spring 2012 • Volume 6, issue 1

Special report: svg live from super bowl Xlvi

advancing the creation, production, & distribution

of sports content

• sports broadcasting Hall of fame inductees• sports entertainment production summit report

• league Technology summit recaps• mobile production gearbase executive summary

• whitepaper: High efficiency video Coding

2012 NAB Preview & SPoNSor UPdAteplus

spring 2012 • Volume 6, issue 1 an publication

upfront 4 froM tHE CHAIrMAn

SVG Continues to Grow and Improve6 tHE tIp-off the Buzz of the Biz

SVG upDAtE10 Sports Entertainment production Summit 22 League technology Summit36 nBC Sports Goes Beyond the Game at Super Bowl XLVI

the SportsTech Journal is produced and published by the Sports Video Group.SportsTech Journal © 2012 Sports Video Group. printed in the uSA.

SportS BroADCAStInG HALL of fAME Class of 2011

74 MArkEt IntELLIGEnCE It Was the Year of the Build

130 SVG SponSor InDEX136 tHE fInAL BuZZEr Will 3D & 4k Buzz return to Vegas?

36

proDuCt nEWS 77 nAB preview

A comprehensive look at what SVG Sponsors will showcase in Las Vegas

116 Sponsor update An overview of SVG Sponsors’ products and services

Coverage begins on page 48

32

WHItE pApEr68 Ericsson: HEVC Is Just Around the Corner

In tHIS ISSuE

spriNg 2012volume 6, issue 1

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52 Jack Buck54 Dick Ebersol56 Bill france, Jr.58 Deb Honkus

60 George Hoover62 Mark McCormack64 Steve Sabol66 ron Scalise

ToTal 3d/Hd Sd

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4 sporTs TeCH jourNal / spriNg 2012

from the chairman

there’S Still Work to Be Done in hD

by Steve Hellmuth chairman of the advisory board, sports video group

h ave we done everything we can to improve the quality of the HD sports view-ing experience? for the past 15 years, the broadcast industry, from manu-facturing all the way through to production and the consumer-electronics

industry, has been working tirelessly for better HD. Better backhauls, better signal processing in facilities, better lighting, better monitors, better cameras, better lenses, better graphics, better HDtV sets, even file-based workflows have reached an effi-ciency unforeseen in the mid 1990s.

But are we at the end of the road with HD? Consumer-electronics manufacturers are already dreaming of 4k and Super HiVision, the latter being a format that is at least 10 years away from becoming a viable option. And the former could be the key to unlocking a 3D business model.

Although the CES show floor hinted at our future, there is still much to be done in the present. on the closing page of this publication, SVG Editorial Director ken kerschbaumer lays out some of the reasoning behind the need for cable and satellite distributors to offer a higher-bitrate service that will deliver improved big-screen images. My prediction is that providers will soon offer such a service so that, at the least, sports fans can have a true 1080p experience. As ESpn frequently reminds us with their mantra, the job is to “serve sports fans,” and fans love great pictures.

The nAB Show in April will offer the usual wealth of products designed for lower-cost HD production. But just as important will be new tools that help improve another aspect of the fan experience: the synchronized second screen. Why are they important? today’s second-screen experience can be synchronized with live sports events. Audio watermarks, fingerprints, and other techniques for syncing online and mobile content will allow second screens to “tune” as the microphone listens on the fan’s device within an app.

There is another reason to pay attention to the second screen. used properly, the second screen can help fans who plan to watch only 20 minutes of a game watch more. A synchronized second screen can help the fan understand why the coach is not on the bench (he was ejected in the second quarter) or how a team built up its lead (a barrage of three-pointers), facts that can enhance the engagement and make the fan stick around longer. It also can be an outlet for a lot of content that otherwise would not make it to air. Think of being able to make all the graphics and information created in the truck and in the broadcast plant available to viewers.

You can see the challenge we face as an industry. In three years’ time, we will be serv-ing content to a fan who will simultaneously be watching on an 85-in. 4k monitor while consuming additional content on a 9-in. tablet and have an old 50-in. HD monitor set up for displaying statistics of the event in progress and have an old 50-in. HD monitor set up for displaying statistics of the event in progress. Even potuS watches his nBA games on an ipad. And the good news is that the new ipad and its enhanced resolution will make it important to deliver HD-quality signals to small screens as well.

Just another reason to keep improving the quality of the HD sports experience.

ChairmanSteve hellmuth, NBA, EVP, Operations and Technology

adviSory Board memBerSKen aagaard, CBS Sports, evP, operations & Production Servicesadam acone, industry ConsultantGlenn adamo, nFL ,vP, media operations and BroadcastingPeter angell, infront Sports and media,

Production & Programming division, directorandrea Berry, Fox network engineering and operations, SvP,

Broadcast operationsChuck Blazer, FiFa, executive Committeedavid Catzel, microsoft, Platform Services adviser, dPeChris Calcinari, eSPn, vP, event operationsJason Cohen, hBo Sports, directorJoe Cohen, hTn Communications, Chairman and Ceomichael Cohen, industry Consultantdon Colantonio, eSPn,

Senior director of Production enhancementsCindy Cortell, mLB network, director of iTmichael davies, Fox Sports, vP, Field operationsPreston davis, aBC, President,

Broadcast operations and engineeringScott davis, industry ConsultantJim deFillipis, Fox Technology Group, SvP,

Television engineeringed delaney, yeS network, vP, operationsJed drake, eSPn, SvP and eP, event Productiondave dukes, PGa Tour entertainment, Senior director,

Technical operationsrussell Gabay, major League Baseball international,

vP and executive ProducerJerry Gepner, Bexel Broadcast Services, CeoSteve Gorsuch, USTa Billie Jean King Tennis Center,

director of Broadcast operationsmark haden, mLB network, vP, engineering and iTdeb honkus, neP Broadcasting, CeoGeorge hoover, neP Broadcasting, CToJeff Jacobs, mTv networks, vP,

Production Planning and Strategiesrobert d. Jordan CFe, venue research and design,

managing PartnerJohn Kvatek, University of Central Florida athletics association,

director of video ServicesJohn Leland, origin digital, vP, Global media operationsLouis Libin, Broad Comm, PresidentJodi markley, eSPn, SvP, operationsmichael meehan, nBC Sports, vPKen norris, UCLa, director of video operationsGary olson, ConCaCaF, CToChuck Pagano, eSPn, CTodel Parks, Sinclair Broadcast Group,

vP, engineering and operationsPatty Power, CBS Sports network, SvP, operationsPaul Puccio, industry ConsultantScott rinehart, naSCar media Group,

director of internal operationsLarry rogers, FirstinTv, Presidentmike rokosa, nBa, vP, engineeringBob ross, CBS, SvP, east Coast operationsTom Sahara, Turner Sports, vP, operations and TechnologyChuck Scoggins, industry ConsultantBruce Shapiro, Speed, Coordinating Technical ProducerJack Simmons, Fox Sports, SvP, Productiondon Sperling, new york Giants entertainment,

vP and executive ProducerJerry Steinberg, Fox Sports, SvP, Field operationsSusan Stone, mLB network, SvP, operationsPatrick Sullivan, Game Creek video, PresidentJohn Ward, direCTv entertainment, SvP, Production & Traffic

operationsernie Watts, Turner Studios, Senior director of Technical ops,

Live eventsJeff Willis, eSPn, Coordinating Technical manager of eventsrichard Wolf, aBC, SvP, Telecommunications & network

origination Servicesdave Zur, altitude Sports & entertainment, vP, operations

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the tip-off

Paul G. Gallo

Martin Porter

by Paul G. Gallo & Martin Porter co-executive directors, sports video group

W e always listen for the chatter. That’s how we know that an SVG event is a success. If there’s a buzz in the room — especially during the networking breaks — we know that the attendees are engaged and are enjoying a good,

spirited dialogue and information exchange. Sometimes, of course, that buzz is louder than others. And every once in a while, there’s radio silence.

But there was a great buzz in the room during SVG Europe’s football production Summiy at Stade de france in paris. We weren’t sure at first if the buzz translated across the pond. But, apparently, the buzz is universal. put a group of sports-television–production professionals in a room and sit back and listen to the buzz bubble.

not surprisingly, much of the buzz at the conference was on the subject of where the future lies. As always, there was lots of talk about 3D — which continues to captivate the creative imagination of sports-tV pros who don’t shrink from the challenge of developing a technology business model that works. 4k as a production tool got its fair share of cutting-edge conversational hits. And, of course, the buzzword du jour was “second screen,” which everyone (rightsholders, teams, broadcasters) sees as their personal pathway to a one-on-one relationship with the fan.

As always, there was also plenty of talk about the here and now. If any chatter resonates at an SVG event, it is the mundane reality of getting the show to air and handling the myriad operational challenges that will be a substantial part of our industry’s future as our productions and consumer delivery systems continue to evolve.

talk to Bernie ross, uEfA’s head of tV production, who detailed for the audience the plans for televising the Euro 2012 tournament, 31 matches in eight stadiums in poland and the ukraine. “You can only bring a tournament to poland and the ukraine if you can master the elements yourself,” he said, explaining that, despite all the emphasis on technology (yes, they’re doing the finals in 3D, and yes, they’re testing 4k and 6k), battling the region’s transport infrastructure (or lack thereof) is the real challenge and might ultimately be his greatest triumph.

At the end of the day, we’re all charged with getting the best in programming to the largest possible audience using the most cost-effective tools without glitches or interference. And, as HBS CEo francis tellier reminded us in his closing keynote, our profession can easily be badly branded by “cheap and/or incompetent productions,” so maintaining the highest standards industry-wide is in everyone’s best interests.

Whether it is Europe, the u.S., or anywhere else in the world of sports production, we are all expected to produce the best possible programming in the ever expanding sports universe, while keeping a keen eye on the new technologies and distribution realities of tomorrow. Dealing with both is where SVG will continue to help unite and inform our worldwide community in an effort to deliver the best product possible.

That’s where the buzz truly comes in — whether it is face to face or a continuing dialogue online. That buzz is the sound of our biz getting better. And the better we all are at what we do, the bigger our business becomes.

the BUzz of the Biz…

a pair of stirring keynote speeches by ross Greenburg, founder of ross Greenburg productions and long-time president of HBo Sports, and Jim Steeg, the father of the

modern-day Super Bowl, highlighted the Sports Entertainment production Summit.

“I have always thought of sports as the rodney Dangerfield of entertainment: never really appreciated or given much respect,” Greenberg said during his afternoon speech. “the fact is that this is an industry that should be proud of what we are, which is a group that is documenting one of the great forms of entertainment in the history of the country and the world.”

the Summit was co-chaired by Jeff Jacobs, Vp, production plan-ning, Strategic Initiatives & Business operations, MtV Music Group; and Jack Simmons, SVp, production, fox Sports Media Group.

For Greenburg, top-notch Storytelling is keythe Summit illustrated the continued convergence of sports and

entertainment production not only for tV but also for second, third, and even fourth screens where fans consume their sports content.

“We’re now seeing the lid being blown off in terms of distribu-tion,” said Greenburg, “both in terms of live programming as well as a lot of the programming we are talking about today: reality, docu-

mentaries, magazine shows, talk shows, and plenty more.”Greenburg, whose new production company handles documenta-

ries and studio shows for nBC Sports Group, discussed how sports entertainment has evolved during his three decades in the business. noting that evolving technology and distribution channels have dramatically altered both sports and entertainment programming, he maintained that the core element of storytelling is a constant.

He recalled watching the u.S. olympic hockey team’s Miracle on Ice win over the Soviet union in 1980. More than 20 years later, he helped create an award-winning HBo documentary and executive-produced the theatrical film Miracle about “a group of kids that lifted a country from deep despair.” It is this type of poignant storytelling, he said, that will drive the production of sports entertainment programming for years to come.

Steeg’s historic Super Bowl effortEarlier in the day, nfL front-office legend Steeg kicked things off

with an inside look at Super Bowl XXXVI, a game forever intertwined with the 9/11 attacks, which had occurred less than five months earlier. the fact that the game took place at all is a tribute to Steeg and his team’s hard work and on-the-fly thinking.

“It was probably the most pressure I have ever felt in my entire career, because I knew, if we didn’t succeed and execute

everything correctly for that game, the country was going to fall deeper into a recession,” said Steeg, currently director of the pac-12 football Championship Game. “After 9/11, no one was getting on airplanes or going to major events because they were afraid there may be another attack. If we hadn’t succeeded with that Super Bowl and made everyone feel safer, I think our country could have gone down that road for a long time.”

originally, Steeg and his staff had 3½ years

svgupdateupsvgupdatesvgupdatewhAt’S UP with SvG The Wonderful World of Sports Video

Below left: Conference Co-Chair Jack Simmons; right: Conference Co-Chair Jeff Jacobs

&Produced by

keynoters preach Storytelling, perseveranceby jason Dachman

The Summit was highlighted by a pair of stirring keynote speeches from Ross Greenburg (left) and Jim Steeg.


svgupdateupsvgupdatesvgupdateto plan Super Bowl XXXVI, but, when the 9/11 attacks forced the nfL to cancel a week of games and postpone the big game, he scrambled to rebuild a week of festivities in 137 days. He had to rebook not just the Louisiana Superdome but also the pregame and halftime acts, hotel rooms and transportation for thousands of fans and workers, and hospitality and fan Experience events throughout new orleans.

Complicating the effort were the added security measures taken for America’s most-watched single-day sports event just months after the deadliest terrorist attack in u.S. history.

In the end, Steeg was able to move a litany of events off the feb. 3 weekend, including the national Automobile Dealers Association convention and 11 Mardi Gras parades.

the entertainment side of the Super Bowl experience, however, was still in shambles in october. “to be honest, the entertainment side of it was really bad,” he said. “We couldn’t come up with the one thing that was going to grab fans.”

In September, he had attended a “mind-blowing” u2 concert at Madison Square Garden but assumed that Bono and company would decline an invitation to play the halftime show. However, with some help from Jimmy Iovine and Interscope records, Steeg landed a meeting that ended with a surprising result.

“It was one of the shortest meetings I’ve ever had,” he recounted. “We met with them in Las Vegas, and, about two minutes into it, they said, ‘Absolutely, let’s do it.’ that provided the key element that we needed to build the rest of the show around.”

Steeg then worked with broadcast partner fox Sports and the nfL to book a cavalcade of stars to fill out the lineup: paul McCartney to perform during pregame ceremonies, Mariah Carey to sing the national Anthem, Marc Anthony and Mary J. Blige to sing “God Bless America,” Creedence Clearwater revival and the neville Brothers to perform outside the stadium before the game, and the Boston pops to perform on the field before the teams began warm-ups. In addition, a procession of patriotic and 9/11-remembrance elements were incorporated throughout the day.

“there are literally tens of thousands of people that made this thing happen,” said Steeg. “It was one of the great accomplishments in nfL history, but it was also one of the great accomplishments for our country. I think that, combined with the [Salt Lake City Winter] olympics later that year, truly showed that our country was getting back to normal and was still strong.”

Sports programming Moves off the Fieldby Ken Kerschbaumer

the Sports Entertainment production Summit’s first panel session took a look at sports entertainment from both the pro-

ducer and technical perspectives, and the consensus among all is that the role of pregame, halftime, and postgame content, as well as feature stories and reality programming, will only become more important in an age hungry for celebrity and sports.

“We are taking cultural events for guys and treating them like sports,” Jon Slusser, SVp of sports and multiplatform programming for Spike tV, said of a recent effort to treat CES coverage like it was a Super Bowl. “At the E3 [videogame conference], we did 20 hours of multiplatform programming because live programming is critical to us and it is why we all still have tV.”

Spike tV is also taking on mixed martial arts with a new program called MMA Junkie Live. “It will be all-live and once a week, highlight-ing everything that is going on with the MMA,” Slusser explained.

Mike Davies, Vp of field operations, fox Sports, discussed 2011 Super Bowl pregame coverage and the challenge of layering a massive studio show on the road on top of a technical and compound infrastructure that is also dealing with the big game.

“They work together, and some cameras are shared, and, certainly, we organize the schedules together,” he explained. “one of the reasons you have to be at an event like the Super Bowl so early is to accommodate the halftime shows. But we don’t have a lot of say in the actual production, as it is done by a separate company.”

During the opening panel, Spike TV’s Jon Slusser (left) and Fox Sports’ Mike Davies discussed the rapidly converging worlds of sports and entertainment.

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12 sporTs TeCH jourNal


&Produced by

red-carpet shows are also becoming a bigger part of big-event programming. fox Sports has done one for the last two Super Bowls it has broadcast and for its coverage of the ufC and also watched from up close as MLB network produced a red-carpet show the day of the MLB All-Star Game. In february 2011, the nBA and turner Sports put together a magenta-carpet show (it was sponsored by t-Mobile) in Los Angeles.

“You get to showcase who is coming out for the game, and it can work as a bridge between programming across two networks,” said Chris Brown, director of technical operations, nBA Digital.

Vince pace, co-chairman, CAMEron/pACE Group, worked with the nBA during the past five All-Star games to produce 3D content, including musical performances. And shortly after the Summit, he worked on the ultimate event mixing sport and entertainment: ESpn’s Winter X Games.

“We will have 35 cameras, and it will be a full 5D production,” he told Summit attendees, referring to a production technique where both the 2D and the 3D broadcast are derived from the same cameras. “nEp’s SS31 production unit will have its normal 3D package, and then we will also have a Shadow system [where the 3D and 2D cameras are mounted together] operate out of nEp SS31.”

3D productions of musical acts at the nBA All-Star game offer a much improved experience over traditional 2D coverage, with visuals that match the quality of a surround-sound audio experience. The challenge now becomes the business model of 3D. Helping solve that issue will be deployment of 3D tV sets that can deliver an experience in the home to match that in the production truck.

“CES this year was a refreshing trip,” said pace. “Sony showed some glasses-free 3D that was an incredible indicator that they are on the right path. And LG Electronics had passive displays that had comfortable glasses.”

While pace and the others focused on the technical aspects of the production, felisa Israel, founder of 10 fold Entertainment and a producer of celebrity basketball tournaments and in-arena nBA content, noted that the biggest issue for any entertainment event often revolves around ego.

“There are B- and C-list [celebrities] that think they are A-listers, and they need their posse, families, and relatives around, and that can affect the budget big time,” she said. “So you really need to set boundaries and let them know they can appear but they have to follow our restrictions. otherwise, they can go some-where else.”

proliferating Sources test postproduction prosby Ken Kerschbaumer

the good news in postproduction is that there are more ways than ever to get source material that makes for easier storytell-

ing, whether it’s cellphone video, flip cameras, or higher-end Sony HDCAM Sr and panasonic DVCpro gear. the bad news is finding ways to efficiently handle all the new ways content is acquired, as illustrated during the Sports Entertainment production Summit.

“We struggle with the variety of formats and how to integrate them into a workflow,” said Mark raudonis, SVp of postproduction, Bunim/Murray productions. “It’s a tower of babel, and, for shows like Real World, we have 6,500 hours of material to deal with. the raw material has to be logged, stored, managed.”

