’s history: how to bring back live sports broadcasts safely. In the ensuing months, sports broadcasters, technology vendors, and production-service providers worked together to develop unique new workflows — both onsite and remote — that would pave the way for live sports broadcasts to resume. Despite a litany of unknowns and a 2020 sports calendar thrown into chaos, all four major U.S. sports leagues returned along with the bulk of the major American sports events — providing a muchneeded respite for content-hungry sports fans struggling during the pandemic. The ensuing pages provide an in-depth look at the industry’s monumental efforts to bring back live sports production in the face of coronavirus. SPORTS PRODUCTION 2021 YEARBOOK

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THE COMEBACK

Early Days of the Pandemic: Esports, NFL Draft, and PBR W

hen the traditional sports world came to a grinding halt in March due to the coronavirus pandemic, the esports world soldiered on, hosting online competitions with players competing remotely. Major esports entities like Riot Games (League of Legends), Activision Blizzard (Overwatch League and Call of Duty League), EA (Madden, FIFA, and Apex Legends), the NBA 2K League, and many others created new cloud-based virtualized live-production workflows that allowed both players and production crew to be located safely at home. Just over a month into the pandemic shutdown, the NFL

Draft provided a much-needed respite for content-hungry sports fans. The NFL Draft is a live production that has never been short on obstacles, annually presenting ESPN and NFL Media production staff with brain-bending puzzles that they thrived on solving. This Draft, though, was something totally different. ESPN, NFL Media, and an army of vendors were forced to come up with whole new scheme for the nationwide production effort, which spanned from ESPN’s Bristol, CT, campus to the NFL Network to the homes of NFL Commissioner Roger Goodell and NFL GMs, coaches, and Draft prospects around the country. ESPORTS LINKS Riot Games Keeps League of Legends Esports Rolling With Fully Cloud-Based Virtualized Workflow Activision Blizzard Esports Blazes Cloud-Based RemoteProduction Trail With Grass Valley’s New GV AMPP Platform EA Gets Apex Legends Esports Back On-Air With Cloud-Based Remote-Production Workflow Vindex, NGE Spin Up New REMI Workflows To Serve Live Online Esports Productions

Top: Overwatch League caster Soe Gschwind enjoys her lunch while announcing live OWL action from home earlier this year. Bottom: The Twitch Rivals production team has teamed up with NGE to produce its events using a fully at-home workflow.

continued on page 60 58

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THE COMEBACK — Esports, NFL Draft, and PBR continued

PBR (Pro Bull Riders) became the first U.S. sports entity to return to action in late April with the PBR Las Vegas Invitational. PBR returned to action with the help of a number of safety protocols designed to ensure that everyone involved in the production was as safe as possible. In doing so, it helped to develop early best practices not only for TV production in the age of coronavirus but also for the safeguards to ensure production crews, venue personnel, and competitors stay safe and healthy.

Above: The NFL Draft proved to be one of the most complex live productions in history, as NFL Media, ESPN, and their partners were forced to create a virtual workflow that entailed managing hundreds of feeds from players, coaches, GMs, fans, and the commissioner across the country. Left: NFL Media’s TOC for the Draft was located at the DTAGS facility in Tulsa (shown), while most of its production team was located at their homes. As for ESPN, much of the crew also worked from home, while others at ESPN’s Bristol, CT, campus operated under socialdistancing guidelines with no more than seven in control rooms, and all were directed to wear facial coverings.

NFL DRAFT LINKS NFL Draft 2020: ESPN Production, Disney DTCI Technology Teams Tackle Most Unique Draft Production Ever NFL Draft 2020: NFL Media Deploys iPhone Production Kits, Coordinates 600+ Live Feeds To Bring Virtual Draft to Fans NFL Draft Reflections: How The Video Call Center Took Viewers Inside 58 Prospects’ Living Rooms PBR LINKS No Bull: PBR Embraces Testing, RVs, Social Distancing to Get Back to Action

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SPORTS PRODUCTION 2021 YEARBOOK

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THE COMEBACK

NASCAR, IndyCar Lead Return of Motorsports MOTORSPORTS LINKS

A

cavalcade of motorsports returned to the track in May, led by NASCAR, which kicked things off with The Real Heroes 400 at Darlington Raceway. NASCAR and Fox Sports shifted into overdrive and worked with track officials and all of the racing teams to get NASCAR back in action. Crew safety has always been a top concern at NASCAR given the nature of the sport and a busy pit road and garage area. The pandemic adds a totally different level of safety demands, and every decision NASCAR and Fox made was to maximize that safety in light of the coronavirus.

Motorsports continued to lead the way in the return of live U.S. sports with the 2020 MotoAmerica Championship rolling out in late May after a nearly two-month delay. MotoAmerica’s production partner, LDM Worldwide, rolled out a production (which aired on FS1 and FS2) at Road America in Elkhart Lake, WI, that emphasized the crew’s safety while maintaining the broadcast quality that MotoAmerica fans have come to expect. Next up was NBC Sports’ presentation of Monster Energy AMA Supercross at Salt Lake City’s Rice-Eccles Stadium. For Feld Entertainment, the network’s production partner, putting on a great broadcast was an objective, but the well-being of all onsite crew members was of utmost importance. Another major motorsports property returned to the track in early June when the 2020 NTT IndyCar Series launched at Texas Motor Speedway. With live sports content at a premium

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Fox Sports Set for Return of NASCAR; L.A. Production Team to Handle EVS, Graphics Steve Stum of NASCAR Productions on the Challenge of Getting Back to Racing in the Age of COVID-19 The Return of Live Sports Production Continues With MotoAmerica Championship Feld Entertainment Brings Back Monster Energy AMA Supercross With Focus on Crew Safety

due to the pandemic, NBC Sports shifted the race to primetime on NBC Saturday night, marking the first IndyCar race to appear on the Peacock’s broadcast network in primetime and the first on any broadcast TV network in primetime since 2013. With more eyeballs expected on the race, NBC Sports rolled out a robust production complement, while also ensuring health and safety of the crew in the compound and on the track. Crew safety has always been a top concern at NASCAR given the nature of the sport and a busy pit road and garage area. The coronavirus pandemic added a totally different level of safety demands, and every decision was made to maximize that safety.


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THE COMEBACK

Golf Tees Off, and Tennis Serves Up F

irst up, the PGA Tour’s TaylorMade Driving Relief skins match produced by PGA Entertainment, NBC Sports, and Sky Sports. And it may have only featured four golfers, six handheld cameras, and zero caddies, but it certainly went a long way towards satiating the thirst for live professional sports and also showed that remote workflows for golf are possible as it was produced out of PGA TOUR Entertainment’s facility 250 miles up route I-95. The following weekend saw Phil Mickelson and Tiger Woods join NFL greats Peyton Manning and Tom Brady and for Capital One’s The Match: Champions for Charity. Televised live on TBS, TNT, HLN, and TruTV (as well as streaming on Turner apps and websites), the event saw Turner Sports utilize EP’s EN1 production unit and 11 cameras to

cover the charity match, with safety as its top priority. The golf world was soon in full swing as the PGA TOUR resumed on CBS Sports, GOLF Channel, and PGA TOUR LIVE with the Charles Schwab Challenge in Ft. Worth, TX, in early June. Their efforts were the results of two months of solid planning that created a new production philosophy driven by social distancing and the need to minimize onsite production staff. Right around the same time, sports viewers saw the return of live tennis productions in the U.S., as Tennis Channel served up the UTR Pro Match Series in early May. Tennis Channel would continue producing live tennis consistently in the months that followed — all the way through the US Open and French Open in September and October.

GOLF LINKS PGA TOUR Entertainment Tees Up REMI Production of Charity Skins Event on May 17 The Match Returns; NEP EN1 Onsite With Ample Space for Socially Distanced Team CBS Sports, Golf Channel, PGA TOUR LIVE Innovate for Return of Tournament Golf TENNIS LINK Tennis Channel Serves Up Live Content During Sports Hiatus With UTR Pro Match Series

Left: The Match offered unprecedented access to players as all four —Tiger Woods, Phil Mickelson, Peyton Manning and Tom Brady — had open mics. Right: All onsite personnel, including the Tennis Channel crew, at the UTR Pro Match Series in May, were outfitted with necessary PPE, including safety masks and gloves.

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THE COMEBACK

Top Rank Returns to the Ring, While UFC Sails to Fight Island

A

fter a three-month hiatus, ESPN jumped back into the live-event production business with a series of Top Rank boxing fights at Las Vegas’s MGM Grand Conference Center. While ESPN carried the live-event torch the best it could during the early days of the pandemic — with telecasts ranging from the NFL Draft to English-language commentary of KBO baseball and even Cornhole — the Top Rank series opener on June 9 marked the first event fully produced by ESPN staff since the sports industry halted abruptly in midMarch. To limit the number of people onsite, ESPN used its “modified REMI” (remote-integration) production model for the fight productions. In this workflow, the director and TD were onsite inside NEP’s NCPX trucks, producing a line cut with replays that were sent to ESPN’s Bristol, CT, headquarters, where graphics, non-replay tape rolls, and commentary were integrated into the telecast. Just a few weeks after Top Rank’s restart, UFC’s much-hyped Fight Island officially kicked off with UFC 251, the first of four events held in two weeks at the one-of-a-kind compound created on Yas Island in Abu Dhabi. With a full quarantine bubble in

place, UFC’s production-operations team worked with NEP to create a broadcast center from scratch inside the Flash Forum, the venue in which the fights are held. NEP Singapore provided the flypack and additional equipment to create UFC’s BOC inside the Flash Forum, which comprised a main control room and separate rooms for tape, graphics, audio, and transmission. The arena is essentially cut in half, with one half housing the Octagon and performance spaces and the other housing the production facilities and warm-up areas for fighters. With peak temperatures breaking 100°F on a daily basis, outdoor production facilities were not an option. The climate-controlled environment kept crew and equipment safe while also allowing for separate rooms to create a COVID-safe environment for production teams. FIGHT LINKS ESPN Returns to Live-Events Ring With Top Rank Boxing Productions in Vegas UFC Creates Live-Production Ecosystem From Scratch on ‘Fight Island’ in Abu Dhabi

Top and bottom left: ESPN deployed a modified REMI production model with replay ops located onsite in Vegas for its Top Rank fights. All ESPN operations in the truck and on the production compound were socially distanced in Vegas. Right: UFC commentators were separated while calling the action on Fight Island in order to maintain social distance. As part of its production, UFC has created a series of modular production rooms inside the Flash Forum.

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THE COMEBACK

MLS, NWSL Tournaments Take the Pitch

A

fter European soccer got a head start with Bundesliga, Premier League, La Liga, Series A, and others taking the pitch in May and early June, American soccer got into the game with a pair of stateside tournaments just as summer kicked off. Both the NWSL Challenge Cup and the MLS Is Back Tournament were held inside bubbles to keep players, personnel, and broadcast crew safe. First up was the NWSL Challenge Cup, which not only marked the return of live team sports in the U.S. on June 27 but also was the first time an NWSL match appeared on a broadcast network. To produce the 23 match broadcasts (the opener and Championship Game aired on CBS, with all matches streamed on CBS All Access) from Zions Bank Stadium in Herriman, UT, the league and CBS Sports teamed with longtime NWSL partner Vista Worldlink to remotely produce the matches from its centralized broadcast facility in Dania Beach, FL. A total of 18 transmission paths were sent from Utah to Vista’s production facility — via satellite uplink, IP, and bonded cellular to ensure redundancy — to handle camera feeds and comms. Soon after in July, the MLS Is Back Tournament kicked off

SOCCER LINKS NWSL Makes Broadcast-Network Debut on CBS With Full REMI Workflow MLS Is Back Tournament: ESPN’s Host-Feed Production Features Unprecedented Tech Arsenal ESPN’s Audio Approach to MLS Tourney Is Making New Fans

from Disney World’s Wide World of Sports complex in Orlando. ESPN served as host broadcaster for all 54 match broadcasts — which were carried on a combination of ESPN, Fox Sports, and Univision/TUDN in the U.S. and on TSN in Canada. ESPN rolled out a production complement unprecedented for MLS coverage. Coverage of the three active playing fields in Orlando featured a whopping 33 cameras per field, including a cable-suspended aerial system, drones, a jib cart, pole cams, goal cams, and POVs in the locker rooms. Other highlights included microphones embedded in the field and a 300-ft.-long blue chromakey wall surrounding the field for placement of virtual graphics in place of fans in the stands.

Clockwise from top left: ESPN’s GoalCam was installed in all goals on all fields at Wide World of Sports for the MLS Is Back Tournament. ESPN’S Kevin Cleary (foreground) and A1 Andy Bartley 6 ft. apart aboard F&F Productions’ GTX 19 for the MLS Is Back Tournament in Orlando. NWSL commentators Jenn Hildreth (seen here) and Aly Wagner were located in Vista’s studio in Dania Beach, FL, where they called the action for the NWSL Challenge Cup.

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THE COMEBACK

Baseball Returns With RSNs Taking the Production Lead

M

ajor League Baseball was the first of the “big four” major sports leagues that returned to action with a belated opening night on July 23. MLB Opening Day marked the culmination of months of planning by both regional sports networks and national broadcasters to get baseball back on the air.

Regional sports networks took the lead for live-game productions. To limit the number of people and facilities onsite, the league opted to have the home-team RSN in each market produce a neutral/clean world feed of each game to distribute to the away-team RSN and, when necessary, the national broadcaster. continued on page 82

MLB LINKS MLB Returns: ESPN Operations Solves Logistical Puzzle on Rain-Shortened Opening Day MLB Returns: ESPN Preps Normal Sunday Night Baseball Graphics Package for “Enhanced World Feed” MLB Returns: RSNs Take Over World Feed for All MLB Broadcasts, Customize for In-Market Fans MLB Returns: Wearing Two Production Hats, MLB Network Deploys Full At-Home Model, Provides RSN Infrastructure MLB Returns: Baseball Has Its Crowds on an iPad With Artificial Fan Noise 80

SPORTS PRODUCTION 2021 YEARBOOK

Clockwise from top left: 1. A Fox Sports Florida robo operator was located in the stands at Tropicana Field for a Tampa Bay Rays Summer Camp game. 2. A1 Joe Carpenter overseeing the artificial-crowd-audio mix in Game Creek’s Riverhawk production truck outside MLB Network’s studios. 3. Matt Vasgersian (left) and Alex Rodriguez (right) call the action from a studio at ESPN’s facility in Bristol, CT.


THE COMEBACK — Baseball Returns continued

Under the model set up by the league, the home RSN’s production team was responsible for producing a clean worldfeed broadcast that presented a “50/50” (equal on-air—time), unbiased narrative of the game for both teams. This feed was delivered to the away RSN and/or national broadcaster, which added its own graphics, commentary, studio/shoulder content, and commercials. In addition to this clean feed, the away RSN was provided with one or two dedicated iso cameras, which the director could weave in team-specific shots to help customize the telecast. Nearly all RSNs deployed their regular mobile units at the ballpark to produce these world feeds for home games, while away RSNs either used their truck at their own team’s ballpark or integrated their telecasts from control rooms in their studio. ESPN built out a full-fledged plan that featured one of the largest REMI efforts out of its Bristol, CT, facility, complete with K-Zone and Statcast graphics and other technologies to improve the clean feed supplied by RSNs. Turner Sports also took in RSN feeds and customized them for its own national telecasts. Meanwhile, MLB Network was responsible for multiple fronts, deploying a full at-home production model in Secaucus, NJ, as well as supplying all the RSNs with the foundation to capture the clean feed used by all the national broadcasters.

Above: Fox Sports elected to use a virtual crowd for many of its national MLB telecasts this season, becoming one of the few networks to do so. Right: Fox Sports Arizona announcers in booth at Chase Field calling a Diamondbacks game taking place at Dodger Stadium

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MLB LINKS MLB Returns: As RSNs Handle World Feeds, Sinclair’s Fox Sports RSNs Shoulder Production Load MLB Returns: NBC Sports Regional Networks Seeks Balance Between World Feed and Serving In-Market Fans MLB Returns: NESN To Produce ‘Red Soxized’ In-Market Broadcasts in Addition to World Feed MLB Returns: AT&T SportsNet RSNs Use Mix of Studio, Mobile Facilities for World Feed, In-Market Productions MLB Returns: MASN Tested Early With Backto-Back-to-Back World Feeds for National Broadcasts


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THE COMEBACK

NBA Heads to Disney World While WNBA Erects ‘Wubble’

T

he NBA’s bubble at Disney’s Wide World of Sports (WWoS) complex in Orlando represented one of the largest undertakings in NBA broadcast history with the NBA, ESPN, and Turner Sports teaming up to produce not only national telecasts but also world feeds for hundreds of regional-sports-network broadcasts across the country. A nearly 200,000-sq.-ft. broadcast compound (equal to roughly three football fields) was built to serve as home to 13 production trucks and 31 trailers. In addition, three WWoS arenas were transformed into one-of-a-kind venues chock-full of LED screens, robotic cameras, embedded microphones, and other state-of-the-art tech. At least 258 cameras have been deployed across the WWoS complex, including more than 60 robos and two RailCam systems. With no fans in the stands, 17-ft.-tall LED screens around three sides of the courts served as “stands” displaying more than 300 cheering fans who joined the game via Microsoft Teams. Virtual graphics/signage were also used integrate sponsorship

and other content directly on the court. A total of 357 microphones have been deployed (119 per court) across the three venues, including 34 microphones embedded in each court to capture sneaker squeaks, player interaction, and other sounds of the game rarely heard with thousands of fans in the arena. The league also pumped in simulated crowd noise to re-create the home-arena ambiance. As for on-air talent, ESPN, TNT, and NBA TV announcers were located higher up than their typical courtside seat in a plexiglasssurrounded booth to ensure social distancing. Just prior to the tipoff of the NBA bubble, the WNBA launched it own bubble, with the ESPN production team, teams, and league personnel calling Feld Entertainment Studios in Bradenton, FL, home for three months. The Feld Studio housed two courts as well as a significant back-of-house infrastructure that provided ample room for everyone to get to work. Game Creek Video’s Discovery production unit is onsite for the ESPN and ABC Sports Broadcasts and Ross Production Services was on hand for the WNBA world feed, which is fed to CBS Sports Net and selected RSNs.

NBA / WNBA LINKS NBA Returns: Inside the League’s Monumental, Multi-Pronged Effort To Produce Quality Coverage NBA Returns: ESPN Brings Plenty of Tech Firepower to Wide World of Sports Productions NBA Returns: ESPN, Turner, NBA Team Up for Sprawling, COVID-Safe Production at Wide World of Sports WNBA Returns: ESPN Control Rooms in Bristol, Charlotte Power Production NBA Returns: New Category of A1 Makes Fan-Free Stands Come Alive NBA Returns: Massive Compound, COVID Protocols Complicate Intercom System NBA Returns: Virtual Crowd-Noise Mix Is Complex and Authentic NBA Returns: Audio in the Bubble Features Mics From Floor to Ceiling NBA Returns: Turner Sports Teams With League, ESPN on Made-for-TV Season 86

SPORTS PRODUCTION 2021 YEARBOOK

Clockwise from top left: In an effort to obtain more on-court audio, each of the three NBA courts at the Wide World of Sports complex had 32 contact transducers screwed into the underside of the panels that constitute the court flooring. One of the audio “sweeteners” that managed the artificial crowd noise for NBA games at the Wide World of Sports in Orlando. The WNBA returned in July and hosted a threemonth bubble in Bradenton, FL..


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THE COMEBACK

NHL Blows Dual Bubbles in Toronto, Edmonton T

he NHL returned to action by building two “Hub Cities” in Toronto (Scotiabank Arena) and Edmonton (Rogers Place) — redesigning each to look more like the set of an American Gladiators-esque game show than a pro-hockey game. While these bubbles were designed to offer a safe, COVIDfree environment for the NHL Stanley Cup Playoffs to be played, the controlled environments also served as laboratories for live sports-video production. With that in mind, the NHL built a truly made-for-television product for fans watching at home. Working with Canadian broadcaster Rogers Sportsnet in Edmonton and U.S. broadcaster NBC Sports in Toronto, the league built similar broadcast templates that included deployment of more than 30 cameras in each arena; a typical NHL game usually caps out around 20. Each broadcaster was responsible for creating a world feed to be shared with each other and, when it applied, with the regional sports networks for the teams playing in the game. While the bubbles did not permit fans in the stands, the league put a lot of energy into taking advantage of the things it would never be able to do with fans in the building. That includes placing cameras, video screens, and microphones in locations that, normally, would obstruct the view of fans in the

Above: The NHL hosted the Stanley Cup Final in Edmonton — one of two bubbles the league built for the Playoffs along with Toronto. Right: NBC Sports produced artifical crowd audio for the Playoff broadcasts using sounds recorded in NHL arenas for EA Sports videogames.

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stands or would be a safety concern. In addition, a JITACAM — a jib on an extremely long crane arm that can operate in 360 degrees — was hung in each of the arenas above the seats (a location normally unavailable for safety reasons and because of blocked viewing angles). The NHL also liberally sprinkled microphones around the arena to capture even more of the natural sounds of the game (implementing a 5-second delay to account for inappropriate language that might get picked up) and worked with EA Sports (which produces the league’s annual videogame series) to create crowd noise that was pumped into the arenas. NHL LINKS NHL Returns: League, NBC Sports, Rogers SportsNet Ready Made-for-TV Product as Quest for Stanley Cup Resumes Stanley Cup Final Caps Impressive NHL Broadcast Effort in Edmonton NHL Returns: Hockey Audio Balances Sticks And “Crowds”


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THE COMEBACK

USTA, ESPN Serve Up CovidSafe US Open in Queens T

his year’s US Open effort was the result of months of planning, contingency planning, and taking some risks with new technologies by the USTA. The USTA held weekly calls with key organizations, including Hawk-Eye, SMT, ATP Media, WTA Media, NEP, and ESPN leading up to the tournament. The goal was to pull off the first tennis major to be played in the age of COVID-19 and to hold it in New York City, arguably ground zero of the pandemic here in the U.S. No fans, no international rightsholders onsite, no media were part of the solution. Plenty of strict protocols to make sure everything was as safe as possible was the other part. For its part, host-broadcaster ESPN was tasked with producing the US Open — its largest event of the year — under unprecedented circumstances. Even in a good year, the production takes months of planning at a scale that can impress anyone in the industry. Add in COVID-19, and the accomplishment the team pulled off to get to this point is even more impressive. ESPN worked closely with the USTA team to draw out the spacing needs to the inch so that every operator could work in a socially distanced way. International rightsholders were not at the Billie Jean King Tennis Center, and many personnel who would usually be onsite were working remotely. Those two factors allowed the ESPN and USTA teams to work more safely. The biggest production change was that there were only three

TV courts: Arthur Ashe, Armstrong Stadium, and Court 17. All the others were produced using the Simply Live ViBox because of the requirement to limit the production team to as few people as possible. In addition, ESPN expanded its ACES automated-production operation with 10 courts being produced using Simply Live ViBox system and robotic cameras controlled by the Fletcher Trace player-tracking system. USTA LINKS US Open Returns: An Inside Look at the Massive Effort To Make the Tourney a Reality US Open Returns: How ESPN’s Biggest Production Was Transformed US Open 2020: USTA Develops Bountiful Digital Experience for At-Home Fans US Open 2020: NEP Group Presence Expands Beyond the Compound US Open 2020: ESPN Taps hsc.tv for No-Contact Studio SVG Sit-Down: ESPN’s Jamie Reynolds on US Open Production in the Age of COVID-19

Left: Serena Williams conducts an interview inside ESPN’s contactless studio at the US Open. Right: Videoboards positioned around the US Open Arthur Ashe Stadium court featured fans from around the world supporting their favorite players with cheers submitted through an app.

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THE COMEBACK

Big-Time Productions Return With CBS and NBC’s Golf Major Coverage F

or golf broadcasters, this year was a year unlike any other: the Majors schedule was shuffled, events were canceled, and fans were rarely permitted at professional golf events. And that is why the production plan CBS Sports put together for the PGA Championship in August at TPC Harding Park in San Francisco was so important: it signaled the return to producing a sports event in a big way. CBS Sports’ production marked the largest remote presence for a live sports event since the whole pandemic began with 22 mobile units, a twostory tech structure, and a multitude of office trailers. While the production included fewer people onsite than in the past, the production quality and dedication from the crew remained the same. NEP Supershooter CBS handled back-nine coverage; Game Creek Video’s Encore, the front nine, while NEP ND7 handled a variety of tasks for CBS and ESPN. Just over a month later, the second major of the year teed off with the U.S. Open. Producing a golf major typically takes one (if not two) full years of planning. So, when NBC Sports

GOLF LINKS CBS Sports’ PGA Championship Production Spans the Globe; Embraces Drones, Toptracer, 4D Replay NBC Sports’ U.S. Open Tackles Major Production in Record Time USGA Calls NEP’s NCP14 Unit Home for U.S. Open World-Feed Production

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took over the 2020 U.S. Open from Fox Sports just two months before it was set to tee off at Winged Foot, it kicked off an accelerated planning process that would challenge any production team. The result of all the effort was a production that had upwards of 74 cameras, an aerial shot, a massive compound featuring NEP and BSI production units, and three on-course studios. NEP’s ND4/Double Eagle A, B, and C was at the core of the production. Also in the compound were XL1, Fiber 1 and 2, Supershooter 17, Supershooter 29, ST1, ND6, and ST21, ND6, Supershooter 28. More than 190 countries broadcasted the U.S. Open via a world feed produced by the USGA out of NEP’s NCP14 production unit. In addition, NBC was out in full force onsite for the U.S. Open, following in the footsteps of CBS’s massive footprint for the PGA Championship a month earlier. CBS Sports returned to the tee box in November for the rescheduled version of The Masters from Augusta National, deploying its typically massive and detail-oriented production.

More than 190 countries broadcast the U.S. Open via a world feed produced by the USGA out of NEP’s NCP14 production unit. In addition, NBC was out in full force onsite for the US Open, following in the footsteps of CBS’s massive footprint for the PGA Championship a month earlier.


