VOLUME 11 • ISSUE 2
VOLUME 11 ISSUE 2 PUBLISHED BY
VENUE SPOTLIGHT: A Special Supplement
ADVANCING THE CREATION, PRODUCTION, & DISTRIBUTION OF SPORTS CONTENT
SPORTS TECH JOURNAL FALL 2017
NEW ERA AT NOTRE DAME
Campus Crossroads Redefines College Video SPORTS VIDEO GROUP
INSIDE SVG UPDATE: Recaps of the Latest SVG Events, Initiatives, News, and More WHITE PAPERS: IP Orchestration and Control, Moving to Fiber Transmission, Efficient Delivery in Fractured Viewing Environment PLUS SVG SPONSOR UPDATE: What’s New With 250+ Leading Tech Vendors
Take your sports experience to the next level with Dolby Vision and Dolby Atmos Visit Dolby at IBC in Hall 2, Stand 2.A11 dolby.com
in this issue FALL 2017 Volume 11, Issue 2
upfront 4 COVERING THE FIELD Sports Venues Take Center Stage
6 COLLEGE SPORTS SUMMIT 8 COLLEGE SPORTS MEDIA AWARDS 10 IP PRODUCTION FORUM 12 SPORTS VENUE PRODUCTION SUMMIT
coverstory page 24
Corbett Family Hall
14 RSN SUMMIT 16 LIVETV:LA 18 SPORTS IMAGING FORUM 20 SPORTS CONTENT MANAGEMENT FORUM 22 INITIATIVES & GROUPS
NEW ERA AT NOTRE DAME: Campus Crossroads Redefines College Video
Notre Dame Stadium Videoboard
specialsupplement page 33
34 U.S. BANK STADIUM 40 GOLDEN 1 CENTER 46 SUNTRUST PARK 52 ROGERS PLACE 58 RAYMOND JAMES STADIUM
white papers 64 LAWO: FROM BASEBAND TO IP: ORCHESTRATION AND CONTROL 66 TELESTREAM: EFFICIENT DELIVERY FOR TODAY’S FRACTURED VIEWING ENVIRONMENT 68 LEVEL 3: WHAT TO KNOW BEFORE MOVING TO FIBER TRANSMISSION 71 SVG SPONSOR UPDATE The latest productions, technology, and news from 250+ SVG sponsors 106 SVG SPONSOR DIRECTORY 112 FINAL BUZZER: An Industry Poised for Change
ADVISORY BOARD The Sports Video Group comprises leading industry figures who are committed to technical excellence in the sports industry. Over the coming years, members will help guide the direction of the organization, consult on various group initiatives, and enable more dialogue across different industry segments. CHAIRMAN OF THE ADVISORY BOARD
Tom Sahara, Turner Sports, VP, Operations & Technology ADVISORY BOARD MEMBERS
Ken Aagaard, CBS Sports, EVP, Innovation and New Technology Adam Acone, NFL Network, Director, Media Operations and Planning Glenn Adamo, Ivanhoe Media and Entertainment, President Peter Angell, Lagardère, SVP Andrea Berry, The G.A.P. Media Group, CEO Onnie Bose, NFL, VP of Broadcasting Chris Calcinari, ESPN, VP, Event Operations Jason Cohen, HBO Sports Production, VP Joe Cohen, The Switch, President, Sports Michael Cohen, Industry Consultant Don Colantonio, Industry Consultant Michael Davies, Fox Sports, SVP, Technical and Field Operations Scott Davis, CBS Sports, VP of Broadcast Operations Jim DeFilippis, Industry Consultant Ed Delaney, Industry Consultant Jed Drake, SMT, EVP of Emerging Technology David Dukes, PGA Tour Entertainment, Senior Director, Technical Operations Jerry Gepner, L5 Media Services, Media and Technology Executive Scott Gillies, Red Bull Media House, Head of Technical Production Steve Gorsuch, Industry Consultant Mark Haden, MLB Network, VP, Engineering and IT Steve Hellmuth, NBA, EVP, Operations and Technology Ed Holmes, The Holmes Group, Principal Deb Honkus, NEP Broadcasting, Chairman of the Board George Hoover, NEP Broadcasting, CTO Jeff Jacobs, Viacom Global Entertainment Group, SVP, Production Planning, Strategies, and Operations Robert D. Jordan CFE, Van Wagner Sports and Entertainment, SVP John Kvatek, University of Central Florida Knights, Associate Athletics Director - Multimedia and Creative John Leland, PSL International, LLC, Principal Louis Libin, Broad Comm, President Jodi Markley, ESPN, EVP, Content Operations and Creative Services Michael Meehan, NBC Sports, SVP, Operations Grant Nodine, NHL, SVP, Technology Ken Norris, UCLA, Director of Video Operations Gary Olson, GHO Group, Managing Director Del Parks, Sinclair Broadcast Group, SVP and CTO Patty Power, CBS Sports, EVP, Operations and Engineering Paul Puccio, Industry Consultant Scott Rinehart, University of Notre Dame, Director, Broadcast Technology Larry Rogers, FirstInTV, President Mike Rokosa, NHRA, Technology Executive Bob Ross, CBS, SVP, East Coast Operations Oscar Sanchez, CONCACAF, Director of Broadcast Operations Bruce Shapiro, Broadcast Industry Consulting Jack Simmons, Industry Consultant Don Sperling, New York Giants Entertainment, VP and Executive Producer Jerry Steinberg, Industry Consultant Susan Stone, MLB Network, SVP, Operations and Engineering Patrick Sullivan, Game Creek Video, President Larry Tiscornia, Major League Soccer, VP, Broadcasting Jacob Ullman, Fox Sports, SVP, Production and Talent Development John Ward, AT&T Entertainment Group, SVP, Content Operations 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
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COVERING THE FIELD PLATINUM SPONSORS
SPORTS VENUES TAKE CENTER STAGE By Karen Hogan Ketchum, Senior Editor, SVG
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ADOBE • AJA VIDEO SYSTEMS • AJT SYSTEMS • ALDEA • ASPERA, AN IBM COMPANY • AVECO • AVID • CAMPLEX • CHYRONHEGO • CISCO • CLEAR-COM, AN HME COMPANY • CLOUDIAN • COBALT DIGITAL • COMREX CORPORATION • EVERTZ • EVS • FX DESIGN GROUP • HARMAN • HITACHI • IHSE USA • IKEGAMI • IMAGINE COMMUNICATIONS • JOSEPH ELECTRONICS • JVCKENWOOD • MARKERTEK • MASSTECH INNOVATIONS • MICROSOFT • MULTIDYNE • NEOTI • NEP GROUP • NEWTEK • NTT ELECTRONICS • PANASONIC • QUALCOMM • SES • SOS GLOBAL • TERADEK • THE STUDIO – B&H • THE SWITCH • VANTRIX • VITEC • VIZRT • WAVE CENTRAL/CP COMMUNICATIONS • WESCO
ADDER TECHNOLOGY • ADORAMA • ANIXTER • APERI • APM MUSIC • ARISTA NETWORKS • ARTEL VIDEO SYSTEMS • ARVATO SYSTEMS • ASTUCEMEDIA • ATEME • AUDIO-TECHNICA • BAY MICROSYSTEMS • BITCENTRAL • BLACK BOX • BLUEFRAME TECHNOLOGY • BOXX TECHNOLOGIES • BRAINSTORM • BROAMAN • BROCADE • BSI (BROADCAST SPORTS INTERNATIONAL) • BURST • CANARE CORPORATION OF AMERICA • CATDV/SQUAREBOX SYSTEMS • CONVERGENT DESIGN • CORESITE • CRAWFORD MEDIA SERVICES • CREATIVE DIMENSIONS • CROWN CASTLE• DAKTRONICS • DALE PRO AUDIO • DALET DIGITAL MEDIA SYSTEMS • DELL EMC • DELTATRE • DELUXE • DPA MICROPHONES • EEG ENTERPRISES • ENCOMPASS DIGITAL MEDIA • ERICSSON • EUTELSAT • FANCONNECT • FINGERWORKS TELESTRATORS • FIS BLUE • FLETCHER SPORTS • FOR-A • FRAUNHOFER • GERLING & ASSOCIATES • GLOBECAST • GRABYO • HAIVISION • HARMONIC • IMAGE VIDEO • IMAGEN • IMT/VISLINK • INTELSAT • INTERXION • IRDETO • ISTREAMPLANET • JB&A • LEADER INSTRUMENTS • LIVEU • LTN GLOBAL • MEDIA LINKS • MOEBAM! VENUE MEDIA SERVICES • MPE • MX1 • NET INSIGHT • NEULION • NEUTRIK USA • NEVION • NOKIA • OPTICAL CABLE CORPORATION • ORACLE • PANASAS • PLIANT TECHNOLOGIES • PLUS24/SANKEN • PRG • PRIMES FOCUS TECHNOLOGIES • PRIMESTREAM • PRODUCTIONHUB • PROFESSIONAL WIRELESS SYSTEMS • QUANTUM5X • RAINBOW BROADBAND • ROCK-IT CARGO • RT SOFTWARE • SCALE LOGIC • SENNHEISER • SHURE • SIGNIANT • SIMPLYLIVE • SIXTY AS • SMT • SOLID STATE LOGIC • SPECTRA LOGIC • SPORTZCAST • STATS • T-21 TECHNOLOGIES • T2 COMPUTING • TATA COMMUNICATIONS • TECHNICOLOR • TEKTRONIX • TELESCOPE • TELESTREAM • TELOS ALLIANCE • THE VIDEO CALL CENTER • THINKLOGICAL • TIMECODE SYSTEMS • TSL PRODUCTS • TV GRAPHICS • TVU NETWORKS • UTAH SCIENTIFIC • VENTUZ TECHNOLOGY • VERIZON DIGITAL MEDIA SERVICES • VISTA WORLDLINK • VITAC • WARNER/CHAPPELL PRODUCTION MUSIC • WAZEE DIGITAL • WHEATSTONE • WOWZA MEDIA SYSTEMS • WTVISION • YAMAHA CORPORATION OF AMERICA • ZIXI • ZYPE
3G WIRELESS • AERIAL VIDEO SYSTEMS • AERNOW • ALL MOBILE VIDEO • ALLIANCE PRODUCTIONS • ALPHA VIDEO • AMPTHINK • ARCTEK SATELLITE PRODUCTIONS • AV DESIGN SERVICES • AZZURRO GROUP • BEACON INTERNATIONAL • BECKTV • BROADCAST INTEGRATION SERVICES • BSI (BROADCAST SERVICES INTERNATIONAL) • CALHOUN SATELLITE COMMUNICATIONS • CAT ENTERTAINMENT SERVICES • CBT SYSTEMS • CHESAPEAKE SYSTEMS • CINESYS-OCEANA • CLARK MEDIA • COMMUNICATIONS ENGINEERING INC. (CEI) • CREATIVE MOBILE SOLUTIONS • CSP MOBILE • CTG • DIGICASTER/DIGITAL COMM LINK • DIGITALGLUE • DIVERSIFIED • DNA STUDIOS • DOME PRODUCTIONS • DUNCAN VIDEO • DX3 MEDIA GROUP INC. • F&F PRODUCTIONS • FILMWERKS INTERNATIONAL • GAME CREEK VIDEO • GEARHOUSE BROADCAST • GLOBECOMM SYSTEMS • HIGH ROCK MOBILE TELEVISION • ILLUMINATION DYNAMICS • IMS PRODUCTIONS • INTEGRATED MEDIA TECHNOLOGIES • KAUFMAN BROADCAST • KMH AUDIO-VIDEO INTEGRATION • LH COMPUTER SERVICES • LIVELIKE • LYON VIDEO • MEASURE • METROVISION • MOBILE TV GROUP • NATIONAL TELECONSULTANTS • NEXTVR • NILES MEDIA GROUP • PCCW GLOBAL • PROGRAM PRODUCTIONS • PROSHOW • PSSI/STRATEGIC TV • RAPTOR VISION • SAUNDERS ELECTRIC • SDTV • SKYCAM/CABLECAM • SMARTCART SVX • SONOVTS • TNDV• UNITY SYSTEMS INTEGRATION
Since its inception, the Fall edition of SVG’s SportsTech Journal has always spotlighted the most technologically exciting production of the summer. Last year, the 2016 Rio Olympic Games received the cover-story treatment; four years before that, it was the 2012 London Olympic Games that took the esteemed spot. Previous editions have showcased the U.S. Open, both tennis and golf; FIFA World Cup, both men’s and women’s; and Wimbledon. This year, we chose to do something a little different. Much as with our Fall 2013 edition, when the launch of Fox Sports 1 was the top story, it was a facility build that caught our eye. The University of Notre Dame’s Campus Crossroads Project was truly a one-of-a-kind endeavor of particular interest to the SVG community. In fact, SVG will visit the historic campus for a behind-the-scenes tour Oct. 10-11. This edition of the SportsTech Journal gives a sneak peek inside the Campus Crossroads Project, the university’s most ambitious building campaign in its 175year history (page 24). The cover story also features an interview with the team charged with building a video-production program from scratch for the newly installed videoboard inside Notre Dame Stadium (page 28). In this same vein, this year’s Journal includes a special Venue Spotlight supplement. Previously part of a standalone publication, the top sports-venue stories of the year have been included in the SportsTech Journal to maximize exposure of these stories to the SVG community. Turn to page 33 to read about the Minnesota Vikings’ U.S. Bank Stadium (page 34), Sacramento Kings’ Golden 1 Center (page 40), Atlanta Braves’ SunTrust Park (page 46), Edmonton Oilers’ Rogers Place (page 52), and Tampa Bay Buccaneers’ Raymond James Stadium (page 58). Keeping up with the latest in sports-venue production and technology isn’t the only thing keeping Team SVG busy in 2017. In June, SVG traveled to Atlanta for the ninth-annual College Sports Summit (page 6) and College Sports Media Awards (page 8). Earlier in the year, the IP Production Forum, after its inaugural success in October 2016, invited attendees inside NBC Sports’ new broadcast center in Stamford, CT (page 10). The NFL’s newest venue, U.S. Bank Stadium, welcomed the annual SVG Sports Venue Production Summit in March (page 12). In June, the RSN Summit returned to Chicago for two days (page 14). The following month, SVG hosted three concurrent events in Los Angeles: LiveTV:LA (page 16), Sports Imaging Forum (page 18), and Facebook Video Boot Camp. Team SVG finished July strong in New York City at the newly renamed Sports Content Management & Storage Forum (page 20). For an update on SVG’s wide range of initiatives and industry groups, turn to page 22. The Fall 2017 edition of the SportsTech Journal also looks to the future of sports production with white papers exploring IP orchestration and control (page 64), efficient delivery for today’s fractured viewing environment (page 66), and what to know before moving to fiber transmission (page 68). For the first time, the Fall SportsTech Journal hits desks before the annual IBC Conference and Exhibition, so be sure to check out the Sponsor Update section (page 71) for a preview of what leading technology vendors plan to exhibit in Amsterdam. As always, the Sponsor Update section is chock-full of the latest productions, technology, and news from more than 250 SVG sponsors. This year has been one of continued multiplatform expansion to better serve the global SVG community, including the relaunch of the daily SVG Insider newsletter; redesigned SVG News page on www.sportsvideo.org; increased socialmedia presence; the ever-growing SVG Mobile app; more SVG On Demand video content than ever before; and the recently launched SVG Podcast. Whatever your preferred platform for consuming sports-video–production news, SVG is there. <
SPORTSTECHJOURNAL / FALL 2017
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SPORTS VIDEO GROUP CONFERENCES IN REVIEW
> SVG COLLEGE SPORTS SUMMIT MAY 31 – JUNE 2 ATLANTA Atlanta’s Omni Hotel at CNN Center again served as the center of the sports-video– production world as the ninthannual College Sports Summit drew its largest crowd of industry professionals yet. Guests were treated to 2½ days of networking, ideasharing, panel discussions, hyper-focused presentations, and more — all designed to help bolster the technology, workflows, and storytelling capabilities at their respective campuses. Social-media strategies were a major focal point. Such platforms as Facebook, Twitter/Periscope, and YouTube have opened entirely new distribution channels that have proved to be direct and engaging, and a panel of content creators and digital 6
strategists discussed how they were attacking these opportunities on Day 2. In addition, top executives from Facebook shared best practices and insider tips during an exclusive Facebook Video Boot Camp that attracted tremendous interest. In-venue fan engagement dominated much of the conversation throughout the event. Athletic departments and brands are looking for new ways to better entertain fans immersed in the in-stadium or in-arena environment. More than ever, video-production teams within an athletics department are working hand in hand with marketing teams to develop new approaches to sponsored content and activating fans in the stands. Digital networks continue to
SPORTSTECHJOURNAL / FALL 2017
give colleges and conferences the power to distribute their own content directly to fans anywhere on earth. Over-thetop (OTT) was discussed in depth, with those experienced in the medium sharing their insights and offering tips in designing, building, and maintaining a strong OTT channel. Even virtual reality had its moment as college-sportsvideo pros debated various approaches to creating and distributing VR and 360-degree content to fans, alumni, and, perhaps most important, recruits.
In addition, attendees were treated to in-depth case studies on numerous topics, including how best to manage one of the most valuable assets in college sports video: a student crew. SVG was pleased to partner with the Broadcast Education Association (BEA) to present the BEA Fast Break, a series of presentations by multiple experienced professors and athletic department personnel. These individuals shared informative and intriguing case studies covering best practices on engaging, training, and fostering event-production personnel, including full-time
AWARDS SVG College Sports Summit Pioneer Award: Chris Taylor, Ball State The SVG College Sports Summit Pioneer Award honors innovators in video production and technology at the university level who have advanced the industry at large. This year’s award was presented to Chris Taylor, senior director, digital sports production, and lecturer at Ball State University. Taylor is a lecturer in the Telecommunications Department and leads the school’s digital sports-production and immersion efforts. In 2009, he founded Ball State Sports Link, the nation’s first fully immersive sports-production program, following a successful pilot program. Sports Link has trained countless students who have gone on to work in the industry and has radically redefined the content-creation relationship between athletics and academics. “When I started working in athletics, I had a little note on my desk that says, ‘Remember why you are in it.’ And it sticks with me today for a lot of different reasons,” he said in accepting the award. “Remember why you are in it? [My students] are the reason why I am in it. And I share this award with you all.”
KEYNOTE CONVERSATIONS ESPN’s Fitting, Rinaldi Go Behind the Scenes at College GameDay In a captivating keynote conversation at the 2017 SVG College Sports Summit, Lee Fitting (right), senior coordinating producer, college sports, ESPN, spoke with ESPN correspondent Tom Rinaldi about the history of one of the most influential programs in the history of sports television: College GameDay. The conversation ranged from how GameDay sites are selected to the duo’s favorite signs in the crowd to their philosophies on leadership, risk-taking, and storytelling. “The number-one rule to producing successful television is not to be scared,” said Fitting. “If you’re an athlete, you can’t play scared; you can’t produce scared, you can’t direct scared. You’ve got to be willing to take risks, and you have to be willing to not worry about what your bosses say when you take those risks. It may fail, but, if it’s smart and it’s well thought out, then it’s a well-calculated risk and one that I’d like to think all of our bosses will appreciate us taking.”
Instagram’s Yoder Lays Out Keys to College-Sports Social-Media Success Will Yoder of Instagram’s sports-partnerships team took to the stage at the 2017 SVG College Sports Summit and discussed the ins and outs of the social-media platform and the close relationship he and the team at Instagram have with sports entities, given that one in three of Instagram’s 700 million users is connected to a sports entity. “Our role is to help our partners connect with as many users as possible in as meaningful a way as possible,” he said. “We make sure our partners are comfortable with their content and execute on the Instagram platform.” With respect to college sports, he cited three goals: growing the brand, connecting with alumni, and recruiting. He also offered a couple of tips, including shooting video vertically because it performs best on the platform. And competition, he added, has bred creativity in storytelling. “Storytelling takes so many different forms,” Yoder pointed out. “There is no one simple way to do it. But it is cool to see what the students did this year, and we are looking forward to what is next.”
For complete coverage of the COLLEGE SPORTS SUMMIT, including in-depth reports and video recaps, visit www.svgcollege.com
The SVG College Sports Summit featured a Technology Showcase floor where more than 45 sponsors showed off their latest video-production gear.
personnel and students. Case studies on facilities and in-game workflows featured some of the more innovative organizations in the industry: the University of Notre Dame, University of Central Florida, University of Minnesota, and University of Dayton. Dates are already set for next year’s show so don’t miss out on your chance to be a part of the action. The
SVG College Sports Summit continues to grow in size and scale, and, in 2018, we will be thrilled to celebrate our tenth anniversary with you! Get it into your 2017-18 budgets now and save the date: the college-sports video industry’s premier conference and tech exhibit return to the Omni Hotel at CNN Center in Atlanta on May 30, May 31, and June 1, 2018.
AWARDS SVG/NACDA Technology Leadership Award: University of Nebraska SVG and NACDA honored the University of Nebraska with the fifth-annual SVG/NACDA Technology Leadership Award. The award is presented each year to the university athletic department that meets the outlined criteria of commitment to the investment in and execution of broadcast- and videoinfrastructure technologies. Shot Kleen, assistant athletic director for University of Nebraska’s HuskerVision, accepted the award on behalf of the university. “We have had great support from our administration through the years,” he said. “The most enjoyable aspect of my job is seeing students work hard and do their job and then go out into the industry and perform well [professionally].” SPORTSTECHJOURNAL / FALL 2017
> COLLEGE SPORTS MEDIA AWARDS
The Sports Video Group (SVG) and National Association of Collegiate Directors of Athletics (NACDA) partnered to shine a spotlight on the very best in college-sports video at the ninthannual College Sports Media Awards on June 1. In a special ceremony capping Day 1 of the SVG College Sports Summit in Atlanta, a total of 20 CSMAs were awarded in five categories: Live Game Production; Program Series; Special Feature; Promo, PSA, Team, or Marketing Campaign; and, new this year, Live Non-Game Production. More than 400 entries were submitted for consideration across four divisions: National Networks, Regional/Local Networks and Production Companies, Collegiate Athletics, and Collegiate Student. OUTSTANDING LIVE GAME PRODUCTION
CBS Sports | Football: 2016 Army-Navy Game
Regional/Local Networks and Production Companies BYUtv Sports | Men’s Volleyball: UCLA vs. BYU
OUTSTANDING LIVE NON-GAME PRODUCTION
ESPN | College Football Playoff Top 25
Regional/Local Networks and Production Companies
Longhorn Network | Texas GameDay
University of Notre Dame (Fighting Irish Media) | Notre Dame Football Signing Day
Auburn University (War Eagle Productions) | Baseball: Auburn vs. South Carolina
Middle Tennessee State University (EMC Productions) | Men’s Basketball: Middle Tennessee State vs. Florida International
St. Cloud State University (Husky Productions) | Husky Faceoff
OUTSTANDING PROGRAM SERIES
Big Ten Network | Campus Eats
University of Minnesota | Hearts, Guts, Balls: The Todd Oakes Story
Regional/Local Networks and Production Companies
Ball State University (Ball State Sports Link) | Dear Teddy
University of South Florida | #BAYMADE: Inside USF Football
University of South Carolina (Gamecock Productions) | Gamecock Confidential – Carolina Football: Forever to Thee
Ryerson University | Ryerson Women’s Volleyball 24/7 OUTSTANDING SPECIAL FEATURE
ESPN | Heart of a Tiger
Regional/Local Networks and Production Companies Longhorn Network | Texas Fight
OUTSTANDING PROMOTION, PSA, TEASE, OR MARKETING CAMPAIGN CBS Sports | 2017 NCAA Basketball National Championship Tease
Regional/Local Networks and Production Companies Charlie Company | Pac-12 Networks: College Football Campaign – Time Will Tell
University of Minnesota | Under the Lights: Gopher Football 2016
East Carolina University | ECU’s Road to Omaha 2017 <
Top row, left to right: BYUtv’s Mikel Minor; Longhorn Network’s Nicholas Hetherington; East Carolina’s Brian Meador; Charlie Company’s William Pierrepont; University of Minnesota’s Josh Blessing; and Middle Tennessee State’s Logan Day, Kaelin Michelle Bastin, Zac Leonard, and Stephen Hart. Bottom row, left to right: St. Cloud State’s Erin Godin and University of South Carolina’s Jonathan Hillyard and Alex Grant
For more on the COLLEGE SPORTS MEDIA AWARDS, including a list of previous winners and instructions on how to enter, go to www.svgcollege.com 8
SPORTSTECHJOURNAL / FALL 2017
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> IP PRODUCTION FORUM MARCH 1 STAMFORD, CT
The effort that produced the NBC Sports Group broadcast center began in summer 2011, when NBC Broadcasting & Sports Chairman Mark Lazarus — who had been appointed to head NBC Sports following Comcast’s acquisition of NBCU that year — gave the go-ahead to Mazza and his team to conduct a feasibility study on the potential of building a broadcast center in Stamford. “It was a very fast-tracked project,” Mazza recounted. “When this started, it was not intended to be an [all-inclusive] move. The NBC Olympics office and the Versus channel, which were both already up here, were just going to combine forces — with maybe 300 people. [But when NBC execs] saw the plans, they thought it would be important to get everyone under one roof [with the NBC NBC Sports welcomed more than Sports operation], which took 250 attendees to Stamford. us to now almost 800 people. Now that we are all together, The IP Production Forum it has really helped in the festivities were hosted by NBC collaboration of all the various Sports Group/NBC Olympics groups.” SVP/CTO Dave Mazza and his The RFP was awarded in team. Mazza and NBC Sports January 2012, and, in March, Group VP, Engineering, Tim Canary provided an overview of the integration was awarded the broadcast center’s 2013 launch to DSI in New Jersey under the Sony banner. Although and an update on how the statemost of the NBC Sports team of-the-art facility has evolved. More than 250 industry executives attended SVG’s second-annual IP Production Forum, held March 1 at NBC Sports Group’s Stamford, CT, state-of-the-art broadcast center. In addition to an overview and tour of the facility, the standingroom-only crowd was privy to a preview of the upcoming launch of The Olympic Channel and NBC Olympics’ plans for the 2018 PyeongChang Winter Olympics in a full day of sessions focused on rapidly evolving IP production technology and workflows.
SPORTSTECHJOURNAL / FALL 2017
NBC Sports Group VP, Engineering, Tim Canary (left) and NBC Sports Group/NBC Olympics SVP/CTO Dave Mazza gave an overview of NBC Sports Group’s broadcast center before a behind-the-scenes tour.
headed off to London in April for the 2012 Summer Olympics, work on the Stamford facility continued. Most of the big-ticket equipment — switchers, audio consoles, routers, cameras — went first to London, was used there, and then was rushed back and put in place in Stamford. The building provides NBC with 160,000 sq. ft. on the main level and 40,000 sq. ft. on the mezzanine level. In addition, NBC has 80,000 sq. ft. of undeveloped space currently being evaluated. Among the highlights of the massive facility are six studios (plus an empty studio and room for another yet-tobe-built studio), seven control rooms, 50 Avid edit rooms, three Avid Pro Tools audioediting rooms, 50 graphics workstations, a sprawling transmission area, one of the most sophisticated MAM and
storage infrastructures in the industry (with technology from Avid, EVS, Harmonic, Spectra Logic, and others), and thousands of feet of office space for the NBC Sports, NBC Olympics, and NBC Sports Digital teams. Although the facility is something to behold on its own, the draw for this year’s IP Production Forum was NBC Sports’ decision last year to install an IP router and the continuing transition from baseband to IP. “Through that process of IP routing, it was a large effort to get to the point that we wanted to, and it wasn’t without the cooperation of vendors,” said Canary. “Our needs for routing were skyrocketing as we grew at a very rapid pace, especially around Olympics and other major projects. So, with that, we went to IP routing.” <
For in-depth reports and full audio recaps from all IP PRODUCTION FORUM panel discussions, visit www.sportsvideo.org
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> SPORTS VENUE PRODUCTION SUMMIT MARCH 13-14 MINNEAPOLIS SVG’s annual Sports Venue Production Summit highlights the latest in sports-venue production and technology, and perhaps no stadium better exemplifies the current state of the art than the NFL’s newest, U.S. Bank Stadium in Minneapolis. More than 160 attendees turned out for the two-day event for a behind-the-scenes tour of the Minnesota Vikings’ new home, an opening-night reception overlooking the field, and a full slate of panel discussions focused on delivery of the best possible game-day experience to fans. “It’s a great building. We’re really proud of it, and it has exceeded expectations,” said Lester Bagley, EVP, public affairs and stadium development, Minnesota Vikings, in his opening remarks to attendees on Day 2. “It has become a community asset after a long, hard battle in Minnesota with the public and with the legislature in getting this to the finish line.
“From the beginning,” he continued, “our vision at the Vikings was to deliver a great fan experience, and everything we did, all that investment we made went into fan amenities, into the fan experience. And we humbly believe we actually exceeded expectations. On game day, this building is incredible. … It really provides for great fan energy and provides an incredible homefield advantage.” The event kicked off on March 13, with a top-to-bottom tour of U.S. Bank Stadium, with attendees invited inside the Vikings locker room and interview room and onto the field. The tour also hit the truck dock (located inside the building to protect mobile units from harsh Minnesota winters) and the video-control room, located on the press level. Van Wagner Sports and Entertainment contracted Eden Prairie, MN-based Alpha Video Sports & Entertainment to integrate the video-control room and work
Minnesota Vikings’ John Penhollow (left) and Minnesota Sports Facilities Authority’s James Farstad gave a high-level view of the tech infrastructure.
with Daktronics on the LED elements around the stadium, including the venue’s two end-zone displays measuring 68 x 120 ft. and 50 x 88 ft., respectively. For more on U.S. Bank Stadium, turn to page 34. In making technology decisions, the team’s priorities were that the gear be reliable, flexible, and extensible. On Day 2 of the Sports Venue Production Summit, Minnesota Sports Facilities Authority Chief Technology Advisor James Farstad and Minnesota Vikings VP, Corporate Technology and Partnerships, John Penhollow took to the stage to explain the inner workings of the budgetary process and the continuing capital campaign to keep U.S. Bank Stadium at the forefront of technology. “We have a 30-plus– year capital plan for the More than 160 attendees turned out to the stadium over two days.
reinvestment of technology,” explained Farstad. “It launches with our 2017 capital plan, and I think that’s essential: not only to design and build to the utmost but also to recognize very early … some of those areas where we might have over–value-engineered. We want to correct that and make sure that we’re maintaining it for the future and creating an environment that supports not only the care and feeding of the technology but the ongoing operational aspect of technology as well.” A key focus of the Sports Venue Production Summit was U.S. Bank Stadium’s preparations for Super Bowl LII in 2018. The stadium was constructed with 550 miles of fiber and 6,200 miles of copper, which will certainly come in handy for the big game. In the meantime, the emphasis remains squarely on delivering the best possible experience for Vikings fans. <
For in-depth reports and full audio recaps from all SPORTS VENUE PRODUCTION SUMMIT panel discussions, visit www.sportsvideo.org 12
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> RSN SUMMIT
The Palmer House Hilton •June 27-28, 2017 an
JUNE 27-28 CHICAGO SVG’s second-annual RSN Summit brought together more than 275 top executives from regional sports networks and technology vendors at the historic Palmer House Hilton in Chicago to address the unique production and business challenges facing RSNs today. The event, which featured an expanded program and record-high attendance for the opening-night reception, kicked off on June 27, with a trio of sessions focused on the state of the RSN market: in-depth presentations on ratings and viewership and on rights and opportunities, followed by a star-studded panel discussion. Day 2 featured a full day of sessions: GM and EP Perspectives; League and Team Perspectives; How New Technology Is Changing the Way We Tell the Story; How OTT, Mobile, Social Are Parts of the ‘New Normal’; Ad Sales and Promos Within Content; and Making Original Programming Work in the Studio and Behind the Scenes. In addition, the June 28
program featured a pair of workshops: Facebook Video Boot Camp and Technology and Operations Workshop (comprising Best Practices in Operations, 4K and HDR Production, and At-Home Production). The program for this year’s event was spearheaded by RSN veteran Larry Meyers and the SVG RSN Advisory Committee. Nielsen Sports Commercial Managing Director, Americas, Stephen Master and Bevilacqua Helfant Ventures (BHV) co-founder Chris Bevilacqua kicked off the two-day event, presenting the latest information and analysis on RSN ratings/ viewership and media-rights deals, respectively. Master and Bevilacqua then joined Fox Sports Regional Networks SVP/EP Michael Connelly and NBC Sports Regional Networks’ President/ Group Leader and Strategic Production and Programming Ted Griggs for a wideranging Executive Roundtable panel addressing the health of the RSN industry, as well
Bevilacqua Helfant Ventures’ Chris Bevilacqua (left) and Fox Sports Regional Networks’ Michael Connelly during the Executive Roundtable
as potential challenges and opportunities ahead for regional–sports-rights holders. “The RSN business is very strong right now,” said Connelly. “RSNs in each market are not just highly rated; they are, in many cases, the No. 1 TV station in their market. And I think that is often overlooked in our business. The value of that is so great, and I don’t think we talk about that enough.” Griggs echoed Connelly’s sentiments: “We are often the most important programming during the times we put our games on. We are part of the fabric of the community as much as the opera or the ballet. Sports teams are a huge part of a community’s culture and, often, connective tissue in the community. Each and every night, we bring that culture to the audience.” Since the RSN business Left to right: SNY’s Curt Gowdy, Jr., CSN Chicago’s Sarah Lauch and Ryan McGuffey, and NESN’s Howard Zalkowitz
is heavily dependent on subscriber fees, the growing cord-cutting trend represents a major threat to how they operate. However, Griggs argued that the passion that Americans have for their local sports teams represents an integral arrow in RSNs’ quiver as they navigate a changing media landscape. “There is no question the business is changing,” said Griggs. “It’s going to make us have to be smarter and tougher.” Much of the discussion on the panel revolved around the power of regional sports on social-media platforms and how Twitter and Facebook can fuel viewership for live sports. “Sports is inherently social,” said Master. “If something exciting is happening in a game, you want to share that with your friends because you know they are all watching it live. So social media and sports on TV are very complementary.” <
For in-depth reports and full audio recaps from all RSN SUMMIT panel discussions, visit www.sportsvideo.org 14
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> LIVETV:LA JULY 19 LOS ANGELES On July 19, SVG hosted more than 300 people from across the Los Angeles production community at the Sheraton Universal Hotel for three concurrent events: LiveTV:LA, Sports Imaging Forum, and Facebook Video Boot Camp. The highlight of the day, undoubtedly, was a highly entertaining keynote conversation with legendary producer David Hill, who expounded on everything from millennial viewers to the inspiration he has drawn from both videogames and his Toyota Sienna minivan to his overall view of the television industry (it’s healthy). “I’ve always lived my life, in terms of production, in the fact that the audience changes on a daily basis and, if you don’t change and match your production to what is in the zeitgeist, you lose,” said Hill to the standing-room-only crowd. “The only thing that television’s really got going for it — successful television — is [that it] creates an emotional bond between what you’re doing in your production and the audience. If you don’t have
that emotional bond, you don’t have anything.” Throughout the conversation, the often irreverent but always brilliant Hill elaborated on the inspiration he has drawn from his own life: most notably, his family. Watching his children engage with videogames and interact with their mobile devices, he sought to create television that, more than simply entertaining, actively engaged the viewer through graphics. And, in one of his more comical tangents, Hill described how the experience of buying a Toyota Sienna minivan influenced his decision to rethink the traditional methods of producing NFL football. “I went through and pulled stuff out of the game [production] that had been in there just because it had been there for the past three decades,” he explained. “At the end of the season, [NFL Commissioner] Roger Goodell rang up and said, Listen, I think what you guys did this
Sports Broadcasting Hall of Famer David Hill (left) took part in a morning keynote conversation with SVG’s Ken Kerschbaumer.
year was absolutely fantastic; what did you do? I said, It wasn’t what I did; it’s what I took out. The Toyota Sienna story, to me, is that you’ve got to constantly, especially now, analyze what you’re doing and the way you do things virtually every week because the game is changing so dynamically [and] so quickly.” With a career that has spanned three continents, Hill launched both Sky Sports and Fox Sports; served as executive producer for the Academy Awards, the Super Bowl, and American Idol; and is currently — through his production company, Hilly Inc. — co-promoting professional darts alongside Barry Hearn’s Professional Darts Corp. (PDC). “To have the opportunity to work for David Hill, get to know him, become his friend, From left: NEP’s Frank Coll, Vista Studios’ Randall Heer, Fox Sports’ Theresa Jackson, VER’s Lynn King, and ProAngle Media’s Jeff Proctor
has been one of the great thrills of my life,” said former Fox Sports executive Jack Simmons, who introduced Hill’s keynote conversation. “This is the man who built Sky Sports; he built Fox Sports; he’s produced American Idol; he produced the Academy Awards; he’s done it all. He’s got his own production company now, and he refuses to slow down.” The fourth-annual LiveTV:LA program also featured a Production Executive Roundtable; Digital Leaders Roundtable; Esports Q&A; and a panel conversation on REMI, @Home Productions, IP, and the Changing Face of Live Event Production. The day concluded with the latest edition of SVG’s successful Facebook Video Boot Camp series, which included a look inside Univision Deportes’ Liga MX and MLS Productions for Facebook Live and Best Practices for Facebook Video Success. <
For video recaps of LIVETV:LA panel discussions, visit www.sportsvideo.org 16
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continued HDR LENSES CAMERAS
> SPORTS IMAGING FORUM JULY 19 LOS ANGELES SVG’s second-annual Sports Imaging Forum put cameras, lenses, and other video-capture tools in the spotlight at the Sheraton Universal Hotel in Los Angeles. Along with the co-located LiveTV:LA conference, the Forum drew more than 300 attendees to discuss the latest advances in HDR, 4K UHD, virtual reality, and more. The Forum was headlined by the Big Picture of Live Event Imaging panel, featuring top execs from Fox Sports, Grass Valley, Sony, and Spectrum Sports. When asked what technology would be the most important by 2020 — UHD, HDR, or VR — all four selected HDR. “I’d say the least important is UHD and most important is HDR,” said Mark Coleman, VP, engineering and operations, Spectrum Sports. “In terms of impact to the viewer with the minimal forklift upgrade inside of our trucks and distribution facilities, HDR will be the easiest and most impactful.” Coleman’s comments aren’t surprising, given that Spectrum Sports has been leading the
way when it comes to live HDR sports. Spectrum has already completed multiple live 1080p HDR production tests at Dodgers and Lakers games over the past two years; the latest lens-to-couch test took place at Dodgers Stadium July 28-29. “When we did our Lakers event in 1080p HDR, it was compelling,” he said. “It really looks good. But, when we did a 4K show with the Lakers, you couldn’t really see all that extra effort [we] were putting in.” In recent months, the buzz surrounding live 4K has died down significantly, while the immediate potential of 1080p HDR has jumped to the technology front burner for many sports broadcasters. One thing is clear, however: for exploring 4K for live sports production, HDR must also be a part of the equation. “If you’re going to [produce] UHD, it has to include HDR,” said Marcel Koutstaal, VP/ GM, camera systems, Grass Valley. “[4K] without HDR is not even something to consider.” In addition to enhancing the viewer experience, HDR also solves some significant HD issues that live sports production has been facing for years. From left: Bexel’s Tom Dickinson, Fletcher Group’s Dan Grainge, and Sony Electronics’ Deon LeCointe discuss specialty cameras.
