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FALL 2018

VOLUME12 ISSUE 2 PUBLISHED BY

VENUE SPOTLIGHT

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in this issue FALL 2018 Volume 12, Issue 2

upfront 4 FROM THE CHAIRMAN Diversity Is Key to Industry Success 6 COVERING THE FIELD From Russia With Love

SVGupdate 8 COLLEGE SUMMIT

16 IP PRODUCTION FORUM

10 COLLEGE SPORTS MEDIA AWARDS

18 RSN SUMMIT

12 SPORTS GRAPHICS FORUM 14  SPORTS VENUE PRODUCTION SUMMIT

page 12

20  SPORTS CONTENT MGMT & STORAGE FORUM

page 8

22 SPORTS OTT FORUM 24  INITIATIVES & GROUPS

page 20

coverstory page 26

LIVE FROM THE 2018 FIFA WORLD CUP 28 FOX

SPORTS

38 FIFA TV 44 INTERNATIONAL SPOTLIGHT

specialsupplement page 55

SPOTLIGHT

56  MERCEDES-BENZ STADIUM 62  LITTLE CAESARS ARENA 68 COORS FIELD 74 FORD FIELD

white papers 78  BRAINSTORM: INTEGRATING ADVANCED AUGMENTED REALITY INTO LIVE BROADCASTS 80  ZEGAMI: UTILIZING UNSTRUCTURED DATA FOR BETTER CUSTOMER ENGAGEMENT 82  M2 AERIALS: CREATING A CAPTIVATING EXPERIENCE FOR TV AND ONLINE AUDIENCES 84 SVG SPONSOR UPDATE The latest productions, technology, and news from 250+ SVG sponsors 106 SVG SPONSOR DIRECTORY 112 2

FINAL BUZZER In a Fragmented Universe, Knowledge Is Power SPORTSTECHJOURNAL / FALL 2018

page 80


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ASSOCIATION LEADERSHIP

FROM THE CHAIRMAN

DIVERSITY IS KEY TO INDUSTRY SUCCESS By Tom Sahara Sports Video Group, Chairman The winds of change are blowing through the industry. Cord cutting, IP delivery, and at-home production are trends that we hear about more and more. Headlines of mega-mergers, the AT&T acquisition of Time Warner, the purchase of Fox by Disney, and the Comcast purchase of Sky now seem to be the norm. Why is this happening? Consumers are no longer watching television like they have in the past; subscription services (SVOD) such as YouTube, Netflix, Hulu, and Amazon Prime are challenging the networks for viewers’ attention and they are winning. The past generation of television viewers is declining, and the new generation wants more options for consuming content. The terms mentioned in my opening paragraph are elements of the trends that I just described. Cord cutting has resulted in a loss of TV viewers to SVOD. SVOD is distributed via IP delivery, or the Internet as we more commonly call it. The mergers of the media giants are attempts to aggregate and retain consumers across multiple product categories, from mobile phone service and broadband in the home to video on demand (VOD), over-the-top (OTT) services, and multi-channel virtual program distributors (MVPD). But these are not the only changes that are going on. As the consumers change, so do the needs of businesses that serve them, and those businesses must get better at serving a growing pool of diverse consumers. The age-old methods of sales and marketing no longer work on consumers who demand a wider selection of media across a wider range of devices. Innovation is another often-used strategy that our companies turn to in order to grow business. But what is innovation, and where does it come from? In a word, it is diversity. Diversity of ideas often comes from having a diverse pool of ideas, and from a pool of diverse experiences, backgrounds, ages, and genders. And where do we find new consumers? By looking for a diverse audience. Yes, diversity is the answer to our companies’ success. Women are the largest segment of the population in the U.S. and immigrants are the fastest growing segment of the population. We must look to these groups to grow our businesses; from consumers, to employees, to ideas, diversity is the answer to our businesses’ needs. Including others who look, think, and live differently in all our activities provides opportunities for us to find the best people that we need to be successful in the future. We live in a global economy and sell our content in a global marketplace, and we need them to help us create, produce, and to consume our products. The world is changing, and our success is rooted in our ability to change with it. < 4

SPORTSTECHJOURNAL / FALL 2018

>CHAIRMAN

Tom Sahara,Turner Sports, VP, Operations and Technology

>EXECUTIVE COMMITTEE

Ken Aagaard, SVG Chairman Emeritus and CBS Sports, EVP, Innovation and New Technology Andrea Berry, The G.A.P. Media Group, CEO Eric Black, NBC Sports Group, SVP and CTO Digital Jason Cohen, CBS Sports and CBS Sports Network, VP, Remote Technical Operations Mike Connelly, Fox Sports Regional Networks, SVP and Executive Producer Michael Davies, Fox Sports, SVP, Technical and Field Operations Scott Gillies, VICE Media, SVP, Global Technology Steve Hellmuth, SVG Chairman Emeritus and NBA Entertainment, EVP, Media Operations and Technology Jeff Jacobs, Skyline Sports and Entertainment, Principal Patty Power, CBS Sports, EVP, Operations and Engineering Susan Stone, MLB Network, SVP, Operations and Engineering

>ADVISORY BOARD MEMBERS

Adam Acone, NFL Network, Director, Media Operations and Planning Glenn Adamo, Ivanhoe Media and Entertainment, President Peter Angell, Lagardère, SVP Onnie Bose, NFL, VP of Broadcasting Chris Brown, Turner Sports, Senior Director of Technical Operations Tab Butler, MLB Network, Senior Director, Media Management and Post Production Chris Calcinari, ESPN, VP, Event Operations Mary Ellen Carlyle, Dome Productions, SVP and GM Joe Cohen, The Switch, President, Sports Michael Cohen, Industry Consultant Don Colantonio, Industry Consultant Scott Davis, CBS Sports, VP of Broadcast Operations Jim DeFilippis, Industry Consultant Ed Delaney, Industry Consultant Jed Drake, Industry Consultant David Dukes, PGA Tour Entertainment, Senior Director, Technical Operations Jerry Gepner, L5 Media Services, Media and Technology Executive Steve Gorsuch, Industry Consultant Ken Goss, NBC Sports Group, SVP of Remote Operations and Production Planning Mark Haden, MLB Network, VP, Engineering and IT Ed Holmes, The Holmes Group, Principal Deb Honkus, NEP Broadcasting, Chairman of the Board George Hoover, Industry Consultant Darryl Jefferson, NBC Sports Group, VP, Postproduction and Digital Workflow Robert D. Jordan CFE, Van Wagner Sports and Entertainment, SVP John Kvatek, University of Central Florida Knights, Associate AD Multimedia and Creative John Leland, PSL International, LLC, Principal Glen Levine, NEP, President, U.S. Louis Libin, Broad Comm, President Jodi Markley, ESPN, EVP, Content Operations and Creative Services Bernadette McDonald, Major League Baseball, SVP, Broadcasting Grant Nodine, NHL, SVP, Technology Ken Norris, UCLA, Director of Video Operations Gary Olson, GHO Group, Managing Director Del Parks, Sinclair Broadcast Group, SVP and CTO Paul Puccio, Industry Consultant Scott Rinehart, University of Notre Dame, Director, Broadcast Technology Larry Rogers, FirstInTV, President Mike Rokosa, NHRA, Technology Executive Scott Rothenberg, NEP, SVP, Technology and Asset Management Oscar Sanchez, CONCACAF, Director of Broadcast Operations Bruce Shapiro, Industry Consultant Tracey Shaw, WWE, SVP, Network and TV Operations Jack Simmons, Industry Consultant Don Sperling, New York Giants Entertainment, VP and Executive Producer Jerry Steinberg, Industry Consultant Patrick Sullivan, Game Creek Video, President Jason Taubman, Game Creek Video, VP Design/New Technology Larry Tiscornia, Major League Soccer, VP, Broadcasting Jacob Ullman, Fox Sports, SVP, Production and Talent Development John Ward, Industry Consultant Ernie Watts, Turner, Manager, Transmission Operations Center Mike Webb, YES Network, VP, Broadcast Operations Jeff Willis, Industry Consultant Dave Zur, KSE Media Ventures, SVP, Operations and Engineering


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6

For one month every four years, the global sports community is united in a shared passion for the Beautiful Game, and the 2018 FIFA World Cup was no exception. Sports fans, ranging from casual to rabid, found themselves riveted to the tournament, starting with group-stage play on June 14 and culminating in France’s victory over surprise contender Croatia in the FIFA World Cup Final on July 15. For the first time, Fox Sports was along for the ride, delivering live Englishlanguage coverage of every match to audiences in the U.S. And SVG, alongside SVG Europe, was onsite in Moscow, covering the four-week tournament from every angle. The Fall 2018 edition of the SportsTech Journal dedicates 16 pages to the FIFA World Cup (page 26), beginning with Fox Sports’ impressive endeavor at the IBC and in Red Square (page 28). All told, the U.S. rightsholder deployed its largest production effort ever to cover the FIFA World Cup on a wide variety of platforms. In addition, SVG covered the tireless work of FIFA TV, which produced each of the tournament’s 64 matches for global rightsholders (page 38). Video Assistant Referee (VAR) made its eagerly anticipated debut, and SVG sat down with the technical minds behind the system to explain how it all came together (page 40). Rounding out this year’s coverage, SVG caught up with several international rightsholders stationed in Moscow to learn more about their unique workflows, including the UK (page 44-46), France (page 48), Germany (page 48), Mexico (page 50), Brazil (page 50), and Japan (page 52). Although the 2018 FIFA World Cup is in the rearview mirror, soccer fans won’t have long to wait for the next global sporting event: the 2019 FIFA Women’s World Cup takes place next summer in France. Be sure to stay tuned to SVG and SVG Europe for all the news before, during, and after that exciting event. The Fall 2018 SportsTech Journal also features a special Venue Supplement, spotlighting the biggest sport-venue production and technology stories over the past year. Turn to page 55 to learn more about the 360-degree halo display at Mercedes-Benz Stadium (page 56), the state-of-the-art Little Caesars Arena (page 62), the new HDR workflow at Coors Field (page 68), and the upgraded videoboards at Ford Field (page 74). Not to be overlooked, the first half of 2018 was jam-packed with both new and returning SVG events, from the inaugural Sports OTT Forum to the 12th-annual Sports Content Management & Storage (SCMS) Forum. Beginning on page 8, check out recaps of SVG’s College Summit, including the annual College Sports Media Awards (page 10); Sports Graphics Forum (page 12); Sports Venue Production Summit at Mercedes-Benz Stadium in Atlanta (page 14); IP Production Forum (page 16); RSN Summit (page 18); SCMS Forum (page 20); and Sports OTT Forum (page 22). As always, the SportsTech Journal updates you on the latest from SVG’s Initiatives and Groups, including the Venue Initiative, SVG Digital, SVGW, and much more (page 24). The Fall 2018 SportsTech Journal also looks to the future of sports technology with three White Papers that pull back the curtain on augmented reality (page 78), unstructured data (page 80), and live-drone usage in sports broadcasting (page 82). On page 84, the Sponsor Update section — a mainstay of the Fall 2018 SportsTech Journal — shines the spotlight on the latest productions, news, and technology — including many IBC 2018 announcements — from more than 250 sponsors. But it doesn’t stop there! Team SVG plans to finish out 2018 strong with the annual SVG Summit in New York City. Mark your calendar for the two-day event, December 10-11, and plan to be in attendance for SVG’s most expansive Summit to date! <

SPORTSTECHJOURNAL / FALL 2018


UPDATE

SPORTS VIDEO GROUP CONFERENCES IN REVIEW SUMMIT

content from points all around a college campus have made centralized control rooms MAY 30 – JUNE 1, 2018 a common feature across OMNI HOTEL at CNN CENTER the college-sports-video ATLANTA landscape. A panel featuring featuring COLLEGE SPORTS MEDIA RonAWARDS&FESTIVAL Blatz, manager, broadcast and streaming, Valparaiso University; Clint Burges, director, video operations,

Lamar University; Michelle Glover, assistant AD, broadcast services, University of Arkansas; Andy Richardson, assistant AD, 12th Man Productions, Texas A&M University; Jared Schatz, VP, sales, U.S. and Canada, Ross Video addressed that issue and more.

AWARDS SVG College Pioneer Award Rick Bagby

> SVG COLLEGE SUMMIT MAY 30 – JUNE 1 ATLANTA The 2018 SVG College Summit, drawing a packed house of more than 600 college-video professionals at the Omni Hotel at CNN Center in Atlanta on May 30-June 1, focused on the intersection of creative storytelling and technology of college-sports-video production. The program featured a long list of important topics and brilliant individuals participating in talks throughout the three-day event. At the core was a special Keynote Conversation featuring two of the most talented storytellers in sports television: CBS Sports Emmy Award-winning Senior Creative Director Pete Radovich and Coordinating Producer for College Football Craig Silver. Elsewhere throughout the event, directors on the frontlines of the 2019 launch of the ACC 8

Network with ESPN shared their experiences on building out their facilities, offered updates on their status, and shared what they have learned thus far. The conversation included Rick Bagby, assistant AD, video and technology at Clemson University; Andy Blanton, assistant AD, video and broadcast services at Georgia Tech University; Ken Cleary, assistant AD, Go Heels Productions and creative services at the University of North Carolina; Chad Lampman, executive director of Blue Devil Network at Duke University; and Josh Shibler, VP and project executive at the systems integrator CTG. The session was moderated by Scott Hecht, Senior Producer at Syracuse University. Also, advances in technology and the need to create live

SPORTSTECHJOURNAL / FALL 2018

The SVG College Pioneer Award celebrates those who have innovated in the fields of video production and technology at the university level and have advanced the industry at large. This year, the award was presented to Rick Bagby, who serves as assistant AD, video and technology at Clemson University. Bagby is in his 20th year overseeing the Athletic Video Services Department at Clemson University. He runs all live video streaming and live videoboard productions of athletic events at the university, and has been one of the college-sports-video industry’s leading figures in technology innovation. “Take the opportunity that fits what you want to do, what inspires you,” said Bagby, in a speech that paid tribute to his family and industry colleagues, and offered advice to those students in the audience. “If you’re not inspired, then you’re just going to be an average Joe at whatever you do … If you want to do something that inspires people, if you want to work with people that have passion, take an opportunity. That opportunity might be for $12,000 for 10 months and no health insurance, but that opportunity — if you take it — will turn into another opportunity, and that opportunity might turn into another opportunity, and that’s how you make it in this business. “I didn’t chase a dollar,” he continued. “I didn’t chase a paycheck, I didn’t chase a pay raise. I chased an opportunity, because I had gotten that bug and I knew this was something I wanted to do, and to this day, every day that I walk into Clemson University, it’s what I want to do.”


Some of those control rooms have also begun to be built around the use of the public internet for both internal and external transmission. Chris Burgos, product and vertical market manager, sports, NewTek; Imry Halevi, director, multimedia and production, Department of Athletics, Harvard University;

Scott Morse, director, athletics communications and promotions, Lafayette College; and Jose Nevarez, assistant AD, broadcast operations, University of Portland explained how confidence in public IP networks is altering how they view their campuses and what it means for the future of college athletics.

KEYNOTE CONVERSATION CBS Sports’ Pete Radovich, Craig Silver Delve Into Creative Process The SVG College Summit focused on the creative and storytelling aspects of college-video production, and at the core of the discussion was a special Keynote Conversation featuring two of the most talented storytellers in sports television: CBS Sports’ Emmy Awardwinning Senior Creative Director Pete Radovich (pictured above, right) and Coordinating Producer for College Football Craig Silver. The duo took SVG College Summit attendees behind the scenes of the 2017 production of the Army-Navy Game. Radovich detailed how he and his team created the inspiring Sports Emmy-winning show open, and Silver addressed how his team inside the truck adapted to the compelling action on the field. “The audience tunes in to watch the players, but there’s an expectation of us at the network level — and at every level, at this point – for the viewers to be entertained beyond just the game,” said Radovich. “That’s why jobs like mine were created.” As Radovich described the creative process behind some of his most memorable show opens, Silver weighed in on his production process. “The difference between Pete and myself is he takes the blank canvas and paints a masterpiece. I have a piece of clay — covering the game — that’s already well on its way to being a story, and then I have to refine the edges and make it into something,” explained Silver. “People who are really good at telling the story of a live event are the ones that can adjust on the fly, call the right play from the playbook at the right time, and make sure they’re telling the story of what’s happening.”

For complete coverage of the COLLEGE SUMMIT, including in-depth reports and video recaps, visit www.svgcollege.com

Mid-major colleges also face many unique challenges while working with much smaller staffs and budgets than some of the traditional big dogs of the college-sports world. Mike Connell, president of SportZcast, Michael Leopardo, multimedia production coordinator at Bowling Green State University, Michelle Manzo, coordinating producer, Maroon Sports at Elon University; Richie Murray, a consultant for the tech vendor Blackbird; and John Voynovich, webcasting producer at Carthage College pulled back the curtain on how they do their jobs and what cost-effective technologies make them more efficient. The discussion was moderated

by Chris Mycoskie, associate commissioner, broadcast and new media at the Southland Conference. The lines between video and marketing continue to blur as well, as college athletic departments find it more critical to unify and streamline their branding efforts. Creative directors in the field shared their strategies for working with marketing departments and using technology to execute a cohesive brand. The conversation featured Michael LaPlaca, assistant AD, multimedia, University of Dayton; Mark Majewski, AD, graphic design services, Boston College; and Simit Shah, assistant AD, brand and ideation, Georgia Tech.

AWARDS SVG/NACDA Technology Leadership Award Texas A&M SVG and NACDA presented Texas A&M University with the sixth-annual SVG/NACDA Technology Leadership Award. The Technology Leadership Award is presented to the university athletic department that meets the outlined criteria of commitment to investment in and execution of broadcast and video infrastructure and technologies. Texas A&M, led by its highly robust and talented 12th Man Productions, has been one of the elite athletic departments in the country, committed to video production and technology since the early 1990s. “I always tell our students, remember that sports is still the one thing that we do that is a live event that we don’t know how it’s going to end,” said Andy Richardson, assistant AD, 12th Man Productions, who accepted the award on behalf of Texas A&M University. “Our goal is to be effective storytellers for that, and, when we are doing a good job and telling the stories, we’re documenting, and we’re doing the things that we need to do to explain, to showcase, and to capture the moment. That’s why they play the game, and that’s why we do what we do.” SPORTSTECHJOURNAL / FALL 2018

9


UPDATE

continued

> COLLEGE SPORTS MEDIA AWARDS

The Sports Video Group (SVG) and National Association of Collegiate Directors of Athletics (NACDA) joined forces at the SVG College Summit in Atlanta to honor the best in collegesports-video production during the 10th-annual College Sports Media Awards, sponsored by Ross Video. More than 400 entries were submitted for consideration in five categories (Live Game Production; Live Non-Game Production; Program Series; Special Feature; and Promotion, PSA, Tease, or Marketing Campaign) across four divisions (National Networks, Regional/Local Networks and Production Companies, Collegiate Athletics, and Collegiate Student). OUTSTANDING LIVE GAME PRODUCTION

National Networks

OUTSTANDING LIVE NON-GAME PRODUCTION

Turner Sports/CBS Sports | Men’s Basketball – 2018 NCAA March Madness Tournament

National Networks

Regional/Local Networks and Production Companies

Regional/Local Networks and Production Companies

BYUtv Sports | Men’s Basketball – San Francisco vs. BYU

Collegiate Athletics

Auburn University (War Eagle Productions) | Women’s Gymnastics – Auburn vs. Kentucky

Collegiate Student

University of Alabama (Crimson Tide Productions) | Softball – Samford vs. Alabama

ESPN | College Football Playoff Top 25

BYUtv Sports | BYU Basketball With Dave Rose

Collegiate Athletics

University of Notre Dame (Fighting Irish Media) | National Signing Day 2018

Collegiate Student

St. Cloud State University (Husky Productions) | Husky Faceoff

IN ASSOCIATION WITH

OUTSTANDING PROGRAM SERIES National Networks Pac-12 Networks | The Drive: Pac-12 Football – 2017 Season

Collegiate Athletics

University of San Francisco | Behind the Mask – Joey’s Journey

Collegiate Student

Regional/Local Networks and Production Companies

Ball State University (Ball State Sports Link) | Failure Is Not an Option

Collegiate Athletics

OUTSTANDING PROMOTION, PSA, TEASE, OR MARKETING CAMPAIGN

Longhorn Network | Texas GameDay

University of Central Florida | KnightFlix: A Season With UCF Football

Collegiate Student

Kennesaw State University | The Hoot – Kennesaw State OUTSTANDING SPECIAL FEATURE

National Networks

Turner Sports/CBS Sports | NCAA Final Four Feature – Loyola 1963

Regional/Local Networks and Production Companies Longhorn Network | Orphan No More

National Networks

Fox Sports | Fox Promo: Every Game Is Everything

Regional/Local Networks and Production Companies Longhorn Network | 2018 Longhorn Network Texas GameDay Campaign

Collegiate Athletics

Texas Tech University | Texas Tech Football 2017 Open

Collegiate Student

University of Alabama (Crimson Tide Productions) | Alabama Gymnastics: Auburn Meet Trailer <

Be Entertained. Be Informed. Be Inspired. The new CollegeSportsMediaAwards.com is your home for everything CSMAs, including an extensive video library of all of the winners and finalists of the competition from the past three years. Learn from some of the greatest storytellers in the business, check out the industry’s rising talent, and be inspired for new content ideas of your own.

Visit www.CollegeSportsMediaAwards.com to watch the best storytelling in the industry and to find information on how to enter the 2019 competition today! 10

SPORTSTECHJOURNAL / FALL 2018


UPDATE

continued

> SPORTS GRAPHICS FORUM MARCH 7 NEW YORK CITY Despite blizzard conditions outside, SVG’s Sports Graphics Forum heated up the Microsoft Conference Center in New York City on March 7, spotlighting the latest in sports graphics creation and technology — and the industry leaders responsible for bringing those graphics to air — in front of 180 attendees. The fourth-annual Sports Graphics Forum, which expanded to a full day in 2018, kicked off with panel discussions that addressed the latest technological advances and creative achievements

SVG’s Sports Graphics Forum drew a crowd of 180 attendees.

in broadcast graphics. The afternoon program split into two workshop tracks that offered a deeper dive into Graphics Design/Creation plus Graphics Technology and Augmented Reality. The highlight of the day was a Keynote Presentation by the 12

team responsible for Turner Sports’ ELEAGUE brand. Turner Sports’ Jordan Shorthouse, Sabrina Llenza, and Zach Bell were joined onstage by The Future Group’s Lawrence Jones to discuss the design, development, and expansion of the ELEAGUE brand to include an ever-growing collection of games; the introduction and integration of augmented reality; and the constant focus on fan engagement. Reflecting on the launch of ELEAGUE, Shorthouse, creative director, emphasized Turner Sports’ desire to build a strong brand that could be extended to other properties as they were acquired. In addition, respecting fan expectations regarding their favorite games was always top of mind. “It’s been a challenge designing overlays during game play,” he said. “It’s important that we stay true to the fanbase because they’re used to seeing graphics the way they’re used to seeing them.” Llenza, design director, echoed Shorthouse when discussing the creation of insert graphics. While eports fans have certain expectations about the look and feel of their favorite game, Turner Sports was tasked with translating that look and feel for television.

SPORTSTECHJOURNAL / FALL 2018

LIVE • VIRTUAL • VISUALIZATION

AN

FORUM

From left: Turner Sports’ Zach Bell, The Future Group’s Lawrence Jones, and Turner Sports’ Jordan Shorthouse and Sabrina Llenza, delivered an ELEAGUE keynote presentation on the design revolution of esports.

“You want to adapt them as best as you can to make them familiar to the game player, but at the same time, it is TV,” she said. “[Viewers] are not going to be able to read a lot of that stuff if we do it exactly the same way [as the video game], so it’s finding a happy middle ground.” Last year, Turner Sports began discussions on how the network could take its esports coverage to the next level. Wanting to do more than their current workflow allowed, Turner teamed with The Future Group and, in late 2017, introduced augmented reality to ELEAGUE. “Our goal for ELEAGUE is to create an amazing experience for the fans, one that we would want to see,” said Bell, senior CG artist. “But, more importantly, we are creating something that the fans really embrace and engage and connect with.”

The Future Group’s work with Frontier, a 3D visual effects solution, and Unreal game engine led to the creation of augmented-reality characters outside the game. Through an additional partnership with the companies responsible for creating the video games, Turner Sports and The Future Group were able to create characters that could move, interact with the set, and be viewed from multiple angles. “We want to place those characters that look a certain way in the game into the real world [and] we want them to look integrated,” said Jones, VP and head of operations, North America, for The Future Group. “Even though you know they’re not real, they’re stylistically right there and they’re believably planted in the real world, which is what we wanted to do.” <

For in-depth reports, full audio recaps, and photos from all SPORTS GRAPHICS FORUM panel discussions, visit www.sportsvideo.org


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UPDATE

continued

SPORTS VENUE PRODUCTION SUMMIT MARCH 13-14 ATLANTA Since the first renderings of the 360-degree halo videoboard were released three years ago, Mercedes-Benz Stadium promised to blaze a trail in in-venue video production and technology. On March 13-14, more than 230 attendees — including representatives from 12 NFL teams — traveled to Atlanta for SVG’s annual Sports Venue Production Summit to see the halo in person, and learn more about the gear and personnel responsible for powering it. The two-day event kicked off on March 13 with a behindthe-scenes tour of MercedesBenz Stadium. Attendees were invited inside the 1080p60 video-control room, which was integrated by Diversified and houses two Ross Video Acuity switchers, XPression Studio CGs, and Tessera software; an Evertz EXE IP router and DreamCatcher replay servers; ChyronHego graphics systems; and much more. On March 14, Mercedes-Benz Stadium Director of Stadium Production Jason Cothern paid tribute to a

roster of technological partners that also included Daktronics, Grass Valley, Canon, Riedel, CatDV, Telestream, Panasonic, IBM, and many others. “I want to thank all those partners that came and worked with us. We would not be here today with out you,” said Cothern, during his team’s opening presentation. “It wasn’t a vendor-client relationship, it was absolutely a collaborative effort and that’s why I call you partners, and not vendors. So I want to thank you.” Cothern, who joined the Mercedes-Benz Stadium team after five years with the Florida Panthers, laid out three of his biggest lessons learned during the venue construction process. First, he said, learn from your mistakes and bring your knowledge to the table. Second, leave your ego at the door. “Why not look at what other people are doing?” he said. “Why not try to be as good as them? Why not take an idea, enhance it, and make it your own?” Lastly, he said, surround

Mercedes-Benz Stadium’s Jason Cothern explains the video-production workflow to a tour group inside the stadium’s video-control room.

yourself with a great team. Cothern invited several members of his team to join him onstage, and recognized them individually: Lead Animator Joseph Blanco, Video Producer Julia Chongarlides, Chief Engineer Randy Cousar, Engineer Ben Dolinky, Graphics Producer Kevin Nawoichik, and Video Producer Steve Smith. He also recognized the tireless work of Pete Soto, senior director of game presentation for AMB Sports & Entertainment, who was unable to attend the event. “Surround yourself with a great team, which I absolutely did,” said Cothern. “This has been a big, big thing to launch this building with everything going on. And when I say team, that means differnet things. That means Ross, that means Daktronics, that means Evertz. Develop your team there, and More than 230 attendees attended the two-day event.

then content-wise, develop a team there. Pete and I come from old-school thinking; we like to do the content ourselves. But [we also had] to be realistic.” Rather than pile contentcreation work on their team, Cothern and Soto turned to Digital Kitchen, Lava Studio, The Famous Group, and Game Changer MVP to help shape the halo’s video presentation. “There’s no way I could have done this without this group,” said Cothern. Following the presentation, attendees were treated to panel discussions and presentations that ranged from the technical to the creative, and showcased the latest and greatest in sports-venue production and technology from a variety of professional teams, universities, systems integrators, venue consultants, and technology vendors. Throughout the event, the focus remained squarely on enhancing the fan experience. <

For in-depth reports, full audio recaps, and photos from all SPORTS VENUE PRODUCTION SUMMIT panel discussions, visit www.sportsvideo.org 14

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UPDATE

continued WORKFLOWS VIRTUAL MACHINES SAAS

> IP PRODUCTION FORUM MAY 9 NEW YORK CITY SVG’s first IP Production Forum since the initial SMPTE ST 2110 suite of standards was published drew a packed house of more than 220 industry personnel to the New York Hilton on May 9. Highlighted by a Morning Keynote by SMPTE President Matthew Goldman, who discussed the current state of ST 2110, the day-long event kicked off with an overview of how IP will transform our industry. Transitioning to IP is about more than just replacing baseband audio and video signals with packets and holds more transformative potential than simply additional capacity. When Game Creek Video rolled out Encore in 2015, adding capacity was the primary factor in building an IP truck. Now, with two more IP trucks on the road, the factors spurring IP adoption have evolved. “In Yogi and 79, it’s more about making sure we’re building an IP-safe environment for the future,” said Jason Taubman, VP, design and new technology, Game Creek Video. “We’re still

very much in an SDI world; we don’t yet have any edge devices in trucks that are speaking 2110. [But] we’re anxiously awaiting the arrival of all the edge devices that have native 2110 connectivity.” Earlier this year, NEP debuted EN3, the first truck in North America built around a SMPTE ST 2110 IP routing core. Scott Rothenberg, SVP, technology and asset management, NEP, laid out the benefits of IP: “We’re seeing some scalability, flexibility, ease of install, and future-readiness. The interoperability between manufacturers has been going very well, and, through the entire process, the interop tests have worked.” As truck providers leverage vendors’ expertise when installing and operating an IP infrastructure, vendors learn what the trucks and broadcasters are trying to accomplish and what they need to get their product to air. In addition, vendors are finding that IP enhances their technology — and, as a result, benefits end users — in ways

MAY 9, 2018 NEW YORK HILTON

From left: SVG’s Ken Kerschbaumer, Evertz’s Pamela Dittman, Lawo’s Johannes Kuhfuss, Sony Electronics’ Deon LeCointe, NEP’s Scott Rothenberg, and Game Creek Video’s Jason Taubman

they might not have foreseen just a few years ago. “The reasons we went IP three years ago are not the reasons that we go IP today,” explained Pamela Dittman, director, customer support, live sports productions, Evertz. “Then, it was all about capacity, and we weren’t taking into account some of the size of the actual equipment because we still had to convert everything back to SDI from IP. Now we’re starting to connect to edge devices; we’re starting to see that the weight and the size of the equipment going down.” For vendors like Sony, the industry-wide transition to IP is an opportunity to see how existing products can be enhanced through IP. “There are customers out there who have cameras that they’ve invested in, and they don’t want to throw all SVG’s IP Production Forum drew a crowd of 220 attendees.

that away just to make the transition from SDI to IP,” said Deon LeCointe, senior manager, sports and IP solutions, Sony Electronics. “We’ve really been focusing on how we augment their existing investment so they can take advantage of the IP curve.” Throughout the Forum, the transformative benefits of that transition were brought up again and again. But, the panelists agreed, the transition will require a rethinking of how events are broadcast and a move away from what has worked in SDI. “Try to think about production from an IP/ IT-centric point of view and not try to emulate the different workflows that we’ve been accustomed to in broadcast for the last 20 years,” said Johannes Kuhfuss, head of product management, Lawo. “You can start harnessing the advantages of scale, of cost, if you do that.” <

For in-depth reports, full audio recaps, and photos from all IP PRODUCTION FORUM panel discussions, visit www.sportsvideo.org 16

SPORTSTECHJOURNAL / FALL 2018


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UPDATE

continued

> RSN SUMMIT

The Palmer House Hilton •June 26-27, 2018 • AN

JUNE 26-27 CHICAGO As the regional-sportsnetwork industry experiences a seismic change on multiple fronts, more than 220 RSN leaders, content creators, and technology manufacturers convened at the Palmer House Hilton in Chicago for SVG’s third-annual RSN Summit to discuss their most pressing challenges and exciting opportunities that lie ahead. Setting the stage for the twoday event, NBC Sports Regional Networks’ Ted Griggs and NESN’s Sean McGrail shared their thoughts on the state of the RSN industry. And with the news that the Department of Justice would approve The Walt Disney Company’s bid for 21st Century Fox’s entertainment assets on the condition that Fox divest its RSNs breaking during the event, their industry observations were especially timely. However, said Griggs, industry rumors shouldn’t detract from what’s most important: connecting fans with their favorite teams. “At our level, if you pay attention to rumors in the

industry, you’ll never get anything done,” said Griggs, president, group leader and strategic production and programming for NBC Sports Regional Networks. “The great thing about the people in this room, and the people that I work with, is that we have to get things done every day. We just put our nose down and try to get today’s game or show on the air, today’s program on your phone or the internet, and let other people worry about that.” AT&T Sports Networks President Patrick Crumb offered his thoughts on the state of the industry the following day, touting the success of his group’s RSNs and teams. In addition to having the rights to the World Series Champion Houston Astros, AT&T Sports Networks added the surprise Stanley Cup Final contender Vegas Golden Knights to its portfolio this year. “We continue to feature the teams very heavily in the graphics, as opposed to our brand, which [the teams] appreciate,” said Crumb. “Our

EVENT

From left: SVG’s Jason Dachman, NBC Sports Regional Networks’ Ted Griggs, and NESN’s Sean McGrail spoke on Day 1 of the RSN Summit.

philosophy is, the team is the star, so honor the star. That’s why people want to be with us.” The three presidents also weighed in on the evolving distribution landscape for the RSN industry. As RSNs are tasked with delivering more content than ever before, so too are they looking beyond traditional linear distribution models and embracing digital platforms. And with fans increasingly choosing to watch on their digital devices, the question of rights arises. NBC Sports, with the Portland Trail Blazers, recently launched a direct-to-consumer offering featuring a package of selected Blazers games live streamed on NBC Sports Gold app. “For us, the most important thing out of the Trail Blazers experience was knowledge,” said Griggs. “We learned a lot The RSN Summit drew more than 220 RSN leaders.

of things about the customer. In the old days of television, we were the gatekeepers and we decided what the viewer was going to see. If we were lucky, we were talking to them, but most of the time we were talking at them. Now, we have to talk with them and listen to them.” For now, fans will continue to rely on their local RSN for their game coverage and team access. And while the metrics of how viewership is measured will change when out-of-home ratings become a reality, the three presidents reiterated the value of each RSN in its home market and its role in serving as a link between teams and fans. “The RSN is really the lens that teams are viewed through in your local area,” said McGrail, president of NESN. “You’re not only broadcasting games, you’re crafting a message and trying to project what that team wants to be and the culture they possess.” <

For in-depth reports, full audio recaps, and photos from all RSN SUMMIT panel discussions, visit www.sportsvideo.org 18

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UPDATE > SPORTS CONTENT MANAGEMENT & STORAGE FORUM

Westin New York at Times Square • July 25, 2018

JULY 25 NEW YORK CITY At the 12th-annual Sports Content Management & Storage (SCMS) Forum, a wide range of mediaasset–management (MAM) leaders representing major broadcasters, leagues, teams, OTT outlets, and vendors took to the stage to give first-hand perspectives and behind-thecurtain looks at their respective workflows. More than 300 attendees learned about the latest in MAM workflows and content-storage technologies. This year’s expanded program also featured a Cybersecurity and Content Protection Workshop, which aimed to provide attendees with insight into how to better protect their facilities and prevent online piracy. The day-long Forum opened with a panel discussion on Cost Reduction vs. Revenue Generation, moderated by this year’s SCMS Committee Chairman Mark Haden, VP, engineering and IT, MLB Network.

“Each year, we see technical innovation that drives change,” he said. “These changes enable us, as technologists, to improve our workflows and the speed in which our stories can be told with a rich supply of content and statistical data.” Content-management teams must balance the demands of cost reduction and revenue generation while developing new infrastructure and MAM workflows. Joining Haden on the panel, Brad Boim, director, post production, asset management, and media services, NFL Media, described continually upgrading NFL Media’s facilities while looking to the future of contentmanagement and -storage technology as the Rams’ new stadium in Inglewood, CA, takes shape. “We’ve been in our current space for about 15 years, and it’s been upgrade, upgrade, upgrade,” he noted. “We’re still doing that right now, but looking ahead to 2021 and the Inglewood stadium facility — to steal a line from [Avid Sales Director, Sports, NBC Sports and Olympics’ Darryl Jefferson delivered the keynote presentation on the 2018 Olympic Winter Games.

20

SPORTSTECHJOURNAL / FALL 2018

The Sports Content Management and Storage Forum drew a crowd of more than 300 attendees to the Westin Times Square.

North America] Doug Price — it’s more of a ‘brownfield’ opportunity, rather than a greenfield opportunity, because we don’t even know what the field is going to look like quite yet.” With a little under a year to go until the ACC Network launches, ACC Associate Commissioner, Advanced Media, Scott McBurney weighed in on the challenges of building a MAM system that addresses the needs of every conference member institution — in particular, producers who want to be able to access any piece of content at any time. “The challenge is the ‘save everything’ philosophy,” said McBurney. “It is the significant part of what this potential MAM will be for us. Our schools that make up the ACC are producing a large amount of live content throughout the course of the academic/athletic year, and so being able to share that footage quickly will be the key. It’s not so much longterm storage; it’s going to be some sort of defined amount

of storage built with the intent that the schools can manage it.” For Vox Media, the additional challenge is working with, and gaining the trust of, its networks that may want to have their content immediately accessible on a storage area network (SAN) rather than a deeper archive, despite the ability to call content out of the archive and free up valuable SAN space. Sarah Semlear, director of post production and video operations, discussed this process while also shedding light on company’s efforts to build a new MAM system. “With the OTT networks, some of them [believe they] need to keep all of their content on the SAN all at one time, and we don’t have the space for that. It’s been a little bit of a struggle getting them to trust us that it will come back,” she said. “When the MAM is in place, those systems will be automated, and networks won’t necessarily know where their content is. They’ll just be able to access it.” <

For in-depth reports, full audio recaps, and photos from all SCMS FORUM panel discussions, visit www.sportsvideo.org


UPDATE

continued

> SPORTS OTT FORUM JULY 26 NEW YORK CITY The inaugural SVG Sports OTT Forum, which took place on July 26 at the HBO Theatre in New York City, brought in-depth conversation and networking to the live–sportsstreaming industry. More than 200 attendees discussed such topics as OTT product offerings, direct-to-consumer business strategies, latency, security, and much more. The event kicked off with a broad look at the current state of the financial and technological challenges and opportunities that face the live–sports-streaming space in the U.S. by streaming-media expert Dan Rayburn. From there, a panel of marquee executives shared their plans, hopes, and dreams for the present and future of sports media in an OTT environment. Participating in the session were Eric Black, CTO, NBC Sports Digital and Playmaker A packed crowd filled the room for the All-Stars of Multiplatform Sports Content Distribution panel.

Media; Sung Ho Choi, co-founder, fuboTV; Skip Desjardin, head of sports and local content, YouTube TV; Zach Leonsis, SVP, strategic initiatives, Monumental Sports and Entertainment; and Chris Wagner, EVP, NeuLion. Attendees were also treated to a look at some of innovative ideas from some of the nation’s most successful sports leagues. Representatives from NASCAR, the NBA, and WWE discussed current offerings, plans, and marketplace challenges. Brian Herbst, VP, global media strategy and distribution, NASCAR; Christine Pantoya, SVP, direct to consumer and mobile strategy, NBA; and Jared Smith, SVP, digital products, WWE, shared ideas for new successes in the mobile and streaming worlds, both domestic and international. The event also featured a series of in-depth case studies offering updates on industry-altering services and platforms designed to push the content envelope

PRESENTS

SPORTS

OTT FORUM

From left: SVG’s Ken Kerschbaumer chats with Streaming Media Expert and Industry Consultant Dan Rayburn.

in new ways. Hania Poole, GM, Bleacher Report (B/R) Live, and SVP, NCAA Digital, offered a look at the strategy and build-out process for the newest OTT sports service, B/R Live. David Bailey, senior digital research manager, Formula 1, presented data findings that helped shape the creation of one of the newest OTT products: F1 TV. Melissa Lawton, an expert in live– sports-production strategy for Facebook, updated attendees on the latest in best practices on live-streaming events to the social-media platform. Eric Black joined Darryl Jefferson, VP, post operations and digital workflow, NBC Sports and Olympics, for an inside look at how digital and streaming are worked into the day-to-day life of a traditional broadcast giant. Technology and the companies creating the tools that are moving sports-video viewing into its next generation

also got stage time. Latency and quality of service of live sports streams were addressed by a panel featuring Aditya Ganjam, chief product officer, Conviva; Jason Hofmann, VP, architecture, Limelight Networks; and Kiran Patel, solutions marketing manager, AWS Elemental. Security and combating piracy were also dissected in a talk with Prenil Kottayankandy, principal solutions engineer, Akamai; Mark Thames, Americas security partner leader, Juniper Networks; Harrie Tholen, VP, sales anti-piracy/GM, NexGuard, Nagra; and Jason Thibeault, executive director, Streaming Video Alliance. Attendees also heard from Ben Bloom, director, professional services, media and entertainment, Akamai; Karan Singh, director, product management, Sony New Media Solutions; and NeuLion’s Wagner. <

For in-depth reports, full audio recaps, and photos from all SPORTS OTT FORUM panel discussions, visit www.sportsvideo.org 22

SPORTSTECHJOURNAL / FALL 2018


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UPDATE

continued

> INITIATIVES & GROUPS Following the successful Sports Venue Production Summit at Mercedes-Benz Stadium in Atlanta (page 14), SVG’s Venue Initiative hit the NAB Show floor in Las Vegas with its popular Venue Booth Tours. In December, SVG Venue Initiative will host the Venue Production Workshop on Day 1 of the SVG Summit in New York City.

management, AI, and the cloud. In April, the Sports Content Management & Storage (SCMS) Workshop at the SVG Chairman’s Forum provided an intimate roundtable discussion for content management leaders to exchange ideas and stay up to date on the latest technological developments. In July, the 12th-annual SCMS Forum in NYC drew more than 250 attendees (page 20). The Sports Content Management Workshop will take place on Day 1 of the SVG Summit in New York City this December.

streaming • social • mobile • data

It’s been another busy year for the SVG SUMMIT College Initiative. The annual SVG College Summit invaded Atlanta again this summer for another two days filled with networking, strategy, and technology (page 8). On November 1, the SVG College Regional Event Series will continue its trek around the country, bringing the video-production community together at Duke University’s Wallace Wade Stadium for SVG College: Carolina. The team from Blue Devil Network will take guests on a tour of their brand-new video production facilities built to support the renovated football stadium as well as the upcoming ACC Network partnership with ESPN.