Brad Boim, postproduction operations manager, nfL network, noted that the challenge is exacerbated by the move to digital files and tapeless recording. With tape-based recording, camera operators had limited number of available takes. today, he said, a simple shoot of a stadium can produce 18 takes.

“You used to get five tapes for a show,” Boim explained, “and now you get a carton with 25 [drives or discs] … and you need to wrap your head around 2,100 clips, look at the shots, and get the material transcoded before it can hit postproduction.”

the good news is that cameras from Canon, panasonic, and Sony are getting better at generating metadata that can be used to organize content. tim okon, director, Broadcast operations Group, MpE, pointed out that naming conventions are often sub-jective, with one group ingesting files with names that mean noth-ing to the editors and others in the facility.

Bunim/Murray’s Mark Raudonis (left) and NFL Network’s Brad Boim talked best practices and lessons learned in post.

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svgupdateupsvgupdateupthat is one reason the media manager is

critical to any facility, serving as enforcer and making sure content does not get lost. And with most facilities relying on a freelance workforce, the media manager is a steadying presence, helping troubleshoot and prioritize jobs.

the nfL network has taken steps to prevent editors and others from simply plugging a drive into a server and dumping content without its first being seen by the media manager.

todd Daly, SVp of strategic operations and production, fox Sports, pointed out that it is also important to pick the best-of-breed tools for the job and standardize across an entire operation (for fox Sports, that means both regional and national networks).

“You can deal with the wants and wishes of the producer,” he continued, “but you need to be practical and minimize transcoding.”

the workflow challenge is exacerbated by the uncertainty over the future of Apple final Cut pro in postproduction. the nonlinear edit-ing system reshaped the industry most notably by offering a price point that helped it steal market share from Avid and Quantel.

But, upon its initial release, the latest version of final Cut pro, version X, looked to be focused squarely on the consumer market and eliminated many features required for professional productions.

“You can’t fault Apple for their decisions,” said raudonis. “they aimed final Cut X at exactly the audience they wanted. We just don’t happen to be that audience.”

However, many freelance editors make a living on final Cut pro. “We have 50 freelance editors,” Boim pointed out, “and only two have looked at [final Cut pro, version X], because there is no viability for it in the broadcast space.”

An updated version released since then incorporates more professional tools.

okon suggested that, at nAB 2012, postproduction pros will be considering whether it is time to look to other options.

Sports producers Make reality Genre their ownby Karen Hogan

From Hard Knocks and 24/7 on HBo Sports to Pros vs. Joes and The Ultimate Fighter on Spike tV, sports networks have taken

a page from the entertainment playbook and adapted the reality-television genre for sports-centric audiences.

At the Summit, executives involved with established sports-reality franchises chatted with producers charged with starting up original-programming units for sports networks.

When selecting cameras for The Franchise, a behind-the-scenes look at the San francisco Giants’ 2011 season, MLB productions’ Executive producer David Check needed a workflow that allowed for a quick turnaround time.

“When working with a quick turnaround, we attempt to stay with tape,” said Check, who later in the day presented a case study on the show. “Because we feed a lot of footage back to our facility and capture a lot of [EnG] content, [tape-based] is more conducive.”

As sports networks increasingly shift to HD, sports-reality producers must adjust their workflows and production costs to align with network standards and viewer expectations.

“the transition [from SD to HD] happened with Pros vs. Joes, which was a show Mess Media did for Spike tV,” said Scott Mes-sick, founder/president of Mess Media. “the big [question] was really how much does it cost to do it in HD? ... It’s become much easier now, but, that first one, there were a lot of battles.”

Initial concerns in the transition to HD centered on technology-rental costs during filming; however, the prevalence of HD-capable cameras has made the upgrade more palatable to producers.

Messick also acknowledged the importance of the director in reality production. “there’s a significant amount of directing in reality tV, as much as it sounds like an oxymoron. It’s a lot like sports directing: you have the rules, you have the playing field, and you have to put cameras where you will up your odds of capturing significant moments.”

Because those moments are the basis of reality tV, the panel agreed that selecting characters is the most important step.

“[pick] the right trajectories before you put anybody on the ground,” stressed Michael Bloom, SVp, original programming, fox Sports Media Group. “[know] that these characters are going to go somewhere with their stories and there’s going to be some tangible result. know where you’re starting and know where you’re ending up. that’s the goal; that’s what we all strive for.”


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From left: Fox Sports’ Michael Bloom, Mess Media’s Scott Messick, Spike TV’s Tim Duffy, and MLB Productions’ David Check discuss reality and sports.

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svgupdateupsvgupdateupEntertainment-based networks, such as

Spike tV, are often faced with retired athletes looking to return to the limelight. regardless of how big an athlete might have been in his or her prime, the panelists agreed that producers should continue to look for compelling trajectories and interesting storylines and not be swayed by fame.

“I think there’s a universal quality to storytelling that we must appreciate and value,” said tim Duffy, SVp, original programming, Spike tV. “In reality tV, there’s no difference. ultimately, what matters most is that you care about the characters.”

for Bloom, selecting the right characters and trajectories will be pivotal to the success of fox Sports’ new original-programming unit.

“HBo set the bar so high with Hard Knocks and 24/7,” said Bloom. “With respect to what they’ve done, [we at fox Sports] will be looking to put our own stamp on [sports-reality programming] … the three things [we’re looking for] are achievement, heart, and heroes, and the inverse of all those: achievement and loss, heart and broken heart, heroes and villains.”

network Studio Shows take to the road by jason Dachman

it was just a few years ago that sports networks would send their studio shows on the road only for high-profile events, such as

postseason and All-Star games. However, today, the remote studio show has become the norm throughout regular-season telecasts for ESpn’s Monday Night Football, fox Sports’ nASCAr cover-age, nfL network’s Thursday Night Football, and many other live sports events. At the Sports Entertainment production Summit, an afternoon panel addressed both the benefits and challenges of producing studio shows on-site.

“[remote studio shows] have evolved so much over the years,” said Sal Cocco, production manager, nfL network. “It started with no [studio show] on the road, then it was just your commentators doing a few minutes at the beginning of the show, and now we are looking at full large-scale productions. I think it’s just going to continue to grow.”

nfL network’s studio show is on-site for all eight games on its schedule, a number that will jump to 13 games in a restructured thursday-night package next season. this massive operation requires

an almost entirely independent production team and additional mobile unit for the pregame, halftime, and postgame shows.

“there are a lot of challenges that go into a studio show on a remote [production],” said nfL network Vp of Media operations Glenn Adamo, who moderated the session. “not only does the production staff have to go out of their comfort zone of the home studio and deal with the elements, [but] there is also the challenge of going into a stadium with sometimes hostile [labor-]union environments. But, at the end of the day, we still have to help the production team tell the story.”

one of the most important decisions to be made is where the studio set will be located at the venue. ESpn constructs its primary studio set on the field; others set up in parking lots or even in the stands, as was the case for fox Sports’ World Series coverage.

“the people at home watching on tV need to feel like they are at the [venue]. that is always our main goal when it comes to the set [location],” said Jennifer pransky, coordinating producer, features division, fox Sports Media Group.

Halftime and postgame teams often have to create highlight packages in a matter of minutes, a task further complicated when studio shows are sent on the road.

Monday Night Football has an Avid and an Apple final Cut edit suite built into its mobile units. the Avid station works with an on-site EnG crew to create bumpers and inserts highlighting “the flavor of the city and the pageantry of the game,” said Eddie okuno, operations manager for ESpn’s MNF and nBA coverage. “We also send out an EnG camera during warm-ups; then we ingest [off of] p2 cards into the Avid, and we turn it around real quick.”

nfL network deploys two final Cut pro systems on-site, installed in a dedicated postproduction/graphics truck. one is devoted to commentator Mike Mayock’s needs, as he requires a wide array of highlight packages when breaking down the X’s and o’s of the game. the other is tasked with creating billboards and other highlights packages.

Constantly changing outdoor conditions make lighting a remote


&Produced by

The growing role of remote studio shows was highlighted during a panel featuring (from left) Fox Sports’ Jennifer Pransky and Francisco Contreras, ESPN’s Eddie Okuno, and NFL Network’s Sal Cocco.



svgupdateupsvgupdateupstudio show particularly challenging. Lighting crews often set up during the daytime for a prime-time game or set up the day before when weather conditions can vary greatly from game day.

“You can rehearse the day before, but then, all of a sudden, a storm comes in, and you realize that you need to change [the entire lighting scheme],” said Cocco. “Even in dome stadiums, it’s not always easy. that’s why the best advice I can give is to have dependable rental houses in every city you visit.”

truck of the Future Will handle Both entertainment, Sportsby Karen Hogan

“Sports trucks can do entertainment shows, but entertain-ment trucks can’t do sports.” Speaking to an audience

comprising sports and entertainment clients and truck vendors that cater to both, moderator Andrea Berry, SVp, broadcast opera-tions, fox Sports, noted that this “old-school concept” no longer defines the sports-vs.-entertainment-truck debate.

In the session, titled Mobile unit Chameleons: When Sports and Entertainment Collide in the Compound, mobile-production providers agreed that sports and entertainment productions have different needs but, when a new truck is built, the needs of each should be taken into consideration, especially since the two increasingly share procedures and gear.

According to Mary Ellen Carlyle, SVp/GM of Dome productions, the biggest difference between a sports and entertainment truck is acquisition format. “the only thing we have to do [when shifting from sports to entertainment] is put in a ton of tape machines. usually, our sports trucks are pretty much cookie-cutter, but, with entertainment, [we install] 14 tape machines.”

Although the EVS server used to be the mark of the sports truck, toronto-based Dome productions has been using the EVS replay technology to produce Canadian Idol.

peter kimball, director of program development/production, trio Video, includes EVS when producing his company’s slate of music festivals but does not adhere to the traditional tape-based format.

“In the last few years, especially the last year for all the music

festivals we do, we’re [moving toward] a completely tapeless workflow,” he noted. “not only do we record the shows in high resolution, but we’re simultaneously feeding that content to various channels. We’ve found [that] not only does the client prefer [a hard-drive system] because it’s less expensive but there’s more time to develop content, it’s more accessible, [and] it’s easier to handle.”

the devastating tsunami in Japan last year forced production houses and broadcasters to switch to file-based formats because tape wasn’t available. After nearly a year, many are opting to stick with their new tapeless workflows, rather than return to tape.

“now that tape is available [again], I really thought more clients would stay with the HD CAM Sr, but they’re not: they’re spending money for the higher resolution,” said tim kubit, engineer in charge, nEp Denali. “As the technology matures, as compression algorithms get better and better, and as codecs get better and better, I think that we will see a full transition [to] the highest resolution [and] the highest bandwidth available, on whatever format that is.”

With sports and entertainment mobile units increasingly overlapping, the panelists agreed that it is important to consider the needs of both when building any new mobile unit. for example, both sports and entertainment rely heavily on social media.

“the mobile unit is becoming, how many different ways can we feed this to the world?” said Chad Snyder, senior account manager, Lyon Video. “I wonder if the truck of the future isn’t Ip-based. An Ip connection from the camera to the switcher that actually goes out through the connection port, so you get that video [from] camera 1 and it can go several different places, rather than routing manually.”

However, as sports and entertainment mobile units converge, one vital difference remains.

“Sports is cookie-cutter,” said Carlyle. “You’ve got your cameras in set positions [as determined] by the arenas; you use the same mics at the same distance. With entertainment, it’s a blank slate. You’re going into a venue that [maybe] isn’t a hockey venue, you may not have cables, you may have to deal with set designers. It [requires] more planning and really understanding the client.”


&Produced by

From left: NEP Denali’s Tim Kubit, Lyon Video’s Chad Snyder, and Trio Video’s Peter Kimball took to the stage for the final panel of the day.


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svgupdateupsvgupdateupinside MlB productions’ the Franchiseby Karen Hogan

capping a day of panel discussions that continually emphasized the merits of storytelling, character development, and being

in the right place at the right time, MLB productions’ Executive producer David Check demonstrated how his team successfully combined all three elements to create The Franchise during a clos-ing case study.

Summit attendees were treated to both an inside look into the making of the production, which documented the San francisco Giants’ 2011 season, and a seven-minute sizzle reel of the docuse-ries’ best moments.

for MLB productions, selecting the San francisco Giants was easy. persuading the team to participate for an entire season not so much.

“they were the defending world champs and so [were naturally] our first choice,” said Check. “How we convinced them was that we were truly going to be a fly on the wall, we weren’t going to be intrusive, and we were going to document their lives during the regular flow of activity.”

MLB productions amassed 146 crew days over eight months and more than 1,200 hours of footage. the crew relied primarily on panasonic VariCams to tell the story, shifting to Canon EoS 5D and 7D cameras when trying to be more discreet. the crew used Vision research phantom high-speed camera systems for slow-motion and scenery shots.

MLB productions produced nine episodes of The Franchise, including a preview episode that aired on April 14. for Check, the preview was the key to the series’ success.

“We started shooting in early february, and the players were starting to [ask] when [they were] going to see stuff on-air. there was a mystery surrounding what the content was going to look like,” Check recalled. “once they saw the preview show, a light bulb went off, and [they] definitely ratcheted up the access.”

After gaining the team’s trust with the preview episode, MLB productions embarked on a season with the San francisco Giants, airing a one-hour premiere episode on July 15 followed by seven weekly 30-minute episodes on Showtime.

At the heart of the franchise are the players themselves. Check described several “characters” whose storylines provided the back-bone for the docuseries. And any conversation about the charac-

ters on the San francisco Giants would start with closer Brian Wilson.

“We went into the season thinking that this is a rick Vaughn [Charlie Sheen’s character in Major League], he’s the eccentric closer,” said Check. “But he fooled us all. We found him to be nothing short of a genius. His comedic timing, his commanding screen presence, and his depth really just blew us away. one of our greatest challenges was not to turn The Franchise into the Brian Wilson show.”

on the flipside is starter tim Lincecum, whom Check termed “the reticent superstar.” to address the fascination with the very private pitcher, Check presented Lincecum’s narrative through the eyes of his teammates, relying on others to describe the pitching phenom as opposed to the player himself.

In addition to the characters on the Giants, Check’s team also had certain storylines in mind, including pablo Sandoval’s well-documented weight struggles. In 2009, the third baseman was the Giants’ best player, but he nearly lost his job in 2010 when he was grossly overweight.

“He lost 40 lbs. in the offseason,” Check said. “We documented that [because] that was a narrative that we knew [and could] anticipate throughout the production. We were going to follow that the whole way through, and, lo and behold, he became an All-Star in 2011.”

Conversely, some narratives cannot be predicted.“no docuseries would be complete without the improbable

story,” said Check. “We found it in ryan Vogelsong. He hadn’t pitched in the majors since the 2006 season; he was a fringe player, did not have a guaranteed contract with the Giants. [Vogelsong] really came out of nowhere to shock everybody.”

With the San francisco Giants located 3,000 miles away from MLB productions, Check relied heavily on field producers to shoot in tapeless formats and quickly turn around footage to keep The Franchise timely and relevant. over the course of eight months, field producers logged more than 100,000 miles of travel to 21 locations, including the White House and puerto rico.

“overall, the experience with the Giants and Showtime was nothing short of fantastic,” said Check, “and we are so thankful to both [for] making it such a relatively seamless experience for all.”


&Produced by

MLB Productions’ David Check offered a behind-scenes look at The Franchise.


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producers Must Balance Sales With Storytellingby brandon Costa

Sports fans are used to the routine: nBA on tnt’s t-Mobile Halftime report, fox nfL Sunday’s Game Summary present-

ed by Chevy trucks, the YES network’s Yankees post Game Show sponsored by Bigelow tea, the nHL on nBC Save of the Game built by the Home Depot.

network sales departments work sponsorship opportunities into their broadcasts any way they can, and, with skyrocketing rights fees dominating the sports-television landscape, it’s only going to become more prominent, offering unique challenges to the producer. A panel titled producer perspectives took a look at these challenges.

“Sales is paramount to our industry and certainly to our network,” said Curt Gowdy Jr., SVp/executive producer at SnY, a regional sports network in new York dedicated to the Mets and Jets. “But our goal is to never let sales interfere with our storytelling. We have to be very selective about what elements we put on the air and how we put them on the air.”

producers attempt to make sponsorship subtle and simple for the viewer by incorporating elements that seamlessly flow with the broadcast. Everything from shoulder programming to lineups, game summaries, defensive alignments, etc., will have a related sponsor element added in an attempt to generate more ad revenue outside of the standard commercial breaks.

there are times, however, when that is easier said than done.“A few years ago, one of our over-the-air partners had a cam-

paign for poland Spring’s “plant a tree,” and they wanted to incor-porate that into the telecast. I didn’t see a natural fit,” cracked John filippelli, president of production and programming at the new York Yankees-owned YES network. “So I told the producer and

a look at the State of the industry and its Future More than 800 Sports Video Group members and sponsors gathered in new York City last December for SVG’s

sixth-annual League technology Summit to discuss the most top-of-mind issues and trends in sports production. the largest event on the yearly SVG calendar, LtS 2011 kicked off on Dec. 12 with four concurrent workshops

covering a diverse set of topics: DtV Audio, next-Generation tV and Social Media, postproduction and It, and remote production and Engineering. the workshops gave attendees a chance to dive deeper into these specific topics with a sharply focused audience.

LtS day two featured a full slate of speakers and panelists, as well as the unveiling of the SVG Sports Broadcasting fund, an effort that will support individuals in the sports-broadcasting family who are in need. the day-long series of seminars provided sports-technology professionals with an opportunity to come together and learn about the latest trends and chal-lenges facing the industry today.

Leading producers shared the stage for the League Technology Summit’s first panel of the day.

DECEMBER 12-13, 2011 • NEW YORK HILTON

LEAGUESUMMITWHERE SPORTS MEETS PRODUCTION

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svgupdateupsvgupdateupdirector to shoot the bat rack. that was the closest thing to a tree that I could find. Maybe they’ll get the message.”

producers are also looking for more-original ways to weave in their sponsor’s spots. “If there’s anybody from sales out there,” John Slobotkin, Vp/executive producer of live events at Comcast Sportsnet, joked to the crowd, “I’d ask you to try something more creative than ‘keys to the game,’ because everyone knows that the key to the game is to outscore your opponent.”

the panel also discussed keeping some live production elements at home studios, cutting the costs of maintaining full crews on the road. the approaches were mixed.

“We are not looking to bring things in-house,” said Harold Bryant, Vp of production and executive producer at CBS Sports, “for our weekend broadcasts, in particular, we want to keep our guys on the road. We want them out there with the teams, going to the practices, getting that experience, and adding that extra flavor to the broadcast. We also don’t have the volume to have our control rooms running every day during the week. It’s not cost-effective for us to build three, four, or five extra control rooms to do games in our home base.”

for some, a hybrid model works best.“We send our on-air people and some of our frontline production

people out to site but keep some other people back to produce in-house,” said Bruce Shapiro, senior coordinating technical producer for Speed channel. “If it’s streamlined well, the viewer really won’t know the difference one way or the other.”

there are risks to keeping production staff at home and hiring outside crews for road events. As filippelli noted, “the more you cede control, the more you give up the type of broadcast you want.”