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From left: Spectrum Sports’ Mark Coleman, Fox Sports’ Michael Davies, Sony Electronics’ Dave Keller, and Grass Valley’s Marcel Koutstaal
“HDR solves some problems like video detail and shadows,” said Michael Davies, SVP, technical and field operations, Fox Sports. “There aren’t too many questions that can be answered by just packing more resolution in. But, in terms of colorimetry and other problems we have had for years, like the racking of light and shadow to light, these are things that can be circumvented with HDR. For [outdoor sports] like baseball and football, it’s going to be great.” Fox Sports has completed several live 4K productions in conjunction with AT&T’s DirecTV in recent months, including a pair of NASCAR races in April. Last year, Canada’s Sportsnet produced every Toronto Blue Jays home game in 4K SDR. Although its 4K channel is still in its infancy, with only a few thousand subscribers, the broadcaster was also able to deliver a higher-quality HD feed, since
it was downconverted from the native-4K production. In addition, Sportsnet is preparing for 4K HDR production in the near future. “At the end of the day, you are getting a great 1080p SDR signal, and, out of that, you are getting the best HD signal possible,” said Dave Keller, national account manager, sports sales – Eastern USA and Canada, Sony Electronics. “They send that out to the pipe for the [4K channel], which may have a few thousand people paying for it. But the HD channel, which is the moneymaker, has a better picture quality, and the viewer is saying, ‘This is the best HD picture I’ve ever seen.’ The evolution is happening, and, eventually, the 4K will kick in.” The Sports Imaging Forum also covered virtual-reality camera systems, broadcast and specialty cameras, the latest in lenses, and wireless and cellular camera systems. <
For full audio recaps from all SPORTS IMAGING FORUM panels, visit www.sportsvideo.org
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> SPORTS CONTENT MANAGEMENT & STORAGE FORUM JULY 27 NEW YORK CITY SVG’s 11th-annual Sports Content Management and Storage Forum (formerly Sports Asset Management and Storage Forum) welcomed more than 250 attendees from across the industry for a day of informative discussions addressing the latest mediaasset–management (MAM) workflows and content-storage technologies. In addition to a cavalcade of MAM leaders representing major broadcasters, leagues, teams, and vendors who pulled back the curtain on their respective workflows, this year’s program featured a Security and Rights Management Workshop intended to provide attendees with tips on how to better protect and monetize their content. But first, SVG paid tribute to NHL SVP of Technology Grant Nodine, who served as the inaugural chair of the The re-named Sports Content Management and Storage Forum drew more than 250 attendees to discuss the latest in MAM, contentstorage technology, and more.
Sports Content Management and Storage Committee (previously known as the Sports Asset Management and Storage Committee) for three years. He took to the stage to express his gratitude for the opportunity and to welcome his successor, MLB Network VP of Engineering and IT Mark Haden. NHL’s Grant Nodine, the Sports Content Management & Storage Forum “I’m proud to have played outgoing Committee Chair, delivered opening remarks to the crowd. a role in the last three years as chairman of the Sports streamlining of the industry expanded its focus beyond Content Management and supply chain. While the first Storage subcommittee of SVG,” the sports industry to address two certainly pertain to sports, said Nodine. “I’m glad that we the content-management the third particularly resonated challenges faced in live were able to expand the range with the crowd, because it entertainment. In a morning of topics that we’ve discussed keynote conversation, Creative mirrors television’s transition and the depth of our technical to digital distribution. Artists Agency CIO Eric discussions at this and other “There’s no way that the Iverson (formerly, SVP/CIO events. I’m confident, as I industry could have gone from at Sony Pictures Television) pass the torch to my friend film to digital distribution elaborated on the contentand esteemed colleague Mark without an industry management successes Haden, that the progress conversation,” said Iverson. and failures he has seen in we made in sharpening the The SCMS Forum featured Hollywood and what the sports focus of our discussions will panel discussions on Lessons continue. I’m certain Mark will industry can learn from live Learned From MAM Beginners entertainment in terms of bring his wit, his experience, and Veterans; Embracing managing, protecting, and and his humble ingenuity the Cloud for MAM, DR, and monetizing content. to the task of keeping the More; Storage Solutions for Much like the sports momentum going at each of Video Archives; Crowdsourcing industry, Iverson noted, our SCMS events.” Metadata; and How Artificial This year, the SCMS Forum Hollywood as an industry Intelligence Could Change the coalesces around common causes. During his keynote, he Asset-Management Game. A series of Case Studies were touched on three recent causes presented by YES Network, in particular: industry selfMLB Network, IMG Replay, regulation, content protection and AT&T Sports Networks. < and cybersecurity, and the
For in-depth reports and full audio recaps from all SPORTS CONTENT MANAGEMENT AND STORAGE FORUM panel discussions, visit www.sportsvideo.org 20
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> INITIATIVES & GROUPS streaming • social • mobile • data
> SVG VENUE INITIATIVE Following the successful Sports Venue Production Summit at U.S. Bank Stadium in Minneapolis (page 12), SVG’s venue-production efforts continued with a Sports Venue Production Seminar at SunTrust Park in May. The intimate seminar, open to all end users and SVG Venue Initiative sponsors, took attendees behind the scenes of the Atlanta Braves’ new home. Later this year, SVG will explore Notre Dame Stadium as part of SVG @ Notre Dame Oct. 10-11, and the Venue Production Workshop will return to the SVG Summit in New York City on Dec. 11.
> SVG COLLEGE INITIATIVE The SVG College Initiative continues to offer videoproduction and digital-media professionals in collegiate athletics a forum to meet, share ideas, and move the industry forward. This year’s SVG College Sports Summit drew well over 600 attendees to Atlanta (pages 6-8), and the SVG College Regional series made a stop in Boulder at the University of Colorado in March. There are plans to visit
Philadelphia and the University of Pennsylvania this October.
> SPORTS CONTENT MANAGEMENT & STORAGE SVG continues to serve the informational and networking needs of its members in the Sports Content Management & Storage community through multiple events held in 2017. In April, the SCMS Workshop at the SVG Chairman’s Forum provided an intimate roundtable discussion for content-management leaders to exchange ideas and stay up-todate on the latest technological developments. In July, the 11th-annual SCMS Forum in NYC drew more than 250 attendees (page 20). The SCMS Workshop returns to the SVG Summit in New York City on Dec. 11.
> SVG DIGITAL SVG Digital brings together those looking to meet the challenges of live streaming, over-the-top (OTT), social media, and other industryredefining verticals that are shaping the future of sports video. SVG has partnered with Facebook to produce a series of Facebook Video Boot Camps to prepare content creators for the new world of live social video.
The SVG Digital Summit returns within their own organizations. to New York City for its second- WSMI will host its annual meeting at the SVG Summit in annual conference on Dec. 11. New York City on Dec. 11.
> SVG REGIONAL PLATINUM SERIES
In an effort to better serve the sports-production community coast to coast, SVG Regional Platinum Series meetups focus on major markets across the country. This past spring, SVG visited Florida — where PGA TOUR Entertainment hosted a Regional Platinum Series event — before heading north for the first-ever SVG meetup in Toronto. This fall, Pac-12 Networks will host the first SVG Bay Area meetup at its state-ofthe-art San Francisco facility, and SVG Rocky Mountain will hold its fifth meetup.
> SVG WOMEN’S SPORTS MEDIA INITIATIVE
> DTV AUDIO GROUP The inaugural Advanced Audio Symposium, presented by the DTV Audio Group and SVG, provided an opportunity for mixers, sound designers, and production engineers to become familiar with emerging audio-production and -distribution trends and technologies for sports broadcasts. The event, on July 13 in Detroit, attracted attendees and presenters from across North America and Europe for a series of panel discussions and presentations.
> VETERANS IN PRODUCTION
SVG’s Veterans in Production (VIP) program has been SVG’s Women’s Sports Media revamped to make it easier Initiative returned to the NAB than ever for sports networks, Show in Las Vegas, inviting more production companies, and than 50 women to a networking even related manufacturers to lunch, which featured a keynote hire veterans. Volunteers within conversation with Level 3’s Lisa SVG can help you and your HR Miller. Miller leads Level 3’s team build relationships with successful mentorship program, local veterans organizations so Mentor Rings, and offered tips that, when job opportunities on how attendees can create arise, a qualified veteran can be and grow mentorship programs considered as a candidate. <
For more on SVG’s Initiatives and Groups, visit www.sportsvideo.org/initiatives 22
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FEATURE > UNIVERSITY OF NOTRE DAME
NEW ERA AT NOTRE DAME: Campus Crossroads Redefines College Video A highlight is the new Rex and Alice A. Martin Media Center, which will support the university’s video and multimedia efforts By Karen Hogan Ketchum and Ken Kerschbaumer
An aerial shot of Notre Dame Stadium as the Campus Crossroads Project neared completion in August 2017
ince the days of Knute Rockne and “The Gipper,” the University of Notre Dame has forged a football program steeped in history, tradition, and victory. Over nearly a century, the school has continually leveraged the overwhelming success of its athletic program to benefit its academic and faith-based missions. That tradition continues with the Campus Crossroads Project, the university’s most ambitious building campaign in its 175-year history.
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At the heart of the Campus Crossroads Project is Notre Dame Stadium, an iconic venue fully used only a handful of times per year. The project will change that: it will add a structure to each of the west, east, and south sides of the stadium, transforming it into a year-round center of student activity. On the west side, the Duncan Student Center will house a student sports and recreation center as well as a wide variety of student lounges, offices, and retail dining options. On the south, O’Neill Hall welcomes the Department of Music and the Sacred Music at Notre Dame program. The pièce de résistance, however, has taken shape on the east side of Notre Dame Stadium: Corbett Family Hall will house the new 18,000-sq.-ft Rex and Alice A. Martin Media Center, which will support all university video-content- and multimedia-creation efforts for the future. From digital content in support of academics and faith-based initiatives to production of videoboard shows in Notre Dame Stadium, Purcell Pavilion, and Compton Family Ice Arena, it will be a resource for students, faculty, and staff. “There’s a quote sitting right outside my door that I look at every day, all day, and it says one of Notre Dame’s greatest assets has been the boldness of its vision, the ability to see possibilities and connections where others saw only obstacles and fragmentation,” said University of Notre Dame Director, Broadcast Technology, Scott Rinehart, referring to a statement made by University President Rev. John I. Jenkins, CSC. “I look at that, and it hits me everyday that this place is willing to accept calculated risk. It’s what it does; it’s in the DNA of the university system to do that. And, luckily, we had essentially a greenfield possibility here to do that.” The Rex and Alice A. Martin Media Center will be called home by Fighting Irish Media — the videoproduction, storytelling, and communications arm of Notre Dame’s athletics department — as well as the university’s Marketing Communications Video Group, Office of Digital Learning, and Catholic Media. Providing the underlying support and operation of the Martin Media Center for these resident stakeholders is Notre Dame Studios, which will also support a wide variety of campus customers, including university relations, student affairs, and many more. continued on page 28
Wi-Fi transmitters in Notre Dame Stadium will keep fans connected on game day.
Corbett Family Hall, which houses the Rex and Alice A. Martin Media Center
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FEATURE > UNIVERSITY OF NOTRE DAME Creating a Video Philosophy for ‘The House That Rockne Built’
n the two years since the historic announcement that Notre Dame would add video to the football game-day experience, Notre Dame Stadium has been transformed. The university partnered with ANC Sports to install a 10-mm Mitsubishi Electric video display measuring 54 ft. high x 95.5 ft. wide to the stadium’s south end zone and surround the bowl with a wealth of LED displays. To run all this video, the university turned to Mike Bonner, formerly with the Denver Broncos and New York Yankees, and Brock Raum, formerly with the Kansas City Chiefs and University of Nebraska. SVG sat down with Bonner, now executive producer, live events, and Raum, now supervising producer, prior to the Sept. 2 home opener to discuss how each found his way to Fighting Irish Media, the lessons they’ve learned in creating a video-production philosophy from scratch, and the importance of blending the old with the new when telling the story of Notre Dame football. Two years ago, Notre Dame announced plans to add a videoboard in Notre Dame Stadium and construct a new Media Center. At what point in the process were you both brought in? Mike Bonner: When I worked for the Yankees, we hosted a Notre Dame home game against Army. It was that game in 2010 that people were saying to me, You know, Yankee Stadium is an iconic place, and you guys have videoboards; you run your show the right way; you may help us get a videoboard. And I said, Well, if you do, let me know. I’d be interested in running it. Brock Raum: I had known that Notre Dame had been looking to put in a videoboard [for a while], and I always thought it would be a great opportunity. I think Mike and I were familiar with each other’s work when we were both in the AFC West, and so, when Mike got my name, I think it just made a lot of sense. When I heard it was Mike Bonner, I knew it was somebody I trusted and respected in the industry; when I heard it was Notre Dame, I knew it was a brand that is one of the most respected in all of sports, not just college football. It was an opportunity that I couldn’t pass up. Walk me through the process from joining the University of Notre Dame to now. What do you have ahead before your first game? BR: One of the biggest differences between here and pretty much anywhere else in the country is, a lot of our screen time on the board isn’t taken up by advertising. We don’t have any sponsored features; we’re just here to promote Notre Dame, the team, the brand, and the university. One of the big things has been identifying what different sorts of features look like and how we make them entertaining and engaging. Luckily, we have a [great] team of people here, many of whom have never worked on a videoboard before, but they’re taking to it like fish to water. We have some great editors, great shooters, great storytellers, great producers who have never [edited] for a videoboard before but really want to try. It’s helped us try to get a fresh perspective. MB: We’ve been working for close to eight months now on
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our graphic look. We wanted to make sure that the graphics we had fit with our brand, so there weren’t going to be crazy graphics jumping off the screen. We used a lot of Notre Dame in the graphics that have been created — current buildings as backdrops, as well as iconic things like the Basilica, Golden Dome, and Touchdown Jesus — and used them as part of the scenery. It has come off looking very sharp. How have you handled building the video? I’d imagine that Notre Dame has a lot of video assets in its archive but not necessarily any clips that are videoboard-ready. BR: We definitely lean heavily on the history here, because it’s important to the fans, it’s important to the university, and it’s important to the team. Our [approach to video,] between Mike and myself, is how do we blend the old with the new? That’s the essence of this entire project. We still have the “House That Rockne Built,” but it’s got some new modern amenities. We want to make sure our content is the exact same way. We definitely leaned on that history, but we still want to show the current team. MB: The last piece of content that we’ll work on right up until our first game is the open video, because we want to make sure that no stone is left unturned. We want to make sure that it truly goes from Rockne to [current coach Brian] Kelly, so we’ve been delving into a whole lot of old footage. You’ve both worked for teams with established video productions. What lessons are you taking from your previous positions and using to build a videoproduction program and philosophy from scratch? MB: The way I look at it, the Yankees and the Broncos [are] both pretty big brands, and they have conservative approaches. They’re big into their history — even though the Broncos [date] back only to 1960, they embraced a lot of their history — so, for me, that’s what I know. I’m a disciple of that conservative approach and honoring the past in a lot of what we do. That’s a lot of what we’re looking to do here as well. You’re not going to see Kiss Cams, Awkward Dad Dance Cams. You’re going to see a lot of appropriate content the way it would belong at Notre Dame Stadium. continued on page 28
See us at IBC booth 10.A31
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FEATURE > UNIVERSITY OF NOTRE DAME There’s also been [the need to] explain to some folks who have never had the visual medium inside the football stadium how certain things are done. [For example,] you let the game dictate a lot of the things that you’re doing. If you score a touchdown, you want to ride the momentum of the team with replays and music and great crowd shots. You’re not going to bring the house down by going to a piece of content that maybe isn’t the most exciting following a touchdown. BR: [The University of Nebraska’s] fan base and Notre Dame’s fan base are similar in a lot of aspects: they tend to skew toward many different age groups, they’re more national, and they have a huge reference for history. A lot of the lessons I learned at the University of Nebraska I carried over to the Chiefs and to Notre Dame. The Chiefs, on top of that, have a lot of history, too, so leaning on the history and having a reference for the history is nothing new to me. It’s [seeing what works at other places] and asking, Is that going to work here? [We’re] figuring out what that roadmap looks like. Building a video-production program for such an iconic football program must be pretty rewarding.
In its stadium aesthetic and video-production philosophy, Notre Dame aims to blend the old with the new.
What most excites you as the season approaches? MB: First off, I am humbled and honored to be a part of the history of Notre Dame Stadium. Not many people get to open up a videoboard show in a place that has never had a videoboard show before. What I’m looking forward to is, when we run that replay, get the play overturned in our favor, we run a pump-up video, and the place goes crazy. There’s such a rush that you get from that. BR: For me, it’s the fan reaction, it’s the player reaction, it’s that first replay on a call that maybe fans didn’t have the best look at. I think it’s really going to help win over our fan base. On top of that, I can’t wait for [a student intern] to see her work on the videoboard for the first time; maybe that sparks something in her that sets her career path in a direction or another student sees that and says, I want to do that. That’s another aspect that I’m excited about. — KHK This interview has been condensed and edited. To read SVG’s full interview with Mike Bonner and Brock Raum, check out www.sportsvideo.org.
continued from page 25 “The scope of ND Studios [is not just] building cameras and control rooms and routing systems to support a videoboard show with football,” Rinehart explained. “It’s not like a pro venue, where that’s the only thing that control room does. We had to think of control rooms that support performing-arts performances, lecture capture, and overseas research. And, as people start getting exposed to this facility, they see the technology and [say], I need to do XYZ, can you help me? Those conversations are starting to percolate now.” Entering the Rex and Alice A. Martin Media Center, visitors will be greeted by a 1.8-mm video wall that displays content from across the University. The 1,700-sq.-ft. main studio will be located in the northeast corner of the building, next to two control rooms, two dual-purpose audio rooms, and a green room. (Additionally, the existing facilities in the Fighting Irish Media Center, located in the Joyce Center, have been integrated into the Martin Media Center workflow and are now available for campus use.) The control rooms, integrated by BeckTV, feature a Ross Video Acuity switcher and XPression graphics, Evertz EXE 23T router and DreamCatcher replay servers, Harman Soundcraft Vi3000 audio console, and Riedel Artist intercoms. All workstations will be connected via a fiber KVM system for added flexibility. In addition, the team will have Grass Valley cameras with Canon lenses. The south end of the building will comprise a teaching studio, an academic-innovation space, six edit rooms, and open office space for the four resident stakeholders. To fulfill the demands of Notre Dame Studios, the university hired three full-time engineers, a media-asset manager, and a production manager and transitioned five academic digital-media positions to it. Throughout the building of the Martin Media Center, a heavy emphasis has been placed on collaboration among the departments and on considering the needs of the athletic department as integral to — not separate from or more important than — the overall university mission. “As an athletic department, it’s important to reach out and work with the academic departments or communication department,” said Dan Skendzel, executive director, Notre Dame Studios. “You fulfill that by making production space available or building a student program with them so that everyone wins; most importantly, students. It puts the academic aspect of their offering into real-life scenarios as well.”
SPORTSTECHJOURNAL / FALL 2017
Â© 2016 NBAE photo by Maddie Meyer NBAE/Getty Images All Rights Reserved
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FEATURE > UNIVERSITY OF NOTRE DAME
Inside one of two Martin Media Center control rooms
The central equipment room, which comprises around 25 racks and is based almost exclusively on fiber (with some coax, as needed), will also be located in the south end of the facility. The University of Notre Dame, looking to the future of broadcast technology, decided early on in the process to pursue an IP infrastructure and relied heavily on BeckTV, as well as consultant WJHW, to design and install the IP production technology. Together, the group selected an Evertz EXE 23T router and Axia Audio with AES67 AoIP networking technology. “There were some difficult conversations: do you go safe with baseband, or are we at enough of the tipping point on IP video that we could invest in that for the future? I looked at where manufacturers were spending their R&D dollars,” said Rinehart, “and it’s IP. It felt like there was this huge race to go IP. And once you start getting into it and you start trying to understand what’s possible with it, for a place like Notre Dame, it’s a great fit. Because we want to make Notre Dame Studios not just four walls within this one building and not just the edges of the South Bend campus. We want to take it global.” <
Completion of the Campus Crossroads Project has tranformed Notre Dame Stadium into a year-round center of student activity.
SPORTSTECHJOURNAL / FALL 2017
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GOLDEN 1 CENTER p. 40
SPOTLIGHT SUNTRUST PARK p. 46
• U.S. Bank Stadium • Rogers Place • Golden 1 Center •R aymond • SunTrust Park James Stadium ROGERS PLACE p. 52
RAYMOND JAMES STADIUM p. 58
U.S. BANK STADIUM p. 34
VENUE SPOTLIGHT > U.S. BANK STADIUM
Minnesota Vikings Go Big With Video Plans at U.S. Bank Stadium The video-production team reflects on mission to ‘define what great is’
U.S. Bank Stadium, located in downtown Minneapolis, opened in time for the 2016 NFL season. It will welcome Super Bowl LII in early 2018.
.S. Bank Stadium, one of the most highly anticipated new venue builds, welcomed thousands of passionate Minnesota Vikings fans for the first time on Aug. 28, 2016, with a preseason win over rival Green Bay. After two seasons in nearby TCF Bank Stadium (on the campus of the University of Minnesota) and more than three decades in the nowdemolished Hubert H. Humphrey Metrodome, the Vikings’ video-production team was more than ready to move into their new home. “The biggest goal was to maximize the opportunity for fan engagement,” said Bryan Harper, VP, content and production, Minnesota Vikings Football, prior to that first game. “[We looked to] get the best cameras that we could possibly get, get the best videoboard we could possibly get, and really focus on showing the emotion of the game and getting the fans to feel like they’re right there in the mix.”
SPORTSTECHJOURNAL / FALL 2017
VENUE SPECIFICATIONS — U.S. BANK STADIUM VIDEOBOARD MANUFACTURER
MAIN VIDEOBOARD DIMENSIONS
End zone: 68 ft. high x 120 ft. wide
8M/E Ross Video Acuity
Evertz IPX and baseband
Ross Video XPression
In December 2013, the Vikings played their last game at the Metrodome and began construction on a state-of-the-art, 65,000seat stadium that would occupy the same footprint. The team played the 2014 and 2015 seasons across the Mississippi River at TCF Bank Stadium, a significantly newer venue than the 32-yearold Metrodome, having opened in 2009. A large videoboard in its west end zone gave the staff of Vikings Entertainment Network — the team’s video-production arm — a chance to hone their skills before tackling the video displays at their new home.
> VIKINGS ENTERTAINMENT NETWORK HITS ITS STRIDE Within the new stadium, Minnesota Sports Facilities Authority and the Vikings looked to install the largest videoboards possible. Together, they tapped Daktronics to design and build an 8,100-sq.-ft. 13HD LED videoboard that sits low in the west end zone. The main display is 68 ft. high x 120 ft. wide and features two 43- x 15-ft. wing
Three 12-channel EVS 1080p Eight Sony HDC-4300, five servers, one EVS 4K server Sony PMW-F55 (POV)
displays that can either supplement the main display or be joined to it to show one large image. A 9- x 64-ft. “skirt” display at field level provides additional graphic and sponsorship opportunities. A second, slightly smaller video display sits low in the east end zone, measuring 50 ft. high x 88 ft. wide with a 25- x 15-ft. wing display on each side. Three ribbon boards circle the bowl: a 3.5- x 1,550-ft. display on the upper concourse, a 2.5- x 1,475-ft. one on the club level, and a 5- x 225-ft. one on the press level. In total, Daktronics added 18 LED displays around the stadium. According to the Vikings, the total square footage of 13HD LED displays is the most in the league. Vikings Entertainment Network is taking advantage of the 16:9 aspect ratio of the two primary video displays and creating content that can be used across a variety of platforms. In addition to overseeing game-day video production, the group is responsible for all Vikings continued on page 36
U.S. Bank Stadium Shows Off Layers of Integration to Minnesota Vikings Fans
t’s not always easy to pinpoint the specifics of what makes an experience design work, but, thanks to the specialized integration work of experience-design firm Infinite Scale, U.S. Bank Stadium has more than a few fine points that were carefully implemented to bring the “Skol!” to life. For U.S. Bank Stadium, Infinite Scale created a Partner Integration Master Plan that ensured that the spirit and values of its main tenant, the NFL’s Minnesota Vikings, as well as those of the region and the community, were woven throughout the structure. That means that the partners’ vision can be found throughout the venue’s signage and graphics, both seasonal and permanent Vikings branding, as well as in the thoughtful connection between the stadium’s 14 founding partners in brand activations throughout gate, club, and concourse areas. “Anywhere visitors see a corporate partner, all the way from the plaza to the concourses to the interior bowl, that is something that Infinite Scale was a part of,” explained Molly Mazzolini, partner/brand integration director, Infinite Scale. “We helped map out the inventory of all those corporate partners and how they’re designed and implemented into the space.” Over 18 months leading up to Opening Day, the Creative Council worked on brand integration, determining where Viking-specific pieces were placed and how corporate-partner integrations worked in and around those elements. These are realized across many layers, including video displays and digital signage, as well as in the permanent layer of imagery and
event-specific graphics. Walking through the stadium, fans can see the special treatment designed for the rear of the scoreboards, and the Ring of Honor capping the stadium. Further, the “Open the Gates” look and feel complementing the stadium’s gigantic folding doors, was designed by Infinite Scale. The firm also consulted on placement of the American flag and on the extensive artwork curated by Sports & the Arts throughout the venue. On the scoreboards, the four static logos in each corner, along with all the static signage on the interior bowl, with corporate-partner placements around the rings, were part of the Infinite Scale plan. Additionally, all corporate partners were entitled to brand activation somewhere in the facility, and that’s where some next-level creativity happened, including video-projection mapping on the Ecolab activation and digital signage around Polaris. In terms of video production, Mazzolini noted, Infinite Scale gets involved in a number of ways with the partners’ agencies and the team to “ensure a visual connection between what they’re doing in terms of brand activation and the digital side as well.” Having witnessed the evolution of brand integration and venue and events graphics since Infinite Scale was established in 2002, Mazzolini sees teams and partners working ever more closely on enhancing fan experience with a cohesive environmental design. “It’s not just trending,” she observed. “It’s the new standard.” — Kirsten Nelson SPORTSTECHJOURNAL / FALL 2017
VENUE SPOTLIGHT > U.S. BANK STADIUM
A window into the videocontrol room allows fans to to see the Vikings’ production team at work.
left: The Vikings selected gear from Ross Video, Evertz, EVS, and many others. right: The video-control room overlooks the field.
entertainment initiatives: TV, radio, digital programming on Vikings.com, and social media. The production personnel responsible for each platform under the group’s umbrella take part in a daily call to update current projects and gauge opportunities for content sharing. “We try to overcommunicate and make sure everybody knows [what else everybody is doing],” said Harper. “If there’s an opportunity in something that we’re capturing for in-stadium, there might be something that we can get for social while we’re at it, and so forth.” Vikings Entertainment Network also provides content for the team’s in-stadium mobile app. Powered by VenueNext, the app incorporates fan-friendly amenities like digital ticketing, concession ordering, and directional information, as well as the NFL RedZone Channel, three out-of-town games, the broadcast-network feed, and six replay angles.
> A NEW VIDEO-CONTROL ROOM TO CALL HOME With thousands of square feet of LED signage, not to mention a slew of digital platforms and social-media outlets to support, Vikings Entertainment Network required a video-control room that was technologically advanced enough to handle the venue’s video needs and large enough to fit
SPORTSTECHJOURNAL / FALL 2017
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VENUE SPOTLIGHT > U.S. BANK STADIUM
A look at the copious amount of fiber inside U.S. Bank Stadium’s rack room, including plenty outfitted in the Vikings’ purple and gold.
everyone. Located on the press level in the southeast end of the stadium, the video-control room seats approximately 50 people, including game-day production staff; operators for LED, VenueNext replay channels, IPTV, and Sportvision 1st & Ten; and the Vikings Entertainment Network content teams in charge of the website and social media. U.S. Bank Stadium is owned and operated by Minnesota Sports Facilities Authority, which contracted Van Wagner Sports and Entertainment to oversee design of the venue. HKS served as architect, and SMG manages the facility. Van Wagner Sports and Entertainment brought in Alpha Video Sports & Entertainment to integrate the video-control room and work with Daktronics on the LED elements around the stadium, CenturyLink and Cisco on the venue’s StadiumVision deployment, VenueNext on the aggregation and encoding of all replay content on the team app, and Parsons on the coordinating connections to the sound system. Alpha Video worked with the Vikings, Minnesota Sports Facilities Authority, and SMG, as well as with Harper and U.S. Bank Stadium Director of Production Tadd Wilson, to build out a robust equipment package within the group’s budget. The finished project is a hybrid of IP and baseband technologies that support 4K content capture and 1080p output to the video displays. The control room features both Evertz IPX and baseband routing, an 8M/E Ross Video Acuity switcher with 4M/E and 2M/E control panels to cut secondary shows, and Ross Video XPression graphics systems. The all-EVS room houses a wide range of products, including three 12-channel 1080p replay servers, one 4K replay server, IPDirector, Epsio Effects, and MultiReview. A dedicated 4-Gb pipe connects the stadium with the Vikings’ training facility in Winter Park, MN, where a Scale Logic shared-storage system provides asset management.
> A COMMITMENT TO CAMERAS Notably, the Vikings paid particular attention to the in-game cameras, selecting a total of eight Sony HDC-4300 cameras that operate in 4K. “Those will hit an IP routing layer natively in 4K, where they can be routed to StadiumVision or to other places,” explained Alpha Video VP Jeff Volk. “Videoboard productions [are] downconverted to 1080p; however, the IP routing also allows some of the 4K cameras [to be routed] to an EVS 4K replay system that will allow them to do 1080p region-of-interest extraction.” Two wireless cameras, one with a Steadicam rig, round out the in-game cameras that Vikings Entertainment Network have at its disposal. Five Sony PMW-F55’s were added as POV cameras: three situated along the sidelines, one in the corner rafters, and one directly above the 50-yard line. Harper now has the opportunity to take network feeds from the broadcast truck — and share his team’s unique views, like the 50-yard-line shot, with broadcasters — but picks and chooses only those feeds that will add something special to his team’s show. “We’ll pick up cart cams, [and] we might take a low end zone just to get an extra look,” he explained. “I don’t know that we’ll really need to take too much more than that, unless they have something special that they’re bringing in that we don’t have. We will obviously ask them for that just to make our show more robust.” With one season in the books, the Vikings are looking to next season and — in less than a year — to welcoming Super Bowl LII to Minneapolis on Feb. 4, 2018. “We’re really focused on the visual side of things for our show, and it’s going to be different than what fans have experienced here in the past,” hinted Harper before the 2016 NFL season. “The fans expect something great, but we’re going to define what great is.” < — Karen Hogan Ketchum
SPORTSTECHJOURNAL / FALL 2017
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VENUE SPOTLIGHT > GOLDEN 1 CENTER
After Inaugural Season, Sacramento Kings’ Golden 1 Center Remains Tops in Tech 4K UHD video workflow and displays throughout the facility enhance the fan experience
fter a hard-fought battle to keep the Sacramento Kings from relocating, fans were rewarded with the state-of-the-art Golden 1 Center, which officially opened in October 2016. With season one in the books, the NBA’s newest arena has certainly lived up to the expectation that it would also be the most technologically advanced.
The Sacramento Kings partnered with Panasonic on the massive 4K UHD centerhung videoboard at Golden 1 Center.
The 17,608-seat arena, located in the heart of downtown Sacramento, features the NBA’s first-ever 4K UHD center-hung videoboard, a full 4K video workflow, and plenty of fan-facing technological elements to engage and entertain everyone who sets foot in the Kings’ new home. At the ribbon-cutting ceremony on Sept. 30, 2016, Kings owner/Chairman Vivek Randivé took to the stage to say to the crowd, “Three years ago, I was able to say the most magical words ever. I stood at Sleep Train Arena, and I was able to say to all of you, ‘This is your team, and it’s here to stay.’ Today, I’ll keep it short: this is your new home.”