SVG continues to serve the informational and networking needs of its members in the Sports Content Management community through multiple events held in 2018, which covered a wide variety of topics related to storage, media asset

Digital-media executives from cuttingedge organizations such as the NBA, F1, WWE, NASCAR, NBC Sports, Turner Sports/Bleacher Report, Facebook, fuboTV, Monumental Sports and Entertainment, YouTube TV, and many more gathered to tackle the big issues facing the future of the sports media distribution industry this summer at the first SVG Sports OTT Forum (page 22). Next, the SVG Digital community will meet at a special workshop on December 10, co-located at the SVG Summit in New York City.

SVGW returned to the NAB Show in Las Vegas, hosting more than 70 women for a networking lunch that featured an interactive presentation entitled “Unconscious Gender Bias in the Workplace,” led by Big Sky Consulting’s Lisa Gillette. SVGW will host its annual meeting on December 10 in New York City, which kicks off the SVG Summit.

On October 18, the DTV Audio Group Forum was held at AES in New York City. With “Television in Transition: Expanding the Possibilities for Audio” as its theme, the Forum addressed several topics, including quality, surround virtualization, infrastructure and workflow for next-generation audio, and the wirelessspectrum crunch. The group will host its annual Audio Production and Distribution Workshop on December 10 in New York City, in conjunction with the SVG Summit.

PRODUCED BY

In an effort better serve the sportsproduction community coast to coast, SVG Regional Platinum Series meetups focus on major markets across the country. In recent years, SVG hasvisited Colorado (Pepsi Center, University of Colorado’s Folsom Field, and other locations), Florida (PGA TOUR Entertainment HQ), Los Angeles, San Francisco (Pac-12 Networks HQ), and Toronto. Stay tuned for more SVG Regional Platinum Series meetups in 2019.

SVG’s Veterans in Production program has been revamped to make it easier than ever for sports networks, production companies, and manufacturers to hire military veterans. Volunteers within SVG can help you and your HR team build relationships with your local veterans organizations so that, when job opportunities arise, a qualified veteran can be considered a candidate. For more information, please contact Ken Kerschbaumer at kenkersch@ sportsvideo.org. <

For more on SVG’s Initiatives and Groups, visit www.sportsvideo.org/initiatives 24

SPORTSTECHJOURNAL / FALL 2018


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LIVE FROM THE

2018 FIFA WORLD CUP I

t was a FIFA World Cup of firsts, whether it was first-time rights holders like Fox Sports and Telemundo, first-time production techniques like a unified UHD and HDR production, or first-time technologies like VAR. The SVG and SVG Europe teams were onsite in Moscow, interviewing various rightsholders at the IBC and Red Square, as well as the FIFA TV staffers at the center of the production. On the following pages you’ll find exclusive All LIVE FROM THE 2018 FIFA WORLD CUP photos by Carrie Bowden behind-the-scenes photos and reports from the world’s greatest sporting event. And for more For in-depth reports, video interviews, photos, from Russia, check out SVG’s SportsTechLive and much more, visit www.sportsvideo.org Blog: Direct From the 2018 FIFA World Cup! 26

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2018 FIFA WORLD CUP > FOX SPORTS

Fox Sports Deploys Largest Production Effort Ever in First Men’s FIFA World Cup By Ken Kerschbaumer and Brandon Costa

E

ver since launching in the early 1990s under the charismatic direction of President David Hill, Fox Sports has made a habit of shaking up and disrupting the sports-media business in the U.S. You could say it’s in their DNA. That tradition continued this summer when, for the first time in network history, Fox Sports carried live English-language coverage of the FIFA World Cup for audiences in the U.S.

Fox Sports Digital on-air talent Rachel Bonetta (right) interviews USWNT head coach Jill Ellis at Fox Sports’ studio set at Red Square in Moscow. (Photo courtesy of Fox Sports)

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Fox Sports rolled out an impressive production effort in Moscow and around the globe, broadcasting every match live across Fox, FS1, and Fox Sports Go. And while the tournament itself lasted only a month, the effort, which involved the entire Fox Sports family, was years in the making. The core World Cup efforts were centralized in Moscow, with Fox Sports teams at the International Broadcast Center (IBC) and the main studio at Red Square. But that was just the beginning: talent and technicians worked at each of the venues, and a large team back home in Los Angeles handled

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match control, editing, and other duties. The key was leveraging the work done by FIFA and HBS to provide comprehensive match coverage, technical infrastructure, and production services. “At the end of the day, I think the product Fox Sports has put on with the help of HBS has been fantastic and second to none,” said Kevin Callahan, VP, World Cup operations, Fox Sports. “And that’s what it should be.” At the center of the IBC operations was a production-control room that was focused on match coverage and prepped the signal before it was sent to Los Angeles, where the master-control team readied it for delivery to viewers. An important part of the ecosystem was 10-Gbps circuits between Moscow, Frankfurt, and Los Angeles, as well as 1-Gbps circuits between the venues. Those circuits allowed the Fox Sports team to embrace remote production and home-run productions. With much of the creative team for World Cup Tonight in Los Angeles, the challenge for the team was to make the workflows as seamless as possible. “We didn’t want to hamper the creativity of what the team can be doing in Los Angeles,” said Callahan. “We wanted to give them everything.” That meant changing some workflows that had been used at the 2015 Women’s World Cup and the 2018 Confederations Cup. At those events, ingest and live-playback operations were combined. For the 2018 World Cup in Russia, those groups operated independently, and the ingest team had its own area within the IBC. There were only two edit bays at the IBC with between nine and 17 bays in Los Angeles concurrently running Adobe After Effects and Premiere. The Telestream Lightspeed Live, Vantage mediaprocessing platform, and Telestream cloud services were in use and allowed up to 60 simultaneous record channels in the IBC, with more than 25-55 TB of material uploaded every day to Amazon Web Services in Frankfurt via a 10-Gbps circuit. Once on the AWS service, the content was available to the team in Los Angeles. Also, three of the core feeds from FIFA were sent directly to Los Angeles via 220-Mbps streams.

Fox Sports’ Kevin Callahan

From left: Fox Sports’ Chris Swan, John Daigle, Mike Carnow, and Brandon Potter inside the Fox World Cup ingest area in Moscow

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2018 FIFA WORLD CUP > FOX SPORTS One of the resources FIFA made available to rightsholders was FIFA Max Server, which offered a wealth of content. The clips also were available to the team at Fox Sports’ Pico broadcast facility via Levels Beyond Reach Engine. That system allowed the team in Los Angeles to look at low-resolution proxy video and select a clip that could then be sent over at full resolution. The ingest team’s work also extended to the venues. Creative Mobile Solutions (CMSI) provided remote–point-of-capture (RPOC) systems located within the Fox Sports remote kits. Those systems allowed any of the six ENG crews that Fox had roaming around Russia to plug a card into the system, call the team at the IBC, and have the team transfer the content from the card to the servers in the IBC. CMSI also oversaw the Fox Sports Assignment Desk’s use of LiveU bonded-cellular transmission systems. continued on page 34

Fox Studio Operations Embrace AR, Home-Run Production

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ne of the centerpieces of Fox Sports’ coverage of the 2018 FIFA World Cup was the network’s studio at Red Square. With its backdrop of the Kremlin and St. Basil’s Cathedral, the studio gave Fox Sports and its production team and talent exactly what they needed. “We wanted to be in the center of Red Square, and HBS was able to secure this location, which is the signature spot and stamp of Russia itself,” said Rod Conti, VP, World Cup operations, Fox Sports. “And we worked to get as individual of a look as we can within our walls, running two shows a day and then working with other affiliates like Fox Sports Brazil, Sky Deutschland, and others.” The World Cup, like the Olympics, requires coordination with the host-broadcast operations as well as with other rightsholders. As a result, the Fox studio was located next to a two-story complex where other rightsholders — the BBC, ITV, Telemundo, SBS, TV Azteca, and others — also had a presence. The studio measured 27 x 35 ft. and offered a number of looks, thanks to the backdrop of Red Square behind the set; a small patio; and a large Sony Crystal LED Integrated Structure (CLEDIS) display, which offered 180-degree viewing angles so that even the fans outside the studio could watch matches being played on the screen for the talent. The original plan was for a two-floor studio facility, but that eventually was reduced to one floor with an expanded backof-house area, so the onsite production team could be close to the talent and studio. Audio operators, camera shaders, and those involved with the robotic controls and augmentedreality elements were all onsite. Mark Roberts Motion Control provided camera support for Fox Sports telecasts, and fully robotic Sony HDC-4300 cameras supported both shows from multiple positions. In addition, a fully automated Studio Bot was also onsite, with 240-degree range. Canon also played a role in the studio operations: its onsite support group was busy ensuring that the lenses operated to the best of their ability. The Fox Sports team at the studio comprised 175 people working in two shifts. The studio was a beehive of activity

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The Fox Sports studio in Red Square included elements that showcased Russian culture. from around noon to 3:30 or 4:00 a.m. on match days, and the team onsite was complemented by a team at the IBC that produced FIFA World Cup Today and a team in Los Angeles that produced FIFA World Cup Tonight. With the show cut remotely, there was no need for a production-control room onsite at Red Square. Two 10-Gbps circuits were used to send nine camera signals and audio signals to the IBC with the help of six Lawo V remotes. There were also 65 feeds coming back to the studios. The studio was designed by JHD Group, led by Jeff Hall, working closely with Gary Hartley, EVP, graphics, Fox Sports. According to Conti, one of the goals was to create a studio look that reflected not only the Fox Sports brand but also the nation hosting the event. Handmade and commissioned elements, such as hand-blown glass pieces suggesting different aspects of Russian culture, lined the walls of the studio. AR was another big element in the studio. Stype’s Red Spy camera tracking system could begin tracking within 20 seconds of being turned on and required no calibration. A Vizrt graphics system inserted the AR elements. — KK


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2018 FIFA WORLD CUP > FOX SPORTS Fox Sports’ World Cup EP David Neal Is Proud of the Coverage

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or the entire team at Fox Sports, the 2018 World Cup was the culmination of years of effort, planning, and dreaming. David Neal, executive producer of Fox Sports’ FIFA World Cup coverage, oversaw just about all of it since joining Fox in 2012. With a career spanning nearly four decades, Neal has worked on nine Olympics for NBC Sports and understands the world of global sports-event coverage. He sat down with SVG during the World Cup to discuss the journey. How does the World Cup compare with the Olympics? It’s very similar to the Olympics; the big difference is it is one sport. With the Olympics, you are juggling all of the different venues, and part of your daily task is to orient the viewers to what they are going to see that day. Here, viewers know what they are coming in for, and that is world-class soccer. So that’s a big difference. One of the big news stories coming into this World Cup was not having the U.S. team qualify. How did that impact preparation? I think it made us more global. I honestly think that, as the planets have aligned in this tournament, and it has become a tournament of upsets that doesn’t follow form, the viewership numbers at home show that it is resonating with viewers. They love seeing something like Japan making a run at Belgium and then Belgium showing world-class form to win. The dividend from our not having to plan for the U.S. team is we have been more open to the entire picture. I think we have been better able to tell the stories of all these countries that don’t have the red, white, and blue in them. And we are more well-rounded as a production unit because we had to look at the whole field. What are some of your lessons learned with streaming that allow people to tune in from anywhere? It’s like night and day. The streaming nature and availability of everything we are doing has been a game-changer. And now that we are able to combine numbers so that you get a sense of overall views, it’s not just the TV viewers but online as well. When you aggregate that number, it is pretty breathtaking. This tournament, this format, and this sport are ideally suited for a more robust streaming environment. The time zones force a lot of people during the day, when they are trying to get some work done, to keep an eye on the tournament. But technology has made it much more reliable, and, if someone has a moment to watch the match at 10:30 a.m. at their desk, the technology is not going to be a problem. Even just four years ago, there is evidence that it wasn’t that easy to do: it wasn’t just one app or one button; you had to jump through two or three hoops. But now the Fox Sports app is so welldeveloped that it is one button, and that is hugely important. What has it been like working with HBS and FIFA? HBS is the gold standard, they absolutely are. From [CEO] Francis Tellier to [Chief Content Officer] Dan Miowdownik to [CTO] Jörg Sander, they understand television and how it

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Fox Sports’ David Neal: “Anybody who watches us for more than five minutes, whether they like our product or not, comes away with a sense that Fox Sports really, really loves soccer and the World Cup.” can showcase the sport better than anybody. One of the big differences between the Olympics and the World Cup is that, at the Olympics, if we wanted to put 15 cameras in swimming because we wanted to see everything Michael Phelps did, the IOC didn’t care. But here it is the exact opposite: FIFA wants the same game coverage to be seen around the world. And, frankly, when you look at the pictures that HBS is cranking out, why wouldn’t you want that? They have 37 cameras at every venue, so it would be preposterous for us to try to intercut our own cameras and replays when they are giving everyone such a high level of reliable coverage. How does not having to worry about the core product change the way your team operates? It allows us to create our own identity and footprint in the studios and the shoulder programming because, obviously, the only thing we can do on the games is put our voices on it and control the drop-downs. But FIFA and HBS encourage us to make our studio facilities fit and suit our needs. We are the only ones in Red Square with our own footprint, and that came about because we expressed to them how important that was to us. It was very important to us to have our own location and our own environment for what our viewers expect. At the same time, they built a terrific venue at Red Square and environment for other broadcasters, so they really are flexible and take broadcasters’ needs in mind with their decision-making. How have your teams in Los Angeles and Russia stayed on the same page? It’s a far-flung operation, and one of the things in TV that you enjoy is being able to sit, whether in a meeting room or at a meal, with your colleagues and talent. Some of that is made more difficult by being 8,000 miles away from Los Angeles, where the editing operations are, but that has been a trend for more than a decade. Even here, having the IBC not even 20 miles from Red Square is difficult. But we have Zoom so everyone can see each other, and everybody has adapted to it. Any final thoughts on the 2018 World Cup? This sport is its own culture and passion, and you hear it in our daily meetings, not only from the talent but the production people who love this sport. That love is reflected in our on-air product. Anybody who watches us for more than five minutes, whether they like our product or not, comes away with a sense that Fox Sports really, really loves soccer and the World Cup. I love that, and it is a great environment to be working in. — KK This interview has been condensed and edited. For SVG’s full interview with David Neal, visit www.sportsvideo.org.


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2018 FIFA WORLD CUP > FOX SPORTS continued from page 30 Fox Sports also deployed 10 RTS intercom frames running with OMNEO: one at the IBC, one at Red Square, one in Los Angeles, one at match control, and one each in the six remote kits. The six were coupled with the RTS ROAMEO wireless intercom system for more flexibility, and, if necessary, the system could always revert to analog for backup. Backups and redundancy played a big part at the IBC. CenturyLink was on hand managing redundant fiber paths, and there was also a backup that had a similar look to the main studio at Red Square. “This is the largest event in the 24-year history of Fox Sports,” noted Callahan, “so we want to do everything we can to stay on-air.” Similar to the Olympics, the World Cup is one of those events where the rightsholder has a lot less control over the match coverage than viewers at home might expect. That lack of control also is a challenge for production professionals accustomed to putting their own stamp on coverage. “It can be difficult to get some people into the mindset [that they don’t have full control], but, when you put it in perspective, each match has a minimum of 38 cameras, which is the equivalent of an NFC Championship game for us,” said Callahan. “They are bringing a level of production to every match that allows us to focus on the storytelling and what we want to do at halftime.” continued on page 36

Fox Sports’ Social Team Sees Big-Time Success With Twitter, SnapChat

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he Fox Sports digital and social team in Russia at the 2018 FIFA World Cup packed one heck of a punch.

The largest linear-television production in the history of the company truly tested the limits of the entire company, and that meant a level of social output unlike anything the network has done before and content across all the major social-media platforms: Twitter, Snapchat, Facebook, and Instagram. “We want people to know that the World Cup is happening even if it’s happening half a world away,” said Michael “Janko” Jankolovits, senior director, video content, production, Fox Sports, who is located at the IBC in Moscow. “We’re not going to stop putting out content.” FIFA World Cup Now, Fox Sports’ Twitter-exclusive show hosted by Rachel Bonetta, proved to be a winner and continued to pick up steam as the tournament rolled into the Knockout Stages. By July 1, the nightly, half-hour program had racked up 4.8 million views. FIFA World Cup Now grew out of a direct partnership with the social-media platform and tasked Fox Sports with coming up with a unique show with a socialfriendly slant to recap the day’s action. “I actually wanted it to be an extension of everything that was being done on broadcast television,” said Janko. “It’s a little bit counter-intuitive from what we typically try to do on the digital side, but this operation is so big and so impressive, why would we reinvent the wheel when all of the [production] is going to be so state-of-the-art? Rachel really is our difference maker. She’s dynamic, savvy on digital and social media, and connects to that coveted younger audience.” Fox Sports’ Snapchat efforts were also fruitful, the stories

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From left: Fox Sports’ social team featured Daniela Mayock, Michael “Janko” Jankolovits, Fernando Cardoso, and Ben Wesorick. pulling in more than 20 million unique viewers in the U.S. (as of July 1), 70% of which were users under the age of 25. Two Snapchat staffers were onsite, mostly roaming throughout Moscow acquiring content, but they had dedicated office space in Fox Sports’ portion of the IBC. According to Janko, Fox Sports Digital had a new team actually dedicated to creating stories for Snapchat. Fox Sports Digital had digital rights to highlights of the event it was covering, which is not typically the case. The rights might apply to only two minutes’ worth of coverage per day, but that allowed the team to produce the “90 In 90” segment — a 90-second recap of each match — and save the extra 30 seconds for other event content, such as funny or socially engaging moments. It certainly didn’t stop Fox Sports from using loads of the digital content and what was made available through Host Broadcast Services’ FIFA MAX content funnel provided to all rightsholders. The onsite social team at both the IBC and the Fox Sports set in Red Square included Janko, along with tech ops and graphic producer Daniela Mayock, editors Fernando Cardoso and Ben Wesorick, Bonetta, and talent producer/ writer Ryan Kurutz. — BC


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2018 FIFA WORLD CUP > FOX SPORTS

> From left: Fox Sports’ studio analysts Rob Stone, Ian Wright, Kelly Smith, and Alexi Lalas. (Photo courtesy Fox Sports) continued from page 34 He noted that the relationship with FIFA and HBS had been evolving since Fox Sports won the rights to the World Cup. “We have been in lockstep with all of their technology initiatives,” said Callahan. “We were excited that they had 1080p because it helps with our 720p output, and then the Gigabit services allow us to move a lot of things on the network — like audio, video, data — and push files out to the matches.” NEP’s presence at the World Cup extended across a wide number of clients, and, at the IBC, Fox Sports U.S., Fox Sports Brazil, and Telemundo relied on the remote-production–services provider as the backbone of their technical facilities. The NEP presence for Fox Sports was anchored in the IBC with an Imagine 450 x 650 Imagine IP3 router at the hub supporting a production-control room, audio room, EVS replay area, and ingest area. It also supported a technical-manager area for signal switching and managing the CenturyLink circuits that allow the Fox Sports team at the IBC to connect to the studio at Red Square in Moscow and to Fox Sports in Los Angeles. At the core of the production-control room was a Grass Valley K-Frame Kayenne production switcher. A second K-Frame S series was used to insert graphics and commentary into the UHD feed, which is sent to the U.S. fully produced and ready for distribution. EVS gear also played a big part: on hand were 13 EVS XT3 replay servers, 17 EVS XTAccess units for transcoding, 14 EVS IPDirectors, EVS DB servers, and EVS XFiles. Telestream Lightspeed encoders played a crucial role for the facility, which operated in 1080p at 50 fps. NEP gear at the studio in Red Square included the cameras and related support gear as well as the Lawo V Remote IV units handling transport of audio and video signals to the IBC. The big leap was the move to 1080p/50 as a house format, and the biggest issue was that the 3G transport of 1080p signals could be one of three formats — Level A and Level B dual link, and Level B dual stream — and not all equipment supported all three. At the IBC, Fox Sports operated in Level A, which was the direct mapping of uncompressed 1080p at 50 fps. Long in the works, the World Cup project was a bit of a marriage between the NEP UK team and the Fox U.S. team, which also did some of its own integration work. For example, Fox Sports shipped over some preconfigured racks of equipment for outbound-circuit support that it had assembled at its Charlotte, NC, facility. While the NEP team was busy handling the integration work at the IBC and for the remote flight kits at each stadium, the Bexel teams in the U.S. was busy building and integrating two temporary control rooms in Fox Sports’ Pico facility. In the match-control rooms, the match output from Moscow was integrated with graphics and a final audio mix, a move that Callahan said gives the coverage more consistency. 36

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2018 FIFA WORLD CUP > FIFA TV

FIFA TV Delivers Wealth of Content to Rightsholders, Fans By Ken Kerschbaumer

T

hroughout the 2018 FIFA World Cup, the FIFA TV production team continued to refine its workflows – not only from 2014, but also from stage to stage. Like the athletes themselves, the team aimed to build off the previous match and become stronger and more capable.

The master-control area in the FIFA World Cup IBC

“The overwhelming positive feedback we are receiving from our media-rights licensees, as well as the impressive take-up of the new offerings, makes us believe we had made the right technical and editorial choices,” said Florin Mitu, head of host broadcast production, FIFA. “We [have] a passionate commitment to continue offering offsite viewers the best possible seat in the house.” The IBC itself was located in the Crocus Expo International Exhibition Center northwest of Red Square, which was another primary location given the presence of rightsholder studios. The IBC was once again a massive place, with 54,000 sq. meters of raw indoor space, 8,613 sq. meters of multilateral areas, and 9,054 sq. meters for the unilateral production teams. The production center measured 3,329 sq. meters and housed seven studios for Fox U.S., Fox Brazil, Telemundo, Televisa, Caracol TV, TYC Sports Argentina, and CCTV. The production team at the IBC in Moscow included 40 ENG crews (comprising 120 people) covering each team and gathering footage from practices, interviews, location beauty shots, and more. And, of course, there were the Host Broadcast Services (HBS) technical and production teams at each of the 12 venues. Once again, the teams operated out of Equipment Room Containers instead of traditional remote-production trucks. The core production plan for FIFA World Cup match coverage called for 37 cameras to be used for each match, with the addition of two behind-goal pole cams for the knockout rounds. New this year at the IBC was the first use of Video Assistant Referees, centrally located at the IBC in Moscow. Also new at the IBC were two Infotainment galleries, removing the need to have dedicated in-venue videoboard operations at each stadium. The UHD/HDR efforts at the FIFA World Cup had two layers of production formats in use: a core layer comprised cameras operating in 1080p/50 SDR mode (REC.709) with HD graphics; an enhanced UHD layer operated at 2160p/50 HDR (BT2020) without graphics. The HDR production format was OETF Slog3/Live, and the UHD continued on page 42

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2018 FIFA WORLD CUP > FIFA TV FIFA’s VAR Makes Its Eagerly Awaited Debut

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he FIFA World Cup is an event that breeds videotechnology innovation. And this year, no innovation had a more profound effect on this tournament than the debut of Video Assistant Referee, or VAR. It was the talk of the tournament and reviews from across the soccer world were overwhelmingly positive, especially as the tournament progressed. The system was largely effective and helped bring clarity to many plays — especially those in the box that lead to penalty kicks — that may have bogged down previous tournaments. VAR, which FIFA began testing at the FIFA Club World Cup 2016 in Japan, had the benefit of learning from similar implementations by domestic leagues in Germany (Bundesliga), Italy (Serie A), and the U.S. (Major League Soccer). “We had the big advantage of being able to learn from all of these experiences,” said Sebastian Runge, group leader, football innovation, FIFA, during the tournament. “We were in close contact with all of these different leagues to try to pull all of that learning together to come up with this setup. So far, we are very happy.” How Does VAR Work? There were two VAR control rooms at the IBC in Moscow, with two full VAR stations in each. Each station has numerous monitors, including the live match feed, various isolated feeds, and playback. Each VAR team comprised the lead VAR and three assistants: AVAR1, AVAR2, and AVAR3. All were licensed FIFA match officials. The lead VAR’s job was to watch the main-game-camera feed and, on a quad-split touchscreen monitor that he controls, review incidents when action calls for it. The lead VAR was the only member of the team in the control room who could recommend that the lead official make an official review, but ultimately, the on-field officials made the call whether to head to the sidelines to use a monitor stationed at each venue. As for the AVARs, AVAR1’s job was to also monitor the main game feed, particularly when the VAR needs to look away from live action to review a replay. AVAR2 was positioned at a station dedicated to covering offsides. AVAR3 watched the live match feed of the Host Broadcast Services (HBS) production while also providing support on communications between the VAR and the on-field official. What Video Feeds Does the VAR Have Access To? All 12 stadiums across Russia were connected via fiber to the IBC and the VAR control room. Inside the control room, the VAR team had access to all the individual camera feeds generated by HBS to produce the live match. That included eight super-slow-motion feeds, four of which were ultra-slowmotion. There were also two locked-off cameras to monitor offsides. The camera complement expanded as the tournament moved into the knockout stage. At that point, an ultraslow-motion pole camera was added behind each net. The only feeds that the VAR control room did not receive were

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FIFA’s Sebastian Runge played a key role overseeing implementation of VAR at this year’s FIFA World Cup in Russia. those deemed unnecessary, such as the aerial camera from the overhead helicopter, the beauty-shot camera, and any interview cameras onsite. Improving the Monitoring of Offsides One of the biggest additions made to the system prior to this World Cup was the introduction of an Offsides Station in the VAR control room. Two additional static cameras were installed at all 12 stadiums, positioned between the top of the 18-yard box and midfield to give what were intended to be clear views of any offsides call. The raw feeds of these cameras were exclusive to VAR (HBS did not have direct access to them and could broadcast only replays provided by the VAR room), and a member of the VAR team was dedicated solely to reviewing offsides video. “Even with 37 host-broadcast cameras on the production already, we identified this area [as] not covered well enough to make [an offsides] decision because of the viewing angle,” said Runge. “We’ve been very happy with it. It’s been a big plus for VAR.” The offsides-monitoring solution was integrated with goalline technology. A computer-generated offsides line could be used to help the VAR and the on-field official make a judgment on offsides. Informing the Fans Unlike the NFL and the NHL, FIFA does not require the on-field official to make an official verbal explanation of the upholding or changing of a call on the field. The change is simply executed. Making an announcement was considered but was ultimately determined not a good fit currently. Instead, a staff member in the VAR room, using a tablet interface, informed broadcasters and viewers accessing FIFA’s various digital platforms of the review and its outcome. The staff member selected from an in-depth graphics template that featured all the possibly reviewable outcomes. When all the proper items were selected, the information about the call automatically generated messages to the onsite and offsite commentators, along with graphics for use on television, the in-stadium videoboard, and FIFA.com. — BC


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2018 FIFA WORLD CUP > FIFA TV

^ A FIFA operator controls the Offsides Station inside the VAR control room.

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continued from page 38 feed (available only at the International Broadcast Center) relied on quad 1080p/50 at 3 Gbps to create the 4K-resolution image. The vision mixer worked with eight cameras operating in dual mode, outputting UHD/HDR and 1080p/SDR; 11 cameras with dual output in 1080p/HDR and 1080p/SDR; 21 cameras in single-output 1080p/SDR; and all replays, which were 1080p/SDR. The UHD/HDR output took advantage of a dedicated camera at the Camera 1 position as well as seven additional UHD-camera positions. The remaining 11 single-speed 1080p/HDR cameras were upconverted to UHD’s 2160p resolution (with HDR). Key to all the production efforts was a dual-layer workflow, allowing a single vision mixer and a single production team to create three deliverables: 1080i SDR, 1080p SDR, and UHD HDR. The vision mixer output two of the three signals directly to rightsholders: a 1080i/SDR version and a 1080p SDR version. The UHD version was simultaneously created within that same vision mixer, relying on upscaling and color mapping to create a UHD 2160p HDR BT2020 signal. That UHD signal was sent to the IBC via fiber and then processed and made available to rightsholders as UHD with HDR in three flavors: S-Log3, HDR10, and HLG. A “dirty” feed of each of the three formats included English graphics; a “dirty dirty” feed also included clock and score. The FIFA World Cup coverage may have seemed straightforward, but the FIFA TV production team provided a wealth of feeds around each match, including a dedicated production at each stadium on the days prior to matches. One gallery at the venue was used for the production of all the multifeeds. One goal this year was to provide faster access to team content, more warmup and fan coverage, and use of a cine-style camera at each match to lend more visual quality to packages. The core feed was the Extended Stadium Feed (ESF, also available in UHD) and its clean version (CSF). Those two feeds were available from 70 minutes before kickoff until 10 minutes after the match. A third feed was the EBIF Show, which was the same as the ESF as of kickoff but, before the match, offered bespoke content to rightsholders. And, with media-rights licensees hungry for highlights, a Permanent Highlights feed began 10 minutes prior to kickoff, was continually updated with new highlights during the match, and ended 30 minutes after the end of the match. Other feeds included Team A and B feeds, PlayerCam A and B feed, Tactical and Additional Content Feed, Clips Compilation Channel: Action, and Clips Compilation Channel: Emotion. As if that was not enough, FIFA made 10 isolated camera feeds available, including key cameras: Camera 1, the cameras on the 16m line, a high behind-goal “tactical” camera, the cable cam, and the UHD/HDR tactical camera. With so many rightsholders interested in what was going on with every team, the FIFA TV team tackled the issue of how to keep everyone happy without having dozens of crews following a single team: there was a dedicated FIFA TV crew for each of the 32 teams. Those crewmembers spoke the native language and covered everything from daily training to press conferences and even exclusive interviews. Social-media coverage and 360-degree videos were part of a plan that offered roughly 300 hours of raw content to rightsholders daily. Their work began well ahead of the actual tournament: they covered team arrivals and filmed each team for chroma-key needs. The chroma-key filming was done for all 32 teams and match officials, with each person doing one move and players filmed doing individual celebrations. In addition, eight production teams created approximately 50 hours’ worth of feature stories and coverage of fans and FIFA World Cup celebrations.

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2018 FIFA WORLD CUP > INT’L SPOTLIGHT

Amazing AR Studio Leads ITV Sport’s World Cup Production By Fergal Ringrose

T

he undoubted star of the FIFA World Cup presentation from ITV Sport was the dramatic ‘cathedral’ studio in Red Square, with a backdrop

of St Basil’s ahead and the Kremlin on the left. ITV Sport’s studio used various elements of AR to enable a small studio space with restricted height to look much larger and see the full height of St Basil’s Cathedral.

It also incorporated a UHD 180o camera feed from host broadcaster HBS to transport the viewer into the venue. An intensive work effort in a tight timescale with partners deltatre (AR system), Gearhouse (studio build), Stype (Red Spy optical camera tracking), Telegenic (OB facilities) and White Light (LED screens, D3 server, and lighting) went into the intricacies of the design, especially for a temporary setup. A trucking system for the LED screens was built to enable screens to be moved in, across the window, in a short space of time. Paul McNamara, senior director/executive producer major events for ITV Sport, held overall creative responsibility for the ambitious and challenging set, with design by Paul Sudlow and set construction by Scott Fleary. Alex Dinnin was graphics/AR designer and lighting directors were Chris Hollier and Andy Cottey. Vision supervision was provided by Mark Dunning and Adrian Turpin, with Nicos Chrisdoulou serving as studio project manager. “The set receives a virtual extension in the shape of an augmented-reality ceiling designed by Alex Dinnin to be like the inside of a chapel, complete with a virtual window fed by two HD cameras,” said ITV Sport Technical Consultant Paul Bateman, who played a central role in planning ITV Sport’s World Cup operations across Red Square and the IBC. “Two side LED screens have a further two HD cameras to provide views to the left and right of the real window, providing an unrivalled panoramic view of Red Square. To complete the effect, the AR ceiling and two side screens use the tracking to provide perspective movement, giving the impression the windows are real.” The same system was applied to the incoming UHD stadium feed, but with one significant difference: three further LED screens were placed in front of the actual window, with the stadium feed mapped across the five LED screens and virtual ceiling. deltatre’s 44

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From left: ITV Sport’s Roger Pearce and Paul Bateman at the IBC in Moscow delivery used eight Vizrt engines with Stype Red Spy providing the tracking. A further two engines provided the onscreen graphics and match clock. Leading the team in the Telegenic truck at Red Square were Senior Unit Engineer Jason Langford and Deputy Head of Vision Tom Read. According to Langford, there were four HD cameras, two center cameras, and two side cameras that provided an ‘AR paintbox’. The team was able to move around within that vista, with data from the track camera — all working in real time. “The studio has been very tough,” said ITV Sport Technical Director Roger Pearce. “We’ve been through the depths and come out of it with something I think we can be proud of. It’s been the biggest technical challenge and the biggest technical achievement.” In total ITV Sport had around 150 people in Russia, plus some ancillary staff for security and translation. Within the IBC, Gearhouse provided ITV with facilities including production offices, a master control room, and a transmission gallery. This was then linked to ITV’s studio in Red Square. Work on the studio took over a year, with a mock-up built in London before everything was shipped to Russia to ensure there would be no delays once it arrived onsite. There was also full talkback capability between the studio and ITV’s production team at the IBC. At the IBC, ITV Sport had five Avid edit suites linked to shared storage and a media-management operation. All match feeds were recorded on a local EVS system, which was integrated via fiber with the EVS servers at the Red Square Studio. Facilities supplied and supported by Gearhouse Broadcast included a separate gallery for producing the simultaneous games and an MCR, which deals with the routing of all signals to and from the studio, offices in London and from the host broadcaster. Reliability and resilience of circuits was critical. Globecast managed connectivity from the IBC in Moscow back to London, via diverse routes, and provided feeds to and from the studio in Red Square. This included a data pipe for linking EVS systems together.


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2018 FIFA WORLD CUP > INT’L SPOTLIGHT

BBC Sport Innovates Across Studios, UHD, and VR in Russia By Fergal Ringrose

B

BC Sport moved forward on a number of fronts in Russia including increased collaboration with ITV; the stunning 360° Red Square presentation

studio; a nascent UHD HDR service to iPlayer; and a FIFA VR app delivered to viewers. At the Red Square studio, graphics playout was achieved by Vizrt engines, using Alston Elliot-developed plugins and software applications enabling fast calibration and setup. The content included a virtual ceiling, graphical representations of Moscow in the side LED windows, and an area at the back of the studio used to display high-resolution live video feeds from match venues. The aim was to let the viewer feel that they were being taken directly from Red Square into the live stadium action with a 180° camera move. In a major first for BBC Sport, all 29 matches transmitted on BBC1 (out of a total of 33 to which the broadcaster had rights) were streamed live in UHD HDR over the BBC iPlayer app. The stream required a connection to the home of at least 40Mb/s for viewers to receive the full version, and the viewer also needed a 4K TV display capable of showing HDR. Virtual reality moved from trial to commercial reality as FIFA provided its VR product to several broadcasters including the BBC, Telemundo, Fox Sports, and TF1. They took FIFA-produced VR content, developed by LiveLike, which included video for all matches as a live 180° stream as well as a set of 360° clips. “All our core live TV output is presented and produced in Moscow, but all simultaneous games, multiplatform, and sport news is produced by teams remotely in Salford,” said BBC Sport Technical Executive Charlie Cope. “Within Moscow, all matchside production is done remotely from our core studio in Red Square, so we don’t have any local OB or SNG trucks in Russia.” The BBC and ITV were joint media rights licensees (MRLs) for UK coverage. “It’s been very collaborative with ITV, and our technical teams have been working very closely,” continued Cope. “As well as sharing on our satellite and DR provision, FIFA and HBS have been very supportive with us sharing some of the host resources.” “Clearly our studios are separate,” added BBC Sport Executive Producer Football Phil Bigwood. “At the end of the day, we’re editorially competitive so we have to respect that, but the 2018 46

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From left: BBC Sport’s Phil Bigwood and Charlie Cope in Red Square World Cup has been our closest partnership to date. I think our two studio designs are quite different, but this is probably a good thing for the UK audience.” In the outside presentation studio complex in Red Square, Timeline TV played a key role in delivering the BBC’s pioneering UHD HDR World Cup coverage. Timeline’s UHD HDR outside broadcast truck, UHD2, was on site for the duration of the tournament and at the heart of the operation based out of Moscow’s Red Square. It delivered the BBC presentation studio with a simultaneous UHD Hybrid Log Gamma (HLG) output for the BBC iPlayer platform. Before the tournament, Timeline partnered with BBC R&D running various trials at York City Rugby Club and The Royal Wedding using the Sony PXW-Z450 camcorders as UHD HDR radio cameras. Due to the success of those trials, Timeline and BBC were able to provide the FIFA World Cup coverage in UHD HDR. Six cameras made up the basis of the studio. This was combined with the world feed from each stadium and brought together at Timeline’s operation in Red Square. “We’ve been talking to the BBC for about eight months about how we were going to do this,” said Timeline TV OBs Head of Vision Quinn Cowper. “Once the BBC agreed to take the UHD HDR feed from HBS, we wanted another way of converting the studio from HD to 4K without too much of a jump between formats. Going from 50i to 4K 50p is a long jump. “We all know and love 50i — and 99% of the population is going to watch in 50i — but we wanted to provide a better quality picture for the UHD viewers,” he continued. “So doing the studio in 50p meant we only had to go up one jump: we’ve already got the double frame rate and all we had to do was make the picture 4K which is easy because we could do that on the Grass Valley Kahuna.” Timeline TV’s UHD2 truck was built with UHD and HDR in mind, so the team was prepared to handle BBC Sport’s UHD trial. “The BBC view on HDR is that it will always be UHD 50 frames a second and it will be HDR and HLG – which is absolutely what this is,” said Cowper. “The whole World Cup in UHD is a big trial for the BBC; certainly from our point of view it has been really successful.”


2018 FIFA WORLD CUP > INT’L SPOTLIGHT

With 12 ENG Crews in Russia, TF1 France Covers World Cup By Ken Kerschbaumer

I

n 2016, France’s TF1 Group snagged the World Cup rights to 28 matches (beIN Sports had all 64); at the 2018 World Cup, it delivered those 28 matches to viewers in both HD and 4K — including France’s victory over Croatia in the final match. TF1 had approximately 150 people in Russia, and the team at the IBC took in feeds from FIFA and its own production personnel at the venues and ensured that the signals were properly sent to Paris, where the TF1 studio show was produced and the final output readied with graphics and other elements. The team in Paris also handled the vast majority of editing and postproduction. The vast majority of TF1’s team in Russia was involved with the 12 ENG crews on hand. Four accompanied the French team throughout the tournament, four others were with TF1 news, and

Germany’s ARD/ZDF Hosts World Cup Coverage From Home

G

erman public broadcasters ARD and ZDF tackled the 2018 FIFA World Cup with a small team of roughly 15 technical people located at the IBC in Moscow and working with a team of more than 300 back home in a temporary 3,000-sq.-meter facility at SWR in Baden-Baden that housed a studio, two production-control rooms, and 11 Avid editing suites. “It’s more or less like an IBC,” said Vitino Zoiro, technical manager, special projects, ZDF. “SWR had the existing space because they are changing their technical facilities. There was a gap when we could use the space.” < ZDF’s Vitino Zoiro oversaw German operations at the IBC.

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The TF1 area was designed primarily to manage signal transport to Paris. the rest were available for other coverage. Besides coverage of the top 28 matches (including 18 in primetime), TF1, the exclusive free-to-air broadcaster, aired Journal de la Coupe du Monde after the 1 p.m. news broadcast, Magazines Après Matchs for postmatch coverage, and five special editions of Téléfoot spécial Coupe du Monde de la FIFA. The 4K coverage was delivered via a TF1 4K channel available via Iliad Telecom subsidiary Free’s Freebox Mini 4K. Free made the channel available to Freebox Mini 4K customers connected to its fiber network and signed up for the Mini 4K package, to Freebox Revolution with TV by Canal Panorama subscribers, and to Freebox Revolution subscribers with the multi-TV Mini 4K option.