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THE COMEBACK

After Tumultuous Offseason, College Football Returns to the Gridiron F

ollowing an offseason riddled with uncertainty and debate, when it appeared that the college football season may very well not happen, all the top-tier college football conferences were able to kick off their seasons this fall. And, thanks to the diligent work of ESPN, Fox, CBS, NBC, and other broadcasters, fans were able to see the return of all 10 FBS conferences through hundreds of COVID-safe live productions at venues across the country. ESPN has deployed a variety of onsite and REMI production models to broadcast upwards of 300 games over three months. ESPN operations pulled every flavor of live production workflow out of its pockets, ranging from the COVID-altered onsite full truck productions with crew and on-air talent onsite to varied levels of REMI productions. The network even utilized the on-campus control rooms at ACC and SEC schools, which

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were originally designed to support school-produced live broadcasts for the ACC Network and SEC Network, at various points during the season. Fox Sports also embraced remote production, creating a world they are calling “The Vault” that can be connected to any of its trucks on college football or NFL. Fox has multiple positions for EVS operators, Fox Box scorebug operators, and Vizrt operators. Despite relocating about 25 positions across all of its shows back home, “nobody could tell if something was coming from the truck or The Vault,” according to top Fox Sports production exec Brad Zager. continued on page 104

Inside the truck with the Big Ten on Fox production team


THE COMEBACK— College Football Returns continued

The SEC returned to the field in late September and the CBS production, operations, and technical teams had to overcome numerous challenges to prepare for SEC on CBS productions. The number-one priority was the health and safety of the crew. To that end, CBS Sports has had some production and technical personnel working offsite. For SEC on CBS, that will mean multiple positions typically located in the truck have been re-located offsite to Freedom Studios in Clifton, NJ, which is tied into the F&F Productions GTX19 production truck that will be onsite at the games. NBC once again threw its efforts into bringing the storied Notre Dame football program into living rooms of the school’s countless fans across the world. These efforts crescendoed in November with with the Fighting Irish’s dramatic upset of then No. 1 Clemson, which was “far and away the biggest production we’ve ever done in the history of our Notre Dame coverage,” according to director Pierre Moossa.

COLLEGE FOOTBALL LINKS College Football Kickoff 2020: In Season of Logistical Challenges, ESPN To Tap Into Every Flavor of Onsite and REMI-Based Production Workflows SEC on CBS Embraces New Workflows; F&F GTX-19 Is at Center of Production Efforts NBC Sports Deploys Robust Hybrid AtHome Workflow To Add Championship-Level Resources to Notre Dame-Clemson Matchup SVG Sit-Down: Fox Sports’ Brad Zager on NFL Production Innovation, Fox Sports “Vault,” Virtual-Fan Tech

Despite the pandemic, ESPN College GameDay is still visiting campuses this year, including Clemson for its matchup with Miami in October. ESPN is utilizing a hybrid remote/ onsite production model for GameDay this year and a “Virtual Pit” for fans.

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THE COMEBACK

NFL Kicks Off on Time as Broadcasters Look to Innovate W

hile the rest of the 2020 sports calendar was thrown into disarray by the pandemic, the NFL season kicked off as planned on Sept. 10. And though the league may have begun play on time, the offseason was anything but normal for NFL rightsholders CBS, ESPN Fox, NBC, and NFL Media. The NFL on CBS is in the midst of another year as broadcaster of the Super Bowl with big plans for the big game in 2021. For the regular season, the Tiffany Network decided against virtual fans in favor of flying Skycam unrestricted

NFL LINKS Behind the Scenes With NBC’s Sunday Night Football Operations Team NFL Kickoff 2020: NBC’s Sunday Night Football Adds New Production Tools Onsite, Shifts Graphics and Edit Teams Back Home NFL Kickoff 2020: In 50thAnniversary Season, Monday Night Football Has a Fresh Look in Front of, Behind the Camera NFL Kickoff 2020: League Debuts Crowd-Sound System Designed for Fanless Stadiums

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above and near empty seats in the stadium. The decision to go without virtual fans ultimately allowed CBS Sports to release the constraints on Skycam. Always looking to innovate, Fox Sports became the lone NFL broadcaster to integrate virtual fans into its NFL telecasts. The virtual fans element joined an army of cameras — including high-speed systems, Skycam, PylonCams and — and virtual graphics in Fox Sports’ NFL arsenal. In addition, the broadcasters continued on page 110

Above: ESPN director Jimmy Platt calls the action for Monday Night Football. The MNF crew hosted this dress rehearsal on the ESPN main campus in Bristol, CT. Below: Al Michaels (left) and Chris Collinsworth are socially distanced inside the NBC SNF booth. The SNF booth also features additional LED backdrop and new Panasonic robo to account for the modified footprint this year.


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THE COMEBACK—NFL Kicks Off continued Above: NBC added a camera outside of venues for several SNF broadcasts to capture exteriorshots and overlay them with virtual graphics like this one. Below: ESPN built a new studio for its NFL shoulder programming atop its Seaport District facility in New York City.

NFL LINKS NFL Kickoff 2020: NFL Media Focuses on 2020 Season With Eye on New Home in 2021 NFL Kickoff 2020: ESPN’s New Studio on Roof of Seaport Facility Houses Sunday NFL Countdown, Monday Night Countdown NFL Kickoff 2020: CBS Sports Forgoes Virtual Fans To Show Off Range of SkyCam Fox Sports’ Brad Zager on NFL Production Innovation, Fox Sports ‘Vault,’ Virtual-Fan Tech

instituted a host of new safety protocols, to keep production crews safe in creating TV across the country. When it comes to live sports productions, it simply doesn’t get any bigger than NBC’s Sunday Night Football. In 15 years together, NBC’s SNF production and operations teams have seen just about everything. However, with no preseason games on which to prepare for the SNF slate this year, the crew faced a series of challenges unlike any they had seen before. And despite this array of obstacles, the SNF team pulled it off and continued its tradition as one of the largest and most high-tech live sports productions in the business. It’s a milestone year for one of sports television’s most iconic 110

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properties, as Monday Night Football is in its 50th-anniversary season. While ESPN will honor the legacy of MNF, 2020 is undoubtedly the beginning of a new era for one of the longest-running series in TV with a new broadcast booth and new producer — Phil Dean — joining second-year director Jimmy Platt. For its part, NFL Media and NFL Network looked to build on its offseason success with the NFL Draft, by simulcasting Thursday Night Football games with exclusive NFL Network broadcasts for weeks two, three, and four. With a full slate of daily studio programming emanating from its Culver City, CA, facility, NFL Media has stayed busy while also prepping for its move to SoFi Stadium in 2021.


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PROFILES

hat are the companies that make our industry move? Of course, the content owners and their broadcast partners drive our business from the top. And we wouldn’t be anywhere without a vibrant and “boots-on-the-ground” freelance workforce. But working between these two ends are a host of broadcast services that leverage their engineering prowess and service acumen to integrate the systems, connect the technology, and operationalize the tools. The following series of Broadcast Services Provider Profiles offers an in-depth Who’s Who of What’s What in sports production and facilities technology. SPORTS PRODUCTION 2021 YEARBOOK

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Broadcast Services Provider Profiles

Innovation, Reliability, Customer Service, Incredibly Talented People. These are the pillars 3g has built as its foundation to lead the way forward in RF video, audio, and specialty camera solutions for the broadcast industry. By combining these qualities with a relentless desire to push the boundaries of technology, 3g creates the partnering relationships that foster collaboration with our customers to find new solutions and efficiencies that deliver higher quality. We are and will continue to define the next generation of RF and specialty-camera broadcast technology.

Founded in 1992, Admiral Video is a leading broadcast-industry service company. The company’s specialty is multicamera video engineering and production. In addition to complete turnkey video production, the company offers equipment rental and Western New York’s only HD television-production truck. The company’s avocation is “special projects,” such as its POV cameras and PylonCam. It is well-known in the sports-television community as a source of novel, cost-effective, and reliable solutions to point-of-view—camera challenges.

Live production is evolving. Today’s broadcast landscape includes elements of cloud-based and on-premises technologies. From traditional setups to REMI workflows, Advanced Systems Group offers the expertise needed for hybrid production solutions. The company’s customized solutions meet budget and maximize remote-workflow efficiencies. ASG is producing episodes of Remote Control, a webinar interview series that focuses on technologies that help facilitate remote production. Remote Control is produced for Silicon Valley Video (SiliconValley.video, or SV.V), an international information resource for tech-industry media professionals in the San Francisco Bay Area. According to ASG President Dave Van Hoy, SV.V was established in February 2020 to create a network of professionals who can share information, improve their skills, and stay current on the industry’s constantly changing technologies. ASG is a founding member and sponsor of SV.V, which is produced in association with Sports Video Group. Based in the San Francisco Bay Area with offices in the New York Metro Area, Los Angeles, and the Rocky Mountain Region, ASG has provided engineering, systems, integration, support, and training to the multimedia creative and corporate video markets for more than 22 years. With unmatched experience in high-speed shared storage, media-asset management, archiving, editing, color- and video-production systems, ASG has become one of the largest installers of postproduction and shared-storage systems in North America.

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During 2020, AE Live has accelerated its already well-established plans to expand its range of remote- and centralized-production options with a number of completed and pipeline projects across multiple sports and with numerous existing and new clients. Naturally, this was due in no small part to restrictions imposed by the COVID-19 pandemic and the fact that broadcasters and governing bodies were scrambling to continue to bring live sport to consumers. The senior management team was determined to use the downtime that came during the midst of the lockdown to drive its engineering, R&D, operational, and development teams to turbocharge projects relating to remote delivery and come up with new and flexible ways to support its client base. This has been underpinned by the ongoing development of Graphics Operations Centres (GOCs) in both the UK and India. They include installation of dedicated 10-GB connectivity (plus backups) in each location that ensures AE is on-net and can house graphics renderers and associated equipment centrally. The GOCs also feature custom-built operational pods providing everything required for operational teams to deliver AE’s range of services, including video monitoring, talkback, and control PCs. Whether working from the GOCs, onsite at event venues or elsewhere, AE’s frontline teams will be able to access the full suite of cloud-based data capture and management tools and software control applications. AE Live understands that every one of its clients faces unique challenges and plans their workflow slightly differently. The company expects that its latest investment and development will enable it to devise a bespoke remote service for every client, regardless of individual circumstances.

Aerial Video Systems

Aerial Video Systems is the leader in high-bitrate wireless HDR 4K, HD, and aerial production with more than 120 Vislink HD and 4K RF systems, including the new HCAM. AVS offers two 4K GSS and four Cineflex gyro-stabilized gimbal camera systems for vehicles, boats, and such aircraft as its fleet of three fixedwing Partenavia P.68 Observers for aerial coverage. AVS has 12 Sony P-50 cameras and was the first to integrate the models into RF Steadicam systems with video return and prompter. Additionally, AVS’s wireless Sony P-1R package is the preferred system for major sports events, including Sunday Night Football, Monday Night Football, CBS NFL Football, Super Bowl, NBA All-Stars, and virtually every live award and entertainment show, including the Academy Awards, the Emmys, the Grammys, The Voice, American Idol, Dancing With the Stars, and America’s Got Talent. Other credits include the Breeders’ Cup, ESPN, Fox, and Showtime Boxing, Shark Tank, The Masked Singer, The Masked Dancer, The Price Is Right, and Nik Wallenda’s Volcano Live. AVS is a part of NEP Group’s Specialty Capture division alongside Broadcast Sports International (BSI) and Fletcher Group.


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Bexel, an NEP Broadcast Services Company, is the leading global provider of outsourced innovative broadcast solutions for producers of sports, entertainment, and live events. In 2020, Bexel was proud to support a number of sports events, including the Super Bowl, PGA TOUR events, and the NBA “bubble.” Bexel’s services include production-equipment rentals and engineered solutions for the latest in broadcast technology. Specialties in fiber-optic solutions, RF audio and intercom, custom-flypack and control-room builds, and operational logistics are backed by technical support 24 hours a day, seven days a week. Bexel is committed to quality and safety in designing, building, and installing full-service broadcast infrastructures. The company’s reliability is unmatched for providing value-engineered solutions and services, and the company looks forward to continuing to support its NEP colleagues and clients in 2021.

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Like most in live sports production, ARCTEK Satellite Productions was struck hard when the pandemic hit. In March 2020, its calendar was wiped clean, losing nearly 100 games in 24 hours. ARCTEK owner Brian Stanley quickly determined that the company would move forward without laying off employees. ARCTEK asks a great deal of its engineers in a normal year so it was not about to let them go at the first sign of adversity. This situation has reinforced for ARCTEK the true value of having a highly skilled team of full-time employees and the importance of treating people right, especially in difficult times. Thanks to eager

BeckTV continues its steady growth and its reputation as a premier sports-television-systems-engineering and -integration firm. BeckTV has continued its growth portfolio in college and professional teams alike. On the heels of a very successful 2017, which included current and recent clients Notre Dame Studios, Baltimore Ravens’ M&T Bank Stadium, and San Antonio’s Alamo Dome Stadium, BeckTV embarked on a very busy 2018 with Boston College and the University of Louisville. BeckTV offers comprehensive services for anyone needing broadcast-television expertise, and the company provides its customers a one-stop shop for all of their televisionfacility and system requirements. BeckTV’s services include space planning, design, engineering, equipment purchasing, technical furniture fabrication, and wiring and integration.

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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 more than 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 never fail to produce substantial financial benefits for clients. Recent and upcoming project highlights include five major ACC Network broadcast-production facilities; five SEC and Big 10 Network upgrades; LED displays, video-replay—control rooms, audio and DTV for the Nashville Predators’ Bridgestone Arena, USMA at West Point Michie Stadium, Purdue’s Ross-Ade Stadium, Toronto Blue Jays, Philadelphia Union, and Chicago White Sox; high-density Wi-Fi for the Miami Heat and BYU’s Marriott Center; and Campus digital network with interactive kiosks for Clemson University.

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Broadcast Services Provider Profiles

The Alpha Video Sports & Entertainment 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, we completed Allegiant Stadium’s new IP HDR control room, along with production facilities for the Las Vegas Raiders and Las Vegas Golden Knights. In addition, we helped Temple, UCF, and Wichita State upgrade or build new facilities to support the launch of the AAC Network on ESPN. In response to the COVID19 pandemic, we have also become leaders in enabling remote production, including projects for several major networks and leagues. We also recently completed the AV systems for UCF’s newly renovated Football Operations Center and the University of Miami’s new indoor baseball practice facility and are designing AV upgrades for several other Power 5 football teams as well. Whether you need AV for your team facility, a new control room for live event production, an IPTV/digital signage solution, or a sound system for your venue, the Sports Group has you covered!

clients and the ability to innovate, ARCTEK was able to get back on the road within a few months, providing uplink services for professional bull riding, MotoAmerica, outdoor motocross, and professional bowling. As the pandemic continues to change the sports-production landscape, ARCTEK is uniquely prepared for social distancing with a self-contained, solo-engineer transmission solution. With ARCTEK’s muxing capabilities, clients can limit travel and allow their production team to work remotely. ARCTEK is fully equipped to handle all your at-home transmission needs. ARCTEK Satellite Productions is the company to call when you need satellite and production reliability. It is proud of its talented team members, who continue to raise the bar and are ready to roll nationwide with five well-equipped Sprinter satellite trucks (three Ku-band and two C-band). When you think satellite, think ARCTEK. Nothing is more reliable than satellite.

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Broadcast Services Provider Profiles

and creative services. From consulting on technical facilities and developing original show formats to the technical execution of large-scale live productions and events, our passion and dedication to clients are unmatched. The Broadcast Management Group team has traveled the globe, producing impactful live video content, providing consulting services, and developing original show formats. We’ve produced live programming at major events like the Emmys, the Oscars, and SXSW. We’ve launched OTT networks from the ground up and orchestrated the build-out of broadcast facilities — both domestically and abroad. Our team immerses itself in every aspect of video production and content creation — from planning and strategy through technical execution. Above all, we treat every job not as a one-time project but as an opportunity to build a lasting relationship and create impactful content. With offices in New York, DC, Chicago, Los Angeles, and Las Vegas, we have the flexibility to quickly deploy our team and provide full-scale production, creative, consulting, and staffing services for any projects throughout the U.S. or internationally.

Broadcast Services International — like many of our colleagues, clients, and partners — is working through the current new normal in the sport and production landscape. BSI is fortunate to have incredible clients and partners who are focused on adapting and using creative solutions to bring their events to life. BSI sent a team to the 84th edition of the Masters in Augusta. GA, which was produced under a modified COVID-19 protocol. Looking forward to 2021 and 2022, BSI has secured an exclusive-rights contract for E-Racing and will be complementing this by providing technical consulting, manpower services, and design and integration contracts for Tokyo and Beijing. Keeping busy with the Olympic Games, BSI’s engineering and technology teams are continuing to refine remote-production technologies and assetmanagement solutions to keep clients connected in this changing environment.

Broadcast Sports International (BSI), a business unit of NEP, has provided wireless cameras, microphones, and communications for more than 30 years. The year 2020 began busier than ever with numerous golf and racing shows, along with the College Football Championship, Winter X Games, auto auctions, and many other events. March saw a shutdown in sports that challenged the company as a whole. However, the BSI family found ways to support each other and its community during that time. Throughout the pandemic, BSI manufacturing and engineering worked around the clock to manufacture mask parts for PPE gear to support local first responders. Other BSI employees worked through the tough times by meeting on Zoom and Teams to ensure that fellow team members and necessary products were safely prepared and deployed for an immediate start back into sports broadcast. With sports beginning to return in May, the Golf team put on one of the most-challenging and -watched sports events: the

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success of “The Match” was a credit to the BSI team onsite and was prepared with gear prior to arrival. Held in constant rainy conditions and with COVID standards that required everyone to test and quarantine prior to the beginning of work, the celebrity event was a pivotal early start back into sports for BSI. NASCAR came back in May as well and challenged BSI with numerous races in multiple locations during the same week. As always, BSI’s employees rose to meet and exceed all these challenges. It was amazing to see this remarkable team conquer the obstacles of managing COVID issues, accommodating scheduling changes, and developing new technology with a commitment that continues to this day. Since restarting things in May, BSI also supported events in SuperCross, horse racing, NHRA, auto auctions, and much more. With a steadfast focus on safety, BSI employees provided quality products and legendary service to keep the sports world connected, energized, and moving forward during this pandemic.

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

CineSys is a broadcast- and media-systems integrator providing solutions, integration and support for digital-content creators across North America. With decades of IT experience and a foundation in media, the company offers deep knowledge in designing and implementing secure, efficient, and customized workflow solutions. In 2020, CineSys helped numerous customers, from postproduction studios to large broadcasters, push their workflows to the cloud by leveraging existing internal infrastructures and providing highly secure remote enterprise environments. CineSys also developed the Work From Home CineStudio Kit while helping a major sports broadcaster record high-quality broadcasts from home. The full kit includes a high-end 4K camera, complete lighting kits, microphone, teleprompter, encoders/ decoders, and more for a complete studio setup. If you want to record high-quality broadcasts from the security of your home, ask CineSys for more details about the CineStudio Kits. Whether you’re looking to migrate old sports-footage archives or need remote access and review capabilities or more-efficient storage solutions for all those accumulating data files, CineSys can help. Its development team and media-asset—management


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Broadcast Services Provider Profiles

team can support and help improve your workflow and keep your media files organized and easily accessible, empowering your company to meet its greatest potential.

For more than 30 years, CIS has been a value-added distributor and digital-systems designer and integrator, providing innovative technology solutions to a multitude of clients, primarily in Brazil and the U.S. In doing so, we have focused on putting our clients’ budget to good use by optimizing their workflows, ultimately enabling them to maximize creativity. Our core expertise lies in broadcast and entertainment (including news, sports, and dramaturgy), but we also service non-media institutions, such as houses of worship, educational entities, and corporations. CIS designs workflows and integrates systems based on the technology of our industry-leading partners like Avid, GLOOKAST, EditShare, Spectra Logic, Object Matrix, NewTek, Veset, Amulet Hotkey, TVU Networks, Mjoll, 7Mountains, and others. CIS Group provides a full consulting and design service, integration and testing of the solutions we provide, installation from experienced engineers, and a dedicated maintenance and support service, all culminating in the assurance that our projects are seamlessly executed and that our clients can rely on one party prior to delivery, during installation, and post implementation. Headquartered in Florida, CIS also has offices and representatives in Brazil (Rio and São Paulo), New York, Massachusetts, and Portugal, collectively servicing the Americas, Caribbean, and Southern Africa.

Since 1988, CTI offers integrated broadcast-services solutions for technical design and installation, as well as consulting and support to provide a complete production experience. Its team of engineers, technicians, and installers pride themselves on being customer-focused. With 25 locations nationally and a partner network that covers the globe, CTI has the resources to support large-scale AV systems, broadcast integrations, control rooms, sports networks, and much more. CTI delivers advanced solutions from leading manufacturing partners, including Ross Video Systems, Evertz, Sony, Grass Valley, Imagine Communications, Ikegami, Hitachi Riedel, Avid, and Quantum Storage among others. With deep industry insight and experience from certified engineers, CTI delivers the most comprehensive broadcast-technology solutions to venues of all sizes.

CP Communications is shipping its second-generation CamSTREAM systems, part of the company’s Red House Streaming (RHS) family of all-in-one live-production solutions. Available to rent or purchase, the two new systems — CamSTREAM2 and CamSTREAM2B — support content acquisition, on-board recording, and live streaming in fully integrated,

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turnkey packages. Both are configurable to serve cloud streaming and user-hosted playout workflows. Ease-of-setup represents the main departure from first-generation CamSTREAM systems, accelerating configuration for content creators. The all-in-one packages attach to the top of a tripod or can be set on a tabletop. The user then flips two switches to the on-position to obtain power and begin shooting. Once shooting commences, the Agile Airlink device streamlines connectivity by bonding Wi-Fi, Ethernet, and mobile data paths into a single, robust H.264 or H.265 transmission stream. CP Communications technicians can manage production from network-operations centers, with remote control and management supported through Mobile Viewpoint’s LinkMatrix system. CamSTREAM and CamSTREAM2 integrate a Sony SRG360SHE PTZ camera, a Mobile Viewpoint Agile Airlink encoder, a return-video monitor and connections for audio (wired or wireless microphones, IFB systems) as well as HDMI outputs for return video and autocue. A second video input provides capacity for a second camera or a gaming device. CamSTREAM2B strengthens technical capacities for larger-scale live sports and broadcast productions, adding full-remote PTZ control (via a joystick controller), camera paint control, and remote audio functionality, including the ability to control gain structure.

Based in Los Angeles, CMSI provides custom-engineered and supported live-production and postproduction workflows. Further expanding its remote production capabilities, in 2020, CMSI launched Remote Picture Labs (RPL), offering fully cloudbased collaborative production and postproduction toolsets operated from anywhere.

Technology surrounds and engages, permeating the consciousness with sights and sounds. It’s facts, data. Pitch speed. 3-pointers shot and made. Yards needed in a game of inches. But it’s much more. It’s a link, a connection between you and your fans, exciting and energizing them even if they’re not in the stands. All facets of how the world interacts today revolve around screens. They are a powerful communication medium critical to fulfilling a brand promise, a fan experience, and operator engagement. When done right, communicating via digital screens empowers human connection: removing the distance, delivering a message, celebrating fandom, even saving lives. There is a lot at stake. People just expect the technology to work. It’s that simple. Yet the requirements for facilities, operations, marketing, and IT are bigger and more complex than ever. Diversified understands your need to demonstrate the value of next-gen technology to key stakeholders. Whatever the vision and specs, it delivers. It’s a global organization serving local needs; there isn’t a problem too big (or small) for its teams to take on. It aims to harness human imagination to drive digital innovation and knows that, in a socially distanced world, technology can bring the masses closer together, keeping them both entertained and protected from harm. Diversified is Imagination Engineered.


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Broadcast Services Provider Profiles

DNA Studios provides clients with four broadcasting trucks that are a perfect fit for regional television programming. DNA recently finished construction of its six-camera REMI studio in Houston. With the 3,000-sq.-ft. TV studio, DNA is proud to provide programming for ESPN, Fox Sports, CNN, Fox News, NBC News, and many more. Please visit www.dnastudios.tv to see truck specs and complement.

As programmers rethink production workflows in this unique and unprecedented time and with safety in mind, Dome has answered the challenge and developed a virtual technical workflow for sports, esports, and content creators. An impressive execution of integrating signals from all over North America and beyond by remote teams of commentators, producers, and directors is delivered to Dome’s leading-edge offsite production-control room. Everyone is connected through real-time intercom systems and multiviewer monitors, creating an impressive cloud-based infrastructure. Dome truly understands the need and the necessary tools that empower broadcasters to allow greater workflow stability and resource sharing in a more sustainable solution, with long-term investments powered by Dome IP, AI, and 5G. This past year saw the launch of Dome’s first IP mobile, an exciting addition to its fleet of five 4K mobile units and five 1080p mobile units. All the trucks are designed, wired, and integrated from the ground up by the award-winning Dome Engineering team under the leadership of Mike Johnson. Dome also offers its innovative @homeproduction virtual studio and control room in Toronto; and Showcase, a unique studio trailer with four PTZ 4K cameras inside. All of Dome’s production workflows are very capably supported by its established Network Operations Centre (NOC) in Toronto, which houses multiple international carriers connecting their facilities worldwide. Dome continues its innovative look to the future with an array of advanced immersive virtual studio and augmented-reality production tools. Anywhere you want us to be #DomeIsThere.

DX3 Media 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 client projects. Its reputation is based on delivering higher-thananticipated results and always under the client’s budget. DX3 Media has a strong network of equipment- and crew-supplier relationships throughout North America.

