2018 SVG Mobile Sports Production Yearbook by Sports Video Group

2018

INCLUDING THE 12TH ANNUAL

MOBILE VENDOR SERVICES DIRECTORY & MOBILE SPORTS PRODUCTION GEARBASE

MOBILE SPORTS PRODUCTION YEARBOOK

FEATURING ROAD WARRIORS: A LOOK BACK AT THE YEAR IN SPORTS PRODUCTION

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19 West 21st Street, Suite 301, New York, NY 10010 212.481.8140 | f: 212.696.1783 www.sportsvideo.org EXECUTIVE DIRECTORS PAUL GALLO, Executive Director paul@sportsvideo.org | 212.696.1799 MARTIN PORTER, Executive Director marty@sportsvideo.org | 516.446.2029 EDITORIAL KEN KERSCHBAUMER, Executive Director, Editorial kenkersch@sportsvideo.org | 646.205.1810 JASON DACHMAN, Chief Editor jason@sportsvideo.org | 646.861.2373 BRANDON COSTA, Director of Digital brandon@sportsvideo.org | 646.861.2370 KAREN HOGAN KETCHUM, Senior Editor karen@sportsvideo.org | 646.559.0434 BRITTANY BERKE, Assistant Editor brittany.berke@sportsvideo.org | 646.880.4902 SUSAN QUALTROUGH, Copy Editor susan@sportsvideo.org RIVA DANZIG, Art Director riva@sportsvideo.org SPONSORSHIP ROB PAYNE, Managing Director, Worldwide Sponsor Development rob@sportsvideo.org | 212.481.8131 ANDREW GABEL, Manager, Sponsor Development agabel@sportsvideo.org | 646.998.4554 JENNA LOBRACE, Sponsorship Coordinator jenna@sportsvideo.org | 646.559.0435 MARKETING, MEMBERSHIP, AND OPERATIONS ANDREW LIPPE, Membership & Client Services Manager andrew@sportsvideo.org | 212.481.8133 CATHERINE WORLEY, Marketing Coordinator catherine@sportsvideo.org | 646.524.7497 CRISTINA ERNST, Operations Manager cris@sportsvideo.org | 917.309.5174 ALICIA MONTANARO, Conference & Organizational Coordinator alicia.montanaro@sportsvideo.org | 646.880.4901 SVG EUROPE CONTACTS FERGAL RINGROSE, Executive Editor fergal@sportsvideo.org | +353 (1) 294 7783 JOE HOSKEN, General Manager joe@sportsvideo.org | +44 74290 90134 DAVID DAVIES, Editor david@sportsvideo.org | +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.

MISSION

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

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LOOKING AHEAD

11 A n Industry on the Brink of Change EXECUTIVE PERSPECTIVES

17 Mobile-Production Leaders on State of the Industry and What to Expect in 2018 R OAD WARRIORS 49 2 017 in Review: A look back at SVG’s on-site reporting from the year’s biggest sporting events

81 N EW TRUCK PROFILES &

MOBILE SERVICES PROVIDERS

86 90 94 106 110 118 123

Dome Productions F&F Productions Game Creek Video High Rock Mobile Television Mobile TV Group NEP Group 3g Wireless Aerial Video Systems AerNow All Mobile Video Alliance Productions Alpha Video AmpThink 128 ARCTEK Satellite Productions AV Design Services Azzurro Group Beacon International BeckTV Bexel Broadcast Integration Services 134 Broadcast Services International Broadcast Sports International Calhoun Satellite Communications CAT Entertainment Services CBT Systems Chesapeake Systems CineSys-Oceana 140 Clark Media Communications Engineering Inc. Creative Mobile Solutions CP Communications/Wave Central CSP Mobile Productions CTG Digicaster/Digital Comm Link DigitalGlue 146 Diversified DNA Studios Duncan Video DX3 Media Inc. Encompass Digital Media Filmwerks International Gearhouse Broadcast

152 Globecomm Systems

Illumination Dynamics IMS Productions Integrated Media Technologies Kaufman Broadcast KMH Audio-Video Integration LH Computer Services 158 LiveLike Lyon Video Markertek Measure Metrovision National TeleConsultants NextVR Niles Media Group 164 PCCW Global PRG Program Productions Proshow Broadcast PSSI Global Services Raptor Vision Reality Check Systems 170 Rock-It Cargo Ross Mobile Productions Saunders Electric SDTV SkyCam SmartCart SVX SMT 176 sonoVTS SOS Global Express TNDV: Television The Switch Unity Systems Integration VER VISTA Worldlink

Table of Contents

PUBLISHED BY SPORTS VIDEO GROUP

2018MOBILE SPORTS PRODUCTION YEARBOOK

181 VENDOR SERVICES DIRECTORY 186 Crew Services 198 Generators 210 Mobile Production Units 234 Satellite Trucks 249 MOBILE SPORTS PRODUCTION GEARBASE

Details of equipment found in more than 250 HD and SD trucks 288 AD INDEX Directory of SVG sponsors

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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Looking Ahead

The Sports Video Group Advisory Board comprises leading industry figures who are committed to technical excellence in the sports industry. Members help guide the direction of the organization, consult on various group initiatives, and enable dialogue across industry segments. CHAIRMAN OF THE ADVISORY BOARD Tom Sahara, Turner Sports, VP, Operations & Technology

By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial

ore than ever, the 2018 Mobile Sports Production Yearbook reflects what promises to be an exciting transition to new workflows, technologies, and technical facilities that form the framework of an industry that, within five years, might look and feel very different from what it is today. Although, outside and inside, the trucks profiled within this Yearbook may look like those that hit the road three or four years ago, the move to IP-based transport of audio and video signals, as well as intercom systems, is giving the facilities additional fire power and flexibility. It also makes the facilities increasingly capable of addressing next-generation needs, such as 4K and HDR. IP represents the biggest change from the trucks that hit the road in 2016. At that time, the conventional wisdom was that IP transport was best-suited to vehicles designed for the larger, top-level national shows. The vast number of cameras and sources made the benefits of IP worth the headaches of being a pioneer. But today, thanks in part to the collaborative efforts that remote-production–facility providers and equipment manufacturers undertook to solve technical shortcomings, IP is believed to be a part of nearly all future remote-production units. Gathering data for this Yearbook and checking in with leading remote-production– services vendors, an informal survey suggests that baseband routing and IP routing will most likely coexist for several years. Ditto for 720p/1080i production, despite the HDR and 4K eras being upon us. That said, increasingly, a powerful combination of IP-based production units coupled with IP-based venues and broadcast facilities enables audio and video signals to be dynamically sent nearly anywhere. That flexibility lays the foundation for future workflows that could upend the current business relationship between facility providers and clients, production freelancers, and even full-time staffers at leading networks and leagues. More and more, organizations at the center of sports-content creation — networks, leagues, teams, federations, sports agencies — are turning to production models that allow more of the team to work from a centralized facility. The benefits to such a move are clear: the production team spends less time on the road, which means that its members can potentially spend what used to be a travel day producing another event. Also, because the event “comes to them,” production teams working on multiple events on the same day is also possible. How the trend toward at-home workflow will impact the remote-production business is still unclear. Most of the work being done in that area is on smaller, niche events that don’t rely on the major remote-production units profiled in the Yearbook. But, as trust in IP and fiber transport grows, there is the potential that at-home workflows could increase and change the dynamics between remote-production–facility providers and their clients. Five years hence, what will the production units covered in the Mobile Sports Production Yearbook look like? There are plenty of exciting possibilities, especially when the flexibility of IP-signal transport combines with the flexibility of software-based operations and FPGA-based computer processing. And one thing is clear: the engineering and production-operations experts at the leading remote production service providers will be gearing up to make sure their staff and facilities are ready for anything.

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, VICE Media, SVP, Global Technology and Infrastructure 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, Industry Consultant 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, Industry Consultant Tracey Shaw, WWE, SVP, WWE Network PMO 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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Mobile-Production Leaders on State of the Industry and What To Expect in 2018 Edited by Jason Dachman

lthough the mobile-production business continues to thrive — with more live-sports events being produced in 2017 than ever before — truck providers face a host of technical and economic challenges as they serve client needs today while also preparing for tomorrow. As major sports broadcasters look to trim costs, remote-facility vendors are being asked to deliver more for less, as well as to confront the increasing use of at-home production workflows. In addition, technology is evolving at a breakneck pace, with more and more mobile units being built on IP infrastructure in preparation for the future. Meanwhile, these vendors are laying out their future roadmaps when it comes to 4K- and HDR-capability in their trucks. SVG sat down with more than a dozen industry leaders to discuss the current state of the business and, more important, where it’s headed in the coming years. Here are the executives we spoke with:

Mary Ellen Carlyle SVP/GM, Dome Productions

Craig Farrell President, Alliance Productions

Philip Garvin GM/Founder, Mobile TV Group

Robby Greene President/COO, IMS Productions

Mike Johnson Director of Engineering, Dome Productions

Glen Levine President, U.S. Mobile Units, NEP Group

Tim Lewis President/Founder, Proshow Broadcast

Mitch Rubenstein President, Ross Mobile Productions

Chad Snyder Account Manager/ GM, Lyon Video

Pat Sullivan President, Game Creek Video

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

Dan Turk Chief Engineer, NEP Group

*Responses compiled by Jason Dachman, Brandon Costa, Karen Hogan Ketchum, and Ken Kerschbaumer

Executive Perspectives

Peter Wehner Director of Engineering, Mobile TV Group turn to page 22

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Executive Perspectives

Do you consider the current state of the remote-production business healthy? Where do you see the industry in headed in the next 12-18 months? Carlyle: We do see a very healthy market, especially since we’re vertically integrated [due to being co-owned by Canadian media giants Rogers and Bell Media]. I see an increase in demand for content. Whether it’s smallformat or large-format production, everybody wants content, so we’re going to see growth next year. I think a lot of our momentum is because we added Vista [4K mobile unit]. I see people starting to play with 4K in the market, and I think entertainment will play a big role in that — just as it did when HD started. Farrell: I think remote production is healthy, but the dynamics are changing. The push towards at-home and cloud-based production is changing the way programming is being produced. Garvin: Yes, I think the industry is healthy. I expect the market to be fairly stable with possible expansion resulting from esports.

Greene: Yes — better than healthy, actually. We’re on track to deliver our best year ever in 2017. Why? New business, growing existing business, and adding services to help our clients and partners. We are budgeting for modest growth in 2018 and have some aggressive goals with specific strategy for ’19 and beyond.

Lewis: We see growth and change right now. Remaining agile and adaptable and paying close attention to trends and client needs is paramount. Each new truck build must reflect the constant change in the market; there’s no more “cookie-cutter” builds for us.

Rubenstein: From where we stand as a company, yes. As the networks and our other partners search for more innovative and cost-effective ways to receive quality produced content, we have proven to be an even more viable solution. Every year, the demand for our services has grown. We’ve ensured that hundreds of events get produced, and crews across the country stay involved. The growth of the industry will continue, and our capacity is growing to include a brand-new 32-ft. expando, eight-camera, 4K-ready truck and a 1080p modular flypack. Snyder: The remote-production business is healthy and growing by event count annually. More assets are

2017 numbers for total trucks broken down by company. Turn to page 249 for Mobile Production Gearbase Study.

being deployed consistently to produce content for an ever widening viewing audience.

Sullivan: The business is in flux. We are experiencing pressures to cut costs, but, at the same time, that is

TOTAL TRUCKS BY COMPANY

colliding with requests to do 1080p HDR, 4K, and 4K HDR. All of these formats cost money.

TOTAL TRUCKS BY COMPANY

65 ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 60 60 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

50 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 45 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 40 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 35 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 30 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 27 25

25 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 19 20 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

15 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 11

11 10

9 8 8 7 10 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 5

4 4 4 4 3 3 5 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 2 2 2 2 2 2 2 2 2 1

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NEP e Cr eek Vide Mob o ile T V Gr Dom oup * e Pr odu ctio ns Lyon Vide F&F o Prod ucti Live ons Mob ile G roup All M obil e Vi deo TND V Te levi Pros sion how CSP Bro adc Mob ast ile P rodu ctio IMS ns Prod Ros sM ucti obil ons e Pr odu ctio ns DNA Gea S t udio rhou s se B road cas t Met rovi sion Toke n Cr eek Ray com Vide Spo olin rts es M obil Bou e TV nce Mul time dia Clar kM e dia D2 P Enc rodu omp ctio ass ns Digi tal M LeS edia EA P rodu ctio ns MPS

0 ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

* not including VMUs * not including VMUs

WHAT’S WHAT IN MOBILE PRODUCTION page 2

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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Executive Perspectives

As REMI and at-home productions become more popular, what is the effect on your business? Carlyle: We are embracing. We built a studio at our home base, so we can offer both sides: the onsite [facility] and the control room back home, where we do 35-40 [events per year]. We’ve also adapted our older trucks so they can be a regular mobile one day and a REMI truck the next day. We also two dedicated REMI trucks.

Garvin: The impact is modest so far. But, as it grows, we will be developing innovative solutions to make [at-home productions] better and easier.

Farrell: These new ways of doing production are shifting work away from certain types of traditional facilities, [particularly] the regular “regional” [trucks]. And repurposing current facilities does not really work from an ROI standpoint; there are too many assets on a truck that are not used in at-home productions. As those demands increase, I think you will see more purpose-built trucks. Greene: We see opportunity. We are in the client-services business and take much pride in delivering options to our clients’ needs. REMI and at-home productions are great options for selected remotes, and we’re happy to play in that space if it solves the needs of our clients.

Levine: We are adapting to the change and looking for other opportunities to use our mobile units in the REMI model to support our clients as long as the schedule works. We are also building REMI-specific studios for customers. Lewis: We’re seeing steady expansion as this is now our primary market sector, and we’ve been an active player since the beginning. More than any other sector, college Olympic sports are driving innovation in new production workflows, such as REMI– and TriCaster-trailer–type productions. Rubenstein: It has had a positive effect on Ross MP. As we continue to evolve, we have remained a valued option [for at-home productions]. Snyder: The production techniques of REMI and at-home productions challenge our industry to be more efficient and focus our energy where clients want them focused. We all have to adapt.

Taubman: We’re beginning to [work] in that market, and our biggest challenge right now is, every entity who’s doing REMI is doing it differently. So it’s hard for us to launch a standardized platform. Fox, ESPN, Pac-12, and Big Ten are all different. We would like to see a conversation where we can figure out a standard platform for REMI that we can deploy and add to our trucks and service our clients that way. Until we get a standardized way of doing REMI, it’s going to be tough to react to all of our client’s needs.

Esports is a hot new property. Are you seeing more demand for esports-production facilities, or do you expect to in the future? If not, in what sector are you seeing the most growth? Carlyle: I think esports is definitely going to grow. Where it’s going to end up is still to be determined. Is it going to end up on broadcast? I don’t know. [For example], Heroes of the Dorm used to be on ESPN and [left] to go to Facebook, [which] could offer a larger audience. Aside from that, we’re seeing growth in terms of overall events on the air. We don’t see large growth in the big markets — there are no more NFL or CFL games — but there are plenty of smaller [shows] both streaming and on linear broadcast. We’re also definitely seeing a resurgence in entertainment shows. Farrell: Esports is one of those segments that no one was thinking about five years ago, but the audience is so huge it is hard not to give it a hard look now. I think college continues to be the growth leader with schools and sports that were never broadcast before seeing coverage of some type.

Garvin: Very possibly, there could be [growth in esports], but it is still modest compared with traditional and major-league sports.

Greene: I’m excited by the opportunities in esports, and we are eager to get involved in this space. In addition, I think, any time there’s change in our industry, growth is a product for those that accept it and effectively 26

MOBILE SPORTS PRODUCTION YEARBOOK 2018

continued on page 30

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Executive Perspectives

continued from page 26 manage their organizations to be nimble. For IMSP, it isn’t in one specific area we’re experiencing growth but small percentages from all sectors.

Levine: Absolutely, we see growth in esports as well as in streaming. Lewis: College continues to increase for us, as well as streaming. Corporate clients are making much more use of streaming technologies, and their demand for higher production values is an excellent opportunity for small and midsize production trucks.

Rubenstein: We have been able to play a role in esports already, providing facilities and crew for several tournaments, with more on the horizon. We’ve invested in converting our facilities to 1080p-capable and acquired all the needed cameras and equipment. We are also still seeing a lot of growth in college-sports properties. Snyder: We are seeing new growth in non-traditional sports and events, like esports, while mainstream sports shows are still growing in size and scope. Esports has been an important part of Lyon Video’s business for many years; we have been lucky to work with several organizations that have been producing content. Lyon Video has developed an understanding of the unique needs of their production process so we support their production team’s creative vision.

100%

Sullivan: College-conference networks are definitely bumping up demand on the low end, and that’s been happening for some time now.

What impact do you believe industry consolidation over the past few years has had on the business? Will this trend continue? Farrell: More consolidation is inevitable. It is making stronger companies that can service a wider range of business, but the downside could be a loss of customer service.

Greene: I believe, the larger companies get, the more challenging it can be to offer the type of client service our partners expect and frankly deserve. Consolidation isn’t new to our space. I believe you have to determine what you’re really good at and what you’re better at than anyone else and then continue to super-serve those that trust you with their business. Will consolidation continue? Of course.

Percentage of survey respondents who answered YES to “Do you consider the current state of the remote-production business healthy?”

Levine: NEP’s growth has given us the ability to offer a wide range of services to customers in the U.S. and around the globe. Our collective talent and team efforts are beneficial to our clients. Lewis: I think it’s inevitable that we will see consolidation continue. With the much greater variety of production models and workflows that we now see in sports, I expect that many future consolidations will be driven by the desire to acquire expertise and technical diversity, rather than just increasing a truck fleet count or adding contracts to the portfolio.

Rubenstein: I think it’s always a plus when like-minded companies work together. Consolidation is good. Snyder: Industry consolidation is pushing the remote-production world to become just that: a worldwide enterprise ignoring geographical boundaries. Organizations who ignore the globalization of remote production will cease to be relevant. This is being led by rights and rightsholders’ national coverage of international events. To be competitive in this marketplace, consolidation may need to accelerate.

Sullivan: In my view, consolidation will never stop; it’s going to happen. There is always a reason to look at consolidating within the industry or an affiliated field. The big question always is, is the reason to consolidate compelling enough to do it? 30

MOBILE SPORTS PRODUCTION YEARBOOK 2018

SVG conducted an informal survey of all major truck companies. The results are included throughout the Executive Perspectives section.

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Executive Perspectives

What technical challenges are the most vexing for your engineering team today? Carlyle: I think IP is going to be our next technical challenge; we are finding that it’s a different skill set. You’ve got to make time to dig into IP, and, if your engineers are good, they will figure it out. HDR is definitely an area that we have to keep on top of. I think we dedicated a lot of time last year and this year and are getting more and more familiar with it. Greene: I think the technical challenges in our space are more about how we design and populate our trucks and ensure our ability to anticipate our clients’ future needs. We’re lucky to have a deep bench of incredibly smart engineers and operations people that stay on top of technology trends and changes.

Levine: Our challenge will always be keeping up with the constant technology changes and the timing of investments. We have successfully moved into the IP world but are now waiting for manufacturers to catch up. Sullivan: Our technical team is trying to meet the conflicting needs of doing REMI-style events while also planning for the yet to be determined UHD formats. That’s a challenging balance.

Taubman: The IP transition continues to be top of mind for us. We’re on the cusp of SMPTE 2110 products and native edge devices. I think our trickiest topic right now is trying to make the correct purchasing decisions that keep our eye firmly on the future. We’re trying to make an investment today that’s going to take us 10 years down the road, and we’ve got to be really careful as we do that.

Turk: As the IT and broadcast worlds have combined, we must train all our engineers on complicated, robust networks. You can’t just put everything on one network anymore. NEP has invested significant time and resources to educate engineering staff; we designed a training course with the goal of teaching our broadcast engineers the architecture and rules you have to work by. We also stress the weaknesses and advantage of a layered network so the engineers onsite are prepared for all situations.

Wehner: Our biggest challenge is always fitting as much technology and flexibility into a mobile unit within the weight and space limitations. I think we do a very good job with this, but it’s a constant challenge as the technology changes and grows.

Outside of technological challenges, what are your biggest concerns?

Carlyle: As always, I think it’s succession planning — whether it’s crews, management staff, or engineering. We have to prepare the next generation. So I would say my biggest concern right now is people. The other thing we focus on is policies and procedures, especially the safety element. We’ve spent quite a bit of time training our staff about proper and safe practices and procedures. Farrell: Controlling costs is our biggest challenge. The clients want events done for less, but our costs are increasing. The margins are getting more and more narrow. Garvin: Travel and crew costs are always a concern. Levine: We must always stay on top of managing cost. This is on everyone’s to- do list. Working as partners with our clients allows us to look for cost-efficient solutions [and] helps keep the business sustainable.

Lewis: Being lumped in with the commercial-trucking industry with little regard for the uniqueness of our business and our mission profiles definitely presents significant challenges as new regulations are imposed. Rubenstein: I am always concerned that the cost of doing business will continue to increase as networks look for cost advantages. It’s a balance we have managed well, and we will continue to strive to do so.

Snyder: Government-legislation inconsistency is challenging for our business. A large part of what our clients’ management and Lyon Video’s management do is “project” what will happen years in advance. To coin a phrase from football, if we do not know where the yardsticks are going to be placed, how do we know how far we need to drive the ball? With legislation in upheaval, projections take more time and are less accurate. This leads the content community to be more conservative and not take chances on new content or produce content that has a more marginal potential return. continued on page 38 34

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Executive Perspectives

continued from page 34

Sullivan: A big part of it comes down to stability and leadership of our [federal] government. That means both the Executive Branch and Congress. Events in Washington have an impact on everything that we do.

Are you planning for the potential rise of 4K and/or HDR? What is your longterm roadmap for both? Garvin: We have one 4K mobile unit and

Do you have HDR-capable trucks?

30% NO

70% YES

are building all new trucks to be 4K-ready. The 3G infrastructure is okay for now but won’t be adequate for 4K starting in mid 2018 and will require 12G or IP infrastructure. We are also seeing growing interest in HDR and have three trucks with HDR[-capable equipment]. All of our trucks will be HDR going forward. We think there will be a lot of interest in 1080p HDR, but we could even do 1080i HDR if needed. And we also plan to do HDR 4K with our 4K trucks.

Johnson: The good news is that we’ve been spending lots of time in this space and have been happily servicing 4K. I think we’ve pretty much mastered it, and it’s mapped itself out. Now it’s about people becoming comfortable and actually using that format. Almost every manufacturer has support for it, and now it’s about finding the right opportunities. It’s great to see more and more people doing [HD and 4K] shadow cuts; I think that is where the future has to be. Taubman: We modified River Hawk [in 2015] for MLB Network Showcase in 4K. And we took what we

learned and baked it into every one of our trucks built subsequently, all [four of which] are native 4K. We also have clients asking to add HDR on top of 4K and others wanting to do 1080p60 HDR, [and] any truck that has legitimate 4K capability also has 60p HDR capability. In addition, all of our trucks built since 2010 with 3G and 60p capability are also HDR[-capable]; you just need to add HDR cameras, recording devices, and up/ down/crossconversion.

Turk: We have always listened to our clients and provided the appropriate facility for their needs. We have experience in 4K, 4K HDR, and 1080p HDR. Our fleet has the flexibility to provide any of these formats. Our goal is to provide a flexible solution that easily transitions to these new formats as our clients transition their networks.

The SMPTE ST 2110 standards suite for IP video has arrived. What does it mean for you and your team? Johnson: The arrival of SMPTE 2110 is [exciting]. Lots of people have been operating in IP and have been able to produce in that. 2110 simply means that now we’re arriving at a common standard that more manufacturers can effectively interchange based on.

Snyder: The formalization of the SMPTE standard means that the equipment manufacturers can make equipment that conforms to this standard without fear of [its] being [made obsolete]. We expect next-generation equipment will arrive soon and be more mainstream and thus less expensive while being able to be interconnected IP without a PhD working at the local level. The transition will require this additional format, as well as current and legacy formats for all ... to take in, monitor, and route out.

Taubman: We designed Yogi, [our IP-based mobile unit launched in March], with SMPTE 2110 in mind. continued on page 42 38

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Executive Perspectives

continued from page 38 We’re taking that further step with 79 [launching in Q1 2018] by architecting it in a similar way. There are a lot of topics with IP and SMPTE 2110 at the moment, including IP opening up the door for edge devices and how those edge devices are going to connect to the IP core. Today what we can take delivery of is a 10-gig infrastructure, but I think that’s pretty rapidly going to give way to a 25-gig infrastructure.

Turk: We are excited to be able to remove external IP-to-SDI converters from our existing system. When IP is more than just a router, we will be able to see the real benefits of an IP infrastructure. This is all very new, so we are waiting to see how different manufacturers implement it. Will everything be plug-and-play? Will every system participate in NMOS?

What is your philosophy concerning the use of IP routing vs. traditional baseband?

40%

We are committed to baseband signal IP will be in all of transport for the our future truck foreseeable builds. future. 20% We will use IP in trucks built for large shows.

Wehner: I don’t believe SMPTE 2110 means much for us in the immediate future. It solves several of the shortcomings of the other IP standards, so this is encouraging long term. Now that SMPTE 2110 is a standard, it’s my hope that we will start seeing it as a native option in all equipment so we can have a good end-to-end IP solution.

How quickly are you moving away from baseband infrastructure to IP? If you were launching a truck today, would you build it around an IP or an SDI router?

Farrell: The 3G infrastructure is a crutch for 4K. 12G will make 4K much easier to do in the field. Johnson: We have had an all-IP infrastructure on our managed fiber network for several years. On the truck side, not so much. We’ve taken a look at it, and we’ve not been happy with what we could accomplish at this point in time. Others are venturing into that space, and many are doing an IP/SDI hybrid [model]. I do hope that [the standardization of ] SMPTE 2110 will lead to significant implementation of end-to-end IP. End-to-end is key because it doesn’t make sense for us to have a whole bunch of gateway devices to connect SDI devices to an IP core. End-to-end IP with a very small number of gateway devices — that’s our target.

Turk: As more pieces of gear with IP inputs or outputs are available, the transition is becoming easier. We currently have IP systems that are based more on size and remote I/O. We look at each project and make the best decision for that clients’ needs. We are always thinking about new technologies and the advantages they will bring to our company and our clients. Taubman: For us specifically, there’s no sense in putting anything but an IP router into an A-unit build at this point. We were driven to IP more because of the scale required than IP for IP’s sake. To hit the kind of numbers we needed in terms of scale today, you can’t do it in SDI. So, yes, we are IP all-in. And now, the further along we get, we’re starting to explore what we can do with IP, like having native edge devices. Wehner: We continue to build our mobile units around an SDI router, [mainly] to avoid using conversion [gateways] for the equipment that is not IP-ready. Gateways increase the cost significantly and add a potential failure point so this is something we would like to avoid. An SDI router is still able to meet our needs so we will continue to install them in our mobile units for the foreseeable future. There will be a tipping point where enough equipment will support IP and we will make the change to an all-IP infrastructure.

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Executive Perspectives

Is there a specific technology (or technologies) that clients are demanding more these days? Johnson: I think it continues to be specialty cameras — whether you’re talking about VR presentation, high frame rates, 4K, unique POV opportunities, drone-based [tools], SkyCams, and even double SkyCams now. Even what people are doing to extrapolate some of that camera information with the 360 systems creating the player’s-eye view. Those unique camera viewpoints are what catch people’s eye. Taubman: For the [national-]level games, you basically have to come to the party armed with [Sony HDC] 4300’s with the ability to [activate a game-by-game license] for high frame rate, 4K, and soon HDR anywhere they may want on the field. That’s become the standard for all these big productions. Early in the football season, for example, [broadcasters] don’t necessarily want high frame rate at every camera position. But, as the season goes and we get into postseason and then the Super Bowl, that has to evolve into an all–high-framerate infrastructure. We’ve got to have that [licensing model] to enable that. Wehner: We continue to see strong demand for super-motion (SSMO) cameras on our mobile units as part of the normal complement. Several years ago, we started providing one SSMO camera per mobile unit, then two, and now we are providing four as a normal complement on several mobile units. I expect this demand to continue because it adds significant production value to the broadcasts.

Are you seeing any other major engineering/design/technical trends in the truck business? What should the community be keeping an eye on that is currently under the radar? Garvin: 1080p HDR combined with super-slo-mo with HDR looks very promising. Johnson: Certainly, the opportunity that IP brings to extend the truck and make things more accessible from a distance is going to be a big part of our design. How we monitor and support these systems will be important because it’s going to become more complicated. We have to be mindful of interruptions or failures, which can happen in the IT world, and make sure that we’ve got the support to keep us active and on-air.

Snyder: Automation will be interesting to follow as it changes many dynamics we all believed to be the

“normal” in remote production. Automation and machine learning have the potential to be disruptive, while also potentially being very helpful to reduce staff on remote productions.

Taubman: IP is here to stay for sure. HDR is coming on strong. 4K is holding on. There have been some predictions that 4K was going to give way to 60p HDR, and that’s quite possible, but the jury’s still out on that. Regardless, all the bits and pieces you need to be flexible for all those scenarios is what we’re keeping an eye on — like conversion and edge devices. We’re just trying to make sure we’re making good decisions and the stuff we buy today is going to be useful for us in eight to 10 years. Turk: More and more clients are asking about IP audio networks (for example, Dante or AES67). This revolutionized the intercom and audio world. No more two-wire power supplies and large booth kits. Now it can be done through a small POE switch. No more serial data going all over the stadium; it’s an Ethernet port off the closest switch. As a result, most productions become a little easier and take a little less time to set up. That said, freelance audio technicians need to be trained; if they do not understand these IP systems, a small problem can quickly grow into a major one. We all must embrace these changes and continue to educate ourselves about them. If you’re not learning, you’re not keeping up. Wehner: I am starting to see more connectivity from the mobile unit to the studio. We are designing our mobile units to easily become an extension of the studio. This allows everybody at the studio to be able to use the mobile-unit resources to better supplement their studio show or get footage to the web faster. Tallies, intercom, and the replay network will all be connected so everything is available to anybody that wants it. This connectivity has been discussed for several years; however, I’m starting to see it finally happen as faster connections between the venues and studios are becoming available.

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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2017 was an eventful year for sports production, with marquee events like the College Football Playoff National Championship Game, Super Bowl, and NBA and MLB All-Star Games test-driving new technologies and production workflows, and annual tournaments like NCAA’s March Madness, U.S. Open golf, and US Open tennis using the best tools that sports broadcasting has to offer to spotlight the best in their respective sports. Add in the FIFA Confederations Cup in Moscow as well as the Daytona 500, Stanley Cup Final, and X Games Minneapolis — not to mention, a wide range of European sports productions — and 2017 certainly shaped up as quite the year for live sports production. And, with the 2018 Winter Olympic Games and FIFA World Cup on the horizon, it’s only the beginning. Here’s a look at some of the highlights from the past year.

COLLEGE FOOTBALL PLAYOFF NATIONAL CHAMPIONSHIP GAME RAYMOND JAMES STADIUM, TAMPA, FL

he College Football Playoff National Championship Game is the first truly big day on the sports-production calendar, and ESPN again treated the game like the crown jewel that it is, with a production stunning in both scope and scale. There were 111 cameras inside the stadium supporting the network’s efforts in producing the main game telecast, the 13 additional MegaCast options, and three studio sets around the building. Ninety-five of those cameras were pointed at the game between Clemson and Alabama (the Tigers defeated the Crimson Tide 35-31), with nine super-slow-motion cameras and five 4K-capable cameras accompanying. Pylon cameras were on the four corners of each end zone, and cameras were strategically placed to capture each important boundary from the sidelines to the goal lines. “We’ve got every line covered,” said Ed Placey, senior coordinating producer, ESPN, prior to the game. “We just hope we have a great game where we can show it all off.” Among the camera highlights was a collection of Sony’s HDC4800’s, which debuted at the 2016 NAB Show. The camera is capable of 8X super-slo-mo in 4K and 16X when shooting in HD. A few Canon DIGISUPER 95 telephoto lenses were deployed on some of the cameras at valuable positions. Standing outside Game Creek Video’s Spirit prior to kickoff,

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SUPER BOWL LI NRG STADIUM, HOUSTON

FEBRUARY 5

t Super Bowl LI, Fox Sports introduced several technical innovations that will not fade from memory any time soon. “It’s a showcase, a stage,” noted Mike Davies, SVP, technical and field operations, Fox Sports, “and, the way technology is going, it will always feature some new things.’ The technical advance that had the biggest impact on the production was the use of more super-slo-mo systems and highresolution cameras than had ever been used at a Super Bowl. Sony HDC-4300 and P43 cameras were operating in 4K mode

in key locations — goal line, end line, sidelines — so that the production team could zoom in for high-resolution close-ups. And two Sony HDC-4800 cameras were on hand for super-slomo coverage. Fox Sports also took pylon cameras to the next level with a simple change: the cameras were angled at 45 degrees rather than perpendicular to the lines. “What we like about it is that you can see more of the field. We can potentially do a replay that goes from one camera in the pylon to the next,” said Davies. “And, now that the cameras are HD, it’s shocking how good they are.” Game Creek Video’s Encore production unit made its Super Bowl debut, and Cleatus, which is normally deployed by another network under a different name, was used for pregame coverage. Also on hand at the stadium was Game Creek’s Chesapeake, which was used for the red-carpet show. NEP, meanwhile, handled Fox production needs at Discovery Green with ND1 on hand for the full week of programming. The shows were cut in the ND1 unit and delivered to Pico, Fox’s Los Angeles facility, for graphics insertion. — Ken Kerschbaumer The Fox Sports pre-game set was nestled into the corner of NRG Stadium behind the Patriots end zone.

NBA ALL-STAR GAME SMOOTHIE KING CENTER, NEW ORLEANS

ew Orleans hosted the NBA All-Star Weekend only three years after hosting the 2014 festivities. Typically, when a sports event returns to the same city that quickly, the production philosophy remains the same. That was not the case for Turner Sports. “This is a very different show than it was three years ago,” said Chris Brown, senior director, technical operations, Turner Sports. “The big difference is the deliverables and a compelling basketball game that uses as much technology as we can cram.” Among the biggest changes? Turner’s NBA on TNT road show, a 70,000-sq.-ft. fan-activation effort that includes a set for the Inside the NBA studio show, concerts, the final of the Dew NBA 3X three-on-three tournament, interactive fan experiences, basketball clinics, and pop-up stores. It was located at Champions Square, about 1,500 ft. from the Smoothie King Center, which hosted the Rising Stars Challenge on Friday, All-Star Saturday Night on Saturday, and the All-Star Game on Sunday. NEP played a big role in Turner’s production of the weekend’s activities with SS24 at the center of the game coverage, NCP10 NEP had a big presence in the Big Easy in support of Turner Sports.

MOBILE SPORTS PRODUCTION YEARBOOK 2018

FEBRUARY 19

for All-Star Saturday night, NCP 11 for the studio show, NCP8 for the entertainment and halftime elements, and ND1 for transmission and more. The use of ND1 continued to evolve at the All-Star Game. Turner put 58 cameras to use inside the Smoothie King Center for both the on-the-court and TNT studio coverage (the worldfeed production also had unilateral cameras because the game was seen in 215 countries and territories and in 49 languages). One exciting new production tool was addition of a Spidercam for coverage of the All-Star Saturday Night activities: the slamdunk contest, three-point shooting contest, and skills challenge. It was also the first time a cabled camera flew over the court during on-court action. — KK

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Road Warriors

DAYTONA 500 DAYTONA INTERNATIONAL SPEEDWAY, DAYTONA BEACH, FL FEBRUARY 26

he Super Bowl of motorsports, the Daytona 500 shifted into high gear on Fox Sports. Among returning technology favorites was Gophercam (for its ninth season), and there were also some new elements: two dedicated Car Channels on the Fox Sports GO app, a “playbook” for the 3D-cutaway car that helped NASCAR analyst Larry McReynolds get analysis on-air more quickly, more high-speed cameras (two high-framerate 4K Sony HDC-4800 cameras for super zoom, four super-slomo HD units, two Inertia Unlimited X-Mos), and eight in-car camera packages. “Daytona is the first race [of the season], and we want to put resources into it,” said Mike Davies, SVP, technical and field operations, Fox Sports. “It’s helpful that we are here for two weeks as we can test things and see what sticks for the season.” Overall, Fox deployed 20 manned cameras along with the previously mentioned in-track, in-car, and high-speed cameras. Also used were 10 robotic cameras mounted around the track, three robotic cameras at the Hollywood Hotel studio set, a

jib camera with augmented reality, four RF roving pit/garage cameras, two in-car gyro-cams, and more than 150 microphones. Game Creek Video was once again on hand for Fox Sports at the Daytona 500, and 2017 marked the 11th straight event with the FX production unit at the center of the Fox operation. The Game Creek presence at the race comprised FX A, B, and D units; Edit 1 and 2; and a Robo trailer. The two Edit units and the Robo were deployed for the Super Bowl and made the trip to Daytona directly from Houston. — KK

The front bench of Game Creek’s FX shifted into high gear for the Daytona 500.

, NCAA MEN S BASKETBALL FINAL FOUR

UNIVERSITY OF PHOENIX STADIUM, GLENDALE, AZ APRIL 1 – 3

he collaborative effort of CBS Sports and Turner Sports continued with the operations and engineering at this year’s Final Four, but it was an “all-CBS” year, and longtime CBS Sports star Patty Power took the helm, overseeing the production compound. “It’s been really great,” said Power, who is EVP, operations

and engineering. “There are so many good people in place that have been here doing this for so long. Where I’m coming from is trying to find ways to do things more effectively. I want us to be smart about it. There are little tweaks here and there and those ideas I get to implement now.” A total of 50 cameras were inside the University of Phoenix Stadium bowl, covering both game action and a studio set located in the student section behind one of the baskets. There was a collection of 4K cameras on the backboards. Nine Sony HDC-4300’s were in various positions shooting at 8X superslow-motion, and Bexel’s new Clarity 800 camera was also lodged into the base of one of the backboards, shooting at 8X. Also back in the mix were RailCam, SkyCam Wildcat, and a fixed-wing aircraft providing aerial views from above the domed stadium. Gone were the “Team Stream” telecasts that CBS and Turner offered previously, although there is a strong possibility that the Team Streams will return when some of the Final Four games return to Turner networks in 2018. In the compound, producer Mark Wolf and director Bob Fishman led the production team from F&F Productions’ GTX16, which served as the main game truck. The compound was a little leaner this year, with the absence of the extra Team Stream telecasts, but the footprint was still robust and included nine full-expando mobile units. — BC Turner and CBS erected two sets on the “Great Lawn” outside University of Phoenix Stadium.

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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Road Warriors

STANLEY CUP FINAL BRIDGESTONE ARENA, NASHVILLE, AND PPG PAINTS ARENA, PITTSBURGH

BC Sports Group deployed its largest contingent yet for Stanley Cup coverage: 155 technicians translated one of the more compelling narratives in recent NHL history — Nashville Predators’ Cinderella theme contrasted nicely with the Pittsburgh Penguins’ crafty-veteran narrative — into gripping must-see TV at home. This year, a total of eight super-slow-motion cameras were deployed: five Sony HDC-4300’s and three Grass Valley LDK highspeed robotic cams, up from two last year. NBCSN provided all but one, which was shared with Canada-rights holder Rogers TV.

MAY 29 – JUNE 11 NBC also deployed a Sony HDC-4800 4K camera in an innovative configuration. “Traditionally, we’d have the 4K camera high and wide, but, this year, we wanted to bring the 4K down closer to the rink and shoot the game a little differently, from an angle closer to the ice,” explained NBC Sports Director Charlie Dammeyer. “The camera is in a low slash position, and the operator shoots the game fairly tight. This allows us to maintain the 4K clarity when we zoom in on points of emphasis during replay sequences.” Viewers saw these shots as part of NBCee IT, which allowed the broadcast team to zoom in on a shot and pan around a frame. For specialty cameras, NBC also used TVA’s robotic netcams, as well as robotic “ankle cams,” positioned on the left and right dasher boards. “We’re putting all [available resources] into the basket in order to get the best show out there,” said Dammeyer. The Nashville games were produced from NEP ND6 and ST28 B units; ND5 and ST32 were onsite in Pittsburgh. The production was fairly conventional: all prerecorded segments were shot on off-days, then transferred to and edited at NBC’s Stamford, CT, facility. — Dan Daley NBC Sports’ primary production in Nashville was located in NEP’s ND6.

U.S. OPEN ERIN HILLS, ERIN, WI JUNE 15 – 18

ox Sports broadcast its first-ever U.S. Open golf coverage, from Chambers Bay outside Seattle, in 2015, and the 2017 show continued to grow from that, with shot-tracing technology on every hole, three holes of 4K coverage, and an increased presence by other Fox networks. All the shows done for Fox Business Channel, FS1, and other Fox properties were handled by the core Fox Sports production team. “They aren’t standalone; they are part of our main production setup,” explained Brad Cheney, VP, field operations and engineering, Fox Sports. “We’re extremely happy with how all of those extra shows have gone. And it’s just proof of what everyone can get done, from producer Mark Loomis and director Steve Beim to the technicians and our vendors.” Once again, Game Creek Video was onsite in force, with the Encore production unit at the center of the on-course coverage. The only modification from previous lineups was that Maverick replaced Glory for 4K coverage of Holes 13, 14, and 15. Because Maverick had been used by DirecTV at The Masters, rolling it in for the U.S. Open made 4K integration easier because the truck was already set from an engineering standpoint. The HD coverage on those holes relied on Sony HDC-4300 cameras outputting two signals, a 4K and a 720p, via the camera-control unit (CCU).

MOBILE SPORTS PRODUCTION YEARBOOK 2018

The Game Creek Video crew onsite at Erin Hills

The core of the production relied on 110 cameras and 216 microphones, including 26 wireless cameras, 31 wired cameras (12 with 100X Canon lenses, 19 with 95X Canon lenses), three Inertia Unlimited X-Mo cameras, and a Sony HDC-4800 operating at 960 fps. Three RF Tracer cameras were also in use. The Towercam, which allows a camera to be raised 18 ft. into the air, was back but in a bigger way: it was now on a Gator tractor from John Deere. A 75-ft. Strada crane and four jib cameras were also onsite. — KK

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Road Warriors

FIFA CONFEDERATIONS CUP FINAL ST. PETERSBURG STADIUM, ST. PETERSBURG, RUSSIA

uring the FIFA Confederations Cup final between Chile and Germany, the highlights on the pitch were plentiful, but it was behind the scenes where the international broadcasting world eagerly deployed the very latest technology to ensure the best possible TV-viewing experience for football fans around the world. “The tournament was a great success, and, while I know there might be a tendency to think of the FIFA Confederations Cup 2017 as a test event for the FIFA World Cup, it’s actually a huge event in its own right,” said Florin Mitu, head of host-broadcast production, FIFA. “The world was watching, and we had 84 rightsholders, 90 non-rightsholders, more than 2,000 accredited TV representatives, and a host-broadcast staff of more than 800

JULY 2

onsite. These numbers speak for themselves, and it’s without doubt one of our biggest tournament operations.” The FIFA Confederations Cup took place across four stadiums with the Zenit Arena in St. Petersburg acting as host to the International Broadcast Coordination Center (IBCC) and serving as test bed for the portable cabins, technical infrastructure, and workflows that the FIFA host-broadcast–production team will deploy for each of the 12 stadiums for the 2018 World Cup. ARD/ ZDF, Fox Sports, Telemundo, NHK, TV Globo Brazil, Megavision Chile, and DirecTV LATAM were onsite at the IBCC sharing a total space of approximately 900 sq. meters. The core production of the FIFA Confederations Cup Final made use of five UHD HDR cameras and 15 HD HDR cameras (all using the Slog-3 gamma curve) as well as HD SDR cameras. Moreover, the Sony HDRC-4000 production converter helped convert HD SDR and HD HDR signals into UHD HDR signals, and the FIFA MAX server operated in 1080p mode. An interesting change in the production of the matches was the decision to replace the HDC-4300 on the camera 1 position with a Sony PMW-F55 camera equipped with a Cabrio lens from the beginning of the tournament. — KK Florin Mitu, Head of Host Broadcast Production at FIFA

MLB ALL-STAR GAME

MARLINS PARK, MIAMI JULY 11

or Fox Sports, the MLB All-Star Game is not only a chance to deploy its proven production tools but also an opportunity to test technologies that are just coming of age. For the 2017 edition, Fox rolled out one of the most robust high-speed– camera complements and on-field–audio setups ever for a baseball game, along with Game Creek Video’s new 4K-capable, IP-router–based Yogi mobile unit. “As always, the All-Star Game brings a chance to try new technologies out and see what sticks for postseason baseball and our other [properties],” said Mike Davies, SVP, technical and field operations, Fox Sports. “And we have amazing and very flexible operations and engineering teams here that can roll with the punches when it comes to [new technology].” Game Creek’s Yogi A and B units, launched in March 2017, primarily served YES Network during the MLB season. The 4K-capable mobile unit, which features an IP core, was also deployed for Fox’s All-Star Game and served as the primary truck for its World Series coverage in LA. The truck, which can support up to 20 Sony HDC-4300 cameras running in 4K, lends itself to Fox’s high-speed–camera–heavy All-Star plans.

