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advancing the creation, production, & distribution of sports content

Spring 2013 • Volume 7, issue 1 an publication SVG SPECIAL REPORT: The big show from the big easy

Inside the XLVII Compound in • SVG Update: In-Depth Recaps of Recent SVG Events

• Sports Hall of Fame: The Class of 2012

• White Papers: The Promise of 4K, Streaming the Pac-12 Networks, and Workflow Automation in Sports plus Comprehensive 2013 NAB Preview & SVG Sponsor Update

upfront IN THIS ISSUE 4 FROM THE CHAIRMAN Even With 4K, the Future of Sports Video Is Better HD 6 the tip-off Standing Up For Your Rights SPRING 2013 Volume 7, issue 1 SVG UPDATE 9 SportsPost:NY 36 12 League Technology Summit 26 TranSPORT 36 Sports Venue Technology Summit

42 SVG SPECIAL REPORT: THE BIG GAME FROM THE BIG EASY Sports Broadcasting Hall of Fame Class of 2012 Coverage begins on page 54 56 64 Cory Leible 58 Ray Dolby 66 Paul Tagliabue 60  68 Jack Weir 62 Ed Goren 70 

72 White papers 80 72 Canon: The Promise of 4K 76 iStreamPlanet: Live Linear Streaming 80 Wohler: File-based Workflow Automation

3 2 1

8 4 product news 15 32 84 Remote Sports Production Gearbase 18 More trucks, more gear, more consolidation 111 87 NAB Preview 84 A comprehensive look at what SVG Sponsors will showcase in Las Vegas 122 Sponsor Update New technology, news, and innovations 87

138 SVG SPONSOR INDEX 144 The FINAL BUZZER A Measured Response to 4K Hype?

The SportsTech Journal is produced and published by the Sports Video Group. SportsTech Journal © 2013 Sports Video Group. Printed in the USA.

From The Chairman ADVISORY Even With 4K, the Future of BOARD Chairman Sports Video Is Better HD Steve Hellmuth, NBA, EVP, Operations and Technology Advisory Board Members By Steve Hellmuth Ken Aagaard, CBS Sports, EVP, Operations and Production Services Chairman of the Advisory Board, Sports Video Group Adam Acone, NFL Network, Director, Media Operations & Planning Glenn Adamo, NFL ,VP, Media Operations and Broadcasting he CES Convention in January once again offered a new consumer TV-viewing Peter Angell, IEC in Sport, COO Andrea Berry, Fox Network Engineering and Operations, SVP, experience, thanks to a number of 4K-TV-set introductions. Stunning 2D Broadcast Operations images with spectacular resolution, color, and depth promise to be part of our Chuck Blazer, Blazer Entertainment, Sports & Technology, Inc T David Catzel, , Platform Services Adviser, DPE broadcast future, especially as advances in compression techniques offer the ability to Chris Calcinari, ESPN, VP, Event Operations Jason Cohen, HBO Sports, Director send more bits in less bandwidth to consumer homes. Joe Cohen, HTN Communications, Chairman and CEO But my takeaway from CES was a bit more interesting than the need to begin Michael Cohen, Industry Consultant Don Colantonio, ESPN, Senior Director of Production investigating 4K. It was the understanding that we, as an industry, need to work at creating Enhancements better HD images. Why? Because those better images, when upconverted to 4K, could Cindy Cortell, MLB Network, Director of IT Michael Davies, , VP, Field Operations provide a very important means of getting cost-effective programming onto those 4K sets. Preston Davis, ABC, President, Broadcast Operations and Better HD is more than just going 1080p. It involves improved signal processing; Engineering Scott Davis, CBS Sports, VP of Broadcast Operations compression technologies that, like HEVC, can double the data that H.264 can deliver; Jim DeFillipis, Industry Consultant and a commitment by distributors to deliver the higher-quality pictures to the consumers. Ed Delaney, YES Network, SVP, Broadcast Operations and Engineering First, today’s 1080p sets continue to get larger every year, and consumers are beginning Jed Drake, ESPN, SVP and EP, Event Production Dave Dukes, PGA Tour Entertainment, Senior Director, Technical to sit closer to them. Artifacts are more noticeable than ever. Second, in an era when Operations -delivered video can be seamlessly passed to the big screen, image quality is a Russell Gabay, International, VP and Executive Producer competitive advantage, and quality matters in sports. We need to take it to the next level. Jerry Gepner, L5 Media Services, Media and Technology Executive In the coming months, SVG events and seminars will put these issues front and Steve Gorsuch, USTA Billie Jean King Tennis Center, Director of Broadcast Operations center, beginning with the FutureSport Summit to be held in City on May 15. Mark Haden, MLB Network, VP, Engineering and IT That event, coincidentally, will mark the end of my chairmanship of SVG. Accepting a Deb Honkus, NEP Broadcasting, CEO George Hoover, NEP Broadcasting, CTO chairmanship of an organization always evokes an interesting mix of emotions. I had the Jeff Jacobs, MTV Networks, VP, Production Planning and Strategies of taking over from Ken Aagaard, who is still closely and intimately involved with Robert D. Jordan CFE, Van Wagner Sports and Entertainment, Senior Vice President SVG through the Sports Broadcasting Hall of Fame and Fund. Honestly, attempting to John Kvatek, University of Central Florida Athletics Association, fill Ken’s shoes was never the point: the point was to continue to be a good steward of an Director of Video Services John Leland, PSL International, LLC, Principal association that had grown into, arguably, one whose influence far outweighed its young Louis Libin, Broad Comm, President Jodi Markley, ESPN, SVP, Operations age. Today, four years , its influence continues to grow, and it is an honor to say it Michael Meehan, NBC Sports, VP has less to do with me than with the great community that SVG represents. Ken Norris, UCLA, Director of Video Operations Gary Olson, GHO Group, Managing Director During my entire career, I have had the fortune to work with many of the Sports Chuck Pagano, ESPN, EVP and CTO Broadcasting Hall of Famers. But many of the attributes found in those Hall of Famers Del Parks, , VP, Engineering and Operations Patty Power, CBS Sports Network, SVP, Operations are found in nearly everyone in broadcast compounds around the globe: commitment Paul Puccio, Industry Consultant to excellence, hard work, and the understanding that, in sports-TV production, just as Scott Rinehart, Fighting Irish Digital Media, Lead Technologist Larry Rogers, FirstInTV, President on the field or court, there are no second chances to get it right. Mike Rokosa, NBA, VP, Engineering Most of all, this is a community with roots and bonds that are much deeper than Bob Ross, CBS, SVP, East Coast Operations Tom Sahara, , VP, Operations and Technology the typical business relationships. That is due in part to the unique lifestyle many of Chuck Scoggins, Industry Consultant Bruce Shapiro, Broadcast Consultant us have to live and the experiences we share. That sense of community also includes Jack Simmons, Fox Sports, SVP, Production manufacturers, vendors, and venue personnel that we all work with day after day. Don Sperling, New York Giants Entertainment, VP and Executive Producer Today, SVG is a truly global organization with operations in the U.S. and Europe. Jerry Steinberg, Fox Sports, SVP, Field Operations It is a big-hearted organization that has created a Sports Broadcasting Fund. And it is Susan Stone, MLB Network, SVP, Operations Patrick Sullivan, Game Creek Video, President an inclusive organization, looking to help everyone in our industry be more informed Larry Tiscornia, , Vice President, Broadcasting about the future of our industry and our careers. Jacob Ullman, Fox Sports, Vice President, Production John Ward, DIRECTV Entertainment, SVP, Production & Traffic There is still much to be done at SVG. And, while I will still be involved with SVG Operations (much like Hotel California, you can check in, but you may never leave), it is time for Ernie Watts, Turner Studios, Senior Director of Technical Ops, Live Events another perspective and new initiatives. Jeff Willis, ESPN, Coordinating Technical Manager of Events I hope you are looking forward to exploring them as much as I am. Richard Wolf, ABC, SVP, Telecommunications & Network Origination Services Dave Zur, Altitude Sports & Entertainment, VP, Operations 4 sports tech journal / spring 2013 Efficient production workflows. Engaged viewers. Anywhere, any screen.

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Paul G. Martin for Your Rights Gallo Porter by Paul G. Gallo & Martin Porter Co-Executive Directors, Sports Video Group

he unprecedented, costly race for sports-TV rights has put engineering and operations in a strategic position within sports-broadcasting organizations. T Always the ones to get it on-air — often under challenging pressures — SVG members are the folks dealmakers turn to once the deal is done. Looking forward, your ever-changing job responsibilities will be to produce and direct an escalating number of events — with enhanced quality, for multiscreen distribution, and at a reduced cost per acquisition. And you always (somehow) get the job done. For years, the challenge has been simply to advance the production by implementing the latest technologies, thus driving viewership, attracting more , and ultimately increasing the value of the players, teams, and leagues that we serve. Now you are being asked to do more with less. It’s a different challenge, but SVG’s members accept it with typical creative energy,

PREMIER defining sports ’s look, quality, and storytelling as they have done for 50 years. Abekas • ADTEC Digital • apantac • Aspera • Avid • Calrec Audio • Cameron Pace Group • Chyron • Cisco • Cobalt Digital • Digico Expensive sports-content deals are a worldwide phenomenon, and so are the operational (Group One) • Elemental Technologies • Eurovision • Evertz • challenges they present. For broadcast’s last must-see TV experience and thus its most Harmonic • Harris • Ikegami Electronics • Inertia Unlimited • Lawo • Linear Acoustic • MultiDyne • NextComputing • NVIDIA • Ooyala valuable commodity, the challenge for sports networks is no longer how much they will • Orad • • Ross Video • SES • SOS Global Express • Studer • Telestream • Teradek • The Studio - B&H • The Tiffen Company have to pay for the rights but how they are going to profit from these often long-term • Tightrope Media Systems • VidyoCast • Wohler commitments. This puts more pressure on the production and ops staffs to produce more CORPORATE Amberfin • Artel VIDEO SYSTEMS • ATEME • Audio-Technica events — for both big-screen audiences and new digital campaigns. • Autodesk • Axis Global Logistics • Axon Digital • Bloomberg Sports • Broadcast Sports INC. • Cartoni • Cinedeck We are a part of a profession entrusted with successfully monetizing the big-money • Clear-Com • Media Center • Crown Castle • Daktronics • Dale Pro Audio • Dalet • • Deluxe Entertainment deals. In a TV world where even a broadcast looks really good, • Digital Rapids • Dixon Sports Computing • Dolby • Encompass production values that reflect those astronomical price tags have critical commercial Digital MEDIA • Envivio • Ericsson Television Inc. • EVS • Fletcher Sports • FOR-A • Front Porch Digital • Gepco/General Cable importance. SVG’s new job is to help you evaluate and innovate with technology like 4K, • Gerling & Associates • Globecast • Haivision • Hego • Hitachi KOKUSAI • HTN • iStreamPlanet • Joseph Electronics • JVC • KenCast enhanced replay, multiscreen and second-screen content, and immersive audio. • Levels Beyond • LiveU • Markertek • Masergy • MOEBAM! VENUE MEDIA • Motion Rocket • Motorola • MPE • NAC Image Technology • To make the right decisions, here are the questions we must work as an industry to NetApp • NeuLion • Nevion (formerly T-VIPS) • One connxt • Origin Digital • Phizzle • PNC Equipment Finance • Polar Mobile answer. How can 4K enhance quality, expand viewership, and still save production costs? • Primestream • Production Hub • Quantel • Quantum • Rimage What’s the right truck design for the next round of contracts or today’s new wave of • ScheduALL • Seneca • Sennheiser • SGI • SGL BROADCAST • Shure • Signiant • SMT • Spectra Logic • Sportvision • Stats Inc. • StorageDNA business? How can we create efficient workflows for both broadcast and digital? What is • T3 Media • TATA Communications • Tekserve • Tektronix • The Switch • Thinklogical • TSE Services • TVU Networks the role of the production community as broadcasters embrace multiscreen and second • Utah Scientific • Vision Research • VISTA Satellite • White Sands Engineering/SEG • XOS Digital• Yamaha Commercial Audio Systems • screen to grab expanding digital-ad dollars? What new toys will help build viewership • Yamaha Commercial Audio Systems • Zixi and differentiate your broadcasts — and how do we get additional budgets to pay the MOBILE 3G Wirleless • Advanced Mobility Speciality Vehicles • Aerial incremental costs? Video Systems • All Mobile Video • Alliance Productions These strategic issues are being discussed at SVG and SVG Europe events • Alpha Video • Arctek Satellite Productions • Azzurro SystemS Integration • Beck Associates • Broadcast worldwide. Broadcasters everywhere look for improved production efficiencies to Services International • CAT Entertainment Services • CBC Mobile Productions • CBT Systems • CineSys/Oceana • Clark hold the line on costs while continuing to improve the big-screen TV experience. Media • Communications Engineering Inc. • CP Communications • CrossCreek • CSP Mobile • CTG • Diversified Systems • Dome The future promises even more opportunities. No wonder one of SVG’s most Productions • F&F Productions • Filmwerks Int’l. • Frontline Communications • Game Creek Video • Gearhouse Broadcast • popular events is our FutureSport event (May 15 in NYC), where SVG and its Gensler • Hughes Integration • Dynamics members help set a clear roadmap and exchange information with the services and • IMS Productions • Integrated Media Technologies • Kodiak Mobile Televsion • Little Bay Broadcast Services • Lyon Video solutions providers beside whom we’ve fought so many of these tech/business battles. • Mansion Mobile • Metrovision • MIRA Mobile • Mobile TV Group • NEP Broadcasting • NES Communication Services • On Call Your jobs have always dealt with change. In many ways, it means more sports Communications • PacSat • Platinum Uplink Services • ProShow Audio Visual Broadcast • PSSI/Strategic TV • Show Partners on more screens in more markets than ever. Not bad job security for an industry of • Skycam/Cablecam • The Systems Group • Token Creek • Video Corporation of America • YES Productions professionals who know how to get the job done.

6 sports tech journal / spring 2013

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automate. accelerate. evolve What’s up with SVG The Wonderful World FEBRUARY 27, 2013 • MICHAEL FUCHS THEATER at HBO • of Sports Video

SVG Puts Focus on Postproduction in Inaugural SportsPost:NY By Jason Dachman and Brandon Costa

SPN Films Director of Development Daniel Silver set a cre- ative tone early on for a standing-room-only crowd of more than 150 video professionals gathered at HBO’s Michael SportsPost:NY, SVG’s first-ever event dedicated entirely to E postproduction, drew a standing-room-only crowd at HBO’s Fuchs Theater for SportsPost:NY, Sports Video Group’s first event Michael Fuchs Theater. focused solely on postproduction strategies and technologies. “[Compared with] others working in content production,” he Throughout the afternoon, SportsPost:NY took an in-depth look said, “we have a distinct advantage: we work in sports.” at various postproduction topics, from the creative (storytelling, In sports production, where nearly all the focus is reserved for show opens, graphics) to the technical (editing and remote asset the live event, postproduction — be it in the form of original series, management, the cloud, future technologies). shoulder programming, or graphics — can play a prominent role Telling the story, whether in a feature or a 30-second tease, in building drama. requires more than good equipment and technical knowledge. “For us, the ones working on producing content which does not Yet, as the industry shifts toward file-based workflows, both are unfold live, our job is to find ways to capture and transfer all of pivotal to getting content from the field to air. Non-linear editing that excitement and emotion from the field and bring it back to systems like Adobe Premier, Avid Media Composer, and Apple the screen,” said Silver, who scouts and develops new projects for Final Cut Pro have become far more intuitive than their tape-based ESPN Films. predecessors, and, as a result, the role of the editor has become Over the past half decade, ESPN Films was the toast of the far less technical. However, several producers from leading sports sports-production community, thanks to its Peabody Award- networks at SportsPost:NY stressed that better technology is no winning documentary series . The concept behind the substitute for storytelling ability. project was to pair with a feature-film maker on each doc, taking “[Learning] Avid or Final Cut is no different from [learning] Excel a special interest in stories that were close to the filmmaker’s or Word. I can teach you how to do it. That’s not really what editing heart and told a unique story that resonated at the time but were is,” said Bill McCullough, creative director, HBO Sports. “Editing, in eventually forgotten. my opinion, is the ability to tell a story, and so the editors that we like “I know there are many other ways to tell sports stories,” said to work with are the guys who are actually storytellers. We’ve all heard Silver, “but I have found that the component that separates the truly the preditor [producer/editor] term, but there really is a conversion of great sports films — short form or feature — from the rest, and the roles happening in the industry because of technology.” element I believe should be considered just as much as story and Later in the day, the topic of show opens took center stage. All execution, is passion, how a piece taps into that unique allegiance we panelists agreed that creative directors must begin with the concept of as fans have for our teams and that personal prism in which we view what the open should accomplish. Depending on what it precedes, it the experience. It’s the juice that makes the squeeze of countless can convey raw energy and excitement or sentimentality and emotion. creative meetings and discussions and analyses worth it.” Regardless, a show open must elicit a sense of anticipation.

sports tech journal / SPRING 2013 9 FEBRUARY 27, 2013 • MICHAEL FUCHS THEATER at HBO • svg“[The open is] gettingupdate you ready and setting the expectations svgupdatesvgupdat for what you are about to watch and experience,” said Gil Haslam, creative director, Troika Design Group. “[It is] how you get the tonally aligned with the great story, the energy that can catapult you seamlessly into the actual event.” Fans caught a particularly impressive show open before Super The opening panel at SportsPost:NY focused on the art of storytelling and featured (left to right) HBO’s Jason Cohen, YES Bowl XLVII, when CBS Sports debuted its new graphics package Network’s Woody Freiman, ESPN’s Drew Gallagher, HBO’s Bill along with the breathtaking show opener. CBS tapped Big Studios McCullough, and the NY Giants’ Don Sperling. in Toronto and Click 3X Entertainment in New York to assist with the animation packages and Reality Check and Cake Studios for “Who knew that smaller sports federations, like the Fencing the insert elements. Federation, produce almost 20 multicam productions per year?” “It’s obviously a massive project, but we were very happy said Bill Roberts, director of video product management, Adobe with the final product,” CBS of Graphics Marla Systems, whose Pass solution uses the cloud for distributing TV Schmettau said during a case study on the redesign. “Because Everywhere content to verified pay-TV customers. “There is an sports are so masculine and testosterone-driven, there is this interest in who is the world champion, but one of the challenges belief that [graphics] have to be very in-your-face and bulky. But you have is, [when,] say, a Japanese competitor is moving from we tried to steer away from that. While some of that is very visible No. 74 to No. 10 in the world, there’s a story there but you can’t in the open, we were trying to get away from that in the quicker afford to travel a guy to the event to tell that story. So one of the [animation and insert] elements.” things I really like about this remote-production idea is, if you’re On the technical side of the equation, sports production is slowly a content owner, you have new monetization opportunities if you but surely accepting the idea of working in the cloud. can allow people to get to that content and edit it remotely.” During a panel on Editing and Remote Asset Management, With the 2013 edition of the NAB Show approaching, league reps and technology providers discussed how workflows in SportsPost:NY also took a moment to delve into the future the cloud can change the way postproduction operations are run of postproduction tools. During the closing session, panelists and how cloud technology opens up a world of new opportunities. addressed what they hope to see on the exhibition floor this year, Among such opportunities are moving postproduction editing with much of the discussion centering on the need for more- from the live venue to headquarters. efficient media-management and analytics tools. “The analytics question is the biggest issue for us in 2013,” said Danny Gold, EVP, strategy and solutions, Levels Beyond. “You have to look at all the data and try to create a more reactive experience by tracking where you sent data, who viewed it, and how it is being shared socially. How can you use that for your library to unlock more of your content? About 5%-10% of the library is actively in use for most [of our clients]. I think there is a lot of data in there that can unlock more of that content.” Silver summed up the message of the day in his keynote speech. “I believe quality is the best business plan,” he said, admittedly quoting from and Disney Animations Studio Chief Creative Officer John Lasseter. “This can be applied to all of our work, but, for ESPN Films, I believe this to mean that we have to tap into our passion for what we do. To continue to be inspired and challenged Highlights of SportsPost:NY included an opening keynote by ESPN Films’ Daniel Silver (left) and a case study by CBS Sports’ by the work of others. And, ultimately, not to rest on success but Marla Schmettau. flourish by challenging failure. “In essence, we have to become the best fans possible.”

10 sports tech journal / spring 2013 svgupdatesvgupdatesvgupdat DECEMBER 10-11, 2012 • NEW YORK HILTON LEAGUE TECHNOLOGY SUMMIT svgWHERE SPORTS MEETSupdate PRODUCTION & Entertainment Alliance in Technology)svg brought together leaders updatesvgupdat from the IT and broadcast-media sectors to discuss the challenges of efficient coordination and communication across the industry. Mobile Engineering In the Mobile Engineering Workshop, top mobile-production- truck executives and engineers addressed the current landscape Highlights Jam-Packed of the industry. Having survived the financial troubles of 2008- First Day 10, the industry is now thriving — and consolidating — as it continues to evolve. By Brandon Costa and Jason Dachman “We always look at what is going to be the right company fit for our potential growth,” said Mike Werteen, SVP, sales, NEP he Sports Video Group kicked off its signature League Broadcasting, which, in the past year, acquired U.S. vendors Trio Technology Summit with a day full of SVG committee meet- Video and Corplex (and was itself sold by American Securities to Tings, informational workshops, and more than 60 technol- Crestview Partners). “Sometimes, consolidation can be viewed as a ogy showcases. A jam-packed morning offered an Audio Production negative. We have seen that it is good for the industry.” and Distribution Workshop, a meeting of the Women in Sports Financing of new trucks has improved for many brands. Still, Media Initiative (WSMI), and a Broadcast and IT Roundtable. The vendors have different strategies on approving a new truck. afternoon comprised two SVG Tracks — the Mobile Engineering Game Creek Video, for example, will not build a truck unless Workshop and Innovations in Sports Technology — followed by it has a contract. “We probably couldn’t get financing to build an opening-night reception. a mobile unit unless it was tied to a contract,” said Game Creek During the lively audio workshop, which underscored the President Pat Sullivan. “That’s worked well for us.” variety of challenges and new developments facing broadcast Other companies are willing to build a truck and then seek audio in sports, SVG and the DTV Audio Group honored long-time work for it. CSP Mobile Productions, for instance, built three new NBC Olympics Director of Sound Design and Communications mobile units over the past couple of years. Bob Dixon with an award “In Recognition of His Outstanding Said CSP President Len Chase, “We’ve been very fortunate that Contributions to Television Audio.” Key members of the group the clients and the relationships that we have built over the years presented Dixon with a plaque commemorating his years at the have allowed us to be able to bring those trucks out and find work helm of NBC’s audio coverage of the Olympics and in the for them very quickly. The financing part of it is very, very difficult.” broadcast-audio industry. The overarching challenge for mobile-production vendors is Meanwhile, more than 50 members gathered for WSMI’s annual to maintain profit margins while holding an edge in the rapidly meeting, which featured a panel discussion titled Human Dynamics changing tech world. in the Digital Workplace: How To Get Creative and Technology Barry Johnstone, chairman of London-based CTV OB, noted that, Personnel Working Together. In addition, SVG and SEAT (Sports “in France, they are still trying to adopt HD and, in London, there’s talks going on about 4K. To be able to finance that and stay viable is a tremendous challenge for us.” A key to maintaining an edge is talented staff. “The cost of labor is the most important part of our business,” said Werteen. “You have to be able to secure the top talent and maintain the trust with clients.”

NBC Olympics audio legend Bob Dixon (second from left) accepts award from DTV Audio Group and SVG at audio workshop. 12 sports tech journal / spring 2013 svgupdatesvgupdateEach company represented on the panel had establishedsvg a a truck as well as external.” updat relationship with at least one university to train future employees. There has even been talk that some companies have already Game Creek Video, for example, has a partnership with UMass- built their last baseband truck. Some industry engineering vets, Lowell. Said Sullivan, “We used [the students] throughout the though, say, not so fast. summer as they matriculated through school, and, when they “Certainly, with baseband, what is happening in terms of IP graduated, if they were good, we offered them a job. Of six is a lot of file-based transfer. I think that’s going to happen first,” [students], four of them are running $8 million assets for us, and said Jason Taubman, VP, design and new technology, Game Creek they are under 28 years old. It’s been a great pipeline for us.” Video. “This other thing would be packet-switched back on the Still, the chief concern among the panelists was the battle to truck instead of service-switched, and I think that’s ultimately keep pace with the rapidly changing world, which is reaching for going to be the way forward for 4K or whatever is next. But I can’t 4K when some of the industry has yet to fully incorporate HD. [purchase] that, so, no, I don’t think we’ve built our last [baseband “When you start changing formats, that’s where things start truck].” to get difficult,” said Chase. “Everyone here has geared up their Advanced IT and IP infrastructures open the door for increased trucks to do 3G, and we’re hedged on that. Now we’re already bandwidth back to the proverbial mothership — be that the truck starting to talk about 4K. So the problem is, you have invested $6 or a broadcast center at home. million or $7 million on a new truck and, then to turn around and “Trucks are becoming more and more like data centers, and have to change its entire base, that’s where it becomes very difficult it’s all IP- and IT-based,” said Hamish Greig, technical director at when you’re trying to make a profit at the end of the day.” UK-based CTV OB. “Whether it’s program content or broadband Regardless of whether the industry makes the 4K leap anytime or IPTV, it will be just a series of networks within the truck.” soon, trucks are changing and changing fast — in both size and As demonstrated by NBC’s use of its Highlights Factory during infrastructure. the Olympics, IT advances make it possible for technical personnel “There’s significantly more IT/IP infrastructure in [our trucks],” to stay home instead of being on-site, which helps mitigate said Dave Greany, VP/partner at Corplex. “Fiber infrastructures broadcasters’ travel costs. However, many engineers noted that have gone up; that’s something that we have looked at in our older broadcasters haven’t been in a hurry to decrease on-site staffs. trucks and increased there. There’s definitely been a need [for it], “They want their announcers there; they want that feel of and, looking forward, you will definitely see more glass internal to a home show,” said Ed Whitehouse, director of operations, at Mobile TV Group. “That flavor of being there, I think that’s part of Left: State of the Remote Production Business panel (left to the piece of live TV that makes it desirable.” right): Moderator Jerry Gepner, CSP Mobile’s Len Chase, CTV In Track Two of the afternoon workshops, SVG brought OB’s Barry Johnstone, CAT Entertainment Services’ Junior together a -studded group of panelists to discuss the latest Martin, Game Creek Video’s Pat Sullivan, NEP’s Mike Werteen developments and innovations in a range of sports-production Right: Barclays Center’s Chip Foley speaks at venue-focused sectors — including venue technology, media-asset management, session of Innovations in Sports Technology workshop. cloud-based storage, and multiscreen distribution. DECEMBER 10-11, 2012 • NEW YORK HILTON LEAGUE Shouldn’t you move as TECHNOLOGY SUMMIT svgWHERE SPORTS MEETSupdate PRODUCTION svgupdatequicklysvg as theupdat games ESPN’s Jeremy Schaap (left) led the opening keynote conversation you cover? with Sports Broadcasting Hall of Famers Ed Goren (center) and Bodenheimer, Goren George Bodenheimer. Share Memories of ACQUISITION The sports world When Fox Sports shook up the industry and acquired rights to the Setup and connect fast with NFL in 1994, Goren and then–Co-Chairman upped the lightweight Telecast fiber moves fast. Storied Careers solutions. ante across the board in production gear. Now you can too. By Brandon Costa “In 1993, NBC and CBS actually covered NFL games, some, every week with four cameras and two tape machines. That was unbelievable Handling the highest-quality content in fiber-ready n the morning of their Sports Broadcasting Hall of Fame induc- for those small-audience games,” said Goren, a 46-time Emmy Award venues or mobile production environments is a must, and it’s never been easier. Our fiber connectivity, signal Otions, ESPN Executive Chairman George Bodenheimer and winner. “When we started Fox, I said the people in Tampa deserve a management and monitoring systems can save you former Fox Sports Media Group Vice Chairman Ed Goren sat down quality broadcast. I think we started out six [cameras] and four [tape space, weight and power and keep you ready for rapid with veteran ESPN reporter Jeremy Schaap at Day Two of the League machines] and built it up from there on our smallest shows.” reconfigurations. Miranda and Telecast is a winning Technology Summit and reflected on their successful careers and how In addition to reflecting on their own careers, each man addressed combination. Integrated production workflows and fiber technology has impacted their companies and the business as a whole. key moments in the history of their respective companies. connectivity that lets you get in, get connected and get pictures, FAST, then get ready for the next event. As Schaap pointed out, each man’s career is a testament to the Bodenheimer, who started out at ESPN as a vehicle driver, credited fact that one needs to spend money to make money. ESPN has key business decisions made well before his time. “The turning point become a juggernaut in gobbling up rights for sports across the for the company was when the business model was changed from , and Bodenheimer, who spent 13 years as president giving it away to asking for a modest fee to support the production before becoming executive chairman in 2012, was on the front line and the programming,” he said. “Without that change, I don’t think PROCESSING ROUTING GRAPHICS MULTIVIEWERS CONTROL of many of its biggest deals. the company would have succeeded. That dual revenue stream didn’t Manage and process the An NVISION routing solution Choose solid-state media Choose from the wide Easily manage all your signals in your workflow with for any application including playback or Vertigo graphics selection of high-quality, devices with unified control “Look at what’s happening right now with rights fees,” said exist at the time. We introduced it, and we were able to sell it.” Miranda’s Densité modular purpose-built, compact, for high-quality CG and flexible Kaleido multiviewers. featuring Miranda’s iControl. Bodenheimer. “If you’re not prepared to spend money in this At Fox Sports, Goren said, the team took pride in taking risks: platform. hybrid truck routers. graphics automation. business, you’re going to get left behind. It’s rather obvious at this “David and I would literally start our days at 8 in the morning and point: you’ve got to roll the dice. The first NFL deal we signed was finish at some bar that night. The next day, we’d be going through worth $187 million, which at the time was, are you kidding?” cocktail napkins asking, whose crazy idea was it to put a football That spending didn’t come just in the way of programming. field on our set? We decided we were going to put this graphic up ( Fiber connectivity ) on the screen and call it the ‘Fox Box.’ “You know, there were no rules,” he continued. “We looked at Bodenheimer (left) and Goren (right) explained how they helped everything that had preceded us, took in the good and thought create two of the most powerful sports-television entities in the that maybe we can improve all of these other areas. I wouldn’t world: ESPN and Fox Sports, respectively. say we didn’t have a fear of failure, but we just didn’t take ourselves that seriously, and there was nothing wrong with failing. The real mistake would be not getting aggressive. 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Adv12-SVG 1page.indd 1 2013-02-26 8:14 PM DECEMBER 10-11, 2012 • NEW YORK HILTON LEAGUE TECHNOLOGY SUMMIT WHERE SPORTS MEETS PRODUCTION svgindustry was throwing theirupdate hands up in the air because svgupdatesvgupdat there were competing formats; there was no business National Networks’ Innovations in Sports panel (left to right): model,” he said. “Our head of technology, Chuck Pagano, basically SVG’s Ken Kerschbaumer, ESPN’s Anthony Bailey, CBS Sports’ said to us, the managers, ‘Hey, you guys figure out the business model, Steve Gorsuch, Turner Sports’ Tom Sahara, and Fox Sports’ Jerry and you tell Disney whatever we need. But I am telling you that this Steinberg picture is much better.’ If we believe our own story of a mission to serve fans and produce a product, then we have to do that.” impressive use of production technologies. Where Bodenheimer and Goren opened the LTS festivities Fox Sports SVP of Field Operations Jerry Steinberg highlighted with a look at the industry’s past, the day’s closing keynote from Fox’s use of Super Zoom in its NFL coverage, which uses a YouTube head of North American sports Frank Golding focused F65 4K camera to zoom in on a 4K picture and still retain a near- squarely on its future. With more than 4 billion hours of viewed HD image while examining a close play (say, a toe touching the video and 800 million unique viewers per month, YouTube is sideline or a knee down before a fumble). the dominant streaming-video force. However, Golding said the “4K allows us to really get in close on controversial plays,” he Google-owned platform continues to search for unique ways to said. “It’s a Sony F65 camera that goes through a digital recorder serve sports fans. and proprietary workflow that we developed and a scaler that “The content we are looking for is for the underserved fan,” he allows us to take the 4K picture and zoom.” said. “That can be a lot of content from a niche sport or a very In addition, Steinberg showcased footage from Fox’s ultra-slow- niche view for a broad sport. We’re also looking for stuff that is motion cameras during the and the use of Top Font undistributed and new, like Felix Baumgartner[’s Red Bull Stratos during its NFL coverage. Based on technology from Sportvision and space jump]. In addition, we want to surround the live event: Hego, Top Font tags and tracks players on a football field, allowing shoot-around before an NBA game, batting practice. Stuff that a key player to be identified via a graphic pointer before the ball is your fan wants to see. This is a platform that allows you to come snapped. and do that.” Fox isn’t the only network experimenting with 4K within the HD framework. Looking to integrate 4K cameras into telecasts, ESPN is experimenting with 4K cameras and workflows at its How Evolving Innovation Lab in Orlando. After some initial tests with a Sony F65 at Summer in Los Angeles, the Innovation Lab is Production Tools Tell undertaking side-by-side-by-side tests of 4K, 1080p, and 720p footage (shot at an NBA game, college game, and Pop Better Stories Warner football game). By Jason Dachman However, the question remains: will 4K become a legitimate end-to-end distribution format and, if so, when? Or will it simply ith technology evolving at an almost exponential rate, be a valuable capture tool for the foreseeable future? Wsports-content producers have never been better equipped “That’s the question we’re all asking our own companies: what is to tell the story playing out on the field or on the court. Tech lead- the roadmap for [1080p and 4K]? Right now, the large percentage of ers from national sports networks highlighted some of the most viewers aren’t even getting Full HD anyway,” said Tom Sahara, VP, striking examples of these production tools. operations and technology, Turner Sports. “We need to at least start “The rate of invention in all these technologies is coming so with Full HD and then maybe jump to 1080p. Also, how to deal quickly that you have to make smart bets and investments,” said with the cost of twice the storage and transmission bandwidth for the ESPN Emerging Technology VP Anthony Bailey. “The way you do backhaul? It is not a quick, easy answer. We need to start small and be that is, bring in your production people and talent and try to get ready if and when this does happen.” them to understand what you’re trying to do. I think that is how The rise of virtual graphics for studio analysis has resulted in a you come up with compelling products.” variety of groundbreaking on-air tools. Bailey highlighted ESPN’s The panelists showed off their respective networks’ most use of EA Sports’ Virtual Tabletop, which allows analysts to

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LEAGUE Tom Sahara addressed Turner Sports’ latest TECHNOLOGY technical innovations, including the network’s full-time use of the PitchFX pitch-location SUMMIT graphic during the MLB Playoffs and the WHERE SPORTS MEETS PRODUCTION Dunk Intensity Meter during the NBA Slam Dunk contest. svgbreak down the tendenciesupdate of players and svgupdatesvgupdat preview matches using virtual EA Sports- generated players. “We had some of our analysts wearing Producers, suits trying to show how a Cover 2 defense works on the small field in Directors Need our studio,” said Bailey. “We thought, wouldn’t it be cool if we used [virtual] To Balance Tech Madden [videogame] players instead? Toys, Storytelling The evolution of that was to allow the talent to interact with [the virtual players] in life-size form. But that started to become a By Jason Dachman and Brandon Costa very big production. So, when we were doing the Euro 2012 Cup [studio show] in Bristol, [CT,] we came up with Table Top.” hile producers and directors have an ever larger arsenal Meanwhile, CBS has upped the RF ante for its golf coverage, using Wof sophisticated tools, new challenges force producers to BSI’s wireless-camera technology to allow camera operators to reach rethink how they tell their story and directors to find new ways to spots on the course and achieve shots never possible in the past. push the envelope in granting viewers access. This new workflow deploys small receive sites mounted to trees and “We are still in a business about content,” said Craig Silver, towers to allow wireless cameras to deliver live video from almost coordinating producer for , CBS Sports, during anywhere on the course (without a bunch of unsightly cranes). a session on the producer’s perspective. “The content has to be After testing the technology on a handful of holes at the Riviera enhanced by the technology, not the other way around. Any good Country Club and at the Masters at Augusta National, CBS used production is ruled by making those decisions: when is the right it for all 18 holes at the Greenbrier in West Virginia. CBS Sports place and right time to use these tools.” plans to use it at nearly every tournament it covers this year. Each panelist preached the value of new technologies while also “We went down to the Masters, and it was fantastic because, in emphasizing the need for patience. Fox SVP/Executive the past, there has been no RF at Augusta,” said Steve Gorsuch, Producer Mike Connelly cited the addition of aerial camera director of golf engineering, CBS Sports. “This year, we had a systems to RSN telecasts, noting that many directors are tempted cameraman walking in places where we’ve never gone before to take the shot every few seconds, rather than saving it for key because you couldn’t just drag cables around everywhere.” moments. Turner Sports reported on tech innovations of its own, including “I always tell our producers and directors that, when they get a the nearly full-time use of the PitchFX pitch-location graphic new toy, they have to be like a little kid and keep it close to you,” during the MLB Playoffs and the Dunk Intensity Meter during the he said, referring to the introduction of Skycam to regional sports NBA Slam Dunk content. “We have had the pitch-location graphic for years, but it is all Producer Perspectives panel (left to right): HBO Sports’ Jason about getting the talent to buy in,” said Sahara. “They know where Cohen, Fox Sports’ Mike Connelly, CSN ’s Jeff those pitches go, but the viewer at home doesn’t necessarily know Halikman, SNY’s Gregg Picker, and CBS Sports’ Craig Silver that. They are now realizing that this is a tool that allows them to better tell the story.” With the Dunk Intensity Meter system, a carbon nanotube implanted in the hoop measures the force of the ball on each dunk. That information is displayed as a graphic during the telecast. “It was a different use and gave us something that we’ve never had before,” Sahara said. “One thing we did learn was that the amount of force does not necessarily lead to the winning dunk.”