Directors talk time, Score Bugs, 16:9by Carolyn braff

Directors took the stage to discuss time-management issues, graphics and audio issues, and pet peeves in today’s truck

environments. the conversation, moderated by HBo Sports Director Jason Cohen and MLB International Vp/Executive producer russell Gabay, began with a look at the challenges of time management in today’s broadcast world.

“You really have to budget your time,” said CBS Sports director Mark Grant. “At 11 a.m. on the dot, we have to do the fantasy report. Because of the time schedule that we are on, I really only have 30 minutes to tell the whole story of everything I know about these two football teams. Sometimes, I don’t feel like I tell the camera crew everything I need to tell them before the game.”

for regional networks like nESn and YES, one-on-one camera meetings are not always necessary at home but are crucial on the road. regardless of location, such face-to-face meetings are consistently becoming harder to schedule.

“I don’t get to have the one-on-one camera meetings where I can actually see their faces very often,” said YES network Director John Moore. “Most of the camera meetings I have now are on headset.”

With an increasing number of deliverables that need to be fed into a broadcast, directors must become more organized and better able to divide the crew to meet every assignment.

“You don’t need all 10 cameras shooting the quarterback,” CBS Sports Director Suzanne Smith noted. “If you have two graphics machines, assign them each different graphics and give them different things to do. now, if you need to feed 20 things, you might have 15 different pieces of the puzzle already set.”

In addition to providing each of those telecast pieces, integrating sales elements with storytelling has become a challenge for every network. nESn Senior Coordinating Director Mike narracci noted such integration as his biggest challenge.

“Moments happen in a game, and you want to cover them with everything you have, but a producer is calling for a sales element that probably could wait,” he said. “that, for me, is the biggest challenge.”

the directors had different viewpoints on the use of a score-bug graphic and what should be included in its content.

“I don’t like the bug being in just before the pitch, because it handicaps me as a director,” Moore said. “It is fundamental infor-mation that should be there, but then we have to have the company logo, the occasional Applebee’s apple, and other sponsor elements.”

When it comes to football, Moore noted that one of his biggest frustrations is the disappearance of the play clock from the score bug. “that play clock is important, sometimes more important than the game clock.”

Grant added, “More important to me than the clock and score sometimes is the down and distance. I tell my graphics operator, as soon as you know the down and distance, update it. In the



TECHNOLOGY

Providing the directors’ perspective were (from left) CBS Sports’ Mark Grant, YES Network’s John Moore, NESN’s Mike Narracci, and CBS Sports’ Suzanne Smith.


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svgupdateupsvgupdateuppast, they’ve waited until we get our play-by-play cameras set, but now they update it right away. Yes, the score is important, but I think the down and distance is important as well.”

When it comes to what drives direc-tors crazy in the truck, panelists’ opin-ions ran the gamut, from heads to ears.

“Is it possible to get wireless head-sets?” narracci asked. “Every time I turn my head, it gets ripped off.”

Said Grant, “In a truck, the producer has to scooch up so I can get by. In some of the trucks, there’s just not enough room between the second and first bench, and the producer doesn’t want to scooch.”

for Smith, communication is the most maddening element. “When I’m in a truck and we have these brilliant engineers, I say, ‘I know you guys are working on this. Just answer me,’” she said. “When the machine goes down, just tell me. I know people are always working hard to fix these problems, but sometimes there is a lack of communication.”

the directors also discussed the future of 16:9 versus 4:3 aspect ratio, with Moore contending that, at this point, it’s time to act on the fact that we live in a 16:9 world.

“If you have a 4:3 set, we will help you through it, either with letterboxing or having announcers say, ‘for those of you with high definition, you can see this,’ which is a not-so-subtle hint for those of you who don’t to go get one,” he said. “Sometimes, you’ll see in a replay a third-base coach waving the runner as a camera guy is panning, but he might just be in the 16:9 part of the frame.”

network execs expect a Busy Futureby brandon Costa

technology continues to evolve at a blistering pace, be it within the home or in the production truck. When some of sports

television’s heavy hitters gathered to discuss the biggest challenges facing sports networks and their live-event outfits, the theme was universal: you can’t stop the future from coming.

“What we really have to think of as broadcasters,” said ken Aagaard, EVp of operations, production, and engineering at CBS Sports, “is that there are going to be changes and we’re going to have

to address how [to deal with them], especially financially. So I think what we’ve got to start to think about as a group is, how do we have a natural progression of being able to move on to the next thing and make it work.”

If the nfL rights deal announced in December proved anything, it’s that sports broadcasters have to

approach technology with an eye on the future. other members of the panel agreed that it’s time go tapeless in trucks.

“If I never saw another tape machine on a truck, I wouldn’t feel bad,” joked Jerry Steinberg, SVp of field operations at fox Sports. “If most of the legacy stuff can be taken from the studio on drives, you don’t need another tape machine.”

tom Sahara, Vp of operations and technology at turner Sports, concurred, adding that universal technical standards in the industry would be invaluable. “If we get tape in from an EnG crew that’s shooting DVCpro and 720, I have to make sure I have a DVCpro machine in that truck so I can get it off the tape and into an EVS. Hopefully, technology will advance to the point where we can be very file-friendly and not have to deal with physical media and physical tape. that’s something that I think we really need to push onto our vendors and manufacturers.”

As the number of sports networks and live television events continues to skyrocket, broadcasters face the challenge of appeasing cable distributors and viewers looking for not only elite coverage of the biggest events but also access to a wealth of smaller, local games.

“Everyone, it seems, is looking to televise every sporting event ever played,” said Michael Connelly, SVp/executive producer at fox Sports net, which produces a mass of games per year at the local level. “now we’re looking at how we can do everything cheaper, smaller, and quicker — almost like guerilla television. the technology is also going to have to evolve and find a way to improve distribution for cable operators who want more VoD. Whoever can create that economic method, equipment, truck, or triCaster is going to be a very successful business.”

Another request by the panel was improvement of audio features to help raise the quality of surround-sound productions.

“I’d like to get to the point where there’s eight channels of audio distribution to and from all sources within the truck, be it by hybrid routing or layers of routing,” said Dave Mazza, SVp of engineering with nBC olympics.

Dave Mazza (left) provided insight into NBC’s Olympics strategy alongside fellow net-work executive ESPN’s Kevin Stolworthy.



TECHNOLOGY



updateupdateupthe panel also universally agreed that the “second screen” and

various digital offerings are here to stay.“I think the second screen really enhances the experience and

it’s driven by what kind of content you push to the tablet,” opined Steinberg, whose new nfL deal at fox contains digital-broadcast rights beginning in 2014. “It’s all about attracting the next generation of viewers.”

leagues look to entertain, engageby Karen Hogan

as television-rights deals expand and the second-screen experi-ence gives way to third and fourth screens, league executives

must continue to find ways to keep fans entertained and engaged. At the same time, longstanding threats to the fan experience — rain delays, labor disputes, network disagreements — never disappear.

Executives representing the nBA, pGA tour, MLB, and nfL discussed their respective approaches while describing how they balance fan, network, and league expectations.

for the nBA, maintaining that balance in the midst of a season-threatening lockout was essential. nBA Entertainment EVp of operations and technology Steve Hellmuth kicked off the discus-sion with a look at how his team keeps its focus.

“We were very concerned with scenario planning,” he said. “We could restart the season here, we could restart the season there.”

projects like simplifying the nBA fantasy system kept top talent and Ip professionals busy, while a policy prohibiting programming featuring players involved in the bargaining forced the league to accelerate creation of a fully digital archive of content.

Glenn Adamo, Vp of media operations for the nfL, took a similar project-minded approach when faced with a potentially lockout-shortened season. “It was nonstop scenarios,” he explained. “What if we play this day? What if we lose the preseason? one week, two

weeks, three weeks, four weeks? How do you keep the network relevant? What do you cut back on and what do you keep? We had nfL films creating content in the event that we would continue to get delayed.”

Major League Baseball, while currently enjoying a period of labor peace, faces game disruptions every season due to weather.

“for the most part, it’s [balancing] the interests of fans who are either at home or in the ballpark,” said Chris tully, SVp, broadcasting, MLB. “If you’re representing the interests of the viewers, you’re clearly representing the interests of your network partner, but it is also balancing the integrity of the competition. In baseball, the commissioner is particularly sensitive to that in terms of pitching matchups and making certain that rain doesn’t give an advantage to one club versus another.”

pGA tour Entertainment Senior Director of technical opera-tions David Dukes echoed this point in discussing his league’s decision to shorten the Barclays tournament to 36 holes because of Hurricane Irene.

“[You] try to find a balance between your obligations both to your fans and to your network partners but also to the sheer vol-ume of people out there working and their families. So there’s kind of a fine line you have to walk,” he said. “At the end of the day, [tournament officials] felt like they made the right call with elimi-nating a couple days of the tournament [to let] people get out in time [and] get back to their families.”

the relationship between league and network partner certainly poses challenges but ultimately offers benefits for both.

the nfL’s 2006 collective-bargaining agreement, for example, provided additional sharing between the league and its network partners.

“In the past, CBS would have their melts, fox would have their melts, and then this new nfL network came in,” said Adamo. “At first, [there was] a little reluctance to share, but, once we got the games packaged, we decided to kind of form a co-op where we shared everything. that continues today, and it continues to the point where we have weekly calls where we talk about problems.”

over a year into an asset-management initiative, pGA tour Entertainment has converted its entire archive into digital format, allowing the tour to better support its network partners from a content perspective.

In a similar vein, MLB network provides the framework for MLB-produced content and allows the league to reach fans wher-ever they are.



TECHNOLOGY

Fox Sports’ Jerry Steinberg speaks as Fox Sports Net’s Michael Connelly (left) looks on.

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updateupdateupA recurring theme throughout the day was the

second-screen experience. “You want to be in front of the eyeballs wherever they are, whatever screen, whether it’s in home or out of home,” said tully.

to do so requires a fresh look at directing events and a reimagining of how people watch television.

“It wasn’t that long ago where you’d say the word computer or you’d say online and sports leagues go, ‘Wait a minute! You can’t do that,’” said Adamo. “now everybody embraces it and says, ‘How can we reach them?’”

oB providers ponder truck industry’s Futureby Karen Hogan

perhaps no group was affected by last year’s nBA lockout more than truck vendors. forced into a holding pattern while labor

negotiations stretched from weeks to months and unable to rebook dates lest the season resume, truck companies were breathing a huge sigh of relief as they frantically prepared for the Christmas Day start of the nBA season.

At the League technology Summit, executives representing CAMEron/pACE Group, Euro Media Group, f&f productions, Game Creek Video, Mobile tV Group, and nEp Broadcasting participated in a panel titled “truck tales” to discuss this and other challenges faced by oB-service providers and to offer a forecast for the industry.

As the conversation switched to truck design — and the buzz phrase of LtS — Barry Johnstone, international director/managing director, CtVoB, Euro Media Group, offered the European point of view, reflecting that the European truck of the future is not so different from its American counterpart. on both sides of the Atlantic, mobile vendors are concerned with rising fuel costs, going green, and the need to go smaller. However, he stressed that the European truck of the future is not a one-size-fits-all solution.

“the uk is virtually 100% HD and going into second-generation HD,” he pointed out. “Europe is completely different. our headquarters are in france, [and] probably half of the facilities in france are HD, so [we’re] trying to get them up to speed. the uk has to worry about 3G, 1080p, and

it costs a lot of money to plan for that. Europe is a little bit behind: the major sports are in HD, but a lot of the smaller sports are still in SD.”

Similarly, there is no cookie-cutter American truck of the future. the panelists representing stateside oB-service providers stressed the need for future-proofing through flexibility.

“We tend to build our trucks in such a way that we have more than enough facilities to meet the needs of our customers,” said Game Creek Video president pat Sullivan. “And when you start moving [content] in and out [of the truck], it’s almost always a recipe for failure. people want to be able to move files around effortlessly from their home [base], utilize the assets of the truck but also utilize the assets that they’ve built into their physical plant at home so they can use those assets as part of their production.”

In addition to seamlessly connecting with the home base, mobile vendors need to build trucks that enable customization based on client needs.

“there’s so many things that are unique to each one of [our] customers that you can’t build a truck anymore that’s going to be for one purpose,” stressed nEp SVp of Sales Mike Werteen.



TECHNOLOGY

SVG Chairman and NBA Entertainment EVP, Operations and Technology, Steve Hellmuth joined league tech leaders, including PGA Entertainment’s David Dukes, for an indus-try overview.

NEP’s Mike Werteen (center), Mobile TV Group’s Phil Garvin (left), and CTV Outside Broadcast’s Barry Johnstone delved into the issues facing truck vendors.

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updateupdateup“We’re going to have to have the infrastructure in there to accommodate a lot of different shows. It’s got to be a Swiss Army knife that can be customized to whatever the show’s going to be that day.”

though not the predominant focus of the day, the topic of 3D was very much a part of the truck tales discussion. CAMEron/pACE Co-Chairman Vince pace described his company’s foray into providing trucks for sports production.

“We’re certainly concentrating on the 5D model because I think everybody has now come to terms with the fact that a 3D production is not going to coexist with a 2D production, especially when there’s no eyeballs or revenue associated with the 3D guys,” he said. “ESpn has been doing a great job of understanding where they can place a side-by-side camera in place of a 2D camera and extract the single eye for 2D production and dual eyes for the 3D production.”

A recurring question was whether the panelists foresee a truckless future. Werteen questioned the benefits.

“there’s been talk of everything getting piped back [from a remote site to a home base], and it’s hard for me to believe,” he said. “I know it can be done, and, in a pinch, I understand where it makes sense, but there is some element to having the people on-site to be able to capture what takes place at each one of these events. I understand the efficiencies that would come out of it. I wonder if the storytelling would stay at the premium value.”

Sullivan offered his take: “You’re actually asking us to speculate on our own survival? What a question! We’re all truck guys up here, remember?”

looking at the Second Screen by andy stout

the growth of the second screen was one of the surprises of an IBC that was expected to be dominated by all things 3D,

and the panel session titled Sports and the Synchronous Screen pointed toward its dominating a lot of the discussion in 2012 as well.

the second screen starts with video. “We look at multimedia, but we like to start with video, partly because we’ve got a great selection of rights,” said ESpn3 Vp Damon phillips. “then we add

our special sauce — whether it’s data, whether it’s social. But it starts with video.

“We focus on three things,” he continued. “It’s about the live experience, it’s about the social experience, it’s about personalization. Everything a fan does has to be relevant to who the fan is and what they do.”

one of the main problems that companies have in developing second-screen apps, ironically enough, is that the video has become increasingly complex and there are no easy answers anymore. Codecs, bitrates, audio — it all reflects the old, worn joke that standards are great, everyone should have one.

“part of the problem is that not everyone agrees,” said Joe Inzerillo, senior Vp of multimedia and distribution, MLB Advanced Media. “And, as soon as you get to some sort of consensus, a vendor disagrees, and it all changes. We spend a lot of time trying to rally folks around particular standards, and it’s by far the most challenging thing. unfortunately, if you want the best experience you can give the viewer, you end up developing a special-purpose application.”

And companies need to do more to impress people now. “fans once just wanted digital video to work,” said phillips. “now we’ve done research that says that they experience more from the second screen than they do from their television screens.”

Which, of course, requires investment and inevitably led to talk of monetization. Mark Silver, senior director, digital media, at Canada’s olympic Broadcast Media Consortium, noted that the consortium is planning to break down coverage into morning/afternoon/evening day parts with tiered subscription rates.

Channing Chor, Vp, strategy, fox Sports Mobile and Advanced platforms, fox Sports, on the other hand, cautioned that, although viewers have grown accustomed to ads surrounding online video, mobile and tablet screens are smaller and there’s a correspondingly greater resistance to their appearance.



TECHNOLOGY

Second-screen stalwarts highlighted an afternoon session: (from left) Fox Sports’ Channing Chor, MLB Advanced Media’s Joe Inzerillo, ESPN3’s Damon Phillips, and Mark Silver of Canada’s Olympic Broadcast Media Consortium.

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34 sporTs TeCH jourNal/spriNg 2012

updateupdateupfacebook will be around for at least a decade, the panel concluded, while plaudits were also due to the most monetized social network: World of Warcraft. In neal Stephenson’s latest novel, rEAMDE, an online MMorpG called t’rain is so ubiquitous that people even hold business meetings there. You never know, by rio 2016, your olympics coverage might be anchored by an orc and a hobbit.

Bevilacqua examines new pac-12 enterprisesby brandon Costa

With only eight months to go ’til the scheduled launch of the ultra-ambitious pac-12 networks, one fact remains clear:

there’s plenty of work left to do.SVG’s sixth-annual League technology Summit closed with

a one-on-one interview with College Sports Video Summit conference Chairman tom Buffolano and the primary architect behind pac-12 Enterprises, Chris Bevilacqua, who was forthright about the task at hand.

“Look, rolling out a network is hard,” said Bevilacqua, who has experience doing so from his days launching CStV. “from day one, [the pac-12] has to stay focused on what they’ve already committed to do. Like any media platform, it will evolve over time.”

He described what the conference and Commissioner Larry Scott have committed to as “a first-of-its-kind media company.” no u.S. collegiate conference or any other programmer has launched a collection of networks across a variety of platforms, rather than a sole network.

“Larry Scott wanted to reposition the conference and make it more forward-thinking,” said Bevilacqua. “Larry is a transformative leader and has lots of credibility.”

the goals of the conference’s university presidents included shifting the pac-12 from a regional conference into the national spotlight while also gathering control of much of the intellectual and media properties that have been distributed among tV deals with various independent broadcasters and marketing deals with IMG College.

“they didn’t want to take any risks,” said Bevilacqua. “We’ve created a product that is both distribution-friendly and technology-friendly.”

fortunately, reinforcements are on the way. Lydia Murphy-Stephans took over her role as executive vice president and general manager in December, joining Gary Stephenson, who was appointed chief executive in August.

the three layers of pac-12 Enterprises, which is financed primarily through a first-tier $2 billion media-rights deal with ESpn and fox, include the television division — one national network and six regionalized channels — and a digital platform. the current game plan is to air about 350 games on the national platform and another 500 to populate the regional feeds. the remaining games will be used to program the planned digital network.

Bevilacqua acknowledged that the digital network is the “least developed part of the whole plan” and, with more than a thousand live events expected to hit the Web, there’s much to be sorted out.

“there’s no doubt we made a bet on ‘tV Everywhere,’” said Bevilacqua, CEo of the newly formed Bevilacqua Media Co. “the cable industry is still driving this, but the pac-12 is going to be relying on distributors to create good marketing plans so people know stuff is available everywhere on every device.”