Encompass introduces Altitude Media Cloud, designed specifically for broadcast-quality media processing. Featuring a global

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downlink/transmission footprint and world-class IP-based acquisition and distribution networks, Altitude powers Encompass’s cloud-native services, including channel aggregation, archive storage, playout, and VOD processing. The platform is built for broadcast applications, providing customers with on-demand pricing options and industry-defining SLAs, which offers customers a high-performance, flexible, and scalable system to build their media pipelines. Encompass is a fully managed-service provider delivering end-to-end playout, distribution, and radio solutions to sports leagues, TV networks, broadcasters, and OTT service providers. The company designs, implements, and operates reliable solutions that capture, process, and deliver customer content from any source, in any format, to any destination in the most efficient and reliable way possible. Daily, Encompass services 1,200+ channels, streams 6,300 hours of TVE/OTT content, and acquires/distributes 275+ live events for its clients worldwide, including nine out of the top 10 U.S. sporting events. Services: channel playout; global distribution (satellite, fiber, IP, satellite trucks); OTT; live events; radio; and disaster recovery. Your sports content. Delivered.

Leading broadcast-sales, -rental, and -systems—integration specialist ES Broadcast has invested heavily in Grass Valley’s revolutionary LDX 100 UHD IP camera platform, not only with an eye on major sports events postponed until 2021 but also with increased uptake in IP technology across the sports sector. Announcing the purchase of 50 cameras, with an option on a further 50 before the end of the year, Managing Director Ben Murphy highlighted the current global pandemic — with remote and distributed workflows becoming crucial to live sports production — as an influencing factor in the company’s investment decision. Meanwhile, the company this year appointed Ryhaan Williams to the post of SVP, sales and systems, U.S., as the latest step in its move to offer a full portfolio of services to clients in the North American market. Williams brings some 25 years’ experience in broadcast and production, with a wealth of knowledge of working in live sports, outside broadcast, and studios with marketleading clients, including major U.S. TV networks, sports bodies and franchises, venues, and OB providers. From a systems perspective, the past 12 months saw ES Broadcast’s systems-integration team deliver major MCR and TX facilities upgrades in the UK for DAZN, the groundbreaking live and on-demand sports-streaming platform. The project significantly increased DAZN’s playout capabilities in order to service the kind of growth that has made it one of the world’s largest sports broadcasters with more than 25,000 events a year.

Filmwerks, along with many others in the entertainment industry, were greatly affected by the COVID-19 pandemic that started in spring 2020. This worldwide shutdown forced Filmwerks to get creative and find fresh solutions to offer a new customer base outside of its mainstream business. The in-house designers, carpenters, and fabricators mass-manufactured aluminum stands and frames with


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Broadcast Services Provider Profiles

plexiglass dividers for office spaces, school rooms, and any other type of group setting where social distancing is critical. Businesses used Filmwerks’ UPS systems and batteries to temporarily back up power in order to perform routine maintenance on data centers. Additionally, large retailers and distribution centers hired Filmwerks to supply temporary power and climate-controlled solutions to expand their reach to high-volume areas across the U.S. in preparation for the heavy holiday online-shopping season. During this time, it also became important to donate any resources available in the fight against COVID-19. Filmwerks used its 3D-printing machine to create face shields for first responders to use in medical facilities and pop-up testing centers. Fortunately, sports, news, and drivein—style entertainment started to make a comeback, and Filmwerks ended the summer with an extremely busy schedule consisting mainly of college and NFL football, PGA golf, and political shows. As the election grew closer, Filmwerks provided generator power, custom structures, and scenic services to many of the major networks for coverage of the presidential race. It had been quite an enlightening year strategizing how to be more versatile in business.

FLETCHER Part of NEP Group’s Specialty Capture team, Fletcher continues to provide cutting-edge capture technology to the industry. From robotic cameras to rail cameras to follow camera systems and more, we help clients capture every angle and every moment. During the COVID crisis, we have been honored to support our clients by providing robotic camera systems that can help them reduce the number of staff on stage, on the field, or on the court, increasing social distancing and helping keep everyone safe. We are also continuing to innovate and develop new technologies, including the new PanBar solution offering a robotic camera solution with zero latency at virtually any distance using IP technology to create a truly remote production solution — all with controls that mirror regular camera controls for pan, tilt, and zoom.

Game Creek has continued to design cutting-edge mobile production facilities with Celtic (rolled out in September 2020) and Gotham (slated for January 2021). These new IP ST 2110 mobile production units with 4K and HDR capabilities are designed to tackle any event large or small. Celtic and Gotham follow Columbia, Bravo, and Gridiron in continuing the charge into the all-IP future of broadcasting, supporting NFL on CBS, MSG Networks, and the Masters golf tournament. Game Creek has developed and successfully implemented GCV Anywhere, the new remote-operation and contribution platform that can reduce or eliminate travel for production or technical staff. The platform leverages IP technology to provide low-latency mobile-unit operation from anywhere. The solution is already in use and has been successfully deployed across numerous events, including NFL and college basketball and golf, where the platform supports remote commentary for on-air talent. The platform is a value-add to clients who trust Game Creek’s team of professionals who support the world’s largest events.

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Gravity Media is a brand-new company with a 30-year pedigree and a bold new look and purpose, formed by the coming together of four established broadcast and production houses: Gearhouse Broadcast, HyperActive Broadcast, Input Media, and Chief Entertainment. We are a leading global provider of complex live-broadcast facilities and production services to content owners, creators, and distributors. Gravity Media exists to create worldclass content that inspires and excites. Our 500 people serve clients in all markets, from sports and media to news and entertainment, working all over the world from bases in the UK, Australia, U.S., France, Germany, and Qatar. We are driven by client-service excellence. We’re always looking and listening, keeping up with the latest broadcast innovations — or pioneering them. Above all, we channel our energy into maintaining our reputation for flawless execution, deep technical expertise, and efficient delivery.

ID services live broadcast, film, television, theatrical, and special events, providing automated and film lighting equipment, transportation, redundant power systems, technical services, and crew. Our main locations are in Los Angeles and Charlotte, NC, with additional ARRI Rental facilities available for support. ID operates nationwide as well as providing lighting services internationally. Its 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 service for customers, and the company recognizes that their loyalty has driven its success. 2020 and the COVID-19 pandemic has brought with it several challenges, especially within the live-entertainment industry. ID takes all necessary precautions to keep both staff and customer health and well-being a top priority. Details regarding its COVID19 safety plan are available on www.illuminationdynamics.com. With these safety measures in place, ID has been able to continue to serve many touring events: PGA golf, NFL football, college football, Major League Baseball, tennis, Major League Soccer, Super-Cross, professional boxing, and many more.

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.

KMH is continually expanding its roster of services to meet the changing needs of professional sports teams, broadcast networks, and educational institutions.


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Broadcast Services Provider Profiles

The company offers a full range of system-integration, design, and consulting services for any project of any scope — whether it’s a new stadium, arena, or practice facility being built from the ground up or an existing venue in need of a system upgrade. KMH is experienced in every phase of project planning and management: from engineering, staging, and installation to programming, testing, commissioning, maintenance, and support. The team collaborates with technology and equipment vendors, architects, designers, and product manufacturers to help ensure that projects are completed on time, within budget, and with no disruption to a customer’s day-to-day operations. Recent KMH project highlights include designing a studio production facility and file-based workflow for the Pittsburgh Steelers, installing an IPTV system for the New York Red Bulls, and managing ongoing technology and production upgrades for the New York Giants at MetLife Stadium and Quest Diagnostics training facility. Although traditional integration services are still in demand, KMH helps customers adapt their communications and production operations to comply with new business restrictions and health guidelines. From the use of Zoom technologies, mediadistribution systems, and IP encoding platforms, KMH can customize new methods to help production teams work remotely while getting a show to air; coaches efficiently communicate with players while maintaining proper distancing, and teams disseminate scheduled content like menus and travel and training schedules. For more information, visit www.kmh-integration.com.

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 direct-attached storage, FCSANs, and a traditional NAS to meet demanding workflow needs. Trust a partner like LH Computer Services, which has a proven history of architecting and providing solutions to clients in the NBA, NCAA, and others.

Lyon Video provided resilient service to our customers through the challenging summer and fall of 2020. In July, Lyon 14 traveled to TPC Harding Park in San Francisco to provide facilities for the 2020 PGA Championship in support of ESPN SportsCenter. With the return of Major League Baseball, Lyon Video mobile units provided staff and facilities to MLB Network, Fox Sports,

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Fox, and ESPN, along with providing streaming feeds to every regional network’s at-home visitor productions. Lyon Video provided multiple super-slow-motion cameras and super-slowmotion replay servers for all home Cincinnati Reds and Cleveland Indians broadcasts throughout the 2020 season. Working safely during the COVID outbreak could have been a challenge for Lyon Video’s Special Projects Group. Traveling to take part in VENN network’s inaugural shows posed a challenge for our staff to enter California and support the network, buildout at Vista Studios, in Playa Vista, CA. Vista Studios provided a safe environment for staff efforts, and we thank them for their efforts. With the return of NCAA sports, ESPN’s Longhorn Network resumed production with upgraded mobile-unit facilities. Lyon Video was able to complete upgrades after state lockdowns but prior to the season’s beginning so that the Longhorn Network staff could get straight into event production.

Markertek, a 100%—employee-owned company, is the leading sports-industry supplier of 12G-SDI and IP infrastructure solutions for stadiums, arenas, production trucks, and remote and esports production. From Camplex fiber to Teradek streaming encoders, plus so much more, no other supplier delivers everything necessary for live coverage solutions. Markertek offers a single-source warehouse of end-to-end interface products supported by its unparalleled customer service. The in-house shop at Markertek can fabricate custom-length opticalCON DRAGONFLY, LEMO SMPTE. and Tactical fiber in its certified lab. The company offers a complete array of rack panels, field boxes, stage boxes, and wall plates, plus audio, video and Ethernet cables. It will also repair and restore customer cables to factory-fresh condition even if it’s another brand! Remember, when you deal with an associate at Markertek, you’re dealing with an owner. Trust the friendly and knowledgeable staff for timely delivery and the on-air confidence you demand.

Mediapro is a leading group in the global audiovisual sector, unique in content integration, production, and audiovisual distribution. With operations worldwide through 58 offices distributed across 36 countries on four continents, it provides the creativity and technical solutions necessary to design, produce, and distribute any audiovisual or multichannel project. Mediapro offers end-to-end production and transmission for coverage of all kinds of sports 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. Mediapro successfully produced the MLS Is Back Tournament 2020 for ESPN with the Omnicam4Sky aerial system and provided tactical feed to the teams with AutomaticTV technology. In addition, Mediapro


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Sincerely, VSG You encouraged us to launch 3 new products this year and prove that true remote production can be achieved with Envivo Replay Highlights for us • Envivo Replay goes UHD/4K in Japan • Envivo Studio gives switchers “super powers” • Envivo Review goes trackside with horse racing

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Lifting Media Over IP to multi-vendor IP fabrics and edges

When broadcasters and leagues first moved to IP, they would rely on a single supplier for their IP fabric and their edge devices, mainly to avoid interoperability glitches. Today, technology data planes are interoperable, and customers deploy main and backup (red and blue) networks using different equipment, sourced from different vendors. Thereâ&#x20AC;&#x2122;s logic to it, because why would your backup system be the same as the main? If main fails, backup is likely to fail as well! Technology redundancy in an IP and software environment is ever more crucial. To achieve that, a multi-vendor SDN orchestration and monitoring system is required. Thatâ&#x20AC;&#x2122;s where DataMiner takes the lead. It gives you the freedom of choice for fabric and edge devices. You can mix and match any brand and model, or any type of media flow on a single converged network.

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Broadcast Services Provider Profiles

produced the Canadian Premier League season in 4K, provided tactical feed to the teams with AutomaticTV technology, and used wTVision software to create Canada’s first virtual stadium.

MeyerPro continues to forge ahead and thrive in the wild waters of 2020. Extensive experience in both virtual meetings and live streaming combined with high-level broadcast experience made the transition to “all-virtual” seamless for the crew at MeyerPro. All year, MeyerPro has been an integral part in assisting Microsoft in production of live multi-session virtual events. The MeyerPro team developed innovative and flexible workflows that have become the model for how to produce live virtual conferences. In July, the company provided live-broadcast support for the NHL team-name—announcement event for the Seattle Kraken. The company’s broadcast flypacks were used to connect two locations into one seamless broadcast using an IP infrastructure and a mix of broadcast and robotic cameras. We were thrilled to help our clients deliver an engaging event and be a part of this historic moment. To learn more about MeyerPro, go to www.meyerproinc.com. We’d love to talk to you!

2020 was an exercise in survival, taking care of employees and trying to anticipate inevitable changes in our industry. Seminal upheavals such as we are experiencing are an occasion for companies to re-examine their priorities and look for opportunities to offer technological solutions for the new environment. Mobile TV Group decided to continue investing in the future while using much of our cash to minimize disruption to employees’ income. So we proceeded with our plans to build new mobile units (including 48 FLEX and 49 FLEX-CC). And we completed the R&D of Cloud Control, MTVG’s response to networks’ demands for more and better remote production. On Sept. 25, MTVG successfully demonstrated Cloud Control using a “visitor feed” of an MLB game. Altitude provided a producer, director, EVS operator, and graphics and bug-box operators for a full-blown Cloud Control production. It was shown on a webinar allowing anyone interested to see it and ask questions. The response was very positive because the effort achieved production quality equal to pre-COVID visitor feeds but without exposing production staff to the cost and risk of traveling to events. MTVG expects to roll-out Cloud Control for many RSNs for the upcoming NBA and NHL seasons and beyond.

Movicom, a world leader in robotic and mechatronic specialtycamera equipment for live, studio, and remote production specializes in its Robycam line of cable-suspended camera systems, which incorporate AR graphics and automated control into “flying” gyro-stabilized camera heads in four-point and two-point configurations for soccer, swimming, hockey, skiing, and all major sports. Movicom has provided camera services for

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international-level broadcasts across the globe and won awards for its systems. Along with aerial camera systems, the company manufactures rail-camera and robotic heads that provide positional information for all major-vendor AR graphics systems to provide interoperability and intercut with AR among all its camera heads. Movicom has done custom installs and one-off builds for stadiums, studios, and concert halls. Integrating hardware, software, and creative solutions is the company’s hallmark.

For 30+ years, NEP has provided the technology and know-how to help clients capture and deliver live sports and entertainment worldwide. With operations in 26 countries, NEP’s services include remote production, specialty capture, RF and wireless video/audio, virtual event, studio and audience solutions, traditional studio production, audio/visual solutions, host-broadcast support, postproduction, connectivity, premium playout, and cloud-based media-asset management. NEP’s 4,000+ employees are driven by a passion for superior service and a focus on technical innovation. Together, they have supported productions in 88 countries. Being flexible and pivoting the business to meet client needs while keeping employees and clients safe have been — and will continue to be — NEP’s focus. The ability to rapidly innovate across the company, along with global resources and scale, has led to some of NEP’s most recent deliveries in the U.S., including centralized production-control rooms out of its DC Hub and an expanded offering of media solutions, including MediaBank, virtual edit, multisite virtual sets, and cloud production. As the industry got back to productions in 2020, we’ve been proud to support our clients at the restart of the NBA, NHL, PGA, NASCAR, and MLB seasons, the US Open tennis championships, U.S. Open golf, Kentucky Derby, presidential-election coverage, the Emmy Awards, Overwatch League Grand Finals, and dedicated support for NFL and MLB postseason coverage. Looking ahead, NEP is committed to driving client-focused innovation across the company, not only with customized client solutions but shared technology solutions for the entire market.

PRG is the world’s leading provider of sports- and event-production solutions with a diverse résumé featuring major live and broadcast sports events worldwide, including the Super Bowl, Olympics, and World Cup. Clients and partners alike depend on PRG’s innovation, knowledge, and depth of experience in broadcasting, audio, video, lighting, rigging, staging, scenery, automated systems, and virtual production for the highest quality in capturing sports and live events. PRG offers the industry’s largest and most diverse rental inventory of production equipment, including all major broadcast cameras, audio, media servers, remote-production gear, rigging, edit facilities, operations trailers, and LED walls. For customized solutions, PRG’s resourceful team of experts have created proprietary tools that have moved the industry forward historically and now, more than ever, in the COVID-19 era. These solutions include Emmy-winning Front Row Cam, UltraView 4K


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Broadcast Services Provider Profiles

director’s finder, Flex Solutions trucks, production suites, and the at-home live-streaming kits used on such productions as the NFL Draft. When it comes to lighting, no one surpasses PRG and its array of sophisticated tech, including proprietary systems like the Engineering Emmy Award-winning GroundControl Followspot. For sports events, award shows, halftime 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 cutting-edge technology, including the extended-reality workflow available at the company’s Virtual Production Studio in Los Angeles.

Program Productions is the labor provider of choice for North America’s remote broadcasts and events. PPI’s foundation is built on a peerless staff of industry veterans, passion for customer service, and a commitment to advancing labor management through innovative technology and treating clients as partners. From premier sports events, corporate meetings, and live music to studios and control centers, Program Productions provides end-to-end labor service for the ever-changing landscape of remote broadcasts and events. Program Productions uses ProCrewz to streamline end-to-end labor management, from event support to payroll completion. The revolutionary app, now in use by more than 10,000 technicians throughout North America, is scaled to handle an unlimited number of live events and an unlimited number of technicians. The web-based client portal allows all client end-users to know, in real time, the status of their crews, the technicians assigned, estimated costs and invoices, and much more. Experience the power of ProCrewz, the essential event-labor— management platform and mobile app. Email sales@procrewz. com to schedule your private demonstration.

The Ross Unified Venue Control System has taken game-day productions to the next level while establishing more-efficient workflows for operators. From massive LED video walls, field signage, and 360-degree fascia boards to concourse displays and lighting systems, the Unified Venue Control System ties these elements together to ensure a seamless and more immersive game-day experience for fans and spectators. Best of all, the system is completely customizable and can be tailored to specific operational needs through the award-winning DashBoard user interface. As part of its end-to-end sports-venue solution, Ross has introduced several new products in 2020. With PIERO Live’s Down & Distance feature, operators in football venues can quickly and easily deliver the features that fans and sponsors have come to expect from a football broadcast: first-down lines, red-zone markers, advertising logos, and more. Kiva, another new product from Ross, instantly simplifies sports-venue productions. As an impressive operator-driven digital-media—playout solution, Kiva’s highly intuitive interface allows a wide variety of media assets and advertisements to be presented on venue videoboards with maximum flexibility and ease.

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From top-tier professional teams and leagues to amateur and collegiate-level sports, the Ross team has developed custom solutions for venues of all sizes. To learn more, visit rossvideo.com/ sports-live-events.

SHOTOVER Camera Systems, a manufacturer of a wide range of world-renowned gyro-stabilized camera systems for shooting aerial footage, and Churchill Navigation, a leader in realtime augmented-reality mapping and video systems used globally, recently announced the companies have merged to form SHOTOVER Systems Ltd. With long-standing records of collaboration, both companies are proud to be able to join together and use their complementary research and development capabilities to bring the most advanced hardware and software products to market. SHOTOVER Systems will continue to operate from the companies’ headquarter locations in Boulder, CO, and Queenstown, New Zealand, and will maintain Service Center locations in Los Angeles and Maintal, Germany. The company remains committed to supporting its current product line and industries and is focused on extensive product development and on providing enhanced augmented-reality offerings for existing products.

Skycam is a leading designer, manufacturer, and operator of mobile aerial camera systems. Skycam plays a significant role in changing the way sports are broadcast in America, appearing at such marquee events as the Super Bowl, Monday Night Football, Sunday Night Football, NCAA college football, NCAA Final Four, and NBA Finals.

SmartCart Technologies is proud to have become trusted supplier to leading broadcast networks. Since the company’s formation in 2014, SmartCart SVX and its derivatives have been used on first-tier international sports events: F1 racing, Premier League soccer, Euro Champions soccer, Rugby football, NFL International, Wimbledon tennis, and more. Its turnkey services include transportation, full-system integration, and operation/guarantee onsite. Designed specifically as a highly adaptable presentation hub for live sports production, the system’s innovative mobile, interactive, superbright daylight touchscreen provides a high-reliability user experience under the most challenging conditions and has met the rigorous demands of onsite broadcast sports production. Recently, when the PGA TOUR on CBS Sports was one of the first sports to restart after the coronavirus lockdown, SmartCart SVX was able to satisfy critical COVID-19 social distancing and bring back full coverage with Amanda Balionis. SmartCart SVX offers a new dimension to sports-event broadcast and fully meets the requirements for integration into remote production as well as into traditional or hybrid scenarios.


FOR-A Team Players Because teamwork is a must in live production FOR-A offers powerful systems for sports, corporate video and live events

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Open up new ways to produce live sports and eSports Net Insight is defining the future of media by empowering our customers â&#x20AC;&#x201C; such as the service provider The Switch â&#x20AC;&#x201C; to build up new business models and strategies. Leveraging the open and virtualized Nimbra portfolio, The Switch tailored a scalable, reliable and future-proof network. They managed to transition live sport and eSports production and delivery to online events, using successful distributed or remote workflows. Learn how The Switch navigates the Covid-19 era with Net Insight on netinsight.net.


Audio. Control. Power Eco-systems designed to empower our customers Providing the tools, expertise & knowledge that allow you to remain focused on making great content. By keeping our ear to the ground and working alongside our customers, TSL continues to design audio monitoring, advanced control and power management solutions for SDI, hybrid and fully IP infrastructures that are intuitive, yet powerful. With a development roadmap steeped in engineering and R&D excellence, TSL is working in partnership with technical leaders and initiatives such as SMPTE and AMWA to supply eco-systems that empower our customers, so that you can take ownership of your systems and benefit from extended life-time value.

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Broadcast Services Provider Profiles

As we look back, 2020 was a challenging year requiring adaptation to new realities. From moving our workforce to completely remote operation to maintaining and sourcing new business, SOS has been able to view the year as successful. SOS Global Express started 2020 off quickly before its event-based business slowed down, with only a recent restart under much different conditions. Despite the challenges, SOS managed logistics for US Open tennis, PGA TOUR, Kentucky Derby, U.S. Open golf amidst ever-changing schedules and restrictions. Many of the events we were looking forward to have been moved to 2021 or beyond, including Tokyo Olympics, UEFA Championship, and NCAA tournaments. Formed in 1986, SOS Global Express now employs more than 130 logistical specialists worldwide, focused on TV production, sports, music touring, and major live events, delivering turnkey solutions and operational support 24/7/365.

SOUTHWORKS is the cloud broadcast-engineering team behind some of the most demanding, mission-critical implementations currently transforming the live-sports OTT landscape. Challenge: Discovery is a great example. With nearly 1,500 hours of linear and live content delivered daily, Discovery has been a major player in OTT for many years. In 2019, it wanted to broaden its streaming strategy and build/operate a direct-toconsumer platform of its own, taking advantage of its unique content portfolio and dedicated fan following. Because the architects at Discovery needed state-of-the-art, world-class infrastructure in the cloud on an aggressive timeline, they turned to SOUTHWORKS for assistance. Solution: As a Select AWS Network Partner, SOUTHWORKS had the expertise Discovery needed to help design, develop, and deploy a scalable and reliable solution using the latest technology from the AWS Media Services platform. Over six intense months, SOUTHWORKS was able to deliver a new system capable of supporting hundreds of live channels with a minimum of operator overhead, making a significant positive impact on Discovery’s business while enabling the network to deliver a broad array of new channels and subscription-based services to a global audience. Try us: We approach every project with a fierce “own it, bring it, prove it” mentality to solve our clients’ most pressing cloud broadcasting challenges. If you would like to explore ways that SOUTHWORKS can help your organization, please reach us at hello@southworks.com.

The year 2020 has been an eventful year. Stevens Global Logistics enacted its Business Continuity Plan (BCP) once COVID-19 directives were delivered to the world. Businesses around the world were impacted during the pandemic. Fortunately, Stevens

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SPORTS PRODUCTION 2021 YEARBOOK

Global was in a healthy position to continue its business operations and assist those in need of services as an essential-service provider. The safety of Stevens Global employees was paramount at the height of these trying times, and we were able to safely service our clients with no service interruptions. The sports and entertainment industry was heavily impacted by the pandemic; however, we were vigilant in standing by until the sports and entertainment world opened back up. Stevens Global can service your transportation and logistics needs wherever your sports and entertainment events are held. We have handled everything from major sports events to local middle school soccer games; from local summer festivals to tours that expand across the globe. Delivering excellence through constant communication sets Stevens Global above its competition. Represented in more than 150 countries, Stevens prides itself on excelling in last-second urgent express shipments. Our ATA Carnet services shipments with multiple stops abroad, monitored and managed by Stevens from export to return. We provide client concierge service 24/7 365. Concierge service allows you to have a dedicated logistics professional available to you at any time. Our extensive experience in the sports and entertainment industry instills the confidence that our customers continue to have in our service.

T2 Computing technology-solution provider is focused on the creation, management, distribution, storage, and monetization of digital content. Born from the B2B arm of NYC’s iconic Tekserve, T2 provides highly skilled infrastructure engineering and strong technology-product know-how to help design, procure, implement, manage, and support systems for the world’s leading media companies. T2’s client base covers a broad spectrum of business verticals: industry leaders in media and entertainment, sports, financial services, advertising, and many more. Our belief that “every company is a media company” allows us to bring innovative solutions to solve complex problems in maximizing content creation, management, and distribution. T2 Computing’s key technology partnerships include Apple, Quantum, IPV, Avid, CatDV, ScaleLogic, SpectraLogic, EditShare, Telestream, Dell EMC, HP, SNS, JetStream, CatDV, Backblaze, and SimplyLive. T2 takes a collaborative approach when working with its clients; leveraging a strong internal engineering staff with vendor specialists to provide a state-ofthe-art, custom-tailored solution that resolves business-critical workflow pain points. T2 Computing’s professional-services staff provides comprehensive support for all technology solutions it sells and installs. In addition to video-workflow solutions, T2 Computing has expertise in audio-content management. Additionally, the company has helped more than 800 editors get online and working remotely during the COVID-19 pandemic and has stayed productive helping customers focus on business continuity in a time of extreme uncertainty.


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From motorsports to football. We deliver it all. We deliver over 5,000 live sporting events globally, including most motorsports in Europe, cricket, tennis, football and many others.

Speak to us for world-class network delivery as a service, pay as you go. Write to bookings@tatacommunications.com today. Š 2020 Tata Communications. All rights reserved. TATA COMMUNICATIONS and TATA are trademarks of Tata Sons Private Limited in certain countries.