18 sports tech journal / spring 2013 svgupdatesvgupdatesvgupdat DECEMBER 10-11, 2012 • NEW YORK HILTON LEAGUE TECHNOLOGY SUMMIT WHERE SPORTS MEETS PRODUCTION svgtelecasts. “You need toupdate just show it once in a while, svgupdatesvgupdat rather than overusing it.” Connelly noted the growing role of the LiberoVision analysis system, which allows clips to be controlled, Director Perspectives panel (left to right): MLBI’s Russell Gabay, manipulated, and played out directly from a Vizrt graphics HBO Sports’ Jason Cohen, Turner Sports’ Renardo Lowe, YES platform, enabling plays to be dissected from different angles Network’s John Moore, FoxSportsNet’s Mitch Riggin, and Fox Sports’ Artie Kempner and perspectives. Fox SportsNet made LiberoVision available to several of its RSNs, including PrimeTicket for its Los Angeles the 4K camera is a big step in moving Clippers coverage, Fox Sports for its college-football coverage, and, us forward.” eventually, several RSNs for NHL coverage. YES Network director John Moore The evolution of super-slow-motion replay has accelerated rapidly reported that slow-motion cameras are in recent years, with leagues becoming more reliant on broadcasters’ a centerpiece of YES’s coverage of New camera angles in reviewing questionable calls on the field. York Yankees baseball, and he showed CSN Philadelphia producer Jeff Halikman highlighted a home the audience a clip captured by Inertia run that umpires reversed on further review. In that clip, the Unlimited’s X-Mo, giving viewers a network replayed a super-slo-mo shot: the ball nearly went over clear view of a call made during the the right-field wall but hit the safety controversial final out of a Yankees bar at the top of the wall and ricocheted loss to the Baltimore Orioles in early Fox Sports director back into the field of play. As the shot September. Artie Kempner was replayed, the announcers pointed He acknowledged that finding ways to preached the benefits out that the bar at the top of the wall utilize high- cameras is a logistical of 4K cameras within normally shakes when a ball hits it, challenge. “As the technology gets better, an HD production illustrating that it was not, in fact, a it’s a cumbersome device that is hard to environment. home run. use at times. If you put it at high-first, “It’s amazing how much of an you’re not going to see a 5-4-3 double influence our broadcasts are having play . So the key is, how on the game,” said SNY Coordinating do you use it in a way that you can tell a story in-game.” Mike Connelly of Fox Producer Gregg Picker. Deciding where to place camera positions is a constant battle SportsNet discussed Picker also spoke about the between networks and leagues. have to strike a balance how new production importance of super- and ultra-slo-mo between granting television access without jeopardizing sightlines tools like aerial in RSN telecasts. However, conjuring or removing valuable seats. Some of those decisions haven’t gone camera systems and up the cash to pay for these elements is the directors’ way. LiberoVision are changing the way RSN’s no easy task, forcing Picker and other “I keep preaching over and over again, especially in baseball, produce sports telecasts. coordinating producers to make a that I can’t believe how much [the stadiums] are cutting into our tough call on the cost-to-benefit ratio. territory with luxury suites or this or that seat,” said Mitch Riggin, “When you’re deciding whether to use director of Arizona Diamondbacks on Fox SportsNet and college something,” he said, “it is important to remember that it needs to football on FX. “It’s cheapening the viewing experience. I want actually enhance the viewer’s experience.” people to see how great the is so they come out and see it.” On the directors panel, Artie Kempner, director of NFL and Developments in graphics technology have reshaped the way NASCAR, Fox Sports, cited the Sony F65 CineAlta 4K camera, on-air analysts break down the game. Tech developed by Chyron, which gives Kempner and his crew super-high-resolution views Sportvision, Hego, and Red Bee Media have made the classic on replays. “All of the tools and all of the artistry and everything a relative thing of the past. that goes into it as directors, we want to show the viewer what Said Renardo Lowe, senior director, sports production, Turner they want to see: what the hell just happened on that play? I think Sports, demonstrating the network’s use of PITCHf/x during MLB

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www.rossvideo.com DECEMBER 10-11, 2012 • NEW YORK HILTON LEAGUE TECHNOLOGY SUMMIT WHERE SPORTS MEETS PRODUCTION svgcoverage, “The productionupdate team is there svgupdatesvgupdat to give the tools the analyst needs to explain what my team needs to do or NBC’s Darryl Jefferson (middle) and Game Creek’s Kevin why my team is winning or losing.” Callahan (right) offered SVG’s Ken Kerschbaumer some first- Aerial camera technology — whether it’s Spidercam on Monday hand insight into their respective groundbreaking new workflows Night Football or FlyCam at the U.S. Open — is becoming more at the London Games and during Fox’s MLB and NFL coverage. commonplace at big-time events. “Those [aerial] cams give you an amazing ‘wow’ feeling when you’re there,” said Kempner. “The [Spider]cam at ESPN has In Vancouver in 2010, Olympics content was sent back to New amazing versatility now, and Cablecam and Skycam will get York via satellite and IP transmission. However, NBC still had to there, because everybody competes. We’re in the entertainment transport a massive tape library to . At the London Games, business, and, if we can make people take notice and get engaged for the first time, NBC shifted to an entirely file-based workflow. in what we do, then we’ve done a really good job.” “We were supplying files for archival use and for enterprise- wide use, not only back in New York from London but also Hialeah [FL] for Spanish content [on ] and Colorado for distribution [to 3D], so it kind of mandated that we had lightning- Next-Gen Workflows fast practices.” Those “lightning-fast practices” included a dual-portal Avid Leave Production Team, Interplay media-asset manager and Forbidden Technologies’ FORscene cloud-based editing platform, which allowed shot Tapes at Home selectors to edit live and near-live raw feeds broadcast by Olympic By Karen Hogan Broadcast Services and NBC. The NBC Sports Group recently moved to a 300,000-square-ft. he London 2012 Olympics revolutionized the remote-produc- plant in Stamford, CT. The new facility houses multiple businesses, Ttion workflow, proving that audiences are voracious for mul- including NBC Sports Network, NBC Olympics, and NHL Network, as tiscreen content and that fears of cannibalization are unfounded. well as studios, edit suites, and more than 500 staffers. But the Games weren’t the only remote-production success story More than 4,000 miles to the west, Game Creek Video launched of 2012. Stateside, Game Creek Video linked the intercom, video, its remote-production workflow at the MLB All-Star Game in and audio systems in its trucks to NEP’s trucks to broadcast the Kansas City, MO. Fox Sports revamped its pre- and post-game MLB All-Star Game. coverage, broadcasting out of MLB Network headquarters in NBC Olympics’ Darryl Jefferson and Game Creek Video’s Kevin Secaucus, NJ. To deliver the pre- and post-game coverage as well Callahan discussed how their teams transformed these ideas into as the game itself, Game Creek Video, which handled the game reality. broadcast for Fox Sports, linked its truck to NEP’s ND4. NBC Olympics deployed an at-home effort of nearly 700 staffers “We wanted to keep everyone separated so the pregame show to support the broadcast of more than 5,000 hours of content to could do what they needed to do, the game could do what multiple platforms. The Highlights Factory crew at 30 Rockefeller they needed to do, but everyone had access [to content],” said Plaza churned out a constant stream of video around the clock. Callahan, engineer, Fox Trucks, for Game Creek Video. “[An EVS] “The Highlights Factory is this big engine we use to make IPDirector [was] able to give the pregame show an insight into the and deliver all the [content] to all the screens other than the game truck to get everything that we had and also basically to send television, to your cellphone, your iPad, your computer,” said it back and forth. We had paths set up so that, if something was Jefferson, director, postproduction operations/project manager of created in an edit bay in the game truck, it could be sent [to NEP’s the Highlights Factory. “We’ve learned that distribution doesn’t ND4], transcoded in a different file format than Fox Sports.” cannibalize the TV viewership. Actually, more people watched Much like NBC’s Highlights Factory, Game Creek Video’s television on the traditional television.” remote-production workflow allows Fox Sports to leave pallets of

22 sports tech journal / spring 2013 svgupdatesvgupdatesvgupdat DECEMBER 10-11, 2012 • NEW YORK HILTON Steve Hellmuth, SVG chairman and NBA LEAGUE EVP of operations and TECHNOLOGY technology, addressed SUMMIT miking players during WHERE SPORTS MEETS PRODUCTION games. svgtape in Los Angeles andupdate transfer files to the truck as needed. In a said Susan Stone, SVP, svgupdatesvgupdat typical NFL game, according to Callahan, approximately 175-200 operations and engineering, clips travel between Los Angeles and the remote location. MLB Network. “At one point, we just kept every single open and hoped for the best.” Leagues’ Tech Advances Although leagues are miking players and coaches at a record clip, there is still a hesitation Center on In-Game to deliver this audio live during a telecast. “Viewers want [live audio], and they love it, but all the progress Audio, Player Tracking you make on this can be lost with just one F-bomb,” noted Glenn By Jason Dachman Adamo, VP, media operations, NFL. That said, the NFL is among the leaders in miking players quintet of technology leaders from pro sports leagues report- chiefly for postproduction. In addition to being used on weekly Aed on their latest innovations, the challenges, and how these shows like NFL Network’s Turning Point or Showtime’s Inside the tools add to fans’ experience. The bulk of the discussion centered NFL, audio of miked players is often used by the league’s primary not on video but on audio, specifically the miking of players, broadcast partners for pre- and post-game presentations. coaches, and referees/umpires. Although Major League Soccer has experimented with plenty Throughout 2012, PGA Tour Entertainment produced a quick- of audio innovations (including putting wireless mics in the turnaround series called Down the Stretch, which followed a miked ground at three spots on the pitch during the 2012 MLS Cup), player or pairing throughout a round. MLS VP of Broadcasting Larry Tiscornia highlighted a more visual “Any technology that allows us to capture what is happening development: the virtual Offside Line graphic. behind the scenes without becoming a part of it is very important “One of the most crucial moments in our game is the offside, to us,” said David Dukes, senior director, technical operations, but many fans don’t necessarily understand the rule,” he said. PGA Tour Entertainment. “Anything that minimizes the impact “It’s basically taken 13 years to perfect this so that, within seconds on [the player] is key. You need to get these [mics] as small and of the offside, you see the [graphic] come up. That educates unobtrusive as possible.” the viewer and enhances the broadcast. Now I think it needs to The NBA faced a similar challenge. “We needed to design a become an industry standard like the first-down line in football.” whole new microphone,” said Steve Hellmuth, EVP of operations The NHL whipped up a number of technical innovations over and technology for the NBA and chairman of the SVG Advisory the past year, most notably a more reliable goal-review system. Board. “Traditional microphone [manufacturers] said, We just Previously, the league deployed an overhead camera over each net. can’t do something like this.” “We recognized that being able to identify a goal versus a non- The league spent nearly five years developing a mic that the goal is one of the most important things we can do,” said Grant player wouldn’t be aware of. Working with wireless-audio specialist Nodine, VP of technology, NHL. Quantum5X, the NBA created a flexible, waterproof, ultra-light The NHL teamed with Violation to create a small, durable microphone; the transmitter is put into a pouch in the player’s pill-shaped device with a long battery life that is located in the shorts, and the mic is sewn into the V-neck of the Adidas jersey. net and sends a 60-GHz signal to a receiver in the rafters; each MLB Network undertook a challenging in-game audio trial during venue embeds the game-clock data in this signal. This feed and a 2012 spring-training game, deploying more than 60 live mics on four others are encoded and delivered over the NHL’s multicast a half dozen players per team, both managers, several coaches, and IP network to the league’s replay “War Room” in Toronto, where umpires and throughout the field. The audio was delivered live during officials use them to review each questionable goal. the telecast (with a seven-second delay on-site and at the network’s With this in place, Nodine said, the league is looking to the next broadcast center in Secaucus, NJ) and served as primary audio. wave of innovation, including mics in the nets, a first-down–dash “The biggest challenge was having all that audio coming in,” marker for offsides, or coloring in the crease after a score.

24 sports tech journal / spring 2013 svgupdatesvgupdatesvgupdat svgupdateAN SUMMIT svgupdatesvgupdat Network Execs Discuss Transmission Challenges, Solutions Riedel Communications founder Thomas Riedel (left) and Origin Digital’s John Leland took TranSPORT attendees behind the By Brandon Costa scenes of the Red Bull Stratos production.

n TranSPORT’s opening session, network executives provided multiple platforms,” he explained. “We’re looking towards other their perspective on signal transport. Broadcast engineers are owned properties to help leverage the content and the cost.” Itasked with transmitting signals using various forms of tech- The panel also offered some solutions to the troubles that ail nology and, at times, varying levels of reliability. “The key discus- them: most commonly, the battle between technology and budget. sion is, how do we get to the point where there’s not a big disparity “If the industry could mature to have a GigE service at a between the Olympic event and the one-day-set-and-shoot event,” monthly rate, that would go a long way to solving this problem,” noted Emory Strilkauskas, principal engineer, transport technolo- said Strilkauskas. “Many times, a lot of the things you want to do gies and special projects, ESPN. are cost-prohibitive.” As fibered venues become more prevalent, networks hesitate Attendees were also treated to a behind-the-scenes look at the to trust fiber over satellite uplink and struggle to balance finances transmission of Red Bull Stratos, the widely watched space free fall and technological capabilities. by daredevil Felix Baumgartner. The broadcast was a technological “We’re getting more access into venues for broadcasts. It’s and production triumph, and Riedel Communications founder/ encouraging builders to pull fiber into places they never would Managing Director Thomas Riedel explained how his company have before,” said David Chilson, associate director, broadcast teamed with Red Bull Media House and others to produce the one- distribution services, CBS Television. “But we still use satellite of-a-kind event. Origin Digital VP of Global Media Operations John trucks everywhere.” Leland described the streaming and international-distribution Engineers at regional sports networks regularly deal with a wide network that delivered the jump to millions around the world. array of transmission routes needed to broadcast even the season of a single sports team. “One of the biggest things we face is the capacity between our HEVC, JPEG 2000 main venue and the studio operations and then trying to do that same level of production on the road,” said Alex Blanding, VP of Could Be Bridge engineering at SportsNet New York, which broadcasts more than 150 Mets games each season. to Future of Video SNY has a fibered infrastructure in place at Citi Field. However, By Jason Dachman other stadiums across Major League Baseball do not offer the same transmission capabilities. “Sometimes you just have to say no to ports-video contribution, backhaul, and distribution look to certain production elements on the road because they just can’t be Sbe on the brink of a major leap forward. New technologies like done,” he noted. HEVC (high-efficiency video coding) are set to enter the market, At , VP of Broadcast Operations Keith and others, particularly JPEG 2000, continue to carve out share, Goldberg already deals with busy NFL Sundays — with as many paving the way for delivery of next-gen formats like 1080p, 4K, as seven or eight simultaneous live events — and has begun and 8K. preparations for one of the globe’s largest events, the World Cup, An afternoon session moderated by CBS Director of Broadcast which Fox will begin broadcasting in 2018. Distribution Chris Ehrenbard focused on the evolution of these “We’re dealing with trying to share and leverage content on technologies.

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www.asperasoft.com ©2012 Aspera, Inc. All rights reserved. moving the world’s data at maximum speed AN SUMMIT svg“You now can have multipleupdate encoders doing multiple different svgupdatesvgupdat formats with a million different resolutions and features and audio formats, and sometimes things can slip through the cracks,” said Richard Bullock, head of TV compression solutions, C&D, Ericsson. “The future is going to be even more complex, with so Moderator Chris Ehrenbard of CBS (far right) discusses potential many different formats coming on the horizon.” of new HEVC compression standard with panelists (from left) HEVC, or H.265, represents the next generation in MPEG Richard Bullock of Ericsson, Yaniv Ben-Shushan of Harmonic, video-compression standards and promises to double the data- and Eugene Keane of T-VIPS/Nevion. compression capability of MPEG-4/H.264. Finalized in January 2012, HEVC is expected to halve the bandwidth needed to deliver T-VIPS, which merged with Nevion last year, pioneered the HD video, potentially opening the door for delivery of 1080p or format’s use. Today, it is widely deployed by sports-content even 4K and 8K video from remote sports venues to network owners looking to deliver high-quality video and audio with production facilities — and, perhaps some day, to the home. low latency while supporting multiple encodes/decodes without Ericsson launched the market’s first HEVC encoder at IBC in sizable signal loss. September, and more gear is expected to be released at the NAB Show With the format firmly entrenched in the HD-video ecosystem, in April. Ericsson’s lab tests have shown a 40%-45% improvement T-VIPS/Nevion is looking to bring JPEG 2000 into the next over MPEG-4 for average material and at least 50% for video. generation. “If we’re going to go to some of these new, bigger- However, the initial MPEG standard is just the first step. Further bandwidth standards like 4K, you need a compression scheme that elements must be established for the HEVC standard to become will deliver the content with high quality over GB ,” said the norm, and silicon and consumer-electronics manufacturers Eugene Kean, CTO, T-VIPS/Nevion. must also get on board. Another issue: many in sports production have yet to make the jump from MPEG-2 to MPEG-4. Nonetheless, HEVC is expected to File-Based Workflows have an almost immediate impact. “There are major challenges in backhauling content from all Continue To Evolve these venues to the production facility,” said Yaniv Ben-Shushan, director, satellite and broadcast, Harmonic. “The 4.2.2 [standard] in Sports World for HEVC is still 18 months away, but I don’t see why we have to By Jason Dachman wait for that. “Bandwidth is so critical in the U.S.,” he continued, “especially he use of file-based workflows has become a standard at with so many college and high school sports and other niche Tremote-production compounds across North America and content that a large population wants to consume. I definitely all over the world, allowing remote sites to exchange files among believe that HEVC is the right way to start backhauling content multiple trucks at a time or even with a home broadcast facility like this to your facility and it will save you a lot of bandwidth.” thousands of miles away. Nowhere is this workflow more preva- Others doubt that HEVC is near wide adoption — especially on lent than in the International Broadcast Centers (IBCs) that pop the contribution side. up every two years at the Summer and Winter . “HEVC is a very compelling technology that is going to “To give you an idea of how much the world has changed, at have a significant, profound long-term impact on over-the-top our first Olympics [in 2006], there was a question as to whether streaming,” said Kevin Ancelin, SVP, sales/co-founder, Adtec moving file-based media around even made sense,” Signiant Digital. “But it is a distribution platform. I don’t know if it has CTO Ian Hamilton said. “Now it is just assumed that it is going much play in the contribution world, where they already have the to happen.” robust pipes and codecs — whether it’s MPEG-2, AVC, or JPEG The London Games this past summer served as a coming-out 2000.” party of sorts for mass deployments of file-based workflows within JPEG 2000 is already a major player in video compression. sports production. The ability to exchange high-quality files

28 sports tech journal / spring 2013 svgupdatesvgupdatesvgupdat

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©2013 Level 3 Communications, LLC. All rights reserved. AN SUMMIT svgbetween the IBC in Londonupdate and home bases oceans away became a svgupdatesvgupdat reality, allowing many broadcasters to leave crew at home and save Venues Look To on expensive accreditation and travel costs. NBC, for example, used Brevity’s platform to exchange files between London and its Maximize Connectivity, 30 Rockefeller Center broadcast facility in New York with great success. Transport Efficiency “One of our goals at the Olympics this year was to be able to By Karen Hogan do more for less,” said Mike Jackman, VP, business development, Brevity. “For NBC, [our platform] allowed them to save about onnectivity, both within professional venues and between 50% of the bandwidth. There were days where 300-400 GBs or Cthem, has come a long way in the past decade. more were moved, but the actual bandwidth that we needed was “As you look at venues, stadiums, and arenas around, say, equivalent to about 150 GB. That allowed them to use that [extra] the turn of the century, [the requirement] for connectivity was bandwidth to do more elsewhere.” nothing,” said Peter Brickman, principal consultant, IGS. “There However, the linear telecast is obviously no longer the only was no requirement to get any connectivity either for in-venue consideration for Olympic-rights holders. The multiscreen needs or league needs; it was very basic: maybe a couple video lines.” revolution has forced broadcasters to use these same file-based Today, not only are the teams, venues, leagues, and workflows to deliver video content — both live and non-live — to broadcasters demanding connectivity for their own uses, but viewers across a variety of screens and devices. fans attending sports events have connectivity requirements as well. At TranSPORT, Brickman moderated a panel on the connected venue, which delved into the growing importance of fiber transport between venues and WiFi networks within them. MLB Network Director of Engineering Brad Cheney stressed the need for flexibility when connecting venues. “When we entered the space in early 2009, there wasn’t a whole lot of flexibility in-venue, and now you see [such companies as] HTN and Level 3 provide more connectivity in a broader fashion. “It’s not just the video line out of the building anymore,” he continued. “It’s a video line that becomes an IP circuit that becomes a video line again, depending upon the projected needs of production and how they’re going to handle it and use it.” IP pipes originally intended for FTP transfers of high-resolution Talk of file-based workflow was ubiquitous during TranSPORT video have been expanded to accommodate file transfer between sessions, especially this one with (left to right) Signiant’s Ian the venue and the truck, allowing video to be edited remotely and Hamilton, Aspera’s Michelle Munson, Brevity’s Mike Jackman, transported back to MLB Network headquarters. and SVG’s Ken Kerschbaumer. “Not only are we using HTN,” said Cheney, “but we’re also using Level 3 to … make that a seamless interaction between the “The advent of over-the-top and online content has created a network and the site, along with still providing all the resources to whole new world as well,” said Aspera CEO Michelle Munson. provide [the highest-quality content to] MLB International, MLB “We powered all the transfers to YouTube for NBC this year at Productions, and all of our other league partners.” the Olympics. That content did not even exist in our first Games HTN must provide the same flexibility for national and regional [in Turin in 2006], and now the consumer experience demands broadcasters, as well as for isolated venues that do not have the it. A day will soon come when you have this mixture of real-time, benefit of venue-to-venue fiber networks. near-time, and next-day content, where the backend of this is very “It’s a matter of how we can roll [out] that sort of platform, efficient and all file-based.” that technology to other locations,” said Christian Kneuer, senior

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Contact us to learn more elementaltechnologies.com | +1 888.900.8104 [email protected] | @elementaltech svgupdateAN SUMMIT svgupdatesvgupdat MLB Network’s Brad Cheney (left) and MultiDyne’s Frank Jachetta discussed venue BSI’s Peter Larsson (left) and LiveU’s Ken Zamkow covered connectivity — within pro contrasting solutions that address similar needs: RF and cellular- venues and between them. based wireless camera systems. director, operations and client relations, HTN Communications. Leading systems providers discussed how these tools help “A challenge that we are undertaking now is the colleges. It’s not broadcasters capture a fresh perspective. However, the freedom going to be the same type of infrastructure, but how do we get from fixed camera positions is not without challenges. some sort of fiber connectivity out to the colleges and be able to “CP Communications provided the wireless cameras, provide the same sort of services?” microphones, data, you name it, for the Ryder Cup,” said Kurt MultiDyne President Frank Jachetta suggested that the answer Heitmann, SVP, sales and marketing, CP Communications. “The to file-transport challenges might lie in the encoding. “We do have problem with the Ryder Cup is that you have not just the U.S.- an eye on encoding closer to the point of acquisition, and I think based but international-based [broadcasts] and you run out of the higher resolutions will probably impede that progress a little spectrum very quickly. We had over 20 wireless cameras on-site, bit, but I think, eventually, there might be IP encoding very close 60-plus wireless microphones, and then probably 40-50 wireless to the acquisition point, if not right on the camera.” PL systems.” Encoding at the point of acquisition would not only make When three 3D rigs came on board, CP turned to Broadcast broadcasters’ lives easier but would also allow productions, for Sports Inc.’s Blue Steel microphones, which took up less bandwidth example, to leverage transmission paths and use the same cameras within the 1.4 Gb spectrum. across multiple hours of programming and multiple platforms. “That’s the way you have to work,” Heitmann explained. “You Leverage is also key within the venues. A decade ago, seemingly have to look at varying technologies based on what production’s every professional venue sported a one-size-fits-all video board needs are and what’s available in the spectrum.” populated by generic content. Companies like CP Communications and BSI must contend “Those shows have now become very complex,” noted Brickman. with losing vital spectrum to the highest bidder. “They operate out of video-replay rooms that equate to many of “When you get into big shows, you move outside the regular the production trucks. Now, as we get towards WiFi distribution broadcast spectrum,” said BSI GM Peter Larsson. “We’re constantly of content in-venue, there’s going to be a need for a smaller type of fighting against spectrum encroachment.” distribution and creating some sort of production entity to deliver Cellular-based video-uplink backpacks provide the flexibility of various formats [that may be] redistributed to other venues.” wireless RF on a smaller scale and can be deployed rapidly with minimal support infrastructure. Noted Chris Bell, VP, customer support, TVU Networks, “What packs give you is the ability to Challenges, Benefits do things you never could do before: locker-room interviews, pregame, postgame.” Abound in Cutting the While newsgathering is the mainstay of backpack manufacturers, LiveU is seeing an increase in backpack use for short-range Cord on Cameras transmission and exclusive-content programming by teams, By Karen Hogan leagues, and broadcasters. “We’re seeing more live high school and college games,” said Ken Zamkow, director of sales and ithin the stadium or arena, wireless RF and cellular-based marketing, LiveU. “Most of them go online; some of them now go Wcamera systems come in handy when capturing crowd reac- on television as well. tion or getting a postgame interview. Outside the venue — say, at “What we’re also starting to see in Europe, not really in the U.S. a golf course or road race — they are essential. yet, is, some networks are actually going to away soccer games and,

32 sports tech journal / spring 2013 svgupdatesvgupdatesvgupdat AN SUMMIT svginstead of getting fiber orupdate satellite, they’ll actually just get one or two svgupdatesvgupdat DSL connections,” he continued. “They’ll plug them into our unit and bond all of the wireless bandwidth available, as well as the DSL, and they transmit live professional soccer games that way.” Although backpacks operate on a smaller scale, these cellular- From left: ONE CONNXT’s Dave Almstead, Aframe’s Mark Overington, and iStreamPlanet’s Chris Carper preached the use based uplink transmission units must also fight for bandwidth, of open Internet for video distribution. contending with thousands of fans’ texting or uploading pictures to Facebook. The key to providing quality of service within the a media-asset–management system. We now manage HD video crowded venue spectrum, said Bell, lies with the wireless carriers. for more than 250 customers,” he noted, “including the UFC, “When they can say we’re going to guarantee you x bandwidth, ESPN, WTA, the Olympics, and more.” which the U.S. carriers are close to doing,” he said, “that’s the day we A-Frame mitigates risk, he said, by using dedicated lines over can walk [into] the Rose Bowl with a high expectation of success.” the open Internet, allowing the company to remain in total control of the transport process. And having data centers in both New York and Los Angeles ensures that content is replicated in discrete secure locations for disaster recovery. Open Internet Makes Although point-to-point dedicated lines can be set up, Almstead said, the Internet was configured for Web services and is self- Gains as Reliable healing. “We manage the routing of the content ourselves, or it can dynamically route itself. It can be point-to-point or point-to- Production Tool multipoint with the [extra] cost of additional MPLS lines.” By Ken Kerschbaumer ONE CONNXT was born out of necessity when ONE Media Corp. needed a more cost-effective solution to transport programming he open Internet is increasingly an option for transporting from Asia to the U.S. for . The standard methods, Tfiles and graphics; it even offers a backhaul option in a pinch. satellite and fiber, were extremely expensive, and the solution was to In recent years, the desire for video over the Internet has helped invent what the company considered a better delivery system. drive bandwidth speeds, in turn allowing more consumption of “Our compression capabilities allow us to take talking heads information. That factor alone has led to a doubling of transport down to SD transport quality from Nigeria to Italy at only 670 kbps,” speeds over the Internet in the past two or three years. said Almstead. “The technology is moving forward very quickly.” “[All the technologies] are coming together and giving us iStreamPlanet, which in 2011 and 2012 was best-known as another level of productivity,” said ONE CONNXT CEO Dave the online content-delivery network for NBC Sports and NBC Almstead. “It is a lot less expensive for us to provide services and Olympics, provides encoding for delivery of live and on-demand acquire [bandwidth].” video streams to computers and mobile devices. Cloud-based Internet-related production and transport systems are increasingly transcoding allows iStreamPlanet to take a live video feed in, a part of professional workflow. For example, A-Frame’s cloud- encrypt it, and simulcast its delivery to a host of devices. based video-production platform permits full-resolution media to “Compression algorithms, from MPEG-2 to MPEG-4 and be uploaded directly off a camera and allow production teams to H.264 and now HEVC, are causing a revolution where [content collaborate in real time from different locations. distributors] do not need as much bandwidth to reach consumers “We started three years ago in London to alleviate file-based who want more content,” said Chris Carper, SVP, business workflows,” said Mark Overington, president, North American development, iStreamPlanet. operations, A-Frame, “and teams can access content in the cloud Carper, like Overington and Almstead, believes that clients’ desire from any location in the world at any time.” to reduce infrastructure and costs of transport at sports events will Two private cloud data centers in the UK and the U.S. allow make moving into a virtual environment more attractive. users to rent space on a system that A-Frame built with proprietary “As live linear streaming becomes more important,” said technology to handle HD video files and metadata. “It’s not simply Carper, “we can leverage outside partners to do that.”

34 sports tech journal / spring 2013 svgupdatesvgupdatesvgupdat PRESENTS svgOCTOBER 23update, 2012 | MARLINS PARK | , FL svgupdatesvgupdat Marlins Park Fuses Entertainment, IT Convergence By Karen Hogan

ith a left-field nightclub out of South Beach, a custom contemporary-art installation marking Weach Marlins home run and victory, and a color palette as limitless as it is bright, Marlins Park isn’t your grandparents’ ballpark. This new-era ballpark in Miami’s Little Miami Marlins’ Larry Blocker provided Venue Tech Summit attendees an inside look at the team’s new state-of-the-art Havana reflects its city and anticipates the future of the fan experi- stadium. ence. Of the numerous trends in venue design, the growing convergence of game presentation, broadcast, and information technology was technology; and Harris and Ross Video terminal gear. top of mind for team personnel during construction of Marlins Five Avid Media Composer stations serve the team’s editing needs, Park. During attendees’ tour of the venue, David Enriquez, an Avid Interplay provides asset management, and a StorageDNA director of IT for the Marlins, discussed the relationship between system handles long-term archive. In-stadium video is captured by his department and that helmed by Larry Blocker, director of game a complement of Sony HD wired and wireless cameras; in-stadium presentation and events. communications are facilitated by a Riedel intercom system. “We’ve learned a lot in building this ballpark, that we can’t be Alpha Video also integrated the Marlins’ video coaching room, islands,” said Enriquez. “If you’re still stuck in the island world, or “The Lab,” which provides viewing stations for players and you’re going to fall behind because it’s not a matter of broadcast coaches to check out video during and after the game, as well as guys’ giving up rights and capabilities to IT people. It’s IT an interactive area where players can work on mechanics. The Lab people being able to provide infrastructure so you can grow your illustrates how far technology has come in a few short years. broadcast environment.” “We started with VHS tapes,” laughed Video Coordinator Cullen Convergence extends to the truck bay (which can McCrae. “Then, we went to DVD. Now we’re saving everything on accommodate six trucks and is supported by Level 3’s Vyvx hard drives; we’re dialing up databases, we’re creating filters. Now fiber network), the extensive network of video displays, and it’s at your fingertips.” especially the control room. From the 101- x 51-ft. Daktronics In-venue connectivity figures prominently at Marlins Park. Free display in right center field to the outfield wall displays to the WiFi for fans is supported by 217 access points throughout the ribbon boards, 17 individual video displays are visible in the stadium and by a distributed antenna system built and managed bowl. Outside the bowl, more than 700 Sony TV sets paired by ExteNet Systems. with Enseo HD3000 set-top boxes on a converged network Enriquez described the challenges of supporting future constitute the ballpark’s IPTV system. technologies. When the Marlins broke ground on their $515 million The year-old venue is home to one of the largest control rooms stadium, the iPad had not yet been invented. Today’s connectivity- in Major League Baseball. Located on the third-base side of press capacity model may not be able to satisfy fans tomorrow, requiring level, the control room, integrated by Alpha Video, contains a venue construction to anticipate future needs. Sony MVS7000 production switcher; an eight-channel EVS system He explained, “What I want you to take away from here is, the with IPDirector; two Chyron LEX3 graphics engines and a Click model that we’ve built on convergence is something that you can Effects CrossFire system; Harris video-, audio-, and data-routing build on.”

36 sports tech journal / spring 2013 svgupdatesvgupdatesvgupdat

Marlins Park, which opened in 2012, features a 101- by 51-ft. Daktronics display in right center field (left). From the outfield wall displays to the ribbon boards, no fewer than 17 video displays are visible within the bowl. The retractable roof can go from fully closed to fully open in 13 minutes, shielding fans from the South Florida sun and rain.

fiber in addition to the fiber used on opening day, professional A Peek Inside the teams and collegiate programs create flexibility that can only benefit their programs. And best of all, fiber is inexpensive. Stadium of the Future “The difference between 24 strands of fiber, 72, 144, 288, is By Jason Dachman negligible in terms of the cost and the labor,” explained Scott Nardelli, SVP, sales and marketing, Bexel. “But, when we have n stadium design, only one thing is certain: enough today won’t to show up after the fact and put in that fiber, we have to dig up Ibe enough five years from now. During the closing session at streets, and it becomes a huge job. Marlins Park, venue designers, system integrators, and equipment “You can’t put in enough dark glass these days,” he continued, manufacturers offered insights on how to build state-of-the-art noting that doubling capacity doesn’t double the cost: “It is a 25%- venues while accounting for the fact that much of the technology 30% cost increase, not a 200% cost increase.” will soon be outdated. While the fiber backbone of a venue or campus has never “When you think about future-proofing a [venue], you can’t been more integral to a college team’s video operations, the gear think ‘maybe [the client] is going to need it,’ because they are inside the control room is changing dramatically. The from going to need it down the line,” said Josh Beaudoin, director, hardware-centric units toward more software-based is creating a public assembly and large venue projects, WJHW. “You’ve got to new-look control room and camera complement and presenting think outside of the box and think about what you don’t know new challenges for manufacturers. yet.” “The kids that are coming out of school are learning this The safest way to future-proof a venue is with expandable technology in a different way and growing up with new software infrastructure and cabling that will accommodate unforeseen applications,” noted Richard Threadgill, senior director, sports upgrades down the road. By laying down a vast amount of dark market development, Grass Valley. “So we’re trying to build a

sports tech journal / spring 2013 37 PRESENTS

OCTOBER 23, 2012 | MARLINS PARK | MIAMI, FL updateupdateStadium of the Future panel (left to right): Alpha Video’s up Jeff Volk, Bexel’s Scott Nardelli, Grass Valley’s Richard Threadgill, and WJHW’s Josh Beaudoin black-box hardware architecture that is defined by the software that comes with it.” Cisco addresses the issue with its Connected Stadium WiFi. The software-centric mentality will affect not only the gear Gene Arantowicz, senior director of business development for the inside the control room but also the personnel operating it. company’s sports and entertainment division, discussed Cisco’s Threadgill believes productions will need smaller crews thanks to progression in the in-venue WiFi space. the automation capabilities provided by next-generation software. “Our first foray into this was simply building a really high- This new approach is also likely to affect the engineers who density WiFi network for the San Francisco Giants so that design the venues and control rooms. [cellular] carriers could get data off of the cellular network,” he “Three years ago, as a system integrator, we were hiring said. “And during that time frame, we learned [that] just the engineers as fast as we could that could sit down and draw average enterprise WiFi deployment is not good enough [for hardware systems,” said Jeff Volk, director, Alpha Video Sports sports venues].” & Entertainment Group. “Now we actually have a software- The lessons learned led Cisco to develop stadium-specific development department because there are so many middleware antennae, hardware, and software. things that we have to tie together with software.” Arantowicz sees delivering live video over WiFi as the next The fastest-growing segment of the sports-venue industry is phase: “Imagine being in an NFL venue where you can actually the college market. Schools all over the country are looking to look down [at your mobile device] and watch NFL RedZone establish new revenue streams by ramping up video-production channel [or access] live audio, live data.” capabilities. With these new facilities, colleges and universities can Miami Dolphins SVP/CIO Tery Howard posed the idea of stream their own live athletics content online, provide it to their placing filters within the WiFi network to limit what content can be conference networks (Pac-12, Big 10, etc.), and entice local RSNs accessed in the venue. “It’s one thing to make a call and send a text; and entities like ESPN3 to televise or stream this content. it’s another thing to watch the RedZone,” she said. “Do we filter “Schools are fibering up their campuses and making all of their [or] control what we are going to put on the pipe for our fans when venues accessible through a central control room,” he said. “This we introduce WiFi?” replaces the truck, so there is no need for an outside-production- Venues must increasingly do battle with the at-home experience truck partner to come in at all.” to get fans into seats. Several years ago, the Miami Dolphins introduced Fan Vision, a wireless handheld device that streams 10 video channels over a dedicated spectrum, to fans in Sun Life Venues Aim To Keep Stadium. Although Fan Vision has proved successful, the Dolphins have been conservative about installing WiFi. “When we [venture Fans Connected into WiFi deployment],” said Howard, “we want to make sure that By Karen Hogan it satisfies or exceeds the expectations of our consumers and fans.” In the 2012-13 season, the Dolphins pilot-tested an AT&T- and n the three years that it took Marlins Park to go from vision Cisco-designed network that mounts access points in handrails. Ito reality, tablets were invented, smartphone usage exploded, Stadium architecture figures prominently in WiFi-network design, and 5-GB devices were right around the corner. In-venue WiFi and panelists agreed that this “racetrack” design could be a game networks are no longer a luxury for the few but an expectation of changer, not only for football venues but for other sports as well. the many. Which raises the question: How can venues keep up? “I think the ballpark is the hardest. Behind home plate is your “WiFi is an expectation that the fans are coming to expect challenge because [of] your distance from any form of overhang throughout all leagues, and it’s to compete with the home [and because they’re] your most expensive seats in the ballpark,” experience,” said Chip Suttles, VP of technology, Seattle Seahawks, said Robert D. Jordan, managing partner, Venue Research and moderating a panel on in-venue connectivity. Design. “That’s why I think what Tery has going on in Sun Life

38 sports tech journal / spring 2013 updateupdateup PRESENTS

OCTOBER 23, 2012 | MARLINS PARK | MIAMI, FL svg[Stadium] is really goingupdate to translate extremely well to baseball, svgupdatesvgupdat especially in those very small, defined areas.” In-venue WiFi networks pose inherent design challenges, including installation expense, access-point location, and simultaneous-use Van Wagner Group’s Bob Jordan (center) speaks about keeping threshold (Marlins Park’s wireless network is configured for 25% fans connected in the venue; Miami Dolphins’ Tery Howard (left) capacity). Those factors are especially challenging in one-time–use and Cisco’s Gene Arantowicz look on. venues, such as NASCAR tracks and golf courses. However, all agreed that WiFi must be supplied to keep fans coming back. One of the challenges facing venue content creators is that many “Eventually, it’s going to be an expected service, just like you of the screens are not the same size. He said it is getting easier to don’t see ‘We have color TV’ outside a hotel any more. It’s an reformat a piece of content. expected thing,” said Arantowicz. “This … will extend to the The Miami Dolphins have an older stadium with newer display stadium. You don’t want to check your life at the door just because technologies, such as ribbon boards and a massive six-year-old you go to a sporting event.” Daktronics display with a large, 720p image located between two pillars of video board that provide graphics and stats. “A couple of years ago, we rebuilt the control room to streamline Miami Franchises Share our operations and condense our game-day staff with things like automated stats,” reported Bryan Lykins, director of broadcast Video Philosophies engineering, Miami Dolphins. By Ken Kerschbaumer One luxury the Dolphins team has is that the marketing- partnership team is responsible for bringing together the videos ocal sports franchises took to the stage to discuss how the and graphics from advertisers, allowing the creative team to focus Lin-venue video experience has evolved into a market known on internal content needs. Their next need may be less about the for flash, sizzle, and style. big screen and more about the small one. NBA champion Miami Heat, for example, has a video department “Mobile devices are a really big deal, as every one wants to be that addresses the needs of fans not only in the venue but also across on their phone,” said Lykins. “So we are thinking about different the globe. “In 2008, we were the worst team in the NBA, but we worked types of content and integrating camera angles.” harder and created just as much content as we did in 2006, when we Filomia noted the need to push content to mobile devices: “The won the NBA championship,” reported Ed Filomia, senior director of number-one complaint is not getting good cellular service.” broadcast services, The HEAT Group. “In 2012, everything changed, League policies differ on replays that can limit (or expand) the and we had to do things like hire Chinese producers for a Chinese fan experience. Website that could reach out to fans halfway around the world.” The NBA, for example, pushes use of video and limits showing The staff for the Miami Heat has continued to grow, producing things like flagrant fouls or other images that may incite fans. more than 150 pieces of original content each month. Key to the MLB’s philosophy, on the other hand, is to not show up the process is the use of an Avid Interplay server system. umpires. That means no replays of called strikes or slow-motion “It allows us to share assets as we grew from a facility with four edit replays of close plays. And that does pose a challenge for venues suites to one with 17 editing stations: 12 desktop stations and five full trying to get fans into the seats. editing suites,” Filomia said. “And we are tailoring content for the “Fans get a better feed at home [of the replay of a play under Internet so that a piece can reach the maximum number of eyeballs.” review] while, at the ballpark, the fans have to wait,” said Blocker. The new home of the Miami Marlins’ video-production team, The NFL policy, meanwhile, allows the in-venue video team to led by Larry Blocker, director of game presentation and events, is a show the instant-replay feed that the head umpire is watching. vast canvas of Daktronics scoreboards and digital signage systems. “They can see what the referee is zooming in on, and that keeps them “Daktronics also gave us 5,000 hours of content-creation coming to the stadium,” said Lykins. “We don’t play flagrant fouls, but support,” Blocker noted, “so we use them for content for the we show as many replays as we can. The NFL is a fan experience, and it ribbons and menu boards.” shows the fans that the league is open with them.”

40 sports tech journal / spring 2013 svgupdatesvgupdatesvgupdat

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harrisbroadcast.com Super Bowl Spotlight The Big Game Hits The Big Easy SVG looks behind the coverage from New Orleans By Ken Kerschbaumer

42 sports tech journal / spring 2013 uper Bowl XLVII proved to be one of the most eventful NFL season finales in history — complete with sky-high ratings, plenty of drama, a Ship-thrustingly explosive halftime show by Beyoncé, and, of course, a mysterious 34-minute power outage at New Orleans’ Mercedes-Benz Superdome. Nonetheless, the telecast was a glowing success for CBS Sports, as an average of 108.7 million viewers (46.4 rating) tuned in for the telecast, not to mention the more than 1 3 million unique viewers who streamed the game online. SVG’s Ken Kerschbaumer was on 2 hand for it all, reporting on CBS’s monumental efforts in New Orleans. Highlights from Ken’s reports appear on the following pages but make sure to visit sportsvideo.org for even more coverage. 1. Cameras at midfield in the Superdome 2. The power outage knocked out half the power to the Superdome in the third quarter, but the TV compounds maintained power. 3. CBS Sports’ Ken Aagard (left) and Michael Aagaard, who manned the low camera on the dual-chair cart 4. Jay Shinn of FOR-A (left) and George Hoover of NEP Supershooters spearheaded much of the 4K production efforts in New Orleans. 5. CBS top execs (from left): Ken Aagaard, EVP, operations, engineering, and production; EVP/CBS Sports Network President David Berson; Executive Producer/VP, Production, Harold Bryant; CBS Sports Chairman Sean McManus; CBS President/CEO ; Coordinating and Lead Game Producer Lance Barrow; and Lead Game Director Mike Arnold 3

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4 sports tech journal / SPRING 2013 43 Super Bowl Spotlight Super Bowl XLVII Becomes Super Week for CBS

One of four sets deployed throughout CBS Super Bowl Park at Jackson Square

t didn’t take long while walking around presence this year was born. A walk down the streets the French Quarter in New Orleans to of made it clear that both NBC, which see that, for CBS, the Super Bowl was broadcast the game, and ESPN, which always has a Super Week. CBS Sports, News, and major presence at Super Bowls, took full advantage Entertainment called Jackson Square, of the city’s compact size to build their brands. So, when CBS descended on New Orleans for the theI iconic and historic center of the French Final Four, the idea for a Super Week took root. New Quarter, home for a week. Orleans, like Indianapolis, has a compact footprint, Two entertainment programs, and The with stadium, hotels, and secondary stages and Late, Late Show With Craig Ferguson, were on-site. event areas all within a mile and a half. CBS News had a massive presence with CBS This Branded CBS Super Bowl Park at Jackson Square, the Morning broadcasting live from the Square and CBS presence included four stages designed by local firm Evening News With and Solomon Group, standup positions for CBS affiliates there on the weekend. Also, standup positions at Artillery Park across Decatur Street, and a massive located across Decatur Street gave CBS affiliates compound with seven remote-production units, a two- a place to get viewers excited about Super Bowl story CBS News facility, and trailers for talent, guests, XLVII. And then there was CBS Sports Network, and staff. Lighting design, another massive undertaking which had broadcast 50 hours of live content from because it required lighting not only the set but also all Jackson Square, Row at the Ernest N. Morial of the Square and the broadcast compound across the Convention Center, and elsewhere in the Big Easy by street, was handled by Billy Brennan. kickoff on Sunday night. Solomon Group also designed a cable bridge built “CBS Sports Network is the biggest player here, to carry broadcast fiber cable from Jackson Square and they are doing the most programming,” said to the broadcast compound across Decatur Street. Ken Aagaard, EVP, operations, engineering, and Designed in one day, the structure suited the style production, CBS Sports, during the week. “This is of Jackson Square and the French Quarter and the coming-out party for the CBS Sports Network.” provided not only a way to get cabling safely across It was at Super Bowl XLVI in Indianapolis, he the street but a branding opportunity for CBS. observed, that the idea for CBS to have a bigger The bridge exemplified the cooperation with the

44 sports tech journal / spring 2013

Super Bowl Spotlight

city, the Super Bowl organizing committee, and length of Bourbon Street and transmit back to the Jackson Square-related interest groups. compound via microwave.” “Everyone, including the residents and businesses, The massive undertaking was a complex mix could not have been more cooperative for getting of inputs, outputs, and constantly changing needs permits for things like the cable bridge or the on the stages, but the use of four 72-strand fibers compound space,” said Aagaard. “We had to displace and the Bexel fiber kits for connectivity definitely the horse-and-buggies for a couple of days, but even made things easier. According to McCrae, CBS had they were understanding.” determined that it needed at least three 12-strand The Jackson Square sets were complemented by fiber cables for each stage, but discussions with Justin two airplanes providing live aerial shots, a Fletcher Paulk, director of fiber services, Bexel, indicated that robotic camera atop the Hyatt Hotel getting shots of a single 72-strand fiber might be a better approach. the Superdome, and a BSI wireless camera shooting “The idea of using 72-strand fiber was to just offer across the French Quarter. a huge amount of capacity for each stage,” said Paulk. Each of the four stages was connected to a dedicated The single cable is also slightly thicker, making it a bit “We raised production facility across Decatur Street via four more resistant to the kinks or cuts that can sometimes 72-strand fiber cables laid down and maintained by interfere with operation of thinner fiber cables. And, the bar, and I Bexel. F&F’s GTX15 A unit handled stage one; Game yes, a complete backup spool of 72-strand fiber was on Creek Video’s Victory A and B units, stage two; Corplex hand in case of emergency. don’t see the Iridium and Zinc A and B units, stage three, and a Fiber systems from each truck were also in use: flypack, stage four. A small Hurst truck served as an Game Creek’s Hydra for stage four; F&F’s fiber Super Bowl ESU unit for signal control and transmission needs. system connecting the lighting director’s tent to According to John McCrae, executive director, field all three trucks; and a Corplex fiber system for a broadcasters of operations, CBS Sports, the biggest challenge was that cooking segment on the third set on Sunday. the production team had only a little more than one One new piece of technology on set three was Canon record in the day to set up the compound and get it connected to the 27X6.5 lenses. “They are much wider,” said McCrae. sets in Jackson Square. As a result, communications And the wider shots helped because sometimes there future doing across the sports, news, and entertainment production were up to seven guests on the stage. groups operated independently. For power, three 500-kW units were on hand, much less than “The F&F truck is married to the Superdome, along with two 350-kW twin-pack generators. Fifty- and the CBS News flypack is married to New York, four AWG 4 cables passed over the cable bridge to what we so, if we married them together, that would have the Square, and Filmwerks lighting kits required an been a huge system,” he said during the week. “The additional nine 400-amp power services. are doing.” challenge is, how do you deal with shared facilities “When the lights are turned on [at night],” said without sharing communications?” McCrae, “it basically looks like full moon plus and —Ken Some unique solutions were required, including gives a nice [lighting] base to the trees.” a jib camera overlooking Jackson Square with three The entire production, said Aagaard, signals a Aagaard base stations, each connected to a different production new era in Super Bowl coverage. But it was also the truck. The jib operator plugged into one of the base result of an industry-wide effort in the past decade to stations to pass signals to the truck currently on-air. bring fans closer not only to the action on the field Similarly, the RF camera provided by BSI was but to the building excitement prior to the event. shaded in the F&F truck, but its communications “I give ESPN all the credit because they’re the ones system was tied into all three trucks. that started [these sorts of productions] with College “The RF system is fairly robust,” said McCrae. Gameday, one of the great shows in sports television,” “We have a receive site on Artillery Park that can said Aagaard. “We’re following in their footsteps, and take care of coverage down to the river, another on things like crowd control are all new to us, but we’re top of Jackson Square that can get signals back from learning as we go. We raised the bar, and I don’t see St. Peter Street and Bourbon Street, and then a third the Super Bowl broadcasters of record in the future on Capital One that allows the camera to walk the doing much less than what we are doing.”