The presence in the IBC also reached out to the stadiums for German matches during the group stage. ARD and ZDF had their own OB unit in Russia, renting additional equipment from Russia’s Movicom when Germany played matches in Moscow and Sochi and it was too difficult to get the remote-production unit from one location to the other in time for the match. ARD and ZDF also had eight ENG crews traveling throughout Russia, using eight LiveU transmission systems to send content to a LiveU server in Baden-Baden. Cologne-based Qvest Media played a key part in the effort, providing rental gear for everything from the ENG crews to the temporary facility in Baden-Baden. “The content is sent directly to Germany, where it can be edited in the Avid editing suites,” said Zoiro. Only two edit suites were located at the IBC, with two 10-Gbps circuits used to send all the needed content to Germany for final production and distribution. File transfers were also used to get content back to Germany. The highlight in Baden-Baden was a studio with a large LED screen that could be broken into strips or used as a single screen measuring 11 square meters with a 1.6-mm dot pitch. Qvest also provided the EVS gear at Baden-Baden — including IPDirector, XTAccess Ultra Performance servers, and XT4K servers. There were two control rooms in Baden-Baden. One was used for the studio production. The other handled the LED board, which required deltatre augmented reality to be integrated with the five cameras. — KK


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2018 FIFA WORLD CUP > INT’L SPOTLIGHT

Mexico’s Televisa Nabs Largest Studio, Puts AR Front & Center By Ken Kerschbaumer

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exican football fans may have been disappointed with the way their team played when it was knocked out of the World Cup by Brazil, but they couldn’t be disappointed with Televisa’s coverage of the tournament. The channel not only shared rights with TV Azteca to make coverage available to more viewers but also delivered a daily show on Facebook Live. From the largest studio in the IBC, it offered plenty of different looks, thanks to programmable displays and augmented reality. Televisa’s Victor Galindo inside the studio

Brazil’s TV Globo Scores With Augmented Reality Set By Brandon Costa

W

hile the nation’s beloved football team didn’t come away with the trophy it sorely desired, Brazil’s top broadcaster on site, TV Globo, made its bold presence felt in Russia at the 2018 FIFA World Cup.

As one of the multimedia rightsholders at this year’s event, TV Globo took one of the set positions erected by FIFA and HBS at Moscow’s iconic Red Square. Yet even with the eye-popping backdrops of St. Basil’s Cathedral, GUM, and the Kremlin right outside their window, TV Globo went to new heights technologically to make their on-site set truly shine. 50

SPORTSTECHJOURNAL / FALL 2018

“It’s spectacular to see the AR graphics in the studio,” said Televisa’s Chief Engineer Victor Galindo. “It’s the first time we have done video mapping for TV.” Televisa’s IBC presence included two control rooms with video feeds sent to and from Mexico via NewTek’s NDI (Network Device Interface). The augmented-reality capabilities relied on Vizrt graphics, WASP 3D technology, and Stype AR camera kits for tracking. Galindo said the reaction from viewers was positive. Televisa Engineer Eduardo Ledesma oversaw the technical team and aspects of the project. The big studio at the IBC measured 720 square meters, and a staff of two (plus eight technicians) oversaw production of six shows per day. That team was complemented by one at Red Square, where Televisa had a second studio in the FIFA TV studio block near St. Basil’s Cathedral. Approximately 200 people were onsite for the network, including two ENG crews that made use of LiveU bonded-cellular transmission technology. Video feeds were sent from the IBC to Miami and Mexico. As for its Facebook offering, the daily show had behind-thescenes content, training seasons, interviews, and highlights. The channel also delivered augmented-reality features for Facebook users to show their support of Mexico’s national team. According to Isaura Morales, head of Facebook sport partnerships, LATAM North Region, more than 84 million people in Mexico had the opportunity to take advantage of the Facebook presence. “Through Facebook Live,” Morales noted, “Televisa Deportes connected with new audiences, in an interactive and social way.”

With the help of Avid technology, Globo deployed an impressive augmented-reality set to expand upon the limited view from the backdrop of their set to open up the small space into a more spacious place throughout the tournament for its hosts and viewers. “This is a very different approach for us [with our Red Square studio],” said Fernando TV Globo’s Fernando Wiktor Wiktor, RF and technical in the network’s control room support manager for TV Globo who was stationed at the network’s position in the IBC. “These studios are a big innovation for us and give the feel of a big panoramic studio.” UK-based Gearhouse Broadcast also partnered with Globo to integrate the set, which was originally built and tested in Rio de Janeiro before heading to London for a final round of testing.


2018 FIFA WORLD CUP > INT’L SPOTLIGHT

Japan’s NHK 8K Production Expands to Seven Cameras, Adds 8K 240-fps Hitachi Camera By Ken Kerschbaumer

T

he 2018 FIFA World Cup was the latest international global sports event where NHK’s 8K production team had a presence. Since the 2012

London Olympics, NHK has used events like the Olympics and World Cup as an opportunity to refine and improve a next-generation broadcast experience that will begin hitting consumers’ homes in December.

The big advances at the 2018 World Cup, compared with the 2014 World Cup in Brazil, were that each match was covered using seven 8K cameras vs. five and that HDR was part of the experience. Over the course of the World Cup, NHK produced eight matches in 8K HDR, including one of the semifinals and the final. Each of the remaining matches were shown live and rerun in NHK’s 8K theater at the IBC in Moscow as well as in six viewing theaters in Japan and 53 broadcast stations across the country. Tetsuya Itsuki, senior manager, NHK Broadcast Engineering Department for the News Technical Center, Outside Engineering Division, noted that HDR is essential for 8K. “8K was developed to re-create the feeling of being at the event and being more immersive,” he explained. “That is what we are aiming for, and HDR is something we need.” Masahiro Yatagai, News Technical Center, Outside Broadcast Engineering Division, Broadcast Engineering Department, NHK, said the enhanced visual experience was matched by an enhanced

NHK’s 8K theater gave broadcasters at the IBC a chance to experience the next-generation TV format in 8K HDR. audio experience provided by 22.2 channels of audio. The NHK team made use of 80 microphones total, 40 provided by HBS and the rest placed around the venue by the NHK 8K team. “It is essential to create sound that matches the 8K pictures and is three-dimensional and immersive,” he added. Another addition to the production since the Olympics was an 8K camera, co-developed by NHK’s Science and Technology Research Lab and Hitachi, that could operate at 240 frames per second for super-slow-motion replay. The next big step for NHK is the launch of a real service to the public. Currently, the only way to experience 8K as a consumer in Japan is to visit one of six public World Cup 8K viewing theaters or NHK broadcast stations. <

DIRECT FROM THE 2018 FIFA WORLD CUP!

from the editors of

LIVE

For much more on the 2018 FIFA World Cup, check out the SportsTechLive Blog: Direct From the 2018 FIFA World Cup on

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SPORTSTECHJOURNAL / FALL 2018


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THE SVG PODCAST Your source for in-depth conversations with the most influential minds in the sports video production business. Check out The SVG Podcast: Onsite in Moscow at FIFA World Cup SVG's Ken Kerschbaumer and Brandon Costa bring you unrivaled access from inside the IBC in Moscow and discuss the major innovations happening behind the scenes at the biggest sports event of the year with: Eli Velazquez, Telemundo Deportes, EVP, Programming, Production, and Content David Neal, FIFA World Cup on Fox, Executive Producer Michael Davies, Fox Sports, SVP of Field Operations

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VENUE SPOTLIGHT > MERCEDES-BENZ STADIUM

Atlanta Falcons’ Mercedes-Benz Stadium Revolutionizes In-Venue Video With Halo Display By Karen Hogan Ketchum

T

here are videoboards, and then there’s the 360-degree halo that surrounds Mercedes-Benz Stadium, home of the Atlanta Falcons and Atlanta United FC. With its first NFL season in the books and second season just beginning, one thing remains certain: the phrase “one of a kind” doesn’t even begin to describe it.

Measuring 58 ft. high and 1,075 ft. around, the halo provides 61,900 sq. ft. of video real estate.

“It’s the most sophisticated stadium in the world right now,” said Pete Soto, senior director of game presentation, live events, and stadium productions, AMB Sports and Entertainment. “It’s not cutting edge, like most of these new stadiums are. This is blazing edge.” AMB Group, the parent company of the Atlanta Falcons and Atlanta United FC, broke ground on Mercedes-Benz Stadium in 2014 and, by 2015, had released several renderings that showed plans for a nearly 60-ft.-high, 360-degree video display sitting just below the stadium’s retractable roof. Engineered, built, and installed by Daktronics, the video display slowly took shape above the field; today, it measures 58 ft. high x 1,075 ft. around, for a whopping 61,900 sq. ft. of video real estate. It is currently the largest LED video display in North American sports. “The videoboard was the brainchild of our owner, Arthur Blank, who wanted to provide one of the most outstanding, most cool videoboards that he could imagine,” said Soto. “I think he just


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wanted a unique perspective, a unique environment, and a unique stadium. He didn’t want to be a cookie cutter; he wanted something that [makes] people go, ‘Wow, I want to go to Atlanta just to see that stadium.’” Although the plan was to create a videoboard that can be seen from wherever a fan sits during the game, the challenge was how to program it. Soto and his Mercedes-Benz Stadium Production team first had to determine how the screen should be segmented, striking a balance between maximizing the display’s potential and overwhelming fans with video and graphics. They decided on quadrants, to best serve the fans sitting on both sidelines and in both end zones. “We had to make sure that [fans] could see the game in progress. That was the most important,” Soto explained. “From there, your imagination became your limitation… We have a core 10 different looks and presentations that are designed to wow our fans and tell the story of whatever event goes on in this building.” The halo isn’t always segmented into quadrants showing the game in progress; Soto’s team can split the board into as many as 16 segments to show other NFL games via NFL Sunday Ticket, as well as to show full-board, 360-degree video to pump up fans. A “blazing-edge” video display requires a truly state-of-the-art video-control room and production workflow to run it. Working with Diversified and WJHW, the Falcons designed a control room on the field level of Mercedes-Benz Stadium. The control room features two Ross Video Acuity production switchers — each with its own director and TD — to handle the primary-follow and reverse-follow game presentation. The team also selected three Ross Video XPression Studio CGs and Tessera software for in-game graphics. At the heart of the 1080p60 video-control room is an Evertz EXE IP router. Evertz DreamCatcher handles replays, and nine Christie Spyder image processors handle continued on page 60

The Mercedes-Benz Stadium video-control room is located on field level.

left: The control room features a wealth of gear for creating the videoboard show for the Atlanta Falcons and Atlanta FC United. right: One of two Ross Video Acuity production switchers

SPORTSTECHJOURNAL / FALL 2018

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VENUE SPOTLIGHT > MERCEDES-BENZ STADIUM Inside Ross Video’s Effort To Drive MercedesBenz Stadium’s One-of-a-Kind Halo Display

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efore Mercedes-Benz Stadium even opened its doors — or its retractable roof — the venue’s 360-degree halo video display was the talk of the town. With more than 60,000 sq. ft. of video real estate encircling the stadium’s roof, it would the first of its kind, requiring a first-of-its-kind workflow to deliver 360 degrees of video content. Enter Ross Video. Ross Video’s involvement in Mercedes-Benz Stadium began four years before it opened — in fact, before ground had even been broken on the venue. WJHW, the consultant on the project, approached Ross Video to see what the Ottawa-based company could do to drive the 360-degree video display that had been designed for the stadium. “At that time, there was no display-control system on the market that could drive such a high-resolution [21,517×1,154pixel] display accurately as one canvas,” said Kevin Cottam, director, sports and live events, Ross Video. “Ross, being a forward-thinking, innovative technology company, was extremely interested in the opportunity to work with WJHW and Daktronics on such a high-profile project. So we immediately began internal discussions on how to develop a control system with our real-time 3D XPression render engine at the core, that would have the feature set required to produce and control content for a high-end NFL game-day production, and submitted a control-system design for the display-control bid, knowing the project was several years away from being deployed.” Approximately two years later, at NAB 2015, Cottam, together with Bas Saleh, creator of Ross Video’s XPression, worked out terminology, feature set, development timelines, and more — and came up with XPression Tessera. According to the company, Tessera enables users to link multiple XPression engines to create a scalable matrix of channels/ resolutions for a seamless output of video — ideal for the oneof-a-kind halo. “Having decades of experience in the sports-venue space, we knew that displays would continue to increase in resolution, and we’ve seen the limitations of how sports venues drive their displays using multiple video/graphical inputs to a video processor and formatting the layouts through those processors,” explained Cottam. “The plan devised was to format the displays upstream of the video processors, utilizing the real-time render power of XPression, and remove any limitations with regards to resolution. “The idea of Tessera has always been a feature set within XPression,” he continued. “There’s a feature in all standard XPression Studio engines called Tile Mapper, which is a basic form of Tessera on a single engine. This feature gives the user the ability to frame-accurately sync multiple channels together vertically or horizontally, which allows end users to design on canvas much larger than standard HD resolutions. We took

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that idea and expanded it to multiple engines, using a master engine to control the slave engines frame-accurately.” The following March, Ross Video was invited to Atlanta to participate in a proof-of-concept (POC) demo at Mercedes-Benz Stadium. Cottam was joined in Atlanta by Ross Video Creative Services Lead Designer Greg Kuh, with Saleh and Senior Software Engineer Brian Ford assisting remotely. Both Cottam and Kuh were able to demonstrate synchronized playback of 3D content across six outputs (half the halo) — all in real time. “I think, pretty quickly, everyone really understood the ease of use of it and what it could do for their production,” said Kuh. “One of the things demonstrated was how quickly content could be modified using a real-time render engine. I asked the room to give me a word, and someone shouted out, ‘Touchdown.’ Three seconds later, we had ‘Touchdown’ seamlessly animating across all six displays. “We were showing off some of the social-media [capabilities] as well and had someone send an Instagram photo to the Inception Social server,” he continued. “It appeared on the displays within seconds. We continued to demonstrate the power to render 3D animations and animated a football and soccer ball in real time across all displays. That really kicked off the project.” The Ross Video team also showed off its Dashboard control product, which would be used to control the XPression Tessera system, as well as many other devices within the stadium. Within a week of the POC, Mercedes-Benz Stadium executives selected the Ross XPression Tessera system to drive the halo, adding control of the Mega Column LED display as well. To build on an already powerful LED-control system, the decision was made to incorporate additional Ross products into the production-control room in order to fully integrate the two systems. In addition to control, Evertz and Ross, working in a joint effort, developed an IP I/O Blade that brings the Evertz IPG technology directly into the Ross Acuity frame and integrates flawlessly with the Evertz Magnum control system and EXE IP router. The field-level control room, integrated by Diversified Systems, features two 8M/E Acuity production switchers with IP I/O, two XPression Tessera Masters, seven dual-channel XPression Tessera slave engines with IP I/O, six dual-channel XPression studio engines with IP I/O, Inception Social, and two Carbonite Solo video processors. “When we started this endeavor to build the world’s largest video board, we knew it was going to be a complex environment,” said Pete Soto, senior director of game presentation, live events, and stadium productions, AMB Sports & Entertainment Group. “Ross Video was not a vendor in this process — they were a partner, and together we created a very cool presentation for the fans of the Atlanta Falcons and United.” — KHK


VENUE SPOTLIGHT > MERCEDES-BENZ STADIUM Mercedes-Benz Stadium Gets High-Tech Sound With a Mixed Infrastructure

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tadium-technology design has been ostensibly focused on getting fans out of the house and back in the stands, but Mercedes-Benz Stadium might make them want to move in and stay. The massive halo video display and scoreboard is as ubiquitous to each seat as the living-room television is to the couch, and, like the home television, it’s rarely turned off: commercials and other announcements fill in almost every moment that it’s not being used to convey game information. The audio, however, is not what you’d find in the typical home. Danley Labs designed and installed a system that rings the upper levels of the stadium with 36 main speakers, distributed in eight cluster positions, each consisting of a Jericho 1 box on top of a Jericho 2 box with a pair of BC814 subwoofers on one side of each assembly. These are powered by Crown MacroTech HD amplifiers. According to Danley Labs CEO Mike Hedden, the system achieves close to a 0.7 Speech Transmission Index for Public Address (STIPA) value, with 1.0 a nearly unachievable perfect and 0.5 the baseline in the stadium’s bid specifications. That did not come at the expense of low-frequency energy, however. During system tests with the roof closed, puddles formed on the concrete floor from rain coming through breaks

in the movable roof-cover pieces. With the subs engaged and reaching down to 26 Hz, the puddled water reflected the bass impulses like a reverse transducer. “It looked like the dinosaurfootstep scene out of Jurassic Park,” laughed Hedden. For broadcast connectivity, 52 JBT (junction box television) boxes home-run a combination of fiber and copper cabling from field-level and other camera positions, and two television sets, to the main broadcast interface in the venue’s loadingdock area. The venue is heavily cabled, noted Andy Berry, director of projects and field operations for Bexel, which did the stadium’s broadcast-cabling infrastructure. However, a substantial amount of copper also is installed, with DT-12 breakout connections scattered liberally throughout the venue. “It’s very much a fiber-optical venue, but we have a comparable amount of copper in there,” explained Bexel SVP Scott Nardelli. “Copper for audio offers a lot of simplicity and reliability. An HD camera requires 1.5 GHz on fiber to go across the venue, but audio does just fine over long distances on copper, with XLR and DT-12 breakouts along the way. Fiber has been the future for the last 10 years, but copper is still going to be part of the infrastructure mix for a long time to come.” — Dan Daley

continued from page 57

An aerial shot of MercedesBenz Stadium in Atlanta, which features a unique retractable roof.

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the amount of video being played out on the halo display. The control room supports all LED video within the stadium; according to Daktronics, the stadium contains more than 82,500 sq. ft. of LED video, including a 101ft. “mega column” stretching from the first concourse level to the roof. To capture content, the Falcons purchased 10 Grass Valley LDX-86N cameras, eight wired and two wireless. Of the 10, four are licensed for 4K, and four are licensed for 6X slo-mo. The team’s video philosophy, said Soto, is to show fans that they are a part of the Atlanta Falcons’ brotherhood. “At the end of the day, we’re trying to connect our team to our fans,” he said. Mercedes-Benz Stadium opened in time for the 2017 NFL preseason; previously announced opening dates had been pushed back because of the complexities surrounding the unique retractable roof. Today, the roof is fully functional. “Eventually, there will be a building that tries to surpass us, and maybe they will,” said Soto. “But we’re the trailblazers. [What’s] exciting to me, more than anything, is that, no matter what comes after this, we were the first to do this. And our fans are going to enjoy the ride.” <

SPORTSTECHJOURNAL / FALL 2018


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VENUE SPOTLIGHT > LITTLE CAESARS ARENA

Detroit’s Little Caesars Arena Scores as Stunning New Home for Red Wings, Pistons By Karen Hogan Ketchum

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ockeytown has a new address. After nearly four decades at Joe Louis Arena, the NHL’s Detroit Red Wings — 11-time Stanley Cup Champions — began playing their home games at Little Caesars Arena in late 2017. Also home to the NBA’s Detroit Pistons, the arena is the cornerstone of The District Detroit, a 50-block sports and entertainment district that is contributing to the city’s comeback with new retail, office, and residential developments. The videoboard system at Little Caesars Arena was designed to provide the same experience to fans behind the goal and at center ice.

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It helps that the arena features one of the world’s largest, seamless centerhung videoboard systems as its canvas. Olympia Entertainment and the Detroit Red Wings, both owned by the Ilitch organization, teamed up with Daktronics to design the eye-catching structure with the goal of creating an unforgettable in-venue experience. The videoboard system features four 28- x 43.5-ft. displays with 6-mm line spacing, connected seamlessly to create a continuous, 360-degree video experience. Underneath the four main displays

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VENUE SPOTLIGHT > LITTLE CAESARS ARENA

In the video-control room, the entertainment-services team produces content for 45 large LED displays throughout the venue.

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are four under-mount displays, each measuring 7.3 x 38.5 ft., for fans seated in the front rows. All together, the structure boasts more than 5,100 sq. ft. of video real estate. As a result, the Olympia Entertainment’s entertainment-services team initially leveraged the square footage to reintroduce the team to its fans. “This is our first year with the videoboard, and we’re learning different things every day,” said Pete Skorich, VP of entertainment services for Olympia Entertainment and the Detroit Red Wings, during the 2017-18 NHL season. “At first, we were focusing on delivering these spectacular images to our fans. Coming out of Joe Louis Arena, which was an antiquated venue with an antiquated scoreboard and a very small videoboard, our fans were not used to seeing our players up close, so our philosophy was that we’re going to show up-close images of our players so fans can see their emotions and what they look like. “As we learn more things, we’re now trying to take advantage of the seamlessness of the videoboard,” he continued. “We seem to learn something new every week and find a different way that we can entertain our fans and different ways of showing them images that are pretty dynamic.” Skorich manages the video-control room at Little Caesars Arena. The 1080p control room, located on the arena’s club level and integrated by Diversified, features a Grass Valley Karrera production switcher, Evertz Magnum router and two DreamCatcher replay servers, and three ChyronHego graphics servers. A Cisco StadiumVision IPTV system delivers content to more than 1,300 monitors around the building. In the video-control room, the entertainment-services team produces content for 45 large LED displays throughout the venue. The seven-level venue was constructed with its floor, the event level, about 40 ft. below street level. The club level is located between the event level and the main concourse, which is known as the “Via,” and has no line of sight into the bowl. Because of this, the design team built a secondary controlroom space in the arena’s “gondola” area, which is suspended over the rink/floor, for the game-day entertainment director, the Daktronics operators, the lighting director, and the DJ. Skorich often watches the game from the gondola, in communication with the team in the club level control room. The team invested in Grass Valley LDX cameras — six wired, one wireless — along with 11 PTZ cameras installed around the interior and exterior of the building, including three under the

SPORTSTECHJOURNAL / FALL 2018


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VENUE SPOTLIGHT > LITTLE CAESARS ARENA

> Little Caesars Arena, a major step up from the Red Wings’ previous facility, anchors the new District Detroit. videoboard structure. With 18 cameras at its disposal — up from four SD cameras at Joe Louis Arena — Olympia Entertainment’s entertainment-services team is also responsible for three weekly web features: XFINITY Week in Review, The Forecheck, and This Week at 313 Presents. 313 Presents is a joint venture between Olympia Entertainment and Palace Sports & Entertainment, also headquartered at Little Caesars Arena. When Skorich first arrived at Olympia Entertainment in early 2017, his immediate focus was putting together an entertainment services department to create a wealth of content for the Red Wings’ fanbase, both inside and outside the arena. “We put that team together so that we could develop what I call a content factory,” he said. “We are pumping out volumes of content every day and following the Red Wings around. Whether it be game-related features, documenting what the team is doing in the community, or developing content for our partners, we’re fortunate to have a talented team in place that has a passion for creating high-quality content.” In addition to the centerhung videoboard, the entertainment-services team creates content for 45 large LED displays throughout the venue, including two 360-degree ribbon displays, 15 additional ribbon displays, seven exterior displays (including a 900-sq.-ft. Chevrolet Plaza display), and much more. The arena’s pièce de résistance is a 600-ft. jewel skin on the upper concourse, composed of 4,210 panels with 12 laser projectors that greets fans as they walk into the building. With the jewel skin, Little Caesars Arena can project images and color schemes that immediately brand the venue for any event, be it sports or entertainment. Rounding out Little Caesars Arena’s fan-facing video elements is an LED ceiling inside the bowl, which can also showcase images and event-specific color schemes, including a 3D image-mapping system. The LED ceiling, combined with a state-of-the-art lighting grid and banner system (the Red Wings’ 11 Stanley Cup Championship banners are unfurled dramatically before each game, for example) ensures that the in-venue experience will be unforgettable before the game even starts. “It is a building that is a real, live, breathing creature that has a lot of elements of surprise for people that are coming for the first time,” said Skorich. “We feel like we have so many things at our disposal that, no matter how many times you come to a Red Wings or Pistons game or a concert or show, you’re seeing something different every night.” < VENUE SPECIFICATIONS — LITTLE CAESARS ARENA VIDEOBOARD MANUFACTURER

MAIN VIDEOBOARD DIMENSIONS

CONTROL-ROOM INTEGRATOR

SWITCHER

ROUTER

GRAPHICS

REPLAY

CAMERAS

Daktronics

28 ft. x 43.5 ft. (4)

Diversified

Grass Valley Karrera

Evertz Magnum

Ross Video XPression, Tessera

Evertz DreamCatcher

Sony HDC-4300, PKW-Z450

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CELEBRATING 50 YEARS E V ERY M O M EN T M AT T E R S From then to now: Daktronics.com/Dak50


VENUE SPOTLIGHT > COORS FIELD

Colorado Rockies Blaze HDR Trail With Mountain-Size Videoboard at Coors Field By Jason Dachman

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he Colorado Rockies celebrated the franchise’s 25th anniversary in 2018 with upgrades to Coors Field, ranging from club-level to clubhouse renovations. One new feature, however, sticks out from all the rest: a towering 8,369-sq.-ft. 1080p LED videoboard that is the first HDRcapable board ever installed in a sports venue.

The Colorado Rockies’ new videoboard at Coors Field is topped by a ‘mountain scape’.

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“Our goal at the beginning of this project was 1080p,” said Kent Krosbakken, senior director, in-game entertainment and broadcasting, Coors Field. “We knew at the beginning that we were interested in HDR, but we weren’t sure how realistic it would be. As we went along, we decided to be HDR-ready for when the time is right and the HDR technology [is ready] for broadcast.” The Daktronics LED board, which is 258% larger than Coors Field’s previous display, features a mountain-peak–shaped top that mimics the Rockies logo. And driving the mammoth left-center-field display is a wholly revamped HDR-centric control room integrated by Diversified. In addition to the primary board and the control room, the franchise also upgraded five ribbon displays (also Daktronics) at the ballpark and speakers (EAW speakers integrated by Panasonic) in the lower bowl and club level and expanded its Avid media-asset–management (MAM) and storage infrastructure (also through Diversified). The decision to go HDR was made after years of research by the Rockies engineering and

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VENUE SPOTLIGHT > COORS FIELD

> The Coors Field control room was significantly upgraded with help from systems integrator Diversified. production teams. In addition to attending the NAB Show, the staff visited several ballparks prior to the 2017 season for advice and inspiration, including Busch Stadium in St. Louis, Petco Park in San Diego, Progressive Field in Cleveland, Wrigley Field in Chicago, and SunTrust Park in Atlanta. “We’ve been doing research for almost five years [in expectation of] this, and we were interested in 1080p from the start,” said Scott Magennis, manager, audio and video, Coors Field. “As we started kicking the tires and seeing what we could do, we definitely started to see the value of HDR for a bigscreen application. In an outdoor-display application, we didn’t see a huge benefit from 4K, so that was never really in the cards, but we thought [1080p] HDR was something we were interested in.” To drive the HDR board, the Rockies opted to build out a workflow in which all HDR content produced in-house was created natively in the HLG (hybrid log gamma) HDR format. Exterior HD content, including 720p camera feeds from the broadcast truck, is upconverted prior to arriving in the control room to create an end-to-end HDR workflow. The final HLG HDR feed from the control room is converted to the PQ (Perceptual Quantizer) HDR format via AJA’s FS-HDR real-time HDR/WCG processor for delivery to the Daktronics LED display. Coors Field’s revamped control room was built around a Ross Video Acuity switcher and Evertz EQX10-FR video router (180 x 180). Diversified also upgraded the room’s two existing Evertz DreamCatcher replay systems to 10-bit for incorporation into the HDR workflow. “The desire was for the control room to run as a flat HDR plant, meaning any inbound sources that are not HDR are converted as soon as they hit the room,” explained Mike Meglathery, product manager, Diversified. “Then all production is done in HDR end to end: all cameras, all recording, all original and edited content is HDR. We deliver an HDR signal to Daktronics for the displays. All devices needed to be HDR-compliant, or we put a converter directly tied to those [non-HDR] devices so they can be converted prior to entering the plant.” The Rockies game-day production team also transitioned the graphics operation to Ross XPression character generators, resulting in not only HDR-capable content but also a streamlined workflow. “The workflow has changed dramatically,” noted Krosbakken. “The biggest change came in the way that we deliver our content to each of our boards in the ballpark. We are now using Ross XPression to drive content to the boards. With this technology, our prep time has decreased immensely.” For each game, the Rockies in-game entertainment team deploys a Sony HDC-4300 camera at low first and low third (each with a Canon 60X lens) and left center (Canon 80X lens). All three cameras create native-HDR video for the game coverage, and Sony BVMA170 OLED production monitors are used for HDR shading. The Rockies also use a pair of Sony PKW-Z450 wireless cameras (also Canon 70

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VENUE SPOTLIGHT > COORS FIELD

In addition to the new videoboard, Coors Field underwent a host of upgrades to its A/V and other facilities.

lensing) with WaveCentral RF encoder/decoders. “Six months ago, HDR-capable [equipment] was few and far between,” said Meglathery, “but HDR technology is changing fast, and the vendors worked very closely with us to make this happen. We expect most of the manufacturers to continue to have new firmware and to refine their HDR offerings, so we are anticipating, after the season, to go back in and make adjustments to further [the Rockies’] HDR-compliance.” Also housed in the control room are Riedel Artist 64 intercom mainframe, NEC monitors, Adder KVM systems, and a Leader waveform monitor/vectorscope. “Diversified did an amazing job as our integrator,” said Krosbakken. “We are very happy with the job they did from beginning to end.” The massive Coors Field videoboard, which totals 6.8 million LEDs and is equivalent to 784 60-in. televisions, is located in the same footprint as the team’s previous display. “The goal was to maximize the existing structure’s wind-load with the biggest video display possible,” said Daktronics Sales Representative Eric Cain. “Reusing the existing structure allows us to reduce the amount of structural reinforcement and construction. Luckily, when the stadium was built, the original scoreboard superstructure was built well enough to host a video display of this size and also incorporate the iconic ‘mountain scape’ on top of the video display.” The Rockies are using Ross Video’s Tessera software system to populate and drive the customshaped videoboard. First used at Mercedes-Benz Stadium in Atlanta for its halo display, the Tessera system enables users to link multiple XPression engines to create a scalable matrix of channels/ resolutions for a seamless output of video — ideal for driving non-traditionally shaped boards like the Coors Field display. In addition, two Christie Spyder X80 video processers scale video to fit the unique mountainshaped footprint and populate different elements for different portions of the display. “There are all kinds of challenges [with a non-traditional videoboard], but they are good challenges,” said Krosbakken. “We have many different ways to display content on the board, utilizing the Christie Spyder. What makes the videoboard unique is the shape of the mountain peak at the top. We are utilizing this space for our sponsor logos while the feature runs below it on the rest of the board.” The live game-day experience isn’t the only facet of the Rockies’ video operation that received an offseason facelift; the team also revamped its MAM and storage infrastructure for the postproduction team. The Rockies installed an Avid NEXIS E4 200-TB shared-storage system, Media Central MAM software and server, and a Media Director file-ingest/export module for Adobe Premier workflows. The team has a total of six Avid Media Composer NLE systems (with DNxIV I/O boxes), which work with the DNxHR codec using Rec2020 color space for HLG HDR workflows. This comes in via Evertz DreamCatcher to Avid NLTek for conversion to DNxHR. Each producer creates projects in the color space and can export for the HDR videoboard content. The Media Central UX platform enables the team to ingest the media and use it in a creative suite they like to complete a project for social media or for the large screens. “A ton of work went into this [project], and there have been many challenges,” said Magennis, “but we’ve been happy with the decisions we made. We knew HDR was going to be difficult, but I think building the infrastructure for that is going to help future-proof us in the long run. Everyone has really stepped up — both on our team and our [vendors]. We’ve had really good relationships with [our vendors]; having us all on the same page has been great.” <

VENUE SPECIFICATIONS — COORS FIELD VIDEOBOARD MANUFACTURER

MAIN VIDEOBOARD DIMENSIONS

CONTROL-ROOM INTEGRATOR

SWITCHER

ROUTER

GRAPHICS

REPLAY

CAMERAS

Daktronics

59 ft. x 116.5 ft.

Diversified

Ross Video Acuity

Evertz EQX10-FR

Ross Video XPression, Tessera

Evertz DreamCatcher

Sony HDC-4300, PKW-Z450

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VENUE SPOTLIGHT > FORD FIELD

Detroit Lions Enhance GameDay Presentation, Production Efficiency at Ford Field By Karen Hogan Ketchum

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he Detroit Lions, one of the NFL’s oldest franchises, shook up the in-game fan experience in 2017 with all-new video and audio systems at Ford Field, as well as a partial control-room upgrade and the addition of more broadcast cabling. For the Lions’ game-day presentation staff, the goal for the 2018 offseason was to see what this gear can really do.

The Detroit Lions showed off their video upgrades during a 2017 game against the Carolina Panthers. (Photo courtesy Detroit Lions via AP)

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“We’re at the stage of saying, OK, we’ve got a year under our belts. How can we be more efficient and do more-creative things that we weren’t quite sure how they would work the first year?” said Detroit Lions Director, Event Presentation, Bryan Bender. “But I think, overall, the funds that went in to do the upgrades [last year] were quickly visible in terms of the experience for the fans, which is what we, our management, and ownership wanted. From both an audio and a visual standpoint, the payoff was nearly immediate to fans when they walked in that first game.” Ford Field opened in 2002; 10 years later, the control room was upgraded to HD. Five years after that, the Lions embarked on a massive $100 million stadium renovation that would touch nearly every facet of the game-day experience. The most noticeable upgrade is the addition of 21 Daktronics LED displays, including new displays mounted above each end zone that are 250% larger than their predecessors. The two main end-zone displays measure 39.5 ft. high x 152 ft. wide, with a 13HD pixel pitch. Flanking each end-zone display are two additional 13- x 59-ft. 13HD displays, which can be programmed individually or in conjunction with the main displays to create a 270-ft.-wide canvas.

SPORTSTECHJOURNAL / FALL 2018


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VENUE SPOTLIGHT > FORD FIELD

The Lions’ one-of-a-kind super-column displays measure 36.5 ft. high x 62.5 ft. around. “It gives our fans a much larger landscape to watch the game or replays,” said Bender. “The palette is so much larger than it was, and it also allows us to add statistical information that we never really had the space to do before. We can break out individual game stats or team comparisons that, with the former setup, we just never really had the space. Plus, it’s so much clearer.” Four additional displays were mounted to the back of the main displays for fans seated high up in the end zones. That way, if they can’t see the opposite end-zone videoboard, they’ll still have access to all the live game action, replays, statistical information, and more. Ford Field also installed two one-of-a-kind super-column displays, which measure 36.5 ft. high x 62.5 ft. in circumference and feature 6-mm line spacing. Elsewhere in the stadium, three ribbon boards installed along the exterior fascia of Gate A welcome fans and provide messaging for fans outside the stadium, and four ribbon boards were added to the interior seating fascia. Lions game days didn’t just look better last season. Working with audio integrator Parsons, the team added new line arrays from Meyer Sound and transitioned from analog to Dante. Although the Ford Field control room was upgraded to HD in 2012, the Lions opted to revisit the existing gear as part of the renovation. Working with WJHW and Alpha Video, the team added Ross Video XPression and Tessera graphics-control systems to power the new LED displays and upgraded its replay capabilities with three Evertz DreamCatcher servers, one operating in 4K. The team also invested in four IO Industries 4K cameras, which sit in stationary positions at each goal line to capture potential scoring plays. The Lions also added PTZ cameras on each goalpost and three to the super trusses above the field. Rounding out the seventh-floor control room, the team kept its existing Sony B7000 production switcher in place, upgraded its existing Evertz router, and expanded its KVM system. To accommodate the new equipment and better optimize the space, the Lions flipped the control room layout and added 10 ft. to the space. In addition, the team glassed off a section of the room and added a NewTek TriCaster to create a control room for its pregame show. For broadcast, the Lions worked with the national networks to boost the cabling, adding network switches in all four corners of the field and nearly a dozen drops throughout the building. “It’s much more integrated than it was before,” said Brian Haberkorn, game presentation and production manager, Detroit Lions. “The planning [we did for this upgrade] really helped with our efficiency because we already knew how we ran the game and what kind of things we wanted to improve upon. Using that knowledge to build how the room fits helps with our overall game flow [and helps us] be much more efficient in what we’re doing.” < VENUE SPECIFICATIONS — FORD FIELD VIDEOBOARD MANUFACTURER

MAIN VIDEOBOARD DIMENSIONS

CONTROL-ROOM INTEGRATOR

SWITCHER

ROUTER

GRAPHICS

REPLAY

CAMERAS

Daktronics

39.5 ft. x 152 ft. (2)

Alpha Video

Sony B7000

Evertz

Ross Video XPression, Tessera

Evertz DreamCatcher

IO Industries 4K

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WHITEPAPERS Integrating Advanced Augmented Reality Into Live Broadcasts By Miguel Churruca, Marketing and Communications Director, Brainstorm

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he term “augmented reality” has been used lately to describe ways to enhance visual perspectives or views in a variety of media such as PCs, headsets, or mobile phones, adding data such as advertising or cultural information on pictures or maps. Many desktop and mobile applications, not to mention smartphones and game consoles, claim to be using augmented reality for entertaining purposes. However, augmented reality, in its vast variety of flavors, is a great tool for enhancing the information displayed in a broadcast program, while making such content more spectacular. The huge amount of data available can be displayed more attractively when placed in context with the presenter, or by adding interactivity, which makes such data more appealing to the audience at home. This White Paper describes how information and data-driven graphics can enhance television shows when added to real shots in context as augmented-reality content, and also how the latest 3D and photorealistic virtual-studio technologies can provide even better results for engaging the audience. Such complexity requires the combination of different professionals and technologies to achieve the desired results.

> THE CONCEPT OF AUGMENTED REALITY We can define virtual reality (VR) as the method to display synthetic images along with real ones. Some also talk about mixed reality, understood as the combination of virtual and real

environments, which in essence is just another way to define Virtual Reality. Therefore, by extension, we could think that traditional chroma keying could also represent a form of virtual reality, as the resulting image is the result of compositing different images, either real or virtual. Continuing with this thought, any movie, composition, or similar could be regarded as VR. On top of all that, we can also understand AR as a special kind of Virtual Reality, meaning not all virtual reality images could be regarded as augmented reality. Augmented reality requires the interaction between sets, talents, and virtual objects, many of them created out of external data sources such as statistics, charts, bars, and many others. These data-driven objects allow for visually engaging representations of the data, which can be better explained by the presenters when placed in the set. During election nights, news, sports, or entertainment programs, data bars and other statistics can interact with the talent creating an attractive augmented reality environment for the audience. The term “enhanced reality” is also used to define any kind of the above “realities”. Other authors use mixed reality to describe the shots resulting from combining real and virtual imagery, specifically 3D objects that are “enhancing” or “augmenting” the real footage. In any case, we will refer to Augmented Reality in this paper to describe any of the above “realities”. But, regardless the naming, when dealing with an Augmented/ mixed-reality project, the integration between the real and virtual objects and environments becomes essential, and must consider the following aspects: • Real-time performance • Seamless, realistic integration between the different elements • High render quality • Properly delivered data

> INTEGRATING DATA-DRIVEN CONTENT Real-time performance is necessary when facing an AR project. If we are not able to deliver real-time graphics, there will be no Augmented Reality, as reality is, by definition, something that happens in real-time. Being that AR is the contextual combination of real images and graphics, creating such content requires: • A background environment. It can be real footage (using tracked or fixed cameras) or a virtual set where we place the rest of the elements. • Graphics. These are the elements that, in the end, become AR objects. They can be standard graphics or 3D objects, and can display data from external sources if required. Augmented reality in action during WWE’s Wrestlemania in New Orleans

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• A talent/presenter. He/she can be part of the real footage or shot on a chroma screen to be placed on a virtual environment.

> DESIGNERS AND OPERATORS For AR applications, graphic designers must often collaborate closely with other departments, making graphics an integral part of the broadcasted content. They might also require additional hardware and software solutions, because live shows, especially those involving virtual sets, often require complex installations such as tracked cameras, cranes, etc. This means that virtual studio operators and graphics artists must work together, so using graphics solutions that integrate seamlessly with advanced virtualstudio applications represents a real advantage. From a designer’s point of view, the integration of live graphics into real images or virtual sets is both a challenge and an opportunity; a challenge because designers need to think about how to integrate live images along with their creations, and an opportunity because the result is normally far more compelling to the audience. Creating extremely complex and realistic augmented-reality environments, joining together live characters, virtual or real environments, datadriven graphics, and any other design element allows designers to create the ultimate live experience for the viewers.

> GRAPHICS CREATION Designers require flexible and user-friendly graphics solutions, so they can adapt to any workflow, including augmented-reality requirements. When dealing with such requirements, the feature set available for the operators to easily create graphics is essential, involving tools such as advanced primitives, textures, materials, shaders, and many more, along with user-friendly and contextual User Interfaces, as solutions like Brainstorm’s Aston provide. Data-driven graphics or templates can be automatically filled in with data coming from external sources, such as spreadsheets, databases, RSS feeds, social media, or internet data, so they can be updated live as data changes. When augmented-reality graphics update automatically or at the presenter’s will, complex content becomes much more dynamic and appealing to the audience. In addition to that, graphics packages should allow designers to create, manipulate, animate, and perform last-minute changes to any kind of text, data, or video graphics, even during on-air operations, to ensure that data are correct and accurately presented. Many design departments use Brainstorm’s Aston in collaborative environments, with several designers taking care of different aspects of the project, which later can be put together, including external content, and make it available to compose the final result.

> CONTENT INTEGRATION To create high-quality AR content, the integration between the real and virtual objects and environments becomes essential, especially when talking about graphics and rendering quality. The audience is used to VFX, so they would eventually expect a perfect matching between real and virtual elements, both on their looks and on their movements. However, for live, on-air broadcast operation, photorealism

The television program Chile Elige made use of augmented reality during the country’s presidential election. is one of the toughest challenges, if we are thinking of real-time virtual-set production, because what really makes the difference for the viewers is to be unable to tell whether the images they are watching are real videos or digital renders. Creating such realism requires the combination of a number of technologies. Camera tracking is almost mandatory to perfectly match the camera movements of the scene and the characters, which allows shooting the talent as required. But also, the background scenes must have an extremely high render quality, which can only be achieved using photorealistic rendering and advanced game engines, like Epic Games’ Unreal Engine. But when combining backgrounds with data-driven graphics, it is important to understand that broadcast graphics have specific requirements that are far beyond what a game engine can do, often requiring in-context typography, motion graphics, external database connections, statistics, tickers, social media, or lowerthirds, all of them alien to the game-engine framework but essential for broadcast operation. Companies like Brainstorm are capable of combining Unreal Engine with Brainstorm’s own eStudio render engine, so they can include broadcast graphics providing results which are indistinguishable to real footage in any resolution. In this scenario, it is possible to effortlessly add 2D and 3D real-time data-driven graphics that dynamically retrieve the required data from external sources such as RSS feeds, databases, social media feeds, and the Internet. And those graphics can be rendered with a quality that matches that of the background by using advanced rendering capabilities, like PBR (physically based rendering) or HDR (high dynamic range), which will prevent quality differences between the compositing elements.