MOBILE SPORTS PRODUCTION YEARBOOK 2018

“Yogi [affords us] all the ability to have several 4300 cameras as well as our 4800’s,” said Francisco Contreras, director, field operations, Fox Sports. “It enables us to do all the 4300 and 4800 high-speed cameras that we want to [deploy] today but also [prepares us for] 4K or 1080p HDR or anything else in the future. And the footprint is much bigger for us, which is very nice.” In all, Fox Sports deployed eight high-speed–camera systems for the All-Star Game: three Sony HDC-4300’s in 6X slo-mo mode (all in centerfield), two HDC-4800’s shooting at 16X (mid first and mid third), a Fletcher robo with a Sony HDC-P43 POV cam (at mid home), and two Phantoms provided by Inertia Unlimited (at low first and low third). — Jason Dachman One of two Sony HDC-4800 cameras deployed by Fox in 16X slo-mo mode

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Road Warriors

X GAMES MINNEAPOLIS U.S. BANK STADIUM, MINNEAPOLIS JULY 13 – 16

ver the summer, Downtown Minneapolis came alive with the sounds of revving dirt-bike engines, clapping skateboards, and wailing rock music as the 23rd edition of the Summer X Games descended on the Midwest. With 18½ hours of linear-television programming and a wallto-wall social-media and live-streaming plan, ESPN worked alongside new production partner Echo Entertainment to make television magic. The two entities kicked off their relationship at Winter X Games in Aspen in January 2017 and were bullish on the relationship heading into their first Summer X Games together. “I’ve been in the action-sports world for a long time,” said Hugh Arian, president, Echo Entertainment, “and it’s the most collaborative [event] we’ve ever worked on.” ESPN and Echo established 73 camera positions inside (and outside when needed) U.S. Bank Stadium. Of those, 43 were handhelds (many receiving RF support from BSI), 13 were hard, 10 were Sony HDC-4300’s for super-slo-mo capture and playback, seven were POVs, and four were robotics; Spidercam provided

aerial shots from inside the stadium bowl. All resources were connected to an all-Dome Productions compound in the stadium’s indoor truck dock. Dome supplied four A units and a B unit (which played host to the VR production). BSI had an RF-support vehicle, and two satellite trucks provided full satellite transmission to ESPN headquarters in Bristol, CT. “Kids are consuming content differently,” said Tim Reed, VP, X Games, ESPN, who worked his 21st U.S. X Games and has been working the property since 1997. “The biggest thing that we do is try to remain aware of what [new] audiences want. They want authentic content, a lot of personality, and brands that stand for something and have an identity.” — BC The high-tech U.S. Bank Stadium provided an elite infrastructure from which ESPN and Echo Entertainment could broadcast.

US OPEN USTA BILLIE JEAN KING NATIONAL TENNIS CENTER, FLUSHING MEADOWS, NY

AUGUST 22 – SEPTEMBER 10

n the first two years as host broadcaster and sole domesticrights holder of the US Open, ESPN created a well-oiled machine for its colossal production operation at the NTC. In Year 3 of the 11-year rights deal, with a highly efficient model in full swing, ESPN continued to add to its sizable list of responsibilities onsite while also looking to innovate with Front Row Cam, Silvus Mesh Network, Alteros 6.5-GHz wireless-mic system, Simply Live ViBox all-in-one production system, and other new technologies. “Every year is always fresh, but, certainly, being in Year 3 helps tremendously,” said Terry Brady, director of remote operations, ESPN. “I would say, to some extent, [we’ve gotten into a groove], which has allowed us the opportunity to look at some unique technology this year. At the USTA’s request, we’ve also taken on the

responsibility of distribution to unilateral broadcasters, which was formerly not handled by ESPN. Every year, we add a little something.” To support the USTA’s rightsholders onsite, ESPN enlisted Gearhouse Broadcast (which also integrated the NTC Broadcast Center) to create a single core infrastructure, dubbed the Unilateral Distribution Center (UDC). The TOC-style operation takes in 140 feeds from ESPN, distributing them to unilateral broadcasters and to the USTA’s US Open world feed. In addition to Gearhouse, NEP assisted the USTA with the organization and distribution of feeds. ESPN took over unilateral-content distribution to rightsholders and enlisted Gearhouse Broadcast to construct the UDC. ESPN’s massive camera complement at the NTC featured an exciting newcomer: the telescope-like Front Row Cam, which was used in various court-level positions at the Grandstand, including on the back wall and along the railing next to the line judge. All the starring camera systems from recent ESPN US Open productions were on hand, including Intel’s 28-camera freeD 360-degree replay system, a SpiderCam aerial system, a RailCam, and an NAC Hi-Motion II ultra-slo-mo at Arthur Ashe Stadium. Also among ESPN’s 100-plus complement of cameras (including 60 broadcast cameras) were a HoistCam, four 3X super-slo-mos, 13 robos, four RF cameras, and five jibs. — JD ESPN took over unilateral-content distribution to rightsholders this year.

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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Road Warriors

ACROSS THE POND L ONDON MARATHON

APRIL 23

EUROPEAN RUGBY CHALLENGE CUP EUROPEAN RUGBY CHAMPIONS CUP

he U.S., Canada, and Russia weren’t the only countries to host major sports events in 2017. European broadcasters pushed the envelope and made strides in sports-production technology with their coverage of tennis, rugby, golf, cycling, and more. Here’s a look at a few of those events:

BT MURRAYFIELD STADIUM, EDINBURGH, UK MAY 12 - 13

WIMBLEDON

ALL ENGLAND LAWN TENNIS AND CROQUET CLUB, WIMBLEDON, UK JULY 3 – 16

UEFA CHAMPIONS LEAGUE FINAL T OUR DE FRANCE

PRINCIPALITY STADIUM, CARDIFF, UK JUNE 3

JULY 1 – 23

THE OPEN CHAMPIONSHIP

ROYAL BIRKDALE GOLF COURSE, SOUTHPORT, UK JULY 20 – 23 74

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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DOME PRODUCTIONS Vista Completes 4K-Capable–Truck Trifecta By Karen Hogan Ketchum

ome Productions continues its commitment to 4K-native mobile units with the launch of its third. Following in the footsteps of Pioneer and Trillium, Vista is the latest generation and most technologically advanced of Dome’s multiformat trucks capable of producing in 4K UHD. Vista hit the road in July at BMO Field in Toronto, producing a Major League Soccer match between Toronto FC and New York FC live on TSN. Since then, the 53-ft. expando has done a wide variety of sports events — including CFL, NHL, and horse racing — and entertainment shows. “The launch of Vista is another true testament to the qualifications and commitment of Dome’s innovative engineering team,” said SVP/GM Mary Ellen Carlyle, “who have been instrumental in the system design, wiring, and integration of Dome’s expanding fleet including 4K UHD trucks.” Ever since Dome Productions co-owners Bell Media and Rogers Media announced in early 2016 their intention to deliver NBA and NHL games live in 4K, Dome has targeted the 4K-production market. First, the company reconfigured its existing Trillium production truck to handle 4K while it worked on Pioneer, its first purpose-built 4K truck. Pioneer hit the road in July 2016. “That was really our first [move into] 4K,” said Director of Engineering Mike Johnson. “We modified a truck previously, but Pioneer was purpose-built 4K from the ground up. [With Vista,] we hoped that we might be able to take more advantage of IP serviceability, but we did not do that on Vista, so it stayed as an SDI truck. It’s a large router implementation of SDI, but it gives us that serviceability in 4K that we needed.” Dome Productions worked with Unity Systems Integration on the design of Vista, which, in addition to 4K UHD, can

Since debuting in July, Vista has supported a wide variety of sports events and entertainment shows.

MOBILE SPORTS PRODUCTION YEARBOOK 2018

Based on an Evertz EQX baseband router, Vista features Dome’s largest matrix system to date.

produce in 720p, 1080i, or 1080p (50 or 60 fps). The truck is built around an Evertz EQX baseband router with 89x103 UHD video capacity or 558x576 3G-SDI video capacity — Dome’s largest matrix system to date. In addition, Dome installed a 4.5M/E Grass Valley K-Frame production switcher — 2M/E when operating in 4K UHD — as well as four EVS XT4K four-channel replay servers, one EVS UHD XT3 three-channel replay server, and one EVS XS4K four-channel SpotBox. The replay servers support native recording in a wide range of codecs and in multiple formats — 720p, 1080i, 1080p, and 2160p (4K UHD) — and also have the capability to capture high-frame-rate contribution from compatibly equipped cameras. The truck features a ChyronHego Mosaic XL for graphics and, in a first for Dome, a Calrec Apollo digital console for audio. “We made a conscious decision to upgrade the audio board,” said Carlyle, “because we want to play in that even bigger market.” Depending on whether Vista is producing an HD or a 4K UHD show, the truck is equipped with 10 Sony HDC-4300 cameras — which can be configured for 720p, 1080i, 1080p, or 4K60p — and a variety of Fujinon UHD lenses. According to Dome Productions, Vista is HDR-ready and capable of producing a 4K UHD feed in high dynamic range. Since 2016, Dome Productions has supported well over 300 sports and entertainment events live in 4K, and Vista will be instrumental in supporting the company’s ever-growing workload. For larger-scale shows, Vista easily integrates with any of Dome’s B units on the road today. “Based on building blocks that are industry-proven,” said Johnson, “Dome is excited for what Vista can deliver in meeting the most feature-rich production requirements for the sports and entertainment industry.”

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F&F PRODUCTIONS GTX-18 Ushers in Company’s 4K HDR Era By Ken Kerschbaumer

&F Productions has entered the 4K HDR production business with the launch of its GTX-18 truck, which comprises a double-expando A unit and a B unit. The unit debuted the last weekend of July on a UFC PPV fight offered in UHD to AT&T Entertainment/DirecTV viewers. “We’ve had a number of customers who asked us about building a 1080p/HDR unit,” said F&F Productions President/ CEO George Orgera. “After rallying our team, we decided to build a 4K HDR mobile unit instead.” It was important, he explained, that the signal remain in native 4K UHD resolution throughout acquisition and distribution and that clients are pleased with the choices made, including fully unlocked Sony HDC-4300 cameras, 4K UHD lenses, and true 4K monitor walls throughout the unit. “There is a lot of uniqueness about GTX-18,” noted VP/GM Marc Orgera, “but the one thing we are hearing from our clients that matters the most is, it offers a complete 4K experience throughout. They are happy to have a one-stop mobile unit that can produce 4K HDR, 1080p HDR, 1080p, 1080i, 720p out of one unit.” The core of the new mobile is a Grass Valley K-Frame Kayenne Elite production switcher with 192 inputs/96 outputs and 9M/E with six downstream keyers per M/E programmable clean feed. A 4K monitor wall with 18 31-in. custom Boland 4K monitors is aboard to give the production team high-quality images. “When our clients are working on a 4K show,” noted Marc Orgera, “we thought it best that they see the same picture quality inside the mobile unit that is going out for transmission.

GTX-18’s monitor wall features 18 31-in. custom Boland 4K models.

MOBILE SPORTS PRODUCTION YEARBOOK 2018

The truck’s audio production centers on a Calrec Artemis Beam V8 digital console with Bluefin2.

We didn’t want to say no to offering them the true signal.” Routing is baseband, via an Evertz 560-input/1,134-output router and an Evertz EMR audio router (192x192 AES/48x96 stereo analog). “It’s baseband because of some heat issues that still exist,” said George Orgera, adding that VP, Engineering, Bill McKechney “still has some concerns, though our future mobile unit will be all IP-based.” The camera/lens complement comprises 14 Sony HDC-4300 and two Sony HDCP-43 cameras that are fully unlocked, four Sony super-slo-mo systems, and 17 Fujinon UHD lenses with eight of the new Fujinon 107x8.4 long lenses and nine handheld/ wide-angle lenses. The video area houses a Sony 30-in. BVMX 300-2 4K monitor and Tektronic 4K vectorscopes. The replay area boasts four 12-channel EVS HD XT4K systems with super-slo-mo, two EVS HD XFile3 archive stations, an EVS Sports Net3 hub, an IPDirector, eight KiPro UHD recorders with 1-TB drives, a Panasonic DVCPRO deck, and a Sony HDCAM deck. There are also four Blackmagic Design 4K Video Assist recorders with dual SD card and USB thumb drive. The audio area features a Calrec Artemis Beam V8 digital console with Bluefin2 (64 faders), Genelec 5.1-surround-sound monitoring, Yamaha SPX2000 multi-effects processor, Rane audio delays, dbx 166 XL compressors, two dbx 1046 quad compressors, and more. “It’s pretty exciting to have some of the most respected engineering teams from the networks walk through the mobile unit and compliment that it is the most capable 4K HDR unit on the road,” said McKechney. “It makes me very proud of our engineering team.”

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GAME CREEK VIDEO Nitro, Yogi, Chesapeake, Edit 2 Make for Busy Year By Ken Kerschbaumer

ame Creek Video had a busy 2017, with the launch of four trucks: Nitro, Yogi, Chesapeake, and Edit 2. The first to hit the road was Nitro, home of the National Hot Rod Association’s 2017 production team, which revved into action the weekend of Feb. 9. “From our point of view, NHRA has a compact production that has a lot of stuff going on in a short amount of time,” said Jason Taubman, VP, design and new technology, Game Creek Video. “They need to be nimble for a main production that spans multiple days and requires material to be banked and then played back.” Nitro consists of a double-expando A unit (recommended working area is 64 x 24 ft.), housing the main production team, and a straight B unit, housing a production team focused on the in-venue production, an audio-submix area, and the equivalent of a master-control area for playout of previously recorded content. In the past, those activities required two separate trucks. The A unit will bring a new layout to the NHRA production: the front bench is along the side of the truck rather than facing the end of it. On board are a 9 M/E Grass Valley Kayenne K-Frame production switcher with 192 inputs and 96 outputs; Calrec Artemis audio console; 576x1,152 Evertz EQX baseband video router; EMR audio router (384x384 AES, 256x256 MADI, 288x288 Analog, 128x128x16 HD-SDI Embedded); Boland video monitors (in both units); EVS XT3 replay servers; ChyronHego Mosaic XL for graphics; IHSE Draco Tera KVM Router; 10 Sony HDC-2500 cameras with Canon lenses; and a range of microphones from Sennheiser, Audio-Technica, Electro Voice, and Sony. “Also, with Nitro, we are deploying RTS OMNEO intercom for the first time, with all the internal keypanels now IP, thanks to the RTS KP5032 and KP4015,” said Taubman. OMNEO uses standard IP Ethernet, allowing it to be assembled into networks of two to 10,000 devices via Audinate’s Dante technology. NHRA Technology Executive Mike Rokosa said a move to IP (outside of the intercom) didn’t make sense, given the size of the production. And remaining in the baseband world allows reliability to be maintained, and the production team does not

MOBILE SPORTS PRODUCTION YEARBOOK 2018

Game Creek Video’s Nitro hit the road for the National Hot Rod Association in Feburary 2017.

Nitro carries 10 Sony HDC-2500 multiformat cameras and a variety of Canon lenses on board.

have to get caught up in learning a new technology. One of the new technologies in Nitro B is a Calrec Brio audio console. Rokosa noted that it is a smaller audio console and has access to the audio resources in the A unit (and is available to the Calrec Artemis console). “That area in the B unit can now produce a second show because it has identical resources available,” he said. “The

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technical capability is there, and that is pretty exciting.” Nitro’s B unit is designed to operate in standalone mode or alongside other Game Creek Video trucks as well. “It has its own audio router, video router, Evertz multiviewer, Kayenne control surface, and the sort of sandbox area that is useful for graphics, replay, and a small engineering area,” said Taubman. Nitro also carries some Marshall POV cameras from Inertia Unlimited that Taubman said are small and disposable, an important consideration when shooting alongside a track with cars hitting speeds of more than 300 mph. Inertia Unlimited provides a single point of control for all those cameras. Another improvement from last year is that Calrec Hydra boxes will be dropped at strategic locations around the NHRA events to provide audio-signal transport to the truck in the compound via fiber. According to Rokosa, Nitro improves NHRA production with new efficiency, enabling the show to come together much more quickly and making troubleshooting easier. “It can also adapt more easily to the differences in our shows, and it can grow with us, as it is also 4K-capable. Everything can shift around.” IP was considered briefly for Nitro, but Taubman said that going IP on a midsize truck is difficult because there is no midsize IP router on the market and there is not enough space for a larger router and the related IP gateways. He expects that issue to be resolved when more native-IP edge devices roll out. “The promise of IP,” he said, “is IP-enabled edge devices, like cameras and a switcher, that don’t require the middleware that is used right now.” In time for baseball season, Game Creek Video rolled out Chesapeake, a Nitro clone (although the B unit is not as technically sophisticated). It was used by MASN in the Baltimore/Washington market for the upcoming baseball season. Yogi, an IP-based truck, hit the road for the YES Network and Fox Sports’ coverage of the World Series. “Yogi is a big deal for us,” said Taubman. “It serves three masters: the YES Network, the away team as it can work dualfeed, and then, on top of that, the World Series. So, when it came to IP, the question was, if any one of those three things go 4K, the whole infrastructure has to be able to do it on a World Series scale. “Yogi is our second IP effort after Encore two years ago,” he continued. “And, like Encore, it is IP for capacity’s sake: we have 12 12-channel EVS units, need to support dual-feed 98

MOBILE SPORTS PRODUCTION YEARBOOK 2018

Chesapeake handles MLB coverage for MASN in the Baltimore/ Washington, DC market.

Yogi, like its namesake, has made The Bronx its home, handling New York Yankees games for YES Network.

operation, and can do a World Series-level production and operate in 4K. That really pushed baseband routing over the cliff. We can also see the light at the end of the tunnel with the SMPTE 2110 standard that will allow edge devices to natively support IP. I feel like we will be living in a fully IP world pretty rapidly.” Yogi comprises two 53-ft. expando units: an A unit with a recommended work area of 64 x 24 ft. and a B unit with 72 x 19 ft. The two units will bring something new to Yankee Stadium as well: the ability for the YES Network and a visiting Fox regional network to work together, the YES Network calling the A unit home for its productions and the visiting network in the B unit. The A unit features a Grass Valley Kayenne K-Frame production switcher, a Calrec Apollo audio console, a Boland monitor wall, and Evertz multiviewers. There is also a video-

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continued

shading area for four operators and support for up to 20 Sony HDC-4300 cameras operating in 4K mode. “We changed the replay area in the A unit a bit,” Taubman explained. “It will have 12 12-channel EVS XT4’s, an upgrade from six-channel EVS units. That gives it a lot of replay horsepower.” Each EVS server will be able to have two operators, each working independently. “We are also using the IHSE KVM system,” he said. “That allows us to put replay-server controls wherever we need them to go. Fiber connectivity will play a major role, enabling the A and B units to be tethered to each other in about 10 minutes. “The B unit is a big sandbox with a big monitor wall for production, a second Grass Valley K-Frame production switcher, and a Calrec Brio 64-channel audio console connected via Calrec Hydra2 to the mothership,” said Taubman. “The promise of Brio with the Hydra2 integration is that all the audio resources and associated I/O with the other desk is available. Hydra2 makes it more dynamic.” The B unit has a small video-shading area and an engineering area that can handle another 12RU of gear. RTS intercoms are in use in both trucks, and, according to Taubman, the use of Omneo and Dante IP-based routing makes the intercom capabilities pretty slick. “We also jettisoned analog audio monitors,” he added, “which allows us to reduce the infrastructure, as all of the analog

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MOBILE SPORTS PRODUCTION YEARBOOK 2018

Yogi follows in the footsteps of Game Creek Video’s Encore, an IP-based truck that debuted in 2015. Yogi can accommodate 12 12-channel EVS XT4’s (left) and boasts a Calrec Apollo Surround Sound audio console (right).

patchfields and wires have gone away.” For Mike Webb, VP, broadcast operations, YES Network, the biggest improvement to the YES broadcasts is the addition of the Sony HDC-4300 cameras. Three are licensed for highspeed needs: two recording at 360 fps and one at 480 fps. And, because the cameras are now all the same model, matching color across the entire camera complement will be easier. “We played with the 480-fps 8X camera eight times [during Spring Training],” he pointed out. “It is really cool as it allows the producer and operator to ramp the frame rate up and down so they can slow things down as the ball gets closer to the tip of the glove. We will ship that 8X unit around for all of our games, and the two 6X cameras will be used at our home games.” The Game Creek Video integration team also finished up two additional trucks. Edit 3, a carbon copy of Edit 2, hit the road with Riverhawk for MLB Network’s 4K coverage. And the company’s B2 truck has been revamped to join Chesapeake for MASN pre/postgame coverage. Maverick and Riverhawk recently returned home to be outfitted for 4K productions via expanded Evertz routers and Grass Valley K-Frame production switchers.

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HIGH ROCK MOBILE TELEVISION High Rock 1 Hits the Road for Carr-Hughes Productions and More By Karen Hogan Ketchum

s a long-time packager and producer of the world’s biggest sports events, Carr-Hughes Productions was no stranger to working with mobile-production vendors. A few years ago, Carr-Hughes decided to become a mobile-production vendor itself, and High Rock Mobile Television was born. Its first production truck, High Rock 1, hit the road for the first time this summer. “We looked at it as an opportunity,” said producer/director Jim Carr. “The kind of money that we were spending every year in the rental market we could put towards our own vehicle that was built for our programs [and] also would be available for others to rent. I think it’s a very complete package for a truck of this size. It’s got all the equipment that a lot of the bigger trucks would have — just in a smaller footprint, which we think will help us in locations like New York City and in same-day set/ shoot shows. We can set this thing up pretty quickly.” High Rock 1 is a 40-ft. dual-expando constructed on a Gerling & Associates Super Stallion Dual-Stage Expansion Class trailer and integrated by Bennett Systems. Both Gerling and Bennett are based in Sunbury, OH; Carr-Hughes Productions/ High Rock Mobile TV is located in Saratoga Springs, NY. The truck features a 4M/E Grass Valley Kayenne K-Frame switcher, 254x456 SD/HD/3G Utah Scientific 400 Series router, two-channel ChyronHego Mosaic CG, three EVS XT3 replay servers (two 12-channel, one four-channel), and a Calrec Artemis Light digital audio console. In addition, the truck carries a variety of terminal gear from Evertz, Tektronix, Image Video, and Cobalt Digital. Wired for up to 12 cameras, High Rock 1 comes equipped with seven Sony HDC-17000L’s, an HDC-4300 super-slowmotion camera, and a range of Canon HD lenses. The truck also offers several microphone options from Sennheiser, Audio-Technica, and Sony. Additional equipment can be rented separately or combined with the High Rock 1 rental. “We configured the truck to work with anywhere from six to 12 cameras pretty easily,” explained Carr. “Then, we integrated 32 frame syncs, which helps us when we do events like horse races, where we take a lot of split feeds in from the race-track coverage. We may have eight to 10 cameras that we’re doing [from the truck], but then we’re adding 15 to 20 cameras from a venue.” With a wide variety of events comes a wide variety of freelancers. High Rock Mobile TV wanted to ensure that the equipment found in High Rock 1 would be familiar to person-

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MOBILE SPORTS PRODUCTION YEARBOOK 2018

High Rock Mobile Television’s first truck hit the road this summer.

Gear from Grass Valley, EVS, Sony and others help make the truck familiar to freelancers.

nel accustomed to operating out of a 53-ft. truck. Selecting gear like the Grass Valley switcher, EVS XT3 servers, and Sony cameras will also come in handy if High Rock 1 works a larger event and needs to integrate with the facilities of a larger unit. Currently, High Rock 1 is based in Upstate New York, but the team behind the truck sees the possibility for travel outside the Northeast U.S., depending on what productions make sense for the truck. For now, executives at Carr-Hughes Productions — now considered a sister company to High Rock Mobile TV — are excited to have at their disposal a truck designed for their needs. “A big headache for us when we’d go in and do a series of shows was having a different truck every week: different set of engineers, different layout, different equipment. It really made it difficult sometimes to have consistency,” said Carr. “One thing we’re looking forward to is having consistency with this truck: to be able to know this is how we had the router set up, this is how the monitor wall was set up. I think it’ll make our labor and our setup days go a lot easier. That’s a big thing for us.”

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Profile

MOBILE TV GROUP 41HDX, 42FLEX Blur the Line Between National, Regional Productions By Jason Dachman

ith the size and sophistication of regional-sportsnetwork productions growing exponentially, Mobile TV Group in 2017 rolled out two trucks that meet the needs of both RSNs and nationally broadcast college football. The latest generation of MTVG trucks is headlined by dual-trailer 41HDX and dual-feed, two-trailer 42FLEX, an HDR- and 4K-ready unit that debuted in October on AT&T SportsNet’s Pittsburgh Penguins coverage. “Both 41HDX and 42FLEX demonstrate that the line between regional and national shows has disappeared,” said Director, Business Development, Nick Garvin. “These trucks are capable of doing your everyday regional show, which is quite large already, and then doing an even bigger national show the next day. We believe there is not much difference between what we’re doing at a regional level and what’s happening at a national level, aside from major playoff and championship shows.” 41HDX and 42FLEX, the largest double expandos MTVG has ever built, provide three rows of seating in both the production and replay areas. In addition, both feature plenty of tech firepower, including Grass Valley Kayenne K-Frame switchers, four Grass Valley LDX 86 Universe 6X super-slomo cameras apiece, 12-channel EVS replay systems, and Calrec Artemis Beam audio consoles. “We’re not saying that these trucks could do a Super Bowl or a World Series, but pretty much any other regular-season national baseball, basketball, hockey, or college-football game would be no problem,” said GM/founder Philip Garvin. “Essentially, with the four super-slo-mos, the tremendous amount of space, the four 12-channel EVSs, and now HDR [capability on 42FLEX], these are national-level trucks that can also do regional shows.” Built primarily for Fox Sports college-football, collegebasketball, and MLB productions, 41HDX is essentially a standalone A unit traveling with a B unit used almost exclusively for freight and extra equipment. Besides the seating in production and replay (eight replay-operator positions total), it sports a versatile utility area that allows operators to be positioned at any workstation. “The thinking behind 41HDX was to be able to [produce] a national college-football game out of one truck,” explained Philip Garvin. “We’ve [accomplished] that.” The truck is built around a Grass Valley 5M/E Kayenne K-Frame switcher and 396x712 Evertz 3G video router.

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41HDX debuted this year, working Fox Sports college football, college basketball, and MLB productions.

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41HDX features a Calrec Artemis Beam audio console.

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MOBILE TV GROUP

continued

It carries six Grass Valley LDX Premier 720p/1080i triax cameras and four LDX 86 Universe 6X super-slo-mo cameras outfitted with a mix of Canon and Fujinon lenses (as well as a Marshall POV cam). The replay room houses three 12-channel EVS XT3 servers, as well as EVS Epsio FX graphics and C-Cast multiplatform production system. 41HDX also rolls with ChyronHego HyperX3 graphics and a SketchHD telestration system. On the audio side are a 64-fader Calrec Artemis Beam console (256 routable inputs via MADI, 64 analog inputs, and 64 analog outputs) and a 2752x2848 audio router. The RTS ADAM-M Matrix comms system is capable of 64 ports of OMNEO, 64 channels of MADI, and 48 analog ports. “This is an extremely capable truck in one very large unit,” said Philip Garvin, adding, “We were very conscious to [incorporate] weight-saving technologies that have come along recently.” Built on the FLEX model launched in 2015 (with 38FLEX), 42FLEX allows clients to shift among HD mode, SSMO mode, 1080p mode, and 4K mode. However, MTVG’s first truck to offer 1080p HDR capability can produce a 1080 HDR show using almost entirely triax rather than fiber. “The truck is very focused on HDR because the cameras can do 1080p HDR in triax, which is a very big deal in the regional-sports [market],” said Philip Garvin, noting, “When you’re doing same-day set and shoot, fiber is your nemesis because it’s complex and time-consuming. Also, a lot of venues still have only triax and very little or no fiber.” 42Flex rolls with a standard complement of 14 Grass Valley cameras outfitted with Fujinon lenses. Seven Grass Valley LDX 82 Premier cameras can shoot HDR over triax; the only need for fiber for an HDR show would be to accommodate the four LDX 86 Universe 6X super-slo-mo cameras. According to Philip Garvin, FLEX42 is capable of producing a fully HDR show, the only caveat being the need to add HDR monitoring. “All of our trucks will be HDR going forward,” he noted. “We think there will be a lot of interest in 1080p HDR, but we could even do 1080i HDR if needed. And we also plan to do HDR 4K with our 4K trucks.” The new mobile unit represents the next generation of MTVG’s dual-feed regional sports trucks, with the A unit serving the home show and the 42VMU (visitors mobile unit) the away show. Philip Garvin noted, “The visitor show has almost everything [the home show has], including network EVS [access] to the four super-slo-mos, for the dual feed, which is pretty amazing.” Built around a 7M/E Grass Valley Kayenne K-Frame switcher (3M/E assigned to the visitor show), 42FLEX features a 378x802 Evertz 3G/4K video router, 2752x2848 Evertz audio router, and an RTS ADAM-M matrix

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42FLEX’s VMU truck provides the visitor show with plenty of space.

42FLEX sports a robust EVS replay infrastructure, as well as seating for six operators in the A unit (pictured) and three in the VMU.

comms system (with full integration between the A and VMU units). Robust replay capability is provided by two 12-channel EVS XT3 servers, two 12-channel XT4K servers, and a four channel EVS XS3 server for SpotBox (two channels per show on duals). The A unit boasts up to six replay-operator positions (plus a tech-manager spot), and the visitor show has full access to the EVS network with up to three operator positions in the VMU. The A unit features a 56-fader Calrec Artemis Beam audio mixer and ChyronHego Mosaic XL2 graphics. The VMU has a Studer Vista 1 console and rack-mount Vizrt (for Fox RSN shows) or ChyronHego HyperX3 graphics. MTVG continues to refine various aspects of its truck design: for example, angling monitor walls to provide perfect line of sight for the production team. “We’re very focused on fine-tuning every aspect and getting down to the nitty-gritty details for each truck,” said Nick Garvin. “We’re constantly evolving new ways of doing things.”

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LEADER adds HD HDR Monitoring to the LV5333 Portable 3G Waveform Monitor For many years, the LEADER LV5333 waveform monitor has established itself as the de-facto waveform monitor for on-set monitoring of both camera setup and picture quality. It has become the must have tool by DITs (Digital Imaging Technicians) and other video professionals world-wide. Now High Dynamic Range support can be added to the LV5333 with the addition of the LV5333SER02 software option. Able to handle over 20 HD-SDI/SD-SDI signal formats, the LV5333 is designed for deployment on-set, in the studio or in post-production. The 6.5â&#x20AC;? TFT LCD screen provides high quality images, even in the most demanding of environments and can be used as a camera viewfinder, waveform monitor, vectorscope, histogram display, gamut display and audio monitor. The LV5333 also has two special displays, CINEZONE & CINELITE, that allow production and operational staff to easily monitor camera setup and luminance levels on the set, without the need for a detailed understanding of traditional test and measurement displays. CINELITE is an on-picture exposure measurement tool, that allows the operator to measure, with a cursor, luma and chroma levels in Y%, RGB%. CINEZONE places false colors on the picture display to indicate luminance levels on the picture and help identify "hot spots" and on-set lighting issues. It is perfect for making sure green screens are lit evenly. LV5333SER02 HDR software license option enables the LV5333 to measure HD HDR levels by adding an HDR waveform display and scale. Also included is HDR CINEZONE, which uses false colors to indicate on the picture the areas that contain HDR and the level. LV5333SER02 supports HLG (Hybrid Log Gamma) conforming to ITU-R BT.2100, ARIB STD-B 67, SMPTE ST 2084 and PQ (Perceptual Quantization). In addition, it also supports S-Log 3, C-Log Log-C. For more about our products visit LeaderAmerica.com or call (201) 355-4850

Profile

NEP GROUP 4K Beast Yukon Targets the Entertainment Market By Brandon Costa

hile sports-video production continues to enjoy its dominance over television production and captures many of the ratings headlines, live entertainment in the form of musicals, concerts, and now esports tournaments is adding new and exciting opportunities for the mobile-production industry. To meet a rise in demand for high-end, 4K-capable mobile support on the entertainment side of the business, NEP Group’s Denali division rolled out a brandnew, 55-ft. expando named Yukon. NEP Denali describes Yukon, its latest mobile unit to hit the road, as “state-of-the-art” and “designed for the specific needs of entertainment production.” Like many new trucks these days, it’s highly flexible and easily customized for the individual client: many of Yukon’s operating positions can be swapped around and/or can serve multiple functions based on the needs of the given show. Yukon, which has an accompanying B unit, is constructed around an Evertz EQX 558x576 router with 576 XLink outputs at its core. At the front bench is a Grass Valley Kayenne K-Frame production switcher with 9M/E, 128 inputs, and 96 outputs. Rounding out the guts of the production end are an Evertz VIP monitor wall, an IHSE KVM system, 212 de-embedding inputs, and 224 embedding outputs. The truck comes standard with a load of acquisition goodies, including 12 Sony HDC-4300 cameras (with SMPTE fiber) and a collection of Fujinon lenses (two 88X8.8, eight 14X4.5, four 23X7.8, and two 16X6.5). On the audio end, Yukon boasts a Studer Vista X console with A-Link and an Evertz EMR audio router. It carries six Shure SM58 microphones and 10 Sennheiser 416P shotgun microphones. An additional entertainment microphone package is available upon request. Bolstering its case as a highly flexible truck, NEP Denali

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NEP’s Denali division, known for serving the entertainmentproduction industry with trucks like Summit (above), rolled out Yukon to support the market this year.

does not commit Yukon to a specific replay or graphics infrastructure. Both can be provided on request; the truck is wired to accommodate up to 20 VTRs and six EVS servers on the replay end and any two machines for graphics. Yukon’s flexibility, according to NEP Denali, is critical in the entertainment business, where a unit is less likely to work a lengthy package the way a truck may in sports. Many concerts and esports tournaments are massive one-off live-production events, and NEP needs to remain nimble to offer ultra-high-end production on an on-demand basis. The unit is equipped with a 256-port Riedel Intercom system for comms, adds an Evertz 5601 sync generator with auto change, and provides plenty of SMPTE fiber cabling (eight 500-ft., 12 350-ft., 18 200-ft., 20 100-ft. cables) for a standard production. NEP’s Denali division has established itself as the gold standard in entertainment-production support. In fact, its flagship mobile unit, California, has served as the host for the production behind each of the past two Super Bowl halftime shows, including last year’s epic presentation by Lady Gaga at NRG Stadium in Houston. Yukon is prepared to take on many such entertainment assignments in the very near future.

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The University of Oklahoma live streams more events with LiveU Cover events like a pro without a large crew or a large budget.

Aerial Video Systems

AVS 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. AVS was the first to integrate Sony’s P1-R to 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, Super Bowl Halftime, and the NBA Finals. AVS’s RF camera systems also play an integral part of virtually every awards show. This summer, AVS took part in Nat Geo’s Earth Live show, providing stunning coverage of migrating humpback whales from remote Kake, AK.

AerNow is a technology and digital-media company building an all-new way to connect audiences everywhere with video content and events. Its capabilities: Capture — easily integrate any digital content into the AerNow ecosystem. Your audiences get a rich, immersive experience that keeps them tuned in. 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. POV switching (through AerBox and AerControl), social feeds, UGC, and one-stop engagement. 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.

As a premier provider of end-to-end video and audio solutions, All 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 All Mobile Video team commits to serving clients and building relationships, catering to the individual needs of each production 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. By integrating new technologies and existing capabilities, AMV continues to push the envelope and meet the needs of any production.

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PRODUCTIONS

Now in its 19th year of business, Alliance Productions is a strategic collaboration of the largest group of mobile-production companies covering North America. Alliance Productions excels in providing clients with the highest-quality HD mobile units and superb customer service. In August, Alliance Productions held its 11th-annual Technology Expo in Indianapolis. A wide variety of broadcast-industry vendors attended this summit and displayed their latest technology and equipment. The Alliance partners, as well as selected invited guests from within the mobile–televisionproduction industry, were able to spend high-quality one-on-one time with the vendors to learn more about their product lines, as well as make requests for future purchases. This event, along with the Alliance Productions Annual NAB Party, helps distinguish Alliance from its competition and reinforces the company dedication to a total production experience that exceeds expectations by excellence of service, facilities, and staff.

MOBILESERVICESPROVIDERS

3g is a broadcast industry leader in RF technology, providing HD video and audio solutions as well as exceptional customer service since 2002. 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 be able to deliver the highest-quality on-board camera systems, Steadi and MōVI 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. 3g continually looks to stay out in front by seeking and implementing the latest technologies to deliver high quality, robust coverage, and cost savings to its customers.

The 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 five–control-room production facility for Louisiana State University. The company has 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, remodeling the A/V systems in the men’s basketball locker room and providing A/V and IPTV solutions for its new baseball stadium, opening in 2018. In the View segment, Alpha Video’s CastNET digital signage and IPTV solutions looks to set the price/performance standard in the industry as the company adds new features to meet the needs of the market.

AmpThink 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 compa-

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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nies, major retail brands and warehousing operations, and dozens of professional and college sports teams.

ARCTEK recently introduced its newest truck, ARCTEK Magenta. The company’s five well-equipped Sprinter satellite trucks (two C-band, three Ku-band), along with its excellent team, are ready to roll nationwide. One of the first in the industry to transmit a REMI-style multiplexed production, for FSN coverage of college hockey, ARCTEK was recognized in 2010 with a Regional Emmy for Technical Achievement. Since being REMI-certified by ESPN, ARCTEK is ready to continue down the path it pioneered, providing a cost-effective approach for at-home sports production. Sports are in ARCTEK’s blood. After a summer providing a multiplexed C-band truck for AMA motocross and covering college baseball and swimming/diving, ARCTEK geared up for football, hockey, and basketball. The company continues to provide production facilities for a fantasy-football show produced by Vikings Entertainment Network and airing nationwide in Buffalo Wild Wings restaurants.

AV Design Services is a national provider of broadcast and professional A/V design and integration services. A leader in engineering, design, consulting, project-management, customfabrication, system-support, and post-installation services, the company has been providing solutions and services to major media and entertainment companies across the U.S. for more than 35 years.

AzzurroTX is a solution for sports clients seeking bidirectional transmission from locations where traditional long-haul fiber connectivity is not available. Easily transported in a TSA-certified carry-on case with wheels and retractable handle, the system provides broadcast-quality, low-latency transmit and receive over the public internet. The standard system includes two encoders and two decoders, enabling transmission of multiple cameras or outputs from a production truck, and can simultaneously receive two sources, such as program and prompter. Two VoIP dial tones are included for communication, such as IFB and PL. Azzurro HD’s 24/7 Network Operations Center can remotely configure and manage the system to offer a complete plug-and-play experience for non-technical operators. AzzurroTX can be used anywhere a public-internet connection is available and is currently deployed at sports venues for live shots on the field as well as offsite press conferences and award ceremonies.

Beacon International represents the Holland Specialty Vehicles division, from a facility located in University Park, IL, less than 45 minutes from most Chicago venues. The Specialty Vehicles engineering team has years of experience in the TV-productiontrailer business. Operating in a 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 repairs, an onsite trailer paint booth, storage, and

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preventive maintenance. Since 2013, Beacon International has grown to be a worldwide provider of services and equipment to the medical industry and the television-production-trailer industry with offices in Arizona, the UK, and Cairo. The company is intent on providing clients with the highest quality and most beneficial results.

Integrating Media Solutions

BeckTV, a premier TV broadcast system integrator, 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, which is part of a major renovation to the football stadium on the University of Notre Dame campus. Both ND Studios and M&T Bank Stadium deploy 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. The AlamoDome is the home of the University of Texas San Antonio Roadrunners football games and the Alamo Bowl and will host the 2018 NCAA Final Four Men’s Basketball Championship.

Celebrating more than 35 years of broadcast excellence, Bexel, an NEP Broadcast Services Company, skillfully delivers unparalleled production services and engineering expertise for some of the world’s largest televised events. The company continually invests in leading broadcast equipment and technologies to meet the needs of the global broadcast market. It offers a full range of equipment to complement any production: 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 vendor of choice for custom systems integration, managed services, and fiber-optic solutions for high-profile broadcasters and networks. Bexel TSS offers the latest new and preowned broadcast video and professional audio equipment.

A proven, highly experienced television-systems–integration and equipment-sales company located in Union City, NJ, BIS 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 — pre-design, design, procurement, installation, testing, and training — BIS project management helps guide you through this rapidly changing technical and business landscape. In addition to integration, design, and architectural-consulting services, the BIS web 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. Further, BIS can meet all of your needs and requirements by

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furnishing engineering, fabrication, and integration expertise for equipment purchases.

For more than 30 years, Broadcast Services International has been a leader in full-service sports broadcasting, specializing in live remote production, engineering design and integration, rental equipment solutions, and technical consulting. 2017 was an exceptional year for BSI with the acquisition of RF Wireless Systems Inc. and the company’s move to a new facility to accommodate growth. This past year saw BSI’s commentary services working at NBA All Star, NBA Finals, World Gymnastics Championships, and World Series. The company also provided technical supervision, manpower, and equipment to clients at IAAF World Track & Field in London. With the purchase of Simply Live’s new ViBox system, BSI has been servicing the needs of streaming clients, providing content delivery solutions. 2018 shows no signs of slowing down with multiple Olympic technical management contracts and fiber-optic installation in Korea, as well as technical design and engineering services for the upcoming World Cup in Russia.

From the largest sports match-ups to history-making events, BSI 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 and for additional portions of the wireless spectrum for large events and leads the industry in providing the highest-quality and most reliable and robust means of transmission. According to the company, no other broadcast-technology company in the world has BSI’s history and experience. BSI’s reputation is built on its ability to deliver on a wide-ranging set of partner needs. 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.