SPORTSTECHJOURNAL / FALL 2017
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VENUE SPOTLIGHT > GOLDEN 1 CENTER
The 4K video-control room, located in a back-of-house area originally intended for retail, features a wealth of gear from Grass Valley and others.
> ENTERTAINING FANS IN FULL 4K Eight months before the ribbon was cut, the arena made headlines for what would be inside: the 4K UHD videoboard. The Kings partnered with Panasonic Enterprise Solutions Group (since rebranded as Panasonic Media Entertainment Co.) to design the one-of-a-kind board, which spans 84 ft. — nearly baseline to baseline. At seven times larger than its counterpart at Sleep Train Arena — the Kings’ home for nearly 30 years — the videoboard comprises two 44- x 24-ft. sideline displays bookended by two baseline displays measuring approximately 24½ x 27½ ft. and a 6-ft.-tall ribbon board wrapping 252 ft. around the center-hung structure. In total, the giant display features more than 6,100 sq. ft. of LED with 3.5mm pixel pitch. “As we developed the project, the thought was what we could do to differentiate ourselves,” said Brian Plumb, senior director, A/V and production, Sacramento Kings and Golden 1 Center. “Looking at the LED available at the time, it turned out that we could create a true 4K board with what was on the market. We partnered with Panasonic. They came up with the [design,] we laid that out on paper, [and] it turned out it would fit in the arena. … That led to the development of a 4K control room, which hadn’t been done in an arena before.” The Kings partnered with Diversified and Grass Valley to convert a large back-of-house area originally designed as retail space into a 4K-video–control room (the area originally intended to be the control room has become part of the arena’s 6,000-sq.-ft. data center, housing its impressive connectivity infrastructure). The control room features a wealth of technology from Grass Valley, including a 7M/E Karrera K-Frame production switcher, several NVISION routers paired with Kaleido multiviewers, two K2 Dyno replay servers with DynoZoom 4K UHD replay option, and a K2 Summit 3G four-channel HD-SDI server. Needing cameras that can capture content in 4K UHD, the Kings selected six Grass Valley LDX 86 cameras, four of which are equipped with a 4K license. In addition, the team generally pulls six to eight camera feeds from the broadcast truck and upconverts the signals to play out on the videoboard. Because of the size of the screen, one camera is positioned across the bowl from the traditional game-follow camera position to create a reverse-angle feed. “In a typical arena,” said Plumb, “you have a single view: when [the players] are running left to
SPORTSTECHJOURNAL / FALL 2017
VENUE SPOTLIGHT > GOLDEN 1 CENTER right and you’re looking at the screen and you’re on that side, they run left to right, but, on the opposite side, they’re running the opposite direction. We actually have it set up so that, when the players are running left to right, we see them run left to right on both sides of the screen. “When I punch up camera 1 on the switcher,” he continued, “it [automatically] punches up camera 2 on the opposite side. It seamlessly cuts in that reverse-angle camera for the people that are on the opposite side of the arena.” Editing, managing, and storing 4K content is a complex, often challenging endeavor, and the Kings have approached this undertaking with AJA Ki Pro 4K playout gear, Adobe editing suites, and a Quantum digital storage network. Rounding out the video-control room, the Kings worked with Click Effects — under the Panasonic umbrella — to feed 1,500 ft. of Panasonic LED ribbon board and two Panasonic LED videoboards (each 25 ft. tall) on the plaza. For videoboard graphics, the Kings tapped Ross Video XPression to be the primary character generator and ChyronHego Duet for background CG. Golden 1 Center, opened prior to the 2016-17 NBA season, is part of a larger Downtown Commons (DOCO) revitilization project.
> ENGAGING FANS ON EVERY SCREEN In addition to the center-hung videoboard, the Kings have distributed more than 700 HD flat-panel TVs around Golden 1 Center to keep fans engaged and entertained wherever they are. At Sleep Train Arena, the team relied on a modulated in-house cable system that required recabling every room in the arena with coax. With Golden 1 Center, the goal was the ability to leverage IP to manage the displays: updating concession options on one, for example, while promoting upcoming events on another and playing a live game feed on yet another. The Kings selected VITEC’s broadcast-grade EZ TV 8.0 IPTV and digital-signage platform, an endto-end system that enables the team to control hundreds of displays from a single platform. VITEC’s hardware-based IPTV and signage endpoints, along with its Blade System encoders, provide low-latency 1080p HD playback and precise synchronization from display to display. In total, the system allows the Kings to centrally manage and distribute up to 16 live feeds, 16 unique menu channels, 74 TV channels, and on-demand content on a location-specific basis. In addition, the system extends to mobile devices, engaging fans with live video and other video content on their smartphones and tablets. “[When] we started working with VITEC,” said Plumb, “we started to ask, ‘Can you do this? Can you do that?’. They were very responsive with respect to looking for what we wanted to see, rather than telling us what they could do or what they couldn’t do. All in all, they were able to accommodate both the digital-signage needs that we had in the building as well as the IPTV requests through one system.” Kings fans can also stay connected on their mobile devices, thanks to the team’s partnership with Comcast. Comcast Business installed 200 Gb of backend infrastructure in the arena’s data center, which powers the team’s free WiFi network for fans (which also includes 1,000 access points provided by Ruckus), the dual-mode team/venue app, and cloud-based voice and unified communications services for team personnel. Wayfinding technology provided by Cartogram helps fans navigate and interact with Golden 1 Center’s many fan offerings. As the Downtown Commons, or DOCO, area around Golden 1 Center continues to be developed, the connectivity will expand to the surrounding areas as well. “I have worked for the last 31 years literally within 10 blocks of where I currently work,” said Plumb. “Just to see the transformation of this area since this arena started is unbelievable.” < — Karen Hogan Ketchum
VENUE SPECIFICATIONS — GOLDEN 1 CENTER VIDEOBOARD MANUFACTURER
MAIN VIDEOBOARD DIMENSIONS
Centerhung: 24 ft. high x 44 ft. wide (sideline), 24.5 ft. x 27.5 ft. (baseline)
7M/E Grass Valley Karrera K-Frame
Grass Valley NVISION
SPORTSTECHJOURNAL / FALL 2017
Ross Video XPression, Two Grass Valley K2 Dyno ChyronHego, servers Click Effects
Six Grass Valley LDX 86
VITEC IPTV & SIGNAGE SOLUTION 1 VENUE – 10,000 SCREENS – 1 SOLUTION
VENUE SPOTLIGHT > SUNTRUST PARK
Atlanta Braves’ SunTrust Park Boasts Hybrid IP Workflow The NL East team’s new home also features about 30 Panasonic-designed and -installed LED displays
wo decades after welcoming the Atlanta Braves — following a successful stint as Centennial Olympic Stadium during the 1996 Summer Olympic and Paralympic Games — Turner Field closed this chapter in its short history, and the Braves embarked on the next chapter of theirs at SunTrust Park.
SunTrust Park, located in Cobb County, GA, opened its doors to welcome the Atlanta Braves and their fans in time for 2017 MLB season.
Located 15 miles away in Cobb County, SunTrust Park is the Braves’ third home in their 51-year history. As Turner Field was converted into a football stadium for Georgia State University, SunTrust Park, which broke ground in 2014, celebrated its first Opening Day on April 14, 2017. BravesVision, the team responsible for creating all team video content — including the game-day presentation on the main video display, which is also called BravesVision — was up for the challenge. “I’m expecting it to really make a difference in the eyes of the fans,” said Scott Cunningham, senior director, fan experience, Atlanta Braves/executive producer, BravesVision, prior to Opening Day 2017. “It’s going to be cool to be operating new equipment and learning new equipment and learning new ways to improve our workflow.”
SPORTSTECHJOURNAL / FALL 2017
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VENUE SPOTLIGHT > SUNTRUST PARK > BRAVESVISION ENTERS A NEW ERA
Inside the press-level videocontrol room, which features a large window that looks out on the field
Panasonic Enterprise Solutions Group (now Panasonic Media Entertainment Co.) designed and installed SunTrust Park’s primary BravesVision videoboard, as well as a wealth of other LED displays throughout the stadium. BravesVision, located in centerfield, measures approximately 64 ft. tall x 121 ft. wide and features 16-mm resolution. The team added five Grass Valley LDX 86 hard cameras: four are positioned under the videoboard and facing out at the crowd, the fifth at high home. Rather than position the cameras in traditional broadcast locations, the Braves rely on the home broadcast feed for game coverage and use their own cameras to capture fan reaction, crowd shots, and more. Two additional wireless cameras roam the stadium and provide extra coverage as needed. “We experimented with the idea when we did the [July 3 game against the Miami Marlins] at Fort Bragg. For production purposes, it makes for a better show for the stadium side,” said Cunningham. “We’re not covering the game for game footage; our broadcast partners are, and we’re pulling feeds from all the cameras to use for replays. As far as between innings and the fan-experience piece go, everyone’s looking at the board anyway, so they’ll be looking straight into the cameras.” Panasonic installed approximately 30 LED displays around the stadium, with resolutions ranging from the 16-mm BravesVision to a 6-mm display in the Xfinity Rooftop facility in right field. A 90- x 30-ft. out-of-town scoreboard was installed in left centerfield, and two 90- x 6-ft. LED displays were installed above each bullpen in right centerfield. An 830-ft. LED display stretches from foul pole to foul pole in three sections along the terrace level: first baseline, home plate, and third baseline. Rounding out the LED signage at SunTrust Park is a handful of closed-captioning displays, sponsorship signage (including an LED sign in place of the iconic Chik-Fil-A cow’s sandwich board), highway marquees, and plaza displays. The plaza also features a giant baseball wrapped in a spherical NanoLumens LED display.
> TO IP OR NOT TO IP, THAT IS THE QUESTION To implement their creative vision, the Braves turned to Alpha Video for assistance with vendor and equipment selection. The team considered going all-in on IP and eventually decided on a hybrid approach. With the help of Alpha Video, it chose a Grass Valley hybrid router that can serve the current need to deliver 1080p/60 video throughout the stadium, with the option to upgrade in the future as IP-based technologies become more commonplace. “Since IP standards continue to evolve and were not as evolved when the Braves had to make a final purchasing decision as they are today, a hybrid approach made sense for a variety of reasons,” explained Jeff Volk, VP, Alpha Video. “It allows us to give the Braves an IP infrastructure today that they can use to interface with their primary production partners, should they have trucks with IP technologies today. Further, while technologies like 4K and high frame rate were not requirements of the Braves today, the IP infrastructure allows them to easily add those technologies when and if they choose to deploy them.” VENUE SPECIFICATIONS — SUNTRUST PARK VIDEOBOARD MANUFACTURER
MAIN VIDEOBOARD DIMENSIONS
Centerfield: 64 ft. high x 121 ft. wide
Ross Video Acuity
Grass Valley hybrid
Ross Video XPression
Evertz DreamCatcher server
Five Grass Valley LDX 86 hard, two wireless
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VENUE SPOTLIGHT > SUNTRUST PARK The Braves also decided on a full suite of gear from Ross Video, including an Acuity production switcher, XPression character generators, and XPression Tessera graphics designer/controller. “We went with the Ross package. … Everything works really, really well together that way, [which is] something that we didn’t have over at Turner Field,” noted Cunningham. “I believe that’s going to improve our workflow and overall product here at SunTrust Park.” Rounding out the big-ticket items in the press-level video-control room, the Braves selected Evertz DreamCatcher for replay. It will take in the truck feeds and enable Cunningham’s team to cut its own show for BravesVision. “Our LED boards should look significantly different with this equipment and allow us to [work] easily without too much disruption inside the control room,” said Cunningham. “A lot of the workflow efficiencies aren’t really noticed by the fans — it’s more efficiencies that are behind the scenes — [but] I think it’s going to translate to where the fans can actually see the difference.” > LIGHTING AND SOUND PLAY THEIR PART It’s no secret that fans have come to expect an in-venue videoboard show that replicates the at-home broadcast experience. And, although the Braves have certainly accomplished that with BravesVision, the team has a number of other fan-engagement elements up its sleeve. According to Cunningham, the team was particularly excited about its Cisco IPTV system, which keeps fans informed and engaged with the game no matter where they are in the stadium; its LED light system, which is incorporated into the overall game presentation; and its WJHWdesigned audio system, which gives the team the ability to play with stereo effects, chase effects, and more. VR has a presence in the Xfinity Rooftop. The Braves partnered with Georgia Tech and others to experiment with virtual reality and see how fans interact with VR as part of their overall game experience. < — Karen Hogan Ketchum
SVG Venue Production Seminar: SunTrust Park Reveals FanEngagement Strategy
the venue’s 32 LED boards, 1,300 TVs, LED lighting, and sound system up close. — KHK For more on SVG’s Venue Initiative, visit www.sportsvideo.org/initiatives/venue-initiative/
unTrust Park opened its doors to more than 50 industry professionals for SVG’s latest Venue Production Seminar on May 31. Held the day before SVG’s College Sports Summit in Atlanta, attendees heard from the Atlanta Braves’ BravesVision production team and toured Major League Baseball’s newest stadium. Atlanta Braves’ Scott Cunningham offered insight into how the Braves’ new home came to fruition and provided a detailed look at the technology inside the new BravesVision video-control room, the impressive connectivity throughout the venue, and the vastly improved ways that his team can entertain and engage Braves fans on game day. After the presentation, attendees visited the truck dock, where Display Systems Engineer Mark Phipps explained connectivity options for broadcast trucks, and the video-control room, where Senior Manager, Production, Matt Montemayor described the room’s technologies and the workflows used on game days. Walking around SunTrust Park, attendees were able to see
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Atlanta Braves’ Scott Cunningham gave attendees an overview of SunTrust Park prior to the tour.
EVERY MOMENT MATTERS
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VENUE SPOTLIGHT > ROGERS PLACE
Edmonton Oilers Embark on Rogers Place Era With Record-Breaking Videoboard The team moved in prior to the 2016-17 season after more than 40 years at its previous home
s the longtime home of the Edmonton Oilers, Rexall Place (originally Northlands Coliseum) had seen the iconic franchise hoist five Stanley Cup Champion banners to the rafters. It was also beginning to show its age. The Oilers needed an arena worthy of a dynasty, one that would safeguard the team’s future in the city they’ve called home since 1971. They’ve found that in Rogers Place. The center-hung videoboard at Rogers Place will hold the distinction of being the largest in the NHL until Little Caesars Arena in Detroit opens.
The 18,500-seat arena opened in September, hosting several concerts before settling in for the 2016-17 NHL season. Throughout its inaugural season at Rogers Place, Oilers Entertainment Group continually demonstrated the same dedication to its passionate and steadfast fanbase as it had done at Rexall Place. “[Our philosophy] is hockey first: respect for hockey and respect for the Oilers,” said Rich Meyers,
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VENUE SPOTLIGHT > ROGERS PLACE
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director, event presentation, Oilers Entertainment Group. “For the crowd at an Oilers game, the hockey comes first. They’re here to watch the game and have the best experience possible. Replays are top priority; if there’s anything that’s even remotely replay-worthy, that takes priority over in-game features. … Certainly, we’re fan-centric: we try to showcase our fans when we don’t have replays to show. It’s been a decade since we made the playoffs, but the passion that the fans show for the sport is truly unmatched anywhere else — their dedication and their loyalty — and we try to get them up on the board as much as possible.” That effort to show every replay and as many fan reactions as possible is easier than ever, thanks to Rogers Place’s impressive new center-hung videoboard. Measuring 46 ft. wide, 36 ft. high, and 46 ft. deep and weighing in at a whopping 90,000 lb., it’s currently the largest videoboard of its kind in the NHL (the videoboard in the soon-to-open Little Caesars Arena in Detroit will be slightly larger). “It all started with our owner Mr. [Daryl] Katz basically throwing down the gauntlet, saying, ‘What is possible? What can we do to make the board be spectacular?’” said Vernon Mason, director, production systems and services, Aquila Productions, which served as technology consultant to arena architect HOK before becoming part of Oilers Entertainment Group. “We essentially came upon a couple key things: it needed to be large, it needed to be high definition, it needed to be spectacular. “Certainly,” he continued, “it needed to have a main replay window; it needed to have a display for virtual scoring; it needed to have a display for crowd pumpers and sponsorship; it needed to have a crown with the name of our building, Rogers Place. Once we took all of those basic requirements, we eventually came up with a 46-ft.-wide by 46-ft.-deep by 36-ft.-high scoreboard.”
VENUE SPECIFICATIONS — ROGERS PLACE VIDEOBOARD MANUFACTURER
MAIN VIDEOBOARD DIMENSIONS
Prismview Yesco/Aquila Productions
Centerhung: 36 ft. high x 46 ft. wide x 46 ft. deep
Matrix Video Communications
4M/E Ross Video Aquity
Imagine Communications Platinum IP3
Ross Video XPression
Two Evertz DreamCatcher servers
Four Sony HSC-100 RF, one handheld Sony PXW-X500 EFP
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VENUE SPOTLIGHT > ROGERS PLACE
Top: Inside the arena’s event-level video-control room Bottom: A look inside the Rogers Place rack room
Mason served as lead technology consultant on the videoboard project, working with LED manufacturer Prismview Yesco (a subsidiary of Samsung Electronics) to implement the design. The final product features a main 1,920 x 1,080 6-mm LED replay window measuring 38 x 22 ft., with rings above and below for crowd pumpers, sponsorship, virtual scoring, and penalty information. To power the massive videoboard, Rogers Place carved out a video-control room on the venue’s event level and worked with local systems integrator Matrix Video Communications to outfit the space. The 1080i control room features a Ross Video Acuity 4M/E switcher (80 input, 40 output), eight XPression character generators (two for on-air applications, six to provide content to LED displays), Inception social-media system, and Incoder transcoding and ingest engine; a 207x224 Imagine Communications Platinum IP3 router with integrated multiviewer; two Evertz DreamCatcher replay systems (12 total inputs, four total outputs); a Yamaha M7CL-48 audio console; and Avid Media Composter editing with ISIS storage, Interplay MA, Media Director, and Media Central UX. An Imagine Communications InfoCaster IPTC system drives nearly 1,300 TVs throughout the building. On game days, Oilers Entertainment Group deploys five Sony cameras with Fujinon lenses for the videoboard show: four HSC-100 RF cameras (two in a hard-camera configuration and two handheld) and a handheld PXW-X500 EFP camera with a Vislink wireless system. The team also takes approximately 20 feeds from the broadcast truck, as well as a few NHL-provided feeds, such as in-net cameras. Six Bradley Cam-Ball robotic PTZ cameras are installed in the players’ tunnel, in the gamepresentation booth, in the media press-conference room, and under the clock. In addition, Rogers Place installed a one-of-its-kind camera system to the underside of the videoboard. Working with German manufacturer Blackcam, Oilers Entertainment Group mounted a Sony HDC-P1 camera with a Fujinon broadcast lens on a Blackcam B40 robotic-camera dolly and suspended the system beneath the videoboard so that it runs the length of the structure. “It’s like a railcam that runs under the clock, so it’s a little different than a fixed PTZ camera,” said Keith Hough, manager of A/V production for Rogers Place, who worked alongside Mason on the Aquila design team during construction. “It gives us a slightly different look from the camera, [as it is] moving parallel to the ice surface.” The wide variety of screens throughout Rogers Place isn’t the only canvas at the Oilers’ disposal; the team has the entire bowl at its fingertips, thanks to an investment in on-ice projection. The arena installed 12 30K Barco HDF-W30 Flex projectors in six banks, powered by Coolux (Christie) Pandora’s Box ice projection system. “[Being able to] use the entire bowl as a canvas challenges us in the way we interact with the different canvases and create one [show]. It certainly has brought a different dynamic to our presentation,” said Meyers. “We’ve just scratched the surface on what we can do.” < — Karen Hogan Ketchum
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VENUE SPOTLIGHT > RAYMOND JAMES STADIUM
Revitalized Raymond James Stadium Shines on Big Stage New venue construction may grab headlines, but they aren’t the only big stories. Tampa Bay’s Raymond James Stadium proves that, after a renovation, what’s old can be made new again.
T With all-new videoboards and control room, Tampa’s Raymond James Stadium played host to the College Football Playoff National Championship in early 2017.
he 2017 College Football Playoff National Championship Game was a homecoming for Bob Becker... sort of. The EVP of Van Wagner Sports & Entertainment (VWSE) Productions spent five years as part of the in-venue–video crew for the Tampa Bay Buccaneers before stepping away prior to the start of the 2016-17 NFL season. Now, with VWSE Productions, he was back at Raymond James Stadium to work the national-title game in a stadium that looks nothing like it did when he left.
“I’m excited to come here and play with all the new stuff,” he said, prior to the January 9 game. “Everything is new, and it’s great. It’s user-friendly, and our guys will be able to come right in and integrate with everything.” continued on page 62
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VENUE SPOTLIGHT > RAYMOND JAMES STADIUM Tampa Bay Buccaneers Get Creative With Venue-Wide Canvas at Raymond James Stadium To enhance game day, video and audio are integrated in a big way
aymond James Stadium was selfie-ready long before selfies were a thing. As much a hashtag-friendly backdrop as booming game-day entertainment vessel, the venue’s iconic 103-ft.-long replica of an 1800s pirate ship has been a part of the game-day experience since the Tampa Bay Buccaneers defeated the Chicago Bears on Opening Day 1998. The ship’s cannons may blow a lot of smoke, but the $3 million spectacle and theatrically weathered village backdrop of Buccaneer Cove, constructed by major themepark builder Nassal Co., are certainly pioneering elements of the image-centric modern game-day experience. With the bar set high from the start, it’s no wonder that Raymond James Stadium had to go epic with the spectacleenhancement aspect of its $140 million-plus multiphase renovation project. Phase 1, completed in time for the Buccaneers’ 2016 season, saw the installation of 14 displays totaling more than 39,000 sq. ft. of video display and including two massive 9,600-sq.-ft. Daktronics LED boards on the ends and four 2,300-sq.-ft. HD tower walls. The new video displays are so big that the existing south– end-zone loudspeaker cluster had to go, which meant the stadium followed the sound-enhancing trend of upgrading to a distributed audio system. Designed by WJHW and installed by AVI-SPL, the setup is composed mainly of JBL PD700 and PD6000 series loudspeakers, with pole-mounted Meyer Sound CAL 96 steerable column arrays filling in areas along the upper deck where the rigging points on lighting trusses would have been spaced too far apart for good coverage. Now with 23 million LEDs and more than 400 loudspeakers to play with, Raymond James Stadium is steering the pirate ship in a new direction, toward enhanced integration of sound and video. The audio-system retrofit not only offers the essential benefits of a distributed system — providing more near-field sound to most seats, thereby syncing audio more precisely with video when people are speaking on-screen — but also is wired in a left-right stereo configuration to provide a pseudo-stereo image in the bowl. That setup, combined with Waves processing added to the DSP server, provides some next-level dynamic filtering. On top of that, the system is also capable of delivering eight channels of surround effects, which means that in-house production now has a lot more tools for adding some audio effects along with some video content in the future. “People are starting to think about what else these systems can do beyond ‘third down and goal from the three,’” observed WJHW Associate Principal Mark Graham. Going beyond the game call to include music cues at key moments or when the teams are in a huddle is still a comparatively new production component in football, and even crowd-energizing tunes tend
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to roll separate from the video content. “To think now they might start syncing multichannel sound with video capabilities that we have in these stadiums is pretty cool.” The Buccaneers crew used the offseason to develop ideas that take advantage of the new audio system’s capabilities. The surround-sound element holds some unique potential, Graham pointed out, if teams develop features to be used just once or twice during a game: “If an effect happened after every play, it would likely get old.” Teams have been looking at using stadium-wide surround effects for years, but, he explained, “developing the content requires creativity in the content production and then literally sitting very tediously in the bowl with your audio software, testing and tweaking and tuning how it reacts in the stadium, and adjusting levels accordingly.” Few teams have implemented it to great effect, other than the Tennessee Titans in past seasons and the Denver Broncos’ new stampede effect unveiled last season. Wrapping sound around the stadium would be the next logical step for venues embracing screen-domination features and moments of exclusivity for sponsor partners. The Buccaneers are way ahead there, having worked with Daktronics Creative Services to produce more than 100 pieces of custom video content, several designed to be shown as one continuous visual across multiple displays within the stadium. The stadium as massive, unified video display is one of the newest ways that venues are upping the ante on takeover moments, observed Daktronics Creative Director Bob Lee. And an accompaniment of all-encompassing audio might not be far behind. “Everybody is looking for the next great way to help partners get their message exposed,” he said, “whether it’s parts of the features or game-day show or social media. But what’s been very impressive are the takeover moments, at times in the game when fans are not necessarily staring at displays, to draw their attention by accompanying the video with sound. That really gives it a pop and gets a reaction from fans.” Daktronics worked closely with the in-house team to make sure the stadium’s wide array of canvases were effectively tied together to represent all the big moments, as well as the smaller stories that color the game-day experience. Development of the video content continued throughout the Buccaneers 2016-17 season, as Raymond James personnel observed crowd response and tested new capabilities. “The goal is to create this ‘wow’ moment of exclusivity for a sponsor or the team,” said Daktronics Creative Services Account Manager Fred Doremus. “That’s what everybody seems really focused on.” — Kirsten Nelson
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VENUE SPOTLIGHT > RAYMOND JAMES STADIUM
What’s old is new again at Raymond James Stadium, home of the NFL’s Tampa Bay Buccaneers. Before the start of the NFL season, Raymond James underwent a comprehensive video facelift, installing 14 new displays, offering a canvas of more than 39,000 sq. ft. of LED space. A new control room, integrated by BeckTV, is built around the Ross Acuity production switcher and houses three Evertz DreamCatcher replay servers and 10 channels of Ross XPression graphics playback. Although the videoboards are not 4K (they’re 1080i), the Bucs use the DreamCatcher servers with 12 Ikegami HDK-95C cameras (which are 4K-capable) sprinkled throughout the stadium. During the new infrastructure’s first Buccaneers season, the team’s in-venue–video crew learned a lot about how best to program a rather unusual layout of videoboard space. Sure, there’s the standard big end-zone screens, which are 60 ft. high x 160 ft. wide for 9,600 sq. ft. each, but, above the back corners of each end zone, there is a display shaped like a tower and measuring approximately 61 ft. high x 43 ft. wide for 2,304 sq. ft. each. After some early adjustments, the Bucs video crew realized that there was potential to do something special with those boards. It was a programming style that fans got to see in action at the Championship Game: triple replays. With the towers shaped more like cellphone screens than like television sets, the Bucs had four game-camera operators begin shooting in portrait style, giving the TD, producer, and director in the control room four angles and formats for any given replay. “When we have a big replay, you’re seeing three different looks of that replay all rolling simultaneously,” said Dan Roy, audio/video engineer for the Tampa Bay Buccaneers, who worked with VWSE Productions on the CFP Championship. “That was something that I don’t think we investigated thoroughly going into this, but, once we got past that first game, it was sort of wow, we should be trying this and using this.” As with any venue, crowd shots are also important to the Raymond James Stadium video crew. Not just for the videoboards, though. During the 2016 season, the Bucs debuted an app called 15 Seconds of Fame, which essentially streams and records the feed of the main videoboards at the stadium. Within the app, users can find the moment when they may have appeared on the stadium videoboard, cut that clip, and quickly share it to the major social-media platforms. The in-venue–video crew also encouraged fans in the stands to shoot videos of themselves and used those videos on the tower boards to supplement any graphics presented, with the intention of firing up the crowd. “Obviously, we know the fans like seeing themselves on the videoboard,” said Roy. “We feel like, no matter how good or bad a day you’re having or how good or bad the team is doing, seeing yourself on the videoboard is the highlight of your day.” < — Brandon Costa VENUE SPECIFICATIONS — RAYMOND JAMES STADIUM VIDEOBOARD MANUFACTURER
MAIN VIDEOBOARD DIMENSIONS
End zones: 60 ft. high x 160 ft. wide
Ross Video Acuity Evertz Magnum Ross Video XPression
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Evertz DreamCatcher server
12 Ikegami HDK-95C
WHITEPAPERS From Baseband to IP: Orchestration and Control By Axel Kern, Senior Product Manager, VSM Broadcast Control and Monitoring System, Lawo
n the transition from baseband audio and video to IP infrastructures, the operational requirements for an overall control system don’t change much. The control of IP-based infrastructures should feel pretty much like the traditional system control, and established workflow must continue after the migration. To ensure that all operational requirements are met, the overall control system must “understand” the new underlying infrastructure, including TX and RX network nodes and the control of non-broadcast IT gear. Undoubtedly, this is one of the challenges in the move to IP, because IT gear is not really designed for broadcast’s operation and remote-control demands. For a general approach to IP routing control, a generic comparison of the building bricks of a baseband router with the corresponding components in an IP infrastructure is useful. From an architectural point of view, a baseband router consists of three characteristic functional elements. Input and output modules provide and consume signals into and from the third brick, the internal router engine, which is controlled by a central controller card. These three bricks form a unified and enclosed system, which is predictive in determinism, performance, and reliability. In an IP infrastructure, I/O modules are replaced by networked input and output nodes distributed across the entire network infrastructure. Nodes can vary from encapsulating or decapsulating CONTROL SYSTEM
IP ROUTING DATA, STREAMS CONTROL
The Orchestration of IP Infrastructures
To identify the orchestration requirements in IP-based broadcast infrastructures, we differentiate a broadcast system’s topology into three functional layers.
> THE PHYSICAL LAYER A physical layer comprises all involved TX and RX nodes. Each node is connected to an IT backbone, consisting of a single or multiple switches, forming a spine-leaf architecture of core and aggregation switches. This backbone can have a redundant design. In the majority of potential setups, devices connected to this backbone vary in terms of function, type, and vendor. Altogether, they build the fundamental physical basis for the production environment.
> THE LOGICAL LAYER On top of the physical, or iron, layer, a logical layer incorporates all functionality, uniting and abstracting the underlying hardware and making it operable. Various challenges must be addressed in the logical layer; for example, to enable basic control of gear from multiple vendors, devices must be introduced to a control system, which implies a setup process. A key functionality within the logical layer is best described as orchestration or unification. In basic meaning, it provides a classic XY matrix on top of an IP-based routing infrastructure, but it also addresses many more control aspects.
> THE OPERATION LAYER
ROUTING LAYER I/O NODE I/O NODE
devices to cameras, multiviewers, processors, switchers, etc. They are connected to a network infrastructure, which consists at least of one switch but most probably incorporates various switches, forming a spine-leaf topology. The IP-infrastructure counterpart of the controller component in a baseband router is represented by a control system, capable of managing RX and TX nodes as well as the switch gear. The control system is expected to provide an abstraction of the entire underlying infrastructure toward a northbound operational UI. This process, also known as “orchestration,” implies control of the involved network nodes, edge devices, etc., and the actual routing of streams, including path finding and bandwidth control.
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The central role of the overall control system remains critical with regards to efficient operation of the underlying IP-routing topology. It provides graphical and physical user interfaces for operation, bridges between legacy baseband- and IP-infrastructure orchestration, and maps individual workflows on top of any infrastructure. To the actual operator, any functionality of the underlying infrastructure materializes through the overall control system.
Things To Be Considered on the Way to IP Routing and Orchestration The requirements of the industry’s move toward IP infrastructures and their orchestration include several demands that should be considered when it comes to finding the right solutions. Unlike with installations of multiple enclosed baseband systems, common control is not integral in IP infrastructures. Network nodes are designed for distributed use. They require distributed control but do not provide a central control interface. This is especially true for multivendor setups, where control interfaces into network nodes and the parameters they provide are diversified and vary from device to device. In a live-production IP-routing infrastructure, control orchestration is outsourced and must be realized by a separate service. Capabilities of such service will vary from basic functionality to highly advanced features.
> STREAM PATCHING AS THE MINIMUM REQUIREMENT For a majority of signals within a common infrastructure installation, IP routing is required as the equivalent of patching video and audio. Signals will be made available prior to a live production and will most probably not change during the process of producing. When patched, signal flows at the output get interrupted, which might cause visible artifacts. However, stream patching is a manageable routing mechanism when it comes to technical realization. It is straightforward and can be quickly adopted, which makes it a suitable solution in this early phase of IP-routing infrastructures. When it comes to live production, switching is expected to be clean (but not necessarily frame-accurate). “Clean” in this context means that the signal switch will use “break before make” semantics with the expectation that the end devices hold (“freeze”) the last frame of the previous stream until the new stream is established. Alternatively, end devices may provision enough bandwidth to register to a new stream before breaking the existing one. Using the “make before break” method performs a clean switch, frame-accurate and destination-timed at the price of double bandwidth. Orchestration must be aware of these mechanisms, as they might vary from device to device within the same installation.
> CONTROLLING THE UNDERLYING NETWORK? For live production, a deterministic behavior of the routing infrastructure is crucial. Therefore, control of the underlying network must also be considered. In an early stage, there might be workarounds for network-specific demands, such as provisioning enough bandwidth for the planned data throughput. But inherent predictability becomes highly important with increasing size and dynamics of a setup. A proper network will already react to the devices’ requests using standard network-control protocols, such as IGMP and Protocol Independent Multicast (PIM). Because signal switching in network environments must work across more than a single network switch, trunk-ports-to-link switches may cause trouble as a result of their native bottlenecks with limited throughput.
At present, management of streams within the switch topology is provided by the switch manufacturer. In a first step, there will be no advanced backbone control. If such information is not present to the logical layer, determining the actual throughput on a port bandwidth is just a best guess. This is critical because it makes the network infrastructure less dynamic. Secure streaming with the network can be achieved only by knowing all potential streams, their format and bandwidth, and their potential routes. As a consequence, the underlying network must be planned accordingly.
> ADVANCED CONTROL OF IP ROUTING ENVIRONMENTS With the evolution of control orchestration in live-production environments, several clear control demands have to be addressed. One of them is the routing of signals from port to port using control via switch API, with the aim to provide the same determinism and performance as in a baseband router. Switching time is expected to be equivalent to and independent of the number of concurrently switched signals. RX nodes may no more receive any special control but may be expected to hold (“freeze”) the current frame if the network stream is interrupted. The network structure must allow Seamless Protection Switching (SPS), although the network’s status is kept in the network, not by the control system. The orchestration service will be enabled through the API to query the network’s status in order to synchronize — for example, after a reboot. The automatic discovery and registration of nodes and streams via NMOS means significant progress, and will be a beneficial addition to the feature set. Also, for compatibility reasons, streamformat awareness will be an incremental requirement for the orchestration with the on-going evolution of IP infrastructures. For the purpose of deterministic control, orchestration will focus on bandwidth control, pathfinding, and monitoring. The control system will provide information about requested bandwidth to the network-control API, which will use this information to find a network path that has enough remaining bandwidth. If no signal path can be found, the network-control API will report this error condition so that the control system can inform the user for manual conflict resolution. The control system will allow monitoring of the bandwidth used on all paths of the network and will expose this information to the control system, which in turn will provide it to the end user. Orchestration and control are playing a highly important role in IP-based audio and video infrastructures for live production, where demand for deterministic system behavior is the highest in the industry. With the move to IP, the requested system reliability can be achieved only by an overall orchestration service, which knows and handles information from all involved system components, manufacturer-independent and compatible across individual interfaces and technical solutions. The challenge still is to find the right balance between proprietary solutions, where needed, and regulation of interoperabilities between manufacturers, where possible. In the end, the market will insist on the freedom to choose systems based on project demands and preferences. < SPORTSTECHJOURNAL / FALL 2017
Efficient Delivery for Today’s Fractured Viewing Environment By
Jim Duval, Director of Strategic
Product Planning, Telestream, and
Bill Harris, Technical Marketing
he way fans engage with their favorite sports teams and events today is fracturing the viewing environment and disrupting traditional content-delivery workflows. Growing numbers of fans use mobile devices as their primary source for accessing live or on-demand action, in addition to or instead of broadcast television. The consumption of sports content has evolved from a single screen experience in the living room to one involving multiple devices and services that provoke fan interaction through multiple channels, in multiple locations (often mobile) during the course of the same event. This new viewing model represents a major opportunity for sports-production organizations: by programming for the devices in fans’ pockets as well as for standard television viewing, production organizations can improve brand engagement, build team loyalty, and even generate additional revenue. However, this results in a tremendous amount of “versioning.” Content must be produced for and delivered via traditional linear channels, and it is slightly modified and/or repackaged for livestreaming or streamed catch-up viewing and VOD. Additionally, events may be streamed to social-media channels in their entirety, or clips, highlights, and bonus content may be created expressly for social viewing and sharing. New technologies using unmanaged internet for transport of live feeds make it feasible for video content to be delivered in real time to production units in multiple locations, packaged to the specifications of particular “viewing windows” (live streaming, VOD, etc.), and delivered to viewers with minimal latency.