46 sports tech journal / spring 2013 sports tech journal / SPRING 2013 47 Super Bowl Spotlight CBS Sports’ Super Effort for the Big Game

The CBS Sports Super Bowl halftime set was up and running in a matter of minutes and then was unexpectedly needed once again during the third-quarter power outage. BS Sports seemingly took over and the use of Evertz Mosaic, a system that allows New Orleans in covering Super up to six camera angles to be synced and played back Bowl XLVII, a months-long on a split screen to viewers at the push of a single button. But the biggest accomplishment was simply effort marked by deployment the collective effort by hundreds of CBS Sports of technology innovations, staffers, freelancers, and technology partners. rebrandingC of CBS Sports’ graphic look, A core team of 25 staffers led the massive team and the opportunity to put the CBS Sports that, in many ways, embodied the spirit found Network front and center for NFL fans. And among production personnel at an Olympics. then, of course, there was the power outage From the beginning of pregame coverage, viewers at the Mercedes-Benz Superdome during the could see that all CBS Sports inserts and animations had been redesigned. Reality Check Systems and second half of the game and the cause of a Cake Studios worked together on the insert elements; 34-minute delay. Big Studios in Toronto and Click 3X Entertainment “Things are going to happen, and it becomes in New York, the animation packages. Vizrt, Adobe about how fast you can clean it up. The power Aftereffects, and Maxon Cinema 4D also played a big outage is an example of a pretty good recovery,” part in the rebranding. said Ken Aagaard, EVP, production, operations, Marla Schmettau, director of graphics, CBS Sports, and engineering, CBS Sports. “The biggest fear was pointed out that the inserts were noticeably bolder, that the lights would come back on and we would bigger, and more prominent and the animations still have no power to the booth, but that didn’t visually conveyed such sports elements as the force GRAPHIC DESIGN CUSTOM SOF TWARE HARDWARE ENGINEERING happen.” of impact. There were many technical highlights of the The game broadcast was produced out of NEP coverage: a new look for CBS Sports’ graphic SS24’s A, B, and C units, its third Super Bowl. Tape animations and inserts; the expanded use of release, always a massive effort when 50 cameras Heyeperzoom, a 4K system that allows images are involved, took place out of NEP SS22; F&F to be extracted for ultra-clear zooms into an image; Productions’ GTX16 A and B unit handled the

48 sports tech journal / spring 2013 GRAPHIC DESIGN CUSTOM SOF TWARE HARDWARE ENGINEERING Super Bowl Spotlight

pregame show, Bexel’s BBS1 the pregame editing, camera operators in it, one high position to isolate and NEP Denali Beyoncé’s halftime show. on the quarterback and a lower one with a Fletcher Several vendors worked with CBS Sports in what NAC high-speed camera. “We introduced the dual is arguably the biggest technology innovation of the sideline cart in October to give the cameramen a year: the use of six For-A FT-ONE 4K cameras and the chance to get used to a different way to operate as still-to-be-officially released Evertz Dreamcatcher they [are] sitting rather than standing.” replay system. FUJINON 4K 75x400 prime lenses Another new tool was the Evertz Mosaic, which in the F&F GTX16 unit were used for a part of the was connected to six cameras and delivered a split- production that took place in NEP’s ST27 unit. screen view of the different camera angles. With two “This will be like when we dipped our toe into brothers coaching against each other, the system was “We had a HD,” said Aagaard. “I think we will see more and used to split the screen into three vertical slices with more 4K [used in productions].” a coach on each side of the screen and a shot from couple of The 4K project began in September with a test during the Skycam in the middle. an game. CBS and NEP gave both Mike Arnold, who directed the game for CBS key goals, For-A and Evertz lists of ways to improve the respective Sports, said that, 80% of the time, there was a camera technologies, and both companies responded. on each coach. “We also can use [Mosaic] for a split including “When we started, it took six fibers to get the [12- screen of the quarterback and the receiver.” having a Gbps] signals back from one For-A camera, and now According to Aagaard, the Mosaic will be tested we only need three, so that is pretty cool,” said Bruce during CBS’s PGA coverage this season. “I can see more cohesive Goldfeder, VP of engineering, CBS Sports. “They also using it with four or five cameras around the green made the camera waterproof and weather-resistant.” to show reactions,” he said. “We really learned a lot feel for the The camera operates in a more “broadcast”-centric about that technology as well.” animations way than other 4K cameras on the market, including Although the could have overshadowed all the ability to be shaded much like a regular HD camera. of Super Week (especially if the as they lead “They really saved us,” said Aagaard of For-A’s had won and the 34-minute delay could have been a technical team. “This gives them the opportunity to factor in the outcome), the CBS team walks away with into the insert. slide into a market they have historically not been much more than experience in dealing with power It has come involved with.” outages. CBS Sports Network, for example, offered 53 Evertz, meanwhile, improved the graphical user hours of programming during the week and became a together interface and made it much more intuitive for replay programming force that will be used by CBS at nearly operators. “Their programmers are really good and all major sports events in the future. very well.” understand TV and video,” added Goldfeder. “We really kicked ass across the board,” said Aagaard. The six For-A cameras were positioned to capture “There were three venues that had a lot of things going images on the goal line and along the sidelines because on at the same time, and it really showed the synergy of —Marla the best-case scenario for use of the cameras would the CBS Sports Network and CBS Sports.” Schmettau involve checking whether a player caught a ball and his Patty Power, SVP, operations and administration, feet landed in bounds. Zooming in and maintaining CBS Sports Network, concurred, adding, “The week full HD resolution almost guaranteed a definitive look. was a great step for us to showcase our ability, and As it happened, only one of the 4K instant replays this brought us all together.” by For-A, Evertz, FUJINON, and NEP made it to air, After the game, for example, CBS Sports Network and the Heyeperzoom look was never needed. But stayed on-air for an extra 45 minutes, giving the efforts were still valuable. time for CBS Sports’ NFL studio-show talent to “We learned how to use it, [but] it is something interview Ravens quarterback Joe Flacco, coach John that is going to be around next year and, hopefully, Harbaugh, and, closing out the show, linebacker Ray we will be able to use,” said Aagaard. “Ultimately, all Lewis, arguably the man of the week as the future cameras will be 4K.” NFL Hall of Famer ended his career. He also noted the first use of a dual sideline Said Aagaard, “We’re going to be a tough act to cart at the Super Bowl. The single cart had two follow.”

50 sports tech journal / spring 2013 Engineering Logistics Camera Support

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Wrestling Stadium Russia Stage Japan

Robotics

Fiber Optics

Flypacks Brazil Camera Systems

Basketball Sweden Integrated Solutions

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iving hardcore fans more control in ; Culver City, CA; and NFL than their fill of Super Bowl Films.” Most NFL Network programming took place on coverage, the NFL Network a stage in the convention center. The stage had two offered a week of wall-to-wall sets that faced each other and allowed talent and programming with shows Total crew members to quickly adjust cameras, lighting, Access,G Super Bowl Live, NFL AM, and First and take new positions to give the broadcast a totally on the Field and live news hits from across different look. The central location also facilitated New Orleans. Although it was the seventh press-conference coverage; the NFL Network covered Super Bowl played in the Crescent City, it those events for the league and was involved with NFL Events on set design and scenic. marked the first time NFL Network had a Another major location was a riverfront gazebo presence at one. in Woldenberg Park. The original hope was to “New Orleans has done use that as the main location, but concerns over this before, and it has also unpredictable weather led to the decision to use it as rebuilt itself, is on the rise a secondary site. and on a resurgence,” “The beauty of New Orleans, like Indianapolis said Glenn Adamo, VP, last year, is the close proximity of the different broadcasting, production, venues and the ability to easily get from one to the and media operations, other,” said Shaw, noting, “There is a lot of sharing NFL, during Super Week. of equipment and people, and that has been very “And it’s noticeable that advantageous for us.” the people are going to An example of the flexibility took place Wednesday make this work and they when a storm descended on New Orleans. The know what works.” Coaches Show and Total Access were easily moved NFL Network relied from the gazebo set to the convention-center location. heavily on Game Creek In all, the network broadcast more than 190 hours Video for its productions. across multiple platforms during the week and NFL VP of Media Operations Glenn On Saturday and Sunday, Glory was on hand at operated from multiple stages throughout the city. Adamo (left) and the Mercedes-Benz Superdome for all the action, “We are a member of the NFL, not an outside NFL Network Director and Pride and Clipper were located at the Ernest N. entity, so there is a lot of coordination with the league Technical Operations Morial Convention Center; Clipper moved to the Art and the departments and we are at the centerpiece Dave Shaw in front of Galleria on Saturday night to produce the NFL Honors of their venues,” said Rod Conti, director of remote the network’s Game broadcast. studio operations, NFL Network. His hope for next Creek Video mobile unit. NEP’s Superbee unit served as the main year is to have additional file sharing. transmission and engineering hub. All feeds from Along with the possibility of file sharing, there is the Game Creek trucks were received in Superbee via also the probability that the sets will get continue Level 3 circuits and sent out to Culver City, CA, or to get bigger. And, with the 2014 Super Bowl taking Atlanta, where network master control was handled. place in the metropolitan area, big A Satlink satellite uplink truck was located at each of things are expected from both the NFL Network and the two team hotels. Fox Sports, the network that will broadcast the game. “We have a lot of fiber and redundancy between “We are also going to be looking at smaller cameras the locations,” said Dave Shaw, director of technical like the Gopros, as directors and producers are getting operations, NFL Network, during the week. “Level comfortable with those,” said Conti. “It adds another 3 has a huge presence here and between our master element to field operations.”

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54 sports tech journal / spring 2013 1. ESPN Executive Chairman George Bodenheimer 2. Dolby Broadcast Applications Engineer Ken Hunold, accepted on behalf of Ray Dolby 3. CBS and Fox Sports visionary executive Ed Goren 4. Iconic announcer Frank Gifford 5. Trailblazing NBC handheld cameraman Cory Leible 6. Former NFL Commissioner Paul Tagliabue 7. NBC’s Jack Weir was inducted posthumously. His sons John and Rob join HOF Chairman Ken Aagaard (right) with Weir’s induction sign. 8. Legendary CBS and ABC announcer Jack Whitaker 9. Crazy like Foxes: David Hill (left) and inductee Ed Goren launched Fox Sports from scratch in 1994. 10. Network chiefs: ESPN President (left) with CBS Sports Chairman Sean McManus at Sports Broadcasting Hall of Fame Reception. 11. NBA Commissioner 12. News Corp. President/COO/Deputy Chairman Chase Carey (left) with Fox Sports COO Larry Jones 13. Inductee Frank Gifford (right) with Colin Cosell, grandson of his former rboothmate . 14. Inductee Ed Goren (left) with Fox Sports SVP, Field Operations, Jerry Steinberg and Game Creek Video President Pat Sullivan 15. Left to right: SVG Advisory Board Chairman Steve Hellmuth of NBA Entertainment, YES Network SVP Ed Delaney, and Fox Sports SVP Jack Simmons 16. NBC Olympics SVP of Engineering Dave Mazza (left) with former NBC Sports/Olympics Chairman . 17. A of Hall of Famers (from left): Inductee Jack Whitaker and wife Pat, inductee Frank Gifford with wife Kathie Lee, and Inductee Ed Goren. 18. Handheld Hall of Famers: Legendary cameramen Cory Leible (left) and Davey Finch at HOF reception. 19. CBS lead play-by-play announcer and longtime HOF ceremony host (left) with wife Courtney and HOF Chairman Ken Aagaard of CBS Sports. 20. The star-studded HOF ceremony drew in a packed house. 9 10

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1919 sports broadcasting hall of fame

George Bodenheimer A Worldwide Leader in Sports

He saw the future of his business needing“ a strong technical component years before it was apparent to others.” y first day at ESPN was a rather sharp awakening SVP/executive producer, ESPN. “He IS ESPN. And, for all of his to my duties,” recalls George Bodenheimer, former incredible accomplishments, he is truly the same great person M president of ESPN and current executive chairman, that he was when he started here over 30 years ago.” of his first day working in the mailroom at the then fledgling Prior to becoming president, Bodenheimer was responsible network. “I wore a coat and tie to work, and that lasted about for affiliate sales, advertising sales, marketing, and research 30 minutes as I was moving boxes, delivering mail, and going for all of ESPN’s domestic networks, a career path that began back and forth to the airport.” with his applying for a job as an affiliate sales representative in Those trips back and forth to the airport, and the opportu- Texas. When he took the job, there was still much uncertainty nity to deliver mail to everyone in the office, put Bodenheimer about whether a 24-hour sports network was viable. in a key spot to learn, learn, and learn. “In the hundreds of small towns,” Bodenheimer recalls, “we “During the 40-minute ride to Bradley airport, I would talk would have the same conversation with the cable operator: to people about their lines of work, what they did, and how they They would say a 24-hour sports network is crazy, but this is liked it,” he says. “It was every educational.” a sports town, so we will give it a try. And that never varied, ESPN SVP/CTO Chuck Pagano was working in the ESPN whether it was high school, college, or professional sports.” engineering department in those early days and recalls Cable operators’ passion for sports programming gave Bodenheimer’s visits. credence to the ESPN mission of serving the fan anytime and “He always had that inquisitive look in his eyes as he sur- anywhere. And technology played a big part. veyed what I was doing in that electronics cavern,” says Pagano. “When he took over as the leader in our sales department, “I tried to give him a quick and non-techie description of what I remember him telling me that he had to know more about I was doing, and he digested everything I gave him. He had technology because that was where our distribution partners the curiosity of an engineer in him from his very first days at were headed,” Pagano recalls. “He saw the future of his busi- ESPN.” ness needing a strong technical component years before it was That inquisitive nature was the first step in a career that cul- apparent to others.” minated in a role as executive chairman for ESPN. In between, Among the technology successes under Bodenheimer’s he worked his way up the ladder through sales and then, 14 watch was the launch of a massive digital center (a second one years ago, was named president. During his time as president, is under construction) in Bristol, CT; the debut of the nation’s Bodenheimer oversaw massive growth that lay to rest any first 1080p-capable broadcast center, in Los Angeles; the launch thoughts about the validity of sports-content creation and dis- of the nation’s first HD sports network in 2001; and the nation’s tribution. By January 2012, when he was appointed executive first 3D network. chairman, ESPN had grown to eight domestic TV networks, “Whether it is HD, 3D, or putting content on mobile phones, 48 international networks, 12 HD services, 18 Websites, and we know the mission of the company is to be there first for the much, much more. And through it all, storytelling and technol- fans,” adds Bodenheimer. “It’s an innovative spirit that drives ogy were front and center. the company, and I give all the credit to the employees.” “George is a once-in-a-generation leader,” says Jed Drake, —Ken Kerschbaumer

56 sports tech journal / spring 2013 sports broadcasting hall of fame

Ray Dolby A Synonym for Excellence in Sound

In designing technology products, he first“ and foremost wanted to make sure that technology never got in their way.

he word iconic is used a lot in broadcast to describe the and, most recently, , introduced in 2012, which” Paleys and the Sarnoffs who molded the business side of distributes audio through as many as 128 discrete sound tracks T the industry. On the technical side of that equation, the and up to 64 unique speaker feeds. name perhaps most deserving of the term is Dolby, as in Ray 5.1, chosen for digital-TV broadcasting in Dolby, whose name has become synonymous with excellence in 1995, brought sports broadcasting into the realm of discrete- broadcast-audio technology. 5.1-surround audio when it debuted on ABC’s Monday Night Dolby founded in 1965 in London. The Football in 1999. The network carried the entire 1999-2000 then-32-year-old Portland, OR, native had earned a Ph.D. MNF schedule with Dolby Digital 5.1, concluding with Super degree at Cambridge, atop his degree in Bowl XXXIV in Atlanta. from , further adding to a massive knowl- “Ray was always very supportive of broadcast,” says Tim edge base he had acquired working on audio and instrumen- Carroll, president of Linear Acoustic, “but what I always found tation projects for , where, from 1952 to 1957, he was amazing was that, aside from building a business, Ray was also largely responsible for development of the electronic aspects of always concerned with the people who create [film and televi- the Ampex videotape recording system. sion] programs. In designing technology products, he first and In 1976, Dolby moved the rapidly expanding Dolby Labs to foremost wanted to make sure that technology never got in San Francisco, where it established offices, laboratories, and their way.” manufacturing facilities. From there, Ray Dolby proceeded to Carroll, who worked at Dolby for seven years starting in elevate the quality of broadcast sound via a constantly innova- 1995, says Ray Dolby inspired him to strike out on his own. tive stream of new products. “It was the best job I ever had, and it’s where he inspired me Starting with Dolby Noise Reduction, which made analog and many others to always wonder what was the next thing we tape a viable medium for high-performance audio, Dolby could do to help make the industry better. Certainly, that’s what racked up invention after invention, which translated into Dolby has done with surround for sports-broadcast audio.” products that became critical to advancing the state of the art of Heading into his fifth decade of innovation and invention, broadcast sound. Among these products are Dolby SR, a profes- Ray Dolby personally holds more than 50 patents and has been sional four-channel noise-reduction system that improved the recognized with awards including the U.S. National Medal of dynamic range of analog recordings and transmission; Dolby Technology, the Scientific and Engineering Academy Award of E, the professional coding system optimized for distribution of Merit from the Academy of Motion Picture Arts and Sciences, surround and multichannel audio through digital two-channel an Emmy Award for Outstanding Individual Achievement postproduction and broadcasting infrastructures; the Dolby from the National Academy of Television Arts and Sciences, Digital codec, also known as AC3, which enabled discrete 5.1 and the Charles F. Jenkins Lifetime Achievement Emmy Award broadcast audio, is supported by all major broadcast formats, for Outstanding Achievement in Engineering Development. He and is incorporated into the DVD and Blu-ray technical stan- has also been enshrined in both the Consumer Electronics Hall dards; the series of codecs; such products as of Fame and the National Inventors Hall of Fame. the LM100, used to accurately monitor and measure loudness; — Dan Daley 58 sports tech journal / spring 2013 See us for 2014 Events in Brazil & Russia

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sports tech journal / SPRING 2013 59 sports broadcasting hall of fame

Frank Gifford A Star on the Field and in the Booth

his may come as a shock to New Yorkers, but Frank sports and the networks that air them. Gifford, beloved Hall ofF amer and long time play-by- Long before athletes and TV personalities became super- T play star of ABC’s Monday Night Football, never particu- stars, Gifford was well on his way to becoming a star in both larly wanted to play for the Giants, and he really wasn’t all that fields. He became a fixture in New York, at about the time the excited about playing pro football. NFL began getting popular nationwide and the Giants began For a while, he wanted to be an actor, and the rugged, good- getting good, culminating in that 1956 special season. looking kid from Bakersfield, CA, who had received some good What a perfect storm. He soon had his own pregame TV press as a stand-out Heisman Trophy candidate in 1952 while show and, by 1959, a that paid more than he he was at USC, made good money as a stunt double while a made as a football player. He hired an acting coach, preparing student. for that Hollywood career. It never happened. Instead, Gifford became perhaps the most beloved Giant A stint at CBS Sports followed his playing days, and then, ever, and a legend in the television business. His jersey number of course, came Monday night, where, in 1971, Gifford joined 16 has been retired, honoring a career that spanned 1952-60 Howard Cosell and and made that new night of and 1962-64. In that time, he played in eight Pro Bowls and pro football a sensation by being funny, sarcastic, sometimes was the league’s most valuable player in 1956, when the Giants brutal, but above all honest. crushed the Bears in the NFL title game. His 78 career In conversation today, he’s the same quick-witted, soft- touchdowns are still a Giants record. hearted gent we’ve known since his Giants days. In Cosell’s And, oh yes, he played as a running back and a defensive memoir, I Never Played the Game, the irascible one chided back and later as a wide receiver. Gifford for his inability to actually criticize a player. “You will In the curious way things work out, a vicious hit from never hear Frank Gifford say, ‘Boy, he blew that one, didn’t he, ’ linebacker Chuck Bednarik in 1960 just Howard?” Cosell said, somewhat truthfully but not with malice. about ended Gifford’s career — but the time it took him to Gifford was one of the first former star athletes who could be recuperate let him get better at his broadcasting work. It was assigned to cover any sport, not just the one he had excelled in. a clean hit, Gifford insists, although not all fans agreed. The At CBS, he helped cover golf tournaments. For ABC’s coverage star Giant stayed sprawled on the field. Fans were shocked, of the Olympics over the years, he did play-by-play for skiing, and Gifford was through. He didn’t return and announced his basketball, and wrestling. retirement following the season. But, in time for the 1962 sea- Like so many executives and talents in the sports business, son, he decided to come back and suited up for another three Gifford gives much of the credit for his success and style to late seasons on the gridiron. ABC Sports giant . It doesn’t take long to understand why late Giants owner “He was a sheer genius and a great guy,” Gifford said. “Roone , New York sports fans, and eventually millions liked to take people right into the reality of the game. He didn’t of ABC Monday Night Football viewer have loved Frank Gifford. want to concentrate on what the athlete did. He wanted to There’s a kind of joyousness in his voice and now, at 82, a know who the athlete was. I never forgot that as I went on true appreciation that this son of a rough-hewn California oil in broadcasting. People wanted to know what an athlete was driller, who was not considered bright enough to get a scholar- thinking, what compelled them to become extraordinary in ship at first to a big-name university (he transferred to USC what they did. He changed many of the things we did.” from a junior college), has enjoyed a full life provided by pro — P.J. Bednarski

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Ed Goren Sports Production Visionary

e recall great games from the way we saw them on accountant. We spent 18 hours a day together, everyday throw- television, and, to a large extent, the way those sports ing out ideas. It would start at breakfast and end up at a bar, Wevents looked is because of the imagination of Ed and we’d come in the next morning with a wine-stained napkin Goren. The former vice chairman of Fox Sports Media Group with something on it and say, ‘Whose idea was this?’ assembled a sports life that is more like a highlight reel of great “If it failed, we didn’t spend weeks trying to find out who to successes and great stories, most of which occurred on or near blame. We just moved on: what’s the next thing?” sports fields where he has spent so many weekends for most of Fox succeeded, beyond all measure and largely because of the past six decades. the style Goren helped stamp onto the product. “He’s one of the He was a top sports producer who became a top sports great, great heroes and success stories of the sports business,” executive, and he wore both hats well. says Dick Ebersol, former chairman of NBC Sports Group. Early on, Goren worked for CBS Sports, gaining fame within There’s hardly a major sport for which Goren hasn’t pro- the business for producing NFL games. That lasted until 1993, duced an astonishing number of games. Goren has won a when, in one of the most transformative broadcast transactions mind-boggling 46 . His time as Fox Sports ever, Fox Broadcasting grabbed the TV rights to NFL games executive producer and president comprises 16 NFL seasons, away from CBS. Not just NFL games but NFL games featuring including five Super Bowls; 10 NASCAR campaigns, includ- the National Football Conference, which comprised the best- ing eight Daytona 500s; five NHL regular and post-seasons; known teams from the biggest TV markets. It is still the crown and four Bowl Championship Series, with three National jewel of the NFL. Championship Games. In baseball, he has presided over 15 Overnight, or so it seemed, the still wobbly Fox Broadcasting MLB seasons and 12 World Series. Around Fox, the sports staff was for real. knew it wasn’t October, it was Edtober. He went crazy over bad- Indeed, ’s Fox Broadcasting wanted the weather World Series, time-consuming and boring mid-inning NFC and got it, and soon enough, Fox came after Goren. He pitching changes, or teams with less than stellar marquee value. was hired by David Hill, the Australian that Murdoch brought With the NFL, Fox rewrote the book, perhaps most notably in from News Corp.’s British sports operation to become presi- with the “FoxBox,” the little upper-left “situationer” on screen dent of the sports division here. (“It was Fox Sport then,” Hill that gives the bare-bones necessities: score, time, quarter, and jokes, emphasizing the singular. He became chairman of Fox so on. Goren says he suggested it at his first meeting with Hill, Sports Media Group and is now a senior executive VP for News but Hill told him he was a little late. It was already in his plans. Corp.) It’s an expected component now, but, in 1994, fans and TV It was as if Goren and Hill were twins, and that was the way critics hated it. it would stay: they built Fox Sports. There were arguments, but “If you’d go back to our very first broadcast with the FoxBox, there was always resolution. “He would always remind me he you would have thought we desecrated the Taj Mahal,” Goren had more education,” Hill says, jabbing his mate a little. Hill says. could remind Goren that he was the boss. “This is a unique business,” he adds. “Monday through “We had similar backgrounds,” Goren says. “We both Friday, you’re running the business, and, on weekends, you’re started out in news. We both spent a little time on the air. Then a producer.” we both went to sports to become producers. We spoke the He always had “executive producer” in his various titles. He same language. I was so fortunate to have a partner who had wouldn’t want it any other way. a passion for production. I wasn’t working with a lawyer or an —P.J. Bednarski 62 sports tech journal / spring 2013 APOLLO, FROM CALREC. FORM And FunCtiOn, sEAMLEssLy MAtChEd.

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SVG_Apollo_8.125x10.875".indd 1 04/10/2011 10:02 sports broadcasting hall of fame

Cory Leible Handheld-Camera Pioneer

uring more than four decades at NBC, Cory Leible revo- who was a real master on the sidelines. He had an instinctive lutionized the use of the handheld camera on every- presence that told him somehow where that next interesting D thing from NFL sidelines to U.S. Open putting greens to moment was going to come from.” presidential inaugurations. He elevated the role of the handheld Leible’s mastery of the camera reached nearly all of NBC operator to an art form, offering viewers a new perspective for Sports’ live telecasts, including MLB, NBA, NHL, tennis, and watching live sports. Olympics coverage. However, it was on the golf course that he “For over 30 years, Cory Leible was a cameraman’s camera- made his most indelible mark, pioneering the use of helicopter- man and a director’s dream,” says fellow Hall of Famer and facilitated aerial shots for hole previews, as well as close-up legendary sports-TV executive . “He was in the ground-level shots of putts. vanguard of those hearty souls that lug around not only a hand- Leible’s reputation as a daredevil became legend. Having held camera but about 90 lbs. of gear that goes along with it.” first strapped himself to the bottom of a helicopter at the 1972 A Long Island, NY, native and the son of a long-time vaude- Classic, he perfected the shot over the next two ville performer, Leible studied ballet and dramatics at the High decades — often flying just 5 ft. above the ground. School of Performing Arts in New York City. It was there that “He always told the story,” notes NFL VP of Media he put down creative roots and developed the legendary endur- Operations Glenn Adamo, who came up through the NBC ance that would serve him so well as a camera operator. ranks during the Leible era. “Whether hanging from a heli- “Cory had such amazing energy, stamina, and balance copter in golf to shoot the holes or hanging upside down at the that his nickname was ‘Iron Legs,’” says former NBC Sports Superdome for a Super Bowl to get a live shot [of all 22 players Executive Producer Mike Weisman. at once], Cory got the shot everywhere he went, and I know we After two years in the military, Leible entered the RCA were all better for it.” School of Broadcasting in 1964 and got his first break when The aerial shots may have garnered the most attention, but NBC needed vacation relief crew. Over the next two years, he Leible’s work around the green had the most significant impact worked off and on at theP eacock network in a variety of pro- on modern golf coverage, allowing viewers to see the trajectory duction roles, while also handling camera duty for WPIX-TV’s of the putt from ground level. New York Yankees coverage. By 1965, he had been brought “I was criticized a lot for standing behind a golfer,” Leible on full-time at NBC and was assigned to the network’s NFL says of this angle. “People said I might end up getting in the coverage in a variety of hard camera positions. The handheld way of his line. But I never did, and that shot offered such per- camera was not yet popular for live sports production, but spective. You could actually see the golfer looking at the green that was about to change, thanks to Leible and a fellow Sports with the pin in front. That shot became part of the framework Broadcasting Hall of Famer. “[Longtime NBC director] Ted of golf [coverage] after that.” Nathanson asked if I wanted to do the handheld when another A father to three daughters and grandfather to seven, Leible guy dropped out,” recounts Leible. “I did it, and, by halftime, resides in Southampton, NY, with his wife of 49 years, Valley. I started suggesting a few ideas to Teddy. He said, ‘Cory, let’s Although he may be long retired, his sense of humor and sto- do it. I’m going to isolate a camera to you, and we’ll see what ried work ethic make him one of the most beloved characters happens.’ After that, I pretty much had free rein over anything ever to grace a live sports production. I wanted to do with the handheld.” “Cory was one of those artists who helped drive this busi- He had a knack for capturing the perfect shot and would go ness forward,” says Ohlmeyer. “He made the coverage more on to cover three decades of NFL football and 14 Super Bowls. intimate, and more exciting. It allowed the viewer to be brought “One of the goals of every network was to make the coverage from their home to inside the game, and it made their apprecia- more intimate,” says Ohlmeyer. “And Cory was one of the guys tion of the game that much better.” —Jason Dachman

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SVG Spring Sports Tech Journal 02-2013 JN130208_v2.indd 1 2/11/13 5:59 PM sports broadcasting hall of fame

Paul Tagliabue Turned the NFL Into a TV Necessity

aul Tagliabue has a way of looking at a big picture and to agree to a free-agency salary cap and getting team owners to neatly editing it down to its most essential parts. It’s a agree to revenue sharing, a formula that gave the NFL a mecha- P character attribute his many admirers are quick to men- nism that really does allow small-market teams an equal chance tion, and it’s a trait that exhibits itself quickly in a conversation to compete with those from larger markets. with the former commissioner of the . “We’ve got the best labor deal in sports. We’ve got the best For example, ask him to assess the health of the NFL when league. He’s been our leader. The whole way he’s done this has he left the job to in 2006, and he offers a sensible, been wonderful,” the ’ owner, the late Dan unassailable verdict: “If you look at the business structure, it Rooney, enthusiastically told the after the has three core components to judge: the game on the field, 2006 pact was finalized. the game’s presentation at the stadiums, and the game’s pre- From a television standpoint, Tagliabue understood, per- sentation on television. If you look at that tripod from when I haps better than anyone, what pro football meant to broadcast took over in the late ’80s and how it is 16 years later, we were networks. extremely innovative.” He got what he wanted. When he came in, he negotiated Case closed, and with a neat summation. Tagliabue, a relatively modest $3.6 billion, four–year contract with net- who turned 72 in November, is now senior member of . But, by 2006, the Tagliabue-led NFL had negotiated Washington, D.C.-based law firm Covington and Burling LLP, eight-year contracts worth nearly $24 billion, placed a prime- where he worked from 1969 to ’89 as counselor and litigator time Sunday-night game on NBC, and still had a Monday-night for, among other sports enterprises, the NFL. game on ESPN—and some new Thursday games on its own From 1989 to 2006, he ran the league, in charge of what NFL Network. really is the national pastime, especially on television. “I like to say, and they like to hear, that the NFL has estab- Tagliabue’s predecessor as NFL commissioner, , lished that its product is the number-one entertainment con- was most responsible for taking the NFL into the modern cept in all of show business, more than any movie, more than television era; it was during his years that the football league any TV show,” says Dick Ebersol, former chairman of the NBC took its first big steps on network television.T agliabue built on Sports Group. Rozelle’s success and made the giant leap forward: he helped The Monday-night game on ESPN is always cable’s best- make the NFL a television necessity. watched program. Tagliabue also helped refine the fine points In Tagliabue’s time at the NFL, the league grew from 28 that made NBC’s Sunday-night game the best-watched pro- to 32 teams and supported (to the tune of $150 million) the gram on television. That helped otherwise-limping NBC claim construction of more than 20 new stadiums. He negotiated TV a rare broadcast-sweeps victory in November. contracts that made already rich NFL owners even richer and, One of Tagliabue’s boldest strokes was simply accepting in 2003, put the NFL itself in the cable business with its own that Fox Broadcasting was a real player when it bid on the NFL NFL Network. package in 1993. “I don’t think CBS or NBC fully appreciated ESPN reported that the NFL’s gross revenues in Tagliabue’s how well Fox was positioned,” he says. From the outside, it was first year as commissioner were $1.1 billion. By 2006, they were a scary proposition for the NFL to say goodbye to CBS, which $5.8 billion. had been a partner for decades. After two work stoppages under Rozelle, in 1982 and 1987, He pulled it off, says former Fox Sports executive Ed Goren. Tagliabue used his negotiating skills to make peace with the “He grew the league. That Fox deal changed the landscape of NFL Players Association; there were no work stoppages on his sports rights in this country.” watch. He made labor peace in part by persuading the NFLPA —P.J. Bednarski

66 sports tech journal / spring 2013 sports tech journal / SPRING 2013 67

DTS_SVG_Broken.indd 1 2/14/13 2:24 PM sports broadcasting hall of fame Jack Weir Engineering and Operations Pioneer Jack was as great a broadcasting“ pioneer as he was a true gentleman of the industry .

here was a time when broadcasting decisions had to gram that showed a herd of buffalo stampeding across a western” travel through numerous channels at a network. There plain,” Vacca says. “This inaugural program featured transmis- T was a time when television transmission was done over sions from Eurovision in Brussels. Each of the U.S. networks and phone lines. There was a time the Olympics were a just modest the BBC initiated TV’s entry into the satellite age.” program offering. Weir and Kivell became the leaders in converting affiliated Then came Jack Weir, whose 40-year career at NBC changed stations to a satellite-network distribution system and made all that. NBC the first of the three major television networks to accom- “From an operations point of view, Jack was a complete plish that feat. innovator,” says Ken Aagaard, EVP, Operations and Production Weir also executed the first live satellite uplink for network Services, CBS Sports. “He never got the credit that he should news out of Selma, AL, during the days of the civil-rights move- have for all of the work that he did. As an operations guy, ment. he was very important in my career because he taught me so “Jack was as great a broadcasting pioneer as he was a true much.” gentleman of the industry,” says Mike Meehan, SVP of opera- Weir was a mentor to many behind the camera and in the tions, NBC Sports. “He was a visionary here at NBC and was trenches of some of sports television’s most established broad- the unquestioned leader in changing the network distribution cast entities. model from terrestrial to satellite. He will be remembered for Weir graduated from Emerson College and served in the his integrity and dignity in a life well lived.” Army before beginning his career at NBC as a page in 1952. It It’s fitting that, in 2012, the year of television’s most suc- didn’t take long for him to emerge from the entry-level ranks cessful Olympic Games ever, Weir would be recognized by and begin having a significant impact on the network’s broad- the Sports Broadcasting Hall of Fame. Even two years after cast operations. his passing, his influence is still felt throughout theN BC com- In the mid 1950s, Weir and colleagues Don Kivell, and Frank pound. Badami sold NBC technical management on the concept of a “For me, he was the father of Olympics, engineering- and central department where instant on-air management deci- operations-wise, at NBC,” says Dave Mazza, SVP of engineer- sions would be made. From that was born the BOC (Broadcast ing, NBC Olympics, who worked with Weir on Seoul in 1988 Operations Center), the go-to place for all operational decisions and Barcelona in 1992. “He was a consultant to us during the on breaking news, sports, and other programs. Atlanta Games [in 1996]. He had already retired, and we had a That was just the beginning for Weir and his innovative bunch of young kids on the job like me, so we were looking for . In 1962, Weir and Kivell were key to one of broadcast- an elder statesman to make sure we didn’t get too far adrift.” ing’s most transformative technological developments: TV During his tenure, Weir helped build NBC’s Olympics cover- broadcasting’s move from terrestrial transmission over tele- age into the juggernaut it is today, pushing the technological phone lines to satellite. envelope while remaining cool under pressure and respectful Vince Vacca, a colleague and close friend of Weir’s for more of his employees. than a half century, recalls the first NBC satellite transmission Says Mazza, “He was always even-tempered and could be vividly. counted on to have an even keel — especially when the situa- “Jack, Don, and I were in the BOC when Don uttered the oft- tion required a little perspective and wisdom.” quoted ‘Cue the buffalo,’ referring to a film segment in the pro- —Brandon Costa

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6667-SVG-Spring-Tech.indd 1 2/20/2013 12:58:52 PM sports broadcasting hall of fame

Jack Whitaker A Paragon of Style

He had a wonderful voice. “ He was intelligent. He’s just an extraordinary guy.”

portscaster Jack Whitaker is a fine example of why they of talking to stars like NFL Hall of Famer Norm Van Brocklin call them the “good old days,” when a few gifted fellows and NBA great Lew Alcindor (now Kareem Abdul-Jabbar), two S with bulky microphones and graying hair spoke of the sports legends he thought were particularly interesting because majesty of sport and the grandeur of grand old games and when they had “varied interests.” Indeed, Whitaker makes plain that, being “slick” could hardly ever be considered a compliment. while he loves sports, he’s interested in a lot more than that and Whitaker’s television style, as exhibited on CBS and ABC sometimes ponders the experiences he missed outside the sports from 1961 to 1995, certainly wasn’t slick. It was sophisticated world. and smart. He had style, which is why, today, his admirers say Still, he has covered so many amazing events that it’s hard to he stands apart as one of the most accomplished of television’s say he has missed much. Ask him for his most vivid memory, early generation of wordsmiths, not so much an announcer as an and he can’t answer that question but is sure that high on the essayist who dared to be poetic when just clever would do. list is covering the in 1973 and witnessing To say Whitaker is revered by other sports broadcasters and Secretariat’s amazing 31-length victory. It’s a performance he executives is an understatement. “I admired Jack so much. So succinctly calls “perfect.” did everybody else,” says Frank Gifford, who was teamed with Golf also became one of his specialties. He covered several Whitaker in Gifford’s early days at CBS. “He had a wonderful Masters Tournaments — and was banished after one year when voice. He was intelligent. He’s just an extraordinary guy.” he innocently called a group of spectators following Jack Nicholas Whitaker, 88, who still lives in the suburbs of Philadelphia to the 18th hole a “mob.” The Masters didn’t have mobs, it was where he grew up, had his first fame as an on-air sportscaster explained. for WCAU, then a CBS-owned station (NBC owns it now). It A more eloquent passage he’s often remembered for was was quite a crew. One of his news buddies at the station was Ed uttered at the British Open at St. Andrews — and it seems an McMahon. The anchorman was the soon-to-be legendary John emblematic example of the kind of essay you’re not likely to Facenda, who was to become the “Voice of God” for the first hear on a sports broadcast today. He peered out at the stunning, years of NFL Films. ancient and impossibly challenging Scottish field of green and Eventually, McMahon became Johnny Carson’s sidekick. And observed, “Nobody designed this course. Nobody with a pencil Whitaker ended up announcing NFL games for CBS, although and $2 million and five bulldozers. This was made by nature. It sports viewers probably remember him most for his work at comes out of the ground. It was done with wind and rain and sun major golf tournaments, at the world’s premier horseracing and the help of a few sheep. And so, while, for most Americans events, at several Olympics, and as part of the broadcast team at and other people, it’s not love at first sight at St. Andrews … St. the first Super Bowl. Andrew’s Old Course is like a dry martini … an acquired taste, He has a lifetime of great moments. He has vivid memories and, as such, it remains with you forever.” — P.J. Bednarski

70 sports tech journal / spring 2013

SVG white paper Canon THE PROMISE OF 4K

By Larry Thorpe, Senior Director of Professional Engineering and Solutions, Canon

n terms of industry buzz, there is little doubt that 4K has arrived. A great deal is said today about the “immersive” nature of 4K images 4K cameras and recorders are proliferating. Throughout 2012, it on large screens. Indeed, some people argue that this represents a more I was a central topic of discussion at numerous industry forums. At comfortable and satisfying viewing experience than 3D. It is notewor- CES in January, it was a highly visible reality with many large-screen thy that many of the consumer 4K displays on view at CES were at least 4K consumer displays exhibited by multiple manufacturers, and 4K 84 in. diagonal. This is a significant recognition by the display manu- production standards are firmly in place. facturers that screen size is hugely important for 4K. However, the full The simplest way to understand 4K is that it represents a four-fold promise of 4K can be realized only if content creators fully exploit that increase over the approximate 2K of the 1920x1080 HD digital image larger screen size. Let us explore this. format. The implications of this are significant for both cinema and home viewing experiences as well as for lenses, cameras, and a myriad Content Creation other production and postproduction tools. And, while those implica- With four times the pixels of HD, 4K packs far more resolution into tions introduce a wide array of challenges, it is the implications of 4K a screen the same size as an HD screen, but the perceived resolution by distribution to the home that are the most challenging. the viewer is attenuated by the viewing distance. However, if viewing These are still early days, but it can be said that much is happening distance remains unchanged while screen size quadruples the area of with 4K. the HD screen, the most important step will have been taken. From the perspective of the viewer, effective use of the larger screen The Television Home Viewing Experience would be to exploit those extra pixels to create a radically different pic- The Human Visual System (HVS) is quite implacable in what it can ture content. Opening the field of view of the 4K camera lens will do perceive at a certain distance from a television screen. It was recently that. Using the additional resolution to create different content offers reported that the most popular HD-screen size sold in the U.S. in 2012 the full promise of 4K. was 40-49 in. If the consumer’s favorite viewing seat remains in the The simulations in Fig. 1 compare a 42-in. HDTV display with an vicinity of the reported2 average distance of 9 ft. from that size screen, 84-in. 4K one. It is important to note that the angular resolution is the then the HVS system fails to perceive the six-fold increase in resolu- same for both screens, but using the fourfold increase in pixels to add tion. Few consumers today are even close to enjoying the full visual picture content brings in a huge amount of environmental detail as promise of HDTV. well as foreground figures not present in the HDTV image. This is a Various papers have emphasized that a greater sense of presence in radically different image from the HDTV image. 4K can deliver imag- displayed imagery can be achieved only with screen sizes that occupy a ery that is closer to the way we see the real world. far wider angle of view. NHK’s UHDTV research reports that the “sensa- Figure 1. Simulations compare a 42-in. HDTV screen (right), tion of presence” (or sensation of “being there”) is related to the field of a medium-wide shot containing a lot of detail, with an 84-in. 3,4 view, and the “sensation of realness” is related to angular resolution . 4K screen, which offers a wider field-of-view capture.

