T Michael Conner Director of Videoboard & Event Production, Cardinals GAME Eric Long Event Production Manager, Website: www.philadelphiaeagles.com CHANGERS Twitter: @EaglesShows A profile of two Game Production executives and By Mike DesRoches their use of Sony’s F55 cameras to augment the Sr. Sales Support Engineer, Sony Electronics Inc. in-venue fan experience. Twitter: @DesRochesSony

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It’s early Sunday afternoon…game day. As you The initial measuring stick for this battle may look over the extended family enjoying the fruits have been the double-sided, 60-yard-wide of your labor, face paint drips onto the shoulder mammoth video board that was unveiled at the of your lucky jersey; a consequence of working opening of AT&T Stadium, home of the Dallas over the bbq’s heat. The burn of smoke dissipates Cowboys back in 2009. In the past year alone, as you close your eyes to savor the last chew of all around the major sporting leagues, a fevered juicy, cooked meat. Momentarily, time slows to a pitch of staggering venue upgrades continue to delicious crawl. Snapping back to reality, the urge leapfrog each other for “largest board” or “most for a quick phone check of your fantasy lineup for total area of board space” have taken place, the hundredth time is interrupted by neighboring but the common denominator is a fervent bass thumps and cackles of laughter; both partially desire to provide unmatched entertainment drowning out the squawk of an AM radio touting value. Some may simply call it “Keeping up today’s matchup. A long, final pull of a cold one with the Joneses,” but it’s much more than that. whisks away the salt from that last brat. It’s nearly It’s about investing in the future by having a game time, so you grab a roadie, gather the family, strong team with a vision, committing to that and make your way over before kickof…only to vision, then doing your homework and making plop down on the couch and fire up the big game smart choices to realize that vision, in order to on that home theater system. …This, my friends, maximize that investment. With 65" TV’s now is a major concern of all those involved in sporting commonplace in the home, organizations have venues, specifically event production managers. turned to these new, gigantic video boards to become the “home theater in the stands,” but Make no mistake, there’s a high-stakes battle going the reality is, as boards increase in size and on at professional sports venues, and it’s not just relative resolution from SD to HD, 2K, 4K and on the field between opposing teams. As Josh now the 8K board (, installed Beaudoin, associate principal at consulting firm prior to the 2014 season), these boards are only WJHW, has put it, “It’s become a nuclear arms race as good as the quality of cameras, scaling tools with getting the best equipment to provide that and event production teams driving them. premium in-venue experience.” In this context that means these venues do not just want to house This story profiles two top event production a winning team, they’re very much in a fight to “game changers” responsible for making that provide an experience that simply cannot be had in-venue fan experience a noteworthy one; at home in front of the television. For many teams, how, during their respective group’s impressive like the and Philadelphia Eagles, venue upgrades chose the Sony F55 4K cameras, that means sparing no expense — all in the name among others, to fill their gorgeous new video of providing unmatched entertainment value that boards. Also, how they leverage 4K technology to not only keep the fans coming back, but has them augment the fan experience and provide enough spreading the word both vocally and electronically. flexibility to evolve and benefit other groups Simply put, the game has changed. In the past within their organization. Oh, and perhaps a little scores of months, that’s meant spending tens on what keeps them up at night to ensure they of millions super-sizing video boards, upgrading keep those turnstiles turning. control rooms and production equipment to feed/ support them, increasing wireless/data connectivity and making the facilities as glitzy as possible to get that much-sought-after fan interest and increased trafc through the turnstiles.

111 back to TOC back to TOC 112 Game Changers MICHAEL CONNER Arizona Cardinals

Currently employed by the Arizona Cardinals as the Director of Videoboard and Event Production, Michael C. Conner started working with the team as freelance Producer/Director in 2000 and was hired to head the department in 2006, the inaugural season at Stadium. Directing game presentation and production for Arizona Cardinals football games and working on event presentation for many other events including Super Bowls XLII and XLIX, Fiesta Bowl, BCS Championship games, NCAA , Cardinals NFL Draft Party and many Concerts, he has enjoyed presenting some of the most exciting events in one of the nation’s finest venues.