In late January, the pac-12 bolstered its executive staff by hiring longtime digital-media professional David Aufhauser as Vp/GM of digital media. He will be responsible for all aspects of the conference’s digital business as well as the creation and management of the pac-12 Digital network.

from the production side, there are still many details to be determined, chiefly whether the company will construct its own mobile units, rent, or likely use a combination of both approaches.

Although a workflow hasn’t formally been developed, Bevilacqua said the networks will be supported strongly by the member institutions, most of which have the technology to provide programming to the digital platform.

“one of the great things about college programming is, there’s a lot of it there,” Bevilacqua pointed out. “Most members invested in getting fiber to their major facilities, and everyone’s got their switchers and Jumbotron shows. today, you already get high-quality content out of the schools.”

He also noted that pac-12 Enterprises plans to install a mini-studio at every school.

Chris Bevilacqua is the primary architect of Pac-12 Enterprises.



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svgupdateupsvgupdateupnBc Sports Goes Beyond the Gameby Ken Kerschbaumer

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en Super Bowl Week in Indianapolis proved to be a perfect confluence of broadcast-ers, fans, technology, and, of course, the big game itself. SVG Editorial Director Ken Kerschbaumer was on the scene, reporting for four days on the production

efforts of NBC Sports and the various other production entities on hand in the run-up to Super Bowl XLVI. During the week, NBCUniversal brought new meaning to the term synergy, providing an abundance of shoulder programming on NBC and its portfolio of cable networks and streaming the Super Bowl online for the first time in U.S. history at NBCSports.com. NBC was rewarded for its massive efforts: Super Bowl XLVI went on to become the most-watched TV program ever in the U.S. (averaging 111.3 million viewers) and the highest-rated Super Bowl in 26 years (47.0 household rating); its live stream was the largest single-day streaming event in American history (2.1 million unique viewers). Ken’s reports appear on the following pages; for more, visit www.sportsvideo.org.

From left: NBC Sports’ Tim DeKime and Ken Goss and

NEP’s John Roché outside NEP ND3, the main production unit

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svgupdateupsvgupdateupinside nBc’s Big Showby Ken Kerschbaumer

to outsiders, Indianapolis is known primarily for the Indianapolis 500 and, for those in the know, the shrimp cocktail at St. Elmo

Steakhouse, which proves that a landlocked city can serve up a qual-ity seafood dish. After Super Bowl XLVI, it could become known as a host city for more than one Super Bowl, with a downtown area that had all the feeling and energy of an olympic village. for broadcast-ers, the decision to locate all the events within walking distance of each other reduced some major headaches that have proved a chal-lenge at nearly every Super Bowl.

for nBC Sports, which was at the center of all the Super Bowl broadcast activities, working with the city was eased by a relationship with Alison Melangton, president/CEo of the Super Bowl Host Committee: Melangton has been a producer for nBC olympics gymnastics coverage.

“this is a great town, and she has done so much to this city,” says tim Dekime, director of nBC Sports football operations. “She has done an awesome job.”

And making it even easier? Andy Arnold, who previously handled stadium operations at Indianapolis’s Lucas oil Stadium, is also on the committee, which means that someone on the inside knows what it takes to bring stadium and broadcast operations together.

“the committee was a good marriage of a lot of good people,” notes John roché, senior technical manager for nEp Supershooters.

three days prior to the game, the nBC Sports and nEp teams were focused on putting the finishing touches on a broadcast that would become the most-watched tV show in u.S. history (averaging 111.3 million viewers) and the highest-rated Super Bowl in 26 years (47.0 household rating).

the main truck compound was located in the stadium, offering plenty of room for the trucks and making it easier for staff to get into the bowl and deal with any issues.

But those issues were few and far between.roché notes that the cabling and signal-distribution

infrastructure within Lucas oil Stadium removed the need for laying down cables. “Everything is going extremely well,” he said the week before the game. “A lot of that can be attributed to the infrastructure, as they have done a fantastic job putting [in] single-mode fiber, SMptE cable, and audio cable, which cut down a massive install on our side.”

the only addition was a 72-strand fiber that had to be installed

between the Convention Center and the compound so that Media Day and other press events could be connected directly to the nEp production units in the stadium. And broadcasts from Georgia Street, where the pregame coverage began, were connected via the city’s fiber infrastructure, with cameras muxed and the program switched from the stadium.

the crew at the core of the game production had plenty of experience with big shows. nBC broadcasts an nfL game every Sunday night during the regular season plus two playoff games. But the Super Bowl, says Dekime, was about 2½ times larger. Besides the increase from 27 to 58 cameras with the pregame show, the various �off-the-field� events required 22 cameras, mostly Sony units outfitted with Canon lenses, to be added to the mix.

At kickoff, 40 cameras covered the action, primarily Sony HDC-1000 and HDC-1500 units, again coupled with Canon glass, including three 100x lenses and 19 86x lenses.

“the system that these guys created, tim operationally and then John technically, we just expand on that philosophy,” says ken Goss, SVp of remote operations, nBC Sports. “And that is what we see as the big success. they know how to do things on Sunday night, but then, they have had meetings here for 18 months, staying on top of things as we expanded with programs like Costas Tonight and SportsTalk.”

In terms of new technology used during the big game, super-slow-motion camera systems coupled a three-CMoS-sensor Ikegami camera head with an nAC Image technology Hi-Motion II ultra-slow-motion camera on the back.

the advantage of CMoS, according to Andy Hayford, international sales manager for nAC, is that it allows higher frame

NAC Image Technology’s Andy Hayford provided on-site support for the Hi-Motion II ultra-slow-motion cameras used by NBC Sports.



svgupdateupsvgupdateuprates than CCD sensors, which max out at 90 fps. for the Super Bowl, the cameras operated at 300 fps.

“the key difference from the previous version of the nAC Hi-Motion camera,” he adds, “is that it integrates really easily for the engineering guys, offering full tallies, return feeds, and control that allows for quick and easy color matching and other settings.”

notes roché, “We get additional flexibility and more range and depth when shooting at night.”

one Hi-Motion II unit was located on each goal line, one on a sideline cart, and a fourth at the 50-yard line. the cameras were also brand new, having just moved out of the prototype stage.

As for graphics, seven Chyron HyperX units were deployed, with five in use for pregame demands and two for the game. Graphics designers were also on-site, building graphics for the show.

Game operations were handled out of nEp’s nD3 (A, B, C, and D units), nD4 (A, B, and C), and ESu trucks; Football Night in America operated out of SS24’s A and B and St24 units.

the team also had 72 EVS replay channels, recording on 18 machines. Each was set up to run four inputs and two outputs, and the Football Night in America team had 36 channels of input availability.

And audio? More than 115 mics delivered a quality surround-sound experience to viewers around the globe.

Wireless played a role in both audio and video systems covering the game and pregame events. Aerial Video Systems (AVS) helped nBC Sports deliver sharp, crisp images with technology enabling 36-Mbps–quality signals to be delivered from the field and its environs.

the 36 Mbps benchmark was a standard for nBC’s football coverage all season. for the Super Bowl, the camera complement was expanded to three Sony p1 cameras and two Sony HDC-1500 cameras. twelve sets of antennas coordinated multiple bands of frequencies, with AVS operating in the 1, 4, and 7 GHz range.

Geoff Howe, director of engineering for AVS, notes that the AVS system allows full remote-control–panel controls rather than a cut-down version found on most wireless systems. “the operator won’t even know it isn’t on a wire.”

AVS also had two cameras on hand for The Dan Patrick Show and the DirecTV Beach Bowl show, and cameras transmitted live shots from around the Super Bowl Village and surrounding streets.

three of the cameras were used for pregame coverage before being used for the game, and one of the 1500 units and a Steadicam unit were used at halftime.

“It’s simpler during the regular season because we only have one or two units, but here, we are doing three completely separate shows so we need to route things properly and keep track of what is going on,” said AVS founder randy Hermes before the game.

the Super Bowl always makes for a crowded rf environment, but solid coordination by the nfL ensured that everyone could play nicely together.

for example, BSI (Broadcast Sports Inc.) handled wireless commu-nications and wireless mics for nBC Sports. Eight Blue handheld mics, left and right umpire effects mics, mics on the Cablecam, and nine full-duplex field-producer packs were on the field and coordinated by BSI. the company also got a beauty shot of Indianapolis from the one America Building via a straight-line fixed microwave link.

reid ritter, BSI inside audio engineer, notes a particular commu-nications challenge: Lucas oil Stadium is an indoor facility, the BSI truck was outside on ground level, and the nBC trucks were below ground in the venue, and so a balance had to be struck on where to put transmitters and receivers. “We made it seamless getting signals from inside to the outside by using the 500 level in the stadium as a transmit/receive location for all pL and IfB communications.”

once the technical infrastructure was in place, nBC Sports turned to rehearsals. two local high school teams played the role of the new England patriots and new York Giants in rehearsing team introductions, and nBC Sports production personnel even worked with the coaching staffs to have the teams run plays out of the patriots and Giants playbooks.

A cart with two cameras was located on each sideline, help-ing NBC Sports make all the right moves during Super Bowl XLVI.


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svgupdateupsvgupdateupGame creek Video, Stagetec Step Up for Fallonby Ken Kerschbaumer

During the week before the big game, Indianapolis became a remote outpost for nBC, with Late Night With Jimmy

Fallon making the jump from studio to remote operation. And fallon’s show had, literally, the last word from Super Bowl XLVI, going live for a special Sunday-night edition. Doing so required new workflows for the program, including remote editing, file transfer to new York, and the use of the Stagetec nexus network for audio routing.

Jason taubman, Vp of design and new technology, Game Creek Video, was on hand with Game Creek Victory, the remote production unit used for the show, which was taped using 12 cameras at the Hilbert Circle theatre.

“this is a big show for us and nBC because it is the first time they have taken Jimmy fallon’s show out of house,” says taubman. “We have Victory signed up, and the show just kept growing during the month-long lead-up. We came here with a pretty solid understanding of what they wanted and then just built on that.”

the biggest technical change was the use of the Stagetec nexus network for audio-signal distribution. Audio signals from all stage sources were distributed from one central loca-tion to front-of-house, public address, and monitoring and to the music-mix mobile and Game Creek trucks parked outside the theater.

“Where we would normally have a pile of copper distributing everywhere,” says taubman, “they dropped a Stagetec node and plugged in four coaxes.”

the nexus network comprises 1,728 inputs and 1,984 outputs. Central to the system was the nexus Star, which connected 12 remote base devices throughout the theater and the oB trucks. the front-of-house, music, and main production consoles were connected via MADI, and the rest had direct connections to the nexus via AES/EBu.

the system included the Star router plus 12 smaller distribution boxes and nexus control for preamps and monitoring, according to Stagetec uSA president rusty Waite.

“It helps with signal flow and audio quality,” he says. “for example, the mics experience a large dynamic range [because of the large size of the crowds], and we can take it and not have the levels get blown out.”

fred Zeller, lead audio mixer on the program, says that the system did the job. “It’s been amazing, really clean, and is very flexible.” he points out. “I don’t have to call the music room if there is an issue.”

Working on the road also required the video-editing crew to figure out some new workflows. A Stornext SAn was installed in the Game Creek B unit alongside two Apple final Cut pro editing systems and three Mac pros ingesting the 12 camera signals. Blackmagic Design Decklink Quad cards allowed for four channels of ingest on each of the Mac pros; toolsonAir was the ingest engine, and Anystream Agility transcoded the signals.

Editing began immediately after the show, and the content was sent as a file to new York in real time via 100-Mbps data connection, according to editor Chris tartaro. the file was transcoded from DVCpro HD to Grass Valley GXf before the file transfer to the nBC Broadcast Center.

tartaro, who has been awarded an Emmy for his work on the show, got to experience working on his first live production with all the accelerated timetables that entails, including the need for a quick breakdown following the show. once the broadcast ended at 1:35 a.m., the Victory unit was on the road, heading home, by 4 a.m.

Rusty Waite, of Stagetec USA (left), with Jason Taubman, of Game Creek Video, outside Game Creek Victory, the pro-duction unit used for Late Night With Jimmy Fallon.





Giants Get Socialby Ken Kerschbaumer

the new York Giants unified tV, Web, and radio operations under one umbrella during the 2007 sea-

son. four years later, both the team and its media opera-tions once again made a trip to the nation’s biggest sports event. And this time, social media played a key role in promoting content and allowing the players to interact with fans.

“A lot of players are immersed in twitter and facebook, and when we saw what [president Barack] obama did with Google+, we decided to do a Webcast with players answering questions submitted by fans,” says Don Sperling, Vp/executive producer, Giants Entertainment. “We also used Google+ to allow four players to each be in a Google+ Hangout and be with five fans having a real conversation face to face via a laptop.”

Sperling credits nilay Shah, director of digital media, Giants Entertainment, with the vision for the two firsts for professional sports franchises.

“Shah is an innovator, and he is on the cusp of everything going on in digital and social media. He lives and breathes it,” says Sperling. “He created an environment where we could do innovative things in sports using social media, and, while we may not have been first to use social media, now we are having some unbelievable accomplishments.”

During the Google+ event, a total of 20 fans (who had won a contest) took part in the conversations, with five video-chatting with each player. the event, which took place on thursday night before the game, allowed the players a chance to tweet about themselves and also goof on their teammates.

“the amount of activity on our twitter feed was unbelievable, and there was so much buzz,” says Sperling. “It was a win-win.”

the team’s Website, giants.com, took an unusual approach to allowing access to videos. During the 2008 Super Bowl, Giants cornerback Sam Madison used a camera to offer a first-person perspective of Super Bowl activities. this year, defensive end Dave tollefson had a flipCam and shot video during the day.

that video was edited on Apple final Cut pro into a short package (the team had three editing systems and a laptop editor onsite in Indianapolis).

the twist for fans was that, to view it, they had to first “unlock” it by liking it on facebook. once 10,000 fans had liked the “tolle

Cam” video, it was available to be viewed; an alert was sent out letting fans know it was unlocked.

Says Sperling, “It really gives the fans a reason to talk about the videos and get engaged.” And flipCam, he adds, gave the video just the right look. “You don’t want the video to look too good, because you want the fans to feel like they are there or a fly on the wall. Also, the players don’t know how to operate a real camera.”

While a lot of energy was focused on the Website and social-media operations, plenty was dedicated to more-traditional tV content. A nightly program called Giants Road to the Super Bowl ran on the MSG network, and, at 11 a.m. Et on Super Bowl Sunday, a 90-minute version of Giants Opening Drive Live was broadcast on WWor new York. More than 30 WWor staffers were in Indianapolis to shoot video using four Sony 700 cameras in a studio at the team hotel, and another studio was set up in the hotel lobby. two Sony EX cameras were used for EnG needs.

“We have everything under one roof, and there is an efficiency across all of the platforms,” Sperling says of the decision to have the tV, radio, and Web units operate together. “It also creates a direct line of communication to all the media platforms, and we can move people back and forth as needed.”

the Road show was shot live to tape and fed to MSG via satellite every day. on Super Bowl Sunday, the camera feeds from Indianapolis were brought to the main studio control room, located at the timex training facility in East rutherford, nJ, and the show was cut there.

Much of the burden of coordinating the operations fell to Director of production Christine Baluyot and Supervising producer for field production Joe Scacciaferro.

“they are why all of this works on a daily basis,” adds Sperling. “We have the tV shows and then up to 60 Web shows, and it’s great fun. It’s a lot of work, but we cherish having a chance to come to the Super Bowl.”

New York Giants Entertainment’s Don Sperling (far right) had a team of more than 30 on hand to create everything from TV programming to Webcasts and radio coverage of Super Bowl XLVI happenings.



svgupdateupsvgupdateupnBc Sports Sets Super Bowl Streaming recordby jason Dachman

While Super Bowl XLVI will most likely be remembered for landmark television ratings and viewers, it also marked the

highest-profile single-day streaming event in American sports history. the first-ever live stream of a Super Bowl in the u.S. drew 2,105,441 unique viewers on nBCSports.com, nfL.com, and Verizon Wireless’s nfL Mobile service, making it the most-watched, single-game sports event ever online.

“We were really looking to build on what we have created for Sunday Night Football [streaming],” says Eric Black, director of digital operations, nBC Sports and olympics. “the Super Bowl is a tent-pole event for us.”

nBCSports.com and nfL.com also streamed the pregame, halftime, and postgame festivities online for free to computers, ipads, and about a dozen Android tablets. under a separate agreement, Verizon Wireless streamed the game to subscribers of its V Cast video service and nfL Mobile package on the iphone and Android phones.

In addition to the linear-broadcast feed, nBC’s computer/tablet offering (which used nBCSports.com’s SNF Extra platform) allowed users to select from four isolated camera feeds: sideline and end-zone positions, the CableCam, and a StarCam focused on a key player. A picture-in-picture option enabled users to watch up to two feeds at once.

“We switched up [the use of the alternative camera feeds] a little bit before the game because we also produced pregame content this year,” says Black. “for [the pregame], we tried to do some stuff that was a bit more out-of-the-box than standard football coverage.”

the SNF Extra Microsoft Silverlight video player used for the stream offered resolution up to 720p at 3.5 Mbps and used adaptive-bitrate technology to give the user the best possible quality, depending on available bandwidth. It also boasted full DVr functionality and a metadata-driven timeline on the scrubber bar that allowed users to instantly access highlights of key plays.

the platform featured twitter, facebook, and stats widgets, a live chat with nBC profootballtalk’s Mike florio, and tweets by sideline reporter Michele tafoya and nBC Late Night host Jimmy fallon. And florio and commentator randy Moss supplied live halftime reports and analysis.

nBC Sports’ most notable enhancement to the SNF Extra player was the inclusion of all Super Bowl commericals on-demand within the video player. once a commercial aired on the linear broadcast (digital ad inventory was sold separately and did not match up with commercials on the telecast), it was available moments later as an on-demand clip.

An event like the Super Bowl creates a strain on any content-delivery network, but nBC has lots of experience with big events, having streamed two olympics in recent years. though declining to share specific numbers, Black says delivery went off without a hitch.

“the data we have reports a very smooth delivery that was very much inline with other Internet streaming broadcasts that you see in the marketplace today,” says Black. “this was a very well deliv-ered and executed streaming event. our [viewership] metrics and our backend reporting systems all show that this was a very clean and well-delivered event based on the huge amount of traffic.”

Although high-profile events like the 2010 World Cup and Beijing and Vancouver olympics have been streamed before, a one-day sports on the level of the Super Bowl had never been made available online and, if the numbers are any indicator, the multiplatform approach resonated with viewers. the stream generated 2.105 million unique users, 4.59 million live streams, 78.62 million total minutes streamed, 1.84 million VoD clips viewed, 1.835 million user-generated camera switches, and an average 39-plus minutes per visit.

“the metric that speaks the best for us is the engagement time,” says Black. “More than 39 minutes per visit is obviously a very good amount of engagement on a two-screen experience, especially one that is largely seen as primarily a broadcast experience.”

A picture-in-picture option in NBC’s SNF Extra video player enabled users to watch up to two feeds at once during the Super Bowl.