> WORKFLOW All the above elements require a system capable of perfectly integrating them in a final scene in terms of animation, tracking, perspective matching, and, of course, image quality. So, there should be a hub system that combines real and virtual backgrounds, camera tracking, and data-driven graphics projects with their internal animations and inherent complexity, automation, and other requirements. Such a hub system, like Brainstorm’s InfinitySet, should be able to create the scene and then match all the elements together and create the appropriate views in real-time and make them available for on-air. < SPORTSTECHJOURNAL / FALL 2018

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WHITEPAPERS

Utilizing Unstructured Data for Better Customer Engagement By Roger Noble, Co-Founder and Chief Technology Officer, Zegami

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nderstanding and gaining actionable insight from a content library is a constant challenge for those that work with a production system. Increasingly, we are being asked to work with diverse sources of data from multiple sources, and effectively utilizing that data is now part of the job. Over the last decade, there has been a significant advances in artificial intelligence systems, specifically machine learning, with the advent of deep neural networks — algorithms that mimic the structure of the brain and can be taught to learn new things without explicitly programming them. Culturally, there is a growing acceptance of machine-learning algorithms, which have slowly crept into our lives in the form of recommendation systems. Companies like Amazon, Facebook, Spotify, and other data-driven companies use machine learning to predict behavior based on past activity. In many ways, recommendation systems have paved the way for the explosion in ecommerce, but it also raises the question as to how well these systems work and whether recommendation is what customers really want. There is no denying that these systems are incredibly The challenge is turning unstructured data into something that can be quantified.

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useful and do lead to greater user engagement; however, the problem is that often users don’t always want to find more of the same thing or, even worse, have already purchased the product, yet it keeps being recommended back. This is especially true of books, music, and video services, leaving little room for exploration, discovery, and the serendipity of finding something new. There is no doubt that all these advances represent an exciting time within the industry, if we can bridge the gap between human and machine. While it’s easy to think that machines will replace humans all together, there is a much more significant opportunity at play here. It was the grand chessmaster Kasparov who said that by combining human intuition and the powerful calculation ability of a machine, you create a very, very powerful combination1. Another way of putting this is what is becoming known as augmented intelligence: that instead of trying to replace humans with AI, the goal is to enhance and complement our natural abilities to give us cognitive super powers. Moreover, the goal of AI isn’t to replace humans in the loop, but to provide them with tools to do away with tedious manual tasks, make timely decisions and allow humans to bring their background and experience to bear. This is especially important within media where the impact of the content is very subjective by nature — something that machines do not handle well. When dealing with content, MAM systems traditionally have focused on dealing with structured data. That is, providing a system to input content and metadata that has a defined structure or taxonomy that changes very rarely over time. Then, by using standard keyword and faceted search interfaces, surface that content so it can be used within a production system. With the rise and ubiquity of social media, IoT devices, and smart phones with highresolution cameras, there is a growing need to incorporate new and emerging sources of data with MAM systems to provide more 1 http://uk.businessinsider.com/garry-kasparov-interview-2017-5


Artificial intelligence shouldn’t be to replace humans, but instead give them super powers. We call this augmented intelligence. engaging, timely, and relevant content. This gets exciting when thinking how this can play out in the real world. By extracting insights from disparate sources, highly personalized, relevant, and timely content can be delivered to improve customer engagement. The issue then arises with handling a large, disparate source of data, which, by its very nature, is unstructured. Unstructured data (which is one of the tenets of big data) is typically referred to as a source of data where the structure is complex or unknown at the time. Instead of what we traditionally think of data — numbers and known categories — unstructured data must be processed and analyzed first before it can be quantified. In other words, we need to turn qualitative data into quantitative data so that it can be turned into meaningful information. This is something that humans are inherently very good at — understanding the messy, unstructured nature of the world. However, the fundamental problem is that humans can’t scale at the same rate that unstructured data is growing. To complicate things even more, when processing unstructured data, it very quickly becomes larger than what can be reasonably processed by a single or even a handful of machines. This adds an extra layer of complexity to the overall problem as it necessitates splitting and coordination of data and processing over many tens or hundreds of machines. In other words, unstructured data is what’s known as a big data problem. Big data is usually defined as having the “three v’s” (velocity, variety, and volume. Sometimes there is also a fourth “v” for veracity) and has historically focused on dealing with the storage and processing of data, leaving the role of making sense of it all to traditional visualization tools and high-paid consultants. It’s often quoted that anywhere between 80-85% of all available data is inherently unstructured2, yet based on a survey of data scientists, only 29% of the projects they work on involve the use of unstructured data3. In other words, there is a significant amount of data out there that remains untapped and unused, yet represents perhaps one of the most significant sources of insight.

The challenge going forward in this unstructured world is twofold: consuming large amounts of data streaming in from varied sources, and more importantly, making sense of it all. This is where artificial intelligence (AI) and, more specifically, machine leaning really starts to shine. By automating tasks such as face and logo detection, sentiment analysis, pose detection, and metadata extraction, we can take humans out of the laborious and repetitive tasks of manually annotating all and put them in a position where they can make better use of their higher cognitive functions. Not only has it been demonstrated in areas like radiology4 that AI performs a better job than experts, algorithms are increasingly readily available “off the shelf” and can be implemented with little effort into existing workflows. This commoditization of AI has been enabled mostly via cloud-based services, which offer machine-learning API’s that any developer can integrate without the need to have a PhD or even a math background. As previously mentioned, one of the major impediments to working with unstructured data is the large compute power required. Training a machine-learning model could easily take weeks or months on a single machine. Not only that, traditional CPU’s are excruciatingly slow at processing these kinds of data sets. This has led to the large-scale usage of GPU’s to perform these kinds of tasks. GPU’s, which were originally developed for rendering graphics to a screen, can perform tens of thousands of operations in parallel. The growing need for machine-learning-optimized processing has even prompted some companies, like Google, to develop dedicated hardware specifically for processing machine learning workloads (known as a Tensor Processing Unit, or TPU5). As these kinds of technology investments by the big players like Microsoft, Facebook, and Google continue, it’s only going to get easier to access advanced AI. At this point, the problem is clear and the challenge is how to harness and make sense of the data deluge. The next generation of MAM systems need to fully embrace machine learning to stay relevant in the growing world of unstructured data. <

2 https://www.forbes.com/2007/04/04/teradata-solution-software-biz-logistics-cx_rm_0405data.html#1c02a6187a42 3 https://www.kaggle.com/surveys/2017

4 https://news.stanford.edu/2017/11/15/algorithm-outperformsradiologists-diagnosing-pneumonia/ 5  https://cloud.google.com/tpu/

SPORTSTECHJOURNAL / FALL 2018

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WHITEPAPERS

Creating a Captivating Experience for TV and Online Audiences By Jon Ollwerther, VP, M2 Aerials

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n today’s media-heavy environment, viewers demand high-impact visuals that make them feel like they are part of the action. Creating this experience for viewers watching via live broadcast and recorded video requires a flexible technology that can deploy quickly and get closer to the action, wherever that may be. At the same time, broadcasters and owners want to minimize costs and leverage viewership into incremental sponsorship revenue. Tight budgets are a mainstay in today’s competitive market, and that’s true for everyone in the value chain, including event owners, participants, broadcasters, and sponsors. So, how do we create high-impact, in-your-face visuals that today’s viewers demand while still minimizing costs and maximizing value? Aerial videography using drones is a viable solution. Long used to capture wide, establishing shots for feature-film production, drones are now becoming more and more common in the world of broadcast sports. NBC Sports was an early adopter, introducing drones for the Golf Channel in 2015, using them for the 2018 Winter Olympics, and expanding into additional sports properties including professional and college football. The idea has grown across other broadcasters and sports as well. As we’ll discuss later in this White Paper, the 2017 FISA World Rowing Championships and 2018 NHRA Drag Racing are other good examples of recent drone applications.

> DRONE EQUIPMENT OVERVIEW Drones, fitted with the right camera equipment and paired with a skilled operator and quality broadcasting equipment, can capture footage close to the action no matter where it takes place. Camera jibs, cable cams, spider cams, cranes, and dollys are costly and inflexible compared to drones, which can be deployed quickly to get a great view from just about anywhere. There is a wide range of drone and camera systems available, so the choice of hardware is determined based on the requirements of each specific job. DJI is the largest drone manufacturer, with market share in excess of 70%. One common setup used by M2 Aerials, an aerial videography company, is a DJI Inspire 2 with a 360° rotating gimbal and micro 4/3 lens with full-zoom capability. The Inspire 2 can go from 0 to 50 mph in just five seconds, has a maximum speed of 58 mph, and a flight time of up to 27 minutes between battery swaps. Another setup leverages a heavy lift drone to fly a Sony HDCP-1 camera with remote paintable sensor. For narrative production or b-roll for sports, M2 Aerials might use a heavy-lift setup such as a RED Weapon 8K Monster with Zeiss CP3 20mm-100mm lens. However, the cost of flying this type of setup is significantly more, and you get lower speeds and shorter flight times with this heavier rig. For sports broadcasting, a DJI Inspire system, or the like, will deliver great results without breaking the bank. In some instances, where continuous aerial coverage is needed, a tethered drone system might be appropriate. This system delivers continuous power to the drone, so there is no limitation on flight time, while still offering easy setup and flexibility in camera location. To get a signal from the ground control station (i.e. the drone pilot) to the live truck, there are several options including COFDM transmission, cable drop, or even a bonded cellular system like LiveU. One additional consideration when thinking about equipment is the value of having a backup system. Sporting events happen only once — there are no re-takes or do-overs — so having redundancy in your equipment setup is crucial. Each event brings unexpected challenges, so it’s imperative to have a backup just in case anything goes wrong.

> USE CASES FOR DRONES IN SPORTS Drones have long been used as a great tool for capturing wide, establishing shots to set the stage for events. Aerial views of the event city and the stadium, course, or field are great for promotional videos, pre-event coverage, and bump shots into and out of the broadcast. But drones really excel in providing much tighter < A live ‘drone cam’ captures the start of an NHRA drag race. 82

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coverage of each event. They can deploy quickly and go just about anywhere, so courses that are long or pass through areas difficult to access are not a challenge for drones. Placing cameras along the full length of courses in events such as watersports or motorsports can be difficult and cost-prohibitive, and you still might find yourself with not quite the right angle. You can also use drones to place a camera, temporarily, in a spot where it’s not otherwise feasible to have one. Get close-up shots over water. Zoom into a car or player during a pause, preparation, or recovery, and then quickly get out of the way when the action resumes. These are just a few examples of where drones excel in capturing action that is otherwise hard to get. Drones can do so many creative things, your imagination is really the biggest limitation.

> SAFETY AND REGULATORY CONSIDERATIONS Flying drones in the National Airspace System (NAS) can be tricky. It is important to check each location and event requirements to see if special airspace authorizations will be required. Examples include operations in controlled airspace (e.g. near airports), at night, or over people. At M2 Aerials, the full-time flight operations team confirms all event requirements and checks each location on an aeronautical sectional to see if it falls inside controlled airspace. For locations that are part of the FAA’s LAANC system (Low Altitude Authorization and Notification Capability), operators can request near real-time processing of airspace authorizations. For nighttime operations, M2 Aerials can use its standing FAA nighttime flying waiver. Other types of authorizations must be requested from the FAA and lead time can vary widely, so it’s always best to plan in advance.

> SUCCESS STORIES As previously mentioned, NBC Sports is clearly a success story, having expanded drones from a source of establishing shots for the Golf Channel in 2015 to putting drones to work on a scale not seen before at the 2018 Winter Olympics. Here are some other examples of successful drone use in sports: • NEP Broadcast incorporated drones to shoot the FISA World Rowing Championships in Fall 2017. New to drone technology, they decided to start with scenic overview aerials and bump shots into and out of the broadcast. By the end of four days, the drone was much closer to the action, creating tighter shots of each race and really taking advantage of the technology. Rowing is a great match for drones as it doesn’t require flying over any spectators — the drone is over water the entire time — and it’s a very long course, which would be difficult to cover with more traditional technology. • NHRA drag racing added a ‘drone cam’ to its broadcast for several events in 2018. With its initial introduction of the technology to viewers, they positioned themselves as cutting

M2 Aerials provided drone coverage of the 2017 FISA World Rowing Championship. edge while also generating incremental sponsorship revenue by branding the drone cam. This was a good example of leveraging the technology to get even more than great footage. But, of course, they got that, too, with down-the-center shots of pre-run burn-outs and new views of the end-of-track, shut-down lanes.

> NEXT STEPS If you’re interested in adding drones to your next sports broadcast, it’s important to get in touch with a reputable company that specializes in sports videography or cinematography using drones. When choosing a service provider, you should look for experience, proper licenses and certifications, and a track record of successful deliveries. The level of insurance coverage held by the drone operator can also be a good indicator of professionalism and safety. It’s best to bring in your drone team as early as possible — make them a collaborator and source of knowledge to enhance your show. They can check to see what FAA authorizations might be needed at the location and advise on the best way to achieve the broadcaster’s vision. It’s a huge benefit if the production supervisor can provide a list of any specific shots or angles they are looking to capture. Having a pre-event call can help ensure that everyone has a clear understanding of the shots required and the goals for the drone footage before arriving onsite. Once onsite, the drone team should do a full safety and operational assessment and review the specifics of what the supervisor would like for the drone footage. With proper preparation and execution, drones can create the captivating experience viewers demand without requiring significant incremental investment. < SPORTSTECHJOURNAL / FALL 2018

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SPONSORUPDATE 3G WIRELESS

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

ADDER TECHNOLOGY

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dder Technology is a leading developer and thought leader in connectivity solutions. Adder’s media networks; extenders; and keyboard, video, and mouse switch solutions enable the control and distribution of IT systems around the world. The company distributes its products in more than 60 countries through a network of distributors, resellers, and OEMs.

ADORAMA

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dorama Business Solutions helps college and pro sport teams capture all the action through technology. Working in collaboration with clients, Adorama Account Managers look to understand the end goals behind a planned technology purchase, then create brand-agnostic solutions customized for needs and budget. According to Chris Dawson, Assistant Director of Ideation - Video for Georgia Tech Athletic Association, working with Adorama Business Solutions provided his department the opportunity to quickly grow and find the equipment solutions that best fit their needs.

ADVANCED SYSTEMS GROUP

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dvanced Systems Group has provided engineering, systems, integration, support, and training to the multimedia creative and corporate video markets since 1997. With experience in high-speed shared storage, media asset management, archiving, editing, color, and VFX systems, ASG has become one of the largest installers of postproduction and shared storage systems in North America. Highly focused on customer success, the ASG team has installed and supported more than 500 storage networks, along with production and postproduction systems. As part of its complete solution approach, ASG also offers a range of managed services, providing expert staffing for media production and IT services on a temporary or ongoing basis.

AE GRAPHICS

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E Graphics offers a complete turnkey solution for clients, incorporating graphics design, data integration, technical and operational installation, and successful frontline delivery.

AERIAL VIDEO SYSTEMS (AVS)

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VS is a leader in wireless HD and aerial production with more than 90 HD and 4K RF systems

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by Vislink/Link Research, including the compact Link L-1700 and GoPro HEROCast systems. AVS has four gyro-stabilized Cineflex camera systems and three Partenavia fixed-winged aircraft for aerial coverage. AVS was the first to integrate Sony’s P1-R to a RF Steadicam system with RF video return and prompter. This Steadicam package has become the preferred system for Sunday Night Football, Monday Night Football, Thursday Night Football, Super Bowl Halftime, the NBA Finals, and many other shows. This summer, AVS took part in Nat Geo’s Yellowstone Live shows, which included the AVS airplane flying at 11,000’ relaying the camera signals back 62 miles to base camp.

AJA VIDEO SYSTEMS

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t IBC 2018, AJA announced new tools and updates that optimize the creation and delivery of multiformat content, allowing professionals to embrace the latest 12G-SDI and HDMI 2.0 technology, as well as emerging IP and HDR standards and formats. From KONA 5 with 12G-SDI I/O and the IPR-10G2HDMI and IPR-10G2-SDI SMPTE ST 2110 receivers, to the HDR Image Analyzer, AJA’s latest developments address the dynamic needs of production, post, broadcast, streaming, and A/V professionals. The company also announced updates for its KONA, Io and T-TAP I/O products, FS-HDR converter, Ki Pro Ultra Plus digital recorder and player, and HELO for H.264 streaming and recording.

AKAMAI TECHNOLOGIES

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s the world’s largest and most trusted cloud delivery platform, Akamai makes it easier for its customers to provide the best and most secure digital experiences on any device, anytime, anywhere. Akamai’s massively distributed platform is unparalleled in scale with over 200,000 servers across 130 countries, giving customers superior performance and threat protection.

ALDEA SOLUTIONS

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ldea provides high-quality, ultra-low-latency, and reliable video services and solutions for the television and media industries. The company provides end-to-end worldwide transmission and content distribution services and operates an extensive fiber-based network, with points-of-service covering 35 cities and 25 countries throughout the Americas and Europe. Its services include full-time and occasional-use services, HD and 4K encoding, along with other production and transmission services a customer may require. The company’s services are used by leading broadcasters and media companies around the world for the transmission of sports, news, and television programming. In 2018 to date, Aldea successfully delivered live video coverage of both the PyeongChang Winter Olympics and the FIFA World Cup in Russia. For the World Cup, Aldea implemented more than 100 video and data services in four different continents using its network and temporary provisioned fiber infrastructure, and transmitted over 5,600 hours of live video content to 14 customers including Ultra Definition/4K. Aldea will continue to work on numerous events in 2018 and will commence preparations for its coverage of the 2019 Pan American Games in Lima, Peru.

SPORTSTECHJOURNAL / FALL 2018

ALL MOBILE VIDEO

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ll Mobile Video has deployed a new “Teleport on Wheels” 40-foot transmission truck that features a 2.4m KU-band and 2.4m C-band antenna. It is capable of 10 encode paths and 20 receive paths, as well as 10 channels of muxing and demuxing. The power system is designed to make sure it offers a new level of reliability and flexibility for live broadcasts. It consists of two 30KW generators with auto changeover and two UPS systems. The truck has the capability of receiving four channels of wireless LiveU sources on an LU2000 frame as well as the capacity to transmit four signals over IP via the use of LU600s. Three operator positions make for a very comfortable and capable work environment. Also on board is an RTS M-frame intercom system with Omnio and Romeo capability, 12 TIFFs, a 128x128 router with 12Gig SDI capability, and multiviewer with 14 outputs.

ALPHA VIDEO

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he Sports Group continues to be recognized as an industry leader in helping clients find ways to use technology to engage fans, enhance teams, and expand revenue. For live production, Alpha Video assisted the Green Bay Packers and Oklahoma State University with control room renovations, helped the SunBelt Conference roll out ESPN production systems to their member schools, and will soon start work on Allianz Field, the new home of Minnesota United FC. For studio production, the company completed new studio and production facilities for the Minnesota Vikings and Tennessee Titans and is just starting work on a new facility for the Denver Broncos. For team facilities, Alpha Video recently completed the A/V and IPTV systems for Georgia Tech’s newly renovated football locker room and is nearing completion on all the A/V and IPTV systems for the University of Kentucky’s new baseball stadium.

AMPTHINK

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mpThink is working with the Minnesota Timberwolves and SMG at Target Center. As part of a three-year partnership with the NBA team, AmpThink installed a high-density WiFi network and an IPTV system running Cisco Vision. On the IPTV front, AmpThink is responsible for video creation, animation, and content management for multiple screens around the venue concourses. AmpThink is working with the Timberwolves to use these screens to promote team content, and to execute test campaigns. These test campaigns are designed to discover better ways to collect fan data, enhance fan experiences, and generate incremental revenue via mobile.

ANIXTER

D

eliver the audio/visual experiences your customers want with Anixter’s broadcast A/V and professional A/V solutions. Select from leading manufacturers for A/V components, racks, patch panels, cable, and more. Remove the complexity of system design by consulting with Anixter’s IP experts or participating in its customer training or educational courses. Speed your project deployment as Anixter simplifies the supply chain by consolidating shipments and spend, minimizing purchase orders, conducting DOA testing, and managing inventory.


APERI

A

peri had a busy summer of sports, delivering live production links for multiple broadcasters from the World Cup in Russia to countries all over Europe and Asia. Aperi’s microservices-based platform was also used to deliver feeds from the European Championships. Content owners and broadcasters worldwide are recognizing that they can achieve faster, lower latency, and more agile remote live production through downloadable apps that deliver all necessary live production functions when and where needed. Underpinning Aperi’s technology is V-Stack, an innovative FPGA-powered software platform that provides more compute power than CPU- or GPU-based processing and drives Aperi’s app store and software-based IP ecosystem. With V-Stack at its core, Aperi enables the start and stop of broadcast functions through apps with flexible floating licenses that can scale up or down for cost-effective and low-latency live remote production.

APM MUSIC

A

PM Music, a joint venture of EMI Music Publishing and Universal Music Publishing, has been a leader in sports entertainment music for over 30 years, working with everyone from broadcasters (ESPN, Fox Sports, HBO Sports, NFL Network), to professional franchises (Yankees, Dodgers, Patriots, Eagles, Golden Knights, Capitals, Warriors, Celtics) and collegiate groups (Alabama, Auburn, Clemson, South Carolina, Georgia). Create cutting-edge sonic branding and sound design with the award-winning APM Custom Studio, or choose from the comprehensive catalog of high-quality ready-made tracks. APM Music offers over 100 libraries, including the NFL Films Music Library and MLB Music Library, and provides themes for programs like Monday Night Football and This Week in Baseball.

ARCTEK SATELLITE PRODUCTIONS

A

RCTEK Satellite Productions was excited to be the first company to add the highly anticipated Adtec Affiniti, a single-rack 8-channel mux unit, to its flagship 2017 KU-band Sprinter uplink, Magenta. The Affiniti, along with the mux capabilities of ARCTEK Purple, have made ARCTEK the uplink company of choice for multiple networks. ARCTEK Satellite Productions spent the spring and summer in mux mode, providing another season of multi-feeds for AMA Motocross, a mux feed for the grand opening of the Milwaukee Bucks’ arena, as well as REMI feeds of soccer and baseball. Muxing continues to dominate the fall with a busy football season on tap. ARCTEK’s well-equipped five Sprinter satellite trucks (three Ku-band and two Cband) and talented team are ready to roll nationwide.

ARISTA NETWORKS

N

EP UK selected Arista as the networking foundation for its first SMPTE ST 2110 (-20, -30, -40) modular outside broadcast trucks, which are designed to deliver UHD content from the world’s largest events. NEP deployed Arista to form the world’s largest SMPTE 2110 OB installation in support of broadcasters at the 2018 Wimbledon Championships.

ARTEL VIDEO SYSTEMS

A

rtel Video Systems’ media delivery portfolio offers flexible and scalable solutions to meet the growing requirements of sports broadcast and esports applications from SMPTE ST 2110, AES67 audio accuracy, and SMPTE ST 2022-7 hitless protection switching to ARQ Reliable Internet Stream Transport OTT

streaming. The ARQ IP Streaming System is a scalable solution for delivery of high-quality media over internet, satellite, microwave, and other unmanaged broadband services and can quickly accommodate new streams to deliver multiple UDP unicast and multicast services. As broadcasters migrate to IP, standards-based solutions that provide service continuity, interoperability, and accurate synchronization are imperative for mission-critical media feeds. The Quarra PTP Ethernet switches provide standards-based SMPTE ST2110 and AES67 delivering nanosecond audio-over-IP accuracy. The SMART Media Delivery Platform offers network resiliency and operational simplicity with software-defined functionality, feature flexibility, and integrated Layer 2 and Layer 3 network switching capabilities.

ARVATO SYSTEMS

A

rvato Systems helps media, entertainment, and sports producers scale their operations for the realities of digital content production. Arvato’s VPMS suite, built on its vastly scalable enterprise MAM, supports Adobe editing workflows, multi-site ingest, and innovative channel playout. With scalability for hundreds of real-time clients and broad support for Adobe editors, Arvato’s VPMS systems are gaining accelerated adoption among sports teams, leagues, and networks. Installations currently include deploying MAM from ingest to distribution at organizations in the NFL and NHL on their mission to build engaging, cross-platform fan experiences. Arvato’s newest innovations include MediaEditor, an HTML5 journalist editor with capabilities including cuts/fades, voiceovers, graphic overlays, and captioning, and an exciting preview of the latest release of EditMate, Arvato’s collaborative MAM solution for Adobe Premiere editing workgroups. EditMate’s media search and import panel will now integrate directly into Adobe’s Project Rush, enabling simple online and social video editing on any device.

ATEME

A

t IBC 2018, ATEME showed its latest innovations for optimizing video delivery on any screen. The company demonstrated its improvements to video quality across all codecs: MPEG-2, H.264, HEVC, and AV1. In addition, ATEME showcased how its Content Adaptive Streaming algorithm using Machine Learning can be applied to video quality and bandwidth savings — without any operational impact — in both offline and live workflows.

AUDIO-TECHNICA

A

udio-Technica is a worldwide group of companies devoted to the design, manufacture, marketing, and distribution of problem-solving audio equipment. Initially known for state-of-the-art phonograph cartridges, A-T now creates high-performance microphones, headphones, wireless systems, mixers, and electronic products for home and professional use.

AV DESIGN SERVICES

A

V Design Services is a professional design and systems integration company, providing specialized video display solutions to the broadcast and commercial A/V markets. AVDS is an industry leader in all phases of the project process including system design and engineering, project management, programming, integration, and post-installation services.

AVID

R

or the production of the 2018 FIFA World Cup, Fox Sports needed an integrated best-of-breed solution to quickly enable it to edit content in nearreal-time for all 64 World Cup matches in Russia using their state-of-the-art production facilities in Los Angeles. It deployed the IBM Aspera FASPStream technology integrated with Telestream Lightspeed Live and Vantage solutions to enable high-quality streaming to Fox Sports’ remote production teams in nearreal-time over unmanaged IP networks. As a result, Fox was able to reduce or eliminate significant production costs while increasing the amount of HD and UHD content uploaded (nearly 2 petabytes) that was used to produce over 150 feature pieces and countless promotional and editorial highlights.

aycom Sports is the television broadcast partner and digital rights holder for the Atlantic Coast Conference (ACC), broadcasting 140 football and basketball games for the ACC each year. In addition to working with the ACC, Raycom Sports broadcasts the NFL’s Carolina Panthers pre-season and produces ESPN’s The Basketball Tournament. To keep up with fans’ increasing demands for high-quality live broadcasts and content that engages them across multiple media platforms, Raycom Sports needed the latest solutions that could provide the tools necessary to deliver compelling stories. The historical digital assets of the ACC go back to the early 1980s, most of which has never been digitized. In order to monetize the content, Raycom Sports turned to Avid for a complete system upgrade. Raycom Sports’ new MediaCentral sports production workflow includes Avid NEXIS, MediaCentral | Asset Management and FastServe. The production team has 10 Media Composer clients tied into Avid NEXIS allowing editors to quickly store and share content from anywhere. MediaCentral | Asset Management manages content, automatically indexing the media database, while FastServe controls ingest, editing, and playout. The speed and efficiency of Avid solutions allows Raycom Sports to focus on telling compelling stories that drive viewership and cultivate fan loyalty.

AT&T

AWS ELEMENTAL

ASPERA, AN IBM COMPANY

F

A

T&T Global Video Service features flexible, costeffective connectivity tailored to suit your business needs. Available in over 200 points of presence globally, including sports venues, production studios, network bureaus, and virtually anywhere content originates, this service features a high-quality network designed to meet the rigorous requirements of the broadcast community — a network built to provide customers a “hitless” switching experience with quick access, more bandwidth, dual and diverse endto-end routing connection arrangements to help ensure network survivability.

A

WS Elemental, an Amazon Web Services company, combines deep video expertise with the power of the AWS cloud. Solutions from AWS Elemental allow broadcast TV and multiscreen video to be customized, originated, and monetized at global scale. Flexible, software-based video processing and delivery gives global media franchises, pay-TV operators, content programmers, broadcasters, government agencies, and enterprise customers the ability to deliver highly differentiated viewing experiences and the freedom to focus on what matters: transforming ideas into compelling content that captivates viewers.

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SPONSORUPDATE AZZURRO GROUP

T

he Azzurro Pop Up Studio is a portable production system that captures and delivers broadcastquality, low-latency transmit and receive video over the public internet using minimal bandwidth. The self-contained briefcase is equipped with wheels and retractable luggage handle, allowing for easy transport. It is compact enough to check at the airport or send via common carrier direct to event sites. Offered for purchase or rental, Azzurro Pop Up Studio can be used anywhere a public internet connection is available. The systems have been deployed by major networks and sports venues for interviews and sideline coverage. Azzurro’s 24x7 Network Operations Center (NOC) manages the public internet network while monitoring the video riding over it. The NOC is also responsible for monitoring the real-time health of all associated equipment. In addition, Azzurro HD’s broadcast-video switching hub serves as a bridge to existing customers with traditional video circuits.

BEACON INTERNATIONAL

B

eacon International represents the Holland Specialty Vehicles division. Holland Specialty Vehicles has the expertise and capacity to do any TV production trailer refurbishment, repair, and service including expando repairs, an on-site trailer paint booth, storage, and preventative maintenance. Since 2013, Beacon International has grown to be a worldwide provider of services and equipment to the medical industry and television production trailer industry with offices in Arizona, the UK, and Cairo, Egypt.

BECKTV

B

eckTV continues its steady growth and its reputation as a premier sports-television-systems-engineering and-integration firm. BeckTV has continued its growth portfolio in college and professional teams alike. On the heels of a very successful 2017, which included current and recent clients such as Notre Dame Studios, Baltimore Ravens’ M&T Bank Stadium, and San Antonio’s Alamo Dome Stadium, BeckTV embarked on a very busy 2018 with Boston College and the University of Louisville. BeckTV provides its customers a one-stop shop for all of their televisionfacility and system requirements.

BEXEL

F

or over 35 years, Bexel has been a worldwide broadcast solutions provider, supporting producers of sports, live events, and entertainment with operational excellence and technical expertise. The company routinely invests in leading broadcast equipment and technologies to meet the needs of the production industry. Along with equipment for hire, Bexel also designs and builds scalable solutions for custom flypacks, 4K production, graphics, fiber optics, and RF audio and intercom. Bexel continues to push the envelope in developing technologically advanced, yet cost-effective solutions. The company pioneered the design and implementation of the ‘Sideline Audio/ Video Cart,’ a plug-and-play system for streamlining the acquisition of field audio and video feeds for stadium sports productions. With its pneumatic tires and lightweight aluminum shell, the ‘Sideline Audio/

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Video Cart’ is mobile, compact, and versatile. It can be easily deployed on the sideline or end zone of a sports field, or anywhere requiring quick and easy connections for video and audio feeds. The one-of-a-kind cart is also fully customizable and can be equipped to each customer’s specifications for efficient set-up. Bexel is supported by the strength and resources of the NEP Worldwide Network, ensuring reliability for providing value-engineered solutions and services, with technical support available 24/7.

BLACKMAGIC DESIGN

B

lackmagic Design creates high-quality videoediting products, digital film cameras, color correctors, video converters, video monitors, routers, live production switchers, and more. These affordable products put professional, broadcast-quality tools in the hands of anyone involved with video production during athletic events. Studios, stadiums, and mobile broadcast vehicles can create SD, HD, or Ultra HD multi-camera live productions with Blackmagic Design’s line of ATEM live production switchers, which include powerful features such as chroma key, creative transitions, media pool, downstream keyers, audio mixer, and multiview. ATEM switchers feature a compact design that is ideal for studios, arenas, or anywhere that has limited space. Several new ATEM switchers have joined the lineup in 2018, including ATEM Television Studio Pro 4K, ATEM 4 M/E Broadcast Studio 4K, and ATEM Camera Control Panel. For broadcast camera work, Blackmagic Design’s URSA broadcast camera features professional broadcast controls, built-in ND filters, nonstop 12-bit recording of ProRes and DNx files to dual SD UHS-IIor CFast cards, and new extended video range for broadcastready shots that can go straight to air. For routing video, Smart Videohub routers provide multi-format SD, HD and Ultra HD SDI routing with built-in video monitoring, spin knob control, and 6G and 12G-SDI technology. For monitoring video sources, MultiView 4 HD allows customers to monitor four independent SDI video sources on a single display, including any combination of SD and HD formats and frame rates.

BLUEFRAME TECHNOLOGY

A

busy and productive summer has resulted in significant client growth for BlueFrame, highlighted by the addition of several NCAA DII conferences. Member colleges of the Central Atlantic Athletic Conference, Central Intercollegiate Athletic Association, Conference Carolinas, and Sunshine State Conference have all turned to BlueFrame’s Production Truck software to enhance their broadcasting efforts with multi-camera switching, instant replay, mid-roll ad insertion, and more. BlueFrame has also deployed robust conference-branded networks for each league allowing fans to watch their favorite teams live and ondemand via web, mobile, and OTT apps. In addition to its growth in NCAA DII, BlueFrame has entered into multi-year partnerships with the Texas Association of Private and Parochial Schools, Scenic West Athletic Conference (NJCAA), National Christian College Athletic Association, and Western Athletic Conference (NCAA DI).

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BRAINSTORM

B

rainstorm provides real-time 3D graphics, augmented reality, and virtual-set solutions for broadcast, feature-film production, and 3D realtime presentations. For sports graphics, Aston is the tool of choice when power and flexibility are required to perform in any kind of data-driven graphics environment, and companies like Input Media rely on Aston to produce advanced motion graphics for a number of sports applications, including the English Football League, the FA Cup, horseracing, tennis, and many more for some of the main UK and European sports providers. The combination of Aston with InfinitySet, Brainstorm’s AR and virtual set solution, provides some of the most spectacular augmented reality content for sports applications, such as the opening of the 2018 Winter Games or WWE’s WrestleMania. InfinitySet can create photorealistic AR with advanced virtual set features such as TeleTransport, extensively used for sports applications all around the world.

BROADCAST SERVICES INTERNATIONAL (BSI)

B

SI has had an action-packed year with new events on the horizon after a busy summer, and settling into its new head-office location. With its 21st Olympic Games, BSI provided venue infrastructure and technical management in PyeongChang. BSI also completed a contract for technical engineering and design integration at the 2018 FIFA World Cup and will be returning for the 2019 Women’s World Cup in Paris. The team finished another successful year with NBA Finals, Stars on Ice, and Canadian Open. BSI’s equipment inventory has grown to include a new Lawo NC36, EVS XT3 servers, a complete 18-position commentary system, gyro-stablilized and wide-angle lenses, and more fiber gear. The Dejero partnership is a continued success, with BSI at its primary rental supplier. The BSI team also has a fully certified and insured DJI Inspire 1 drone, with 4K capability.

BROADCAST SPORTS INTERNATIONAL (BSI)

A

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

BROAMAN

B

roaMan extends Mux22 family with VSync8. The popular Mux22 is a universal interface, supporting all broadcast industry signals in just a 1RU


chassis. By combining 3G -SDI I/O with Optocore and SANE digital audio networks, Mux22 provides a compact and highly efficient solution for transporting video, audio, and data on a duplex fiber. Each standard Mux22 contains a VSync board that features Sync I/O with selectable different types of clocking signals. However, the new Mux22-IVT/SYNC, which received its official launch at IBC 2018, is based on the new VSync8 board, which provides eight Sync outputs in addition to the original VSync I/O. Sync and VSync8 operate independently; for example, VSync can operate with tri-level signal while VSync8 can output blackburst. In addition, both can have independent phase offsets. Each of the eight sync outputs in VSync8 can be individually set to either video sync or audio word clock sync.

C360

c

360 is a leading provider of add-on products, industry solutions, and development tools for the Microsoft Dynamics CRM platform. c360 products are sold through a network of over global partners that have delivered c360 solutions to more than 2,200 Dynamics customers worldwide, representing a base of more than 500,000 users.

CALREC AUDIO

C

alrec Audio’s new Impulse core is the next-generation audio-processing platform. The Impulse core is a very powerful audio processing and routing engine with AES67 and SMPTE 2110 connectivity. The Impulse core is compatible with existing Apollo and Artemis control surfaces, providing a simple upgrade path for existing Calrec customers without an overhaul of production equipment. Impulse is a robust and scalable DSP platform, giving customers a fully defined upgrade path as they transfer to IP infrastructures. In addition, future scalable expansion will allow up to three DSP mix engines and control systems to run independently on a single core at the same time, providing the ability to use multiple largeformat mixers simultaneously in an extremely costeffective and compact footprint. Impulse provides 3D immersive path widths and panning for NGA (nextgeneration audio) applications; 5.1, 5.1.2, 5.1.4, 7.1, 7.1.2, and 7.1.4 input channels; busses; monitoring; and metering are available. Height and 3D pan controls are provided, and paths of all widths can co-exist within a mix and be routed to/from each other with flexible panning and downmixing built in. Impulse has an integral AoIP router, which fully supports NMOS discovery and connection management, as well as mDNS/Ravenna discovery. Up to four router cards can be fitted, each with a 4096 x 4096 audio routing matrix, and can operate at 1- or 10-Gbps. Two 5U Impulse cores can be combined to provide full redundancy and can be physically remote from each other for disaster recovery.

CAMPLEX FIBER

C

amplex, a division of employee-owned Tower Products Incorporated, manufactures fiber-optic cable assemblies and video-over-fiber solutions. Camplex fiber-optic solutions improve and extend the performance of signal-transmission infrastructure for studio and live broadcast production. The company builds opticalCON, tactical, SMPTE, plenum, and hybrid fiber cables in a Neutrik opticalCON, LEMO, and Canare-certified and trained U.S. fiber facility, with full repair services available through authorized partners. Camplex also offers

consultation services including an analysis of the current infrastructure and recommendations about simplifying and streamlining existing systems while providing expansion capabilities for the future. Analyses are supported with workflow and system diagrams, guides to modular components, and training, if necessary. Camplex products and services deliver the signal quality that sports broadcasters demand.

CANON U.S.A.

A

t IBC 2018, Canon introduced two new long-zoom 4K UHD field lenses that represent a significant breakthrough in simultaneously extending the focal range at both extremes. The first, the UJ122x8.2B, is a lens with a zoom range of 122:1, which offers a horizontal 60.7-degree wide-angle (8.2mm) and then extends to 1000 mm. The second lens, the UJ111x8.3B, has a zoom range of 111:1, which offers a horizontal 60.1-degree wide-angle (8.3mm) and then extends to 925mm. Both lenses include a built-in 2x range extender. They offer 4K Premium performance – a Canon identification that ensures greater-than-4K resolution from center to image extremities and significantly reduced chromatic aberrations (this being especially important to enhancing the high dynamic range and wide color gamut capabilities of these lenses). A newly designed built-in image stabilization system ensures rock-steady imagery at the extreme focal lengths of the two lenses. The compensation has been extended to deal with higher vibration frequencies. The new control algorithm virtually eliminates any drift following a panning or tilting operation while the IS system is engaged. In anticipation of coverage of concerts and other entertainment events, an appealing new creative operational control has been incorporated in the lenses. This control implements a precision degree of defocus with both the degree and speed of the blur adjustable by the camera operator. There is zero angle of view alteration. The introduced blur is equally effective at the extreme telephoto focal range.

CARTONI USA

S

ports broadcasters rely on camera support products from Cartoni for rock-solid performance and exceptional durability. The Italian manufacturer’s fluid heads function effortlessly and predictably in the studio and at outside broadcast and live events. Its broadcast line includes the lightweight Focus 22, for payloads from three to 49 lbs.; Master Series, available in four versions for loads up to 143 lbs.; and Magnum, for fully decked studio and OB cameras with long boxed lenses. All are precision-engineered and feature Cartoni’s patented counterbalance system and advanced dampening module. Additionally, heads, from Master Series and above, can be encoded for position tracking. Sports networks, mobile production units, university broadcast departments, and others have made Cartoni their first choice in camera support for its rare combination of quality, utility, and value. Cartoni products are available exclusively in the U.S. through Manios Digital & Film.

CAT ENTERTAINMENT SERVICES

A

multi-tier event package awarded by the NHL kept CAT Entertainment Services technicians busy last winter providing power to a trio of celebratory events, including The Scotiabank NHL100 Classic at TD Place Stadium in Ottawa, ON, in December; the Bridgestone NHL Winter Classic in January at Citi Field in Queens, NY; and the Coors Light NHL Stadium Series game at the U.S. Naval Academy football

stadium in Annapolis, MD, in March. Each of these events required installing an 800kW Twinpack system to power the ice plant that maintains optimum temperature for the temporary rinks, as well as a 375kVA UPS and a 500kW Twinpack to keep the television compounds operating. CES technicians also installed a 375kVA UPS with a 500kW twin for the TV compound and cabled the house power distribution for the in-house entertainment acts at the 2018 NHL All Star Game in Tampa, FL.