Mike has been producing, directing, shooting and editing highly acclaimed programming for a national audience for more than 30 years. His credits range from entertainment shows for ESPN to acclaimed documentaries for the NBC family of networks. With wide experience throughout the to locations as far away as Afghanistan, Iraq, Pakistan, Latin America and much of Europe, Conner knows how to get in and get the job done no matter how remote the location or difcult the challenge. In 2014 he traveled to Russia to direct the live venue production for the medals ceremonies at the Sochi Olympics.

Technical Highlights

Camera/Replay Implementation — Two PMW-F55 4K Live cameras and seven HDC-2570 cameras, one HDC-2400 & BRC-H900 PTZ (rented two HDC-2400’s for the ). Five Evertz Dreamcatcher replay systems. Two for 4K zoom, two in a 6x2 config, 1 for social media.

New Video board — New Daktronics HD13 on South EZ - 164' wide by 54' tall — (3836x1260 resolution) with 8 outputs of their Vista Systems SPYDER (four X20 frames).

Integration — In-house staf (Shane Gavin and Jamie Gillespie, event and systems engineers) and Pro Sound and Video based in Orlando, FL

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Mike DesRoches: Mike, you’ve had a possible. And to reward the emotional pretty exceptional run last season topped — and financial — investment fans have of by hosting the Fiesta Bowl, made in choosing to spend the day with and a small event called the Super Bowl. us means that what we provide has to be That must have been pretty special to the absolute highest quality. Consumers run the boards for that. We can get into have so many great entertainment “we’re looking to create the most that later, but specific to Cardinals games, options, especially here in Arizona, and what would you say is your functional we’re competing with all them. Our job entertaining, passionate and “mission statement” on game day? is to make sure that at the end of the day engaging fan experience possible” Cardinals fans have the best possible Michael Conner: In a nutshell, we’re in-stadium experience and are looking looking to create the most entertaining, forward to the next time they can come passionate and engaging fan experience back and do it again.

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MD: Heading in that direction, prior to the 2014 season, there were numerous significant upgrades made to University of Phoenix Stadium including the new Daktronics 164' “When it came down to cameras, our wide x 54' tall board in the south end team tested out a few manufacturers’ zone. But those new high-resolution boards need high quality imagery 4K, as well as some non-4K, solutions to feed them. How did the purchase and chose the F55 for 4K and HDC-2570 decision come about and how did you cameras for our HD hard camera needs.” decide on the F55 and HDC cameras?

MC: Like most teams, the Cardinals are constantly evaluating the fan experience and exploring areas in which it can potentially be improved. In assessing priorities, enhancing the video board operation to take advantage of the latest advancements and technology ranked high on the list. Because the stadium is owned by the Arizona Sports & Tourism Authority, the video board renovations were a collaborative efort between the Cardinals and AZSTA. Everyone understood the benefits not only for Cardinals fans but also in the ability to attract future events to the stadium.

We worked with Pro Sound out of Orlando for some of the integration, but we have a lot of in-house technical expertise on staf, led by Gavin on the video and IT systems side, and Jamie on the audio systems side. We also have a great relationship with Evertz and leaned on them heavily. When it came down to cameras, our team tested out a few manufacturers’ 4K, as well as some non-4K, solutions and chose the F55 for 4K and HDC-2570 cameras for our HD hard camera needs. They seemed to be the best fit with our Evertz Dreamcatchers, and provided the same chains for camera control Arizona Cardinals Scoreboard Production team (left to right): between the HDC’s and the F55’s. Shane Gavin, Jamie Gillespie, Mike Conner, Amanda Flanagan, Brian Myers.