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48 sports tech journal / spring 2011

sports broadcasting hall of fame

The Sports Broadcasting Hall of Fame celebrated its fifth anniversary on Dec. 13 with an emotional ceremony that honored

eight of the industry’s greatest past and present forces. Hosted for the fifth year in a row by CBS lead play-by-play anchor Jim Nantz, the ceremony honored the excellence, hard work, and perseverance of the eight inductees.

cLass oF 2011

The 2012 class included legendary broadcaster Jack Buck; former NBC Sports Group Chairman Dick Ebersol; Bill France,

Jr., who transformed NASCAR into the media giant it is today; NEP Broadcasting’s innovative CEO Deb Honkus and CTO George Hoover; IMG founder Mark McCormack; NFL Films great Steve Sabol; and visionary audio mixer Ron Scalise, a lynchpin at ESPN.

From start to finish, the theme of the ceremony was the unique nature of the sports-broadcasting industry that redefines the very nature of “family.” The emotional bonds and attachments formed by a career in sports production can often become as strong as the blood bonds connecting parent and child. With this in mind, the evening saw the unveiling of the SVG Sports Broadcasting Fund, a new charity designed to help sports-production professionals who find themselves in financial need due to illness, injury, or death.

Ebersol, who pledged $100,000 to the Fund and encouraged others to contribute during his acceptance speech, said the yearly Hall of Fame event reaffirms these familial bonds in the industry: “Tonight shows how much those in the industry depend on one another, how lucky we are to have one another, and not just in going out and doing a great show. Or coming to each other’s rescue when something falls apart or doesn’t work,” he said. “This is a really, really special group of people in this room. It is a remarkable family.”

Please join us on the following pages as we remember the ceremony and celebrate the inductees’ lives and careers.

George Hoover

Steve Sabol

Dick Ebersol

Deb Honkus

Mark McCormack

JackBuck

Bill France Jr.

Ron Scalise

B&W Logowhite background


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1. HOF Host and CBS Sports Broadcaster Jim Nantz and Fox Sports Broadcaster Joe Buck, son of Hall-of-Fame inductee Jack Buck 2. Nantz presents HOF award to IMG Founder Mark McCormack’s widow Betsy Nagelsen 3. Honoree Deb Honkus, Chairman of NEP Broadcasting 4. Nantz welcomes former NBC Sports Group Chairman Dick Ebersol to the stage 5. Honoree George Hoover, NEP Broadcasting CTO 6. NASCAR CEO and Chairman Brian France accepts on behalf of his late father Bill France Jr. 7. The late Ron Scalise’s widow Dawn (with Jessica Trainor) accepts on his behalf 8. Honoree Steve Sabol, President of NFL Films 9. Ebersol (left) with 2010 inductee John Roche 10. Canon’s Larry Thorpe (left), who was an inaugural inductee in 2007 joins IMT Vice President Tom McGowan 11. (left to right) IMG legend and 2009 inductee Barry Frank, Nagelsen, and CBS Sports Chairman Sean McManus 12. Sabol joins his father Ed, who was inducted into the HOF in 2007 13. Hoover, one of two NEP stalwarts to be inducted at the ceremony 14. France with his wife Amy 15. Honkus with her husband Michael 16. The Buck Family (left to right): Trudy Buck, Joe Buck, Matthew Brooks, Carole Buck, and Julie Buck Brooks

17. Ebersol with wife Susan Saint James 18. The Scalise family (left to right): Jessica Trainor, RJ Scalise, Dawn Scalise, and Brenna Scalise and mother Kay Scalise (seated) 19. The McCormack Family (left-to-right): Maggie McCormack, Betsy N. McCormack, Anne McCormack, Todd McCormack, and Katie McCormack.


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sports tech journal 51


sports broadcasting hall of fame class of 2011


f or millions of baseball fans across the Midwest, Jack Buck was more than just the voice of their favorite team; he was the voice of their childhood. As much a part of the

soundtrack of their homes as the ring of the telephone, the bark of the family dog, or their parents calling them to dinner.

Known for his deep, gravely voice and razor-sharp wit, Buck was the radio play-by-play man of the St. Louis Cardinals and a beloved fixture in the community for nearly half a century.

“He loved, more than anything, just meeting people,” says Buck’s youngest daughter, Julie. “As much as people would come up and say, ‘Hey, I’m sorry to bother you, but can I take a picture?,’ if there’s ever been anybody that’s loved doing that, it was my dad.”

Buck was the quintessential self-made man. Born in 1924 in Mas-sachusetts, he dreamed of being a baseball announcer. When his father died during his teenage years, he took a slew of jobs to sup-port the family, working as a porter, cook, baker, deck hand, crane operator, and iron-ore worker. He fought in World War II, his tour of duty ending prematurely when he was struck in the leg and forearm with shrapnel. Afterwards, at Ohio State, he called Buckeyes’ basket-ball games on the radio — while paying his way through school by working late at a 24-hour gas station.

In 1954, he joined KMOX Radio, calling Cardinals games with Harry Caray. He became the team’s top announcer in 1969, punctu-ating each victory with his signature expression, “That’s a winner!” It wasn’t long before he became a St. Louis icon, known as much for his charitable endeavors as for his broadcasting chops.

“He taught me how to treat the people behind the scenes the

same way you would treat the executives that come into the booth,” says son Joe, himself a sportscaster. “I learned watching him. He didn’t talk about it, he just lived it.“

Buck’s most noted calls are an album of iconic baseball moments. Take, for example, his call of Ozzie Smith’s home run in Game 5 of the 1985 NLCS: “Go crazy folks, go crazy! It’s a home run, and the Cardinals have won the game … by the score … of 3-2 … on a home run … by the Wizard!” Or the authentic euphoria of Kirk Gibson’s homer to win Game 1 of the 1988 World Series: “I don’t believe … what I just saw!” Or the simplicity of his words behind Kirby Puck-ett’s walk-off shot in Game 6 of the 1991 World Series: “And we’ll see ya … tomorrow night!”

Says sportscaster Bob Costas, “He had genuine excitement, not manufactured excitement. You could tell when he was moved or thrilled by a moment, and it was genuine. That’s why I think he was so great in big moments.”

Buck was a fixture among football viewers as well, providing the call on CBS NFL broadcasts, including the “Ice Bowl” in 1967. He also served as the CBS Radio voice on Monday-night games for nearly two decades.

“He was very fluent, had a great sense of irony, and was someone that, when you think of the term ‘renaissance man,’ was as great a ‘renaissance’ broadcaster who ever lived,” says Curt Smith, a writer on sports broadcasting.

A member of both the American Sportscasters Association Hall of Fame and the Radio Hall of Fame, Buck received the Ford C. Frick Award from the Baseball Hall of Fame in 1987. He died in 2003.

—Brandon Costa

Jack BuckLegendary Voice, Beloved American Icon

“He taught me how to treat the people behind the scenes the same way

you would treat the executives that come into the booth.”


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Dick eBersolAll-Star Executive, Producer, Creative Force

i n the sports industry, it is rare to find an executive who is both a brilliant businessman and an exceptional marketer. Dick Eber-sol is both, plus an outstanding producer. A legendary storytell-

er known for his passion, creativity, and execution, he is a superstar in not one field but three.

“With Dick, you are truly working with the total package because he is so equipped at every level,” says Fred Gaudelli, producer for the NBC Sports Group. “Working with him is a tremendous educa-tion and a real honor.”

Ebersol began his career when he temporarily left Yale Univer-sity to become television’s first-ever Olympics researcher, working in production for ABC Sports under Roone Arledge.

“So much of shaping how I have produced, promoted, and mar-keted events all came from Roone,” Ebersol says. “From 1967 until I left in 1974, I had the best front seat at the best finishing school ever invented for sports television: the mind of Roone Arledge.”

Ebersol joined NBC as director of weekend late night program-ming. He was subsequently named VP of late-night programming, becoming, at 28, the network’s first under-30 VP. He hired Lorne Michaels, and, in 1975, the two created Saturday Night Live.

“Dick has made a major impact as a producer, creative force, ex-ecutive, and deal maker,” says sportscaster Bob Costas. “Few people in the history of television have made such an impact in so many different areas.”

Ebersol returned to NBC in 1989 after a stint as an indepen-dent producer. Named president of NBC Sports, he created NBA on NBC, a 12-year partnership that served as the gold standard for league-network relationships. From 1989 to ’91, he also served as SVP of NBC News.

He has negotiated dozens of landmark rights agreements, bring-ing to NBC coverage of the NFL, NBA, MLB, USGA Championships, Notre Dame football, and every Olympic Games since 2000.

“Dick has been one of the more unique executives in the history of sports television and has done everything,” says Howard Katz, SVP of broadcasting and media operations for the NFL, “but, at heart, he’s a producer.”

Indeed, the eight Olympic Games that Ebersol has produced ac-

count for eight of the 10 most-watched television events in U.S. his-tory. The consummate producer’s efforts have brought hundreds of millions of viewers to NBC, captivating their imaginations with the stories that lie beneath the surface of the competition.

“In terms of depth and global breadth, there’s nothing like the Olympics on Dick’s watch,” says NBA Commissioner David Stern. “He is an extraordinarily talented executive who comes with an at-tention to detail and an intensity that make him unique.”

Over the past six years, Ebersol has brought that intensity to Sunday Night Football, building the brand into the No. 1 primetime show of the fall.

“He revitalized Sunday Night Football by building an environ-ment around the show that made it a special event,” explains New England Patriots owner Robert Kraft. “A lot of that is because of his understanding of how to present an entertainment product to a vast array of people.”

As professionally driven as Ebersol is, he is equally thoughtful on a personal level.

“He is the warmest, most caring chief executive that I have worked with in 35 years in the industry,” says Michael Meehan, SVP of sports operations, NBC Sports. “Couple that with his demand for the highest level of production performance, and you can see why he is an icon in the industry.”

Adds NFL Commissioner Roger Goodell, “He is a special person. He is a dear friend and someone who cares about people and cares about improving everything that he is involved with. Professionally and personally, he believes that there is a way that everyone should operate, and I admire that a great deal.”

Currently senior advisor for NBC Sports Group, Ebersol is dedi-cated to developing NBC’s next class of production experts, and they have at their disposal the greatest inspiration the industry has to offer: Ebersol himself.

“There are very few people that have ever done in television broadcasting what Dick has done,” says sportscaster John Madden. “I don’t think there will ever be another person that will do the things that he has done. No one will ever again have the talents that Dick has.” —Carolyn Braff





Bill france, Jr.Steered NASCAR Into the Fast Lane

i n 1972, Bill France, Jr. was handed the reins to the family busi-ness after decades of learning how to drive it. In any industry, Bill Jr. (as he was widely known) would be considered an ex-

traordinary success; in this industry, his accomplishments are phe-nomenal.

The “family business,” after all, is NASCAR.Bill Jr. turned 15 during NASCAR’s inaugural season in 1948

and, in the years that followed, helped his father, Bill Sr., build the National Association for Stock Car Auto Racing in the most literal sense of the world.

“I did just about every job there was to do,” recalled Bill France, Jr. in 2003. “I’ve been a corner worker, a flagman, even chief steward. I think, to run a sanctioning body like NASCAR, it’s important to have that background.”

From promoting and scoring events to working concessions and taking tickets, France tried his hand at every aspect of the business. His contributions extended to the actual building of Daytona Inter-national Speedway.

“[Bill Jr.] and his dad were, in effect, part of the crew, literally building Daytona International Speedway not just with their minds but with their hands,” says Herb Branham, a managing director of communications for NASCAR.

In 1972, France was named president of NASCAR and, over the next 25 years, transformed it from a Southeast-centric pastime to a country-wide phenomenon, with national television audiences second only to the NFL’s.

“We got a lot done together, even though we may have differed on how to get things done,” says Brian France, who replaced his father as NASCAR’s chairman and CEO in 2003. “Probably every major decision I had to make, I would check in with him in some way, not necessarily for his complete approval but at least for his point of view, even if I knew he was going to have a different point of view than I did. Certainly, if I was ever in trouble with something or had

a big problem, he would be the first call I’d make.”In 1999, France spearheaded the broadcast deal that consolidat-

ed NASCAR into a single television product worth a record-setting $2.4 billion.

“He was a great man, and not a day goes by that I don’t miss him,” says David Hill, chairman and CEO of Fox Sports Media Group.

From 1972 to 2000, France ran NASCAR with dedication, un-paralleled work ethic, and, above all, a love of the sport his father created.

“Bill loved NASCAR,” said NASCAR Director of Event Logistics Gary Smith in a 2010 biography. “It was not just the family business but a way of life to Bill. It seemed that you couldn’t separate Bill from NASCAR. He absolutely loved what he did for a living like no one else I have ever met.”

Often the first to arrive and the last to leave the office, France re-mained devoted to moving the sport forward until his death in 2007.

“Here’s the deal with the way my father was: you knew he loved everybody, but he was still John Wayne, by God, all the way until the end of his life,” says Brian France. “I think he looked at death like he looked at life, very pragmatically. It was like everybody had a time limit and you needed to do your life’s work and what matters with your family.”

NASCAR continues to be a France family affair. Bill France, Jr.’s two children serve as CEO of the sister companies Bill France, Sr. created, and brother Jim France is vice chairman and executive VP of NASCAR. Betty Jane France, Bill Jr.’s wife of 50 years, remains dedicated to the sport through humanitarian causes.

“Bill France, Jr. was an extraordinary man, an outstanding leader, but, most important, a wonderful father,” says daughter Lesa France Kennedy, CEO of International Speedway Corp. “He was tough but fair. Every day around him was a learning experience in terms of both business and life. I loved him dearly and miss him every day.”

—Karen Hogan

“Bill loved NASCAR. It was not just the family business but a

way of life to him.”

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DeB honkus The Mother of Remote Sports Production

n EP Broadcasting CEO Deb Honkus has grown up alongside her trucks. Over four decades, she has built compelling client relationships that make her more a friend than a service pro-

vider. Her mobile units have supported every major sports event, and her influence is felt among clients and friends around the world.

“Deb has steered NEP to its position as the gold standard in the remote-facility business,” says Howard Katz, SVP of broadcasting and media operations for the NFL. “She has been a pioneer both as a wom-an in the field and in the field itself. Her success has been remarkable.”

Honkus began her career in 1978, covering Penn State football for Total Communications Systems (TCS), but a single title could not de-fine her role.

“She grew up with the remote business,” says John Roché, senior technical manager for NEP. “At TCS, she was running the business, tak-ing orders, doing sales. Between her, Tommy Shelburne, and George Wensel, they are the reason this industry succeeded.”

In 1986, TCS merged with NEP, and Honkus became general man-ager of NEP. Renowned for being tough but fair and transparent in all of her interactions, she has since moved from VP to CEO.

“She’s worn many hats, from operations manager to visionary,” says Dave Mazza, SVP of engineering for NBC Olympics. “She’s considered a good friend to the people to whom she delivers services, and her em-ployees always feel they have a shoulder to cry on. Her relationships in this industry are unique.”

Honkus prioritizes communication and teamwork alongside engi-neering and operations. With her “communicate, communicate, follow-up, follow-up” mantra, it is no surprise that her relationships run deep both within her company and throughout the industry.

“Deb is a brilliant strategist, and she knows exactly what our clients want,” says NEP CTO George Hoover. “She has the pulse of the industry. From a camera guy on Monday Night Football to top executives at net-works and leagues, Deb knows them all.”

Those relationships have helped NEP obtain some of the biggest jobs

in sports production, including Super Bowls, PGA Tours, NASCAR, and U.S. tennis and golf open tournaments. Among Honkus’s accomplish-ments are delivering support for multiple Olympic Games, serving as host broadcaster for the 1987 Pan Am Games, and supporting back-to-back America’s Cup events in 1993-94.

“Especially after her partner George [Wensel] died in 1995, Deb took NEP and moved it to a different level,” says Ken Aagaard, EVP of opera-tions, production, and engineering for CBS Sports. “At almost every big event, you’ll find some piece of NEP, and that says a lot.”

As the dynamic CEO of a company that works with the biggest names in sports, Honkus is often privy to sensitive information. She has built her career on her honesty, while using discretion when necessary.

“One of the reasons people trust Deb is, she is very open with them,” Hoover explains. “But she does not take advantage of those personal relationships. She’s not a person who’s going to kiss and tell, and that’s really important.”

While she stands fiercely behind her company’s product, Honkus al-ways wants what is best for the industry, even if that means losing out on a job every once in a while.

“If NEP doesn’t get the work but somebody else does and that makes the client happier, I think Debbie’s fine with that,” opines freelance pro-ducer/director Steve Beim. “She cares about the industry more than she cares about NEP getting a particular job. There is not a more unique person that we deal with in this business.”

Breaking down gender barriers is routine for Honkus, but the Moth-er of Remote Sports Production is recognized not as a woman who is good at her job but as an executive who is the best in the business.

“[She’s] one of the only women that high in the industry. You have to admire her aggressiveness and her pride in what she does,” says Mi-chael Meehan, SVP of sports operations for NBC Sports. “Her legacy is her leadership of a service company that cares as much about the product as the broadcasters that she represents.”

—Carolyn Braff

“Her legacy is her leadership of a service company that cares as much about the product

as the broadcasters that she represents.”


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GeorGe hooverEngineering Visionary With a Producer’s Pulse

a sports-broadcasting career is often the sum of one’s expe-riences, with the vast majority of industry professionals working for a variety of networks, with numerous produc-

tion crews, and on countless types of events.George Hoover, CTO of NEP Broadcasting, exemplifies that ca-

reer trajectory and then some. His career is marked by the oppor-tunity to learn from the best in the broadcasting business, from the day he began working for Ivan Tors Studios in 1964 as a high school student in Miami.

“NEP is very much a collaborative effort with our client,” he says. “Part of the reason we have long relationships is, we have worked together always looking for new technology and innovative ways to contribute to the art of storytelling.”

Within the sports-production community, Hoover has helped the storytelling by overseeing engineering and design of approxi-mately 45 production trucks and 25 major rebuilds. But he has also helped design studios for such programs as Sesame Street, The Daily Show with John Stewart, The Colbert Report, and Conan, giving him an influence well beyond stadiums, arenas, race tracks, and golf courses.

Hoover’s understanding of the art of storytelling, and the role technology plays, began at Ivan Tors Studios, where he worked on TV shows like Gentle Ben and Flipper. In 1966, he joined CBS sta-tion WTVJ Miami and worked alongside future legends Larry King, Ed Goren, Mike Pearl, and Jackie Gleason; Gleason’s show was a re-mote production out of the WTVJ studio.

In 1970, Hoover attended Florida State University, studying the-atrical lighting and sound design. His studies quickly led to a staff job at FSU, and he later became chief engineer of Florida Public Broadcasting. He worked there until 1977, covering Florida legis-lation sessions with seven cameras and multicore cable that ran through the entire State House complex; it was ENG before cam-corders.

“It was there that I learned what TV needed to morph into,” he says. “We were just starting to get compact cameras, and everything was recorded on 2-in. videotape.”