CATDV

C

atDV brings order to the chaos of media file management by making it easy for content owners to repurpose and monetize their assets. Offering a powerful, user-friendly toolset and streamlined integration with a multitude of media workflow vendors, the CatDV software runs on Mac and Windows platforms and can be scaled from small workgroups to multiuser enterprise solutions managing millions of assets.

CBT SYSTEMS

C

BT Systems provides consultation, design engineering, and systems integration for world-class digital broadcast and production turnkey systems. By adapting to open-space design and off-site IP-based solutions, CBT Systems continues to be an industry leader, ready for the next content delivery method. CBT Systems is leading the esports revolution with the perfect fusion of broadcast quality and reliability with digital streaming. Recent projects include Esports Arena in Las Vegas for Allied Esports, video media production studios for the Marlborough School of Los Angeles, production and event spaces for Confidential Client, and long-term facility planning for Confidential Client.

CENTURYLINK

W

ith customers in more than 60 countries and an intense focus on the customer experience, CenturyLink strives to be the world’s best networking company by solving customers’ increased demand for reliable and secure connections. The company also serves as its customers’ trusted partner, helping them manage increased network and IT complexity and providing managed network and cyber-security solutions that help protect their business. CenturyLink Vyvx Solutions is the trusted global provider of video acquisition, distribution, and delivery for many of the world’s largest and most innovative broadcasting and media companies. From sports events to full-time channel distribution, CenturyLink brings 25+ years of broadcast video experience and a full portfolio of end-to-end video services and solutions on top of its global network. CenturyLink is the trusted global CDN provider of video and digital downloads for many of the world’s largest and most innovative broadcasting, media, internet, and electronics companies.

CHESAPEAKE SYSTEMS

C

hesapeake Systems offers an engaged and embedded approach to analyzing, engineering, implementing, and maintaining highly advanced media technology systems for organizations involved in the creation, distribution, and preservation of content. As specialists in M&E workflows, Chesapeake also provides targeted solutions for sports video content. As leaders in understanding and assessing media technology needs, Chesapeake prepares clients for future asset demands, and develops systems that optimize the specific needs of their workflow.

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SPONSORUPDATE CHILEFILMS

C

hilefilms provides technical production for TV events. This year, the company has delivered more than 500 live events for Chile and the world. The company offers seven production HD OB Vans, 80 cameras, 16 EVS, and a variety of large lenses. Chilefilms also provides DSNG, flypack, and C- and Ku-band services. Recently, Chilefilms was awarded the 2019-22 fieldproduction contract for Conmebol (confederación Sudamericana de Fútbol), for Copa Libertadores de América (simil UEFA Champions League), Copa Sudamericana (simil Eurofa League), and Recopa.

CHYRONHEGO

C

hyronHego supported the local team at IBC 2018, with the announcement of a league-wide deal with Eredivise, the highest echelon of professional football in the Netherlands. All 18 clubs benefit from the combined TRACAB Optical Tracking and ZXY Wearable Tracking technology the deal provides. The deal accelerates the integration between ChyronHego’s data product (TRACAB) and in-stadium product (Click Effects PRIME). This integration resulted in a world-first when ChyronHego debuted Perimeter Tracking at the DFL’s prestigious Sports Innovation Days. Perimeter Tracking camera-tracks a player in parallel to the football perimeter, or pitch-side, LED display. Perimeter Tracking graphically presents a player’s speed, total distance covered, and other stats live in-stadium, and opens up new opportunities for advertiser-supported fan engagement. Further afield, recent Click Effects PRIME deals are bringing broadcast graphics to any screen of any size and in any format, such as with MLB’s Toronto Blue Jays and the NFL’s Denver Broncos, Miami Dolphins, and Tennessee Titans. And, ITN recently signed a deal with ChyronHego for 10 PRIME Graphics systems, which will be used to deliver IP-based graphics across their centralized coverage of the English Football League.

CINESYS-OCEANA

C

ineSys-Oceana specializes in innovative workflow solutions and integration, including storage infrastructures, tiered storage solutions, archiving, and more. The company’s goal is to provide the highest quality of service with an unmatched variety of solutions.CineSysOceana currently works with several sports teams in media storage and media asset management. There is increasing demand for sports broadcasters to ingest, edit, and review high-quality material on location quickly. The microDDP by Dynamic Drive Pool is a silent, fast, and lightweight Ethernet SAN storage solution that works perfectly for outside broadcast. microDDPs have been used at large sporting events, including this year’s MLB All-Star Weekend and All-Star Game. CineSysOceana has specialists to analyze your needs and create a solution tailored to you, and provides installation, technical support, and custom software development.

CISCO

A

t IBC 2018, Cisco showed off its secure intelligent platforms for media creation, management, and distribution. The Cisco Media Blueprint offers multicloud orchestration, application management, and collaboration solutions, in addition to enhancements

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across core IP networking, data center, security, and distribution. The Service Provider Video Software and Solutions portfolio was also on display, including innovations in video processing, security, and multiscreen experiences.

CLARK MEDIA

C

lark Media provides HD mobile trucks and broadcast equipment rentals including custom built HD and 4K production systems. Clark Media has a full-time staff of rental managers, engineers, and production professionals ready to provide outstanding support for your next project. The company has locations in Burbank and New York that allow for service nationwide.

CLARK WIRE & CABLE

C

lark Wire & Cable delivers highly engineered products built specifically for the unique demands of broadcast and professional A/V industry coupled with exceptional customer service and valueadded support. Over the past three decades of growth, customer service and support has remained Clark’s top priority, and as broadcast and A/V technologies evolve, Clark continues to innovate with products such as gas-injected coax, hybrid fiber, and tactical fiber cables for use with the latest HD video standards and applications.

CLEAR-COM

F

reeSpeak II wireless communication system was deployed at all 12 stadiums across Russia during the recent global football tournament. The 12 standalone systems were installed by Clear-Com’s channel partner WNM, which had responsibility for wireless and infotainment for the event’s Host Broadcast Services (HBS). The FreeSpeak II high-performance wireless intercom system is designed for extensive communication in large-scale operations. Its ability to maintain a strong and continuous wireless connection across an expansive coverage area while providing crystal-clear digital audio makes FreeSpeak II the ideal wireless roaming solution for live events, broadcast, and sport production, and the communication system of choice for many of the world’s largest and most prestigious events. At the Russian tournament, FreeSpeak II base stations, transceivers, and rugged beltpacks provided extensive, reliable coverage and uncompromised audio quality for the camera and production teams throughout each stadium, including the tunnel where the players arrived, and the area around the pitch and the broadcast compound. The transceivers were connected using fiber to help installation and distant placement.

CLOUDIAN

C

loudian is high-capacity storage in your data center. Built from nodes, like bricks in a building, Cloudian lets you scale seamlessly to exabytes, without interruption or downtime. Ideal for your growing active archive, a Cloudian storage cluster grows with your needs. Cloudian recently announced a Telestream/Cisco solution, allowing Vantage users to accelerate workflows by enabling fast access to media files from Cloudian exabyte-scalable storage.

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Media can then be made available at remote sites instantaneously for real-time production support or distributed through other web-based workflows. For Quantum StorNext users, Cloudian has a solution that lets you add limitless capacity to your StorNext deployment, quickly and cost-effectively. Cloudian also works seamlessly with AI/ML tools that employ image recognition to tag media with enhanced metadata. Use this metadata to instantly find the media you need employing integrated tools. Hybrid-cloud and multi-cloud deployments are both supported as part of Cloudian’s system, linking cloud tools and cloud storage to your on-prem media assets for the first time. Cloudian provides high-performance, exabyte-scalable, disk-based on-premises storage that integrates seamlessly with the public cloud.

COBALT DIGITAL

A

t IBC 2018, Cobalt Digital highlighted a number of new and recent additions to its product portfolio, including the 9904-UDX-4K-12G UHD 12G/3G/HD/ SD-SDI up/down/cross-converter, which is now shipping. The 9904-UDX-4K is Cobalt’s latest generation of advanced image and audio processors for the openGear platform. The base card provides quad 3G-SDI and 12GSDI I/O with SDI muxing and demuxing and up/down/ cross-conversion. Options include RGB color correction and SDR-to-HDR up-mapping via Technicolor’s HDR Intelligent Tone Management (ITM) processing. Cobalt also displayed its new 9971-MV18-4K series of openGear multiviewers. These multiviewers support the latest signal types with a high-density modular design that can be expanded as required. The MV18 is equipped with 18 4K 12G-SDI auto-detect inputs, which can be scaled as needed across a full 3840×2160 UHD raster output. In addition, Cobalt spotlighted its new 9992-ENC-4K-HEVC H.265 Streaming Encoder for openGear. The platform supports Quad 3G-SDI and 12G-SDI inputs and is also configurable as a multichannel encoder (up to four channels) for 1080p60 signals and below using MPEG-2, H.264, or HEVC with all channels using the same compression standard.

COGNIZANT

C

ognizant is one of the world’s leading professional services companies, transforming clients’ business, operating, and technology models for the digital era. The company’s unique industry-based consultative approach helps clients envision, build, and run more innovative and efficient businesses. Recently, in Fall 2017, the Football Association chose Cognizant as the league’s official digital transformation partner and its Emirates Cup. New digital solutions developed and managed by Cognizant will make it easier for all to get involved in the sport, improve themselves, be rewarded, and be inspired to nurture football communities across the nation. Cognizant also helped the FA launch the For Girls digital program, a centralized location for all female football fans.

COMCAST TECHNOLOGY SOLUTIONS

C

omcast Technology Solutions, a division of Comcast Cable, brings innovations from Comcast to the advertiser, content provider, global operator, and technology industries, providing solutions to collective challenges and helping to forge a shared vision for the


future. Built on Comcast’s know-how, proven facilities, platforms, and infrastructure, Comcast Technology Solutions offers more than 20 years of real-world broadcast and digital experience. The company delivers technology beyond expectations to help customers develop new business models and transform the customer experience.

COMMUNICATIONS ENGINEERING INC.

C

ommunications Engineering Inc. (CEI) is a consulting, design, systems integration, and equipment sales and service company. The company represents over 500 of the media industry’s most valued equipment manufacturers for project integration and direct equipment sales. CEI also operates a large service and support organization, available to the sports media industry nationwide, from both its Service Depot in Virginia to onsite field repair and maintenance services. CEI Service Engineers receive regular industry training and authorized certification to keep pace with new products and technologies.

COMREX

S

ince North TV (a community media station serving North Attleboro, MA) was created, they’ve been limited to broadcasting from cable drops in their area. That means they weren’t able to cover important community sports games in remote locations. Having recently acquired a Comrex LiveShot, North TV has been able to go live from anywhere IP networks are available. With LiveShot, North TV can provide live coverage from all major high school sports games, including the North Attleboro High School Super Bowl at Gillette Stadium. Compact, with a versatile interface that weighs only three pounds, Comrex LiveShot is a bonded cellular solution designed for the most demanding field broadcasts. LiveShot delivers live, twoway HD video and audio over a range of IP and cellular networks with less than 200ms latency. Utilizing sophisticated CrossLock VPN technology, LiveShot is able to make use of even the most challenging 3G/4G, WiFi, and satellite networks to maintain a secure and stable connection.

CORESITE

C

oresite builds and operates secure, reliable, highperformance data center and interconnection solutions supported by customer service. Across eight key North American markets, more than 1,200 of the world’s leading enterprises, network operators, cloud providers, and supporting service providers choose CoreSite to connect, protect, and optimize their performance-sensitive data, applications, and workloads.

CREATIVE DIMENSIONS

C

reative Dimensions is a team of industry experts, visionary designers, versatile project managers, and skilled craftsmen that has built a reputation as an innovative partner over the last 30 years. The team coordinates and produces a full range of signage; exhibits/tradeshows; and broadcast studios, sets, and desks, including the company’s VERSA Broadcast Desk line of products. Creative Dimensions delivers the outcomes you need, while striving to save you money and time. Whatever your project, Creative Dimensions’ passion for customer satisfaction, creative solutions, and quality products, as well as its innovation and problem-solving skills, will get the job done for you with style!

CREATIVE MOBILE SOLUTIONS

DALE PRO AUDIO

C

D

CRYSTAL & COMPANY

DELAPLEX

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

C

rystal & Company is the home for talented insurance professionals: creative, committed to their clients, and driven to deliver extraordinary results. The company drives the strategy and execution behind insurance and employee benefits programs for businesses that want to be smart about risk. Crystal & Company is the insurance brokerage of choice for leading financial institutions, corporations, and nonprofit organizations.

CSP MOBILE PRODUCTIONS

C

SP Mobile Productions has been providing broadcasters with quality mobile units since 1988. From sports and entertainment to large corporate and news events, CSP Mobile covers the nation from coast to coast, delivering HD productions to ESPN, Fox Sports, CBS Sports, NBC Sports, and more. CSP Mobile’s 53’ expando HD1 primarily services the needs of its west coast clients, while the 53’ expandos HD2 and HD4 and the 53’ straight HD3 continue to service those east of the Mississippi. CSP Mobile’s 48’ B unit can roll wherever you need it. Over the past three decades, CSP Mobile has gained the trust and respect of the top networks and production companies in broadcasting. The company provides affordable, well-maintained mobile units with unmatched customer service.

ale Pro Audio has been a distinguished leader in the broadcast, live sound, contracting, and studio and postproduction markets since 1956. The company carries hundreds of pro audio’s top brands, stocks thousands of the best products, and has an expansive store and showroom in Queens, NY. Because of its commitment to excellence, Dale has earned the trust of television and radio stations, recording studios, contractors, and more.

d

elaPlex is a global technology and software development solutions and consulting provider, deeply committed to helping companies drive growth, revenue, and marketplace value. By redefining the outsourcing industry’s business model, the innovative delaPlex Agile Business Framework brings an unmatched alliance of industry experts, across industries and functional skillsets, to clients anywhere around the world.

DELL EMC

D

ell EMC provides flexible, reliable, and easyto-manage storage solutions that help media companies create, maintain, and protect their most valuable digital media assets. With simplified management of storage, media companies can focus on what they do best create and deliver great media content. With solutions that allow better collaboration, broader access, and performance that keeps up with even the most demanding media workflows, it’s no wonder industry leaders and over two billion content subscribers worldwide rely on Dell EMC.

DIGITALGLUE

D

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

igitalGlue provides equipment, integration, software development, and training for the production and distribution of digital video. The DigitalGlue team will work with you to efficiently deliver your programming over fiber, cable, satellite, IPTV, and OTT. DigitalGlue has also introduced an entirely new concept in media storage with its launch of creative. space. The creative.space OPMS (On-Premise Managed Storage) solution is designed to provide the performance you need at an affordable monthly rate that scales as you grow both your team and the caliber of your work. OPMS removes storage as a bottleneck, helping creatives achieve uninterrupted creative flow.

DAKTRONICS

DIMETIS

CTG

C

D

aktronics can help bring exhilarating game-day experiences to fans everywhere using cuttingedge technology. The use of mobile engagements allows venues to deliver synchronized content to fans’ mobile devices and Daktronics’ displays. This allows for synchronized light shows, live trivia games, coupons, and more to be sent to fans’ smartphones without incorporating additional equipment. Reverse auctions are another way Daktronics customers are providing an adrenaline-pumping experience by allowing fans to compete in a 60-second auction. As the clock counts down from 60, the cost of the prize gradually decreases and the first person brave enough to bid is the winner. Other interactive games are also possible with a Daktronics system, allowing venues to implement original, engaging games for fans in their venue. This technology raises the bar on in-venue fan engagement opportunities by creating a completely interactive experience for fans attending events, helping to generate revenue and elevate the experience.

D

imetis is a developer of world-class tools for media workflow automation, remote production, broadcast management and control, scheduling, OTT monitoring and analytics, NFV/SDN orchestration, and much more. Dimetis is a truly agnostic vendor as it interface with all vendors — hardware or software — and provides multi-vendor broadcast network management. mX Media Exchange is a powerful media management platform that provides media workflow automation, comprehensive management, automation, and transfer of large video and audio files while providing an elegant user experience. BOSS Broadcast Manager is an easy-to-use, comprehensive management software platform for monitoring, configuration, video workflow orchestration, and control of streaming facilities, multiplex centers, IPTV, DVB, and ATSC/HDTV. BOSS Stream Viewer is a video-stream monitoring and analytics solution. BOSS Operations Manager is a transmission and resource scheduler for broadcast facilities. OpsNGN is an OSS automation and orchestration platform supporting physical and virtualized networks.

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SPONSORUPDATE DIVERSIFIED

D

iversified partners with venues nationwide to design and deliver expertly engineered and integrated sound, video, and networked broadcast systems. This first-string line-up of industry experts provides consultation, implementation, and management services supporting every aspect of your communications needs. With a comprehensive portfolio of technology solutions encompassing large-scale A/V integrations, sound reinforcement, control rooms, managed networks, electronic security, sports network design/builds, and large-scale mobile units, Diversified has more real-world experience than any other sports technologies integrator. As your technology solutions partner, Diversified not only guides you through the digital transformation, but the company’s multifaceted expertise extends to IT and networking solutions, structured cabling, mobile connectivity, venue campus SOC’s for incident management and surveillance, and much more. See how today’s “smart stadiums” are connecting fans as never before.

DMC BROADCAST GROUP

A

t IBC 2018, DMC Broadcast Group showed off Hitomi MatchBox with IdentBox, which includes 4-16 independent outputs as a software upgrade or new board in the XFrame, as well as new 4K and HDR products. The company also introed Trimble PTP and NTP Grandmaster clocks. On display at the Plura Broadcast stand was CamBOX multi-camera control over fiber. At the DVEO booth was a full line of encoders with DOZER ARQ. In addition, the company showed cloud-based and VM-based analyzers, with or without multiviewers, as well as low-latency IP converters for monitoring live events up to 120 streams per system.

DNA STUDIOS

D

NA Studios recently acquired Legacy Sports Productions, bringing its total TV trucks to seven. The company’s largest truck is a 53-ft. expando; it also has several 32-ft. trucks. Units are based in North Carolina, Louisiana, Texas, and Denver. DNA also completed its second REMI studio, located in Houston. Whether its a full production or a budget-friendly “at-home” event, DNA Studios has you covered coast-to-coast.

DOLBY LABORATORIES

D

olby transforms the science of sight and sound into spectacular experiences. Through its innovative research and engineering, Dolby develops breakthroughs that it share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room, or an action-packed game. In both entertainment and communications, through audio and imaging, Dolby gives everyone the power to see, hear, and feel the spectacular. Partner with Dolby to join the rapidly expanding group of leading content infrastructure providers and live content creators to deliver spectacular live sports and entertainment experiences. Learn how you can take your live entertainment experiences to the next level with Dolby Vision and Dolby Atmos.

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DOME PRODUCTIONS

D

ome Productions has been extremely active in the esports space, recently providing all technical production facilities, engineering, and crew for the inaugural season of the NBA 2K League. This ambitious effort, first of its kind by a major sports league, came to a successful close August 25 with Knicks Gaming crowned NBA 2K Finals Champion. The 15-week regular season, playoffs, and finals were streamed on Twitch from the NBA 2K league Studio. Dome, in partnership with Defacto Entertainment, provided plenty of production firepower and innovative technology. Dome’s mobile fleet has grown to 18 HD production trucks, including three 4K. In addition to the HD/4K fleet are two REMI HD trucks, supported by a state-of-the-art offsite production control room. Dome owns six B units including a purpose-built double expando resembling a rolling IBC, one hybrid production/uplink mobile, three KU band uplink tractors, and a digital media HD production trailer.

DX3 MEDIA INC.

D

X3 Media Inc. is a media production management and consulting company based in Canada. The company provides out-of-the-box thinking resulting in innovative solutions for clients’ projects. Its reputation is founded on delivering higher than anticipated results and always under the clients’ budget. DX3 Media Inc. has a strong network of equipment and crew relationships throughout North America.

EEG ENTERPRISES

E

EG is a leader in closed-captioning and subtitling systems for sports venues and broadcasters. Their Emmy Award-winning iCap System powers everything from in-house IPTV channels, scoreboard displays, and handheld devices to production trucks and television networks. With iCap, your programming has 24/7 connectivity to the largest network of live-caption-service providers in North America or Lexi for Automatic captions. Captions are seamlessly delivered into your video path in real time. No phone lines or fixed IP’s are necessary with iCap — simply connect and caption using a standard broadband connection. All video workflows are supported, including SDI, IP, integrated playout, and streaming media.

ENCOMPASS DIGITAL MEDIA

E

ncompass is a global media and entertainment technology services company focused on supporting sports leagues, TV networks, broadcasters, and digital leaders with the delivery of their linear/ nonlinear video content across television and digital platforms. The company designs, implements, and operates reliable solutions that capture, process, and deliver clients’ video content from any source, in any format, to any destination in the most efficient and reliable way possible. Encompass’ global connectivity, scalable technology infrastructure, and strategic partnerships create a single, synchronized content delivery environment for both traditional and digital delivery. Reach additional markets by streaming your live events online and deliver to any screen. Daily, Encompass services 1,200+ channels; processes 31,000+ hours of TV/OTT; streams 6,300 hours of TVE/OTT content; and acquires/distributes 275+ live events.

SPORTSTECHJOURNAL / FALL 2018

ES BROADCAST

2

018 has seen further substantial growth for ES Broadcast’s systems integration, equipment sales, and hire operations. The company’s SI team has completed an upgrade of two OB vehicles for leading outside broadcast company Telegenic. Three brandnew HD OB vehicles will be delivered in late 2018 to RaceTech, the UK’s foremost horseracing broadcast services provider. In the U.S., ES Broadcast will soon be commencing work to build a large e-gaming studio in Los Angeles. The company has also continued to expand its UHD hire fleet — already one of the largest in the world — with Europe’s first Canon CJ45ex9.7B lenses arriving, as well as additional Fujinon UA107 and Canon CJ12, CJ20, and UJ90 lenses; Sony XVS8000 vision mixers; and Sony BVM-X300 monitors. The majority of this UHD fleet was utilized for both the Winter Olympics in South Korea, and the FIFA World Cup Finals in Russia.

EUROVISION

E

urovision had a busy summer, not only with a large operation serving multiple broadcasters in Moscow in June and July, but also with the inaugural European Championships in Berlin and Glasgow, in which several individual sports including athletics and swimming were combined into a new two-week multi-sports event. Eurovision’s position as the world’s leading distributor of live sports was consolidated when it signed a new global television and radio rights deal with European Athletics carrying the partnership through to 2027. In the U.S., another NBA season was successfully completed, the first using IP technology to link the NBA’s own network with the global Eurovision network, thus providing full back-up of live games as they were delivered to more than 200 countries and territories. In early October, Eurovision provided facilities for the NBA China Games featuring the Dallas Mavericks and Philadelphia 76ers playing in Shanghai and Shenzhen. A new season of English Premier League soccer got underway in August, with Eurovision providing 18 transatlantic HD circuits, which are standards converted in Washington, DC, and delivered to NBC Sports Network in Stamford, CT, for live broadcast. The season includes an increased quota of 4K games, which can be seen on DirecTV. Finally, Eurovision is coming to the end of another season of international distribution of the PGA TOUR, including the supplementary feed PGA TOUR LIVE, and PGA TOUR Champions. This marks the 11th season of Eurovision successfully delivering live PGA TOUR events to international rights holders.

EUTELSAT

E

utelsat has announced the launch of Eutelsat CIRRUS, a hybrid satellite-OTT delivery solution that will help TV operators better respond to viewers’ expectations for a flexible, seamless content experience across multiple screens. Eutelsat CIRRUS reduces the technical and logistical challenges faced by satellite TV operators seeking to launch or upgrade their service offer, whether they are using only satellite or both satellite and OTT networks. Operators benefit from rapidly deployed video services, at a low operational cost, with the highest image quality and a consistent end-user experience. Through its dual offer of turnkey DTH services and OTT multiscreen delivery,


the new service allows Eutelsat to further pursue the integration of satellite into the IP ecosystem. Eutelsat CIRRUS’ turnkey DTH service provides satellite TV broadcasters with end-to-end video distribution combined with cloud-based service management. Bringing together the strengths of traditional DTH with next-generation features, the fully integrated platform delivers an enriched viewer experience. A multiscreen offer complements the traditional DTH broadcast service with simultaneous OTT streaming through a native hybrid platform. Eutelsat CIRRUS is guided by an innovative roadmap to guarantee product evolution and ensure state-of-the-art features for viewers.

EVERTZ

A

t IBC 2018, Evertz showcased its Software Defined Video Networking (SDVN) solutions. With 250+ global deployments since 2014, SDVN is the industry’s benchmark IP solution. SDVN, with its expanded lineup for IBC 2018, addresses the critical requirements of broadcasters including support for ST 2110 and AMWA IS-04/05, which enables industry interoperability; 10/25/100GbE networking; UHD/4K/ HDR; cloud playout; and remote at-home production. Evertz’ IP Orchestration and Control platform, MAGNUM, integrates all network elements to create an agile IP facility optimized for UHD live-production. With the growing complexity and scale of modern facilities, simple, streamlined workflows for operators are required. Evertz’ VUE Intelligent Operations and Control solution enables custom user interfaces and features software, touchscreen, and tactile control panel solutions that can be dynamically configured. Evertz’ DreamCatcher platform, with its advanced IP architecture, is the de facto standard for applications including venue, studio, mobile, VAR, and athome production. Dreamcatcher is equipped with a powerful toolset including DC Live Edit for seamless non-linear editing in a live production environment as well as collaborative production tools like Bravo. Evertz’ SCORPION and evREMOTE-1 platforms are advanced solutions for transport and remote at-home production applications that utilize managed IP and dark-fiber networks.

EVS

A

t IBC 2018, EVS showcased new solutions that sit at the heart of live production. EVS’ Connected Live technology and Creative Live solutions come together to deliver the most engaging viewing experiences and experienced the next generation of live production servers. XT-VIA is designed for live sports production, while XS-VIA is built for the needs of modern broadcast centers. Both servers offer six configurable channels of UHD-4K or 12+ channels of Full HD 1080p, as well as full support for live HDR operations. The new EVS servers also offer native-IP connectivity for live IP operations – using SMPTE 2110 — alongside 12G SDI flexibility. EVS also showed the latest evolution of IPDirector. EVS’ Live PAM features new fully IP-based workflow capabilities, formatagnostic content management for HD 1080p HDR or UHD-HDR, advanced data feed support, and a new social media publishing add-on. The latest version of IPDirector integrates EVS’ C-Next contribution solution and remote browsing and highlights editing tools IPWeb and Xplore, offering greater access to media and increased collaboration between multiple production sites. Partnering with ESL, EVS demoed how live esports event producers can use EVS technology to output high-quality live esports programming.

F&F PRODUCTIONS

FLETCHER SPORTS

N

2

FANCONNECT

FOR-A

ew builds and upgrades occupied much of F&F’s engineering teams’ time this summer. F&F launched its first double-expando B unit, which joined F&F’s 4K mobile unit that launched this past August. B18 made its debut at the PGA Championships and will move to its new home on SEC College Tour. It features its own edit and video rooms, router and comms, and is wired for 10 12-channel EVS’s. B18 has the ability to be a standalone unit when needed. Summer also proved a perfect time for many upgrades to the entire fleet in various areas; the biggest changes were made to GTX-16 and GTX-14. GTX-16 received camera and audio upgrades and GTX-14 received a new customizable monitor wall, switcher upgrades, audio upgrades, eight-channel EVS’s, new XFile3, and 10-gig network, as well as a complete rewire and the addition of 40 HD re-clocking DA’s and Sony cameras.

F

anConnect provides affordable cloud-based technology products centered on the creation and distribution of digital content to screens throughout sports and entertainment venues. FanConnect’s digital marketing solution allows venues to enhance the fan experience, maximize sponsorship revenue, and increase brand exposure. FanConnect supports IP or RF framework and offers a wide assortment of hardware options, providing flexibility no matter the application.

FILMWERKS

F

ilmwerks won the bid to provide power for Fox Sports and their 2018 golf tournaments across the country. Specifically, at the 2018 U.S. Open Men’s Tournament in Southampton NY, Filmwerks supplied Fox with generator-UPS-generator power for the TV trucks and B-units. The first generator acted as “house power” with the UPS as back-up to auto-start the second generator if “house power” was lost. The Fox office/edit trailers, A/C, carts, and catering ran on redundant generator systems. Filmwerks’ in-house designers and fabricators built custom batteries with weatherproof housing for the USOM. Each battery box replaces what would normally be a Honda generator ran on gasoline. Making these custom boxes provided a more environmental-friendly option for Fox Sports and their EHS group. Filmwerks will finish the golf season with Fox Sports this fall in Charlotte, NC after a summer filled with multiple network broadcasts including NBC, Golf Channel, and CBS.

FINGERWORKS TELESTRATORS

F

ingerWorks Telestrators defines live telestration for professional sports and esports broadcasters. FingerWorks enhances an analyst’s ability to reach its audience through real-time touchscreen telestration solutions with a variety of standard and customer-supplied graphic elements. FingerWorks delivers a simple, yet effective, interface for the sports analyst. The company provides individual, customizable toolsets, which allow broadcasters to feel comfortable and confident when using a FingerWorks Telestrator in real time. Broadcasters can create and import their own branded tools, giving a professional, streamlined look and feel to every live production. FingerWorks’ live telestration solutions are used for a variety of sports productions, including NFL, PGA, USGA, NASCAR, UFC, NHL, MLS, CFL, and coverage of the NCAA and Olympics. Valve Corporation, ESL Gaming, and Riot Games also use FingerWorks’ Live Telestration for esports coverage.

018 has been a successful year for Fletcher with major participation in PyeongChang in February and Russia this summer. Their combination of high-quality robotics, slow-motion systems, and low-profile POV’s enhanced these events. Fletcher introduced innovative technologies, continuing their efforts to bring dynamic sports action closer to viewers at home. Their RailCam swiftly covered the floorlevel action on FS1’s coverage of the Big East and Big Ten basketball tournaments. Fletcher also unveiled a high-quality, low-manned camera tracking system for tennis called Tr-ACE, which premiered across seven courts of Wimbledon in July and expanded to nine courts at the US Open this August to impressive response. The proprietary design behind Tr-ACE will lead to wide array of broadcasting applications in other major sports and TV productions.

W

ith the most extensive 12G and 4K compatible product line in Europe, FOR-A demonstrated the benefits of a combined 12G/IP approach at IBC 2018. Making its IBC debut was the latest in FOR-A’s series of universal system frames, the USF-106UDC12G 4K up/down converter. The unit offers interlace/ progressive and up/down conversion for HD to 4K. The MBP-1000VS 12G-SDI/IP multi-channel video server was also shown in Europe for the first time. It’s ideal for 4K studio environments, offering multiinput/output 4K and HD support and ingest, playout, and 4K recording. Specially designed for live, instant replay in ultra-slow motion, the FT-ONE-SS4K Variable Frame Rate Camera supports UHD shot at up to 1000 frames per second and provides continual, realtime 4K live output. The new IF4K-DNC is a 12G-SDI supporting frame synchronizer and color corrector. It enables simultaneous 12G and HD output.

FORBIDDEN TECHNOLOGIES

F

orbidden Technologies develops and sells Blackbird, the workstation experience in the cloud. Blackbird allows companies to maximize the value of content by providing accessibility, editing, and delivery of video at lightning speed, both remotely and on premise. The speed of Blackbird allows users to remotely work at any bandwidth, allow for collaboration, and increase speed to market. Blackbird Ascent is an intuitive easy-clip solution to create and publish video. Blackbird Forte is fully featured for professional editors like MSG Networks, which used Blackbird in a time-critical live-sports workflow across multiple systems, requiring quick delivery of content closed captions. Forte was selected in August 2018 by a major North American broadcaster and sports rightsholder to view, edit, and enrich the content of a major sports league. In addition, Forte was recently used to deliver content across online platforms for a Fortnite event involving professional and celebrity players.

FORECAST CONSOLES

F

orecast Consoles has designed and delivered control room consoles for the most prestigious television and broadcast network facilities throughout the U.S. and abroad, as well as professional and collegiate sports stadiums and complexes.

FRAUNHOFER

N

ext-generation audio is already a reality with MPEG-H — the audio system enabling broadcasters and content producers to create and distribute

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SPONSORUPDATE attractive programs with immersive audio and interactivity. The system is designed to work with today’s broadcast and streaming equipment. To demonstrate this, Fraunhofer IIS set up an end-to-end DVB broadcast chain at IBC 2018 with live production, contribution, and emission of an MPEG-H Audio signal. All equipment shown in this real-time chain was readily available for broadcasters worldwide. Visitors experienced the interactive and immersive sound in a living room environment with a prototype 3D soundbar.

FUJIFILM/FUJINON

F

ujifilm is at the forefront in the development of 4K UHD and Cine optical technology with advanced high dynamic range (HDR) capabilities. Its Optical Devices Division offers an entire range of Fujinon 4K UHD series lenses, HD lenses, and cinema zoom lenses. The Fujinon 4K UA series of 2/3” lenses now total 11 models of large field/box and portable lenses, including three new 4K lenses introduced in 2018. 2/3“ portable zoom lenses include: UA13x4.5, UA14x4.5, UA18x5.5, UA22x8, UA24x7.8, UA46x9.5 (New), UA46x13.5 2/3” Studio and Field Box Zoom Lenses (New), UA27x6.5, UA70x8.7 (New), UA80x9, UA107x8.4 Cinema Zooms, MK1855 – FZ* and E and Micro 4/3 Mount*, MK50-135 - FZ* and E and Micro 4/3 Mount*, Cabrio XK20120 PL and EF Mount*, Cabrio ZK14-35 - PL and EF Mount*, Cabrio ZK19-90 - PL and EF Mount*, Cabrio ZK85-300 - PL and EF Mount*, Cabrio ZK25300 – PL. (*via 3rd party)

FX DESIGN GROUP

W

alk in nearly any broadcast market in America, including San Francisco; Dallas; Hartford, CT; Charlotte, NC; and Orlando, and you’ll be looking at an FX-designed set. FX is a leader in set designs for professional sports franchises, including the Dallas Cowboys, San Francisco 49ers, Kansas City Chiefs, and others. FX provides complete scenic design services for news, weather, sports, talk show, and entertainment sets — all backed by an expert customer service team. In addition, lighting design is more than just a job — it’s a passion. As virtual reality and augmented reality continue to increase in both quality and popularity, FX is now placing VR studios along with hard sets for the utmost in flexibility and versatility in broadcast stations and sports networks.

G&D NORTH AMERICA

A

t IBC 2018, the KVM Sports Experts from G&D continued the product launch of their KVMover-IP matrix system. After a first demo at NAB this year, the final product was on show in Amsterdam, providing even more versatility to the portfolio. With solutions for compressed and uncompressed video and transmission over CAT, fiber, and IP structures, any given project needs can be accommodated in a cost-effective way. Especially for sports production, the new IP series can offer further flexibility as it can share network structures and breaks the boundaries of dedicated cabling. The new ControlCenter-IP will include all the great matrix features known from G&D’s classical ControlCenter series: mission-critical features for maximum reliability are combined with functions for ideal and user-friendly operation.

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GAME CHANGER MVP

F

an-engagement technology, Millennial-attention-grabbing software, eye-popping graphics and animations, and so much more is how Game Changer MVP is best described. Game Changer MVP creates amazing graphics and animations for many sports teams and events. However, the hottest item in-venue right now is Game Changer MVP’s customized interactive games that work with your team or event app. Current customers include the Dallas Cowboys, the Vegas Golden Knights, the X Games, and so many more.

GAME CREEK VIDEO

G

ame Creek Video launched 79 in early 2018. The company’s second all-IP infrastructure unit proved itself immediately at the Men’s Final Four Championships and then the NBA Finals. 79 was joined by Edit 4, another in the series of super flexible edit units produced by Game Creek over the last several years. Plans are in place to build a new production unit for Fox Sports in 2019 while continuing to upgrade existing units with new replay devices and Sony 4300 super slow motion cameras.

GEARHOUSE BROADCAST

G

earhouse Broadcast has continued its commitment to delivering a wider range of services for its clients with the recent acquisition of Proshow Broadcast and appointment of Jeff Hallman as its Director of Sales and Operations on the East Coast. The Proshow acquisition allows Gearhouse to deliver flexible and unique solutions as well as integrate a fleet of 10 production units and team of 32 personnel with its offices in Charlotte and Los Angeles. Hallman’s 25 years’ experience in the media and entertainment industry and expertise in managing relationships and contracts will further enhance Gearhouse’s customer experiences and help it to deliver services to more of the East Coast. Gearhouse Broadcast USA recently introduced three new mobile production units into the North American market: Columbus, its LA-based 4K mobile unit, and Skye and Iona, two multi-purpose mobile production units that serve the East Coast from Charlotte.

GERLING & ASSOCIATES

W

ith more than 20 years of experience in the mobile-unit-design industry, Gerling & Associates provides workmanship for domestic and commercial markets. Broadcasters trust the company’s systems integrity to produce the Super Bowl and a wide variety of sports events. The company’s services include all interior and exterior design, custom mobile solutions, complete refurbishment warranty and maintenance, finish, custom carpentry, and much more.

GLOBECAST

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ports broadcasting is changing at such a swift pace, and this is not just affecting the way that broadcasters interact with their consumers, especially across the ever-growing the number of online platforms available, but also their internal technology and the way they run their operations. The winners will be those that manage to successfully transition

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from the old world to the new world without losing their existing customers on the way. It’s here that a key technological shift – the gradual move to virtualized and cloud technologies, including cloud playout – comes into play. This shift facilitates the creation of integrated service suites from media services suppliers like Globecast.

GOOGLE CLOUD

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oogle Cloud frees users from the overhead of managing infrastructure, provisioning servers, and configuring networks. The platform is secure, high-performance, cost-effective, and constantly improving. Tap into big data and machine learning to find answers faster, build better products, and fuel amazing applications. Grow from prototype to production to planet-scale without having to think about capacity, reliability, or performance. Google’s backbone network has thousands of miles of fiber-optic cable, uses advanced software-defined networking, and has edge-caching services to deliver fast, consistent, and scalable performance.

GRABYO

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t IBC 2018, Grabyo introduced its enhanced video-editing platform, Grabyo Editor, a set of browser-based editing tools for creating and distributing short video clips, highlights, and social video from live streams, VOD, and mobile sources. The new service combines the speed and flexibility of Grabyo’s cloud-based platform with simple, effective tools for video editors. Accessed using a web browser, Grabyo Editor reduces the time it takes to produce highquality video content by enabling multiple users to produce short clips and longer-form videos with multiple video inputs, graphics, imagery, and audio. These advanced editing features, combined with Grabyo’s live production platform, clipping tools, and publishing capabilities, offer digital teams a complete cloudbased platform for fast, flexible video distribution to social, mobile, and OTT platforms. Grabyo Editor supports picture-in-picture frames, graphics overlays, audio controls, and time-based asset splitting, and is designed to create interactive experiences for digital audiences in real time.

GRASS VALLEY, A BELDEN BRAND

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he 2018 Wimbledon Tennis Championship was produced live in UHD HDR for the first time, supported by IP solutions from Grass Valley, a Belden Brand. As in previous years, NEP UK supported the live production, but this time on behalf of the newly formed host broadcaster, Wimbledon Broadcast Services (WBS). NEP’s two OB trucks, Venus and Ceres, featuring IP infrastructure from Grass Valley were deployed to support the event. Built around its IQUCP 25GbE Gateway cards, the Grass Valley IP infrastructure provides added flexibility, enabling NEP to easily adapt the system for different events without replacing or re-wiring racks of equipment. The trucks also house Grass Valley’s IPEDGE-SVR turnkey IP routing control system with Orbit control and monitoring software, Grass Valley Kayenne and Kahuna switchers, and IP multiviewers. NEP managed HD, HDR, and UHD content, and delivered world feeds to 20 broadcasters. The


two trucks, linked via a portable IP flyaway system, formed the world’s largest SMPTE ST 2110 outside broadcast installation. They were able to handle over 118 camera signals from all 18 courts, which would have normally involved miles of cabling. Grass Valley was able to reduce this vastly. With unmatched expertise and heritage in live sports, Grass Valley enables its customers to deliver unbeatable images and immersive content experiences.

GRIMM

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RIMM is an engineering and consulting firm that researches, develops, and advises on the art of the possible in cybersecurity. The company services government and commercial clients from a diverse range of industries, providing security consulting, vulnerability research/ testing, and security training.

GTT

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TT is redefining global communications to serve a cloud-based future, connecting people across organizations, around the world and to every application in the cloud. Clients benefit from outstanding service experience built on GTT’s core values of simplicity, speed, and agility. GTT owns and operates a global Tier 1 internet network and provides a comprehensive suite of cloud networking services to any location in the world.

HAIVISION

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vercome the challenges of point-to-point and point-to-multipoint video transport in remote workflows for sports broadcasting and officiating. Powered by SRT, Haivision’s solutions make sure your live video is delivered in the lowest latency with security and reliability across unpredictable networks. Sports broadcasting: Get your live video from the field to broadcast centers for production. Internet-based video transport offers a flexible and cost-effective alternative for sending video used in remote workflows. Haivision’s Makito X Series of encoders and decoders are used by sports broadcasters globally to send high-quality, low-latency streams over any type of network and condition, including LTE wireless networks, public internet, and satellite links affected by weather. Replay systems: Haivision’s encoders and decoders are used by professional and college sports leagues to review game plays collaboratively in real-time.