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MD: What would you say is a unique ability that you’re getting out of the 4K cameras in order to “It was very important for us to augment the video board experience, and how would you say it benefits fans? advance into the 4K technology to enhance the fan experience.” MC: It was very important for us to advance into the 4K technology to enhance the fan experience. For MD: One of the common concerns of operators in us, the optimum use was the 4K zoom-in or cutout. shooting large format cameras for sports is pulling Fans are used to seeing 4K zoomed in for replays on focus. You’re using 85-300mm Fujinon Cabrios in some of the networks . You’re zooming in to see if front of your F55s. Where there any growing pains the foot is inbounds or on the line or not. Then, tilt for the operators using the F55? the shot up within the zoom capability to see if he has control of the ball and pull out to see if he’s been MC: Anytime you introduce new equipment, there’s touched. The fan is looking for that high resolution going to be a learning curve. With the F55’s and zoom to confirm the call is good. Now, with the large sensor format cameras, in particular, there’s technology in-house, when we do that, we get a big definitely a diferent way of approaching live action fan reaction. When you’re at home, it’s exciting to sports, especially in the NFL. The game is played on see that it’s a catch and a touchdown for your team, such a large field, and the players are moving very but when you’re at the stadium and we do that quickly. You only have so much light and aperture zoom, then you not only see, but feel 64,000 people to work with, so there’s definitely a learning curve to all screaming at the top of their lungs in excitement operating an F55 versus on of our 2/3" 2570’s. On an because they can see the play is going to be upheld aside, we were the first pro football venue to put in or overturned in favor of our team, and that’s not LED sports lighting, so that helped with the overall something you can get anywhere else. To experience lighting levels up to give us a bit more depth of field. that eruption live is visceral and like no other.

Another factor involved is the fact we’re using it Another great experience was the first time the for the zoom capability and the cutouts. You shoot Network took our feed, where they took our 4K that diferently as you have to keyframe the motion, zoom. Once the challenge flag is thrown, we can’t and so we limit the amount of movement that the show any more of our in-house looks again. All of a operator has. We can zoom electronically, and we sudden, one of our angles came back to us through don’t want to zoom as much optically. The more the Network feed during a review. There was a bit of rapid movement by the camera operator means a a panic for a moment because one of our staf yelled LOT more keyframing which will delay the amount out “That’s Our Shot!” and we can’t show our shot. of time in which that clips will be available to deliver But because the Network took it, they showed it, and to the boards. Finally, we’re dealing with odd aspect in that case they CAN see our camera because the ratios. We’re often taking only a portion of the full Network camera is also showing that to the referee, raster to put up to the video boards. Previously, we so it is part of the referee’s decision making process were taping down our markers on the viewfinder to confirm or overturn the play. Since the Network displays, but now we’re using the electronic markers doesn’t typically take our camera angles, it was great with the Sony cameras. These features have been we had the expertise from a stafng and equipment great, but have all taken some getting used to. The standpoint to deliver something that was of such cameras ultimately provide numerous ways to get high quality that the Network would actually take it there, and it’s just a diferent way to go about telling and put it out to their audience. That confirms that the story. In conjunction with the Fuji Cabrios, which we’re giving the patrons in the venue the very best are great, we’ve been entirely pleased with all of of what’s possible and 4K with the F55 allows us to the cameras. do that.

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“It’s exciting when a major promoter comes through and sees the quality of our equipment and it afects their decision on what venue they choose to hold their event.”