Hoover switched to the manufacturer side in 1977, working in systems integration at RCA. From RCA, he moved to WPHL-TV Philadelphia, where he helped produce local sports events for the Philadelphia Phillies and 76ers, Penn State football, and more. Ultimately, the TV station was sold, and Henry Riggs and Hoover launched VIDEO EAST, a regional production company.

Within six months of launch, VIDEO EAST was handling all crewing and operations for ESPN, providing everything except the producer, directors, and announcer. The company also produced events for PRISM, a Philadelphia sports network that eventually morphed into Comcast Cable.

With 25 people operating out of King of Prussia, PA, the three trucks and studio editing facilities of VIDEO EAST were busy, and the company was eventually sold to WFMZ-TV Allentown, PA (and later would become New Century Productions).

In 1982, following the birth of his son, Hoover wanted to spend more time at home. So he became director of engineering for NJN, New Jersey Public Television, and rose to general manager before leaving in 1994.

His career at NJ Public Television nearly intersected with another Sports Broadcasting Hall of Famer: George Wensel, who left two days before Hoover joined the network. When Hoover began look-ing for new opportunities, he asked Wensel for suggestions. Wensel was then working for NEP Supershooters, a Pennsylvania-based remote-production company that was about to become much more influential.

“I wasn’t thinking about NEP,” says Hoover, “but I threw my hat into the ring.”

Soon after joining the company, he saw NEP transform not only itself but also the remote-production business. The company pur-chased NBC Sports’ TV-truck fleet in January 1995, doubling the size of its fleet overnight.

Nearly 18 years later, Hoover still finds himself in an exciting and friendly environment and is actively involved in reshaping how sports networks tell their stories and in working on the next gen-eration of mobile units. —Ken Kerschbaumer





mark mccormackThe Father of Sports Marketing

o ne of the world’s most successful sports businesses started with a handshake.

In 1960, Mark McCormack was a 29-year-old lawyer looking to get a startup business going. In the budding television age, he pursued the opportunity to represent and maximize the earnings of golfers, and, needing to make a big splash, he eyed one of the game’s emerging superstars.

“[McCormack] asked for a contract,” recalls Arnold Palmer. “I said, ‘We don’t need a contract. We’ll just shake hands, and you’ve got a client.’”

McCormack essentially invented the field of sports marketing as the founder and CEO of International Management Group (IMG), which today is the world’s largest athlete-representation firm and the largest independent producer of sports-television program-ming and distributor of sports-television rights.

“Without Mark and without his vision, there’s no way that IMG would be where it is,” says Sandy Montag, senior corporate VP of IMG Sports and Entertainment, who joined the company in 1985. “He truly was way ahead of the industry.”

Born in Chicago in 1930, McCormack always loved sports. He was only 6 years old when he was struck by a car and suffered a fractured skull that kept him from being able to play contact sports as a child. So he gravitated towards golf, which quickly became his passion, and he played collegiately at the College of William and Mary and qualified as an amateur for the U.S. Open in 1958.

After his undergrad years, he spent time in the U.S. military be-fore acquiring his law degree from Yale and working as a lawyer at a Cleveland law firm. Shortly after that handshake with Palmer, IMG added two more superstars, Jack Nicklaus and Gary Player, completing what was affectionately referred to as “The Big Three.”

McCormack’s vision of a global sports industry was well ahead of

its time and made IMG a pioneer institution. The company expand-ed into tennis, acquiring big names Bjorn Borg and Jimmy Connors and arranging a series of matches between them throughout China.

Throughout his storied career, McCormack represented a Who’s Who of athletes across numerous sports — Pele, Charles Barkley, Monica Seles, Derek Jeter, Tiger Woods — while coordinating special projects for global leaders, such as Mikhail Gorbachev and Pope John Paul II.

“He never became just an administrator or a CEO that just pulled the strings that told people what to do,” says Bob Kain, a founding member at IMG, who spent 31 years there. “He always kept a few of his own projects, and, up until the end, he would still call me to brag about a deal that he did.”

McCormack was a relentless worker and an elite business ex-ecutive, which opened the door to a second career as an author. His most renowned work, What They Don’t Teach You at Harvard Business School, spent 21 straight weeks atop The New York Times bestseller list.

For two decades, he also published his own ranking system, which was adopted as the Official World Golf Ranking system and is still used today. The Mark H. McCormack Award is presented an-nually by the Governing Board of the Official World Golf Ranking to the golfer who spends the most weeks at No. 1.

“He was just a fanatic,” laughs former tennis player Betsy Na-gelsen, McCormack’s second wife and an IMG client beginning in 1974. “He knew every score of every game of every client he ever had, and it wasn’t because he was trying to impress people by know-ing it. He just truly loved it.”

In 1990, The Sporting News named McCormack the “Most Power-ful Man in Sports.” A member of the World Golf Hall of Fame and the International Tennis Hall of Fame, he died in 2003.

—Brandon Costa

“He knew every score of every game of every client he ever had, and it wasn’t because he was

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+




sTeve saBol Keeper of the NFL Flame

P ro football pioneer George Halas once called NFL Films the “keepers of the flame,” entrusted with preserving the game’s history as well as preaching the NFL gospel to future genera-

tions. Thanks largely to the luminous creative force of Steve Sabol, that flame shines brighter than ever nearly a half century after his father, Ed, founded NFL Films.

“Many have tried, but no one in the sports industry has ever du-plicated what Steve and NFL Films have accomplished — in any pro-fessional league, nationally or internationally,” says Sabol’s longtime friend and Chairman of USA Football Carl Peterson. “Steve’s legacy is his ability to grow the business while also retaining the storytelling and human aspects in these films.”

As an All-Conference running back at Colorado College, an art major, and film aficionado, Sabol was “uniquely qualified to make football movies,” according to his father. When Ed, an overcoat-sales-man-turned-filmmaker, launched NFL Films in 1964, he brought his son aboard as a camera operator, and Steve quickly became a driving creative force.

“In the early days, Big Ed was the boss, but Steve had his finger-prints all over [NFL Films],” says Hank McElwee, currently executive in charge, cinematography, for NFL Films. “Steve has always been, without a doubt, the true creative eye of NFL Films.”

Throughout the 1960s, Sabol cultivated a distinct style that would become the signature of NFL Films, using such elements as slow-mo-tion, sideline cameras, telephoto lenses, epic Hollywood-style scores (composed by Sam Spence), mics on players and coaches, and the iconic baritone narration of John Facenda (usually scripted by Sabol himself).

“There are so many things that we did in those early films that are cliché today,” says Sabol, “but, in the 1960s, they were considered groundbreaking and even radical.”

By 1978, NFL Films was in full swing when it was tapped to pro-duce a variety of original programming for a fledgling cable network named ESPN. With a stable of new programming to produce, NFL Films was suddenly in need of a new on-air host. Sabol, who had been writing the majority of NFL Films scripts anyway, reluctantly stepped in front of the camera and would go on to become the face of NFL Films for three decades.

“I always thought of myself as a filmmaker first and foremost rather than a television personality,” says Sabol. “Similar to how Walt Disney was the host of his show yet he was always a true filmmaker at heart.”

Officially named president in 1987, Sabol continued to innovate at NFL Films well into the new millennium, producing bold, cutting-edge programming like Inside the NFL, Hard Knocks, and a variety of non-NFL content, as well as playing an integral role in the launch of NFL Network in 2003.

Today, more than 50 years after it was founded, NFL Films is a multimillion-dollar business that has received more than 100 Emmy Awards, 34 of which were won by Sabol himself.

“I ask you, who has contributed more to professional football and the NFL than Ed, Steve, and NFL Films?” asks Peterson. “Not many.”

Sabol, who has one son, Casey, lives with his wife, Penny, in New Jersey. Despite being diagnosed with a brain tumor earlier this year, he continues to blaze new creative trails as the president and creative visionary of NFL Films.

“There is not a phony bone in Steve’s body, just a legitimately won-derful person,” says former NFL Films VP/Editor-in-Chief Bob Ryan. “He built this company into something extremely special that simply cannot be duplicated. I just don’t know what the shape of NFL Films would be like without Steve Sabol.”

—Jason Dachman

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ron scaliseAudio Innovator and Mentor

i t was in the early 1980s when Ron Scalise joined ESPN as an A2, helping the then-fledgling network cover events at the Hartford (CT) Civic Center. Over the next 25 years, his impact on the

industry followed the same trajectory as that of the network, and Scalise not only redefined the sports-audio experience for viewers of ESPN but has an influence that extends to those of other net-works through passion, dedication, and education.

“Ron was more than just an audio guy; he was an audio evan-gelist,” says Tom Sahara, VP of operations and technology, Turner Sports. “He understood that sending out six channels of audio is not enough. Audio is more than just sound; it is the experience. And Ron tried to instill this philosophy in everyone who worked with him.”

Until his death in 2007 at the age of 54, Scalise, day in and day out, was committed to bringing fans closer to the action through audio. The X Games were a favorite, giving him a wide canvas to experiment with audio and new microphone techniques. And his consistent pushing on events like NASCAR races or Monday Night Football brought ESPN viewers closer to the action.

“I’m not there to make a National Geographic special: it has to sound bigger than life,” he said. “When a zoom lens focuses in on a quarterback’s eyes, I want to let viewers hear the QB call and the crunching and grinding.”

Jeff Willis, coordinating technical manager, ESPN Event Opera-tions, recalls that Scalise was always tinkering and looking for ways to enhance the audio experience. Whether taking parts of headsets from different manufacturers to better suit his needs or building from scratch a custom microphone bracket to be worn by NFL of-ficials, he was always innovating.

His R&D work on the X Games was groundbreaking, spearhead-ing many innovations with audio trunking, mic placement, and

the transition to digital audio. In the late ’90s, he worked with a specialty-audio vendor to test and develop an effects mic known as the “X-Ducer,” a small device that he began placing under the ice, under the basketball floor, and on every piece of apparatus within the X Games domain. Even figure-skating coverage benefited from his desire to always do better.

“We did a skating program in 2006, and Ron said, why don’t we put some X-Ducers in the ice?” says Willis. Willis recommended putting the X-Ducers about a foot from the sideboards, but, when he showed up for the show, Scalise had pushed them out to 4 or 5 ft. instead, working with the crew who laid the ice to ensure that the mics were properly in place.

“They produced a sound I had never heard before on any skating show,” Willis adds. “Some of the skaters previewed and didn’t like it because, if they came down wrong, you would actually be able to hear if the landing wasn’t clean and crisp.”

Among Scalise’s favorite events were NASCAR races, and he would push the limits of the natural sound of the race right up be-low the announcers, heightening the drama because the announc-ers needed to work at talking over the race audio. And then there are the smaller things, like hearing an air gun on a pit stop or the squeal of tires as cars zip out of the pit road.

After beginning at the Hartford Civic Center for ESPN, Scalise slowly worked his way into the mainstream doing college football, basketball, and every important event, including NFL games. It was during Sunday Night Football telecasts that he began to lay the foundation for today’s ESPN’s surround-sound philosophy.

“We tested surround sound for two or three years on Sunday Night Football before it was even delivered to viewers,” says Willis, adding, “Ron was a mentor to me.”

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o ver the past 25 years, much of the innovation in the tele-vision industry has been driven by dramatic advances in compression technology. “Television” has evolved from a

fixed device in the living room that families gather around to enjoy scheduled broadcast programs to a high-quality audio+video ex-perience on any device anywhere and at any time. The implications of the changes in video production and consumer viewing habits offer some lessons as well as a number of opportunities for sports broadcasters and content providers. First, a look back.

The origins of this paradigm shift can be found with the ISO/IEC Moving Picture Experts Group (MPEG), formed in 1988 to expand on the pioneering efforts begun in the ITU-T for video conferenc-ing. They aimed to produce the first video- and audio-compression standards for delivering digital entertainment to consumers.

The first fruit of the group’s labor was the MPEG-1 Video com-pression standard (ISO/IEC 11172-2). Mostly completed in 1990, the standard was finalized in 1992 and helped kick off the revolu-tion of digital-content delivery to consumers. The development of MPEG-1 was pivotal in driving the growth of video CDs, CD inter-active, and near-broadcast-quality video.

Even before MPEG-1 Video was fully released to the public, de-velopment had begun on a second-generation video-compression standard that would extend consumer applications to full-broad-cast-quality video. Jointly developed by the ITU-T Video Cod-ing Experts Group (VCEG) and MPEG, ITU-T Recommendation H.262|ISO/IEC 13818-2 (MPEG-2 Video) was completed in 1994.

This groundbreaking development enabled the biggest change in television since the introduction of color and fueled the market ex-plosion of digital television and digital-video storage (for example, DVD-V), forever changing how consumers consume video entertain-ment. MPEG-2 Video was also the catalyst for another TV revolution, enabling the delivery of high-definition (HD) content to consumers.

With the arrival of the new century in 2000, the number of broad-cast channels and entertainment-content options rapidly expanded, and consumer appetite swelled. HD content became more widely avail-able as a feature of television services, even as bandwidth constraints

increased the pressure on a network’s ability to deliver the new services. It was becoming evident that the cost-effective delivery of en-

tertainment video would require more bandwidth-efficient com-pression techniques for real-time broadcast delivery, content-on-demand, storage media, and video over the Internet.

To meet this need, another joint standardization effort was launched by VCEG and MPEG, known as the Joint Video Team (JVT). This resulted in the first publication of the third generation of video-compression standards, ITU-T Rec. H.264|ISO/IEC 14496-10 MPEG-4 Advanced Video Coding (AVC), in 2003.

This was later enhanced by extensions to the standard in 2004 (Fi-delity Range Extensions), 2007 (scalable video coding), and 2009 (mul-tiview video coding). The main advantage AVC offered was a 50% gain in compression efficiency vs. MPEG-2 Video (using half the bitrate for the same perceived picture quality) for consumer applications.

AVC paved the way for the untethered world, enabling very low-bitrate consumer applications not viable with MPEG-2 Video, such as for mobile/handheld devices and for providing improved quality of experience for video delivered over the unmanaged Internet.

AVC is now widely deployed across a broad range of applica-tions — from mobile and adaptive multi-bitrate streaming over the Internet to contribution quality for mastering and archiving. AVC increasingly is replacing alternative compression schemes, except in cases where legacy deployments (due to commercial cost) or regulatory/governmental requirements prevent its being deployed. AVC has been successful in moving forward the global adoption of

hevc is JusT arounD The cornerHigh Efficiency Video Coding promises improved picture quality at lower bitrates — and a better experience on mobile devices

By Matthew S. Goldman, Senior Vice President, Technology, Solution Area Media, Ericsson

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Figure 1: Compression bitrate trends

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HDTV for broadcast, on-demand, and storage media, such as Blu-ray disc, and the introduction of 3DTV.

Applications for a New CodecAs operators and service providers look to give consumers more

content than ever before, the case for a next-generation compres-sion codec is clear. Network bandwidth and storage costs are major factors in the economics of media organizations, across the con-tent-creation and -delivery stages. If these costs are not minimized, profit margins suffer, and the ability to expand and offer more ser-vices is restricted or prevented.

There has been another paradigm shift by consumers: “digital natives” (those born into pervasive digital technology) are driving the demand for content. They want and expect instantaneous ac-cess to any content on any device at any time. As a consequence, the amount of available content is increasing, causing additional strain on the content-delivery chain.

As television stands at the threshold of a truly converged, multi-screen world, there is yet again demand for improvement in com-pression efficiency and performance. This, in turn, is due to ever increasing consumer demand to move the virtual reality of televi-sion toward true real-world experiences. Even with AVC compres-sion and other advances in networking technologies, further com-pression improvements are needed, for example, to increase service reach in IPTV over DSL, improve picture quality to the growing tablet and mobile-devices marketplace, reduce costs in contribu-tion and distribution networks, and increase the ability to service the “multiscreen home.”

In sports video, growing demand for live, high-quality (and, in-creasingly, 3D) programming, the proliferation of video-capable connected mobile devices, and the need to capture and edit live sports events are helping drive innovation.

Just over the horizon, developments in the area of higher-band-width services are certain to require compression efficiencies great-er than what AVC can support currently. We can expect sports cov-erage to drive the adoption of 1080p60/50 as a distribution format — likewise the development of full-resolution HD 3DTV — with both increasing bandwidth consumption and, thus, delivery costs compared with today’s HDTV services.

Further into the future, 4K TV displays and higher picture resolu-tions are sure to become a feature in the consumer television mar-ket, and premium content, such as sports, is likely to be again the main driver in adoption of these added-value services. A number of vendors have already shown prototype 4K TV displays (3840x2180 is one proposed format) that offer about four times the resolution of current HDTVs. But, if 4K TV broadcasting is to become a reality for the consumer, enormous technical and commercial challenges must be overcome. For one thing, 4K TV services would require too much bandwidth with today’s compression technology. Therefore, a launch anytime soon would not be viable.

A new compression codec also makes a strong business case in regard to legacy devices. Hundreds of millions of MPEG-2 Video–only set-top boxes or receivers are currently in use across the world. Replacing all of them would be a costly undertaking, so, unless the replacement technology is able to make a significant return on investment, upgrading of fielded technology is delayed. This ROI could be achieved with technology that allows substantial improve-ments in bandwidth efficiency.

The advantages for a new, more efficient video-compression tech-nology are clear. It has the ability to create a “double win” for media organizations: cutting the costs of today’s services and improving the economics of future developments to increase competitiveness with higher-value services, such as more HD, better multiscreen ex-periences, and 4K TV.

The HEVC EffortHigh-Efficiency Video Coding (HEVC) is a standard currently

being developed by the Joint Collaborative Team – Video Coding (JCT-VC), another collaborative project of VCEG and MPEG.

The development of HEVC is almost history repeating itself. There was a 10-year gap between the standardization of MPEG-2 Video and AVC, with AVC eventually maturing to deliver a 50% bitrate saving over MPEG-2 Video. Now, ten years later, the goal of HEVC is to improve the coding efficiency over AVC by 50% — halving the bitrate yet again for the same picture quality as AVC for consumer applications.

This necessitates higher computational complexity of the coding al-gorithms, with early estimations being up to 10x the complexity of AVC.

This effort will build on AVC and take advantage of technological advances in semiconductor development that have occurred in the decade since the coding tools in AVC were developed.

The final standard is slated for January completion, but the plan is for technical aspects to be finalized by this July (Draft International Standard). First coding-tool selection was completed in February (Committee Draft), so the standards process is currently on track.

JCT-VC has been producing both updated draft standard specifica-tions and freely available source code (HEVC Test Models) between JCT-VC standardization meetings. These updates reflect the meeting decisions and the progress of the project and enable continued devel-opment of the standard, including test verification, between meetings.

Figure 2: A high-level tool comparison between AVC and HEVC

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The HEVC codec contains a set of advanced coding tools that together make HEVC significantly more compression-efficient than AVC. Figure 2 depicts a high-level tool comparison between AVC and HEVC.