Founded in 1986, Calhoun is the oldest, continuous, transportable earth-station provider in the U.S. The company has grown significantly throughout the years, always maintaining the highest level of customer service and attention to detail. Calhoun’s inventory includes two dual-dish C-/Ku-band trucks, three Ku-band trucks, one C-band and one Ku-band trailer. Its 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 as needed. Specializing in high-profile special events, the company’s mobile units can be seen at major sports and news events throughout the country.

CES 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.

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MOBILE SPORTS PRODUCTION YEARBOOK 2018

Along with power, CES also provided temperature control for the event site and with the supplemental cooling of the mobile units. Earlier this year, CES exhibited a hybrid twin-pack UPS system at the Game Creek Video reception that has become a fixture in the upcoming fall college-football rotation. This will enable CES the latitude to adapt to any of the stadium-power configurations through UPS technology. Currently, CES is heavily involved in college football for ESPN and Fox Sports and continues to work with broadcasters to design innovative power systems, including expanded use of UPS technology.

CBT Systems is a worldwide broadcast-television and videoproduction design, engineering, and integration firm whose commitment to the industry is demonstrated in its knowledge, experience, and confidence. It has built a reputation for providing systems of the finest quality and performance. The company has completed projects demanding imagination, innovation, and precision. CBT Systems’ combination of skills allows it to provide clients with live event and production facilities unparalleled in the industry. The hallmark of the company’s success is due to the emphasis placed on understanding clients’ programming and operational demands coupled with the development of a first-class system and facility in a timely, efficient, cost-effective manner. CBT Systems is a team of dynamic and dedicated professionals, each with a common set of goals: quality work, personable relationships, and client satisfaction.

In today’s media landscape, where content is king, Chesapeake Systems provides sports and media organizations the storage capabilities and collaborative video-workflow solutions they need. It sees the big picture. The company knows there are scores of individuals involved in shooting, editing, sharing, and archiving tremendous amounts of footage and it needs to be immediately accessible. As an IT-centric media-systems integrator, Chesapeake is prepared to provide the right workflow solution for you. The company’s experience runs the gamut from collegiate sports to the NFL, and it has built strong relationships with many leading hardware and software vendors to help meet all your needs.

CineSys-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 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 All-Star Weekend and All-Star Game.

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Mobile Services Providers

Clark Media provides HD/4K production trucks and broadcastequipment rentals, including custom-built HD, HDR, and 4K production systems. With 4K camera options from Sony, Panasonic, and Ikegami, Clark Media can supply their clients with their gear of choice, including every option out there. 4K switchers, cameras, recorders, lenses, and playback systems all under one roof. Locations in Burbank, CA, and New York allow Clark Media to provide services to clients nationwide. A full-time staff of rental managers, engineers, and production professionals are ready to provide outstanding support for your next project. Thirty years of production experience allows Clark Media to not only provide equipment solutions, but also provide trained video experts to scout, attend preproduction meetings, and be with you on the day of production. Clark Media’s goal is to let its clients concentrate on the big picture while we handle the technical stuff..

CEI is an award-winning consulting, design, systems-integration, equipment-sales, and service company working on venue production facilities, including replay-control rooms, TV- and radiobroadcast booths, stadium sound, broadcast-truck interconnects, concourse sound and displays, super-suite IPTV systems, and fanappreciation technology. Sports-media professionals need the latest digital equipment and expert services they can rely on — and that starts with a proven and affordable service provider. CEI represents more than 500 equipment manufacturers for project integration and direct equipment sales. Send in your equipment for repair to CEI’s Service Depot or have the service engineers visit onsite for field repair and maintenance. CEI is an energetic, highly motivated team, focused on the success of customer’s projects. They welcome the most challenging technical issues of today’s sports-media projects to prove why you can always rely on CEI.

CSMI, a Burbank, CA-based boutique postproduction company, specializes in tapeless workflows for live events and studio-based shows. Providing workflow design, Avid, Apple Final Cut Pro, and EVS 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.

CP Communications’ Wave Central is the preferred RF wireless system for the 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 ball game, 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. The company’s clients trust its product’s reliability, and, in the event that something does happen, Wave Central’s sales support is only a phone call away. This is one of the key reasons high-demand customers count on Wave Central being there for them 24/7/365.

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Since 1988, CSP Mobile Productions has provided broadcasters with quality mobile units. 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. CSP Mobile’s 53-ft. expando HD1 services the needs primarily of West Coast clients; the 53-ft. expandos HD2 and HD4 and the 53-ft. straight HD3 service those east of the Mississippi. CSP Mobile Productions’ 48-ft. B unit can roll wherever you need it. Over the past three decades, the company has gained the trust and respect of the top networks and production companies in broadcasting and prides itself on providing affordable, well-maintained mobile units with unmatched customer service.

For more than 25 years, Comprehensive Technical Group has been a leader in creation, design, and implementation of integrated technical solutions — including media, entertainment, audio/ visual, and customized production — for sports arenas across the U.S. Currently, CTG is constructing a new control room for Sanford Stadium on the University of Georgia campus to meet the requirements of SEC Network. This will be the third control room that the company has collaborated on and will include equipment from Sony, Ross, and Evertz. These upgrades allow linear productions and non-linear editing from the UGA campus, including being able to support six cameras with additional audio channels. As a business that understands the competitive world of media and entertainment, CTG delivers the technology, the talent, and the tools necessary to be on schedule and ready to go on day one.

Digital 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, East and Western Europe, Africa, and Asia.

DigitalGlue has more than 25 years’ experience deploying largescale network installations. The company’s continued success results from attention to detail and the use of technology to keep customers constantly informed, and a worldwide network of authorized installers guarantees consistency and quality throughout a large-scale deployment. DigitalGlue relies on the latest web-based systems and tools to provide clients a 24/7 window into their current network build-out status and support history. Its 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. DigitalGlue’s dedicated team is regarded as agnostic on technology, standards-based, highly flexible, and deeply driven to exceed customer expectations. The company’s Professional Services Organization provides a comprehensive set of industry-specific

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

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Mobile Services Providers

application solutions, training programs, and technical-support plans designed to meet customers’ diverse needs.

Amplify the game-day excitement with an unparalleled fan experience. Diversified 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 designs/builds, and large-scale mobile units, Diversified has more real-world experience than any other sports-technologies integrator. However, that’s just the tip of the iceberg: as your technology-solutions partner, Diversified guides you through the digital transformation, and its multifaceted expertise extends to IT and networking solutions, structured cabling, mobile connectivity, venue campus SOCs for incident management and surveillance, and much more. See how today’s “smart stadiums” are connecting fans as never before, delivering a truly immersive experience while accelerating ROI.

Truck and mobile-studio provider DNA Studios has announced its newest truck: HD20U, a robust and compact remote–sportsproduction truck that supports five Grass Valley HD cameras, 20-input HD switcher, 32-input digital audio board, and GV Dyno replay. Full Ku-band dual-path uplink provides the most reliable transmission 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 a 53-ft. expando for large projects to flypack units and studio space, DNA Studios has you covered.

The name Duncan Video may or may not ring a bell, but, for the folks that make up the regional customer base that the company serves, the name has become very familiar over the past 30 years. From one project to another, Duncan 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, it offers the close-to-home spirit other competitors cannot. This past summer, Duncan Video upgraded two ballpark production systems for fans to enjoy beautiful HD video inside the park or through at-home broadcasts. These projects were the perfect opportunity for Duncan to implement leading wireless HD-video–transmission technology, and sports fans, as well as the company’s fans, can expect more of this treatment in 2018.

Canada-based DX3 Media, a media-production–management and consulting company, takes pride in providing out-of-the-box thinking that results in innovative solutions for clients’ projects.

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Its reputation is founded on delivering higher-than-anticipated results and always under the clients’ budget. DX3 Media has a strong network of equipment- and crew-vendor relationships throughout North America. It has experience providing turnkey solutions not only for the smallest productions but also for Host Broadcast Services on major World Cup events and Olympic Games projects. With a wide-ranging client base, which includes international media companies, professional sports organizations, broadcasters, independent production companies, and government agencies, it has the experience and track record of generating cost-effective results for clients.

Encompass is a global media- and entertainment-technology– services company focused on supporting sports leagues, TV networks, broadcasters, and digital leaders with the delivery of 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. Daily, Encompass services 850+ channels, processes 25,000+ hours of TV/OTT, streams 3,000 hours of TVE/OTT content, and acquires/distributes 250+ live 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, events, and disaster recovery.

Filmwerks is expanding its 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 great level of growth the company is experiencing. The simultaneous expansion of both offerings has proved beneficial as Filmwerks continues to establish itself as a turnkey solution to 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. Thursday Night Football and the MLB Postseason are just a couple of projects keeping Filmwerks on track for another successful year.

Earlier 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 are 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 (IMAG). The unit also offers integrated RF and wireless communications capability with a telescopic 50-ft. mast.

TVU MLink TVU MLink increases the dependability of live HD video transmission from your satellite or microwave truck by adding cellular uplink. • Aggregates multiple 3G/4G/LTE cellular modems, satellite, • microwave and WiFi transmission mediums. • Features compact, weather-resistant roof mounted antennas • to ensure the best possible signal strength for vehicles. • Add or remove any data connection without disrupting a • live transmission. • Features TVU's proprietary Inverse StatMux Plus technology • and HEVC compression standard for dependable live HD video • broadcast at latency as low as half-second at 3Mbps. • Rack mount design fits easily in satellite and microwave • trucks and vans.

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Big League Coverage from a Single Camera Stream live HD footage over Wi-Fi® or 4G-LTE! GY-HM200SP. The first of its kind, JVC’s GY-HM200SP is a sports production camera that produces real-time score overlays on recorded or streamed HD video without requiring an external CG or production switcher. The camera makes it easy for one person to shoot the game, record, insert graphics, and stream the production live—all directly from the camera! Input scores from a tablet or directly from the facility’s scoreboard with Scorebot from Sportzcast. The camera comes with graphic layouts for a variety of sports including basketball, football, baseball, volleyball, hockey and more. For schools and organizations with limited equipment and personnel resources, the GY-HM200SP provides an innovative and affordable solution for producing professional-quality, single-camera coverage. To learn more visit pro.jvc.com.

Mobile Services Providers

Globecomm Systems understands the video technology and mission-critical workflows needed for live sports production today — from creation to consumption. Whether designing and building new studio or broadcast projects or deploying end-toend 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 and efficient bandwidth utilization through global teleports, satellite terminals, and control systems. Globecomm also provides a wide range of enterprise/IoT, cloud, virtualization, and IPTV solutions and is known for reliability, scalability, and integration with customer networks.

Illumination Dynamics (ID) services live broadcast, film, television, theatrical, and special events providing automated and film lighting equipment, transportation, redundant power systems, technical services, and crew. The company’s main locations are in Los Angeles and Charlotte with additional facilities available from ARRI Rental Company; ID operates nationwide as well as providing lighting services internationally. ID‘s Live Broadcast division is core to the company’s success, providing reliable redundant power, quality lighting design, equipment, and crew to multiple events. ID staff strives to provide a premium service for customers and ID recognizes their loyalty has driven the company’s success. In 2017, ID serviced many diverse events: golf, poker, NFL, college football, MLB, tennis, horse racing, soccer, supercross, boxing, extreme sports, award shows, red carpet shows, and many more. This college football season, ID introduced a new uninterruptable powered supply design providing twin generator back-up power and storage.

IMS 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 and retention. Its Content Division brought home 11 Telly Awards in 2017. The awards span a wide range of disciplines, skills, and content in editing, cinematography, sound design, documentary, event promotion, and sports categories. 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 on-screen data ticker, inclusion of “dual-path” in-car cameras on screen, and more.

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business operations within the sports and broadcast industry. Clients include sports networks, leagues, teams, and broadcast organizations, its work affecting 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 file-based workflows allowing broadcastand sports-operations personnel — including editorial, graphics, and postproduction teams — to share and archive content. IMT addresses the following major market sectors: broadcast television, media and entertainment, information technologies (IT), education, and telecommunications. IMT will always design, build, and maintain technology systems that deliver optimum results for its clients.

Kaufman provides satellite and fiber transmission, live studio, production, postproduction, and consulting services. For three decades, the company has supplied television-production services in the 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. Kaufman provides management services and consulting for the St. Louis Cardinals and the St. Louis Rams and fiber connectivity throughout St. Louis and in Kansas City.

Formed in 2005, KMH is a full-service systems integrator providing end-to-end solutions to both the broadcast and postproduction environments in the professional-sports, retail, financial, and educational-business segments. The company’s technical experts deliver high-quality, personalized service coupled with broad flexibility in diverse business environments. KMH associates have more than 100 years’ combined experience and offer 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 the New York Red Bulls, Philadelphia Union, and other MLS teams.

LH 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-to-end 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 post and broadcast organizations. LH has a variety of manufacturers to draw from providing direct attached storage, FC SANs, as

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well as traditional NAS to meet the demanding needs of your workflow. Trust a partner like LH Computer Services, which has a history of architecting and providing solutions to clients in the NBA, NCAA, and more.

LiveLike gives viewers the opportunity to watch sports in live virtual reality from a “private suite” that mimics a real VIPsuite 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. LiveLike is the provider of the Fox Sports VR (NCAA Football, Copa América Centenario, MLS) experience. The company has already broadcast games in partnership with Sky Sports (English Premier League games), Roland Garros (French Open), Manchester City (vs. Arsenal), Sky Germany (Bundesliga), and El Clásico.

Lyon Video provides facilities, equipment, technical management, and crewing for mobile television production for a wide variety of sports and event clients. Its recent investment in UHD and high-speed image-capture equipment continues with deployment of EVS XT4K servers, Fujinon UHD lens, and Grass Valley UHD/high-speed camera equipment. Additional investments in fiber audio- and video-transport equipment are highly advantageous for its customers. Lyon Video has found more and more clients are looking for UHD content, especially in sports and entertainment, where differentiation is key. UHD content provides a better viewing experience in the right circumstances, and Lyon Video is always ready to increase its capabilities to meet client’s needs. Content production is in a real transition period in the industry, which means that Lyon Video often needs to provide multiple formats of HD for multiple clients and now even the option to produce UHD content.

Markertek celebrates its 30th anniversary as premier supplier to sports-video broadcasters. The company 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 field-box fabrication as well as traditional media cabling. This complete offering of end-to-end custom interface solutions from a single source provides always-on-air confidence. Contact Markertek to learn about how you can benefit from personalized care and customer-first service. The company is now 100% employee-owned through an employee stock-ownership program. This added incentive becomes a winwin as customers directly benefit from a job well done through timely service and product delivery.

The nation’s leading drone-as-a-service company, Measure provides drone video solutions to enterprise customers. It has pioneered drone applications in telecom, construction, energy, disaster response, and media and entertainment and is bring-

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ing its capabilities to sports broadcasting. Measure Media has drone solutions for live broadcasting, recorded content, VR, 3D mapping, custom activations, performances, and more. Measure leverages its highly trained pilots and experienced camera operators to execute projects in a safe, legal, and insured manner that shows viewers their world from new and exciting perspectives. HD

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

Creating, managing, and distributing content in a real-time, multiplatform world: the challenges are significant, the options vast. Making informed decisions about technology for your business requires insight and experience. National 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 expertise in supply-chain management for acquisition, production operations, asset management, cloud/virtualization, distribution, cybersecurity, and much more. Some of NTC’s recent engagements have included a cloud- and virtual-playout consultation for a domestic and international multichannel programmer and infrastructure design for an IP-based, MPVD OTT multiplatform service. And, in the past year, NTC also completed a critical study to support adoption of new IP-based technologies for the infrastructure refresh of a prominent news and general-entertainment network.

NextVR is a leading platform for delivering live sports and music in virtual reality to fans globally. Launched in 2009, the company has multiple patented technologies that deliver an unparalleled virtual-reality experience, providing fans extraordinary access and immersion. NextVR 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 has announced the latest university addition to its fast-growing new business unit, Niles Support. NCAA Division I’s 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 is responsible for more than 70 athletic-event productions annually, distributed nationally and internationally across ESPN digital platform,

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ESPN3. The Niles Support service comes at a fraction of the cost of hiring additional employees or contractors. Southern Illinois University Carbondale is taking the entire suite of Niles Support services: onsite support, virtual engineering, and operations, Niles Connect, Niles Audio, and full HD recording and archiving. SIU joins University of Maryland Baltimore County as early adopters of Niles Support.

full-length curbside expando to allow seating for eight people in production and five in tape. In addition to providing traditional production trucks, Proshow also specializes in designing and providing purpose-built mobile facilities for the growing at-home production methodology.

With a reach of 3,000 cities and 150 countries, PCCW Global’s network comprises a rich portfolio of communications solutions, including more than 20 years’ experience in media and broadcast and work with prime broadcasters for major global sports events. PCCW Global’s end-to-end network solutions, powered by a resilient hybrid global TV network, enables the company to deliver full source-to-screen solutions, including live 4K, anywhere in the world. The company’s expertise ranges from deploying a direct-to-customer OTT service in South Africa, developing a full source-to-screen live 360 VR delivery for one of Hong Kong’s largest sports events, and providing live-streaming connectivity for major esports services worldwide. PCCW Global’s best-ofbreed high-quality, scalable media-delivery solutions are ready to lighten up your media projects and cover your needs, even in the most remote locations.

In 2017, PSSI Global Services, a leader in engineering and event management solutions for live broadcasts, assumed full operation and control of the Pittsburgh International Teleport — now called the PSSI International Teleport (PIT). Also included in this acquisition is the Pittsburgh Videotech Center — now called PIT Studio — a state-of-the-art, full-service studio with domestic and international connectivity. PSSI Global Services also took over management of CNN’s mobile satellite transmission operations and fleet of 16 national uplink trucks, establishing PSSI News Group in the process. Additionally, the company is building CNN’s new fleet of SNG trucks. These acquisitions add to PSSI Global Services’ already expansive capabilities and assets, which include a fleet of more than 70 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, and beyond.

PRG, a leader in entertainment and event production, specializes 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 sought out the world over to solve the unique production challenges of a broad range of markets: live music, corporate events, film and television, theater, and scenic installations. As your production partner, PRG always aims to provide personalized, one-on-one service, but each production is also supported by an incredible behind-the-scenes network of highly skilled technicians, engineers, and innovators.

When 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 live-broadcasting and event business. 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. A successful production may have a lot of variables to cover, but, with ProCrewz from Program Productions, you’re powered by passion from every angle.

b r o a d c a s t

Proshow Broadcast is a mobile-production-unit provider offering six HD units. The company’s flagship Maestro features a

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MOBILE SPORTS PRODUCTION YEARBOOK 2018

Raptor Vision is building an integrated solution-driven platform designed to enable the sports and entertainment industry’s desire to better know their customers, serve them better, and allow sponsors to personalize marketing communication with fans. Raptor Vision will allow venues, leagues, sport teams, and promoters to take advantage of the proliferation, collection, and analysis of valuable data to enhanced viewer/fan experiences. Raptor Vision is offering a 360/VR solution in a box with clear deployment and execution support.

Soccer 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 have since used the touchscreen’s extensive feature set to bring fans more compelling stories before, during, and after matches, with real-time 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 productions, LaunchPad helps leading networks and leagues, such as Univision Deportes, beIN Sports, SBS Discovery, and MBC Sports, among others, connect fans more closely to soccer. It integrates seamlessly with industry-standard tools, and each system arrives tailored to the client’s aesthetic.

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Mobile Services Providers

As a leading provider of live-event freight forwarding and logistics services, Rock-It Cargo combines highly seasoned agents with the most trusted global network in the industry to deliver extraordinary events. The company has spent decades building relationships with the most reliable and accredited cargo agencies around the world to ensure that your shipments arrive safely and on time no matter the location. Handcrafted logistics means that meticulous care is given to every project and personal service to every client. From supply chain management, project coordination, and tour planning to ATA carnet processing, insurance procurement and on-site staff, Rock-It Cargo provides complete logistical support tailored to the specific needs of its customers.

With a new generation of cost-effective, full-service, remote-production vehicles, RMP delivers consistent, high-quality live video and audio content from sports and other events and ensures a predictable production experience and outstanding results — all the time, every time. Built using Ross Video’s innovative openTruck design model, RMP trucks use powerful, compact, best-in-class broadcast systems, from Ross Video and other leading technology vendors, that are highly interoperable and have been designed to work together seamlessly. RMP trucks can stream content to the web at the same time that it’s aired live on TV or recorded for future airing. For clients requiring additional production support, RMP provides a graphics package, scorebug, and full pre/postproduction, covering a variety of sports events: college basketball, college baseball, high school and college football, and live studio remotes from the Super Bowl, The Masters, and more.

Saunders provides its Emmy Award-winning mobile UPS power services to the live-broadcast industry, continuing to propagate its leadership in energy-saving systems. Saunders continues its pursuit of excellence and has provided the highest-quality and most reliable redundant power services to the live sports/ entertainment industries since its establishment in 1952. In 2016, Saunders worked with the SEC Network to develop a small pod size UPS system that is designed to redundantly power an A and B unit video truck, uplink, and a small host stage from a 400A switch at location. In the 2016-17 football season, SEC Network eliminated more than 1,369 hours of generator runtime 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.

For more than 30 years, Southern CA-based SDTV has made its mark as an HDTV production industry leader by offering efficiently sized, full-capability expando vehicles with the latest in KU satellite uplink transmission technologies. By using the versatile HDLA Expandolink, SDTV delivers high-quality services to clients such as Fox Sports West, ESPN, CBS Sports,

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MOBILE SPORTS PRODUCTION YEARBOOK 2018

Showtime, and HBO PPV. HDLA Expandolink, a 40-ft hybrid mobile unit, is easily able to completely originate and uplink shows with eight Sony 1500 HD cameras, HD box lenses, fullsized 80-input 3 ME GVG Kayenne switcher, 26 frame syncs, loaded Calrec audio board, two full featured EVS machines, and SpotBox. HDLA Expandolink and its smaller sister truck, HD Link, are easily recognizable throughout the industry for their frequent appearances at red carpet events, football, basketball, boxing, MLB, multi-camera split feeds, and other television broadcast events.

SkyCam once again highlights the U.S. football season with unparalleled coverage. 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 2016, SkyCam received two patents for its technological advances and a Sports Emmy for remote production as part of CBS’s coverage of Super Bowl 50. In 2017, SkyCam — with partners SMT, Ross, and Vizrt — continued to develop new technologies, including player tracking and next-gen stats, leveraging SkyCam WildCat data to allow broadcasters to insert volumetric augmented-reality graphics in real time. SkyCam, a global leader in aerial cameras, covered more than 250 marquee sports events in 2016 with broadcast partners ESPN/ABC, Fox, CBS, NBC, Turner Sports, PBR, IMS, and BSG.

SmartCart SVX has been a feature of the CBS Sports PGA Tour coverage for the last two years and the company looks forward to working with them again in 2018. For the first time, the IMG production team at the Wimbledon Championships 2017 selected the system for delivery of their live daily Wimbledon Channel and IBM transmissions. SmartCart SVX is delighted to be providing its service to Premier League Productions for this season, beginning with the Tottenham vs. Liverpool match at Wembley Stadium. SmartCart SVX has become synonymous with pitch-side, trackside, and golf course presentation and analysis, delivering greater fan engagement and getting deeper into the live event often with surprise interviews, insights, and video reviews with the stars of each sport. The company provides a turnkey full-service package at a modest cost per event compared to what it adds to the production -- bringing fans closer to the game and telling the story (with great insights and interviews).

SMT’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 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 graphics 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 longtime broadcast

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Mobile Services Providers

partners Brainstorm and SkyCam to show how to virtually insert commentators in real time from a remote, green-screen environment into a live production alongside virtual-3D statistical player graphics, a feat that showcases the potential of REMI production for the broadcast industry.

sonoVTS provides complete application-specific packages for broadcast and professional video and audio companies, including designing and integrating production vans, broadcasting studios, and events for fixed installations or mobile applications. The company offers system design and integration, equipment rental and operation, service and consulting, and distribution of professional broadcast products. sonoVTS also manufactures the successful broadcast display product lines hd2line and Q-Series.

SOS Global charters many flights each year, from 747s to small prop planes, on behalf of its customers. In 2017, the team successfully handled the 2017 FIFA Confederations Cup, ongoing deliveries for the 2018 Olympics in Korea, U.S. Presidential visits to the Middle East and Europe, Super Bowl LI, all Open tennis tournaments, the Worldwide WTA tour, and many other events. SOS Global combined teams in the U.S., UK, Germany, and Russia continue to coordinate activities around major events worldwide. SOS Global teams are preparing for the 2018 World Cup in Russia, the 2018 Korea Winter Olympics, and the 2018 Commonwealth Games in Australia. Planning for all these events include in-country teams, charter flights, and turnkey budgeting, planning, and execution that customers routinely expect of SOS Global.

TNDV: Television is entering its 15th year in business. Having just launched its eighth mobile unit, Exclamation, it easily exceeded 300 remote productions in 2017. From double-expando 4K-capable trucks to a small but powerful 26-ft. HD unit, TNDV has the inventory. The company handles projects from small single-camera productions to multimillion-dollar international TV events and builds custom solutions for challenging productions of any size in any situation. Client accolades confirm that TNDV’s engineering staff is customer-service– focused, always going beyond the call of duty. Recent projects include 12 stops on the Powershares Tennis tour, the RE/MAX Long Drive Challenge on ESPN, and all of the live concert productions at the NCAA Final Four. TNDV also provides HD facilities for NCAA fencing, tennis, golf, and cross-country championships.

The Switch’s Mobile FiveNines brings high-bandwidth, redundant, and diverse service offerings to previously unserved places.

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MOBILE SPORTS PRODUCTION YEARBOOK 2018

Each 22-ft. trailer is equipped with a Net Insight Nimbra 680 platform, fully redundant trunk interface, and video and Ethernet interface cards, as well as redundant switch and node controllers. Each trailer can handle a minimum of eight inbound/outbound video or ASI paths and up to 16 Ethernet or internet connections. Trailers also feature monitoring and outboard test equipment. They are equipped with a Honda Eu7000is gasoline generator, true-sine-wave output, and remote start and auto-transfer, powering three APC 3000VA uninterruptible power supplies. Trailers also feature two 1,000-ft. spools of TAC-8 fiber, four pairs of 3G-SDI Telecast Rattlers, three 200-ft. spools of Belden 1694A RG-6 coax cable, and two 200-ft. spools of dual Belden 2412 Cat 6 Ethernet cable.

Working 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 launched its latest mobile, Vista, with Unity — the third 4K truck launched in Canada since the beginning of 2016. While Vista was being completed, Unity researched IP solutions for Rogers Media’s upcoming Master Control project in Toronto. South of the border, Unity has been working with Syracuse University to expand the school’s venue infrastructure in anticipation of the ESPN ACC Network launch in 2019. Whatever you need, Unity will bring your broadcast vision to life.

VER is a leading global provider of sports-production equipment and engineering solutions. With the world’s largest inventory of rental equipment, VER supplies the most advanced technology to a broad array of clients in the corporate, TV, cinema, events, and broadcast markets. Clients rely on VER’s depth of experience in audio, video, lighting, LED, cameras, rigging, media servers, fiber, and more. With 35 offices across North America and Europe, 24/7 support, and unparalleled expertise, the skilled team at VER can support any live or taped production anywhere in the world.

In 2017, VISTA produced more than 300 live REMI sports events at its South Florida facility and integrated graphics, commercials, interstitials, announcers, and languages into more than 2,000 live sports productions. VISTA expanded its capabilities this year, bringing its total number of control rooms to 17 and announce booths to 10. VISTA’s strategic partnership with Tata Communications enables for continued growth, with VISTA integrating robust, broadcast-quality IP transportation into its long list of solution offerings, which empower leagues and conferences of all sizes to professionally produce, transmit, and deliver live events around the world. VISTA continues to embrace emerging technologies, bridging traditional broadcast with digital production-distribution solutions, allowing content to be enjoyed everywhere.

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Hundreds of Channels. Multiple Platforms. One Compact Virtualized Solution. Globecomm Vector is a Virtualized Video Headend that simplifies the processing, packaging and customization of video content for multi-platform delivery across DTH, OTT, IPTV, cable and terrestrial TV. SM

Scalable to hundreds of channels, Vector’s IP-centric platform leverages Globecomm’s robust satellite, IP and fiber content delivery networks and the company’s extensive experience with design and integration of media infrastructure. Vector replaces the need for the traditional data center with a compact solution that significantly reduces rack space, cabling and power. Whether hosted on Globecomm’s cloud network or implemented at a customer site, each system is designed with Globecomm’s hallmark resiliency offering high availability. •

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Courtesy of

VENDOR SERVICES

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

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

MOBILE SPORTS PRODUCTION YEARBOOK 2018

181

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Crew Services CITY

NAME

WEBSITE

PHONE

Birmingham

Crewsouth

www.crewsouth.com

(205) 862-4271

ARIZONA

Phoenix

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Phoenix

Burke Brothers Productions LLC

www.BBPTV.com

(602) 321-0398

Phoenix

Guardian Production Services

www.guardianproductionservices.com

(602) 296-7993

Phoenix

High End Labor Pool

www.highendlaborpool.com

(602) 225-2454

Phoenix

Phoenix Production Services

www.filmwithpps.com

(480) 717-4117

Phoenix

Reel Men

www.reelmen.com

(602) 286-6800

Alta Loma

Intramedia Associates, LLC / LocalCrew.tv

www.localcrew.tv

(909) 980-4033

Beverly Hills

Snakebyte Productions and Entertainment Group, LLC

www.snakebyteproductions.com

(855) 228-6478

Burbank

Broadcast Management Group

www.broadcastmgmt.com

(310) 807-4635

Los Angeles

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Los Angeles

Somar Films & Productions

www.somarproductions.com

(888) 533-3396

San Diego

Calabria Lighting and Grip

www.calabrialightingandgrip.com

(760) 692-7915

San Diego

Crystal Pyramid Productions

www.crystalpyramid.com

(619) 644-3000

San Francisco

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Sherman Oaks

Wintech Video

www.wintechvideo.com

(818) 501-6565

Venice

Stellarhead

www.stellarhead.com

(646) 382-8408

Colorado Springs

Film Hardware, LLC

www.filmhardware.com

(719) 888-9902

Denver

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Golden

Crew Connection

www.crewconnection.com

(303) 526-4900

CONNECTICUT

Hartford

FastLights - Hartford, CT

www.FastLights.com

(855) 922-5600

DISTRICT OF COLUMBIA

Washington

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Washington

Beverly Boy Productions - Washington, DC

www.beverlyboy.com/production-hub

(202) 448-2886

Washington

Broadcast Management Group

www.broadcastmgmt.com

(202) 609-7757

Washington

DB Media Productions

www.db-mediaproductions.com

(202) 467-2793

Washington

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

www.iatselocal22.com

(202) 269-0212

Washington

Optix Creative

www.optixcreative.com

(202) 253-2900

Vendor Services Directory

Courtesy of

STATE ALABAMA

CALIFORNIA

COLORADO

Washington

The Camera 1 Group

www.thecamera1group.com

(301) 252-1010

Boynton Beach

SFL Media Group

www.sflmediagroup.com

(954) 641-8506

Bradenton

Video Crews FLA

www.videocrewsfla.com

(914) 474-7539

Hollywood

Jolly Roger Images, Inc.

www.jollyrogerimages.com

(954) 658-3332

Lake Mary

Skystorm Productions

www.skystorm.com

(407) 328-4747

Lake Park

All Ways Entertainment

www.allwaystv.com/production-hub

(954) 444-8899

Lakeland

Crew West, Inc. / Satellink Communication Service

www.crewwestinc.com/sat-west

(888) 444-2739

Melbourne

David Waters Productions, LLC

www.facebook.com/davidwatersproductions

(321) 525-1290

Miami

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Miami

Stonehenge Circle

www.stonehengecircle.com

(786) 344-3142

Miami

Unique Producers Service Grip & Lighting Rental

www.uniqueproducers.com

(305) 681-7627

Orlando

Beverly Boy Productions - Orlando, FL

www.beverlyboy.com/production-hub

(888) 462-7808

St. Petersburg

Island Girl Locations And Productions

www.ISLGRLPRO.com

(239) 349-1415

Atlanta

6 STRONG MEDIA: Atlanta

www.6strongmedia.com

(800) 390-1621

Atlanta

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Atlanta

Beverly Boy Productions - Atlanta, GA

wwwbeverlyboy.com/production-hub

(404) 474-3883

Atlanta

Gold Crews

www.goldcrews.com

(800) 882-7397

Atlanta

Swirl Films / Rentals

www.swirlfilms.com

(910) 798-2934

HAWAII

Honolulu

Hawaii Camera Rental

www.hawaiicamera.com

(808) 735-3838

Honolulu

Salt and Air Studios

www.saltnairstudios.com

(808) 892-3500

IDAHO

Nampa

Chris Wade Media

www.chriswademedia.com

(208) 850-0400

ILLINOIS

Carol Stream

Visions of Light Chicago

www.visionsoflight.com

(312) 829-8244

Chicago

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Chicago

Beverly Boy Productions - Chicago, IL

www.beverlyboy.com/production-hub

(888) 462-7808

Chicago

Broadcast Management Group

www.broadcastmgmt.com

(312) 586-7366

FLORIDA

GEORGIA

ILLINOIS

186

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

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The Azzurro Group provides turnkey systems integration and fully managed video transport services for all Major Sports Leagues. We are also proud to feature AzzurroCam, a customizable remote studio technology providing limitless opportunities for producing cost effective on-air content. Call us today to learn more about Azzurro’s full range of products & services.

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STATE

CITY

NAME

WEBSITE

PHONE

ILLINOIS

Chicago

Complete Crewing

www.completecrewing.com

(773) 645-2000

Grayslake

Clarion - Chicago

INDIANA

Indianapolis

Beverly Boy Productions - Indianapolis

www.beverlyboy.com/production-hub

(888) 462-7808

IOWA

Des Moines

Beverly Boy Productions - Des Moines

www.beverlyboy.com/videographers-usa

(888) 462-7808

LOUISIANA

New Orleans

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

New Orleans

Beverly Boy Productions - New Orleans

www.beverlyboy.com/production-hub

(888) 462-7808

MAINE

Poland

FastLights - Portland, ME

www.FastLights.com

(855) 922-5600

MASSACHUSETTS

Boston

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Boston

Beverly Boy Productions - Boston, MA

www.videoproductioncompanyboston.com

(617) 314-9267

Boston

FastLights - Boston, MA

www.fastlights.com

(855) 922-5600

Boston

PixMix Video Services

www.pixmix.net

(617) 254-0590

Hudson

StoneMedia Productions

www.stonemediapros.com

(978) 568-1200

Newton

Green Line Group

www.glgtv.com

(617) 663-5240

MICHIGAN

Detroit

Beverly Boy Productions - Detroit

www.beverlyboy.com/production-hub

(313) 879-1228

MINNESOTA

Minneapolis

Beverly Boy Productions - Minneapolis

www.beverlyboy.com/production-hub

(888) 462-7808

MISSOURI

Branson

jackson+appleton

www.youtube.com/jacksonappleton

(417) 294-0711

St. Louis

Beverly Boy Productions - St. Louis, MO

www.beverlyboy.com/production-hub

(888) 462-7808

Las Vegas

Avenger Productions, Inc.

www.avengerproductions.com

(702) 655-3339

Las Vegas

Carafelli Productions

www.carafelliproductions.com

(702) 525-1129

Las Vegas

JCS Broadcast Video Productions

www.jcsvideo.com

(800) 791-8671

Las Vegas

Quantum Arc Media

www.quantumarcmedia.com

(702) 588-4856

NEW HAMPSHIRE Concord

FastLights - New Hampshire

www.fastlights.com

(855) 922-5600

NEW JERSEY

Jersey City

Beverly Boy Productions - New Jersey

www.beverlyboy.com/production-hub

(201) 297-1610

NEW YORK

Albany

FastLights - Albany / Upstate NY

www.fastlights.com

(855) 922-5600

Buffalo

Odessa Pictures, Inc.

www.odessapictures.com

(716) 316-6710

Kings Park

Jammin Design Productions

www.jammindesignproductions.com

(631) 292-9632

New York

Studio 253 NYC @ E.C. Pro Video

www.studio253nyc.com

(212) 333-5570

New York

The Peopleâ&#x20AC;&#x2122;s DP Inc.

www.thepeoplesdp.com

(646) 415-7782

New York

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

New York

Atlantic Television

www.atlantictv.com

(212) 625-9327

New York

Beverly Boy Productions - New York, NY

www.beverlyboy.com/production-hub

(646) 448-8787

New York

Broadcast Management Group

www.broadcastmgmt.com

(212) 784-6020

New York

Filmwerk Media

www.filmwerk.tv

(212) 645-6668

New York

Jeff Turick

www.NewYorkDirectorofPhotography.com

(917) 817-8721

New York

Man With A Cam, Inc.

www.manwithacam.org

(646) 688-3447

New York

Mobile Video Productions

www.mobilevideonyc.com

(212) 924-9616

New York

NBTV Studios

www.nbtvinc.com

(646) 277-4900

New York

New York Video Crews

www.newyorkvideocrews.com

(888) 858-8625

NORTH CAROLINA Charlotte

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Matthews

Production Management Specialist

www.productionmanagementspecialists.com (803) 228-0271

Raleigh

Beverly Boy Productions - North Carolina

www.beverlyboy.com/production-hub

(888) 462-7808

Wilmington

Shutter Blade Media

www.shutterblademedia.com

(540) 529-5941

Cleveland

Assignment Desk, Inc.

www.assignmentdesk.com/#about

(800) 959-3375

Columbus

Ohio HD Video

www.ohiohdvideo.com

(614) 656-1162

Mansfield

Beverly Boy Productions - Ohio

www.beverlyboy.com/production-hub

(888) 462-7808

OKLAHOMA

Oklahoma City

Oklahoma Film Commission

www.ok.gov/oklahomafilm

(918) 645-0127

OREGON

Portland

Doug Birnbaum Photography

www.DougBirnbaum.com

(949) 205-9980

Portland

Picture This Production Services

www.pixthis.com

(503) 235-3456

Portland

Portland Film Company

www.facebook.com/PortlandFilmCompany

(503) 732-0515

Portland

ROSTER

www.rosterreps.com

(503) 381-2067

Clifton Heights

TheCrewStore

www.thecrewstore.com

(484) 688-0142

Conshohocken

Wonderful Machine

www.wonderfulmachine.com

(610) 260-0200

NEVADA

Vendor Services Directory

Courtesy of

Crew Services

OHIO

PENNSYLVANIA

192

MOBILE SPORTS PRODUCTION YEARBOOK 2018

(847) 543-1188

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

The End Is Near. Are you ready for the FCC Repack?

Pliant Technologies has an affordable, simple to use solution. ®

CrewCom® is a perfect replacement for your existing UHF wireless intercom system. It’s a license-free solution with superior voice quality and wireless range comparable or better than UHF in most cases. It’s also incredibly easy to set up with no frequency coordination required. CrewCom is flexible and simple enough for throw-down applications or can expand for operation in the largest venues around the world. The end of UHF intercom is near, but the future of professional wireless intercom is here now!

i n t e r c o m

E v o l v e d

plianttech nologies.co m 2.4GHz for worldwide operation. 900MHz for North America operation. B o t h b a n d s c a n b e u s e d s i m u l t a n e o u s l y. C o p y r i g h t © 2 0 1 7 P l i a n t Te c h n o l o g i e s , L L C . A l l r i g h t s r e s e r v e d . A S V G 1 7

History making television since 1981

Aerials - HD Wireless - Communications - POV Cameras - RF Support Trucks

www.aerialvideo.com

818.954.8842

one moment, please... sorry, in sports it doesn’t work that way

LSU Control Room

Recent projects include: • US Bank Stadium 4K/HD Control Room • SunTrust Park HD Control Room • LSU HD Production Facility US Bank Stadium 4K/HD Control Room

• Ford Field HD Control Room • MN Vikings HD Production Facility

You don’t get to pause the action to capture a game highlight. That’s why for over 40 years, we’ve designed and integrated video and audio systems that meet the unique challenges of our sports clients. No matter what the application or venue, our mission-critical solutions stand ready for anything.

Solutions we offer: • HD Production Control Rooms • ESPN 3 Production Systems • HD Production Studios • Edit, Asset Management & Archiving • IPTV & Digital Signage • Venue Sound Systems • Broadcast Infrastructure

SPORTS & ENTERTAINMENT GROUP

• Team Facility A/V Solutions

800.388.0008 | info@alphavideosports.com | www.alphavideosports.com

Vendor Services Directory

Courtesy of

Crew Services STATE

CITY

NAME

WEBSITE

PHONE

PENNSYLVANIA

Philadelphia

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Philadelphia

Total Production Services

www.tpsweb.com

(888) 877-1178

Pittsburgh

Beverly Boy Productions - Pittsburgh

www.beverlyboy.com/production-hub

(412) 212-1330

Pittsburgh

Smitten Productions

www.smittenproductions.net

(412) 716-4087

RHODE ISLAND

Providence

FastLights - Providence, Rhode Island

www.fastlights.com

(855) 922-5600

TENNESSEE

Chattanooga

6 STRONG MEDIA

www.6strongmedia.com

(423) 414-2313

Nashville

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Nashville

Beverly Boy Productions - Nashville

www.beverlyboy.com/production-hub

(888) 462-7808

Nashville

Dace & Mohr

www.daceandmohr.com

(615) 473-8710

Austin

Beverly Boy Productions - Austin, TX

www.beverlyboy.com/production-hub

(888) 462-7808

Austin

Earl Miller Productions Inc

www.earlmillerproductions.com

(512) 458-4343

Dallas

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Houston

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Houston

Beverly Boy Productions - Houston, TX

www.beverlyboy.com/production-hub

(888) 462-7808

UTAH

Salt Lake City

Fiftyfilms

www.fiftyfilms.com

(801) 875-8049

VERMONT

Burlington

FastLights - Burlington, VT

www.fastlights.com

(855) 922-5600

VIRGINIA

Charlottesville

The Camera 1 Group

www.thecamera1group.com

(301) 252-1010

Richmond

Beverly Boy Productions - Richmond, VA

www.beverlyboy.com/production-hub

(888) 462-7808

TEXAS

WASHINGTON

WISCONSIN

Richmond

The Camera 1 Group

www.thecamera1group.com

(301) 252-1010

Seattle

Assignment Desk, Inc.

www.assignmentdesk.com

(800) 959-3375

Seattle

LDM Worldwide Productions

www.ldmworldwide.com

(206) 463-1902

Spokane

Spokane Grip and Lighting

www.spokanegripandlighting.com

(509) 328-7200

Madison

Grassland Media, Inc.

www.grasslandmedia.com

(608) 238-7575

Generators

198

STATE

CITY

NAME

WEBSITE

PHONE

ARIZONA

Mesa

Sound Lighting F/X

www.soundlightingfx.com

(602) 722-0783

Phoenix

Reel Men

www.reelmen.com

(602) 286-6800

Phoenix

United Rentals - Phoenix

www.ur.com

(623) 850-5100

Tucson

H & E Equipment Services

www.he-equipment.com

(520) 770-1120

ARKANSAS

Mena

Laark Honeywagons

www.laarkhoneywagons.com

(818) 516-6474

CALIFORNIA

Burbank

AC Power Distribution, Inc.

www.acpowerdistribution.com

(818) 848-4004

Burbank

Skye Rentals

www.skyerentals.com

(323) 462-5934

Burbank

United Rentals - Burbank

www.ur.com

(818) 842-5288

Calabasas

Studio Air Conditioning Rentals

www.studioairconditioning.com

(818) 222-4143

Carson

Multiquip Inc.

www.multiquip.com

(800) 421-1244

Chatsworth

Cinerep International, Inc.

www.cinerepamps.com

(818) 882-2677

Compton

CAT Entertainment Services

www.es-cat.com

(866) 762-5228

Culver City

La Brea Air, Inc.

www.labrearentals.com

(800) 452-2732

Granada Hills

Light It Up - Grip and Lighting Truck Rentals

www.LightitupLA.com

(818) 679-4321

Los Angeles

Aggreko

www.us.aggreko.com

(770) 315-9879

Los Angeles

CFG - Grip Truck and Lighting Rental in LA

www.CFGRentals.com

(323) 977-8520

North Hollywood

Star Power Generators

www.starpowergenerators.com

(818) 982-2200

Paramount

Location Air

www.locationair.tv

(855) 444-4757

Placentia

Temp Power Systems

www.temppower.com

(800) 748-6997

Richmond

Top Productions

www.top-productions.com

(415) 332-3005

San Diego

Andrus Lighting and Grip

www.andruslighting.com/Andrus_Grip/ crew.html

(619) 521-0585

San Fernando

Illumination Dynamics

www.illuminationdynamics.com

(818) 686-6400

San Francisco

Cresco Production Express

www.crescorent.com

(415) 920-2801

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

Supplying and supporting high-end wireless systems for live and broadcast events since 1992.