> PRODUCTION TEAMS AND SOCIAL-MEDIA TEAMS Delivering all the variants of content to the fractured viewing environment often requires the contributions of two distinct 66
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teams: the traditional production teams and the social-media– marketing teams. These teams have very different skill sets and areas of expertise. Video-production teams comprise seasoned professionals who possess deep knowledge of the technologies and workflows that produce the assets. The social-media teams are marketing professionals with expertise in maximizing engagement with fans. A straightforward automation enhancement to existing production workflows can benefit both groups by providing the social team with a steady stream of video assets while reducing the workload of the video-production team.
> THE UNIQUE ROLE OF SOCIAL MEDIA Social-media viewing presents its own opportunities and challenges. The role of social-media video in the viewing experience changes depending on whether the viewer watches during an event, over the course of a season, or in the offseason. Fan interest is at its peak during the compressed time scale of a game, when there is the least amount of time for content production and curation. The challenge for production organizations is to reduce time spent on the technical aspects — graphics, metadata, etc. — of social-media–video production so that they can deliver the most engaging content to fans as quickly as possible. The social-media goals may be to drive fans to the broadcast or the live stream, engage them in a dual-screen experience, or promote and sell a subscription service. For each of these objectives, the need for near-real-time video production and distribution of relevant video is the same. The production process for today’s multiscreen distribution consists of four production steps: 1. Ingest of live feed or files and distribution to various production teams 2. Editing/processing of the live event feed by the traditional production team, social-media–marketing team, and automated media-workflow processes 3. Packaging for each viewing window: streaming, VOD, social media, etc. 4. Publishing to the desired delivery platforms
> INGEST Content ingest is the domain of the production team. Ingest systems should produce multiple output streams to target audiences during live-viewing windows, to remote teams using live content for near-real-time second-screen content, and to local storage. Modern technologies for file transport use standard, unmanaged internet to cost-effectively move content in real time, via open workflows, to remote sites with minimal latency. Additionally, the capture process must save all elements of the captured feeds. Depending on the capabilities of the
Live production, transport, and media processing and distribution Stream live to YouTube or Facebook
Live Video Feeds
IPTV ABR OTT Multiscreen
Capture & Stream Unmanaged Internet
Social Marketing Edit
Local Storage Package Publish
Live Remote Event
Realtime transport of the growing file
Media processing, realtime edit, production and distribution
The ingest/capture of event media may not be in or near where the media needs to be edited and/or processed. In the workflow described in the diagram, a sports event is captured in Nevada City, CA, and the captured files are sent in real time (via Aspera FASP) to Sterling, VA, where they are written to a shared-storage location for editing and processing as they grow. downstream workflow, the system may need to extract audio, video, timecode, and caption data as discrete elements or as elements embedded into the captured file.
> EDITING/PROCESSING Live event production is always costly, and part of that cost is the time and effort needed to produce all the required assets for VOD, news highlights, or social media in a timely manner. By using the same transport technologies that support live ingest over unmanaged internet, production teams can receive growing files at their broadcast center, rather than on location. Editing talent and automated processes alike access the live incoming media files immediately and begin their work far from the actual event site, allowing them to create the required assets as quickly and inexpensively as possible. For the social-media team, publishing highlights from live streams in near real time keeps fans engaged. The most exciting game highlights can be amplified by on-field interviews with players, coaches, and fans, improving viewer engagement. Socialmedia clips can be created in near real time when these ingest systems record live feeds as growing files in formats compatible with the social-media systems. The social-media component of the system may include efficient, easy-to-use subclipping tools for rapid production of
the clips that most engage fans. These assets can then be registered within an asset-management system to enable access by all groups in the organization. Some other considerations in selecting tools for socialmedia production include the ability to access prerecorded content, such as library clips from previous games or interviews saved as files, and, perhaps most important, the ability to add branding graphics, motion graphics and video, metadata, and production ancillary data to create a sophisticated second-screen production where appropriate.
> PACKAGING Packaging is the assembly of video into branded, viewingwindow-accurate, and legally compliant assets. Federal law requires, for example, that streamed versions of aired content be closed-captioned, at minimum in English. After package assembly is complete, each of the streaming assets â&#x20AC;&#x201D; including the social-media version â&#x20AC;&#x201D; must conform to a compliant format for audio, video, and captions. Efficient, automated packaging can significantly reduce assetproduction time. A packaging-automation system receives ingested assets and makes them conform with production templates predefined for each viewing window. Video edits, graphics compositing, montage assembly, caption extraction, and alignment from the source elements into the final master can occur in real time or faster. This process can be fully automated or can serve as an automation assist for production teams, allowing them to make creative choices rather than spend time on repetitive versioning tasks for each viewing window.
> PUBLISHING Automating the publishing process significantly reduces workflow time for all the production teams. Without automation, versioning for each of the viewing windows is extremely time-consuming. For social-media publishing, in particular, a non-automated process would include manually uploading video clips, typing text, selecting settings, and adding caption files for each clip. This process would need to be repeated for each destination platform. Such a workflow undercuts the critical mission of the team: to deliver content in as close to real time as possible. In contrast, an automated publishing system produces deliverable packages from the package master for each delivery endpoint. Audio, video, social metadata, and caption files are formatted to the endpoint specifications in a single streamlined process, resulting in output that automatically meets the technical specifications of each endpoint. Furthermore, automation reduces or eliminates errors in a fraction of the time of traditional manual processes, producing more-consistent, more-reliable content and an overall better viewing experience for fans. < SPORTSTECHJOURNAL / FALL 2017
WHITEPAPERS What To Know Before Moving to Fiber Transmission
By Jeffrey Hallman, Global Network Solutions Architect - Live Media Events & Connected Venue Development, Level 3 Communications;
Elio Parente, Senior Director, Solutions
Architecture, Level 3 Communications; and
Derek Anderson, Principal Solutions Architect, Level 3 Communications
Part 1: Not All Data Is Equal…
f you ask a broadcast engineer and a telecom networking engineer what a router is, you’ll get two different answers. This was permissible in years past, when broadcast and telecoms operated within distinct technology domains. Today, these worlds have collided, and consistent definitions are needed. With few exceptions, sports broadcasters today almost always have “data” service provisioned as part of their standard transmission requirements. But the loose language associated with “data” or “IP” services could be preventing broadcasters from asking their transmission-services provider the right questions. As sports broadcasting moved to fiber-based technology to support primary transmission requirements, ancillary data services started being used alongside video services. Initial use of these data services was in the form of low-speed internet-access connections (T1 speeds of less than 2 Mbps) providing simple web connectivity to the production truck and supporting the occasional file transfer to and from the main broadcast center. Add analog phone lines and clunky IFB boxes, and you had everything needed to address your data and communication needs. The value in today’s Ethernet and IP networking technologies is that a single physical Ethernet interface can provide discrete service instances for all applications. Simply put, a network provider could deliver the connectivity requirements for services over a single RJ45 or optical Ethernet interface. But this flexibility
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also adds potential complexity. Therefore, more attention is required on how applications converge on Ethernet-based systems. Using the public cloud for content distribution is acceptable for trying to reach as many platforms and eyeballs as possible. However, relying on a public-internet connection to acquire highavailability, live content is another matter. All “internet” access is NOT created equally. Reliability and resiliency differ on a market-by-market basis — and need to be weighed according to circumstances. When you are depending on a first-mile fiber connection to carry your content from the point of origin at a stadium to your home broadcast facility, the service-level agreement (SLA) is all that matters. With the public internet, the SLA is highly dependent on the ISP in the market you are operating in. You can increase resiliency and dependability while decreasing risk with a private-cloud connection. A managed-service provider also gives more control over content feeds and transport streams, while giving you an “extra set of eyes” and trained expertise in monitoring and issue resolution.
Part 2: Delivering Pixel-Perfect Video Is Not Like Delivering E-Mail What does the latest generation of broadcast fiber transmission service from a sports venue look like. What services should production and technical teams be asking for? To answer this, it’s important understand the scope of applications being used as part of the production workflow.
> LIVE LINEAR CONTRIBUTION, DISTRIBUTION STREAMS As the main transmission feed, live linear contribution demands the most protection and resiliency. The bitrates can vary depending on the types of compression available, and a physically diverse path is often required. When speaking to a telecommunications provider, you should decide up-front how to set up the signal diversity.
> RETURN VIDEO BACK TO EVENT REMOTE FACILITY The duplex nature of Ethernet and IP-based services has made the traditional confidence return path viable for sending highquality video from base back to the venue. Care should be taken to match the outbound compression rates if the content received is to become part of the main outbound programming. If a full-time confidence return is also required, then a lower-bitrate feed could help save on overall bandwidth budget. Data-specific applications ancillary to the live video feed: • Hi-res file transfer • Graphics package transfer • Archiving/logging • Postproduction, editorial decision-making This is where the most growth has been see in deployment of
Ethernet and IP services, for these are more critical and timesensitive tasks. With the use of VLAN configurations on the Ethernet service, “the pipe” can be divided into as many data services as needed. One of the key advantages is that all metadata can be sent with the original file. But sending large files in tandem with the live TX output of the show brings additional concerns.
> IP-BASED VOICE COMMUNICATIONS (IFB INTERCOM, TELEPHONY) Communication applications are crucial to live sports-broadcast production. The nature of Layer II/III configurations is important because of the issue of who is managing the equipment IP addresses. With Intercom and IP telephone systems deployed to provide real-time conversations on a remote production, the most savings and efficiencies are found when it is “tethered” to the central system at a broadcaster’s home facility. Have the discussion in advance about how these networked systems are going to be managed onsite.
> V IDEO-ASSET AND COMMUNICATION SECURITY/ VIRUS AND MALWARE PROTECTION From standing up end-to-end corporate VPNs to safeguarding content from unlicensed entities, IP networks provide nearly bulletproof protection when the right precautions are taken. Using the public internet presents an inherent risk, but this is generally mitigated by network-security teams. Fully private networks managed by a telecom provider offer the added layer of networksecurity specialists as standard.
> S ECURE CORPORATE COMMUNICATIONS (E-MAIL), ACCESS TO HOME-OFFICE SYSTEMS, AND GENERIC WEB ACCESS Access to e-mail and other private and public web services requires the least bandwidth. However, it is usually required from Day 1 of the production team’s being onsite. It is the most common requirement of using off-the-shelf components with the smallest bandwidth. If these types of data services are used, they need to be set up in advance of the main video transmission.
Part 3: The Brave ‘New’ World of Remote Production The broadcast of live events has been “remote” since the 1936 Berlin Olympics. The only thing that has changed significantly is how images and sound are captured, transported, and delivered. Here are the top 10 considerations in today’s world of remote production: 1. IP does not equal internet. There are many preconceived notions about what IP means. A large portion of technical folks still assume that IP means that the public internet is being used, with the risk of traffic spikes,
security breaches, and uncontrollable bandwidth issues. 2. Pixel-perfect video content should be held in higher regard than e-mail. Remote production has different requirements than logging onto a webmail server. Although both are potentially on the same Ethernet circuit, more risk-mitigation steps need to be taken for a high-value video asset than for delivery of an e-mail message. 3. Get the acronyms right. • EVPL vs. EPL vs. E-Line vs. E-LAN • Key technical characteristics that matter • Transparency – Layer II/III • Multiplex options (pros and cons) • Layer-2 control protocols; timing protocols • Multicast frame limitations • Network protected services SONET protection vs. MPLS fast-reroute. Pros/cons/benefits 4. It’s not ALL “just data”! Today’s technology and hardware can turn almost anything into a data stream. Managing transport streams over Ethernet and IP networks is a bonus for broadcasters looking to achieve better workflows and efficiencies with limited resources. 5. What apps will you deploy? When engaging a supplier for your IP-based fiber capacity for content aggregation and delivery, consider the actual product you are asking the supplier to deploy. In today’s marketplace, the acronyms are abundant and often used incorrectly. 6. Who is managing the edge? Network providers are often better placed to control certain aspects of the edge — especially, specific to high-value assets like live video. Telemetry, performance, and monitoring of all adaptation equipment deployed on the edge of a fiber network is more efficient using a single entity with end-to-end responsibility. 7. Who is buying what from whom? The production team lays out what it wants, but many factors can influence what is ultimately booked with a telecom vendor. It could go through a network-traffic group, a remote-broadcastoperations group, or even a third-party remote-production– facility provider to arrange connectivity. 8. Go for equal measures of cost-cutting and network capability. If you are looking to solve the issue based on economic factors, there could be a large disconnect between what is “ordered” based on cost versus what is required based on actual technical specifications addressing what the production team needs to accomplish. 9. Just because you can, should you? Does it make sense for your business? There must be balance between driving cost reduction and ensuring the value of your production. 10. In the end … it is ALL data. < SPORTSTECHJOURNAL / FALL 2017
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SPONSORUPDATE 3G WIRELESS
g is a leader in RF technology and provides HD video and audio solutions. Over the past two years, 3g has made significant investments in the latest RF technologies and has expanded its capabilities dramatically. These investments allow 3g to deliver the highest-quality on-board camera systems, Steadi and Movi cam systems, RF handheld systems, aerial downlinks for helicopters, RF POVs, wearable RF POV technology (ump cam and ref cam), 1080p/60, and road-racing technologies for marathons and cycling. 3g’s recent successes include 2017 CONCACAF Gold Cup, IMSA, Red Bull GRC, the Boston Marathon, 2017 Tour of Utah, ESPN’s Sunday Night Baseball, and ESPN’s NCAA College World Series.
dder Technology is a leader in the IP-based KVM space. To streamline operation of its Click Effects products in sports-venue control rooms, ChyronHego relies on Adder Technology’s KVM (keyboard, video, mouse) extenders and KVM matrixes. Currently, the broadcast-company is using Adder’s IP-based AdderLink Infinity solution and new AdderLink XD150FX for dedicated fiber deployments and continues to use the AdderLink XD150 DVI KVM extender at many sports stadiums. With the Adder KVM extenders integrated into the ChyronHego/Click Effects product family, sports-venue personnel can connect control-room workstations to a single server in the rack room.
dobe’s tools and services allow customers to create digital content, deploy it across media and devices, and measure and optimize it over time. Adobe’s products help customers make, manage, measure, and monetize their content across every channel and screen. The company’s product line is built around its Creative Cloud tools for video and audio: Premiere Pro, After Effects, Audition, Media Encoder, Prelude, SpeedGrade, Adobe Anywhere for video, and mobile solutions including Adobe Premiere Clip.
dorama’s business-to-business (B2B) division, Adorama Business Solutions, is a resource focused on meeting the growing professional photography, video, audio, and technical needs of sports teams. It offers a consultative and dedicated account-management team, a wide range of B2B procurement and payment options, and an expanded technical-support capability. The technical team provides both pre- and post-purchase support to ensure that customers make the right choices when purchasing important equipment, regardless of brand, and get the most out of the equipment purchased. Adorama Business Solutions offers customers the option to trade in used equipment to help reduce the cost of upgrading to new and to try before buying. Rental options allow acquisition of equipment for short-term projects.
AERIAL VIDEO SYSTEMS
VS is a leader in wireless HD and aerial production with more than 75 HD RF systems by Vislink/Link Research, including the compact Link L-1700 and GoPro HEROCast systems. AVS has four gyro-stabilized Cineflex camera systems and two Partenavia fixed-winged aircraft for aerial coverage. The company was the first to integrate Sony’s P1-R into an RF Steadicam system with RF video return and prompter. This Steadicam package has become the preferred system for Dancing With the Stars, The Voice, America’s Got Talent, So You Think You Can Dance, World of Dance, Shark Tank, Grease: Live, The Wiz, Hairspray, Sunday Night Football, Monday Night Football, Thursday Night Football, the Super Bowl halftime show, and the NBA Finals. AVS’s RF-camera systems also play an integral part in virtually every awards show.
erNow is a technology and digital-media company building an all-new way to connect audiences everywhere with video content and live events. Capture: Easily integrate any digital content into the AerNow ecosystem. Publish: Upload content to the AerNow network from your desktop, AerNow’s virtual master control (AerControl), live feed, or broadcast network. Engage: Activate fans with all-new digital experiences. Expand: Increase awareness, drive views, and expand audiences with built-in distribution and syndication technology that connects your content with the viewers you want. Automate: Ensure feature and update control across mobile, game, TV, and web devices with new ease and ROI. Monetize: Bring the revenue home with full-feature advertising, subscription, PPV, VOD, merchandising, ticket, VIP, syndication, and other business-building features — on your terms.
AJA VIDEO SYSTEMS
JA manufactures high-quality, cost-effective technology for broadcast, production, post, and ProAV professionals. The company is committed to leading the way in technological innovation in solutions from IP to HDR, 4K Ultra HD, multichannel HD streaming, and beyond. AJA products help professionals transition to new ways of working and integrate new formats and connectivity with tools that fit into their infrastructure. AJA’s product lineup includes KONA video capture and playback cards; Io video and audio I/O appliances; Ki Pro recorders/players; FS frame synchronizers/converters, including FS-HDR for real-time HDR and WGC transformations; Corvid PCI cards; KUMO routers; HELO streaming and recording solutions; CION and RovoCam cameras; U-TAP USB 3.0-powered capture devices; T-TAP Thunderbolt-powered output device; and a host of Mini-Converters.
aving released the new LiveBook GFX LE, a powerful and intuitive graphics solution priced at just $5K, at NAB 2017, AJT Systems has
seen a huge response from the market. The LE system works in an NDI environment and has a wide feature set, including scoreboard integration, StatCrew integration, full HD animation scorebug graphics, and insert graphics to broadcast everything from full screens to lower thirds. AJT supplies any OTT network graphics, such as ESPN3, on these systems at no additional cost for all approved broadcasts. The company has also introduced AJT Dashboard, an asset-management and -distribution site for LiveBook and LiveServer customers. This site allows users to download an unlimited number of stock-graphics scorebugs, go to break, and insert graphics-package styles built by AJT’s award-winning creative-services team. At the AJT Dashboard site, users can download the latest OTT network graphics package for their approved broadcasts. The new site will also host AJT’s CloudSync service, allowing each league office, school, truck, or production team to directly control graphic assets across multiple LiveBook GFX’s or LiveServer GFX’s.
he internet was never designed for TV. However, every single one of your viewers expects better-than-broadcast quality from their online experience. At IBC2017 (Stand 5.B52), Akamai will show how the company can make it easier for you to deliver the best online experience possible for your viewers. The company will showcase technical innovations at the device level, how to better understand and diagnose the viewer experience, live and on-demand workflow optimizations, and the viewer experience of the future.
ldea delivers high-quality, ultra-low latency, and reliable video services for the live transmission of sports, news, and other media events over an extensive fiber-based network with points-of-service across 29 major cities in 20 countries across the Americas and Europe. Aldea’s expertise in delivering managed video solutions has been demonstrated repeatedly in major global events, such as the Olympics and FIFA World Cup. To date in 2017, the company has successfully delivered the FIFA Confederations Cup Russia, Lions Tour New Zealand, and the World Games Wroclaw, Poland, for multiple clients around the world. Other events delivered include the Rogers Cup, US Open tennis, and the Barclays Asia Trophy. Aldea is currently preparing for upcoming major international sports events in South Korea and Russia in 2018.
ALL MOBILE VIDEO
ll Mobile Video offers a full spectrum of production services: mobile production units, sound stages, postproduction, streaming services, equipment sales and rentals, and centralized master control. The AMV team commits to serving clients and building relationships, catering to the individual needs of each production
SPORTSTECHJOURNAL / FALL 2017
SPONSORUPDATE with unparalleled attention to detail. From video and audio engineers, camera operators, editors, graphics specialists, and sound designers to production support, AMV boasts an experience level to rival anyone in the broadcast industry with a solid team of smart, strategically driven, and highly trained thinkers.
lliance Productions is a strategic collaboration of the largest group of mobile-production companies covering North America. The company excels in providing all clients with the highest-quality HD mobile units and superb customer service. In August, it held its 11th annual Technology Expo in Indianapolis, with a wide variety of broadcast industry vendors attending and displaying their latest technology and equipment. The Alliance partners, as well as select invited guests from within the mobile-television-production industry, were able to spend high-quality one-on-one time with the vendors to learn more about their product lines, as well as to make requests for future purchases. This event, along with the Alliance Productions Annual NAB Party, helps distinguish Alliance from its competition and reinforces company dedication to a total production experience that exceeds expectations.
he Sports Group continues to be recognized as a premier provider of technologies that help clients engage fans, enhance teams, and expand revenue. In the LIVE segment, Alpha Video completed an HD control room upgrade for the Detroit Lions at Ford Field and is building a fivecontrol-room production facility for Louisiana State University, among others. The company also completed work at SunTrust Park, the new home of the Atlanta Braves. In the TEAM segment, Alpha Video has extended its relationship with the University of Kentucky with an A/V systems remodel of the men’s-basketball locker room along with providing the A/V and IPTV solutions for a new baseball stadium, opening in 2018. In the VIEW segment, Alpha Video’s CastNET digital-signage and IPTV solutions look to set an industry price/ performance standard as the company adds new features to meet the needs of the market.
mpThink is an elite team of mobility professionals with deep experience in designing, building, and operating HD WiFi networks in large-scale, public spaces. The company’s longstanding clients include international wireless carriers, multibillion-dollar equipment manufacturers, global stadium-operations companies, major retail brands and warehousing operations, and dozens of professional and college sports teams.
eliver the audio/visual experiences your customers want with Anixter’s broadcast A/V and professional A/V solutions. Select from leading manufacturers for A/V components, racks, patch panels, cable, and more. Remove the complexity of system design by consulting with Anixter’s IP experts or participating in its customer training or educational courses. Speed your project deployment because Anixter simplifies the supply chain by consolidating shipments and spending, minimizing purchase orders, conducting DOA testing, and managing inventory.
peri has experienced rapid growth since the UEFA EURO2016 Football Championships in France, where it introduced its 4K IP software-based live-remote-production network to deliver coverage during the final weeks. Aperi has gone from a startup to a key player that has cemented itself in live sports production. The company has just completed several high-profile installs, including a nationwide 29-stadium remote-production network for one the leading global sports broadcasters. Its app-based livesports-production platform features virtualized real-time media processing deployed through software applications, which can be implemented into production networks because they operate completely remotely. Integrated floating-license technology offers pay-as-used business models, with uses floating from game to game.
PM Music, a joint venture of EMI Music Publishing and Universal Music Publishing, is an award-winning creative music house and production library, supplying music for sports entertainment broadcasters (ESPN, Fox Sports, HBO Sports, NFL Network), professional franchises (Cubs, Yankees, Dodgers, White Sox, Celtics, Braves, New York Giants, Steelers, Lakers, Clippers, Dallas Stars, Sporting KC), and collegiate groups (American Athletic Conference, Arizona, Alabama, Auburn, LSU, Oregon State, Notre Dame, Wisconsin). Create cues with the APM Custom team or choose from more than 500,000 high-quality tracks by legendary composers and today’s indie trendsetters. APM offers more than 50 libraries, including the NFL Films Music Library and MLB Music Library, and is a mainstay in the sports industry, providing themes for Monday Night Football and This Week in Baseball.
ARCTEK SATELLITE PRODUCTIONS
RCTEK is proud to introduce its newest truck, ARCTEK Magenta. The company’s five well-equipped Sprinter satellite trucks (two Cband, three Ku-band) and an excellent team are ready to roll nationwide. Since being REMI-certified by ESPN, ARCTEK is ready to continue down the path it pioneered by providing a cost-effective approach for at-home sports production. After a summer providing a multiplexed C-band truck
SPORTSTECHJOURNAL / FALL 2017
for AMA motocross and covering college baseball and swimming/diving; ARCTEK is geared up for football, hockey, and basketball. The company continues to provide production facilities for a fantasy-football show produced by Vikings Entertainment Network, airing nationwide in Buffalo Wild Wings restaurants.
t IBC2017 (Stand 8.A21), Arista will show Interop testing with many of its technology partners. As an AIMS member, Arista is aligning with industry leaders and customers in deployment and evolution of IP-networking technology and infrastructure in the media and entertainment sector. Three key areas are addressed: realtime broadcast, editing, and content distribution. With Arista’s scalable, dense, and highly available switching portfolio, the company is positioned to serve broadcast facilities, demanding editing workflows, and content delivery.
ARTEL VIDEO SYSTEMS
t IBC2017 (Stand 5.A65), Artel will showcase an end-to-end hybrid IP network designed to address sports broadcasters’ growing requirements as they migrate from direct fiber to all-IP or hybrid IP/SDI networks and implement more-efficient remote-production workflows. New features and capabilities in the company’s InfinityLink and DigiLink media-transport platforms include autosensing of broadcast-quality 3G-SDI, HD-SDI, SDSDI, ASI video formats plus Ethernet traffic over IP; support of SMPTE 2022-1/2/5/6/7 IP encapsulation, forward error correction (FEC), and hitless protection switching; and greater port density, enabling greater bandwidth utilization for Gigabit Ethernet (GigE) IP. Artel will provide interactive demonstrations of SMPTE 2022-7 Hitless Protection Switching and interoperability with InfinityLink, DigiLink, and other vendors’ devices in an IP network. Artel will showcase the ARG Quarra PTP switch supporting SMPTE 2110 and 2059, ARG 8000 ARQ IP streaming solution, FiberLink 3500 Series supporting 4K UHD video transmission, and a selection of other FiberLink solutions.
rvato Systems is a global IT specialist that supports major companies through digital transformation. The company develops innovative IT solutions, transitions clients into the cloud, integrates digital processes, and takes on IT-systems operation and support. As a part of the Bertelsmann-owned Arvato network, the company has the capability to work across the entire value chain.
ASPERA, AN IBM COMPANY
spera is the creator of software that moves the world’s data at maximum speed. The comprehensive portfolio of SaaS and on-premises solutions enable easy and secure high-
Perfecting the Media Experience AWS Elemental combines the vast capabilities of the Amazon Web Services cloud with the deep video expertise of Elemental to power superior viewing experiences for consumers. Integrated solutions and flexible infrastructure give pay TV operators, content programmers, broadcasters and enterprise customers the ability to quickly, easily and economically scale video workflows and services on-premises and in the cloud.
SPONSORUPDATE speed transfer, sharing, synchronization, and automation of the largest video files and mostcomplex workflows over the longest distances with complete security and reliability. The technology foundation consists of the patented and award-winning FASP bulk-data transfer protocol, which achieves transfer speeds hundreds of times faster than FTP/HTTP with consistent and predictable delivery times regardless of file size, transfer distance or network conditions; and FASPStream, an alternative for internet video transport. FASPstream extends the performance capabilities of FASP to live streaming, enabling delivery of broadcast-quality video over commodity IP WANs with near-zero startup delay and minimal buffering and glitches.
stucemedia has opened its Augmented and Virtual Reality lab, located in Montreal. The lab will serve as a development ground for interactive AR and VR experiences for Astucemedia, its customers, and the industry. Located in Montreal’s Cité Multimedia and adjacent to the Astucemedia head office, the lab provides the perfect creative space, with a large meeting area and a studio space. The lab is well-equipped with the latest technology: a large green screen, a broadcast camera with tracking on a jib, a multiviewer and switcher, all fed into the graphics system. Experiences created so far include a virtual set for a news program, including with augmented-reality news elements; an AR sports presentation with 3D players; and event-recreation experiences with interactive control.
tion layer) and is now able to orchestrate virtual ATEME micro-services.
udio-Technica is a leading innovator in transducer technology, renowned for the design and manufacture of microphones, wireless microphones, headphones, mixers, and electronics for the audio industry. Audio-Technica’s products set quality, durability, and price/performance standards for live sound tours, broadcast and recording studios, corporate and government facilities, house-of-worship venues, and more. The company has a long history of involvement with sports broadcasting, providing microphone solutions for World Cup Soccer, the Super Bowl, the Commonwealth Games, and many other high-profile events.
AV DESIGN SERVICES
VDS is a national provider of broadcast and pro-A/V design and integration services. A leader in engineering, design, consulting, project management, custom fabrication, system support, and post-installation services, AVDS has been providing solutions and services to major media and entertainment companies across the U.S. for more than 35 years.
T&T can make your jobs easier and your production cycles faster. The company’s platform supports a more-efficient workflow, transitioning efficiently between pre-event, live, and post-event. Encoded video-on-demand content, streaming, and built-in redundancy reduces cost and delay. AT&T can address your requirements for live recording in transit, archival storage, backup, and disaster recovery. The company’s depth of experience, the reach of its network, and the breadth of its services are virtually unmatched.
veco provides MCR automation, news/sports/ studio-production automation, facility management, and media-asset management with workflow automation. The company serves large networks and scales down to one-channel systems. Its award-winning production automation, Astra Studio, is the only production automation designed for multi-studio facilities, and it’s optimized for fast-changing news and sports. Aveco’s mastercontrol–playout automation manages a single TV channel as well as multichannel facilities both centralized and distributed across the globe. The MAM from Aveco enables multifacility management in local, remote, and cloud-based operation. A rules-based workflow engine automates all media processes, transfers, and QC operations. Aveco’s studio automation for show recording, Take 2, stands alone in enhancing production quality, flexibility, and efficiency.
t IBC2017 (Stand 1.D71), ATEME will show, on the contribution side, two major innovations. The first is a partnership extension with next-gen satellite communications standard provider NovelSat to use its modulation/demodulation PCIe board, which is compatible with the ATEME platform and COTS server. Secondly is ContentSecure, which provides dynamic and rolling protection for broadcasters’ most valuable content, including sports. Moving to converged distribution, ATEME will demonstrate its new version of its ATEME Management System (AMS), which is based on OpenStack (used as the control layer) and Docker (used as the virtualiza-
t Avid Connect 2017, the company announced that its MediaCentral Platform is now cloud-enabled, giving media organizations greater efficiency, flexibility, and agility to meet today’s most pressing media-production challenges. Avid is leading the media industry’s ability to migrate media production to the cloud — at its own pace and in the way that best suits operational realities. With new cloud-based client applications, media services, and infrastructure on demand, the company can deploy the platform, services, and applications in more-flexible ways: on premises, in a private data center, and in the
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public cloud. At IBC2017 (Stand 7.J20), Avid will unveil cloud innovations and demonstrate how media organizations can realize the many benefits of cloud-based media production — from more efficiency and agility across the media value chain to less complexity and lower costs.
WS Elemental, an Amazon Web Services company, combines deep video expertise with the power of the AWS cloud. Solutions from AWS Elemental allow broadcast TV and multiscreen video to be customized, originated, and monetized at global scale. Flexible, software-based video processing and delivery gives global media franchises, pay-TV operators, content programmers, broadcasters, government agencies, and enterprise customers the ability to deliver highly differentiated viewing experiences and the freedom to focus on what matters: transforming ideas into compelling content that captivates viewers
zzurro TX is a solution for sports clients seeking bidirectional transmission from locations where traditional long-haul fiber connectivity is not available. It provides broadcast-quality, lowlatency transmit/receive over the public internet. The system is easily transported in its TSA-certified carry-on case with wheels and retractable handle. The standard system comprises two encoders and two decoders, enabling transmission of multiple cameras or outputs from a production truck, as well as simultaneously receiving two sources, such as program and prompter. Two VoIP dialtones are included for such communications as IFB and PL. Azzurro HD’s 24/7 Network Operations Center can remotely configure and manage the system to offer a complete plug-andplay experience for non-technical operators. Azzurro TX is currently deployed at sports venues for live shots on the field as well as at off-site press conferences and award ceremonies.
perating over terrestrial or satellite links, Bay’s solutions move large amounts of data (TBs, PBs) in an efficient, timely, and predictable manner, while also allowing remote data to be shared as if it were local. These solutions enable organizations to support globally distributed, streamlined workflows, achieve faster time-todata insight, and penetrate new markets, while lowering operational costs. Deployable in financial, healthcare, pharmaceutical, and government applications, Bay’s MaxDX solution has particular applicability in the media and entertainment arena. Available in rack-mounted and transportable travel-case versions, MaxDX is deployed across geo-diverse locations to establish a unified data platform for supporting distributed media workflows, including backup, archiving, traditional and at-home production, satellite upload of event data, and remote distribution of archival media.