Some of the key changes proposed for HEVC, compared with AVC, include the following:

• A Coding Unit with block sizes ranging from 8x8 to 64x64• Hierarchical block coding, in a tree structure, with quad-tree

partitioning• Independent Transform Unit and Prediction Unit quad-trees,

with minimum block size of 4x4• 35 intra prediction modes• 8-tap luma/4-tap chroma interpolation filters• Advanced motion-vector prediction• Parallel processing added to Context Adaptive Binary Arithme-

tic Coding (CABAC)• Sample Adaptive Offset (SAO) filterThe toolset may require up to 10x more encode processing pow-

er and up to 3x more decode processing power than AVC, in return for bandwidth savings from approximately 35% to above 50%.

Although the Main Profile is being defined to address the initial set of applications, additional coding-tool configurations are being evaluated in anticipation of possible future profiles to address widely different deployment environments, from newsgathering and point-to-point studio links to delivery to consumer handheld devices.

Early Lab-Test ResultsEricsson has conducted initial testing in its laboratories for in-

ternal evaluation. For early indications of the efficiency claims for HEVC, a test model was compared against a commercial best-in-class AVC encoder. Some of the test results are shown in Figures 3 and 4.

The efficiency gain of HEVC vs. AVC for the test sequences fell in the range of 38%-53%. Note that this is using preliminary HEVC code that has not been optimized. However, the results are a good early indicator that the target goal of 50% efficiency gain over AVC is plausible.

What Next?Although some may argue that this is a technology without a

home, it is hard to deny that HEVC offers commercial benefits to existing applications and usage scenarios by reducing overall band-width needs and costs. Potential applications lie in IPTV video over DSL, where HEVC would increase service reach, or point-to-point links for newsgathering, where bandwidth is at a premium. HEVC also has the ability to increase the use of multiple screens in the home, improve the quality of video to mobile devices, and replace MPEG-2 Video legacy set-top boxes and receivers.

HEVC enables future services not possible with today’s state-of-the-art video-compression standards. The most applicable uses will be delivering 1080p60/50 at bitrates comparable to today’s 1080i data rates, full-resolution HD 3DTV at bitrates comparable to to-

day’s HD data rates, 4K TV in the same channel capacity as HD MPEG-2 today, and potentially more power-efficient coding for handheld devices.

For sports, HEVC can enable better picture quality at lower bi-trates and thus promises fans a better viewing experience on mobile devices. This can apply to both mobile subscribers and those attend-ing a sports event. “Micro-cell” or “second-screen” services available only to those at a venue supplement live viewing, enhancing the sta-dium experience for sports fans and the sports industry as a whole.

In addition, 4K offers more-realistic viewing of live stadium events on large screens at sports bars and in the home. The 4K TVs and pro-jectors shown at the 2012 Consumer Electronics Show are available now or will be before the end of this year. It will take a bit longer before the rest of the broadcast workflow catches up, but the viewing experi-ence for the sports fan promises to be nothing less than amazing.

Standardization is under way now, with a mid-2012 technically stable date and January 2013 completion. Ericsson is actively in-volved in the HEVC-standards-development effort.

Figure 4: HEVC vs. AVC, 4K TV sequence “Ducks Take Off”

Figure 3: HEVC vs. AVC, 480p sequence “Hollywood Awards Red Carpet”

sports tech journal / spring 2011 73

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m ore HD units than ever before are on the road producing HD sports action for a flat-screen audience of sports fans.

The annual SVG Gearbase Survey provides an ongoing database analysis of trends in mo-bile-production-truck technology, defining the dynamic sports-production scene as seen from behind the wheel (and inside the trailer) of a record-size fleet of 177 broadcast vehicles.

Comparing the same companies year-to-year, 17 HD trucks were added to the SVG Gearbase this year (including new units designed by CBC Mobile Productions, Corplex, Crosscreek Televi-sion Productions, Game Creek Video, Lyon Video, Mobile TV Group, and NEP).

The 2012 edition also introduces five truck companies (ECO Broadcast Solutions, Proshow Broadcast, Raycom Sports, TL Mobile Television, and Slipstream Media) representing a total of six vehicles joining the database, which is culled

from the Websites and contributions of 31 truck companies.

A total of 142 HD trucks worked the sports scene in 2011, compared with only 127 were on the road the previous year. Only 35 SD trucks are still on the road; a full 80% of the industry’s mobile-production capacity is now HD. NEP and Mobile TV Group dominate the scene in terms of number of trucks on the roadways, with 29 and 26, respectively. Here is a brief summary of other findings: • On the HD-camera front, Sony (44%) and

Grass Valley (36%) are closely matched in terms of the percentage of HD trucks they’re represented in, but 200 more Sony HD cameras (778) are being used in the field than Grass Val-ley cameras (517).

• Calrec is the number-one HD audio console, represented by 94 consoles in 68% of the HD trucks, both Studer and SSL made some in-

roads this year in this category, although Avid’s Euphonix brand experienced a decline.

• 59% of HD trucks carry Canon lenses, 38% carry Fujinon. Canon lenses are found in 90 mobile units, Fujinon lenses in 57.

• Sennheiser is the number-one microphone brand for HD trucks today, found in 130 HD mobile units; Sony, Shure, and EV mics are each found in more than 90 mobile units.

• Chyron is the leader in HD graphics, found in 87 HD trucks.

• In HD replay devices, EVS is by and large an in-dustry standard, with 93% of the trucks report-ing some branded format of the EVS system.

• In HD switchers, Grass Valley remains out front, with its Kalypso found in 85 trucks. So-ny’s MVS-8000 brand is carried by 18.

A copy of the full report is available for download at www.sportsvideo.org/gearbase.

MARKET INTELLIgENCE

IT WAs THE YEAR of THE BuILd

total nuMber of truckS by coMpany

2011 vs 2010: 3d/Hd/Sd truckS 2011 2010

ToTal 3d/Hd Sd

180

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The 2012 NAB Show is shaping up to be one of the most exciting in recent memory, as production-equipment vendors look to keep pace with the latest developments in second-screen (and third and

fourth) delivery, 3D, 4K, and much more.More than just a simple listing of companies and booth numbers, this section is a comprehensive look

at what you can expect to see on the showroom floor from more than 100 SVG sponsors. And don’t forget to take this section with you to the big show in the desert to serve as a guide for navigating the multitude of equipment suppliers on hand at the Las Vegas Convention Center April 16-19.

naB2012

3ALITY TECHNICA oE1371

3ality Technica is an innovator, manufac-turer, and provider of stereoscopic-3D

production systems and technology. The com-pany’s product line comprises both hardware and software combined to produce accurate and advanced image-processing systems. These systems are widely used by leading Hol-lywood filmmakers, the music industry, and major broadcasters globally, including Sky Sports, Telegenic, BTV, CCTV, Topvision, and TV Globo. The company is also recognized for its true-to-life 3D-image capture for such art-ists as the Black Eyed Peas, Britney Spears, and Kenny Chesney. Featured at this year’s NAB Show will be software solutions that minimize production time and simplify the 3D-produc-tion process, new Elements accessories led by the launch of the complete Sony F3 kit, as well as other key production tools.

ABEkAs sL1515

Abekas offers a rich product line aimed at sports broadcast, including instant-

replay and production servers, digital-video-disc recorders, profanity-elimination delay systems, and digital-special-effects machines.

The Mira production server being used around the world for live instant replay, regular and super slow motion, and highlights editing.

Event highlights can be “melted” to an external USB/eSATA drive or networked edit station in two popular media file formats: Sony XD-CAM-50 and DVCPro-100. Mira is available in configurations ranging from a four-channel system with 25 hours of storage to an eight-channel system with 350 hours of storage. By pairing channels, any Mira server can be in-stantly changed into stereoscopic 3D operation with 3G level-B interconnect.

Mira 8-channel servers can be configured as six in/two out, allowing six cameras to be simultaneously and continuously recorded while two output channels are used as PGM/PGM or PVW/PGM with dissolves.

Each Mira server operates in SD and HD, provides eight tracks of embedded audio per video channel, and has integrated quad- and multiviewers.

Also to be exhibited at the NAB Show are the Aircleaner profanity-elimination delay and the ClipStoreMXc digital disk recorder with video+key+audio recording and playback.

ABELCINE c8932

A specialist in acquisition tools for broad-cast, digital cinema, mobile, and new

media, AbelCine offers equipment sales and rental, technical services, digital media ser-vices, training, and consultation.

The company is the North American agent for Phantom high-speed cameras, a Sony Solutions Reseller, a Panasonic Specialty Re-seller, and an Arri digital-camera reseller. AbelCine carries more than 100 professional product lines and is the first Carl Zeiss Autho-rized Service Partner in the Americas.

A highlight of its NAB Show booth will be a super-slow-motion, live sports system featur-ing a Phantom high-speed camera integrated with Sony camera control and EVS servers.

Also featured will be Arri ALEXA cameras, Sony F65, and Phantom Flex and Miro high-speed cameras. AbelCine will also exhibit solutions for digital-asset management and archiving.

ACTIVE sToRAgE sL11512

The new mMedia platform, an end-to-end workflow storage solution for post and

broadcast production, is built to tackle today’s media-storage and management-workflow needs — from ingest to archive. mMedia con-sists of an enhanced ActiveSAN high-perfor-mance metadata controller, the new mRAID high-capacity storage, the new mVault near-line archive, and optimized management soft-ware for seamless “one pane of glass” manage-ment of complex media SANs. With scalable performance and capacity, mMedia allows


naB2012Previewcontent producers the flexibility to add com-ponents from Active Storage and combine them with workflow solutions.

AdoBE sYsTEms sL2624

As new-media channels surface, connect-ed consumers expect nonstop access to

on-demand experiences across multiple de-vices. Broadcast and media companies must adapt to compete in the new multiscreen real-ity. Such broadcasters as Turner, BBC, Hearst Television, and NRK partner with Adobe to build the foundation for broadcast workflows.

Adobe Creative Suite Production Premium provides the backbone to an efficient, flex-ible broadcast workflow that enables creation of high-quality video productions, motion graphics, visual effects, and immersive, in-teractive experiences for virtually any screen within tight schedules and budgets.

By integrating content publishing and protec-tion, advertising, and analytics, Adobe provides smooth, TV-like experiences for ad-supported video. Project Primetime delivers premium vid-eo across major platforms, including Apple iOS, Google Android, desktops, and connected TVs. Primetime Highlights enables video publishers to create and publish live event highlights, with ads, in minutes, allowing monetization of this content when its value is at its highest.

Combining analytics from Adobe’s Digital Marketing Suite with analytics from Audi-tude gives media companies the information to make decisions that increase revenue and consumer engagement.

AdTEC dIgITAL sU7602

Adtec Digital provides a contribution solution for fixed and mobile links. Its

EN81/91 encoders and RD60 integrated re-ceiver decoder (IRD) serve the world’s largest networks at the world’s largest events, includ-ing Super Bowl XLVI. The domestic NBC and world feeds for NFL Films’ Super Bowl XLVI Most Watched Telecast in U.S. History re-lied on Adtec compression solutions.

Platform improvements include a newly designed front-panel workflow, expanded audio pass-through, enhanced browser and SNMP interfaces, video and audio thumbnail monitoring, and carried ID. Hardware up-grades include an ASI re-multiplex for easier 3D and MCPC applications without an exter-nal multiplexer plus SFP fiber I/O.

The EN91 ultra-low-delay platform will soon offer adaptive-bitrate encoding for sat-ellite and Internet transport applications with optional 1080p60/50 encoding. The EN91 and RD60 deliver a low three-frame picture-to-picture latency.

Adtec’s IRD roadmap includes a new 1080p60/50 10-bit upgrade to the RD60 or fitted in the new RD70 package, including copper and SFP fiber outputs.

AJA VIdEo sYsTEms sL3305

AJA Video Systems will continue to build on the “Acquire, Edit, Convert” messaging

tied to its product lines, which include the Ki Pro family of portable recording devices, KONA desktop video solutions, Io video I/O and profes-sional edit-monitoring devices, broadcast con-verters, and mini-converter products.

ALLIANCE PRoduCTIoNs n/a

On April 16 at 4-8 p.m., Piero’s Italian Restaurant in Las Vegas will play host to

Alliance Productions’ ninth-annual NAB in-dustry party. NAB Show attendees are invited to join the Alliance staff and its 13 partner companies for a relaxed discussion of remote TV production. Scheduled to be on-site and available for walk-through will be Corplex mobile units Iridium and Zinc, plus SDTV HD expando link.

Established in 1997, Alliance is the larg-est group of mobile-production companies in North America. Recently held in New Or-leans, its annual Tech Expo drew 38 vendors this year. Highlights included showcasing the newest fiber delivery solutions, plus product previews ready for release at the NAB Show.

AmBERfIN sU9005

AmberFin will highlight a new version of its Unified Quality Control (UQC) solu-

tion for content ingest and transcoding.Launched at IBC 2011, UQC is already be-

ing used in production at broadcasters and facilities around the world. Built around user feedback, this latest version of UQC features an improved user experience, new third-par-ty plug-ins to add new levels of quality con-trol, new integrated ingest capabilities, and a streamlined workflow interface.

AmberFin will also announce new software-based multitranscode capabilities for iCR, its file-based content-ingest and transcoding sys-tem, that will enable users to run eight trans-code nodes simultaneously on a single PC.

ARqIVA sU8822

Arqiva provides much of the infrastructure supporting television, radio, satellite, and

wireless communications in the UK and has a significant presence in Ireland, mainland Eu-rope, and the U.S.

In 2011, Arqiva distributed the live 3DTV broadcast of the French Tennis Open to 650 retail stores in the UK and Ireland. Working on behalf of Panasonic and Freesat, it provided tele-port, multiplexing, and distribution services to downlink the live 3D feed from Eurosport and turned it around onto Freesat’s satellite capacity, giving a number of stores access to the live feed.

This year marked Arqiva’s second season of providing co-located HD playout and dis-tribution of Barclays Premier League football for ESPN.

ARTEL VIdEo sYsTEms sU3402

The new DLC156 module is a six-channel time-division multiplexer (TDM) for trans-

porting uncompressed and compressed video over dark fiber. Featuring format flexibility, easy configuration, and a competitive price, the DLC156 is designed for backhaul and contribu-tion in fiber-constrained, multiservice video-transport applications. The space-efficient and


cost-effective module for use in Artel’s DigiL-ink 4000 platform enables the transport of up to six HD-SDI or three 3G-SDI digital video services over a single optical wavelength, sav-ing fiber costs and simplifying network design and deployment. Users can mix and match SD-SDI, ASI, HD-SDI, or 3G-SDI services into a single 10-Gbps optical transport stream. The DLC156 supports links in excess of 80 km us-ing industry-standard, hot-swappable 10G XFP transceivers in WDM and DWDM wavelengths.

AsPERA sL10315

Aspera’s patented fasp transport technol-ogy provides high-speed movement of

large files or data sets over wide-area net-works (WANs).

Easy-to-deploy, fully cross-platform, file-type- and network-type-agnostic, Aspera solutions deliver high levels of transfer per-formance to file-based workflows — includ-ing maximum speed, security, and bandwidth efficiency — and are widely used across a number of industries across the globe, trans-porting petabytes of digital content each day.

At the NAB Show, Aspera will showcase soft-ware solutions for next-generation file shar-ing, new content distribution, and automation frameworks that exploit its fasp transport plat-form for high-speed, secure global data deliv-ery — including new options for mobile and cloud — and highly scalable data synchroniza-tion and replication over the WAN. With more than 1,300 enterprise customers worldwide, these solutions show what can be achieved with large-scale file-based workflows in sup-port of global content-supply chains.

ATEmE sU3002

With the need for HD and a better video experience, bandwidth constraints are

increasing for television professionals. The sports-contribution market is no exception: operators have to transition from MPEG-2 to MPEG-4 technology to transport live content over limited-bandwidth satellite and IP net-works. Achieving the highest fidelity to the original source (video quality, lip sync), low latency, total interoperability, and minimum costs are the usual concerns of ATEME con-tribution customers.

At the NAB Show, ATEME will demonstrate solutions tailored to make sports-contribution operators’ jobs as easy as possible and include extended management of redundancy, built-in modulation/demodulation, encryption, error correction, and audio formats. ATEME also will showcase a true 4:2:2 10-bit 1080p60 en-coding/decoding profile that will enhance the perceived quality of sports content.

AudIo-TECHNICA c3010

Established in 1962, Audio-Technica offers a complete range of wired and wireless

microphones, headphones, mixers, and acces-sories for every broadcast, live-sound, record-ing, and installed-sound need. Products to be displayed at the NAB Show include BP4071 (15.55 in. long), BP4071L (21.22 in.), and BP4073 (9.17 in.) premium shotgun micro-phones; BP4027 (14.96 in.) and BP4029 (9.29 in.) stereo shotgun microphones; AT8022 and BP4025 stereo microphones; BPHS1 broadcast stereo headset; 1800 Series camera-mount UHF wireless systems; 3000/4000/5000 Series UHF wireless systems; BP4025, AT8022, and AT2022 stereo microphones; and 40 Series production microphones. Other products on display will include professional studio moni-tor headphones and a selection of head-worn, lavalier, USB, and interview mics.

AVId sU902

Avid will showcase Avid InGame, a sports-marketing solution for team, league, and

facility production groups. It provides the sports-centric technology that organizations need to quickly create and display content, such as video packages, promotions, scoreboard ani-mations, online commentary, or anything else that adds to the consumer experience.

As a comprehensive end-to-end production solution, InGame can encompass any or all of Avid’s technologies, including Media Com-poser, a creative film and video editing system; Avid Motion Graphics, an easy-to-use next-generation graphics platform; and Interplay, an intelligent asset-management system that lets users automate production processes and link them with critical business functions.

Avid InGame features workflow integra-tion and qualification with editing, graphics-

creation, storage, asset-management, and archive systems; support for Avid DNxHD 100 workflows, enabling customers to deliver high-quality, large-screen HD images with support for DNx100 in Media Composer; third-party interoperability and scalability based on an open architecture, enabling cus-tomers to preserve their investments in third-party applications; and professional services and support, offering project planning, com-missioning, system, and component training.

Avid InGame is distributed in the U.S. through key sports-qualified systems integra-tors. Inaugural partners for the Avid InGame solution include Alpha Video, AVI Systems, Beck Associates, CIS Group, Cutting Edge, Diversified Systems, Integrated Media Tech-nologies, and Key Code Media.

AxoN dIgITAL n4624

New to the NAB Show, Axon’s single-form-factor cards can be integrated to

work with each other to provide powerful loudness-control solutions. Axon has devel-oped an integrated solution to the FCC CALM Act requirements, which broadcasters can seamlessly integrate and can be put in place in minutes rather than hours.

New Synapse modules include one that pro-vides a long-time HD/SD-SDI uncompressed-video delay, storing and delaying up to one hour of SD material, including all blanking as raw data. The unit can be used for longer than one-hour broadcasts or for profanity checks.