HARMONIC

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or live sports broadcasts, UHD and HDR are more than new trends. During the recent world soccer tournament in Russia, broadcasters demonstrated the amazing viewing experience that can be achieved with UHD and HDR powered by Harmonic. TF1, a leading French TV channel, used a Harmonic UHD contribution-and-distribution solution during the event for one of the first live UHD transmissions via IPTV. M7 Group delivered live UHD to Canal Digitaal subscribers in The Netherlands. In Latin America, Globosat relied on Harmonic to broadcast the event in UHD with low latency. In the Maldives, Medianet distributed UHD broadcasts of the event to viewers. Improving the viewing experience even further, Now TV delivered all 64 matches live in UHD HDR. With Harmonic’s innovative UHD and UHD-HDR solutions, operators around the world are delivering live sports broadcasts in pristine video quality.

HIGH ROCK MOBILE TELEVISION

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igh Rock Mobile Television’s inaugural truck, High Rock 1 (HR1), shows continued success in its freshman year as a compact, powerful, mobileproduction facility. HR1 has been contracted on NBC Horse Racing – The Breeders Cup Challenge Series, international track and field broadcasts, and entertainment projects with corporations such as Hulu. Engineers and senior production staff alike have praised HR1 for having the onboard capability to handle large network broadcasts within a reduced physical footprint. This success has led to renewed contracts and continued demand from both domestic and international clients. The High Rock Mobile Television team has kept the truck busy and on the road, bringing state-of-the-art facilities to its long-term partners and forging new relationships in the industry.

IBM

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n this cognitive era, IBM is a premier end-to-end partner for driving better business results through digital transformation, cloud, technology, analytics, and consulting expertise. IBM combines decades of storage technology excellence, experience, and expertise within the media and entertainment industry. IBM’s expansive solution portfolio, deep industry expertise, and strong ecosystem partnerships help organizations unlock the value of data while optimizing data economics. Comprehensive IBM softwaredefined storage and innovative systems are tuned for the cognitive and multi-cloud era to help reduce the complexity and costs of IT infrastructure and prepare for future environments.

IHSE USA

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s mobile production groups combine multiple trucks to create one large production unit, the need for a KVM system to share sources between A/B units becomes critical. The motivation for this is to allow more efficient sharing of hardware resources across units for several functional teams — each responsible for specific operations including replay, editing, and graphics. Setup and configurations become easier as workstations can become agnostic, allowing technical engineers to assign workspace more efficiently. As a close partner to some of the best names in mobile production, IHSE provides display management systems that allow multiple sources to be accessed from a single keyboard and mouse no matter which mobile unit the source resides. IHSE offers hybrid matrix systems using copper twisted pair ports for short runs and fiber ports for long run extension — all in the same 2RU frame. Along with the display, keyboard and mouse connections, these KVM matrix systems support optional data connections for RS-422 and VGA normally found in EVS servers systems. Several new upgrade offerings for the Draco tera enterprise KVM matrix switch include redundant controller cards, an 8:1 fiber mux/demux card, and software grid management supporting up to 24 frames.

IKEGAMI

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he ESPN-owned ACC Network is set to launch in 2019, but the University of Louisville is ready to create conference-leading content right now. The addition of 10 new Ikegami HDK-99 3G Full Digital 3-CMOS HDTV portable cameras are central to a comprehensive upgrade of the Cardinals’ production plant. The HDK-99 is the successor to Ikegami’s popular HDK-95C, and the elite offering from the company’s expansive Unicam HD line. A primary con-

sideration for Louisville is Ikegami’s next-generation high-speed digital video processor. Ikegami’s AXII was developed for the range of next-generation HD, 4K, and 8K cameras, with the ability to perform highspeed processing of super high-resolution video signals in multiple formats and frame rates. With dozens of sports to cover across 13 venues at the university, the ruggedness of the Unicam line was also a key consideration along with Ikegami’s responsive support.

ILLUMINATION DYNAMICS

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llumination 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. 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 generator power, UPS systems, lighting design, equipment, and crew to multiple events. ID’s staff strives to provide a premium service for its customers and the company recognizes their loyalty has driven its success. In 2018, ID serviced a vast array of events such as PGA golf, World Series of Poker, NFL, college football, MLB, tennis, horseracing, MLS, swimming, supercross, boxing, extreme sports, Red Carpet shows, and many more.

IMAGE VIDEO

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mage Video continues to dominate the tally and UMD market by providing the most capable and affordable suite of tools to the broadcast sector. New for 2018 are significant upgrades to the web-server tool set and IP-based workflows. With major wins in over 32 countries in 2018, the company continues to expand its client base and market penetration. From studios and stadiums to OB and remote markets, Image Video continues to focus on world-class products and support.

IMAGEN

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rom live to archive, Imagen helps sports organizations manage, monetize and distribute their ever-growing media libraries through a highly customizable content portal. Speed to market, greater choice, and ease of access are critical to maximizing the value of sports content. Imagen allows rightsholders to market and monetize live and near-live video assets more effectively via a dedicated, branded platform. Offering pinpoint time-based video searching, instant playback, online editing, and high-speed file transfers, Imagen also unlocks the full commercial potential in your entire sports archive. Monetization options include B2B content licensing and subscriptions; Imagen is ready to take secure payment via credit card. With customers including the Premier League, IMG, ATP Media, Champions Hockey League, WTA, and many more, Imagen implements a unique set of processes and technical expertise to ensure that video is managed and commercialized in the most efficient and cost-effective way possible.

IMAGINE COMMUNICATIONS

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magine Communications provides practical, standards-based solutions and real-world expertise that sports production companies can rely on no matter where they are in the migration to IP and nextgeneration platforms. Imagine’s latest innovations include industry-first, high-capacity 100GbE network links; an intuitive live-sports control panel that provides enhanced automation break manipulation; and

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SPONSORUPDATE SMPTE ST 2110-capable processing for HD, UHD, and IP. The company has also tightly integrated its all-IPcapable Selenio Network Processor with its EPIC MV multiviewer to address the bandwidth challenges and high costs associated with monitoring (uncompressed) UHD signals in live production environments. Imagine is the technology partner of choice for sports production companies and high-profile sporting events around the world. During the premier global football event held in Russia this year, an Imagine playout solution enabled Thailand’s True Visions to broadcast the football championships in 4K Ultra HD. This was the first Ultra HD channel in Southeast Asia and it was designed, built, tested, and put on air in just four weeks. Other recent Imagine projects include providing a standards-based control room solution for the first NBA/ collegiate sports venue to incorporate IP-to-IP network-based processing, in support of uncompressed HD signals based on the ST 2110 standard.

IMS PRODUCTIONS

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MS Productions provides full-service video production, postproduction, studio rentals, satellite transmission, and live event production. Creativity, technical reliability, and meticulous attention to exceed client expectations continues to drive the company’s brand and vision. IMS Productions recently acquired the mobile trucking assets of Calhoun Satellite Communications. IMS Productions will maintain, manage, and upgrade their impressive inventory, which includes two dual-dish C/Ku-band trucks, one C/Ku-band Hybrid truck, one C-band truck, and one flyaway unit. These five units will join IMS Productions’ existing Ku-band truck, UD-1, which serves the Verizon IndyCar Series racing package, as well as entertainment and news specials. Earlier this year, IMS Productions announced the launch of its new business division, IMSP Design Studio. In 2018, the company continues to provide broadcast production facilities and personnel for the Verizon IndyCar Series.

IMT VISLINK

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MT Vislink is a pioneer in 4K wireless camera technology and the first to ship these systems to the market on a global scale. IMT Vislink’s 4K solutions let sports broadcasters deliver a truly immersive experience to viewers. The HCAM is a next-generation HEVC 4K UHD on-camera wireless transmitter that is ideal for demanding live sporting events, ENG, entertainment applications, and even prosumer cameras. HCAM enables 4K UHD wireless video with low latency via Vislink’s RF modulation. It features userinterchangeable RF modules and a range of software options, including HDR-ready capability. IMT Vislink is a supplier to the NFL, NHL, MLB, and NBA, as well as K-12 to Division I/II/III organizations. The company’s wireless video technology has been trusted to cover some of the most challenging and high-profile international sporting events for decades, including the World Cup, London Marathon, 24 Hours of Le Mans, America’s Sailing Cup, Volvo Ocean Race, Formula E, professional soccer matches, and championship golf tournaments. Vislink has also developed a longstanding relationship with MotoGP. Vislink not only provides onboard systems for MotoGP but is also the official supplier of all RF communications.

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INTEGRATED MEDIA TECHNOLOGIES

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

INTELSAT

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ntelsat operates the world’s first Globalized Network, delivering high-quality, cost-effective video and broadband services anywhere in the world. Intelsat’s Globalized Network combines the world’s largest satellite backbone with terrestrial infrastructure, managed services and an open, interoperable architecture to enable customers to drive revenue and reach through a new generation of network services. Thousands of organizations serving billions of people worldwide rely on Intelsat to provide ubiquitous broadband connectivity, multi-format video broadcasting, secure satellite communications, and seamless mobility services.

INTERXION

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nterxion provides the infrastructure that supports the largest content platforms, broadcasters, and service providers as they deliver video and services to audiences globally. The company’s highly connected data centers enable high levels of user experience that is a requirement of any successful OTT service. The connectivity communities Interxion builds include carriers, ISPs, internet exchanges, CDN, and cloud connectivity. In the sports market, Interxion enables the contribution, production, and distribution of live feeds. Workflows can be combined with remote production and virtualization in private or public clouds to allow clients to effectively monetize their content.

IPTEC

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Ptec’s VNP-400 contribution H.264 or JPEG2000 encoders and decoders provide the ultimate flexibility for REMI production models. The system may be optimized for all network types: satellite, SDI and HD-SDI lease lines, dark fiber, and 1 or 10 Gb/s private and public Ethernet networks. The half-rack VNP-400 delivers dual-channel JPEG2000 up to 300 Mb/s approaching virtual lossless video at 150 Mb/s, or H.264 10-bit/422 compression up to 80 Mb/s becoming virtual lossless video at 50 Mb/s and the highest uncompressed audio quality SMPTE 302 transmission. The units are capable of integrating IP-based intercom systems and also interface low-latency four-wire analog or AES/EBU intercom systems enabling significantly less transmission latency, <10mS improving the overall REMI system performance. IPtec’s device management system, the SMMT, delivers secure 24/7 network and call monitoring with drag-and-drop ad hoc and scheduled service provisioning with real-time alarms and call statistics.

ISTREAMPLANET

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n addition to launching their new DTC platform Orbis this year, iStreamPlanet strengthened its in-

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ternational reputation as a top live-streaming company for high-profile sporting events through the successful delivery of the PyeongChang Olympics, NFL Super Bowl LII, NCAA March Madness, and the FIFA World Cup. The company also partnered with Turner Sports to launch the new OTT platform B/R Live, built on iStreamPlanet’s Aventus Media Processing Suite + Orbis DTC platform, and live streamed the UEFA Super Cup on the app in late summer. Beyond live events, iStreamPlanet grew its live linear channel business to nearly 2,000 24/7 channels for customers including Fox, fuboTV, Hulu, NBC Sports, and Turner.

JB&A

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B&A is a leader in the field of video, broadcast, production, and pro A/V. The company is a unique mix of value-add distributor, channel partner, and solutions provider with an ecosystem of certified, tested, and proven products and workflow solutions. The JB&A Team is dedicated to bringing the most innovative and complete digital media management, IP/streaming, digital projection, and connectivity solutions to market.

JOSEPH ELECTRONICS

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oseph Electronics (JE) has served the broadcast industry for more than 70 years, not only as an authorized distributor for more than 100 premier broadcast and pro A/V brands, but as a specialist in custom fiber assemblies and transport solutions. Equipped with a state-of-the-art fiber lab staffed with Neutrik-certified opticalCON cable assemblers and Lemo SMPTE-certified fiber professionals, JE designs, manufactures, and supplies its own innovative fiber solutions and breakout cables using products from premium cable manufacturers such as Belden, Furukawa, and OCC. JE is also a certified fiber repair shop ready to work on any defective fiber cable assembly or breakout, regardless of manufacturer. With those resources in place, JE can quickly fabricate, terminate, or repair any connector, assembly, panel, breakout, or interface in use today. JE’s fiber solutions can be found in prominent fixed and remote broadcast operations throughout the U.S. To meet the demands of the growing IP-based market and provide a bridge to the networking world, JE now includes Dante- and SMPTE 2110-compliant products in its custom tote series of configurable fiber-transport solutions.

JUNIPER NETWORKS

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uniper Networks brings simplicity to networking with products, solutions, and services that connect the world. Through engineering innovation, Juniper removes the constraints and complexities of networking in the cloud era to solve the toughest challenges its customers and partners face daily. Juniper Networks believes that the network is a resource for sharing knowledge and human advancement that changes the world. Juniper Networks is committed to imagining ways to deliver automated, scalable and secure networks to move at the speed of business. The world’s biggest and busiest wired and wireless carriers, content and Internet service providers, cloud and data center providers, and cable and satellite operators run on Juniper Networks. As do major banks and other global financial services organizations, the world’s


top-ten telecom companies, national government agencies and U.S. federal organizations, healthcare and educational institutions, and energy and utility companies.

efits for production crews, this results in cost savings by reduced overall travel time, fewer flights, and less accommodation.

JVCKENWOOD

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VCKENWOOD was very much focused on live IP production at IBC 2018, with the launch of new CONNECTED CAM memory card camera recorder models to add to the recently introduced GY-HC900 ENG/studio camera. JVC’s stand featured a range of solutions for live IP production, including a number of new camcorder models, based upon JVC’s CONNECTED CAM technology. JVC’s leadership in IP connectivity was demonstrated through end-to-end IP production using JVC’s camera streaming technology, the new SFE-CAM-LTEA bonded cellular system, and Streamstar production switchers.

KAUFMAN BROADCAST

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aufman Broadcast continues its expansion with HD-3, a 10-path C-band transportable uplink utilizing a 5.5m antenna designed around at-home and REMI productions. In addition to C- and Ku-band uplinks, Kaufman has live studios in St. Louis and Kansas City, and continues to grow its IP-based network of sports venues and corporate studios. Kaufman also integrates studios, consults, and designs custom rack panels for new and existing facilities. For more than 35 years, Kaufman has supplied the television production industry with services at locations coast-to-coast.

KMH AUDIO-VIDEO INTEGRATION

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MH Audio-Video Integration is a full service systems integrator providing end-to-end solutions to both the broadcast and postproduction environment and the retail, financial, and educational business segments. The company’s subject matter experts deliver the highest quality of personalized service coupled with unmatched flexibility during all phases of each project engagement.

LAWO

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EP Australia’s all-IP Andrews Hubs production facilities in Sydney and Melbourne represent the world’s largest networked broadcast centers todate, connected to stadiums across the continent and enabling for multiple concurrent outside broadcasts. Based on an IP core, the infrastructure enables remote, distributed production, with cameras and microphones located at the venue, while most of the production team is at the hubs. Designed for large multi-camera sports broadcasts, they accommodate Australia’s most-followed football codes from 29 venues around the country. The installation is based on Lawo’s V__matrix IP video routing, processing, and multiviewing platform; Sony XVS8000 production switchers; EVS replay systems; and an Arista spineleaf switching infrastructure. Lawo’s VSM IP broadcast control system serves as overarching orchestration and control, as well as a common user interface for all operators. The multiviewer configuration is intuitively furnished with ‘theWALL’ multiviewer control systems, providing the users easy drag-anddrop mosaic configuration applying tablet computers. NEP has also installed Lawo mc²96 audio consoles in six control rooms and four mc²56 audio consoles for the IP-based outside broadcast trucks. The move to a production infrastructure with centralized control rooms and distributed “cloud” resources means a significant increase in resource utilization. Besides ben-

LEADER INSTRUMENTS

t IBC 2018, Leader Electronics Corporation expanded its ZEN series of test and measurement instruments with the LV5350 portable 12G/3G/HD/ SD-SDI waveform monitor and its LV7300 rasterizing equivalent. The LV5350 waveform monitor and LV7300 rasterizer incorporate all the SDI facilities of the top-of-the-range LV5600 and LV7600 minus the IP measurement capabilities, which are currently required by only a minority of production and postproduction teams. These include engineering-related features such as test-pattern generation, closedcaption monitoring, CIE color chart, high dynamic range measurement, focus assist, customizable screen layout, tally interface, 4K/UHD operation, and 12GSDI interfaces. Leader also announced two expansion modules for the LT4610 sync generator. Designed for use in broadcast studios, mobile production vehicles, postproduction companies, and broadcast equipment maintenance facilities, the Leader LT4610 provides a wide range of capabilities within a 1U footprint.

LEGRAND AV DIVISION

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he A/V Division of Legrand is a leading provider of innovative mounting, racks, and display solutions for various audio/video technologies. In the commercial A/V market, Legrand’s innovative products, sold principally under the Chief, Da-Lite, Middle Atlantic, Projecta, and Vaddio brands, are sold through numerous channels to over 6,000 global customers. Legrand provides the most comprehensive offering of commercial A/V solutions in the market.

LH COMPUTER SERVICES

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

LIMELIGHT NETWORKS

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imelight has introduced a new innovative solution that is able to provide sub-second live video streaming to viewers, wherever they’re located. Limelight Realtime Streaming utilizes the open and scalable industry-standard WebRTC technology to deliver reliable, broadcast-quality, real-time video streaming using the UDP data transfer protocol. WebRTC is natively supported on all major browsers, making it easy for viewers to enjoy real-time streaming without the need for special plug-ins. This solution is integrated with Limelight’s global Content Delivery Network, which has the capacity, reach, and connectivity to ensure a high-quality, real-time viewing experience for audiences everywhere. In addition to sub-second live streaming, Limelight Realtime Streaming allows

broadcasters and content distributors to create interactive live online experiences that are not possible with traditional broadcast. Real-time interactive data can be integrated with the live video, opening up new possibilities for how viewers can interact with the broadcaster and each other.

LIVELIKE

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iveLike delivers interactive live experiences in sports. By blending social connectivity with emerging technologies that are redefining streaming models, LiveLike is at the forefront of the live broadcast experience. Over the past three years, the company has innovated upon the live stream with cuttingedge tools and methods for their broadcast partners. From easily adoptable workflows to on-brand advertising activations that excite the imagination of audiences, LiveLike teams are designed to push the broadcast forward in fresh and exciting ways. The company’s streamlined programs enable clients to ideate, ship, and deliver live-event experiences in a scalable format on multiple platforms. This past June, LiveLike shipped more than 20 VR apps for 10 broadcast partners on multiple continents, simultaneously, for the world’s largest soccer tournament in Russia. These experiences offered soccer fans from around the globe to experience the game like never before.

LIVEU

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he new LU300 HEVC bonded-cellular solution is now within every sports producer’s reach. The LU300 HEVC field unit combines high-quality video performance with extreme bandwidth efficiency in a compact form factor. At an attractive price point, the LU300 solution with HEVC at its core is tailored to customers requiring a smaller field unit for high-quality video on-the-go, including niche sports leagues, high school and collegiate teams, minor league organizations, and Olympic Development Programs (ODP). The hardware-based HEVC-encoding technology reduces impact on the CPU, provides longer battery life and delivers the maximum image quality at any bit rate versus software-based HEVC technology. With its new design, larger screen, and improved battery life, the unit provides super-fast file upload from the field to the control studio. As part of the LiveU wireless at-home production solution, the new LU300 HEVC enables camera operators to attach the unit to their production camera and move around more freely.

LTN GLOBAL COMMUNICATIONS

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TN revolutionized live video transport with the first managed network with SLA’s for high quality and reliability. The cost-effective global IP solution enables greater content sharing and monetization, along with rapid, flexible scaling via LTN’s Global Network Effect. With LTN, you’ll reach a greater global audience across both linear and digital platforms, with more than 2,000 connections worldwide. LTN is the trusted solution for high-value sports content; utilizing its deep knowledge and expertise in event management, it reduces customer risk, enabling them to focus on the content, not the transmission. Dedicated to empowering customers to meet the demands of the ever-changing industry, LTN remains a pioneer in customer-focused innovation, becoming one of the first companies to utilize Facebook’s new dual-ingest architecture, and also provided the transmission solution for the first college football game broadcast on an industry leader’s new digital platform.

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SPONSORUPDATE LYON VIDEO

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yon Video’s demanding 2018 schedule has included some notable events such as IMDb’s Oscars party, College Home Run Derby, Champions League Soccer, NCAA Men’s National Lacrosse Championships, and U17 Soccer in Bradenton, FL. These events among others have utilized Lyon Video’s proprietary high-frame-rate cameras and replay systems along with Lyon Video’s custom-engineered fiber audio and video booth kits. Lyon Video provided ESPN with mobile units for the 2018 edition of Little League Southwest Regional Softball and Baseball series, Midwest Regional, Great Lakes, and Jr. League Baseball Championship. This series of playoff games showcased Lyon Video’s mobile unit flexibility and productivity covering between one and four games per day. ESPN’s production teams utilized Lyon Video equipment to tell the story of each team’s journey into the championships. The Lyon Video engineering teams and mobile units excel at providing specialized broadcast/ streaming solutions along with managing effective workflows.

MARKERTEK

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

MARSHALL ELECTRONICS

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arshall continues to solidify its influence on live sports video with the increased use and adaption of its line of high-definition miniature cameras. Marshall’s renowned broadcast POV cameras have redefined the immersive sports-viewing experience, allowing fans to see up-close shots of athletes during high-speed action, and enabling camera views that simply aren’t feasible with large, traditional broadcast cameras. Marshall HD miniature and compact cameras, with their convenient full-sized HD-SDI output, are used in football pylons for end-zone shots, embedded in race cars for dramatic in-car shots, mounted on volleyball nets and behind backboards, put underwater in swimming pools, and many other uses. With more cameras coming out on the horizon (with faster frame rates and resolutions all the way up to true 4K), Marshall will cement itself as a mandatory camera supplier for any kind of sports broadcast.

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MASSTECH INNOVATIONS

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t IBC 2018, Masstech showed next-generation storage solutions, designed to optimize content storage throughout its lifecycle, automatically moving and copying assets across multiple storage layers, so that content is always stored in the most cost-efficient location, whether cloud, on-premise, or hybrid. Masstech solutions are the most scalable, reliable, and integrated available to the industry, but they also offer another crucial difference: Masstech is completely vendor agnostic, which means Masstech solutions are not designed merely to sell specific hardware, or consumables, or other products that might not be required. Masstech offers genuinely impartial, expert advice on the optimal storage environment for each customer. Masstech also offers simple switching from other archive vendors, offering non-migration-based switches that occur quickly, painlessly, and with no disruption to day-to-day operations, and no loss of access to content.

MAXON

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axon has unveiled Cinema 4D Release 20 (R20), a version of its iconic 3D design and animation software. Release 20 introduces high-end features for VFX and motion graphics artists including volume modeling, a robust CAD import, node-based materials, and a dramatic evolution of the MoGraph toolset. MAXON debuted Cinema 4D Release 20 at IBC 2018. Internationally renowned 3D artists Nick Lyon (Territory Studio), Barton Damer (AlreadyBeenChewed. tv), Matthias Winckelmann (foam Studio), Matthias Zabiegly (Aixsponza), Robert Hranitzky (www.hranitzky.com), and many other guest artist presenters from studios around the world shared techniques and offered insights into their Cinema 4D production workflow. Presentations were streamed live from the show at C4DLive.com and were archived for ondemand viewing.

MEDIA 180

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he digital transition of media companies is not only based on technological choices and the evolution of infrastructures, but also and especially on the ability of the teams to adapt to these changes to better control them. Media 180 can help you facilitate the transition to the IT world by developing the capabilities of your workforce. The company can help to create a renewed workforce converging your broadcast and IT departments; design, deploy, operate, and support new architecture leveraging IT technology; limit risks and dependencies by having in-house expertise with a technical, operational, and creative staff; and improve the work environment and increase the loyalty of your workforce.

MEDIA LINKS

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t the recent 2018 World Football Games in Russia, Media Links MD8000 and MDP3020 equipment played an essential role in the IP-video transport network. Media Links equipment at each of the 12 soccer stadiums supplied up to 140 video ports, ranging from HD 1080i, 1080p, UHD (4K), and even 8K feeds back to the IBC in Moscow. Additionally, content from the IBC was transported using Media Links gear over long distances to distribution points across the world.

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Initial test and turn-up all the way through live operations, network management, monitoring, and diagnostics were performed using the company’s ProMD Enhanced Management System (EMS) software. A robust topology of over 100 redundant 10Gbps trunk connections with hitless video and data protection for fail-safe and disturbance-free operation spanned the entire World Cup football network.

MEDIAKIND

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t IBC 2018, MediaKind (formerly Ericsson Media Solutions) launched MediaKind Universe, its next-generation solution and service portfolio. MediaKind Universe enables content owners, broadcasters, and service providers with the best of media technology to evolve, adapt, and shift to the new consumption habits for everyone, everywhere. MediaKind Universe consists of five solutions, which provide world-class solutions for content contribution and distribution, direct to consumer, video delivery networks, consumer experience, and services.

METROVISION

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

MICROSOFT

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he media and entertainment industry is both driving and being affected by a wave of digital transformation. Microsoft’s customers tell the company they need technology platforms to compete and they want these platforms from a partner who isn’t using that technology, and the profits they make on it, against them. Those are all core tenants of Microsoft Azure’s new strategy for M&E, which focuses on content creators by providing a neutral at-scale publiccloud platform. This new strategy expands Microsoft’s previous focus on distribution to include all parts of the content value chain — from content creation to management, distribution, and monetization. While distribution has long been done in the cloud, customers are just now looking to move creation and management to the cloud — benefiting from hyper-scale, global, storage, and compute. They are also looking to evolve their monetization strategies — bringing OTT platforms in house and better leveraging social graphs and their data to understand, target, and engage with their audiences

MIXON DIGITAL

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fter two full years of rigorous worldwide venue testing, the Mixon Tech DD1 graphics product made its public debut as the venue graphics solution for the 2018 NBA All-Star weekend in February. Mixon Tech DD1 is a turnkey product that provides liveevent producers an affordable and dynamic graphics solution for all venue displays. Now, presenting any kind of team or player stats in a slick, cutting-edge look is affordable. Best of all, switching colors, logos, languages, and data is a breeze. Taking up just 4RU


of rack space, Mixon Tech DD1 is a plug-and-play solution that gives anyone from a graphics novice to a seasoned professional the power to create exceptional graphic displays.

MOBILE TV GROUP

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obile TV Group (MTVG) continues to make advances in live production technology and efficiency around 4K/HDR, super slo mo, and the future of remote productions. Thanks to numerous live 4K/ HDR sports and entertainment events combined with in-house research, MTVG has developed systems to produce in HDR without affecting production workflow. MTVG has completed over 100 4K/UHD HDR events. Recently joining the MTVG team, Ryan Hatch (Director of Operations) is leveraging his experience and knowledge to keep MTVG on the bleeding edge of live productions. Mark Chiolis (Director of Business Development) and 15 others have recently joined the MTVG team! MTVG continues to roll out new doubleexpando pairs of mobile units with the recent launches of 44 FLEX and 44 VMU. Two more trailers, 45 FLEX and 45 VMU, have entered manufacturing for a 2018 Q1 launch. These two-trailer systems will have four super slo mo cameras as standard equipment.

MPE

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hen it’s extra innings and the go-ahead run is on base, who do you want up to bat? When there’s only time to run one more play, who do you get the ball to? MPE! MPE (Motion Picture Enterprises) provides mission-critical postproduction video solutions for sports events across America. MPE makes sure that its fly kits are rock solid before shipping to your site. MPE packs items with care and pack spares, because folks in the field need contingency plans. If things start to unravel mid game, you can rely on MPE to bring them back under control. What does ‘postproduction video solutions’ actually mean? To keep it simple, think Avid Composer, Adobe Premiere, shared storage networks, and engineering. With a vast inventory, MPE can equip any situation quickly, thoroughly, and fit within any footprint.

MX1

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X1 played a key role in many sports highlights of the year, delivering the World Cup in UHD HDR to multiple clients worldwide, ensuring that live coverage of the Giro d’Italia’s visit to Israel made it to a global audience, and helping customers such as Amazon Prime Video unlock new revenue streams with innovative live sports coverage. Recent innovations to its next-generation media platform, MX1 360, have included integration with AWS Rekognition, allowing powerful AI-based visual analysis to automatically generate searchable, descriptive metadata. A new booking interface for Occasional Use customers provides full visibility into submitted booking requests, and adds further monetization opportunities by providing post-event access to a content archive, metadata, and more. Meanwhile, the latest version of the MX1 360 live edit tool includes multitrack editing and live clipping, which allows editors to combine clips from different matches and swiftly create highlights on the fly.

NAGRA

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t IBC 2018, NAGRA demonstrated new propositions and current innovations that address the entire content value chain — from content and service creation to content delivery and consumption.

The showcase featured NAGRA, OpenTV, Conax, NexGuard, and DVnor product lines all under the NAGRA brand. Latest technologies and solutions in end-to-end content value protection, engaging user experiences, and smart business operations, were on display under the theme “Smartly Digital.”

NCAM TECHNOLOGIES

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cam offers a complete and customizable augmented reality platform that enables in real-time the creation of photorealistic virtual graphics for set extensions, virtual environments, and pre-visualization for film and TV productions. Ncam Reality is Ncam’s unique marker-less camera-tracking solution that tracks natural features in the environment, building up an understanding of the 3D space in front of the camera. It can be used on any camera or lens, including handheld and Steadicam, and operates equally well in studios or outdoor environments. Recent Ncam innovations include Real Depth and Real Light. Real Depth provides a unique automated technique for sensing depth. The system, which is used with a green screen, extracts depth data in real time to allow subjects to interact seamlessly with their virtual surroundings. Real Light captures important elements of real-world lighting and renders those elements onto the virtual graphics in real-time, integrating them into the real-world scenario.

NEP GROUP

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EP is a worldwide outsourced technical production partner supporting premier content producers of live sports, entertainment, music, and corporate events. NEP is proud to provide facilities and engineering support for the Super Bowl, World Series, NHL Stanley Cup, NBA Finals, and the Oscars — but no matter the size or scale, the company provides the same dedicated level of care to each client’s event. NEP covers over 5,500 unique U.S. productions each year, each supported with the same passion, service, and focus of our employees. NEP’s services include remote production, studio production, audio visual solutions, host broadcast support, premium playout, postproduction and innovative software-based media management solutions. NEP’s 3,500+ employees are driven by a passion for superior service and a focus on technical innovation. Together, NEP has supported productions in 87 countries on all seven continents.

NET INSIGHT

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et Insight has been selected for a next-generation media network connecting stadiums for Austria Football Bundesliga. The new network connects 12 football stadiums throughout Austria with Sky Austria’s premises and MTI Teleport’s NOC. By delivering uncompressed video and data services enabling distributed workflows, that creates positive synergies for rightsholders and production facilities. The network is based on Nimbra 1060, Net Insight’s nextgeneration terabit router with NFV oriented architecture, providing assured and agile wide-area network transmission of all-IP media services. It manages traditional media services as well as IP-based media services such as SMPTE 2110 across wide area networks, interconnecting event sites, stadiums, studios, and production sites easily without complex traffic engineering. Other sports leagues running over MTI Teleport’s Nimbra-based networks are the German Football Bundesliga 1 and 2, as well as the basketball, ice hockey, and handball leagues.

NEULION

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euLion is changing the way people experience sports, entertainment, and live events. Through its OTT platform, NeuLion combines stunning live and on-demand video with the most far-reaching interactive features to create personalized over-the-top experiences on every screen imaginable. NeuLion is trusted by some of the world’s top brands, including the NBA, NFL, UFC, English Football League, Euroleague, Univision, Sky Sports, and others, to build, deliver, and grow premier OTT services across global markets, maximizing the value of their digital rights. As the only complete end-to-end video solution, the NeuLion Digital Platform simplifies the digital video workflow and provides all the tools you need to get your content into consumers’ hands quickly and easily, ensuring they will be loyal, long-lasting customers.

NEVION

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t IBC 2018, Nevion launched a new softwaredefined Media Server, Nevion Virtuoso MI. This new Media Server, which complements the existing Nevion Virtuoso FA appliance, is architected for highend broadcast carrier applications, such as live sports contribution. Like the Nevion Virtuoso FA, the new Nevion Virtuoso MI is designed to run various Media Functions for transporting and processing video and audio signals in real-time. It provides one of the highest media transport and processing densities available in the industry today, with a fully redundant architecture and the ability to accommodate up to eight Media Accelerators running media processing or network aggregation functions. The Virtuoso MI’s density and redundancy are perfect for demanding service provider environments. For example, a single 1RU Virtuoso MI can process 28 x JPEG2000 channels, which makes it very suited to high-end contribution such as popular sports coverage.

NEWTEK

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he Western Amateur Championship has taken place annually since 1899. Past winners include legendary golf icons Tiger Woods, Jack Nicklaus, Phil Mickelson, and Ben Crenshaw. This year marks the first time this storied tournament has been covered live, as past broadcasters could not justify the cost of traditional production methods. That changed when Lowell Thaler of Thaler Media made broadcast history by producing live HD coverage of this year’s event from the Sunset Ridge Country Club in Northfield, IL. His studio however, was a time zone away in North Palm Beach, FL. The enabling technology was created by NewTek. Utilizing remote feeds and NDI networking from Sunset Ridge and a NewTek TriCaster TC1 live-production system in the heart of his Florida studio, Thaler’s team significantly shaved costs using a remote-IP approach without compromising high-end production standards such as expert shot composition, picture, and sound quality. The 2018 Western Amateur live stream proves to skeptics that live events that have never been broadcast before can now be produced and streamed, with high-end broadcast quality, very affordably, reliably, and successfully.

NEXTVR

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extVR is a leading virtual reality platform for delivering live sports and music in virtual reality to fans globally. The company delivers an unparalleled virtual reality experience, providing fans extraordinary access and immersion. NextVR has world-class partnerships with leaders in sports and entertain-

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SPONSORUPDATE ment including the NBA, NFL, Fox Sports, Live Nation, and the International Champions Cup.

NTC (NATIONAL TELECONSULTANTS)

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ational TeleConsultants provides comprehensive advisory and technology services for a wide range of media enterprises, including sports, news, and general entertainment channels. NTC’s experience spans multiple disciplines, with practical subject matter expertise in supply-chain management for acquisition, production operations, asset management, cloud/virtualization, distribution, and much more.

NTT ELECTRONICS

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sing an in-house ASIC, HC11000 Series is NTT Electronics’ 4:2:2 10bit HEVC multi-channel and 4K HDR real-time contribution/distribution encoder. It has the capability to transmit broadcast-quality video images in low bitrate, low latency, and with low power consumption. HC11000 has the scalable capability from SD to HD and to 4K 50/60p. HC11000 Series has the necessary functions as well as the promising stability to be used in the Olympics, World Cup, and other world-class sporting events. It is the suitable solution for premium sports content. HEVC technology will help reduce bandwidth and save operational cost while maintaining high quality. Also, by using multi-channel, it will lower the price per channel. At IBC 2018, NTT exhibited the multichannel and 4K decoded images using its real-time encoder and decoder to demonstrate its high picture quality.

OOYALA

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oyala continues to help its customers orchestrate and deliver their content. For the 2018 World Cup, the company helped its broadcaster customers deliver live and on demand digital experiences as well as helped some of the world’s most innovative companies deliver groundbreaking experiences. At the 2018 Winter Olympic Games in PyeongChang, Ooyala helped Intel as they continued to revolutionize and reinvent the way fans interact with sports. The challenges were massive, and the timelines were short. Ooyala technology was integral to the entire process, from managing metadata to publishing the assets to partners across the globe. The Ooyala Flex Media Platform was used to increase productivity and reduce manual effort, providing a scalable foundation for future Olympic events. Lastly, Ooyala launched Fox Sports AU and helped them distribute production processes across three discrete locations (two physical and one virtual).

OPENDRIVES

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penDrives was founded by technology leaders in the media and entertainment and storage industries who were frustrated by the lack of performance from traditional data storage providers. OpenDrives was developed to accommodate the increasing throughput and demands of higher-resolution workflows with a NAS system that is purpose-built for performance. OpenDrives delivers the industry’s best balance of proprietary software applications and performance reinventing content creation workflows and reducing project turnaround.

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OPTICAL CABLE CORPORATION

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ptical Cable Corporation is a leading manufacturer of fiber-optic cables primarily sold into the enterprise market, and the premier manufacturer of military land tactical fiber optic cable for the U.S. military. Optical Cable Corporation pioneered the design and production of fiber-optic cables for the most demanding military field applications, as well as fiberoptic cables suitable for both indoor and outdoor use. The company’s current broad product offering is built on the evolution of these fundamental technologies, and is designed to provide end-users with fiber-optic cables that are easy and economical to install, provide a high degree of reliability and offer outstanding performance characteristics.

PANASONIC

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he AW-UE150 4K integrated remote camera offers 4K/UHD 60p capture, a first for a broadcastclass PTZ, and provides the widest viewing angle (75.1 degrees, horizontal) in its class. With an HDR mode, support of various 4K interfaces including 12G-SDI, HDMI, optical fiber, and IP; and simultaneous 4K/ HD output, the UE150 is targeted at higher-end applications. It incorporates a 1-inch large MOS sensor, 20X optical zoom and seamless intelligent zoom (i Zoom). Other key features: HD crop from 4K picture, PoE++ power supply support, seamless x32iA zoom (HD, UHD:x24), high-speed pan/tilt mode, large-size tally, NDI|HX support, and a new web UI. The new AW-RP150 remote camera controller will be compatible with the UE150 as well as Panasonic’s higher-end PTZs. The RP150 offers advanced functionality including a new one-hand operation joystick (controlling PTZ or focus), a 7-inch touch-panel LCD screen for monitoring and menu setting, and camera control of up to 20 groups/200 units. The RP150 adds an SDI input to the LCD panel for camera monitoring. The AW-UE150 and AW-RP150 are slated to be available in December 2018.

PCCW GLOBAL

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CCW Global launched Console Connect earlier this year, the industry’s first software-defined interconnection platform powered by a leading Tier 1 global IP network available in 150 countries. For the first time, the intuitive software lets sports media companies create instant, direct, private, and secure connections to data centers, offices, partners, and cloud services across the world. The platform has been designed with customer experience at its heart and enables users to instantly set up predictable, secure, private connectivity. Console Connect eliminates the complexity of network configuration and introduces an efficient automated process. Now, any media cloud workloads or video data transfers can be addressed with a few clicks and the connection speed turned up or down on-demand; no more lengthy contracts and long set up times.

PLIANT TECHNOLOGIES

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liant Technologies’ CrewCom wireless intercom system features excellent voice quality, the industry’s smallest fully-featured professional full-duplex radio packs, and multiple simultaneous frequency bands, as well as a host of user features. The latest ver-

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sion of CrewCom was on display at IBC 2018, featuring the system’s new Fiber Hub as well as enhanced firmware enabling numerous new features. Pliant also demonstrated the latest model of the SmartBoom LITE headset, which includes enhancements to overall audio quality. CrewCom is based on a technology platform that offers the highest wireless user counts, unparalleled range, and unprecedented scalability for a range of broadcast, live sound, installation, and industrial projects. The system’s reliability and awardwinning ergonomic radio pack design have been proven in use in award shows, broadcast environments, and live events. CrewCom wireless products give the ability to easily put global-friendly, dependable RF coverage where needed, with a consistent user interface throughout.

PRG

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RG is a leader in entertainment and event production specializing in wide-ranging solutions that help bring the world’s greatest creative visions to life. PRG’s expertise is sought out the world over to solve the unique production challenges for a broad range of markets. PRG aims to provide personalized, oneon-one service supported by a behind-the-scenes network of highly skilled technicians and engineers.

PRIMESTREAM

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he latest in Primestream’s Dynamic Media Management platform features new solutions for IP capture and delivery, a cloud-based review and approval system, robust 4K workflow, public APIs to enable third parties to easily integrate into the Xchange platform, and a new configuration framework for quick and easy installations. The platform also features the latest in VR/360 asset management; NLE integration with Adobe Premiere Pro, Apple Final Cut Pro, and Avid Media Composer; advanced archival workflow with leading cloud and tape storage providers; and much more. Primestream delivers an end-to-end solution for the capture, production, management, and delivery of all your assets and is built for ease-of-use with powerful features needed to manage even the most complex sports, enterprise and broadcast workflow.

PRIMEVIEW

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rimeview specializes in visual solutions, with a focus on the corporate market. Primeview designs, produces, and delivers cutting-edge visual display technology for a wide variety of markets. The company’s production lines are tailored to meet the stringent needs of its clients.

PRODUCTIONHUB

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roductionHUB is the global network of local crew and vendors, for all your production needs — from corporate media and live events to film, television, digital media, and everything in between. The company reduces the headaches and uncertainty associated with hiring in this extremely specialized industry by connecting you to the best vetted, professional content creators and vendors to bring your project to life.


PROFESSIONAL WIRELESS SYSTEMS

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rofessional Wireless Systems (PWS) is an established leader in the development and implementation of wireless technology, as well as specializing in the creation of innovative gear for the increasing demands of RF equipment. In addition, PWS is wellversed in sports broadcasts, having supported various high-profile sports-related projects such as the Super Bowl and U.S. Open golf championships.

PROGRAM PRODUCTIONS

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he big moment is here! Meet the all-new ProCrewz App, the leading enterprise resource management system that’s changing the game for the broadcast business. Designed by industry leader Program Productions, the ProCrewz App is built with the features modern crews can’t go without, like a customizable calendar that can schedule and keep you up to speed on your own events, the ability to call the crew coordinator directly from the app, and a chat feed that keeps everyone on the job in real-time contact. With the power of ProCrewz in the palm of your hand, you can snap and submit a photo to file a receipt, send job-wide messages with the tap of a finger, and even punch-in with a geo-targeted time clock within a select radius of the venue.