SPONSORUPDATE BEACON INTERNATIONAL
eacon International represents the Holland Specialty Vehicles division, its facility located less than 45 minutes from most Chicago venues in University Park, IL. The Specialty Vehicles engineering team has years of experience in the TV-production–trailer business. Operating in an 185,000-sq.-ft. facility, Holland Specialty Vehicles has the expertise and capacity to do any TV-production–trailer refurbishment, repair, and service, including expando repair, an onsite trailer paint booth, storage, and preventive maintenance. Since 2013, Beacon International has grown to be a worldwide provider of services and equipment to the medical industry and television-production– trailer industry.
eckTV has been extremely busy in the sports-venue marketplace in 2017. Projects that have been awarded to BeckTV include M&T Bank Stadium, home of NFL’s Baltimore Ravens, and Notre Dame Studios, part of a major renovation to the football stadium on the University of Notre Dame campus. Both M&T Bank Stadium and ND Studios are deploying a comprehensive IP-workflow infrastructure. BeckTV is also completing a new HD video-replay–control room as part of a multimillion-dollar renovation of the AlamoDome in San Antonio. Home of University of Texas at San Antonio football, the Alamo Bowl will host the 2018 NCAA Final Four Basketball Championship.
exel, an NEP Broadcast Services Company, skillfully delivers production services and engineering expertise for some of the world’s largest televised events. Bexel continually invests in leading broadcast equipment and technologies to meet the needs of the global broadcast market. The company offers the full range of equipment to complement any production — including lenses, recorders, servers, LED lighting, fiber-optic solutions, graphics, custom flyaway systems, RF audio and intercom systems, 4K monitors, and terminal gear. All equipment is maintained to the highest standards by a rigorous QC process, conducted by in-house certified engineers for inbound and outbound equipment. Bexel ESS is the choice vendor for custom systems integration, managed services, and fiber-optic solutions for high-profile broadcasters and networks. The division designs and installs complete turnkey solutions for permanent facilities, major events, live game production, and enterprise markets, with a unique view on the selection, implementation, and integration of broadcast and media technology. Bexel TSS offers the latest new and pre-owned broadcast video and professional audio equipment. Bexel TSS has expanded its inventory to include over 100 dealerships with top-of-the-line professional audio and broadcast video manufacturers.
itcentral provides efficient and customized software solutions that maximize the value of media workflows. The company’s Core News solution is a leader in U.S. news production, with more than 255 TV stations going to air every day. This scalable system allows stations of all sizes to unify their story-production processes with the most relevant features at the highest efficiency, with reliability and support. The company’s products transform media operations with tools that enable content producers to deliver exceptional programming to viewers and help their organizations grow each day.
lack Box specializes in complete high-performance KVM, professional A/V, video-wall technology, signal distribution, extension and switching, virtualization, and collaboration solutions for control rooms. Leading broadcast and media companies like WWE, St. Louis Blues, Arizona Cardinals, and the NFL Network trust Black Box to design, integrate, and maintain control-room–technology solutions for broadcast facilities, postproduction environments, stadiums and arenas, remote-production vehicles, and more. Black Box KVM solutions deliver instantaneous switching between control-room systems for real-time workflow and content sharing and workflow collaboration throughout the venue.
lackmagic Design creates high-quality videoediting products, digital film cameras, color correctors, video converters, video monitoring, routers, live-production switchers, disk recorders, waveform monitors, and film-restoration software. Blackmagic Design’s cameras, such as the new URSA Mini Pro, provide film-quality images with wide dynamic range, and combine a filmic look with professional features and flexibility. URSA Mini Pro features a massive number of tactile control buttons, switches, and dials that make it faster to use; built-in optical ND filters; a new interchangeable lens mount; dual CFAST 2.0 and dual SD/UHS-II card recorders; and more. Studios, stadiums, and remote-production vehicles can also create SD, HD, or Ultra HD multicamera live productions with the company’s line of ATEM liveproduction switchers, including the new ATEM Television Studio HD and ATEM Television Studio Pro HD. ATEM switchers offer work in many resolutions — SD, HD, Ultra HD — meaning that users can switch to Ultra HD at any time.
lueFrame has added the MIAA Network, the ECC Network, the Mountain East Conference, the WAC, and GMAC as customers. All are using its Production Truck software, which allows them to switch among four cameras with standard and custom transitions, apply sport-specific graphics and scoreboard overlays, show variable-speed instant replays from all four cameras, encode up to
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1080p video, push to almost any streaming service, and post instant replays to social media. Most are also using vCloud, BlueFrame’s CMS and streaming service, plus BluPayer, an HTML5 media player; BluPlayer mobile apps; and conference-branded OTT apps for Roku, Apple TV, Amazon Fire TV, and Android TV. BlueFrame also has announced the launch of Team1Sports, a free OTT streaming service and apps available to any collegiate sports organization, even those using other solutions.
OXX creates high-performance workstations and rendering systems for visual effects, animation, motion media, broadcast, product design, engineering, architectural visualization, and other industries. Combining performance, speed, and reliability with industry knowledge, BOXX is the trusted choice for creative professionals worldwide and has provided computer-hardware solutions to multiple NFL franchises, NHL teams, and ESPN. Recently, the company provided custom-configured computer workstations to power Fox Sports’ on-air multiscreen displays. As the 2017 MLB season began, BOXX supplied a Major League Baseball franchise with both a versatile, powerful APEXX 7404 computer workstation and a renderPRO 2 to produce video and graphics for broadcast and in-stadium video content.
rainstorm will be at IBC2017 (Stand 7.C12) showing its complete product range of realtime 3D motion graphics, virtual sets, augmented reality, and broadcast-graphics–management solutions. At the main theater, the company will show the latest version of its virtual-studio solution, InfinitySet 3, specifically designed for augmented reality with award-winning features like 3D Presenter, TeleTransporter, VirtualGate, Combined Render Engine with Unreal Engine, and much more. Other demo pods will feature broadcast-graphics–management solutions along with Aston, the motiongraphics creation, CG, and playout solution; OnDemand; and VisualMedia, an integrated solution developed with never.no to create visually engaging Social TV content based on social-media feeds. The newly introduced template-based product range will be present, with SmartSet, the easy-touse virtual-set solution for smaller TV stations, and AstonElections, a cost-effective solution to create customizable elections and business graphics.
BROADCAST INTEGRATION SERVICES
IS builds cost-effective, scalable, and flexible systems that easily adapt to industry innovations. Based on solid engineering principles and a forward-thinking approach encompassing each part of the project lifecycle —predesign, design, procurement, installation, testing, and training — the BIS project-management team helps guide you through this rapidly changing technical and business landscape. In addition to integration, design, and architectural-consulting services, the BIS web
Award-Winning LED Displays for Broadcast – Front-Serviceable & Cable-Free
LED Video Display Solutions W W W. N E OT I . C O M / B R OA D C A S T
– Pixel Pitch: 0.9mm, 1.2mm, 1.5mm, 1.8mm, and 2.5mm – Superior Black Levels & Color Uniformity – Ultra-Wide Viewing Angles – Signal & Power Redundancy
SPONSORUPDATE store provides equipment sales to the broadcast and professional audio/visual marketplace. The expanding product line features brand-name components and devices essential for any size system, from cable and connectors to camera lenses and waveform monitors.
BROADCAST SERVICES INTERNATIONAL (BSI)
SI has had an action-packed year, new events on the horizon after a busy summer, and a new head-office location. The company celebrated its 21st Emmy win with three Outstanding Technical Team Remote Awards for work at the 2016 Rio Olympics. BSI is busy with IAAF London, Professional Bull Riding’s second Canadian Tour, and Toronto Wolfpack Rugby. The team reported another successful year with NBA Finals, Stars on Ice, and Canadian Open. BSI’s equipment inventory has grown to include a new Lawo NC 36, EVS XT3 servers, a complete 18-position commentary system, gyro-stabilized and wideangle lenses, and more fiber gear. The Dejero partnership is a continued success, with BSI as its primary rental supplier. The BSI team also has a fully certified and insured DJI Inspire1 drone, with 4K capability.
BROADCAST SPORTS INTERNATIONAL (BSI)
SI works with its partners to produce compelling content through cutting-edge POV- camera, wireless-transmission, and microphone technology. The company’s engineers and operations team are at the leading edge of turnkey custom broadcast solutions. BSI is fully licensed by the FCC for regular broadcast bands, as well as for additional portions of the wireless spectrum for large events, and leads the industry in providing the highest-quality, most-reliable, and robust means of transmission. With an in-house team of engineers and experienced manufacturing and support staff, BSI prides itself on a long-standing track record of delivering the best solutions and service.
roaMan’s Mux22 was originally conceived as a series of application-engineered devices offering multiple-signal support in a compact 1RU chassis. This combines 3G/HD/SD-SDI I/O with Optocore and SANE digital audio networks, transporting video, along with audio and data, on a single duplex fiber. Now BroaMan has added to the series with a Mux22 BNC intercom version. The new board allows the connection of up to eight intercom panels or matrix ports using coax cable in AES3id standard (a 75-ohm BNC electrical variant of AES3). The coax connectors can be also used to interface with any AES3id device. Each of eight bidirectional AES BNC ports can handle 2-in/2out. In total, the 1RU device features video; eight 3G-SDI channels; audio: 16-In/16-out; four GPIO or RS-485 connectors; Sync I/O; two LANs; two SANEs/LANs; two Optocore links; and fiber tunnel for generic protocol.
rocade networking solutions help the world’s leading organizations transition smoothly to a world where applications and information reside anywhere. This vision is designed to deliver key business benefits, such as unmatched simplicity, nonstop networking, application optimization, and investment protection. Innovative Ethernet and storage-networking solutions for data center, campus, and service-provider networks help reduce complexity and cost while enabling virtualization and cloud computing to increase business agility.
hen the 101st running of the Indianapolis 500 burst from the starting line at The Brickyard on Memorial Day weekend, Burst had the event covered from start to checkered flag. Indianapolis Motor Speedway used Burst to collect more than 1,000 photos and videos from fans of all the prerace events at the track and, ultimately, the legendary race itself. The video content gathered inspired huge viewer engagement with the proceedings. This fall, Burst will be working with Sinclair Broadcast Group to encourage players, fans, and parents to submit their football photos and videos with the chance of their being seen on TV.
CALHOUN SATELLITE COMMUNICATIONS
ounded in 1986, Calhoun is the oldest, continuous, transportable earth-station provider in the U.S. Calhoun’s inventory includes two dual-dish C-/Ku-band trucks, three Ku-band trucks, one Cband and one Ku-band trailer. Calhoun’s trucks are housed between Miami and Pittsburgh, giving easy access to a wide geographic area throughout North America. As a gateway to the Caribbean, Calhoun has floated trucks to many Island locations.
alrec’s Artemis Ray will make its European debut at IBC2017 (Stand 8.C61). Artemis Ray has 456 fully featured input channels and can handle up to 72 faders. For truck operators, Artemis Ray’s new surface layout allows more faders in a reduced surface area. A redesigned monitor panel — also available on Calrec’s Artemis Light, Beam, and Shine consoles — has eight full-size faders to give operators more control and a higher fader density in a smaller footprint, saving about 200 mm vs. similar control surfaces. Calrec will also demonstrate brand-new features for its RP1 remote-production device, a 2RU rack-mount unit featuring integrated DSP and enabling a console surface at a studio facility to control all mixing functionality at a remote venue. The features to be introduced at IBC2017 include 2-band filter and 4-band EQ, expander and gate facilities, compressor and sidechain EQ facilities, direct output for all remote faders, and remote auxes. Other new features are VCA master control from the host console and pairing of transmission and remote faders, along with new “blocking” and “independent” modes that prevent RP1 from affecting paired transmission faders and
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vice versa. Meanwhile, Calrec’s compact Brio was part of a comprehensive audio upgrade of a 35-ft. mobile production unit for Lucas Oil Production Studio.
CAMPLEX FIBER SOLUTIONS
amplex manufactures fiber-optic solutions that improve and extend the performance of signal-transmission infrastructure for studio and live broadcast production. The company builds opticalCON, tactical, SMPTE, plenum, and hybrid fiber cables in a Neutrik opticalCON-, LEMO-, and Canare-certified and -trained fiber shop, with full repair services available through authorized partners. With experience in the latest technologies, including 8K design, Camplex works closely with engineers (broadcast professionals) to review and recommend the most efficient and cost-effective cable configurations for their system operations. The company’s newly expanded fiber-optic facility enables it to meet large-volume–delivery deadlines. In addition to cable assemblies, the company provides products and hardware to complete customers’ signal-transmission systems, including breakout and adapter boxes, extenders and converters, and rack-mount accessories. Camplex’s new 12G-SDI fiber transmission system, which extends 12G/6G/3G/HD/ SD-SDI up to 6.25 miles over single-mode fiber with exceptional image resolution and embedded audio, demonstrates its commitment to continually meet customer demands for improved broadcast quality.
CANARE CORP. OF AMERICA
anare manufactures pro-audio and -video cable, 75-ohm BNC, F and RCA connectors, patchbays, cable reels, snake systems, assemblies, crimp tools, and cable strippers. In 2004, the company launched a line of optical products for HD upgrades in the broadcast market. Professional broadcast engineers, sound technicians, A/V-facility integrators, design consultants, and many leading OEMs rely on Canare’s product, reliability, and customer service.
anon has five 4K UHD lenses for use with ⅔-in.–imager cameras. From monochrome to color, SDTV to HDTV, and now HDTV to 4K UHD, sports production has long been a primary driving force in television innovation. With these 4K UHD lenses, broadcasters will be empowered to deliver high levels of image clarity to those who seek new viewing experiences on larger television screens. The 4K UHD DIGISUPER 27 is the world’s first 4K UHD broadcast-studio lens. With a 27X zoom ratio and 6.5-mm wide-angle performance, this lens maintains nearly identical measurements to its HDTV predecessor, with far superior performance going beyond 4K at image center. For handheld operations, the portable CJ12ex4.3B 4K UHD wide-angle lens combines the ability to provide outstanding optical performance that supports 4K UHD broadcast production with amazing 4.3-mm wide-angle capability that is suited to creating panoramic 4K imagery. For applications that
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SPONSORUPDATE require more telephoto performance, the CJ20ex7.8B 4K UHD lens delivers a broad focal range with a built-in 2X extender. Designed for use in 4K UHD remote television production, the 4K UHD DIGISUPER 90 (UJ90x9B) broadcast lens features a respectably wide 9-mm setting with an impressive extreme telephoto setting of 810 mm. Canon’s premium 4K flagship broadcast lens, the 4K UHD DIGISUPER 86 (UJ86x9.3B) is designed to support 4K UHD broadcast systems.
distance-to-pin stats for individual golfers on live RF camera shots. ChyronHego also supported ESPN at The Championships at Wimbledon. ESPN deployed Paint with an enhanced 3D toolset to deliver replay graphics that included measurements and trajectories. At IBC2017 (Stand 7.D11), check out these and other tools for live sports production, including TRACAB optical tracking, virtual placement, and the advanced stadium/arena-graphics– presentation solution, Click Effects PRIME.
CAT ENTERTAINMENT SERVICES
ES provided technical services for the CBS Sports broadcast of 2017 CrossFit Games in Madison, WI, including 2.7 MW of generated power and miles of cable to power the massive site. Along with power, CES also provided temperature control for the event site, as well as supplemental cooling of the mobile units. Earlier this year, CES exhibited a hybrid twin-pack UPS system model at the Game Creek Video reception that has become a fixture in the upcoming fall college football rotation. This will provide CES the latitude to adapt to any of the stadium-power configurations through UPS technology. CES is also in the process of gearing up for the 2017 college-football season for ESPN and Fox Sports.
BT Systems is a worldwide broadcast-television and video-production design, engineering, and integration firm whose commitment to the industry is demonstrated in its knowledge, experience, and confidence. The company has built a reputation for providing systems of the finest quality and performance. It has completed projects demanding imagination, innovation, and precision. CBT Systems’ unique combination of skills allows it to provide clients with exceptional event and production facilities.
hesapeake Systems provides sports and media organizations the storage capabilities and collaborative video workflow solutions they need. The company knows there are scores of individuals involved in shooting, editing, sharing, and archiving tremendous amounts of footage that needs to be immediately accessible. As an IT-centric media-systems integrator, Chesapeake is prepared to provide the right workflow solution for you.
hyronHego continues to expand the boundaries of live sports production. At The Open, ChyronHego partnered with Sky Sports, providing three Multi-Touch touchscreens for in-studio, the Open Zone, and Sky Cart locations. Across the venue, ChyronHego provided NBC Sports with a LyricX CG for on-screen graphics and Paint for replay telestration and distance-to-pin/hazard from the tee. European Tour Productions also deployed Paint using integrated ARL GPS data to display
ineSys-Oceana specializes in innovative workflow solutions and integration, including storage infrastructures, tiered-storage solutions, archiving, and more. The company’s goal is to provide the highest quality of service with an unmatched variety of solutions. CineSys-Oceana currently works with several sports teams in media storage and media-asset management. The microDDP by Dynamic Drive Pool is a silent, fast, and lightweight Ethernet SAN storage solution that works perfectly for remote production. microDDPs have been used at large sports events, including this year’s MLB AllStar Weekend and All-Star Game.
ans will always want to connect with the action on the field or stage. But how they are connecting is changing faster than ever. Cisco’s industryfocused engineering, solutions, and services teams fully understand these market trends and are helping sports and entertainment properties around the world capture new opportunities. Not only do company experts work with you on the planning and execution of these complex environments, but its content-strategy and -services team enables you to realize your full business potential with these solutions. Cisco’s tailored solutions have helped more than 350 stadiums in 40 countries worldwide.
lark Media provides HD production trucks and broadcast-equipment rentals, including custom-built HD and 4K production systems. It has a full-time staff of rental managers, engineers, and production professionals ready to provide outstanding support for your next project.
CLEAR-COM – AN HME COMPANY
lear-Com has made a number of announcements since IBC2016, including the launch of the V-Series 32-keypanel, which offers higher key density and more panel options, and the E-Dante64-HX card, which enables high audioquality interfacing between Eclipse HX matrices and Dante-enabled devices. But perhaps the most important for sports coverage are the updates to the LQ Series of IP Interfaces. LQ interfaces can link any combination of 2-wire, 4-wire, and IP intercom systems over IP networks. Updated LQ devices now host Clear-Com’s Agent-IC Mobile App, enabling core intercom users on traditional inter-
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com systems to communicate in full duplex with Intercom Mobile App users on smart devices. This is especially useful for IFB applications, for backup to the main comms, and for temporary users contributing to a specific segment of the program. LQ also adds SIP capability to all Clear-Com intercom solutions for direct connections to VoIP phones.
loudian is a Silicon Valley-based company specializing in infinitely scalable enterprise object storage systems. It introduced its flagship product, Cloudian HyperStore, in 2011. Cloudian products are offered by reseller partners Amazon, Lenovo, and Quanta and by strategic and reseller partners worldwide.
obalt Digital continues to keep its eye on the ball with a prime focus on providing essential products for remote and live sports production. In 2007, Cobalt co-founded the openGear terminal-gear platform and now offers more than 100 card modules for this open-architecture platform. openGear adopters enjoy the ability to select the best-in-class solution from a variety of vendors. What sets Cobalt apart not only in the openGear realm but in the industry is the extreme density its systems provide. An example is the unmatched 40 channels of broadcast-quality 3G/HD/SD up/ down/crossconversion, frame synchronization, and audio embedding and de-embedding supported in the HPF-9000 2RU openGear-compatible frame. If you don’t need that amount of audio and video processing, then you have 20 card slots to take advantage of and have options for 4K multiviewers, ST 2110 IP gateways, CWDM fiber-optic transport, and H.264 and HEVC codecs.
COMMUNICATIONS ENGINEERING INC.
EI is a consulting, design, systems-integration, equipment-sales, and service company working on venue production facilities: replay-control rooms, TV- and radio-broadcast booths, stadium sound, broadcast-truck interconnects, concourse sound and displays, super-suite IPTV systems, and fan-appreciation technology. CEI represents more than 500 equipment manufacturers for project integration and direct equipment sales.
ajor sports broadcasters have recently been turning to Comrex for their LiveShot IP video-codec solution. Spectrum SportsNet Los Angeles, AT&T SportsNet Pittsburgh, and YES Network have each acquired multiple systems to deliver remote video content for on-air programming: pre/postgame shows, high school sports, and other events in support of their local sports programming. Golf Channel is also using LiveShot to provide mobile access within its enormous 160,000-sq.-ft. facility in Orlando. The system is part of two integrated rolling broadcast carts
SPONSORUPDATE that allow the broadcast team to deliver HD content from anywhere on campus. LiveShot is an IP video/audio codec designed and built to deliver live, two-way, low-delay video over IP data circuits, such as 4G LTE, WiFi, broadband Ethernet, satellite, and more. With built-in return video, two IFB audio return channels, and integrated director/ camera PL, LiveShot Portable is a completely selfcontained remote kit in a single camera-mounted device. The companion LiveShot Studio Rack is optimized for use in the studio or can be racked in a remote truck.
onvergent Design started as a manufacturer of SD/HD signal converters and evolved the product line to include video recorders, RAW-data video-capture devices, and professional monitors. Convergent Design’s progressive technology design means that each new device includes the features and technology of the ones that preceded it.
ince 2001, CoreSite has built and operated secure, reliable, high-performance data center and interconnection solutions supported by industry-leading customer service. Across eight key North American markets, more than 1,000 of the world’s leading enterprises, network operators, cloud providers, and supporting-service providers choose CoreSite to connect, protect, and optimize their performance-sensitive data, applications, and computing workloads.
CRAWFORD MEDIA SERVICES
rawford provides premium content services, including mass digitization, human-generated descriptive metadata, digital archive storage, and archive asset management for all owners of media content. Using a service-based model allows Crawford to provide the customized solutions necessary to meet the specialized challenges now faced by content owners. Earlier this year, Crawford helped restore and digitize archived racing footage for Raymond Parks’ NASCAR Hall of Fame induction ceremony. The film, which underwent an exhaustive six-week frame-by-frame restoration, features the only known footage of Parks’ pioneering star drivers. The approximately 80 minutes of film is now catalogued in detail by NASCAR Productions.
reative Dimensions provides solutions for studio design/build, pro sports and colleges/ universities, and more. For studio design/build, the company provides comprehensive production design based on your needs and functionality, managed, fabricated, and installed by Creative Dimensions’ team. A vast selection of materials, lighting, video integration, and project coordination provide award-winning results. For pro sports and colleges/universities, the company incorporates team branding and unique qualities into studios,
desks, and sets. Lastly, the company offers VERSA Broadcast Desks, which are customizable, portable, and tool-free. Perfect for broadcast teams (for one to four people), they are available for rent or use in a remote or permanent studio setting.
CREATIVE MOBILE SOLUTIONS
MSI is a Burbank, CA-based boutique postproduction company specializing in tapeless workflows for live event productions and studiobased shows. Providing workflow design, Avid, Apple Final Cut Pro, and EVS server rentals, plus on-location support, CMSI rises to any challenge. From sports events to award shows to feature films, CMSI’s expert team can help save your production time and money.
rown Castle provides wireless carriers with the infrastructure they need to keep people connected and businesses running. With approximately 40,000 towers and 60,000 route miles of fiber supporting small cells following the completion of the Lightower Acquisition, Crown Castle is the nation’s largest provider of shared wireless infrastructure with a significant presence in the top 100 U.S. markets. Whether indoors or outdoors, the company can make sure your facilities are equipped with the necessary infrastructure to address fluctuating demand and give guests access to the services they demand — even in hard-to-reach areas.
aktronics’ control system delivers unforgettable moments, and now the newest generation of Daktronics Control Systems provides even more tools to take your production to the next level. Daktronics’ latest control release introduces Enhanced Dynamic Content (EDC), a new content type that provides a fresh take on data effects/ transitions to highlight key information for fans throughout the game. In addition, new features allow you to revamp your game-day presentation, providing broadcast-quality effects and transitions to all displays venue-wide. These new features provide the ability to produce interactive games, use EDC for data, implement 3D graphics layered over live video, and stylize social-media feeds.
DALE PRO AUDIO
ale Pro Audio has been a distinguished leader in the broadcast, live-sound, contracting, and studio and postproduction markets since 1956. The company carries hundreds of pro-audio’s top brands, stocks thousands of the best products, and has an expansive store and showroom in Queens, NY. Because of its commitment to excellence, Dale has earned the trust of television and radio stations, recording studios, contractors, and a wide range of individuals, businesses, and institutions.
DALET DIGITAL MEDIA SYSTEMS
SP Mobile has been providing broadcasters with quality mobile production units since 1988. From sports and entertainment to large corporate and news events, the company covers the nation from coast to coast, delivering HD productions to ESPN, Fox Sports, CBS Sports, NBC Sports, and more. Its 53-ft. expando HD1 services the needs primarily of West Coast clients, while the 53-ft. expandos HD2 and HD4 and the 53-ft. straight HD3 continue to service those east of the Mississippi. CSP Mobile’s 48-ft. B unit can roll wherever you need it. Over the past three decades, CSP Mobile has gained the trust and respect of the top networks and production companies in broadcasting.
alet end-to-end sports-content solutions help you optimize your video-production and -distribution operations by bringing all of your workflows into a single collaborative platform. Dalet Galaxy production, management, and distribution tools have been designed to help your users make the most of your content — easily and efficiently. Key benefits allow you to capture the entire game from all angles, so you don’t miss a moment; enrich your media with metadata to find and repurpose content; produce content fast and efficiently on popular non-linear–editing systems (NLEs) connected to Dalet; repurpose content in multiple formats and send to multiple locations; collaborate in real time through multiple ingest, edit, and delivery across geographies; and gain unlimited scalability to 4K and beyond.
CSP MOBILE PRODUCTIONS
omprehensive Technical Group creates, designs, and implements integrated technical solutions, including media, entertainment, audio/ visual, and customized production solutions for sports arenas across the U.S. Recently, CTG announced that it is in the process of constructing a new control room for Sanford Stadium on the University of Georgia campus to meet the requirements set forth by the SEC Network. The third control room that CTG and SEC Network have collaborated on, it will feature equipment from Sony, Ross, and Evertz. These upgrades enable linear production and non-linear editing from the UGA campus, including the ability to support six cameras with additional audio channels.
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he growing adoption of IT technology provides numerous benefits, including business agility, reduced specialization, the opportunity to transition to cloud-based principles, and reduced data-center footprint and costs. However, IT-technology adoption across the media workflow — from content creation and broadcast to multiplatform content delivery and the modern archive — requires new bestin-breed solutions for media creation, management, and delivery. Dell EMC is in the unique position to offer technology to service the entire media workflow, including workstations, color-critical monitors to view and edit content, rendering or encoding servers, networking, and storage. Dell EMC can satisfy infrastructure needs that support this new
SPONSORUPDATE digital transformation, including new architectures for cloud-enabled media, virtualized converged infrastructure, file-based workflows built on contemporary MAM applications, and options for longterm media archives.
art of the Bruin Sports Capital group, Deltatre supports rightsholders in delivering marketleading and multiplatform sports coverage. The services provided range from sports-media strategies, websites, mobile apps, live streaming, and OTT platforms to the delivery of results, TV graphics, and additional on-venue services, as well as a comprehensive sports-event–management system. Deltatre has recently partnered with NFL, Fox Sports, and Fédération International de Natation (FINA) to power their new OTT services.
eluxe Entertainment Services Group is a global services and technology company enabling the worldwide market for professionally created video. Top content creators, broadcasters, and OTTs rely on Deluxe’s end-to-end solutions for the transformation, localization, and distribution of their content. At IBC2017 (Stand 7.H30), Deluxe will show how its full-stack solution simplifies delivery across the global content supply chain, with technology-based services for mastering, encoding, localization, advanced formats, delivery, playout, live IP, sales and marketing, restoration, and more. The company’s collaboration with ESL is shortlisted for an IBC Innovation Award for its innovative work delivering live ESL broadcast feeds over the public internet via the Deluxe Broadcast Delivery Network (BDN).
DIGICASTER AND DIGITAL COMM LINK
igital Comm Link (DCL) is revolutionizing live video transport. When every millisecond counts in your live broadcast, rely on Digicaster, DCL’s broadcast-quality global video-transport platform delivering IP, SDI, and ASI transmissions over the public internet at ultra-low latency. The platform is a fully managed point-to-point or point-to-multipoint transport solution, which is also supported by a 24/7/365 Network Operations Center. DCL currently offers services in North and South America, UK, Caribbean, Eastern and Western Europe, Africa, and Asia.
igitalGlue has more than 25 years’ experience deploying large-scale network installations. The company’s continued success results from attention to detail and the utilization of technology to keep its customers constantly informed, and its worldwide network of authorized installers guarantees consistency and quality throughout a largescale deployment. DigitalGlue relies on the latest web-based systems and tools to provide clients a 24/7 window into their current network-buildout
status and support history. Its unique position within the broadcasting industry as a highly skilled, neutral third party enables clients to take advantage of the broadest possible set of technologies, services, and partners. The company’s Professional Services Organization provides a comprehensive set of industry-specific application solutions, training programs, and technical-support plans designed to meet customers’ diverse needs.
iversified partners with venues across the country to design and deliver expertly engineered and integrated sound, video, and networked-broadcast systems. This first-string lineup of industry experts provides consultation, implementation, and management services supporting every aspect of your communications needs. With an expansive portfolio encompassing large-scale A/V integrations, control rooms, managed networks, sports-network design/builds, and largescale mobile units, Diversified has more real-world experience than any other sports-technologies integrator. Not only does Diversified guide you through the digital transformation, but its multifaceted expertise extends to IT and networking solutions, structured cabling, mobile connectivity, venue campus SOCs for incident management and surveillance, and much more.
NA Studios has announced its newest truck. The HD20U is a robust, compact remote sports truck that supports five Grass Valley HD cameras, 20-input HD switcher, 32-input digital audio board, and GV Dyno replay. Full-Ku dualpath uplink provides the most reliable transmission all in one truck. HD20U was built to provide regional sports, streaming, and REMI productions. Serving the South and Midwest U.S., DNA Studios provides five production trucks. From 53-ft. expando for large projects to flypack units and studio space, DNA Studios has you covered.
olby Laboratories advances the science of sight and sound to create and enable spectacular experiences. The company brings its innovations to people through collaborative partnerships that span artists, businesses, and consumers worldwide. And with its partners, Dolby delivers incredibly vivid experiences in the cinema, at home, and on the go. In both entertainment and communications, through audio and imaging, the company gives everyone the power to see, hear, and feel the spectacular. For more than 50 years, Dolby has transformed how we experience entertainment and communications. Making these experiences come alive through technology has been its mission since day one. At IBC2017 (Stand 2.A11), see how the magic happens and learn how Dolby Vision and Dolby Atmos can take your sports entertainment experience to the next level.
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ome continues to lead the charge in North American 4K sports and entertainment broadcasting. Working with Bell Media’s TSN, Woodbine Entertainment, and DirecTV in July, Dome facilitated the very first horse race to be broadcast in 4K in North America, the Queen’s Plate. It continued a wave of 4K production that began early in 2016, thanks to the combined efforts of Dome Productions, Rogers’s Sportsnet, and Bell Media’s TSN. Since Dome’s first foray into 4K production, the production-services and -truck provider has supported more than 320 4K sports and entertainment events. Dome has been instrumental in the engineering and design of 4K production trucks in North America. With the July 2017 launch of Vista, Dome now has three 4K production trucks on the road to support North American broadcasters.
PA’s new d:vice MMA-A digital audio interface will be showcased at IBC2017 (Stand 8.D70). Aimed at content makers, such as journalists, the d:vice MMA- works with any iOS device, Mac, or PC computer, making it easier than ever to broadcast or record crystal-clear sound anywhere in the world. Journalists already use smartphones to capture the news, and, to a large extent, this works well because today’s phones can take high-quality pictures and videos. However, the missing component has been high-quality audio. This is exactly the challenge that the d:vice solves. When used with a DPA microphone, it can capture or stream audio in quality previously available only in the studio.
uncan Video builds world-class video systems no matter the scale of design. From houses of worship and the educational/corporate sectors to professional sports arenas, the company takes care of event production with passion. Along with delivering product and practices, Duncan Video offers the close-to-home spirit other competitors cannot. This past summer, the company upgraded two ballpark production systems for fans to enjoy beautiful HD video inside the park or through athome broadcasts. These projects were the perfect opportunity for Duncan to implement leading wireless HD-video–transmission technology, and sports fans can expect more of this in 2018.
DX3 MEDIA GROUP
X3 Media is a media-production–management and consulting company that takes pride in providing out-of-the-box thinking resulting in innovative solutions for client projects. Its reputation is founded on delivering higher-than-anticipated results and always under the clients’ budget. DX3 Media has a strong network of equipmentand crew-vendor relationships throughout North America. It has experience providing turnkey solutions for the smallest of productions and for supporting Host Broadcast Services on major World Cup events and Olympic Games’ projects.
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SPONSORUPDATE EEG ENTERPRISES
EG is a leader in closed-captioning and subtitling systems for sports venues and broadcasters. Its Emmy Award-winning iCap System powers everything from in-house IPTV channels, scoreboard displays, and handheld devices to production trucks and television networks. With iCap, your programming has 24/7 connectivity to the largest network of live–caption-service providers in North America — seamlessly delivering captions into your video path in real time. No phone lines or fixed IPs are necessary with iCap: simply connect and caption using any broadband connection. All workflows are supported, including SDI, IP, integrated playout, and streaming media.
ENCOMPASS DIGITAL MEDIA
ncompass supports sports leagues, TV networks, broadcasters, and digital leaders with the delivery of their linear/nonlinear video content across television and digital platforms. The company designs, implements, and operates reliable solutions that capture, process, and deliver clients’ video content from any source, in any format, to any destination in the most efficient and reliable way possible. Encompass’s global connectivity, scalable technology infrastructure, and strategic partnerships create a single, synchronized content-delivery environment for both traditional and digital delivery. Reach additional markets by streaming your live events online and deliver to any screen. Daily, Encompass services 850+ channels, processes 25,000+ hours of TV/OTT, streams 3,000 hours of TVE/OTT content, and acquires/ distributes 250+ events for its clients worldwide via its nine facilities across four continents. Services include global transmission and connectivity; channel playout; OTT/TVE streaming and VOD; event production; and disaster recovery.
urovision and the NBA have been working closely together over the summer on a brandnew network solution for worldwide distribution of the forthcoming basketball season. Using IPbased transport, the Eurovision global network and the NBA’s own network will be closely linked, providing access to a wide choice of games for live delivery to Europe, Asia, and the Americas in the coming years. There will be full redundancy in routing between the NBA and Eurovision and a measure of disaster recovery through the Eurovision network should the NBA suffer an outage. In August, Eurovision embarked on its fifth season of delivery of English Premier League soccer to NBC. Each weekend, 18 HD circuits are in use between IMG’s broadcast facility outside London and Eurovision’s Washington technical-operations center. The games are standards-converted on SAM Alchemists and delivered live to NBC Sports Network. Eurovision is also completing delivery of another season of the PGA TOUR to Europe and Asia, including the prestigious President’s Cup from the Liberty National Golf Club in New Jersey
at the end of September. In May and June, Eurovision’s luckiest staff of the year spent several weeks in Bermuda, supervising distribution of America’s Cup sailing. The event was relayed by fiber and satellite to Switzerland for uplinking to international rightsholders, while a separate fiber to Washington provided live coverage to NBC and Fox in the U.S.
t IBC2017 (Stand 1.D31), Evertz is highlighting Software Defined Video Networking (SDVN) solutions and, in the process, ensuring a future-proofed, IP-based foundation to address growing trends in the industry, including remote/ at-home production, UHD and HDR, cloud-based playout solutions, and big-data analytics. Along with these, Evertz’s DreamCatcher replay system and production suite are being highlighted for its scalable IP-based architecture, which can adapt to various applications — venue, studio, mobile, VAR, at-home productions — through an advanced suite of functionality on a single platform. DreamCatcher, coupled with Evertz’s 3606FR and evREMOTE products, is a comprehensive solution for remote/ at-home productions, with the 3606FR and evREMOTE offering flexibility and modularity to solve compression and transport requirements, lowering production costs. In addition, Evertz, along with 40 other vendors, is participating in the IBC IP Showcase, featuring interoperability solutions based on SMPTE ST 2110 and AMWA NMOS. The interoperability demonstrations will simulate real-world applications that emulate live-production, contribution, and playout-signal workflows.
t IBC2017 (Stand 8.B90), EVS’s XT4K and XS4K IP-enabled 4K UHD flexible live-production servers will be demonstrated with expanded capabilities. The servers provide a flexible solution for any production infrastructure whether SDI or native IP. New updates will natively support the SMPTE 2110 IP standard. Also on display will be EVS’s brand-new Broadcast Controller for IP, a software platform that lets users orchestrate live flows within an IP infrastructure. Users can manage a production’s integrated endpoints to guarantee bandwidth and provide monitoring and probing of flows; they can also secure the IP fabrics for next-generation facilities. EVS will showcase a new 360-degree motion-replay system that provides operators with spatial and temporal control of 360-degree camera feeds and can be used to create and output slow-motion replays from any number of virtually created camera angles. Innovative AI-powered auto-framing and social-media–publishing functions incorporating machine-learning technology will also be demonstrated. EVS also will introduce a new all-in-one solution designed for productions requiring six or fewer cameras.