MD: As the director of a staf that’s responsible for come through and see our commitment to the dance down between the camera and replay was negated and the hold or the penalty was the making these advancements come to life at the excellence of equipment, it goes a long way in them operators. By the time we reached the end of the game changer and not the long run. I think that’s stadium, also leading the productions of not just the choosing the University of Phoenix Stadium for their season and into the Pro Bowl and Super Bowl, pretty significant! football games, but every event hosted at the facility, event. Sometimes, the event promoters will want to they had the process down to where it became I would refer to you as a “game changer” for your use our control room for their broadcast properties second nature. Basically, it was a lot of fine tuning MD: Were there any noteworthy plays that ability to impact the audience’s overall experience. as well. Having the 4K capability like the F55 for both and polishing that’d hit a fine point by the time we happened over the course of the season that the Aside from what you already said with the network in-stadium and broadcast properties is no longer a got to the big game. I wouldn’t say we used the new technology made an impact that you wouldn’t using your feeds on occasion, how would you say luxury, but in many instances is now a necessity in tool diferently, it’s just that 4K is a diferent tool. have had the previous year? the F55 has played the role as “game changer” in hosting these type events. When we’re competing For instance, we’re ISO recording that footage. It’s enhancing your event production abilities? against other venues and we have these capabilities, not just for the in-game footage, but also for the MC: The experience of a play that we show when it certainly makes us a front runner. broadcast properties later that week. It’s nice when the coach and the staf are looking at the board, and MC: One of the important aspects to the design you have a play and maybe you didn’t realize a we show the replay, we can see in the control room and decision to make these upgrades, was to attract MD: Has your usage of the F55’s 4K ability, in significant holding that was going to negate the that he should throw the challenge flag. With that other events outside of just football. Those events conjunction with the Dreamcatchers, evolved over play. When you’re working in HD, you’re going to 4K capability, we can demonstrate what the facts of that are looking for a home often come through the past full season? Did you utilize the toolset follow a tighter composition and possibly miss that the play are. When we have that power. The clarity and tour our facility. It’s exciting when a major diferently during the Super Bowl than you were at game changing holding. In retrospect, when you’re of those cameras really makes that possible and can promoter comes through and sees the quality of the beginning of the season? producing HD content, even in the game, we have afect the team in a positive way. our equipment and it afects their decision on what it in a 4K view, you can go back and look at that venue they choose to hold their event. When the MC: It was certainly a learning curve at the hold and you can zoom into that hold in 4K rather folks at the Super Bowl and the NCAA Championship beginning of the season. It takes a bit of work to get than into the . In the end, that play

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MD: You’re one of a handful of event producers that MC: I think the biggest vulnerability we have on direct games for the Olympics, how do you find that gameday is equipment failure. We’ve had more difering from working in your home base, and did solace because now we have multiple ways of you get a chance to work with 4K there? delivering the services required. We have more redundancy, and in turn, security than we’ve ever had MC: I had a great opportunity to go to Sochi and before. We’re also asking more than ever before. With direct the medals plaza for Big Screen Network during those increased demands, there is more than can go the Olympics. It was a tremendous experience. Similar wrong. If something does go wrong, we have options to the Super Bowl, the Olympics utilize the very best to recover. It’s a lot of excitement, and an exciting of production and techniques for these incredible challenge. We put on a show. We want to have the international events. Being involved with Olympic most engaged fans of any sporting venue in the Broadcasting Services (OBS), they used 4K cameras, world. To have these capabilities and our imagination high speed HD cameras and numerous innovative being the only limit for what we can do for our fans tools that I could get experience working with, and is a great situation to be in. With that comes added bring back to, in my case, the Arizona Cardinals, as responsibility. It also requires a system that’s as opportunities for growth moving forward when it flexible, robust and durable as the one we have and comes to game presentation and fan engagement. we rely on our manufacturers to deliver mission While the broadcasters were using 4K, I didn’t have critical equipment. Not just Sony, but our other major 4K for the in-venue production. It would have been a partners like Ross, Evertz, Daktronics as well. All of our terrific asset to have and I imagine in future Olympics, major partners were selected because they provide 4K will become the standard. While we weren’t taking equipment that is used in the highest level of sports the 4K feed, we were taking a downconverted feed production and it’s an absolute requirement for our from 4K, and it was impressive with what we were “failure is not an option” philosophy that we have able to see in the quality of the images. with the Arizona Cardinals and University of Phoenix Stadium. Truly, they’ve all come through for us. MD: Do you think having the Olympics under your belt, in a way, prepared you for delivering a better MD: Well, it’s a pleasure to be part of that partnership. Super Bowl experience? Last question…During the recent SVG Venue Tech event you hosted in late March, you mentioned MC: No question! When you’re a part of a production exchanging some ideas with other game production team for something on the scale of the Olympics just directors like Mike Bonner of the . helps to prepare you, give you more tools in your Have you been trying out new ideas for next year’s toolbox to draw from. It certainly hones your skills and season? Do you have new tricks up your sleeve you’d helps you raise your game. It made the work required like to share? for the Super Bowl that much easier and enjoyable, quite honestly. It’s not the first time you’re on a big MC: We have a number of initiatives that we’re stage. You’re much more prepared to bring new developing which will be a great surprise to our fan innovation and the highest level of production. Now, base, including working with our technology partners we also have the comfort knowing we have such to enhance the fan engagement further. We’re not innovative tools to draw on at University of Phoenix going to tip our hat at this time, but we’re putting a Stadium. But the pageantry of both the Olympics and lot of energy into next season’s gameday experience. the Super Bowl are incredible, inspiring opportunities Stay tuned, it’s going to be a lot of fun. and my experience in those will echo in our game presentations for years to come. MD: Thanks Mike! We appreciate your support. Good luck in the upcoming season. MD: What’s your biggest fear on gameday and has the new technology added solace or more anxiety?