72 sports tech journal / spring 2013 For sports, the goal of achieving a stadium experience in the liv- networks for coverage of major sports events. The age-old challenge of ing room could come closer to being realized. Wide-angle viewing of capturing contested plays with adequate resolution (to unambiguously sports in 4K would dramatically add to the communal viewing experi- resolve the issue) is being addressed by use of some 4K cameras, whose ence. For concerts, television drama, and special events, such exploita- outputs are digitally zoomed to create a satisfactory HD portrayal of tion of the wider angle of view, accompanied perhaps by a slower pace the specific action of interest. This is, of course, a niche application of of cutting between cameras, could introduce an entirely new viewing 4K acquisition. experience, and possibly a new choreography in television coverage. The larger question is whether there might be interest in exploring With the 42-in. HDTV screen being today’s most popular size, it is complete 4K coverage of a sports event in the foreseeable future. Argu- perhaps no surprise that consumer-electronics suppliers have unveiled ably, sports could be the primary driver for such coverage by offering a 84-in. 4K displays from the outset. Clearly, full exploitation of 4K imag- dramatic new stadium experience on large 4K screens in public venues ery will require new thinking on the part of content creators. or ultimately in the home. If the potentials of 4K sports coverage do Close-up shots will remain important to all genres of programming, stimulate interest, there are some important considerations — starting but a more imaginative use of wider-angle fields of view will produce with the 4K lens and camera. the compelling imagery warranted by the 4K system. It is this different content portrayed on significantly larger screens — not resolution per Image Acquisition: The Lens se — that will provide the “wow” factor in 4K. Capitalizing on this fact There are both technical and operational implications for the 4K requires a much needed industry discussion that is important to all lens. The technical side must start with the established standards for constituencies interested in successful 4K businesses. digital 4K (see Fig. 2). From these standards, it can be established that, for the popular Super 35mm image format found in most contempo- Television Production rary digital cine cameras, optical-resolution requirements are based Only a year or two ago, few broadcasters wanted to even discuss 4K on the need to deliver 2,160/2 line pairs (LP) in an image height of for television. This is understandable given that many remain chal- approximately 13.8mm. This represents the Nyquist frequency of the lenged by the ongoing transition to full HDTV services. associated digital 4K camera. To do justice to that 4K camera, the lens However, at recent technical and creative forums, an increasing must deliver 80 LP/mm with as high a contrast as possible. number of broadcast-network and cable-operations senior manag- On the operational side, it has to be recognized that the 4K Super ers are opining about the potential value of 4K production to extend 35mm zoom lenses available today have largely been developed for cin- the shelf life of their more important archives. During the past year, ematography applications. Accordingly, they top out around 400mm in a modest number of television shows have been originated and mas- focal range. To match the focal-range capabilities of long-zoom ⅔-in. tered in 4K — specifically to build an archive that can service some lenses currently in use for sports coverage would require 2,200mm. future 4K distribution to the home5. In addition, downconverting these The larger format also reduces the depth of field, which is not consis- super-sampled masters for today’s HD distribution produces a higher- tent with current imaging practices in sports coverage. This does raise resolution HD image — an the question of what level of 4K optical performance might be achieved important consideration. with some future small-format lens: perhaps 1- or ⅔-in. image format. Separately, 4K has been in- But that raises the far larger question of whether an associated creasingly deployed over the small-format 4K camera could ever meet the sensitivity requirements past year by some broadcast for sports coverage. That returns the discussion to future possible de- velopments in large-format lenses. Figure 2. The two stan- dards for 4K production However, if the primary attribute of 4K wide-angle imaging is adopted, (below) and the implica- current 4K lenses can play an immediate role. The full implications of what tion for a Super 35mm- 4K can offer over HDTV needs to be examined with real-world testing. image-format lens (left) Collaborative 4K test shoots — between sports leagues, broadcasters and cable operators, and mobile-production facilities — would be invaluable in assessing the capabilities of contemporary large-format 4K cine lenses and guiding future develop- ments. An industry dialog is clearly needed to help shape 4K-lens developments for future television production.

Image Acquisition: The Digital Camera The single-sensor large-format digital cine cameras of today invariably use the Bayer Color Filter Array6 to

sports tech journal / spring 2013 73 encode the color information. The encoded output is the RAW signal Having the ability to pass the 4K video through routing switchers, output and takes many forms, depending on the particular camera. The production switchers, and digital-image–manipulation tools (like subsequent decoding of the RAW signal, termed debayering, also entails replay systems for sports) are essential to live television coverage. a wide range of implementations. Issues of editing, graphics, and asset management all become im- There is considerable industry debate on the ultimate image quality portant considerations. Fortunately, a rapidly growing range of 4K recorded from these disparate cameras. Some insist that the inevitable grading and finishing tools is available from multiple international disparity in resolution between the 4K RGB components created by manufacturers. debayering produces imagery inferior to that of motion-picture film followed by a DI process. In fact, this is too simplistic. It ignores the fact Delivery to the Living Room that the motion-picture–film negative itself has always entailed a large Delivery of 4K is being discussed a great deal today. Just as in the disparity between the resolving powers of the three emulsions, which pioneering days of HDTV, when there was wide skepticism with re- produces its own significant disparity between the RGB video compo- spect to the practicality of over-the-air transmission of HD within a nents created in the DI process. Some recent major movies originated 6 MHz channel, the same doubts persist today on 4K. Yet advances in on single-sensor 2K/HD Super 35mm digital cameras and portrayed digital-compression technology never cease. At IBC in September, live via a 2K digital projector produced overall imagery superior to that of demonstrations of 4K via satellite at an average transmission bitrate of 35mm-film origination. 4K digital origination displayed via a 4K pro- 50 Mbps using the current H.264 compression astonished many with jector has moved that performance bar very much higher. its superb subjective picture quality on an 84-in. screen. In October, a 4K cameras are now available at many price levels — and, that fact, live broadcast of a 4K@60p soccer match took place in Japan7. HVEC in combination with the disparity in their respective Bayer encod- looms as the next-generation compression and is expected to achieve a ing and debayering does suggest an inevitable range in overall image similar image performance at perhaps 30 Mbps. performance (the traditional price-performance hierarchy). Given the Although the “chicken and egg” was much discussed at CES, in enormous image magnification associated with an ultimate cinema terms of the promised availability of 4K displays from multiple man- portrayal of these 4K images, it is important to carefully precheck the ufacturers with little 4K content available, there was an interesting vi- 4K camera, recorder, and associated workflow chosen for deployment sual phenomenon. Many suppliers were demonstrating high-quality in a major movie production. upconversion of good HD material on those 4K displays, and, in some For television production — and most especially for televised-sports cases, this was surprisingly good — definitely a subjective improve- production — the 4K camera must offer the same essential systemization ment over a native display of the same HD material. This is a testa- as contemporary HD field cameras. At a minimum, there must be a link ment to the advances that have been made to upscaling technologies. between the camera head and the CCU in the mobile-production truck that For both sports and movies, this could constitute a significant driver can transmit the singular 4K RAW signal originated by the single image of 4K displays in the early days. sensor. There must be means of remote control of the lens iris, real-time The emergence of 1080p/60 HD cameras and associated system compo- debayering of the camera head’s 4K RAW signal to RGB components, and nents, allied with the proliferating 3G-SDI links to transport these high-da- monitoring and “shading” the 4K cameras so they can be matched. ta–rate signals, holds promise of considerable image-quality enhancement to upconversion to 4K. Augmented by future 4K packaged-media supply of Content Creation: Postproduction movies (for example, the much discussed 4K Blu-ray successor), those en- Replacing motion-picture–film origination followed by DI processes hancements could start the necessary movement to drive 4K large-screen with contemporary all-digital production and postproduction is result- displays into many homes. Although over-the-air broadcasting of 4K would ing in a proliferation of overall workflows. Lines are blurring between require new transmission standards, there are no such impediments to the production and postproduction, and on-set processes are increasingly launch of a 4K cable or satellite service to the home. sophisticated. The diverse management of subsequent dailies, editorial, References and finishing processes are limited only by the imagination of the cre- 1. “Lechner Viewing Distance,” en.wikipedia.org/wiki/Bernard_J._Lechner ative teams involved. 4K’s involving four times as many pixels as HDTV 2. Masayuki Sugawara, Kenichiro Masaoka, Masaki Emoto, Yasutaka Matsuo, and Yuji means four times more detail information within the image. That is Nojiri; Research on Human Factors in Ultrahigh-Definition Television (UHDTV) To Determine Its Specifications,” SMPTE Motion Imaging Journal, April 2008 four times as much data to store and move through the postproduc- 3. Takayuki Yamashita, NHK Science & Technology Research Laboratories, “Super tion process, adding extra time and cost to the 4K production project. Hi-Vision System Parameters for Next-Generation Television,” SMPTE Journal, Where postproduction entails collaboration between geographically May/June 2012 separated suites, the requisite data networking poses additional data- 4. Phil Squyres, Television, “Challenges and Adventures in Producing 4K TV Shows,” HPA Tech Retreat 2013, Feb 19, 2013 management challenges, even more when new cloud services are de- 5. B.E. Bayer, Color imaging array, U.S. Patent No. 3971065 ployed for special-effects rendering. 6. “Live Broadcasting of 4K Junior League Soccer Match,” SKY Perfect JSAT Corp. Television production has other critical workflow implications. Press Release, Oct. 20, 2012

74 sports tech journal / spring 2013 cutting-edge technology into an extremely compact footprint. The mc²56, performance, pureandsimple.www.lawo.ca cutting-edge technologyinto anextremelycompactfootprint.Themc²56, also includesnewsurroundtools andsupportforthegroundbreakingIP-basednetwork technology, packs RAVENNA. Themc²56 loudness metering,andanewmeterbridgewithTFTtouch screensamongitsmanyworld-classfeatures.Thisintuitiveconsole consoleguaranteeseasyandintuitiveworkflmc²56 ow andoffersbutton-glowprovisionsforcolor-coding channel strips, Welcome tothenextgenerationofmc²56: pi – April 8 11,Hall, BoothC1311Central Visit LawoatNAB 2013 inLas Vegas Form followsfunction: the new mc Delivering maximum functionality and unparalleled ease of use, our second-generation Delivering maximumfunctionalityandunparalleledease of use,oursecond-generation ² 56.

Lawo | Rastatt / Germany SVG white paper iStreamPlanet A Team Effort: Live Linear Streaming from Acquisition to Analytics By Jennifer Baisch, Senior Director Product and Services Marketing, iStreamPlanet

fter two years of preparation and planning, the Pac-12 con- plish this endeavor, and video quality would be the deciding factor in ference launched Pac-12 Networks, a collection of channels selecting its technology partners. A dedicated to Pac-12 sports, last August, garnering positive Under a tight timeline, Pac-12 reviewed eight to 10 potential part- feedback from fans, families of student athletes, network distribu- ners, ultimately selecting iStreamPlanet and Ooyala. The two compa- tors, and Pac-12 conference schools. nies demonstrated the superior video quality that was so important Not only did Pac-12 create its own network, but it also created the for the networks’ challenging, fast-paced content, and they also could first network to offer both traditional and provide a live linear, 24/7 streaming solution for multiple screens. multiplatform TV Everywhere service at the same time. According to David Aufhauser, VP/GM of Pac-12 Digital, 19 of Pac-12 Networks’ dis- The Live Linear Video Workflow tributors provide the live linear streaming service. iStreamPlanet and Ooyala provided an entire workflow that enabled With a lean digital-media team of just 12 people, the Pac-12 Net- Pac-12 Networks to stream live sports content smoothly and easily: works rolled out this first-of-its-kind broadcast package in only four • Acquisition: iStreamPlanet’s global acquisition capabilities in- months — record time for a package consisting of one national chan- clude satellite, fiber, and IP acquisition. For the Pac-12 Networks, all nel and six regional channels. The result was a variety of programming seven 24/7 feeds are downlinked to iStreamPlanet’s Broadcast Opera- options for telecast partners, such as , Cox Com- munications, and Comcast. Figure 1. Pac-12 Now, Pac-12 Networks’ TV Everywhere Because Pac-12 Networks is, first and foremost, a content company, service, streams traditional broadcast and seven live linear it was important that the programming be avail- channels across connected devices. able not just on TVs but on multiple devices. So, in addition to traditional broadcast, Pac-12 Networks also streams its seven live linear channels across connected devices — PCs, tablets, and smart- phones — through its TV Everywhere service called Pac-12 Now. Subscribers of Pac-12 Networks’ affiliate part- ners can access 550 live events this year, 750 live events next year, as well as on-demand sports events, all of which include analysis and com- mentary, statistics, press conferences, features, and other content that goes far beyond what is available through the telecast alone.

Partnering for the Solution Pac-12 recognized the need to team up with live-linear-streaming providers in order to accom-

76 sports tech journal / spring 2013 Together with SES Gain new opportunities with our satellites

Where others see obstacles, we see potential – of connecting businesses and people to each other and to the rest of the world. With our global fleet of over 50 satellites, an advanced state-of-the-art infrastructure, and regional offices around the world, we are committed to providing you with the flexible solutions you need to grow and be more successful.

www.ses.com tions Center via satellite. iStreamPlanet decodes or demuxes the sig- Figure 2. Overview of the Pac-12 Networks live-linear- nals to ready them for media processing. streaming workflow provided by iStreamPlanet and Ooyala • Encode/Transcode: To provide the optimum viewing experi- ence across a breadth of different devices and platforms, iStreamPlan- et’s team has created a highly matrixed set of profiles to deliver a mix • Analytics: Pac-12 Networks relies on Ooyala’s analytics to gath- of formats and bitrates, with each profile optimized for each screen. er insights on viewer engagement and track video quality and overall The streams are delivered with profiles ranging from 720p 30 fps for quality of service. The analytics are able to track live and on-demand HD screens to 200K for reaching older iPhones, all with the aim of views, including hours of viewing time, unique streams, unique view- maximizing video quality and maximizing the potential audience for ers, and geographic location. Armed with this data, Ooyala, iStream- Pac-12 Networks. The streams are delivered in HLS, RTMP, and HDS to Planet, and Pac-12 Networks can work together to optimize the video Ooyala’s publishing platform. workflow to deliver the best viewing experience. Aufhauser notes that Pac-12 Networks has received positive feed- • Monitoring and Support: According to Aufhauser, one of back from fans on the video quality, saying it looks great on iPhones, the biggest benefits of working with iStreamPlanet and Ooyala is tablets, and laptops. the 24/7 monitoring and support that Pac-12 Networks receives. • Monetization: As with most college broadcasters, monetization Experts monitor the systems across the entire video workflow — is a critical component of the new network. Given evolving digital- from signal acquisition to analytics — to alert and troubleshoot in advertising technology and ad networks, the growth of video proper- case of failure. ties and applications, and the changing demands of advertisers and “Support has been a critical part of bringing this service to mar- sponsors, it is a rapidly changing component as well. Currently, Pac-12 ket,” Aufhauser says. “Prior to launch, there were some major hurdles Networks is passing broadcast ads to connected devices along with the in getting the streams to work, and we couldn’t figure it out. We then source material. But Pac-12 is exploring ways to provide unique adver- got iStreamPlanet involved, and, within three hours, we were able to tising and sponsorship opportunities within its digital network, creat- solve the problem. Anytime we’ve had a problem or needed support, ing new ways for advertisers to deliver their messages to the Pac-12’s iStreamPlanet and Ooyala have been right there to help. I can’t think of connected audience. a time when there’s been something we’ve needed where there hasn’t • Player Experience: Pac-12 Networks takes a customized ap- been quick response.” proach to its electronic program guide (EPG) and players. Using Pac-12 Networks is planning the next iterations of the viewing expe- Pac-12 broadcast and on-demand metadata, Ooyala developed an rience. It continues to roll out the live-linear-streaming service through interactive guide to help viewers discover more content — both all of its distributors, which will enable it to reach larger audiences live and on-demand — giving viewers more control over their across the country. Pac-12 fans are equally eager to have access to the viewing experience. The guide leverages user preferences and increased programming and rich viewing experience. other cues to present the content that is most relevant to each Pac-12 Networks strives to tell the stories of its student athletes viewer. Using interactive filters to sort through and reorganize the through the TV, Web, mobile apps, game consoles, and more. With EPG, viewers can line up a schedule to watch by school, by region, its complete live-linear-streaming workflow from iStreamPlanet and or by sport. Ooyala also developed the Pac-12 Networks’ unique Ooyala, the network can provide fans many different ways to access cross-device player experience, which provides custom players content no matter where they are interacting and consuming. It’s a so- for each screen. The rich players feature social-networking inte- lution that can be applied broadly to any media operation that distrib- gration to drive tune-in and brand awareness through sharing on utes live linear content — whether for traditional broadcast, multiplat- Facebook and Twitter. form TV Everywhere, or both.

78 sports tech journal / spring 2013

SVG white paper Wohler Workflow Automation Helps Maximize Efficiency of File-Based Operations By Edel Garcia, Vice President of Worldwide Sales, RadiantGrid New-Media Automation Platform, Wohler

rom acquisition to delivery, sports production presents unique production of high-profile events, such as football/soccer and tourna- challenges. Broadcasters must leverage both real-time and non– ments of international importance. These types of events generally Freal-time feeds in the rapid creation and distribution of news, require a number of high-speed workflows around transcoding and highlights, and complex stories to an array of outlets without sacrificing standards conversion for content ranging from clips to long-form piec- speed or audio/visual quality. This ability is of paramount importance to es. With short deadlines for turnaround, the network needed a way to a network’s or channel’s competitiveness. Although the industry’s shift generate content on EVS systems on one continent and ship it to U.S. toward file-based operations has eased the burden of fast-turn sports headquarters for conversion to NTSC and editing on both Quantel and production to some degree, broadcasters today need better solutions Avid editing systems, which staff members use to prepare final pieces for optimizing end-to-end file-based workflows for greatest efficiency. for distribution to consumers. Faster processing times for both short- and long-form content not Although there was a clear need to perform standards conversion only increase efficiency but also improve the production team’s creative in the file domain, it was doubtful that entirely file-based processing and editorial flexibility. For those working in the international market, could perform at the real-time speeds required. The heavy computa- rapid transformation and standards conversion is particularly essen- tional challenges of performing file-based transcoding with motion tial to fast, efficient delivery of content. For a leading sports network, compensation had traditionally caused this approach to take as much Wohler’s RadiantGrid new-media automation platform is helping con- as four or six times longer than real time. Thus, the network tested new solidate these critical activities on a single platform to support rapid file-based processing, seeking a way to manage this type of transcode parallel processing of many and varied transformational tasks, and the as well and as quickly as a baseband solution. further addition of motion-compensation algorithms is being lever- aged to ensure fast delivery of outputs boasting excellent image quality. Rapid File-Based Conversion The network’s requirement was for a file-based solution that could Sports-Production Needs convert content from EVS HD MXF 1080i 50 PAL (Op1a variation with The challenges of sports production can be most intense during live MPEG-2 essence) to QuickTime DVCPro 720p 59.94 NTSC. This is a

RadiantGrid content conversion from input file to non-linear editing

80 sports tech journal / spring 2013

A detailed look at RadiantGrid conversion

very difficult conversion not only because writing to QuickTime is a and resolution. With a motion-compensated engine delivering accurate traditionally slow transcode but also because conversion of high-action motion-vector data, the system was able to interpolate new frames for sports from 50 to 60 Hz demands motion compensation as content is the target output. Following this process, the uncompressed bitmaps translated from PAL to NTSC. Further complexity is added by the in- were handed back to the workers for encoding into the new format. terchange from interlaced to progressive and associated downscaling. The RadiantGrid file-based conversion met the sports broadcaster’s also determined that it would need the capacity to goal of processing four files simultaneously in real time, achieving per- perform four such file-based conversions simultaneously, from start to formance superior to that of other file-based approaches and in line finish, in real time. with baseband expectations. Moreover, the network could handle four Wohler’s RadiantGrid platform was among the solutions evaluated. times more volume than with baseband, allowing the workflow to stay It is designed to optimize workflows and leverage grid processing to entirely within the file-based domain from capture to distribution. manage multiple simultaneous jobs, including transcoding, standards conversion, conformance, and QC. An interactive workflow dashboard A New Approach allows operators to manage everything from ingest to distribution, and Grid-enabled conversion supported faster–than–real-time conver- user-created profiles enable automation of the entire workflow. The sion, with speed depending on how the user scaled servers and GPUs. same dashboard assigns computing resources to one or more tasks, ac- Because content could be kept in the file-based domain, without a celerating media transformation across multiple computing nodes, or time-consuming shift to baseband and back, the sports broadcaster re- “workers,” based on user-defined profiles that determine final output alized the same flexibility and quality as when it worked with high-end formats for any given ingest. hardware systems in the baseband domain. Using calculations of the specific storage I/O requirements for By eliminating many processing boxes and instead supporting an ar- handling about 600- to 700-MBps speeds on the backplane, Wohler ray of processing services, this file-based model facilitated concurrent delivered a file-based process engineered to complete the network’s editorial and transformational activities while enabling more-efficient end-to-end conversion in real time, which it achieved by leveraging media management from ingest to distribution. As international dis- internal allocation of CPU and GPU (graphics-processing–unit) re- tribution and exchange of content continues to grow, networks and sources. Within the conversion thresholds, the system was tuned to a other broadcasters can add further services to their media-processing sweet spot at which six workers per server were assigned four logical workflows. Tasks ranging from closed-captioning and the handling of CPU resources, and each worker lined up with an NVIDIA Tesla GPU ancillary data to audio processing and mapping are among the growing card for a total of six GPU cards per server. Ultimately, the full system array of functions that broadcasters can bring into the file domain as comprised four dual Hexcore servers in which a total of 24 workers and services on the RadiantGrid platform. 24 Tesla GPU cards were organized as one giant supercomputer with This approach to standards conversion and other critical transfor- 10-Gbps I/O to a high-density, high-speed storage array. mational tasks offers the industry a particularly compelling reason The system was further enhanced with the use of virtual slices and to transition from baseband to file-based workflows. Sports net- CPU power to decode each file, a task performed concurrently by works today are successfully implementing this model to realize the six workers, each aligned with six GPUs that handle the heavy com- high-speed parallel processing they need for current broadcasts. Go- putational processing of algorithms for motion compensation of the ing forward, the flexibility of this model gives them the versatility decoded uncompressed bitmap frames. Temporal and spatial image to adapt those processes to suit changing operational and technical resampling enabled conversion of source video to the new frame rate requirements.

82 sports tech journal / spring 2013

leading 46 HD trucks, almost 30% of the indus- Remote Sports Production Gearbase try total currently on the road. NEP wasn’t the only mobile-production-truck company to expand its fleet last year. A com- More Trucks, More Gear, bined 14 HD trucks were added by Crosscreek Television Productions, CSP Mobile Produc- More Consolidation tions, Dome Productions, Game Creek Video, MIRA Mobile Video, Mobile TV Group, and ore than two dozen new HD mobile- 13 vehicles joining the database this year, which Turner Studios. production trucks hit the road in 2012, is culled from the Websites and contributions of SVG’s Remote Sports Production Gear- M as production-technology vendors 33 truck companies in North America. base provides an ongoing database analysis of continued to raise the bar for the high-quality, The big industry news last year was NEP trends in production-truck technology, defin- ultra-efficient gear used for remote-production Broadcasting’s acquisition of two major U.S. ing the dynamic sports-production business applications. vendors: Trio Video and Corplex. Through these as seen from behind the wheel (and inside the The seventh-annual edition of SVG’s Remote acquisitions, NEP added eight trucks to its fleet, trailer) of a total HD/SD U.S.-industry fleet of Sports Production Gearbase added five new besides constructing four mobile units in-house, 199 broadcast vehicles. truck companies; CAMERON PACE Group, D2 giving the industry heavyweight a total of 12 A total of 171 HD trucks were working the 2011Productions, vs. Gearhouse 2012: Broadcast, Number Kodiak Mo- new unitsof on the3d/hd/sd road in 2012. The company, trucks sports scene in 2012, versus only 142 the previ- bile TV, and MTV Networks represent a total of which also owns the NCP fleet, has a market- ous year. Only 28 SD trucks are still on the road. A full 86% of the industry mobile-production capacity is now HD, and 48 mobile units are 200 ______2012 vs 2011: 199 ______1080p-capable.

______Here is a brief summary of other key findings: 180 171 3d/HD/SD Trucks 177 • Sony has almost 500 more HD cameras 160 ______142 (1,028) in the field than runner-up Grass Val- 140 ______ley (551). • High-speed cameras continue to become a ______120 standard complement on more and more 100 ______production units, with 16 Mobile TV Group trucks featuring Ultra-Mo Phantom V640s; ______80 Hitachi cameras are aboard several Gear- 60 ______house units. • Calrec remains the number-one HD-truck ______35 ______40 28 audio console, represented with 111 consoles 20 ______in 67% of HD trucks; meanwhile, DiGiCo, Mackie, Stagetec and Yamaha gear has found ______0 its way onto more mobile units. HD/3D SD Total • 57% of HD trucks carry Canon lenses, with 2011 2012 ToTal HD Trucks by companyFUJINON in 40%. Canon lenses are found in 2011

50 ______2012 46 45 ______total num______ber of HD ______40 WHAT’S WHAT IN MOBILE PRODUCTION trucks by Company page 4 35 ______30 ______25 ______23 ______

______20 18 15 ______10 10 ______9 ______7 ______5 5 ______5 4 4 4 4 3 3 3 3 2 2 2 2 2 2 1 1 1 1 1 1 1 1 0 ______D2 CSP SDTV CP Mobile (Corplex, NCP, Lyon Video JAS Digital Crosscreek CBC Mobile Metrovision Token Creek MIRA Mobile Coastal Media MTV Networks Turner Studios ECO Broadcast NEP All Mobile Video Mobile TV Group YES Productions F&F Productions IMS Productions Mansion Mobile Sweetwater, Trio Video) Kodiak Mobile TV Game Creek Video Dome Productions Proshow Broadcst TL Cameron-Pace Group Gearhouse Broadcast

84 sports tech journal / spring 2013 WHAT’S WHAT IN MOBILE PRODUCTION page 6 Number of hD Trucks wiTh cameras by braND

100 mobile units, and FUJINON lenses are 100 ______featured in 69. 92 • Sennheiser is the number-one microphone 90 ______brand for HD trucks, found in 138 HD mo- number of HD trucks ______bile units; Sony is not far behind, in 118 mo- 80 by camera brand bile units. 70 ______• Chyron is the leader in HD graphics, carried ______58 by 96% of all HD trucks. 60 • In HD replay devices, EVS is by far an in- 50 ______dustry standard, with 150 trucks reporting some branded format of the EVS system. 40 ______• As for HD switchers, Grass Valley remains 30 ______out front, with its Kalypso in 78 trucks. Sony’s MVS 8000 brand is found in 15 trucks; 20 ______17

meanwhile, Sony switchers in the database ______10 10 4 4 grew by 25%. 1 0 ______A copy of the full report is available for Sony Grass Ikegami Panasonic Hitachi JVC download in the members-only area of the SVG Valley Website. Visit member.sportsvideo.org to view. 2012: Number of hD LeNses oN hD Trucks by braND Number of HD trucks by production switcher brand number of HD WHAT’S ______100 WHAT IN MOBILE PRODUCTION 1 100 page 9 3 lenses on 90 ______HD Trucks 80 ______by brand 70 ______69 24 60 ______50 ______40 ______135 30 ______20 ______

______10 4 1 0 ______Canon Fujinon Angenieux Sony Grass Valley 2012:Sony Ross Number Harris For-A of NewTek hD Trucks by m ic bra ND

140 ______138 Number of HD trucks by 130 ______number of HD 120 ______118 audio console brand WHAT’S WHAT3 IN MOBILE PRODUCTION 110 ______trucks 2page1 14 100 ______95 by mic brand 90 ______8 4 2013TruckMarketplace.indd 14 3/12/13 2:44 PM 80 ______15 70 ______60 ______51 18 50 ______111 ______38 40 34 30 ______20 ______10 ______0 ______Sennheiser Sony EV Shure Other (Beyer, Audio- Sound Devices, Technica Calrec Audio Yamaha Avid Euphonix Studer SSL Midas Crown, Neumann, Sanken) Lawo Stagetec Allen & Heath DiGiCo Mackie

WHAT’S WHAT IN MOBILE PRODUCTION page 25 sports tech journal / spring 2013 85

nab2013

he 2013 NAB Show will hit the Las Vegas Convention Center April 6-11, just as the buzz surrounding Ttechnologies like 4K production and multiscreen video delivery reaches an almost deafening roar. The show floor will offer much more than just these technology headliners, however: hundreds of manu- facturers will introduce the latest cutting-edge products in a variety of market sectors. With this in mind, SVG has once again compiled a comprehensive look at what to expect on the floor from more than 100 SVG sponsors. And don’t forget to take this section with you to the show to help you navigate the multi- tude of exhibits on display in Vegas.

Abekas SL6313 Anywhere brings virtual teams of talent togeth- AC3 2.0 and 5.1. Standard features include time- he new true-1080p Ultra HD 4K Mira pro- er, enabling them to efficiently shoot, log, edit, code, captions, , AFD, and redundant Tduction server is designed to create and share, and finish video productions using stan- power supplies. Control and monitoring options present Ultra HD 4K video content on a single dard open systems, networks, and processes. include SNMP, Web, and pushbutton front-panel large 4K-capable display or a matrix of four Heavy file transfers, duplicate media, and proxy interfaces. HDTV picture monitors in a 2x2 grid, produc- files are not required. ing a 4K raster. Applications include feeding Adobe Anywhere complements Adobe Cre- AJA Video Systems SL3816 4K video into on-set studio monitors to display ative Cloud and enables deep collaboration fea- he new Ki Pro Quad solid-state portable dramatic large-format 4K video. The server tures for enterprise-level production workflows. Tvideo recorder enables breakthrough 4K can ingest baseband content from a 4K-native Creative Cloud applications are compatible with camera-to-editorial workflows. Capable of cap- video camera via four 3-Gbps HD-SDI intercon- Adobe Anywhere, which is hosted on-premises turing high-quality edit-ready Apple ProRes nects, or content can be ingested via the built- with other enterprise media-storage and asset- files in resolutions including 4K (4096x2160), in Mira media-file importer. When importing management infrastructure. Quad HD (3840x2160), 2K (2048x1080), and 4K media files, it works with standard codecs HD (1920x1080), Ki Pro Quad serves as a cen- (such as ProRes, JPEG-2000, H.264), which are Adtec Digital SU7602 tral gathering point for the main needs of 4K, contained inside standard file wrappers (MOV, dtec Digital will showcase a new HD DSNG/ Quad HD, 2K, and HD production. MXF). Mira automatically ingests and “tiles” Acontribution encoder/modulator targeting Users can bring raw or baseband camera sig- the 4K media file into four 1080p video “tracks,” DSNG, SD, HD, and 3D contribution, distribu- nals into Ki Pro Quad and use hardware-based contained within a single media clip in the Clip tion, and fixed-circuit trunking applications. features, such as real-time, high-quality raw de- Library. Workflow is greatly streamlined, since The ultra-low delay EN-91P combines high-effi- bayering to create edit-friendly 4K Apple ProRes only one 4K media file needs to be created and ciency AVC 4:2:2 compression with fast process- files, which are efficient in size while retaining managed for each 4K media clip. The Ultra HD ing for flexible delivery of video for time-sensi- pristine image quality. 4K Mira Server also includes a single HD-SDI tive and bandwidth-limited applications. Paired Real-time scaling from 4K/Quad HD to 2K/HD digital video output that can be used to display with Adtec’s RD-70 IRD, the EN-91P can deliver allows simultaneous output to HD-SDI and HDMI downscaled 4K video on an HD-SDI monitor, full-frame 1080p HD video and 16 channels of monitors as well as full 4K/Quad HD monitoring dramatically lowering the cost of monitoring in phase-aligned audio with end-to-end latency directly off Ki Pro Quad. Raw data is passed di- the control room. Ready for immediate delivery. of 3 frames; for passing PCM or audio, rectly over Thunderbolt to a computer and stor- the latency can be reduced to 1 frame. The EN- age system for recording unmodified Raw files for Adobe Systems SL3910 91P allows concurrent encoding and stream- maximum image-processing flexibility. t NAB 2013, Adobe will announce Adobe ing to IP, ASI, and L-Band or IF DVBS/S2. The Ki Pro Quad future-proofs workflows by han- AAnywhere for video, a modern, collabora- DVBS/S2 modulator modes support QPSK up to dling existing 2K and HD projects with 4:4:4 and tive workflow platform that empowers users of 32APSK based on software licenses. The device 4:2:2 quality now and then allowing the same Adobe professional video solutions — such as supports HD and SD MPEG-4 AVC/H.264 video device to be used for 4K and Quad HD projects. Adobe Premiere Pro, Prelude, and After Effects with 4:2:0 and 4:2:2 Chroma sampling, and up to Small form factor, familiar front-panel con- — to work together using centralized media eight pairs of audio, with pass-through support trols, and onboard confidence monitor make it and assets across virtually any network. Adobe for PCM, 16-bit and 20-bit DolbyE, and Dolby easy to use on-set or in the field, and the device

sports tech journal / spring 2013 87 nab2013preview offers power and functionality for the demands download of extremely large files and data sets software comprises finishing tools for 3D com- of 4K productions as well as features not found at global distances for the ultimate secure distri- positing, color correction, and motion graphics. in recorders of any price. bution experience. The all-in-one workflow eliminates the need for roundtripping among multiple creative applica- Amberfin SU8505 ATEME SU7102 tions and provides a fast, iterative creative envi- he developer of file-based media-ingest, provider of H.265/HEVC, MPEG-4/H.264, ronment for storytelling. Ttranscoding, and quality-control solutions Aand MPEG-2 video-compression technol- for content owners, broadcasters, sports orga- ogy, ATEME will present its second-generation Avid SU902 nizations, and postproduction houses will dem- contribution IRD Kyrion DR5000 integrated ports broadcasters, leagues, teams, and venues onstrate new enhancements to its iCR software receiver decoder, which addresses multiple con- Sneed to create stunning visual imagery that designed to further facilitate the digitization and tribution applications, such as MCR receiving, keeps audiences on their feet and cuts through transformation of new and archived content in backhauling, point-to-point transmission, or lo- the clutter. Avid Motion Graphics enables pro- modern file-based workflows, including appli- cal satellite-downlink monitoring. The decoder duction of graphics that build fan engagement cation-specific modules, captioning solutions, provides MPEG-2 and MPEG-4 support up to with speed and ease. An advanced creative toolset enterprise-class features, and support for the up- 4:2:2 10-bit with low latency. It offers software with a real-time 2D/3D-rendering engine, data- coming IMF format. upgrades from SD to HD and also from 4:2:0 to driven graphics that can be linked to a variety of 4:2:2 chrominance. Based on FPGA hardware, data sources, and tightly integrated workflows Artel Video Systems SU6318 Kyrion DR5000 is a future-proof IRD, leveraging with Avid media-production solutions and third- global provider of broadcast-quality- ATEME’s experience to ensure interoperability. It party graphics tools make Avid Motion Graphics Avideo–transport solutions since 1981, is fast, quiet, robust, and lightweight; features a the new standard for on-air and in-game sports- Artel Video Systems will demonstrate its lat- constant-video-monitoring front panel; and pro- graphics creation and delivery. est advances in video-transport technology vides a top operational experience thanks to its At NAB 2013, Avid will unveil Avid Motion based on DigiLink, one of the most deployed front panel and Web interface. Graphics v2.5, a standalone playout engine and broadcast-quality-video–transport plat- dual-channel configuration option that increase forms in North America. The new DL4360x Audio-Technica C1711 cost-effectiveness, scalability, and flexibility to chassis features integrated video transport he new AT2020USB+ microphone delivers more efficiently build show-stopping brands. and routing with Ethernet switching, and Tthe critically acclaimed sound of the original the DLC055 multiport video I/O access module AT2020 and AT2020USB and features a built-in Axon Digital N6006 is designed to provide flexible video inputs and headphone jack with volume control allowing xon, a specialist in broadcast infrastructure, outputs and distribution-amplifier capabilities users to directly monitor microphone signal Amonitoring, and control, will use NAB 2013 to the DL4360x chassis. In addition, new Eth- with no delay. It also offers mix control blending as a platform to tout the benefits of an AVB-based ernet transport capabilities to be introduced microphone and prerecorded audio and has a (Audio Video Bridging) future. An open set of include the cost-effective HD-SDI video- high-quality A/D converter with 16-bit, 44.1/48- standards established by the IEEE, AVB is expected over-IP gateway module, the DLC450. kHz sampling rate that ensures articulate sound to transform the way broadcasters manage and de- The company will also showcase the DLC205 reproduction. Like the AT2020USB, it plugs into liver live–video-production content over Ethernet. and DLM205 nine-port Ethernet aggregator and a computer USB port for easy digital record- A technology preview will showcase the practi- optical transceiver modules capable of aggregat- ing and comes with a tripod desk stand, pivot- cal applications of AVB in the company’s Synapse ing nine channels of 10/100/1000 Ethernet traffic ing stand mount, and 10-ft. USB cable. Suited product range. The company will introduce 15 for transport across electrical and optical I/Os. to multitrack music production, voiceover, and products and enhancements to existing products The DLM205 module incorporates chassis man- podcasting, the AT2020USB+ is a natural for aimed at improving studio and OB broadcasts. agement enabling true in-band management. both instrument and voice pickup. Among them: the GIX100/110 dual-channel high- performance 3-Gbps video and embedded-audio Aspera SL9716 Autodesk SL3316 probes with clean video switchover functionality, spera will demonstrate high-speed syn- ustomers across the manufacturing, archi- and the HLD100, a video-delay system that can de- Achronization from desktop to cloud with Ctecture, building, construction, and media lay up to six hours of HD-SDI video by using high- Aspera Drive, the latest addition to its portfo- and entertainment industries use Autodesk quality JPEG2000 compression to ensure visual lio of high-performance file-transfer solutions. software to design, visualize, and simulate their lossless transparency. Completely integrated with the Aspera high- ideas before they’re ever built or created. Au- speed platform, Aspera Drive adds integrated todesk Smoke professional video-editing and Azzurro Group C10835 desktop and mobile browsing of remote files, effects software for Mac is designed to meet zzurroCam, a fully integrated, compact drag-and-drop high-speed upload and down- the needs of video editors who need to do more Aproduction system designed, developed, load from cloud storage, and background syn- than just edit. Integrating a familiar timeline and built by Azzurro Group, has been success- chronization. It also provides Faspex package- workflow and node-based compositing, it con- fully deployed within all NHL venues as well based sending and delivery with automatic nects editing and effects like never before. The as at all NFL training facilities and remote

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nab2013preview analyst homes and offices. It provides the tools and solutions, RF design, and permanent in- with the high-quality, multilayered customer needed to capture broadcast-quality content, stallation of broadcast cable plants. From small service and support that it’s known for in its such as player and coach interviews, as well digital production studios and remote flypacks RF-services business. as action shots from the goal line. The Azzur- to fully integrated control rooms, using modular roCam package can be tailored for operation in SMPTE fiber systems, Bexel ESS provides de- Calrec Audio C1746 single- or multiple-camera sites. The unit serves pendable turnkey solutions. alrec will showcase the newly added Au- as a complete remote studio capable of control- Bexel has also combined the resources of Ctomixer automatic mixing function for ling professional cameras, lighting, and audio BVG pre-owned inventory with the latest gear its Bluefin2 signal-processing engine, the through a simple user interface that can operate from ProSales to create the best of both worlds. driving force behind its Apollo and Artemis on numerous touchscreen applications, includ- The relaunched sales division, Technical Sales & mixing consoles. Automixer attenuates the ing tablet PCs and iPads. The integrated package Solutions (Bexel TSS), offers a multimillion-dol- output levels of all channels under its control comprises a robotic HD/SD camera with remote lar standing inventory of professional broadcast to maintain consistent program levels in en- control of focus, aperture, color, setup, and pan/ equipment, with reliable equipment and cus- vironments with multiple open microphones tilt/zoom, plus remotely controllable audio mix- tom broadcast solutions for every unique need. and unpredictable audio content, such as ing, IFB, and DMX lighting dimmer control. Backed by enhanced production services and sports applications. technologically advanced systems, Bexel covers Users can have eight separate Automixers, each Beck Associates C8225 every angle to elevate the quality of the media- of which can be assigned to control any number ased in Austin, TX, Beck Associates has been production experience. of mono input channels and group paths on the Bintegrating television facilities for more than control surface. Unlike compression of a mix bus 30 years, with a client list that reads like a “Who’s Blackmagic Design SL218 or use of individual or linked compressors on Who” of national and international broadcasting lackmagic Design creates high-quality video- paths, an Automixer can apply different amounts companies. Providing a full range of design, con- Bediting products, digital film cameras, color of attenuation to each path, depending on its own sulting, engineering, and integration services, the correctors, video converters, video monitoring, level as well as the overall mix level. Paths can be company strives to improve and refine its process routers, live-production switchers, disc recorders, assigned different levels of emphasis to allow one and product with every project. waveform monitors, and film-restoration soft- speaker to stand out from the others. Recent sports-related projects include the ware for the feature-film, postproduction, and Automixers can be selected on a channel-by- University Athletic Association, Gatorvision television-broadcast industries. Its DeckLink cap- channel basis to be placed in the signal path pre- (University of Florida); Comcast SportsNet San ture cards are known for quality and affordabil- EQ, prefader, or postfader. Upstand metering Francisco; Comcast SportsNet Houston; a new ity, and the company’s DaVinci color-correction can be configured to show Automixer attenua- sports-news facility for WVUE in Benson Tower products have dominated the television and film tion alongside signal level on each path. Auto- at the New Orleans Saints’ Champion Square; industry since 1984. Blackmagic Design innova- mixer is an upgrade to the Bluefin2 software. the newest Crosscreek Television Productions tions include stereoscopic 3D and 4K workflows. mobile-production unit, Voyager 11; and the Founded by postproduction editors and engi- Canon C3628, C4325 newest HD mobile unit for Token Creek Mobile neers, Blackmagic Design has offices in the U.S., anon USA’s long-zoom, image-stabilized Television, Chippewa. Beck Associates recently UK, Japan, Singapore, and Australia. CHDTV lenses are relied on by producers integrated two new mobile-production units for of all types of major sports events. Its tech- Turner Sports. Broadcast Sports Inc. C11449 nologies are matched by its customer service SI will celebrate its 30th anniversary by and support. This year, Canon is showcasing Bexel C6932 Bunveiling at NAB 2013, for the first time in an extensive range of advanced HD-imaging or more than 30 years, Bexel has provided company history, a new product line that will equipment to enable producers of sports and Fbroadcast services worldwide, elevating the be available for purchase. BSI’s Real Freedom live-event entertainment programming, com- quality of media production by deploying the system will incorporate next-generation fea- mercials, TV news and documentaries, mo- best equipment and engineers to bring the most tures into an integrated, wireless camera link. tion pictures, episodic TV, and all other forms important entertainment, sports, and live events The company is designing the kit with a dra- of digital-content creation to go wherever the to a global audience. With a dedicated team of matically simplified user interface and setup story takes them. sales representatives, Bexel’s technical support to make it one of the most easy-to-use prod- At NAB 2013, Canon will feature its complete is optimized by its Rental Services & Solutions ucts of its kind on the market. The Real Free- lineup of long-zoom HD field lenses, HD stu- (Bexel RSS) division, which boasts a compre- dom family of components will offer users the dio lenses, portable HD ENG and EFP lenses, hensive resource for the latest in professional highest resolution and video quality available and the Cinema EOS system of digital cinema video, audio, RF, and fiber. in a wireless camera system with 1080p/60 cameras and lenses, featuring its large-format The company’s newest division, Engineered and 10-bit 4:2:2 sampling. It will also feature CMOS sensor. The company’s professional HD Systems & Solutions (Bexel ESS), debuting at H.264 encoding and DVB-T2 modulation. The camcorder models, remote-control robotic pan- NAB 2013, serves to enhance broadcast work- system will be available for purchase this sum- tilt-zoom HD cameras, and EOS digital SLR flows through systems integration, fiber sales mer. BSI plans to support its new product line cameras will also be on hand for demonstra-