&F stepped into the 4K HDR production game this summer with the design, build, and launch
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of the GTX-18, offering clients a native-4K experience in all areas of the unit. There is a lot of uniqueness about the mobile, but the one that clients appreciate the most is the ability to have a true 4K experience throughout. It is equipped with 14 Sony HDC-4300 cameras and two Sony HDCP-43’s that are fully unlocked; 4K UHD lenses; true 4K monitor walls throughout the unit, including video, housing a Sony 30-in. BVMX 300-2 4K monitor and Tektronic 4K Vector Scopes. The replay area features four 12-channel EVS XT4 servers and eight Ki Pro Ultra Plus reorders. The one-stop mobile unit is able to produce 4K HDR, 1080p HDR, 1080p, 1080i, and 720p for F&F clients.
anConnect has established itself as a leading provider of affordable cloud-based technology products for creation and distribution of digital content to screens throughout sports and entertainment venues. The company’s digital-marketing solution allows venues to enhance the fan experience, maximize sponsorship revenue, and increase brand exposure. FanConnect supports IP or RF framework and offers a wide assortment of hardware options, providing flexibility no matter the application. Users can easily segment TV screens and associated content to create unique game-day experiences for fans and sponsor partners.
ilmwerks is expanding its existing property with a 14-acre purchase of land, where a 100,000-sq.-ft. building will be constructed to house gear and assets for storage. An increasing UPS and generator fleet, along with structure inventory, contributes to the growth that Filmwerks is experiencing in the industry. The simultaneous expansion of both offerings has proved beneficial as Filmwerks continues to establish itself as a turnkey solution for production. Filmwerks has been present at many large events this year, including the Triple Crown horse races, GMA Concert Series, PGA tournaments, Lockn’ music festival, Stanley Cup Finals, and the US Open tennis tournament. As Filmwerks heads into the fall, Thursday Night Football and Major League Baseball Postseason are just a couple of shows that will keep Filmwerks on track for another successful year.
he team at FingerWorks has been busy in 2017 working on the company’s new 4K 12G solution. You can see FingerWorks 4K in action on some Fox college football games starting in September. Tony Romo, CBS’s new on-air analyst, will have his own FingerWorks to use on Thursday Night Football and weekend CBS games. Live traditional sports broadcasting is not all that FingerWorks is involved in. This year, the company expanded to include users for the International Dota 2 Championships. Using the latest FingerWorks ReVu, the North American production was joined by the Chinese and Russian broadcasts.
SPONSORUPDATE FIS BLUE
IS Blue is a premier manufacturer and supplier for fiber optics used in the broadcast, military, and similar harsh-environment applications. FIS Blue’s product line includes fiber-optic custom-cable assemblies, custom panel work, hybrid fiber/copper cable assemblies, expanded beam connectors, TFOCA-style military connectors, and termini-style cable assemblies, as well as SMPTE-ready cabling and test equipment. For 2017, FIS Blue has been part of many arena and stadium upgrades with its custom-panel capabilities. Its panels offer conceptto-product production, laser etching, loaded panel options, and enclosure options.
Audio is designed to work with today’s broadcast and streaming equipment. Its object-based audio allows viewers to adjust the sound mix to their preferences, and its support for immersive audio improves the level of realism of the listening experience.
ummer 2017 found Fletcher in full swing providing broadcast-camera services for clients. In addition to its usual complement of equipment for regional and national baseball, including ESPN’s three weekly broadcasts and MLB Network’s Spotlight Game, Fletcher is coming off its second consecutive year of providing robotic cameras and high-speed systems to Fox’s U.S. Open golf coverage. New 4K systems were sent overseas for use during the FIFA Confederations Cup in Russia, covered by HBS. NBC Sports used new robo and slo-mo systems for the NHL Stanley Cup. Fletcher has also expanded its presence in boxing, with its 4K slow-motion systems in use at high-profile bouts shown on HBO and Showtime. ABC/ESPN also made use of brand-new robo systems on coverage of the NBA Playoffs. Fletcher has also begun getting systems ready for NFL coverage, including new gear for ESPN’s Monday Night Football.
ujifilm is at the forefront in the development of 4K UHD and Cine optical technology with advanced HDR capabilities. Its Optical Devices Division offers an entire range of Fujinon newly developed 4K UHD Series lenses, HD lenses, and the expanding categories of PL-mount and new E-mount 4K cine lenses. The Fujinon 4K UHD Series of ⅔-in. lenses now total seven models of large field and portable lenses, including three new 4K lenses introduced at NAB 2017: the UA27x6.5BESM studio lens and the portable UA18x5.5B and UA14x4.5B wide lenses. Additionally, the UA107x8.4B field lens, featuring the biggest zoom ratio in the world, and its sister, the UA80X9 field lens, were on display along with their companion portable lenses, the UA13x4.5B wide lens and the UA22x8B tele. The UA107x8.4B and the UA80X9B feature the latest in 4K optical quality and design making them suitable for live coverage of large-scale events, both entertainment and sports. The wide UA13x4.5B, UA14x4.5B, and UA18x5.5B lenses and the tele UA22x8B lens excel in capturing a broad range of applications, including live sports and entertainment/program production and news reporting. The ever-expanding line of lenses designed for 4K+ Cine applications include the new MK18-55 and MK50-135 E-mount lenses for emerging cinematographers.
FX DESIGN GROUP
t IBC2017 (Stand 2.A51), the FOR-A booth will focus on the company’s commitment to overall product integration and, as part of its Full HD and 4K initiative, to continuing with the construction of a comprehensive IP and 12G-SDI infrastructure. The company will showcase its vast product range of video and audio solutions, including vision mixers, multiviewers, virtual studios, video/audio processors, file-based solutions, and high-speed cameras.
t IBC2017 (Stand 8.B80), Fraunhofer will showcase a broad range of MPEG-H technologies and products already in use in the South Korean terrestrial 4K TV service, including 3D audio-content–production tools and consumer equipment, such as a 3D soundbar reference design and the first MPEG-H–enabled LG and Samsung television sets for consumers. The MPEG-H TV Audio System is the first next-generation audio codec worldwide that is on-air 24/7. This new television service not only delivers pin-sharp pictures but also brings with it two never-heard-before novelties in sound: immersive and interactive TV audio. MPEG-H
X is a leader in set designs for professional sports franchises, including the Dallas Cowboys, San Francisco 49ers, Kansas City Chiefs, and University of Tennessee. FX provides complete scenic-design services for news, weather, sports, talk show, and entertainment sets — all backed by an industry-leading customer-service team of experts. As virtual reality and augmented reality continue to increase in both quality and popularity, FX is on the leading edge of 3D design. The company is placing VR studios along with hard sets for the utmost in flexibility and versatility in broadcast stations and sports networks.
GAME CREEK VIDEO
ollowing the successful production of the College Football Championship for ESPN and ABC and the Super Bowl for Fox Sports, Game Creek Video continued its build pace in 2016-17, launching five production facilities and eight trucks in the past year. Included in this massive buildout were facilities for MSG Networks (Madison), the National Hot Rod Association (Nitro A and B), MASN (Chesapeake A and B), and the YES Network (Yogi A and B). In addition, Game Creek added its third in a series of multiroom/multiplatform
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edit facilities for MLB Network. All four production units were built to handle 4K production, and Game Creek continues to lead the industry in the number of live 4K productions from its facilities.
arlier this year, Gearhouse Broadcast debuted Columbus, the first U.S. truck to feature a full 4K monitor wall. The new mobile unit has been specifically designed, built, integrated, and finished to the highest standards for 4K and HD sports and entertainment productions. Among its many features, Columbus has extensive integrated signal processing and video-format–conversion capabilities. It is IP-ready and equipped with a secondary control room designed for digital streaming, second language, and external screen control.
GERLING & ASSOCIATES
ith more than 20 years of experience in the mobile-unit–design industry, Gerling & Associates provides workmanship for domestic and commercial markets. Broadcasters trust the company’s systems integrity to produce the Super Bowl and a wide variety of sports events. The company’s services include all interior and exterior design, custom mobile solutions, complete refurbishment warranty and maintenance, finish custom carpentry, and much more.
lobecast enables its customers to reach any audience on any platform globally, including OTT, satellite, and cable providers, with a focus on reliable and cost-effective media management, distribution, and contribution solutions. The company provides operating efficiencies to its customers by optimizing workflows and focus, allowing customers to deliver content only once for any kind of global distribution. It provides a seamless, global service with expertise and operational facilities. At the forefront of its global presence are three advanced Media Centers — featuring full mediamanagement and -playout services — in Los Angeles, London, and Singapore. Globecast’s global approach allows customers a single contract for a turnkey, end-to-end tailored solution designed to support their business objectives.
lobecomm understands the video technology and mission-critical workflows needed for live-sports-production environments today — from creation to consumption. Whether designing and building studio or broadcast projects or deploying end-to-end IPTV solutions, Globecomm delivers results to broadcasters, service providers, content creators, and enterprises looking for reliability and value. The company’s media-infrastructure deployments provide full contribution and distribution capabilities, from satellite downlinks and broadcasts to fiber/CDN connectivity, and its managed-network services offer service quality
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SPONSORUPDATE and efficient bandwidth utilization through global teleports, satellite terminals, and control systems.
rabyo is a global leader in video production, editing, and distribution. Designed with simplicity and speed at the core, its cloud-based platform is built for the demands of live sports and entertainment production, empowering rightsholders and publishers to be first to market content, activate vast digital audiences, and generate complementary new revenue streams. The company offers two key products: Grabyo Studio and Grabyo Producer. Grabyo Studio allows partners to live-stream and share real-time clips directly to Facebook, Twitter, Periscope, YouTube, Instagram, and owned platforms. Grabyo Producer allows publishers to create digital-first broadcasts within a web-browser, insert VOD, and sponsor assetsdriven audience engagement using data, real-time graphics, and social polls.
GRASS VALLEY, A BELDEN BRAND
rass Valley helps broadcasters overcome complexity and design the right system that meets their exact needs — both today and down the road. The company’s live-production portfolio includes the LDX 86 Series camera platform with multiformat (HD/3G/4K UHD) and multispeed (1X/3X/6X) imaging. This advanced camera platform combines outstanding image performance, excellent light sensitivity, and a software upgrade to enable 15 F-stops of HDR; the K2 Dyno replay platform built to fit any broadcast space with the smallest footprint per channel of any 4K UHD replay solution; and the no-compromise K-Frame V-series switcher frame packed full of power and functionality delivers Grass Valley’s reliability in only 3RU and 62 lb./28 kg. This switcher frame complements the compact GV Korona switcher panel available with 1, 2 or 3M/E. The company’s live-production solutions are designed to handle your emerging HDR, 4K UHD, and IP plans while maintaining flexibility and efficiency. At IBC 2017 (Stand 1.D11), Grass Valley will show the LDX 86 Series, GV Korona K-Frame V-series production switcher, and K2 Dyno replay.
aivision provides media-management and video-streaming solutions that help the world’s leading organizations communicate, collaborate, and educate. Haivision is recognized as one of the most influential companies in video by Streaming Media and one of the fastest-growing companies by Deloitte’s Technology Fast 500. Broadcasters turn to Haivision for high-quality and low-latency video contribution, distribution, IPTV, and online streaming. Haivision video-streaming solutions offer broadcasters, sports venues, and organizations a flexible, cost-effective solution for backhaul and use public internet connections for on-air interviews, commentary, live productions, and monitoring.
tuder by HARMAN has introduced DIOS, the first I/O routing-automation software designed to manage and simplify complex routing matrices within broadcast workflows. This solution identifies all potential I/O pathways, reroutes data, recognizes and restores previous configurations, and much more. With automatic routing and expanded redundancy options, DIOS ensures that productions stay on the air when the unexpected occurs. DIOS centrally manages the signal routing of an entire audio ecosystem, no matter the type of equipment or the language of the infrastructure. With centralized control of I/O routes, DIOS allows broadcasters to leverage equipment throughout production facilities, enabling them to become more efficient and effective. DIOS identifies all potential I/O pathways, then routes data using the most efficient route, so broadcasters can use pathways that were previously unavailable in a static model. DIOS seamlessly merges both baseband and IP infrastructures into one elegant and simpleto-use system.
t IBC2017, Harmonic (Stand 1.B20) will present its vision for monetizing and delivering OTT services and engaging sports fans like never before. A range of solutions will be showcased to enhance distribution of live sports productions, with support for all deployment models — including software appliances, cloud and hybrid environments, and SaaS — to address the varying needs of video-content and service providers and their specific workflows today and in the future. Using Harmonic’s solutions, customers can deliver crystal-clear video at low bitrates, boost profitability through targeted advertising across all screens, and make the transition to a simpler, more efficient, and cost-saving workflow via next-generation technologies like cloud, all-IP workflows, HEVC, and UHD HDR.
reserve your team legacy with HGST, G-Technology, and SanDisk branded solutions from Western Digital. Whether you’re in the field, in the edit bay, or delivering broadcast, the company offers storage solutions for every stage: capture, intake, edit, production, distribution, and archive. Western Digital understands the rigorous requirements of pre/postproduction workflows and continues to take an evolutionary approach in delivering storage solutions specifically designed to meet the changing needs of the professional-sports digital-content–creation market. The company’s storage solutions are trusted by many of the best creative professionals, studios, production houses, enterprises, and internet giants worldwide. Western Digital provides a full range of solutions from Flash cards, portable storage solutions, HDDs, and SSDs to rack-mount solutions and petabyte-scale object-media repositories.
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HIGH ROCK MOBILE TELEVISION
igh Rock Mobile Television has launched the High Rock 1, a Super Stallion dual-stage expansion class production vehicle. Rolled out in August, High Rock 1 is the product of evolving mobile-production-facility markets, which demand higher quality on tighter budgets. Configured like larger trucks but on a compact 40ft. frame, High Rock 1 thrives in a smaller footprint while sustaining the production quality that larger productions units deliver. It features Sony cameras, a 4300 SSMO System, Grass Valley Kayenne switcher, EVS server, ChyronHego graphics, Utah Scientific routing, and Cobalt Digital multiviewer system. Set-shoot-strike productions will become more feasible for large events, making High Rock 1 the go-to solution for remote productions.
itachi designs, markets, and sells video cameras and systems and digital transmission, processing, and recording devices for the broadcast-television, cable, video-production, and industrial-vision markets. Earlier this year, the company introduced the Z-HD5500 HDTV studio and field production camera. Featuring Hitachi’s latest advances in CMOS imaging technology, the Z-HD5500 cost-effectively addresses the challenges of shooting in studios and venues with low-cost or varying-frequency LED lighting.
HSE provides high-performance keyboard, video, and mouse (KVM) products used for long-distance physical separation and switching of computer sources and operators. Video signals supported include DisplayPort, HDMI, DVI, VGA, and UHD-SDI. Auxiliary signals such as USB-HID, USB 2.0, USB 3.0, digital audio, analog audio, RS422, and RS-232 can be distributed across the same interconnects of Cat 5e/6 or fiber. Signal resolutions are encoded pixel-for-pixel for perfect image quality up to 4096x2160 (4K)/3840x2160 at 30 bit (4:4:4) using the Draco vario XV fiber series. Matrix switchers can be configured with from eight ports to 576 ports. Enterprise series I/O cards can be added in any combination of Cat 5E/6 or fiber using agnostic ports that intelligently assign the added extender as an input or output. At IBC2017 (Stand 7.B30), the company plans to announce several new product enhancements for the Draco tera enterprise matrix as well as new configuration and signal-management software enhancements. During IBC2017, IHSE also plans to demonstrate the new IHSE S6 models supporting Avid’s Pro Tools |S6 systems and announcing key partnership programs with EVS.
o Heels Productions, the video production arm of the University of North Carolina at Chapel Hill (UNC), has added four Ikegami HDK-95C full digital portable CMOS camera systems to its
equipment roster. The new cameras join four Ikegami HDK-95C cameras that were already in the Go Heels Productions inventory, giving them eight total cameras, complemented by Ikegami’s BS-98 4K multiformat base stations. Go Heels Productions is currently producing in 720p and 1080i HD formats but is 4K-ready with the Ikegami HDK95C’s BS-98 4K multiformat base station. The cameras’ SMPTE-fiber transmission capabilities UNC to transmit at highest quality over long distances, with the control room often situated as much as a mile from the venue.
ortable-power and lighting-services provider ID has grown considerably, with broadcast, film, television, automated-lighting, and specialevents departments. ID’s broadcast division has been a major part of the company’s growth, providing redundant power as well as lighting and crew to multiple events around the country and abroad. The company offers many solutions for remote productions: tractors with twin-pack gen sets and 48-ft. trailers for transporting production equipment. This fall, ID launched its newest UPS system designed to work with shore power with an integrated backup twin-pack gen set.
Image Video continues to dominate its market niche by providing the most capable and diverse control tools to the broadcast sector. Since 1974, it has been dedicated to quality, affordability, and end-user support in design and manufacture of professional video systems for broadcast installations around the world. 2017 has been an astounding success, with the company’s systems dominating sports-venue, network, and remote-production applications worldwide. With the release of the new LCP-16 Control Panel, it is well-positioned to take on the next set of challenges facing broadcast engineers and to ultimately provide world-class solutions.
t IBC2017 (Stand 14.B27), Imagen will be showcasing the latest release of its awardwinning sports-video platform. The latest version of Imagen contains a number of new features that deliver an optimized experience for content owners who need to professionally manage their media and adapt to the demands of the marketplace more quickly. The new Imagen Media Logger tool makes the process of creating consistent, high-quality annotations simple and fast. Simply click or tap away on a grid of predefined keywords, emojis, chapters, phrases, and participants to generate rich, searchable shot-list metadata at lightening speed. Logging uses a predefined grid of keywords or phrases that can be customized and arranged and saved as layouts. Imagen Media Logger ships with a range of example grids to get you started.
magine Communications provides broadcasters and other media companies the technology to deliver iconic sports moments to mass audiences. The company is at the epicenter of the seamless transformation of live-production facil-
ities to hybrid SDI/IP and pure IP and is ushering in a new generation of production trucks — enabled by its routing, processing, and multiviewer solutions — that are capable of adapting to the evolving content-consumption requirements of sports enthusiasts for years to come. Some of the world’s largest and most influential live-production companies — BBC Studioworks, Gearhouse Broadcast, NEP, tpc, TV Globo — are turning to Imagine Communications for assistance with the broadcasting and streaming of local and international sports events. The company recently introduced the Selenio Network Processor (SNP), an all-IP–capable processing solution optimized for handling uncompressed UHD signals based on the SMPTE ST 2110 specification for transporting media over IP networks.
MS Productions is a leader in full-service video production, postproduction, satellite services, studio rentals, and mobile production. Reliability, personalized service, and the ability to cover every facet of the production process continues to drive the company’s client diversification as well retention. Its Content Division brought home 11 2017 Telly Awards spanning a wide range of disciplines, skills, and content: editing, cinematography, sound design, documentary, event promotion, and sports. In 2017, IMS Productions became responsible for ESPN International’s coverage of the Verizon Indy Car Series. Content enhancements to the world feed international production included addition of real-time telemetry, redesign of the onscreen data ticker, and inclusion of dual-path in-car cameras on screen.
or decades, IMT and Vislink have been at the forefront of providing advanced videotransmission technology for use in professional, scholastic, and amateur live sports broadcasting. In 2017, this has continued, with their solutions featured at a number of high-profile sports events around the world. IMT and Vislink will be jointly displaying a number of new products and technologies at IBC2017 (Stand 1.A69). Among the solutions they will feature with special application for the sports-production market will be a range of award-winning wireless-camera systems (including the world’s first 4K UHD systems with low-latency HEVC compression), drone-ready miniaturized transmitters, fixed-link systems supporting the ATSC 3.0 transition, and ActionCam body-worn video technology.
INTEGRATED MEDIA TECHNOLOGIES
roadcasters are continually challenged to deliver quick and reliable coverage from unpredictable locations every day. In response to the changing dynamics of the broadcast industry, Intelsat developed IntelsatOne Prism, an IP-media satellite platform that uses two-way VSAT technology to contribute and share video with network affiliates while simultaneously establishing voice, data, and internet connectivity using the same dedicated satellite capacity. To further enhance Intelsat’s satellite-based IP services, the company recently partnered with Dejero to deliver a new, IP network-blending solution that will improve connectivity, reliability, simplicity, and flexibility for broadcasters. Dejero CellSat is a highly reliable remote-broadcasting platform that blends Intelsat’s Ku-band IP satellite and cellular-network bandwidth to transmit reliable, broadcast-quality video in real time.
nterxion continues to build its leadership position in delivering fan experiences as sports transition from broadcast to OTT. The company’s pedigree of providing OTT-distribution infrastructure to the world’s largest media companies is being shared with the world’s largest sports organizations to enable them to deliver at scale. Several locations across the company’s highly connected infrastructure are proving instrumental in reaching larger audiences. Interxion is also providing a highly connected infrastructure that is enabling development of virtual production centers for several large sports events.
rdeto is at the forefront of solving piracy challenges in live sports production and will be showcasing its approach to combating piracy at IBC2017 (Stand 1.D51). Irdeto identifies and stops pirated streams in real time through specialized knowledge and technology. Sports networks, premium channels and associations like MLB Advanced Media and Premier League partner with Irdeto to protect their valuable content. An intelligence-driven approach with a 360-degree view of the issues is essential to combat piracy of live sports content. Sports broadcasters are also embracing watermarking to identify the source of pirated content. When combined with piracy-control services, it is an essential part of any anti-piracy program.
MT employs a highly skilled staff of engineers and project-management and workflow specialists who provide scalable technology solutions for business operations within the sports-broadcast industry. The company’s clients include sports networks, leagues, teams, and broadcast organizations. Its work affects virtually every aspect of an organization’s operations and future multimedia ROI opportunities. IMT collaborates with clients to design, build, implement, and deploy state-of-the-art filebased workflows. These workflows allow broadcastand sports-operations personnel, including editorial, graphics, and postproduction teams to share and archive content.
eading sports brands choose iStreamPlanet, a subsidiary of Turner Broadcasting System, to distribute premium live video content to audiences around the globe. iStreamPlanet delivered NCAA March Madness 2017 – the second-mostwatched in 23 years, averaging 10.827 million viewers (up 16% from last year) — with zero downtime. iStreamPlanet also delivered the 2017 PGA Championship in August. With more than 15 years in the industry, the company understands the complexities that arise from multiple systems integration. By backing the live-media supply chain with a unified suite of products and 24/7 support, iStreamPlanet delivers world-class experiences to fans.
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utting Edge Audio and Video Group worked closely with JB&A’s engineering experts to develop an efficient asset-management workflow, leveraging CatDV from Square Box Systems. The Drone Racing League’s business requirements included handling a large number of assets, both inhouse and around the world. The resulting CatDV workflows handled complex multicamera formats — including drones, truck feeds, and GoPros — while syncing with very complex file naming, folder structure, and metadata schema. This allowed the DRL team of producers the ability to work in the field to find, retrieve, catalog, tag, and review footage before the races had even finished.
oseph Electronics delivers sturdy, versatile fiber transport systems that can adapt to the conditions of any sports-broadcasting job. Of note this year: Tote Caddie Series for portable signal acquisition offers fast, operator-deployed, point-topoint fiber transport in a rugged, weather-resistant Pelican case for field crews working in harsh environments. Users can achieve the exact signal count they need by mixing and matching more than 12 available modules in nearly unlimited combinations. Truck Edition monitors, designed in collaboration with OSEE Americas exclusively for Joseph Electronics specifically for remote production, have no indication lights, name labels, or knobs in the front. They offer superior angle viewing, with a special locking mechanism on the 20-in. model that allows customers to tilt the monitor down and expose the rails. It’s available in 20- and 32in. models. Custom fiber assemblies and certified repairs for broadcast are Joseph Electronics’ specialty. Neutrik opticalCON- and LEMO SMPTEcertified fiber technicians can quickly fabricate assemblies and breakout cables using products from premium cable manufacturers.
VC offers its ProHD Bridge systems for bonded cellular access to the internet for web and at-home productions, as well as two cameras specifically designed for sports production and sports coaching. For single-camera sports coverage, the GY-HM200SP streaming camera features embedded graphics that produce real-time score overlays on recorded or streamed HD video output. New full-screen graphic overlays allow opening and closing graphics, as well as advertising slideshows during extended breaks. With the GY-HM200SP, one person can shoot, insert graphics, record, and stream directly from the camera. When paired with the Sportzcast Scorebot scoreboard interface, the GY-HM200SP automatically transfers scores and game information to the camera and eliminates manual input. To improve coaching video workflows built around the XOS Thunder HD system, the GY-HM660SC ProHD camera with built-in GPS retrieves coordinated universal time via satellite and embeds a real-time reference within the video metadata. As a result,
multiple cameras and biometric data collected by player-tracking devices can be synchronized.
aufman provides satellite- and fiber-transmission, live-studio, production, postproduction, and consulting services. For three decades, the company has supplied television-production services to the U.S. Midwest. Centrally located in St. Louis, the company’s HD satellite trucks and engineers travel throughout the region covering sports, breaking news, politics, and corporate events.
KMH AUDIO-VIDEO INTEGRATION
MH is a full-service systems integrator providing end-to-end solutions to both broadcast and postproduction environments in the professional-sports, retail, financial, and education business segments. The company’s technical experts deliver high-quality, personalized service coupled with broad flexibility in diverse business environments. KMH offers solutions in turnkey, file-based workflow for digital-asset management, project planning/management, architectural design and engineering integration, staging, programming/testing, commissioning, maintenance/support, and systems specification. KMH has strong partnerships with the leading vendors in the high-tech and audio/video spaces. Its clients include the New York Giants and New York Red Bulls, the Philadelphia Union, and other Major League Soccer teams.
awo’s Broadcast 3.0 initiative supports fully IP-based live sports and entertainment production. Notable projects include NEP Australia’s new IP-enabled production Hubs in Sydney and Melbourne, which enable multiple concurrent remote productions and will be the world’s largest networked broadcast centers. Based on an IP core, the Hubs will allow remote, distributed production: cameras and microphones will be located at the venue, with the majority of the production team based at the Hubs. Along with the new software-defined V_matrix platform, NEP has also committed to the new mc296 audio console for six control rooms and four mc256 audio consoles for the new IP-based production trucks. With up to 16 4K/HD cameras, six additional inputs for RF cameras, a full 4K monitor wall — the first in the U.S. — Columbus is Gearhouse Broadcast USA’s newest mobile production unit and one of the most technologically sophisticated on the road. Operating fully in 4K with flexibility to serve both 4K and HD large sports and entertainment productions, it relies on the advanced control logic of Lawo’s VSM system plus a powerful and flexible audio section using an mc256 digital audio console and V__pro8 video-processing equipment also from Lawo. The V__matrix all-IP platform with routing, processing, and multiviewer functionality based on software-defined virtual modules, Virtual Studio
SPORTSTECHJOURNAL / FALL 2017
Manager (VSM), SOUL (seamless orchestration and unification layer) and The WALL multiviewer-control and monitoring solutions, and the new mc296 Grand production console will all be on display at IBC2017 (Stand 8.B50).
new option for Leader Instruments’ LV5333 will allow the monitor to evaluate HD HDR. This feature can be added to its LV5333 with the addition of the LV5333SER02 HD HDR option. The LV5333SER02 option is simply a license that can be installed on a new or previously purchased LV5333. Using the LV5333 picture display, you can easily see if HDR is present and where, by the use of color on the picture. An HDR scale is added to the waveform display, making it easy to check HDR levels. HDR Standards: supports HLG (hybrid log gamma), SMPTE ST 2084 PQ (perceptual quantization) and S-Log 3; future support for C-Log and Log-C. HDR CINEZONE: enables the user to check for HDR content easily by identifying the SDR range in monochrome and the HDR range in color. HDR Scale: Separate HDR scales for each HDR standard.
LEVEL 3 COMMUNICATIONS
evel 3 has the global reach and the ability to quickly scale, and securely support video, data, voice, and IP applications for various scenarios, be it for live or near-live environments. If the delivery of pixel-perfect video to consumers across every platform is key to your business, whether it is traditional linear broadcast or the now commonplace OTT offering, then surely trusting in a facilitiesbased provider that can offer enterprise-grade support for all aspects of the process would be the right choice. Level 3 is strengthening its relationships with venue owners while investing in that key first-mile connection to venues using fiber to help ensure a robust level of control across the endto-end delivery of high-value live-sports-video assets. In an ever-converging networked world, Level 3 is a trusted, reliable, and responsive provider to major broadcasters and content owners around the world. With a network that allows connectivity directly to your facility, Level 3 can help provide you with more ways to create while giving your customers more ways to consume.
LH COMPUTER SERVICES
H is a reseller specializing in video-storage solutions for the M&E marketplace, including professional and collegiate sports. It 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 proven file systems, optimized for video, in an end-toend solution from ingest to archive, and designed for performance from the ground up and built on the foundation of providing high-performance collaboration to leading broadcast organizations.
Everything you need to
Create extraordinary Sports Production
VER is your global resource for Production Equipment, Support and Creative Solutions Custom fly-pack systems • Managed services • Modular, production-designed control room systems • Customizable mobile trucks • 4K cameras and replay servers • Systems design and integration • 24/7/365 global tech support •
iveLike gives viewers the opportunity to watch sports in live virtual reality from a “private suite” that mimics a real VIP-suite experience, complete with additional feeds, statistics, and a Jumbotron showing the game’s TV broadcast. With a flexible technology platform and device-agnostic approach, LiveLike is able to create tailored mobile experiences for Gear VR, Google Cardboard, and more. The company is the provider of the Fox Sports VR (NCAA Football, Copa America Centanario, MLS) experience. It has already broadcast games in partnership with Sky Sports (English Premier League games), Roland Garros (French Open tennis), Manchester City (vs. Arsenal), Sky Germany (Bundesliga), and El Clasico.
ustin, TX-based L2 Productions recently adopted a LiveU at-home production model to drive even more high-quality live sports broadcasts at a fraction of the costs of a traditional remote production. Instead of using an onsite production truck or satellite truck, L2 needed to send only camera operators equipped with LiveU portable transmission units to an event; back at the studio, the director, technical director, producer, graphics designer, replay operators, and primary audio operator created the finished production. LiveU at-home production helped L2 cover track and field, golf, and rugby tournaments that would have otherwise been impossible to produce given cabling, bandwidth, and resource limitations.
LTN GLOBAL COMMUNICATIONS
TN has revolutionized the video-transport industry with an innovative, IP-based live–video-delivery service that has been widely adopted in the industry. LTN can allow you to transmit or receive both MPEG transport streams and any desired streaming format (HLS, RTMP, MPEG DASH, etc.). LTN has developed a fully managed, resilient network that uses the global reach and compelling economics of the internet to transport high-quality live video with five-9’s reliability and low latency to both broadcast and digital entities. The meshed design of the LTN network backbone breaks down the barriers of traditional transmission methods and allows content to move freely across the globe.
yon Video provides mobile television-production facilities, equipment, technical management, and crewing for a wide variety of sports and event clients. Its recent investment in UHD and high-speed image capture equipment continues with deployed of EVS XT4K servers, Fujinon UHD lens, and UHD/highspeed Grass Valley camera equipment. Additional investments in fiber audio- and video-transport equipment are highly advantageous for its customers. Lyon Video has found that more and more clients are looking for UHD content, especially for sports and entertainment, where differentiation is key. Content
production is in a transition period, which means that Lyon Video often needs to provide multiple HD formats for multiple clients and now even the option to produce UHD content.
arkertek offers a complete lineup of 12G/4K infrastructure solutions designed to support the future-ready needs of stadium, arena, and remote sports production. Custom SMPTE, opticalCON, and tactical fiber assemblies are a Markertek specialty. Additional services include custom rack-panel and fieldbox fabrication as well as traditional media cabling. This single-source offering of end-to-end custom interface solutions allows always-on-air confidence. Markertek is now 100% employee-owned through an employee stock-ownership program. This added incentive becomes a win-win as customers directly benefit from a job well done through timely service and product delivery.
asstech Innovations, combining Masstech and SGL, provides solutions for managing the lifecycle of valuable media assets. At IBC2017 (Stand 7.J15A), the company will showcase its combined innovations and expertise. With expanded cloud support, FlashNet can now use Amazon’s S3 and Glacier storage as archiving destinations. In addition to its S3 support, MassStore itself can be hosted in the cloud. An enhanced FlashNet Infinity user interface features Navigator, providing a visual-file-explorer view of archived assets; Disk Explorer, enabling easy archive of files and folders; Verify, validating the presence of archived content and identifying assets to be updated from disk. Among newsroomintegration advances, MassStore aligns with MOS standards, and a redesigned plug-in for third-party newsroom computer systems is based on HTML5 and provides media management, advanced searching, and embedded-video manipulation. Extended FlashNet storage-platform and format support includes integration with Sony’s second-generation Optical Disc Archive system, the ability to read and process AXF objects, and DPX format support. For automated metadata creation, new MassStore features make stored content easier to find and sort, speech-to-text capabilities convert dialogue within media clips to indexed text, and intelligent metadata extraction creates structured metadata from freeform documents.
easure is a Drone as a Service company, providing drone video solutions to enterprise customers. The company has pioneered drone applications in telecom, construction, energy, disaster response, and media and entertainment and is bringing its capabilities to sports broadcasting. Measure has drone solutions for live broadcasting, recorded content, VR, 3D mapping, custom activations, performances, and more. The company leverages its highly trained pilots and experienced camera operators to execute projects in a safe, legal, and insured manner.
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edia Links offers broadcasters and network providers technology solutions for missioncritical transport of the highest-quality content across multiservice IP/Ethernet networks. Its products are used for the world’s most-watched sports events, such as the 2017 FIFA Confederations Cup in Russia and the 2018 Pyeongchang Winter Olympics. New products this year offer solutions for at-home/remote production and other sports-specific applications. These include the MDP 3020 IP media gateway for the network edge and several line modules for the MD8000 platform, including eight-port GbE and 10GbE hitless data for real-time media flows, 4K HDR video processing, single-stream JPEG 2000 compression, and 64-audio-channel MADI support.
etrovision has been offering domestic and international clients a full spectrum of mobile production, mobile satellite transmission, flypacks, IP media, and event-presentation services across North America since 1988. Besides providing a fleet of mobile units and an extensive equipment inventory, Metrovision takes a turnkey, solutions-driven approach, combining technical expertise with strong commitment to customer service.
icrosoft is a leading platform and productivity company for the mobile-first, cloud-first world, and its mission is to empower every person and every organization on the planet to achieve more. Microsoft Azure is a growing collection of integrated cloud services that developers and IT professionals use to build, deploy, and manage applications through a global network of datacenters. With Azure, you get the freedom to build and deploy wherever you want, using the tools, applications, and frameworks of your choice.
MOBILE TV GROUP
TVG continues to make advances in production technology and efficiency around 4K HDR, super-slo-mo, and the future of mobile productions. Thanks to numerous live 4K HDR sports and entertainment events combined with in-house research, the company has developed procedures to maximize picture quality without changing production workflow. Each of the 35 mobile units in MTVG’s fleet has at least two 6X cameras on board. HDR-capable mobile units now carry the EVS XT4K server, creating a new standard. MTVG has just launched 42 FLEX/42 VMU, another doubleexpando two-trailer dual-feed mobile unit, with four super-slo-mo cameras.
MOEBAM! VENUE MEDIA SERVICES
OEBAM! provides expert IPTV and digitalsignage consulting support to the sports- and entertainment-venue industry. Recent projects include working with Imagine Communications on
the launch of a 1,000+-display IPTV system for Rogers Place, home of the Edmonton Oilers. In addition, the company provided IPTV launch support for the 2016 NFL season at Levi’s Stadium.