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Courtesy of

Vendor Services Directory

Courtesy of

VENDOR SERVICES

Directory

O

166 Crew Services 170 Generators 182 Mobile Production Units 194 Satellite Trucks

nce again, SVG has partnered with ProductionHUB to publish the most comprehensive directory of Vendor Services for Sports Production. ProductionHUB.com, a respected online resource, lists not only the vendors covered here but also a wealth of other productionservices companies who serve producers of sports and other forms of live entertainment. The site is also SVGâ&#x20AC;&#x2122;s jobs-board partner and provides a valuable tool for freelancers seeking work and for todayâ&#x20AC;&#x2122;s growing number of sports networks and content creators. Be sure to visit ProductionHUB.com for ongoing updates and additions to this list of potential suppliers and service providers.

SPORTS PRODUCTION 2021 YEARBOOK

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THIS IS THE NEXT GREAT COLLEGE FOOTBALL RIVALRY GAME. THIS IS QUANTUM. Helping you bring sports back to the fans—whether it’s live, game-day action or repurposing archive footage from matchups of the past. Deliver engaging sports content with fast video ingest, seamless collaboration, and quick access to those game-changing moments. Explore our sports video production solutions: quantum.com/sports

©2020 Quantum Corporation. All rights reserved.


VISTA WORLDLINK DISRUPTIVE INNOVATION Evolving Sports Production VISTA Worldlink is your source for Transmission, Production and Emerging Technology Solution

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New FingerWorks Versions • FingerWorks 6 Broadcast LIVE • Sidecar File based Editing and Publishing • NEW Playboard for remote Spotters and Stats updates in the booth FingerWorks 6 Users • LIVE Sports • E Sports • Post production • Corporate presentations • Medicine • Education

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Crew Services CITY

NAME

WEBSITE

PHONE

ALABAMA

Birmingham

Crewsouth

www.crewsouth.com

(602) 286-6800

ARIZONA

Chandler

MarzMotion

www.marzmotion.com

(602) 722-0783

Phoenix

Phoenix Production Services

www.filmwithpps.com

(623) 850-5100

Phoenix

Reel Men

www.reelmen.com

(520) 770-1120

Tucson

Crew 4-U Video & Film

www.crew4u.com

(501) 920-3392

Phoenix

Crew West

www.crewwestinc.com/sat-west

(818) 516-6474

Phoenix

Burke Brothers Productions

BBPTV.com

(501) 351-5837

www.filmgearrentals.com

(800) 233-7830

Vendor Services Directory

Courtesy of

STATE

ARKANSAS

North Little Rock Film Gear Rentals

CALIFORNIA

Beverly Hills

Snakebyte Productions and Entertainment www.snakebyteproductions.com Group

Los Angeles

Beverly Boy Productions - West

beverlyboy.com/locations/ca/los-angelesvideo-production-services

(770) 315-9879

San Franciso

Branded Content Media

www.brandedcontentmedia.com

(323) 462-5934

San Diego

Crystal Pyramid Productions

www.crystalpyramid.com

(866) 762-5228

Aspen

Aspen Productions

www.aspenproductions.com

(818) 848-4004

Golden

Crew Connection

www.crewconnection.com

(818) 842-5288

DISTRICT OF COLUMBIA

Washington

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

www.iatselocal22.com

(818) 222-4143

FLORIDA

Miami

Beverly Boy Productions - East

www.beverlyboy.com/locations/fl/miamivideo-production-company-2

(800) 421-1244

Bradenton

Video Crews FLA

www.videocrewsfla.com

(818) 882-2677

Lake Mary

Skystorm Productions

skystorm.com/

(800) 452-2732

Melbourne

David Waters Productions

www.facebook.com/davidwatersproductions (818) 982-2200

Miami

Stonehenge Circle

www.stonehengecircle.com

(855) 444-4757

Atlanta

Synchronicity Motion Pictures

www.synchronicity.online

(800) 748-6997

Marietta

COMO Production Solutions

Atlanta

LOCAL

www.staylocalatl.com

(619) 521-0585

Atlanta

Swirl Films / Rentals

www.swirlfilms.com

(818) 686-6400

IDAHO

Nampa

Chris Wade Media

www.chriswademedia.com

(800) 649-6629

ILLINOIS

Carol Stream

Visions of Light Chicago

www.visionsoflight.com

(661) 268-1891

Chicago

Complete Crewing

www.completecrewing.com

(818) 768-8886

Grayslake

Clarion - Chicago

COLORADO

GEORGIA

MASSACHUSETTS Boston

MISSOURI NEVADA

NEW YORK

NEW YORK

166

(818) 679-4321

(415) 332-3005

(303) 722-4747

PixMix Video Services

pixmix.net

(407) 852-0164

Hudson

StoneMedia Productions

www.stonemediapros.com

(954) 739-2468

Newton

Green Line Group

www.glgtv.com

(407) 832-2606

Brentwood

DreamWelder Productions

www.dreamwelder.com

(877) 228-2852

Branson

jackson+appleton

www.youtube.com/jacksonappleton

(877) 228-2852

Las Vegas

Olena Z Films Video Production

www.olenazfilms.com

(727) 522-2203

Las Vegas

Avenger Productions

www.avengerproductions.com

(727) 560-0134

Las Vegas

Carafelli Productions

www.carafelliproductions.com

(954) 922-3800

Las Vegas

JCS Broadcast Video Productions

jcsvideo.com

(954) 777-3277

New York

Crew 1 TV

www.crew1tv.com

(954) 463-4820

New York

Broadcast Management Group

www.broadcastmgmt.com

(800) 434-0003

New York

Go To Team

gototeam.com

(954) 302-3565

New York

Atlantic Television

www.atlantictv.com

(404) 662-4035

SPORTS PRODUCTION 2021 YEARBOOK

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


SCORE A HAT TRICK WITH SPECTRA’S STORAGE SOLUTIONS Getting hit with large amounts of valuable content? Not sure where to safely put your digital assets for long periods of time and gain quick access when you need it? Spectra’s end-to-end storage and data management solutions can help you score these goals:

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DMC BROADCAST GROUP Now Representing

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Crew Services

Vendor Services Directory

Courtesy of

STATE NEW YORK

CITY New York

NAME New York Video Crews

WEBSITE www.newyorkvideocrews.com

PHONE (678) 922-2490

New York

Filmwerk Media

www.filmwerk.tv

(678) 848-5996

New York

NBTV Studios

www.nbtvinc.com

(912) 238-5800

Wake Forest

ClaryComm

www.clarycomm.net

(773) 542-1002

Matthews

Production Management Specialist

www.productionmanagementspecialists. com

(312) 829-8244

OKLAHOMA

Oklahoma City

Oklahoma Film Commission

www.ok.gov/oklahomafilm

(317) 547-4747

OREGON

Portland

Picture This Production Services

www.pixthis.com

(800) 838-1482

TheCrewStore

www.thecrewstore.com

(800) 825-6030

Conshohocken

Wonderful Machine

www.wonderfulmachine.com

(913) 362-6940

TEXAS

Austin

Widespread Creative

www.widespreadcreative.com

(913) 226-0849

UTAH

Salt Lake City

Redman Movies and Stories

www.redmanmovies.com

(504) 831-5214

Salt Lake City

Fiftyfilms

www.fiftyfilms.com

(888) 898-6010

Seattle

LDM Worldwide Productions

www.ldmworldwide.com

(504) 247-0020

Seattle

National Corporate Housing

www.nationalcorporatehousing.com

(504) 309-6612

Madison

Grassland Media

grasslandmedia.com/

(504) 737-0555

ProductionHUB

www.productionhub.com/full-servicecrewing

(978) 615-5500

NORTH CAROLINA

PENNSYLVANIA Clifton Heights

WASHINGTON WISCONSIN

Generators STATE

CITY

NAME

WEBSITE

PHONE

ARIZONA

Phoenix

Reel Men

reelmen.com

(602) 286-6800

Mesa

Sound Lighting F/X

www.soundlightingfx.com

(602) 722-0783

Phoenix

United Rentals - Phoenix

www.ur.com

(623) 850-5100

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

North Little Rock

Event Power

eventpowerpro.com/

(501) 351-5837

Sylmar

Hollywood Rentals - Los Angeles

www.hollywoodrentals.com

(800) 233-7830

Granada Hills

Light It Up - Gear & Truck Rental

www.LightitupLA.com

(818) 679-4321

Los Angeles

Aggreko

www.aggreko.com/en-us

(770) 315-9879

Burbank

Skye Rentals

www.skyerentals.com

(323) 462-5934

Compton

CAT Entertainment Services

es-cat.com/

(866) 762-5228

Burbank

AC Power Distribution

www.acpowerdistribution.com

(818) 848-4004

ARKANSAS

CALIFORNIA

170

Burbank

United Rentals - Burbank

www.ur.com

(818) 842-5288

Calabasas

Studio Air Conditioning Rentals

www.studioairconditioning.com

(818) 222-4143

Carson

Multiquip

www.multiquip.com

(800) 421-1244

Chatsworth

Cinerep International

www.cinerepamps.com

(818) 882-2677

Culver City

La Brea Air

www.labrearentals.com

(800) 452-2732

SPORTS PRODUCTION 2021 YEARBOOK

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


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Generators CITY

NAME

WEBSITE

PHONE

CALIFORNIA

North Hollywood

Star Power Generators

www.starpowergenerators.com

(818) 982-2200

Paramount

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

(619) 521-0585

Vendor Services Directory

Courtesy of

STATE

San Fernando

Illumination Dynamics

www.illuminationdynamics.com

(818) 686-6400

San Francisco

Cresco Production Express

www.crescorent.com

(800) 649-6629

Santa Clarita

Santa Clarita Movie Ranch

scmovieranch.biz/index.html

(661) 268-1891

Sun Valley

DADCO

www.dadcopowerandlights.com

(818) 768-8886

COLORADO

Littleton

Lighting Services

www.lsidenver.com

(303) 722-4747

FLORIDA

Orlando

Hollywood Rentals - Orlando

www.hollywoodrentals.com

(407) 852-0164

Fort Lauderdale

Production Power & Air

www.productionpowerandair.com

(954) 739-2468

Orlando

First Call Location Coach Rentals

www.firstcallcoach.com

(407) 832-2606

Orlando

CAT Entertainment Services

es-cat.com

(877) 228-2852

St. Augustine

CAT Entertainment Services

es-cat.com

(877) 228-2852

Pinellas Park

First Unit Production Services

firstunit.com

(727) 522-2203

Clearwater

Command Corp

cmnd.com

(727) 560-0134

Dania

EmPower

empowergenerators.net

(954) 922-3800

Fort Lauderdale

Garrett Sound & Lighting

www.garrettsound.com

(954) 777-3277

Fort Lauderdale

Production Toolbox Services

productiontoolbox.com

(954) 463-4820

Miami

Americas Generators

gopower.com

(800) 434-0003

Miami

Megawattage

www.megawattage.com

(954) 302-3565

Atlanta

Universal Production Services

universalproductionservices.com

(404) 662-4035

Atlanta

BigCity Leasing & Production Equipment

www.bigcityleasing.com

(678) 922-2490

Atlanta

Herc Rentals

www.hercrentals.com/us.html

(678) 848-5996

Savannah

Ross SysCon

www.rosssyscon.com

(912) 238-5800

Chicago

Universal Production Services

universalproductionservices.com

(773) 542-1002

Carol Stream

Visions of Light Chicago

www.visionsoflight.com

(312) 829-8244

INDIANA

Indianapolis

Hammer Lighting & Grip

www.hammergrip.tv

(317) 547-4747

IOWA

Alta

Gull Wing Industries

www.gull-wing.com

(800) 838-1482

Oskaloosa

Musco Lighting

www.musco.com

(800) 825-6030

GEORGIA

ILLINOIS

KANSAS LOUISIANA

Kansas City

Lights On Kansas City

www.lightson.com/rental/kansascity

(913) 362-6940

Overland Park

Prime Light

www.paddock.com/primelight

(913) 226-0849

New Orleans

Available Lighting

www.availablelighting.com

(504) 831-5214

Baton Rouge

Digital FX

www.digitalfx.tv

(888) 898-6010

New Orleans

Center Staging

www.centerstaging.net

(504) 247-0020

New Orleans

Nola Film Logistics

www.nolafl.com

(504) 309-6612

New Orleans

Silver Screen Supply

www.silverscreensupplies.com

(504) 737-0555

New England Studios

content.nestudios.com/film-nestudios

(978) 615-5500

West Bridgewater

Equipment 4 Rent

www.equipment4rent.net

(508) 583-5500

Woburn

Kaye Lites

www.kayelites.com

(781) 932-0005

Detroit

Great Lakes Michigan Crane

www.michigancrane.com

(313) 365-1800

MASSACHUSETTS Devens

MICHIGAN

174

SPORTS PRODUCTION 2021 YEARBOOK

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


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Generators

Vendor Services Directory

Courtesy of

STATE

CITY

WEBSITE

PHONE

MINNESOTA

Brooklyn Park

Broadway Rental Equipment

www.broadwayrental.com

(763) 533-1680

MISSOURI

Kansas City

Dean Machinery

deancat.com

(816) 200-5470

St. Louis

CK Power Products

www.ckpower.com

(314) 868-8620

NEVADA

Reno

United Rentals - Reno

www.ur.com

(775) 348-0140

NEW JERSEY

Piscataway

CAT Entertainment Services

es-cat.com

(908) 272-8400

Farmingdale

Risco

www.riscorv.com

(732) 872-7722

Lakewood

Complete Equipment Rentals

www.completeequipment.com

(845) 420-5044

South Plainfield

SBP Industries

www.sbp4juice.com/

(908) 412-8630

NEW MEXICO NEW YORK

Albuquerque

Universal Production Services

universalproductionservices.com

(505) 273-5801

Santa Fe

Serious Grippage & Light Company

www.seriousgrippage.com

(505) 473-1566

Long Island City

Universal Production Services

universalproductionservices.com

(646) 762-5880

New York

Scheimpflüg

www.scheimpflug.com

(212) 244-8300

Poughquag

PartyTime Rentals

partytime-rentals.com

(845) 226-2447

Deer Park

RANTECH

www.OneStopSurplus.com

(631) 983-8408

Hicksville

On Site Energy

www.onsite-energy.com

(800) 736-2504

Long Island City

Available Light

www.alny.net

(718) 707-9670

Long Island City

Silvertrucks Lighting

www.silvercupstudios.com/silvertrucks-info (718) 906-3045 www.starklighting.com

(347) 538-6501

.cookerentals.com

(704) 483-2722

New Paltz

Stark Lighting & Generator

NORTH CAROLINA

Denver

Cooke Rentals

OREGON

Portland

Peterson Caterpillar

www.petersoncat.com

(503) 288-6411

Gaffer Baron

PENNSYLVANIA Havertown

www.gafferbaron.com

(610) 449-6550

RHODE ISLAND North Kingstown CAT Entertainment Services

es-cat.com

(401) 845-2281

North Kingstown CAT Entertainment Services

es-cat.com

(888) 296-4492

SOUTH CAROLINA

Charleston

www.highoutput.com/locations/charleston (843) 722-3600

Charleston

Neff Rental

www.neffrental.com

(843) 760-6333

TENNESSEE

Nashville

Nashville Lighting & Grip

www.nashvillegrip.com

(615) 678-2727

Franklin

Cine Power Systems

Knoxville

The Smoky Mountain Grip & Lighting

www.smokymtngrip.com

(865) 947-5483

Nashville

Sunbelt Rentals Pump & Power Services

www.sunbeltrentals.com

(800) 667-9328

Dallas

CAT Entertainment Services

Houston

Juice Goose / Whitenton Industries

www.juicegoose.com

(713) 772-1404

Houston

MC Lighting & Production Services

www.mclighting.com

(713) 723-1393

Irving

Panavision - Dallas

www.panavision.com

(972) 929-8585

TEXAS

High Output - Charleston

(615) 521-6857

.

(214) 638-1400

Rowlett

Burrell Enterprises

www.litepower.com

(972) 475-8111

UTAH

Salt Lake City

Redman Movies and Stories

www.redmanmovies.com

(801) 978-9292

VERMONT

Hinesburg

NRG Systems

www.nrgsystems.com

(802) 482-2255

VIRGINIA

Falls Church

Carnage Brothers Grip & Electric

Manassas

Temp Power

www.temp-power.net

(703) 330-3663

Spokane

Shutterworks Rentals Spokane

www.shutterworksrentals.com

(509) 720-8162

Seattle

Pacific Grip & Lighting - Seattle

www.pacific-grip.com

(206) 622-8540

WASHINGTON

178

NAME

SPORTS PRODUCTION 2021 YEARBOOK

(703) 824-8389

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


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Mobile Production Units CITY Spanish Fort

ARIZONA

Vendor Services Directory

Courtesy of

STATE ALABAMA

ARKANSAS

CALIFORNIA

COLORADO

182

NAME AVS Media Group

WEBSITE www.avsmediagroup.com

PHONE (251) 621-1200

Mesa

RV Rental Outlet

www.rvrentaloutlet.com

(480) 461-0023

Phoenix

Cox Studios- Phoenix

www.coxcreativestudios.com

(623) 328-4778

Phoenix

FLOODstream - Mobile Broadcast & Webcast Production

www.floodstream.com

(480) 535-5002

Phoenix

Skyline Productions

www.skylinevideo.com

(480) 345-8009

Little Rock

Hailstone Creek Productions

www.hailstonecreek.com

(501) 371-9515

North Little Rock

Jones Mobile Television

www.jmtv.com

(501) 376-1993

Rogers

Clark's Video Group

www.clarksvideogroup.com

(479) 636-7111

Van Nuys

PSSI Global Services - Strategic Television www.pssiglobal.com

(310) 575-4400

Los Angeles

Champion Site + Sound

chmpnss.com

(323) 850-4990

Studio City

Digital Media Group

www.digitalmedia.tv

(818) 974-4000

Studio City

Streaming Media Live

www.streamingmedialive.com

(818) 974-4000

Van Nuys

UniSat - Universal Satellite Communications

www.unisatmobile.com

(562) 483-4800

Long Beach

Thunder Studios

www.thunderstudios.com

(323) 647-7557

Rancho Santa Margarita

090 Media

www.090.media

(858) 324-5500

Ripon

MS Production Services

www.mspslive.net

(877) 354-6777

San Diego

Satellite Digital Teleproductions, SDTV

www.sdtv.com

(619) 293-7777

Burbank

Apache Rental Group

www.apacherentalgroup.com

(818) 842-9944

Burbank

Pacifico Television Engineering

www.pacificobroadcast.com

(818) 566-9706

Burbank

Touring Video

www.touringvideo.com

(818) 504-3500

Burlingame

Bay Area Mobile Production

www.bamphd.com

(650) 375-8855

Chatsworth

Cinerep International

www.cinerepamps.com

(818) 882-2677

Concord

E-N-G Mobile Systems

www.e-n-g.com

(800) 662-4522

Morgan Hill

Global Link Productions

www.globalinktv.com

(408) 465-2787

San Francisco

Cresco Production Express

www.crescorent.com

(800) 649-6629

Santa Clarita

TAKEITLIVE MEDIA

takeitlive.com

(818) 271-7949

Santa Monica

Mobeon

www.mobeon.com

(1888) 789-2463

Vacaville

Mobilized Tech Systems-Bigfoot Mobile Systems

www.bigfootmobilecarts.com

(707) 602-5548

Parker

Loclyz Media Services

www.loclyz.com

(720) 452-2361

Denver

RMD Mobile HD

www.rmdhd.com

(720) 259-2277

Denver

Peak Uplink

peakuplink.com

(970) 984-9765

CONNECTICUT

Suffield

VideoPort Communications

www.videoportc.com

(413) 478-1745

DISTRICT OF COLUMBIA

Washington

Skehan Communications

www.skehan.com

(202) 833-3310

FLORIDA

Miami

Mediapro

mediaprous.tv/

(305) 357-6000

Tampa

FlyMotion Media

www.flymotionmedia.com

(800) 548-5844

Miami

Blue Dolphin Studios

cinematusa.com/blue-dolphin-studios

(305) 887-7726

Orlando

First Call Location Coach Rentals

www.firstcallcoach.com

(407) 832-2606

St. Petersburg

CP Communications

cpcomms.com

(800) 762-4254

Lake Mary

Skystorm Productions

skystorm.com

(407) 328-4747

Boca Raton

Mobile Studios

www.mobilestudios.com

(561) 372-0604

Cape Canaveral Communications Concepts

cci321.com

(321) 783-5232

Clearwater

F & F Productions

www.fandfhd.tv

(727) 530-5000

Clearwater

Oshkosh Specialty Vehicles

www.oshkoshsv.com

(727) 573-0400

Fort Lauderdale MSR Mobile Stage Rentals

www.mobilestagerentals.com

(877) 882-8889

Miami

www.cmgshows.com

(786) 286-4942

Christian Media Group

SPORTS PRODUCTION 2021 YEARBOOK

*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 FLORIDA

GEORGIA

HAWAII

ILLINOIS

INDIANA

LOUISIANA

CITY Miami

NAME MMC Video

WEBSITE www.mmcvideocorp.com

PHONE (305) 300-8976

Miami

UNITED TELEPORTS

www.unitedteleports.com

(305) 671-3333

Miami Beach

Encanta Productions

encanta.com

(954) 998-6713

Atlanta

Encompass Digital Media

www.encompass.tv

(678) 421-6834

Atlanta

Narrow Path Productions

narrowpath.tv

(770) 715-3611

Atlanta

KEF Media Associates

www.kefmedia.com

(404) 605-0009

Lawrenceville

Lightnin' Production Rentals

www.lightnin.net

(770) 963-1234

Hawi

Keith Nealy Productions

www.keithnealy.com

(808) 882-7772

Honolulu

John Guild Communications

www.john-guild.com

(808) 596-2211

Mililani

Ron Eggleton

www.xleggs.com

(360) 790-1459

Chicago

CVM Productions

www.cvmproductions.com

(574) 256-0068

Morton

ScheffTech Productions

www.schefftech.com

(309) 524-5865

Tinley Park

Digital Impact Video

www.digitalimpactvideo.com

(708) 606-2310

South Bend

LeSEA Productions

www.leseaproductions.com

(574) 291-8200

Hammond

Kentucky Trailer

www.kytrailer.com

(219) 845-1695

Muncie

WIPB Productions / University Media Services Ball State University

www.wipb.org

(765) 285-4245

Noblesville

LeSEA Productions

www.leseaproductions.com

(317) 773-5050

New Orleans

Satellite Center

www.satctr.com

(504) 915-8244

West Monroe

ShowCase Video

www.showcasevp.com

(318) 398-0748

New Orleans

YES Productions

www.yesproductions.org

(800) 736-8812

MAINE

Saco

CSP Mobile Productions

www.cspmobile.com

(207) 282-9680

MARYLAND

Phoenix

Sheffield Audio Video Productions

www.sheffieldav.com

(800) 355-6613

PixMix Video Services

www.pixmix.net

(617) 254-0590

Marlborough

D2 Productions

www.d2productions.com

(508) 485-0300

Millville

Deadly Spider Productions

www.DeadlySpider.com

(401) 447-5254

Wakefield

Remote Facilities Consulting Services

www.remotefacilities.com

(781) 246-8300

Wixom

Detroit Public Television

MASSACHUSETTS Boston

MICHIGAN

www.dptv.org/about/production-services

(248) 305-3827

Sterling Heights Moonlink Satellite

www.moonlinksat.com

(586) 323-9590

Coon Rapids

CTN Studios

www.ctnstudios.com

(763) 767-6525

Minneapolis

Arctek HD Satellite Productions

www.arcteksat.com

(612) 623-1986

Branson

jackson+appleton

www.youtube.com/jacksonappleton

(417) 294-0711

St. Louis

Spot Media Transfer

www.spotmpg.com/#deliver

(314) 667-5915

MONTANA

Helena

Lyon Productions

www.lyongroup.biz/content

(406) 442-9014

NEVADA

Las Vegas

Vegas PBS Studios

www.vegaspbs.org/production-services

(702) 799-1010

Las Vegas

FLOODstream - Mobile Broadcast & Webcast Production

www.floodstream.com

(702) 577-3300

Las Vegas

CoverEDGE Las Vegas

www.coveredge.com

800822NEWS

Hudson

Game Creek Video

www.gamecreekvideo.com

(603) 882-5222

Pelham

Thistle Communications

www.thistlecommunications.net

(603) 598-5100

Hackensack

Patchamp

www.patchamp.com

(201) 457-1504

Ramsey

Jim Houston Productions

www.jimhouston1.com

(201) 788-7096

Whippany

A3 Media

www.a3mediallc.com

(201) 951-0619

New York

Touchdown Productions

www.touchdown-productions.com

(1917) 746-6240

Saratoga Springs

High Rock Mobile Television

www.highrockmobiletelevision.com

(518) 584-9181

Baldwin

Flypack New York

www.flypackny.com

(516) 867-7300

New York

Total Media Productions

www.total-media.com

(646) 536-7340

New City

Flight 9 Satellite Services

www.flight9.com

(888) 354-4489

New York

ASU Productions & American Satellite Uplink

www.americansatelliteuplink.com

(917) 861-0468

MINNESOTA MISSOURI

NEW HAMPSHIRE NEW JERSEY

NEW YORK

186

SPORTS PRODUCTION 2021 YEARBOOK

*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

OHIO OKLAHOMA

CITY New York

TEXAS

UTAH

PHONE (888) 675-9995

Admiral Video - InMotion HD

www.PylonCam.com

(716) 651-9900

Flushing

Interface Communications

www.interfacetv.com

(718) 463-8700

Flushing

Multi Media Network News

www.multimedianetworknews.com

(718) 809-7058

New York

Cinedeck

www.cinedeck.com

(888) 490-3360

New York

KoKo - Baz Video & Film

www.kokobaz.com

(212) 674-6601

New York

Metrovision Production Group

www.metrovision.tv

(212) 989-1515

Patchogue

Luna Video

vimeo.com/75588888

(631) 767-8817

Durham

Dynamic Videocasting - Live Streaming for www.DynamicVideocasting.com North Carolina

(800) 930-0962

Greensboro

7 Cinematics

7cinematics.com

(843) 754-0516

Charlotte

The Production Group

www.theproductiongroup.com

(704) 333-2595

Charlotte

Control 1 Communications

control1comm.com

(205) 706-9524

Winston Salem Spevco

www.spevco.com

(336) 924-8100

Columbus

Lyon Video

www.lyonvideo.com

(614) 297-0001

Columbus

Mobile Production Services

www.remoteriley.com

(614) 864-7900

Broken Arrow

Allied Broadcast Group

alliedbroadcastgroup.com

(918) 250-5353

Tulsa

LeSEA Productions

www.leseaproductions.com

(918) 254-4701

Tulsa

Winnercomm

www.winnercomm.com

(918) 496-1900

Triode Media Group

www.triode.tv

(717) 413-2533

Pittsburgh

Viewpoint Production Services

www.viewpoint.tv

(800) 820-0402

Harrisburg

Mythology Mobile Production Solutions

www.mythologymps.com

(717) 756-1870

Philadelphia

StreamByte TV Event Webcasting Philadelphia

www.streambyte.tv

(267) 218-1004

Malvern

CCI Communications

www.ccimobileproduction.com

(610) 836-1355

Philadelphia

PMTV - Broadcast, Production, Streaming www.PMTV.com Worldwide

(484) 690-9183

Philadelphia

Total Production Services

www.tpsweb.com

(888) 877-1178

Pittsburgh

NEP

www.nepinc.com

(855) 735-4310

Boyertown

J A Taylor & Associates

www.broadcastassociates.com

(610) 754-6800

Nashville

High End TV

www.highendtv.com

(615) 346-9545

Goodlettsville

Video One Productions

www.vopinc.com

(615) 859-1521

Hendersonville Camp Digital

www.campdigital.net

(615) 826-0122

Hendersonville Stokes Production Services

www.stokesvideo.com

(615) 822-6500

Nashville

Tennessee Digital Video

www.tndv.com

(615) 585-6528

Austin

Earl Miller Productions

www.earlmillerproductions.com

(512) 458-4343

Dallas

Tricam Video Productions

www.tricamvideo.com

(817) 909-4137

Houston

Satellite Center

www.satctr.com

(504) 915-8244

Argyle

GoVision

www.anc.com

(940) 464-2320

Beaumont

Bounce Multimedia

www.bouncemultimedia.com

(409) 860-5551

Houston

Advanced Containment Systems

www.acsi-us.com

(713) 987-0336

Missouri City

Stage2screenProductions

Logan

Cis Com digital media

www.cis-com.com

(435) 757-6889

Orem

Doug Johnson Productions

www.djprod.biz

(801) 396-9938

Park City

Gunner Live

www.gunnerlive.com

(678) 313-6001

(281) 804-9525

Sandy

Videolines Mobile Television

videolinesmobiletv.com

(801) 580-9474

VIRGINIA

Herndon

Moon Bounce Media

www.moonbouncemedia.com

(703) 318-7500

WASHINGTON

Auburn

Jonas Jensen Studios

www.jonasjensen.com

(206) 838-9080

Seattle

LDM Worldwide Productions

www.ldmworldwide.com

(206) 463-1902

Milwaukee

Link Up Communications

www.linkupcom.com

(414) 453-8785

Waunakee

Token Creek Mobile Television

www.tokencreek.com

(608) 849-4965

WISCONSIN

190

WEBSITE www.ZirconProductionVehicles.com

Buffalo

PENNSYLVANIA Lancaster

TENNESSEE

COMPANY NAME Zircon Production Vehicles

SPORTS PRODUCTION 2021 YEARBOOK

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


Leveraging Telstraâ&#x20AC;&#x2122;s total global network assets for fully managed media content transmission. Major events & tours

International Remote Production

Occasional Use

Next Generation Linear Distribution

IP Transit

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

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Technicians submit expenses and upload receipts, right from the app.