Professional Wireless Systems specializes in developing new gear and delivering advanced solutions for events and productions that continue to increase their demand for and use of RF equipment.

www.professionalwireless.com

Reseller Specializing in Video Storage Solutions

PROVIDING

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

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

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

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

2017 VR STARTUP OF THE YEAR

THE BEST LIVE SPORTS VIEWING EXPERIENCE IN VR, MOBILE & TABLET

THE BSI HAT TRICK

Great Shot. Great Production. Great Experience.

From home ice to home entertainment, BSI offers the very best in technical production, consulting and engineering services for major sporting events around the world. First, we capture the action. Second, we broadcast every pixel of it. Third, we bring it all home for the ultimate viewing experience. With 21 Emmys to our credit, it’s easy to see why over 20 Olympic games, 19 NBA Finals and 27 Masters tournaments have counted on BSI to deliver the “hat trick” of sportscasting excellence – with experienced production, top engineering and the right equipment.

Find out how we can deliver for you at www.bsi-tv.com

905.332.2171 | www.bsi-tv.com

STATE

CITY

NAME

WEBSITE

PHONE

CALIFORNIA

Sun Valley

DADCO, LLC

www.dadcopowerandlights.com

(818) 768-8886

Sylmar

Hollywood Rentals - Los Angeles

www.hollywoodrentals.com

(800) 233-7830

West Hills

Conjunction, LLC

www.conjunctionentertainment.com

(310) 385-8459

COLORADO

Littleton

Lighting Services Inc.

www.lsidenver.com

(303) 722-4747

CONNECTICUT

Hartford

FastLights - Hartford, CT

www.FastLights.com

(855) 922-5600

FLORIDA

Clearwater

Command Corp

www.cmnd.com

(727) 560-0134

Dania

EmPower Corporation

www.empowergenerators.net

(954) 922-3800

Fort Lauderdale

Garrett Sound & Lighting

www.garrettsound.com

(954) 777-3277

Fort Lauderdale

Martyâ&#x20AC;&#x2122;s Grip and Lighting Inc.

www.griptrucks.com

(561) 440-3659

Fort Lauderdale

Production Power & Air

www.productionpowerandair.com

(954) 739-2468

Fort Lauderdale

Production Toolbox Services

www.productiontoolbox.com

(954) 463-4820

Hollywood

Rental Stages

www.RentalStages.com

(954) 989-8898

Hollywood

Sidram Power

www.sidrampower.com

(954) 989-8898

Miami

Americas Generators

www.gopower.com

(800) 434-0003

Miami

Megawattage

www.megawattage.com

(954) 302-3565

Miami

Unique Producers Service Grip & Lighting Rental

www.uniqueproducers.com

(305) 681-7627

Opa Locka

MAGIC II Lighting and Grip

www.magic2lighting.com

(305) 685-1811

Orlando

CAT Entertainment Services

www.es-cat.com

(877) 228-2852

Orlando

First Call Location Coach Rentals

www.firstcallcoach.com

(407) 832-2606

Orlando

Hollywood Rentals - Orlando

www.hollywoodrentals.com

(407) 852-0164

Pinellas Park

First Unit Production Services

www.firstunit.com

(727) 522-2203

St. Augustine

CAT Entertainment Services

www.es-cat.com

(877) 228-2852

Vendor Services Directory

Courtesy of

Generators

GEORGIA

Atlanta

BigCity Leasing & Production Equipment, LLC

www.bigcityleasing.com

(678) 922-2490

Atlanta

Hertz Energy Services

www.hertzequip.com

(678) 848-5996

Savannah

Ross SysCon

www.rosssyscon.com

(912) 238-5800

ILLINOIS

Carol Stream

Visions of Light Chicago

www.visionsoflight.com

(312) 829-8244

INDIANA

Indianapolis

Hammer Lighting & Grip

www.hammergrip.tv

(404) 351-5920

IOWA

Alta

Gull Wing Industries, Inc.

www.gull-wing.com

(800) 838-1482

Oskaloosa

Musco Lighting

www.musco.com

(800) 825-6030

KANSAS

Kansas City

Lights On Kansas City

www.lightson.com/rental/kansascity

(913) 362-6940

Overland Park

Prime Light, Inc.

www.paddock.com/primelight

(913) 226-0849

KENTUCKY

Louisville

Red Star Pictures

www.redstarpictures.com

(855) 522-5272

Baton Rouge

Digital FX, Inc.

www.digitalfx.tv

(888) 898-6010

New Orleans

Available Lighting Inc.

www.availablelighting.com

(504) 831-5214

New Orleans

Center Staging, Inc.

www.centerstaging.net

(504) 247-0020

New Orleans

Nola Film Logistics, LLC

www.nolafl.com

(504) 309-6612

New Orleans

Silver Screen Supply

www.silverscreensupplies.com

(504) 737-0555

MAINE

Poland

FastLights - Portland, ME

www.FastLights.com

(855) 922-5600

MARYLAND

Baltimore

Plus One Rentals

www.plusonerentals.com

(410) 279-5344

MASSACHUSETTS

Boston

FastLights - Boston, MA

www.fastlights.com

(855) 922-5600

Devens

New England Studios

content.nestudios.com/filmnestudios?utm_campaign=Variety411&utm_ (978) 615-5500 medium=Profile&utm_ source=Production%20Hub

West Bridgewater

Equipment 4 Rent

www.equipment4rent.net

(508) 583-5500

LOUISIANA

204

Woburn

Kaye Lites, Inc.

www.kayelites.com

(781) 932-0005

MICHIGAN

Detroit

Great Lakes Michigan Crane

www.michigancrane.com

(313) 365-1800

MINNESOTA

Brooklyn Park

Broadway Rental Equipment Company

www.broadwayrental.com

(763) 533-1680

MISSOURI

St. Louis

CK Power Products

www.ckpower.com

(314) 868-8620

NEVADA

Reno

United Rentals - Reno

www.ur.com

(775) 348-0140

NEW HAMPSHIRE

Concord

FastLights - New Hampshire

www.fastlights.com

(855) 922-5600

NEW JERSEY

Farmingdale

Risco Inc.

www.riscorv.com

(732) 872-7722

Piscataway

CAT Entertainment Services

www.es-cat.com

(908) 272-8400

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

Q5X

速

Wireless Audio Solutions

Put an audio spotlight on your stars PlayerMic AquaMic RefMic

速

Used by professional sports teams worldwide www.Q5X.com

W W W. T H I N K L O G I C A L . C O M

O N E W OR KS TAT IO N

MULTIPLE USES EDITING

R E P L AY

GRAPHICS

AUDIO

Reconfigure a Workstation with a Single Keystroke Extend and Switch Uncompressed 4K Video @ 60Hz 4:4:4 Scalable, Modular, Future-Proof Hybrid 10G System Reduce Infrastructure and Lower Total Cost of Ownership

TLX: Available with Fiber, CATx or Hybrid Connectivity

“Any-to-Any” Flexibility for Mobile Sports Production Trucks

THE ONLY KVM capable of extending and switching UNCOMPRESSED 4K@60Hz 4:4:4 Video, KVM and USB with no added latency,and smooth control surface performance.

TLX is the first KVM system in the market capable of extending and switching uncompressed 4K and Ultra High Definition video at full resolution and color depth (up to 4096 x 2160 resolution, 4:4:4 color depth) and full 60Hz frame rate, using only two fiber-optic or CATx cables. With the lowest signal latency in the industry (microseconds, vs. milliseconds for compressed solutions), TLX offers precise pixel-for-pixel transmission and distribution of 4K/UHD video and computer peripherals with no visual artifacts, jitter or lost frames.

CBT Systems is a broadcast television and video productions facility design, engineering, and integration firm whose commitment to the industry has been demonstrated time and again over 19 years of business. CBT Systems has built a reputation for providing systems of the finest quality and performance by completing projects demanding imagination, innovation, and precision. CBT Systems is a pioneer in the concept of Advanced Systems Integration, using the knowledge gained in building state-of-the-art facilities to conceive hardware and software solutions to glue rapidly advancing sub-system technologies together. Use CBT Systems to consult at the conception of your project to assist in facilities and site evaluation, to create advanced technical specifications and documentation, to conduct efficient and accurate systems installation.

ADVANCED SYSTEMS INTEGRATION Broadcast and Video Production facilities are far from plug and play. Integration is more than hooking up boxes with traditional cable and connectors, but rather the melding together of advanced hardware and software technologies to make the user interfaces intuitive to learn, and easy to use. CBT Systems embraces the philosophy of constant evaluation of products and solutions to select the correct systems for your application. Visit us at cbtsystems.tv to view our Project Portfolio.

Let everyone know you are â&#x20AC;&#x153;ON-AIRâ&#x20AC;? with a CBT Systems classic ON-AIR Light. Custom Legends Available Power Requirement: 120V AC, 24/12V AC/DC Optional LED Lighting Mounts on a Single/Double Gang J-Box or Wall Dimensions - 14 1/4" H x 2 5/8" W x 4" D Approximate Weight 4 Pounds

12585 Kirkham Court Poway, CA 92064 858-536-2927 Info at www.cbtsystems.tv

Change Up Your Video Game Plan

At Chesapeake Systems, weâ&#x20AC;&#x2122;re able to step back and see the bigger picture. We analyze how you work, determine your pain points and bottlenecks and then we design and deploy a system that will enhance your data storage capabilities and streamline your workflow. Our team is made up of industry experts who have experience working with a variety of organizations from collegiate sports to the NFL.

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Chesapeake Systems provides sports and media organizations the storage capabilities and collaborative video workflow solutions they need.

We know there are scores of individuals involved in game day shooting, editing, sharing and archiving tremendous amounts of footage and it needs to be immediately accessible.

We are prepared to provide the right workflow solution for you. We have established strong relationships with leading hardware and software vendors to help meet your needs and budget.

Ready to transform the way you work? chesa.com

Media Asset Management (MAM) is complex and the MAM vendor landscape is vast. Visit chesa.com/e-book-mam-rescue to download our FREE E-Book and let us be your resource.

Broadcast Power & Lighting • Expert Generator & Lighting Technicians • Unmatched Quality and Performance • Specialized Equipment

Los Angeles 818.686.6400

North Carolina www.Illuminationdynamics.com

704.679.9400

Generators STATE

CITY

COMPANY NAME

WEBSITE

PHONE

NEW JERSEY

South Plainfield

SBP Industries

www.sbp4juice.com

(908) 412-8630

NEW MEXICO

Santa Fe

Serious Grippage & Light Company

www.seriousgrippage.com

(505) 473-1566

Vendor Services Directory

Courtesy of

NEW YORK

Albany

FastLights - Albany / Upstate NY

www.fastlights.com

(855) 922-5600

Hicksville

On Site Energy

www.onsite-energy.com

(800) 736-2504

Long Island City

Available Light

www.alny.net

(718) 707-9670

Long Island City

Silvertrucks Lighting

www.silvercupstudios.com

(718) 906-3045

New Paltz

Stark Lighting & Generator

www.starklighting.com

(347) 538-6501

New York

Scheimpflüg

www.theflug.com

(212) 244-8300

New York

Zircon Production Vehicles

www.zirconproductionvehicles.com

(888) 675-9995

Cooke Rentals Inc.

www.cookerentals.com

(704) 483-2722

NORTH CAROLINA Denver High Point

Shadows and Light Inc.

www.shadowsandlightinc.com

(336) 885-5997

OREGON

Portland

Peterson Caterpillar

www.petersoncat.com

(503) 288-6411

PENNSYLVANIA

Havertown

Gaffer Baron Ltd

www.gafferbaron.com

(610) 449-6550

RHODE ISLAND

North Kingstown

CAT Entertainment Services

www.es-cat.com

(401) 845-2281

SOUTH CAROLINA Charleston

TENNESSEE

TEXAS

UTAH VERMONT

High Output, Inc. - Charleston

www.highoutputcharleston.com

(843) 722-3600

Charleston

Neff Rental

www.neffrental.com

(843) 760-6333

Charleston

Paladin Equipment Rentals

Franklin

Cine Power Systems

www.cinepowersystems.com

(615) 521-6857

Knoxville

The Smoky Mountain Grip & Lighting Co.

www.smokymtngrip.com

(865) 947-5483

Nashville

Sunbelt Rentals Pump & Power Services

www.sunbeltrentals.com

(800) 667-9328

Dallas

CAT Entertainment Services

www.es-cat.com

(214) 638-1400

Fort Worth

Jeff Watts Productions, Inc.

www.jwproductions.org

(817) 233-6462

Houston

Juice Goose / Whitenton Industries

www.juicegoose.com

(713) 772-1404

Irving

Panavision - Dallas

www.panavision.com

(972) 929-8585

Rowlett

Burrell Enterprises, Inc.

www.litepower.com

(972) 475-8111

Sandy

Mullet Production RVs

www.mulletproductionrvs.com

(801) 913-1558

(843) 819-6401

Burlington

FastLights - Burlington, VT

www.fastlights.com

(855) 922-5600

Hinesburg

NRG Systems, Inc.

www.nrgsystems.com

(802) 482-2255

WASHINGTON

Seattle

Pacific Grip & Lighting - Seattle

www.pacific-grip.com

(206) 622-8540

WISCONSIN

Madison

Red Star Pictures

www.redstarpictures.com

(855) 522-5272

Mobile Production Units STATE

CITY

NAME

WEBSITE

PHONE

ALABAMA

Daphne

AVS Media Group

www.avsmediagroup.com

(251) 621-1200

ARIZONA

Mesa

RV Rental Outlet

www.rvrentaloutlet.com

(480) 461-0023

Phoenix

Cox Studios - Phoenix

www.coxcreativestudios.com

(623) 328-4778

Phoenix

FLOODstream

www.floodstream.com

(480) 535-5002

Phoenix

Skyline Productions, Inc.

www.skylinevideo.com

(480) 345-8009

Little Rock

Hailstone Creek Productions

www.hailstonecreek.com

(501) 371-9515

North Little Rock

Jones Mobile Television

www.jmtv.com

(501) 376-1993

Rogers

Clark’s Video Group, Inc.

www.clarksvideogroup.com

(479) 636-7111

Burbank

Apache Rental Group

www.apacherentalgroup.com

(818) 842-9944

Burbank

Broadcast Management Group

www.broadcastmgmt.com

(310) 807-4635

Burbank

Pacifico Television Engineering

www.pacificobroadcast.com

(818) 566-9706

Burbank

Touring Video, Inc.

www.touringvideo.com

(818) 504-3500

Chatsworth

Cinerep International, Inc.

www.cinerepamps.com

(818) 882-2677

Concord

E-N-G Mobile Systems, Inc.

www.e-n-g.com

(800) 662-4522

Costa Mesa

OC Production Truck

www.orangecountyproductiontruck.com

(949) 515-0100

Diamond Bar

21 Lakes Media Group

www.21lakes.com

(951) 515-1519

Glendale

Glendale Studios

www.glendalestudios.com

(818) 550-6000

Joshua Tree

Mojave Film Services

ARKANSAS

CALIFORNIA

210

MOBILE SPORTS PRODUCTION YEARBOOK 2018

(760) 799-4414 *All information is subject to change. For the most current contact information, please visit www.productionhub.com

Solutions Anywhere, Anytime

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+ At-Home Productions

+ Exceptional Rates as an Intelsat SSP

+ Dedicated News Coverage 24/7

PSSIGLOBAL.COM | 1-800-SATLINK

www.sonovts.com

KICK-OFF. Whether state-of-the-art TV productions or audience focused live events, our wide range of rental equipment will offer everything you need to create unforgettable sports moments on television.

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•

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Global TV Network Whether you need full time or occasional use, our Global TV Network delivers the video contribution, distribution and live event coverage you need. We grant direct access to video network service providers and media hubs around the world with PoPs in Hong Kong, Macau, Singapore, Korea, Malaysia, Japan, London, Paris, Frankfurt, Athens, Dubai, Johannesburg, Sydney, Istanbul and the U.S. Global TV Network

APOLLO

London Paris

New York San Jose Los Angeles

Beijing

Istanbui

Seoul

Tokyo Shanghai APCN2

Athens

AEC-1

Cairo

Miami

TEA-3+RJCN

Frankfurt

RNAL

Hawk + Falcon

Dubai

Trans-Saudi + TGN-EA

EIG

Hong Kong

EIG+SMW4+i2i

UNITY

Macau

AAG-1

Kuala APCN-2 Lumpur IACS

TIC+NLD+TGN-EA SMW-4

WACS

SJC

Taipei IACS

J-US

Singapore

AJC

SEACOM

SMW-3

Legend Satellite Teleport TV PoPs

Johannesburg Sydney

To learn more about PCCW Global please visit www.pccwglobal.com or contact us at mediasolutions@pccwglobal.com.

I N N O VAT I V E • C R E AT I V E • C U S T O M E R F O C U S E D • R E L I A B L E

NEXT GENERATION

RF SOLUTIONS

THE NEXT GENER ATION OF BROADCAST TECHNOLOGY

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Mobile Production Units CITY

NAME

WEBSITE

PHONE

Los Angeles

Flying Cow Satellite Services LLC

www.flyingcowsat.com

(310) 372-4759

Los Angeles

Pacific Satellite Inc.

www.pacificsat.com

(510) 918-3909

Los Angeles

Sharp Eye Industries

www.Sharpeyehd.com

(866) 964-7474

Los Angeles

SoHo Coaches & Catering

www.sohocoaches.com

(310) 272-6467

Morgan Hill

Global Link Productions, Inc.

www.globalinktv.com

(408) 465-2787

Norwalk

UniSat: Universal Satellite Communications

www.unisatmobile.com

(562) 483-4800

Ripon

MS Production Services

www.mspslive.net

(877) 354-6777

Sacramento

PACSAT - California

www.pacsat.com

(800) 672-2728

San Carlos

Bay Area Mobile Production

www.bamphd.com

(650) 375-8855

San Diego

Satellite Digital Teleproductions (SDTV)

www.sdtv.com

(619) 293-7777

San Diego

SWATV Entertainment

www.swatv.com

(619) 567-9288

San Francisco

Cresco Production Express

www.crescorent.com

(800) 649-6629

San Francisco

Pacific Satellite Inc.

www.pacificsat.com

(510) 918-3909

Santa Monica

Mobeon

www.mobeon.com

(888) 789-2463

Studio City

Digital Media Group, Inc.

www.digitalmedia.tv

(818) 974-4000

Studio City

Streaming Media Live

www.streamingmedialive.com

(818) 974-4000

Sunland

Schulman Mobile Video

www.schulmanmv.com

(323) 785-2528

Torrance

Hollywood Riviera Studios

www.hollywoodrivierastudios.com

(310) 237-5653

Vacaville

Mobilized Tech Systems Bigfoot Mobile Systems

www.bigfootmobilecarts.com

(707) 602-5548

Van Nuys

PSSI Global Services - Strategic Television

www.pssiglobal.com

(310) 575-4400

Denver

FLOODstream - Colorado

www.floodstream.com

(303) 217-8700

Denver

RMD Mobile HD

www.rmdhd.com

(720) 259-2277

Parker

Loclyz Media Services

www.loclyz.com

(720) 452-2361

Hartford

D2 Productions - Connecticut

www.d2productions.com

(877) 356-3232

Milford

Conover Production Services

www.conover.net

(203) 877-5427

Washington

Broadcast Management Group

www.broadcastmgmt.com

(202) 609-7757

Washington

Mobile Video Services, Ltd

www.mobilevideo.net

(202) 331-8882

Washington

Skehan Communications, LLC

www.skehan.com

(202) 833-3310

Boca Raton

Mobile Studios, Inc.

www.mobilestudios.com

(561) 372-0604

Cape Canaveral Communications Concepts Inc.

www.cci321.com

(321) 783-5232

Clearwater

F & F Productions, LLC

www.fandfproductions.com

(727) 530-5000

Clearwater

Frontline Communications

www.frontlinecomm.com

(727) 573-0400

Clearwater

Oshkosh Specialty Vehicles

www.oshkoshsv.com

(727) 573-0400

Fort Lauderdale MSR Mobile Stage Rentals

www.mobilestagerentals.com

(877) 882-8889

Fort Lauderdale Ross Mobile Productions

www.rossmp.com

(613) 652-4886

Fort Lauderdale Twilight Features Inc. Outdoor Movies

www.twilightfeatures.com

(954) 323-2562

Lake Mary

Skystorm Productions

www.skystorm.com

(407) 328-4747

Miami

Christian Media Group

www.cmgshows.com

(786) 286-4942

Miami

MMC Video Corp.

www.mmcvideocorp.com

(305) 300-8976

Miami

Tfactor Mobile Television

www.tfactor.tv

(305) 597-0430

Miami

UNITED TELEPORTS

www.unitedteleports.com

(305) 671-3333

Miami Beach

Encanta Productions

www.encanta.com

(954) 998-6713

Orlando

CP Communications - Orlando, FL

www.cpcomms.com

(407) 843-4225

Orlando

First Call Location Coach Rentals

www.firstcallcoach.com

(407) 832-2606

Orlando

Orbital Communications

www.orbitalcom.tv

(800) 682-4364

Orlando

TMR Television Mobile Resources

www.tvmr.com

(407) 737-0046

St. Petersburg

The Zoo Studios

www.thezoostudios.net

(727) 350-5962

FlyMotion Media

www.flymotionmedia.com (media division) www.flymotionus.com (unmanned systems)

(800) 548-5844

Vendor Services Directory

Courtesy of

STATE CALIFORNIA

COLORADO

CONNECTICUT DISTRICT OF COLUMBIA

FLORIDA

Tampa

West Palm Beach National Teleproductions, Inc. GEORGIA

216

(561) 689-9271

Atlanta

Encompass Digital Media

www.encompass.tv

(678) 421-6600

Atlanta

Inertia Films

www.inertiafilms.com

(404) 681-3900

Atlanta

KEF Media Associates, Inc.

www.kefmedia.com

(404) 605-0009

Atlanta

Narrow Path Productions Inc.

www.narrowpath.tv

(770) 704-8000

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

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BarnMini Small portable, cost eﬀective, devices for the single channel extension of BNC, SFP, GPIO, Ethernet, and/or HDMI connections. Supports cable equalization and reclocking. Can be used standalone or as nodes in a Barnﬁnd network.

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KEEP YOUR FANS ENGAGED Wazee Digital Media Hub enhances the engagement of your event by allowing real-time access and distribution of content.

FOR MORE INFORMATION

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Vendor Services Directory

Courtesy of

Mobile Production Units STATE

CITY

COMPANY NAME

WEBSITE

PHONE

GEORGIA

Lawrenceville

Lightninâ&#x20AC;&#x2122; Production Rentals, Inc.

www.lightnin.net

(770) 963-1234

HAWAII

Hawi

Keith Nealy Productions

www.keithnealy.com

(808) 882-7772

Honolulu

John Guild Communications

www.john-guild.com

(808) 596-2211

Mililani

Ron Eggleton

www.xleggs.com

(360) 790-1459

Chicago

Broadcast Management Group

www.broadcastmgmt.com

(312) 586-7366

Chicago

Trio Video

www.triovideo.com

(312) 421-7060

Crystal Lake

Satellite Technology Systems, Inc.

www.stslivetv.com

(800) 838-1472

Monee

Advanced Mobility Specialty Vehicles

www.amstcorp.com

(708) 235-2800

Peoria

ScheffTech Productions, LLC

www.schefftech.com

(309) 524-5865

Tinley Park

Digital Impact Video, LLC

www.digitalimpactvideo.com

(708) 606-2310

Hammond

Kentucky Trailer

www.kytrailer.com

(888) 598-7245

Mishawaka

CVM Productions, Inc.

www.cvmproductions.com

(574) 256-0068

Muncie

WIPB Productions

www.wipbproductions.com/teleplex_site/index.php

(765) 285-1625

Noblesville

TV40Productions

www.whmbtv.com

(317) 773-5050

South Bend

LeSEA Productions

www.leseaproductions.com

(574) 291-8200

KANSAS

Olathe

Freebird Communications, Inc.

www.freebirdtv.com

(913) 209-2788

LOUISIANA

New Orleans

Satellite Center

www.satctr.com

(504) 915-8244

New Orleans

YES Productions

www.yesproductions.org

(800) 736-8812

West Monroe

ShowCase Video

www.showcasevp.com

(318) 398-0748

MAINE

Saco

CSP Mobile Productions

www.cspmobile.com

(207) 282-9680

MARYLAND

Phoenix

Sheffield Audio Video Productions

www.sheffieldav.com

(800) 355-6613

MASSACHUSETTS

Boston

PixMix Video Services

www.pixmix.net

(617) 254-0590

Hudson

D2 Productions

www.d2productions.com

(508) 485-0300

Springfield

VideoPort Communications, Inc.

www.videoportc.com

(413) 478-1745

Wakefield

Remote Facilities Consulting Services Inc.

ILLINOIS

INDIANA

www.remotefacilities.com

(781) 246-8300

Sterling Heights Moonlink Satellite, Inc.

www.moonlinksat.com

(586) 323-9590

Wixom

Detroit Public Television

www.dptv.org/about/production-services

(248) 305-3827

Coon Rapids

CTN Studios

www.ctnstudios.com

(763) 767-6525

Minneapolis

Arctek HD Satellite Productions

www.arcteksat.com

(612) 623-1986

Kansas City

Cashmark Media, Inc.

www.cashmarkmedia.com

(816) 861-4200

St. Louis

Spot Media Transfer

www.spotmpg.com/#deliver

(314) 667-5915

MONTANA

Helena

Lyon Productions

www.lyongroup.biz/content

(406) 442-9014

NEVADA

Las Vegas

CoverEDGE Las Vegas

www.coveredge.com

(800) 822-6397

Las Vegas

FLOODstream - Las Vegas

www.floodstream.com

(702) 577-3300

Las Vegas

RentLEDsigns.com

www.RentLEDsigns.com

(888) 653-6800

Las Vegas

Vegas PBS

www.vegaspbs.org/production-services

799-1010

Stateline

Shoot It Live, Inc.

www.shootitlive.tv

(808) 371-3023

Hudson

Game Creek Video

www.gamecreekvideo.com

(603) 882-5222

Manchester

D2 Productions - New Hampshire

www.d2productions.com

(877) 356-3232

Pelham

Thistle Communications

www.thistlecommunications.net

(603) 598-5100

Hackensack

Patchamp

www.patchamp.com

(201) 457-1504

Ramsey

Jim Houston Productions Inc.

www.jimhouston1.com

(201) 788-7096

Whippany

A3 Media LLC

www.a3mediallc.com

(201) 951-0619

Baldwin

Flypack New York, Inc.

www.FlypackNY.com

(516) 867-7300

Buffalo

Admiral Video - InMotion HD

www.ImHD.tv

(716) 651-9900

Flushing

Interface Communications

www.interfacetv.com

(718) 463-8700

Flushing

Multi Media Network News

www.multimedianetworknews.com

(718) 809-7058

New City

Flight 9 Satellite Services

www.flight9.com

(888) 354-4489

New City

StreamByte TV Event Webcasting - New York City

www.streambyte.tv

(267) 382-0285

New York

Broadcast Management Group

www.broadcastmgmt.com

(212) 784-6020

New York

Cinedeck

www.cinedeck.com

(888) 390-4460

New York

D S Simon Media

www.dssimon.com

(212) 736-2727

New York

KoKo - Baz Video & Film

www.kokobaz.com

(212) 674-6601

New York

Remote Digital Media, Inc.

www.remotedigitalmedia.com

(646) 536-7340

New York

Touchdown Productions

www.touchdown-productions.com

(917) 746-6240

MICHIGAN MINNESOTA

MISSOURI

NEW HAMPSHIRE

NEW JERSEY

NEW YORK

222

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

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Mobile Production Units STATE

CITY

COMPANY NAME

WEBSITE

PHONE

NEW YORK

Patchogue

Luna Video, Inc.

www.vimeo.com/75588888

(631) 767-8817

Aviv Moon Productions

www.avivmoon.tv

(704) 746-3974

Charlotte

Control 1 Communications

www.control1comm.com

(205) 706-9524

Charlotte

The Broadcast Group, Inc.

www.thebroadcastgroup.com

(704) 522-4466

Charlotte

Two Roads Video, LLC

www.tworoadsvideo.com

(704) 975-5061

Raleigh

7 Communications

www.7commedia.com

(919) 332-1572

Winston Salem Spevco Inc

www.spevco.com

(336) 924-8100

Columbus

Lyon Video

www.lyonvideo.com

(614) 297-0001

Columbus

Mobile Production Services

www.remoteriley.com

(614) 864-7900

Poland

First Call UPLinks

www.firstcalluplinks.com

(800) 951-6707

Sunbury

Bennett Systems

www.tvmobile.net

(740) 965-5727

Sunbury

Gerling and Associates

www.gerlinggroup.com

(740) 965-2888

Wapakoneta

Game Face Ohio

www.gamefaceohio.com

(419) 581-9905

Broken Arrow

Allied Broadcast Group

www.alliedbroadcastgroup.com

(918) 250-5353

Broken Arrow

Kodiak Mobile Television

www.kodiakmobile.tv

(918) 925-9877

Tulsa

LeSEA Productions

www.leseaproductions.com

(918) 254-4701

Tulsa

Winnercomm, Inc.

www.winnercomm.com

(918) 496-1900

Boyertown

J A Taylor & Associates

www.broadcastassociates.com

(610) 754-6800

Harrisburg

Capital Area Communications, Inc.

www.cacradio.com

(717) 756-1870

Harrisburg

Invica, LLC

www.invica.net

(717) 577-6601

Harrisburg

Media Solutions

www.mediamadeeasy.com

(877) 860-5255

King of Prussia PMTV - Producers Management TeleVision

www.PMTV.com

(484) 690-9180

Lancaster

Triode Media Group LTD

www.triode.tv

(717) 413-2533

Malvern

CCI Communications

www.ccivideo.com

(610) 836-1355

Philadelphia

StreamByte TV Event Webcasting Philadelphia

www.streambyte.tv

(267) 382-0285

Philadelphia

Total Production Services

www.tpsweb.com

(888) 877-1178

Pittsburgh

NEP

www.nepinc.com

(855) 735-4310

Pittsburgh

Viewpoint Production Services, Inc.

www.viewpoint.tv

(800) 820-0402

SOUTH CAROLINA Myrtle Beach

Satellite Papa

www.satellitepapa.com

(843) 333-5963

TENNESSEE

Video One Productions Inc.

www.vopinc.com

(615) 859-1521

Hendersonville Camp Digital

www.campdigital.net

(615) 826-0122

Hendersonville Stokes Production Services

www.stokesvideo.com

(615) 822-6500

Memphis

KNO Productions

www.knoproductions.com

(901) 729-8770

Nashville

Concerto HD

www.locationhd.com

(615) 257-0158

Nashville

Tennessee Digital Video

www.tndv.com

(615) 585-6528

Argyle

GoVision

www.jumbo.tv/home.html

(940) 464-2320

Austin

Earl Miller Productions Inc.

www.earlmillerproductions.com

(512) 458-4343

Austin

L2 Productions

www.l2productions.tv

(512) 560-4566

Dallas

Texas TV Trucks

www.TexasTVTrucks.com

(972) 570-1118

Dallas

Tricam Video Productions, Inc.

www.tricamvideo.com

(817) 909-4137

Fort Worth

Jeff Watts Productions, Inc.

www.jwproductions.org

(817) 233-6462

Houston

Advanced Containment Systems Inc

www.acsi-us.com

(713) 987-0336

Houston

DNA Studios, LLC

www.dnawebs.com

(281) 657-7292

Houston

Satellite Center

www.satctr.com

(504) 915-8244

Missouri City

Stage2screenProductions

www.stage2screenproductions.com

(281) 804-9525

Park City

Gunner Live LLC

www.gunnerlive.com

(678) 313-6001

Salt Lake City

MSI Live Productions

www.msiliveproductions.com

(801) 349-4610

Sandy

Videolines Mobile Television

www.videolinesmobiletv.com

(801) 580-9474

VIRGINIA

Herndon

Moon Bounce Media, Inc.

www.moonbouncemedia.com

(703) 318-7500

WASHINGTON

Seattle

Jonas Jensen Studios

www.fremontstudios.com

(206) 838-9080

Seattle

LDM Worldwide Productions

www.ldmworldwide.com

(206) 463-1902

Milwaukee

Link Up Communications, LLC

www.linkupcom.com

(414) 453-8785

Waunakee

Token Creek Mobile Television, Inc.

www.tokencreek.com

(608) 849-4965

Vendor Services Directory

Courtesy of

NORTH CAROLINA Charlotte

OHIO

OKLAHOMA

PENNSYLVANIA

TEXAS

UTAH

WISCONSIN

228

Goodlettsville

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

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Vendor Services Directory

Courtesy of

Satellite Trucks STATE

CITY

NAME

ARIZONA

Chandler

ATCI - Antenna Technology Communications, www.atci.net Inc.

Phoenix

Crew West Inc.

www.crewwestinc.com

(888) 444-2739

CALIFORNIA

Calabasas

Coastal Media Group

www.coastalmediagroup.com

(818) 880-9800

Concord

E-N-G Mobile Systems, Inc.

www.e-n-g.com

(800) 662-4522

Montecito

CBTV West

www.cbtvhd.com

(866) 728-3375

Morgan Hill

Global Link Productions, Inc.

www.globalinktv.com

(408) 465-2787

Norwalk

UniSat: Universal Satellite Communications

www.unisatmobile.com

(562) 483-4800

Oakland

Central Coast Uplink

www.centralcoastuplink.com

(831) 325-5271

Pasadena

The SPACECONNECTION

www.thespaceconnection.com

(800) 537-7223

Sacramento

PACSAT - California

www.pacsat.com

(800) 672-2728

San Diego

Hurst USA, Inc.

www.hurstusa.com

(619) 277-9990

San Juan Capistrano

Todocast

www.todocast.tv

(866) 510-7889

Santa Barbara

Rough House Productions LLC

www.roughhousehd.com

(800) 626-2490

Studio City

Streaming Media Live

www.streamingmedialive.com

(818) 974-4000

Sun Valley

Panarex Electronics

www.manta.com/c/mmldjts/panarex-electronic

(818) 768-5161

Sunland

Schulman Mobile Video

www.schulmanmv.com

(323) 785-2528

CONNECTICUT DISTRICT OF COLUMBIA

FLORIDA

ILLINOIS

INDIANA IOWA

PHONE (480) 844-8501

Shelton

Vitec Videocom

www.vitecvideocom.com

(203) 929-1100

Stamford

Newtec America, Inc.

www.newtec.be

(203) 323-0042

Washington

Media X Presentations

www.mxp.live

(833) 697-5483

Washington

NPR Satellite Services

www.nprss.org

(202) 513-2626

Clearwater

F & F Productions, LLC

www.fandfproductions.com

(727) 530-5000

Clearwater

Frontline Communications

www.frontlinecomm.com

(727) 573-0400

Dania

Calhoun Satellite Communications, Inc.

www.calhounsatellite.com/index.html

(305) 655-2629

Lakeland

Crew West, Inc. / Satellink Communication Service

www.crewwestinc.com/sat-west

(888) 444-2739

Largo

Advanced Microwave Components

www.advancedmicrowave.com

(727) 571-1008

Miami

GLASAT.com

www.glasat.com

(786) 210-2235

Miami

Overon America

www.overonamerica.com

(305) 357-5891

Miami

UNITED TELEPORTS

www.unitedteleports.com

(305) 671-3333

Orlando

Lowery Satellite Services Inc.

www.lowerysatellite.com

(407) 859-7940

Orlando

Telepoint Studios

www.Telepointstudios.com

(407) 859-7940

Orlando

TMR Television Mobile Resources

www.tvmr.com

(407) 737-0046

Crystal Lake

Satellite Technology Systems, Inc.

www.stslivetv.com

(800) 838-1472

Peoria

WTVP

www.wtvpvideo.org

(309) 677-4747

Wauconda

Satellite Communication Systems

www.1800usalink.com

(847) 556-1056

Noblesville

LeSEA Productions

www.leseaproductions.com

(317) 773-5050

South Bend

LeSEA Productions

www.leseaproductions.com

(574) 291-8200

Mason City

Efficient Antenna Systems, Inc.

www.easisat.com

(888) 327-4797

Waterloo

Baird Satellite Supporting Systems

www.bairdsatellitesupports.com

(319) 233-3561

KANSAS

Shawnee

Satellite Engineering Group

www.sateng.com

(800) 932-1555

KENTUCKY

Florence

Nickless Shirmer & Co Inc.

www.nsccom.com

(800) 543-1584

LOUISIANA

New Orleans

LeSEA Productions

www.leseaproductions.com

(504) 681-0120

MARYLAND

Baltimore

Videolink LLC - Baltimore

www.videolinktv.com

(617) 340-4200

Point of Rocks

LiveOnSite LLC

www.liveonsite.com

(703) 431-4332 (301) 605-7629

MASSACHUSETTS

234

WEBSITE

Potomac

Asia Broadcast Satellite

www.absatellite.net/services/index.html

Bedford

Polatis, Inc.

www.polatis.com

(844) 765-2847

Hudson

D2 Productions

www.d2productions.com

(508) 485-0300

Wakefield

Remote Facilities Consulting Services Inc.

www.remotefacilities.com

(781) 246-8300

MICHIGAN

Ann Arbor

Michigan Satellite Systems

www.misat.com

(586) 323-9590

MINNESOTA

Cottage Grove

PSB Satellite

www.PSBsatellite.com

(651) 300-9538

Minneapolis

Arctek HD Satellite Productions

www.arcteksat.com

(612) 623-1986

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

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Satellite Trucks STATE

Vendor Services Directory

Courtesy of

MINNESOTA

NAME

WEBSITE

PHONE (952) 472-5525

Minneapolis

RumJungle Media

www.rumjungle.com

St. Paul

Ingwell Communications

www.ingwellcommunications.com

(612) 839-5154

MONTANA

Helena

Lyon Productions

www.lyongroup.biz/content

(406) 442-9014

NEVADA

Stateline

Shoot It Live, Inc.

www.shootitlive.tv

(808) 371-3023

NEW HAMPSHIRE

Pelham

Thistle Communications

www.thistlecommunications.net

(603) 598-5100

NEW JERSEY

Old Bridge

Fulton Production and Consulting

www.satellitedownlink.com

(917) 312-9894

Whippany

A3 Media LLC

www.a3mediallc.com

(201) 951-0619

NEW YORK

Baldwin

Flypack New York, Inc.

www.FlypackNY.com

(516) 867-7300

Congers

American Satellite Uplink

www.americansatelliteuplink.com

(845) 352-0998

Flushing

Interface Communications

www.interfacetv.com

(718) 463-8700

Hauppauge

Miteq

www.miteq.com

(631) 439-9108

New City

Flight 9 Satellite Services

www.flight9.com

(888) 354-4489

New City

StreamByte TV Event Webcasting - New York City

www.streambyte.tv

(267) 382-0285

New York

Metrovision Production Group

www.metrovision.tv

(212) 989-1515

New York

Touchdown Productions

www.touchdown-productions.com

(917) 746-6240

Victor

GCS, Inc.

www.globalcoms.com

(585) 742-9100

West Babylon NORTH CAROLINA Charlotte OHIO

Village Video News

www.vvn.com

(631) 752-9311

Control 1 Communications

www.control1comm.com

(205) 706-9524

Charlotte

Nomadic Communications

www.nomadic-comm.com

(866) 519-7723

Cincinnati

Central Satellite Service

www.centralsat.com

(513) 821-7200

New Middletown

Live Mobile Group

www.livemobilegroup.com

(330) 542-0900

Poland

First Call UPLinks

www.firstcalluplinks.com

(800) 951-6707

Rocky River

TeleNet Media

www.telenetmedia.net

(216) 276-8841

Sunbury

Gerling and Associates

www.gerlinggroup.com

(740) 965-2888

OKLAHOMA

Broken Arrow

Kodiak Mobile Television

www.kodiakmobile.tv

(918) 925-9877

PENNSYLVANIA

Boyertown

J A Taylor & Associates

www.broadcastassociates.com

(610) 754-6800

Indiana

Quintech Electronics & Communications Inc. www.quintechelectronics.com

(800) 839-3658

King of Prussia PMTV - Producers Management TeleVision

www.PMTV.com

(484) 690-9180

Lancaster

Triode Media Group LTD

www.triode.tv

(717) 413-2533

Malvern

Liberty Uplink, Inc.

www.libertyuplink.com

(215) 964-5222

Philadelphia

StreamByte TV Event Webcasting Philadelphia

www.streambyte.tv

(267) 382-0285

Philadelphia

Total Production Services

www.tpsweb.com

(888) 877-1178

Videolink LLC - Philadelphia

www.videolink.tv

(617) 340-4200

Satellite Papa

www.satellitepapa.com

(843) 333-5963

Philadelphia SOUTH CAROLINA Myrtle Beach TENNESSEE

TEXAS

UTAH VIRGINIA

240

CITY

Cordova

Prolink Satellite

www.prolinksat.com

(901) 356-2394

Gallatin

Brightlink HD

www.BrightlinkHD.com

(615) 289-4319

Nashville

Skyway Studios

www.skywaystudiosnashville.com

(800) 605-3590

Nashville

StagePost

www.stagepost.com

(615) 248-1978

Austin

Earl Miller Productions Inc.

www.earlmillerproductions.com

(512) 458-4343

Dallas

Texas TV Trucks

www.TexasTVTrucks.com

(972) 570-1118

Denton

WSC HD Productions

www.wschdproductions.com

(940) 483-9200

Fort Worth

Applied Telecommunications Inc.

www.appliedtelecominc.com

(817) 763-5992

South Houston World Teleport

www.worldteleport.org

(281) 741-8753

Park City

www.gunnerlive.com

(678) 313-6001

Gunner Live LLC

Falls Church

Dawnbreaker Communications, LLC

www.dawnbreakercommunications.com

(202) 288-0805

Herndon

Moon Bounce Media, Inc.

www.moonbouncemedia.com

(703) 318-7500

Virginia Beach

Atlantic Satellite Corporation

www.atlanticsat.com

(757) 318-3500

WASHINGTON

Ridgefield

Wild Hare Satellite, Inc.

www.wildharesat.com

(360) 573-6850

WEST VIRGINIA

Charleston

The Media Center

www.themediacenter222.com

(304) 720-5466

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

When it comes to Duncan Video, the name may or may not ring a bell. Our name has become very famililar over the past 30 years for the folks that we serve, though. Project by project, Duncan Video builds world-class video systems no matter the scale of design. Whether you produce mobily, live, or work in post, Duncan has you covered with industry-leading brands that fit your needs. Donâ&#x20AC;&#x2122;t waste time wondering who can help you with a solution. Contact Duncan Video today!