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Eric Long enters his seventh season with the Philadelphia Eagles this fall. A veteran of live sports broadcast, Eric’s experience includes a diverse range of events and control room positions. His responsibilities with the Eagles include producing the in-venue live broadcast of all NFL games, and managing production logistics and stafng for all events at including Eagles football, Eagles training camp, Temple University football, the Army-Navy football game, NCAA Lacrosse Championships, international soccer, concerts, and other special events.

In addition to his employment with the Eagles, Eric has held positions in the production of Major & Minor League , ECHL & NHL hockey, NBA, MLS, and college athletics, as well as consulting for a number of organizations. Eric recently oversaw the multi-million dollar renovation of Lincoln Financial Field’s control room and LED surfaces, which included the installation of over 20,000 square feet of LED surface into the building. The stadium’s two main videoboards are constructed of 10mm surface mount LED, which is currently the highest resolution in the NFL.

Technical Highlights Camera/Replay Implementation — 10 total PMW-F55 (eight F55 4K Live systems, two F55 handheld RF) cameras. Four 8-channel Evertz Dreamcatcher systems (three configured in HD 1080i I/O and one in 4K UHD I/O).

New Video board — Two main Panasonic 10mm SMD LED boards manufactured by Lighthouse — North Endzone 192' wide by 27' tall (resolution of 5856x816); South end-zone 160' wide by 27' tall (resolution of 4886x816). In conjunction with other in-venue ribbon boards and auxiliary displays, nearly 22,000 square feet of new display panels.

Consultant — WJHW

Integrator — LED — Panasonic, Control Room — Sony/Diversified Systems

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Mike DesRoches: Your fan base is well known for EL: Although it ultimately rolled in with the LED being demanding of what’s on the field. As the control room upgrade, the 4K journey began for us in “We were wowed by the features game production manager for the Philadelphia late 2012. We were exploring options for ENG cameras the camera — the size of the sensor, Eagles, what would you say your fans demand most when we came upon the newly released F55. We the codec options, and the multiple from an in-venue experience? were wowed by the features the camera — the size of the sensor, the codec options, and the multiple frame frame rate and format possibilities Eric Long: We have such a diverse fan base, so rate and format possibilities that it ofered. We had that it ofered.” if you ask five diferent fans the question you gotten into the DSLR revolution several years earlier probably get five diferent answers. Some people and cinema cameras were the next natural step in might tell you that free wi-fi or fantasy stats are that evolution for us. Around that same time we were incredibly important and others might tell you they separately evaluating build-up cameras for our live only care about what’s happening on the field. in-venue broadcast, leaning towards standards like But I think every fan would tell you that the reason the HDC-2500. Our internal discussions progressed to they love coming to our stadium is the overall where we found ourselves asking, “Why can’t we use atmosphere; they want to influence the game with the F55’s in the broadcast environment, too?” Early on, their energy and to ultimately help the team win. the appeal was being able to use a cinema camera Our production is heavily focused on telling the with a 2/3" lens for live production on Sundays and story of the game with timely and efective replays, then having the bodies available to use with cinema stats, and information, all of which underscore the lenses the other six days of the week for television storylines of the game. By providing these features and web production. We felt like the F55’s versatility and capitalizing on big moments like touchdowns made it the best investment for something we or turnovers, our goal is to complement the natural could truly use year-round, and after seeing it in full fan energy that exists and amplify the drama of build-up form at NAB in 2013 we knew that it was a the game, hopefully resulting in a competitive viable option. As we followed the development of advantage. For our production staf, we’re motivated the camera throughout that year, we also talked to by the pursuit of creating a fan experience that is teams like the 49ers who had begun the process worthy of such intensely passionate fans in a great of using a few F55’s for production (Click here to football city. see why the 49ers chose the F55) which was very helpful. The last domino to fall was running SMPTE MD: We’ve been on a Sports Video Group Venue fiber to our camera positions, which had previously Tech panel together discussing 4K and the use of been triax. Once we made that decision, it sealed it, but your team’s story is a unique one that I think the deal on our decision to go with the F55. By the many would like to hear. So, how did the Eagles get time we were going through our renovation in the to the point of pulling the trigger on 4K and going spring of 2014, there was much more information with these cameras? and support available for 4K usage of the F55 in a broadcast environment, so we latched onto that and planned for all of our hard-wired F55s to hit our router in 1080i and 4K. Coupled with the things that Evertz was doing with their DreamCatcher replay system, we were able to hit the ground running with full 4K pan & scan replay capabilities when our control room was commissioned. Technology changes so quickly that by the time you commission a new control room there’s some aspect that is already out of date, but we wanted aspects of our build to give us a shot at growing with the changes over the coming years. The F55 turned out to be a huge part of that for us.