90 sports tech journal / spring 2013 VidyoCast_ad_SVG_2011.pdf 1 11/7/2011 6:46:26 PM

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K nab2013preview tions. Offering a full range of imaging solutions allowing users to create live, full-motion broad- for HD displays to further extend the immersive from input to output, Canon will also display its cast graphics, 3D animations, and transitions. video experience. REALiS multimedia LCOS projectors and large- In March, Chyron signed a definitive agree- format imagePROGRAF and PIXMA printers. ment to acquire the Hego Group, a provider of Clear-Com C8008 Throughout the week of the show, Canon will graphics and data visualization solutions for TV he newly released version 1.1 of the He- host a series of live stage presentations from and sports. As a result, Hego will exhibit at Chy- TlixNet Partyline Intercom System includes a acclaimed cinematographers to showcase the ron’s NAB booth this year. system-linking capability, which extends digital creative and real-world applications of its Cin- partyline intercom communications over a net- ema EOS cameras and cinema lenses. A theater Cinedeck SL14911 work among a production’s field users, mobile in the booth will screen recent projects shot us- our workflow, your way” is the NAB 2013 trucks, and studio headquarters cost-effectively ing professional Canon equipment and provide Ymessage from Cinedeck, a developer of and efficiently, without compromising audio behind-the-scenes coverage of the making of mobile capture systems for motion-picture and quality. The digital network partyline intercom this content. broadcast production. Its record, monitor, play- combines the simplicity of a traditional analog back, and transcode systems are changing file- partyline intercom with the advanced network- CARTONI C9921 based workflows from acquisition into postpro- management capabilities of a matrix intercom. artoni’s new MAGNUM fluid head is de- duction, and the company is experiencing sig- Using a single-pair, shielded cable for support- Csigned, refined, crafted, and manufactured nificant upswing in sales and deployments of its ing all audio channels, program audio, and in Rome to support fully decked studio and technology on high-profile live broadcasts and power for beltpacks, it is suited for live sports OB cameras equipped with long boxed lenses, episodic-TV productions. Brand new at NAB broadcasting requiring quick setup and distri- 7-in. viewfinder, or large teleprompter. The 17- 2013 are the dual-channel RX3G and quad-MX bution of multiple channels of intercom. kg (37-lb.) fluid head incorporates a patented recorders, which combine vast I/O connectivity Expanded functionality under version 1.1 in- counterbalance system as well as an advanced options with support for the widest range of co- cludes the ability to link up to five HMS-4X main fluid damping module and is designed to op- decs/file formats to deliver unparalleled work- stations and up to 100 HBP-2X digital beltpacks erate with cameras featuring a high center of flow flexibility for live, on-set, post, or broad- via Ethernet to build larger and more sophisti- gravity and weighing 22-176 lbs. Set to debut cast. Along with productivity gains, RX3G and cated partyline intercom systems. at NAB 2013, the JIBO fluid-action version (an MX also deliver considerable cost/space savings alternative to the standard version) can be fluid- versus tape. Cinedeck is also getting set to ex- Cobalt Digital N4624 assisted by a Cartoni fluid module. The JIBO, a pand its product line with a next-generation, obalt Digital’s new range of MADI process- 12-kg (25-lb.) jib arm, can carry a 15 kg (33 lbs.) ultra-portable recorder that offers raw and 4K Cing cards opens up new possibilities in mul- camera and head, folds down to 1 meter (38 in.), support, plus enhanced tape-deck–replacement tichannel/multisource baseband audio routing fits into a case and can be assembled in less than toolsets. — especially in mobile-truck environments. three minutes. It moves from ground level to 2 The new MADI Quad-Stream SDI-AES embed- meters (78 in.) high. Cisco SU7605 der/de-embedder is a card-based comprehen- isco strives to put fans at the center of the sive solution for digital-audio transport con- Chyron SL1010 Caction and empower them to create their version and embedding/de-embedding. Suited aking its NAB Show debut will be the all- own event-day experiences with live video de- for applications requiring signals to be passed Mnew ChyronIP, a real-time HD/SD 2D and livered to their mobile devices. With live-action among multiple vehicles at a single event, the 3D character and graphics generator specifically replays, multiple channels of unique content, module can also be used in studio facilities via designed for the NewTek TriCaster — an all- promotions, stat packages, and more, venues sound desks. The 9374-EMDE Quad Stream in-one, integrated live-production system that can immerse fans in the action from the mo- SDI-AES-MADI series provides a full, unre- offers the power of a live network studio. The ment they arrive. stricted audio crosspoint (192x192) that allows compact, lightweight system provides sports Synchronizing content on the big screen in the routing among any channels on up to four SDI producers with up to two HD or SD full-motion bowl down to every HD display throughout the steams and discrete AES3id and AES10 MADI channels of Chyron graphics that stream di- property and to fans’ mobile devices is finally a interfaces. Standard 1694A cabling eliminates rectly into the TriCaster over a network connec- reality. The platform can be used to drive new the need for fiber. Audio meters are displayed on tion. It allows TriCaster users from college and revenue streams with unique branding offerings, all channels with intuitive crosspoint routing via second-tier sports markets to produce the same sponsorship activation, and targeted promotions. GUI, allowing comprehensive configuration and high-impact Chyron graphics typically seen StadiumVision Mobile is already enhancing control at a touch. MADI receiver performance in premier sports broadcasts. Because graph- the fan experience at some of the leading sports allows up to 250-m MADI receive capability ics data is delivered via a network connection, venues. This technology rides on Cisco’s high- with no signal degradation. It’s suitable for large, broadcasters can take advantage of ChyronIP density wireless platform, Cisco Connected Sta- prestigious events. Units are also available as for TriCaster without tying up needed camera dium WiFi, which is optimized for stadiums and Quad-Stream SDI-AES MADI embedder (9374- inputs critical to live production. ChyronIP le- arenas. It also integrates with StadiumVision, the EM), de-embedder (9374-DE), dual (9372), and verages Chyron’s Lyric PRO graphics software company’s video- and digital-content platform single (9371) SDI-AES MADI.

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nab2013preview

Dalet Digital Media Systems SL4524 IP to transmission headends. In addition, very including upcoming MPEG-DASH; a scalable alet will showcase its new Dalet Galaxy ad- fast uptime and low costs for channels open up feature set to precisely match customer needs; Dvanced media-asset–management (MAM) new creative opportunities for “pop-up” chan- and agile upgradeability for new formats, platform, updated versions of its workflow so- nels, enabling broadcasters and content own- streaming technologies, and capabilities. lutions, and the new Dalet Brio packages for ers to fully exploit rights for brands and major sports, OB vans, studios, and news. These turn- events. Deluxe MediaCloud delivers in Full HD Dolby SU1702 key packages include the cost-effective Brio with network resilience integrated into the ar- leader in creating technologies that help server with a choice of embedded applications. chitecture for disaster recovery; available now, it Adeliver the best entertainment experi- Brio comes with up to eight bidirectional input/ is already in use by major broadcasters. ences to any type of device over any delivery output combinations and handles multichannel service, Dolby has also been instrumental in recording and playback in ProRes and DNxHD DiGiCo C1344 bringing live sports to life for viewers in the SD and HD formats. Brio also transcodes to K digital-console manufacturer DiGiCo home by enabling viewers to enjoy broadcasts many different formats on-the-fly on stan- Uwill showcase its latest digital broadcast like the Super Bowl in for dard storage devices. Available apps to create offerings at NAB 2013. Hosted by its U.S. dis- more than 25 years. Dolby experts have helped a robust and efficient sports workflow include tributor, Group One, DiGiCo will feature its educate sound mixers how best to mike stadi- Dalet Sports Logger for metadata entry, Hi- newest SD9B broadcast upgrade and the Di- ums and mix live sound in a production envi- lites Espresso for highlight creation, and Multi GiGrid system, a range of audio hardware and ronment where only unpredictability is cer- Camera Manager for handling different camera software from DiGiCo in collaboration with tain. Now microphone placement is relatively angles. Also new at the Dalet booth will be Dalet studio-sound sister company Soundtracs and standardized, and the broadcast networks use One Cut multitrack video editor and Dalet-on- Waves Audio. such elements as on-field sounds to differen- the-Go mobile app. Additionally, DiGiCo has made headlines tiate their coverage from year to year. Addi- of late with SD10B console installs in mobile- tionally, as a result of the networks’ use of the Dell SL9610 broadcast trucks located in the U.S. and Hawaii. Dolby Loudness Meter, the notorious halftime or more than 28 years, Dell has empowered Broadcast-teleproduction-outsourcing compa- commercials won’t blast viewers off their sofas Fcountries, communities, customers, and nies like NEP (X Games, PGA Tour, NASCAR) either. At NAB 2013, Dolby will showcase mul- people everywhere to use technology to realize and Sure Shot Transmissions (Ryder Cup, Super tiple technologies, including their dreams. In the media and entertainment Bowl, Daytona 500) have come to rely on DiGiCo and . space, the company offers customers of all sizes to provide cost-effective solutions with enough a suite of powerful, comprehensive tools riding buses to cope with broadcast’s fast-paced de- Dome Productions OE845 on Dell technology. With offerings in services, mands for top networks, including ESPN, NBC, ome Productions will be showcasing its support, hardware, networking, software, mo- Fox, Turner, and . DDome Digital SideCar, a companion TV bility, and more, Dell solutions are designed to For Latin American attendees, DiGiCo’s new trailer that supports Webstreaming and small address needs throughout the IT infrastructure bilingual sales application specialist, Fernando productions. Suitable for sports, entertainment, with rapid time to market, allowing customers Delgado, will be on hand in the booth. and reality shows, the vehicle supplies what the to see benefits that result in greater efficiencies client needs to bring a broadcast-quality pro- and significant time and cost savings. Digital Rapids SL5624 duction to the second screen. It helps provide Superior solutions rely on strong customer he new StreamZ Live 8000EX integrated a multiplatform fan experience supporting the relationships, deep understanding of pain Tlive broadcast and multiscreen encoder is main broadcast with second-screen applica- points, industry-leading services, and consult- designed to simplify the convergence of core live tions, exclusive content/behind the scenes, and ing capabilities and global reach. Dell is strong and linear television and multiplatform stream- interaction through social media. in each of these areas and well positioned to ing operations for broadcasters, cable/satellite help its customers. operators, and sports-media organizations. DTS SU8514 Building on Digital Rapids’ multiformat-output TS is dedicated to making digital enter- Deluxe Entertainment SU5415 flexibility and quality, the encoder reduces oper- Dtainment exciting, engaging, and effortless eluxe’s MediaCloud, a next-generation, ational complexity and costs by combining live by providing state-of-the-art audio technology Dcloud-based playout platform and associ- multiscreen and broadcast encoding in a single, to more than 2.5 billion consumer-electronics ated suite of services, is the result of substantial streamlined unit. It features simultaneous H.264 products worldwide. A pioneer in HD multi- R&D and significant investment leading to an or MPEG-2 encoding for broadcast/cable/telco/ channel audio, DTS became a mandatory audio elastic playout and distribution service that is applications and multiformat format in the Blu-ray standard and is increas- designed to reach the quality that customers ex- encoding for multiscreen streaming delivery to ingly deployed in enabling digital delivery of pect from Deluxe. The service delivers the rich mobile phones, tablets, PCs, IPTV, over-the-top movies, music, games, and other forms of digital functionality broadcasters require to launch (OTT) services, and more. The StreamZ Live entertainment to network-connected consumer and operate TV channels, including versioning 8000EX features robust support for standard devices. Additionally, DTS provides end-to-end for new-media platforms and distribution over and adaptive-bitrate (ABR) streaming formats, audio solutions to the rapidly growing network

94 sports tech journal / spring 2013

nab2013preview entertainment sector. DTS technology is in car origination, disaster recovery, satellite/fiber/IP work faster and with greater capacity, allocat- audio systems, digital-media players, DVD play- transmission, satellite uplink trucks, VOD, live ing resources dynamically to where they’re ers, game consoles, home theaters, PCs, set-top Webcasting, and production services/facilities. most needed and using resources that might boxes, smartphones, surround music content, Encompass’s local, regional, and global sports not have been included. and every device capable of playing Blu-ray clients include CBS Sports Network, ESPN, Fox, With Epoch, sports-video providers can eas- discs. GOL TV, IMG Media, NASCAR Media Group, ily engineer complex, cooperative, and ultra-effi- MLB, NBA, NFL Network, NHL, Outside TV, cient workflows using a simple Web app, improv- Elemental Technologies SU2724 ROOT Sports, TVG, , YES ing flexibility and turnaround time from game to lemental will demonstrate advanced fea- Network, and WWE. air. When Epoch manages workflows, whether Etures recently introduced across its entire local or worldwide, sports providers can work suite of video-processing products to meet the Envivio SU6202 with tighter deadlines, increased productivity needs of professional sports programmers and nvivio’s booth will focus on TV without and fewer manual processes. broadcasters serving up multiscreen video on Eboundaries, featuring next-generation PCs, tablets, and mobile devices. HEVC (H.265) video compression, with a 50% Ericsson Television SU821 The company will showcase its next-genera- decrease in bandwidth usage, and a technology odern fiber networks are used daily to tion processor architecture and newly released demo of Ultra HD 4K encoding. The technology Mdeliver high-quality sports content from version 2.0 software that together provide a uni- enables operators to take personalized TV to Major League Baseball to horseracing with fied platform for video processing, segmenting, a whole new level with enhanced TV Anytime minimal fuss. Although coverage of most major packaging, and delivery. Designed to support capabilities, including time-shifted applica- events can be easily captured, growing demand next-generation GPU and CPU architectures, tions, such as catch-up TV, start-over TV, high- for more regional-based games is becoming an features for multiscreen video delivery provide lights creation, network PVR, and ad insertion attractive proposition to enable sports channels substantial benefit to sports programmers and for multiscreen services. The company offers a to differentiate themselves. rightsholders, such as increased performance, high-quality, converged solution for MPEG-2 Ericsson’s SVP3500 ABR Contribution so- advanced encryption and protection, augment- and AVC, including statistical multiplexing for lution has been designed to deliver contribu- ed audio options, and broadened accessibility live broadcast TV, as well as software-based of- tion-quality video over unmanaged networks features. fline transcoders for VOD applications on any or last-mile links that are unable to guaran- Elemental also will highlight Elemental Live screen. Other featured demos at NAB 2013 in- tee a constant bandwidth required by typical and Elemental Server, which perform 4K Ultra clude MPEG-DASH and the full portfolio of En- contribution-compression solutions. Through HD encoding, HEVC/H.265 encoding, encoding vivio video encoding, processing, distribution, use of adaptive-bitrate encoding, a technology for MPEG-DASH clients, and various ad-inser- and network-management products. already proven in multiscreen applications, re- tion technologies that help monetize content in gional feeds can be distributed over networks a multiscreen ecosystem. Elemental Stream, de- Epoch SL14018 that previously would not have been considered signed to segment, package, and secure live and ntroducing its inaugural product at NAB suitable for such an application. The units can on-demand content for multiscreen delivery, I2013, Epoch delivers a more efficient way to be configured to a range of profiles that enable will be featured in both the Elemental Live and move and transform media that is easier and the devices to seamlessly change among various Elemental Server workflows. more flexible than today’s manually engineered bitrates as the units adapt to changing network The new Elemental Cloud Platform as a Ser- workflows. Its Workflow Virtualization Tech- conditions. vice (Paas) will be announced and demonstrat- nology is a SaaS that improves speed, band- ed. The company’s ground-to-cloud architecture width utilization, and ease of deployment for Evertz N1503 gives customers the ability to securely manage complicated multisite, multiformat workflows. vertz will showcase a suite of new 4K/Ultra high-volume video processing with the scale It monitors existing infrastructure and re-en- EHD Live workflow tools. Recognizing the and elasticity of the cloud. gineers workflows in real time for maximum challenge faced by industry leaders looking to performance and total capacity. Epoch’s genetic incorporate the advantages of 4K/Ultra HD to Encompass Digital Media SU3821 algorithms intelligently solve load-balancing, enhance their production value, the company ncompass delivers content for premier task-partitioning, utilization, routing, and con- responded with a new suite of tools, including Esports leagues and broadcasters worldwide. tention problems to make media flow up to 40 compression, routing, processing/conversion, No matter the sport, the company has the HD, times faster. monitoring, and a unified control system using SD, and IP services to get any event from the Sports-video providers have unique de- MAGNUM to make 4K/Ultra HD a reality. field, rink, or ring to viewers. With the capabili- mands — shorter time frames, near-live video Evertz will be demonstrating the EFX video ties to distribute media to multiple screens in transmission, and remote-workflow require- wall for studio-backdrop applications. At the a variety of formats, Encompass’s combination ments — because sports don’t happen inside core of the EFX solution is the 3000DVT-18x18, of assets gives users a winning solution to their the studio. Multiple workflows need to hap- a large-scale video-wall processor with transi- game plan. The company partners with various pen simultaneously, but one might be waiting tion effects and the ability to scale any video sports leagues and networks to provide channel on the other. Epoch makes existing resources across any size video wall. Already in use by

96 sports tech journal / spring 2013

nab2013preview many broadcasters, the EFX fulfills the growing to be migrated or is born digital and needs to formance. High-resolution 16-bit encoders are demand for a simple and cost-effective video- be managed, DIVAsolutions provide a fully inte- standard, making it suitable to virtual, robotic, wall solution. grated approach to migration, management, and and digital signage, among other applications. Having debuted at Super Bowl XLVII, where preservation of content. Workflows for coaches, FUJINON’s exclusive GO-Technology it was used to replay live 4K camera angles, producers, or entire enterprises can be managed improves image resolution and chromatic Evertz’s Dreamcatcher will be front and center and integrated with existing editing and MAM aberrations at all focal lengths. This ⅔-in. at NAB 2013, with its editing technology and tools. telephoto field lens features the latest High- highly scalable and flexible system architecture. SAMMA migration systems automate digi- Transmittance Electron-Beam Coating (HT- tization of videotape, moving content into se- EBC) producing richer colors and greatly EVS SL2416 cure, accessible, and searchable digital storage. improved blue response and transmittance. VS continues to develop its integrated sports DIVArchive V7.1 CSM enables a complete range A proprietary antifogging design minimizes Esolution for 360-degree operations from the of video-management workflows, with straight- lens fogging and reduces downtime due to venue to the living room. The company will forward operations performed via simple-to- moisture. introduce innovations for each step of the pro- use drag-and-drop interfaces. LYNX Cloud Also introduced will be the PL 85-300 Cab- duction and delivery workflow. Part of ongoing CSM is an enterprise-scale CSM and disaster- rio. Like the PL 19-90 Cabrio, it is equipped development of practical innovations for live recovery implementation. LYNX delivers adapt- with flange focal-distance adjustment, a MOD outside-broadcast operations, the next chapter able on-demand scalability, reduces capital and of 1.2m, and a macro function for objects as in the industry-standard LSM user surface be- operational costs, and changes the way media close as 97mm (3.8 in.) and covers a 31.5mm gins with an assistant controller for LSM. The organizations manage assets. diagonal sensor size. The digital servo’s 16-bit multitouch tablet application features advanced encoding ensures that all lens data output — clip and playlist management and the flexibil- Frontline Communications C7439 such as the position of the zoom, iris, and focus ity of multiuser configurations for each server. esigned and built by Frontline Communi- — is extremely accurate, and the lens supports Enabling instant connectivity among outside Dcations in Clearwater, FL, the ChileFilms Lens Data System (LDS) and /i metadata for- broadcast facilities, sports centers, and other re- HD EFP trailer was put into service to pro- mats. Like the PL 19-90 Cabrio, the PL 85-300 mote locations, new advanced Web-based tools vide HD coverage to Club Hípico de Santiago features an exclusive detachable servo drive allow operators to instantly review multiple horseracing track, consisting of 86+ journeys unit, making it suitable for use as a standard camera angles and clips and import them for during the year. The third unit, delivered last PL lens or as an ENG-style lens. The PL 85- extended production operations. Extending the November, has a twin brother currently under 300 can be controlled using cinema-industry- broadcaster’s reach into the living room, EVS’s construction to be delivered in May. standard wireless controllers as well as existing C-Cast second-screen solution delivers premi- Partnering on three previous TV trailers, FUJINON wired and wireless units. Both lenses um content to connected devices using existing both ChileFilms and Frontline Engineering are available for delivery. live-production infrastructure, enabling broad- teams worked closely together, covering par- casters and rightsholders to increase viewer en- ticularly fine details and allowing ChileFilms to Gepco/General cable C7408 gagement and content value. develop an expedited and precisely documented ifferent from typical industry products production scheme, which has been very pro- Dbut offering the same performance char- For-A Corp. C5116 ductive considering that they are more than acteristics of traditional SMPTE 311 cables, t NAB 2013, FOR-A will exhibit with the 6,000 km apart. Gepco’s new HDC72HD 7.2-mm hybrid fi- Atheme “FOR-A for a 4K future.” Starting ChileFilms has seven SD/HD units operat- ber cable is the first piece of a patent-pend- with its full-4K-resolution super-slow-motion ing in the Chilean TV market. It also provides ing hybrid fiber system that solves the most camera, FT-ONE, FOR-A will show a variety of coverage for soccer national league, as well as common durability issues associated with future-proof 4K products, including production international feeds for Fox Sports. SMPTE camera cables in a 31% smaller and switchers. Innovative solutions such as frame- 40% lighter design. The construction of the rate converters with enhanced winter-sports Fujifilm/FUJINON C7525 HDC72HD replaces the typical heavy steel conversions, file-based products, FZ-B1 ultra- ew at NAB 2013 will be the XA99x8.4 strength member with a Kevlar strength low-light camera, and marker-less sensor will Nultra-wide field production lens, offer- member that has the same pull strength of also be on display. ing a zoom range of 99X, a focal length of 8.4- steel but is lighter, more flexible, and, unlike 832mm, and MOD of 2.9m. The XA99x is f1.7 steel, expands and contracts at the same rate Front Porch Digital SU3602, SU3605 at 341mm and f4.2 at 832mm. Like other lenses as the glass members during temperature ront Porch Digital’s DIVAsolutions products in the line — XA77x9.5, XA88x8.8, XA88x12.5, extremes. The typical outer braid is replaced Ffor migration, content-storage manage- and XA101x8.9 — the XA99x8.4 offers FUJI- with two 18 AWG drain wires that allow the ment (CSM), and cloud-based disaster recov- NON’s DIGI POWER digital control and other cable to be more flexible, lighter, and smaller ery are suited for all content owners, including functions that increase production flexibility. in diameter. The master jacket is rugged poly- sports teams, leagues, conferences, and venues. It features a newly developed patented image- urethane with a glossy finish that reduces the Whether the content is on videotape that needs stabilization technology for rock-steady per- pickup of dirt and debris.

98 sports tech journal / spring 2013 SVG_SportsTechJournal_Ad 2/26/13 4:14 PM Page 1

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Gerling & AssoCIATES oE601 Valley LDX Series of upgradable system cam- grated infrastructure solutions that stream- erling and Associates’ 2013 display will be eras. It delivers the same high-quality images line multiscreen content delivery by enabling Gan all-Canadian show. Dome Productions and performance — and supports the use of broadcasters and operators to produce mul- will showcase its Atlantic trailer built by G&A the same accessories — for a single produc- tiformat content more efficiently; distribute in 2012 and recently featured in the Discovery tion format but can be upgraded through the content cost-effectively over any network; and The ultimate Gold Rush series. This 53-ft. trailer will pro- entire LDX range — LDX Première, LDX Elite, support a high-quality viewing experience, re- vide insight into G&A’s product development and LDX WorldCam — as required. Designed gardless of display device. At the center of Har- over the past few years to provide low weight, as a cost-effective acquisition camera, the LDX monic’s multiscreen portfolio is its ProMedia extended bay storage, and the only seamless, Flex provides a wide range of gamma and knee software suite, which performs a broad range sports solution rivetless auto-look-exterior trailer available in adjustments, a powerful secondary color cor- of processing and streaming functions — cap- North America. Interior craftsmanship sets off rector for two independent colors at the same ture, transcoding, packaging, origin server — the Dome interior look. Proshow of Vancouver, time, and the choice of fiber or triax camera to optimize multiscreen production and pro- BC, will exhibit its Maestro 40-ft. truck built by transmission. cessing workflows. G&A with a large expanding side and the first Grass Valley will also show its XCU World- Harmonic is a leader in supporting next- over-cab air-conditioner by Dimplex. This new Cam eXchangeable camera-control unit. Fully generation video-compression standards. NAB design is a game-changer for G&A clients look- compliant with all Grass Valley 3G transmission technology demonstrations will include the ing for a truck that is economical and provides solutions, the XCU concept will serve as the core Ultra High-Definition (UHDTV) digital-video more space than usual on a conventional truck design for all future Grass Valley base stations format; HEVC high-performance encoding fea- chassis. to simplify the way live content is produced turing the H.265 compression standard, which Produce live and delivered. It offers flexibility to mobile- promises to improve OTT delivery; and MPEG- data-driven graphics GlobeCast SU4911 production-truck operators and studios and is DASH streaming based on Harmonic’s compres- in real-time with Viz Trio lobeCast will be promoting its end-to- designed around a premounted and prewired sion technology. end services for contribution of events for cradle that allows easy “slide-in” and “slide-out” G of the XCU as needed. Harris N2503 Viz Libero is a powerful broadcasters. The company now has terrestrial sports analysis and replay connectivity to the leading broadcasters and arris’s Platinum IP3 router can accommo- solution platforms around the globe to complement its Haivision SL6605 Hdate separate video, audio, and data paths Display virtual ads and aivision will introduce solutions that al- within the same frame, offering a true path to data on the field satellite capacities. It can also provide custom- with Viz Arena ized solutions for ad hoc and full-time distribu- Hlow users to capture, manage, and publish network convergence. The signal router can tion of channels via satellite and fiber. media content to Internet audiences. These scale to multiframe configurations for very large new solutions are coupled with Haivision’s broadcast and media operations — 2048x2048 Grass Valley SL206 encoding (Makito) and cloud transcoding (Ku- and beyond — using a common architecture, ore than a switcher, the GV Director in- laByte) technologies, along with new Internet simplifying installations, and eliminating costs Mtegrated nonlinear live production cen- transport technologies. Haivision will also de- associated with external components and com- ter brings a new paradigm to live production but the Makito X series next-generation HD plex cabling. workflows of all genres, simplifying production H.264 encoding platform with dual-channel The intelligent architecture maximizes and delivery across multiple distribution plat- HD-encoding capabilities. Makito X2 deliv- on-air security, with audio, video, and multi- forms. GV Director is suitable for all produc- ers twice the quality at half the bandwidth of viewer signal protection based on redundant tion environments: houses of worship, image- competing encoders and carries on the tradi- crosspoints and integrated routing designs. magnification (IMAG) applications, educational tion of the Makito with only 55 ms of encoding The design eliminates the need to take sta- institutions, as well as fixed venues, production latency, an extensive feature set, and the ability tions off the air while scaling into multiple- studios, and trucks. to deliver multiple bitrates (MBR) from each frame systems. The Platinum IP3 also accom- GV Director’s simple touchscreen, traditional source simultaneously. This low-latency en- modates multiviewers, frame synchronizers, Vizrt offers the ultimate sports solution for broadcasters in the OB Van. switcher buttons, and T-bar controls make it coder is available as a standalone appliance or and more within the frame for customized, With Viz Trio, Vizrt’s (CG), broadcasters get an easy to use easy to use, familiar and logical to both ex- in a rack-mount enclosure, supporting up to 12 space- and energy-saving integrated routing application for displaying in-game graphics, vital stats and scores in real-time. perienced technical directors and students. channels of HD-SDI 1080p60 encoding within solutions. Place graphics in the action with Viz Arena for virtual ads and graphic overlays Software-based, it runs on common hardware 1RU, delivering the highest channel density in Harris will also show the next-generation, for every playing area. Analyze plays and controversial calls and create virtual the industry. software-based NEXIO Volt server, which ad- components, forming a scalable CPU and GPU replays with Viz Libero. platform with robust Grass Valley-designed I/O dresses customer needs for higher channel technology, providing virtually unlimited M/E Harmonic SU1411 counts in a compact form factor while increas- buses, keyers, 2D/3D graphics, localized clip t NAB 2013, Harmonic will showcase a ing options for robust media storage. The 1RU Learn more about Vizrt’s sports solutions at vizrt.com storage, and the ability to handle baseband and Awide range of video-processing solutions unit doubles the number of available record file-based sources. that provide sports broadcasters with a total ports with four bidirectional HD channels (up The recently added LDX Flex studio camera package for delivering multiscreen video. The to eight SD) and offers exceptional overall chan- system is an entry-level offering to the Grass company will demonstrate a variety of inte- nel density for ingest and playout.

100 sports tech journal / spring 2013 The ultimate sports solution

Produce live data-driven graphics in real-time with Viz Trio

Viz Libero is a powerful sports analysis and replay solution Display virtual ads and data on the field with Viz Arena

Vizrt offers the ultimate sports solution for broadcasters in the OB Van. With Viz Trio, Vizrt’s character generator (CG), broadcasters get an easy to use application for displaying in-game graphics, vital stats and scores in real-time. Place graphics in the action with Viz Arena for virtual ads and graphic overlays for every playing area. Analyze plays and controversial calls and create virtual replays with Viz Libero. Learn more about Vizrt’s sports solutions at vizrt.com nab2013preview

Hego SL1010 equipment procurement and logistics, technical government organizations. Its regional video ounded in 1969, Hego focuses on enhanc- fabrication and installation — especially with neighborhoods around the world deliver more Fing the viewing experience of live sport. regard to digital- and HD-television origination, television channels than any other system. With its strong portfolio of tools, solutions, audio/visual distribution and display, and net- With nearly 100% penetration of the U.S. cable and production services, the company brings working and information technology. Services market, Intelsat’s video neighborhoods are a live sports to life by helping tell the unfolding are offered on a turnkey or à la carte basis to suit leading choice for national, regional, and colle- story in a more compelling and meaningful way. client preferences. giate sports programmers. Intelsat’s terrestrial It visualizes live sports data and enhances TV In 2012, Hughes Integration, a business unit network of eight strategically located teleports coverage through its range of technologies, in- of EchoStar, was contracted to provide detailed and more than 36,000 miles of leased fiber cluding high-performance broadcast graphics, documentation, installation and test, and com- complements a global fleet of approximately advanced sensor-less virtual graphics, talent- missioning services for two new 53-ft. sports- 52 satellites, covering 99% of the world’s popu- controlled studio touchscreens, and live and production trucks along with two smaller com- lation. The company’s fully integrated satellite first-replay sports telestration tools. panion uplink trucks for one of North America’s operations enable global delivery from a single Hego is also behind the TRACAB real- leading production-facilities providers. By platform. time player-tracking system, used by many leveraging experienced installation teams and For decades, major broadcasters have de- national leagues and international tourna- state-of-the-art in-house cable-assembly opera- pended on Intelsat for occasional-use broadcast ments across major sports. Working on more tion, it was able to install and test and commis- services. Partnering with Intelsat ensures that than 5,000 live sports productions every year sion each unit within a tight, 90-day schedule. live video from major events is successfully with many of the world’s top broadcasters and transmitted to viewers from start to finish, with- sporting federations, Hego’s flexible and rap- Ikegami Electronics C5108 out interruption and within budget. id approach to innovation is matched by its kegami develops HD camera systems with the Occasional-use broadcast services provide dependable commitment to delivery on live Isports market firmly in mind. For in-stadium critical support for broadcasters that will broadcast productions. producers and mobile-production companies bring the 2013 Confederations Cup; the 2014 In March, the Hego Group entered into a de- alike, shooting sports today requires durability, World Cup; the 2016 Olympics; and the 2015, finitive agreement to be acquired by Chyron. flexibility across HD formats and transmission 2016, and 2019 Copa América from Chile, the As a result, Hego will exhibit at Chyron’s NAB systems, and support in the field. The sports-ready USA, and Brazil, respectively, to every corner booth this year. HDK-97C in the company’s new Unicam HD of the world. Intelsat’s Special Events team line features 2.5 mega- ⅔-in. CMOS image provides a single source for all broadcast- Hitachi Kokusai C4309 sensors, which achieve superior-quality HDTV ing requirements. The company provides the he new affordably priced Hitachi Z-HD6000 video with horizontal resolution of 1000 TVL, satellite, fiber and combination solutions to T⅔-in. CMOS HDTV color camera incorpo- SNR of 60 dB or more, and F11 sensitivity. It sup- meet clients’ needs for guaranteed transmis- rates the state-of-the-art imaging technology ports a number of native HDTV formats, includ- sion from the competition venues and broad- providing the best picture quality and ROI. The ing 1080i/59.94, 1080i/50, 720p/59.94, 720p/50, casting centers. new CMOS sensors use 2.6 megapixels, F12 sen- 1080p/29.97, 1080p/23.98, and 1080p/25 (some sitivity, 1,000 TV lines of resolution, and >60 dB formats are options). The HDK-97C also supports Joseph Electronics C5348 S/N ratio. Television-production professionals 3G formats: 1080p/59.94 4:2:2, 1080p/50 4:2:2, FS will roll out innovative ideas and system are able to natively acquire in full 1920x080 HD 1080i/59.94 4:4:4, and 1080i/50 4:4:4. Jconcepts at NAB 2013. Its Caddie Series help resolution, thanks to Hitachi’s latest CMOS sen- Dual-speed operation is available for slow- streamline remote-production systems: Camera sors. The Z-HD6000 are capable of standalone motion use. The docking-style HDK-97C fea- Caddie, Booth Caddie, Carry Caddie, Wall Cad- operation or can be adapted for use with Hitachi tures a 3G fiber-transmission system from the die, and Studio Caddie do their part to showcase Digital Triax, Hitachi’s uncompressed optical fi- camera head to its CCU, and either a fiber adap- JFS’s powerful Fly Caddie and Wall Caddie in- ber (SMPTE or single-mode), HD P-2 recorders, tor or triax adaptor can be mounted onto it. The troductions. These fiber and IP-based systems or COFDM wireless system. Hitachi’s patented HDK-97C moves at the speed of sports with the are also complemented by the launch of an time-division multiplex HDTV triax system is new SE-H750 system expander. This stream- uncompressed 10G/3G/HD distribution system end-to-end digital unlike RF-based systems. lined sled converts portable cameras into a full- and Caddie IP. From trucks to stadiums, from Slated to debut at NAB 2013, the Z-HD6000 will facility studio camera in a matter of seconds, studios to colleges, JFS strives to change the way be available by June. making it extremely easy to use a field lens and users approach their infrastructure. 9-in. viewfinder with the HDK-97C. Hughes Integration SU9114 JVC C4314 ughes Integration invites NAB 2013 at- Intelsat SU3111 he new JVC GY-HM650 ProHD handheld Htendees to learn more about its portfolio of provider of satellite services worldwide, Tmobile news camera for broadcasters and professional services. Offerings include technol- AIntelsat supplies video, data, and voice Web producers is intended to mark a new era ogy consulting and planning, project manage- connectivity for media and communications of mobile newsgathering. A recent firmware up- ment, engineering and system-design services, companies, Internet service providers, and date added support for Verizon 4G LTE modems,

102 sports tech journal / spring 2013 MYB12_04pp126-217.indd 142 11/23/11 6:11 PM nab2013preview which connect directly via USB and allow the powerful. Modern high-density audio connec- Levels Beyond SL10711 camera to deliver HD footage back to a broad- tions, including RAVENNA and MADI, provide n one generation, video has moved from a cast facility — without a satellite or microwave video-to-audio bridges within the studio infra- Ione-format, one-tape, one-signal world to uplink. The lightweight GY-HM650 features a structure, and a modern GUI based on HTML5 one that can demand 400 formats and delivery built-in FUJINON wide-angle 23X zoom lens. facilitates intuitive operation. to 7,000 locations. There are countless ways for Its three ⅓-in. 1920x1080 12-bit CMOS sensors The sapphire and crystal broadcast/radio viewers to connect with content, creating a huge record HD or SD footage in multiple file formats, on-air consoles will join the mc²66 broadcast demand for actionable data and analytics. That including native MP4, MOV, MXF, and AVCHD. console — with integrated loudness metering is why media companies around the world are Equipped with dual codecs, the GY-HM650 and AMBIT up/downmixing facilities — in a turning to Levels Beyond’s Reach Engine, which records to non-proprietary SDHC or SDXC complete RAVENNA audio-distribution system provides progressive solutions for managing ev- media cards and produces Full HD files on used to link all booth exhibits. ery video asset. one memory card while simultaneously cre- Reach Engine is the foundation of a new video ating smaller, Web-friendly files on a second. Level 3 Communications ecosystem. The platform is compatible with all Plus, its Pre Rec (retro cache) feature continu- evel 3’s Vyvx Solutions have delivered some major digital-content–creation hardware and ously records and stores up to 15 seconds of Lof the most important and widely viewed software, with a focus on smart integration and footage to help prevent missed shots of break- live sports and news events of the last 20 years. open standards. It delivers streamlined video ing events. The solutions are built around a new gen- management, optimization, and monetization ca- eration of video services designed to deliver pabilities in an intuitive and automated platform KenCast SU4602 rich-media content to more than 500 global scaled for the demands of today and tomorrow. or the past two decades, KenCast has devel- markets in more than 45 countries — with Foped reliable software for multicast content, simplicity, flexibility, and convenience to im- Linear Acoustic N3438 often global, and often encrypted or in DRM for- prove efficiency. Vast bandwidth, worldwide esigned for accuracy and simplicity, Linear mat. The company understands that such con- connectivity, transmission management, and DAcoustic’s newly released LQ-1TM loud- tent is useless if even a single bit is wrong. The support services combine to form end-to-end ness meter supports all ITU loudness-metering company’s secure and efficient Fazzt technology solutions for moving video from the source to standards and includes Dolby Dialogue Intelli- ensures delivery of live video streams and very the audience. gence, making it suitable for measuring both live large encrypted files, often to thousands of sites. As the official Global Video Provider for content and long-form programming with wide KenCast technology is used in applications in the 2012 International Triathlon Union World dynamic range. The rugged yet lightweight alu- the entertainment and media industries, mili- Championship series, Level 3 was a single pro- minum chassis is built to withstand the challeng- tary, homeland security, public safety, and bank- vider for broadcast and streaming services, ing environment of an OB truck, and its compact ing and finance, where flawless delivery is often supporting the triathlon’s continued growth 1RU size takes up little space in tight edit bays. the only option for these applications. in popularity. Last summer, Level 3’s Internet Audio can be extracted from any pair of an broadcast solution also provided acquisition, applied HD/SD-SDI signal or from AES, analog, Lawo C1311 encoding, and distribution to multiple devices or TOSLINK optical inputs and routed to the awo will premiere the second-generation for the 2012 USA Pro Cycling Challenge. decoding and metering core. Included DVB-ASI Lmc²56 digital mixing console. The compact The combination of broadcast fiber, satellite mode allows audio to be sourced from a selected mc²56 combines the performance attributes of and teleport, Managed Video Network Services PID for decoding and measurement. Decoding its larger mc² siblings with new features aimed (MVNS), and VenueNet+ offerings, as well as the for Dolby Digital (AC-3), Dolby Digital Plus, and at streamlining workflow efficiency. The desk VenueNet Lite for college sports, offers an end-to- Dolby E is standard. offers real, two-person operation with fully end solution for live-sports delivery around the On the output side, a selectable LtRt or LoRo decentralized control of all parameters, in- globe. The company’s VenueNet+ service suite is downmix is available on the rear-panel AES and cluding bank and layer selection, EQ, dynam- available in nearly every major sports venue in balanced analog outputs and via the front-panel ics, and bus assignment. The mc²56 provides North America, and the VenueNet Lite service is headphone connector. Metadata emulation and expanded, simplified touch operation, making growing as rapidly as college sports itself. Associated Dialogue (AD or Visual Descriptive) workflow more intuitive. This applies to such Level 3’s secure global fiber network can get mixing can be auditioned on the downmixed operational aspects as VCA allocation, bus as- video content to the end user for consumption output. signment, meter pickup/mode select, and mix- on any device, whether online or on television, LQ-1 features a bright-yellow OLED display minus configuration. by using the fully integrated CDN-based Media showing 5.1-channel input levels, measured Lawo’s V__pro8 video processor will also be Delivery Services. The company works to support loudness, and information. displayed. It can interconnect signals of dif- maximum reliability across its global network ferent video formats, as well as between audio using end-to-end managed services and uncom- LiveU SU5511 and video. High-quality cross-format conver- promising customer support. And it provides 24 x iveU will demonstrate its complete range of sion, color correction, and embedding and de- 7 quality assurance and monitoring, all supported Lbonded 3G/4G uplink solutions for broad- embedding make the V__pro8 compact and by its integrated customer media portal. cast and online media. The professional-grade

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LU70 backpack offers proprietary internal and incoming wild feeds or signals moving between next-generation technologies to help breathe external antenna arrays for extra-strong resil- facilities. Where traditional applications requir- new life into the sports world’s content. iency and sub-second latency. Weighing less ing eight frame synchronizers use eight process- than 1.5 lbs. (700 g), the handheld LU40 device ing cards, NVISION 8500 offers eight frame syn- MultiDyne C10339 provides internal antenna and new live news- chronizers on a single card — with 3Gbps, HD, or more than 30 years, MultiDyne has gathering features. The LU-Smart mobile app and SD supported on the same module. Fprovided video and fiber-optic–based (iPhone/iPad) brings bonded transmission to The SME-1901 streaming-media module is transport systems for a wide range of mar- mobile phones and tablets; LU-Lite laptop so- suitable for a wide range of IP monitoring ap- kets, including broadcast, cable, satellite, and lution enables fast and reliable file transfer and plications (CATV or core router monitoring, au- pro A/V. The company will demonstrate its live video via the laptop; and LiveU Xtender fea- dio/video-production capabilities, remote over HD-18000 CWDM multiplexer, FS-18000 Fi- tures an external antenna for extra-strong resil- IP), combining high density with high quality ber-Saver, and 4K-4000 fiber-optic transport iency in extreme scenarios. to encode H.264 video and AAC audio for up to solutions, all of which are now shipping. It All LiveU products are incorporated into the 20 streams per frame. Multiple sources, in-plant will also share details about an advanced new LiveU ecosystem by the unified management and remote, are available over in-house IPTV fiber-optic transport solution optimized for platform LiveU Total, enabling control rooms to to anyone who typically requires access. It sup- 4K . manage multiple video feeds from LiveU units ports all common streaming protocols and has The HD-18000 allows users to transport up operating in diverse locations. six-port 3G/HD/SD distribution amplifier with to 18 HD-SDI signals per single-mode fiber and LiveU and Panasonic will also showcase their support for fiber I/O via SFP cartridge. can be used for OB, fixed facility link, cross- fully integrated live camera solution, the LiveU- Miranda will also demonstrate a series of campus network, and centralized–control-room enabled Panasonic AG-HPX600 camcorder. solutions suitable for 4K production, including applications. The new FS-18000 Fiber-Saver routing and monitoring technologies that will CWDM remapper/multiplexer can transport C

Markertek C5443 play a key role in enabling broadcasters to reach up to 18 digital optical or SDI signals over a M arkertek features a specialized collection this much anticipated next big thing. single fiber to simplify transport of additional Y of high-end fiber solutions and custom Additionally, the Miranda booth will show- signals in remote locations where there is an M CM fiber services for broadcast, pro audio, and pro case cable and connectivity solutions from par- insufficient amount of available fiber. Both the

A/V. The company’s in-house shop is fully Lemo- ent company Belden, along with a full range of HD-18000 and FS-18000 Fiber-Saver have been MY trained and ready to build SMPTE hybrid 311M- Telecast Fiber Systems solutions. optimized to support 4K digital television. CY compliant camera cables, SMPTE hybrid break- The new 4K-4000 fiber-optic transport sys- outs, two- to 12-channel tactical fiber snakes, Motion Picture Enterprises SL5029 tem is capable of transporting a 4K signal over CMY and custom-length ST, SC, LC, and MPO cables PE is New York’s largest supplier of postpro- one single-mode fiber, enabling users to address K for studio, outside broadcast, or fixed installation. Mduction rental equipment and film supplies. the data requirements involved with delivering Markertek also performs full diagnostic and It is also well-known as the publisher of the Mo- 4K digital television. repair services, regardless of manufacturer, with tion Picture TV and Theatre Directory, the most fast turnaround times. The company also has a widely used directory in film and television. In ad- NAC Image Technology C11749 vast selection of fiber-optic rack solutions, adapt- dition to delivering, installing, and supporting all AC Hi-Motion II cameras use a three-chip ers, connectors, receivers, transmitters, reels, test varieties of Avid editing systems, Apple Final Cut N(CMOS) sensor capable of capturing more gear, and cleaners. systems, and deck rentals on location, MPE rents than 10X high-speed images in Full HD and HD and SD, offline and online, editing suites and provide simultaneous output of live real-time Miranda TECHNOLOGIES N2513 production offices on its premises: 60,000 square video and ultra-slow-motion–replay video. The iranda will show its iTX render service ft. of space, spanning three buildings in midtown cameras provide unparalleled clarity and detail Mfor Adobe After Effects CS6. The new ap- Manhattan. In addition to its Manhattan location, enhancement along with superb light sensitiv- proach to graphics creation inserts the full cre- MPE also has an office in Orlando. ity while fitting seamlessly into the workflow of ative power of After Effects CS6 into the playout sports-broadcast environments. NAC’s flicker- workflow. Instead of using a real-time character Motorola SU2017 suppression technology effectively suppresses the generator to play back graphics templates, it otorola drives the evolution of TV and the impact of stadium lighting with a versatile, easy- automates and manages rendering of After Ef- Msmart, simple connected home and focus- to-use manual adjustment. It is implemented fects projects into fully finished graphics, ready es on IP-based solutions and devices that help without impacting the user-friendly workflow for playout from an iTX integrated playout plat- operators transform how consumers experi- of the Hi-Motion II. Used at Super Bowl XLVII form or Miranda’s Vertigo graphics processors. ence entertainment, communication, and home in New Orleans, NAC’s Hi-Motion II ultra-slow- Part of a commitment to higher-level integra- management. Motorola intends to the lead the motion camera now has wireless capability using tion that saves broadcasters space, power, and way to innovative video, broadband, and soft- the BSI-designed dual-stream mini transmitter, money, the new NVISION 8500 hybrid-router ware solutions that will make its customers suc- which provides RF links for the live and playback series frame-sync input card contains eight in- cessful. The company strives to reignite its com- video streams while a separate receiver provides put ports and allows easy synchronization of petitive spirit, leverage creative inspiration, and the link for the remote control.