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New technologies can be confusing CTG has the knowledge and expertise to help you through When it’s time to upgrade CTG is the company that can lead you through the maze of options. With everything under one roof we have the knowledge and expertise to guide you. Contact CTG today and let us help you get through the maze.

2030 Powers Ferry Rd. SE • Ste. 130 • Atlanta, GA 30339 • P. 404.352.3000 • TF. 888.557.4264 • F. 404.352.2962

ctgatlanta.com

Score big with live events. No matter what the sport, our end-to-end online video platform solves the streaming live event challenges of: location variability, event life cycle, resource scheduling, content delivery, data gathering and monetization. Introducing our 1 to 1 session management technology, Smartplay by Verizon. With smarter delivery, smarter advertising, smarter insights and more, you can now deliver a winning experience.

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1.877.334.3236

We Power Deeper Storytelling With 35 years of sports intelligence, STATS makes the world's sports data simple, meaningful, and intuitive. S TAT S . C O M

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ATTENTION SVG SPONORS! SVG’s members rely on you for technology information that drives innovation, efficiencies, and the fan experience. SVG proudly announces the new SVG TechXchange, which gives SVG sponsors a unique opportunity to inspire and inform our members on what’s new, disruptive, or transformative. Sponsored white papers, research surveys, case studies, and much more will be featured in the Tuesday and Wednesday editions of the SVG Insider e-newsletter, with top-line social media support. FOR MORE INFORMATION, CONTACT: ROB PAYNE: (212) 481-8131, rob@sportsvideo.org or ANDREW GABEL: (646) 998-4554, agabel@sportsvideo.org

S R E S N E T I T R ILI A P C T A A F E T R A G RE G

nits he u t le obi ching ive m lity mat ce str to a u r q rience Allian orts ions o f rce expe rs in live sp oduct u o r s rs ne m our 5 yea e part Fro ance P y be ve 1 Th ess. Alli s , . n tio e ha eeds succ vents c u n W g d e Pro oast. client oundin news e c s o r nc llia st to nits t a re ate o A a t w r Le m co bile u sho orpo fro ht mo every t to c rig make nmen you. to ertai er for ent l deliv wil

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Gearbase

What’s What in Mobile Production Results of SVG’s 12th-annual study of mobile-production equipment

he 12th-annual SVG Mobile Sports Production Gearbase Survey provides an ongoing database of production-truck technology for the North American fleet of more than 250 broadcast vehicles. The 2018 Gearbase comprises 258 total mobile units, only two of which are SD-only. With SD officially dead and HD the status quo, 4K- and HDR-capable trucks — as well as units featuring IP-based infrastructure — are on the rise. Of the 258 mobile units covered in the survey, 35 are listed as 4K-capable (up from 20 last year), 43 are HDR-capable (the previous survey did not ask for data on HDR-capability), and 55 are 1080p-capable (up from 30 last year). The 2018 Gearbase Survey drew more participating companies than ever before — 39 in all — and lists nearly a dozen mobile units that debuted over the past 12 months. On the following pages is a listing of the trucks and their specs (based on data collected from participating companies in October 2017). Here is a brief summary of the Gearbase Survey’s key findings in the North American truck market. • With 60 trucks, NEP still has by far the largest fleet in North America, followed by Game Creek Video with 27 and Mobile TV Group with 25 (not including its Visitor Mobile Units). In fourth place is Dome Productions with 19, followed by Lyon Video (11), F&F Productions (10), Live Media Group (nine), and All Mobile Video and TNDV Television (eight each). Turn to page 22 for the Total Trucks by Company graphic. • Of the 251 trucks whose camera complement was identified by brand, 132 use Sony (52%); 80 deploy Grass Valley (32%); 20, Ikegami (8%); 15, Hitachi (6%); and four, Panasonic (2%). • The battle for lens-market share remains a two-horse race. Of the 229 trucks that identified lens brand, 119 trucks carry exclusively Canon lenses (52%), 78 have only Fujinon (34%), and 28 have a mix of Canon and Fujinon lenses (12%). 2% of trucks carry Agenieux lenses. • Among switchers, Grass Valley continues to dominate, with its units found at the center of 204 mobile units (80%). Sony switchers are in 19 trucks (7%), Ross Video switchers in 15 (6%), Blackmagic 2% in eight (3%), and FOR-A in four 2% Design (2%).

a total of 65 trucks (32%) with Grass Valley close behind in 56 (28%). PESA is third with 36 (18%), followed by Imagine Communications with 16 (8%), Utah Scientific with 15 (7%), and Ross Video with eight (2%). • ChyronHego is still the market leader in graphics. Its systems are in 88% of trucks on the road (153 of the 173 that specified a system). Thirty-seven trucks carry Vizrt systems, and 21 deploy Ross Video graphics (although the majority of these trucks also carry a ChyronHego system). • In HD replay devices, EVS is once again the industry standard: 201 HD trucks were identified as relying on some form of EVS system as its primary replay device. Currently, 18 trucks carry Grass Valley K2 Dyno replay systems, although the majority of them also have EVS replay systems. • Calrec Audio remains the number-one audio console on trucks, with 160 consoles in 63% of the North American fleet. Yamaha is second, with consoles in 27 audio rooms (11%), followed by Studer (21 trucks), Harman Soundcraft (14), Avid/Euphonix (12 trucks), Music Group’s Behringer/Midas (5), and DiGiCo and Mackie (four apiece) .

F TRUCKS BY PRODUCTION SWITCHER BRAND -2018 • The video-router sector remains diverse, judging by the 202 3% trucks that identified router brand. Evertz is atop the market in 6%

To view the full 2018 SVG Remote Production Gearbase, visit sportsvideo.org/gearbase2018

7% PERCENT OF HD TRUCKS BY PERCENT OF HD TRUCKS BY AUDIOCONSOLE CONSOLE BRAND PRODUCTI0N SWITCHER BRAND PERCENTAGE OF TRUCKS BY AUDIO BRAND

RCENTAGE OF TRUCKS BY PRODUCTION SWITCHER BRAND -2018 2% 6%

80%

1.5%

8% 80%

Grass Valley

Grass Valley Blackmagic Design Blackmagic Design

Sony

Sony FOR-A

WHAT’S WHAT IN MOBILE PRODUCTION page 6

11%

Ross Other

FOR-A

Ross Other

63%

Calrec

Avid

Data is only representative of trucks that indicated switcher brand

Yamaha Yamaha Music Group

Studer Harman

Studer DiGiCo

Music Group

Mackie

WHAT’S WHAT IN MOBILE PRODUCTION page 7

Mackie

DiGiCo

Data that

Other

Data is only representative of trucks

WHAT’S WHAT IN MOBILE PRODUCTION page 6

Harman

Other

that indicatedYEARBOOK switcher brand2018 MOBILE SPORTS PRODUCTION

249

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NLT-36

ALL MOBILE VIDEO CSP MOBILE PRODUCTIONS DNA STUDIOS DOME PRODUCTIONS

Both

Yamaha LS9-32

5 GV, 2 Sony HD POV

4 Canon, 4 Fujinon 4/4

Ross XPression/ChyronHego HyperX2

UHD/HD/HDR

Fiber

Studer Vista 8

16 Sony

16 Fujinon

Wired for 2

UHD/HD/HDR

Fiber

Studer Vista 8

24 Sony

24 Fujinon

Wired for 2

Fiber

Studer Vista 9

16 Sony

16 Fujinon

Wired for 2

Fiber

Studer Vista 8

16 Sony

16 Fujinon

Wired for 1

UHD/HD/HDR

Fiber

Studer Vista 8

16 Sony

16 Fujinon

Wired for 2

HD HD

Fiber Fiber

Studer Vista 5 M3 Calrec Omega

10 Sony 10 Sony

10 Fujinon 10 Fujinon

Wired for 2 Wired for 1

UHD/HD/HDR

Fiber

Studer Vista X

16 Sony

16 Fujinon

Wired for 2

HD SD HD RF

Triax Triax Fiber Triax, SM fiber for HD-SDI and robo

Yamaha Yamaha N/A

Sony HXC100 Ikegami 388W 24 RF camera paths

5 Hard, 2 HH 5 70X, 2 HH As requested

ChyronHego Duet, Vizrt ChyronHego Duet N/A

Yamaha 02R96 (24 faders/3 layers/56 channels)

5 Sony HSC-300, wired for 8, 1 Sony BRC-H900 robo, 2 clock cameras

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

ChyronHego HyperX3, Ross Xpression

HD/1080p/4K

SMPTE fiber

Calrec Artemis Light

10 Sony 2500, 4300

Canon XJ95X8.6B, Canon HJ22X7.6, Canon HJ14X4.3B

ChyronHego Mosaic, HyperX3

Steel

53’ expando

HD/1080p/4K

SMPTE fiber

Calrec Artemis Light

16 Sony, Panasonic, Ikegami

Canon and Fujinon HD and UHD

ChyronHego and Ross

Integrity

50’ trailer

HD 720p/ 1080i/ 1080p24

Both

Yamaha PM5000 (56)

10 GV LDX 80 Premier

4 H/6 HH

ChyronHego HyperX3

HD1

53’ expando

SD/HD/1080p

Both

Calrec Omega

9 Ikegami, wired for 12

10 Canon

ChyronHego HyperX3

HD2

53’ expando

SD/HD/1080p

Both

Calrec Artemis

10 Ikegami, wired for 16

10 Canon

ChyronHego HyperX3

HD3

53’

SD/HD/1080p

Both

Calrec Omega

8 Ikegami, wired for 12

10 Canon

ChyronHego HyperX3

HD4

53’ expando

SD/HD/1080p

Both

Calrec Artemis

11 Ikegami, wired for 16

12 Canon

ChyronHego Mosaic

HD-B1

53’

SD/HD/1080p

N/A

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

Genesis

24’

Fiber

Soundcraft GB8 (32/32)

5 Hitachi, 2 POV

Fujinon, Canon 3/2

ChyronHego IP

Zeppelin HDX1

40’ 53’ expando

HD HD

Fiber Triax

Soundcraft GB8 (32/32) Yamaha Digital 48

5 Hitachi, 2 POV Sony HXC-100

Fujinon, Canon 3/2 66X

HD28

28’

Triax

Behringer X32 Digital (40 inputs)

GV 6000 and 6200 Super Mo

55X

REMI HD20u

Remote studio 20’ box

HD/4K HD

Fiber Triax

Behringer X32 Digital (40 inputs) Behringer X32 Digital (40 inputs)

GV 6000 GV 4000

40X 45X

Pioneer 4K

53’ expando

HD/4K

Fiber only

Calrec Artemis Beam (64/320)

10 Sony 4300

12 Fujinon

Journey HD

53’ expando

Both

Calrec Artemis Beam (64/320)

10 Sony 2400

12 Canon

Silver HD

53’ expando

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Fujinon

Pacific HD

53’ expando

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Fujinon

Atlantic HD

53’ expando

Both

Calrec Artemis Beam (64)(340)

10 Sony 2400

12 Fujinon

Thunder HD

53’ expando

Both

Calrec Sigma (64/212)

10 Sony 1500

12 Canon

Echo HD

53’ expando

Both

Calrec Sigma (64)(212)

10 Sony 1500

12 Canon

Sierra HD

53’ expando

Both

Calrec Sigma (64/212)

10 Sony 1500

12 Canon

Spirit HD

53’ expando

Both

Calrec Sigma (64/212)

10 Sony 1500

12 Canon

53’ expando

Fiber only

10 Sony 4300

12 Canon

53'

N/A

Calrec Alpha 100 w/Bluefin (72/318) N/A

N/A

53’ expando

Triax

Calrec Alpha 100 (64)(118)

10 Sony HSC-300

12 Canon

ChyronHego HyperX3 Vizrt ChyronHego Duet, Ross XPression Ross XPression Ross Xpression ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro N/A ChyronHego HyperX3.0, Lyric Pro

Trillium HD w/B unit Trillium 4K B unit Horizon HD

252

40’ expando

Zurich

D2 PRODUCTIONS

36’

Slate

NYLA Maverick

CMG MOBILE PRODUCTIONS

GRAPHICS

HD/SD

Sterling

CLARK MEDIA

LENSES (H/HH)

36’ straight

Crossroads

CCI

# CAMERAS & MAKE

Mobile 2

Revolution

COMMUNICATIONS

AUDIO CONSOLE (FADERS/CHANNELS)

Unit A Unit B Golf 5

Titan

BSI

TRIAX, FIBER, OR BOTH?

53’ double expando 53’ triple expando 53’ double expando 53’ triple expando 53’ triple expando 49’ straight 40’ expando 53’ double expando 53’ expando 40’ 52’

Epic

BOUNCE MULTIMEDIA

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

ADMIRAL VIDEO

DIMENSIONS/ TYPE

COMPANY

Gearbase

TRUCK TRUCK NAME NAME

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

SWITCHER, M/E

REPLAY REPLAY DEVICES DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Senn., Sony, A-T, EV

Ross Carbonite, 2 M/E

2 6-ch. GV K2 Dyno

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

Kits vary

Sony MVS-8000X, 5M/E

4 8-ch. EVS

PESA

Kits vary

Sony MVS-8000X, 5M/E

4 8-ch. EVS

PESA

Kits vary

Sony MVS-7000X, 5M/E

4 8-ch. EVS

PESA

Kits vary

Sony MVS-8000G, 4M/E

3 8-ch. EVS

PESA

Kits vary

Sony XVS-7000, 5M/E

4 8-ch. EVS

Kits vary Kits vary

Sony MVS-8000G, 4M/E Sony MVS-6350, 3M/E

2 6-ch. EVS, 6 Miranda HMP 1801 2 4-ch. EVS XT NANO

PESA Evertz

Kits vary

Sony XVS-8000, 5M/E

4 8-ch. EVS or Sony PWS 4500

Full complement Full complement 38 RF wireless

GV Kalypso, 4M/E GV Kalypso, 4M/E N/A

1 6-ch. EVS, 2-4 ch. 1 6-ch. EVS N/A

256x256 64x64 Harris (32x32)

5 HMD 26II, 5 Daltech, 7 shotguns, 3 MD46, 4 RE 50 hand, 6 ECM77

GV Karrera, 3M/E with Lance/EVS Spotbox

2 EVS XT3 LSM

GV Concerto w/Encore (128x128 HD-SDI/64x64 AES)

GV Kayenne, 4M/E

2 6-ch. EVS XT3 LSM

Imagine Platinum IP3 (288x312 3G HD-SDI, 52x30 4K UHD)

GV Kayenne, 4M/E

4 EVS XT4K

Imagine Platinum IP3 (512x512 3G HD-SDI, 64x56 4K UHD)

GV Karrera K-Frame, 4M/E

3 EVS LSM 6-ch., 2 DVCHD, 1 KiPro, 1 Hyperdeck

Nvision HD (512x512/256x256)

Senn., EV, Sony

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

Senn., EV, Sony

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

Senn., EV, Sony

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

Senn., EV, Sony

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

6 Senn. shotguns, 6 Sony ECM-77B, 6 Shure SM58, more as requested 6 Senn. shotguns, 6 Sony ECM-77B, 6 Shure SM58, more as requested

N/A

2 6-ch. EVS HD LSM XT2, 1 4-ch. HD LSM XT2, 1 4-ch. HD XT2 Utah Scientific 400 HD (96x216 video/80x80 AES, 40x40 analog, SpotBox/RO, 1 XF3 w/XFile3 transcoding; 1 Sony 1800 HDCam, 128x128 MADI) 1 Panasonic AJ-HD 1800 DVCPRO HD 2 6-ch. EVS HD LSM XT3, 1 8-ch. HD XT3 RO can be split into two 4-ch. ROs, 1 4-ch. HD LSM XT3 SpotBox, 1 XF3 w/XFile3 transcoding, Utah Scientific 400 HD (528x528 router/48x48 embedded, 4 LSM connect tablets; 1 Sony 1800 HDCam, 1 Panasonic AJ-HD 384x384 MADI, 64x64 AES, and 36x36 analog stereo audio) 1800 DVCPRO HD 2 6-ch. EVS HD LSM XT2, 1 4-ch. EVS HD XT2, 1 4-ch. EVS HD XT2 Utah Scientific 400 HD, 96x216 HD video, 84x84 AES audio, SpotBox/RO, 1 EVS XF3 w/XFile 3 transcoding; 1 Sony 1800 HDCam, 40x40 analog audio, 128x128 MADI audio 1 Panasonic AJ-HD 1800 DVCPRO HD 2 6-ch. EVS HD LSM XT3, 1 8-ch. HD XT3 SpotBox/RO can be split into two 4-ch. ROs, 1 4-ch. HD LSM XT3 SpotBox, 1 XF3 w/XFile3 Utah Scientific 400 HD (528x528 router/48x48 embedded, transcoding, 4 LSM connect tablets; 1 Sony 1800 HDCam, 576x576 MADI, 64x64 AES, and 36x36 analog stereo) 1 Panasonic AJ-HD 1700 DVCPRO HD Wired for 4 8-ch. EVS XT3 with 10 gig

Utah 400 HD (144x144)

6-ch. NewTek 3Play, 2-ch. TriCaster DDR

Blackmagic (40x40)

2 6-ch. NewTek 3Play; 4-ch. Abekas Tria 6-ch. EVS w/XFile

Blackmagic (72x72) Evertz (96x96 HD)

Senn.,EV, Sony, Crown, Røde Senn.

NewTek TriCaster 8000, 8M/E Sony MVS-3000, 2M/E GV Kalypso, 4M/E

Senn.

Ross Carbonite

4-ch. w/2-ch. Supermo

40x40

Senn. Senn.

Blackmagic ATEM 4K Blackmagic ATEM 2M/E

80x80 16x16

Senn., EV

GV K-Frame, 4M/E

Senn., EV

GV K- Frame, 4M/E

Senn., EV

GV K- Frame, 4M/E

A-T, Senn., EV, Sony

GV K-Frame, 4M/E

A-T, Senn., EV, Sony

GV K-Frame, 4M/E

A-T, Senn., EV, Sony

GV K-Classic, 4M/E

A-T, Senn., EV, Sony

GV K-Classic, 4M/E

A-T, Senn., EV, Sony

GV K-Classic, 4M/E

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

4-ch. 4-ch. 4 EVS XT4K, 1 XT3 MAX, 4-ch. XT3 SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 3 EVS XT3 MAX, 1 6-ch. XT3, 4-ch. XS SpotBox, XFile 3, 2 XHub; HDCAM, XDCAM 3 EVS XT3 MAX, 1 6-ch. XT3, 4-ch. XS SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 MAX, 1 8-ch. XT3, 4-ch. XS SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 MAX, 1 8-ch. XT3, 1 6-ch. XT3, 4-ch. XS SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 MAX, 1 8-ch. XT3, 4-ch. XS SpotBox, XFile 3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 MAX, 1 8-ch. XT3, 4-ch. XS SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 MAX, 1 8-ch. XT, 4-ch. XS SpotBox, XFile3, 2 XHub; HDCAM, XDCAM 2 EVS XT3 6-ch, 1 8-ch. XT3, 1 4-ch. XS SpotBox, XFile3, XHub; 2 HDCAM/XDCAM

A-T, Senn., EV, Sony

GV K-Classic, 4M/E

3 EVS XT4K, 2 XT3 MAX, 4-ch. XS, XFile3, XHub3; 2 HDCAM/XDCAM

GV Trinix (256x256/256x256)

N/A

GV K-Frame, 4M/E

GV Trinix (512x512/128x128)

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

As requested, 6 frames of 4K service based on 2 in/2 out per frame 2 EVS XT3 6-ch, 1 XT2 6-ch., 1 XT2 6-ch. SpotBox, XFile3, XHub; 2 HDCAM/XDCAM

Senn., EV, Sony, Crown, Røde

N/A

Gearbase

MICROPHONES

Evertz (540x450/48x96) Evertz (288x232/128x128) Evertz (282x197/128x128) Evertz (282x282/128x128) Evertz (282x282/128x128) Evertz (288x180/128x128) Evertz (288x180/128x128) Evertz (288x180/128x128) GV Trinix (222x160)

GV Trinix (224x320/96x64)

MOBILE SPORTS PRODUCTION YEARBOOK 2018

253

www.cspmobile.com 207.282.9680

4 Mobile Units 25+ Years Experience One 3,000 sq. ft. Studio in Houston, TX ONE CALL FOR ALL YOUR NEEDS

281-657-7292 OR DNAWEBS.COM DNA Studios, LLC is a Houston, TX based media company that provides HD mobile trucks, ﬂypacks, REMI studios, live transmission and green screen facilities. Our Texas-sized footprint provides mobile units for over 50 pro, college and minor league teams within a 250 mile radius. Recent clients include ESPN, Fox Sports SW, MLB.com, Premier League and many more. Contact us today and ﬁnd out why we were the choice for our clients during Super Bowl LI and the 2017 World Series.

DIMENSIONS/ TYPE

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

COMPANY DOME PRODUCTIONS

Gearbase

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS & MAKE

LENSES (H/HH)

53’ expando

Triax

Calrec Alpha 100 (72/108)

10 Sony HSC-300R

12 Canon

53’ expando

Triax

Calrec Omega w/Bluefin (56/168)

10 Sony 2400

12 Canon

Hudson HD

53’ expando

Both

SSL C-100 (72/128)

9 Sony 1500

11 Canon

Kodiak HD

40’

Both

Calrec S2 (48)

7 Sony 1500

7 Canon

TRUCK NAME

Majestic HD Tribute HD

Sidecar HD Beacon (Ku uplink) Unite HD

F&F PRODUCTIONS

ENCOMPASS DIGITAL MEDIA

TES45

Triax

Mackie 1402 (10)

3 GV LDK 6000

As requested

30’ non exp

Fiber only

Yamaha MB02R96 (16)

5 Sony 1500

5 Canon

As requested

Fiber

PreSonus StudioLive 24.4.2

4 Panasonic HDX-900

Fujinon HA18X7.6

Ross XPression

Mackie 1604VLZ

Wired for 5 Panasonic HC-3800

Fujinon XA20X8.5 BERM

N/A

53’ double expando 34’; C- or Ku-band

TES5

32’; Ku-band

GTX-7

53’ expando

Both

Calrec Artemis Light w/Bluefin2 (340)

8 Sony 1500

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

ChyronHego HyperX3

GTX-8

53’ expando

Both

Calrec Sigma w/Bluefin

12 Sony 1500

2 Fujinon 101X, 4 Fujinon 88X, 4 Fujinon 22X, 4 Fujinon 12X4.5

ChyronHego HyperX3

GTX-9

53’ expando

Both

Calrec Sigma w/Bluefin

9 Sony 1500

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

ChyronHego HyperX3

GTX-10

53’ expando

Both

Calrec Artemis Beam w/Bluefin2 (340)

8 Sony 2400

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

ChyronHego HyperX3

GTX-11

53’ expando

Both

GTX-12

53’ expando

Both

GTX-14

53’ expando

Both

Calrec Artemis Beam w/Bluefin2 (340)

14 Ikegami

HD/1080p

Both

Calrec Artemis Beam w/Bluefin2 (340)

14 Ikegami

HD/1080p

Both

Calrec Apollo w/Bluefin2 (1,020)

14 Sony HDC-2500

GTX-17

GAME CREEK VIDEO

16’ trailer

ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro ChyronHego HyperX3.0, Lyric Pro As requested

SMPTE/TAC fiber

GTX-16

256

GRAPHICS

53’ double expando 53’ double expando

Calrec Artemis Beam w/Bluefin2 (340) Calrec Artemis Beam w/Bluefin2 (340)

4 Fujinon 101X, 3 Fujinon 87X, 5 Fujinon 22X, 2 Fujinon 12X4.5 4 Fujinon 101X, 3 Fujinon 87X, 5 Fujinon 22X, 2 Fujinon 12X4.5

14 Ikegami 14 Ikegami

3 Fujinon 101X, 4 Fujinon 87X, 5 Fujinon 22X, 2 Fujinon 12X4.5 4 Fujinon 101X, 3 Fujinon 88X, 4 Fujinon 22X, 3 Fujinon 12X4.5 8 Fujinon 88X, 4 Fujinon 23X, 3 Fujinon 16X4.5

ChyronHego HyperX3 ChyronHego HyperX3 ChyronHego HyperX3 ChyronHego HyperX3 ChyronHego HyperX3

GTX-18

53’ double expando

HD/1080p/4K/ HDR

Fiber

Calrec Artemis Beam V8 w/highdensity Bluefin2

Sony HDC-4300L

3 Fujinon 4K 14X4.5

As requested

53’ expando

HD/1080p/ HDR

Both

Calrec Artemis (144 12-layer faders/1,020 channels)

10 Sony HDC-2500

5 Canon DIGISUPER 76X, 1 Canon DIGISUPER 100X, 3 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG

ChyronHego Mosaic

Webby

53’ expando

HD/1080p/ HDR

Both

Calrec Artemis (144 12-layer faders/1,020) channels)

10 Sony HDC-2500

6 Canon DIGISUPER 95 X 9.3, 2 Canon DIGISUPER 100 X 9. 3 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG

ChyronHego Mosaic

Apollo

53’ expando

HD/1080p/ HDR

Both

Calrec Artemis (144 12-layer faders/1,020 channels)

10 Sony HDC-2500

5 Canon DIGISUPER 76X9.3, 1 Canon DIGISUPER 100X9.3, 3 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG

ChyronHego Mosaic

Maverick

53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Artemis (144 12-layer faders/1,020 channels)

12 Sony HDC 2500 multiformat

7 Canon DIGISUPER 72X9.3, 2 Canon 11X4.7B wide-angle ENG

ChyronHego Mosaic

Dynasty

53’ expando

HD/1080p/ HDR

Both

Calrec Alpha w/Bluefin (96 duallayer faders/512 channels)

12 Sony HDC 1500 multiformat

Freedom

53’ expando

HD/1080p

Both

Calrec Alpha w/Bluefin (96 duallayer faders/512 channels)

10 Sony HDC 1500 multiformat

MOBILE SPORTS PRODUCTION YEARBOOK 2018

2 Canon DIGISUPER 100X9.3, 4 Canon DIGISUPER 86X9.3, 3 Canon DIGISUPER 75X9.3, 3 Canon 22X7.8 ENG, 1 Canon 11X4.7 wide-angle ENG 4 Canon DIGISUPER 75X9.3, 2 Canon DIGISUPER 86X9.3, 1 Canon DIGISUPER 100X9.3, 4 Canon 21X7.8 ENG, 1 Canon 11X4.7B wide-angle ENG, 1 Canon 21AX7.8

ChyronHego Mosaic

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

SWITCHER, M/E

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

A-T, Senn., EV, Sony

GV K-Classic, 4M/E

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

ROUTER (VIDEO/AUDIO SIZE)

2 EVS XT3 6-ch., 1 8-ch. XT3, 4-ch. XS SpotBox, XFile3, 1 XHub3; HDCAM/XDCAM 2 EVS XT3 6-ch., 1 8-ch. XT3, 4-ch. XS SpotBox, XFile3, XHub; 2 HDCAM/XDCAM 3 EVS XT2 6-ch., 4-ch. XS SpotBox, XFile2D, XHub; 2 HDCAM/XDCAM

GV Trinix (224x320/96x64) Harris (64x64/128x128) GV Trinix (256x256/256x256)

None

FOR-A HVS-300HS

2 EVS XT2+ 6-ch., 1 2-ch. XS SpotBox, XFile2, XHub2; HDCAM/ XDCAM As requested

A-T, Senn., EV, Sony

FOR-A HVS-300HS

N/A

Leitch (16x16), Kramer (16x16)

As requested

UNITE is integrated with a router and intercom system and is ready to deploy for multipurpose function as a host facility

Available

N/A

Ross Crossover Solo

1 Ki Pro Rec/Play; additional available

Blackmagic (40x40 SDI embedded audio only)

N/A

Panasonic HS-410n

1 Ki Pro Rec/Play; additional available

Blackmagic (40x40 SDI embedded audio only)

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

GV Kalypso, 4M/E

2 6-ch. EVS XT2+, 2 4-ch. RO XT2+, 1 4-ch. SpotBox, XFile3, 1 XHub2; 2 Sony DVW-A500, 1 DVCPRO 1700, 1 HDCam 1800 3 6-ch. EVS XT2, 2 4-ch. XT2, 2 4-ch. RO XT2, 1 4-ch. SpotBox, XFile2, 2 XHub2, IPDirector, XTAccess; 2 Sony M2000, 2 DVCPRO 1700, 1 DVCPRO 1400, 1 HDCam 1800

PESA HD multirate video (144x352), DRS audio (128x128 analog, 128x128 AES, 128x128 MADI, 256x256 embedded)

A-T, Senn., EV, Sony

GV Karrera, 2.5M/E

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

A-T, EV, Senn., Shure, Sony Senn., EV, Sony Senn., EV, Sony Senn., EV, Sony Senn., EV, Sony Senn., EV, Sony Senn., EV, Sony 8 Senn. HMD 26 headsets, 8 Daltech announce/cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH-8070 long shotgun, 6 Senn. MKH-416 short shotgun, 2 Senn. MKH 418 stereo shotgun, 4 A-T AT4027 stereo shotgun, 6 EV RE50 HH, 12 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Daltech announce/cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH-8070 long shotgun, 6 Senn. MKH-416 short shotgun, 2 Senn. MKH 418 stereo shotgun, 4 A-T AT4027 stereo shotgun, 6 EV RE50 HH, 12 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Daltech announce/cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 5 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Daltech talkback/cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headset, 8 Studio Tech. 210 talkback/cough box, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav

REPLAY DEVICES

GV Kayenne, 4.5M/E; K2 Solo, GV Kayenne Image Store GV Kayenne, 4.5M/E; K2 2 6-ch. EVS XT2, 2 4-ch. RO XT2, 1 4-ch. SpotBox, XFile2, 2 XHub2; Solo, GV Kayenne Image 2 Sony M2000, 1 DVCPRO 1700, 1 DVCPRO 1400, 1 HDCam 1800 Store GV Kayenne, 4.5M/E; K2 2 6-ch. EVS XT2+, 2 4-ch. RO XT2+, 1 4-ch. SpotBox, XFile2+, 2 Solo, GV Kayenne Image XHub2; 1 Sony M2000, 1 DVCPRO 1700, 1 DVCPRO 1400, Store 1 HDCam 1800 GV Kayenne, 4.5M/E; GV 4 8-ch. EVS XT3, 1 4-ch. XT2 SpotBox, 1 XFile, 2 XHub; 1 DVCPRO, Kayenne Image Store 1 DigiBeta GV Kayenne K-Frame, 6M/E; 2 6-ch. EVS XT2, 2 4-ch. HD XT2, 1 XFile2, 1 4-ch. XT2 SpotBox; GV Kayenne Image Store 1 DVCPRO, 1 DigiBeta GV Kayenne K-Frame 6M/E; GV Kayenne, Image Store, 4 6-ch. EVS XT2, 1 XT2, 4-ch. SpotBox, 1 XFile2; 2 DVCPRO; DigiBeta 4-ch. K2 Summit GV Kayenne K-Frame, 9M/E; 4 8-ch. EVS HD XT3, 1 6-ch. XT3 SpotBox, 2 XFiles; 1 IPDirector; GV Kayenne Image Store 2 XHub; 2 SRW5500, 1 DVCPRO; 10 G Network GV Kayenne K-Frame, 9M/E; 4 8-ch. EVS HD XT3, 1 6-ch. XT3 SpotBox, 2 XFiles, 1 IPDirector, GV Kayenne Image Store 2 XHubs; 2 SRW5500, 1 DVCPRO GV HD Kayenne Elite 4 12-ch. EVS HD XT4, 1 6-ch. XT3 SpotBox, 2 XFiles, 1 IPDirector, K-Frame, 9M/E; GV Image 2 XHubs; 6 Ultra KiPros Store GV HD Kayenne K-Frame, 3M/E

GV HD Kayenne K-Frame, 4.5M/E

GV HD Kayenne, 3M/E

3 EVS 6 ch. HD XT3 LSM w/high-speed XNet, 2 12-ch. HD XT3 VTR emulators w/XNet, 1 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 XFile3; 1 Sony DVW A500 DigiBeta, 1 Sony HDW-D1800 HDCam, 1 Sony XDS-PD2000 XDCam, 4 DVD/VHS recorders 3 EVS 6-ch. HD XT3 LSM w/XNet, 2 EVS 12-ch. HD XT3 w/XNet, 1 EVS 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 EVS XFile3, 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Sony HDW-D1800 HDCam, 1 Sony XDS-PD2000 XDCam, 2 Mac Minis, 4 DVD/VHS recorder 3 EVS 6-ch. HD XT3 LSM w/XNet, 2 EVS 4-ch. HD XT3 RO VTR Emulators w/XNet, 1 EVS 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 EVS XFile3, 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Sony HDW-D1800 HDCam, 1 Sony XDS-PD2000 XDCam, 4 DVD/VHS recorder

Gearbase

MICROPHONES

Evertz (84x120/32x32) N/A

PESA HD multirate video (192x448), DRS audio (512x512 analog, 512x512 AES, 128x128 MADI) PESA HD multirate video (208x464), DRS audio (256x256 analog, 256x256 AES, 128x128 MADI, 128x128 embedded) PESA HD multirate video (192x416), DRS audio (256x256 analog, 256x256 AES, 128x128 MADI, 256x256 embedded) GV Trinix (256x256 HD/SD) GV Trinix (256x256 HD/SD) GV Trinix (256x256 HD/SD) Evertz (288x516 HD) Evertz (496x962 HD) Evertz 576x1134 w/Xlink HD router Evertz EQX HD video (396x684), EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels, 40-button multicolor panels Evertz EQX HD video (396x684), Evertz EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), Evertz 72-button multicolor panels, Evertz 40-button multicolor panels Evertz EQX HD video (396x684), EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels

GV HD Kayenne K-Frame, 4.5M/E

3 EVS 12-ch. HD XT3 LSM w/XNet, 1 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 XFile3 w/DNF controllers; 1 Panasonic DVCPRO AJ-HD1700, 4 DVD/VHS recorders

Evertz EQX HD video (396x684), EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels, 40-button multicolor panels

GV HD K-Frame, 4.5M/E

6 EVS 6-ch. HD XT3 LSM w/XNet, 2 12-ch. HD XT3 w/XNet, 1 4-ch. HD XS SpotBox w/Lance TDC 100 controller, 1 XFile3; 1 Sony DVW A500 DigiBeta w/DNF controllers, 1 Sony M2000 HDCAM VTR, 4 DVD/VHS recorders

Evertz multiformat video (576x1152), audio (1024x1024)

GV HD Kayenne, 3M/E

5 EVS 6-ch. HD XT2 LSM w/XNet, 1 SpotBox w/Lance TDC 100 controller, 1 XFile; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic AJ HD 1700A DVCPRO VTR, 4 DVD recorders

Evertz EQX HD video (288x288 + 288 XLink), GV Nvision mono audio (512x512 AES and analog)

MOBILE SPORTS PRODUCTION YEARBOOK 2018

257

INSPIRED BY VISIONARY DESIGN, COMMITTED TO ENGINEERING EXCELLENCE

For more than four decades, F&F Productions has remained a first choice of veteran producers and directors worldwide for all major league sports, network series, entertainment specials, live concerts and large scale corporate events for Fortune 500 companies. Our commitment to our clients remains driven by the goals created from our beginning; Listen to your clients, provide a solution for their need and have a relentless drive for engineering excellence, backed by our 24/7 technical support and unparalleled customer service. Simply put, F&F Productions believes the true measure of our success is our clients’ success and we are proud to provide our clients with the kind of product and expertise that has distinguished us from our competition. GTX-18 4K – DOUBLE EXPANDO, MULTI FORMAT, 4K W/HDR, 1080P, 1080I, 720P VIDEO PRODUCTION Grass Valley HD Kayenne Elite K-Frame Switcher • 192 Inputs / 96 Outputs / 9 Mix Effects • 6 Downstream Keyers per M/E • FlexiKey Programmable Clean Feed • 12 iDPM / 4 eDPM / 4 Chroma Keys per Full M/E • DoubleTake • 32 GB Still Store w/ 10 Fill & Key Channels • Grass Valley K2 Summit 4-Dual Channel Clip Store • EVS XS Spot Box w/ Interface & Lance Controller • Evertz 576x1134 w/ Xlink HD Router • 4K Virtual Monitor Wall • Evertz VIP-X Routing & Multi-Image Display • (18) 31” Custom Boland 4K Monitors 4096x2160 •

4 Point Star Filters & Variable Speed Shutter Available (8) Sony HDLA Lens Adapter • (4) 12x Super-Mo • (8) Vinten VECTOR 750 Panhead • (8) Vinten Heavy Duty Tripods • (2) Vinten 100 Handheld Tripods • (3) Vinten 10-AS Handheld Tripods • (3) Vinten Dolly Wheels for Hard Cameras • (4) Studio Build-Up Kits for Handheld Cameras *Mobile Unit Wired For 24 Cameras *Fiber Operation Only

•

4K ULTRA HIGH DEFINITION LENSES (8) Fujinon UA 107x8.4 Studio/Field w/ Stabilization (5) Fujinon UA 18x5.5 Wide Angle/Handheld Lens • (3) Fujinon UA 14x4.5 Wide Angle Lens • (1) Fujinon UA 22x7.8 Handheld lens • •

VIDEO SHADING 1 Sony 30” BVMX 300-2 Monitor 2 Tektronix 4K WFM/Vector Scopes • 1 Tektronix 3G WFM/Vector Scopes • •

AUDIO Calrec Artemis Beam Digital Console V8 w/ High Density Blue Fin2 • (64) Multi-layer faders w/Hydra2 Networking • LCD Bar Graph and VU Metering • (4) MADI Interface - 2-Streams •

4K Software w/ HDR Unlocked on All Cameras • (14) Sony HDC 4300L Multi-Format Camera • (2) Sony HDCP-43 POV Camera

TAPE/REPLAY AUDIO

PRODUCTION/GRAPHICS

PRODUCTION

•

TRANSMISSION

VIDEO

RECORD/REPLAY (4) EVS XT4K 12-Channel LSM (w/ SSMO Option) (2) EVS XFile 3 Archive Station • (2) EVS Sports Net3 Hub • (1) EVS IP Director Package • (8) KiPro Ultra Plus w/ 16 1TB Drives • (1) Sony HDW-2000 HDCAM • (2) Panasonic AJ-HD1800 DVC Pro • (4) Black Magic 4K Video Assist w/ Dual • SD Card & USB Thumb Drive Recorder • •

20 TON A/C UNIT

CAMERAS & ACCESSORIES

128x128 AES Audio / 128x128 Analog Audio Dual Processor Engines • Evertz EMX Router • 192x192 AES Audio / 48x96 Analog Audio • 20x21 MADI I/O • Genelec 5.1 Surround Sound Monitoring • DK Stereo Surround Audio Display • Yamaha SPX2000 Multi-Eﬀects Processor • Rane Audio Delays • dbx 166 XL Compressors • (2) dbx 1046 Quad Compressors • 360 Systems Digicart/E Ethernet Audio Recorder (1) w/ SD Card & (1) w/ Zip Drive • (1) CD Player • (2) DTS Neural Upmix Decoders • (2) DTS Neural Downmix Encoders • (2) DTS Neural Mono to Stereo 4-Channel Synthesizers • (1) DTS Neural Loudness Meter *Upon Request 96 Channel Hydra Stage Box

•

FOR THE “COMPLETE” SPECS FOR GTX-18 OR ANY OF OUR 10 HD UNITS PLEASE SEE

www.fandfhd.tv

DIMENSIONS/ TYPE

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

COMPANY GAME CREEK VIDEO

Gearbase 260

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS & MAKE

LENSES (H/HH)

GRAPHICS

2 53’ expando

HD/1080p

Both

Calrec w/Bluefin Alpha (96 dual-layer faders/162 stereo,78 surround-sound, 156 mono channels)

14 Sony HDC 1500 Multiformat

12 Canon DIGISUPER 100X9.5, 4 Canon 21X7.8 ENG. 2 Canon 11X4.7B wide-angle ENG

ChyronHego Mosaic

44’ dual expando

HD/1080p

Both

Calrec Omega (64 faders/160 channels)

6 Sony HDC 1500 Multiformat

4 Canon DIGISUPER 72X9.3, 2 Canon 22X7.8 ENG, 1 Canon 14X4.3 wide-angle ENG

ChyronHego Mosaic

Discovery

44’ dual expando

HD/1080p

Both

Calrec Alpha w/Bluefin (80 duallayer faders/320 channels)

6 Sony HDC-1500

4 Canon DIGISUPER 72X9.3, 2 Canon 22X7.8 ENG, 1 Canon 14X4.3 wide-angle ENG

ChyronHego Mosaic

Pride

44’ dual expando

HD/1080p/ HDR

Both

Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)

10 Sony HDC-2500

2 Canon DIGISUPER 100X9.3, 5 Canon DIGISUPER 75X9.3, 4 Canon 22X7.8 ENG, 2 Canon 14X4.7 wide-angle ENG

ChyronHego Mosaic

River Hawk

53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Artemis (144 12-layer faders /1,020 channels)

12 Sony HDC-4300

8 Canon DIGISUPER 95X8.6, 2 Canon 22X7.8 ENG, 2 Canon HJ17eX6.2B IRSE, 2 Canon 14X4.3 wide-angle ENG

ChyronHego Mosaic

Glory

53’ expando

HD/1080p/ HDR

Both

Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)

14 Sony HDC-2500

Justice

53’ expando

HD/1080p/ HDR

Both

Calrec Apollo (144 12-layer faders/1,020 channels)

10 Sony HDC-2400

Larkspur

53’ expando

HD/1080p/ HDR

Both

Calrec Alpha w/Bluefin (80 duallayer faders/320 channels)

10 Sony HDC-1500-R

1 Canon DIGISUPER 100X9.3, 4 Canon DIGISUPER 75X9.3, 4 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG

ChyronHego Mosaic

Legends

53’ expando

HD/1080p/ HDR

Both

Calrec Alpha w/Bluefin (80 duallayer faders/320 channels)

10 Sony HDC-1500-R

1 Canon DIGISUPER 86X9.3, 5 Canon DIGISUPER 75X9.3, 3 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG

ChyronHego Mosaic

12 Sony HDC-1500-R

2 Canon DIGISUPER 100X9.3, 4 Canon DIGISUPER 86X9.3, 2 Canon DIGISUPER 75X9.3, 2 Canon 22X7.8 ENG, 2 Canon 11X4.7B wide-angle ENG

ChyronHego Mosaic

TRUCK NAME

Gemini

5 Canon DIGISUPER 100X9.3, 3 Canon DIGISUPER 86X9.3, 2 Canon DIGISUPER 75X9.3, 2 Canon 22X7.8 ENG, 2 Canon 14X4.7 wide-angle ENG 1 Canon DIGISUPER 100X9.3, 1 Canon DIGISUPER 86X9.3, 3 Canon DIGISUPER 75X9.3, 2 Canon 22X7.8 ENG, 2 Canon 14X4.3 wide-angle ENG

ChyronHego Mosaic

Liberty

53’ expando

HD/1080p

Both

Calrec Alpha w/Bluefin (80 duallayer faders/320 channels)

Northstar

53’ expando

HD/1080p

Both

Calrec Alpha w/Bluefin (64 duallayer faders/320 channels)

10 Sony HDC-1500-R

6 Canon DIGISUPER 75X9.3, 3 Canon 22X7.8 ENG, 2 Canon 11X4.7B wide-angle ENG

ChyronHego Mosaic

Patriot

53’ expando

HD/1080p

Both

Calrec Alpha (64 faders/108 stereo, 104 mono, 52 surroundsound channels)