PE provides video solutions for mission-critical postproduction for sports events across America. The company ensures that its fly kits are rock solid before they ship to your site. MPE packs items with care and provides spares because folks in the field need contingency plans. If things start to unravel midgame, you can bring MPE in off the bench to get them under control. What does “postproduction video rentals” mean? To keep it simple, think Avid Composer, Adobe Premiere, shared-storage networks, and tech support. With a vast inventory, MPE can equip any situation and fit within any footprint.
ultiDyne is expanding its versatile and economical LightBrix range of compact, rugged fiber transport products. In live sports production, fixed and mobile production teams have two new options: the VB-3600 Series and the VB-3800 Series. Both are shipping and available. The VB-3600 Series comprises eight products that mix and match to meet a variety of signal-connection needs across video, audio, and data, as well as other needs, including Ethernet and control. At the top of the range, the VB-3607 provides a cost-effective solution for transmission of quad-link 4K video or four 3-Gbps, HD/ SD/ ASI signal paths over one single-mode fiberoptic cable. The VB-3600 provides added value for production teams requiring interoperability with openGear products. The VB-3800 Series is designed to meet the ever changing camera configurations for field production. VB-3800 Series products can be mounted and adapted to box cameras and robotic PTZ heads and transport a full complement of multichannel camera signals, including 4K quad link, and optional power supply.
X1 offers sports organizations a complete range of media and video services at a global scale. Every day, MX1 distributes more than 500 hours of premium live sports and events coverage as part of a workload that also comprises distribution of 2,750 TV channels and delivery of 8,000 hours of streaming video to clients worldwide. The company’s end-to-end media-service platform, MX1 360, allows sports organizations to manage, deliver, and monetize their content from one centralized service platform. With enhanced functionality to be unveiled at IBC2017 (Stand 1.B24), MX1 360 is being used by sports organizations for fast turnaround of live highlight production from multiple games. Offering integration with thirdparty technologies and sports-data providers, MX1 360 makes it easy to provide on-the-fly, highlevel highlights of football matches packaged with data and statistical information, all produced via a cloud-based, remote-friendly workflow.
ational TeleConsultants provides comprehensive advisory and technology services for a wide range of media enterprises, including
sports, news, and general-entertainment channels. NTC’s experience spans multiple disciplines, with practical subject-matter expertise in supply-chain management for acquisition, production operations, asset management, cloud/virtualization, distribution, cybersecurity, and much more. Some of NTC’s recent engagements include a cloud and virtual-playout consultation for a domestic and international multichannel programmer, and infrastructure design for an IP-based, MPVD OTT multiplatform service.
or more than 10 years, Neoti has remained at the forefront of the display industry through a combination of cutting-edge product offerings, custom and creative installation designs, and an dedication to its customers. With a variety of technologically advanced display products for both rent and sale, including the fine-pixel-pitch Ace Block series (0.9-2.5 mm), Neoti is prepared to meet the demanding needs of the sports-broadcast community. Whether you want to build a customsize seamless LED display for your set or need to rent road-ready equipment for a live broadcast, Neoti’s team of technicians are ready to offer their years of expertise. The company will go beyond just setting you up with the right equipment and will work with your organization to brainstorm, spec, develop, and implement a display system designed from the ground up to help you stand out. For instance, Neoti recently updated the studio of a nationally broadcast daily morning show by seamlessly integrating two large HD LED displays using 1.5-mm–pixel-pitch Ace Block panels.
or more than 30 years, NEP Group has been the leading production partner supporting premier content producers across the broadcast and event industries — and across the globe. The company provides the technology and know-how to support the most prestigious sports, entertainment, music, and corporate events worldwide. The company will highlight its latest innovations, including augmented-reality and media solutions, at IBC2017 (Stand 14.A30). From being onsite with clients to equipping them to work in the cloud, NEP makes it faster, simpler, and more efficient to get content in front of consumers, on any device, anywhere in the world. Stop by the booth to see augmented reality, sports clipping, premium playout, automated ingest, media-asset management, content delivery, and intuitive systems monitoring in action. Representatives from NEP’s offices will be on hand to discuss these services and more.
t IBC2017 (Stand 1.B40), Net Insight will showcase how its glass-to-glass offerings — including the future of Media Networks, Connector Marketplace, and Sye True Live OTT — are driving business collaboration to bring new levels of engagement to the global media market. With Net Insight Media Fabric, operators can deploy services quickly, automate workflows, and transport a mix of services and formats — without compromising on quality. Net Insight’s Connector Marketplace is a global, cloud-based media marketplace allowing participants to easily exchange services, connectivity (both satellite
and terrestrial), inventory, and resources with the entire media industry in real time through a pay-per-use model. Sye enables live content to be streamed with ultra-low latency and frameaccurate synchronization across devices.
euLion provides digital-video broadcasting, distribution, and monetization of live and on-demand sports and entertainment content to any connected device. As an end-to-end video solution, the NeuLion Digital Platform simplifies the digital-video workflow and provides all the tools you need to get your content into consumers’ hands quickly and easily, ensuring that they will be loyal, long-lasting customers. The NeuLion Digital Platform helps broadcasters, operators, sports rightsholders, and media companies build, deliver, and grow their digital businesses with stunning video and personalized, interactive experiences across any screen. At IBC2017 (Stand 14.F34), NeuLion will be demonstrating its latest technology features and enhancements — content protection, OTT personalization, live sports delivery, SVOD success stories, 4K and HDR delivery, and marketing and real-time analytics — and will offer live demonstrations of NeuLion-powered services.
eutrik is a leader in connectivity solutions for the professional AVL and broadcast markets. In addition to its screwless XLR cable connectors, the company is the inventor of powerCON, etherCON, speakON, opticalCON, combo ¼-in., XLR chassis connectors, the D-size flange, rearTWIST BNC connectors, the XIRIUM PRO uncompressed wireless audio system, and dozens of other innovations. Neutrik’s extensive product line includes ¼-in. plugs and jacks; ProFi RCA cable connectors; 3.5-mm plugs; etherCON Cat 5, Cat 6, and Cat 6A; opticalCON DUO, QUAD, MTP12, and MTP24; the new 10-pin XLR connectors; and hundreds of other innovative products designed specifically for target markets and applications. All Neutrik products are manufactured to the highest standards in the company’s own worldclass manufacturing facilities.
t IBC2017 (Stand 1.B71), Nevion will demonstrate a range of new features delivered as software updates for its flagship products: VideoIPath, management and orchestration software, and Virtuoso, the software-defined media-node platform; both are widely used for live sports coverage. These updates are designed to deliver the convergence required by broadcasters as IP blurs the distinction between the local area networks (LANs) being deployed in their facilities and wide area networks (WANs) used for contribution, remote production, and distribution. VideoIPath allows non-expert users to easily set up connection and processing workflows, on demand or scheduled, within and across locations without any need to understand the intricacies of the underlying network. It also provides comprehensive service monitoring and correlation. Virtuoso’s configurable and upgradable software-based capabilities include IP adaptation, video compression (J2K, H.264, TICO), transport protection, A/V processing, TS processing, and monitoring.
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s a leader in IP video technology, NewTek is transforming the way people create content and share it with the world. This year, NewTek introduced the first affordable and most complete 4K IP video-production system: based on softwaredriven video technology, TriCaster TC1 provides uncompromising support for 4K UHD, 3G, and HD switching, streaming, recording, playback, and replay, along with Skype TX video calling and realtime social-media publishing. And, with native integration of NDI, NewTek’s innovative Network Device Interface technology, TriCaster TC1 connects to the most prolific IP-based workflow in the industry. Building on the continued momentum and widespread adoption of its royalty-free standard, NewTek recently announced NDI version 3. Highlighted by multicast support, PTZ acquisition and control, and a high-efficiency mode suitable for wireless and long-distance transmission, NDI version 3 is embedded in NewTek products, including the new NDI PTZ camera and Connect Spark converters.
extVR is a leading virtual-reality platform for delivering sports and music live in virtual reality to fans globally. The company has multiple patented technologies that deliver an unparalleled virtual-reality experience, providing fans extraordinary access and immersion. It has world-class partnerships with leaders in sports and entertainment, including the NFL, NBA, Fox Sports, Live Nation, and the International Champions Cup. NextVR was founded by industry leaders with decades of experience in 3D stereoscopic imaging, compression technology, and VR broadcasting.
NILES MEDIA GROUP
iles Media Group has announced the latest university addition to its fast-growing new business unit, Niles Support. NCAA Division I Southern Illinois University (SIU) – Carbondale has entered into a dynamic partnership with Niles Support to provide year-round production, engineering, and technical support for the school’s production operation, which covers more than 70 athletic events annually, distributing them nationally and internationally across ESPN3. Niles Support service comes at a fraction of the cost of hiring additional employees or contractors. SIU takes the entire suite of Niles Support services: onsite support, virtual engineering, and operations, Niles Connect, Niles Audio, and full HD recording and archiving.
okia OZO+’s design for VR was expertly crafted specifically to support and enable the global community of professional VR creators who want to make emotional connections with audiences through empathy and the most immersive experience imaginable. More than just a camera, OZO’s innovative features, software, and technologies (OZO Creator, OZO Audio, and the OZO Player SDK) sim-
plify the complexities of production from end to end while delivering professional-grade performance, reliability, and ease of use to greatly enhance creative capabilities and control. With OZO Live, professionals can broadcast immersive large-scale events live in real-time VR with unprecedented ease, reliability, and quality. OZO Live delivers scalable flexibility, fitting into any 4K-broadcast workflow to deliver premium compelling 360 video and spatial-audio experiences at scale.
TT Electronics develops and supplies LSI devices and equipment incorporating superior, state-of-the-art technology for video processing and communications. Using an in-house ASIC, HC11000 Series is NTT Electronics’ 4:2:2 10-bit HEVC multichannel and 4K HDR real-time encoder. It has the capability to transmit broadcast-quality video images in low bitrate, low latency with low power consumption. HC11000 has the scalable capability from SD to HD and to 4K/60p. HC11000 series offers the necessary functions as well as the promising stability for the Olympics, World Cup, and other worldclass sports events. At IBC2017 (Stand 2.C58), NTT will exhibit the multichannel and 4K decoded images using its real-time encoder and decoder to demonstrate high picture quality. Visitors will also be able to see both 1RU full (HC11000) and halfrack (HC10000) configurations.
hen Optical Cable Corp. established reputation as a pioneer in fiber-optic cable more than 35 years ago, the company made a commitment to quality, performance, and service. OCC was one of the first fiber-optic–cable manufacturers to provide military-grade tactical cable for field broadcast applications, such as PGA events and the Olympics. The wide use of HD video, emergence of 4K and 8K ultra-high broadcast standards, and increasing popularity in the audio/video sector are placing greater demands on data-transmission systems. Fiber-optic technology — with its ability to deliver digital, high-bandwidth, and low–signalloss streams — provides an ideal solution for coping with those demands. In a fast-paced industry like broadcasting, OCC’s hallmark rugged cables, connectivity, and end-to-end solutions are known to stand up and deliver even in the most intense broadcast environments.
racle provides content-storage–management solutions for preserving, managing, and protecting media content. Oracle’s Content Storage Management solutions provide smart storage and easy access to assets. Additionally, the company has created the first-ever media-grade private-cloud CSM solution.
anasas unleashes creativity for sports production with ActiveStor performance scale-out
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NAS, offering enterprise-grade data protection and reliability in addition to exceptional ease of installation and management. ActiveStor fits into existing production environments whether you use Linux, Mac, or Windows clients and supports leading MAM solutions and production workflows. At IBC2017 (7.J31), Panasas will demo a production-to-post-to-delivery solution featuring the Panasas DirectFlow for Mac parallel-access protocol for creative editorial, alongside asset search, organization, and media transcode tools using DirectFlow for Linux. Compute clients with DirectFlow can access ActiveStor directly and in parallel, resulting in SAN-like performance that cannot be achieved with industry-standard protocols NFS and SMB.
PANASONIC MEDIA ENTERTAINMENT
incoln Financial Field, home of the Philadelphia Eagles, is the first major stadium to install Panasonic’s Everest Network Solutions. Introduced in April, Everest is the first WiFi solution engineered from the ground up to overcome the challenges of serving thousands of people simultaneously in ultra-high-density environments. Compared with traditional WiFi solutions, Everest offers five times the throughput from five times the distance and 13 times more engagements per access point (AP). That means Everest requires about 75% fewer APs than conventional systems and is less expensive.
CCW Global is the international operating division of HKT, Hong Kong’s premier telecommunications-service provider, which is majority-owned by PCCW Ltd. Covering more than 3,000 cities and 150 countries, the PCCW Global network supports a portfolio of integrated global communications solutions: Ethernet, IP, fiber and satellite transmission solutions, international voice and VoIPX services, managed network and security services and the company’s expanding “as-aservice” solutions, including OTT video and unified communications.
he professional intercom division of CoachComm, Pliant Technologies is well-known for its Tempest wireless intercom system, which is used daily in more than 40 countries in such industries as broadcast, live sound, theater, theme park, event management, and maritime, as well as in many other applications. CrewCom, Pliant’s newest product line, is based on a totally new technology platform that offers the high user density, unparalleled range, and scalability. It is based on a proprietary network-technology platform that offers excellent voice quality; the industry’s smallest fully featured, full-duplex wireless radio packs; multiple simultaneous frequency bands; and many advanced user features. CrewCom is designed to handle any application from simple out-of-thebox solutions to large-scale designs for live sound, broadcast, and industrial environments.
anken designs products for studio and location recording. The company’s lavalier microphones have become a de facto standard for broadcast, film, and theater. Ultra-miniature and boasting the original “vertical diaphragm” design, the COS-11D is easy to conceal and provides a full 20-Hz–20kHz natural sonic spectrum. Shotgun microphones are a mainstay of field recording, and Sanken has designed a line to meet virtually every need. The CSR-2 is a highly directional, long-reach shotgun microphone with switchable rear rejection. The CS-3e is truly directional: excellent side rejection captures the targeted dialogue with the absolute minimum ambient reverberation. Along with the CSS-5, the first stereo shotgun, Sanken now offers the CSS-50, a smaller, more cost-effective stereo shotgun providing the same versatile three modes of operation as the CSS-5.
RG is a leader in entertainment and event production, specializing in wide-ranging solutions that help bring the world’s greatest creative visions to life. From its early innovations in theater, PRG’s expertise is now sought out the world over to solve the production challenges for a broad range of markets, including live music, corporate events, film and television, theater, and scenic installations. PRG aims to provide personalized, one-onone service, but each production is also supported by a behind-the-scenes network of highly skilled technicians, engineers, and innovators.
providers, as well as the latest advances in IP capture workflows. Primestream will also showcase Xchange Workspaces, a new module for easily building and customizing the graphical user interface (GUI) based on the different ways people work.
roductionHUB is the global network of local crew and vendors, for all your production needs — from corporate media and live events to film, television, digital media, and everything in between. The company reduces the headaches and uncertainty associated with hiring in this extremely specialized industry by connecting you to the best-vetted, professional content creators and vendors to bring your project to life.
solutions for live television, has assumed full operation and control of the Pittsburgh International Teleport, now called the PSSI International Teleport (PIT). Included in the acquisition is the Pittsburgh Videotech Center, a state-of-the-art, full-service studio with domestic and international connectivity. The acquisition adds further depth and breadth to PSSI Global Services’ already expansive capabilities and assets. In addition to the PIT, PSSI Global Services owns and operates a fleet of more than 50 uplink/production trucks, as well as international flyaway systems. The company offers 24/7 service worldwide and specializes in multipath transmissions, at-home productions, 4K transmissions, international and domestic programming distribution, IP services, live-television production, and more.
PROFESSIONAL WIRELESS SYSTEMS
WS is an established leader in the development and implementation of wireless technology, as well as specializing in creation of innovative gear for the increasing demands of RF equipment. In addition, PWS is well-versed in sports broadcasts, having supported various high-profile sportsrelated projects, such as the Super Bowl. Over the summer, PWS provided the golf-hole mics to Fox Sports for all three U.S. Open golf championships. With the latest FCC auction, the current goal for PWS is to assist clients in moving their equipment from the 600s down into the lower UHF spectrum. To see how your city will be affected, use the interactive Spectrum Map on the PWS website.
PRIME FOCUS TECHNOLOGIES
FT’s flagship product, CLEAR, is a proven hybrid cloud-enabled media ERP suite that helps M&E companies automate the content supply chain. At IBC2017 (Stand 7.B12), PFT will showcase the latest additions and upgrades to CLEAR: Promo Operations, end-to-end business-process orchestration for promo creation, including versioning automation; DAX Production Cloud, ONE software for dailies and post workflows; Interoperable Master Format (IMF), IMF player for playback over streaming proxy; and Mastering Automation, an efficient and cost-effective solution for domestic and international syndication.
t IBC2017 (7.D21), Primestream will demonstrate the next generation of its Dynamic Media Management platform. The new platform is built for ease of use with powerful features needed to manage even the most complex sports, enterprise, and broadcast workflows — from capture through delivery. For the first time in Europe, Primestream will highlight new versions of FORK and Xchange, loaded with an enhanced user experience, 4K UHD workflow, VR/360-asset management, web-based metadata tagging, an updated Adobe Premiere Pro extension panel with project-centric workflows, and powerful archival workflows for storing and restoring media from leading object-based storage
hen you’re in the broadcasting business, you need to cover every angle: both the action on the field and what’s happening on the other end of the lens. You need to find a crew. Organize invoicing and travel costs. Navigate labor rules and rate cards. Luckily, Program Productions has a solution: the new ProCrewz premier data-management platform for the event and broadcasting businesses. The totally revamped software is simple to use, sleekly designed, and custom-built for standardized, streamlined service to staff and clients. The robust interface is reliable and instant, allowing you to view upcoming jobs, post files, keep track of invoices, contact the crew, and keep everyone in the loop.
roshow Broadcast is a mobile–production-unit provider, offering six HD units. The company’s flagship truck Maestro features a full-length curbside expando to allow seating for eight people in production and five people in tape. In addition to providing traditional production trucks, Proshow also specializes in designing and providing purpose- built mobile facilities for the growing athome production methodology.
s of 2017, PSSI Global Services, a leader in broadcast engineering and event-management
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ualcomm is a leader in 3G, 4G, and next-generation wireless technologies. Qualcomm Inc. includes Qualcomm’s licensing business, QTL, and the vast majority of its patent portfolio. Qualcomm Technologies, a subsidiary of Qualcomm Inc., operates, along with its subsidiaries, substantially all of Qualcomm’s engineering, research, and development functions and substantially all of its products and services businesses.
t IBC2017 (Stand 7.B27), Quantum will showcase StorNext 6, a major new release of its acclaimed workflow storage platform that demonstrates its continued leadership in workflowoptimized storage. Quantum also will highlight its award-winning Xcellis solutions, recently enhanced with lab-validated 4K reference architectures for facilities of all sizes and including all-flash storage configurations that maximize performance for high-quality 4K streams. Features and capabilities within StorNext 6 and Xcellis give users greater control over storage performance across the entire facility, enable exceptional efficiency and productivity for 4K workflows, facilitate seamless access to content for geographically distributed creative teams, and simplify use across operating systems. Within the presentation theater on Quantum’s stand, the company will provide demonstrations of live multistream 4K and 8K color correction and editorial workflows. Showcasing the performance leadership of Xcellis and other Quantum storage systems, these demonstrations will give attendees a firsthand look at the remarkable performance levels that can be achieved with the optimal hardware configuration, supported by the StorNext platform.
uantum5X manufactures innovative wirelessmicrophone solutions for the sports broadcasting, TV- and film-production, and entertainment sectors. Q5X PlayerMics have long been a standard for NBA, NHL, MLB, NFL, and MLS, where “sounds of the game” audio clips enhance fan engagement. More recently, Q5X PlayerMics are also used in broadcasts of professional rugby,
tennis, and kabaddi. The long-life Q5X AquaMic transmitters (up to 20 hours run time) are buried in the field for MLB games, buried in the golf holes for PGA coverage, and mounted in the buoys for competitive rowing. These systems all use the Remote Control Audio System (RCAS), which provides remote control of on/off, frequency selection, mic gain, and output power, allowing longer than ever battery life and talent wear-times.
ainbow Broadband beams broadband services to customers in New York City commercial buildings over a hybrid fiber microwave network. The company built the network and owns it end to end and is the only company building a new carrier-class network in NYC. Rainbow sells customers packages of communication services: Internet access, digital phones, private lines, access to cloud computing, and network support.
aptor Vision is building an integrated solution-driven platform designed to enable livesports- and entertainment-production companies to know their customers better, serve them better, and allow sponsors to personalize marketing communication with fans. Raptor Vision will allow venues, leagues, sports teams, and promoters to take advantage of the proliferation, collection, and analysis of valuable data to enhanced viewer/fan experiences. In addition, Raptor Vision is offering a 360/VR solution in a box with clear deployment and execution support.
REALITY CHECK SYSTEMS
occer season kicked off in August, just as RCS was wrapping up two new LaunchPad integrations for major sports broadcasters in the UK and Germany. The networks use the touchscreen’s extensive feature set to bring fans more-compelling stories before, during, and after matches, with realtime analysis and dynamic data-driven graphics providing insight into viewers’ favorite teams and players. A versatile touchscreen graphics and analysis solution for sports, LaunchPad is powered by Foundation, RCS’s cloud data service, which automatically culls Opta’s soccer-match data, sorts and organizes the information, and makes it accessible via the touchscreen. Available in any language and easily transportable for remote events, LaunchPad helps leading networks and leagues — Univision Deportes, beIN Sports, SBS Discovery, and MBC Sports, among others — connect fans more closely to soccer. It integrates seamlessly with industrystandard tools, and each system arrives tailored to the client’s aesthetic.
iedel continues to be active with the standards organizations that are feverishly working to finalize IP standards. There are lots of questions still to be answered, and Riedel wants customers to know that it is here to help with this transition. MediorNet MicroN is software-enabled hardware that can play multiple roles in a facility, from simple links to decentralized routing to multiviewers. IBC2017 will see the launch of another app for MicroN, the new IP App. The MicroN IP App is based on SMPTE 2110 and creates a seamless
bridge between MediorNet networks and future IP networks. This bridge will include NMOS control (NMOS IS-04 and -05) for easy control and configuration. MultiViewer, launched in April at NAB 2017, is already in use on such projects as the ESC with NEP, U.S. golf with Telegenic, and Le Mans with AMP Visual. The MultiViewer app can take signals from the MediorNet ecosystem and output multiviewer screens that can be used locally or distributed back to the network. The user interface is drag-and-drop and all in a single view. And Bolero, Riedel’s DECT-based wireless intercom solution, continues to wow customers with its feature set and Artist integration.
ock-It Cargo is a world-class company in the specialty freight-forwarding and logistics industry. With more than 200 employees in 17 offices across the U.S. and around the world, RockIt can handle all international, time-sensitive, fragile, and complicated freight moves. Originally specializing in entertainment and events, Rock-It has expanded its business into many industries that need the same special care and personal attention that the music industry has depended on for 35 years.
oss Video’s relationship with the Atlanta Braves dates to 2009. When SunTrust Park was built, the team looked to Ross for the venue control room and also for LED-display control as well. The control room houses a Ross 8M/E Acuity production switcher, four-channel Abekas Mira production server, and two dual-channel XPression Studio Engines. For display control, Ross provided three single-channel XPression Engines, two dual-channel XPression Engines, an XPression Project Server, an XPression INcoder, and DashBoard servers. Ross provided commissioning and training services, as well as DashBoard device-control services. Ross Creative Services created control-room and display-control graphics packages and provided DashBoard panel development. Because the Braves production team wanted several mechanical devices throughout the park to be triggered, approximately 200 DashBoard buttons were programmed for controlling each device independently. These triggers were integrated into the game-day custom DashBoard panels. Taking smart production to a whole new level, 26 LED screens are controlled by custombuilt Ross DashBoard panels. In addition, there is DashBoard control for four high-pressure water fountains, one giant mechanical sign, the entire LED lighting system, the LED Tomahawk lighting fixture, audio playback, closed captioning, and automated emergency messaging. Come see Ross Sports venue solutions and its entire range of products at IBC2017 (Stand 11.C10).
T Software provides real-time broadcastgraphic solutions. The company’s product set spans CG, template-driven 2D and 3D graphic overlays, election and newsroom graphics, specialist sports graphics, and virtual studios. From its beginnings as an offshoot of the BBC 3D graphics department in 2004, it now has installs from
Iceland to New Zealand and includes the BBC, BT Sport, Fox Sports, NBC, Sky Sports and News in the UK, Australia, and New Zealand.
aunders Electric provides its Emmy Awardwinning mobile UPS power services to the livebroadcast industry, continuing its leadership in energy-saving systems. Receiving its second Engineering Emmy Award in 2016, Saunders continues its pursuit of excellence and provides the highestquality and most-reliable redundant power services for live sports and entertainment. In 2016, Saunders worked with the SEC Network to develop a small pod-size UPS system designed to redundantly power a production truck’s A and B units, uplink, and a small host stage from a 400A switch at location. Last football season, the SEC Network eliminated more than 1,369 hours of generator run time and 9,583 gallons of diesel fuel, with zero tail-pipe emissions, zero issues, and zero failures. Saunders’s fleet of UPS and paralleling generator options provides the ability to size systems to need and power availability.
cale Logic engineers and implements storage-centric solutions for broadcast, OTT, and video-production workflows. These solutions are designed specifically for customers requiring high-performance, highly reliable data storage and network infrastructure. Scale Logic’s value to customers is demonstrated by the range of products and related services it offers: from entry-level and mid-tier storage solutions to extended-warranty options for hardware across all aspects of mediadriven environments. Scale Logic has built its knowledge of the sports industry with such customers as Clemson University Athletics, Carolina Hurricanes, Minnesota Vikings, and Minnesota Timberwolves. At IBC2017 (Stand 7.H39), stop by and see the Genesis Hybrid, SSD powerhouse for editing uncompressed 4K content.
DTV (Satellite Digital Teleproductions) continues to be a leader in remote HD multicamera television production with satellite uplink. With the power of two-in-one remote production and MPEG-2/4 satellite uplink, SDTV offers solutions and mobile units capable of deploying in smaller areas and able to be struck quickly, saving time and money. SDTV stayed busy over the summer, working a variety of major soccer events in the San Diego area, including the Manchester City Cup for Diproma Broadcasting, the CONCACAF Gold Cup at Qualcomm Stadium for International Media Services (IMS), and the LA Galaxy-Manchester United friendly at StubHub Arena for ESPN. This fall, SDTV will continue to work its annual packed calendar of entertainment and sports events, including high school football and soccer.
t IBC2017 (Stand 8.D50), Sennheiser and Neumann will present audio solutions for all levels of media production. Differently themed areas of the stand reflect the bandwidth of today’s media production. Alongside the MKE 2 elements — the first waterproof microphone for the GoPro HERO4, which,
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SPONSORUPDATE paired with the action cam, creates spectacular YouTube videos — the highlights at show will range from interview microphones for mobile journalism, such as the HANDMIC DIGITAL and the wireless AVX, to the fully professional EK 6042 two-channel receiver for broadcast cameras. The portfolio of products on display is rounded off with shotgun microphones from the MKH series for film production, as well as wireless microphones from the Digital 9000, Digital 6000, 2000, and evolution wireless series.
ES’s end-to-end media-services platform, MX1 360, enables leading sports rightsholders, sports clubs and federations, broadcasters, and other content providers to manage, deliver, and monetize sports content from one centralized service platform, with full transparency and total control. Using the platform, content providers can easily distribute live sports productions via traditional delivery methods, such as satellite and the open internet; manage assets and metadata for rapid creation of sports highlights; and monitor live productions with multigame, multiscreen views for different regions, sports, and games. MX1’s IP solution and interface with MX1 360 offer a reliable, broadcast-quality, and secure method for distributing live sports events over the internet. SES supports point-to-point and point-to-multipoint content distribution of live sports productions, along with providing main or backup feeds for 24/7 TV channels. At IBC2017 (Stand 1.B51), SES will announce several new enhancements for the MX1 360 platform to simplify global distribution of sports video content.
hure designs and produces many high-quality professional-audio products that are well-suited for the demanding requirements of sports broadcasting and media production. From portable solutions and application-specific microphones and headsets to advanced wireless systems designed to tackle the toughest spectrum challenges, Shure products are a top choice whenever audio performance is a top priority. Shure’s diverse product line includes the Axient Wireless Management Network, Axient Digital, UHF-R wireless systems, FP wireless systems, PSM Personal Stereo Monitors, VP line of shotgun mics, KSM studio mics, SRH professional headphones, the BRH line of broadcast headsets, and MOTIV iOS recording solutions for mobile sports journalists.
t IBC2017 (Stand 14.L08), Signiant will extend its leadership in enterprise-class, accelerated file transfer with the newest version of its flagship product, Manager+Agents. Used by most of the world’s top media and entertainment companies, Manager+Agents enables automated, scheduled, system-to-system lights-out file movement. New capabilities include seamless integration with Signiant Flight, the company’s
engine for accelerated transfer of large files into and out of the cloud, and Signiant Media Shuttle, for system-to-person workflows via a new automation API.
implylive develops innovative solutions for the broadcast and digital industries. Its range of product offerings include the ViBox all-in-one production solution and ViBox Slomo replay server, the Ref&Box referee- and medical-review system, the MMR multi-destination digital USB recorders, and ingest and playback applications.
ixty AS empowers broadcasters, operators, and content owners to stand out in the rapidly changing, competitive world of multiplatform TV with solutions that make TV look good and feel right to demanding global audiences. Sixty enables easy implementation of interactive TV and allows users to quickly design and launch television experiences across any platform or device: linear, web, mobile phones, and tablets.
his year, as part of Super Bowl LI on Fox, SkyCam expanded its WildCat technology to include live 1st & Ten and augmented reality in partnership with SMT. In conjunction with Sony, SkyCam was first to debut Sony’s Ultra Motion P-43 camera. In 2017, with partners SMT, Ross, and Vizrt, SkyCam continued to develop new technologies, including player tracking and next-gen stats, the latter leveraging SkyCam WildCat data to enable broadcasters to insert volumetric augmentedreality graphics in real time.
martCart SVX made its debut appearance at the 2017 Wimbledon Championships in cooperation with IBM and IMG. It is also used by U.S. sports broadcasters, such as CBS Sports on the U.S. PGA TOUR and ESPN at the Euro 2016 football championships. The company’s services are provided on a turnkey basis, including transportation, system integration, and operation/guarantee onsite. Designed specifically as a hub for live productions by TV sports broadcasters worldwide, the system’s mobile interactive touchscreen provides a highly reliable user experience in extreme conditions and meets the rigorous demands of live remote production. SmartCart SVX has been developed to add a new dimension to broadcast events: game analysis, viewer feedback, interviews, and other material from one single platform.
MT’s CameraTracker system is a major technological advance that allows virtual- and augmented-reality graphics to seamlessly appear on screen. With CameraTracker, operators can work remotely while providing an optical data-tracking
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system on an aerial broadcast camera to insert live 3D virtual graphics onto the playing field. With SMT’s image-processing algorithms that analyze physical anchors, such as yardage lines, to determine graphic placement, CameraTracker allows faster set times when instrumented cameras are not an option and provides maximum operational flexibility with both upstream and downstream keying workflow options. SMT demonstrated CameraTracker’s capabilities at NAB 2017, teaming up with Brainstorm and SkyCam to show how to virtually insert commentators in real time from a remote, green-screen environment into a live event alongside virtual 3D statistical player graphics. SMT and SkyCam have partnered on broadcast innovations for the NFL, including this year’s Super Bowl, the first to place the virtual 1st & Ten line using SkyCam. SMT first provided its 1st & Ten line via SkyCam’s WildCat aerial camera platform for Sunday Night Football in September 2015.
SNELL ADVANCED MEDIA (SAM)
AM’s LiveTouch system delivers instant-replay and sports-production workflows, making highlights and instant replay faster and more intuitive than ever before. Offering flexibility, strength, and speed, LiveTouch is easily configurable to support large events and multiple studio productions. LiveTouch supports integrated editing, eliminating the need for media movement or duplication. Highlights packages get to air faster, and system design is dramatically simplified. Shared storage and inter-server streaming allows scaling to HD and UHD productions of any size. Easy to learn and fast to use, the intuitive touchscreen panel, designed by the user, makes highlights selection sure, simple, and robust. Operators can mark interest points, create clips and play content to air with dynamic speed control. LiveTouch gives users rapid navigation, on-air playlist editing, and easy search and sharing tools. Multicam configuration provides fast, easy access to all camera angles in live productions, giving users faster access to more content than any other system. With the publish– to–social-media feature, SAM’s Momentum workflow technology enables users to publish highlights and replays straight to social media at the touch of a button. Seamless 4K handling enables LiveTouch 4K to provide the same scalability and replay toolset as HD with instant collaboration, integrated editing, and advanced replay tools in UHD. With LiveTouch, users can mix between HD and UHD when productions include multiple resolutions.
SOLID STATE LOGIC
SL’s System T, a true IP-based broadcast-audio production environment, is deployed around the world in studio and mobile applications, including SNY (New York), Canal+ (Paris), DR (Copenhagen), YouTube, and Nova TV. At SNY, SSL provided core audio-production tools, including two 48-fader System T control surfaces and a large complement of network I/O across the facility. The Canal+ infrastructure comprises four large-scale System T surfaces and
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SPONSORUPDATE an SSL L500 Live console, sharing the 6000x6000channel–capacity Dante network across three production stages and a music-premix studio. This year, the range of System T network objects has expanded to include new control, processing, and I/O options. Significant software updates provide insight into the future capabilities that SSL’s Tempest Platform has to offer. At IBC2017 (Stand 8.D83), the range will be expanded and enhanced again, allowing broadcasters to further refine their own IP workflow.
t IBC2017 (Stand 8.B44), sonoVTS will showcase improvements to its popular modular video wall and launch a new family of IP-optimized broadcast displays. The new wall consists of 3x8 55-in. hd2Line Pro Series FHD monitors. The video wall features an extremely small bezel (down to 0.9 mm) and cleverly engineered, self-supporting rack system. It is scalable, adaptable, and lightweight and is easy to transport and assemble. A single monitor can be replaced if necessary with no need to remove the others. sonoVTS will also introduce additions to its range of IP-enabled HDQLINE broadcast displays, which are suited to critical, high-end applications. In addition to existing features of no-compromise color fidelity, resolution, precision, and image quality, sonoVTS will demonstrate interoperability with IP-based products of several other brands.
ony Electronics and the New York Red Bulls have teamed to install new A/V technology at Red Bull Arena, designed to expand the production quality of play-by-play coverage and the overall fan experience. The newly integrated production workflow gives the Red Bulls the ability to share and distribute file-based content for baseband playout more efficiently, translating into an enhancedexperience inside the arena. The upgraded control room incorporates a variety of new technology from Sony, including HSC-100 studio and wireless cameras, BRC robotic camera, PWS-4500 production server, MVS switchers, and Optical Disc Archive. A Sony BRC camera is installed high above the field’s halfway line to provide a bird’s-eye perspective. Sony HSC-100 cameras are used as live cameras for home games, recording crowd shots and other footage for ingame playback, as well as for pregame ceremonies, halftime events, and preproduced material. The Red Bulls are also safeguarding their new content creation capabilities with Sony’s Optical Disc Archive technology.