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MD: You mention that it was rolled into another was based on improvements that would enable us purchase, was there anyone else involved in funding to better deliver a great fan experience at Lincoln this efort, or was it all internally funded? Financial Field. For our production team it was a great process because we were able to determine which EL: The Eagles organization decided to make the equipment we wanted to use and how we wanted to investment as part of a larger $125 million dollar use it. In conjunction with our new LED boards and stadium revitalization that took place over two our control room, we added so much new technology years and included the addition of seats, two and it’s made a huge diference in what we can ofer bridges improve accessibility within the stadium, to fans on gameday. and redesigned club spaces. The whole project

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“we can simultaneously route the 4K and 1080i feeds of any of our eight F55 cameras into our four 8-channel Dreamcatchers”

MD: What integrator was used for the control from WJHW and our integrators Tom Sullivan and information we needed and went above and beyond and 1080i feeds of any of our eight F55 cameras into room and what was the full package of cameras TJ Beardsmore from Diversified brought a lot of to make sure the integration was seamless, which our four 8-channel Dreamcatchers. We chose Canon purchased? knowledge and experience to the project and were was important because this type of installation for all of our lensing, and purchased one 100x, four great to work with. Everyone put a lot of efort into hadn’t been executed in any other stadiums at that 80x’s, two 40x’s, and one 22x for our build-ups. Our EL: We were very fortunate to have a great team answering the questions of how to most efectively point. Our package is made up of eight F55 CA4000 handhelds are both outfitted with 22x lenses. We of minds on our project that worked together to take advantage of the 4K functionality of the F55s, 4K Live cameras performing build-up kit roles, and also supplemented our manned cameras with seven think through the best way to accomplish what we and how best to integrate it with our Dreamcatchers. two F55’s as RF handhelds. Everything hits our Evertz Sony BRZ series PTZ cameras and two Canon PTZs. were looking to do. Our consultant Chris Williams Evertz and Sony were great partners in giving us the EQX router and we can simultaneously route the 4K