12 Sony HDC-1500-R

2 Canon DIGISUPER 86X9.3, 5 Canon DIGISUPER 75X9.3, 4 Canon 21X7.8 ENG, 1 Canon 11X4.7B wide-angle ENG

ChyronHego Mosaic

Spirit

53’ expando

HD/1080p/ HDR

Both

Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)

12 Sony HDC-2500

2 Canon DIGISUPER 100X9.3, 6 Canon DIGISUPER 95X8.6, 3 Canon 22X7.8 ENG, 4 Canon 14X4.3 wide-angle ENG

ChyronHego Mosaic

Victory

53’ expando

HD/1080p/ HDR

Both

Calrec Apollo w/Bluefin (144 12-layer faders/1,020) channels)

12 Sony HDC-2500

2 Canon DIGISUPER 100X9.3, 5 Canon DIGISUPER 86X9.3, 3 Canon 22X7.8 ENG, 2 Canon 14X4.7 wide-angle ENG

ChyronHego Mosaic

PeacockOne

2 53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)

23 Sony HDC-4300

6 Canon DIGISUPER 100X9.3, 6 Canon DIGISUPER 95X8.6, 8 Canon 22X7.8 ENG, 4 Canon 14X4.7 wide-angle ENG

ChyronHego Mosaic

Encore

3 53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)

14 Sony HDC-4300

6 Canon DIGISUPER 100X9.3, 4 Canon DIGISUPER 95X8.6, 4 Canon 22X7.8 ENG, 4 Canon 14X4.7 wide-angle ENG

ChyronHego Mosaic

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

8 Senn. 416, 4 Senn. ME-66, 4 Senn. ME-6, 8 Audix D-3, 4 Senn. MKH-70, 18 A-T 815-ST, 6 Senn. MD-46, 8 Shure VP-88, 10 Senn. E-825, 8 A-T 825

GV HD Kayenne K-Frame, 4.5M/E

6 EVS 6-ch. HD XT3 LSM w/XNet, 1 4-ch. HD XS4 SpotBox w/dual Lance TDC 100 controllers, 2 XFile, 1 IPDirector; 1 Sony DVW A500 DigiBeta VTR, 1 Panasonic AJ HD 1800A DVCPRO VTR, 1 Panasonic D-5 HD VTR, 4 DVD/VHS recorders

PESA HD video (512x1024), DRS mono audio (2048x2048 AES and analog)

GV HD Kayenne, 3M/E

2 EVS 6-ch. HD XT2+ LSM w/XNet, 2 4-ch. HD XT2+ RO VTR emulators w/XNet, 1 4-ch. HD XT2+ SpotBox w/Lance TDC 100 controller, 1 XFile2; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 4 DVD/VHS recorders

Evertz EQX HD video (288x288), EMX audio (384x384 AES, 1024x1024 MADI, 192x192 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels, 40-button multicolor panels

GV HD Kayenne, 4.5M/E

2 EVS 6-ch. HD XT2+ LSM w/XNet, 2 4-ch. HD XT2+ RO VTR emulators w/XNet, 1 4-ch. HD XT2+ SpotBox w/ Lance TDC 100 controller, 1 XFile2; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 4 DVD/VHS recorders

Evertz EQX HD video (288x288), EMX audio (384x384 AES, 1024x1024 MADI, 192x192 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels, 40-button multicolor panels

6 Senn. HMD 25 headsets, 6 Daltech announce/cough boxes, 4 Beyer M58 HH, 4 Senn. MD-46 HH, 7 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 4 Senn. MKH 416 shotgun, 5 EV 635A HH, 1 Shure SM58 HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 6 Senn. HMD 25 headsets, 6 Daltech announce/cough boxes, 4 Beyer M58 HH, 4 Senn. MD-46 HH, 7 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 4 Senn. MKH 416 shotgun, 5 EV 635A HH, 1 Shure SM58 HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes,12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 2 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Daltech announce/cough boxes, 12 Senn. MD-46, 6 Senn. MKH 416 shotgun. 2 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T AT4027 stereo shotgun, 6 EV RE50 HH, 12 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 6 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Daltech announce/cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Daltech announce/cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 6 Beyer M58 HH, 10 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 25 headsets, 8 Daltech talkback/cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Daltech talkback/cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 2 Senn. MKH 418S stereo shotgun, 4 AT-BP4071L long shotgun, 6 EV RE50 HH, 12 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 6 Beyer M58 HH, 12 Senn. MD-46 HH, 6 Beyer MC836 short shotgun, 6 Beyer MC837 long shotgun, 6 Senn. MKH 416 shotgun, 6 EV 635A HH, 6 Sony ECM 66 lav, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 6 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav

6 Senn. ME66, 6 Senn. ME67, 6 Senn. MKH 416, 6 Senn. MKH 418, 6 Senn. MKH 8070, 12 Senn. MD 46,10 Senn. HMD 26 II announce headsets, 4 A-T 4050ST, 6 Sony ECM 77B

GV HD K-Frame, 4.5M/E

GV Kayenne K-Frame

576x1152 multiformat video router w/128x128 embedded 4 EVS 6-ch. HD XT3 LSM w/XNet, 1 XS4 SpotBox XFile3; 1 Sony DVW mux/demux capability; 192x192 AES audio (384x384 mono A500 DigiBeta VTR w/DNF controllers, 1 Panasonic DVCPRO AJchannels), 288x288 analog audio, 1x16 MADI (1024x1024 HD1700, 4 DVD/VHS recorders mono channels), 128x128 video I/O w/16 channels of embedded audio each (2048x2048) 576x1152 multiformat video router w/128x128 embedded mux/ 4 EVS 8-ch. HD XT3 LSM w/XNet, 1 XS4 SpotBox, 1 XFile3; 1 Sony demux dapability, 192x192 AES audio (384x384 mono channels, DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic DVCPRO 288x288 analog, 16x16 MADI (1024x1024 mono channels), AJ-HD1700, 4 DVD/VHS recorders 128x128 video I/O w/16 channels of embedded audio each (2048x2048)

GV HD Kayenne K-Frame, 4.5M/E

6 EVS 6-ch. HD XT3 LSM w/XNet, 1 XS4 SpotBox w/Lance TDC 100 controller, 1 XFile3, 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic DVCPRO AJ-HD1700, 4 DVD/VHS recorders

576x1152 multiformat video w/128x128 embedded mux/demux capability, 192x192 AES audio (384x384 mono channels), 288x288 analog, 16x16 MADI (1024x1024 mono channels), 128x128 video I/O w/16 channels off embedded audio each

GV HD K-Frame, 3M/E

2 EVS 12-ch. HD XT3 LSM w/XNet, 1 6-ch. HD XT3 Network 1 XS 4-ch. SpotBox, 1 XFile3

Evertz EQX HD video (396x684), EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels

GV HD K-Frame, 3M/E

4 EVS 6-ch. HD XT2+ LSM w/XNet, 1 4-ch. HD XT2+ SpotBox w/ Lance TDC 100 controller, 1 XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 2 Panasoinc AJHD1800P DVCPRO, 4 DVD/VHS recorders

Evertz EQX HD video (396x684), EMX audio (384x384 AES, 256x256 MADI, 288x288 analog, 128x128x16 HD-SDI embedded), 72-button multicolor panels

GV HD Kayenne, 3M/E

2 EVS 12-ch. HD XT3 LSM w/XNet, 1 6-ch. HD XT3 RO VTR Emulators w/XNet, 1 XS 4-ch. SpotBox w/Lance TDC 100 controller, 1 XFile; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 2 Sony HDW D-1800 VTR, 4 DVD/VHS recorders, 1 DNF VTR controller

PESA HD video (288x576), DRS mono audio (704x576 AES and analog)

GV HD Kayenne, 4.5M/E

4 EVS 6-ch. HD XT2+ LSM w/SportNet, 1 4-ch. HD XT2 SpotBox w/ Lance TDC 100 controller; 1 EVS XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic AJ HD 1800A DVCPRO VTR, 4 DVD/VHS recorders

PESA HD video (384x720), DRS mono audio ( 2048x2048 AES, analog, and MADI)

GV HD Kayenne, 4.5M/E

4 EVS 6-ch. HD XT2 LSM w/XNet, 1 EVS 4-ch. HD XT2 SpotBox w/ Lance TDC 100 controller, 1 XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic AJ HD 1800A DVCPRO VTR, 1 Sony HDW M-2000 VTR, 4 DVD/VHS recorders

PESA HD video (288x576), DRS mono audio (704x576 AES and analog)

GV HD Kayenne, 3M/E

GV HD Kayenne K-Frame, 4.5M/E

GV HD K-Frame, 4.5M/E

GV HD Kayenne K-Frame, 9M/E

Gearbase

MICROPHONES

2 EVS 6-ch. HD XT2 LSM w/XNet, 3 EVS 4-ch. HD XT2 RO VTR emulators w/XNet, 1 EVS SpotBox w/Lance TDC 100 controller, 1 EVS Evertz EQX HD video (288x288 + 288 XLink), 72-button XFile; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic multicolor panels; Nvision mono audio (512x512 AES and analog) AJ HD 1700A DVCPRO VTR, 2 HiFi VHS, 2 DVD recorder 2 EVS 12-ch. HD XT3 LSM w XNet, 6 EVS 6-ch. HD XT3 RO VTR 576x1152 multiformat video router w/128x128 embedded mux/ emulators w/XNet, 1 4-ch. HD XT3 SpotBox w/Lance TDC 100 demux capability; 92x192 AES audio (384x384 mono channels), controller, 5 LSM connect tablets, 1 IPDirector, 1 C-Cast Agent, 1 288x288 analog, 16x16 MADI (1024x1024 mono channels); database server, 1 XT Access, 1 XFile3; 1 Sony DVW A500 DigiBeta 128x128 video I/O w/16 channels of embedded audio each VTR w/DNF controllers, 2 Panasonic DVCPRO AJ-HD1700, 2 DVD/VHS (2048x2048) recorders, 2 Mini Mac/Blackmagic H264 disk recorders 576x1152 multiformat video w/128x128 embedded mux/demux 3 EVS 12-ch. HD XT3 LSM w/XNet, 1 4-ch. HD XT3 SpotBox w/Lance capability; 192x192 AES audio (384x384 mono channels), TDC 100 controller, 1 XFile3 w/DNF controllers; 1 Panasonic DVCPRO 288x288 analog, 16x16 MADI (1024x1024 mono channels); AJ-HD1700, 4 DVD/VHS recorders 128x128 video I/O w/16 channels of embedded audio each (2048x2048) 21 EVS 6-ch. HD XT3 LSM w/XNet, 3 6-ch. HD XT2+ SpotBox w/ Lance TDC 100 controller, 2 EVS XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic DVCPRO AJ-HD1700, 4 DVD/ VHS recorders

2 576x1152 multiformat video router w/128x128 embedded mux/demux dapability; 192x192 AES (384x384 mono channels), 288x288 analog, 16x16 MADI (1024x1024 mono channels); 128x128 video I/O w/16 channels off embedded audio each

10 EVS 6-ch. HD XT3 LSM w/XNet, 1 6-ch. HD XT2+ SpotBox w/ Lance TDC 100 controller, 2 XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controllers, 1 Panasonic DVCPRO AJ-HD1700, 4 DVD/VHS recorders

A unit: 968x2214 multiformat video router w/468x378 embedded mux/demux capability; 192x192 AES audio (384x384 mono channels), 192x288 analog, 37x37 MADI; 468x378 video I/O w/16 channels of embedded audio; IHSE Draco Tera 192-port KVM router w/RS data transport. B unit: 96x96 AES audio (192x192 mono channels), 48x96 analog (96x192 mono channels), 12x12 MADI. C unit: 96x96 AES audio (192x192 mono channels), 48x96 analog audio (96x192 mono channels), 12x12 MADI

MOBILE SPORTS PRODUCTION YEARBOOK 2018

261

INTRODUCING

HIGH ROCK 1 Designed for all levels of production. This 40 foot duel expando production truck is every company’s solution to bringing sports, entertainment and corporate programming to life. Grass Valley Kayenne Switcher EVS XT3 Servers Calrec Artemis Audio Console SONY HDC17000L Cameras SONY HDC4300 Super Slo-Motion Camera UTAH Scientific Router Cobalt Multiviewer System

www.highrockmobiletelevision.com (518) 584-9181 “Ready to support all your sports, entertainment and corporate production needs”

Whether it is entertainment or main event sports, IMS Productions has the facilities and experience to execute ANY event.

Six state-of-the art HD trucks on the road and a fleet of support vehicles... HD 1 -16 camera capability -Kalypso switching -Chyron Mosaic graphics -Calrec audio HD 2 -10 camera capability (expandable to 16) -Kayenne switching -Chyron Mosaic graphics -Calrec audio

HD 3 -4K capable -12 camera capability -Kayenne K frame switching -Chyron Mosaic graphics -Calrec audio HD 4 -12 camera capability -Kalypso switching -Chyron graphics -SSL audio

HD 5 -4K capable -20 plus camera capability -Kayenne K frame switching -Chyron Mosaic graphics -Calrac audio D1 -5 Camera Multi-Cam -Evertz Router -Evertz Multi-Viewer -Broadcast Quality Shading Position

ROBOTIC CAMERAS Our studios are HD deliverable via our in-house VYVX circuit for all types of productions.

Recent clients include: NBC SPORTS, ABC SPORTS, TIME WARNER CABLE, NBA, INDYCAR, PROFESSIONAL BULL RIDING, PAC 12 AND MANY MORE! Kevin Sublette VP of Broadcast Operations ksublette@imsptv.com (317)-492-8723

www.imsptv.com

Robby Greene President rgreene@imsptv.com (317)-492-8710

DIMENSIONS/ TYPE

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

# CAMERAS & MAKE

LENSES (H/HH)

GRAPHICS

53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)

12 Sony HDC-4300

6 Canon DIGISUPER 95, 3 Canon 24X7.8 ENG, 3 Canon 14X4.7 wide-angle ENG

ChyronHego Mosaic

53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Artemis (144 12-layer faders/1,020 channels)

12 Sony HDC-2500

6 Canon DIGISUPER 95, 3 Canon 24X7.8 ENG, 3 Canon 14X4.7 wide-angle ENG

Vizrt, ChyronHego

Chesapeake

53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Artemis (144 12-layer faders/1,020 channels)

13 Sony HDC-4300

9 Canon DIGISUPER 95, 3 Canon 24X7.8 ENG, 3 Canon 14X4.7 wide-angle ENG

ChyronHego Mosaic

Yogi

2 53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Apollo w/Bluefin (144 12-layer faders/1,020 channels)

13 Sony HDC-4300 multiformat

9 Canon DIGISUPER 95X8.6, 4 Canon 22X7.8 ENG, 4 Canon 14X4.7 wide-angle ENG

As requested

79 (2018)

2 53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Apollo w/Bluefin (144 12-layer-faders/1,020 channels)

13 Sony HDC-4300

9 Canon DIGISUPER 95X8.6, 4 Canon 22X7.8 ENG, 4 Canon 14X4.7 wide-angle ENG

Vizrt, ChyronHego

Columbus Skye Iona The Brain

4K UHD/HD HD/3G HD/3G HD/3G

Fiber Fiber Fiber Fiber

Lawo Calrec Calrec Calrec

Fujinon Canon Canon Canon

As requested As requested As requested As requested

HIGH ROCK MOBILE TV

High Rock 1

53’ expando Sprinter Sprinter Sprinter 40’ dual expando

Fiber

Calrec

GAME CREEK VIDEO

COMPANY

AUDIO CONSOLE (FADERS/CHANNELS)

GEARHOUSE BROADCAST

Gearbase

TRIAX, FIBER, OR BOTH?

IMS PRODUCTIONS

HRS MOBILE

JAS DIGITAL

LIVE MEDIA GROUP

LESEA PRODUCTIONS

JONES MOBILE TV KODIAK MOBILE TELEVISION

264

TRUCK TRUCK NAME NAME

Madison

Nitro

20 Sony HDC-4300 6 Hitachi SK1200/1300 8 Hitachi SK1200/1300 8 Hitachi SK1200/1300 7 Sony HDC1700L, 7 Sony HDCU2500L, 1 Sony HDCU4300L

Canon

ChyronHego Mosiac ChyronHego Duet HyperX2

HRS-TV1

40’ expando

Triax

Yamaha DM-2000 (24/96)

8 GV LDK Elite

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

HD-1

53’ expando

Both

Calrec Sigma (64/256)

8 Sony HDC-1000 studio, 8 Sony HDC handheld, 4 Sony HDLA-1500

Canon 10 H/8 HH

ChyronHego Mosaic XL

HD-2

53’ expando plus a second control room and expando

Both

Calrec Sigma (64/256)

4 Sony HDC-1000 studio, 4 Sony HDC handheld, 2 Sony HDLA-1500

Canon 6 H/4 HH

ChyronHego Mosaic XL

HD-3

53’ expando

HD/1080p

Both

Calrec Artemis Beam (64/544)

10 Sony HDC-2400L, 2 Sony HDC2500L

6 Canon HH 22X, 4 Canon XJ95X8.6, 5 Canon XJ80X8.8

2 ChyronHego Mosaic EFX XL

HD-4

53’ expando

Triax

SSL (56/128)

12 GV LDK 8000

4 Canon 22X HH, 8 Canon hard

ChyronHego HyperX3

HD-5

53’ double expando

HD/1080p

Both

Calrec Apollo (144/1,504)

14 Sony HDC-2400, 4 Sony HDC-2500

8 Canon 22X HH, 6 Canon 100X9.3, 6 Canon 95X8.6

2 ChyronHego Mosaic EFX XL

New Wave

30’

Fiber

Yamaha M7CL (32)

8 Sony

8 Fujinon

ChyronHego HyperX2

VisionHD

51’ expando

Both

Calrec Summa (44/128)

8 Sony HDC-2400

Grizz HD

45’

Triax (fiber available)

Calrec Omega (40/80)

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

38’ straight

HD 720p/1080i

Triax

Behringer X32

5 GV Focus 75

4 Fujinon 20X, 1 72X

40’ expando

HD 720p/1080i

Triax

Calrec Artemis Light (40 faders)

6 GV LDX 80

3 Fujinon 77X1, 3 Fujinon 22X1

HD-1

38’ expando

SMPTE fiber

Yamaha M7CL; Avid S3

5 GV LDK 8000

HD-2

38’ expando

SMPTE fiber

Yamaha DM2000; Avid S3

5 GV LDK 8000

HD-3

40’ expando

SMPTE fiber

Avid S3

5 Sony HDC-1500R

HDX-6

32’

Triax (SMPTE)

Allen & Heath WZ3

3 GV LDK 6000, Sony 1500R

HDX-7

40’ expando

Triax

Yamaha PM 5D

6 GV LDK 8000

HDX-8

40’ expando

Triax

Yamaha PM 5D

6 GV LDK 8000

HDX-9

40’ expando

Triax

DiGiCo SD5

6 GV LDK 8000

MOBILE SPORTS PRODUCTION YEARBOOK 2018

10 Fujinon, 4 88X, 2 77X, 3 23X, 1 14X 3 Fujinon77X, 3 Fujinon 17X, 1 Fujinon 12X wide-angle, add'l wide-angle and long available

1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 12X wide-angle 1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 12X wide-angle 1 Canon 86X, 2 Fujinon 22X, 2 Fujinon 12X wide-angle

ChyronHego Duet HyperX3 ChyronHego HyperX3 Pro Presenter Apple Mac Mini Sports Graphics HD scorebug w/OCR clock ChyronHego Mosaic, Vizrt Trio Wired for 1 Wired for 1 Wired for 1 N/A

3 Angenieux 70X, 2 Angenieux 19X, 1 Angenieux 10X wide-angle 3 Angenieux 70X, 2 Angenieux 26X, 1 Angenieux 10X wide-angle 3 Canon 86X, 2 Canon 22X, 1 Canon 12X wide-angle

ChyronHego Duet HyperX3 ChyronHego Duet HyperX2 ChyronHego Duet LEX

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

SWITCHER, M/E

REPLAY DEVICES

GV HD Kayenne K-Frame, 9M/E

3 EVS 12-ch. HD XT3 LSM w/XNet, 1 XS4 SpotBox w Lance TDC 100 controller, 1 XFile3

GV HD Kayenne K-Frame, 9M/E

3 EVS 12-ch. HD XT3 LSM w/XNet, 1 XS4 SpotBox w/Lance TDC 100 controller, 1 XFile3

GV HD Kayenne K-Frame, 9M/E

4 EVS 12-ch. HD XT3 LSM w/XNet, 1 4-ch. XS4 SpotBox w/Lance TDC 100 controller, 1 XFile3

GV HD Kayenne K-Frame, 9M/E

6 EVS 12-ch. HD XT4K LSM w/XNet, 1 XS4 SpotBox w/Lance TDC 100 controller, 1 XFile3

Evertz EXE SVDN video (744x948 + 98), EMR audio (31,968x31,968 all embedded)

GV HD Kayenne K-Frame, 9M/E

6 EVS 12-ch. HD XT4K LSM w/XNet, 1 XS4 SpotBox w/Lance TDC 100 controller, 1 EVS XFile3

Evertz EXE SVDN video (744x948 + 989), EMR audio (31,968x31,968 all embedded)

GV Kayenne K-Frame SimplyLive ViBox SimplyLive ViBox SimplyLive ViBox

4 EVS XT4 1 8-ch EVS (6 in 2 out) 1 8-ch EVS (6 in 2 out) 1 8-ch EVS (6 in 2 out)

Imagine IP3 (1000x1000), Lawo VSM/Lawo (4096x4096) SAM Halo (64x64) SAM Halo (64x65) Ross (144x144)

Senn., Sony, A-T

GV Kayenne K-Frame, 4 M/E

2 EVS XT3

Utah Scientific (254x456)

12 shotgun, 6 HH

GV Kalypso, 4M/E

1 XT3 EVS 12-ch. with dual controls and XFile

HD/SD router (288x288)

8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 6 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 12 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 6 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav 8 Senn. HMD 26 headsets, 8 Studio Tech. 210 talkback/ cough boxes, 2 Senn. MD-46 HH, 6 Senn. MKH 416 shotgun, 6 Senn. MKH 418S stereo shotgun, 6 Senn. 8070 shotgun, 4 A-T BP4027 long stereo shotgun, 6 EV RE50 HH, 6 Sony ECM 77 lav 6 Senn. ME66, 6 Senn. ME67, 6 Senn. MKH 416, 6 Senn. MKH 418, 6 Senn. MKH 8070, 12 Senn. MD 46, 10 Senn. HMD 26 II announce headsets, 4 A-T 4050ST, 6 Sony ECM 77B 6 Senn. ME66, 6 Senn. ME67, 6 Senn. MKH 416, 6 Senn. MKH 418, 6 Senn. MKH 8070,12 Senn. MD 46, 10 Senn. HMD 26 II announce headsets, 4 A-T 4050ST, 6 Sony ECM 77B Senn. Senn. Senn. Senn.

ROUTER (VIDEO/AUDIO SIZE)

576x1152 multiformat video router w/128x128 embedded mux/demux capability; 192x192 AES audio (384x384 mono channels), 288x288 analog, 16x16 MADI (1024x1024 mono channels); 128x128 video I/O w/16 channels of embedded audio each 576x1152 multiformat video router w/128x128 embedded mux/demux capability; 192x192 AES audio (384x384 mono channels), 288x288 analog, 16x16 MADI (1024x1024 mono channels); 128x128 video I/O w/16 channels of embedded audio each 576x1152 multiformat video router w/128x128 embedded mux/demux capability; 192x192 AES audio (384x384 mono channels), 288x288 analog, 16x16 MADI (1024x1024 mono channels); 128x128 video I/O w/16 channels of embedded audio each

Gearbase

MICROPHONES

8 Senn. HMD 26 announce headset, 8 announce boxes with talkback, 8 Senn. ME 66 short shotguns, 8 Senn. ME 67 long 2 6-ch. EVS XT2 LSM, 4 6-ch. XT2 RO, 4-ch. SpotBox, XFile, Nvision w/Jupitor control (288x236 HD/SD/224x256 AES, GV Kalypso shotguns, 4 BP4027 stereo shotgun, 6 Shure Beta 58, 6 EV SportsHub; AJ-HD-1800 DVCPRO; PDW75 XDCam, 2 DVD recorders 192x192 analog) 635, 4 EV RE 50, 6 Sony ECM 77, 4 Sony ECM 66 6 Senn. HMD 25 announce headset, 6 announce box, 5 2 6-ch. EVS XT2 LSM, 1 6-ch. XT-2 RO, 1 4-ch. XT2 RO, 1 4-ch. Senn. ME 66 short shotgun, 5 Shure SM 89 long shotgun, 5 Nvision with Jupitor control (288x504 HD/SD/224x256 AES, GV Kayenne, 4.5M/E SpotBox, XFile, SportsHub; 2 AJ-HD-1800 DVCPRO; 2 HDW-1800 BP4027 stereo shotgun, 2 VP 88 stereo, 4 Shure Beta 58, 4 192x192 analog) HDCam; 2 DVD recorders Senn. MD 46, 4 Sony ECM 77, 4 Sony ECM 66, 6 Senn. HMD 26 announce headset, 6 announce box, 6 2 6-ch. EVS XT3 LSM; 3 6-ch. XT3 RO, 1 6-ch. XS SpotBox, Senn. ME 66 short shotguns, 6 Senn. ME 67 long shotguns, 1 XFile2/3, 1 IPDirector; 1 Sony HDWD 1800 HDCAM, IMX, DigiBeta, Evertz EQX (314x314 3G/HD/SD, of which 80x80 support audio, GV Kayenne K-Frame, 5M/E 6 Senn. MKH 416 shotgun, 2 VP 88 stereo, 8 Senn. MD 48, 6 SX; 1 Sony HDW 1800 HDCAM; 2 Sony PDWHD 1500 XDCAM; wired 96x96 stereo analog, 96x96 unbalanced AES, 19x19 MADI) Sony ECM 77, 2 Sony ECM 66 for 8 tape machines 2 6-ch. EVS LSM XT2, 1 4-ch. XT2 RO, SpotBox, IPDirector, XFile; 8 Senn. HMD 25 announce headset, 12 Sony ECM77B lav, wired for 2 additional 6-ch. EVS; 1 Panasonic AJ-HD1800 DVCPRO; Evertz EQX (288x288 HD/SD), Nvision (256x256 unbalanced 10 Senn. ME-66 shotgun, 8 Senn. MKH-416P shotgun, 8 GV Kalypso 1 Sony PDW-F75 HD VTR, 1 HDW-D1800 HDCAM/DigiBeta, AES) Senn. MKH-70-P48 shotgun, 8 EV RE-50 HH, 8 EV 635B HH 1 HDW-M2000 HDCAM/DigiBeta 8 HMD-26 announcer headset, 6 Senn. MKH-816 shotgun, 2 8-ch. EVS XT3 LSM, 4 8-ch. XT3 RO, licensed for slo-mo, Evertz EQX (314x1276 3G/HD/SD, of which 160x160 support 6 Senn. MKH-416 shotgun, 6 Senn. ME-66 shotgun, 4 A-T 1 6-ch. XS3 SpotBox, 1 XFile2 with XT Access, 1 IPDirector; 1 Sony GV Kayenne K-Frame, 7M/E audio, 96x96 stereo analog audio, 96x96 unbalanced AES, AT-4029 stereo shotgun, 12 Senn. MD-46, 2 Shure VP-88 HDW-D1800 HDCam, 1 SRW-HDCam, 2 PDWHD 1500 XDCam; 34x34 MADI) stereo, 2 EV RE50, 8 Sony ECM-77 lav 1 Panasonic 1800 DVCPRO Harris Panace video (32x32 HD-SDI), Panace audio (32x32 Shure Sony MFS-2000, 1.4M/E EVS available on request HD-SDI analog) GV Kayenne, 4.5M/E; GV 1 12-ch. EVS LSM XT3, 4-ch. XT3 RO, 4-ch. XS SpotBox, XFile3; A-T, Sony, EV PESA Cheetah 64XE, Cheetah DRS (128x128) Kayenne HDCAM, DVCPRO, DigiBeta, DVD Senn. HMD-25 and HMD-26 announcer headsets, 14 A-T Utah Scientific 400S (72x204) HD-SDI I/O with embedding and GV Kayenne, 2.5 M/E; 2 6-ch. EVS XTnano, XFile3, 4-ch. SpotBox; 10 AJA KiPro, 2 DVCPRO and Senn. mono and stereo shotguns, 4 Sony lavs, 4 Senn. de-embedding, (64x64) AES I/O, (192x192) MADI I/O, (64x64) K2 Dyno decks, 1800 HDCam recorder, A500 DigiBeta, 2 DVD recorders MD-46 HH, 2 Shure SM-58 HH analog I/O

Lectrosonics, Senn.

GV Karrera, 2M/E

GV 6-ch.K2 Dyno

Miranda CR 6400 (64x64)

Senn., Lectrosonics, Sony

GV Kayenne, 4M/E

6-ch. EVS XT3 LSM, 4-ch. XT3 RO; Panasonic DVCPRO HD; Blackmagic

Nvision (138x249 with integrated AES audio)

As requested

GV Kalypso, 2.5M/E

Wired for 2

GV Concerto (32x32)

As requested

GV Kalypso, 2.5M/E

Wired for 2

GV Concerto (32x32)

As requested

Ross Carbonite, 2.5M/E

Wired for 1

Ross (72x72)

As requested

Ross Synergy, 1M/E

Wired for 1

Leitch (16x16)

As requested

GV Kalypso, 4M/E

1 6-ch. EVS XT-3, 1 4-ch. XT2, 1 XFile2

GV Concerto (32x32)

As requested

GV Kalypso, 2M/E

1 6-ch. EVS XT2, 1 4-ch. XT2 RO, 1 XFile2

GV Concerto 32x64

As requested

GV Karrera, 4M/E

1 6-ch. EVS XT3, 1 6-ch. XT2, 1 XFile3

GV Trinix (96x64)

MOBILE SPORTS PRODUCTION YEARBOOK 2018

265

PRODUCTION INNOVATION FOR THE TOP CONTENT CREATORS IN THE U.S.

HD | 4K | UHD | HDR

TEAMWORK. RELIABILITY. TRUST. MobileTvGroup.com

DIMENSIONS/ TYPE

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

COMPANY LIVE MEDIA GROUP MOBILE TV GROUP

METROVISION

LYON VIDEO

Gearbase 268

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS & MAKE

42’ expando

Triax

DiGiCo SD5

6 GV LDX 80

51’ expando

Triax

Calrec Omega (5.1)

10 LDK 3000

Lyon 3

43’ expando

Both

Calrec Artemis (56/240)

6 GV

Lyon 4

43’ expando

Both

Calrec Artemis (56/240)

6 GV

Lyon 5

53’ expando

Triax

Calrec Q2 (120/120)

10 GV

Lyon 6

53’ expando

Both

Calrec Alpha (72/480)

14 GV, 2 GV Extreme SSMO

Lyon 7

53’ expando

Both

Calrec Sigma (64/320)

10 GV, 1 GV Extreme SSMO

Lyon 8

53’ expando

Both

Calrec Sigma (64/320)

12 GV

Lyon 9

50’ expando

Both

Calrec Omega (56/160)

9 GV

Lyon 10

53’ expando

Both

Calrec Omega (56/160)

10 GV

Lyon 11

53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Apollo (144/1,020)

11 GV

Lyon 12

53’ expando

HD/1080p/ HDR

Both

Calrec Artemis (64/340)

10 GV

Lyon 14

53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Apollo (144/1,020)

10 GV

HD-1

40’ expando

Both

HD-2

40’ expando

Both

HD-3

40’

Both

HD-5

40’ expando

Both

12HDXs

53’ expando

Triax

18HDX

53’ expando

20HDX

53’ expando dual-feed

22HDX-U

TRUCK NAME

HDX-10

HD-11

Studer Vista 5 (32 AES, 32 analog) Calrec Omega w/Bluefin (64 AES, 64 analog) Midas M32 (40 ch.) Calrec Omega (32 AES, 64 analog)

LENSES (H/HH)

3 Canon 86X, 2 Canon 22X, 1 Canon 14X wide-angle 1 Angenieux 70X, 3 Angenieux 62X, 2 Angenieux 26X, 1 Angenieux 19X, 1 Angenieux 15X, 1 Canon 21X, 1 Canon 18X, 1 Fujinon 12X wide-angle 4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X 4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X 1 Fujinon 101X, 3 Fujinon 87X, 2 Fujinon 72X, 3 Fujinon 22X, 1 Fujinon 12X 2 Fujinon 101X, 2 Fujinon 88X, 6 Fujinon 72X, 6 Fujinon 22X, 2 Fujinon 12X 1 Fujinon 101X, 5 Fujinon 87X, 1 Fujinon 72X, 4 Fujinon 22X, 2 Fujinon 12X 1 Fujinon 101X, 1 Fujinon 99X, 3 Fujinon 88X, 2 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X 1 Fujinon 101X, 2 Fujinon 87X, 3 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X 1 Fujinon 101X, 3 Fujinon 88X, 3 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X 2 Fujinon 99X, 2 Fujinon 88X, 3 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X 1 Fujinon 101X,2 Fujinon99X, 3 Fujinon 88X, 1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X 5 Fujinon 99X, 2 Fujinon 80X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X

GRAPHICS

ChyronHego Duet LEX

ChyronHego Duet HyperX

Client supplied Client supplied ChyronHego HyperX3

ChyronHego HyperX3

Vizrt, ChyronHego HyperX3

ChyronHego HyperX3

Vizrt, ChyronHego HyperX3

6 Sony HDC-1500

3/3 +

ChyronHego Duet HyperX3

6 Sony HDC-1500

3/3 +

ChyronHego Duet HyperX3

5 Sony HDC-1500

2/3 +

ChyronHego Duet HyperX3

7 Sony HDC-1400

4/4 +

ChyronHego Duet HyperX3

Euphonix

8 GV LDK 8000 Elite

6 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 11X4.7 wideangle ENG

ChyronHego HyperX

Triax

Euphonix

8 GV LDK 8000 Elite

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

ChyronHego HyperX

Triax/SSMO fiber

Euphonix

9 GV LDX 80, 2 GV 6X SSMO

8 Canon 72X9.3, 1 Canon 86X9.3, 4 Canon 17X1.6 ENG

2 Vizrt, 1 ChyronHego HyperX

48’ expando

Triax

Euphonix

7 GV LDK 8000 Elite

7 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 12X6.5 ENG

1 ChyronHego HyperX

23HDXs

48’ expando

Triax

Euphonix

8 GV LDK 8000 Elite

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

1 Vizrt, 1 ChyronHego HyperX

24HDXs

48’ expando

Triax

Euphonix

8 GV LDK 8000 Elite

6 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 11X4.7 wideangle ENG

1 Vizrt, 1 ChyronHego HyperX

25HDX

53’ expando

Triax/SSMO fiber

Euphonix

6 GV LDX 80, 2 GV 6X SSMO

6 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wideangle ENG

1 Vizrt, 1 ChyronHego HyperX

26HDX

53’ expando dual-feed

Triax/SSMO fiber

Euphonix

9 GV LDX 80, 2 GV 6X SSMO

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

2 Vizrt, 1 ChyronHego HyperX

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

As requested

GV Kayenne, 4M/E

1 6-ch. EVS XT3, 1 6-ch. XT2, 1 XFile2

Utah Scientific (216x324)

As requested

GV Kayenne, 3.5M/E

1 6-ch. EVS XT2, 1 4-ch. XT2, 1 4-ch. XT RO, 1 2-ch. XT SpotBox, 1 XFile2

Miranda (162x286)

Senn., A-T

GV Kalypso, 3M/E

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

Evertz (280x442/1312x1696)

Senn., A-T

GV Kalypso, 3M/E

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

Evertz (280x442/1312x1696)

Senn., A-T

GV Kalypso, 4M/E

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

GV (video 256x448, audio 256x256)

Senn., A-T

GV Kayenne, 4.5M/E

5 12-ch. EVS

Evertz (268x812/704x800)

Senn., A-T

GV Kayenne, 4.5M/E

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

GV (128x128/512x512)

Senn., A-T

GV Kayenne, 4.5M/E

2 12-ch. EVS, 1 4-ch. RO SpotBox

PESA (256x496/512x512)

Senn., A-T

GV Kayenne K-Frame, 4M/E

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

GV (256x448/256x256)

Senn., A-T

GV Kayenne K-Frame, 5M/E

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

GV (256x448/256x256)

Senn., Beyer, A-T

GV Kayenne K-Frame, 5M/E

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

Evertz (492x746/2016x2016)

Senn., Beyer, A-T

GV Kayenne K-Frame, 5M/E

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

Evertz (280x802/1344x1504)

Senn., Beyer, A-T

GV Kayenne K-Frame, 5M/E

5 12-ch. EVS

Evertz (460x902/2720x3328)

8 shotgun, 4 lav, 5 HH

GV Kalypso, 4M/E

2 EVS XT2/SpotBox/XFile3

Leitch Platinum (256x256/128x136 HD-SDI/32x32 analog)

8 shotgun, 4 lav, 5 HH

GV Kalypso, 4M/E

2 EVS XT2/XFile3

Leitch Platinum (256x256/112x96 HD-SD/8x8 analog)

6 shotgun, 4 lav, 5 HH

Sony MVS-8000A, 2.5M/E

1 EVS XT2/XFile2

Leitch (64x64 HD/32x32 analog, 64x64 audio)

9 shotgun, 6 lav, 5 HH

GV Kayenne, 2.5 M/E

2 EVS XT2/XFile3/XHub3

Evertz Xenon (128x128)

A-T, Senn.

GV Kalypso, 4M/E

A-T, Senn.

GV Kayenne, 4.5M/E

A-T, Senn., EV

GV Kayenne, 4.5M/E

A-T, Senn., Sony, EV

GV Kalypso, 4M/E

Senn., Sony, EV

GV Kalypso, 4M/E

Senn., Sony, EV

GV Kalypso, 4M/E

Senn., Sony, EV

GV Kayenne, 4.5M/E

A-T, Senn., Sony, EV

GV Kayenne, 4.5M/E

Gearbase

MICROPHONES

PESA Cheetah video (128x256); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI GV Trinix video (128x320); Euphonix audio, 48 preamps, 168 analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 4 6-ch. EVS XT2, 4-ch. XS server for SpotBox, XFile3; DVD MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI GV Trinix video (128x320); Euphonix audio, 48 preamps, 168 3 XT2, 4-ch. XT2, 4-ch. XT2 RO Unit, 4-ch. XS Server for SpotBox, 2 analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 XFile 3; Panasonic P2 Deck, GV K2 Summit/Dyno MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI. Harris Platinum video (128x256); Euphonix audio, 48 preamps, 2 6-ch. EVS XT2, 2 4-ch. XT2 RO, 2-ch. XS server for SpotBox, 168 analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 XFile3; DVD MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI GV video (128x256); Euphonix audio, 48 preamps, 168 analog2 6-ch. EVS XT2, 2 4-ch. XT2 RO, 2-ch. XS server for SpotBox, to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-toXFile3; DVD AES; all Euphonix console inputs and outputs avaliable in the router via MADI PESA video (128x256); Euphonix audio, 48 preamps, 168 2 6-ch. EVS XT2, 2 4-ch. XT2 RO, 2-ch. XS server for SpotBox, XFile3; analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 DVD, Panasonic P2 Deck MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI PESA video (144x320); Euphonix audio, 48 preamps, 168 2 6-ch. EVS XT2, 2 4-ch. XT2 RO, 2-ch. XS server for SpotBox, XFile3; analog-to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 DVD, GV K2 Summit/Dyno MADI-to-AES; all Euphonix console inputs and outputs avaliable in the router via MADI GV video (160x352); Euphonix audio, 48 preamps, 168 analog1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 2 XFile3, 4-ch. XS to-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-toserver for SpotBox, 2 XFile3; GV K2 Summit/Dyno, P2 Deck, DVD AES; all Euphonix console inputs and outputs avaliable in the router via MADI 2 6-ch. EVS XT2, 4-ch. XT2, 4-ch. XT2 RO, 4-ch. XS server for SpotBox, XFile3; DVD

MOBILE SPORTS PRODUCTION YEARBOOK 2018

269

CONSTELLATION DUAL PATH Ku UPLINK + CAMERAS: HD.

Switcher 2ME HD Sony 8000. Multiviewers 2 Evertz VIP. Cameras Up to 4 + POV & Robo. Intercom RTS Matrix. Audio Mix Soundcraft Digital 24 Input. Audio Record Video Devices PIX270. Video Record 6 AJA KiPro Racks. Seats 6.

ORIGINATION SMALL FOOTPRINT, FULLY LOADED: HD. Switcher 2ME HD Ross Carbonite. Multiviewers 2. Cameras Up to 8 + POV & Robo. Intercom RTS Matrix. Audio Mix Soundcraft Digital 48 Input. Audio Record Video Devices PIX270. Video Record 10 AJA KiPro Racks Seats 8.

BLACKJACK SMALL FOOTPRINT, FULLY LOADED: HD or 4K UHD. Switcher 2.5ME HD Ross Carbonite. Multiviewers 2. Cameras Up to 8 + POV & Robo. Intercom RTS Matrix. Audio Mix Mackie Analog 24 Input. Audio Record JoeCo BBR. Video Record 8 AJA KiPro Racks. Seats 8. ELEVATION MEDIUM FOOTPRINT, FULLY LOADED: HD. Switcher 3ME HD Ross Vision. Multiviewers 8. Cameras Up to 10 + POV & Robo. Intercom RTS Matrix. Audio Mix Soundcraft Digital 64 Input. Audio Record ProTools + Video Devices PIX270. Video Record 12 AJA KiPro Racks. Seats 10. INSPIRATION MEDIUM FOOTPRINT, FULLY LOADED: HD. Switcher 2ME HD Ross Vision. Multiviewers 4. Cameras Up to 10 + POV & Robo. Intercom RTS Matrix. Audio Mix Soundcraft Digital 64 Input. Audio Record ProTools + Video Devices PIX270. Video Record 12 AJA KiPro Racks. Seats 10. ASPIRATION EXPANDING SIDE, FULLY LOADED: HD. Switcher 3ME HD Sony 8000. Multiviewers 8. Cameras Up to 12 + POV & Robo. Intercom RTS Matrix. Audio Mix Soundcraft Digital 96 Input. Audio Record ProTools + Video Devices PIX270. Video Record 16 AJA KiPro Racks. Seats 14. VIBRATION LARGE AUDIO MIX + CAMERAS: HD.

Audio Mix Studer Vista 9 Digital 256 Input. 5.1 / 7.1 Capable. Audio Record ProTools + JoeCo BBR (all 256 inputs) Switcher 2ME HD FOR-A HVS-390. Multiviewers 2. Cameras Up to 4 + POV & Robo. Intercom RTS Matrix. Video Record 8 AJA KiPro Racks. Seats 5 + Client Lounge.

EXCLAMATION DOUBLE EXPANDING SIDE: HD or 4K UHD.

Switcher 4ME GVG Kayenne with Double Take. Multiviewers 24. Cameras Up to 24 + POV & Robo. Intercom RTS Matrix. Audio Mix Studer Vista X Digital 256 Input. Audio Record ProTools + Video Devices PIX270. Video Record 26 AJA KiPro Racks. Seats 30.