106 sports tech journal / spring 2013 Ikegami_SoccerFinalAd_SVG2013.pdPage 1 3/6/13 7:44:22 PM

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NEP OE1309 the ChyronIP 3D graphics generator works ex- liver personalized media experiences that keep ffering advanced equipment, the largest fleet clusively with the TriCaster systems. NewTek viewers engaged for longer periods and drive Oof mobile units, and global production stu- will show how and why its multicamera video- higher revenues for broadcasters. The com- dios to suit every genre, NEP enables its clients to production systems are the top switcher on the pany will demonstrate its tools at every stage execute, deliver, and display exceptional produc- market and the preferred choice of media pro- of the online–video-delivery chain: real-time tions on any platform around the world. For more fessionals seeking new, more cost-effective ways transcoding in the cloud, a simple and flexible than 30 years, NEP has ensured its clients’ success to produce programs online. NewTek will also cross-platform video player with multidevice by delivering superior service and building last- feature the fourth Broadcast Minds panel, a VIP support, content protection, and real-time en- ing relationships with a passion for continuous panel of professionals who come together to ex- gagement analytics. Companies using Ooyala innovation. Its staff is committed to acting with amine the massive shift in the way people pro- technology include Telstra, ESPN, Pac-12 En- integrity and working as a team to deliver com- duce and consume online video content. terprises, Miramax, Bloomberg, Telegraph Me- prehensive solutions for remote production, studio dia Group, Telefonica, and Yahoo! Japan. production, video display, Webcasting, and power NVIDIA SL3905 generation that set the global industry standard. VIDIA GPU technologies power broadcast Orad SL5709 Nsolutions from more than 150 companies, layMaker is Orad’s SD/HD slow-motion NetApp SL12716 including Adobe, Autodesk, Blackmagic Design, Pvideo server designed to meet the growing hether for bandwidth or backups, Ne- Chyron, and Vizrt. NVIDIA will showcase new challenges of live sports productions. It pro- WtApp has a storage solution tailored for broadcast workflow-acceleration tools that take vides up to eight I/O channels of high-quality various workflows. For production, the NetApp advantage of next-generation GPU technology. ingest in multiple video formats — including E5424 enclosure with extreme video bandwidth Demonstrations will show how to achieve real- DVCPRO, DNxHD, and JPEG2000 — with syn- in only 2RU enables a dozen edit time globally illuminated renderings, as well as chronized slow-motion replay and powerful yet for game-day highlights. The E5460 enables stu- emerging-particle simulation plug-ins for 3D simple editing tools. dio production operations for national sports modeling and animation packages. Plus, NVIDIA PlayMaker is suited to live sports-broadcast channels. For distribution and delivery, the Ne- will spotlight a new cloud-based application-de- productions as well as highlights editing in a tApp clustered Data ONTAP extends enterprise- livery platform that will let companies virtualize studio environment. In a studio environment, it class storage efficiency to a true scale-out archi- content and deliver creative and design applica- offers a dedicated work mode for highlights ed- tecture for the largest sports-media operations. tions on-demand. NVIDIA is dedicated to accel- iting of multiple playlists from various incom- Whether the challenge is real-time production erating the broadcast-graphics and visual-cre- ing feeds. or resilient, reliable media distribution, NetApp ation process by allowing the user to tell dramatic The PlayMaker Smart Events engine tag- can help users go further faster. visual stories without interrupting creative flow. ging and sorting tool tags clips with descrip- tive metadata directly from PlayMaker’s Nevion SU3117 On Call CommunicatioNS oE504 controller with minimal operator effort. In evion (formerly T-VIPS) will showcase its he fully automated QuickSPOT automated tapeless workflows, when clips are exported NVS904 modular H.264, AVC-Intra, MPEG- Tsatellite package uplink live sports events in from the server to an NLE environment or ar- 2 codec, which provides professional high-qual- HD, SD, or straight to the Web. The turnkey sat- chived, each clip can be exported with all its ity SD/HD-SDI video transport through state- ellite system and service can be easily operated relevant metadata. of-the-art compression. It provides a choice of without technical expertise. On Call specializes The PlayNet provides Gigabit-network file IP or DVB-ASI network interfaces, allowing de- in portable satellite-uplink systems covering sharing between servers for preview, copy, or ployment of services over IP networks or tradi- sports and news and providing phone and Inter- instant playout of clips from remote servers, as tional video networks. It supports Hi422 Profiles net connections. Backed by 24/7/365 technical well as export to Avid, FCP, Adobe Premiere, and at Level 4.1 for HD and Level 3.2 for SD. With support, the automated systems are suited for others via standard Ethernet. configurable transport stream rates from 6.1 colleges, games, interviews, coaches shows, and Mbps to 128 Mbps, the VS904 enables contribu- around-the-stadium coverage. Origin Digital SL5020 tion of SD or HD video over bandwidth-limited rigin Digital makes it easy to broadcast and infrastructure while delivering the highest pos- Ooyala OS1008 Odeliver live content to the Internet on all de- sible quality. In addition, it is available with low- provider of online video streaming, ana- vices and formats. With the Live Event Automa- latency configurations suitable for real-time Alytics, and monetization platforms, Ooyala tion Platform (LEAP 3.0), the company brings sports contribution applications. helps companies deliver live and on-demand to market the first technology solution that au- video content to audiences on any device any- tomates real-time processing and scheduling of NewTek SL4610 where and make money from online video live broadcast events. It specializes in acquiring, ewTek will showcase its full range of Tri- through advertising insertion, pay wall, or encoding, transcoding, delivering, and publish- NCaster live-production and 3Play slow- subscriptions. Its analytics-based solutions — ing hundreds of simultaneous events to millions motion instant-replay solutions. Show attendees Ooyala Discovery, interactive program guides, of concurrent viewers. The company offers 24/7 will also be able to see demonstrations of how smart ad insertion — help broadcasters de- monitoring of user feeds and also creates and

108 sports tech journal / spring 2013

nab2013preview publishes channels and playlists to its embed- existing clips inside FORK. With FORK Logger, broadcasts and multiple boxing and world- ded player. Adding ad and break insertion, Ori- users can log video files that can be searched, class ski tournaments. gin Digital can also monetize content. filtered, and organized by any metadata entry inside FORK Content Navigator. Quantel SL2109 Panasonic C3607 uantel will show its full range of fast-turn- he new AW-HE2 is a cost-effective HD cam- ProductionHUB C12130 Qaround production solutions with new devel- Tera with a non-mechanical, electronic pan/ inding a job, project, or client doesn’t have opments that make them even more productive tilt/zoom. Small and unobtrusive, it is suited Fto be a gamble. ProductionHUB is a tool for and effective. Visitors to the booth will see how for remote monitoring in athletics, conference seeking a new freelance gig or job, equipment to Quantel systems provide the sleekest workflows rooms, reality-show production, and classrooms rent or buy, or the latest industry news, events, available today, with a secure path into the future for lecture capture and distance learning. With no videos, and blogs. With ProductionHUB, us- that protects media enterprises’ investments. The moving parts, the HE2 serves in difficult or de- ers can create a featured profile with premium Enterprise sQ system provides the backbone of manding settings, such as auto sports and active visibility and unlimited first access to targeted many sports broadcasters’ operations, with a classrooms. leads in their city. workflow that gets them on air, Web, tablet, and Featuring a sleek, compact design and versa- mobile first at the highest quality. The QTube tile HDMI output, it combines production-level Proshow BroADCAST oE601 global workflow system extends the Quantel pro- image quality, smooth digital pan/tilt/zoom op- aestro is the latest addition to the Proshow duction environment worldwide, enabling users eration, IP control, and easy system integration MBroadcast fleet. The 40-ft. Gerling Super to edit media wherever it is or they are. for versatile HD/SD video communications. The Stallion series body on a Peterbuilt chassis features Also slated to be on display is revolutionQ, a camera features a full HD MOS sensor and Pan- a full-length, curb-side expanding side to allow new software architecture that embraces Web asonic’s Super Resolution digital-signal process- seating for eight in production, five in tape, and technology to deliver a flexible, distributed, fast- ing to deliver high-quality PTZ video with no two in video. Equipped with a 4M/E Grass Valley turnaround content-creation system that leverages moving parts. Horizontal resolution is a high, Kalypso switcher, Calrec Omega audio console, the economies of COTS processing and storage. 850 TV lines; minimum illumination is 20 lux. and Chyron HyperX3 graphics system and wired The HE2 incorporates a highly accurate, for 12 Sony triax HD cams and three six-channel Quantum SL9016 all-digital pan-tilt function that offers pre- EVS servers, Maestro offers significant production uantum data-management solutions help cise, fast, fluid movement in all directions. A power in a compact and agile package. Since its Qspeed sports-content workflows from in- very wide, 95-degree horizontal field of view launch in August, its has been busy with Pac-12, gest through edit to distribution and archive. makes it possible to capture all the action, NHL, MLS, and more. With StorNext, projects are completed faster, even in small or awkwardly shaped environ- and content is cost-effectively stored. Quantum ments. For live remote preview and control, PSSI – Strategic TV oE1315 Metadata Appliances help manage workflows the HE2 delivers IP-preview MJPEG video esigned and integrated by PSSI – Strategic across multiple platforms. StorNext Q-Series embedded in the camera’s Browser control DTelevision, the K-34 35-ft. six-camera HD storage is tuned to work specifically for M&E page, at resolutions up to 640x480 and frame production and uplink truck was built to sup- workflows, and StorNext AEL Archives provide rates of up to 30 fps. port customers requiring HD remote-production content protection and lower-cost tiered storage services. It features a Grass Valley Karrera 2M/E for media files. Primestream SL6824 production switcher with six Grass Valley LDK Quantum was part of NASCAR’s winning he Primestream FORK Logger 1.0, a new 3000+HD 1080i/720p camera systems. It has a multicar replay-system submission for IBC’s Tcross-platform module of FORK Produc- Chyron HyperX3 graphics generator with Lyric 7 Content Management Innovation Awards and tion Suite 3.5, is a metadata-tagging tool that software and a Yamaha M7CL 48-channel digital a finalist as part of the Turner Sports submis- allows live or prerecorded video to be logged. mixing console. An eight-channel EVS XT3 serv- sion for content management. At NAB 2013, Its tightly integrated and configurable user er and XFile with two control units allow flexibil- Quantum will continue its momentum with interface helps content loggers tag video with ity in recording and playing back material. 30% more booth space than at NAB 2012 and defined metadata into the FORK environ- Since August 2012, K-34 has served the highlight a number of new products, including ment, making assets easier to manage, auto- collegiate sports-production needs of Pac-12 StorNext Storage for the mid range, an LTFS ap- mate, and, ultimately, monetize. Networks and multiple other production com- pliance, and its recently launched product based The heart of the FORK Logger is a dynamic panies and program packagers. It is versatile on object storage, Lattus Wide Area Storage. GUI that contains form panels, button pan- enough to be the primary production mobile els, video viewers, marker thumbnail lists, unit for varied uses in the entertainment in- Riedel Communications C4937 and a bin list of created events, all tools that dustry, including red-carpet shows, award cer- iedel Communications and Grass Valley can be combined — many in a dynamic way emonies, and premieres. For multitruck and Rwill showcase Riedel’s new MediorNet in- — based on the content. FORK Logger sup- larger production scenarios, it is perfect for terface card for integrating Grass Valley cameras ports multiple layouts per system. Users can acting as a share unit for meeting international into MediorNet. The MN-GV-2 card allows the work live with ingesting feeds or can call up production requirements such as for UFC user to network Grass Valley 3G camera systems

110 sports tech journal / spring 2013

nab2013preview and base station, including the LDK and the new integrated virtual studio production and aug- For more than a year, SES has been work- LDX series, via MediorNet. It provides a solution mented reality system. ing with customer and industry partners to for routing bidirectional camera signals includ- develop the SAT>IP protocol, an open stan- ing all embedded audio and telemetry control ScheduAll SU3421 dard, while keeping satellites at the forefront data through the MediorNet fiber infrastruc- cheduALL will launch its next-generation of broadcasting innovation. In SAT>IP, a set- ture. MediorNet’s network approach allows free Sscheduling, now with smart technology, at NAB top box about the size of the average wireless assignment of cameras to any base station/CCU 2013. ScheduALL 5 (S5) has taken workflow to a network router demodulates satellite signals within the network, providing flexibility in set- new level, automating previously labor-intensive and converts them to IP before feeding the ups and eliminating the need for rewiring when functions like slack-capacity optimization, media- signal into a home or larger network. Since production configurations change. system integration, and third-party connectivity. the signal is then sent through the entire In addition, the network’s point-to-multi- S5 is a milestone in resource-management computer network, SAT>IP offers end users point capability allows a camera video signal software and precisely addresses the complexi- the opportunity to watch the full variety of to be routed to several outputs. Ultimately, the ties of media, broadcast, and transmission busi- satellite-TV programming, including HD 8 Grass Valley camera system becomes an in- nesses. The smart technology in S5 automates channels. The type of home network is ir- tegrated part of the MediorNet backbone for workflow based on the tunable business param- relevant, whether it uses traditional cables, signal distribution, streamlining production eters required for each project. This smart work- wireless functionality, or even power-line scenarios, sports-broadcasting applications, and flow capability will connect, trigger, and manage networks that rely on a home’s electricity fixed installations. the entire workflow process. network. Each device communicates with The MediorNet MN-GV-2 card provides two ScheduALL predicts that the new technology the set-top box, using standard Internet Grass Valley 3G fiber ports that connect to ei- in S5 will transform the way the media, broad- communication protocols to request access ther Grass Valley cameras or base stations. The cast, and transmission industries manage their to individual programming, which are then card fits into MediorNet modular mainframes, business and take on and complete projects. served up by the set-top box. occupying a single card slot with at least two Whether it’s watching a championship match high-speed ports. Sennheiser C3217 in the backyard, downloading an episode from ennheiser will demonstrate the Digital years past in the kitchen, or ending the constant Ross Video N3808 S9000 sophisticated digital wireless micro- battle over what to watch, SES satellite technol- oss Video will demonstrate full studio sys- phone system. Designed for broadcasting pro- ogy has the future of media distribution covered Rtems tuned for specific applications. Dem- fessionals, musical theaters, and high-profile anytime anywhere. onstration stations for sports, news, events, and live audio events, Digital 9000 can transmit worship productions will allow clients to book a uncompressed audio with superb dynamics. SGL Broadcast N1520 demo that relates to the production type of their The system can achieve the highest channel GL’s Open System architecture provides choosing. Ross Studio Systems comprise a com- counts in today’s increasingly dense frequen- Sbroadcasters, postproduction facilities, bination of Vision, Carbonite, and CrossOver cy environment. and news/sports organizations with reliable, production switchers combined with XPression Sennheiser will also display the new MKE scalable solutions with substantial cost and graphics systems, BlackStorm playout servers, video-camera/camcorder microphone, which workflow benefits. Enabling ingest of mate- and Ross Robotics systems. is designed to handle demanding challenges. rial directly into the archive, its LTFS workflow Vision Series production switchers will show High directivity enables the MKE 600 to pick opens an array of new workflows and creates the latest enhancements to the company’s flag- up sounds coming from the direction in which substantial time and cost benefits. Next step ship large production switchers with version 16 the camera is pointing and effectively attenuates in this transition, which SGL will introduce software continuing to add production and ef- noise coming from the sides and rear. at NAB 2013, is the Notification Service. Us- fects capabilities to the feature set. Neumann, a member of the Sennheiser ing a simple subscription setup, it announces The rapidly expanding Carbonite family in- Group, announces launch of the compact, cost- the arrival of new material to the controlling cludes the company’s latest control panels, the effective KH 310 three-way studio monitor. It is media-asset–management system and pushes C2 (compact) and C2X (extended), as well as suited for use as front in midsize relevant data describing material archived the new MultiMedia and Plus video-processing multichannel systems or as a rear loudspeaker based on rules selected by the broadcaster. SGl engines. in larger multichannel systems. also will highlight its fully integrated FlashNet XPression v5 solidifies its position as the new workflows at the HP and EVS booths. standard in real-time graphics with a new FX SES SU1911 engine and enhanced DataLinq data integra- nnovation and development in consumer Shure C2627 tion. The FX engine plug-in architecture allows Ielectronics and Internet technology are con- hure will demonstrate its portfolio of broad- users to enhance real-time 3D animation with verging on media distribution, and SES is in- Scast- and media-production products. The fully key-frameable special effects, like motion novating direct-to-home models, taking into Axient Wireless Management Network is a mi- blur and light rays. account the explosion in end devices that is fu- crophone system that can automatically change Ross will offer a live demonstration of a fully elling a move away from traditional TV habits. frequencies to avoid interference and produce

112 sports tech journal / spring 2013 See us at NAB : Booth number: C1344

SD10B The DiGiCo SD10B provides a potent blend of features, performance, flexibility and sonic clarity, at a price point that DIGITAL BROADCAST brings advanced digital technology to a wider broadcast market than ever before. Facilities include 96 channels with CONSOLE full processing, 12 of which are Flexi Channels that can be configured as mono or stereo, 48 assignable busses, plus a stereo, 5.1 faders, mix minus (n-1) and a complete 5.1 monitoring matrix with a 48 x 6 source to speaker selection New visions of digital broadcast audio control.

Compact. Powerful. Affordable. All of this performance, flexibility and sonic clarity comes in a form factor that is simple to work within the tightest OB truck or studio, making the DiGiCo SD10B system readily shippable as a fly pack.

“A lot of our events are setup, shoot and strike and in a single, 10-hour day and I’ve got to give individuals that have never operated the console before a generic overview in less than an hour and I believe I’m able to do that rather well because the console is very easy to use. And DiGiCo’s training and customer service in that area is exceptional.” Kory Loy, Engineer in Charge, Sure Shot Transmissions

“The console is the most powerful, problem-free device in the whole truck!” Rodney Kobayakawa, General Manager, NEP Hawaii

• 96 channels with full processing DSP inc. 12 Flexi channels • 48 configurable Busses plus Master Buss up to 5.1 • 16 x 16 Matrix • 12 Control Groups/VCA • De-essers on every channel • 10 Multiband Compressors • 2 MADI ports on work surface • Multi Channel Folding • 8x AES/EBU I/O (mono) • Internal redundant PSU • Rack options: External IO up to 448 Channels • Boot up time: audio back in under 20 seconds • Configurable work surface • Available in shorter frame version

www.digico.biz Exclusive US distribution: Group One Ltd Toll Free 877 292 1623 www.g1limited.com

Broadcast Ad Sure NEP SVG 6-3-13.indd 1 06/03/2013 10:00 nab2013preview high-quality audio despite the unknown vari- domestically and internationally, delivering complex logistical puzzles to be solved. The ables of demanding television, broadcast, and angles and revealing perspectives that dra- company’s other upcoming projects for 2013 performance environments. Shure’s ULX-D Dig- matically enhance the quality of coverage. and beyond include U.S. presidential trips to the ital Wireless System offers unmatched sound Middle East; the IndyCar São Paulo, Brazil, race; quality, improved spectral efficiency, robust en- Sony C11001 the Confederations and World Cups in Brazil; cryption, and intelligent rechargeable batteries. rom HD to 4K and production at all levels, and the 2014 Winter Games in Sochi, Russia. In The company’s portfolio of BRH headsets — FSony Electronics will display a range of prod- the U.S., SOS is collaborating with longtime cus- BRH31M, BRH440M, and BRH441M —provide ucts and technologies: , cameras, tomers on such events as its 26th consecutive exceptional audio quality, comfort, and durability. switchers, and displays for news, live production, Super Bowl, the NBA All-Star Game, Daytona Other products to be featured are Shure’s shotgun presentation, and more. Attendees can see its full 500, and . microphones (including VP82 and VP89 con- line of 4K-acquisition technologies: the F65, with denser mics), the UR3 plug-on transmitter, and its 8K sensor, and the new F55 and F5 cameras, Spectra Logic SL11816 the UR5 portable diversity receiver. FP Wireless, and a full line of 4K-related accessories, giving esigned for sports and entertainment or- a portable system with intuitive, flexible com- content creators new levels of flexibility and cre- Dganizations, Spectra T-Series digital-tape ponents for capturing crystal-clear audio in de- ative options for acquisition and production. libraries help archive large quantities of content manding environments, will also be on display. Sony’s line of Super 35mm professional cam- easily and affordably. Another key component of corders comprises the NEX-FS100, NEX-FS700, managing digital content is the ability to recall Signiant SL8511 and PMW-F3 models and the expanded family of assets at a moment’s notice. Spectra T-Series li- igniant’s Media Shuttle, the newest addition XDCAM HD422 technologies, including the new braries help users efficiently manage digital ar- Sto the company’s portfolio of accelerated file- PMW-160 handheld camcorder. The PMW-160, chives with scalable, cost-effective, and reliable transfer solutions, is a next-generation tool for equipped with three ⅓-in. Exmor CMOS sensors, solutions that allow quick access to audio and sending and sharing professional media files. joins the line of HD422 memory camcorders: the video files when they’re needed. Now shipping Providing an effective alternative to FTP and PMW-500 shoulder camcorder, the PMW-200 with LTO-6 drives and media, Spectra libraries online file-sharing services — without file-size ½-in. three-CMOS-sensor camcorder, and the can help users efficiently and affordably archive constraints or security risks — is becoming the PMW-100 lightweight ⅓-in. single-CMOS-sen- up to several million content hours. solution of choice for media organizations large sor camcorder. This lineup is designed to meet and small. A flexible subscription-based pricing any application, requirement, and budget. StorageDNA SL11116 model makes Media Shuttle a suitable option for Expanding professionals’ production capa- torageDNA helps media professionals ar- project-based initiatives or enterprises planning bilities even further are Sony’s newest MVS pro- Schive, preserve, access, retrieve, and man- large-scale deployments. duction switchers, combining performance and age digital content. DNA Evolution, an intelli- Its patent-pending hybrid SaaS architecture affordability for schools, corporations, houses of gent workflow solution built on LTO and LTFS gives users access to fast–file-transfer capa- worship, and more. The MVS-3000, MVS-6520 technologies, helps users streamline file-based bilities through a powerfully simple, branded and MVS-6530 models feature multiformat sup- workflow, work more efficiently, and save sig- interface in the cloud while maintaining the port, multiviewer output, and brilliant-menu- nificant storage costs. The company’s intelligent file cache within the secure control on the cus- panel control, combining performance and af- workflow solutions allow users to easily archive, tomer network. In addition to the scalability and fordability into a new class of switchers. find, directly access, and restore digital assets. system-administration benefits associated with In professional display, Sony is adding a range With state-of-the-art features, StorageDNA this approach, Signiant is able to continually en- of new enhancements to its PVM and LMD dis- ensures the health, integrity, and openness of hance product functionality without the need play models and is also showcasing its OLED digital assets, and DNA Evolution can grow with for on-premises software upgrades. professional master-monitoring technology, any environment. The company is redefining me- with models designed for use in editing, dailies dia workflows and uses advanced technologies Skycam LLC/Cablecam LLC C11445 review, graphics generation, and special effects; and innovation to raise the bar on performance. kycam/Cablecam designs, manufactures, a series for technical image evaluation; and flag- StorageDNA’s solutions power complex and criti- Sand operates mobile aerial camera sys- ship models for cinematic production with wid- cal workflows for a wide range of customers from tems. The Skycam and Cablecam systems er gamut display and following the Digital Cin- major film studios and television-production are based on a sophisticated, computer- ema Initiative recommendations for imaging. companies to sports organizations, government controlled cable suspension system that agencies, and Fortune 500 corporations. supports, stabilizes, and allows three-di- SOS Global ExPRESS oE909 mensional movement of a camera to cap- OS Global Express continues to expand its Studer C2923 ture overhead video of major events. Putting Sinternational logistical services in 2013. The t just over 3 ft. wide and 120 lbs., the new the viewer right in the middle of an event, SOS team is already planning for the Global AStuder Vista 1 22-fader console is suitable the use of aerial cameras has significantly X Games competitions in Brazil, Spain, and for small spaces, such as OB trucks and confined changed the way sports and other enter- Germany. The newly expanded X Games have audio rooms. A comprehensive solution requiring tainment programming are broadcast both added World Rally Cars, which brings new and no additional racks, it provides integral I/O; DSP

114 sports tech journal / spring 2013

nab2013preview and surround-sound management, including up/ converts video-highlights packages into the for- first Super 35 digital cinema camera to offer a downmixing; and optional VistaMix automixing. mats needed for online distribution. Frame Image Scan (Global Shutter). The Vista 1 is based largely on the Vista 5, New turnkey live–video-streaming solutions The big brother of the Cinema EOS family, offering the Vistonics user interface plus true based on Telestream Wirecast for Windows live- the C500 is another exceptional 4K digital-cin- broadcast monitoring, talkback, red-light con- streaming production software and Matrox VS4 ema-camera system and interfaces directly with trol, GPIO, N-x (Mix Minus) buses, snapshot four-channel video-capture card bring high- another Codex product, the Onboard S external automation, and DAW control. quality, multicamera live video production and recorder with full metadata management and With an integral DSP engine of 96 channels and broadcasting capabilities to sports groups and variable-frame-rate 4K RAW recording on a configurable to up to 150 channels to mix, the Vista broadcasters. ISO recording of all video feeds single capture drive. The Studio - B&H booth 1 can handle mono, stereo, and 5.1 inputs; mixes enables post-event editing and future archiving. technology showcase will also feature C500 4K with ease; and features 32 mic/line inputs, 16 line New dynamic scoreboard technology for live RAW recording on a Gemini 4:4:4. outputs, and four pairs of AES inputs and outputs sports is now available through the in- on rear-panel connections. I/O can be expanded, tegration of XOS ThunderCloud LiveScore service The Switch SU7824 via the standard Studer D21m card slot on the rear, with Telestream Wirecast Pro for Windows. The his year, The Switch will showcase its net- to allow MADI, AES, AoIP, ADAT, TDIF, CobraNet, integrated technology allows sports teams and Twork expansion to 33 cities, along with its Dolby E/Digital, SDI connections, and more. broadcasters to automatically display real-time, ability to deliver 3G, HD, and SDI across many detailed scoreboard data, including game clock, of the major sports markets. Additionally, the Tektronix N609 countdown clock, distance, field position, fouls, and company will feature its customer-controlled ektronix will show advances in rasterizers penalties. The technology is capable of supporting software, Switch-IT, and long-haul transmission Toptimized for color grading and file-based scoreboard vendors across nearly 20 sports. offering, Inter-City on Demand (ICOD). video QC. In legacy broadcast operations, the SPG8000 sync pulse generator has been used Teradek C9939 The Systems Group N7119 to offer very basic reference signals, such as he privately held R&D company offers a roadcast-systems integrator TSG is cel- black burst signal and linear timecode signal Twide range of state-of-the-art wireless video Bebrating its 20th year providing strategic, to synchronize operational video equipment. products for filmmaking, live video production, technical, and operational services and support However, synchronization from modern pro- and broadcast contribution. As a pioneer of IP to global broadcasters and media industries. duction, postproduction, and broadcast facili- video devices, Teradek creates highly versatile Services include consultation, architectural ties requires handling multiple video formats, encoders and accompanying transmission sys- planning, system design, project management, with multichannel audio and ancillary data, tems for live HD-video broadcasting over WiFi, procurement, and advanced systems integra- with the highest reliability possible. Ethernet, and 3G/4G networks. Since 2008, its tion. TSG has developed some of the most pro- The Master Sync/Master Clock Reference Gen- products have been used by video professionals gressive systems in the broadcast industry, using erator has set a new standard in reference gen- in cinema, broadcast news, professional sports, emerging technologies, collaborative processes, erators, providing critical timing and synchroni- government, and higher education. All Teradek and sheer determination to deliver results. zation signals for modern broadcast, production products are designed and manufactured in Or- TSG’s portfolio has been recognized by broad- (including mobile trucks and OB vans), and post- ange County, CA, and are distributed worldwide. cast-industry trades for excellence in innovation. production facilities by offering sync signals, test This also marks the company’s 20th year attend- signals, and ANC data-generation capabilities. The Studio – B&H C10721 ing the NAB Show, its fourth as an exhibitor. It In addition to combining extensive sync-pulse he Studio – B&H is highlighting an ar- continues to work to stay on the cutting edge of generation and master-clock reference-genera- Tray of HD, 2K, and 4K file-based workflow technology and provide the excellence in service tion capabilities in the single device, the SPG8000 solutions for digital cinema with Sony, Canon, and innovation that clients have come to expect. incorporates several key features, including Tek- Codex, Convergent Design, and Blackmagic tronix’s Stay Genlock capability, redundant power leading the way. The Vault system from Codex The Tiffen Company C8818, C9015 supplies, and SNMP and Web UI support. is a next-generation media-management system he Fawcett ultra-light exoskeletal Steadicam that can ingest virtually any file format with an Tvest transfers weight into anatomically ap- Telestream SL2605 ability to handle all levels of metadata, process propriate areas and bridges areas that should not elestream will feature several new sports so- multiple deliverables, produce LTO backups be loaded. Compared with conventional vests, it is Tlutions. Its Pipeline HD Dual network video- with blistering performance, all concurrently. lighter and less constrictive, allowing better respi- capture system combines with Vantage Trans- Among the compatible RAW camera formats ration, circulation, transpiration, and movement. code Pro workflow-automation software to solve the Vault supports is the 16-bit 4K RAW images The resultant feel is of increased lightness and the challenge of how to quickly deliver high- captured by the PMW-F55 through its AXS-R5 control. After docking, the entire vest may be re- quality game highlights in the correct format to recorder. The new member of the Cinealta fam- laxed by means of one over-center lever, because distribution servers. As used by the University of ily combines uncompromising image quality only the upper pad-system bed is under load. Notre Dame, Telestream enables editing to begin with technological innovation. The F55 offers Primary weight transfer is to the pelvis via four immediately during capture and automatically the same wide color gamut as the F65 and is the pads ergonomically placed around the waistband.

116 sports tech journal / spring 2013 BRING YOUR VISION TO LIFE. FASTER. NVIDIA® GPUs FOR MEDIA AND ENTERTAINMENT

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© 2012 NVIDIA Corporation. All rights reserved. NVIDIA, the NVIDIA logo, NVIDIA Quadro, Tesla, and CUDA are trademarks and/or registered trademarks of NVIDIA Corporation. All company and product names are trademarks or registered trademarks of the respective owners with which they are associated.

NV_ME_SNGL_AD_US_template_FNL.indd 1 3/19/12 11:07 PM B:8.25” T:8.125” S:7.125” nab2013preview

Secondary weight transfer is via contoured pads Utah Scientific N4607 Known for high image quality and excellent light at the shoulders and upper back. The rigidity of tah Scientific will introduce an extension of sensitivity, the cameras integrate with a variety of the outer structure extends the torque-resisting Uthe UTAH-100/UDS routing-switcher fam- broadcast and production workflows. The Phan- lever-arm from mid-back to high-shoulder level ily to provide support for the new 4K (6-Gbps) tom v642 supports simultaneous record and live — halving the force required to counterbalance signal format. Routers in this new series range playback of ultra-slow-motion footage at 1080p the Steadicam stabilizer rig. from 32x32 to 144x144 and offer the same con- up to 2,500 fps. It also includes advanced color- Pad systems are connected by rigid slid- trol options as the very UDS routers introduced in matching technology to accurately match other ing components and tightened by double- and 2012. Complementing the new 4K routers will be broadcast cameras. Vision Research plans to triple-purchase straps for precise fit under load, a new 4K signal-processing module that provides preview the next member of its product line at allowing weight-bearing characteristics to be multiplexing and demultiplexing of 1.5-Gbps and NAB 2013. The next-generation camera will build fine-tuned on the fly. 3-Gbps streams to and from the 6-Gbps signal. upon its existing offering in the TV-broadcast The newest member of the UTAH-400 Series and motion-picture markets. Tightrope Media Systems C9511 2 family of routers is a 72x72 frame that extends ounded in 1997, Tightrope Media Systems the family’s powerful feature set, which includes Vizrt SL3305 Foffers solutions for the broadcast and digital- embedded signal processing to smaller-matrix ighlights of the Vizrt booth will be recent ad- signage markets. Its products are trusted world- applications. Hvances for media-asset management, broad- wide, from basic to sophisticated applications. Utah Scientific also will announce an addition cast graphics, and online and mobile video deliv- Among the products that Tightrope will be to its UCP-LC family of menu-based router-con- ery. Viz Engine, the company’s real-time 3D com- demonstrating at NAB 2013 are ZEPLAY, which trol panels. It features a high-resolution, full-color positing system, now has IP-streaming capability, features eight channels (four input, four output), LCD display and buttons with dynamic labeling, allowing broadcasters to stream multiple formats that are displayed simultaneously with no back- offering a new level of user-friendly operation for and resolutions simultaneously for efficiently cre- side; Cablecast, a robust broadcast-automation today’s increasingly complex routing systems. ating online and mobile graphic and video content. system that provides efficient playback, man- Broadcasters are beginning to look beyond aged via a Web browser; and Carousel, which B:11.125” VidyoCast SU6524 HD to 4K. At NAB 2013, Vizrt will be dem- T:10.875” simplifies content creation, scheduling, and de- idyoCast cloud-based sports contribu- onstrating the 4K-rendering capability of the S:10” livery using an intuitive interface. Vtion and live-production platform com- Viz Engine. The Tightrope design team offers Creative prises hardware and software encoding and Viz Media Engine can encode live video from Services to ensure that Carousel and Cablecast accommodates contribution from laptops, high-resolution to any format for online and content gets noticed. Additionally, the compa- desktops, iPhones/iPads, Android phones and mobile devices at speeds faster than real time. ny’s Training Team provides the needed knowl- tablets. Dedicated hardware encoders handle The multiplatform production workflow enables edge and practical training. network return decoding and remote camera broadcasters to have high-quality video and cus- robotics control in one box. tom graphics and branding for every device, in TVU Networks SU7105 VidyoCast provides feed management, band- a single step. Automated transcoding of video VU Networks delivers a suite of mobile cellu- width management, production-switcher and content is also processed through the Viz Media Tlar uplink solutions designed to help broad- DVE functions, and audio-mixer and mix-mi- Engine for Video on Demand services. Graphics cast professionals deliver professional-quality nus functions, as well as intercom and a video- and branding are added to the video content dur- HD video from practically any location. Using conferencing mode. A producer’s rundown is ing the transcoding process, ensuring an efficient, Take your program to the next level. multiple 3G/4G/LTE/WiFi/BGAN connections, provided for special reports, with individual and high-quality presentation for the end user. TVUPack has been relied on by sports broadcast- group/panel-discussion components. Vizrt gives an edge for getting a story The Canon XA and XF Series of professional camcorders are the next big ers around the world to deliver live footage from VidyoCast operates at 0.2-second latency for on-air and online quickly and efficiently with a addition to college athletic and sports production departments. These the world’s biggest sports events, including the natural interactive discussions, live in-studio, newsroom workflow that integrates easy-to-use cameras shoot 4:2:2 video at 50 mbps, combining high production value London 2012 Olympics, 2012 UEFA European to-air, to-online, and story production. In ad- templates with the journalists’ native newsroom- with great economic value. Plus, they’re durable and compact enough for Football Championship, the , dition to combining individuals on-screen, iso- control system. With Viz Content Pilot, journalists the most creative in-game shots while your teams are under the bright lights. and Super Bowl LXVII. recording is also available. can access these templates for creating graphics, TVUPack provides a powerful, easy-to-use, editing maps with Viz World, and selecting videos Operating on either private networks or See what the Canon XA and XF Series can do for your program and get in and fully modular mobile cellular transmitter in across the Internet, VidyoCast brings resilience from Viz Media Engine to add to a playlist for on- touch with a Canon representative at: pro.usa.canon.com/sportsvideo a small, lightweight package in a backpack. With to contribution feeds. It’s also cloud-based, easy air use and online multiplatform delivery. TVUPack, broadcasters are able to go live from to use, and an asset in live sports production. challenging locations, such as moving vehicles White Sands Engineering SU7211 — including helicopters. Using TVU’s propri- Vision Research C9046 SE and Satellite Engineering Group are etary Inverse StatMux+ transmission protocol and igh-speed–camera manufacturer Vision Waffiliated divisions of Wesco Distribu- TVU264, a purpose-built H.264 encoder, TVUPack HResearch supports a variety of applications tion. As suppliers to the broadcast, broadband, delivers a stable, reliable transmission and superior with such products as the Phantom Flex and and satellite markets, they work together to picture quality under tough network conditions. the sports-broadcast–focused Phantom v642. provide innovative products and solutions. WSE 2013 Canon U.S.A., Inc. All rights reserved. Canon, XF, and XA are registered trademarks of Canon Inc. in the United States.

118 sports tech journal / spring 2013

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Job info Approvals Fonts & Images Job PEMA0123 Art Director William Mont- Fonts Client Canon Copywriter gomery Futura (Bold, Book), Gotham Narrow (Book) Media Type Print Account Mgr None Live 7.125” x 10” Studio Artist None Images Trim 8.125” x 10.875” Proofreader Kevin Hamilton hi-res_01.psd (CMYK; 300 ppi; 100%), XF305. Bleed 8.25” x 11.125” None eps (35.5%), XF105.eps (37.01%), XA10.eps Pubs Sports Tech Journal Notes (28.37%), canon_KO.eps (28.19%), XF-series. ai (26.61%, 27.16%) None

Inks Cyan, Magenta, Yellow, Black B:8.25” T:8.125” S:7.125” B:11.125” T:10.875” S:10”

Take your program to the next level.

The Canon XA and XF Series of professional camcorders are the next big addition to college athletic and sports production departments. These cameras shoot 4:2:2 video at 50 mbps, combining high production value with great economic value. Plus, they’re durable and compact enough for the most creative in-game shots while your teams are under the bright lights.