Request a demo at sales@procrewz.com


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Our Footprint Extends Nationwide CHESA is a team of nationally recognized experts who strive to enable the creative industry across the United States.

Ready to Transform the Way You Work? Visit: www.chesa.com Contact Us: Follow Us:

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Listen to The Workflow Show Podcast on chesa.com/workflow-show, Spotify, Amazon Music, and Apple Podcasts.


Satellite Trucks STATE

CITY

COMPANY NAME

WEBSITE

PHONE

ARIZONA

Phoenix

Crew West

www.crewwestinc.com

(888) 444-2739

Phoenix

Crew West

www.crewwestinc.com/sat-west

(888) 444-2739

Culver City

The Switch - Los Angeles

www.theswitch.tv

(310) 287-3800

Van Nuys

UniSat - Universal Satellite Communications

www.unisatmobile.com

(562) 483-4800

Oakland

Central Coast Uplink

www.centralcoastuplink.com

(831) 325-5271

Calabasas

Coastal Media Group

www.coastalmediagroup.com

(818) 880-9800

Concord

E-N-G Mobile Systems

www.e-n-g.com

(800) 662-4522

Morgan Hill

Global Link Productions

www.globalinktv.com

(408) 465-2787

Sacramento

PACSAT - California

www.pacsat.com

(800) 672-2728

Vendor Services Directory

Courtesy of

CALIFORNIA

Santa Barbara Rough House Productions

www.roughhousehd.com

(800) 626-2490

COLORADO

Denver

ISPN

ispn.tv

(303) 562-6277

CONNECTICUT

Shelton

Vitec Videocom

www.vitecvideocom.com

(203) 929-1100

Stamford

Newtec America

www.newtec.be

(203) 323-0042

DISTRICT OF COLUMBIA

Washington

NPR Satellite Services

www.nprss.org

(202) 513-2626

FLORIDA

Miami

Mediapro

mediaprous.tv

(305) 357-6000

Pompano Beach

Broadcast Beat Studios

www.broadcastbeatstudios.com

(954) 363-2908

Clearwater

F & F Productions

www.fandfhd.tv

(727) 530-5000

Largo

Advanced Microwave Components

www.advancedmicrowave.com

(727) 571-1008

Miami

Overon America

www.overonamerica.com

(877) 476-8556

Miami

UNITED TELEPORTS

www.unitedteleports.com

(305) 671-3333

Orlando

Lowery Satellite Services.

lowerysatellite.com

(407) 859-7940

Orlando

Telepoint Studios

www.Telepointstudios.com

(407) 859-7940

Atlanta

Encompass Digital Media

www.encompass.tv

(678) 421-6834

Crystal Lake

Satellite Technology Systems

stslivetv.com

(800) 838-1472

Peoria

WTVP

www.wtvp.org

(309) 677-4747

South Bend

LeSEA Productions

www.leseaproductions.com

(574) 291-8200

Noblesville

LeSEA Productions

www.leseaproductions.com

(317) 773-5050

Mason City

Efficient Antenna Systems,.

www.easisat.com

(888) 327-4797

ILLINOIS INDIANA IOWA

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.

www.nsccom.com

(800) 543-1584

LOUISIANA

New Orleans

LeSEA Productions

www.leseaproductions.com

(504) 681-0120

MARYLAND

Point Of Rocks

LiveOnSite

www.liveonsite.com/

(703) 431-4332

Potomac

Asia Broadcast Satellite

www.absatellite.net/services/index.html

(301) 605-7629

Ashland

Remote Broadcast Services

www.RemoteBroadcastServices.com

(201) 312-5531

Bedford

Polatis

www.polatis.com

(844) 765-2847

Wakefield

Remote Facilities Consulting Services.

www.remotefacilities.com

(781) 246-8300

MINNESOTA

RumJungle Media

www.rumjungle.com

(952) 472-5525

Arctek HD Satellite Productions

www.arcteksat.com

(612) 623-1986

St. Paul

Ingwell Communications

www.ingwellcommunications.com

(612) 839-5154

MONTANA

Helena

Lyon Productions

lyongroup.biz/content

(406) 442-9014

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

New York

The Switch - New York

www.theswitch.tv

(1212) 725-6464

New City

Flight 9 Satellite Services

www.flight9.com

(888) 354-4489

NEW YORK

194

Minneapolis Minneapolis

SPORTS PRODUCTION 2021 YEARBOOK


CONNECTING FANS TO THE GAME DAY EXPERIENCE, ANYTIME, ANYWHERE

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SPORTS & LIVE EVENTS

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Satellite Trucks CITY

NEW YORK

New York

Vendor Services Directory

Courtesy of

STATE

NORTH CAROLINA OHIO

COMPANY NAME ASU Productions & American Satellite Uplink

TEXAS

UTAH VIRGINIA

PHONE

www.americansatelliteuplink.com

(917) 861-0468

Flushing

Interface Communications

www.interfacetv.com

(718) 463-8700

Hauppauge

Miteq

www.miteq.com

(631) 439-9108

New York

Metrovision Production Group

www.metrovision.tv

(212) 989-1515

Victor

GCS

www.globalcoms.com

(585) 742-9100

West Babylon Village Video News

www.vvn.com

(631) 752-9311

Wake Forest

ClaryComm

www.clarycomm.net

(919) 904-6097

Charlotte

Control 1 Communications

control1comm.com

(205) 706-9524

Youngstown

First Call UPLinks

www.firstcalluplinks.com

(800) 951-6707

StreamByte TV Event Webcasting Philadelphia

www.streambyte.tv

(267) 218-1004

Philadelphia

PMTV - Broadcast, Production, Streaming Worldwide

www.PMTV.com

(484) 690-9183

Boyertown

J A Taylor & Associates

www.broadcastassociates.com

(610) 754-6800

Indiana

Quintech Electronics & Communications. www.quintechelectronics.com

(800) 839-3658

Malvern

Liberty Uplink

www.libertyuplink.com

(215) 964-5222

PENNSYLVANIA Philadelphia

TENNESSEE

WEBSITE

Nashville

Live Mobile Group

www.livemobilegroup.com

(615) 431-1400

Nashville

Skyway Studios

skywaystudios.tv

(800) 605-3590

Nashville

StagePost

www.stagepost.com

(615) 248-1978

Dallas

Texas TV Trucks

andrews-media.com

(972) 570-1118

Denton

WSC HD Productions

wschdproductions.com

(940) 483-9200

Fort Worth

Applied Telecommunications

www.appliedtelecominc.com

(817) 763-5992

South Houston

World Teleport

www.worldteleport.org

(281) 741-8753

Park City

Gunner Live

www.gunnerlive.com

(678) 313-6001

Herndon

Moon Bounce Media

www.moonbouncemedia.com

(703) 318-7500

Falls Church

Dawnbreaker Communications

www.dawnbreakercommunications.com

(202) 288-0805

Virginia Beach Atlantic Satellite

www.atlanticsat.com

(757) 318-3500

Ridgefield

Wild Hare Satellite

www.wildharesat.com

(360) 573-6850

WEST VIRGINIA Charleston

The Media Center

www.themediacenter222.com

(304) 720-5466

WASHINGTON

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

SPORTS BROADCASTING FUND Itâ&#x20AC;&#x2122;s. What. We. Do. To donate, please visit Supporting our own in times of need...

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"THE RIGHT CHOICE FOR THE SPORTS MEDIA PRODUCTION INDUSTRY"

Production Media Systems Integration Including: Project Management | Design Engineering | Installation | Testing Proudly Serving:

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EVERY FRAME. EVERY MILLISECOND. EVERY MOMENT.

DX3media.ca


Gearbase 202

Gearbase

SPORTS PRODUCTION 2021 YEARBOOK


Gearbase

15TH-ANNUAL SVG MOBILE SPORTS PRODUCTION GEARBASE SURVEY RESULTS

A

fter a bumpy start, the sports-production industry’s fleet of mobile vehicles kept rolling throughout the pandemic. Amidst the coronavirus calamity, several major “truck companies” rolled out “cloud-based” alternatives, and others found time to add to their fleet of state-ofthe-art studios-on-wheels. This year’s SVG Gearbase once-again documents our industry’s ongoing investment in cutting-edge technology – even during an unprecedented year consumed as much by PPE, testing, and sanitizer as IP, cloud and remote production protocols.

SPORTS PRODUCTION 2021 YEARBOOK

203


CONTROL ANYWHERE

Mobile TV Group Cloud Control brings ultra-low latency remote control for live production anywhere you need it. Personnel that normally work in a mobile unit can now work remotelyâ&#x20AC;&#x201D;reducing travel costs and enhancing crew safety. Remote systems are economically deployed in just one day and can be set up any place such as a conference room. Cloud Control delivers immediate control and access to all the facilities in the mobile unit including unlimited cameras, EVS replay, Super Slo-Mo, graphics, score-box, intercom, and audio. The only difference is the venue could be thousands of miles away. Learn more how Cloud Control is a total game changer.

Cloud Control

www.mobiletvgroup.com


Our infrastructure. Your imagination. Infinite possibilities.

We’re creating a world where “what if” can become “what is.” Our infrastructure is behind the revolutionary technologies that are transforming the way we live, work, and experience the world. With 25 years of experience and an unparalleled national portfolio of towers, small cells, and fiber, we’re bringing the world’s biggest ideas and innovations to the people and businesses that need them. CrownCastle.com

©2020 Crown Castle


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'

HD

Both

Yamaha QL5 (32+2 / 64 mono + 8 stereo)

7 GV, 1 Sony HD POV

5 Canon, 4 Fujinon 5/4

53' double expando

HD

Fiber

Studer Vista 8

16 Sony

16 Fujinon

53' triple expando

HD

Fiber

Studer Vista X

24 Sony

24 Fujinon

Revolution

53' double expando

HD

Fiber

Studer Vista 9

16 GVG

16 Fujinon

Crossroads

53' triple expando

HD

Fiber

Studer Vista 8

16 Sony

16 Fujinon

Sterling

53' triple expando

UHD/HD/HDR

Fiber

Studer Vista X

16 Sony

16 Fujinon

NYLA

49' straight

HD

Fiber

Studer Vista 5 M3

10 Sony

10 Fujinon

Maverick

40' expando

HD

Fiber

Calrec Omega

10 Sony

10 Fujinon

Zurich

53' double expando

UHD/HD/HDR

Fiber

Studer Vista X

16 Sony

16 Fujinon

Eclipse

53' triple expando

UHD/HD/HDR

IP/Fiber

Studer Vista X

16 GVG

16 Fujinon

8 Sony HXC-100

6 hard, 2 HH

6 Sony HDC-950

4 70X, 1 HH

Unit A Matthew

53' expando

HD

Triax

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

Unit B John

40'

HD

SMPTE/Triax

Soundcraft Performer 3 86 Input

Mobile 2

36' straight

HD/SD

CLARK MEDIA

Steel

53' expando trailer

HD/1080p/4K/HDR

SMPTE Fiber

Calrec Artemis Light (56 fader, 196 ch.)

OB1-Kenobi

53' Gerling expando

4K HDR

SMPTE Fiber

Yamaha, Dante Fiber Network, x 512 ch.

HD1

53' expando

SD/HD

Both

Calrec Omega

9 Ikegami, wired for 12

10 Canon

HD2

53' expando

SD/HD/1080p

Both

Calrec Artemis

10 Ikegami, wired for 16

10 Canon

HD3

53'

SD/HD

Both

Calrec Omega

8 Ikegami, wired for 12

10 Canon

HD4

53' expando

SD/HD/1080p

Both

Calrec Artemis

11 Ikegami, wired for 16

12 Canon

HD-B1

53'

SD/HD/1080p

N/A

N/A

N/A

N/A

HDX1

53' expando

HD

Triax

Yamaha Digital, Calrec Alpha

Sony HXC100

66X

Triax

X32 Digital (40 inputs)

GV 6000 and 6200 Super Mo

55X

DNA STUDIOS

CSP MOBILE PRODUCTIONS (ALLIANCE)

CCI COMMUNICATIONS

Yamaha CL5 (72 channel, 24 mix buses, 8 matrices, and 16 DCAs, 40 mic preamps, 32 analog out, MADI, Dante 5 Sony, wired for 8, 1 fiber interfaces, 16 AES in/out) SM fiber PTZ, 2 coax clock cameras connectivity to booth rack for announce positions and PL's

Triax, SM Fiber for HD-SDI and Robo

DOME PRODUCTIONS

208

Epic Titan

CORNERSTONE AV

BOUNCE MULTIMEDIA

ALL MOBILE VIDEO

Gearbase

COMPANY

HD28

28'

HD

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

2 95X, 1 55X, 1 42X, 4 Fujinon ENG 2 23X, 2 18X, 1 Canon WA

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

Panasonic 12x AK-UC3000 Fujinon- H 2@ 77X, 55X, 42X (HH) 5 @ 4x AW-HE130. HD 20Xx , 2 @14X

HD32

32' box

HD

Triax

Yamaha TCL3 (32 inputs)

GV 4000

55X

REMI

Remote studio

HD

Fiber

X32 Digital (40 inputs)

GV 6000

40X

HD20u

20' box

HD

Triax

X32 Digital (40 inputs)

GV 4000

45X

FLY1

Flypack

HD

Fiber

X32 Digital (40 inputs)

JVC GY HD

40X

New truck (2020 Q4)

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Apollo (144/1020)

10 Sony 5500

12 Premium UHD

Vista 4K

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Apollo (144/1020)

10 Sony 5500

12 Fujinon UHD

Trillium 4K

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Canon UHD

Pioneer 4K

53' expando

HD/1080p/4K

Fiber

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Fujinon UHD

Showcase

40' exp/studio

HD/1080P/4K/HDR

As requested

Yamaha or other

4 Panasonic AW-UE150 PTZ

4 Panasonic

Silver HD

53' expando

HD/1080p

Fiber

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Canon/Fujinon

Journey HD

53' expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Canon

Pacific HD

53' expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Fujinon

Atlantic HD

53' expando

HD/1080p

Both

Calrec Artemis Beam (64)(340)

10 Sony 2400

12 Fujinon

SPORTS PRODUCTION 2021 YEARBOOK

All information subject to change. Please contact the truck vendorâ&#x20AC;&#x2122;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, 2M/E + 4 MiniME, with 3M/E panel

2 6-ch. GV K2 Dyno

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

Wired for 2

Kits vary

GVG K-Frame, 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

GVG K-Frame, 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

GV

Wired for 2

Kits vary

Sony MVS-8000G, 4DM/E

2 6-ch. EVS

PESA

Wired for 1

Kits vary

Sony MVS-6530, 3M/E

2 6-ch. EVS

Evertz

Wired for 2

Kits vary

Sony XVS-8000, 5M/E

4 8-ch. EVS

GV

Wired for 2

Kits vary

GVG K-Frame, 5M/E

4 8-ch. EVS

Cisco

ChyronHego Duet, Vizrt, Ross Xpression

Full complement

GV Kalypso, 4M/E

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

256x256

ChyronHego Duet, Vizrt, Ross Xpression

Full complement

Ross Carbonite Ultra 24 input, 10 output, 2 multiview

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

64x64

ChyronHego HyperX3, Ross Xpression

HMD 26II headsets with Daltech talkback boxes, 8 shotgun, MD 46 stick, lavs, VP88 stereo, Shure 4-ch. ULXD wireless w/ 2 KSM9 stick, 2 bodypacks w/ lavs/ headset mics

GV Karrera K-Frame, 3M/E w/ splits; 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, 5M/E; GV Korona, 2M/E

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

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

2-ch. Ross Xpression, 2 Disguise GX2c media server, 3 Solo, 6 MAC Mini

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

1 Blackmagic 4K, 2M/E; ATEM; 2 Barco E2

2 Position 8-ch. Ross Mira, 20-ch. Atomos Shogun Studio

Ross ULTRIX 144x144 w/multiview, 16X fiber I/O, 16-ch. per I/O embed/deembed 2000x2000 Audio RTR, w/ 64x64 MADI to Dante, 12 Ultritouch Control Panels

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

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

N/A

N/A

Vizrt

Senn.

ChyronHego Duet, Ross XPression

Senn.

Gearbase

GRAPHICS

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) Wired for 4 8-ch. EVS XT3

Utah 400 HD (144x144)

GV Kalypso, 4M/E

6-ch. EVS w/ XFile3

Evertz (96x96 HD)

Ross Carbonite

8-ch. EVS Nano w/ XFile, 6-ch. NewTek 3Play

40x40

Ross Xpression, ChyronHego Duet

Senn.

Ross Carbonite

6-ch. NewTek 3Play; 2 Grass Valley K2 Solo

40x40

Ross XPression

Senn.

Blackmagic; Ross Carbonite

4-ch.

40x40

Ross XPression

Senn.

Blackmagic ATEM, 2M/E

6-ch NewTek 3Play

16x16

Ross XPression

Senn.

Blackmagic ATEM, 2M/E

4-ch.

16x32

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

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

EVS XT Via, XT4K , XT3MAX 4-ch. SpotBox

GV, Cisco ST2110 IP core

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

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

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

Evertz (558x576/48x96)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

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

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

Evertz (540x450/48x96)

As requested

Senn.

Ross, Newtek, FOR-A, or other

As requested

As requested

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

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

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

Evertz (378x414/48x96)

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

Evertz (288x232/128x128)

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

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, 1 6-ch. XT3, 4-ch. XS SpotBox

Evertz (288x288/128x128)

SPORTS PRODUCTION 2021 YEARBOOK

209


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GAME CREEK VIDEO

F&F PRODUCTIONS

ENCOMPASS

DOME PRODUCTIONS

Gearbase

COMPANY

214

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

Echo HD

53' expando

HD

Both

Calrec Sigma (64)(320)

10 Sony 1500R

12 Canon

Thunder HD

53' expando

HD

Both

Calrec Sigma (64/320)

10 Sony 1500R

12 Canon

Sierra HD

53' expando

HD

Both

Calrec Sigma (64/320)

9 Sony 2400

10 Canon

Spirit HD

53' expando

HD

Both

Calrec Sigma (64/320)

10 Sony 1500

12 Canon

Tribute HD

53' expando

HD

Both

Calrec Omega (56/168)

9 Sony 2400

10 Canon

Horizon HD

53' expando

HD

Triax

Calrec Alpha 100 (64/118)

10 Sony HSC-300

12 Canon

Spring

48' trailer

HD

Both

Calrec Brio (36/96)

7 Sony 1500

7 Canon

Kodiak HD

40'

HD

Both

Calrec S2 (48)

7 Sony 1500

4 Fujinon, 3 Canon

Sidecar HD

16' trailer

HD

As requested

Mackie 1402 (10)

As requested

As requested

Beacon (Ku uplink)

30' non-expando

HD

Fiber

Yamaha MB02R96 (16)

5 Sony 1500

5 Canon

Unite HD

53' double expando

As requested

As requested

As requested

As requested

As requested

TES45

34’ C- or Ku-band

HD

Fiber

PreSonus StudioLive 24.4.2

4 Panasonic HDX-900

Fujinon HA18X7.6

TES5

32’ Ku-band

HD

SMPTE/TAC fiber

Mackie 1604VLZ

wired for 5 Panasonic HC-3800

Fujinon HA18X7.6

GTX-7

53' expando

HD

Both

Calrec Artemis Beam V8 w/ highdensity Bluefin2

8 Ikegami 79EC

6 Fujinon 88X, 4 Fujinon 22X, 2 Fujinon 12X4.5

GTX-9

53' expando

HD

Both

Calrec Sigma w/ Bluefin

9 Ikegami 79EC

6 Fujinon 88X, 4 Fujinon 22X, 2 Fujinon 12X4.5

GTX-10

53' expando

HD

Both

Calrec Artemis Beam V8 w/ highdensity Bluefin2

10 Ikegami 79EC

6 Fujinon 88X, 4 Fujinon 22X, 2 Fujinon 12X4.5

GTX-11

53' expando

HD

Both

Calrec Artemis Beam V8 w/ highdensity Bluefin2

12 Sony 1500

4 Fujinon 101X, 3 Fujinon 87X, 3 Fujinon 22X, 2 Fujinon 13X4.5

GTX-12

53' expando

HD

Both

Calrec Artemis Beam V8 w/ highdensity Bluefin2

12 Sony 1500

4 Fujinon 101X, 3 Fujinon 87X, 3 Fujinon 22X, 2 Fujinon 13X4.5

GTX-16

53' double expando

HD/1080p

Both

Calrec Artemis Beam V8 w/ highdensity Bluefin2

10 Sony 2400, 2 Sony 2500

4 Fujinon 101X, 3 Fujinon 88X, 4 Fujinon 23X, 3 Fujinon 14X4.5

GTX-17

53' double expando

HD/1080p

Both

Calrec Artemis Beam V8 w/ highdensity Bluefin2

12 Sony 2500

8 Fujinon 99X, 3 Fujinon 23X, 2 Fujinon 18X

GTX-19

53' double expando

HD/1080p/4K/HDR

Fiber

Calrec Apollo w/ Bluefin2

14 4K Sony 4300L

8 Fujinon 4K 107X, 1 Fujinon 4K 22X, 5 Fujinon 4K 18X, 3 Fujinon 4K 14X4.5

GTX-20

53' double expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin2

12 Sony 3500, 4 5500

8 Fujinon 4K 127X, 1 Fujinon 4K 22X, 5 Fujinon 4K 18X, 3 Fujinon 4K 14X4.5

79

Two 53' expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin surround sound (144 12-layer faders/1020 ch.)

13 Sony HDC-4300 multiformat

9 Canon Digi Super 95x8.6, 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 ch.)

10 Sony HDC-2500 multiformat, 2 Sony HDC4300 SSMO

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

Bravo

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam surround sound (64 12-layer faders/340 ch.)

Up to 20 Sony HDC-5500 multiformat

10 Canon Digi Super 111x, 4 Canon 24x

Celtic

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Ray surround sound (72 12-layer faders/456 ch.)

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 ch.)

13 Sony HDC-4300 multiformat

9 Canon Digi Super 95, 3 Canon 24x7.8 ENG, 3 Canon 14x4.7 wide-angle ENG

Columbia

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Ray surround sound (72 12-layer faders/456 ch.)