TNDV: TELEVISION, LLC. | 515 BRICK CHURCH PARK DR. NASHVILLE, TN 37207 | 877.959.TNDV (8638) | TNDV.COM

HD Production Mobiles anywhere you need them Proshow Broadcast provides a fleet of agile HD mobile production trucks thoughout the US and Canada. In addition to two 40’ traditional production units, we offer trucks specifically designed for the growing “At-Home" and “REMI” production models. Learn more about our fleet at www.proshow.tv

Los Angeles

inquiry@proshow.tv 1-888-776-7469

Vancouver

DIMENSIONS/ TYPE

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

COMPANY MOBILE TV GROUP

Gearbase 272

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS & MAKE

LENSES (H/HH)

GRAPHICS

53’ expando dual-feed

Triax/SSMO fiber

Euphonix

10 GV LDK 8000 3G, 1 GV 6X SSMO

8 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 21X7.5 ENG, 1 Canon 9X5.5 wide-angle ENG

2 Vizrt, 1 ChyronHego HyperX

53’ expando dual-feed

Triax/SSMO fiber

Euphonix

8 GV LDX 80, 2 GV 6X SSMO

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

1 Vizrt, 1 ChyronHego HyperX

29HDX

53’ expando dual-feed

Triax/SSMO fiber

Calrec

9 GV LDK 8000 Elite 3G, 2 GV 6X SSMO

8 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 12X6.5

30HDX

53’ expando dual-feed

Triax/SSMO fiber

Calrec

9 GV LDK 8000 Elite 3G, 2 GV 6X SSMO

8 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 12X6.5

31HDX

53’ expando dual-feed

Triax/SSMO fiber

Calrec

9 GV LDK 8000 Elite 3G, 2 GV 6X SSMO

9 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wideangle ENG

2 Vizrt, 1 ChyronHego HyperX

32HDX

53’ expando dual-feed

Triax/SSMO fiber

Euphonix

9 GV LDK 8000 Elite 3G, 2 GV 6X SSMO

9 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 11X4.7 wideangle ENG

2 Vizrt, 1 ChyronHego HyperX

33HDX

SxS dual-feed: A 53’ expando, B 53’

Triax/SSMO fiber

Calrec

10 GV LDX 80, 2 GV 6X SSMO

33 VMU

53’

Triax/SSMO fiber

Studer

Access to 10 GV LDX 80, 2 GV 6X SSMO

34HDX

SxS dual-feed: A 53’ expando, B 53’

Triax/SSMO fiber

Calrec

10 GV LDX 80, 2 GV 6X SSMO

34 VMU

53’

Triax/SSMO fiber

Studer

Access to 10 GV LDX 80, 2 GV 6X SSMO

35HDX

SxS dual-feed: A 53’ expando, B 53’

Triax/SSMO fiber

Calrec

10 GV LDX 80, 2 GV LDX SSMO

35 VMU

53’

Triax/SSMO fiber

Studer

Access to 10 GV LDX 80, 2 GV LDX SSMO

36HDX

SxS dual-feed: A 53’ expando, B 53’

Triax/SSMO fiber

Calrec

9 GV LDX 80, 2 GV 6X SSMO

36 VMU

53’

Triax/SSMO fiber

Studer

Access to 9 GV LDX 80, 2 GV 6X SSMO

37HDX

SxS dual-feed: A 53’ expando, B 53’

Triax/SSMO fiber

Calrec

9 GV LDX 80, 2 GV 6X SSMO

37 VMU

53’

Triax/SSMO fiber

Studer

Access to 9 GV LDX 80, 2 GV 6X SSMO

38FLEX

SxS dual-feed: A 53’ expando, B 53’

HD/4K/HDR

Triax/SSMO fiber

Calrec

7 GV LDX 80, 4 GV 6X SSMO

38 VMU

53’

Triax/SSMO fiber

Studer

Access to 7 GV LDX 80, 4 GV 6X SSMO

39HDX

53’ double expando

HD/4K/HDR

Triax/SSMO fiber

Calrec

12 Sony HDC-4300

40HDX

SxS dual-feed: A 53’ double expando, B 53’

Triax/SSMO fiber

Calrec

7 GV LDX 80, 4 GV 6X SSMO

40 VMU

53’

Triax/SSMO fiber

Studer

Access to 7 GV LDX 80, 4 GV 6X SSMO

41 HDX

53’ double expando

Triax/SSMO fiber

Calrec

6 GV LDX 80, 4 GV 6X SSMO

42 FLEX

53’ double expando

HD/4K/HDR

Triax or fiber/ SSMO fiber

Calrec

7 GV LDX 82, 4 GV 6X SSMO

TRUCK NAME

27HDX

28HDX

MOBILE SPORTS PRODUCTION YEARBOOK 2018

8 Canon 76X9, 1 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG Access to 8 Canon 76X9, 1 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 wideangle ENG 7 Canon 76X9, 2 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 ENG Access to 7 Canon 76X9, 2 Canon 72X9.3, 4 Canon 17X7.6 ENG, 1 Canon 11X4.7 ENG 8 Canon 76X9, 1 Canon 72X9.3, 5 Canon 17X7.6 ENG

1 Vizrt, 1 ChyronHego HyperX, 1 ChyronHego Mosiac XL 1 Vizrt, 1 ChyronHego HyperX, 1 ChyronHego Mosiac XL

1 Vizrt, 1 ChyronHego HyperX

1 Vizrt

1 Vizrt, 1 ChyronHego HyperX 1 Vizrt 1 Vizrt, 1 ChyronHego HyperX

Access to 8 Canon 76X9, 1 Canon 72X9.3, 5 Canon 1 Vizrt 17X7.6 ENG 8 Canon 76X9, 1 Canon 72X9.3, 1 Vizrt, 1 ChyronHego 3 Canon 17X7.6 ENG, 1 Canon HyperX 10X4.5 wide-angle ENG Access to 8 Canon 76X9, 1 Canon 72X9.3, 3 Canon 17X7.6 1 Vizrt ENG, 1 Canon 10X4.5 wideangle ENG 8 Canon 76X9, 1 Canon 72X9.3, 1 Vizrt, 1 ChyronHego 3 Canon 17X7.6 ENG, 1 Fujinon HyperX 18X5.5 ENG Access to 8 Canon 76X9, 1 Canon 72X9.3, 3 Canon 17X7.6 1 Vizrt ENG, 1 Fujinon 18X5.5 ENG 1 Canon 95X8.6, 4 Canon 76X9, 1 Vizrt, 1 ChyronHego 4 Canon 72X9.3, 2 Canon 17X7.6 HyperX ENG, 2 Fujinon 18X5.5 ENG Access to 1 Canon 95X8.6, 4 Canon 76X9, 4 Canon 72X9.3, 1 Vizrt 2 Canon 17X7.6 ENG, 2 Fujinon 18X5.5 ENG 2 Fujinon UA 107X8.4 UHD, 2 Fujinon XA 99X8.4, 4 Fujinon 1 ChyronHego Mosiac XL 2 77X9.5, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG 1 Fujinon XA 99X8.4, 8 Fujinon XA 77X9.5, 1 Canon 72X9.3, 1 Vizrt, 1 ChyronHego 2 Fujinon HA 18X5.5, 2 Fujinon HyperX ZA 17X7.6 Access to 1 Fujinon XA 99X8.4, 8 Fujinon XA 77X9.5, 1 Canon 1 Vizrt 72X9.3, 2 Fujinon HA 18X5.5, 2 Fujinon ZA 17X7.6 3 Canon XJ 95X8.6, 4 Canon XJ 80X8.8, 1 Canon XJ 76X9, 1 ChyronHego HyperX 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG 2 Fujinon XA 99X8.4, 7 Fujinon 1 ChyronHego Mosiac XL 2, XA 77X9.5, 2 Fujinon ZA 22X7.6 1 ChyronHego HyperX ENG, 2 Fujinon HA 18X5.5 ENG

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

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Senn., Sony, EV

GV Kayenne, 4.5M/E

1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 2 XFile3, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD

A-T, Senn., Sony, EV, Røde

GV Kayenne, 4.5M/E

3 12-ch. EVS XT3, 4-ch. XS server for SpotBox, 2 XFile3; Panasonic P2 deck, DVD

A-T, Senn., Sony, Røde

GV Kayenne, 4.5M/E

3 6-ch. EVS XT3, 2 4-ch. XT3 RO, 2 XFile3, 4-ch. XS server for SpotBox; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD

A-T, Senn., Sony

GV Kayenne, 4.5M/E

3 6-ch. EVS XT3, 2 4-ch. XT3 RO, 2 XFile3, 4-ch. XS server for SpotBox; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD

A-T, Senn., Sony

GV Kayenne, 4.5M/E

1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD

A-T, Senn., Sony

GV Kayenne, 4.5M/E

1 12-ch. XT3, 2 6-ch. HD XT3, 1 4-ch. XT3 RO, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Smmit/Dyno, Panasonic P2 Deck, DVD

A-T, Senn., Sony

GV Kayenne K-Frame, 7M/E

2 12-ch. EVS XT3, 1 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, P2 Deck, DVD

Senn.

GV Kayenne K-Frame, 3M/E

2 10-ch. EVS user positions

A-T, Senn., Sony

GV Kayenne K-Frame, 7M/E

1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD

Senn.

GV Kayenne K-Frame, 3M/E

2 8-ch. EVS user positions

A-T, Senn., Sony

GV Kayenne K-Frame, 7M/E

1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD

Senn.

GV Kayenne K-Frame, 3M/E

2 8-ch. EVS user positions

A-T, Senn., Sony

GV Kayenne K-Frame, 7M/E

1 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. XS server for SpotBox, 2 XFile3; GV K2 Summit/Dyno, Panasonic P2 Deck, DVD

Senn.

GV Kayenne K-Frame, 3M/E

2 8-ch. EVS user positions

A-T, Senn., Sony

GV Kayenne K-Frame, 7M/E

2 12-ch. EVS XT3, 2 6-ch. XT3, 1 4-ch. XT3 RO, 4-ch. server for SpotBox, 2 XFile3; Panasonic P2 Deck, DVD

Senn.

GV Kayenne K-Frame, 3M/E

2 8-ch. EVS user positions

Senn., Sony

GV Kayenne K-Frame, 7M/E

4 12-ch. EVS XT3, 4-ch. XS server forSpotBox, 2 XFile3; Panasonic P2 Deck, DVD

Senn.

GV Kayenne K-Frame, 3M/E

2 10-ch. EVS user positions

Access to GV Nvision video (477x862); Nvision audio, 96 analog in, 244 analog out, 32 AES pairs in, 32 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out

Senn., Sony

GV Kayenne K-Frame

3 12-ch. XT4K, 4-ch. XS3 server for SpotBox, XFile3; DVD

Evertz HD video (576x828); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out

Senn., Sony

GV Kayenne K-Frame, 7M/E

Senn.

GV Kayenne K-Frame, 3M/E

2 10-ch. EVS user positions

Access to Evertz HD video (378x802); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out

A-T, Senn., Sony

GV Kayenne K-Frame

3 12-ch. EVS XT3, 4-ch. XS3 server for SpotBox, XFile3, EpsioFX, C-Cast; Matrox Monarch. HDX recorder/video encoder

Evertz HD video (396x712), EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out

Senn., Sony

GV Kayenne K-Frame, 7M/E

2 12-ch. EVS XT4K, 2 12-ch. XT3, 4-ch. XS3 server for SpotBox, 2 XFile3; Panasonic P2 deck, Matrox Monarch. HDX recorder/video encoder

Evertz HD video (376x802); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out

PESA video (160x320); Euphonix audio router, 48 pre-amps, 168 analog to MADI, 168 MADI to analog, 30 AES to MADI, 30 MADI to AES, all Euphonix console inputs and outputs avaliable in the router via MADI GV video (160x352); Euphonix audio, 48 preamps, 168 analogto-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-toAES; all Euphonix console inputs and outputs avaliable in the router via MADI GV video (160x320); Calrec audio (256x256), 128 analog in, 128 analog out, 64 AES in, 64 AES out; all Calrec sources are avaliable in the router GV video (160x320); Calrec audio (256x256), 128 analog in, 128 analog out, 64 AES in, 64 AES out; all Calrec sources are avaliable in the router GV video (160x352); Calrec audio (256x256), 128 analog in, 128 analog out, 64 AES in, 64 AES out; all Calrec sources are avaliable in the router GV video (160x352); Euphonix audio, 48 preamps, 168 analogto-MADI, 168 MADI-to-analog, 30 AES-to-MADI, 30 MADI-toAES; all Euphonix console inputs and outputs avaliable in the router via MADI Evertz HD video (198x480); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out

Gearbase

MICROPHONES

Access to Evertz HD video (198x480); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Evertz HD video (230x562); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Access to Evertz HD video (230x562); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Evertz HD video (230x536); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Access to Evertz HD video (230x536); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Evertz HD video (230x536); Evertz EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Access to Evertz HD video (230x536); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Evertz HD video (230x538); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out Access to Evertz HD video (230x538); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out GV Nvision video (477x862); Nvision audio, 96 analog in, 244 analog out, 32 AES pairs in, 32 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out

2 12-ch. EVS XT4K, 2 12-ch. EVS XT3, 4-ch. XS3 server for SpotBox, Evertz HD video (378x802); EMR audio, 96 analog in, 244 analog 2 XFile3; Panasonic P2 deck, Matrox Monarch. HDX recorder/video out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, encoder 1152 channels of MADI out

MOBILE SPORTS PRODUCTION YEARBOOK 2018

273

www.nilesmediagroup.com 9420 Liberty Drive Liberty, MO 64068 816.268.5600

Your studio at the game that goes where you go.

The Wimbledon Channel

CBS Sports PGA Tour

SmartPad Pro

Premier League Productions

SmartCart—rent per event or period lease

SmartCart SVX is a mobile, cost-effective system designed specifically for live sports broadcasting and remote production. It features a custom designed ultra-bright full HD broadcast quality daylight touch display— meeting even the most demanding user requirements for all weather outdoor sports. An on-site presentation, analysis, and interview hub ‘where the action is’—pitchside, trackside, or on the course.

Phone U.S.: (646) 863-6263 Phone EMEA: +44 773 4138 545 gil@SmartCartSVX.com www.SmartCartSVX.com

SmartPad Pro is a smaller rollabout self-contained and readily shippable system for use in more confined spaces and with the same rugged reliability as SmartCart SVX for sports OB use.

SmartCart’s versatile and mobile applications are great for Sports Broadcasters and OTT Channels

Studio hub for presentation analysis and stand-up interviews

Teams

Pitchside coaching hub

Stadiums

Entertainment hub and sponsorships

DIMENSIONS/ TYPE

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

COMPANY MOBILE TV GROUP

Gearbase

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS & MAKE

53’

HD/4K/HDR

Triax or fiber/ SSMO Fiber

Studer

Access to 7 GV LDX 82, 4 GV 6X SSMO

53’ double expando

HD/4K/HDR

Triax or fiber/ SSMO fiber

Calrec

43 VMU (Q1 2018)

53’

HD/4K/HDR

Triax or fiber/ SSMO fiber

Studer

MU-4

50’ expando

Fiber

Yamaha M7CL

8 Sony

4 Fujinon hard, 4 Canon HH

ChyronHego HyperX2

MU-6

53’

Triax

Calrec Omega

12 Thomson/GV

Angenieux 6/4

ChyronHego HyperX3

Atlantic

40’ expando

Fiber

Calrec Artemis Beam

10 Sony 1500

Canon

As requested

Arctic

53’ expando

Calrec Q2

4 Sony 1500

Canon

As requested

53’ expando

HD HD/1080p/ 4K/HDR

Fiber

California

Fiber

Calrec Apollo

Sony 4300

As requested

Both

Calrec Apollo

12 Sony 1500

Fujinon

As requested

Both

Calrec Apollo w/Bluefin

16 Sony 2500/4300

15 Canon

As requested

TRUCK NAME

42 VMU

43 FLEX (Q1 2018)

LENSES (H/HH)

Access to 2 Fujinon XA 99X8.4, 7 Fujinon XA 77X9.5, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG 2 Canon XJ 95X8.6, 8 Canon 7 GV LDX 82, 4 GV 6X SSMO 76X9, 2 Fujinon ZA 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG Access to 2 Canon XJ 95X8.6, 8 Canon 76X9, 2 Fujinon ZA Access to 7 GV LDX 82, 4 GV 6X SSMO 22X7.6 ENG, 2 Fujinon HA 18X5.5 ENG

GRAPHICS

1 Vizrt

1 ChyronHego Mosiac XL 2, 1 ChyronHego HyperX

1 Vizrt

MPS

Chromium

53’

EN1

53’ expando twin w/3rd unit

EN2 Gold

Calrec Apollo

16 Sony 2500/4300

Fujinon

As requested

Studer Vista 9

10 Sony 1500

Fujinon

As requested

53’ expando

Both

Calrec Sigma

12 Sony 1500

Canon

As requested

M11HD

53’ expando

Both

Sony 1500

Fujinon 7 H/3 HH, 1 wide-angle

ChyronHego HyperX3

M12HD

53’ expando

Both

Sony 2500

Fujinon 10 H/3 HH, 2 wide-angle

ChyronHego HyperX3

M14HD

53’ expando

Both

Calrec Sigma w/Bluefin Calrec Artemis Beam w/Bluefin2 and Hydra2 Calrec Artemis Beam w/Bluefin2 and Hydra2

GV 8000

Fujinon 7 H/3 HH. 2 wide-angle

ChyronHego HyperX3

Both

Yamaha 5000

3 GV LDK

Fujinon, Canon

ChyronHego HyperX3

Both

Calrec Omega w/Bluefin

8 Sony 1450

Canon 6 H/3 HH

ChyronHego HyperX3 ChyronHego HyperX3

M4HD

SxS dual-feed: 48’ expando 53’ expando

M5HD

53’ expando

Both

Calrec Omega w/Bluefin

16 cameras

Fujinon 6 H/3 HH, 2 wide-angle

M6HD

53’ expando

Both

Yamaha 5000

10 cameras

Fujinon 5 H/2 HH, 1 wide-angle

ChyronHego HyperX3

M7HD

53’ expando

Both

Calrec Sigma w/Bluefin

16 cameras

Fujinon 7 H/3HH+2 wide-angle

ChyronHego HyperX3.1

M8HD

48’ expando

Both

Calrec Omega w/Bluefin

10 cameras

Fujinon 5 H/3 HH

ChyronHego HyperX3

M9HD

53’ expando

Both

Calrec Sigma w/Bluefin

16 cameras

Fujinon 7 H/3 HH, 2 wide-angle

ChyronHego HyperX3

NCPII

53’ expando

Both

Calrec Artemis Beam

12 Sony 2500/4300

12 Canon

As requested

NCPIV

53’ expando

Both

Calrec Sigma w/Bluefin

10 Sony 1500

13 Canon

As requested

NCPVII

53’ expando

Triax

Calrec Alpha

10 Sony 1500

16 Canon

As requested

NCPVIII

53’ expando

Both

Calrec Alpha w/Bluefin

12 Sony 1500

9 Canon

As requested

NCPX

53’ expando

Triax

Calrec Alpha w/Bluefin

12 Ikegami 97 Series

18 Canon

As requested

NCPXI

53’ expando

Both

Calrec Sigma w/Bluefin

10 Sony 1500

11 Canon

As requested

NCPXIV

53’ expando

Both

Calrec Sigma w/Bluefin

10 Sony 1500

18 Canon

As requested

HD/1080p/ 4K/HDR HD

Both

Calrec Apollo

24 Sony 2500/4300

20 Canon

As requested

Both

Calrec Q2

10 GV 6000

10 Canon

As requested

Both

Calrec Alpha w/Bluefin

18 Sony 2500/4300

16 Canon

As requested

53’ expando twin w/3rd unit ND2 53’ expando 53’ expando ND4/Double Eagle twin ND1

276

Both Fiber

Iridium

M3HD

NEP

HD/1080p/ 4K/HDR HD/1080p/4K/ 53’ A and B unit HDR 53’ expando SD

ND5

53’ expando

Both

Calrec Artemis Beam w/Bluefin

12 Sony 2500/4300

14 Canon

As requested

ND6

53’ expando

HD/1080p/ 4K/HDR

Both

Calrec Artemis Beam w/Bluefin

12 Sony 2500/4300

15 Canon

As requested

ND7

53’ expando

Both

Calrec Apollo w/Bluefin

24 Sony 2500/4300

14 Canon

As requested

Pacific

A: 47’, B: 40’

Fiber

2 Yamaha DM2000

Sony, according to needs

Fujinon, according to needs

As requested

Phoenix

53’ expando

Triax

Calrec Sigma

10 GV 6000

10 Fujinon

As requested

Rhythm

53’ expando

Triax

Calrec Sigma w/Bluefin

10 GV 8000

10 Fujinon

As requested

Sapphire Silver

40’ expando 53’ expando

HD HD

Fiber Fiber

Yamaha DM2000 Calrec Apollo

Sony, according to needs Sony 4300

Fujinon, according to needs 2 Canon, 9 Fujinon

As requested As requested

Skyline

53’ expando

Both

Calrec Sigma w/Bluefin

10 GV 8000

11 Canon

As requested

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Senn.

GV Kayenne K-Frame, 3M/E

2 10-ch. EVS user positions

Access to Evertz HD video (376x802); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out

Senn., Sony

GV Kayenne K-Frame, 7M/E

Senn.

GV Kayenne K-Frame, 3M/E

EV, Sony, Shure, Senn., Rohde

GV Kalypso, 4M/E

EV, Sony, Shure, Senn., Rohde

GV Kalypso, 4M/E

Senn., EV

GV Karrera, 2.5M/E

2 12-ch. EVS XT4K, 2 12-ch. EVS XT3, 4-ch. XS3 server for SpotBox, Evertz HD video (376x802); EMR audio, 96 analog in, 244 analog 2 XFile3; Panasonic P2 deck, Matrox Monarch. HDX recorder/video out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, encoder 1152 channels of MADI out Access to Evertz HD video (376x802); EMR audio, 96 analog in, 244 analog out, 48 AES pairs in, 48 AES pairs out, 1152 channels of MADI in, 1152 channels of MADI out

2 10-ch. EVS user positions

Senn., EV, Shure, Sanken

GV Kayak, 2M/E

6-ch. EVS LSM-XT2 HD, 4-ch. LSM XT2 HD, XFile; 6 AJA Ki Pro; 2 DVD recorders, DVCD Pro deck 6-ch. EVS LSM-XT2 HD, 4-ch. LSM XT2 HD, 4-ch. LSM XT2 HD (RO), XFile, SpotBox; DVCPRO, 8 AJA Ki Pro 2 6-ch. EVS XT2, 4-ch. XT2 RO, K2 SpotBox, SportNet Hub, XFile2; 1 XDCam, 1 HDCam Positions available for GFX, Edit or VTR

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Up to 16 VTRs and 5 servers as requested

Senn., Shure, Sony

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Studio Tech., EV

GV Kayenne K-Frame

8 8-ch. EVS XT3 LSM, 6-ch. XT3 SpotBox, 3 SportNet Hub, XFile

Evertz EQX mux/demux, EMR

Senn., Sony, EV, Shure

Sony MVS-8000X

Senn., Shure

GV Kayenne K-Frame

Evertz EQX mux/demux, EMR PESA mux/demux, DRS audio

5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox, 2 XHub, XFile; 10 Gb, tape as requested 9 6-ch. EVS XT3, 6-ch. SpotBox, SportNet Hub, XFile2, XTAccess, EVS SQL Database Server; 1 DVCPRO

PESA PESA Evertz EQX, EMR GV Evertz EQX mux/demux, EMR Evertz EQX mux/demux, EMR Evertz EQX mux/demux, EMR

Senn., Beyer, Shure, Sony

GV Kalypso, 4M/E

Up to 16 VTRs as requested 5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox, 2 XHub, XFile; 10Gb, tape as requested 2 6-ch. EVS XT2, 2 4-ch. RO XT2, SpotBox, XFile; DigiBeta

Senn., Beyer, Shure, Sony

GV Kayenne, 4.5M/E

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

334x462 HD/96x96 AES, 48x96 stereo

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame, 4.5M/E

2 6-ch. EVS XT3, 2 4-ch. RO XT3, SpotBox, XFile; XDCam, 1 SxS recorder/player

334x476 HD/96X96 AES, 48x96 stereo

Harris

Senn., EV, Sony

GV Kalypso, 4M/E

6-ch. EVS XT2, 4-ch. RO XT2, 4-ch. SpotBox, XFile; DigiBeta

96x96 HD, 128x128 SD

Senn., Beyer, EV, Shure, Sony

GV Kalypso, 4M/E

6-ch. EVS XT2, 4-ch. XT2, 4-ch. RO XT2, SpotBox, XFile; DigiBeta 6-ch. EVS XT2+, 4-ch. XT2+, 6-ch. RO XT 2+, SpotBox, XFile; DigiBeta 6-ch. EVS XT3, 2 4-ch. RO XT2+, SpotBox, XFile; DigiBeta 6-ch. EVS XT2, 4-ch. XT2, 2 4-ch. RO XT2, SpotBox, XFile; XDCAM, HDCAM, DigiBeta 6-ch. EVS XT2, 4-ch. RO XT2, SpotBox, 2-ch. HD FFWD, XFile; DigiBeta 2 6-ch. EVS XT2, 2 4-ch. RO XT2, SpotBox, XFile; DigiBeta 2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XFile; 10 Gb, tape as requested 2 6-ch. EVS XT2, XT, 2 6-ch. RO XT2, XT2, SpotBox; 2 DigiBeta, BetaSP, DVCPRO, Multicam 10 2 6-ch. EVS XT2, 3 4-ch. RO XT2, SpotBox; 2 HD DVCPRO, HDCAM, 2 DigiBeta, Multicam 10 4 6-ch. EVS XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 6 6-ch. EVS XT3, 1 XT3 SpotBox, 3 SportNet Hub, XFile; HDCam, DVCPRO, A500 5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox, 2 XHub, XFile; 10Gb, tape as requested 2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 10 6-ch. EVS XT3, 1 6-ch. SpotBox, XFile2 transfer, 2 IPDirector, 5 SportNet Hub; HDCam, SRW, XDCam Wired for 8 VTR and 4 EVS as requested 10 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox, 2 XHub, XFile; 10 Gb, tape as requested 6 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub; 10 Gb, tape as requested 6 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub, 10 Gb, tape as requested 9 12-ch. EVS XT3, 2 8-ch. XT3, 1 6-ch. XS SpotBox, 4 XHub, 3XF3, 4 IPDirector; 2 database servers, 10 Gb, tape as requested As requested 2 6-ch. EVS XT2 LSM, 4-ch. XT2 LSM, 4-ch. RO XT2, 4-ch. SpotBox, wired for 1 more EVS; GV K2 Dyno; HDW, XDCAM, DigiBeta 6-ch. EVS XT2 LSM, 4-ch. XT2 LSM, 4-ch. RO XT2, 4-ch. XT2 SpotBox, wiring for 2 more EVS; HDW, XDCAM, DVW As requested As requested 3 6-ch. EVS XT2+, 1 4-ch. SpotBox, SportNet Hub; HDW, DigiBeta, XDCam

96x96 HD, 128x128 SD, 96x96 audio

Senn., EV, Sony

GV Kalypso, 4M/E

Senn., A-T, Sony, EV

GV Kalypso, 4M/E

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame

Senn., Shure, Sony

GV Kalypso, 4M/E

Senn., Beyer, Shure, Sony

GV Kayenne, 4.5M/E

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

Senn., Sony, EV, Shure

GV Kayenne

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne

Senn., Sony, EV, Shure

GV Kayenne

Senn., Shure, Sony

GV Kayenne K-Frame

Senn., Sony, EV, Shure, Sanken

GV Kalypso, 4M/E

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony

GV Kayenne K-Frame

Shure, Senn

GV Kayak, 2.5M/E

Senn., Sony

GV Kalypso, 4M/E

Senn., Sony

GV Kalypso, 4M/E

Shure, Senn. As requested

Sony, 1.5M/E GV Kayenne K-Frame

Senn., Beyer, EV, Shure, Sony

GV Kalypso, 4M/E

Gearbase

MICROPHONES

288x512 HD, 256x256 SD/256x256 audio 192x288 HD/64x64 audio 288x576 HD, 128X128 AES audio, 128x128 stereo audio 192x304 HD/128x128 AES, 128x128 stereo 288x576 HD/128x128 AES, 128x128 stereo Utah Scientific, mux/demux Utah Scientific 400 (228x456 HD, 288x288 SDI), 400 (80x120 analog, 208x168 AES) Utah Scientific HD (288x528), 208x208 AES, 96x96 analog) Utah Scientific mux/demux Utah Scientific mux/demux Utah Scientific mux/demux Utah Scientific mux/demux Evertz EQX mux/demux, EMR PESA video, DRS audio GV PESA mux/demux, DRS audio PESA mux/demux, DRS audio PESA mux/demux, DRS audio GV GV GV GV Evertz EQX mux/demux, EMR PESA video, DRS audio

MOBILE SPORTS PRODUCTION YEARBOOK 2018

277

Sports Broadcast as

BIG as the Sky! BIG mobile antenna, MORE camera angles, covering more excitement! • New C-Band Mobile Satellite Uplink • 5.5 Meter Antenna • 200+ REMI/At Home Transmissions • 35 Years of Broadcasting Excellence

KaufmanBroadcast.com 314-533-6633 HD Satellite • Studios • Fiber • IP Encoding • Engineering • Venue Management

COMPUTER VISION COMPANY PROVIDING INTEGRATED VR/360/AR SOLUTIONS AND TECHNOLOGY FOR TRUSTED BRANDS GLOBALLY

VISIT US AT WWW.RPTRV.COM

proud

MO BIL E SPONSOR

DIMENSIONS/ TYPE

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

COMPANY

Gearbase

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS & MAKE

LENSES (H/HH)

GRAPHICS

53’ expando

HD/1080p/4K

Both

Calrec Alpha

12 Sony 2500, GV LDX 8300

Canon

As requested

53’ expando

Triax

Calrec Omega w/Bluefin

10 GV 8000

13 Canon

As requested

SS14

53’ expando

Triax

Calrec Alpha

10 - GV 6000

11 Fujinon

As requested

SS15

53’ expando

Both

Calrec Sigma w/Bluefin

12 Sony 2500/4300

9 Canon, 2 Fujinon

As requested

SS16

53’ expando

Both

Calrec Sigma w/Bluefin

12 Sony 1500

11 Canon

As requested

SS17

53’ expando

Both

Calrec Sigma w/Bluefin

10 Sony 2500

11 Canon

As requested

SS18

53’ expando

Triax

Calrec Sigma w/Bluefin

12 Sony 2500

11 Canon

As requested

SS20

53’ expando

Both

Calrec Sigma w/Bluefin

12 Sony 2500/4300

10 Canon, 2 Fujinon

As requested

Both

Calrec Apollo w/Bluefin

12 Sony 2500/4300

13 Canon

As requested

TRUCK NAME

SS1 SS11

53’ expando w/B unit 53’ expando w/B unit 53’ expando twin w/3rd unit 53’ expando twin 53’ expando w/B unit

Triax

Calrec Alpha

12 Sony 2500/4300

13 Fujinon

As requested

Both

Calrec Alpha w/Bluefin

14 Sony 2500/4300

17 Canon

As requested

Both

Calrec Alpha w/Bluefin

12 Sony 2500/4300

12 Canon, 2 Fujinon

As requested

Triax

Calrec Sigma w/Bluefin

12 Sony 2500/4300

Canon, Fujinon

As requested

SS29

53’ expando

Both

Calrec Artemis

12 Sony 1500

13 Canon

As requested

SS3

53’ expando or flypack

Both

DiGiCo SD10B

10 GV LDK 6000

8 Canon

As requested

Both

Calrec Alpha w/Bluefin

12 Sony 2500

As requested

Both

Calrec Apollo

18 Sony 2500/4300

Fujinon, Canon

As requested

Fiber

Calrec Apollo

Sony 4300

2 Canon, up to 20 Fujinon

As requested

SS22 SS23 NEP

SS24 SS25 SS28

SS32 SSCBS Summit (2018)

53’ expando

Triax

Calrec Omega

10 GV 6000

10 Canon

As requested

TS2 XP-1

53’ expando Sprinter van 53' expando w/B unit 40’ Gerling Super Stallion expando 40’ Gerling Stallion 27’ Gerling Super Nomad/ REMI 27’ Gerling Super Nomad/ REMI 24’ Mercedes Sprinter/REMI 24’ Mercedes Sprinter/REMI 24’ Mercedes Sprinter/REMI A unit: 36’, B unit: 35’

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

Both Both

Calrec Alpha Yamaha

12 Sony 2500 5 GV 6000

Canon Canon

Upon request As requested

Fiber

Studer Vista X

12 Sony HDC-4300

Fujinon

As requested

Both

Calrec Omega (48/112)

6-12 Sony HSC-300

Canon 86X

ChyronHego HyperX3

Both

Calrec Brio (36/72)

6-8 Sony HSC-100

Canon 76X

ChyronHego HyperX3

Both

Yamaha QL-5 (32/72)

6-8 Sony HSC-300

Canon 76X

N/A

Both

Yamaha QL-5 (32/72)

6-8 Sony HSC-300

Canon 76X

N/A

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon (76X/60X/50X)

N/A

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon (72X/60X/50X)

N/A

Triax

Soundcraft Expression (20/20)

4-5 Sony HXC-100

Canon, Fujinon (72X/60X/50X)

N/A

Triax

Yamaha M7CL (48 analog inputs/24 configurable outputs)

6 GV 3000

4 Fujinon hard, 5 Canon HH

ChyronHego HyperX3

Maestro Prodigy PROSHOW BROADCAST

HD/HDR

Tempo

Yukon

Opus

Ovation Busker Solo

K34 HD1

53’ expando

Both

Calrec Omega w/Bluefin 2 (48)

9 Sony 1550R (Sony SMPTE adaptors)

Canon 6 hard 86X/4 HH

ChyronHego HyperX3

Phoenix (HD3)

48’ expando

Triax

Calrec Artemis Light w/Bluefin2 (40)

9 Sony 2550R

Canon 6 hard 80X/4 HH

ChyronHego HyperX3

RKU2

27’ combo Ku/ production

HD 1080i

SMPTE fiber

Mackie (32 ch.)

4 Hitachi

Fujinon 2 hard 55X/2 HH

Ross XPression

Silver

23’ Sprinter

Triax

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

6 Ikegami HDK-95C

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

1 Ross XPression, 1 Ross XPression (TD Elements)

Blizzard

20’

Both

DiGiCo SD11B w/D-Rack (80 ch.)

5 Hitachi SK-HD1300

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

1 Ross XPression, 1 Ross XPression GO! (TD Elements)

FIN3

24’ Sprinter

Both

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

6 Ikegami HDK-95C

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

1 Ross XPression, 1 Ross XPression (TD Elements), 1 Ross XPression GO!

ROSS MOBILE PRODUCTIONS

PSSI RAYCOM SPORTS

Trouper

280

53’ expando 53’ expando triple w/4th unit 53’ expando twin

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

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Senn., Sony

GV Kayenne K-Frame

Evertz

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne K-Frame

As requested

GV Kayenne K-Frame

Senn., Sony, EV

GV Kalypso, 4M/E

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne K-Frame

Senn., Sony, EV, Shure

GV Kayenne, 4M/E

1 K2 Summit, 2 SRW; 3 6-ch. EVS XT2, 2 4-ch. XT2, XFile, SpotBox 2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 2 6-ch. EVS XT2, 2 4-ch. XT2, SpotBox, SportNet Hub; DigiBeta, 2 HDCAM 2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 5 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub; 10 Gb, tape as requested 2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 5 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub; 10 Gb, tape as requested 2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 5 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub; 10 Gb, tape as requested 2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox,2 XHub, XF3;10 Gb, tape as requested 6 6-ch. EVS XT3, XS SpotBox, IPDirector, XF3, 2 XHub; 10 Gb, tape as requested 2 12-ch. EVS XT3, 3 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested 2 12-ch. EVS XT3, 1 8-ch. XT3, 1 4-ch. XS3 SpotBox, 2 XHub, XF3; 10 Gb, tape as requested

As requested

Sony

1 GV K2 Solo, 2 K2 Dyno Summit

PESA video, DRS audio

As requested

GV Kayenne K-Frame

5 6-ch. EVS XT3, 6-ch. XT3 SpotBox; 2 SRW, DVCPRO, 2 Blu-ray

Evertz EQX mux/demux, EMR

A-T, Senn.

GV Kayenne K-Frame

2 12-ch. EVS XT3 LSM, 4 8-ch. XT3 LSM, 1 6-ch. XT3 SpotBox, 5 XHub3 for LSM/SpotBox, 1 XFile3, 4 IPDirector, 2 XT/Access

Evertz EXE mux/demux, EMR

As requested

GV Kayenne K-Frame

Senn., Sony

GV Kalypso, 4M/E

Senn. Senn.

GV Kayenne K-Frame FOR-A MVS-1000 GVG Kayenne K-Frame, 9 M/E

Senn., Shure

Gearbase

MICROPHONES

GV GV GV PESA mux/demux, DRS audio GV PESA mux/demux, DRS audio PESA mux/demux, DRS audio PESA mux/demux, DRS audio GV Evertz EXE mux/demux, EMR GV GV Evertz EQX mux/demux, EMR

20 VTRs or 7 EVS on request, 2 SpotBox

6-ch. EVS XT2 LSM, 4-ch. XT2 LSM, 4-ch. RO XT2, 4-ch. XT2, SpotBox, wiring for 1 more EVS; HDW, XDCAM, 2 DigiBeta 1 4-ch. GV K2 Summit; 1 XFile2, 1 4-ch. XS Spotbox 1 4-ch. EVS XT; others as requested

Evertz EQX mux/demux, EMR N/A

As requested

Evertz EQX 558x576

Senn., Sony, EV

GV Kalypso, 4M/E

2 EVS XT3 XFile3; HDCAM, DVCPROHD

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

Senn., Sony, EV

Sony MVS-8000, 2.5M/E

2 EVS XT3 XFile3; Hyperdeck

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

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

72/72 video

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

72/72 video

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

40x40 video

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

40x40 video

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

40x40 video

Senn., Sony

GV Karrera, 2M/E

8-ch. EVS XT3

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

2 6-ch. EVS XT2+, 2 4-ch. RO XT2+, 4-ch. SpotBox, XFile3; HDCAM, DVCPRO, DigiBeta 2 6-ch. EVS XT3, 1 4-ch. RO XT3, 4-ch. SpotBox, XFile3; HDCAM, DVCPRO, DigiBeta

Evertz EQX (170x134/192x192 AES, 96x96 analog, 128x128 MADI) Evertz EQX (170x134/96x96 AES, 96x96 analog, 256x256 MADI)

Senn., A-T, Sony

GV Kayenne, 4M/E

Senn., A-T, Sony

GV Kayenne K-Frame, 4M/E

Senn., A-T

Ross Carbonite, 2M/E

NewTek 3Play 425; AJA Ki Pro

34x34

Senn., EV, A-T

Ross Carbonite, 2.5M/E

1 8-ch. EVS XTnano, 1 XFile3; 1 8-ch. Tightrope ZEPLAY

Ross NK-3G72 scalable (72x72 3G HD/SD-SDI), Ross NK-A64HQ stereo analog audio

Senn., EV, A-T

Ross Carbonite, 2.5M/E

1 8-ch. Abekas Mira

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

Senn., EV, A-T

Ross Carbonite Black, 3M/E

1 8-ch. EVS XTnano, 1 XFile3; 1 8-ch. Abekas Mira

Ross NK-3G72 scalable (72x72 3G HD/SD-SDI), NK-D64-110 AES/EBU digital audio

MOBILE SPORTS PRODUCTION YEARBOOK 2018

281

METROVISION Production Group

Over Twenty Years Of Getting It Done Right For over twenty years, Metrovision has been providing clients a full spectrum of Mobile production, Mobile Satellite Transmission and Live Event Production across North America. Mobile Production Services We offer the industryâ&#x20AC;&#x2122;s leading selection of mid-size HD OB Units for: Pre/Post Game Coverage Full Game Coverage Host/Unilateral Services Contact: mobile@metrovision.tv Mobile Satellite Services We are one of the leading independent Providers of Satellite Transmission Services on the East Coast Customized end to end solutions 4 KU Mobile Uplink Units 3 CBand Mobile Uplink Units Point to Point Digital Microwave

Contact: satdesk@metrovision.tv Live Event Production We brings the expertise and experience necessary for the planning and management of technical support for the Sports & Sports Marketing communities. Press Conferences & Award shows Victory parade coverage Pre/Post game & Wraparound Shows

Contact: production@metrovision.tv

NOW OFFERING PRODUCTION COAST TO COAST 315 West 53rd Street, NY, NY 10019 | Ph 212.989.1515 Fax 212.989.8278 | www.metrovision.tv

ia for Los

Clients love our existing 40’ HD/4K production truck because of it’s unique design and flexibility, but the one question we always get asked is, “when are you going to build another one?”

in 2018!

Clark Media’s new 53’ trailer - Specifically designed for HD and 4K HDR production. This will be one of the most flexible and powerful production trailers available for producers who demand the best.

Key Features... 

No-compromise 5.1 audio mixing room with 56 fader Calrec Artemis.



Audio room features back benches for second audio console and audio playback station.



Up to sixteen Sony, Panasonic, or Ikegami HD/4K cameras.



Color accurate shading room – with 4K HDR Reference Monitors.



Grass Valley 5ME HD/4K Kayenne production switcher.



Grass Valley 2ME Korona panel for 2nd screen feeds.



Twenty-four channels of 4K recording available.



Wired for up to (4) EVS XT-4K Servers.



(32) channels of SM Fiber Transmit built into I/O Panel.



(32) channels of SM Fiber Receive built into I/O Panel.