See what the Canon XA and XF Series can do for your program and get in touch with a Canon representative at: pro.usa.canon.com/sportsvideo

2013 Canon U.S.A., Inc. All rights reserved. Canon, XF, and XA are registered trademarks of Canon Inc. in the United States.

sports tech journal / spring 2013 119

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1 PEMA0123_Canon_XAXF_SVG_r3.indd Saved at 3-4-2013 10:49 AM from nyc01lmoise by Lauren Moise / Lauren Moise Printed At 100%

Job info Approvals Fonts & Images Job PEMA0123 Art Director William Mont- Fonts Client Canon Copywriter gomery Futura (Bold, Book), Gotham Narrow (Book) Media Type Print Account Mgr None Live 7.125” x 10” Studio Artist None Images Trim 8.125” x 10.875” Proofreader Kevin Hamilton hi-res_01.psd (CMYK; 300 ppi; 100%), XF305. Bleed 8.25” x 11.125” None eps (35.5%), XF105.eps (37.01%), XA10.eps Pubs Sports Tech Journal Notes (28.37%), canon_KO.eps (28.19%), XF-series. ai (26.61%, 27.16%) None

Inks Cyan, Magenta, Yellow, Black nab2013preview provides 1.0/2.3 DIN and AirBNC broadcast-grade connectors and also designs and manufactures custom cabling solutions, including assem- blies recently used to rebuild a sports-network studio decimated by Superstorm Sandy. SEG represents many key technology providers of products and services and provides design and engineering for integra- tion, installation and maintenance of satellite and headend networks, deploying its state-of-the-art software and infrastructure. The company was recently awarded a large MPEG-4 upgrade project for a major network.

Wohler Technologies N3729 ohler’s RadiantGrid new-media–automation platform offers a Whighly efficient solution for transcoding, standards conversion, and audio processing in such applications as loudness correction, quality control, and distribution of media while integrating with traffic, business- process, and rights-management systems. At the heart of the platform is RadiantGrid’s TrueGrid parallel-processing engine, which provides faster- than-real-time content transformation, particularly for long-form content requiring multiple processes to be run concurrently. Also slated to be demonstrated at NAB 2013 the new AMP1-MADIe, All the talent in the an in-rack portable MADI unit with Ethernet control and configuration. Suited for sports productions and other live broadcasts, the new sys- world can’t take tem can be connected in series with a 56- or 64-channel MADI stream for individual volume adjustment and audible monitoring of any eight selected MADI channels at once. Designed specifically for customers you anywhere that require unique functionality equivalent to a MADI audio hot-mic mixer, it simplifies rapid selection and monitoring of MADI signals in without intercom. fast-paced, live-to-air production environments. Wohler’s new dual-input SDI audio monitor is designed to offer broadcasters high-performance monitoring of embedded audio in two Take your sports production to another 3G/HD or SD-SDI streams at an attractive price point. level with Clear-Com. As the leading The company will also showcase three additions to its DVM fam- intercom provider in the industry ily of video monitors. with over 40 years of innovation and Yamaha commercial audio systems C2239 experience, Clear-Com has successfully joint collaboration of Yamaha and Steinberg, NUAGE will make its deployed partyline, matrix, wireless and ANAB Show debut. A hardware and software system that adds the power of the Dante audio network to recording, postproduction, live-to- intercom-over-IP solutions for sports tape broadcast, and house of worship recording for rebroadcast, NUAGE productions in over 100 countries is a flexible system that allows engineers to choose and combine com- worldwide and counting. ponents to match individual application and workflow requirements. NUAGE is a networkable recording system that consists of hardware work-surface components, sleek interface, comprehensive visual feed- What’s more, Clear-Com offers an back, networkable audio-interface units, and a software-based digital elaborate support team and a wide audio . It is designed to offer advanced processing capabili- network of Global Rental Group ties and superior sonic quality. The Yamaha control surface features a Partners. We’re here when you need combination of fader and main control units, allowing various system configurations. At the core of NUAGE is Steinberg’s Nuendo digital- us and there where you need us. audio-workstation software.

Where are your productions headed? Zixi U10116 ixi is an Internet platform that enables new video applications. It Zflexibly ingests and distributes live sports over the unmanaged In- ternet in Full HD and without regard to distance. Easy to use because it adapts to sports producers’ current workflows and processes, Zixi scales to thousands of streams while maintaining guaranteed quality and reliability.

© 2013. Clear-Com LLC. All rights reserved. ® Clear-Com and the Clear-Com logo are registered trademarks of HM Electronics, Inc. 120 sports tech journal / spring 2013

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Sports Video Group Sponsorupdate New Technology,sports News, &video Innovations

number of SVG sponsors won’t be exhibiting at NAB 2013, but that doesn’t mean they (three Ku- and two C-band). All are based on the aren’t busy moving the industry forward. On the following pages is an overview of Freightliner Sprinter chassis and equipped with A their newest services, projects, and growing presence in sports broadcasting. HD encoding and monitoring. ARCTEK covered Election Day from Chicago’s 3g Wireless All Mobile Video McCormick Place and President Obama’s hotel. g was a part of history as the terrestrial-RF ll Mobile Video provides end-to-end video Four of its trucks covered the elections, making 3provider for the Red Bull Stratos event in Oc- Aand audio solutions for entertainment, sports, November one of its busiest months ever. tober, providing a wide array of custom-designed and news programming and events. The company For the first time, ARCTEK relocated a truck to solutions, including multiple long-haul HD micro- is founded on innovation, service, and integrated Cedar Rapids, IA, for quick deployment to Chicago, wave links, long-haul RF data links, HD RF cam- resources and remains committed to technology, St. Louis, Indianapolis, and Kansas City. era systems, helicopter Cineflex RF transmission both that available today and what will be available The satellite-transmission provider also trans- systems, communications, and audio systems. in the future. mitted the Super Bowl and the five overtime The challenges were significant with a project the basketball games from South Bend, IN, in Febru- magnitude of Stratos. The area of coverage was a Alliance Productions ary. This spring, ARCTEK will be covering MLB, 120-mile radius around the city of Roswell, NM. lliance Productions serves broadcast with a NCAA hockey, baseball, and lacrosse games. With only one shot at getting it right, redundancy, Abusiness model based on a partnership of reliability, and intelligent solutions to the design many North American mobile-facilities providers. Axis Global Logistics challenges were key. 3g was recognized by Red Bull This year, the company will provide an expanded xis Global specializes in on-demand delivery as a Global Supporter for its overall contributions HD fleet supported by unparalleled customer ser- Aof bulk shipments, operating 365 days a year to the Red Bull Stratos Project. vice. The partnership has seen the exodus of long- and offering a wide range of logistics services in time members Corplex and NCP, but the remain- the areas of domestic and international transpor- Advanced MobilitY Specialty ing core group remains committed to strategic tation, carnet and customs-documentation prepa- vehicles growth by continuing to add HD inventory. In the ration, warehousing, and fulfillment services. Axis dvanced Mobility Specialty Vehicles has been past year, Alliance partners Crosscreek Television, serves high-end industries including marketing Aworking with NEP, NCP, Mobile TV Group, CSP, Jones Mobile TV, MIRA Mobile TV, and Token and advertising, broadcast production, financial Trio Video, and Token Creek. The company in- Creek have all added HD trucks. In addition, IMS services, legal services, and manufacturing with stalled a Northern-Air HVAC system customized Productions will rollout a new HD truck this year. time-critical logistics requirements. for Mobile TV Group, creating a greener and more CBC Mobile, a division of the Canadian Broadcast- Bloomberg Sports energy-efficient TV-production trailer. Token ing Corp., recently joined Alliance as a partner, Sports provided advanced analytics to MLB Creek contracted for a complete rebuild and up- adding a favorable geographical region and high- Network and Turner Sports throughout the grade of its Chippewa trailer. When NEP needed quality HD trucks to the Alliance lineup. B 2012 MLB postseason. It developed a plug-in for quick turnaround work on its Supershooter ND5 Alpha Video Duet’s Lyric software that coordinated its set of HD trailer, the work was completed in record time. 012 was the busiest and most successful year data with TBS graphics and was particularly effec- The result: more-durable and -reliable mobile tele- in the history of Alpha Video Sports Group, tive at demonstrating Alex Rodriguez’s struggles vision broadcast and production trailers. 2 and 2013 is off to a great start. It has been awarded in the ALDS and a pitch-by-pitch breakdown of high-profile projects in Nebraska: a new HD con- Jayson Werth’s memorable 13-pitch at-bat in the Aerial Video Systems trol room, RF system, and digital signage upgrade NLDS. BSports analysis can be found at the new VS’s third-generation 12.5-lb. wireless camera for the CenturyLink Center in Omaha; a new HD StatsInsights.com as the company prepares for the package for Steadicam applications combines A control room for the Pinnacle Bank Arena in Lin- 2013 season with its broadcast clients. the Sony HDCP1 box camera with a Link L-1500 coln; and a series of upgrades to the existing Husk- transmitter for a high-quality, ultra-low-delay erVision control room at the University of Nebras- Brevity wireless signal. The system is virtually half the ka. The HuskerVision control room was originally revity technology transforms file-based weight of most camera rigs, and the design mounts integrated by the Sports Group in 2009. In addition workflows through a Web-based video- the transmitter below the camera, lowering the B to those projects and several other control-room management system that comprises automated center of gravity. projects in the design phase, the Sports Group will project-driven workflows, advanced algorithms, In 2012, AVS provided the wireless facilities for release a series of new digital signage and IPTV virtual storage, and teraflops of computing power. Monday Night Football, Sunday Night Football, and products over the course of the year, all based on It shortens the time and cost associated with criti- , and the NFL in the company’s CastNET digital-signage platform. cal file-based workflows. Brevity’s patent-pending Hawaii. Other credits include ABC’s ’s advanced algorithms provide highly accelerated New Year’s Rockin’ Eve, the , Danc- ARCTEK Satellite speeds on transport and transcode for bit-for-bit ing With the Stars, American Idol, The Voice, Amer- 012 saw great growth for ARCTEK. In Septem- lossless or visually lossless video for HD sports ica’s Got Talent, the Breeders Cup, Nik Wallenda’s ber, the company brought Cyan and Orange broadcast. Advanced compression with teraflops Tightrope Walk Over Niagara Falls, the NBA All- 2 trucks into the fleet. Both are 1.8 m, HD, and Ku of computing power is enabled by graphics-pro- Star Game, and the Los Angeles Marathon. band, bringing the company’s total trucks to five cessing-unit video routers. 122 sports tech journal / spring 2013

sponsorupdate

Broadcast Services International star-studded pregame parties, shows, and celebrity Sys-Oceana provides sales and support services SI has a very busy year ahead of it. The compa- games were a success. to the media and entertainment industry in most Bny will be in Russia at the Moscow Marathon It’s not until after the mobile units are on their major production centers. as well as in Augusta, GA, providing international way to their next assignment and the office trailers coverage of the Masters golf tournament. It will be are vacant that CES can pick up its power distribu- Clark Media the 21st year that BSI has covered the Masters in tion and miles of cable and move on. lark Media has expanded its operation by add- HD for Tokyo Broadcasting Systems. Cing an HD Mobile division to design and build In August, one of its largest Airpacs will be at the CBC Mobile Productions unique mobile HD production vehicles and sys- World Track & Field Championships in Moscow, BC Mobile Productions was host broadcaster tems. Markets include television stations, colleges, comprising three control rooms, two large Lawo Cfor 2013 ISU World Figure Skating, which took and cable programmers. mc56 digital consoles, five EVS XT3 servers, more place in London, ON, in March. The division is also A recently completed vehicle includes a 12-kW than 13 cameras, and a variety of microwave links partnered with CBC Sports and BSI-TV as host on-board generator that does not require a CDL and motorbike cameras. broadcaster for the 2015 Pan/Parapan American license. Also in the equipment complement are six In September, the company will mount cover- Games. Busy with the NHL, it also looks forward Sony HXC-100 HD cameras, Ross Carbonite 2M/E age of the Tour of , a week-long, five-stage to a summer with the mobile units assigned to switcher, Yamaha L9-32 audio console, Chyron CG, professional bike race through rural Alberta and cover such events as Spruce Meadows Equestrian, and a six-channel EVS Nano. the Rocky Mountains. This will include airplane, Calgary Stampede, WTA and ATP events, and the The company’s goal is to provide clients look- helicopter, and motorbike cameras and links, TV LPGA Canadian Open. The company is also look- ing for compact vehicles with a complete turnkey mobile units, and a massive crew and logistics. ing forward to building upon new relationships solution that includes field-proven technology at with Fox Sports and Pac-12 Network. attractive prices. CAMERON PACE Group t ESPN’s Winter X Games in January, CAM- CBT Systems Comcast Media Center AERON PACE Group debuted 5D technology ith more than 36 years in systems integra- MC’s Content Solutions and West Works Stu- that pushed the envelope of 5D broadcasting. CPG Wtion and engineering, CBT Systems pro- Cdios units support origination and delivery used the industry’s only patented 3D rigs, includ- vides innovative workflow technology, custom- of live sports events to digital-video households. ing the MaxRemote system, to produce cost-com- ized integration, and engineering solutions. With In addition to originating NHL’s 24-hour televi- petitive, scalable solutions for sports broadcasting. clients and projects in a variety of size and scope, sion network, CMC’s facilities in Colorado are also The technology addresses the industry’s central it serves sports broadcasting, television broadcast- home to ’s multichannel operations, challenge: to produce both 2D and 3D live footage ing, video production, and corporate video. which originates pay-per-view and out-of-market without multiplying production costs. Last year, the Gold Edison Award was presented sports packages for NHL, NBA, MLB, and MLS, According to the company, the key to MaxRe- to MLB Network and CBT Systems for develop- and provides channel origination and transmis- mote is that users can place the camera anywhere ment and use of the network’s BallPark Cam sys- sion services for Pac-12 Network’s eight linear and never have to physically visit it during the pro- tem deployed at all 30 MLB ballparks. New proj- video channels and for Network, duction. CPG also debuted a custom-built, high- ects and consultations included start-up planning which recently transitioned to a multiplatform, speed 3D camera integrated with its latest slow- and consultation for Sports, Univision HD cable, satellite, and IPTV service. Thanks to a motion–replay technology. News Network, , and new incentive program from the state of Colorado, CPG’s goal is to enable broadcasters to gener- Pac-12 Networks. Systems design and integration West Work Studios unit is expecting heavy de- ate top-quality footage under any circumstances, work for Google-YouTube and their new Next Lab mand for its multiformat (SD, HD, 3D) production adapting to any approach they select. Studios in London, Tokyo, and Los Angeles filled and postproduction capabilities. CMC also offers in most of 2012, with other national and interna- disaster-recovery and VOD-distribution services. Cat Entertainment Services tional Next Labs Studio locations coming. ne of the first tech-support teams to arrive Communications Engineering Inc. Oand one of the last to leave, Cat Entertainment Cinesys-Oceana consulting, design, and systems-integration Services helped tip off the NBA All-Star Game this ineSys-Oceana received the Content Manage- Acompany, CEI is focused on the television February for the 13th consecutive year. Working Cment Award at IBC 2012 for its work with broadcast, audio-visual, and multimedia indus- behind the scenes at the Toyota Center in Houston, NASCAR. Along with Telestream and Quantum, tries. It offers equipment service, support, and CES supplied the 2,500 kW of technical power re- CineSys-Oceana implemented a system of 18 HD training and provides products and services to quired to run the television complex consisting of trackside cameras that capture the high-speed ac- large, medium, and small commercial clients as 13 mobile units, including Turner Studios’ new 53- tion on the racetrack for officials to later review. well as to non-profit and government agencies. ft. TS2 production truck, three uplinks, nine office CineSys-Oceana was also a finalist in the same Sports-media professionals need the latest in reli- trailers, and a host of other facilities, such as dress- category for its work with Turner Sports in imple- able digital equipment and expert, and that starts ing rooms and even a COW (cellular-on-wheels) menting a new asset-management system to more with a proven and affordable service provider. facility to enhance wireless connectivity. CES also effectively cover more than 6,000 sports events per powered four mobile units and three uplinks at the year. For their efforts, CineSys-Oceana was award- CP Communications George R. Brown Convention Center throughout ed with a Certificate of Excellence. n 2012, CP Communications launched both new the 62nd-annual All-Star event to ensure that the With offices throughout North America, Cine- Iproducts and new technology. In fiber optics, CP

124 sports tech journal / spring 2013 When the nBA WAnts to deliver the excitement of their gAmes to BAsketBAll fAns Around the World, they choose eurovision. © 2012 NBAE photo by Jonathan Daniel NBAE/Getty Images All Rights Reserved Daniel NBAE/Getty Jonathan by NBAE photo © 2012 Our glObal HD netwOrk prOviDes flawless Delivery Of cOntent witH wOrlD-class custOmer service… manageD rigHt Here in tHe u.s.

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OK_SVG_v5.indd 1 11.09.2012 11:00:21 sponsorupdate developed and launched the MultiComm series of to thank all its clients for making first quarter training, and after-installation support. Whereas HD transport fiber devices for sports and enter- 2013 CSP’s best quarter ever. some integrators fall into the “broadcast,” “AV,” or tainment. The MultiComm lineup includes the HD “IT” categories, Diversified, a multidisciplinary Camera Link and the Production Link. CTG integrator, has high-level expertise in all those re- The HD Camera Link provides a comprehen- ounded in 1991, CTG designs, integrates, lated fields. The company was involved in several sive HD-SDI, audio, four-wire intercom, and data Finstalls, and maintains systems tailored to recent major sports projects, including integration solution over two strands of fiber. Designed for each client’s needs. Both regional and national projects at Barclays Center in and the remote field use, the custom system comprises in scope, it offers a suite of products and servic- Pac-12 Networks studios in San Francisco. camera and control powered by MultiDyne fiber es to meet the demands of both small and large optics. businesses. Dixon Sports Computing The ProductionLink provides signal transport Advanced broadcast solutions allow clients to ixon continues to create new and enhance over fiber for two RTS Adam KP panels, four-line achieve greater productivity, optimize efficien- Dits sports-clip–management tools. Re- level audio signals, three 3G HD-SDI video sig- cies, and push their own levels of performance cent successes include full integration of the nals, and 10/100 Ethernet. ProductionLink allows and innovation. According to the company, these company’s Logger, Hilite Selector, and Search quick, easy setup to green rooms, production trail- solutions are supported by many years of technol- with Avid Interplay for Univision and WWE. ers, back-bench splits, edit rooms, and other re- ogy and broadcast experience, along with top-tier Integration provides drag-and-drop to Media mote applications. technicians and engineers. Composer and live generation of Avid Loca- CTG is a key player in stadium and arena audio, tors. Dixon modularized its sports-broadcast Crosscreek Tv Productions replay, and broadcast solutions. Recent clients in- Hilite system refined over 10 years of use at rosscreek, an original partner in Alliance clude the Georgia Dome, Toyota Center (Houston Fox, DirecTV, NBA TV, Rogers Sportsnet, and Productions, continues to service its varied Rockets), and Rose Bowl. C more to create a cost-effective sports-asset– client base with four HD mobile units, two digi- management (SAM) product for stadiums and tal mobile units, and three B units. Voyager 11 Daktronics teams. The Dixon SAM works with existing is the latest addition to the Crosscreek lineup, ounded in 1968, Daktronics specializes in con- debuting in 2012. With a Grass Valley Kalypso Ftrol of large display systems, including those video systems, including production editors, switcher, eight Sony HDC cameras, a Calrec that require integration of multiple complex dis- to get clips where and when they are needed Artemis Light audio console, and PESA Jaguar plays showing real-time information, graphics, and in the right format. Dixon partnered with routers, the truck offers the largest production animation, and video. The company designs, man- Arvato’s asset-management system to create area of any in the Crosscreek fleet. Voyager 10 ufactures, markets, and services display systems the RapidSports Hub combining the scalability features recent upgrades, including a Grass Val- for sports venues, transportation applications, and and flexibility of Arvato with the power of the ley Kayenne switcher, Sony HDC-2400 cameras, businesses in nearly 100 countries. Dixon Engine. and a Calrec Artemis audio mixer with two MADI interfaces. Voyager 8 and Voyager 9 con- Dale Pro Audio Eurovision tinue to provide reliable service to long-term ale Pro Audio offers the PIX 260i production s part of a new five-year global-distribution clients as well as seeking new opportunities. Dvideo recorder from Sound Devices ($5625). Aagreement, Eurovision recently provided the Based on the successful PIX 240 production re- NBA with on-site, dual-path SNG uplinks for the Crown Castle corder, it seamlessly replaces tape-based video delivery of seven games taking place outside the rown Castle owns and operates shared wire- decks in production and postproduction. PIX 260i U.S., delivering them to NBA headquarters in Se- Cless infrastructure, including towers, rooftops, uses Apple ProRes or Avid DNxHD codecs and re- caucus, NJ, via global satellite and fiber network. and Distributed Antenna System (DAS) networks. cords and plays files up to 220 Mbps in high-qual- Six of the seven games were preseason events Its custom indoor and outdoor DAS solutions help ity 10-bit 4:2:2 video as well as 32 tracks of 48-kHz played at various locations in Europe and Asia in improve and enhance the fan experience, while audio. Files from the PIX 260i are ready for direct October. Four games took place in Europe (Bar- keeping visitors connected to their teams, sports, import into Avid and Apple Final Cut editing en- celona, Berlin, Istanbul, and Milan); two, in China and fellow enthusiasts. With a DAS, users can offer vironments, eliminating time-consuming transfer- (Beijing and Shanghai). Eurovision also provided quality cellular service from multiple carriers and ring and transcoding. PIX 260i accepts eight chan- the same services for the Jan. 17 regular-season provide capacity improvements to anticipate large nels of line-level analog I/O, eight channels of AES game held in London’s O2 Arena between the De- fluctuations in crowd sizes. digital, 16 channels of embedded SDI, eight chan- troit Pistons and the . nels of HDMI, and 32 tracks of audio over Ethernet CSP Mobile productions using Audionate’s Dante. F&F Productions erving broadcasters throughout the U.S. and &F provides one of the youngest, best- SCanada, CSP has provided HD and SD mobile Diversified Systems Fequipped, and custom-configurable broadcast trucks with engineers for more than 25 years. In ne of the nation’s top systems integrators, Di- fleets. Its engineering and technology made GTX- November 2012, CSP launched its newest truck, Oversified Systems offers turnkey solutions in 16 CBS Sports’ choice for pregame, postgame, and the 53-ft. expando HD2, bringing its total of mo- engineering design, documentation, project man- halftime shows at Super Bowl XLVII, and GTX-15 bile units to four. The company is looking to add agement, equipment procurement, custom fabri- was in Jackson Square providing daily coverage for a fifth unit by the end of this year and would like cation, system integration, project commissioning, the network’s Super Week festivities.

126 sports tech journal / spring 2013 From the Super Bowl to the Presidential Inauguration, not only does Filmwerks deliver the best service when powering broadcasts and productions, we also provide custom quality equipment and staging for concerts, special events, corporate events, and much more! Our well-trained and qualified technicians can provide a turnkey product to ensure your event runs smoothly from load in to load out. Visit our website to learn more about our mobile studios and staging today.

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Continuing upgrades through summer Game Creek Video HTN Communications 2013, F&F will complement new CCUs on its 012 and early 2013 saw continued expansion TN offers packaged transmission services for Ikegami HDK-79EC-CMOS cameras with four 2and upgrade of Game Creek Video’s fleet with Hbroadcast-, cable-, and radio-rights holders. Grass Valley Kayenne 3G HD switchers as well the addition of four production units, one B unit, It provides seamless point-to-multipoint live HD as Boland virtual-monitor walls in record/re- and upgrade of two of its original HD trucks. transmission from MLB, NBA, and NHL sports play rooms. The GTX-11, -12, and -14 have re- Pride and Glory, twin trucks built primarily for venues to any site worldwide and services for a ceived a Calrec console upgrade that includes NFL Network, provide game and pregame feeds broad range of entertainment events and news- Artemis Beam. for NFL Network’s expanded regular-season cover- media outlets. Since 2009, HTN has provided fi- GTX-16 and -15 are new additions show- age, including the Super Bowl. Apollo and Gemini ber transmission services for the MLB Network’s cased at the NCAA Men’s Final Four, providing were built to serve the needs of Comcast SportsNet Ballpark Cam, providing coverage from all 30 MLB CBS Sports game coverage and all pre- and post- Houston, launched in October 2012. All four units stadiums in the U.S. game shows; GTX-12 provided ESPN’s interna- are capable of producing a full 3G/1080p telecast. tional feeds. GTX-14 captured the traditional Gemini is a 44-ft. unit built to serve a “dual- Illumination Dynamics Amen Corner at the Masters golf tournament. feed” but capable of standalone production. ollowing the success of the custom-built C unit In addition, Game Creek upgraded Patriot and Fdeployed on , Illumina- Filmwerks International Freedom for Fox Sports and ESPN, respectively, tion Dynamics constructed a comparable, multi- ilmwerks wrapped up two major sports with enhanced Evertz routing, Boland LCD moni- functional trailer for use on the College Football Fevents while maintaining other workload, tors throughout, and enhanced processing power 5D tour. While being transported between venues including March Madness for Turner and CBS, on Patriot’s Calrec Alpha audio console. (by a tractor equipped with twin 175-kW genera- NBA Playoffs with Turner, golf on the West tors used to power the TV compound), the unit Coast, the Masters golf tournament, NFL Se- Gearhouse Broadcast served as a freight truck capable of hauling a side- nior Bowl, and ESPN and CBS Sports Network earhouse Broadcast specializes in broadcast- line cart, flatbed utility carts, booth lighting, and games. For the Red Bull Crashed Ice (St. Paul, Gequipment rental, equipment sales, outside TV equipment. On-site and unloaded, the trailer MN), the company provided heating, facili- broadcast, project solutions, and systems integra- becomes a climate-controlled space accommodat- ties, and 12 generators to support a 1,300-ft. tion. It offers experience and a track record in in- ing up to nine functional work stations. The ability ice track snaking through the city. Thirteen volvement in major world sports events. In 2011- to use one trailer to serve two purposes reduces Filmwerks generators were in the Big Easy for 12, the company provided broadcast solutions for shipping costs for clients and is an eco-friendly al- networks’ weeklong Super Bowl coverage. In the iRB Rugby World Cup, ATP 1000 Tennis Mas- ternative, saving fuel that would otherwise be used addition to power in New Orleans, Filmwerks ters Series, Formula 1 Motor Racing, London 2012 to transport an additional trailer. Furthering the built two-story office structures, one in Artil- Olympic and Paralympic Games, and the Austra- company’s commitment to provide environmen- lery Park by Jackson Square — where many of tally friendly equipment, ID has expanded its fleet lian Open tennis tournament. The company has the remote studio broadcasts took place — and of low-emission generators. offices in the UK, U.S., Australia, and Qatar. one 6,000-square-ft. structure housing all the technicians and administrators for CBS at the IMS Productions Gensler Mercedes-Benz Superdome. ontinuing to improve facilities for its partners ensler is a global design firm comprising ar- and clients, IMSP has announced expan- chitects, designers, planners, and consultants C Fletcher Sports G sion of its mobile fleet. The all-new Super B was who partner with clients on nearly 3,000 projects letcher Chicago has opened an office in the scheduled to debut at the IndyCar St Pete Grand every year. With more than 3,500 professionals United Kingdom (Fletcher London) to service Prix in March. The HD3 is slated to roll later this F networked across 43 locations, it combines local- the European sports marketplace. The highlight year, and this unit will largely be the mobile-pro- ized experience with global perspective wherever from the inaugural year for Fletcher London was duction home of the L.A. Lakers, reflecting the new opportunities arise. supplying 20 NAC/Ikegami Hi-Motion II ultra- company’s partnership with Time Warner Cable. Gensler’s Creative Media practice develops slow-motion digital cameras for the London 2012 IMSP used its new robotic camera system dur- broadcast facilities within the sports world. Recent Olympics. Fletcher teamed with NAC to support ing the 2012 IZOD IndyCar Series. Including its projects include Time Warner Cable SportsNet the event. At Super Bowl XLVII, Fletcher Sports own housing and mounting process, the system in Los Angeles for the Lakers and the Comcast provided CBS with five of the NAC camera sys- captured cars at speeds of more than 220 mph in SportsNet Houston, which was built to cover the tems. The Hi-Motion II camera, developed by spaces not safely occupied by an operator. NAC in cooperation with Ikegami, is a dual-for- Astros and Rockets. The firm has worked with mat 1080i/720p system that can provide simul- NBC Sports, managing design and construction Inertia Unlimited of its new 300,000-square-ft. sports-production/ taneous output of live normal-speed video and ade in the U.S., Inertia Unlimited’s new broadcast facility in Stamford, CT. ultra-slow-motion replay video and can be used X-Mo Blue camera is light, fast, and sharp. Gensler’s Sports + Recreation practice focuses M as both a “traditional” HD portable/field camera X-Mo captured the Hunter Pence triple-hit bro- on design and planning of professional, collegiate, and an ultra-slow-motion HD camera that can ken-bat double for Fox Sports at last year’s NLCS. and international venues and sports-anchored work side-by-side with other HD cameras on For 10 years, X-Mo has been used on more sports entertainment districts. In addition it counts the production trucks to deliver exceptional imagery events than any other high-speed camera. NBA, NHL, NFL, MLB, MLS, and Olympics com- to HDTV sports viewers. The company’s latest wearable camera, Refcam, munity as long-time clients.

128 sports tech journal / spring 2013 No Do - Overs. When it’s all on the line, top shooters choose Tiffen. Recipient of the 64th Annual Technology In sports videography, you don’t get a second chance at the decisive and Engineering Emmy Award shot. That’s why top shooters rely on advanced technology from Tiffen and its leading brands. From legendary Steadicam stabilizers to Emmy- winning Tiffen filters, Davis & Sanford tripods, Lowel lighting, Listec teleprompters and Domke bags, you’ll find us wherever the action is, in the hands of pros who know the right gear can mean the difference between winning and losing.

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2230_Tiffen_SVG Ad2.indd 1 3/6/13 4:13 PM sponsorupdate a less-than-1-lb. RF HD camera, has been used to row, OK. Its new Grizz HD unit was designed and services known for providing high-performance provide no-compromise human-mount HD POV. built from the ground up to be a compact and ef- videoconferencing transport to enterprises, has ex- Inertia’s new sideways-shooting HD POV lens ficient unit while providing all the production tools panded its focus to broadcasters. Its integrated net- has a distortion-free 65-degree super-wide field that clients require. The 45-ft. trailer has a three- work and software solutions enable broadcasters of view and a 0.1-in. profile. It has been featured bench production area, audio, tape/server, and to seamlessly deploy and manage IP-based contri- on UFC, NASCAR (in Gophercam), and MLB. video/engineering, all located in separate rooms. bution and distribution networks with guaranteed Multiple robotic platforms from small and in- Grizz HD hit the road in February, covering quality and enhanced cost savings on a global ba- conspicuous to full size are available, and Inertia international gymnastics in Oklahoma City. The sis. Serving customers throughout the Americas, Unlimited is working with FLIR on a no-compro- event, a posted show, captured nine iso cameras Europe, Asia, Africa, and Australia, Masergy lever- mise broadcast HD thermal-imaging camera. and a line cut on the company’s 10 Ki Pro rack re- ages advanced transport technologies to deliver corders. The end of March found Kodiak Mobile global Ethernet services across a native MPLS net- Integrated Media Technologies rolling to Indianapolis for two weekends of NCAA work. The company pioneered delivery of multiple MT, a consulting, design, construction, and Swimming and Diving Championships. The events services over a single network connection, pro- Isystems-integration company, provides scalable were live on ESPN3 and edited for air on ESPN2. vides 100% quality-of-service guarantees specific technology systems for business operations. This to live-video transport, and offers broadcasters year, IMT launched Sports Digital Asset Manage- Little Bay global support for IP multicast and its cloud-based ment Service specifically designed for the athletics ittle Bay Broadcast Services had a banner year portal with dynamic bandwidth elasticity and industry. For sports-content owners and produc- Lin 2012. It cabled the JetBlue Spring Training deep network forensics. ers, a digital-asset–management strategy has be- camp for the Red Sox. Boston College relied come an essential part of doing business and af- upon its experience to upgrade fiber capabilities at Metrovision fects virtually every aspect of the organization’s op- Alumni Stadium. NEP, Thistle Communications, etrovision Production Group offers do- erations and future multimedia ROI opportunities. Comcast HD SportsNet, and L-3 Communica- Mmestic and international clients a full spec- As an example, IMT worked with Tennis Chan- tions/Essco chose Little Bay to refurbish, upgrade, trum of mobile-production, mobile–satellite- nel to design and build a state-of-the-art file-based and integrate five mobile-production trucks. Law- transmission, flypacks, IP-media, and live-event– workflow, allowing its broadcast operations, edito- rence Cable Access TV and Faith Life Church up- presentation services across North America since rial, graphics, and postproduction teams to share graded their facilities to HD with its cost-saving 1988. The company takes a turnkey, solutions- and archive content. measures for the more budget-conscious custom- driven approach, combining technical expertise IMT addresses the following market sectors: er. Little Bay’s staff worked the London Olympics. with strong commitment to customer service. media and entertainment, information technolo- gies (IT), education, and telecommunications. Lyon Video MIRA Mobile Company consultants and engineers collect, inter- yon Video’s new Lyon 3 will be followed by IRA Mobile provides remote-production pret, refine, design, build, and maintain technology Lyon 4 in mid April. Both were designed and L services for live events and taped programs systems that deliver optimum results. built for based in Austin, TX. M from sports, corporate, and entertainment ven- The ESPN network covers football, basketball, ues throughout the U.S. and Canada. The largest iStreamPlanet baseball, softball, track and field, volleyball, soccer, StreamPlanet’s Aventus software-based, live- rowing, and various University of Texas events. western-U.S.-based mobile-facilities provider, it Ivideo workflow platform, in limited beta, is As for technology, Lyon Video upgraded Lyon has been in business since 1982, and its current intended to enable content providers to launch 12 to 12 Grass Valley LDX WorldCam cameras. fleet numbers 10 units: nine HD and one SD. multiple live-linear-streaming channels targeting The company has provide services for such This year, MIRA was contracted to provide multiple devices at a fraction of the time and cost events as Barrett Jackson Auto Auction in Scotts- mobile units for all Pac-12 Networks’ A-level foot- of hardware-based encoding solutions. dale, AZ; NBA All-Star Weekend events; American ball and basketball and for the majority of B-level Aventus is designed to solve the top three chal- Lemans Racing Series; Grand Am Racing; ESPN events. Its newest, M12HD, is tasked with the ma- lenges facing content owners and distributors: NCAA basketball; and NHL and NBA coverage. jority of A-level events. MIRA converted one of its scalability, reliability, and cost-effectiveness. Scal- SD trucks into M6HD, specifically for Pac-12 Net- able from one to 1,000 channels, the natively built Mansion Mobile Television works’ B-level events. Conversion and interior re- software platform provides a single solution across ith facilities like the ME-2HD 53-ft. expand- furbishment were done to Pac-12 Networks’ specs. the key components of the live-video workflow Wing mobile unit, Mansion Mobile is setting with an easy-to-use interface, so users can quickly the standard for HD television production. Located Mobile TV Group create, configure, manage, and monitor multiple in Branson, MO, the company is near most major n 2013, MTVG will launch two 53-ft. expando live-streaming channels. Aventus can be deployed cities in the Midwest. Its state-of-the-art facilities IHD mobile units to serve primarily regional as a platform or software and will be available late are intended to make any sporting, entertainment, sports networks for NBA, NHL, and MLB games in the second quarter of this year. or corporate event the best it can be. as well as college sports. Known for its dual-feed mobile units, MTVG will build 33HDX as its first Kodiak Mobile Television Masergy triple-feed trailer. Accompanied by VMU33, it will odiak Mobile is a full-service mobile produc- asergy, a global provider of managed, se- provide a low-cost, high-quality solution to pro- tion company centrally located in Broken Ar- cure network and cloud communications ducing three distinct productions at each game: K M home, visitor, and Spanish (or pre/post-game). 130 sports tech journal / spring 2013

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The home and visitor production in the triple feed NeuLion can be delivered either point-to- point or point-to- should be superior to two typical standalone re- eveloped and delivered by NeuLion, UFC. multipoint using its proprietary IP solutions. The gional sports trucks, according to MTVG. DTV is a fully interactive, high-quality digital company’s service enables clients to successfully The triple-feed system will comprise two trail- service that streams live and on-demand pay-per- reach more locations with higher operational flex- ers with three production areas, three audio rooms, view events to fans worldwide on multiple devices. ibility and reduced delivery costs. and two networked replay areas — all served by UFC 148 saw record numbers across digital PPV a new generation of the Grass Valley Kayenne buys and mobile downloads with the launch of the PACSAT switcher with 8M/Es. All video and audio sources UFC.TV iPhone app. With a wide variety of inter- ACSAT was front and center at Super Bowl will be networked among all the feeds. active touchpoints across all Internet-connected PXLVII in New Orleans for CBS, providing its MTVG will invest tens of millions of dollars in devices — including multiple audio feed, different dual-antenna C-/Ku-band truck at the Superdome. regional sports production. camera angles, round-by-round fan scoring, live After rigorous testing throughout the week prior to stats integration, and more — UFC.TV creates a the big game, the company ran a total of 17 uplink/ moeBAM! custom, personal experience for each fan anytime downlink paths through both sides of the truck on ith a mission to enhance the fan experi- anywhere leading to longer engagement times. C and Ku. Using a multiviewer, it monitored an ASI Wence through innovation, MOEBAM! was UFC.TV also enables multicurrency publishing for quad-plexed signal on one 36-MHz carrier and the founded by Rick Price after a 20-year career lead- easy worldwide transactions, increasing revenue. main game feed on a second 36-MHz carrier. The ing broadcast-production and technical operations Ku side processed a four-plexed single-path feed. for the Orlando Magic. Its goal is to guide, enable, NextComputing This was in addition to seven downlinks from nu- and support team/venue operators with the appro- extComputing’s flexible computing platforms merous sources. Away from the Superdome, PAC- priate tools, training, and content strategy. Naddress critical issues of size, weight, power, SAT provided Ku roamer trucks to cover the NFC MOEBAM! consulted with the Magic on opera- and reliability for remote-operations managers, and AFC team hotels. Their signals were down- tional and technology projects, including strategic technology integrators, and mobile-production linked at the stadium truck. vision and user-experience planning for a forth- service providers. Whether a production needs coming Orlando Magic Mobile App. The company real-time graphics, live streaming, or remote asset Phizzle created an automated workflow that allowed the management, NextComputing’s systems are capa- hizzle’s easy-to-use Web-based platform for Magic to post game highlights to their Website ble of running demanding broadcast applications Pbrands and teams is designed for launching during each quarter of the game and helped to de- in small, powerful systems. Close partnerships and managing real-time mobile, social, and digital sign and implement live-streaming infrastructure. with software and hardware vendors guarantee marketing campaigns. For clients including pro- that the company’s products are ready to run right fessional sports, major broadcast companies, and MotionRocket out of the box, reducing time and cost to imple- Fortune 500 brands, the company provides mobile otionRocket joined Innovision for the Mon- ment new technology. and digital solutions to create targeted marketing Mster Energy Supercross Tour. Its LaunchPad NextComputing’s systems have been deployed campaigns on any screen, in any venue, and on server controls Innovision’s screens to provide an worldwide for live production, most recently by a any device. Phizzle, listed by Forbes magazine as enhanced fan experience showing leading riders, major international sports broadcaster to produce one of America’s Most Promising Companies, de- track status, and other timing information. Mo- live graphics and statistics for a popular winter livers digital campaigns that include SMS alerts, tionRocket’s artists built custom graphics for rider sports series. By replacing large servers and under- Text2Screen, Pics2Screen, real-time voting, inter- profiles, race titles, and sponsor ads. Its 3D Sports powered laptops with NextComputing’s portable active trivia, sweepstakes promotions, mobile cou- Graphics Service, SceneDeck.com, is growing into workstations, such broadcasters are realizing sig- pons, IVR ticket sales, digital loyalty rewards, and a comprehensive resource for on-air sports-graph- nificant cost savings and easier logistics in deploy- social-media moderation/display on-screen. ics needs. Professional-quality graphics that can ing remote event technology. be edited via Web browser are available at www. Platinum Uplink Services scenedeck.com. ONE CONNXT latinum Uplink Services provides up-to-date hen a major European sports team needed Ptechnology to such clients as ESPN, NFL Net- NES Communication Services Wto transport content from Europe to Asia, it work, and major news networks. Its new truck ES provides high-quality, reliable video and turned to ONE CONNXT, a specialist in IP-based travels with three HD encoders (MPEG-4/16- Ndata-communication services. From corpo- broadcast-video delivery. The team operates a 24/7 channel audio) and is an eight-camera input, six- rate videoconferencing and Webcasting to live sur- channel and chose ONE CONNXT for its ability to path HD TX truck serving the Midwest. Starting gical demonstrations, breaking news, and sports deliver broadcast quality content reliably at a much in 2013, Platinum Uplink Services will be renting events, the company maintains the technology lower cost than traditional broadcast methods. Its its HD (MPEG-2/-4, DVB-S/S2, 16-channel audio) and know-how to deploy communication solu- cloud services, a video-storage and regional-time– encoders for short- or long-term events. tions that best meet the needs and budgets of its shifting system with anytime playback capability, clients. NES connects multiple parties separated simplifies sports broadcasting. PNC Equipment Finance by geography. This can involve one-way commu- The division of ONE Media provides high-qual- NC Sports and Entertainment, a business unit nication, such as presentations and television, or ity live and recorded video programming virtu- Pof PNC Equipment Finance, has funded or fi- interactive communication, such as conferences ally anywhere in the world with significant savings nanced many technology projects for professional and interviews. over satellite or fiber. Via ONE CONNXT, video sports teams, public and private colleges and uni-