Up to 20 Sony HDC-5500 multiformat

10 Canon Digi Super 111x, 4 Canon 24x

Discovery

44' dual expando

HD/1080p

Both

Calrec Artemis Beam surround sound (64 12-layer faders/340 ch.)

6 Sony HDC-1500 multiformat

4 Canon Digi Super 72x9.3 , 2 Canon 22x7.8 ENG, 1 Canon 14x4.3 wide-angle ENG

Dynasty

53' expando

HD/1080p

Both

Calrec Alpha w/ Bluefin surround sound (80 dual-layer faders/320 ch.)

12 Sony HDC-1500 multiformat

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

Encore

Three 53' expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin surround sound (144 12-layer faders/1020 ch.)

14 Sony HDC-4300 multiformat

6 Canon Digi Super 100x9.3, 4 Canon Digi Super 95x8.6, 4 Canon 22x7.8 ENG, 4 Canon 14x4.7 wide-angle ENG

SPORTS PRODUCTION 2021 YEARBOOK

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


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

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

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

Evertz (288x180/128x128)

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)

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

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

GV Trinix (224x320/96x64)

As requested

A-T, Senn., EV, Sony

As requested

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)

As requested

As requested

As requested

As requested

Blackmagic 16x16

As requested

A-T, Senn., EV, Sony

FOR-A HVS-300HS

As requested

Leitch 16x16

As requested

As requested

As requested

As requested

As requested

Ross XPression

Senn. HMD25-1

Ross Crossover Solo

SDI embedded audio 1 AJA Ki Pro Rec/Play; additional available Blackmagic (40x40only)

N/A

Senn. HMD25-1

Panasonic HS-410n

SDI embedded audio 2 AJA Ki Pro Rec/Play; additional available Blackmagic (40x40only)

Upon client request

AT, EV, Senn., Shure, Sony

Upon client request

AT, 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 and AES, 128x128 MADI, 128x128 embedded)

Upon client request

AT, 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 and AES, 128x128 MADI, 256x256 embedded)

Upon client request

Senn., EV, Sony

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

(256x256), (128x128 analog, 64x64 4 8-ch. EVS XT3, 1 XFile3, 1 4-ch. SpotBox GV Trinix AES); 2 16-ch. Evertz embedders

Upon client request

Senn., EV, Sony

GV Kayenne Elite K-Frame, 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

Upon client request

Senn., EV, Sony

GV Kayenne Elite K-Frame, 128 input, 64 1 12-ch. EVS XT-VIA, 3 8-ch. EVS XT-VIA, 1 output, 9M/E, 32-GB Still Store, K2 Summit XFile3, 1 6-ch. SpotBox

Evertz EQX (288x576), (48x96 analog, 192x144 AES); 2 16-ch. Evertz embedders

Upon client request

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, 9 M/E, 64-GB Still Store, K2 Summit

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

Evertz Xlink (576x1152)

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

GV Orbit IP (576x746)

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)

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 3G video, Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

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

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

ChyronHego Mosaic

Senn., Beyer, EV, Sony

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

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G Video, Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

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

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

ChyronHego Mosaic

Senn., Beyer, EV, Sony, Shure

GV Kayenne, 4.5M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 4.5M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

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

A unit: 968x2214 multiformat video router w/ 468x378 embedded mux/demux capability

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

Gearbase

GRAPHICS

PESA HD Cheetah (144x352), DRS Audio (128x128 analog, AES and MADI, 256x256 embedded)

SPORTS PRODUCTION 2021 YEARBOOK

215


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GAME CREEK VIDEO

Gearbase

COMPANY

220

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

10 Sony HDC-1500 multiformat

4 Canon Digi Super 75 X 9.3 , 2 Canon Digi Super 86 X 9.3 , 1 Canon Digi Super 100 X 9.3 , 4 Canon 21x7.8 ENG, 1 Canon 11x4.7B wide-angle ENG, 1 Canon 21Ax7.8

Freedom

53' expando

HD

Both

Calrec Sigma w/ Bluefin surround sound (80 Dual Layer faders/320 ch.)

Gemini

44' dual expando

HD/1080p

Both

Calrec Omega w/ Bluefin surround sound (80 dual-layer faders/320 ch.)

6 Sony HDC-1500 multiformat

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

Glory

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin surround sound (144 12 dual-layer faders/1020 ch.)

14 Sony HDC-2500 multiformat

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

Gridiron

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Ray surround sound (72 12-layer faders/456 ch.)

Up to 20 Sony HDC-5500 multiformat

10 Canon Digi Super 111x, 4 Canon 24x

Gotham

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin surround sound (144 12-layer faders/1020 ch.)

Up to 20 Sony HDC-5500 multiformat

10 Canon Digi Super 111x, 4 Canon 24x

Justice

53' expando

HD/1080p

Both

Calrec Apollo w/ Bluefin surround sound (144 12-layer faders/1020 ch.)

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 Artemis Ray surround sound (72 12-layer faders/456 ch.)

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

HD

Both

Calrec Alpha w/ Bluefin surround sound (80 dual-layer faders/320 ch.)

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

Liberty

53' expando

HD

Both

Calrec Alpha w/ Bluefin surround sound (80 dual-layer faders/320 ch.)

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

Madison

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin surround sound (144 12-layer faders/1020 ch.), (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 ch.)

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/4K/HDR

Both

Calrec Artemis Beam surround sound (64 12-layer faders/340 ch.)

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 ch.)

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

HD

Both

Calrec Sigma w/ Bluefin surround sound (80 dual-layer faders/320 ch.)

10 Sony HDC-1500-R multiformat

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

Patriot

53' expando

HD

Both

Calrec Alpha (64 faders/108 Stereo ch./104 Mono ch./52 surround-sound ch.)

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 ch.)

23 Sony HDC-4300 multiformat

6 Canon Digi Super 100x9.3, 6 Canon Digi Super 95x8.6, 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 ch.)

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 ch.)

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 ch.)

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/4K/HDR

Both

Calrec Apollo w/ Bluefin surround sound (144 12-layer faders/1020 ch.)

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

Webby

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam surround sound (64 12-layer faders/340 ch.)

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' expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin surround sound (144 12-layer faders/1020 ch.)

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

SPORTS PRODUCTION 2021 YEARBOOK

All information subject to change. Please contact the truck vendorâ&#x20AC;&#x2122;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 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony, Shure

GV Kayenne, 3M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

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

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

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

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

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

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 3M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 3M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

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

288x576 Pesa HD video

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 4.5M/E

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

384x720 Pesa HD video

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame, 4.5M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 3M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 4.5M/E

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

288x576 Pesa HD Video

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

4 EVS 6-ch. XT3, 1 EVS SpotBox

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

2 576x1152 multiformat video router w/ 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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 4M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 4.5M/E

6 EVS 6-ch. XT3, 1 EVS XS4

Evertz EQX 3G video, Evertz EMR audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 4.5M/E

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

Evertz EQX 3G video, Evertz EMR audio

Vizrt, ChyronHego

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

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

Evertz EXE SVDN 744x948 + 989

SPORTS PRODUCTION 2021 YEARBOOK

Gearbase

GRAPHICS

221


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DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

Columbus

53' expando

4K UHD/HD

Fiber

Lawo

20 Sony HDC-4300

Fujinon

Maestro

40' Gerling Super Stallion expando

HD

Both

Calrec Omega (48/112)

6-12 Sony HSC-300

Canon

Prodigy

40' Gerling Stallion

HD

Both

Calrec Brio 36

6-8 Sony HSC-100

Canon

Polaris

32' Gerling Super Nomad expando

HD

Triax

Calrec Brio 36

6 Hitachi SK1200/1300

Canon

Pluto

32' Gerling Super Nomad expando

HD

Triax

Calrec Brio 36

6 Hitachi SK1200/1300

Canon

Opus

27' Gerling Super Nomad

HD

Both

Yamaha QL-5 (32/72)

6-8 Sony HSC-300

Canon

Ovation

27' Gerling Super Nomad

HD

Both

Yamaha QL-5 (32/72)

6-8 Sony HSC-300

Canon

Busker

24' Mercedes Sprinter

HD

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon

Solo

24' Mercedes Sprinter

HD

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon

Trouper

24' Mercedes Sprinter

HD

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon

Flypack A

Flypack

HD/3G

Fiber

DiGiCo SD10

16 Hitachi SK1200

Canon

Flypack B

Flypack

HD

Fiber

Calrec Brio

8 Hitachi SK1200/1300

Canon

40' expando

HD

Triax

Yamaha DM-2000 (24/96)

8 GV LDK Elite

HRS-TV2 4K

26' straight

4K-capable

Fiber

Midas 3224 (24/36)

6 Panasonic UC3000 4K/HD

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

HRS-TV1

40' expando

HD

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 Panasonic UC3000 4K/HD

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

HD-3

53' expando

HD

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

HD

Triax

SSL C100 (56/224)

11 GVG LDK-8000, 7 large lens expanders

Canon 7 H, 4 HH)

HD-5

53' dual expando

HD

Both

Calrec Apollo (144/1504)

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

Canon 12 H, 8 HH)

KODIAK MOBILE TV

Grizz HD

45'

HD

Triax (fiber available)

Calrec Omega (40/80)

7 GV LDK 3000+, 2 Panasonic HPX-250, 2 Marshall POV

3 Fujinon77X, 3 Fujinon 17X, 1 Fujinon 12X wide-angle, additional wide-angle and long available

S4

38' straight

HD 720p/1080i

Triax

Behringer X32

5 GV Focus 75

4 Fujinon 20X, 1 72X

S2

40' expando

HD 720p/1080i

Triax

Calrec Artemis Light (40 faders)

6 GV LDX 80

3 Fujinon 77X1, 3 Fujinon 22X1

HRS MOBILE

HIGH-ROCK MOBILE

HRS-TV1

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

LIVE MEDIA GROUP

LESEA

226

TRUCK NAME

IMS PRODUCTIONS (ALLIANCE)

GRAVITY MEDIA

Gearbase

COMPANY

10 GV LDX 3 Ca+H125:H131non 80X, 2 Canon 95X, 86G130G125:G129G120GG125: 3 Canon 21X, 1 Canon wide-angle G132

HDX-1 (Lucie)

45' double expando

HD/1080p/4K/HDR

Both

Calrec Artemis

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

HD

Both

DiGiCo SD10B

8 GVG LDX 80

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

HDX-10

42' expando

HD

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 ch.

10 Sony 4300

Canon and Fujinon per client specifications

HD-12 (Aspiration)

40' expando

HD/1080i/720p/24p

Fiber

Soundcraft Vi3000, 24 faders, 96 ch.

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 ch.

Up to 10 Hitachi Z5000

Canon and Fujinon per client specifications

SPORTS PRODUCTION 2021 YEARBOOK

All information subject to change. Please contact the truck vendorâ&#x20AC;&#x2122;s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

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 Duet HyperX2

12 shotgun, 6 HH

GV Kalypso, 4M/E

1 EVS 12-ch. XT3

HD/SD router (288x288)

Upon request

6 shotgun, 6 HH

Ross Carbonite Black Plus

1 EVS 6-ch. XT3

Ross Ultrix 64x64

ChyronHego Duet HyperX2

12 shotgun, 6 HH

GV Kalypso, 4M/E

1 EVS XT3 12-ch.

HD/SD router (288x288)

Upon request

6 shotgun, 6 HH

Ross Carbonite Black Plus

1 EVS XT3 6-ch.

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

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

Evertz EQX (540x540+752 X-Link), EMR (96x96 analog, 96x96 AES, 34x34 MADI, 160x160 embedded)

ChyronHego HyperX3

Senn. HMD-25 and HMD-26 announcer headsets, 14 A-T, Senn. mono, stereo shotguns, 4 Sony lavs, 4 Senn. MD-46 HH, 2 Shure SM-58 HH

GV Kayenne, 2.5M/E; K2 Dyno

2 6-ch. EVS XTnano, XFile3, 4-ch. SpotBox; 10 AJA KiPro, 2 DVCPRO decks, 1800 HDCam recorder, A500 DigiBeta, 2 DVD recorders

Utah Scientific 400S (72x204) HD-SDI I/O w/ embedding and de-embedding, (64x64) AES I/O, (192x192) MADI I/O, (64x64) analog I/O

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 w/ integrated AES audio)

ChyronHego Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame, 4.5M/E

2 8-ch. EVS XT [VIA], 1 XT Ch. Max, 1 XFile[3]

GV NVision (288x576), EMB, MADI RTR

ChyronHego Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame, 4.5M/E

2 8-ch. EVS XT [VIA], 1 XT Ch. Max, 1 XFile[3]

GV Node (144x288), EMB, MADI RTR

ChyronHego Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame, 4.5M/E

2 6-ch. EVS XT[3], 1 4-ch. XS, 1 XFile[3]

GV NVision (144x288), EMB, MADI RTR

ChyronHego Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame, 4.5M/E

2 6-ch. EVS XT[3], 1 4-ch. XS, 1 XFile[3]

GV NVision (144x288), EMB, MADI RTR

ChyronHego Mosaic

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame, 2.5M/E

2 6-ch. EVS XT[3], 1 4-ch. XS, 1 XFile[3]

GV NVision (144x288), EMB, MADI RTR

ChyronHego Duet HyperX3

Senn., Beyer, EV, Shure, Sony

GV Karrera, 2.5M/E

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

GV NVision (144x212), 64X64 AES

ChyronHego Duet LEX

As requested

GV Karrera, 4M/E

2 6-ch. EVS XT3, 1 4-ch. XT[2], 1 XFile[3]

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. XT[3], 1 XFile[3]

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

As requested Ross Xpression, ChyronHego Duet HyperX3

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame, 4.5M/E

2 8-ch. EVS XT3, 1 XFile[3],

Harris Platinum 160x224, PESA 128x128 analog, 64x64 AES, 16x16 MADI

As requested Ross Xpression, ChyronHego 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 HyperX3

Senn., Beyer, EV, Shure, Sony

GV Kayenne K-Frame 3M/E

As requested

Imagine Platinum 88x96 Imagine Integrator 16x16 stereo analog

SPORTS PRODUCTION 2021 YEARBOOK

Gearbase

GRAPHICS

227


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METROVISION

MEDIAPRO

LYON VIDEO

Gearbase

COMPANY

232

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 ch.

Up to 10 Hitachi Z5000

Canon and Fujinon per client specifications

HDX-20

40' expando

HD

Both

Yamaha PM 5D

6 GVG LDK 8000 Elite

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

HDX-21 (Emma)

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)

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 Fujiinon 72X, 1 Fujiinon 22X, 1 Fujiinon 18X, 1 Fujiinon 12X

Lyon 4

43' expando

HD

Both

Calrec Artemis (56/240)

7 GV

1 Fujinon 88X, 4 Fujiinon 72X, 1 Fujiinon 22X, 1 Fujiinon 18X, 1 Fujiinon 12X

Lyon 6

53' expando

HD

Both

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

14 GV, 2 GV extreme SSMO

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

Lyon 7

53' expando

HD

Both

Calrec Sigma (64/320)

10 GV, 1 GV extreme SSMO

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

Lyon 8

53' expando

HD

Both

Calrec Sigma (64/320)

1 Fujiinon 101X, 2 Fujinon 99X, 2 11 GV, 1 GV extreme SSMO Fujiinon 88X, 2 Fujiinon 72X, 2 Fujiinon 22X, 2 Fujiinon 18X, 2 Fujiinon 12X

Lyon 9

50' expando

HD

Both

Calrec Omega (56/160)

9 GV

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

Lyon 10

53' expando

HD

Both

Calrec Artemis (56/240)

10 GV, 1 GV extreme SSMO

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

Lyon 11

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo (144/1,020)

12 GV

1 Fujinon 107X, 3 Fujiinon 99X, 1 Fujiinon 72X, 2 Fujiinon 22X, 2 Fujiinon 18X, 4 Fujiinon 14X

Lyon 12

53' expando

HD/1080p/HDR

Both

Calrec Artemis (64/340)

Lyon 14

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo (144/1,020)

Lyon 15

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo (96/1,020)

Odyssey

40' expando

HD/1080p/4K

Fiber

Calrec Artemis (40/196)

10 Sony HDC-4300

5 Canon 90X, 3 Canon 25X, 2 Canon wide-angle

Alto

53' expando

HD/1080p

Fiber

Calrec Alpha (76/108)

10 Sony HDC-4300

5 Canon 90X, 3 Canon 25X, 2 Canon wide-angle

Delta

45' straight

HD

Fiber

Yamaha PM5D (48/96)

8 Sony HDC-2500

4 Canon 90X, 3 Canon 25X, 1 Canon wide-angle

Eclipse

36' straight

HD

Fiber

Yamaha QL-5 (64/64)

8 Sony HDC-2500

4 Canon 90X, 3 Canon 25X, 1 Canon wide-angle

Cirrus

36' expando

HD

Fiber

Yamaha MC7L (48/56)

8 Sony HDC-2500

4 Canon 72X, 3 Canon 22X, 1 Canon wide-angle

Stratus

34' straight

HD

Fiber

Yamaha MC7L (48/56)

8 Sony HDC-2500

1 Canon 100X, 3 Canon 72X, 3 Canon 22X, 1 Canon wide-angle

Atlas

26' straight

HD

Triax

Studer Vista (64/64)

6 GVG LDX-80

3 Fujinon 70X, 2 Fujinon 22X, 1 Fujinon wide-angle

HD1

40' expando

HD

Fiber (Triax w/ adapter)

Studer Vista 5 (32 AES, 32 analog)

6 Sony HDC-1500

3/3 +

HD2

40' expando

HD

Fiber (Triax w/ adapter)

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

6 Sony HDC-1500

3/3 +

HD5

40' expando

HD

Fiber (Triax w/ adapter)

Calrec Omega (32 AES, 64 analog)

7 Sony HDC-1500

4/4 +

12 HDX

Expando

HD

Both

Euphonix

GV/Sony

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

18 HDX

53' expando

HD

Both

Euphonix

GV/Sony

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

HD

Both

Euphonix

GV/Sony

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

23 HDX

48' expando

HD

Both

Euphonix

GV/Sony

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

24 HDX

48' expando

HD

Both

Euphonix

GV/Sony

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

25 HDX

53'

HD

Both

Euphonix

GV/Sony

7 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wide-angle ENG

SPORTS PRODUCTION 2021 YEARBOOK

1 Fujiinon 101X, 3 Fujinon99X, 2 11 GV, 1 GV extreme SSMO Fujiinon 88X, 1 Fujiinon 72X, 2 Fujiinon 22X, 2 Fujiinon 18X, 2 Fujiinon 12X 11 GV

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

1 Fujinon 107X, 2 Fujiinon 99X, 2 10 GV, 1 GV extreme SSMO Fujiinon 88X, 2 Fujinon 72x, 2 Fujiinon 22X, 2 Fujiinon 18X, 2 Fujiinon 13X

All information subject to change. Please contact the truck vendorâ&#x20AC;&#x2122;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, ChyronHego Duet HyperX3

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 XFile[3]

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 XFile[3]

GV NVision 8500 144x288 (IP/3G)

Client supplied

Senn., A-T

GV Kayenne K frame, 9M/E

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

Evertz (280x458/1312x1696)

Client supplied

Senn., A-T

GV Kayenne K-Frame, 5M/E

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

Evertz (280x442/1312x1696)

Vizrt, ChyronHego HyperX3

Senn., A-T

GV Kayenne K-Frame, 9M/E

5 12-ch. EVS

Evertz (268x812/704x800)

Vizrt, ChyronHego HyperX3

Senn., A-T

GV Kayenne, 4.5M/E

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

PESA (128x256/1024x1024)

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 8-ch., 2 6-ch. 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 (260x784/1344x1504)

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, 9M/E

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

GV (396x770/992x1184)

ChyronHego HyperX3, Ross Xpression

10 Senn., 6 EV, 6 Sony

GV Kayenne, 4.5M/E

2 EVS XT4 12-ch., 1 EVS VIA SpotBox

Imagine 512x432, 256x256 AES, 16x16 fiber

ChyronHego HyperX3, Ross Xpression

10 Senn., 6 EV, 6 Sony

Sony MV-8000X, 4M/E

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

Imagine 256x256, 256x256 AES

ChyronHego HyperX3, Ross Xpression

10 Senn., 6 EV, 6 Sony

GV Karrera, 4M/E

2 EVS XT3 8-ch.

Nvision Plus 320x512, 1024x1024 AES

ChyronHego HyperX3, Ross Xpression

10 Senn., 6 EV, 6 Sony

Sony MVS-8000X, 3M/E

2 EVS XT3 12-ch.

Imagine 112x112, 96x96 AES

ChyronHego HyperX3, Ross Xpression

10 Senn., 6 EV, 6 Sony

Sony MVS-8000X, 3M/E

2 EVS XT3 8-ch.

Imagine 64x64, 64x64 AES

Ross Xpression

10 Senn., 6 EV, 6 Sony

Ross Extreme, 2M/E

1 EVS XT3 8-ch.

Talia 32x48, 64x64 AES

Ross Xpression

10 Senn., 6 EV, 6 Sony

Ross Carbonite, 2M/E

1 EVS XT2 6-ch.

AJA Kumo 32x32, 16x16 AES

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, 2.5M/E

2 EVS XT2 w/ XFile3

Evertz Xenon (128x128)

Vizrt, ChyronHego

A-T, Senn., Sony, EV

GV

EVS XT2, XT3, XT4k, or VIA

PESA Cheetah video, Euphonix audio

Vizrt, ChyronHego

A-T, Senn., Sony, EV

GV Kayenne

EVS XT2, XT3, XT4k, or VIA

GV Trinix video, Euphonix audio

Vizrt, ChyronHego

A-T, Senn., Sony, EV

GV Kalypso

EVS XT2, XT3, XT4k, or VIA

Harris Platinum video, Euphonix audio

Vizrt, ChyronHego

A-T, Senn., Sony, EV

GV Kayenne

EVS XT2, XT3, XT4k, or VIA

GV Trinix video, Euphonix audio

Vizrt, ChyronHego

A-T, Senn., Sony, EV

GV Kayenne

EVS XT2, XT3, XT4k, or VIA

PESA video, Euphonix audio

Vizrt, ChyronHego

A-T, Senn., Sony, EV

GV Kayenne

EVS XT2, XT3, XT4k, or VIA

PESA video, Euphonix audio

SPORTS PRODUCTION 2021 YEARBOOK

Gearbase

GRAPHICS

233


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


Award-Winning Stability You Can Rely On

SHOTOVER Systems provides users with an unprecedented level of stability, control, and versatility, in a compact package that accommodates the worldâ&#x20AC;&#x2122;s most advanced broadcast cameras and lenses backed by industry-leading 24/7 support. For the largest range of stabilized gimbals and to see which will work best for your needs, contact our team at info@shotover.com or 818-285-1665.