East Coast 610-694-9800

www.clarkmedia.com

West Coast 818-435-4689

TOURING VIDEO

YES PRODUCTIONS

VIDEOLINES MOBILE TV

284

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

TNDV TELEVISION TOKEN CREEK 21 LAKES MEDIA GROUP

DIMENSIONS/ TYPE

COMPANY ROSS MOBILE PRODUCTIONS

Gearbase

SDTV

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE (FADERS/CHANNELS)

# CAMERAS & MAKE

LENSES (H/HH)

GRAPHICS

24’ Sprinter

Both

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

6 Ikegami HDK-95C

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

1 Ross XPression (GFX), 1 Ross XPression (TD Elements), 1 Ross XPression GO!

24’ Sprinter

Both

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

6 Ikegami HC-HDK95C

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

1 Ross XPression, 1 Ross XPression (TD Elements), 1 Ross XPression GO!

HDLA

40’ combo/ expando

HD/SD/ 1080/720/ 24p

Both

Calrec Zeta (56)

8 Sony

10 Canon, 2 Fujinon

ChyronHego Duet HyperX3

HD Link

32’ combo

HD/SD

Both

Yamaha 02R96 (24)

4 Sony

2 Canon

N/A

Exclamation

53’ double expando

HD/SD/ 1080/720/ 24p

Fiber

Studer Vista X (60/256)

20 Hitachi SK-HD1200

Fujinon, according to specifications

ChyronHego HyperX3, Ross XPression, Avid Deko

Aspiration

40’ expando

Fiber

Soundcraft VI3000 (32/96)

12 Hitachi SK-HD1000

Fujinon, according to specifications

ChyronHego HyperX3, Ross XPression, Avid Deko

Elevation

40’

Fiber

Soundcraft VI3000 (32/96)

10 Hitachi Z-HD5000

Fujinon, according to specifications

ChyronHego HyperX3, Ross XPression, Avid Deko

Inspiration

40’

Fiber

Soundcraft VI3000 (32/96)

10 Hitachi Z-HD5000

Fujinon, according to specifications

ChyronHego HyperX3, Ross XPression, Avid Deko

Vibration

53’

Fiber

Studer Vista 9 (60/384)

8 Hitachi Z-HD5000

Fujinon, according to specifications

ChyronHego HyperX3, Ross XPression, Avid Deko

Constellation

24’ Ku-band uplink hybrid

Fiber

Soundcraft Si Expression 1 (16 faders/64 input channels)

4 Hitachi Z-HD5000

Fujinon, according to specifications

ChyronHego HyperX3, Ross XPression, Avid Deko

Origination

26’

Fiber

Soundcraft Vi1 (16/64)

8 Hitachi Z-HD5000

Fujinon, according to specifications

ChyronHego HyperX3, Ross XPression, Avid Deko

Black Jack

40’

Fiber

Mackie Onyx 24/4 (24/32)

4 Hitachi Z-HD5000

Fujinon, according to specifications

ChyronHego HyperX3, Ross XPression, Avid Deko

Chippewa

53’ expando

Triax/singlemode

Calrec Artemis (64 faders)

10 GV LDK 8000

6 hard/5 HH

ChyronHego HyperX3

Sioux

53’ expando

Triax/singlemode

Calrec Artemis (40 faders)

6 GV LDX 80

5 hard/5 HH

ChyronHego HyperX3

Varsity

53’ expando

Triax

Calrec Sigma w/Bluefin (56 faders)

10 GV LDK 8000

6 hard/4 HH

ChyronHego HyperX3

Pioneer

53’ expando

Triax

Calrec Artemis

10 GV LDX80

5 hard/4 HH

ChyronHego HyperX3

Riley

40’ expando

Triax

Yamaha PM5000

8 GV LDK 8000

Standard 70X wide-angles

ChyronHego Duet HyperX3

TV-4

53’ single expando

SD/HD/ 1080p/4K

SMPTE fiber and TAC

Stagetech Crescendo (40 faders)

16 Sony HDC 2500

As requested

TV-3

43’ single expando

SD/HD

SMPTE fiber and TAC

Stagetech Crescendo (40 faders)

12 Sony HDC 1500

As requested

HD-1

53’

Triax

Yamaha M7CL-48

Ikegami 79E

2 76X, 2 66X, 2 20X

ChyronHego HyperX3

HD-2

53’

Fiber

Yamaha 2000

Ikegami 77EX

4 55X, 2 18X

ChyronHego HyperX2

HD-3

16’ box

Fiber

Yamaha 16 CH

Ikegami 77EX

2 55X, 2 18X

ChyronHego HyperX2 ChyronHego HyperX3 ChyronHego HyperX3

TRUCK NAME

FIN4

FIN5

HD1

53’ expando

Both

Calrec Sigma w/Bluefin (64/96)

10 Ikegami HDK 79 EC

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

HD2

53’ expando

Both

Calrec Omega w/Bluefin (56/48)

10 Ikegami HDK 79 EX

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

MOBILE SPORTS PRODUCTION YEARBOOK 2018

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

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Senn., EV, A-T

Ross Carbonite Black, 3M/E

1 8-ch. EVS XTnano, 1 6-ch. XTnano, 1 XFile3

Ross Carbonite Xtreme (144x144 3G HD/SD SDI/ASI), 1 NKA64-HQ stereo analog audio

Senn., EV, A-T

Ross Carbonite Black, 3M/E

1 8-ch. EVS XTnano, 1 6-ch. XTnano, 1 XFile3

Ross Carbonite Xtreme (144x144 3G HD/SD SDI/ASI), NK-A64HQ stereo analog audio

Senn., Sony

GV Kayenne, 4M/E

2 EVS XT3, 1 XFile 3, 1 4-ch. SpotBox; 2 HDW-S2000, 1 PDW1500, 1 XDCAM, 1 DVCPRO

Nvision 8288 3-Gig HD/SD video (252x288), Nvision 7512 TDM audio (192x256 AES, 96x80 analog, 32x32 MADI)

Senn., Sony

Sony MFS-2000, 1.5M/E

Four open slots - multiple format capable

32x32 PESA Cougar HD/SDI video, none, digital/analog patch

A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box

GV Kayenne K-Frame, 4M/E

As requested

Video 256x256, audio 320x320

A-T 8035 shotgun, A-T 898 lavs, Telefunken M80 Dynamic, Studio Tech. booth box

GV Kayenne K-Frame, 4M/E

As requested

Video 128x160, audio 96x96

A-T 8035 shotgun, A-T 898 lavs, Telefunken M80 Dynamic, Studio Tech. booth box

Ross Vision 3, 3M/E

As requested

Video 96x96, audio 96x96

A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box

Ross Vision 2, 2M/E

As requested

Video 96x96, audio 96x96

A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box

FOR-A HVS390, 2 M/E

As requested

Video 64x64, audio 128x128

A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box

Sony MVS-8000, 2M/E

As requested

Video 40x40

A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box

Ross Carbonite, 2M/E

As requested

Video 64x64, audio 64x64

A-T 8035 shotgun, A-T 898 lav, Telefunken M80 Dynamic, Studio Tech. booth box

Ross Carbonite, 3M/E

As requested

Video 40x40

As requested

GV Kayenne, 4.5M/E

2 6-ch. EVS LSM XT3, 1 4-ch. RO XT3, SpotBox XS3; 2 AJA Ki Pro, HDCAM, 2 DVCPRO

PESA 256X (128x256 HD-SDI), DRS (128x128 analog, 384x384 AES, 256x256 MADI, 256x256 embedded)

As requested

GV Karrera, 3M/E

2 6-ch. EVS LSM XT3, 1 4-ch. RO XT3, SpotBox XS3; 2 AJA Ki Pro, HDCAM, 2 DVCPRO

PESA 256X (128x256 HD-SDI), DRS (128x128 analog, 256x256 AES, 256x256 MADI, 256x256 embedded)

As requested

GV Kayenne, 4M/E

2 6-ch. EVS LSM XT3, 1 4-ch. RO XT3, SpotBox XS3; 2 AJA Ki Pro, HDCAM, 2 DVCPRO

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

As requested

GV Kayenne

2 6-ch. EVS LSM XT3, 1 4-ch. RO XT3, SpotBox XS3; 2 AJA Ki Pro

GV Trinix HD video (500x800), Concerto (200x200 AES audio, 64x64 analog)

Full complement, including wireless

GV Kalypso, 4M/E

1 6-ch. EVS XT2, 1 4-ch. XT2; 1 12-ch. Evertz DreamCatcher

Leitch (80x128) video, Leitch (48x48) audio

As requested

Sony XVS-7000X, 6M/E

As requested

Imagine IP3 router 422 in/560 out audio 128 in

As requested

Sony MVS-7000X, 6M/E

As requested

Imagine Platinum 248 in/ 344 out audio 128 in

8 shotgun, 4 stick

GV Kayak, 4M/E

3 EVS

32x23 video/2-ch. audio

8 shotgun, 4 stick

GV Kayak, 2M/E

2 Tightrope ZEPLAY

32x23 video/2-ch. audio

4 shotgun, 4 stick

Blackmagic ATEM, 1M/E

1 NewTek 3Play

16x16 video

Standard audio

GV Kayenne K-Frame

2 6-ch. EVS LSM XT2, 2 RO XT2, 4-ch. XS SpotBox, XFile3; HDCAM, DVCPRO HD, FFV

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

Standard audio

GV Kalypso Duo

6-ch. EVS LSM XT2, 4-ch. XT2, 2 RO XT2, 4-ch. XS SpotBox, XFile3; HDCAM, DVCPRO HD, XD CAM FFV

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

MOBILE SPORTS PRODUCTION YEARBOOK 2018

Gearbase

MICROPHONES

285

SPORTS BROADCASTING FUND Supporting our own in times of need...

Life happens. Fires destroy homes. Illness costs money. Surgery needs recovery time. Accidents disable. The SPORTS BROADCASTING FUND, established in 2012 by SVG, is designed to offer financial support for industry professionals who find The SVG Sports Broadcasting Fund exists themselves in a difficult financial spot due to thanks only to the generous financial support of those in our industry. As you or your calamity, illness, injury, or loss of life. company lays out charitable contributions, Our goal is simple: to be available as a “first please make sure to include the SVG Sports responder” and to quickly help those we serve Broadcasting Fund in your plans! pay bills, enabling recipients to stretch their The SVG Sports Broadcasting Fund is a designated fund of the Alma own cash reserves so that stress related to Foundation, Inc., a 501(c)(3) non-profit charity.We are proud to say that of every dollar goes directly to charities. For more information or to financial challenges are not piled onto an 90¢ view our 990 tax return, please visit us online at www.almafoundation. already stressful situation. net. FL REG# CH34972 • AL REG# AL11-461.

MAKE A DIFFERENCE. DONATE! www.sportsbroadcastingfund.org

WHEN IT COMES TO TECHNOLOGY, SPORTS TELEVISION LEADS THE WAY

We’re proud to represent those professionals who enrich the fan’s experience, break new barriers, and establish new standards for all forms of live television, mobile, and broadband entertainment. SVG’s advocacy, communication, education, and market development activities are made possible by the following sponsors: PLATINUM SPONSORS

Pantone + Solid Coated 2623 Process Match C 70 M 100 Y 28 K 16 Process Black C 0 M 0 Y 0 K 100

PREMIER SPONSORS

ADOBE • AJA VIDEO SYSTEMS • AJT SYSTEMS • AKAMAI • ALDEA SOLUTIONS • ASPERA, AN IBM COMPANY • AVECO • AVID • CAMPLEX FIBER SOLUTIONS • CHYRONHEGO • CISCO • CLEAR-COM, AN HME COMPANY • CLOUDIAN • COBALT DIGITAL • COMREX CORPORATION • EUTELSAT • EVERTZ • EVS • FX DESIGN GROUP • HITACHI • IBM • IHSE USA • IKEGAMI • IMAGINE COMMUNICATIONS • JOSEPH ELECTRONICS • MARKERTEK • MASSTECH INNOVATIONS • MICROSOFT • MULTIDYNE • NEOTI • NEP GROUP • NEWTEK • NTT ELECTRONICS • PANASONIC • QUALCOMM • SES • SOS GLOBAL • TERADEK • THE STUDIO – B&H • THE SWITCH • VITEC • VIZRT • WAVE CENTRAL/CP COMMUNICATIONS

CORPORATE SPONSORS ADDER TECHNOLOGY • ADORAMA • ANIXTER • APERI • APM MUSIC • ARISTA NETWORKS • ARTEL VIDEO SYSTEMS • ARVATO SYSTEMS • ASTUCEMEDIA • ATEME • AUDIO-TECHNICA • BITCENTRAL • BLUEFRAME TECHNOLOGY • BOXX TECHNOLOGIES • BRAINSTORM • BROAMAN • BSI (BROADCAST SPORTS INTERNATIONAL) • BURST • CANARE CORPORATION OF AMERICA • CATDV • CONVERGENT DESIGN • CORESITE • CRAWFORD MEDIA SERVICES • CREATIVE DIMENSIONS • CROWN CASTLE • DAKTRONICS • DALE PRO AUDIO • DALET DIGITAL MEDIA SYSTEMS • DELL EMC • DELUXE • DPA MICROPHONES • EEG ENTERPRISES • ENCOMPASS DIGITAL MEDIA • ERICSSON • FANCONNECT • FINGERWORKS TELESTRATORS • FIS BLUE • FLETCHER SPORTS • FOR-A • FRAUNHOFER • GERLING & ASSOCIATES • GLOBECAST • GRABYO • GRIMM • G&D NORTH AMERICA INC. • HAIVISION • HARMONIC • IMAGE VIDEO • IMAGEN • IMT/VISLINK • INTELSAT • INTERXION • IPTEC • IRDETO • ISTREAMPLANET • JB&A • JVCKENWOOD • LEADER INSTRUMENTS • LIVEU • LTN GLOBAL COMMUNICATIONS • MEDIA LINKS • MOEBAM! VENUE MEDIA SERVICES • MPE • MX1 • NET INSIGHT • NEULION • NEUTRIK USA • NEVION • NOKIA • OPTICAL CABLE CORPORATION • ORACLE • PANASAS • PLIANT TECHNOLOGIES • PRG • PRIME FOCUS TECHNOLOGIES • PRIMESTREAM • PRODUCTIONHUB • PROFESSIONAL WIRELESS SYSTEMS • QUANTUM5X • ROCK-IT CARGO • RT SOFTWARE • SANKEN/BRAINSTORM ELECTRONICS • SCALE LOGIC • SENNHEISER • SHURE • SIGNIANT • SIMPLYLIVE • SIXTY AS • SMT • SOLID STATE LOGIC • SPECTRA LOGIC • SPORTZCAST • STATS • STUDIO TECHNOLOGIES • T-21 TECHNOLOGIES • T2 COMPUTING • TATA COMMUNICATIONS • TECHNICOLOR • TEKTRONIX • TELESCOPE • TELESTREAM • TELOS ALLIANCE • TELESTRA • THE VIDEO CALL CENTER • THINKLOGICAL, A BELDEN BRAND • TIMECODE SYSTEMS • TSL PRODUCTS • TV GRAPHICS • TVU NETWORKS • UTAH SCIENTIFIC • VENTUZ TECHNOLOGY • VERIZON DIGITAL MEDIA SERVICES • VISTA WORLDLINK • VITAC • VSN • WARNER/CHAPPELL PRODUCTION MUSIC • WAZEE DIGITAL • WESCO • WHEATSTONE • WOWZA MEDIA SYSTEMS • WTVISION • YAMAHA COMMERCIAL AUDIO SYSTEMS • ZIXI • ZYPE

MOBILE/INTEGRATOR SPONSORS

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 PRODUCTIONS • CTG • DIGICASTER/DIGITAL COMM LINK • DIGITALGLUE • DIVERSIFIED • DNA STUDIOS • DOME PRODUCTIONS • DUNCAN VIDEO • DX3 MEDIA INC. • ES BROADCAST • 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-VIIDEO INTEGRATION • LH COMPUTER SERVICES • LIVELIKE • LYON VIDEO • MEASURE • METROVISION • MOBILE TV GROUP • NATIONAL TELECONSULTANTS • NEXTVR • NILES MEDIA GROUP • PCCW GLOBAL • PROGRAM PRODUCTIONS • PROSHOW BROADCAST • PSSI/STRATEGIC TV • RAPTOR VISION • SAUNDERS ELECTRIC • SDTV • SKYCAM/CABLECAM • SMARTCART SVX • SONOVTS • TNDV • UNITY SYSTEMS INTEGRATION

ADVANCING THE CREATION, PRODUCTION, & DISTRIBUTION OF SPORTS CONTENT

WWW.S PO RTSVI D EO.O R G

SVGSPONSORDIRECTORY / ADINDEX 288

SPONSOR

PAGE

LEVEL

CONTACT

PHONE

3G WIRELESS

215

Mobile

Gordon Capaccio

GordonC@3gwireless.tv

410-969-3501

ADDER TECHNOLOGY

144

Corporate

Tim Conway

usasales@adder.com

888-932-3337

ADOBE

Premier

Kathy Scibetta

waiteassociates@gmail.com

408-564-8909

ADORAMA

157

Corporate

Raymond Blumenthal

raymondb@adorama.com

516-356-3825

AERIAL VIDEO SYSTEMS

195

Mobile

Argyle Nelson

argyle@aerialvideo.com

818-954-8842

Mobile

Darcy Lorincz

dlorincz@aernow.com

480-384-0898

AJA VIDEO SYSTEMS

Premier

Christina Oliver

christinao@aja.com

530-271-3326

AJT SYSTEMS

Premier

Marilyn Monteagudo

sales@ajtsystems.com

954-776-4591

AKAMAI

Premier

Mark Ramberg

mramberg@akamai.com

206-674-5926

ALDEA SOLUTIONS

Premier

Larry Tonon

larry.tonon@aldea.tv

514-461-4136

ALL MOBILE VIDEO

250

Mobile

Eric Duke

eduke@amvchelsea.com

212-727-9862

ALLIANCE PRODUCTIONS

247

Mobile

Craig Farrell

craig@allianceproductions.com

501-219-2653

ALPHA VIDEO

197

Mobile

Jeffrey Volk

jeff.volk@alphavideo.com

952-841-3311

AMPTHINK

295

Mobile

Chip Foley

chip.foley@ampthink.com

917-496-6800

ANIXTER

161

Corporate

Jon Roberts

jon.roberts@anixter.com

310-795-2600

APERI

Corporate

Joop Janssen

jjanssen@apericorp.com

[32] 4 717 171 79

APM MUSIC

125

Corporate

Betsy McColl

bmccoll@apmmusic.com

323-461-3211 x131

ARCTEK SATELLITE PRODUCTIONS

173

Mobile

Brian Stanley

bstanley@arcteksat.com

612-308-9079

ARISTA NETWORKS

Corporate

Bryan Obeidzinski

bryano@arista.com

917-940-0097

ARTEL VIDEO SYSTEMS

Corporate

Joanne Pederson

sales@artel.com

978-263-5775

AERNOW

ARVATO SYSTEMS

131

Corporate

Thomas Mauro

tom.mauro@arvatosystems.com

646-589-3859

ASPERA, AN IBM COMPANY

Premier

Francois Quereuil

francoisq@us.ibm.com

510-849-2386 x207

ASTUCEMEDIA

Corporate

Alex Leclerc

alex@astucemedia.com

514-903-6159

AT&T GLOBAL VIDEO SERVICE

Platinum

Scott Beckett

sb9485@att.com

214-647-0486

ATEME

130

Corporate

Dave Brass

d.brass@ateme.com

484-860-0358

AUDIO-TECHNICA U.S.

112

Corporate

Mike Edwards

medwards@atus.com

330-686-2600 x2030

AV DESIGN SERVICES

235

Mobile

Jim Landy

jmlandy@avds.tv

609-531-2642

AVECO

Premier

Jim O’Brien

jim.obrien@aveco.com

818-292-1489

AVID

Premier

Doug Price

doug.price@avid.com

817-239-9626

AWS ELEMENTAL

Platinum

Manuel De Peña

manueldp@elemental.com

703-819-1644

AZZURRO GROUP

189

Mobile

Mark Lowden

mlowden@azzurrogroup.com

212-625-2372

BEACON INTERNATIONAL

239

Mobile

Michael Hardesty

michael@beaconequip.com

623-975-2300

BECKTV

190

Mobile

Fred Wright

fwright@becktv.com

972-505-8941

BEXEL

Platinum

Craig Schiller

cschiller@bexel.com

818-565-4202

BITCENTRAL

155

Corporate

Mary Crebassa

mcrebass@bitcentral.com

949-417-4190

BLACKMAGIC DESIGN

Platinum

Bob Caniglia

bobc@blackmagicdesign.com

408-954-0500 x319

BLUEFRAME TECHNOLOGY

150

Corporate

Darren Brown

darren@blueframetech.com

859-619-4288

BOXX TECHNOLOGIES

156

Corporate

Martin Cody

mcody@boxxtech.com

512-835-0400 x324

BRAINSTORM

Corporate

Brad Rumler

brumler@brainstorm3d.com

201-888-9599

BROADCAST INTEGRATION SERVICES

238

Mobile

Joseph Policastro

jpolicastro@bis-tv.com

201-777-3986 x51

BROADCAST SERVICES INTERNATIONAL (BSI)

203

Mobile

Jim Eady

jim@bsi-tv.com

905-332-2171

BROADCAST SPORTS INTERNATIONAL (BSI)

Corporate

Jeremy Pink

jeremy.pink@bsintl.com

410-564-2621

MOBILE SPORTS PRODUCTION YEARBOOK 2018

PAGE

LEVEL

CONTACT

PHONE

BROAMAN

129

Corporate

Florian Myrus

f.myrus@broaman.com

[49] 89 8999 640

BURST

147

Corporate

Paul Levy

paul@burst.com

617-977-9500

CALHOUN SATELLITE COMMUNICATIONS

296

Mobile

Kevin Husband

k.husband@calhounsat.com

305-655-2629

CALREC AUDIO/DIGICO

Platinum

Jack Kelly

jackk@g1limited.com

631-396-0184 x102

CAMPLEX

119

Premier

Daniel Coscarella

daniel@camplex.com

800-445-7568 x7409

CANARE

Corporate

Jose Martinez

jmartinez@canare.com

973-837-0070 x101

CANON U.S.A.

Platinum

Richard Eilers

reilers@.cusa.canon.com

609-480-6019

CAT ENTERTAINMENT SERVICES

Mobile

Greg Landa

greg.landa@es-cat.com

904-494-7532

CATDV

231

Corporate

Ryan Servant

ryan@squarebox.com

646-423-3017

CBT SYSTEMS

207

Mobile

Darrell Wenhardt

darrell@cbt-net.com

858-536-2927

CENTURYLINK (formerly Level 3 Communications)

Platinum

Lauren Relay

lauren.relay@centurylink.com

720-888-6810

CHESAPEAKE SYSTEMS

208

Mobile

Nick Gold

nick@chesa.com

410-400-8932

CHYRONHEGO

117

Premier

Jesper Gawell

jesper.gawell@chyronhego.com

646-469-2272

CINESYS-OCEANA

167

Mobile

Brent Angle

brent.angle@cinesysinc.com

713-272-0732

CISCO

Premier

Joseph Bischof

jobischo@cisco.com

212-714-4009

CLARK MEDIA

283

Mobile

Gary Snyder

garys@clarkmedia.com

610-694-9800

CLEAR-COM, AN HME COMPANY

Premier

Bradley Kellogg

Bradley.Kellogg@Clearcom.com

510-337-6601

CLOUDIAN

Premier

Sean Coughlin

scoughlin@cloudian.com

914-715-8261

COBALT DIGITAL

121

Premier

Bob McAlpine

Bob.McAlpine@cobaltdigital.com

217-531-0165

COMMUNICATIONS ENGINEERING INC. (CEI)

233

Mobile

James Baldwin

sales@commeng.com

703-550-5800

COMREX

CONVERGENT DESIGN

Chris Crump

ccrump@comrex.com

978-784-1776

Mike Schell

mike@convergent-design.com

720-221-3861

CORESITE

Corporate

Moe Younes

moe.younes@coresite.com

212-574-5876

CRAWFORD MEDIA SERVICES

163

Corporate

Emily Halevy

ehalevy@crawford.com

678-536-4871

CREATIVE DIMENSIONS

166

Corporate

Joel Roy

jroy@gowithcd.com

203-250-6517

CREATIVE MOBILE SOLUTIONS INC. (CMSI)

Mobile

Noah Gusdorff

noah@cmsi.tv

818-847-7390

CROWN CASTLE

133

Corporate

Scott Davidson

Scott.Davidson@crowncastle.com

678-366-1265

CSP MOBILE PRODUCTIONS

254

Mobile

Len Chase

len@cspmobile.com

207-282-9680

CTG (COMPREHENSIVE TECHNICAL GROUP)

242

Mobile

Jim Lee

Jlee@ctgatlanta.com

678-387-5507

Corporate

Sales

sales@daktronics.com

800-325-8766

DAKTRONICS DALE PRO AUDIO

Corporate

Michael Descoteau

miked@daleproaudio.com

857-756-6980

DALET DIGITAL MEDIA SYSTEMS

Corporate

Eric Carson

ecarson@dalet.com

918-327-9171

DELL EMC

Corporate

Bhavesh Lad

bhavesh.lad@dell.com

818-633-1228

Corporate

Rick Phelps

rick.phelps@bydeluxe.com

212-444-5805

Mobile

Said Khan

SKhan@dclinc.net

954-236-2993

DELUXE ENTERTAINMENT

101

159

DIGICASTER/DIGITAL COMM LINK

Premier Corporate

DIGITALGLUE

218

Mobile

John McCluskey

john.mccluskey@barnfindamericas.com

888-491-6903

DIVERSIFIED

185

Mobile

Christopher Sullivan

CSullivan@diversifiedus.com

201-670-6548

DNA STUDIOS

255

Mobile

Sam Schrade

sam@dnawebs.com

281-802-8000

DOLBY LABORATORIES

Platinum

Cherylene McKinney

cherylene.mckinney@dolby.com

646-823-1523

DOME PRODUCTIONS

258

Mobile

Mary Ellen Carlyle

mcarlyle@domeprod.com

416-341-2022

DPA MICROPHONES

142

Corporate

Christoper Spahr

csp@dpamicrophones.com

914-582-4399

MOBILE SPORTS PRODUCTION YEARBOOK 2018

SVG Sponsor Directory / Ad Index

SPONSOR

289

SVG Sponsor Directory / Ad Index

SPONSOR

PAGE

LEVEL

CONTACT

PHONE

241

Mobile

Bryan Adams

badams@duncanvid.com

317-815-6300

Mobile

Dale Smith

dalesmith@DX3media.ca

416-433-3261

EEG ENTERPRISES

169

Corporate

Eric McErlain

ericm@eegent.com

516-293-7472 x502

ENCOMPASS DIGITAL MEDIA

Corporate

Joe Garzillo

jgarzillo@encompass-m.com

203-965-6334

Corporate

Dan Burnett

daniel.burnett@ericsson.com

678-689-6535

Mobile

Alan Henry

alan@esbroadcast.com

[44] 0 1923 804645

DUNCAN VIDEO DX3 MEDIA

ERICSSON ES BROADCAST EUROVISION

Platinum

Jim Scott

jim.scott@eurovision.net

973-650-9577

EUTELSAT

Corporate

Paul Kosac

pkosac@eutelsat.com

678-722-1107

EVERTZ

Premier

Orest Holyk

orest@evertz.com

905-335-3700

EVS

115

Premier

James Stellpflug

j.stellpflug@evs.com

973-575-2140

F&F PRODUCTIONS

259

Mobile

George Orgera

GeorgeO@fandfhd.tv

727-535-6776

FANCONNECT

168

Corporate

Larry Witherspoon

larry@fan-connect.com

704-837-7099

FILMWERKS INTERNATIONAL

Mobile

Michael Satrazemis

michaels@filmwerksintl.com

910-675-1145

FINGERWORKS TELESTRATORS

137

Corporate

Bryan McKoen

bryan@telestrator.com

604-762-1477

FIS BLUE

132

Corporate

Derek Curtis

dcurtis@fisblue.com

315-768-8179

FLETCHER SPORTS

Corporate

Dan Grainge

dan@fletch.com

312-932-2704

FOR-A

Corporate

Ken Truong

truong@for-a.com

201-944-1120

138

Corporate

Robert Bleidt

robert.bleidt@dmt.fraunhofer.org

408-573-9901

FUJIFILM/FUJINON

Platinum

Gordon Tubbs

gtubbs@fujifilm.com

973-686-2769

FX DESIGN GROUP

Premier

Mack McLaughlin

mmclaughlin@fxgroup.tv

407-877-9600

GAME CREEK VIDEO

246

Mobile

Pat Sullivan

sullgame@aol.com

603-821-2205

FRAUNHOFER

GEARHOUSE BROADCAST

Mobile

Marc Genin

mgenin@gearhousebroadcast.com

818-955-9449

GERLING & ASSOCIATES

107

Corporate

Fred Gerling

fredg@gerlinggroup.com

740-965-2888

GLOBECAST

139

Corporate

Tim Jackson

tim.jackson@globecastna.com

310-849-3901

GLOBECOMM SYSTEMS

180

Mobile

Mike Scotto

mikes@globecomm.com

631-457-1179

GRABYO

127

Corporate

Mike Kelley

mike@grabyo.com

914-584-7324

GRASS VALLEY, A BELDEN BRAND

111

GRIMM

Steve Stubelt

stephen.stubelt@grassvalley.com

862-216-7070

Christine Piry

christine@grimm-co.com

202-499-0886

HAIVISION

124

Corporate

Karen McCone

kmccone@haivision.com

514-993-2683

HARMONIC

126

Corporate

Bill Cordo

bill.cordo@harmonicinc.com

201-669-0890

Platinum

Erik Weaver

erik.weaver@wdc.com

408-717-9217

HGST/G-TECHNOLOGY HIGH ROCK MOBILE TELEVISION

262

Mobile

Phil Engborg

phil@carr-hughes.com

518-584-0202

HITACHI

Premier

Sean Moran

sean.moran@hitachikokusai.us

516-682-4431

Premier

Scott Wig

swig@us.ibm.com

905-696-4945

IBM

290

Platinum Corporate

IHSE USA

Premier

Dan Holland

dholland@ihseusa.com

732-738-8780

IKEGAMI

Premier

Erin Rice

erice@ikegami.com

859-333-4636

ILLUMINATION DYNAMICS

209

Mobile

Rich Williams

rich@illuminationdynamics.com

818-686-6400

IMAGE VIDEO

108

Corporate

Zach Wilkie

zwilkie@imagevideo.com

416-750-8872 x228

IMAGEN

Corporate

Ian Mottashed

ian.mottashed@imagenevp.com

[44] 1954 262004

IMAGINE COMMUNICATIONS

Premier

Mary Schoof

mary.schoof@imaginecommunications. com

703-869-2042

IMS PRODUCTIONS

263

Mobile

Robby Greene

rgreene@imsptv.com

317-492-8710

IMT/VISLINK

141

Corporate

Andrew Poole

andrew.poole@imt-solutions.com

619-993-4518

INTEGRATED MEDIA TECHNOLOGIES (IMT)

143

Mobile

Tom McGowan

tom.mcgowan@imtglobalinc.com

818-761-9770

INTELSAT

145

Corporate

Sales

sales.na@intelsat.com

703-559-6800

MOBILE SPORTS PRODUCTION YEARBOOK 2018

INTERXION

PAGE

LEVEL

CONTACT

PHONE

Corporate

Richard Craig-McFeely

richardc@interxion.com

[44] 07342 949663

Corporate

Glen Green

glen.green@v-tech-llc.com

936-520-6042

IPTEC IRDETO

154

Corporate

John Branigan

john.branigan@irdeto.com

818-508-2333

ISTREAMPLANET

148

Corporate

Eric Weinstein

bd@istreamplanet.com

718-732-0173

JB&A DISTRIBUTION

160

Corporate

Maria Casey

mariac@jbanda.com

415-256-2800

JOSEPH ELECTRONICS

Premier

Yohay Hahamy

yohay@josephelectronics.com

847-501-1584

JVCKENWOOD USA

151

Premier

Craig Yanagi

cyanagi@us.jvckenwood.com

973-317-5176

KAUFMAN BROADCAST

278

Mobile

Bill Kaufman

bill.kaufman@kaufmanbroadcast.com

314-533-6633

KMH AUDIO-VIDEO INTEGRATION

174

Mobile

Kevin Henneman

khenneman@kmh-integration.com

800-590-2520

Platinum

Jeffrey Stroessner

jeffrey.stroessner@lawo.com

[49] 7222 1002 5150

LEADER INSTRUMENTS

116

Corporate

Scott Cannon

cannon@leaderamerica.com

800-645-5104

LH COMPUTER SERVICES

200

Mobile

Doug Cole

dcole@lhcomp.com

954-752-5805

LAWO

LIVELIKE

202

Mobile

Fabrice Lorenceau

fabrice@livelikevr.com

[33] 14 500 1949

LIVEU

122

Corporate

Mike Savello

mike@liveu.tv

201-742-5227

LTN GLOBAL COMMUNICATIONS

162

Corporate

Rich Rozycki

rrozycki@ltndigital.com

646-832-1952

LYON VIDEO

266

Mobile

Chad Snyder

chad@LyonVideo.com

614-319-4071

MARKERTEK

Premier

Gregory DeCelle

greg@towerpower.com

845-246-2357

MASSTECH INNOVATIONS

Premier

Luc Tomasino

Luc.tomasino@masstech.com

918-605-3236

MEASURE

100

Mobile

Jon Ollwerther

jollwerther@measure.com

908-868-4674

MEDIA LINKS

136

Corporate

David Herfert

dherfert@medialinks.com

860-206-9163

METROVISION

282

Mobile

Jim McGillion

jim@metrovision.tv

212-989-1515

MICROSOFT

Premier

Scott Bounds

sbounds@microsoft.com

646-225-4380

MOBILE TV GROUP

267

Mobile

Philip Garvin

pgarvin@coloradostudios.com

303-542-5555

Corporate

Rick Price

rprice@moebam.com

407-476-9390

MOEBAM! VENUE MEDIA SERVICES MPE

175

Corporate

Neal Pilzer

neal@mpenyc.com

212-245-0969

MULTIDYNE

Premier

Frank Jachetta

frank@multidyne.com

516-671-7278 x301

MX1

178

Corporate

Susanna Mandel-Mantello

susanna.mantello@mx1.com

203-661-7971

NEOTI

Premier

Derek Myers

d.myers@neoti.com

260-494-1499 x601

NEP GROUP, INC.

248

Premier

Susan Matis

smatis@nepgroup.com

412-423-1339

NET INSIGHT

171

Corporate

David Dellafave

david.dellafave@netinsight.net

201-669-2037

NEULION

182

Corporate

Dana Williams

Dana.williams@neulion.com

516-622-8301

NEUTRIK USA

183

Corporate

Mic Cardone

mcardone@neutrikusa.com

704-972-3050

NEVION

184

Corporate

Mike Root

sales@nevion.com

212-380-0550

NEWTEK

Premier

Ruben Ruiz

rruiz@newtek.com

210-370-8000

NEXTVR

251

Mobile

Todd Cogan

todd@nextvr.com

949-494-4321

NILES MEDIA GROUP

274

Mobile

John Denison

jdenison@nilesmediagroup.com

816-457-1798

Corporate

James Kim

james.1.kim@nokia.com

415-640-8000

NOKIA NTC (NATIONAL TELECONSULTANTS)

Mobile

Laurie Morse

laurie.morse@ntc.com

818-265-4415

NTT ELECTRONICS

Premier

Atsushi Takahara

takahara@nel-america.com

201-556-1770

OPTICAL CABLE CORPORATION

191

Corporate

Eric Altizer

eric.altizer@occfiber.com

800-622-7711

Corporate

Frank Boensch

frank.boensch@oracle.com

646-303-5187

ORACLE

PANASAS

196

Corporate

Michael Tortorello

michael@panasas.com

908-295-5255

PANASONIC

Premier

Carter Hoskins

carter.hoskins@us.panasonic.com

770-619-1779

PCCW GLOBAL

214

Mobile

Koby Zontag

kzontag@pccwglobal.com

212-389-6257

MOBILE SPORTS PRODUCTION YEARBOOK 2018

SVG Sponsor Directory / Ad Index

SVG SPONSOR

291

SVG Sponsor Directory / Ad Index

SVG SPONSOR

PAGE

LEVEL

CONTACT

PHONE

PLIANT TECHNOLOGIES

193

Corporate

Gary Rosen

Gary.Rosen@PliantTechnologies.com

818-264-9730

PLUS24/SANKEN

194

Corporate

Jim Pace

jpace@plus24.net

323-855-1404

PRG

Corporate

Brian Edwards

bedwards@prg.com

818-252-2630

PRIME FOCUS TECHNOLOGIES

187

Corporate

Chris Ziemer

chris.ziemer@primefocus.com

917-459-7469

PRIMESTREAM

188

Corporate

Robert Lisman

robertlisman@primestream.com

305-625-4415

Corporate

Steve Rotz

srotz@productionhub.com

877-629-4122

Corporate

Jim Van Winkle

JimmyV@ProfessionalWireless.com

407-240-2880

PRODUCTIONHUB PROFESSIONAL WIRELESS SYSTEMS

199

PROGRAM PRODUCTIONS

Mobile

Robert Carzoli

rcarzoli@programproductions.com

630-282-0155

PROSHOW BROADCAST

271

Mobile

Tim Lewis

timlewis@proshow.com

604-293-1771

PSSI/STRATEGIC TV

211

Mobile

Clayton Packard

cpackard@pssiglobal.com

310-575-4400

QUALCOMM

Premier

Deep Sen

dsen@qti.qualcomm.com

858-860-4185

QUANTUM

Platinum

Ruth Compton

ruth.compton@Quantum.com

949-856-7793

QUANTUM5X SYSTEMS

205

Corporate

Paul Johnson

pjohnson@q5x.com

519-675-6999

RAPTOR VISION

279

Mobile

James Francis

james@rptrv.com

212-771-6110

REALITY CHECK SYSTEMS

Platinum

Jeff Heimbold

j.heimbold@realitychecksystems.com

323-465-3900

RIEDEL COMMUNICATIONS

Platinum

Joyce Bente

joyce.bente@riedel.net

818-559-6900

ROCK-IT CARGO

179

Corporate

Hillary Nosbisch

hillaryn@rockitcargo.com

940-465-0303

Platinum

Kevin Cottam

kcottam@rossvideo.com

613-228-0688 x4366

226

Corporate

Mike Fredriksen

mike.fredriksen@rtsw.co.uk

[44] 020 7384 2711

Platinum

John Shike

John.Shike@s-a-m.com

650-703-4906

SAUNDERS ELECTRIC

237

Mobile

Candace Saunders

candace@saunderselectric.com

615-514-8140

SCALE LOGIC

220

Corporate

Drew Wanstall

dwanstall@scalelogicinc.com

651-746-4319

Mobile

Mark Parikka

operations@sdtv.com

619-293-7777

SENNHEISER

Corporate

Chris Clay

Chris.Clay@Sennheiser.Com

860-434-9190

SES

Premier

Richard Lamb

richard.lamb@ses.com

[31] 70 306 4211

SHURE

120

Corporate

Bill Ostry

ostry_bill@shure.com

847-600-6282

SIGNIANT

225

Corporate

Danielle Rita

drita@signiant.com

781-791-4611

SIMPLYLIVE

103

Corporate

Gregory Macchia

g.macchia@simplylive.tv

484-273-0760

SIXTY AS

227

Corporate

Henriette Sæther

henriette@sixty.no

[47] 47 97 60 22 36

SKYCAM/CABLECAM

Mobile

Endre Buxton

endre.buxton@skycam.tv

817-984-6840

SMARTCART SVX

275

Mobile

Gil Cowie

gil@smartcartsvx.com

646-863-6263

SMT

Corporate

Patricia Hopkins

p.hopkins@smt.com

919-493-9390

SOLID STATE LOGIC

172

Corporate

Steve Zaretsky

stevez@solidstatelogic.com

212-315-9506 x15

SONOVTS

212

Mobile

Franz Olbert

Franz.Olbert@sonovts.de

[49] 89 419 671 114

SONY

Platinum

Deon LeCointe

deon.lecointe@am.sony.com

201-930-6926

SOS GLOBAL EXPRESS

Premier

Stephen O’Connell

soconnell@sosglobal.com

252-635-1400

SPECTRA LOGIC

229

Corporate

Hossein ZiaShakeri

hosseinz@spectralogic.com

303-449-6444 x 1118

SPORTZCAST

230

Corporate

Michael Connell

mike@sportzcast.net

321-888-3800 x101

STATS

244

Corporate

Herrman Taraporewalla

htaraporewalla@stats.com

847-728-4463

Corporate

Gordon Kapes

gkapes@studio-tech.com

847-676-9177

ROSS VIDEO RT SOFTWARE SAM (SNELL ADVANCED MEDIA)

SDTV

STUDIO TECHNOLOGIES

292

MOBILE SPORTS PRODUCTION YEARBOOK 2018

PAGE

LEVEL

CONTACT

PHONE

201

Corporate

Kevin Ancelin

KAncelin@t-21.biz

904-673-6131

Corporate

Ian Ash

iash@t2computing.com

212-220-9600 x367

TATA COMMUNICATIONS

Corporate

David Moore

david.moore@tatacommunications.com

704-806-6679

TECHNICOLOR

219

Corporate

Carole Bernard

Carole.Bernard@technicolor.com

323-817-6988

TEKTRONIX

109

Corporate

Mike Wright

mike.wright@tektronix.com

818-200-3008

TELESCOPE

236

Corporate

Katrina Moran

Katrina.Moran@telescope.tv

424-270-2900

TELESTREAM

245

Corporate

Scott Murray

scottmu@telestream.net

530-470-1306

TELOS ALLIANCE

113

Corporate

Martin Dyster

martin@LinearAcoustic.com

717-735-3611

TERADEK

Premier

Jon Landman

jon@teradek.com

818-667-4258

THE STUDIO - B&H

Premier

The Studio Team

thestudio@BandH.com

800-947-9962

THE SWITCH

Premier

Christian Kneuer

christian.kneuer@theswitch.tv

212-239-3715

T-21 TECHNOLOGIES T2 COMPUTING

THE VIDEO CALL CENTER

177

Corporate

Larry Thaler

LThaler@TheVCC.TV

212-235-7019 x720

THINKLOGICAL, A BELDEN BRAND

206

Corporate

Richard Cooper

richard.cooper@thinklogical.com

484-467-5633

TIMECODE SYSTEMS

Corporate

Paul Scurrell

paul.scurrell@timecodesystems.com

[44] 1700 808 600

TNDV: TELEVISION

270

Mobile

Rob Devlin

rob@tndv.com

877-959-8638

TSL PRODUCTS

Corporate

Greg Siers

greg.siers@tslproducts.com

301-272-0939

TV GRAPHICS

104

Corporate

Joseph Jopplin

josephj@tv-graphics.com

281-397-9100

TVU NETWORKS

149

Corporate

Eric Chang

echang@tvunetworks.com

650-288-0843

UNITY SYSTEMS INTEGRATION

213

Mobile

Doug Waldron

Doug.waldron@unity-si.com

905-707-3802

UTAH SCIENTIFIC

Corporate

Chris Harmon

charmon@utahscientific.com

801-575-3233

VENTUZ TECHNOLOGY

Corporate

Bruce Levine

Bruce.levine@ventuz.com

516-528-3599

VER

Platinum

Bob Hawkanson

rhawkanson@ver.com

407-582-0350

VERIZON DIGITAL MEDIA SERVICES

243

Corporate

Jeff Casey

jeffrey.casey@verizon.com

908-559-2036

VISTA WORLDLINK

217

Corporate

Joshua Liemer

jliemer@vistaworldlink.com

954-838-0900 x210

VITAC

223

Corporate

Brenda Nowicki

brenda.nowicki@vitac.com

303-468-4714

VITEC

Premier

Geol Yeadon

geol.yeadon@vitec.com

650-230-2563

VIZRT

VSN

Premier

Melanie Crandell

mcrandall@vizrt.com

506-988-7005

Corporate

Doug Wynn

doug@vsn-tv.com

608-345-1568

WARNER/CHAPPELL PRODUCTION MUSIC

135

Corporate

Jennifer Stowe

jennifer.stowe@warnerchappellpm.com

615-687-6859

WAVE CENTRAL/CP COMMUNICATIONS

Premier

Kurt Heitmann

kurt.heitmann@cpcomms.com

914-345-9292

WAZEE DIGITAL

221

Corporate

Mike Arthur

mike.arthur@wazeedigital.com

720-318-8157

WESCO BROADCAST AND ENTERTAINMENT

224

Corporate

Mike Vivian

mvivian@wesco.com

256-604-6362

WHEATSTONE

105

Corporate

Phil Owens

philowens@wheatstone.com

252-638-7000

WOWZA MEDIA SYSTEMS

165

Corporate

Brad Wright

brad.wright@wowza.com

720-608-4733

WTVISION

232

Corporate

Mario Sousa

mario.sousa@wtvision.com

305-357-5893

YAMAHA PROFESSIONAL AUDIO

Corporate

Paul Furtkamp

pfurtkamp@yamaha.com

714-522-9011

ZIXI

153

Corporate

Eric Bolten

eric@zixi.com

978-853-8482

ZYPE

Corporate

Chris Bassolino

cbass@zype.com

908-913-0880

MOBILE SPORTS PRODUCTION YEARBOOK 2018

SVG Sponsor Directory / Ad Index

SVG SPONSOR

293

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