PROSHOW BROADCAST

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ravity Media Group has acquired Proshow Broadcast, a supplier of mobile-production solutions in the U.S. and Canada. The move gives Gravity Media additional resources to integrate with its Gearhouse Broadcast operations in the U.S., giving Gearhouse Broadcast USA a fleet of 10 production units and a team of 32 personnel primarily based in Los Angeles with a smaller team in Charlotte, NC.

PSSI GLOBAL SERVICES

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SSI Global Services’ already expansive fleet of uplink/production trucks just got bigger and better. In collaboration with Frontline Communications, the company designed and built 16 state-of-the-art Kuband SNG vehicles for PSSI News Group’s exclusive partnership with CNN. PSSI Global Services absorbed the former CNN vehicles into its own fleet, and after a series of upgrades, they’re now available to all PSSI Global Services clients. The trucks, which have been deployed in major cities throughout the country, are built for multipath transmissions and small productions, with switchers, comms infrastructure, and audio mixers. Each truck is outfitted with high-throughput satellite modems and features advanced compression, multiplexing, and IP equipment to support sports, entertainment, and news projects. With more than 70 uplink/production trucks based throughout North America, PSSI Global Services is the industry leader in broadcast engineering and event management solutions. The company also owns and operates PSSI International Teleport and PSSI Pittsburgh Videotech Center.

QUANTUM

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t IBC 2018, Quantum unveiled the latest version of StorNext, the media industry’s leading content production and archive storage platform. Designed with new enterprise capabilities focused on improved integration with cloud resources, enhanced data protection functionality, and better support of collaborative environments, the newest version of StorNext will help media organizations worldwide meet increasingly tight production deadlines. Quantum also show-

cased the latest NVMe flash technology, as well as the Xcellis Scale-out NAS shared storage appliance, which has been named a finalist in IABM BaM Awards 2018 in the Store category.

QUANTUM5X SYSTEMS

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uantum5X Systems develops and manufactures innovative wireless microphone solutions for sports broadcasting, TV and film production, and live entertainment. New for 2018 is the true diversity wideband QR-M2, an ENG style receiver. Q5X PlayerMics are the standard for NBA, NHL, MLB, NFL, MLS, and Rugby, where mic’d up packages are expected in the broadcast. In 2017, World TeamTennis adopted Q5X PlayerMics to capture the excitement and energy of tennis matches in their live broadcasts. Other recent highlights include “long-life transmitters” (up to 20 hours run-time, and waterproof!) buried in the field for MLB games, in golf holes for the PGA U.S. Open, and installed directly inside lane marker buoys for competitive rowing. Q5X wireless solutions all utilize RCAS, which provides wireless remote control of all transmitter functions.

transport, wireless audio, customizable UHF intercom integration, and complete event support on an international scale. As a new retailer of the acclaimed RAD intercom and the addition of the Q5X player mic to its inventory, the company begins a shift as it supports its clients with a desire to both own and integrate wireless technology on a more permanent level. An extensive event background ranging from ITU Triathlons to FIS World Cup Skiing in Canada demonstrates RFW’s commitment to its clients and its partners.

RIEDEL COMMUNICATIONS

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adio Active Design’s UV-1G wireless intercom system streamlines system setup by offering RF channels possessing an occupied bandwidth of a mere 25 kHz while using the relatively unused VHF range for all belt-pack portable devices. Enhanced narrowband technology makes the transmitter’s occupied bandwidth more predictable and 10 times more spectrally efficient than the current FM technology. The 1RU unit allows for up to six belt packs per base station, and up to six base-station links, for a total of 36 ISO channels between packs. Base linking affords matrix-like functionality, providing up to 18 inputs and 24 outputs and comprehensive audio routing to/from packs. Users can roam seamlessly for 600 meters. Only one set of antennas required to run a limitless number of belt packs. Scene-change feature allows each pack to have up to 40 talk paths and the ability to communicate with 20 wired comm channels.

t’s been a great year for Riedel and Bolero! Pro stadiums and arenas, networks, and rental houses have embraced Bolero for its amazing voice clarity, RF performance, and ease-of-use. BBC Radio is even using Bolero equipped with an interview mic for their on-air coverage at high-end racing events around the world. And with the stand-alone version shipping soon, the excitement levels are only rising. Riedel also has introduced the Bolero-S, a modified version of Bolero that is being offered as a managed sports service. Bolero-S is ideal for referee mics and similar use cases where small size, high-quality, bulletproof performance, and simplicity are required. But it’s not all about Bolero! More and more clients are beginning their journey towards all-IP infrastructures and MediorNet is a great way to start the trip. MediorNet is a fiber-based network where nodes can be placed close to where in inputs and outputs are needed. And with integrated signal processing and routing, it can be a tremendous cost-saver, too. MediorNet MicroN is software-enabled hardware that can be different things depending on the app that is installed. So, whether a stand-alone signal processor, point-topoint transport solution, multiviewer, decentralized router, or IP gateway, MicroN does it all. Finally, the new SmartPanel RSP-1232HL user interface represents a leap forward in workflow flexibility, power, and connectivity. With intuitive lever keys, full color displays, support of multiple workflows, and integrated AES67 connectivity, it is simply the last intercom panel you’ll ever want to use.

REALITY CHECK SYSTEMS

ROCK-IT CARGO

RADIO ACTIVE DESIGNS

R

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t IBC 2018, Reality Check Systems showcased its newest developments with Singular.Live — an HTML5 platform for live graphics creation and control. Real-time graphics are challenging in any live production environment. Singular.Live solves these challenges with its web-based solution for deploying live graphics over IP video. Hosted in the cloud and featuring robust authoring and control environments, Singular.Live simplifies streaming productions with a pay-per-use model, infinite scalability, and integration with virtually any video player or streaming production tool. Bring your streaming productions to life with interactive, dynamic real-time overlays that require no hardware, no software to install, and no upfront costs.

RF WIRELESS SYSTEMS

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ith a 30-year history providing wireless solutions to the broadcast industry, RF Wireless Systems turns a new page and sets sights on the next 30! Built on integral relationships and ultra-reliable deliverables, this little Canadian ‘engine that could’ continues to utilize progressive strategy and blends proven technology with exciting new products. Specializing in camera and low-latency high-quality video solutions for live broadcast, RFW provides fiber

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s a 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.

ROSS VIDEO

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oss Video can help sports stadiums and game-day producers improve the creativity of their content and maximize fan engagement with its Unified Game Day Production solution. With Ross, content creators can use the DashBoard control platform to manage every aspect of game-day production and venue control, from video, graphics, and social media content to lighting and digital signage. Thanks to the RossTalk protocol, Ross products also integrate with existing infrastructure and third-party products. XPression, Ross Video’s real-time 3D graphics engine platform, offers unrivaled creative freedom for design and playout. With XPression, users can playback/control stadia displays, exterior signage and concourse/suite feeds. Unusual display or canvas size? No problem! XPression Tessera – the innovative rendering solution

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SPONSORUPDATE behind Atlanta’s Mercedes-Benz Stadium’s incredible ‘halo board’ and the Adelaide Oval’s impressive ribbon boards – lets you realize almost infinite canvas sizes. Ross Video offers a turnkey solution. Partnering with Ross enables access to expert creative, commissioning, training, programming, and event support. Customers can also get complete graphic design, template, and DashBoard creation services, including onsite deployment assistance. Ross Video’s solutions are proven and scalable. Ross powers 58% of NFL venues in the U.S., and 45% of combined U.S. venues for MLB, NBA, NFL, NHL, and MLS. This year, Ross has averaged eight-million pixels per project including one project where Ross provided display control for an astounding 152,862,548 pixels! And Ross doesn’t just work with professional teams; the company also has solutions for midmarket franchises, colleges, and high schools.

RT SOFTWARE

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BC 2018 saw the launch of RT Software’s latest generation Sports Analysis graphics system Tactic Advanced featuring editable timelines, composite graphics automatic keying, and camera tracking. With Tactic Advanced, telling a story with compelling graphics at half time, pre- or post-match, or during highlights programs has never been easier. As well as sports graphics, RT Software’s product set spans CG, template-driven 2D and 3D graphic overlays and virtual studios. The product range is futureproofed by support for IP video and virtualization and is tied together with cutting-edge workflow integration tools. From its beginnings as an offshoot of the BBC 3D graphics department in 2004, it now has installs from Iceland to New Zealand and includes the BBC, BT Sport, Fox Sports, NBC, and Sky Sports.

SANKEN MICROPHONES

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anken has introduced CS-M1 short 4” shotgun mic. This super cardioid shotgun is the latest addition to the Sanken production range and sets new standards of sound quality for compact shotguns. The CS-M1 delivers pristine-quality audio with sharp directivity. It can be boomed, planted, or cameramounted without interfering with even a short lens, yet still provide the quality of audio demanded by today’s professionals. Shotgun microphones are a mainstay of field recording, and Sanken has designed a line to meet virtually every need, including the CSR2 highly directional, long-reach shotgun microphone with rear rejection for crowd-noise control. The CS3e is truly directional: side rejection captures the targeted dialogue with minimum ambient reverberation. Sanken’s lavalier microphones have become a de facto standard for broadcast, film, and theater. Ultraminiature and boasting “vertical diaphragm” design, the COS-11D is easy to conceal and provides a full 20 Hz-20kHz natural sonic spectrum.

SDTV

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atellite Digital Teleproductions (SDTV) has been a pioneer in remote satellite uplink and downlink with multi-camera television production for 25 years. The company was the first to design and build a multi-camera broadcast vehicle with Ku-band satellite uplink all packaged in a rapidly deployable format.

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SDTV has the capabilities to provide an instantaneous television or data feed to locations around the world.

personal monitoring systems, conferencing and discussion systems, networked audio systems, and more.

SENNHEISER

SIGNIANT

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ennheiser and Neumann are shaping the future of audio and creating unique sound experiences for customers for over 70 years. At AES, they will present a first look at some revolutionary new products, including an extension to the popular Digital 6000 wireless microphone line while also showing off expanded features of the Neumann Studio Monitor line, perfect for production truck environments. Neumann microphones for studio and home recording, as well as the KU 100 and AMBEO VR mic for binaural and immersive recording, will be available for demo at the AES show as well. Sennheiser’s evolution wireless G4 series has become very popular in less than a year since it was launched in early 2018. The evolution wireless G4 BOOM and FILM sets have become the leading choice amongst broadcasters, filmmakers, and journalists alike for its ease of use, versatility, and reliability.

SES

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orking closely with innovative 4K content and live sporting event producers, leading global satellite operator SES has cracked the chicken-andegg challenge facing the deployment of linear and live Ultra HD services in the U.S. and beyond. The SES Ultra HD platform packages 4K content, satellite distribution, and reception gear into an affordable solution that is simple for pay-TV providers to deliver to subscriber homes. First unveiled and demonstrated at the NAB Show in 2015, SES’s Ultra HD platform is being tested, trialed, and commercially launched by more than 35 pay-TV operators with a combined audience of more than 40 million North American TV subscribers. The SES 4K platform now features the world’s largest 4K channel lineup – including Insight TV; Fashion One 4K; NASA TV UHD; C4K360; UHD1; 4KUNIVERSE; Funbox UHD; Travelxp 4K; Nature Relaxation 4K; The Country Network; a pivotal SES Ultra HD demo channel, which serves as an incubator for fledgling 4K content producers; and SES Events, a live-events channel that has already carried the 2016 and 2018 Olympic Games and recent historic fighting championship broadcasts to 4K audiences throughout North America.

SHOTOVER

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HOTOVER is a developer of high-performance camera systems and UAVs for the motion picture and broadcast industries. The company’s line of gyrostabilized camera platforms offers aerial cinematographers an unprecedented level of stability, control and versatility in a compact package easily configured for 2D, 3D, and Ultra HD shooting with the world’s most advanced cameras and lenses.

SHURE

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hure Incorporated is a leading manufacturer of microphones and audio electronics. The company has designed and produced many high-quality professional and consumer audio products that have become legendary for performance, reliability, and value. Shure’s diverse product line includes wired microphones, wireless microphone systems, in-ear

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igniant’s Media Shuttle is perfectly suited for the tight timelines, large files, and distributed workflows in sports production. With over 400,000 users from over 25,000 businesses across the world, Media Shuttle scales to companies of every size, providing unique value when security, speed, and ease of use are especially important. According to Ben Manges, senior director of corporate communications and new media for the Detroit Lions, Media Shuttle allows the team to make video files available to news outlets and partners and still be in compliance with NFL security protocols. Media Shuttle is not only easy, but it’s also super fast. Even though, in the NFL, things are constantly moving, the Lions are able to make their content available quickly without much effort, which makes everything that much easier.

SIMPLYLIVE

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or the first time, ESPN covered all 16 courts at the US Open, thanks to a new automated production system deployed on the nine outer courts at the USTA Billie Jean King National Tennis Center. Having debuted at Wimbledon in June, the Fletcher Tr-ACE motion-detecting robotic camera system was deployed on each court (with four robos per court) and relied on SimplyLive’s ViBox for switching and replay and an SMT automated graphics system. With this workflow, one robotic camera operator and one ViBox director/ producer covered each of the nine courts.

SIXTY

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ixty’s Ease Live platform is the result of 15 years’ experience in creating TV innovations. It delivers OTT broadcast graphics and interactivity into your programming, providing a solid base to develop compelling additions to your investment in content and technology, ultimately enhancing the viewing experience. Ease Live creates and distributes interactive on-air graphics on top of an existing broadcast workflow. The platform is cloud-based and scales up virtual servers automatically with the traffic load. Graphics are rendered locally on each user’s device through a set of SDKs. The Ease Live suite consists of several tools that enable the creation, measurement, and monetization of user engagement. Ease Live integrates with pre-existing workflow methods, providing options from the Ease Live Cockpit, through to full integration within existing broadcast workflows, either via plugins or automated APIs. Ease Live provides a production suite that is designed to drive user engagement. All of this can be delivered problem free and integrated within all of today’s control rooms.

SKYCAM

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kyCam continues to highlight the American football season with unequaled coverage. As part of Super Bowl LII on NBC, SkyCam expanded the use of dual system for both its signature play-by-play coverage and as a broad replay-focused angle. The Dual Systems will continue to be utilized on Fox’s Thursday Night Football and various NBC Sunday Night Football events. SkyCam continues to enhance SkyCom-


mand, providing remote operating services as well as augmented reality to put SkyCam on the forefront of providing audiences with a stimulating experience in sports viewing. In addition to the installation at M&T Bank Stadium for the Baltimore Ravens, SkyCam installed a system at U.S. Bank Stadium to provide the Minnesota Vikings with coverage on all home game. SkyCam continues to expand and partner with ESPN, Fox, NBC, and CBS on both NFL and college football, as well as NFL UK International Series games.

SMARTCART TECHNOLOGY

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martCart SVX finished another successful deployment on 2018 PGA Tour with CBS Sports where it contributed to increased viewing figures and higher fan engagement. The company is proud to have become trusted suppliers to leading U.S. sports broadcast networks. Since its formation in 2014, SmartCart SVX has been used on F1 Racing, Premier League soccer, Euro Champions, rugby football, NFL, Wimbledon, and more. Seamless turnkey services include transportation, full system integration, and operation/guarantee on site. Designed specifically as an adaptable presentation hub for live productions worldwide, the system’s mobile interactive super-bright daylight touchscreen provides a highly reliable user experience and meets the rigorous demands of on-site sports production. SmartCart SVX brings a new dimension to broadcast sports event coverage with live game analysis, compelling interviews with video reviews, and many other production elements.

SMT

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MT launched its NASCAR Team Analytics app and Broadcast Analytics system for the 2018 Monster Energy NASCAR Cup Series. With Team Analytics, NASCAR teams and officials can access a feed that combines loop, location, and telemetry data, combining two SMT motorsports systems – the RACEf/x tracking system and NASCAR’s RaceView application. The data is integrated into a fully rendered, 3D, virtual representation of the race, creating a unique analysis tool available to every car, enabling teams to compare performances against any opponent. SMT’s new Broadcast Analytics system enhances broadcasts by live-tracking race cars during each session and producing virtual replays of any lap run during practice, qualifying and the race, providing on-air talent with a 3D visualization of any lap run by any driver. The system provides a combined display showing how a single driver ran on different laps, as well as showing how different drivers ran the same lap, demonstrating how these key moments impact each driver’s finish.

SONOVTS

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onoVTS is in the midst of one of its busiest and most successful years to date, thanks to a renewed business strategy and a raft of landmark systems integration and supply projects. Strategically, the company is reaping the benefits of a recent concentration of interests into clearly defined Products, Rental, and Systems units. Each of the units had their turn in the spotlight at IBC 2018, with Head of Business Development Tobias Kronenwett noting the company’s ability to perceive all sides of a project — and anticipate potential arising issues — because of the company’s multifaceted approach. Landmark projects include the specification and integration of equipment room containers used at 12 venues during the FIFA World

Cup. sonoVTS integrated a comprehensive IP production infrastructure at Plazamedia’s new broadcasting center near Munich.

SONY ELECTRONICS

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he National Hot Rod Association (NHRA) recently transitioned to cloud-based distribution workflows using Sony’s Intelligent Media Services. With their adoption of Sony’s Ci Media Cloud, NHRA is positioned as the first major sports organization to implement the cloud for digital asset management. The collaborative platform enables NHRA’s content to be tagged with metadata that is easily searchable and can be shared quickly with broadcast and social media teams. Additionally, through Memnon’s digitization and archival capabilities, NHRA has found a viable and cost-effective solution to preserve over 50 years of historical assets. NHRA is also working with Ven.ue to re-launch their OTT platform to bring a steady and robust stream of engaging new content to their OTT and VOD audience. Through Ven.ue, the content will be customized, published, and monetized, creating expansion opportunities, as well as international visibility for NHRA. As the sport continues to grow exponentially and find new avenues to interact with their dedicated supporters, NHRA looks to become a “content factory,” telling relevant stories, creating videos, and crafting social media experiences to enhance fan involvement and add new dimensions to the sport and its leading talent. Through the use of Sony’s complementary and inter-connected media solutions, NHRA is streamlining efficiencies that enhance their workflow and in the end, create new opportunities to create memorable content for fans.

SOS GLOBAL EXPRESS

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s 2018 moves into its final quarter, SOS Global teams successfully closed out their chapter on the PyeongChang Winter Olympic Games and the 2018 FIFA World Cup in Russia. SOS Global’s combined teams located in Russia, U.S., UK, Germany, and Brazil brought collaboration to a new level to handle the challenges of these two major events. Teams built around these events worked around the clock on behalf of the host broadcasters and numerous other clients to bring these events to a successful close. Elsewhere, SOS Global continued to build experience and expand, coordinating activities around major events such as the Commonwealth Games, WWE Saudi Arabia, and Presidential Summits in Singapore and Helsinki. In 2019, the team magnifies its efforts on France for Women’s World Cup, Peru for the Pan-American Games, and continuing to Japan for the Rugby World Cup. The foundation of yearly events — many of which have been handled by SOS for over 25 years — continues to grow, including such events as the Super Bowl, NCAA Final Four, NBA Finals, and an expanding esports presence. SOS Global is a worldwide specialty logistics service provider in the TV production and major events space.

SPECTRA LOGIC

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his spring, Spectra Logic announced several enhancements to its BlackPearl Converged Storage System, a purpose-built platform that delivers featurerich software for a modernized approach to sportsvideo storage. BlackPearl integrates directly with asset-management applications to simplify workflows, seamlessly managing large volumes of content to a variety of storage-tier options, including disk, tape, and public cloud. New improvements include a host

of Intelligent Object Management attributes and represent a giant leap for video storage and management. Newly developed access features reduce wait times to use assets, providing significant time advantages at lower-than-ever storage costs. Enhancements enable unparalleled long-term integrity and availability of content, solving historical obstacles to using tape, disk, and cloud in storage environments for sports and entertainment. Spectra’s BlackPearl ecosystem continues to expand with more certified clients. The innovative solution provides organizations with the flexibility to stay agile as workflow needs change in an ever-evolving media landscape.

SPORTRADAR

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portradar US is a sports-data provider in North America. The company develops proficient software, distributing content and data that is easy to consume while setting standards for speed and accuracy.

SPORTZCAST

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portzcast provides automated workflow tools for organizations ranging from major broadcast companies, to collegiate and high school education institutions, professional and international sporting venues, to single camera streaming productions. With venue connections reaching into the thousands, there’s a good chance you’ve already seen a Sportzcast score feed, but you would never know it. That is because Sportzcast puts the power of the data in your hands to increase the value of your product.

STATS

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TATS has dedicated the last 37 years to developing and implementing innovative solutions to enhance fan engagement, team performance, and broadcast support on a global scale. STATS played a pivotal role in 2018 FIFA World Cup coverage, providing fast and accurate granular real-time scoring and updates across devices. STATS provided support across multiple networks, including extensive pregame storylines and player and team predictions. This summer, STATS also launched STATS Edge, an AIassistive soccer tool that analyzes team performance, compares playing styles, conducts game-changing set play analysis, and more, while linking purposeful data with video at the touch of a button. The product will change the way teams and broadcasters analyze team data and is backed by STATS’ award-winning AI and machine learning. STATS continues to invest in AI and advanced analytical tools to enhance the future of data-driven broadcast support.

STOREXCEL

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torExcel provides professional services through a comprehensive service delivery offering called Content360°. The framework of the company’s services can be broken into five areas surrounding digital media supply chain and data lifecycle management environments: consulting services, delivery services, support services, managed and hosted services, and development services.

STUDIO TECHNOLOGIES

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t IBC 2018, Studio Technologies introduced two new audio interfaces for applications that use the SMPTE ST 2110 suite of standards to implement audio-over-Ethernet (AoE) network connectivity. Both the Model 5512 Audio Interface and the Model 5518 Mic/Line Interface were included as part of the 2018 IBC IP Showcase. The Model 5518 allows us-

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SPONSORUPDATE ers to connect eight analog microphone or line-level sources, and then output in the digital domain by way of an AoE interface. The Model 5512 offers similar digital conversion of line-level analog sources and is available in two versions — one with eight input and eight output channels, and the other with 16 input and 16 output channels. Both the Model 5512 and Model 5518 support redundant stream performance following the ST 2022-7 standard.

SUPPONOR

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upponor Virtual Replacement Technology was approved by the DFL for use in Bundesliga broadcasts from the coming season 2018-19. Supponor is the first and currently only company to pass the DFL Deutsche Fußball Liga rigorous quality checks, conducted by the DFL subsidiary Sportcast, designed to test whether the image quality and technical integration of the overlaid images into the base signal are guaranteed under all-live conditions. The Football Association of England deployed Supponor Virtual Replacement Technology during the FIFA World Cup warm-up game in Leeds, the first time that an International Football Federation has delivered virtual replacement on LED within a live commercially broadcast event. New Supponor Natural Scene Augmentation (NSA) solutions offer access to a simpler ways to augment naturally occurring elements such as the pitch, court, track, or areas surrounding the field of play including certain static signs, physical camera carpets, walls, or bridges using the TV signal.

SWITCHBOARD LIVE

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witchboard Live provides collegiate and professional sports production teams the power to multi-publish live video. With their latest product, Switchboard Cloud, simultaneously stream live video to Facebook, YouTube, Periscope, Twitch, custom players, and more. By implementing a multichannel approach to social streaming, teams are able to reach all of their fans no matter where they are watching. This creates great return on investment and engagement. Switchboard Cloud members include NFL and NCAA teams such as the Villanova Wildcats, Philadelphia Eagles, Washington Redskins, Los Angeles Chargers, Miami Dolphins, and Tennessee Titans. Live shows vary from full games to preseason warm-ups, postgame press conferences, and exciting sideline interviews. Switchboard Live is excited to announce their integration with the Epiphan Webcaster X2 encoder, which was demoed at IBC 2018. Epiphan is a leading A/V equipment manufacturer creating audiovisual capture, recording, and streaming products.

T2 COMPUTING

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2 Computing is a technology company specializing in video workflow within the media and entertainment space. Their clients include the NBA, NBC, CBS, HBO, Showtime, and many other organizations with a sports focus. Recently completed work includes numerous MAM installations, editing studio build-outs, and standing up data centers with accompanying disaster-recovery sites. T2’s partnerships include a variety of technology vendors like

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Apple, Dell, HP, Quantum, Avid, AJA, Blackmagic, ATTO, CatDV, Primestream, Telestream, Scalelogic, and many more. Their collaborative approach allows them to leverage not only internal resources but also specialists in each of the above companies. Their stable of talent includes the best engineers in the business. While T2’s strength rests in its ability to provide end-to-end solutions, they have assets that can conceive, expedite, and complete any project, large or small.

TATA COMMUNICATIONS

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ith the world’s largest undersea fiber-cable network and satellite-uplink facilities, Tata Communications provides solutions for all segments within media and entertainment, including gaming, sports, news, new media, cable, and broadcasting. Powered by its leading network, video contribution, and cloud services, Tata Communications Media Ecosystem provides a comprehensive solution that includes asset management on cloud, workflow management, channel origination, internet contribution feeds, OTT platform, ultra-live VDN/OTT, media storage, transcoding as a service, and remote production. With remote production gaining prominence in live-content production, Tata Communications has successfully enabled remote production for sports like Formula 1 and MotoGP across multiple global locations, helping them engage fans with enriching content. With a dedicated team and years of experience working with sports broadcasters, Star Sports India recently partnered with Tata Communications to deliver Live cricket content from the Indian Premier League Content in eight regional language using remote production.

TEDIAL

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MARTLIVE, Tedial’s comprehensive live sports and event solution for remote logging, PAM support, and automated storytelling, now includes an auto-logging tool that automatically creates all logging information for every event using AI technology. It can analyze commentary tracks and insert the corresponding logs into event logs and provide video recognition of action and players. This is particularly relevant for less popular sports where data feeds may not be available and when manually logging events is not cost-effective. SMARTLIVE is now fully integrated with Speechmatics speech-recognition technology, which enables speech-to-text integration by annotating incoming live media. Using a live feed, SMARTLIVE can automatically create an event blog, which allows the operator to search for any comments made during the match. This blog is stored in the library with the attached file locators automatically created by Speechmatics. The second workflow allows the operator to import a file or drop it into a watch folder and manually generate the speech to text from the commentary track. SMARTLIVE leverages AI tools and provides 100% compatibility with existing PAM systems. Using a unique metadata engine, SMARTLIVE automates media logging, clip creation, and distribution, including social media pitches.

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TEKTRONIX

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orking in the hypercompetitive multichannel video programming distributor (MVPD) space as a disruptive OTT provider means subscriber retention is critical. Month-to-month contracts, no requirement on hardware rentals, and constantly updated offerings from competitors necessitate the need for high-quality performance and delivery of your feed at all times. That’s why fuboTV, the leading sports-first live TV streaming service in the U.S., relies on Quality of Experience (QoE) monitoring from Tektronix solutions. Sentry simplifies quality monitoring across complex environments by offering visibility into streaming content quality along with in-depth analysis and compliance reporting for OTT/multiscreen services with global scalability. According to Billy Romero, Video Engineering and Operations Manager at fuboTV, pushing cutting-edge content to customers is huge for fuboTV. As fuboTV moved to 4K HDR10 level of broadcasting, the network could still use the versatile Sentry to evaluate exactly what it was offering to customers.

TELESTREAM

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uring the 2018 FIFA World Cup, Telestream enabled a remote-production workflow for Fox Sports. At the heart of the new live-production workflow was Telestream Lightspeed Live, which provided baseband encoding of real-time HD and UHD into production-grade mezzanine video file formats, while simultaneously supplying a streaming proxy for each channel being processed. Using Lightspeed Live in concert with Vantage, Fox Sports’ production team was able to access up to 60 camera feeds from the tournament in Russia remotely in their Los Angeles production facility. The content feeds were delivered in native, edit-ready format to their production environment and also as high-quality HLS proxy streams. Producers in LA could watch all 60 incoming proxy feeds, select interesting clips, and Vantage delivered edit-ready files seconds later. The new workflow eliminates baseband routing and utilization by delivering professional production file formats directly to almost any edit, archive, and playout system.

TELOS ALLIANCE

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he Telos Alliance TV Solutions Group (TVSG) featured its latest innovations in audio technology for the broadcast market at IBC 2018. The big news was the introduction of Linear Acoustic ARC (Automatic Realtime Control) — the company’s next-generation television loudness processor, affordably packaged in a two program, two-channel, 1RU product. With a user-definable loudness target, ARC is designed for simple set up and compliance with all global loudness standards and recommendations, including EBU R128 and ATSC A/85. Telos Alliance TVSG also showcased the latest additions to its Telos Infinity AoIP Intercom solution, which converges voice communication and contribution audio on a single IT backbone and eliminates the traditional challenges associated with a central matrix.

TELSTRA

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elstra is Australia’s leading telecommunications and technology company, offering a full range


of communications services and competing in all telecommunications markets. In Australia, Telstra provides 17.7 million retail mobile services, 4.9 million retail fixed voice services and 3.6 million retail fixed broadband services. The company believes the more connected people are, the more opportunities they have.

TERADEK

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eradek designs and manufactures high-performance video solutions for broadcast, cinema, and general imaging applications. From wireless monitoring, color correction, and lens control, to live streaming, SaaS solutions, and IP video distribution, Teradek technology is used around the world to capture and share compelling content.

THE STUDIO-B&H

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018 has been an exciting year for The Studio-B&H with partnerships that will allow the company to provide even more diverse solutions to all major sports markets. One of The Studio-B&H’s recent and innovative partners, DynamiCam, has been deploying its lightweight cable-camera system in partnership with HBO Boxing for several high-profile World Championship Boxing events around the country. Other exciting new partnerships with prominent manufacturers in sports broadcasting include Ross Video and ChyronHego. Through its continued partnership with RED, ARRI, Canon, and Panasonic, The Studio-B&H’s unrivaled expertise in large-sensor cameras has made the company one of the preferred resources for leagues, teams, broadcasters, and many athletic departments in the educational world. All these recent developments are part of The StudioB&H’s long-term commitment to continue to serve the sports-broadcasting community.

THE SWITCH

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aving exhibited for the first time at IBC 2018, The Switch showcased its full-service media solutions. Included in The Switch’s rich suite of products, which were on display at the convention, were its patented customer-controlled scheduling and switching platform, SwitchIT, as well as The Switch Access, The Switch Studios, The Switch OTT, and The Switch At-Home. The Switch also demonstrated its ability to customize solutions for the international content aggregation, delivery, and management needs of its customers. Earlier this year, The Switch announced the launch of its global IP product, The Switch Access. Since its release, The Switch Access has aided in connecting multiple, dedicated international locations to The Switch’s already robust fiber and satellite network across multiple continents, including hubs in Istanbul, Guam, and Mexico City, and has supported remote productions for key international events like the E3 Conference, The Royal Wedding, The World Cup, the Mexican elections, and the Turkish elections. The Switch Access allows customers easy access to The Switch’s extensive network of customers, connected venues, studios, and production facilities, utilizing a broadband internet connection, from anywhere in the world.

THE VIDEO CALL CENTER

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ideo-call-based production is creating a significant impact on sports production, making it possible to leverage the world’s billions of smartphones to enhance the coverage and lower the cost of today’s

popular sports programming. When Fox Sports needed to establish a live remote to a traveling Hall of Fame player on baseball’s opening day, the VCC made it happen, bringing the player to air live, with reliable broadcast quality, using nothing more than the star’s iPhone. MLB.com’s Chatting Cage gives fans the unique experience of speaking directly to top players and managers, and the VCC’s Caller Queue makes it easy for the production team to manage its high volume of audience-based video participants. From lowcost IP remotes originating anywhere in the world to the most fan-engaged live sports programs, the Video Call Center is the lynchpin of today’s most innovative sports productions.

TNDV

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NDV builds television and video production systems in some of the most challenging and remote locations imaginable. The company’s HD and UHD production trucks and its multi-def fly packs are field-tested and network approved. TNDV specializes in live sporting events, broadcast entertainment specials, and corporate event production. The company features HD, 4K, and SD production trucks and fly packs that it has hand-built and tested in the field.

TSL PRODUCTS

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t IBC 2018, TSL Products announced various updates to its Advanced Broadcast Control Systems that demonstrate the ability to provide interconnected solutions for traditional, IP, and hybrid networks. New functionality includes edge-device routing in remote production environments as well as playout and automation functionalities. With these new developments and the addition of new protocols and peripheral devices, TSL brings more power to its control offering and opens it up to new areas of the broadcast chain. TSL Products’ Control Systems allow broadcasters to achieve interoperability between equipment, regardless of manufacturers or format specifications. Using intuitive and highly adaptable interfaces, users can easily gain exclusive control over resources, from production to transmission, to streamline operations and automate key functions to improve efficiencies and maintain high production values.

TV GRAPHICS

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V Graphics continues to enhance its All-in-One solution — a flexible graphics CG solution for broadcast and streaming. The All-in-One includes traditional features such as clock and score and lower thirds, as well as full-screen, interstitial, and datadriven stat pages.

TVU NETWORKS

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VU Producer from TVU Networks is a cloudbased video-production solution that enables anyone to produce professional, multi-camera video and eliminates the need for expensive hardware and software. With its WYSIWYG interface, non-professionals can easily manipulate graphics, scoring, and text overlays during production — without training. It also outputs directly to all major social media platforms (Facebook Live, YouTube Live, Periscope, etc.). TVU Producer is ideal for high school and college sports production, as well as digital media departments within professional sports organizations. It can handle multi-camera production from virtually any location. SDI delivery is supported through a TVU transceiver. It offers a multichannel IP-video switcher, graphics, and slow-motion-replay capabilities. Pro-

ducer integrates with existing TVU transmitters, including TVU Anywhere, TVU One, and TVU MLink, and any IP-video source or standard IP-video stream.

UNITY SYSTEMS INTEGRATION

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orking with top Canadian companies, Unity led the industry in the design and integration of live IP broadcasting in 2018. Unity has used its knowledge and experience working with broadcastbased datacenters like Echostar and applied it to the broadcasting industry in Canada. Consulting with Roger Media Engineering department, Unity launched the first fully uncompressed IP-video routing system in Canada. Unity designed and integrated the entire system from origination to transmission, including video, file, and control switch architectures; SDI-to-IP video-conversion workflows; IP master control implementation; uncompressed IPvideo multiviewer networks; fiber infrastructure; file-based workflows; storage systems; and AES67 audio integration. Unity also designed and implemented an IP-based video core at TVO studios in Toronto to replace an SDI production switcher and supporting video router. Currently, Unity is working with Dome Productions on their first IP-based mobile broadcasting trailer.

UTAH SCIENTIFIC

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tah Scientific is a leading specialist in routing switchers, master control switchers, and related control software, and it set the benchmark for the broadcast industry with the first no-fee 10-year product warranty. Since 1977, the company has provided industry-leading products and best-in-class service and support.

VER

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ER is the world’s go-to company for bringing experiences to life. Clients in TV, cinema, live music, sports, and the corporate world rely on VER for the greatest depth and breadth of rental equipment in the industry as well as unmatched expertise in audio, video, lighting, led, camera, rigging, media servers, fiber and more.

VERITONE

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eritone’s proprietary AI technology orchestrates the capabilities of the world’s top AI solution providers in one trusted operating system. aiWARE delivers a means for organizations to quickly leverage AI to solve real-world business challenges with ease, speed, and accuracy. Veritone provides the Operating System for Artificial Intelligence, empowering society to achieve more by leveraging the capabilities of AI.

VERIZON DIGITAL MEDIA SERVICES

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erizon Digital Media Services offers an end-to-end digital media platform to prepare, deliver, display, and monetize your online content. The platform is built on a global network with over 125 points of presence on six continents, ensuring high-quality viewing of your digital content on any device, anytime, anywhere. The platform powers websites, apps, and OTT video services for many of the world’s largest publishers, media companies, and enterprises. The Uplynk Video Streaming service collapses multiple workflows into one, making it the simplest way to stream quality linear, live, and on-demand video. The Edgecast Content Delivery Network delivers faster, more reliable and secure digital performance across all devices worldwide thanks to Verizon’s service-delivery model, which

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SPONSORUPDATE bolsters agility, autonomy, and visibility. The Volicon Media Intelligence service offers enterprise media intelligence, monitoring, and compliance capabilities for broadcasters, networks, cable, and IPTV operators to ensure quality of experience on every device.

VIDEOCITES ID

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orking with some of the major Hollywood Studios and large media groups, Videocites is the world’s #1 provider for automated machine-learning and video-based content protection and True Viewership analytics across all social and video platforms. Videocites has developed a video-by-video Search Engine (using the content’s visual information to perform each search) and cross-platform services that allow content owners to automatically track and claim their video copies throughout all major social and video platforms. Videocites is providing its customers with three product families for Automatic Scalable Rights Protection and Management, Dynamic BI, and True Viewership Analytics to identify the real distribution patterns and engagement of video content, and on-premise or cloud-based automated video-based de-duping system. Videocites is launching its new product, Discover Live, which offers an on-demand real-time automated detection and removal of nonauthorized re-streaming of live events.

VIDOVATION

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idOvation is a leading systems integrator of video and data transmission, contribution, and distribution systems for sports, broadcast television, and live production. Encompassing bonded cellular, wireless, streaming, encoding, IPTV, satellite, and fiber-optic communications systems, VidOvation solutions improve video transmissions by removing the frustrations of signal loss, latency, interference, noise, and security issues. VidOvation excels in helping its clients integrate custom solutions into existing infrastructure, with the ability to satisfy almost any application or budget. The company applies proven expertise to the complete project life-cycle — from project consulting and management to engineering and design, to warranty and support. Featured solutions include at-home or REMI live video production over cellular and unmanaged networks and wireless camera technology with seven-milliseconds latency for video, intercom, and camera control.

VISTA WORLDLINK

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ISTA Worldlink showcased REMI/at-home production workflows and discussed the continued evolution of the cost-effective downstream production solutions available at VISTA at IBC 2018. Since 2017, VISTA has produced approximately 1,000 live REMI sporting events at its South Florida facility and has integrated graphics, commercials, interstitials, announcers, and languages to thousands of other live sports and entertainment events. As VISTA celebrates its 30th year in the media industry, the company continues to invest in expanding its production capabilities, adding more REMI control rooms and announcer booths. VISTA continues to embrace emerging technology, bridging traditional broadcast with digital production solutions, allowing for content to be consumed everywhere. VISTA is excited

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to announce the expansion and enhancement of its digital archiving infrastructure to now include cloud archiving and ingestion technology that will complement the full suite of solutions available to all VISTA customers. VISTA, along with strategic partners Tata Communications and Primestream, will implement a large robust multi-tenant video-assets management system, packaged with automated cloud ingestion and storage, which will allow VISTA’s customers remote secure access to content anywhere in the world while expediting and optimizing workflows strengthening the full-service solutions that VISTA’s downstream production workflows offer.

VITAC

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ITAC supports sports leagues, broadcasters, TV networks, OTT providers, stadiums, and arenas with reliable, high-quality captions for live and recorded sporting events. The company captions more than 525,000 live hours of programming each year, and employs the largest team of qualified, trained captioners in the U.S. VITAC specializes in accessibility and compliance, helping sports-video providers meet FCC and ADA requirements, thereby reaching the one in three adults in the U.S. that benefit from captions. Recent successes include providing captioning services for the XXIII Olympic Winter Games in PyeongChang, Super Bowl LII, the NCAA men’s basketball tournament, the 2018 World Cup, and the NHL’s Winter Classic. VITAC also offers a wide variety of multi-language services, including captioning, translation, transcription, and Secondary Audio Dubbing (SAP), and provides live, real-time captions in English, French, and Spanish for streaming coverage of worldwide sporting events.

VITEC

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he chosen platform for the Sacramento Kings, Kansas City Royals, Minnesota Vikings, and Notre Dame Fighting Irish, VITEC’s IPTV and Digital Signage Solution for Sport Venues sets the bar high for modernizing content delivery and digital-signage workflows in sports venues. It allows facilities to stream high-quality live and on-demand video seamlessly and cost-effectively, create dynamically personalized content and digital signage, and deliver it over existing IP infrastructure without impacting other network services. As a result, each display becomes a visual attraction that fans can enjoy. In suites, for instance, the automatically updated electronic program guide and video-on-demand capability provide access to nonlinear content that cannot be seen in homes. Operators can quickly create eye-catching digital signs and dynamically update menu boards integrated to POS vendors, as well as turn any screen in the network into digital signage using VITEC’s cost-effective, high-performance end-point behind the display. Onboard administration and analytics tools deliver campaign information vital to pulling in untapped revenue streams. Other features include DRM interoperability required by the leading services providers for IPTV deployments, enterprise IPTV capabilities like time-shifted TV, a new mobile app for iOS and Android for users to stream IPTV content on their devices, and video-wall capability.

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VIZRT

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izrt was the technology behind this year’s World Cup, covering events with augmented reality technology, interactive tools, and the latest analysis technology, with global broadcasters embracing the use of AR in a way that shows the maturity of the technology as a tool that helps explain the intricacies of the game while entertaining the audience. Broadcasters covering the World Cup with augmented-reality technology, interactive tools, and latest analysis technology from Vizrt include Fox Sports, Austrian national broadcaster ORF, Al Jazeera, Tencent, Televisa, Telemundo, TV 2 Norway, ITV, ARD, and ZDF. Viz Libero AR combines the analysis power of Viz Libero with AR graphics, creating a new way for sports presenters to tell the story of the action on the field and engage sports fans. Viz Libero combines realistic 3D replays and virtual graphics from any sport to provide deeper, multi-angle analysis of key plays and moments within the game. A photorealistic 3D view based on the original game footage enriched with analysis graphics are placed as AR elements in front of the sports presenter in the studio. Studio cameras control the angle of the field tying together the studio and the analysis.