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Harmonic_Multiscreen_SVG Spring Journal_Peacock.indd 1 2/22/13 3:06 PM sponsorupdate versity athletic departments, and a wide range of and images in a multiplatform, multidevice world. and TWC Deportes deploy the full complement corporate users of sports equipment and media- Rimage supplies thousands of customers in North of SMT broadcast services: virtual graphics and related technology, including city, state, and county America, Europe, and Asia with solutions that in- clock-and-score systems, dynamic tickers, on- governments. The company’s focus is on financing crease engagement, collaboration, and control. screen social-media integration, and live and his- sports-related equipment and technology projects torical data feeds. The Pac-12 Networks, compris- as small as $50,000 and as large as $6,000,000. Seneca ing one national and six regional networks, feature PNC partners with manufacturers and resell- eneca specializes in video-wall controllers for around-the-clock coverage of the Pac-12 collegiate ers to provide financing for HD displays, stadium Scontent manipulation, scaling, and mass de- conference. SMT’s partnership with Pac-12 Net- and arena scoreboards, ribbon boards and sig- ployments, as well as storage for on-demand video works includes providing clock-and-score, ticker, nage, broadcast–master-control centers, lighting, access. Its digital-broadcast contract manufactur- virtual graphics, and comprehensive data solu- sound and production facilities, sports-production ing services help its partners go to market faster tions. The WWE picked SMT to provide a Twitter trucks, in-stadium studios, playing surfaces such while reducing costs. Its newest solution features ticker powered by SMT’s Social Media DMX sys- as synthetic turf, concession equipment and tech- Matrox’s Mura MPX technology, enabling inte- tem. The ticker incorporates WWE Superstar and nology, wireless technology, team locker rooms, grators to build video walls of up to 40 HD inputs fan tweets and runs during WWE Monday Night training centers, coaching and scouting systems, across 40 HD outputs. Mura MPX Series controller Raw on USA network. security systems, and security monitoring centers. boards facilitate video switching, signal conver- sion, and scaling from its multifunctional, single- Sportvision Polar Mobile slot design. Possible applications include presen- portvision was recognized by Fast Company as olar Mobile’s MediaEverywhere platform pro- tations, digital signage, and control rooms. Op- Sone of the top 10 companies on the cutting edge Pvides a media-distribution solution for mobile tional Matrox MuraControl for Windows software of sports data, highlighting Sportvision’s FIELDf/x sites and apps for leading media brands — maga- facilitates creation and management of layouts baseball-player tracking, football’s iconic 1st and zines, newspapers, broadcasters, and online portals (presets) through quick and easy manipulation of Ten, and the NASCAR RaceView Internet and mo- —across news, sports, entertainment and lifestyle source content on all Mura-powered installations. bile applications. Sportvision also teamed with Fox media verticals. The Seneca video wall controller is available now. Sports to debut Top Fonts technology on NFL on Fox and was featured in the NFC Championship Reality Check Systems SGI game and the BCS Cotton Bowl. The Top Fonts CS provided real-time graphics services for GI provides active archive solutions that can technology reimagines the lower-third graphic by Rfour networks at Super Bowl XLVII. For CBS Sstart very small but scale to hundreds of peta­ moving contextual statistics and information into Sports, it designed, built, and scripted the new in- bytes in cost-effective online storage. Customers the Fox Football Player Pointer, allowing for live sert package for the studio and game productions bought more than 600 PB of disc-based storage in-perspective pointer graphics on players who are and developed software to control the Eyebar scor- from SGI in 2012 to manage digital assets. Its In- in motion. The graphics provide real-time player ing system. RCS provided the same services for finiteStorage ecosystem comprises a wide range statistics and also direct the viewer to the featured NFL Network’s international feed while also devel- of hardware and software solutions, including player’s (or players’) current position on the field. oping studio packages for the GameDay franchise, enterprise NAS, high-performance SAN, unified Total Access Super Bowl Live, and the automated storage, and extreme scale-out object-storage plat- STATS GameCenter channel. For DIRECTV, RCS created forms, as well as tiered virtualization and digital- n the near future, broadcast and second-screen graphics packages for on-site versions of The Dan asset–management solutions for demanding on- Iviewers will enjoy never-before-seen perfor- Patrick Show and The Show. RCS also line environments. mance and fitness metrics used exclusively by provided 20 of its Bullet mobile graphics worksta- NBA teams. The source is player-tracking technol- tions, which were used for live graphics production Show Partners ogy from STATS called SportVU. The system of six on NFL Network, ESPN, and DirecTV, and provid- professional-services company, Show Partners cameras and STATS’ proprietary software is in 15 ed an on-site team of technicians, programmers, Aoffers national broadcast, cable, and corporate NBA arenas calibrating and measuring both play- and designers to support the CBS, NFL Network, clients an effective, single-source provider of high- ers and the ball in x and y coordinates. The result DIRECTV, and ESPN productions. value production, operations, and engineering so- is a continuous stream of statistics based on speed, lutions. Founded in 1985, the company is known distance, player-separation, and ball-possession Rimage by such clients as Fox, CBS, NBC, Fuel TV, and data, allowing more detailed and targeted analysis image helps businesses deliver digital content Speed for its ability to design, execute, and manage of players and teams — all in real time. Rdirectly and securely to customers, employees, complex shows, many with unique and challeng- STATS is developing dynamic in-game and partners. Its Qumu business serves the rap- ing constraints. broadcast presentations and multimedia en- idly growing enterprise video-communications hancements powered by SportVU data to show market. Its Signal online-publishing platform au- SMT the game in a new light. tomatically pushes secure mobile content to nearly ver the past year, SMT has continued to ex- any mobile device or computer. Qumu and Signal, Opand its client roster, welcoming Time Warner T3Media combined with Rimage’s CD, DVD, and Blu-ray Cable SportsNet, Time Warner Cable Deportes, 3Media, a provider of cloud-based video- Disc publishing solutions, enable businesses to Pac-12 Networks, and World Wrestling Entertain- Tmanagement and -licensing services, contin- securely deliver videos, documents, audio files, ment. Regional sports networks TWC SportsNet ues to partner with sports-rights holders to help

134 sports tech journal / spring 2013 Got W kloads? Get Agile

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Addition- data and delivery capabilities to launch the official ally, Token Creek has provided facilities for CNN VISTA Satellite NCAA OnDemand YouTube channel for fans to and CBS News divisions. elebrating its 25th year, VISTA has announced enjoy the most memorable moments in March In 2012, Chippewa joined Hiawatha and Varsity Cevolution of its service offerings for sports Madness history. In other news, Raycom Sports as Token Creek’s third fully integrated HD produc- broadcast. Its digital solutions include produc- is using the T3 Library Manager for Web-based tion truck. tion, live and on-demand Internet broadcasting, access to its library of ACC football and men’s- archiving, studio services, special-event coordina- basketball content. T3Media also signed an exclu- TSE Total Sports Entertainment tion, and, of course, space segment. With this in sive agreement with the Professional Bull Riders s baseball season approached, TSE Services mind, VISTA has launched a new brand identity to organization to digitize its video library for global Awas hard at work in a variety of stadium in- reflect the future of the organization. As the 2013 accessibility and licensing. stallations across the country. Technicians worked Major League Soccer Season approaches, VISTA on two A/V production installations simultane- will be at the stadiums, coordinating transmission Tata Communications ously at Trenton, NJ’s Arm & Hammer Park, home services, integrating international distribution of ata’s Tier 1 IP network carries Internet traffic of the Trenton Thunder, and at Reading, PA’s First- MLS live from Stirling Studios housed in the com- Taround the world. The company has a large, Energy Stadium, home of the Reading Phillies. pany’s South Florida headquarters, and managing advanced undersea-cable network carrying data Both locations incorporate a full TSE integration, the workflow within the MLS videotape library. and voice around the globe — connecting more including new LED displays, production-room than 200 countries. In addition, the company has retrofits, and TSE ScriptPRO, the company’s game- XOS Digital more than 1 million square ft. of Tier 1 data-center management solution for executing event scripts or more than a decade, athletic coaches and space to provide co-location and hosting services and fulfilling sponsorships. Each project features Fmore than 400 professional sports organiza- to a range of corporate clients. Tata’s portfolio of a state-of-the-art multimedia HD video board, tions have trusted XOS Digital for advanced tech- products, specifically designed for the media and which more than double the capability of each fa- nology needs. XOS provides sports-technology entertainment industry, enables digital-media cility’s previous board, placing both in the top 10 in solutions for more than 80% of the market share management and delivery throughout the global- Minor League Baseball. TSE is also incorporating among BCS schools and the NFL. Its Hurricane media value chain. digital signage, wireless cameras, and a newly de- HD replay system is a robust and flexible solution signed show at each ballpark. Reading’s board was for live sports event production. The multichan- Tekserve slated to be unveiled at its home opener April 12; nel, multispeed slow-motion instant-replay sys- n independent Apple consultancy and re- Trenton’s, on April 11. tem is feature-rich, cost-effective, and scalable. Atailer, Tekserve delivers strategic services, Hurricane features an intuitive user interface solutions, and support for businesses and indi- Video Corp. of America with plug-ins for live editing in Adobe, Apple Fi- viduals. It offers support throughout the whole CA is one of the 10 largest systems integrators nal Cut, and Avid systems in addition to a com- life cycle and provides services in tailored work- Vin the U.S., with offices in New York, New Jer- pact, custom device to control all system features. flow, collaborative storage, data retention, mobil- sey, and . Its projects with MSG Net- Hurricane is expandable up to eight channels, ity, and mobile-device management. A breadth works, MSG Varsity, and Rutgers Football, along provides flexible I/O configurations, and can of relationships means that Tekserve is able to with new display technology from Christie Digital store up to 77 hours of content on hot-swappable determine the right solution for an organization’s and postproduction systems from Avid, place the RAID6 storage arrays. It is currently used by the needs without being tied to a specific vendor or company in a position within the sports industry Atlanta Hawks, University of Kentucky, Baylor product. The company recently partnered with to integrate all elements of live coverage, postpro- University, and others. HP to offer cutting-edge digital-video-editing duction, digital signage, asset management, and IT workstations, qualified for Avid and Adobe work- infrastructure to create a complete communica- YES Productions flows. It is the only solutions integrator on the tions solutions. he mobile-production company offers two East Coast that offers the new HP Z820 RED Edi- T53-ft. expando HD trucks for productions tion, the only editing workstation preferred and Video Equipment Rentals throughout the U.S. Based in New Orleans, both of approved by RED digital cinema. ER offers one of the largest inventories of YES Productions’ mobile units are self-contained Vbroadcast equipment for live-event coverage, HD trucks, without B units. YES HD 1 and YES Token Creek Mobile Television postproduction, and studio or episodic shoots. The HD 2 are based on Grass Valley Kalypso switchers oken Creek provides mobile-production solu- list encompasses a full line of products and for- and feature Calrec audio consoles, two EVS LSM Ttions for networks, regional sports, local affili- mats, including HD/SD, cameras, custom flypacks, XT2 servers, two R/O servers, one XS server, one ates, and corporate and entertainment broadcast- high-speed and 3D camera systems, tape- or file- HD Cam and one DVCPRO 1800 HD studio video ing. Four state-of-the-art mobile-production units based players and recorders, fiber, monitors (all recorder, and a Chyron HyperX3 graphics system. feature premiere technology, high-quality services, sizes), converters, switchers, and signal-processing YES HD 1 is equipped with nine Ikegami HDK 79 a team with years of remote-production experi- and terminal equipment. VER equipment rental is EC cameras; YES HD 2, nine HDK 79 EX cams. ence, and a Midwest location and serve clients Alli- intended for corporate or TV shows worldwide, Both trucks carry six system expanders with FU- ance Productions, ESPN and ESPN Regional Tele- opening ceremonies, and productions. With 26 of- JINON 101, 88, 22, and wide-angle lenses.

136 sports tech journal / spring 2013 Because Sport TV Leads the Way... EUROPE

SVGEurope Leading sports television executives from across SPONSORS Europe are taking the lead by joining Sports Video Group Platinum Europe. An independent affiliate organisation formed by the successful Sports Video Group in the USA, its mission is to advance the creation, production and distribution of sport content – on all screens – via information, events and industry initiatives. Make sure your company and your industry are represented in this vital collaborative initiative. GOLD sponsors Join SVGE today. Adobe AJA Video Sytems Log on to www.svgeurope.org Alston Elliot Aspera SVGEurope Advisors Avid Chairman Peter Angell, IEC in Sport, COO Calrec Audio Advisory Board Members Simon Ackermann, Habegger AG, Creative Director • Robert Adams, Cameron Pace Group Constantin Sports Marketing, Managing Director • Riccardo Botta, Sky Italia, Head of Sport Production Canon and Operations • Jonny Bramley, BBC Sport, Executive Producer London 2012 • Robin Broomfield, BSkyB, 3D Development Manager • Angelo Carosi, Sky Italia, Director • Jean-Louis Cleret, SIS LIVE, Chyron European Commercial Director • Charlie Cope, BBC Sport, Technical Executive • Tony Coxon, European Clear-Com PGA Tour Productions, Head of Production Operations • Nicolas Deal, UEFA/Event Broadcast, V and For-A A Project Leader • Gabriel Fehervari, Alfacam, CEO • Luc Geoffroy, EuroMedia Group, CTO • Mervyn GlobeCast Hall, AELTC, Broadcast Manager • Duncan Humphreys, CAN Communicate, Creative Director • Steve Jenkins, NEP Visions, Group MD • Barry Johnstone, CTV, Managing Director • Jens Knudsen, Grass Valley TV2, Senior Director Sports Production • Timo Koch, Outside Broadcast, Managing Director • Manuel Hego Lesaicherre, Orange, Director of Content • Manfred Lielacher, ORF, Head of TV Production • Dean Lawo Locke, Management, Executive Director, TV Production • Brendan Mallon, UTV GB Newtek Media, Head of Operations • Dan Miodownik, HBS, Production Department Director • Roger Pearce, ITV, Technical Director – Sport • Simon Potter, ESPN EMEA, Senior Director, Programming • Bernard Reality Check Systems Ross, UEFA, Head of TV Production • Inga Ruehl, ESPN EMEA, Director, Production Services & Riedel Communications Operations • Paul Ryan, ESPN EMEA, Head of Event Operations • David Shield, IMG Sports Media, Signiant Director of Engineering & Technology • GP Slee, Broadcast Rental, Owner • Pauli Subira, TV3, Art & Tata Communications Directing Director • Nicola Taylor, HBS, Director of Communications • Bart-Jan van Genderen, AVI Vimond TEAM Group, CEO • Arjan van Westerloo, Endemol Sport, Managing Director • Pascal Wattiaux, PW Sport, Consultant • Phil White, IBC, Director of Technology & Events • Tom Woods, Woods TV, Vislink Co-Founder & CEO sponsor/advertiser index

SVG SPONSOR PAGE LEVEL CONTACT EMAIL PHONE NAB BOOTH 3G Wireless Mobile Gordon Capaccio [email protected] 410-969-3501 Abekas 115 Premier Junaid Sheikh [email protected] 650-470-0900 SL6313 Adobe Systems 5 Platinum Rebecca Gerben Mehta [email protected] 408-536-4700 SL3910 ADTEC Digital 105 Premier Ron Johnson [email protected] 615-256-6619 SU7602 Advanced Mobility Mobile Mike Hardesty [email protected] 708-235-2800 Specialty Vehicles Aerial Video Systems Mobile Argyle Nelson [email protected] 818-954-8842 AJA Video Systems 7 Platinum Christina Oliver [email protected] 530-271-3326 SL3816 All Mobile Video Mobile Eric Duke [email protected] 212-727-9862 Alliance Productions Mobile Craig Farrell [email protected] 501-219-2653 Alpha Video Sports & Mobile Jeffrey Volk [email protected] 952-841-3311 Entertainment Group AmberFin Corporate David Abel [email protected] [44] 1256 317 500 SU8505 Apantac Premier Thomas Tang [email protected] 503-616-3711 N4613 ARCTEK Satellite Mobile Brian Stanley [email protected] 612-308-9079 Productions Artel Video Systems 35 Corporate Joanne Pederson [email protected] 978-263-5775 SU6318 Aspera 27 Premier Michelle Munson [email protected] 510-849-2386 SL9716 ATEME Corporate Mike Antonovich [email protected] 305 433 4244 SU7102 Audio-Technica Corporate David Marsh [email protected] 330-686-2600 C1711 Autodesk Corporate Joe Smith [email protected] 609-512-1632 SL3316 Avid Premier John Felice [email protected] 212-983-2424 SU902 Axis Global Logistics Corporate Brian Harvey [email protected] 718-906-2866 Axon Digital Corporate John Carapella [email protected] 203-948-4098 N6006 Azzurro Group Mobile Bill Cordo [email protected] 201-767-0850 C10835 Beck Associates Mobile Fred Wright [email protected] 972-505-8941 C8225 Bexel 51 Platinum Lee Estroff [email protected] 212-307-3990 C6932 Blackmagic Design 17 Platinum Terry Frechette [email protected] 408-954-0500 SL218 Bloomberg Sports Corporate Rob Shaw [email protected] 646-324-2177 Brevity 109 Platinum Michael Jackman [email protected] 908-482-2727 Broadcast Services Mobile Jim Eady [email protected] 905-332-2171 International Broadcast Sports Inc. Corporate Mark Polla [email protected] 410-564-2627 C11449 Calrec Audio 63 Premier Kevin Emmott [email protected] [44] 1422 842159 C1746 Cameron Pace Group 95 Premier O.D. Welch [email protected] 818-565-0005 C203, C3628, Canon Broadcast 119 Platinum Rich Eilers [email protected] 201-807-3342 C4325 Cartoni Corporate David Butler [email protected] 800-845-6619 C9921 CAT Entertainment Mobile Phil Wessels [email protected] 904-494-7550 Services CBC Mobile Productions Mobile Dale Smith [email protected] 416-205-6513 CBT Systems Mobile Darrell Wenhardt [email protected] 858-536-2927 Chyron 71 Premier Mark Gederman [email protected] 631-845-2069 SL1010 Cinedeck Corporate Jane Sung [email protected] 646-747-0727 SL14911 CineSys/Oceana Mobile Brent Angle [email protected] 713-272-0732 Cisco 23 Premier Michael Caponigro [email protected] 408-527-6111 SU7605 Clark Media Mobile Gary Snyder [email protected] 610-694-9800 Clear-Com – 120 Corporate Judy Cheng [email protected] 510-337-6676 C8008 AN HME Company Cobalt Digital 53 Premier Darren Fordham [email protected] 205-907-2865 N4624 Comcast Media Center Corporate Jeff Rohr [email protected] 303-486-3811 Communications Mobile Phil Whitebloom [email protected] 703-550-5800 Engineering Inc. 138 sports tech journal / spring 2013 SVG SPONSOR PAGE LEVEL CONTACT EMAIL PHONE NAB BOOTH CP Communications Mobile Kurt Heitmann [email protected] 914-345-9292 Crosscreek Mobile Spruce McRee [email protected] 205-663-4411 Crown Castle 39 Corporate Sandy deSosta [email protected] 724-416-2444 CSP Mobile Mobile Len Chase [email protected] 207-282-9680 CTG Mobile Jim Lee [email protected] 678-387-5507 Daktronics Corporate Jay Parker [email protected] 605-692-0200 Dale Pro Audio Corporate Tim Finnegan [email protected] 212-475-1124 DALET Corporate Raoul Cospen [email protected] [33] 1 41 27 67 53 SL4524 Dell Corporate Tom Masson [email protected] 636-474-9128 SL9610 Deluxe Entertainment Corporate Art Williams [email protected] 212-444-5613 SU5415 DiGiCo 113 Premier Jack Kelly [email protected] 516-249-1399 C1344 Digital Rapids Corporate Mike Nann [email protected] 905-946-9666 ext. 135 SL5624 Diversified Systems 83 Mobile Duane Yoslov [email protected] 408-969-1972 Dixon Sports Computing Corporate Michael Dixon [email protected] 562-439-0720 Dolby Corporate Kenneth Hunold [email protected] 212-767-1700 SU1702 Dome Productions Mobile Mary Ellen Carlyle [email protected] 416-341-2022 OE845 DTS 67 Platinum Mark Seigle [email protected] 425-522-0709 SU8514 whitneys@elementaltechnologies. Elemental Technologies 31 Premier Whitney Seven 503-222-3212 SU2724 com Encompass Digital Media Corporate Keith Kozicki [email protected] 678-421-6830 SU3821 Envivio Corporate Sarah Lum [email protected] 650-243-2710 SU6202 Epoch 1 Platinum David Barton [email protected] 503-985-6437 SL14018 Ericsson Corporate Simon Frost [email protected] 44 (0) 23 8048 4000 SU821 Eurovision 125 Premier Jim Scott [email protected] 973-650-9577 Evertz 45 Premier Joe Cirincione [email protected] 818-558-3910 N1503 EVS Corporate Greg Macchia [email protected] 973-575-2111 SL2416 F&F Productions Mobile George Orgera [email protected] 727-530-5000 Filmwerks International 127 Mobile Michael Satrazemis [email protected] 910-675-1145 Fletcher Sports Corporate Tom Fletcher [email protected] 312-932-2703 For-A Corporate Pedro Silvestre [email protected] 201-944-1120 C5116 SU3602, Front Porch Digital Corporate Phil Jackson [email protected] 303-926-5873 SU3605 Frontline Mobile Bob King [email protected] 727-573-0400 C7439 Communications Fujifilm / Fujinon 99 Platinum Thom Calabro [email protected] 973.686.2409 C7525 Game Creek Video Mobile Pat Sullivan [email protected] 603-821-2205 Gearhouse Broadcast Mobile Marc Genin [email protected] 818-955-9449 Gensler Mobile James Lee [email protected] 212-492-1613 Gepco/General Cable Corporate Matt Hayes [email protected] 800-966-0069 C7408 Gerling & Associates Corporate Fred Gerling [email protected] 740-965-2888 OE601 Globecast Corporate Eddie Ferraro [email protected] 212-373-5144 SU4911 Grass Valley C2 Platinum Dave Workman [email protected] 301-852-0676 SL206 Haivision Corporate Anna Kozel [email protected] 514-334-5445 SL6605 Paulien.Ruijssenaars@harmonicinc. Harmonic 133 Premier Paulien Ruijssenaars 408-490-7021 SU1411 com Harris 41 Premier Colleen Rauscher [email protected] 303-476-4822 N2503 Hego Corporate Ian Wray [email protected] [45] 40 80 14 32 SL8027 Hitachi Kokusai Corporate Sean Moran [email protected] 516-921-7200 ext. 431 C4309 HTN Corporate Joe Cohen [email protected] 212-239-3710 Hughes Integration Mobile Bruce Long [email protected] 905-707-3801 SU9114 Ikegami Electronics 107 Premier Teri Zastrow [email protected] 201-368-9171 C5108 Illumination Dynamics 103 Mobile Rich Williams [email protected] 818-686-6400 IMS Productions 25 Mobile Ken Gardner [email protected] 317-492-8719 Inertia Unlimited 111 Premier Jeff Silverman [email protected] 802-368-2591 Integrated Media Mobile Tom McGowan [email protected] 818-761-9770 Technologies

sports tech journal / spring 2013 139 sponsor/advertiser index SVG SPONSOR PAGE LEVEL CONTACT EMAIL PHONE NAB BOOTH Intelsat 69 Platinum Pete Cleary [email protected] 212-839-1812 SU3111 iStreamPlanet Corporate Robin Cole [email protected] 702-492-5900 Joseph Electronics Corporate Gideon Uys [email protected] 972-922-3311 C5348 JVC Corporate Dave Walton dwalton@.com 973-317-5135 C4314 KenCast Corporate Bill Steele [email protected] 203-663-2581 SU4602 Kodiak Mobile Television Mobile David Kearnes [email protected] 918-925-9877 Lawo 75 Premier Herbert Lemcke [email protected] 416-292-0078 C1311 Level 3 Communications 29 Platinum Tetyana Mozhayeva [email protected] 720-888-2897 Levels Beyond 8 Corporate Nick Rhodes [email protected] 310-317-6132 SL10711 Linear Acoustic 123 Premier Tim Carroll [email protected] 717-735-3611 N3438 Little Bay Broadcast Mobile Brian Raynes [email protected] 603-534-5600 Services LiveU Corporate Ken Zamkow [email protected] 201-742-5227 SU5511 Lyon Video Mobile Chad Snyder [email protected] 614-319-4071 Mansion Mobile Mobile Matt Adams [email protected] 913-647-9700 Markertek Corporate Gregory DeCelle [email protected] 845-246-2357 C5443 Masergy Corporate Dan Boland [email protected] 630-632-2062 Metrovision 131 Mobile Jim McGillion [email protected] 212-989-1515 MIRA Mobile Mobile Frank Taylor [email protected] 503-464-0661 Miranda 15 Platinum Jay Gravina [email protected] 201-995-1590 N2513 Mobile TV Group Mobile Philip Garvin [email protected] 303-542-5555 moeBAM! Corporate Rick Price [email protected] 407-476-9390 Motion Rocket Corporate Mark Carman [email protected] 727-537-0836 Motorola Corporate Mark Schaffer [email protected] 858-404-2382 SU2017 MPE Corporate Tim Okon [email protected] 863-353-6212 SL5029 MultiDyne 57 Premier Frank Jachetta [email protected] 516-671-7278 C10339 NAC Image Technology Corporate Andy Hayford [email protected] [44] (0)1628 509 001 C11749 NEP Mobile George Hoover [email protected] 800-444-0054 OE1309 NES Communication Mobile Keith Valeri [email protected] 508-842-4328 Services NetApp 135 Corporate Mark Daniel [email protected] 773-851-6920 SL12716 NeuLion Corporate Chris Wagner [email protected] 516-622-8357 Nevion (formerly T-VIPS) Corporate Mike Root [email protected] 805-247-8560 SU3117 NewTek 19 Platinum Philip Nelson [email protected] 210-863-0360 SL4610 NextComputing Premier Aaron Sherman [email protected] 603-459-2462 NVIDIA 117 Premier Cindy Wang [email protected] 408-562-7795 SL3905 On Call Communications 79 Mobile Erin Ludden [email protected] 949-707-1985 OE504 ONE CONNXT Corporate Jodi Morelli [email protected] 203-249-2839 Ooyala 47 Premier Jeanette Elliot [email protected] 650-961-3400 OS1008 Orad 81 Premier Shaun Dail [email protected] 201-332-3900 SL5709 Origin Digital Corporate The Live Experts [email protected] 201-537-8651 SL5020 PACSAT Mobile Steve Mallory [email protected] 916-446-7890 Panasonic 61 Premier Carter Hoskins [email protected] 770-619-1779 C3607 Phizzle Corporate Jeff Ryznar [email protected] 216-310-6948 Platinum Uplink Services Mobile Dustin Grubish [email protected] 708-792-2100 PNC Equipment Finance Corporate Russ Munson [email protected] 714-969-6955 Polar Mobile Corporate Steve Van Mierlo [email protected] 416-899-6738 Primestream Corporate Robert Lisman [email protected] 305-625-4415 SL6824 Production HUB Corporate Steve Rotz [email protected] 877-629-4122 C12130 Proshow Audio Visual Mobile Tim Lewis [email protected] 604-293-1771 SL5029 Broadcast PSSI/Strategic TV Mobile Clayton Packard [email protected] 310-575-4400 OE1315 Quantel Corporate David Thompson [email protected] [44] 7799 692 358 SL2109

140 sports tech journal / spring 2013 SVG SPONSOR PAGE LEVEL CONTACT EMAIL PHONE NAB BOOTH Quantum Corporate Monte Montemayor [email protected] 425-201-1557 SL9016 Reality Check Systems 49 Platinum Jeff Heimbold [email protected] 323-465-3900 Riedel Communications C4 Premier Kelly Fair [email protected] 818-241-4696 C4937 Rimage Corporate Jason Evans [email protected] 301-529-1015 Ross Video 21 Premier Steve Romain [email protected] 613-652-4886 N3808 ScheduALL Corporate Steve Zucker [email protected] 954-334-5400 SU3421 Seneca Corporate David Mitchell “davidm@senecadata,com” 877-899-7095 Sennheiser Corporate Jeff Alexander [email protected] 860-434-9190 C3217 SES 77 Premier Sean Tietjen [email protected] 609-987-4465 SU1911 SGI Corporate Shawn Klein [email protected] 303-807-3938 SGL Broadcast Corporate Doug Wynn [email protected] 608-345-1568 N1520 Show Partners Mobile Michael Mantovani [email protected] 321-257-1854 Shure Corporate Jose Rivas [email protected] 847-600-2000 C2627 Signiant Corporate Lisa Clark [email protected] 781-221-4021 SL8511 Skycam/Cablecam Mobile Nic Salomon [email protected] 817-984-6848 C10943 SMT Corporate Don Tupper [email protected] 919-354-4799 Sony 3 Platinum Mark Bonifacio [email protected] 201-358-4190 C11001 SOS Global Express 59 Premier Fernando Soler [email protected] 800-628-6363 OE909 Spectra Logic Corporate Joe Spanarella [email protected] 303-449-6444 SL11816 Sportvision Corporate Jeff Jonas [email protected] 414-727-2105 Stats Inc. Corporate Nick Stamm [email protected] 847-583-2110 StorageDNA Corporate Jeff Krueger [email protected] 817-410-8023 SL11116 Katy Templeman- Katy.Templeman-Holmes@harman. Studer 89 Premier 818-920-3295 C2923 Holmes com T3Media Corporate Abby Hagstrom [email protected] 720-382-2890 Tata Communications Corporate Kevin Watson [email protected] 703-547-6539 SU11724MR Tekserve 11 Corporate Chris Payne [email protected] 212-929-3645 Tektronix Corporate Richard Duvall [email protected] 503-627-3203 N609 Telestream 97 Premier Bill Harris [email protected] 530-470-1310 SL2605 Teradek 121 Premier Michael Gailing [email protected] 949-743-5774 C9939 The Studio - B&H 65 Premier The Studio Team [email protected] 800-947-9962 C10721 The Switch 33 Corporate Jessica Mintz [email protected] 323-645-8012 SU7824 The Systems Group Mobile Chris Mehos [email protected] 201-795-4672 N7119 The Tiffen Company 129 Premier Rick Booth [email protected] 631-609-3130 C8818, C9015 Thinklogical Corporate Bob Ventresca [email protected] 484-467-5633 N2819 Tightrope Media Systems 86 Premier Steve Israelsky [email protected] 866-866-4118 C9511 Token Creek Mobile John Salzwedel [email protected] 608-849-4965 TSE Services Corporate Jeanette Ehnerd [email protected] 800-962-2471 TVU Networks Corporate David Robertson [email protected] 650-969-6732 SU7105 Utah Scientific Corporate Richard Hajdu [email protected] 330-962-6502 N4607 Video Corporation of Mobile Dave Berlin [email protected] 212-967-4400 America Video Equipment Rentals C3 Platinum Howie Rosenthal [email protected] 818-956-1444 (VER) VidyoCast 91 Premier Jim O’ Brien [email protected] 201-289-8597 SU6524 Vision Research Corporate Patrick Ott de Vries “[email protected],” 973-692-4018 C9046 VISTA Satellite Corporate Joshua Liemer [email protected] 954-838-0900 VIZRT 101 Platinum Isaac Hersly [email protected] 646-746-0010 SL3305 White Sands Corporate Jill Lynch [email protected] 623-516-4211 SU7211 Engineering/SEG Wohler Technologies 93 Premier Don Bird [email protected] 510-870-0865 N3729 XOS Digital Corporate Becca Greenwood [email protected] 407-404-5689 Yamaha Commercial Corporate Paul Furtkamp [email protected] 714-522-9011 C2239 Audio Systems YES Productions Mobile Jim Moriarty [email protected] 504-840-4891 Zixi Corporate Steve Saleski [email protected] 781-890-9690 x523 SU10116

sports tech journal / spring 2013 141 “MORE THAN A GAME!” REGISTER TODAY!

Keynote Speaker: Jack Swarbrick, University of Notre Dame Athletics Director

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Sports Broadcasting Supporting our own Fundin times of need... “[Tonight shows] how much those in the industry depend on one another and how lucky we are to have one another. This is a really, really special group of people; it is a remarkable family. And the one debt I believe that owe is to take care of those who aren’t as fortunate as we are.” — Dick Ebersol Senior Adviser for NBC Universal Sports & Olympics, speaking at the Sports Broadcasting Hall of Fame’s Class of 2011 celebration

About The Sports Broadcasting Fund The Sports Video Group has partnered with the Alma Foundation, a 501(c)(3) non-profit, to launch the industry’s first charity fund dedi- cated to providing assistance to industry professionals and their families in need. For more information or to view its 990 tax return, visit www.almafoundation.net. For more information about the SVG Sports Broadcasting Fund, contact: Paul Gallo, SVG Executive Director, at [email protected] or 212-696-1799 or visit www.sportsbroadcastingfund.org WHEN IT COMES TO TECHNOLOGY, SPORTS TELEVISION LEADS THE WAY We’re proud to represent those professionals who enrich the fan’s experience, break new barriers, and establish new standards for all forms of live television, mobile, and broadband entertainment. SVG’s advocacy, communication, education, and market development activities are made possible by the following sponsors:

PLATINUM SPONSORS

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PREMIER SPONSORS ABEKAS • ADTEC DIGITAL • APANTAC • ASPERA • AVID • CALREC AUDIO • CAMERON PACE GROUP • CHYRON • CISCO • COBALT DIGITAL • DIGICO (GROUP ONE) • ELEMENTAL TECHNOLOGIES • EUROVISION • EVERTZ • HARMONIC • HARRIS • IKEGAMI ELECTRONICS • INERTIA UNLIMITED • LAWO • LINEAR ACOUSTIC • MULTIDYNE • NEXTCOMPUTING • NVIDIA • OOYALA • ORAD • PANASONIC • ROSS VIDEO • SES • SOS GLOBAL EXPRESS • STUDER • TELESTREAM • TERADEK • THE STUDIO - B&H • THE TIFFEN COMPANY • TIGHTROPE MEDIA SYSTEMS • VIDYOCAST • WOHLER

CORPORATE SPONSORS AMBERFIN • ARTEL VIDEO SYSTEMS • ATEME • AUDIO-TECHNICA • AUTODESK • AXIS GLOBAL LOGISTICS • AXON DIGITAL • BLOOMBERG SPORTS • BROADCAST SPORTS INC. • CARTONI • CINEDECK • CLEAR-COM • COMCAST MEDIA CENTER • CROWN CASTLE • DAKTRONICS • DALE PRO AUDIO • DALET • DELL • DELUXE ENTERTAINMENT • DIGITAL RAPIDS • DIXON SPORTS COMPUTING • DOLBY • ENCOMPASS DIGITAL MEDIA • ENVIVIO • ERICSSON TELEVISION INC. • EVS • FLETCHER SPORTS • FOR-A • FRONT PORCH DIGITAL • GEPCO/GENERAL CABLE • GERLING & ASSOCIATES • GLOBECAST • HAIVISION • HEGO • HITACHI KOKUSAI • HTN • ISTREAMPLANET • JOSEPH ELECTRONICS • JVC • KENCAST • LEVELS BEYOND • LIVEU • MARKERTEK • MASERGY • MOEBAM! VENUE MEDIA • MOTION ROCKET • MOTOROLA • MPE • NAC IMAGE TECHNOLOGY • NETAPP • NEULION • NEVION (FORMERLY T-VIPS) • ONECONNXT • ORIGIN DIGITAL • PHIZZLE • PNC EQUIPMENT FINANCE • POLAR MOBILE • PRIMESTREAM • PRODUCTION HUB • QUANTEL • QUANTUM • RIMAGE • SCHEDUALL • SENECA • SENNHEISER • SGI • SGL BROADCAST • SHURE • SIGNIANT • SMT • SPECTRA LOGIC • SPORTVISION • STATS INC. • STORAGEDNA • T3 MEDIA • TATA COMMUNICATIONS • TEKSERVE • TEKTRONIX • THE SWITCH • THINKLOGICAL • TSE SERVICES • TVU NETWORKS • UTAH SCIENTIFIC • VISION RESEARCH • VISTA SATELLITE • WHITE SANDS ENGINEERING/SEG • XOS DIGITAL• YAMAHA COMMERCIAL AUDIO SYSTEMS • ZIXI

MOBILE/INTEGRATOR SPONSORS 3G WIRLELESS • ADVANCED MOBILITY SPECIALITY VEHICLES • AERIAL VIDEO SYSTEMS • ALL MOBILE VIDEO • ALLIANCE PRODUCTIONS • ALPHA VIDEO • ARCTEK SATELLITE PRODUCTIONS • AZZURRO SYSTEMS INTEGRATION • BECK ASSOCIATES • BROADCAST SERVICES INTERNATIONAL • CAT ENTERTAINMENT SERVICES • CBC MOBILE PRODUCTIONS • CBT SYSTEMS • CINESYS/OCEANA • CLARK MEDIA • COMMUNICATIONS ENGINEERING INC. • CP COMMUNICATIONS • CROSSCREEK • CSP MOBILE • CTG • DIVERSIFIED SYSTEMS • DOME PRODUCTIONS • F&F PRODUCTIONS • FILMWERKS INT’L. • FRONTLINE COMMUNICATIONS • GAME CREEK VIDEO • GEARHOUSE BROADCAST • GENSLER • HUGHES INTEGRATION • ILLUMINATION DYNAMICS • IMS PRODUCTIONS • INTEGRATED MEDIA TECHNOLOGIES • KODIAK MOBILE TELEVSION • LITTLE BAY BROADCAST SERVICES • LYON VIDEO • MANSION MOBILE • METROVISION • MIRA MOBILE • MOBILE TV GROUP • NEP BROADCASTING • NES COMMUNICATION SERVICES • ON CALL COMMUNICATIONS • PACSAT • PLATINUM UPLINK SERVICES • PROSHOW AUDIO VISUAL BROADCAST • PSSI/STRATEGIC TV • SHOW PARTNERS • SKYCAM/CABLECAM • THE SYSTEMS GROUP • TOKEN CREEK • VIDEO CORPORATION OF AMERICA • YES PRODUCTIONS ADVANCING THE CREATION, PRODUCTION, & DISTRIBUTION OF SPORTS CONTENT WWW.SPORTSVIDEO.ORG The Final Buzzer

NAB 2013: A Measured From Board Room to Stadium Published by we have the equipment you need... Response to 4K Hype? Sports Video group 260 Fifth Ave., Ste. 600 When you need it... Where you need it. New York, NY 10001 by Ken Kerschbaumer Tel: 212.481.8140 Editorial Director, Sports Video Group Fax: 212.696.1783 www.sportsvideo.org 013 is another pivotal year in sports production. Broadcasters and leagues around the Paul Gallo, Executive Director ‹9LGHR(TXLSPHQW5HQWDOV9(5® is a registered trademark of Full Throttle Films, Inc. [email protected] globe are taking technological innovation to a new level. Venues are doing the same. And Tel: 212.696.1799 YOUR BROADCAST RENTAL RESOURCE even colleges and universities are producing more and more content for fans. And CES Martin Porter, Executive Director 2 [email protected] Complete Inventory for your Production or Event Needs offered the much ballyhooed introduction of 4K consumer TV sets. Tel: 516.767.6720 Ken Kerschbaumer, Only a few years ago, the NAB Show followed in the wake of a massive push of 3D technology at Executive Director, Editorial CES. Manufacturers throughout the Las Vegas Convention Center centered their offerings on 3D. Pur- [email protected] Tel: 212.481.8140 ists introduced 3D rigs and integrated camera systems for 3D stereoscopic acquisition. Others took Jason Dachman, Managing Editor • CAMERAS – All formats [email protected] the conversion route with a massive infrastructure to convert 2D content to 3D. And there was the Tel: 646.861.2373 Now offering Grass Valley camera systems including debate: can 3D really happen? Even if it could be delivered properly to homes, how would productions Brandon Costa, Senior Editor [email protected] LDK3000, LDK8000 and LDK8300 Super Slo Mo be financed? And will the need for glasses prevent 3D’s taking off? Tel: 646.861.2370 Karen Hogan, Associate Editor Three years later, we know the answers. Yes, it can happen and is happening, thanks to ESPN, Sony, [email protected] and cable and satellite operators’ making 3D movies available on demand. And, yes, productions can Tel: 646.559.0434 • FULL LINE OF VTR’s and TAPELESS Susan Qualtrough, Copy Editor be financed but only with the help of angel financing. And glasses? Well, they have definitely been a [email protected] RECORDERS – Including the newest media server stumbling block. Riva Danzig, Art Director [email protected] from EVS: 8 Channel XT3 So now the industry heads to NAB 2013, and, once again, there is a buzz. This time, it’s 4K. The ques- Tel: 917.602.4588 Rob Payne, tion facing the industry is simple: can 4K avoid the hype that hurt 3D as much as it helped? The early Managing Director, answer appears to be yes. And that is due to three key factors: Worldwide Sponsor Development [email protected] • AUDIO and FIBER – A vast inventory of fiber products • Although the sets have been introduced, plenty of price reduction has to happen before they begin Tel: 212.481.8131 Andrew Gabel, Manager, from Riedel, Studio Technologies and Bluebell to be purchased en masse. Sponsor Development • Product development is needed to enable a broadcast-plant infrastructure to produce and deliver [email protected] Tel: 646.998.4554 4K to the home. Although 3D can be jammed down a 12-Mbps pipe, 4K can’t. And there still are no Andrew Lippe, Membership & Client 4K Camera System Services Manager • 4K-capable cable or satellite set-top boxes available. [email protected] • Most important, much work needs to be done to understand how 4K cameras and lenses, complete Tel: 212.481.8133 Hayley Gordon, Sponsorship Coordinator with full sensors, will change the nature of TV production. [email protected] • MULTI-CAMERA SYSTEMS Tel: 646.524.7497 These factors suggest a much more measured approach to 4K introductions at NAB 2013. But do Cristina Ernst, Circulation Manager not underestimate the interest in 4K. The ability to use it as a production tool within a standard HD [email protected] Tel: 917.309.5174 • LONG LENSES broadcast creates some near-term sales opportunities for manufacturers. And a slew of international About SVG sports events on the 2014 calendar, from the Olympics to the World Cup, have already led to discus- The Sports Video Group was formed in sions about the role the format might play at those events. 2006 to support the professional community that relies on video, audio, and broadband • LIGHTING AND CREATIVE LED DISPLAYS The best news for SVG members and sponsors is that, as with 3D, SVG will be at the forefront in technologies to produce and distribute sports content. Leagues, owners, teams, players, discussions and debates on the merits of 4K production and distribution. Be sure to check our Website broadcasters, Webcasters, and consumer- technology providers have joined SVG to • 24/7 ENGINEERING SUPPORT daily during NAB 2013 and watch for e-mail newsletters with all the latest 4K news. learn from each other, turn vision into reality, Will 4K find more success than 3D? It will definitely be easier to promote in consumer-electronics and implement innovations, while sharing experiences that will lead to advances in stores (although it took the industry about eight years to learn how to sell HD sets properly). And the sports production/distribution and the overall consumer sports experience. ability to upconvert 1080p content to 4K resolution also holds promise for the format. Mission: Of course, the irony is that, while the industry waits for 4K-set prices to fall to an attractive level for To advance the creation, production, and For further information please contact distribution of sports content. Howard Rosenthal - [email protected] consumers, 10 million to 15 million 3D-capable sets will be added to homes each year. So odds are, To provide a knowledge resource for the growing community of sports video profes- within three years, there will be a “3D-capable” universe of more than 50 million households. Will that sionals working for broadcast/broadband be enough for an upstart network to be willing to take an activation gamble on 3D? And will the new organizations, professional teams and leagues, collegiate and secondary schools, 4K sets also be capable of glasses-free 3D display? and facilities. LOCATED THROUGHOUT THE US, CANADA & EUROPE NAB 2013 is only the beginning of what promises to be an interesting era of technological To facilitate a dialogue with manufacturers, suppliers, and technology developers that will 800-794-1407 • WWW.VERRENTS.COM for a complete equipment listing change. improve the quality and profitability of sports ‹9LGHR(TXLSPHQW5HQWDOV9(5® is a registered trademark of Full Throttle Films, Inc. programming. © 2012 Video Equipment Rentals. VER® is a registered trademark of Full Throttle Films, Inc 313-12-R4 144 sports tech journal / spring 2013 PRINTED IN THE USA From Board Room to Stadium we have the equipment you need... When you need it... Where you need it.

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