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

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


MOBILE TV GROUP

Gearbase

COMPANY

238

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

26 HDX

53'

HD

Both

Euphonix

GV/Sony

9 Canon 72X9.3, 1 Canon 18X7.8 ENG, 2 Canon 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG

28 HDX

53'

HD

Both

Euphonix

GV/Sony

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

29 HDX

53'

HD

Both

Calrec

GV/Sony

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

30 HDX

53'

HD

Both

Calrec

GV/Sony

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

31 HDX

53'

HD

Both

Calrec

GV/Sony

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

32 HDX

53'

HD

Both

Euphonix

GV/Sony

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

33 HDX

53'

HD

Both

Calrec

GV/Sony

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

33 VMU

53'

HD

Both

Studer

GV/Sony

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

34 HDX

53'

HD

Both

Calrec

GV/Sony

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

34 VMU

53'

HD

Both

Studer

GV/Sony

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

35 HDX

53'

HD

Both

Calrec

GV/Sony

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

35 VMU

53'

HD

Both

Studer

GV/Sony

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

36 HDX

53'

HD

Both

Calrec

GV/Sony

8 Canon 76X9, 1 Canon 72X9.3, 1 Canon 17eX7.7B, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wide-angle ENG

36 VMU

53'

HD

Both

Studer

GV/Sony

Access to: 8 Canon 76X9, 1 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wide-angle ENG

37 HDX

53'

HD

Both

Calrec

GV/Sony

8 Canon 76X9, 1 Canon 72X9.3, 1 Fujinon 18X5.5 ENG, 3 Canon 17X7.6 ENG, 2 Canon HJ 15X8

37 VMU

53'

HD

Both

Studer

GV/Sony

Access to: 8 Canon 76X9, 1 Canon 72X9.3, 1 Fujinon 18X5.5 ENG, 3 Canon 17X7.6 ENG, 1 Canon 17eX7.7B , 2 Canon HJ 15X8

38 FLEX

53'

HD/4K/HDR

Both

Calrec

GV/Sony

1 Canon 95X8.6, 4 Canon 76X9, 4 Canon 72X9.3, 1 Fujinon XA 20sX8.5, 2 Fujinon 18X5.5 ENG, 2 Canon 17X7.6 ENG

38 VMU

53'

HD

Both

Studer

GV/Sony

Access to: 1 Canon 95X8.6, 4 Canon 76X9, 4 Canon 72X9.3, 1 Fujinon XA 20sX8.5, 2 Fujinon 18X5.5 ENG, 3 Canon 17X7.6 ENG

39 FLEX

53'

HD/4K/HDR

Both

Calrec

GV/Sony

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

53'

HD

Both

Calrec

GV/Sony

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'

HD

Both

Studer

GV/Sony

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'

HD

Both

Calrec

GV/Sony

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

42 FLEX

53'

HD/4K/HDR

Both

Calrec

GV/Sony

2 Fujinon XA 99X8.4, 5 Fujinon XA 77X9.5, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG

42 VMU

53'

HD/4K/HDR

Both

Studer

GV/Sony

Access to: 2 Fujinon XA 99X8.4, 7 Fujinon XA 77X9.5, 1 Canon 72X9.3, 2 Fujinon ZA 22X7.6 ENG, 3 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG

43 FLEX

53'

HD/4K/HDR

Both

Calrec

GV/Sony

2 Canon XJ 95X8.6, 6 Canon 76X9, 2 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

43 VMU

53'

HD/4K/HDR

Both

Studer

GV/Sony

Access to: 2 Canon XJ 95X8.6, 7 Canon 76X9, 1 Canon 72X9.3, 3 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

SPORTS PRODUCTION 2021 YEARBOOK

All information subject to change. Please contact the truck vendorâ&#x20AC;&#x2122;s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Vizrt, ChyronHego

A-T, Senn., Sony, EV

GV Kayenne

EVS XT2, XT3, XT4k, or VIA

GV Trinix video, Euphonix audio

Vizrt, ChyronHego

A-T, Senn., Sony, Røde

GV Kayenne

EVS XT2, XT3, XT4k, or VIA

GV Trinix video, Euphonix audio

Vizrt, ChyronHego

A-T, Senn., Sony, Røde, EV

GV Kayenne

EVS XT2, XT3, XT4k, or VIA

GV Trinix video, Calrec audio

Vizrt, ChyronHego

A-T, Senn., Sony, EV

GV Kayenne

EVS XT2, XT3, XT4k, or VIA

GV Trinix video, Calrec audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne

EVS XT2, XT3, XT4k, or VIA

GV Trinix video, Calrec audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne

EVS XT2, XT3, XT4k, or VIA

GV Trinix video, Euphonix audio

Vizrt, ChyronHego

A-T, Senn., Sony

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

GV NVision video, NVision audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

GV NVision video, NVision audio

Vizrt, ChyronHego

Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn., Sony, Crown

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

SPORTS PRODUCTION 2021 YEARBOOK

Gearbase

GRAPHICS

239


Broadcast Power & Lighting • Expert Generator, UPS & Lighting Technicians

• Unmatched Quality and Performance • Specialized Equipment

Los Angeles 818.686.6400

North Carolina www.Illuminationdynamics.com

704.679.9400


INNOVATIVE MEDIA ASSET MANAGEMENT FOR SPORTS MANAGEMENT AND BROADCASTING

SAAS - MOBILE - ENTERPRISE - SUPPORT

INVIGORATING INDUSTRIES AS TO METADATA, MEDIA ASSET MANAGEMENT AND INCREASING THE VALUE OF BIG DATA

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NEP

MPS (ALLIANCE)

MOBILE TV GROUP

Gearbase

COMPANY

244

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

44 FLEX

53'

HD/4K/HDR

Both

Calrec

GV/Sony

1 Fujinon UA 107X8.4 UHD, 1 Fujinon XA 99X8.4, 6 Fujinon XA 77X9.5, 1 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG, 3 Fujinon ZA 17X7.6

44 VMU

53'

HD/4K/HDR

Both

Studer

GV/Sony

Access to: 1 Fujinon UA 107X8.4 UHD, 1 Fujinon XA 99X8.4, 7 Fujinon XA 77X9.5, 2 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

45 FLEX

53'

HD/4K/HDR

Both

Calrec

GV/Sony

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

45 VMU

53'

HD/4K/HDR

Both

Studer

GV/Sony

Access to: 2 Fujinon XA 99X8.4, 6 Fujinon XA 77X9.5, 1 Canon 72X9.3, 2 Fujinon XA 20sX8.5, 2 Fujinon HA 18X5.5 ENG, 2 Fujinon ZA 17X7.6

46 FLEX

53'

HD/4K/HDR

Both

Calrec

GV/Sony

1 Canon UJ111X8.3B, 7 Canon XJ95X8.6B, 1 Canon KJ22eX7.6B, 1 Fujinon XA20sX8.5, 2 Canon CJ14EX4.3B wideangle ENG

46 B Unit

53'

HD/4K/HDR

Both

Calrec

GV/Sony

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

47 FLEX

53'

HD/4K/HDR

Both

Calrec

GV/Sony

6 Fujinon XA99x8.4 long, Fujinon XA77x9.5 long, 2 Fujinon ZA22X7.6 ENG, 2 Fujinon HA18x5.5 ENG lenses

47 VMU

53'

HD/4K/HDR

Both

Studer

GV/Sony

Access to: 6 Fujinon XA99x8.4 long, 3 Fujinon XA77x9.5 long, 2 Fujinon ZA22X7.6 ENG, 2 Fujinon HA18x5.5 ENG

48 FLEX

53'

HD/4K/HDR

Both

Calrec

GV/Sony

1 Canon UJ111X8.3B, 7 Canon XJ95X8.6B, 1 Canon KJ22eX7.6B, 1 Fujinon XA20sX8.5, 2 Canon CJ14EX4.3B wideangle ENG

48 VMU

53'

HD/4K/HDR

Both

Studer

GV/Sony

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

49 FLEX

53'

HD/4K/HDR

Both

Calrec

GV/Sony

6 Fujinon XA99x8.4 long, Fujinon XA77x9.5 long, 2 Fujinon ZA22X7.6 ENG, 2 Fujinon HA18x5.5 ENG

MU-6 HIAWATHA

53' straight

1080i/720p switchable

Triax

Calrec Omega

12 GV LDK-8000, 2 JVC GY-HD 250 POV

4 Angenieux 70x9.5 HD, 2 Angenieux 60x9.5 HD, 3 Angenieux 26x7.8 BESMHD, 1 Angenieux 19x7.3 BESM-HD, 1 Canon 4.5, 1 Canon 5.5 wide-angle

MU-8 GRIZZ

45' straight

HD 1080i

Triax

Calrec Omega

7 GV LDK-3000+, 2 Panasonic HVX250, 3 Marshall 502 CVM POV

3 Fuji 77x9.5 , 3 Fuji 17x7.6, 1 Fuji 12x4.5

Atlantic

40' expando

HD

Fiber

Calrec Artemis Beam

10 Sony 1500

Canon

California

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Apollo

Sony 4300

As requested

Chromium

53'

HD

Both

Calrec Apollo

12 Sony 2500/4300

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 8 Canon 95x8.6 H, 4 Cannon 22:1 HH, 2 HDC-4300 Canon 4.3X wide-angle

Gold

53' expando

HD

Fiber

Studer Vista 9

10 Sony 1500

Iridium

53' expando

HD

Both

Calrec Sigma

12 Sony 1500

Fujinon Canon

M11HD

53' expando

HD

Both

Calrec Sigma w/ Bluefin

Sony 1500

Fujinon 7H/3 HH, 1 wide-angle

M12HD

53' expando

HD

Both

Calrec Artemis Beam w/ Bluefin2 and Hydra2

Sony 2500

Fujinon 10 H/3 HH, 2 wide-angle

M14HD

53' expando

HD

Both

Calrec Artemis Beam w/ Bluefin2 and Hydra2

GV 8000

Fujinon 7 H/3 HH, 2 wide-angle

M15

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/Bluefin

12 GV LDK 80

Canon

M3HD

48' expando SxS dual-feed

HD

Both

Yamaha 5000

3 GV LDK

Fujinon, Canon

M4HD

53' expando

HD

Both

Calrec Omega w/ Bluefin

8 Sony 1450

Canon 6 H, 3 HH

SPORTS PRODUCTION 2021 YEARBOOK

All information subject to change. Please contact the truck vendorâ&#x20AC;&#x2122;s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Vizrt, ChyronHego

Senn., Sony, Crown

GV Kayenne K-Frame X

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame X

EVS XT2, XT3, XT4k, or VIA

Evertz HD video, EMR audio

Vizrt, ChyronHego

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS XT2, XT3, XT4k, or VIA

Evertz IP video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame X IP

EVS XT2, XT3, XT4k, or VIA

Evertz IP video, EMR audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS XT2, XT3, XT4k, or VIA

Evertz IP video, EMR audio

Vizrt, ChyronHego

None

None

EVS XT2, XT3, XT4k, or VIA

Access to Evertz IP video, EMR audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS XT4k or VIA

Evertz IP video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame X IP

EVS XT4k or VIA

Evertz IP video, EMR audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS XT4k or VIA

Evertz IP video, EMR audio

Vizrt, ChyronHego

Senn.

GV Kayenne K-Frame X IP

EVS XT4k or VIA

Evertz IP video, EMR audio

Vizrt, ChyronHego

A-T, Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS XT4k or VIA

Evertz IP video, EMR audio

ChyronHego HyperX3, Ross Xpression

Shure, Senn.

GV Kalypso, 4M/E

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

QuStream PESA 256x, 128x208 HD SDI router

ChyronHego HyperX3, Ross Xpression

EV, Sony, Shure, Senn.

GV Kayanne, 2.5M/E

2 6-ch. EVS XTnano, EVS XFile

Utah Scientific 400S

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

Evertz EQX mux/demux, EMR

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

6 12-ch, 3 8-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, 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

As requested

Senn.

GV Kayenne K-Frame

XT-VIA

Lawo IP router

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

SPORTS PRODUCTION 2021 YEARBOOK

245


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NEP

Gearbase

COMPANY

250

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

M5HD

53' expando

HD

Both

Calrec Omega w/ Bluefin

16 cameras

Fujinon 6 H, 3 HH, 2 wide-angle

M6HD

53' expando

HD

Both

Yamaha 5000

10 cameras

Fujinon 5 H, 2 HH, 1 wide-angle

M7HD

53' expando

HD

Both

Calrec Sigma w/ Bluefin

16 cameras

Fujinon 7 H, 3 HH, 2 wide-angle

M8HD

48' expando

HD

Both

Calrec Omega w/ Bluefin

10 cameras

Fujinon 5 H. 3 HH

M9HD

53' expando

HD

Both

Calrec Sigma w/ Bluefin

16 cameras

Fujinon 7 H, 3 HH, 2 wide-angle

NCPII

53' expando

HD

Both

Calrec Artemis Beam

12 Sony 2500/4300

12 Canon

NCPVII

53' expando

HD

Triax

Calrec Alpha

10 Sony 2500

16 Canon

NCPVIII

53' expando

HD

Both

Calrec Alpha w/ Bluefin

12 Sony 1500

9 Canon

NCPX

53' expando

HD

Triax

Calrec Alpha w/ Bluefin

12 Ikegami 97 Series

18 Canon

NCPXI

53' expando

HD

Both

Calrec Artemis Beam

10 Sony 2500

11 Canon

NCPXIV

53' expando

HD

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

HD

Both

Calrec Q2

10 GV 6000

10 Canon

ND4/Double Eagle

53' expando twin

HD

Both

Calrec Apollo

18 Sony 2500/4300

16 Canon

ND5

53' expando

HD

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

HD

Both

Calrec Apollo w/ Bluefin

24 Sony 2500/4300

14 Canon

Pacific

A: 47', B: 40'

HD

Fiber

Calrec Sigma

Sony, according to needs

Fujinon, according to needs

Phoenix

53' expando

HD

Triax

Calrec Sigma

10 GV 6000

10 Fujinon

Rhythm

53' expando

HD

Triax

Calrec Sigma w/ Bluefin

10 GV 8000

10 Fujinon

Silver

53' expando

HD

Fiber

Calrec Apollo

Sony 4300

2 Canon, 9 Fujinon

Skyline

53' expando

HD

Both

Calrec Sigma w/ Bluefin

10 GV 8000

11 Canon

Supershooter 1

53' expando

HD/1080p/4K

Both

Calrec Alpha

12 Sony 2500, GV LDX 8300

Canon

Supershooter 11

53' expando

HD

Triax

Calrec Omega w/ Bluefin

10 GV 8000

13 Canon

Supershooter 14

53' expando

HD

Triax

Calrec Alpha

10 GV 6000

11 Fujinon

Supershooter 15

53' expando

HD

Both

Calrec Sigma w/ Bluefin

12 Sony 1500

9 Canon, 2 Fujinon

Supershooter 16

53' expando

HD

Both

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

11 Canon

Supershooter 17

53' expando

HD

Both

Calrec Sigma w/ Bluefin

10 Sony 2500

11 Canon

Supershooter 18

53' expando

HD

Triax

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

11 Canon

Supershooter 20

53' expando

HD

Both

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

10 Canon, 2 Fujinon

Supershooter 22

53' expando w/ B unit

HD

Both

Calrec Apollo w/ Bluefin

12 Sony 2500/4300

13 Canon

Supershooter 23

53' expando w/ B unit

HD

Triax

Calrec Alpha

12 Sony 2500/4300

13 Fujinon

Supershooter 24

53' expando twin w/ third unit

HD

Both

Calrec Alpha w/ Bluefin

14 Sony 2500/4300

17 Canon

Supershooter 25

53' expando twin

HD

Both

Calrec Alpha w/ Bluefin

12 Sony 2500/4300

12 Canon, 2 Fujinon

Supershooter 28

53' expando w/ B unit

HD

Triax

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

Canon, Fujinon

Supershooter 29

53' expando

HD

Both

Calrec Artemis

12 Sony 1500

13 Canon

Supershooter 3

53' expando or flypack

HD

Both

DiGiCo SD10B

10 GV LDK-6000

8 Canon

Supershooter 32

53' expando

HD/1080p/4K/HDR

Both

Calrec Alpha w/ Bluefin

12 Sony 2500

As requested

Supershooter 4

53' expando twin w/ third unit

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin

13 GV LDK-80

Canon

Supershooter 8

53' expando w/ B unit

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin

14 GV LDK-80

Canon

Supershooter 9

53' expando w/ B unit

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin

15 GV LDK-80

Canon

SSCBS

53' expando triple w/ fourth unit

HD/1080p/4K/HDR

Both

Calrec Apollo

18 Sony 2500/4300

Fujinon, Canon

Summit

53' expando twin

HD

Fiber

Calrec Apollo

Sony 4300

2 Canon, up to 20 Fujinon

SPORTS PRODUCTION 2021 YEARBOOK

All information subject to change. Please contact the truck vendorâ&#x20AC;&#x2122;s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

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

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 HyperX3.1

Senn., Beyer, Shure, Sony

ChyronHego HyperX3

Senn., Shure, Sony

GV Kalypso, 4M/E

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

192x304 HD/128x128 AES, 128x128 stereo

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 12-ch. 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

As requested

Senn., Sony, EV, Shure

GV Kayenne

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

Utah Scientific mux/demux

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

GV

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

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

PESA mux/demux, DRS audio

As requested

Senn., Sony

GV Kayenne K-Frame

As requested

Shure, Senn

GV Kayak, 2.5M/E

As requested

GV GV

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

GV

As requested

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

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

GV

As requested

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

As requested

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

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

GV

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

GV

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

5 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio

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

GV

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

As requested

GV Kayenne K-Frame

5 6-ch. EVS XT3, XS SpotBox

PESA mux/demux, DRS audio

As requested

Senn., Sony, EV

GV Kalypso, 4M/E

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

GV

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

GV

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame

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

GV

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

As requested

Sony

1 GV K2 Solo, 2 K2 Dyno Summit

PESA Video, DRS audio

As requested

As requested

GV Kayenne K-Frame

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

Evertz EQX mux/demux, EMR

As requested

Senn.

GV Kayenne K-Frame

XT-VIA

Lawo IP router

As requested

Senn.

GV Kayenne K-Frame

XT-VIA

Lawo IP router

As requested

Senn.

GV Kayenne K-Frame

XT-VIA

Lawo IP router Evertz EXE mux/demux, EMR GV

As requested

A-T, Senn.

GV Kayenne K-Frame

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

As requested

As requested

GV Kayenne K-Frame

20 VTRs or 7 EVS on request, 2 SpotBox

SPORTS PRODUCTION 2021 YEARBOOK

Gearbase

GRAPHICS

251


NEP

Gearbase

COMPANY

YES PRODUCTIONS (ALLIANCE)

VIDEOLINES MOBILE TELEVISION

TOURING VIDEO

21 LAKES MEDIA

TOKEN CREEK (ALLIANCE)

SDTV (ALLIANCE)

ROSS PRODUCTION SERVICES

PSSI/ STRATEGIC TV

252

TRUCK NAME

DIMENSIONS/TYPE

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

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

CAMERAS

LENSES (H/HH)

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

HD

Both

Yamaha

5 GV 6000

Canon

6 GV 3000

4 Fujinon H, 5 Canon HH

K34

36' A unit, 35' B unit

HD

Triax

Yamaha M7CL (48 analog inputs/24 configurable outputs)

Silver

23' Sprinter, 16' B unit

HD

Triax

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

6 Ikegami HDK-95C

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

Blizzard

20' cargo van, 14' B unit

HD

Both

DigiCo SD11B w/D-Rack (80 channels)

5 Hitachi SK-HD1300

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

FIN3

24' Sprinter, 16' B unit

HD/1080p

Both

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 (additional lenses as needed)

FIN4

24' Sprinter, 16' B unit

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 (additional lenses as needed)

FIN5

24' Sprinter, 16' B unit

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

RMP6 4K

32' 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 SSMO SK-UHD-4000 (wired for 12)

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

FIN7

24' Sprinter, 16' B unit

HD/1080p

Fiber

Calrec Brio 36 (36 faders, 96 input ch., 5 Ikegami HDK-99, 1 Hi-NAC 5.1-capable, 2 fiber field kits) SuperMo

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

FIN8

24' Sprinter, 16' B unit

HD/1080p

Fiber

Calrec Brio 36 (36 faders, 96 input 5 Ikegami HDK-99, 1 Hi-NAC channels, 5.1-capable, 2 fiber field kits) SuperMo

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

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

HD

Triax/singlemode

Calrec Artemis (64 faders)

10 GV LDK 8000

6 H, 5 HH

Sioux

48' expando

HD

Triax/singlemode

Calrec Artemis (40 faders)

10 GV LDX 80

5 H, 5 HH

Varsity

53' expando

HD

Triax

Calrec Sigma w/ Bluefin (56 faders)

10 GV LDK 8000

6 H, 4 HH

Pioneer

53' expando

HD

Triax

Calrec Artemis

10 GV LDX 80

5 H, 4 HH

Riley

40’ expando

HD

Triax

Yamaha PM5000

TV-1

28' trailer

SD/HD

SMPTE & TAC Fiber

Yamaha DM-2000

8 Sony HDC-1500

Canon per request

TV-2

48' straight

SD/HD/1080p/4Kdigital cinema

SMPTE & TAC Fiber

Studer Vista-X (40 faders)

8 Sony HDC-1500

Canon per request

TV-3

43' expando

SD/HD/1080p

SMPTE & TAC Fiber

Stagetech Crescendo (40 faders)

10 Sony HDC-2500

Canon per request

TV-4

53' expando

SD/HD/1080p/4K

SMPTE & TAC Fiber

Stagetech Crescendo (40 faders)

10 Sony HDC-4300

Canon per request

2 Canon 72X, 1 Fujinon 50X, 1 Canon 8 GV LDK 6000, 2 Marshall J55X Super, 4 Canon 17X HH, 2 Cannon POV 11X wide-angle

HD-1

53'

HD

Triax

Yamaha M7CL-48

Ikegami 79E

2 76X, 2 66X, 2 20X

HD-2

53'

HD

Fiber

Yamaha 2000

Ikegami 77EX

4 55X, 2 18X

HD-3

16' box

HD

Fiber

Yamaha (16 channels)

Ikegami 77EX

2 55X, 2 18X

HD2

53' expando

HD

Both

Calrec Omega w/ Bluefin (56/48)

10 Ikegami HDK 79EX

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

SPORTS PRODUCTION 2021 YEARBOOK

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


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Upon request

Senn.

GV Kayenne K-Frame

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

Evertz EQX mux/demux, EMR

Upon request

Senn., Shure

GV Kayenne K-Frame

Wired for 6 EVS

Evertz EQX mux/demux, EMR

As requested

Senn.

FOR-A MVS-1000

1 4-ch. EVS XT; others as requested

ChyronHego HyperX3

Senn., Sony

GV Karrera, 2M/E

8-ch. EVS XT3

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

3 Ross XPression Flex 3-ch., GFX, TD Elements, Bug

Senn. MD-46 stick, A-T shotgun, Sony ECM-77b lav

Ross Carbonite Black, 3M/E

8-ch. EVS XTnano; 8-ch. Ross Abekas Mira

Ross NK-3G72 scalable (72x72 3G HD/SDSDI), Ross NK-A64-HQ stereo analog audio

3 Ross XPression Flex 3-ch., GFX, TD Elements, Bug

Senn. MD-46 stick, A-T shotgun, Sony ECM-77b lav

Ross Carbonite, 2.5M/E

8-ch. Ross Abekas Mira

Ross Ultrix (64x64, 128-bit MADI audio integration, core mux/demux)

3 Ross XPression Flex 3-ch., GFX, TD Elements, Bug

Senn. MD-46 stick, A-T shotgun, Sony ECM-77b lav

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

3 Ross XPression Flex 3-ch., GFX, TD Elements, Bug

Senn. MD-46 stick, A-T shotgun, Sony ECM-77b lav

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

3 Ross XPression Flex 3-ch., GFX, TD Elements, Bug

Senn. MD-46 stick, A-T shotgun, Sony ECM-77b lav

Ross Carbonite Black, 3M/E

8-ch. EVS XTnano; 8-ch. Ross Abekas Mira

Ross Carbonite Xtreme (144x144 3G HD/SD SDI/ASI), NK-A64-HQ stereo analog audio

3 Ross XPression Flex 3-ch., GFX, TD Elements, Bug

Senn. MD-46 stick, A-T shotgun, Sony ECM-77b lav

Ross Carbonite Black, 3M/E

8-ch. EVS XTnano; 2 8-ch. Ross Abekas Mira, with SuperMo

Ross Ultrix FR2 70x70 video/audio/MADI router, Ross Carbonite Xtreme (144x144 3G HD/SD SDI/ASI)

3 Ross XPression Flex 3-ch., GFX, TD Elements, Bug

Senn. MD-46 stick, A-T shotgun, Sony ECM-77b lav

Ross Carbonite Black, 3M/E

8-ch. EVS XTnano; 12-ch. Ross Abekas Mira

Ross Ultrix FR5 160x160 video/audio/ MADI router

3 Ross XPression Flex 3-ch., GFX, TD Elements, Bug

Senn. MD-46 stick, A-T shotgun, Sony ECM-77b lav

Ross Carbonite Black, 3M/E

8-ch. EVS XTnano; 12-ch. Ross Abekas Mira

Ross Ultrix FR5 160x160 video/audio/ MADI router

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-formatâ&#x20AC;&#x201C;capable

PESA Cougar HD/SDI video (32x32)

Gearbase

GRAPHICS

PESA 256X (128x256 HD-SDI), DRS (128x128 2 6-ch. EVS XT3, 1 4-ch. RO XT3, SpotBox analog, 384x384 AES, 256x256 MADI, XS3 XFile 3 256x256 embedded)

ChyronHego HyperX3

As requested

GV Kayenne, 4.5M/E

ChyronHego HyperX3

As requested

GV Karrera, 3M/E

2 6-ch. EVS XT3, 1 4-ch. RO XT3, SpotBox XS3 XFile 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 XFile 3

PESA (192x288 HD/256x256 analog, 256x256 AES)

ChyronHego HyperX3

As requested

GV Kayenne

2 6-ch. EVS XT2, 1 4-ch. SpotBox XS3 XFile 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

A-T

Sony MVS-3000, 2M/E

Per request

Imagine Platinum (256 in/256 out) audio 128 in

Per request

Senn.

Sony MVS-6530, 3M/E

Per request

Riedel MediorNet decentralized video/ MADI routing

Per request

Senn.

Sony MVS-7000x, 6M/E

6-ch. EVS

Imagine Platinum (248 in/344 out), audio 128 in

Ross Xpression

Senn.

Sony XVS-7000, 6M/E

Per request

Imagine IP3 (422 in/560 out), audio128 in

ChyronHego HyperX3

8 shotgun, 4 stick

GV Kayak, 4M/E

3 EVS

32x23 video/2-ch. audio

ChyronHego HyperX2

8 shotgun, 4 stick

GV Kayak, 2M/E

2 Tightrope ZEPLAY

32x23 video/2-ch. audio

ChyronHego HyperX2

4 shotgun, 4 stick

Blackmagic ATEM, 1M/E

1 NewTek 3Play

16x16 video

ChyronHego HyperX3

Standard audio

GV Kalypso Duo

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

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

SPORTS PRODUCTION 2021 YEARBOOK

253


“They literally saved us millions of dollars. As our Athletic Director said: ‘We made back the consulting fee the minute we hired them.’” DIRECTOR, MARRIOTT CENTER / LAVELL EDWARDS STADIUM, BRIGHAM YOUNG UNIVERSITY


Discover What The Studio Can Do for You

BROADCAST - DIGITAL CINEMA - POST PRODUCTION THE STUDIO

TECHNOLOGY CENTER

THE TEAM

Building on B&H’s long history of superior service, The Studio is a unique solution-based environment dedicated to all professional market segments.

A revolutionary center created to provide a hands-on experience to high-end professionals. The Technology Center is a fully operational studio with an extensive display of high-end products and state of the art workflows.

A highly skilled team of applications specialists, sales engineers, project managers and account representatives, all assembled to create a formidable group of individuals, most of them active members of the professional community.

SERVICES CONSULTATION SYSTEM DESIGN SYSTEM INTEGRATION PRE- & POST-SALES SUPPORT TECHNOLOGY DEMOS

420 9th Ave. New York, NY 10001 212.502.6370 Thestudiobh.com thestudio@BandH.com

Follow The Studio on Linkedin

Become a fan of The Studio on Facebook

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The Studio-B&H is a proud SMPTE member since 2009 NYC DCA Electronics Store Lic.#0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906 © 2020 B & H Foto & Electronics Corp.