VSN

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SN specializes in providing advanced software solutions for media and workflow management within a wide range of businesses, including broadcast and media companies, private corporations, sports venues, and public institutions. Its flagship solution, VSNExplorer, allows users to effectively manage their media and business processes either onpremise or in the cloud, providing facilities with an intuitive and reliable platform to speed up processes in production such as content archival and retrieval, file management and editing, fast delivery to playout, and analysis of content performance. VSNExplorer is an open-ended solution composed of several optional modules: MAM with brand-new Artificial Intelligence tools for smart content management and cataloguing; PAM for production environments; BPM for workflows’ optimization; Business Intelligence for data and metadata analytics; and Wedit, for low-res web video editing in the cloud. Real Madrid TV, Barça TV, Gol TV, and Dorna trust VSNExplorer for their daily operations.

WARNER/CHAPPELL PRODUCTION MUSIC

W

arner/Chappell Production Music is a leading production music rights service. Warner/Chappell Production Music has over 35 years of experience uniting many of the most successful and respected independent brands in production music. The brands comprising Warner/Chappell Production Music have been the recipients of many industry awards.

WAVE CENTRAL/CP COMMUNICATIONS

W

ave Central introduced new products to support 4K UHD, HDR, and high-frame-rate slomo production at NAB 2018. Part of the company’s focus was to develop an RF system that would be able to universally accept any format or frame rate


that current production cameras can output. At the same time, Grass Valley introduced their LDX-86 Universe camera that allows the end user to be able to choose either 4K UHD or high-frame-rate slomotion within the same camera head. Wave Central introduced its integrated camera system solution for the Grass Valley LDX-86 Universe camera. This product seamlessly integrates Wave Central’s RF systems to allow users of the LDX-86 Universe’s unique features to be transmitted wirelessly. 4K UHD, HDR, or 3X high-frame-rate signals are transmitted to Wave Central’s receiver, processed, and output as either 4K UHD, HDR, or HD, or input to a slo-mo playback server. Even while directly feeding slo-mo signals to the replay server, a live camera output is always available as well. Wave Central’s RF System was on display with the LDX-86 Universe in the Grass Valley’s booth at IBC 2018. The company has successfully delivered HDR to the Colorado Rockies, Atlanta Hawks, and Nashville Predators.

WESCO BROADCAST & NETWORK SOLUTIONS

W

esco Broadcast & Network Solutions provides the products and solutions you need for your next broadcast project. The company has the largest dedicated and experienced technical sales team in the industry to provide you everything you need for the entire signal path from camera to the home. Wesco has the breadth and depth of products available for all your bulk cable and connector needs, and products to provide the complete solution with equipment racks, patchbays, surge protection, power management, and custom panel solutions for your application. Wesco also offers a wide variety of fiber solutions that are designed to keep you on the air. Wesco’s own Fibertron facility manufactures custom assemblies in the U.S. in a Commscope and Corning Gold Certified facility that is ISO 9001 certified.

WESTERN DIGITAL

W

estern Digital is a company with strong values and a passion to innovate and lead the charge in the transformation of data. Creating the right environment where its employees can thrive is key to how the company does business. Quality products, exceptional customer service, and industry-leading solutions all come from a culture that’s inclusive, forward-thinking, and bold enough to imagine the possibilities of data.

WHEATSTONE

B

eing able to record and edit simultaneously is vitally important to sportscasters who cover live sporting events. This is no doubt why Wheatstone’s VoxPro digital recorder/editor has been finding its way into sporting venues of late. Commonly used by morning radio shows for recording and editing live call-ins, VoxPro is being used by the NBA’s Portland Trail Blazers and other sportscasters to cover live sporting events. VoxPro enables sportscasters to easily drag and drop sound bites into a multitrack window and add fades and effects as needed, all while editing or recording a separate track in a side window and sending a mixdown to air! In addition, sound effects and music beds specific to an athlete or a particular play can be prepared in advance and

recalled for playback using VoxPro’s hotkeys. Unique to VoxPro is its controller with scrub wheel plus software-editing tools designed specifically for realtime, fast-paced live production.

WIPSTER

F

or video producers at sports media companies, one of the most challenging aspects of video projects can be getting edits and stakeholder feedback quickly and efficiently. With Wipster, it doesn’t have to be complicated or take ridiculous amounts of time. Major League Baseball, NASCAR, Orlando Magic, Manchester City, and other sports media companies rely on Wipster as their primary postproduction workflow tool because it’s simple to review and comment directly on live highlights, interviews, sponsored footage, social media, and more. Faster review means more content for fans, and integrations with Adobe, Slack, Brightcove, and other video tools make real-time collaboration between video editors, producers, clients, and reviewers frictionless.

WOWZA MEDIA SYSTEMS

W

owza Media Systems is the recognized gold standard of streaming, with more than 20,000 customers in 170+ countries. By reducing the complexities of video and audio delivery to any device, Wowza enables organizations to expand their reach and more deeply engage their audiences, in industries ranging from sports to international broadcasting.

WSC SPORTS TECHNOLOGIES

W

SC Sports Technologies developed an awardwinning technology that generates personalized videos for every sports fan on any platform — automatically and in real-time. Using AI and machine learning, WSC’s platform analyzes live sports broadcasts, identifies each and every event that occurs in the game, creates perfectly packaged customized short-form video content, and publishes to any digital destination. This enables partners to instantly generate and distribute professionally edited clips and videos on a large scale to engage their variegated audiences and create new monetization opportunities. WSC’s platform is utilized by leading sports organizations and media right holders, including Turner Sports, NBA and all its teams, FIBA, US Open Tennis, WSL, and others.

WTVISION/MEDIAPRO

D

eveloping integrated workflows for sports productions and covering a wide range of competitions and locations allowed wTVision to design flexible products as well as combine its experience with a unique capacity to adapt to each broadcast operation, from the smallest to the largest. wTVision creates appealing virtual solutions and is able to develop both the creative and technical aspects of the operation to implement augmented reality into sports broadcast. Its new features, presented at IBC 2018, include powerful tools to generate augmented reality. Data scouting, on-air graphics, movement tracking, augmented reality, web applications, giant screens, and operation services are part of wTVision’s sports capacity and the preferred choice of thousands of producers worldwide. wTVision is part of Mediapro, a leading group in the European audiovisual sector, unique in content integration,

production, and audiovisual distribution. It provides the creativity and technical solutions necessary to design, produce, and distribute any audiovisual or multi-channel project.

ZAYO

Z

ayo accelerates capabilities to bring freedom and prosperity to the world by providing enormous high-quality bandwidth for the world’s leading companies. These include wireless and wireline carriers, media and content providers, finance and healthcare organizations, and other large enterprises. Since 2007, Zayo has evolved into a leading global communications infrastructure provider, with calling cards such as high-performance connectivity, secure colocation, and flexible cloud infrastructure.

ZEGAMI

Z

egami is a Visual Data Exploration Platform. Until now, the analysis of countless amounts of unstructured data has been done using outdated, disparate, and aggregated data tools that only look at numbers and text. The information captured from visual data is not just objective, but subjective and qualitative. As a result, vast amounts of hidden information contained in all this data are lost. Zegami’s Visual Data Exploration Platform turns visual data into information. It does this by combining visual content, artificial intelligence, and data. Zegami presents all your data on a single screen, giving you full access to all results. No more lists, no more scrolling. Its intuitive and dynamic visual display allows you to spot patterns and trends quickly, and enables you to probe and discover the hidden insights in your data, empowering you to make smarter and faster decisions.

ZIXI

T

he Zixi Platform provides software tools to stream live video across unmanaged IP networks at reliability ratings equal to, or better than, satellite and fiber. ZEN Master provides an orchestration layer that provides necessary monitoring and automation controls to use the open internet for contribution and distribution at scale. Some of the popular Zixi Platform and ZEN Master features are multi-tenant control and monitoring suitable for large-scale live-linear applications that are scalable and secure; managing contribution, ingest into CDN or storage, transcoding, and large-scale distribution; and tighter integration with Zixi-enabled network partners; a clear abstraction layer separating physical resources from logical streaming tasks. ZEN Master controls components in the Zixi Platform making individual configuration unnecessary; and contains independent ingest and egress clusters, DNS load-balancing, automatic failover, and access control rules.

ZYPE

Z

ype empowers video operations teams to build amazing video-streaming services across the web, mobile, OTT and connected TV, and social media. Zype provides the most powerful and reliable cloudbased video content management and distribution infrastructure, with leading-edge monetization options, business analytics, automation, and integrations with thousands of SaaS applications. <

SPORTSTECHJOURNAL / FALL 2018

105


SPONSORINDEX SPONSOR

PAGE

3G WIRELESS ADDER TECHNOLOGY

LEVEL

CONTACT

EMAIL

PHONE

Mobile

Gordon Capaccio

GordonC@3gwireless.tv

410-969-3501

Premier

Tim Conway

usasales@adder.com

888-932-3337

Corporate

Raymond Blumenthal

raymondb@adorama.com

516-356-3825

ADVANCED SYSTEMS GROUP (ASG)

Mobile

Dave Frederick

dfrederick@asgllc.com

408-316-0023

AE GRAPHICS

Mobile

Neale Connell

neale@aelgraphics.co.uk

[44] 1442 234 531

AERIAL VIDEO SYSTEMS

Mobile

Argyle Nelson

argyle@aerialvideo.com

818-954-8842

AJA VIDEO SYSTEMS

Premier

Christina Oliver

christinao@aja.com

530-271-3326

Premier

Megan Bentz

mbentz@akamai.com

215-527-5442

Premier

Larry Tonon

larry.tonon@aldea.tv

514-461-4136

ALL MOBILE VIDEO

Mobile

Eric Duke

eduke@amvchelsea.com

212-727-9862

ALPHA VIDEO

Mobile

Jeffrey Volk

jeff.volk@alphavideo.com

952-841-3311

AMPTHINK

Mobile

Chip Foley

chip.foley@ampthink.com

917-496-6800

ADORAMA

AKAMAI ALDEA SOLUTIONS

51

ANIXTER

Corporate

Jon Roberts

jon.roberts@anixter.com

310-795-2600

APERI

Corporate

Joop Janssen

jjanssen@apericorp.com

[32] 4 717 171 79

APM MUSIC

Corporate

Betsy McColl

bmccoll@apmmusic.com

323-461-3211 x131

ARCTEK SATELLITE PRODUCTIONS

Mobile

Brian Stanley

bstanley@arcteksat.com

612-308-9079

ARISTA NETWORKS

Corporate

Bryan Obeidzinski

bryano@arista.com

917-940-0097

Corporate

Joanne Pederson

sales@artel.com

978-263-5775

ARTEL VIDEO SYSTEMS

47

Corporate

Thomas Mauro

tom.mauro@arvatosystems.com

646-589-3859

ASPERA, AN IBM COMPANY

ARVATO SYSTEMS

Premier

Laura Petrosillo

laura.petrosillo@ibm.com

510-849-2386 x222

AT&T GLOBAL VIDEO SERVICE

Platinum

Scott Beckett

sb9485@att.com

214-647-0486

ATEME

Corporate

Dave Brass

d.brass@ateme.com

484-860-0358

AUDIO-TECHNICA U.S.

Corporate

Mike Edwards

medwards@atus.com

330-686-2600 x2030

AV DESIGN SERVICES

Mobile

Jim Landy

jmlandy@avds.tv

609-531-2642

AVID AWS ELEMENTAL

C4

Premier

Doug Price

doug.price@avid.com

817-239-9626

Platinum

Dan Marshall

danmarsh@elemental.com

408-398-0354

AZZURRO GROUP

Mobile

Mark Lowden

mlowden@azzurrogroup.com

212-625-2372

BEACON INTERNATIONAL

Mobile

Michael Hardesty

michael@beaconequip.com

623-975-2300

BECKTV

Mobile

Fred Wright

fwright@becktv.com

972-505-8941

BEXEL

C3

Platinum

Craig Schiller

cschiller@bexel.com

818-565-4202

BLACKMAGIC DESIGN

5

Platinum

Bob Caniglia

bobc@blackmagicdesign.com

408-954-0500 x319

BLUEFRAME TECHNOLOGY

Corporate

Darren Brown

darren@blueframetech.com

859-619-4288

BRAINSTORM

Corporate

Brad Rumler

brumler@brainstorm3d.com

201-888-9599

BROADCAST SERVICES INTERNATIONAL (BSI)

Mobile

Jim Eady

jim@bsi-tv.com

905-332-2171

BROADCAST SPORTS INTERNATIONAL (BSI)

Corporate

Jeremy Pink

jeremy.pink@bsintl.com

410-564-2621

BROAMAN

Premier

Florian Myrus

f.myrus@broaman.com

[49] 89 8999 640

C360

Mobile

Evan Wimer

ewimer@c360live.com

724-940-3277

Platinum

Jack Kelly

jackk@g1limited.com

631-396-0184 x102

15

Premier

Daniel Coscarella

daniel@camplex.com

800-445-7568 x7409

35, 63

Platinum

Richard Eilers

reilers@.cusa.canon.com

609-480-6019

Corporate

Steven Manios

steve@maniosdigital.com

818-760-8240

CALREC AUDIO/DIGICO CAMPLEX CANON U.S.A. CARTONI

106

19

SPORTSTECHJOURNAL / FALL 2018


SPONSOR INDEX SPONSOR

PAGE

CAT ENTERTAINMENT SERVICES CATDV CBT SYSTEMS CENTURYLINK

37

CONTACT

EMAIL

PHONE

Mobile

Greg Landa

greg.landa@es-cat.com

904-494-7532

Corporate

Ryan Servant

ryan@squarebox.com

646-423-3017

Mobile

Darrell Wenhardt

darrell@cbt-net.com

858-536-2927

Platinum

Jennifer Cleveland

jennifer.cleveland@centurylink.com

571-485-8781

CHESAPEAKE SYSTEMS

Mobile

Nick Gold

nick@chesa.com

410-400-8932

CHILEFILMS

Mobile

Juan Carlos Arriagada Mons

jcarriagada@chilefilms.cl

[56] 2-2337-1200

CHYRONHEGO

Premier

Jesper Gawell

jesper.gawell@chyronhego.com

646-469-2272

CINESYS-OCEANA

Mobile

Brent Angle

brent.angle@cinesysinc.com

713-272-0732

CISCO

Premier

Shawn Tylka

Tylkas@cisco.com

770-236-4603

CLARK MEDIA CLARK WIRE & CABLE CLEAR-COM, AN HME COMPANY

61

Mobile

Gary Snyder

garys@clarkmedia.com

610-694-9800

Corporate

Tom Yatabe

tom.yatabe@clarkwire.com

800-222-5348 x18

Premier

Bob Boster

bob.boster@clearcom.com

510-337-6684

CLOUDIAN

Premier

Sean Coughlin

scoughlin@cloudian.com

914-715-8261

COBALT DIGITAL

Premier

Chris Shaw

chris.shaw@cobaltdigital.com

217-344-1243

COGNIZANT

Mobile

Dervin Dcunha

Dervin.Dcunha@cognizant.com

678-527-8525

COMCAST TECHNOLOGY SOLUTIONS

Corporate

Rebecca Mintz

Rebecca_Mintz@comcast.com

720-573-3315

COMMUNICATIONS ENGINEERING INC. (CEI)

Mobile

James Baldwin

sales@commeng.com

703-550-5800

COMREX

Premier

Chris Crump

ccrump@comrex.com

978-784-1776

CORESITE

Corporate

Moe Younes

moe.younes@coresite.com

212-574-5876

CREATIVE DIMENSIONS

Corporate

Joel Roy

jroy@gowithcd.com

203-250-6517

CREATIVE MOBILE SOLUTIONS INC. (CMSI)

Mobile

Noah Gusdorff

noah@cmsi.tv

818-847-7390

Corporate

Nick Hellmuth

Nicholas.hellmuth@crystalco.com

212-504-1827

CSP MOBILE PRODUCTIONS

Mobile

Matt Keske

mkeske@cspmobile.com

312-914-2616

CTG (COMPREHENSIVE TECHNICAL GROUP)

Mobile

Jim Lee

Jlee@ctgatlanta.com

678-387-5507

Premier

Sales

sales@daktronics.com

800-325-8766

CRYSTAL & COMPANY

DAKTRONICS

67

DALE PRO AUDIO

Corporate

Michael Descoteau

miked@daleproaudio.com

857-756-6980

DELAPLEX

Corporate

Andy Tuggle

atuggle@delaplex.com

404-867-3334 x331

DELL EMC

Corporate

Bhavesh Lad

bhavesh.lad@dell.com

818-633-1228

Mobile

Michael Jackson

michael.jackson@digitalglue.com

949-388-9078

Corporate

Glenn Booth

gbooth@dimetis.com

720-253-5706

Mobile

Christopher Sullivan

CSullivan@diversifiedus.com

201-670-6548

Corporate

Don Cardone

don@dmcbroadcastgroup.com

908-998-1080

Mobile

Sam Schrade

sam@dnawebs.com

281-802-8000

DIGITALGLUE (CREATIVE.SPACE) DIMETIS GMBH DIVERSIFIED DMC BROADCAST GROUP DNA STUDIOS DOLBY LABORATORIES

Platinum

Cherylene McKinney

cherylene.mckinney@dolby.com

646-823-1523

DOME PRODUCTIONS

33

Mobile

Mary Ellen Carlyle

mcarlyle@domeprod.com

416-341-2022

DX3 MEDIA

Mobile

Dale Smith

dalesmith@DX3media.ca

416-433-3261

EEG ENTERPRISES

Corporate

Eric McErlain

ericm@eegent.com

516-293-7472 x502

ENCOMPASS DIGITAL MEDIA

Corporate

Joe Garzillo

jgarzillo@encompass-m.com

203-965-6334

Mobile

Alan Henry

alan@esbroadcast.com

[44] 0 1923 804645

Platinum

Jim Scott

jim.scott@eurovision.net

973-650-9577

Premier

Paul Kosac

pkosac@eutelsat.com

678-722-1107

ES BROADCAST EUROVISION EUTELSAT

LEVEL

1

SPORTSTECHJOURNAL / FALL 2018

107


SPONSOR INDEX LEVEL

CONTACT

EMAIL

PHONE

EVERTZ

SPONSOR

PAGE

Premier

Orest Holyk

orest@evertz.com

905-335-3700

EVS

Premier

Jeffery Gouch

j.gouch@evs.com

973-575-2113

F&F PRODUCTIONS

Mobile

George Orgera

GeorgeO@fandfhd.tv

727-535-6776

Corporate

Larry Witherspoon

larry@fan-connect.com

704-837-7099

Mobile

Michael Satrazemis

michaels@filmwerksintl.com

910-675-1145

FINGERWORKS TELESTRATORS

Corporate

Bryan McKoen

bryan@telestrator.com

604-762-1477

FLETCHER SPORTS

Corporate

Dan Grainge

dan@fletch.com

312-932-2704

FOR-A

Corporate

Gerry Nazimek

nazimek@for-a.com

973-220-8471

FORBIDDEN TECHNOLOGIES (BLACKBIRD)

Corporate

Richie Murray

richie.murray@forbidden.co.uk

615-859-5754

FORECAST CONSOLES

Corporate

Ryan Haberman

ryan@forecast-consoles.com

800-735-2070 x309

FRAUNHOFER

Corporate

Robert Bleidt

robert.bleidt@dmt.fraunhofer.org

408-573-9901

Platinum

Gordon Tubbs

gtubbs@fujifilm.com

973-686-2769

FANCONNECT FILMWERKS INTERNATIONAL

FUJIFILM/FUJINON

53

Premier

Mack McLaughlin

mmclaughlin@fxgroup.tv

407-877-9600

G&D NORTH AMERICA

FX DESIGN GROUP

Corporate

Carlos Yañez

cyanez@gd-northamerica.com

786-456-5116

GAME CHANGER MVP

Corporate

Matt Coy

mcoy@gcmvp.com

602-625-1049

GAME CREEK VIDEO

Mobile

Pat Sullivan

sullgame@aol.com

603-821-2205

GEARHOUSE BROADCAST

Mobile

Marc Genin

mgenin@gearhousebroadcast.com

818-955-9449

GERLING & ASSOCIATES

Corporate

Fred Gerling

fredg@gerlinggroup.com

740-965-2888

GLOBECAST

Corporate

Tim Jackson

tim.jackson@globecastna.com

310-849-3901

GOOGLE CLOUD

23

Platinum

Sarah Lum

lums@google.com

408-718-2678

Corporate

Mike Kelley

mike@grabyo.com

914-584-7324

Platinum

Arlene Campbell

Arlene.Campbell@Belden.com

425-409-8209

GRIMM

Corporate

Christine Piry

christine@grimm-co.com

202-499-0886

GTT

Corporate

Neil Fender

neil.fender@gtt.net

310-989-8275

HAIVISION

Corporate

Karen McCone

kmccone@haivision.com

514-993-2683

HARMONIC

GRABYO GRASS VALLEY, A BELDEN BRAND

17, 65

Corporate

Bill Cordo

bill.cordo@harmonicinc.com

201-669-0890

HIGH ROCK MOBILE TELEVISION

Mobile

Phil Engborg

phil@carr-hughes.com

518-584-0202

IBM SYSTEMS

Premier

Scott Wig

swig@us.ibm.com

905-696-4945

IHSE USA

Premier

Dan Holland

dholland@ihseusa.com

732-738-8780

IKEGAMI

Corporate

Erin Rice

erice@ikegami.com

859-333-4636

Mobile

Rich Williams

rich@illuminationdynamics.com

818-686-6400

ILLUMINATION DYNAMICS IMAGE VIDEO

Corporate

Zach Wilkie

zwilkie@imagevideo.com

416-750-8872 x228

IMAGEN

Corporate

Ian Mottashed

ian.mottashed@imagenevp.com

[44] 1954 262004

Premier

Mary Schoof

mary.schoof@imaginecommunications. com

703-869-2042

IMAGINE COMMUNICATIONS IMS PRODUCTIONS

Mobile

Kevin Sublette

ksublette@imsptv.com

317-492-8770

Corporate

John Procacci

john.procacci@imt-solutions.com

619-993-4518

Mobile

Tom McGowan

tom.mcgowan@imtglobalinc.com

818-761-9770

Corporate

Sales

sales.na@intelsat.com

703-559-6800

INTERXION

Corporate

Richard Craig-McFeely

richardc@interxion.com

[44] 07342 949663

IPTEC

Corporate

Glen Green

glen.green@v-tech-llc.com

936-520-6042

IMT/VISLINK INTEGRATED MEDIA TECHNOLOGIES (IMT) INTELSAT

108

SPORTSTECHJOURNAL / FALL 2018


SPONSOR INDEX LEVEL

CONTACT

EMAIL

PHONE

ISTREAMPLANET

SPONSOR

PAGE

Corporate

Eric Weinstein

bd@istreamplanet.com

718-732-0173

JB&A DISTRIBUTION

Corporate

Maria Casey

mariac@jbanda.com

415-256-2800

JOSEPH ELECTRONICS

Premier

Yohay Hahamy

yohay@josephelectronics.com

847-501-1584

JUNIPER NETWORKS

Corporate

Sam Scheffler

sscheffler@juniper.net

551-427-3537

JVCKENWOOD USA

Corporate

Craig Yanagi

cyanagi@us.jvckenwood.com

973-317-5176

Mobile

Bill Kaufman

bill.kaufman@kaufmanbroadcast.com

314-533-6633

Mobile

Kevin Henneman

khenneman@kmh-integration.com

800-590-2520

KAUFMAN BROADCAST KMH AUDIO-VIDEO INTEGRATION

69

LAWO

45

Platinum

Jeffrey Stroessner

jeffrey.stroessner@lawo.com

[49] 7222 1002 5150

LEADER INSTRUMENTS

Corporate

Scott Cannon

cannon@leaderamerica.com

800-645-5104

LEGRAND AV DIVISION

Corporate

Gordon Wason

gordon.wason@middleatlantic.com

516-350-2327

LH COMPUTER SERVICES

Mobile

Doug Cole

dcole@lhcomp.com

954-752-5805

LIMELIGHT NETWORKS

Corporate

Ron Rosenthal

rrosenthal@llnw.com

203-515-0966

LIVELIKE LIVEU

39, 75

LTN GLOBAL COMMUNICATIONS LYON VIDEO

Fabrice Lorenceau

fabrice@livelikevr.com

[33] 14 500 1949

Mike Savello

mike@liveu.tv

201-742-5227

Corporate

Rich Rozycki

rrozycki@ltndigital.com

646-832-1952

Mobile

Chad Snyder

chad@LyonVideo.com

614-319-4071

M2 AERIALS

Mobile

Jon Ollwerther

jon@m2aerials.com

213-294-2299

MARKERTEK

Premier

Gregory DeCelle

greg@towerpower.com

845-246-2357

MARSHALL ELECTRONICS

Corporate

Jackson Root

jackson@marshallelectronics.net

310-333-0606

MASSTECH INNOVATIONS

Premier

Luc Tomasino

Luc.tomasino@masstech.com

918-605-3236

Corporate

Paul Babb

paul@maxon.net

805-376-3331

MAXON MEDIA 180

Mobile

Pascal Souclier

pascal.souclier@media180.tv

212-260-5924

MEDIA LINKS

Corporate

Tom Canavan

tcanavan@medialinks.com

201-394-5319

MEDIAKIND

Corporate

Dan Burnett

daniel.burnett@ericsson.com

678-689-6535

METROVISION

Mobile

Jim McGillion

jim@metrovision.tv

212-989-1515

MICROSOFT

Premier

Scott Bounds

sbounds@microsoft.com

646-225-4380

Corporate

Christina Mixon

christina@mixondigital.com

917-383-8121

Mobile

Philip Garvin

pgarvin@coloradostudios.com

303-542-5555

Corporate

Neal Pilzer

neal@mpenyc.com

212-245-0969

MX1

Corporate

Susanna Mandel-Mantello

susanna.mantello@mx1.com

203-661-7971

NAGRA

Corporate

Darcy Lorincz

darcy.lorincz@nagra.com

408-808-0077

Corporate

Morgan Beall

morgan.beall@ncam-tech.com

310-941-4684

Platinum

Susan Matis

smatis@nepgroup.com

412-423-1339

Corporate

David Dellafave

david.dellafave@netinsight.net

201-669-2037

MIXON DIGITAL MOBILE TV GROUP MPE

NCAM NEP GROUP, INC. NET INSIGHT

Mobile Platinum

43

NEULION

Corporate

Dana Williams

Dana.williams@neulion.com

516-622-8301

NEVION

Corporate

Mike Root

sales@nevion.com

212-380-0550

NEWTEK

Premier

Ruben Ruiz

rruiz@newtek.com

210-370-8000

NEXTVR

Mobile

Todd Cogan

todd@nextvr.com

949-494-4321

NTC (NATIONAL TELECONSULTANTS)

Mobile

Laurie Morse

laurie.morse@ntc.com

818-265-3605

NTT ELECTRONICS

Premier

Atsushi Takahara

takahara@nel-america.com

201-556-1770

OOYALA

Corporate

Elliot York

elliot@ooyala.com

917-714-9574

OPENDRIVES

Corporate

Sandra Dunbar

s.dunbar@opendrives.com

310-923-4247

OPTICAL CABLE CORPORATION

Corporate

Eric Altizer

eric.altizer@occfiber.com

800-622-7711

SPORTSTECHJOURNAL / FALL 2018

109


SPONSOR INDEX SPONSOR

PAGE

LEVEL

CONTACT

EMAIL

PHONE

PANASONIC

71

Premier

Carter Hoskins

carter.hoskins@us.panasonic.com

770-619-1779

Mobile

Koby Zontag

kzontag@pccwglobal.com

212-389-6257

Corporate

Gary Rosen

Gary.Rosen@PliantTechnologies.com

818-264-9730

PCCW GLOBAL PLIANT TECHNOLOGIES PRG

Corporate

Brian Edwards

bedwards@prg.com

818-252-2630

PRIMESTREAM

Corporate

Robert Lisman

robertlisman@primestream.com

305-625-4415

PRIMEVIEW

Corporate

Chanan Averbuch

chanan@prineview.biz

212-730-4905

PRODUCTIONHUB

Corporate

Steve Rotz

srotz@productionhub.com

877-629-4122

PROFESSIONAL WIRELESS SYSTEMS

Corporate

Jim Van Winkle

JimmyV@ProfessionalWireless.com

407-240-2880

PROGRAM PRODUCTIONS

Mobile

Robert Carzoli

rcarzoli@programproductions.com

630-282-0155

PROSHOW BROADCAST

Mobile

Tim Lewis

timlewis@proshow.com

604-293-1771

PSSI/STRATEGIC TV

Mobile

Clayton Packard

cpackard@pssiglobal.com

310-575-4400

Platinum

Ruth Compton

ruth.compton@Quantum.com

949-856-7793

QUANTUM

21

QUANTUM5X SYSTEMS

Corporate

Paul Johnson

pjohnson@q5x.com

519-675-6999

RADIO ACTIVE DESIGNS

Corporate

Geoff Shearing

gshearing@radioactiverf.com

402-477-0695

REALITY CHECK SYSTEMS

Corporate

Jeff Heimbold

j.heimbold@realitychecksystems.com

323-465-3900

Mobile

Rob Bunn

rob.bunn@rfwireless.com

613-228-7171

Platinum

Joyce Bente

joyce.bente@riedel.net

818-559-6900

Corporate

Hillary Nosbisch

hillaryn@rockitcargo.com

940-465-0303

Platinum

Kevin Cottam

kcottam@rossvideo.com

613-228-0688 x4366

RT SOFTWARE

Corporate

Mike Fredriksen

mike.fredriksen@rtsw.co.uk

[44] 020 7384 2711

SANKEN/BRAINSTORM ELECTRONICS

Corporate

Jim Pace

jpace@plus24.net

323-855-1404

Mobile

Mark Parikka

operations@sdtv.com

619-293-7777

Corporate

Chris Clay

Chris.Clay@sennheiser.com

860-434-9190

RF WIRELESS RIEDEL COMMUNICATIONS

31, 73

ROCK-IT CARGO ROSS VIDEO

11, 59

SDTV SENNHEISER SES

Premier

Richard Lamb

richard.lamb@ses.com

[31] 70 306 4211

SHOTOVER

Mobile

Fabio dos Santos

fabio@shotover.com

818-285-1654

SHURE

Corporate

Bill Ostry

ostry_bill@shure.com

847-600-6282

SIGNIANT

Corporate

Jon Finegold

jfinegold@signiant.com

781-221-4000

SIMPLYLIVE

Corporate

Gregory Macchia

g.macchia@simplylive.tv

484-273-0760

SIXTY AS

Corporate

Henriette Sæther

henriette@sixty.no

[47] 47 97 60 22 36

Mobile

Endre Buxton

endre.buxton@skycam.tv

817-984-6840

SKYCAM/CABLECAM SMARTCART SVX SMT SONOVTS

Mobile

Gil Cowie

gil@smartcartsvx.com

646-863-6263

Corporate

Patricia Hopkins

p.hopkins@smt.com

919-493-9390

Mobile

Franz Olbert

Franz.Olbert@sonovts.de

[49] 89 419 671 114

SONY

41

Platinum

Deon LeCointe

deon.lecointe@sony.com

201-930-6926

SOS GLOBAL EXPRESS

3

Platinum

Stephen O’Connell

soconnell@sosglobal.com

252-635-1400

Corporate

Hossein ZiaShakeri

hosseinz@spectralogic.com

303-449-6444 x 1118

SPECTRA LOGIC SPORTRADAR US

Corporate

Stephen Byrd

s.byrd@sportradar.com

847-274-3322

SPORTZCAST

Corporate

Michael Connell

mike@sportzcast.net

321-888-3800 x101

STATS

Corporate

Matt Davidowitz

mdavidowitz@stats.com

847-728-4470

Mobile

Lance Hukill

lance.hukill@storexcel.com

303-884-8973

STUDIO TECHNOLOGIES

Corporate

Gordon Kapes

gkapes@studio-tech.com

847-676-9177

SUPPONOR

Corporate

Charlie Marshall

Charlie.Marshall@supponor.com

[44] 07931386774

Premier

Bert Condensa

bcondensa@swiftstack.com

415-625-0293

Corporate

Sandra Arber

sandra@switchboard.live

732-816-7262

STOREXCEL

SWIFTSTACK SWITCHBOARD

110

SPORTSTECHJOURNAL / FALL 2018


SPONSOR INDEX SPONSOR

PAGE

T2 COMPUTING TATA COMMUNICATIONS TEDIAL

CONTACT

EMAIL

PHONE

Mobile

Ian Ash

iash@t2computing.com

212-220-9600 x367

Corporate

Utkarsh Gosain

utkarsh.gosain@tatacommunications.com

917-499-0236

Premier

Jay Batista

jay.batista@tedial.com

424-645-5300 x602

TEKTRONIX

Corporate

Mike Wright

mike.wright@tektronix.com

818-200-3008

TELESTREAM

Corporate

Scott Murray

scottmu@telestream.net

530-470-1306

Premier

Martin Dyster

martin@LinearAcoustic.com

717-735-3611

TELOS ALLIANCE TELSTRA

Corporate

Alex Vella

alex.vella@team.telstra.com

[44] (0)20 7965 5658

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 THE VIDEO CALL CENTER TNDV

Premier

Christian Kneuer

christian.kneuer@theswitch.tv

212-239-3715

Corporate

Larry Thaler

LThaler@TheVCC.tv

212-235-7019 x720

Mobile

Rob Devlin

rob@tndv.com

877-959-8638

TSL PRODUCTS

Corporate

Greg Siers

greg.siers@tslproducts.com

301-272-0939

TV GRAPHICS

Corporate

Joseph Jopplin

josephj@tv-graphics.com

281-397-9100

TVU NETWORKS

Corporate

Eric Chang

echang@tvunetworks.com

650-288-0843

UNITY SYSTEMS INTEGRATION

Mobile

Doug Waldron

Doug.waldron@unity-si.com

905-707-3802

Corporate

Chris Harmon

charmon@utahscientific.com

801-575-3233

UTAH SCIENTIFIC VER

Platinum

Bob Hawkanson

rhawkanson@ver.com

407-582-0350

VERITONE

Corporate

Logan Ketchum

lketchum@veritone.com

818-519-0054

VERIZON DIGITAL MEDIA SERVICES

Corporate

Jeff Casey

jeffrey.casey@verizon.com

908-559-2036

VIDEOCITES

Corporate

Eyal Arad

eyal@videocites.com

[972] 9-9749983

VIDOVATION

Corporate

Jim Jachetta

jimj@vidovation.com

949-777-5435 x1001

VISTA WORLDLINK

Corporate

Joshua Liemer

jliemer@vistaworldlink.com

954-838-0900 x210

7

Corporate

Brenda Nowicki

brenda.nowicki@vitac.com

303-468-4714

Premier

Geol Yeadon

geol.yeadon@vitec.com

650-230-2563

VITAC VITEC

77

VIZRT

Premier

Kevin Bovet

KBovet@vizrt.com

917-338-3901

VSN

Corporate

Doug Wynn

doug@vsn-tv.com

608-345-1568

WARNER/CHAPPELL PRODUCTION MUSIC

Corporate

Jennifer Stowe

jennifer.stowe@warnerchappellpm.com

615-687-6859

Premier

Kurt Heitmann

kurt.heitmann@cpcomms.com

914-345-9292

Corporate

Mike Vivian

mvivian@wesco.com

256-604-6362

WAVE CENTRAL/ CP COMMUNICATIONS WESCO BROADCAST AND ENTERTAINMENT WESTERN DIGITAL

Platinum

Seth Cohen

seth.cohen@wdc.com

203-500-4099

WHEATSTONE

Corporate

Phil Owens

philowens@wheatstone.com

252-638-7000

WIPSTER

Corporate

Julia Farina

julia@wipster.io

513-304-0166

WORLDCAST CONNECT

Corporate

Gary Cooper

g.cooper@worldcastconnect.com

305-249-3110

WOWZA MEDIA SYSTEMS

Corporate

Brad Wright

brad.wright@wowza.com

720-608-4733

C2

WSC SPORTS

Corporate

Galit Shiri

galit@wsc-sports.com

[972] 54 471 6862

Premier

Mario Sousa

mario.sousa@wtvision.com

305-357-5893

ZAYO GROUP

Corporate

Michael Waters

michael.waters@zayo.com

918-978-1899

ZEGAMI

Corporate

Oliver Abadeer

Oliver@zegami.com

[44] 7500 104 133

ZIXI

Corporate

Eric Bolten

eric@zixi.com

978-853-8482

ZYPE

Corporate

Chris Bassolino

cbass@zype.com

908-913-0880

WTVISION/MEDIAPRO

LEVEL

13

SPORTSTECHJOURNAL / FALL 2018

111


THE FINAL BUZZER

INAFRAGMENTEDUNIVERSE, KNOWLEDGE IS POWER By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial Amsterdam once again hosted the International Broadcasting Convention last month, giving sports content creators from around the world a chance to come together and learn about the future of not only the sports industry but the entire broadcasting marketplace. The show lived up to its namesake, as it had more of an international flavor than ever (due in part to the NFL season already being in Week 2, which gave top execs from the U.S. a chance to head over). But there is one word in the name of the show, broadcasting, that is being redefined on a daily basis. Fragmentation is the new norm. The question now is, what does it mean for the entire ecosystem and a broadcast industry that has historically been pushed and pulled from one era to the next by national broadcasters, cable and satellite operators, and the consumer-electronics industry? OTT services and social-media platforms continue to make their presence felt on everything from smartphones to smart TVs and, in turn, more and more exhibitors at IBC were focusing their energy on the upstarts. One interesting trend among those demonstrating content-delivery platforms for OTT services is how far they have come technically. It wasn’t too many years ago that conversations revolved around delivering an audio and visual experience that could keep up with the broadcasters. But now UHD, HDR, and even support of Dolby Atmos are the story, a move that shows that the flexibility of the digital delivery ecosystem is where much of the promise lies for those looking to have the highest quality audio and video experience. The outlet that digital delivery offers for UHD and HDR productions is important, especially given that UHD- and HDR-capable production equipment is now the norm when it comes to product offerings. And, anecdotally, many of the leading manufacturers in the production-equipment market reported more interest than ever in UHD and HDR gear. The big story in recent years has been the move to IP, and that theme continued at IBC this year as well. IP-based gear continues to show forward momentum, especially as more and more manufacturers embrace the SMPTE ST-2110 standard, which allows for the IP stream to be broken down into video, audio, and metadata “essences,” providing flexibility in terms of how those three components are managed. There is still much work to be done, especially with respect to discoverability of IP-based devices that are added to the IP network, but that is expected to be sorted out soon. One surprise at the show was that the death of SDI appears to have been overstated. There were a large number of manufacturers offering equipment that can handle 12 Gbps SDI signals. That move, coupled with the ongoing support of proprietary IP standards, is proof that, for the foreseeable future (if not the next decade), a hybrid IP and SDI environment will be a reality that will become the norm. A fragmented industry will provide many challenges for the industry as it moves forward. The traditional players, whether a network or a hardware-based manufacturer, will find themselves vulnerable to new competition. But with the right moves, those traditional players can transform the way they operate and thrive. Our goal here at SVG is to keep an eye as much as possible on all of the moving pieces and the developments, good and bad, facing the industry. Stay tuned to these pages and make sure you are receiving our daily newsletters, so you can make sure you make the best move for your business. Because more than ever, knowledge is power. <

112

SPORTSTECHJOURNAL / FALL 2018

PUBLISHED BY SPORTS VIDEO GROUP 19 West 21st St., Ste. 301 • NY, NY 10010 Tel: 212.481.8140 • Fax: 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 | 516.767.6720 EDITORIAL KEN KERSCHBAUMER,

Executive Director, Editorial kenkersch@sportsvideo.org | 646.205.1810 JASON DACHMAN, Chief Editor jason@sportsvideo.org | 646.861.2373 BRANDON COSTA, Director of Digital brandon@sportsvideo.org | 646.861.2370 KRISTIAN HERNANDEZ,

Assistant Editor and Social Media Coordinator kristian@sportsvideo.org | 646.880.4902 SUSAN QUALTROUGH, Copy Editor susan@sportsvideo.org RIVA DANZIG, Art Director riva@sportsvideo.org SVG SERVICES KAREN HOGAN KETCHUM,

Director of Production karen@sportsvideo.org | 646.559.0434 KATIE CHAMPION, Production Assistant katie@sportsvideo.org | 646.524.7497 ANDREW LIPPE,

Membership & Client Services Manager andrew@sportsvideo.org | 212.481.8133 CRISTINA ERNST, Operations Manager cris@sportsvideo.org | 917.309.5174 ALICIA MONTANARO,

Conference & Organizational Coordinator alicia@sportsvideo.org | 646.880.4901 SPONSORSHIP ROB PAYNE, Managing Director,

Worldwide Sponsor Development rob@sportsvideo.org | 212.481.8131 ANDREW GABEL,

Manager, Sponsor Development agabel@sportsvideo.org | 646.998.4554 DYLAN DAVIDSON, Sponsorship Coordinator dylan@sportsvideo.org | 646.559.0435 SVG EUROPE CONTACTS FERGAL RINGROSE, Executive Editor

fergal@sportsvideo.org Tel: +353 (1) 294 7783 JOE HOSKEN, General Manager joe@sportsvideo.org Tel: +44 74290 90134 DAVID DAVIES, Editor david@sportsvideo.org Tel: +44 07989 139816 ABOUT SVG

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

SportsTech Journal is produced and published by the Sports Video Group. SportsTech Journal © 2018 Sports Video Group. PRINTED IN THE USA.


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