SOS GLOBAL EXPRESS
017 has been a year of firsts for SOS Global. The company charters many flights each year, from 747s to small prop planes, on behalf of its customers. The team successfully handled the 2017 FIFA Confederations Cup; ongoing deliveries for the 2018 Winter Olympics in PyeongChang, South Korea; U.S. presidential visits to the Middle East and Europe; Super Bowl LI, all Open tennis tourna-
ments; the worldwide WTA tour; and many other events. SOS Global’s combined teams in the U.S., UK, Germany, and Russia continue to coordinate activities around major events worldwide. They are now preparing for the 2018 World Cup in Russia, the 2018 PyeongChang Olympics, and the 2018 Commonwealth Games in Australia.
ming and download, and sharing of groups of clips. In addition, CatDV’s Web 2.2 client brings views to life with derived values and colored metadata highlighting. Further, its new Professional Web Client offers a source and record rough-cut editor and full-screen user interface reflecting installed options with Server 7.2.
s sports franchises build their brand presence, the need for reliable access to their digital assets becomes more crucial than ever. Spectra’s archive solutions help protect and preserve an organization’s vital content, ensuring that it is available and accessible without the costs and complexities associated with traditional archives. Indianapolis Motor Speedway Productions (IMSP) deployed a Spectra archive solution and realized operational benefits. IMSP was in need of a storage upgrade to protect its valuable digital assets. Its team managed some but not all of its digital content within its asset-manager environment. IMSP needed a solution that would accommodate both managed and non-managed assets in an affordable, simple workflow. Deployment of a Spectra BlackPearl converged storage system with a Spectra T200 tape library provided just the answer it needed.
portZcast provides cutting-edge automated scoreboard-data tools for organizations ranging from major broadcast companies to education institutions, professional-sports venues, and even single-camera streaming productions. With the ability to provide real-time data feeds from any scoreboard type, Sportzcast can be integrated into all levels of production, including live broadcast overlays, websites and scoring applications, replayvideo systems, metadata synced to video, aroundthe-league scores, in-venue video displays, and social media. With current industry trends moving more and more toward automation and at-home production, the ability to sync live scoreboard data into your production environment has never been more important. Sportzcast prides itself on being the fastest, most accurate, data source within your production environment.
SQUARE BOX SYSTEMS
quare Box Systems’ CatDV MAM system brings order to the chaos of media-file management by making it easy for content owners to repurpose and monetize their assets. Offering a powerful, user-friendly toolset and streamlined integration with a multitude of media-workflow vendors, the CatDV software can be scaled from small workgroups to multiuser enterprise solutions managing millions of assets. In version 7.2, the CatDV Enterprise Server now includes more-powerful configuration options, as well as enhanced support for web and intranet deployments. New features include a live logger, frameaccurate video playback, dynamic subclip trim-
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TATS has more than 35 years of experience providing innovative solutions to enhance fan engagement and team performance throughout the world. Methods of gathering and delivering sports data continue to evolve, and STATS remains a step ahead of the competition with its array of advanced products. The company recently launched STATS Edge, a search and analytics app powered by machine learning that will change how soccer clubs and broadcasters analyze the game. Club managers and analysts in the world’s most prominent soccer leagues can access video to instantly break down complex patterns, drastically cutting time spent on traditional video analysis. During game action, broadcasters can access STATS Insights, which leverages years of research and artificial intelligence.
-21 devices support decoding, transcoding, encoding, recording, and network-protocol translation of streaming media over private and public IP networks. The T9261-E streams high-quality, low-bitrate AVC 1080p video and AAC audio. Designed for IP network contribution and streamingmedia distribution over the internet, the T9261-E is ideal for broadcast newsgathering, sports, corporate, medical, house of worship, and broadcast distribution applications. Streaming protocols include UDP/RTP, Secure Reliable Transport (SRT), RTMP client and server, HLS server, TCP, Zixi Feeder, and capture to file. The T9261-E includes two encoding and streaming profiles standard with a software upgrade adding two profiles. Each profile delivers a unique streaming protocol, container, frame size, frame rate, and audio configuration.
2 Computing knows the solutions and industry standards required to manage a company’s critical media assets. The company brings a solutions-based approach to content production and postproduction for media companies of all sizes. T2 is known for experience, talent, and creativity in MAM, storage, and workflow solutions. From production to archive, T2 Computing’s highly experienced client-focused sales and professional-services teams identify, deploy, and support the most efficient and reliable tools and systems for end-to-end digital-media solutions. The company’s clients span a range of verticals from traditional and new-media companies to financial and medical services, advertising, and publishing.
ata Communications provides solutions to all segments of media and entertainment industry, including gaming, sports, news, music, cable, and broadcasting. The company’s Media Ecosystem is an all-in-one global content-delivery solution that seamlessly connects content creators, aggregators, and distributors with specialist partners across the globe.
dvanced HDR by Technicolor continues to be implemented and tested in live HDR productions throughout the world. After helping Spectrum SportsNet deliver the first-ever baseball game in HDR during summer 2016, Advanced HDR by Technicolor was used by the broadcaster in the first live end-to-end HDR broadcast of an NBA game between the Los Angeles Lakers and Denver Nuggets in late January 2017. Following these successful events, Spectrum SportsNet produced two back-to-back Los Angeles Dodgers-San Francisco Giants games in HDR over the last weekend of July. The entire production was completed in HDR and was downconverted to SDR to support the current commercial broadcast. This test proved how Advanced HDR by Technicolor enables programmers to cost-effectively create and broadcast premium HDR and SDR content in a single workflow.
ektronix’s specialized tools, solutions, and experts are united with a singular purpose to provide clarity and insight into content creation and delivery workflows, keeping customers moving forward faster. Meet with industry experts driving the latest generation of solutions firsthand at IBC2017 (Stand 10.D41). Products include hybrid IP/SDI media-analysis solutions, 4K UHD with HDR video-monitoring solutions, ABR monitoring for live and on-demand content, and videonetwork–monitoring solutions for broadcasters.
elescope is a leader in live social experiences, with clients across leading leagues, publishers, athletes, and their sponsors including NBA, MLB, PGA, World Surf League, WWE, Fox Sports, NBC Sports, Eurosport, Whistle Sports, Roger Federer’s Foundation, Nike, and Heineken. With the recent launch of LIVE STUDIO, the company’s award-winning social-streaming platform, they help content providers harness the power of live streaming combined with the passion of viewers to create real-time experiences that make an impact. Sports fans can interact with coaches, players, and athletes in real time through Telescope’s audienceparticipation tools, and media owners and advertisers can realize ROI through integrated branded content and retargeting capability underpinned by an in-depth reporting and analytics suite.
elestream will use IBC2017 (Stand 7.B26) to showcase end-to-end live-streaming solutions, strategic advances in video encoding and transcoding systems, and the latest developments in cloud-based enterprise services. In its first fully integrated exhibit since acquiring IneoQuest and Vidcheck, Telestream will highlight how these acquisitions extend and enrich the Telestream media
production and distribution ecosystem from the point of content ingest right up to the point of consumption on traditional and mobile devices.
he Telos Alliance TV Solutions Group will demonstrate Livewire+ AES67 AoIP consoles, routers, audio processors, phone systems, and I/O as overall solutions for sports broadcasting. AES67 is an open standard for audio over IP and easily evolves with broadcasters’ most exacting demands using the unparalleled flexibility of IP.
eradek manufactures and designs enterprisegrade video-transport technology for the production world and is a trusted leader in wireless video. From IP video broadcasting to real-time video streaming, the company offers an affordable, turnkey solution for sports broadcasters everywhere. One of its devices, the Teradek Bolt, is a wireless video system that captures and pushes HD video feeds from transmitter to receiver with near-zero latency, using RF to deliver a live feed from video camera to field monitors and/or production switchers up to 3,000 ft. away. With up to 11 40-MHz channels available, the Bolt’s wireless infrastructure ensures seamless, uncompromised connection between transmitter and receiver.
THE STUDIO – B&H
n 2017, The Studio – B&H has announced new partnerships that allow the company to provide even more diverse solutions to all major sports markets. One of its newest and innovative partners, DynamiCam, launched a lightweight cable camera system, providing a way to add exciting visual coverage for smaller sports venues, special sporting events, and studio settings. Besides solidifying existing partnerships with long-time leading manufacturers, The Studio – B&H has added solutions that it can offer sports broadcasters; two of the more notable partnerships are Hitachi and Utah Scientific. On the large-camera-sensor front, the announced partnerships with ARRI and RED Digital Cinema have made 2017 a watershed year.
017 has been an exciting year for The Switch. After its November 2016 acquisition of Pacific Television Center, The Switch expanded its international network footprint for its suite of video- and data-transport products. Offering its FiveNines Service on a global scale, the company provides its remote-production solution HomeRuns, Inter-City on Demand (ICOD) transport, DownLinks on Demand satellite transport, and satellite transmission services, all available to customers over SwitchIT, The Switch’s award-winning customer-control platform. At NAB 2017, The Switch demonstrated The Switch Cumulus, a new production model for the television industry. Using a shared-services/ private-cloud environment to house television equipment and infrastructure and leveraging The Switch’s high-quality and low-latency transport network, control surfaces can live anywhere, reducing the amount of people required onsite. With less required staff onsite, costs are reduced, and producers are able to increase both output and quality of content. In addition to launching Cumulus, The
Switch also recently established its first OTT product, offering a full range of transcoding, protocol, and live event-packaging services to serve the multiplatform global television community.
THE VIDEO CALL CENTER
he VCC offers a production platform and services for creating innovative video-caller programming. These professionally produced, editorially controlled, fully moderated, HDTVquality programs bring together a host, athletes, guest speakers, and audience members, each from wherever they are and connected through video-chat applications already on their mobile or desktop devices. From commentary, conversation, and controversy to live event-venue tieins and premium-player access, the VCC offers fans a compelling entertainment proposition and sports executives the opportunity to extend their franchise’s reach. Visit the company’s website to request a demonstration of its end-to-end live-production system and services, including patented host controls and assistive automation that eliminate costly control rooms, technologies for enhancing video-call reliability and quality, Facebook Live integration, and the exclusive VCC Caller Queue “green room in the cloud.”
THINKLOGICAL, A BELDEN BRAND
hinklogical’s products for managing uncompressed 4K signals help sports-broadcast and production-truck professionals distribute and switch video, keyboard, mouse, and other computer I/O signals with no peripheral latency or loss of video quality or resolution, thus reducing costs, increasing productivity, and enhancing staff collaboration. The company’s high-bandwidth (up to 10-Gbps) uncompressed-signal–management solutions enable end-to-end distribution of all video and computer peripheral signals and formats over fiber-optic or CatX cable at distances up to 80 km. Thinklogical’s “any-to-any” matrix-switching architecture dramatically increases the flexibility of sports-broadcast studio and production-truck infrastructures, minimizing the need to physically move equipment and personnel when reconfiguring workstations to meet changing requirements. Visit Thinklogical at IBC2017 (Stand 10.D46).
hat if a single camera operator could wirelessly control 30 cameras? What if all SD cards were delivered to postproduction already timecode-synced, including from DSLRs and GoPros? Timecode Systems’ technology delivers a game day with extra angles at minimal cost, more team-facing content for video analysis, and genuinely low-cost content for fan engagement over social media. Timecode Systems’ sync solutions create streamlined, cost-effective, wireless workflows for professional multicamera, DSLR, GoPro, and VR productions. UltraSync ONE is its newest product, offering a small, lightweight, and sophisticated sync solution compatible with any acquisition device. It also comes at an affordable price and is powered by an RF wireless platform proven in packed venues.
NDV: Television recently launched its eighth mobile unit, Exclamation, and will easily ex-
SPORTSTECHJOURNAL / FALL 2017
SPONSORUPDATE ceed 300 remote productions in 2017. For clients needing double-expando 4K-capable trucks or something more conservative, such as its small but powerful 26-ft. HD unit, TNDV has the inventory. It produces events from small single-camera productions all the way up to multimillion-dollar international TV events and takes pride in building custom solutions for challenging productions of any size, in any situation. Recent projects include 12 stops on the Powershares Tennis tour, the RE/ MAX Long Drive Challenge on ESPN, and all the live concert productions at the NCAA Final Four.
SL Products works directly with the world’s leading broadcasters and content creators to design, manufacture, and market a range of broadcastworkflow solutions that simplify operations within the television-broadcast, cable, satellite, IPTV, and IT industries. IBC2017 (Stand 10.B41) will provide the opportunity to view the latest product updates to its control, audio-monitoring, and power-management solutions designed to simplify SDI/IP workflows and streamline operations to support customers during the transition to IP. As well as SNMP control, TSL Products’ audio monitors now support AES67 and, therefore, compliance with the emerging SMPTE 2110 family of standards. TallyMan, TSL’s flagship broadcast-control system, will also demonstrate updates to its virtual-panel design, optimized for remote studio control, as well as integration to a new screen-based information distribution and display system, FlashBoard.
V Graphics is a leading provider of integrated graphics and data solutions for every broadcast level, from a simple webstream to a multilevel broadcast. The company’s product offerings include cutting-edge portable clock and score, all-in-one graphics generator, ticker with online user portal, studio-automation integration, signature Alert System for social media and in-game scores, and a truly portable three-channel Vizrt laptop system for purchase or lease. All systems have full integration with multiple social-media, clockand-score, and statistical services, output via HD-SDI or NDI, and TV Graphics’ proprietary Asset Manager system for easy asset tracking.
or REMI and at-home video production, TVU RPS (Remote Production System) offers producers remote field coverage at a fraction of the cost of traditional methods that require large production trucks and crews. TVU RPS enables production of a live, frame-accurate, genlocked, and synchronized multicamera program in a remote location using a broadcaster’s existing control room and commodity internet connection. The transmitter encodes up to six synchronized SDI sources and transmits high-quality and lowlatency IP video from the remote location to a studio-based receiver, which outputs six synchronized SDI signals. TVU RPS can also synchronize across
on VER’s depth of experience in audio, video, lighting, LED, cameras, rigging, media servers, fiber, and more.
UNITY SYSTEMS INTEGRATION
VERIZON DIGITAL MEDIA SERVICES
orking with top Canadian companies Rogers Media and Dome Productions, Unity supported the end-to-end design and integration of live 4K (UHD) broadcasting in 2017. Dome’s latest mobile unit, Vista, is Unity’s third 4K truck launched in Canada since the beginning of 2016. While Vista was being completed, Unity was researching IP solutions for Rogers Media’s upcoming master-control project in Toronto. In the U.S., Unity has been working with Syracuse University to expand its venue infrastructure in anticipation of the ESPN ACC Network launch in 2019.
tah Scientific will participate in IBC2017’s IP Showcase, which brings together the AES, AIMS, AMWA, EBU, IAMB, MNA, SMPTE, and VSF to provide a one-stop destination for visitors to learn to unlock the full potential of using IP for real-time media. The company will show the latest developments in its 400 Series 3 hybrid router, and will be one of more than 40 vendors working together to demonstrate real-world IP interoperability. With Axon (Stand 10.A21), Utah Scientific will showcase its new 400 Series 3 hybrid router and UHD-12G digital routing switcher in three demo stations: IP hybrid, Axon Cerebrum control, and 4K UHD.
multiple unit pairs for additional channels, provide a VLAN tunnel to connect any IP device between the field and studio, and use VoIP.
t IBC2017, Vantrix will exhibit its latest broadcast-quality VR cameras for studios, broadcast, and live streaming. The company will also showcase high-quality footage ranging from such sports as baseball and tennis to underwater footage and air-show stunts. With Vantrix 360, sports broadcasters can live-stream VR content in high quality, with slow-motion clip playback, and integrate SDI feeds directly into their onsite broadcast trucks. Vantrix will also demo its ultra-low–latency VR video-streaming solutio
entuz Technology provides software solutions for authoring and displaying real-time interactive, data-driven graphics to markets with high-end requirements — such as broadcast graphics, event installations, projections, and professional presentations — by developing workflows and products that allow customers to create and playout highly appealing and cutting-edge visual content.
ER is a global provider of sports-production equipment and engineering solutions. With the world’s largest inventory of rental equipment, the company supplies the most advanced technology to a broad array of clients in the corporate, TV, cinema, event, and broadcast markets. Clients rely
SPORTSTECHJOURNAL / FALL 2017
erizon Digital Media Services will feature its Smartplay by Verizon technology, a one-toone session-management system that enables content owners to realize greater insights and create more-effective monetization strategies for their content. The company will also highlight the Volicon Media Intelligence service, which records and stores broadcast content across multiple interfaces and has been updated to include the Slicer application from Verizon Digital Media Services, further simplifying creation, delivery, and monitoring of OTT content.
ISTA Worldlink will showcase REMI/at-home production workflows at IBC2017, in addition to IP transportation technology developed in partnership with Tata Communications (Stand 15.MS15). In 2017, VISTA will produce more than 300 REMI sports events at VISTA’s South Florida facility and will integrate graphics, commercials, interstitials, announcers, and languages to more than 2,000 sports events. VISTA expanded its production capabilities this year, bringing its total number of control rooms to 17 and announce booths to 10. VISTA’s strategic partnership with Tata Communications allows continued growth as VISTA integrated robust, broadcast-quality IP transportation to its long list of solution offerings — empowering leagues and conferences of all sizes to professionally produce, transmit, and deliver live events around the world.
ITAC supports sports leagues, broadcasters, TV networks, OTT providers, stadiums, and arenas with reliable, quality captions for live and recorded sports events. The company captions more than 500,000 hours of programming per year and employs the largest team of qualified, trained captioners in the industry. VITAC specializes in compliance, helping sports-video providers meet FCC and ADA requirements. Recent successes include quick-turnaround captioning for live clips of sports events, simultaneous encoder and IP connectivity for web and TV captioning, and dualmode delivery of captions to ribbon boards and handheld devices in stadiums and arenas.
ITEC’s highly customizable IPTV and Digital Signage Platform manages and disseminates the influx of video devices and formats, offering an intuitive, powerful viewing experience in low delay at a fraction of the cost of traditional methods. VITEC’s EZ TV IPTV and Digital Signage Platform, already installed in multiple stadiums and venues around the globe, is the most deployed H.264/H.265
enterprise IPTV delivery system in the world. The platform allows presenters to stream video and interactive signage in real-time HD, with video resolution up to 1080p, while providing maximum brand engagement. The format-agnostic platform can be quickly and easily deployed in virtually all IT environments and features support for live playback and recording, real-time analytics, and a video confidence and monitoring workflow. See VITEC at IBC2017 (Stand 7.G23).
izrt creates tools that put more power in the hands of media companies and rights owners. Discovery Networks Norway’s journalists and production staff produce content for social media and online using Viz Story and also uses the Viz Libero advanced analysis system for its sports productions. The live production of the League of Legends esports tournament was enhanced with Vizrt AR graphics. League of Legends used multiple Viz Engines to display multiple variations of AR graphics each round, with the placement of the graphics on-screen changing from round to round. Nine Network Australia is pioneering the use of the latest AR technology with Viz Arena. The network has partnered with Alston Elliot to operate Viz Arena systems at each of the network’s live televised National Rugby League games, including on its flagship program Friday Night Live. Viz Story gives sports journalists the perfect tool for editing quick promos, highlights during a game, or video packages from the field in a web interface. Viz Libero provides analysis tools with high-quality graphics and 3D perspectives of the game. Viz Arena, Vizrt’s live virtual enhancement tool, provides 4K data-driven AR graphics for live sports productions.
WARNER/CHAPPELL PRODUCTION MUSIC
arner/Chappell Production Music has more than 35 years of experience uniting many of the most successful and respected independent brands in production music. The company’s brands have received many industry awards, including Emmys, Tellys, ADDYs, and Promax honors.
WAVE CENTRAL/CP COMMUNICATIONS
ave Central is the preferred RF wireless system for in-house game-day productions. The company has delivered so many systems to various sports teams within the MLB, NFL, NHL, NBA, and MLS that, chances are, if you’ve been to a ballgame, you’ve seen the company’s equipment in action. Wave Central equipment has covered major sports events from the World Series to the Super Bowl and beyond.
azee Digital enables sports rightsholders to monetize and enrich their valuable content. Its scalable solutions offer complete control over content so that assets reach their rightful audiences around the globe. It is the only assetmanagement solution built from the ground up to run natively in the cloud and the only one to make live moments available immediately for global
publishing, syndication, advertising, and sponsorship. Wazee Digital funneled more than 10 years of experience in digital-content licensing, rights, and clearances into Live Event Services, its solution for capturing, amplifying, and monetizing the most compelling moments in sports. Live Event Services include content capture, management, and access; highlights production and publishing; an interview and highlights newswire; sponsor activation; and dynamic ingest and licensing. Wazee Digital has longstanding relationships with major sports properties and their rightsholders.
DT uses big-data solutions to develop and provide weather analytics, such as hazardousweather detection and prediction, high-resolution forecasts, decision analytics, and content for mobile apps, as well as interactive mapping. The WeatherOps forecast team is staffed by experts who provide global asset-protection and commodities-trading decision support. Be it asset protection, positioning of goods and services ahead of weather or as response to weather, or simply warning the general public of impending adverse weather, WDT has a product to fit any need.
WESCO BROADCAST AND ENTERTAINMENT
ESCO delivers direct-access and in-house inventory to the industry’s top bulk-cable and connector brands: AFL, Canare, Commscope, Corning, Gepco, Lemo, OCC, Neutrik, Panduit, and many more. WESCO offers the highest-quality assemblies, manufactured in the U.S., comprising topof-the-line connectors and cables built for superior performance in a multitude of environments. These assemblies include SMPTE hybrid fiber-optic cables for portable applications or harsh environments in the field. Stadium cable runs can be minimized with 3-in-1 install SMPTE cable, combining three channels of SMPTE into one cable. Complete solutions include highly flexible, lightweight, and portable 7.8-mm products for Steadicams, a full offering of tactical fiber products to keep your game on the air, and end-to-end connectivity solutions, such as junction boxes, wall plates, rack panels, distribution panels, and patching solutions, including OCC’s newest modular enclosure.
t IBC2017 (Stand 8.C91), Wheatstone will again highlight its latest IP audio console, the LXE, an audio network interface with fully programmable switches, rotary encoders, and fader groupings. The LXE brings control-surface configuration to a new level. Software allows virtually every control on the console to be programmed for function, mode, and even color. Buttons are also scriptable, letting you create powerful macros for as many automated features as you want. The LXE can have up to 32 physical motorized faders, with full EQ/dynamics on all channels, plus loudness metering, full-color OLED panel displays, event recall, and customizable drag-and-drop touchscreen GUIs. The surface interfaces seamlessly with the
WheatNet-IP audio network and can ingest and convert virtually all audio formats.
WOWZA MEDIA SYSTEMS
owza is a recognized gold standard of streaming, with more than 20,000 customers in 170+ countries. By reducing the complexities of video and audio delivery to any device, the company enables organizations to expand their reach and more deeply engage their audiences in industries ranging from education to broadcasting. Visit Wowza at IBC2017 (Stand 14.C08) to learn that affordable sports streaming is at your fingertips with Wowza Streaming Cloud: manage costs, reduce complexity, increase revenue, and drive fan engagement. Streamline delivery to laptops, smartphones, and OTT devices like Chromecast and Roku.
TVision’s playout-automation solution is now also available in the cloud, and you can see it live at IBC2017 (Stand 7.B33). With ChannelMaker-in-the-Cloud, you can manage your playout automation structure from anywhere and reach a global audience instantly. ChannelMakerin-the-Cloud, which is entirely hosted on the web, sequences and plays out clips previously uploaded, mixing them with state of the art 3D graphics overlays and encoding everything to an output stream that is sent to a channel distribution center.
YAMAHA COMMERCIAL AUDIO SYSTEMS
amaha Professional Audio, a division of Yamaha Corp. of America Corp., offers a line of professional digital and analog audio products for live sound, on-air broadcast, postproduction, sound reinforcement, and commercial installations. Products include the flagship RIVAGE PM10 digital audio console, which features the CS-R10 control surface and the new compact control surface CS-R10-S, including hybrid mic preamps with Rupert Neve SILK emulation; the Yamaha CL Series and TF Series digital consoles; and TF-Rack. Speaker systems include NEXO STM, M10, M6, and ID24 and Yamaha Commercial Installation Solutions (CIS) products.
ixi’s software platform transforms the internet into a broadcast-quality, global video-delivery network. Since 2007, the company has been helping the world’s leading media organizations, service providers, and technology companies to enrich user experiences, create new services, reduce operating costs, and realize possibilities not yet imagined.
ype is a cloud video distribution service for OTT that makes it easy for content owners to connect directly with their audiences on every screen. With Zype, enterprise content owners and brands can own and accelerate all aspects of their video distribution pipeline. Zype provides pushbutton app publishing, monetization, streaming, audience management, and analytics. <
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3G WIRELESS ADDER TECHNOLOGY ADOBE ADORAMA
AERIAL VIDEO SYSTEMS
AJA VIDEO SYSTEMS
ALL MOBILE VIDEO
 4 717 171 79
ARCTEK SATELLITE PRODUCTIONS
646-589-3859 510-849-2386 x207
ARTEL VIDEO SYSTEMS
ARVATO SYSTEMS ASPERA, AN IBM COMPANY ASTUCEMEDIA AT&T
AV DESIGN SERVICES
AVID AWS ELEMENTAL
Manuel De PeÃ±a
BROADCAST INTEGRATION SERVICES
BROADCAST SERVICES INTERNATIONAL (BSI)
BROADCAST SPORTS INTERNATIONAL (BSI)
SPORTSTECHJOURNAL / FALL 2017
SPONSOR INDEX LEVEL
 89 8999 640
CALHOUN SATELLITE COMMUNICATIONS CALREC AUDIO/DIGICO
CAT ENTERTAINMENT SERVICES
COMMUNICATIONS ENGINEERING INC. (CEI)
CAMPLEX CANARE CANON U.S.A.
CATDV/SQUARE BOX SYSTEMS
CLARK MEDIA CLEAR-COM, AN HME COMPANY
CRAWFORD MEDIA SERVICES
CREATIVE MOBILE SOLUTIONS INC. (CMSI)
CSP MOBILE PRODUCTIONS
CTG (COMPREHENSIVE TECHNICAL GROUP)
DALE PRO AUDIO
DALET DIGITAL MEDIA SYSTEMS
Carlo De Marchis
 011 384 18344
DIGICASTER/DIGITAL COMM LINK
Mary Ellen Carlyle
DOLBY LABORATORIES DOME PRODUCTIONS
SPORTSTECHJOURNAL / FALL 2017
SPONSOR INDEX SPONSOR
DPA MICROPHONES DUNCAN VIDEO DX3 MEDIA
ENCOMPASS DIGITAL MEDIA
FANCONNECT FILMWERKS INTERNATIONAL
FX DESIGN GROUP
GAME CREEK VIDEO
GERLING & ASSOCIATES
GLOBECOMM SYSTEMS GRABYO GRASS VALLEY, A BELDEN BRAND
HAIVISION HARMAN HARMONIC HGST/G-TECHNOLOGY
HIGH ROCK MOBILE TELEVISION HITACHI
 1954 262004
IMAGINE COMMUNICATIONS IMS PRODUCTIONS IMT/VISLINK INTEGRATED MEDIA TECHNOLOGIES (IMT) INTELSAT
SPORTSTECHJOURNAL / FALL 2017
SPONSOR INDEX SPONSOR
 07342 949663
ISTREAMPLANET JB&A DISTRIBUTION
KMH AV INTEGRATION
LEADER INSTRUMENTS LEVEL 3 COMMUNICATIONS
LH COMPUTER SERVICES
 14 500 1949
LTN GLOBAL COMMUNICATIONS
MOBILE TV GROUP
MOEBAM! VENUE MEDIA SERVICES
MULTIDYNE MX1 NEOTI
NILES MEDIA GROUP
NTC (NATIONAL TELECONSULTANTS)
OCC (OPTICAL CABLE CORPORATION)
PANASAS PANASONIC PCCW GLOBAL PLIANT TECHNOLOGIES
SPORTSTECHJOURNAL / FALL 2017
SPONSOR INDEX SPONSOR
PRIME FOCUS TECHNOLOGIES
PROFESSIONAL WIRELESS SYSTEMS
Jim Van Winkle
RAPTOR VISION REALITY CHECK SYSTEMS
 020 7384 2711
ROCK-IT CARGO ROSS VIDEO
RT SOFTWARE SAM (SNELL ADVANCED MEDIA)
SAUNDERS ELECTRIC SCALE LOGIC SDTV SENNHEISER SES
 70 306 4211
 47 97 60 22 36
SOLID STATE LOGIC
SOS GLOBAL EXPRESS
 89 419 671 114
303-449-6444 x 1118
T-21 TECHNOLOGIES T2 COMPUTING
SPORTSTECHJOURNAL / FALL 2017
SPONSOR INDEX SPONSOR
THE STUDIO - B&H
The Studio Team
THE VIDEO CALL CENTER
THINKLOGICAL, A BELDEN BRAND
Richard A. Cooper
UNITY SYSTEMS INTEGRATION
UTAH SCIENTIFIC VANTRIX
VERIZON DIGITAL MEDIA SERVICES
WOWZA MEDIA SYSTEMS
YAMAHA PROFESSIONAL AUDIO
VENTUZ TECHNOLOGY VER
VIZRT WARNER/CHAPPELL PRODUCTION MUSIC WAVE CENTRAL/CP COMMUNICATIONS
WAZEE DIGITAL WEATHEROPS WESCO BROADCAST AND ENTERTAINMENT
SPORTSTECHJOURNAL / FALL 2017
THE FINAL BUZZER
AN INDUSTRY POISED FOR CHANGE By Ken Kerschbaumer Executive Director, Editorial, SVG How much change can the sports-production industry undergo at once? We are about to find out. Next year, many of the innovations in workflow, production tools, and content-delivery options will become reality for nearly everyone in the industry. And they will be front and center at the largest global sports events: the Olympics and the World Cup. Arguably the most eagerly anticipated development is the ratification of the SMPTE 2110 standard. It may sound a bit dull, but its impact will be exciting: it will give much more flexibility to live sports production by allowing audio, video, and ancillary data elements to be separated from each other and combined as needed. It is also expected to improve interoperability of equipment from different manufacturers, solving a major problem for anyone interested in embracing IP-based production. It is believed that the SMPTE 2110 standard will be ratified this fall. Then, the industry will be able to turn its attention to making sure that interoperability becomes as seamless and simple as possible. It is not a given that making equipment 2110-compatible will be a quick or smooth process, but the efforts will begin in earnest. With vendors and manufacturers using the SMPTE 2110 standard to create real-world systems in 2018 (and, most likely, 2019), production professionals will feel increasingly comfortable moving to IP-based production. And that move will begin a true revolution in production, allowing completely new workflows, including more-complex at-home productions, more-robust 4K and HDR productions, and lighter production trucks and flypacks. Most important, it promises to make IP a part of all future technical builds, rather than just in facilities designed for large productions that push traditional routing switchers to their limits. That massive transition to IP-based production will occur as the industry also grapples with the launch of 4K and/or HDR services to the home. The World Cup in Russia promises to be the biggest event of the year when it comes to moving the industry forward: a single production team will create both a 1080p/HDR baseline production and a 4K/HDR/Dolby Atmos production at the same time. What that will mean for consumers around the globe remains to be seen, but, at the least, broadcasters delivering 720p or 1080i will have higher-quality source material. And rightsholders looking for an excuse to offer UHD service will have a good opportunity to do so. And that brings up the other big change on the horizon: the launch of ATSC 3.0. The hybrid TV-delivery system will allow audio and video content to be broadcast over the air, with targeted ads and other personalized or localized content delivered via the Internet and integrated into the over-the-air signal. Many in the industry may initially dismiss the need for a new over-the-air TV system, but ATSC 3.0 enables TV stations to delivers UHD, 1080p, and HDR content. When it comes to delivering major sports events in UHD or HDR, having TV stations on board is key. It is often seen that change is good, and the sports-production industry is about to find out. It will be an exciting, interesting, and challenging time, but rest assured that SVG’s events and educational efforts will make sure that you and your team are up to speed and in the know. <
SPORTSTECHJOURNAL / FALL 2017
PUBLISHED BY SPORTS VIDEO GROUP 260 Fifth Ave., Ste. 600 • NY, NY 10001 Tel: 212.481.8140 • Fax: 212.696.1783 www.sportsvideo.org
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email@example.com | 516.767.6720 EDITORIAL KEN KERSCHBAUMER,
Executive Director, Editorial firstname.lastname@example.org | 646.205.1810 JASON DACHMAN, Chief Editor email@example.com | 646.861.2373 BRANDON COSTA, Director of Digital firstname.lastname@example.org | 646.861.2370 KAREN HOGAN KETCHUM, Senior Editor email@example.com | 646.559.0434 BRITTANY BERKE, Assistant Editor firstname.lastname@example.org | 646.880.4902 SUSAN QUALTROUGH, Copy Editor email@example.com RIVA DANZIG, Art Director firstname.lastname@example.org SPONSORSHIP ROB PAYNE, Managing Director,
Worldwide Sponsor Development email@example.com | 212.481.8131 ANDREW GABEL, Manager, Sponsor Development firstname.lastname@example.org | 646.998.4554 JENNA LOBRACE, Sponsorship Coordinator email@example.com | 646.559.0435 MARKETING, MEMBERSHIP, AND OPERATIONS ANDREW LIPPE,
Membership & Client Services Manager firstname.lastname@example.org | 212.481.8133 HAYLEY GORDON, Marketing Coordinator email@example.com | 646.524.7497 CRISTINA ERNST, Operations Manager firstname.lastname@example.org | 917.309.5174 ALICIA MONTANARO,
Conference & Organizational Coordinator email@example.com | 646.880.4901 SVG EUROPE CONTACTS FERGAL RINGROSE, Executive Editor
firstname.lastname@example.org Tel:+353 (1) 294 7783 JOE HOSKEN, General Manager email@example.com Tel: +44 74290 90134 DAVID DAVIES, Editor firstname.lastname@example.org Tel: +44 07989 139816 ABOUT SVG
The Sports Video Group was formed in 2006 to support the professional community that relies on video, audio, and broadband technologies to produce and distribute sports content. Leagues, owners, teams, players, broadcasters, Webcasters, and consumer-technology providers have joined SVG to learn from each other, turn vision into reality, and implement innovations, while sharing experiences that will lead to advances in sports production/distribution and the overall consumer sports experience.
SportsTech Journal is produced and published by the Sports Video Group. SportsTech Journal © 2017 Sports Video Group. PRINTED IN THE USA.
NETWORK. AUDIO. VIDEO. CONTROL.
Broadcast Broadcast Welcome to Broadcast 3.0
broad cast 3.0 [ˈbrɔːdkæːst
Broadcast 3.0 is based on the cornerstones of IP transport, software-defined processing, orchestration and seamless control of network resources, and automated workflows. This 3rd generation of broadcast infrastructure solutions raises production capabilities to a new level, enabling more efficient utilization of resources and smarter content creation.
Enjoy our latest products. AUDIO PRODUCTION
RADIO / ON-AIR
vsmPanel (Hard- & Software)
3rd Party Control
vsmSTUDIO Data (Ember+)
XY Matrix (Ember+)
e.g. ARISTA API, CISCO DCNM ...
VSM + SOUL IP Control System with Seamless Orchestration and Unification Layer
V__matrix + vm_mv
Grand Production Console
Virtual Multiviewer for the V__matrix Softwaredefined IP Core Routing & Processing Platform
New sapphire The Radio Console with a Whole New Viewpoint
| All-in-one Live Production Vehicle.
CARBONITE | The video switcher is the heart of any live production. Graphite includes the pure production power of Carbonite – the world’s most popular mid-size production switcher – built into dedicated hardware. Enjoy all of Carbonite’s ‘big switcher' features and never miss a beat.
XPRESSION | Graphics can make or break a show and Graphite comes equipped with the best. The Ross XPression Motion Graphics system is used by top Hollywood Productions, Sports Teams and Networks. Graphite also includes XPression Clips – fully featured clip server channels.
RAVE | Great video needs great audio. Graphite comes with a professional twenty-eight channel hardware-based audio mixing engine with optional Mic and line breakout panel with great specs and low distortion.
Imagine an all-inclusive system that combines superb big switcher performance with visually stunning 3D graphics, instant access clip servers and pristine audio clarity – with the reliability of separate system components - that’s Graphite. ®