SVGSPONSORDIRECTORY / ADINDEX

AD PAGE 243

LEVEL

CONTACT

EMAIL

Mobile

Gordon Capaccio

GordonC@3gwireless.tv

410-969-3501

ADDER TECHNOLOGY

45

Premier

Tim Conway

usasales@adder.com

888-932-3337

ADMIRAL VIDEO

206

Mobile

Paul Halsey

paul@imhd.tv

716-651-9900

AE LIVE

196

Mobile

Neale Connell

neale@ae.live

+44 1442 234 531

AERIAL VIDEO SYSTEMS

219

Mobile

Argyle Nelson

argyle@aerialvideo.com

818-954-8842

AIDA CONTENT MANAGEMENT

242

Mobile

Peter Flood

peter.flood@aidacm.com

201-693-5451

AJA VIDEO SYSTEMS

109

Corporate

Christina Oliver

christinao@aja.com

530-271-3326

ALDEA SOLUTIONS

85

Corporate

Daniel Gonzalez

daniel.gonzalez@aldea.tv

514-461-4136

SPONSOR 3g WIRELESS

ALL MOBILE VIDEO

204

Mobile

Eric Duke

eduke@amvchelsea.com

212-727-9862

ALPHA VIDEO

188

Mobile

Jeff Volk

jeff.volk@alphavideo.com

952-841-3311

AMAGI

122

Corporate

Sanjay Kirimanjeshwar

sanjay@amagi.com

+91 98440 39275

4

Platinum

Paula Taylor

tpaula@amazon.com

503-222-3212

ANTHONY JAMES PARTNERS

254

Mobile

Mark Roberts

markr@anthonyjamespartners.com

609-751-4379

ARCTEK SATELLITE PRODUCTIONS

246

Mobile

Brian Stanley

bstanley@arcteksat.com

612-308-9079

ARISTA NETWORKS

129

Corporate

Ed Chapman

echapman@arista.com

408-888-4839

ARVATO SYSTEMS

118

Corporate

Kurt Krinke

kurt.krinke@arvatosystems.com

248-755-0676

ASG (ADVANCED SYSTEMS GROUP)

201

Mobile

Tom Menrath

tom@asgllc.com

415-405-5320

AMAZON WEB SERVICES

AT&T

8

ATEME AUDIO-TECHNICA

97

AV DESIGN SEVICES

Platinum

Catherine A. Palaia

cp286m@att.com

972-936-2612

Corporate

Dave Brass

d.brass@ateme.com

484-860-0358

Corporate

Kurt Van Scoy

kvanscoy@atus.com

330-686-2600 x2780

Mobile

Jim Landy

jmlandy@avds.tv

609-531-2642

AVI SYSTEMS

Mobile

Craig Frankenstein

craig.frankenstein@avisystems.com

248-957-6161

AZZURRO GROUP

Mobile

Anthony Sotomayor

asotomayor@azzurrogroup.com

212-625-2372

BECKTV

211

Mobile

Fred Wright

fwright@becktv.com

972-505-8941

Corporate

Christine Williamson

Christine.Williamson@belden.com

412-327-9973

15

Platinum

Craig Schiller

cschiller@bexel.com

818-565-4202

Corporate

Sam Peterson

speterson@bitcentral.com

949-417-4168

BLACKBIRD VIDEO

71

Corporate

Adrian Lambert

A.Lambert@blackbird.video

+44 7905863352

BLACKMAGIC DESIGN

25

Platinum

Bob Caniglia

bobc@blackmagicdesign.com

408-954-0500 x319

BRAINSTORM

84

Corporate

Miguel Churruca

mchurruca@brainstorm3d.com

+34 91 781 6750

BROADCAST MANAGEMENT GROUP

189

Mobile

Josh Gallant

jgallant@broadcastmgmt.com

973-820-5847

BROADCAST SERVICES INTERNATIONAL (BSI)

213

Mobile

Jim Eady

jim@bsi-tv.com

905-332-2171

BROADCAST SPORTS INTERNATIONAL (BSI)

222

Mobile

Peter Larsson

Peter.Larsson@BSINTL.COM

410-564-2600

Mobile

Evan Wimer

ewimer@c360live.com

724-940-3277

BELDEN BEXEL BITCENTRAL

C360 CALREC AUDIO/DIGICO

50

Premier

Chris Fichera

chris.fichera@calrec.com

310-927-7788

CANON

5

Platinum

Richard Eilers

reilers@cusa.canon.com

609-480-6019

142

Corporate

Ben Canter

ben.canter@caringo.com

508-322-1616

Mobile

Greg Landa

greg.landa@es-cat.com

904-494-7532

CARINGO CAT ENTERTAINMENT SERVICES CATDV

176

Corporate

Jeremy Strootman

jeremy@squarebox.com

314-229-6012

CHESAPEAKE SYSTEMS

193

Mobile

Louise Shideler

louise@chesa.com

410-752-7732

CINESYS

249

Mobile

Brent Angle

brent@cinesys.io

713-272-0732

CIS GROUP

180

Corporate

Matt Silva

matt.silva@cisgroup.tv

954-257-9938

CISCO SYSTEMS

125

Corporate

Susan Friedman

sufriedm@cisco.com

908-433-6948

Corporate

Tom Yatabe

tom.yatabe@clarkwire.com

800-222-5348 x18

CLARK WIRE & CABLE

256

PHONE

SPORTS PRODUCTION 2021 YEARBOOK


LEVEL

CONTACT

EMAIL

PHONE

CLEAR-COM, AN HME COMPANY

56

Premier

Rachel Archibald

Rachel.Archibald@Clearcom.com

510-337-6676

COBALT DIGITAL

159

Corporate

Chris Shaw

chris.shaw@cobaltdigital.com

217-344-1243

COMREX

53

Premier

Chris Crump

ccrump@comrex.com

978-784-1776

CP COMMUNICATIONS

230

Mobile

Kurt Heitmann

kurt.heitmann@cpcomms.com

914-345-9292

Corporate

Joel Roy

jroy@gowithcd.com

203-250-6517

CREATIVE DIMENSIONS CREATIVE MOBILE SOLUTIONS

229

Mobile

Noah Gusdorff

noah@cmsi.tv

818-847-7390

CROWN CASTLE

207

Corporate

Sergio Amatangelo

sergio.amatangelo@crowncastle.com

724-416-2710

Mobile

Matt Keske

mkeske@cspmobile.com

312-914-2616

Ry Alford

ralford@conferencetech.com

404-352-3000

CSP MOBILE PRODUCTIONS CTI (CONFERENCE TECHNOLOGIES INC.)

217

Mobile

DAKTRONICS

179

Corporate

Sales

sales@daktronics.com

800-325-8766

DALE PRO AUDIO

74

Corporate

Eric Eldredge

eric@daleproaudio.com

212-475-1124

DELAPLEX

131

DIMETIS

Corporate

Mark Rivers

Mrivers@delaplex.com

404-867-3334

Corporate

Thomas Will

twill@dimetis.de

+49 6074 3010 100 201-670-6548

DIVERSIFIED

195

Mobile

Christopher Sullivan

CSullivan@diversifiedus.com

DMC BROADCAST GROUP

169

Corporate

Don Cardone

don@dmcbroadcastgroup.com

908-998-1080

DNA STUDIOS

216

Mobile

Sam Schrade

sam@dnawebs.com

281-802-8000

DOLBY

23

Platinum

Ellis Reid

ereid@dolby.com

415-558-0299

DOME PRODUCTIONS

234

Mobile

Mary Ellen Carlyle

mcarlyle@domeprod.com

416-341-2022

DX3 MEDIA INC.

200

Mobile

Dale Smith

dalesmith@DX3media.ca

416-433-3261

ECODIGITAL

130

Corporate

Justin Russell

justin.russell@goecodigital.com

443-926-2673

EDITSHARE

35

Premier

Tracy Geist

tracy.geist@editshare.com

415-298-1290

EEG ENTERPRISES

157

Corporate

Eric McErlain

ericm@eegent.com

516-293-7472 x502

ELUVIO INC

87

Corporate

Michelle Munson

michelle.munson@eluv.io

510-898-8062

ENCO SYSTEMS

139

Corporate

Samantha Bortz

samantha@enco.com

248-827-4440 ext. 201

ENCOMPASS DIGITAL MEDIA

73

Corporate

Peter Ostapiuk

postapiuk@encompass.tv

770-331-2829

ENDEAVOR STREAMING

177

Corporate

Kayla Conover

Kayla.Conover@endeavorstreaming.com

516-622-8381

ES BROADCAST

237

Mobile

Ryhaan Williams

sales.usa@esbroadcast.com

908-500-0532

EUROVISION SERVICES

12

Platinum

Jim Scott

jim.scott@eurovision.net

973-650-9577

EVERTZ

47

Premier

Kyle Miobertolo

kmiobertolo@evertz.com

905-220-4738

EVS

59

Premier

William Walz

w.walz@evs.com

973-575-2116

F&F PRODUCTIONS

228

Mobile

George Orgera

GeorgeO@fandfhd.tv

727-535-6776

FASTLY

99

Corporate

John Agger

jagger@fastly.com

844-432-7859

FILMWERKS INTERNATIONAL

212

Mobile

Michael Satrazemis

michaels@filmwerksintl.com

910-675-1145

FINGERWORKS TELESTRATORS

165

Corporate

Bryan McKoen

bryan@telestrator.com

604-762-1477

FLETCHER SPORTS

224

Mobile

Dan Grainge

dan@fletch.com

312-932-2704

Corporate

Ted White

ted.white@focusrite.com

310-321-4104

Corporate

Gerry Nazimek

Nazimek@for-a.com

973-220-8471

FOCUSRITE PRO FOR-A

153

FUJIFILM

17

Platinum

Gordon Tubbs

gtubbs@fujifilm.com

973-686-2769

FUJITSU

88

Corporate

Richard Harvey

Richard.Harvey@fujitsu.com

925-251-0070

G&D NORTH AMERICA

141

Corporate

Craig Abrams

cabrams@gd-northamerica.com

818-748-3383

GAME CREEK VIDEO

240

Mobile

Pat Sullivan

psullivan@gamecreekvideo.com

603-821-2205

Mobile

Brad Wensley

bwensley@geartech.ca

647-295-6672

GEARTECH USA GLOBECAST

116

Corporate

Tim Jackson

tim.jackson@globecastna.com

310-849-3901

GOOGLE CLOUD

30

Platinum

Kari Szul

kariszul@google.com

212-565-0448

GRABYO

135

Corporate

Mike Kelley

mike@grabyo.com

914-584-7324

SPORTS PRODUCTION 2021 YEARBOOK

SVG Sponsor Directory/Ad index

AD PAGE

SPONSOR

257


SVG Sponsor Directory / Ad Index

AD PAGE 14

LEVEL

CONTACT

Platinum

David Cohen

david.cohen@grassvalley.com

215-837-8699

GRAVITY MEDIA

66

Premier

Mark Allatt

Mark.Allatt@gravitymedia.com

+44 1923 691421

HAIVISION

77

Corporate

Karen McCone

kmccone@haivision.com

514-993-2683

Mobile

Phil Engborg

phil@carr-hughes.com

518-584-0202

Premier

Sachin Agarwal

sachin.agarwal@ibm.com

510-849-2386 x222

Premier

Bill Martinson

billmar@us.ibm.com

650-400-7078

Corporate

Gates Killian

gates.killian@ibm.com

704-201-7126

SPONSOR GRASS VALLEY

HIGH ROCK MOBILE TELEVISION IBM ASPERA

41

IBM STORAGE IBM WATSON MEDIA & WEATHER

PHONE

IHSE USA

61

Premier

Dan Holland

dholland@ihseusa.com

732-738-8780

ILLUMINATION DYNAMICS

241

Mobile

Rich Williams

rich@illuminationdynamics.com

818-686-6400

Corporate

Zach Wilkie

zwilkie@imagevideo.com

416-750-8872 x228

Corporate

Nick Ashwin

nick.ashwin@imagen.io

214-418-3064

Premier

Mary Schoof

mary.schoof@imaginecommunications. com

703-869-2042

IMAGE VIDEO IMAGEN

184

IMAGINE COMMUNICATIONS IMS PRODUCTIONS INTELSAT INTEGRATED MEDIA TECHNOLOGIES

225

INTOTO SYSTEMS

Mobile

Kevin Sublette

ksublette@imsptv.com

317-492-8770

Corporate

Jon Sonsteby

jon.sonsteby@intelsat.com

703-559-7914

Mobile

Tom McGowan

tom.mcgowan@imtglobalinc.com

818-761-9770

Mobile

Stephanie Rowen

srowen@suitelifesystems.com

310-405-0839

IRON MOUNTAIN ENTERTAINMENT SERVICES

49

Premier

Alisha Perdue

alisha.perdue@ironmountain.com

614-747-0581

JB&A

138

Corporate

Maria Casey

sales@jbanda.com

415-256-2800

JOSEPH ELECTRONICS

51

Premier

John Cleary

jcleary@josephelectronics.com

800-323-5925

JVC PROFESSIONAL VIDEO

100

Corporate

Dan Skirpan

dskirpan@us.jvckenwood.com

724-747-9301

Mobile

Bill Kaufman

bill.kaufman@kaufmanbroadcast.com

314-533-6633

Mobile

Kevin Henneman

khenneman@kmh-integration.com

800-590-2520

KAUFMAN BROADCAST KMH AUDIO-VIDEO INTEGRATION

199

LAWO

6

Platinum

Forrest Sussman

Forrest.Sussman@lawo.com

914-514-5600

LEADER INSTRUMENTS

89

Corporate

Scott Cannon

cannon@leaderamerica.com

631-512-1063

LEGRAND AV DIVISION

Corporate

Gordon Wason

gordon.wason@legrand.com

516-350-2327

LEVELS BEYOND

Corporate

Donnie Gilbert

dgilbert@levelsbeyond.com

720-508-8947

LH COMPUTER SERVICES

235

Mobile

Doug Cole

dcole@lhcomp.com

954-752-5805

LIMELIGHT NETWORKS

133

Corporate

Meredith Johnson

meredithj@llnw.com

602-850-5384

LIVE MEDIA GROUP LIVE CGI

Mobile

Brad Sexton

brad@livemediagroup.com

818-435-3006

Corporate

Marc Rowley

marc.rowley@liveCGI.com

860-833-6757

LIVEU

33

Platinum

Dave Belding

daveb@liveu.tv

714-916-8275

LTN GLOBAL

62

Corporate

Rich Rozycki

rrozycki@ltndigital.com

646-832-1952

LUMEN TECHNOLOGIES

16

Platinum

Alisson Moore

alisson.moore@lumen.com

303-525-5994

LYON VIDEO

248

Mobile

Chad Snyder

chad@LyonVideo.com

614-319-4071

MARKERTEK

69

Premier

Adam June

adam@markertek.com

800-522-2025 x7361

MARSHALL ELECTRONICS

103

Corporate

Leticia Ambriz

leticia.ambriz@marshallelectronics.net

800-800-6608

MASSTECH INNOVATIONS

150

Corporate

Luc Tomasino

Luc.tomasino@masstech.com

918-605-3236

MATROX VIDEO

75

Corporate

Francesco Scartozzi

fscartoz@matrox.com

514-822-6075

MAXON

160

Corporate

Paul Babb

paul@maxon.net

805-376-3331

MEDIA LINKS

134

Corporate

Tom Canavan

tcanavan@medialinks.com

860-206-7326

MEDIAKIND

113

Corporate

Dan Burnett

daniel.burnett@mediakind.com

678-689-6535

MEDIAPRO

2,91

Platinum

Mario Sousa

msousa@mediapro.tv

305-357-5893

MEYERPRO

197

Mobile

Steve Meyer

steve@meyerproinc.com

503-638-2096

Premier

Scott Bounds

sbounds@microsoft.com

646-225-4380

205

Corporate

Nick Garvin

ngarvin@mobiletvgroup.com

303-542-5555

MICROSOFT MOBILE TV GROUP

258

EMAIL

SPORTS PRODUCTION 2021 YEARBOOK


MOVICOM MPE

AD PAGE 210 143

NCAM NELCO MEDIA

LEVEL

CONTACT

EMAIL

PHONE

Mobile

Greg Salman

gsalman@movicom.com

323-633-7033

Corporate

Neal Pilzer

neal@mpenyc.com

303-618-4423

Corporate

Phil Ventre

phil.ventre@ncam-tech.com

+44 7581 482750

Premier

Philip Nelson

philip@nelcomedia.net

210-863-0360

NEP GROUP

10

Platinum

Susan Matis

smatis@nepgroup.com

412-423-1339

NET INSIGHT

154

Corporate

David Dellafave

david.dellafave@netinsight.net

201-669-2037

NEVION

106

Corporate

Sales

sales@nevion.com

805-247-8560

Corporate

Kurt Howell

kurt.howell@ntp.dk

813-422-1289

NTP NUTANIX

27

Platinum

Jarrett Schwenzer

jarrett.schwenzer@nutanix.com

646-660-5898

OBJECT-MATRIX

185

Corporate

Nick Pearce-Tomenius

nick.pearce-tomenius@object-matrix.com

+44 2920 382308

OPENDRIVES

92

Corporate

Paul Swanson

p.swanson@opendrives.com

310-659-8999

PANASONIC

37

Premier

Jim Jenson

James.Jensen@us.panasonic.com

201-427-0606

PARSEC

Corporate

Max Sebela

max@parsec.tv

630-421-4222

PIXELLOT

123

Corporate

Yossi Tarablus

yossit@pixellot.tv

972-52-289-0297

POLYGON LABS

78

Corporate

Grigory Mindlin

grig@polygonlabs.us

908-403-2061

PRG

31

Platinum

Andrea Berry

andrea.berry@prg.com

818-252-2645

PRIMESTREAM

145

Corporate

Namdev Lisman

namdevlisman@primestream.com

305-625-4415

PRIMEVIEW

Corporate

Chanan Averbuch

chanan@primeview.biz

212-730-4905

PRODUCTIONHUB

Corporate

Steve Rotz

srotz@productionhub.com

877-629-4122

PROGRAM PRODUCTIONS

192

PSSI GLOBAL SERVICES

Mobile

Amy Scheller

ascheller@programproductions.com

630-792-9700

Mobile

Clint Bergeson

info@pssiglobal.com

310-575-4400

QLIGENT

171

Corporate

John Shoemaker

john.shoemaker@qligent.com

321-956-3454

QUANTUM

162

Corporate

Ruth Compton

ruth.compton@Quantum.com

949-856-7793

QUANTUM5X

107

RCN BUSINESS SERVICES REALITY CHECK SYSTEMS RF WIRELESS

Corporate

Paul Johnson

pjohnson@q5x.com

519-675-6999

Corporate

Sean Sullivan

sean.sullivan@rcn.net

571-623-4332

Mobile

Jeff Heimbold

j.heimbold@realitychecksystems.com

323-465-3900

Mobile

Rob Bunn

rob.bunn@rfwireless.com

416-803-9301

RIEDEL COMMUNICATIONS

9

Platinum

Joyce Bente

sales-us@riedel.net

818-559-6900

ROSS VIDEO

18

Platinum

Kevin Cottam

kcottam@rossvideo.com

613-228-0688 x4366

RT SOFTWARE

117

Corporate

Mike Fredriksen

mike.fredriksen@rtsw.co.uk

+44 020 7384 2711

Mobile

Tim Eichorst

timeichorst@rushmediaco.com

608-850-7411

Corporate

Jim Pace

jpace@plus24.net

323-855-1404

Mobile

Mark Parikka

operations@sdtv.com

619-293-7777

RUSH MEDIA GROUP SANKEN/BRAINSTORM ELECTRONICS SDTV SEACHANGE INTERNATIONAL

172

Corporate

Luiza Pinto

Luiza.Pinto@schange.com

978-606-6461

SEAGATE

11

Platinum

Brandon Aleckson

brandon.aleckson@seagate.com

408-658-1852

Corporate

Brandon Baker

brandon.baker@sencore.com

605-978-4743

Corporate

Greg Simon

Greg.Simon@sennheiser.com

860-501-0843

SENCORE SENNHEISER

79

SHOTOVER

236

Mobile

Gordon Barry

gbarry@shotover.com

+64 275458777

SHURE

63

Premier

Bill Ostry

Ostry_bill@shure.com

312-607-2972

SIGNIANT

52

Premier

Jon Finegold

jfinegold@signiant.com

781-221-4000

SKYCAM

247

Mobile

Stephen Wharton

stephen.wharton@skycam.tv

719-963-4150

SKYLINE COMMUNICATIONS

147

Corporate

Thomas Gunkel

thomas.gunkel@skyline.be

+32 51 31 35 69

SMARTCART SVX

218

Mobile

Gil Cowie

gil@smartcartsvx.com

646-863-6263

SMT

93

Corporate

Patricia Hopkins

p.hopkins@smt.com

919-493-9390

SOLID STATE LOGIC

137

Corporate

Phil Wagner

PhilW@solidstatelogic.com

212-315-1111 201-930-6926

SONY

3

Platinum

Deon LeCointe

Deon.Lecointe@sony.com

SOS GLOBAL

96

Corporate

Stephen Oâ&#x20AC;&#x2122;Connell

soconnell@sosglobal.com

252-635-1400

SOUTHWORKS

223

Mobile

Bruce "Zip" Zieper

bruce.zieper@southworks.com

949-244-5691

SPORTS PRODUCTION 2021 YEARBOOK

SVG Sponsor Directory/Ad index

SPONSOR

259


SVG Sponsor Directory / Ad Index

SPONSOR

AD PAGE

SPARX TECHNOLOGY

CONTACT

EMAIL

PHONE

Mobile

Kevin Annison

kevin@sparxtechnology.com

704-957-8198

SPECTRA LOGIC

167

Corporate

Hossein ZiaShakeri

hosseinz@spectralogic.com

303-449-6400

SPORTLOGIQ

126

Corporate

Patrick Markey

patrick@sportlogiq.com

773-203-2246

SPORTZCAST

105

Corporate

Michael Connell

mike@sportzcast.net

321-888-3800 x101

Corporate

Stephanie Brown

sbrown@stats.com

646-324-2444

STATS PERFORM STEVENS GLOBAL

175

Corporate

Terry Isles

terryi@stevensglobal.com

800-229-7284

STUDIO NETWORK SOLUTIONS (SNS)

95

Corporate

Stephen McKenna

smckenna@studionetworksolutions.com

314-733-0551

SUPPONOR

81

Corporate

David Patton

david.patton@supponor.com

+44 203 423 6521

SYNAMEDIA

181

Corporate

Gordon Arthur

goarthur@synamedia.com

470-769-9240

SYNCWORDS T2 COMPUTING

Corporate

Ashish Shah

ashah@syncwords.com

718-408-9191

Mobile

Dominick Tarabocchia

dominick@t2computing.com

212-220-9600

TAG V.S.

187

Corporate

Abe Zerbib

abe@tagvs.com

315-646-8400

TATA COMMUNICATIONS

158

Corporate

Utkarsh Gosain

utkarsh.gosain@tatacommunications.com

917-499-0236

TEDIAL

54

Premier

Jay Russell

jrussell@tedial.com

424-645-5300

TELESTREAM

67

Premier

Scott Murray

scottmu@telestream.net

530-470-1306

TELOS ALLIANCE

43

Premier

Martin Dyster

martin.dyster@telosalliance.com

717-735-3611

TELSTRA

191

Corporate

Anna Lockwood

Ana.Lockwood@team.telstra.com

877-835-7872

TERADEK

70

Premier

Jon Landman

jon@teradek.com

949-529-9892

THE STUDIO - B&H

255

Premier

The Studio Team

thestudio@BandH.com

800-947-9962

THE SWITCH

21

Platinum

Christian Kneuer

christian.kneuer@theswitch.tv

212-239-3715

THE VIDEO CALL CENTER

119

Corporate

Larry Thaler

LThaler@TheVCC.TV

212-235-7019 x720

Mobile

Brian Carr

brian@thumbwar.tv

310-910-9030

THUMBWAR TSL PRODUCTS

155

TV GRAPHICS TVU NETWORKS

65

UNIQFEED

Corporate

Greg Siers

greg.siers@tslproducts.com

301-272-0939

Corporate

Dan Murphy

dantvgraphics@gmail.com

303-550-7088

Premier

Greg Doggett

gdoggett@tvunetworks.com

804-405-9143

Corporate

Marcel Naef

marcel.naef@uniqfeed.com

347-401-2020

VARIANT SYSTEMS GROUP

146

Corporate

Adolfo Rodriguez

adolfo@variantsystemsgroup.com

503-567-9658

VENUE EDGE

121

Corporate

David Saphirstein

dsaphirstein@gmail.com

407-505-9410

VERITONE

40

Mobile

Logan Ketchum

lketchum@veritone.com

818-519-0054

VERIZON MEDIA

83

Corporate

Jeff Casey

jeffrey.casey@verizon.com

908-559-2036

VIDEON

149

Corporate

Todd Erdley

todd@videon-central.com

814-235-1111

VIDOVATION

231

Mobile

Jim Jachetta

jimj@vidovation.com

949-777-5435 x1001

VIMOND

101

Corporate

Megan Wagoner

megan@vimond.com

202-422-6844

VISLINK TECHNOLOGIES

183

Corporate

Emily Fox

emily.fox@vislink.com

+44 1442 431334

VISTA WORLDLINK

164

Corporate

Joshua Liemer

jliemer@vistaworldlink.com

954-838-0900 x210

VITAC

127

Corporate

Doug Karlovits

doug.karlovits@vitac.com

724-514-4043

VITEC

26

Platinum

Hamish Macmillan

hamish.macmillan@vitec.com

404-320-0110

VIZRT GROUP

57

Premier

Mark Gederman

mgederman@vizrt.com

401-787-0120

WORLD WIDE TECHNOLOGY

114

Corporate

Brandon Handley

brandon.handley@wwt.com

610-908-5881

WOWZA MEDIA SYSTEMS

168

Corporate

Brad Wright

brad.wright@wowza.com

720-608-4733

WSC SPORTS

111

Corporate

Galit Shiri

galit@wsc-sports.com

+972 54 471 6862

XCITE INTERACTIVE

173

Corporate

JR Reichl

jreichl@xcite-interactive.com

800-464-9445

XYTECH

151

Corporate

Greg Dolan

gdolan@xytechsystems.com

347-746-4734

ZIXI

29

Platinum

John Wastcoat

john.wastcoat@zixi.com

877-494-9426

Corporate

Kiel Fox

kiel@zorroa.com

210-884-1201

ZORROA

260

LEVEL

SPORTS PRODUCTION 2021 YEARBOOK

Profile for Sports Video Group

SVG Sports Production 2021 Yearbook  

Industry leaders look back at a "A Year Like No Other;" SVG reports on the realities. the hardships, and the miracles of the return of sport...

SVG Sports Production 2021 Yearbook  

Industry leaders look back at a "A Year Like No Other;" SVG reports on the realities. the hardships, and the miracles of the return of sport...