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MD: Certainly no small undertaking as that’s a ton of information in the frame, which is a tremendous new equipment. Once you had it all in place, how did asset in telling a clear story. the usage take with the operators and how did the ability to “tell the story” evolve? MD: I imagine that took some practice but it’s interesting how the tools change the approach. EL: The first couple events we produced were Continuing on that theme, how else has the 4K definitely baby steps. By the time we got into capability added creativity to your role, or caused regular season Eagles games our Dreamcatcher you to do things diferently in a productive way? operators were getting comfortable with zooming, panning, and scanning, and we were able to really EL: It’s difcult to give a complete answer to this take advantage of that feature. Consequently it question as we’re still in the beginning stages of really changed the mentality of how we covered the harnessing what our equipment can do. It’s certainly game with our cameras. We ended up with a lot of opened so many doors for us and allowed us to situational-based assignments which isn’t all that not be governed by the limitations of our tools, radical itself, but the diference was we were telling which is where we were at before this upgrade. My our photographers to shoot wider for isos so there hope is that we’re able to display pre-produced was more of the frame to use, which was backwards content in 4K that capitalizes on the resolution of from what they were used to. It was a whole process our video boards but we’re still waiting for some where we were forcing ourselves to shift from trying other equipment in our control room to catch up. to do all of the work within the lens, and instead The awesome part is that we’re able to acquire 4K asking our cameras to stay wider and our replay ops footage of game action in the meantime so that to zoom in the Dreamcatcher world. It has evolved we have a nice library of assets ready to go when into a powerful tool for us as the replay looks we’re everything catches up. showing in-venue focus on the most important

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MD: After the first full season, what would you EL: Yes, we’ve used the F55s for a number of say has become the biggest impact of your F55’s? ENG applications and especially for things that are shot specifically for our stadium videoboards. EL: To date the biggest impact in our situation Having the tools in the F55 to go shoot that has been the live environment and what it brings content in 4K, then work with the content for the to the replay world. Having the ability to take finished piece is a huge advantage for us. Rather advantage of the full frame is something that we than scaling up, we’re starting with something haven’t taken for granted. Looking at the bigger that’s closer to our boards’ native resolution. The picture I think the F55s have opened our eyes to source is purpose built. Last year we switched our things we can implement in a venue that maybe post-production workflow to the Adobe Creative are a little more challenging in the traditional Cloud platform on Macs and in Adobe Premiere broadcast world. We’re producing a show that it’s very simple and easy to work with the content. is displayed on an ultra high-resolution canvas, and we control every step between acquisition MD: I know it’s only a full season removed from and transmission. In the broadcast world there all these high-end upgrades, but with the ‘arms are so many factors out of your control between race’ of venue improvements going on, do you creating the content and how it looks by the time see more upgrades coming, or perhaps utilizing the viewer sees it, which is not something that your equipment a diferent way to further take we have to worry about. It’s exciting because we advantage of what they can do? can act fairly quickly as the technology grows and improves, and be on the forefront of using these EL: We try not to get caught up in what everyone tools efectively. else is doing from a competitive standpoint, but it is helpful to learn from the experiences of our MD: Have there ever been any times where colleagues in other venues. We’ll definitely be the technology, and the way you employ it has looking at cinema lensing in the near future to afected the course of a game or anything you’d take full advantage of the F55’s sensor. We’ve like to share in that area? been closely following Evertz’s continued development of the DreamCatcher platform and EL: Our in-house camera feeds aren’t used for the expanded ability to record multiple 4K sources Ofcial Replay Review so we can’t take credit on a single box. As 4K production switching for truly influencing a decision, but we are able becomes more available we’ll be doing our to present some pretty decisive angles on close homework since we have the infrastructure in plays very quickly on our videoboards, which has place to capitalize. Of course, all of these things absolutely influenced our crowd’s reaction. Our are purely possibilities at this point, but it’s very fans are the target audience, but if in the process exciting to see more and more ways to fully use we can provide our coaching staf on the sideline our F55s and I feel like we’re in a really good spot. a chance to see something that may assist them in their decision to challenge (or not challenge) MD: Thanks for your time and support, Eric! “Looking at the bigger picture I a referee’s decision, that’s obviously a benefit to think the F55s have opened our being the home team. EL: It’s been a pleasure, we appreciate Sony’s eforts in continuing to develop tools and eyes to things we can implement MD: You quickly touched on actual use for technology that enable us to focus on telling in a venue that maybe are a production? You also mentioned that’s how great stories without concerns of our equipment little more challenging in the you were originally looking at the F55’s, as ENG holding us back. cameras, but has it turned out that way? traditional broadcast world.”

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