The latest version of Axon’s Cortex software makes implementation of multiple video and audio signal paths easier, more efficient, and cost-effective. Cortex provides comprehensive tools to configure, monitor, and maintain a di-versity of devices, including the Synapse range modules and other third-party products

AzzuRRo gRouP c7508

AzzurroCam 3.0, featuring a completely new graphic user interface, is tailor-built

to give sports leagues, news networks, and others the ability to manage multiple remote sites with single- or multiple-camera studio configurations, from one or multiple loca-tions. The unit serves as a complete remote studio capable of controlling professional


naB2012Previewcameras, lighting, and audio through a single simple user interface that can be modified to run on numerous touchscreen applications, such as tablet PCs and iPads.

BECk AssoCIATEs c6908

Beck completed integration of the new broadcasting facilities at Brigham Young

University, one of the most extensive facilities of its type in the country. The project includes extensive fiber interconnectivity between the main communications complex and every major campus sports arena: football, bas-ketball, and baseball. The fiber connectivity required broadcasting-system functions, in-cluding remote control of camera robotics, intercom, and IFB, audio, and video bidirec-tional feeds. Control rooms in the main com-munications facility serve as the “remote” production facilities for all of numerous sports venues, eliminating the need for a con-trol room at each venue.

The University of Florida Gatorvision: HD Video Replay Control Room project has been awarded to Beck and will begin this spring. The new control room will provide full produc-tion capabilities and functionality to multiple sports venues from a central facility via fiber.

BExEL c6833 (bexel rentals), c9046 (bexel professional sales)

Bexel’s two booths will highlight the com-pany’s expertise and diverse solutions for

live broadcast events. With a continued focus on live and recorded events and content pro-duction, the company will connect with new and existing clients to discuss upcoming proj-ects, explore new technologies, and review all that the NAB Show and the many exhibitors have to offer.

Rounding out the company’s service offerings is its Professional Sales Group, which comprises new-equipment sales and the used-equipment sales formerly known as BVG. Bexel is a dealer and distributor of top products in fiber optics, professional audio, and RF over fiber. Specialty

brands represented include Calrec audio con-soles, TSL audio/power monitoring, and Cam-era Corps robotic camera systems. Calrec con-soles are widely accepted as premier mixers for live and recorded television production, and the Camera Corps Q-Ball system has become the preferred unit for miniature remote-controlled cameras and is an essential tool for many major sports leagues and network broadcasters. Bexel’s custom audio, RF solutions, and managed-antennae systems have also been integrated in many television studios and networks through-out the U.S. and Canada.

Bexel Professional Sales sells used broad-cast hardware, providing an alternative to new-equipment purchases while also han-dling the entire range of audio and video products. Based in Burbank, CA, BVG is the only major used-equipment broker/dealer to provide certified bench engineering support and warranty coverage for its products. In addition, Bexel will be pre-selling equipment purchased new for the Olympics and available for post-Olympics delivery.

BLACkmAgIC dEsIgN sL220

Blackmagic Design will showcase a range of solutions that meet the demands of

sports-content creation for both recorded and live production. The company creates high-quality video-editing products, color correctors, video converters, video monitor-ing, routers, live production switchers, disk recorders, waveform monitors, and more.

The company’s ATEM production switch-ers have been used for live sports broadcasts and events around the globe. This line of af-fordable switchers can be fully controlled via included ATEM control-panel software or with an optional ATEM broadcast panel. Both 1M/E and 2M/E production switchers and panels are available. The 1M/E production switcher has eight video inputs from SDI and HDMI con-nections; the 2M/E version handles 16 SDI inputs for the largest multicamera live produc-tions. The ATEM Television Studio option for

smaller productions has a maximum six inputs with the same SD/HD 10-bit video quality.

HyperDeck SSD recorders transform video recording and playback. Using fast SSD tech-nology, HyperDeck records 10-bit uncom-pressed and compressed video file formats. HyperDeck Shuttle portable battery-powered field recorder handles SDI and HDMI inputs and outputs. Recording from a camera’s out-put to HyperDeck Shuttle lets users bypass the compression used by a camera’s on-board disc, drive, or tape, recording video in the highest Full HD uncompressed quality.

HyperDeck Studio professional deck has dual SSD slots for continuous recording. When the first disc becomes full, recording automatically continues on the second. Hy-perDeck Studio features SDI and HDMI in-puts and outputs, with a built-in LCD screen for thumbnail preview of recording and play-back, plus a jog/shuttle wheel, RS-422 deck control, timecode support, and more.

BRoAdCAsT sPoRTs INC. c7849

At the NAB Show, BSI, an L-3 Communi-cations company, will demonstrate its

intelligent diversity receive system along with its wireless-camera-control capabilities and proprietary products including a dual-stream mini transmitter and wireless Mic 1500 Blue Steel microphone.

Headquartered in Hanover, MD, with an office in Watford, England, BSI provides HD on-board cameras and wireless audio for a wide range of entertainment events around the world, includ-ing INDYCAR, NASCAR, X Games, NFL, PGA and LPGA Tours, Breeder’s Cup, Kentucky Der-by, U.S. Open golf, MTV Video Music Awards, Macy’s Thanksgiving Day Parade, and the 2009 Presidential Inauguration.

CALREC AudIo c1746

Artemis Light, the newest member of the Artemis family of Bluefin2/Hydra2

audio consoles, will feature a new compact processing rack dedicated to delivering

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naB2012Previewdigital-signal-processing (DSP) and routing capabilities in a 4RU enclosure. This much power in such a small footprint suits it for use in HD/SD OB trucks for any major sports ap-plication. Like all Artemis consoles, Artemis Light incorporates Bluefin2 high-density sig-nal processing and Hydra2 networking tech-nologies in the same compact yet powerful and scalable control surface used by Artemis Shine and Beam. Using the same hardware and software architecture allows Artemis Light to be fully integrated with any existing Hydra2 network. Hydra2 networking capabil-ities give operators the option to expand the network by connecting the consoles together, and to add in I/O boxes where needed to tai-lor the console for a specific event.

CAmERoN PACE gRouP oE2390

CAMERON PACE Group (CPG) aims to enable broadcasters to increase revenue

by integrating 3D into their current 2D busi-ness model.

Using its production solutions on hundreds of live-event broadcasts and dozens of theatri-cal features, CPG is leading the industry toward 5D (simultaneous 2D and 3D) production. Thanks to CPG’s solutions, broadcasters have launched 3D channels and realized entirely new revenue streams from existing produc-tions. The company’s Shadow technology en-ables 5D productions at about the cost of tradi-tional 2D productions without disrupting stan-dard production methods — no new camera crew or added camera positions. Broadcasters capture their events the way they always have — but in 2D and 3D at the same time.

At the NAB Show, CPG will unveil its latest solutions that make 3D profitable for broad-casters and filmmakers. ShadowCam, Fra-meLinking, Smart Rigs, and ShadowVision technology products significantly reduce the need for additional personnel. As a solution provider, CPG creates integrated products that work seamlessly with the 2D production. Allowing a single production with simultane-

ous 2D and 3D broadcast, CPG enables 3D content and channels to expand worldwide.

Led by co-founders James Cameron and Vince Pace, CPG offers efficient, cost-effective 3D solutions that have supported productions generating more than $8 billion in worldwide box office and have played a key role in nine concert films, dozens of features, and hun-dreds of sports productions worldwide.

CANoN usA c4325

The new Canon XJ95x8.6B super-tele-photo HD field lens is designed for de-

manding sports and outside-broadcast ap-plications. It provides superb high-resolution, high-contrast optical performance for the capture of images that are sharp across the 16:9 HD image plane. The XJ95x8.6B comes equipped with an improved built-in Canon optical Shift-Type Image Stabilizer, the CAFS (Constant Angle Focusing System) to help counteract lens “breathing,” and outputs for focus, iris, and zoom-position data for use with virtual studio systems.

All of Canon’s HD long-zoom field lenses are designed for demanding HDTV sports and OB applications. Besides the XJ95x8.6B, DI-GISUPER models comprise the XJ100x9.3B, XJ86x9.3B/13.5B, and XJ75x9.3B, all featuring Canon’s built-in Shift-IS image-stabilization technology for obtaining steady images even at the farthest zoomed-in distances. All models feature advanced, computer-aided lightweight design, specialized multilayer coatings on each optical element, and Canon’s second-generation digital servo systems for improved ease of op-eration. The technology also provides superb tactile control of zoom, iris, and focus; precision repeatability of settings; and microcomputer compensation of lens-focus breathing (the inad-vertent alteration of field-of-view when camera operators adjust the focus control).

Canon Auto Focus technology is available for two of these long-zoom HD field lenses: the XJ100x9.3B IE-D AF and XJ86x9.3B IE-D AF. Providing an adjustable-focus window in

the viewfinder for camera operators to refer-ence, this Canon Auto Focus feature has three modes: Part-Time, which auto-focuses as long as the operator presses a button (handy for quick focus confirmation or instant on-demand follow-focus); Full-Time, for situ-ations that entail tracking subjects in rapid motion — such as horse, dog, or auto races — as well as full-servo robotic applications; and Off, for traditional fully manual focus.

Among other products at Canon’s 2012 NAB Show exhibit will be advanced remote-control robotic HD PTZ (pan-tilt-zoom) cameras, which include models for indoor and outdoor use. These turnkey, fully integrated HD camer-as use a non-proprietary, open control protocol that works with all leading third-party remote-control systems. Advanced connectivity (in-cluding genlock input for video synchroniza-tion in broadcast-TV systems) and a Genuine Canon HD zoom lens make these cameras suitable for sports use (they are installed in most major baseball parks in the U.S.) and as HD POV cameras for weather and traffic cov-erage, houses of worship, legislative chambers, and HD broadcast-quality applications.

CHYRoN sL1510

The newly enhanced Channel Box2 (v. 4.6), built on Chyron’s Lyric technology, allows

users to access any data — RSS feeds, traffic, financial, weather, elections, tickers, promos, snipes, social media — and publish it on-air. Version 4.6 software introduces Chyron’s new social-media editor, which allows an operator to monitor and pull incoming tweets from any feed and quickly display the tweets on-air; an asset viewer that allows an operator to validate, package, and query assets; and data-binding tools for improved panel control.

The company’s new MediaMaker technol-ogy is designed to seamlessly integrate Chyron graphics with file-based workflows. Extending Chyron graphics capabilities to a wide range of editing and third-party applications, it gives video editors and graphic designers access

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CSC_CSCBRA_11122_WinterClas-sic_v2.tif (80.5%; 372 ppi; CMYK), BFTHN_Lockup_3Lines_KO_yellow_4c.ai (51.38%)

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©2011 Cisco Systems, Inc. All rights reserved.

BUILT FOR Fans whO ReFUse

TO Be specTaTORs. how can you build a stadium that makes every seat in the house the best seat? with a network built to transform the way fans experience sports and entertainment. where video unites everyone around the action. and fans can interact with their social networks, view video replays and receive targeted offers at the stadium via wi-Fi.

This is what you can build on a highly scalable, secure platform. One that allows venues to be customized for any type of event. This is sports and entertainment on the cisco connected stadium network. what experiences would you like to build?

cisco connected sports and entertainment solutions. Learn more at cisco.com/go/sports.

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InDesign Version: CS5

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Ogilvy | RedWorks West Los Angeles: 3530 Hayden Avenue, Culver City, California 90232 +1.310.280.2200 | San Francisco: 111 Sutter Street, San Francisco, California 94104 +1.415.782.4700

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CiscoBuilt for the Human NetworkNone

US7.375” x 10.125”8.125” x 10.875”8.625” x 11.125”NoneMagazinePageNone8.125” x 10.875”

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MarketLiveTrim

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OgilvyWest


PSP Advertising

Executive CDExecutive CD

Group CDGroup CD

Art DirectorCopywriter

Project ManagerStudio 1st

Studio RevStudio Manager

Proofreader / QCPrint Producer

Art BuyerAccount Executive

Account SupervisorMgmt Supervisor

Client

NoneP. KangB. StricklandJ. ConformeD. Lee-J. HendersonB. HutchensPhil.LibertoreA. ErtzanN. SundquistG. DermerK. Wilson--NonePer Acct. Team

FansCSC_BRA_11122_SVG_WinterClas-

CSC_CSCBRA_11122_WinterClas-sic_v2.tif (80.5%; 372 ppi; CMYK), BFTHN_Lockup_3Lines_KO_yellow_4c.ai (51.38%)

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©2011 Cisco Systems, Inc. All rights reserved.

BUILT FOR Fans whO ReFUse

TO Be specTaTORs. how can you build a stadium that makes every seat in the house the best seat? with a network built to transform the way fans experience sports and entertainment. where video unites everyone around the action. and fans can interact with their social networks, view video replays and receive targeted offers at the stadium via wi-Fi.

This is what you can build on a highly scalable, secure platform. One that allows venues to be customized for any type of event. This is sports and entertainment on the cisco connected stadium network. what experiences would you like to build?

cisco connected sports and entertainment solutions. Learn more at cisco.com/go/sports.


naB2012Previewto the same graphics and animations being used live on the air. MediaMaker also takes producer-created graphics from a wide range of newsroom systems for repackaging into the edit suite. Edit applications such as Apple Final Cut Pro, Adobe Premiere Pro, and Adobe After Effects are now easy to integrate with Media-Maker and Chyron graphics workflow suite.

CIsCo sU7408

Cisco’s new digital signage innovations can dramatically enhance how organi-

zations attract, educate, and engage custom-ers, employees, and citizens and elevate their brand visibility. These innovations, delivered through the Cisco Interactive Services solu-tion set, provide enhanced interactive capa-bilities through video, Web applications, and touchscreen digital signs. Cisco will announce new customers that showcase the continued expansion of the digital signage market.

Since opening last June, LIVESTRONG Sport-ing Park in Kansas City, KS, has been committed to delivering a unique fan experience through high-definition video, digital content, and new interactive applications for fans.

Using Cisco StadiumVision, a special set of offerings for sports and entertainment, LIVESTRONG Sporting Park can instanta-neously deliver live video to more than 300 HD digital displays.

In addition, each display can highlight dy-namic content like team trivia and game in-formation, weather and traffic updates, mer-chandise and concession promotions, and new team-sponsorship opportunities.

Cisco’s Interactive Services solution set fea-tures new Web clients and a cloud-based man-agement platform that enable customers to create, centrally manage, and rapidly deploy personalized and interactive signage across a network of HD and touchscreen digital displays.

CIVoLuTIoN sU7923

Civolution, a provider of technology and solutions for identifying, managing, and

monetizing media content, will demonstrate a range of solutions for media interaction, media intelligence, and media protection. These include a major upgrade to its global media-monitoring platform, further develop-ments to its Automatic Content Recognition (ACR) solutions, and the latest innovations for its media-protection product line.

Civolution demos will include Media Inter-action (SyncNow, Media Intelligence), Tele-trax, and Media Protection (NexGuard).

CLEAR-Com c8008

The Eclipse digital matrix intercom fam-ily expands with two additions: a new

line of V-Series rotary panels and the Eclipse MADI (E-MADI) card. The V-Series rotary panels provide users with control over audio-level adjustments while the E-MADI card supplies 64 MADI channels per card from the Eclipse-Median or Omega digital ma-trix frames to achieve higher levels of con-nectivity during production. The addition of the V-Series rotary panels to the existing V-Series pushbutton and lever-key panels pres-ents broadcasters with a wide range of user control-key panel options. Available in 1RU, 2RU, desktop, and extension-panel variants, the V-Series rotary panels feature push-listen with mix-control knob and separate push-talk button. The new E-MADI card offers full user setup and can be configured through the Eclipse Configuration Software to supply up to 64 full channels of digital four-wire connectivity per card.

CoAsTAL mEdIA gRouP sU4723

In conjunction with Quick Spot, CMG offers a cost-effective solution and bandwidth on

demand for HD/SD satellite transmission. With a price point less than half that of a traditional satellite truck, CMG’s new IP Sat-ellite Unit 5 provides the power to transmit and receive media via a comprehensive pack-age of transmission equipment in a compact footprint, with more features and flexibility

for less time, less money, and less manpower. Communications gear includes integrated phone and data lines suitable for streaming Web content. Unit 5 features high-bandwidth uplinks from 512 kbps to 9.9 Mbps, HD- or SD-compatible MPEG-4 Fujitsu video encod-ers, and broadcast fiber delivery to the Los Angeles and New York switch. Remote satel-lite Internet access includes WiFi.

CoBALT dIgITAL n1929

Cobalt Digital will introduce a Blue Box Group series, adding a modular signal-

conversion line. The Blue Box Group will pro-vide high-quality, price-competitive signal-conversion equipment. Initial product offer-ings include HDMI-to-SDI and SDI-to-HDMI converters, as well as analog-to-digital and digital-to-analog converter boxes with audio embedding and de-embedding.

The company will also show additions to its loudness-processing and -metering offerings, including LMNTS, a multichannel loudness-processing-over-IP solution; SPOTCHECK, a monitoring and logging tool; and logging and graphing upgrades to Cobalt’s loudness-metering system.

Ideal for MVPDs and MSOs where a large number of diverse programming sources must be simultaneously controlled, LMNTS performs automatic loudness processing across many transport streams.

LMNTS can operate with diverse audio co-decs, extracting the packets from program streams, performing AEROMAX loudness man-agement in the PCM domain, then re-encoding and repacketing the audio with its stream.

SPOTCHECK monitors an IP or ASI MPEG stream at the transit encode point to measure and log all material emanating from facili-ties in larger operations using multiprogram MPEG streams.

Operating at emission MPEG level and leveraging automation as-run data, SPOT-CHECK maintains a complete log of all pro-gram segments.


naB2012PreviewCoRPLEx oE2310

Corplex has been a three-HD-unit com-pany since fall 2011, with Chromium, the

company’s newest unit; Iridium; and Plati-num working events for CBS, Fox, ESPN, NFL Network, JFM Sports, and Turner Sports. Cor-plex’s résumé includes NFL Football for CBS and Fox, Army football for the CBS Sports Network, the MLB Playoffs (NLCS and World Series) for MLB International, NFL Network’s Super Bowl coverage, and the most recent NFL Combine. The company has also covered NCAA basketball for CBS Sports. In between the Super Bowl and NFL Combine, Chromi-um worked on the Grammys for the Cana-dian E broadcast. The company also worked on FIBT coverage of the World Cup and World Bobsledding Championships.

dALET dIgITAL mEdIA sYsTEms sL4615

Dalet will demonstrate several enhance-ments in Dalet Enterprise Edition, a

MAM platform that unifies disparate sys-tems to improve workflow productivity and facilitate content distribution to mul-tiple platforms, including broadcast, Web, VOD, and mobile. Dalet Enterprise Edition will be shown in combination with Dalet Sports Factory, a tailored production suite for sports.

Dalet Sports Factory offers fast sports-production tools, fully integrated within an enterprise MAM platform. Highlights and re-play components cover logging, play-by-play highlights and playback, and instant replay with multiple camera angles and slow mo-tion.

Unlike typical sports-production products, Dalet Sports Factory integrates both produc-tion archives and media management, ensur-ing that all enriched media assets are available both during and after the game. Designed on the openDalet MAM platform, Sports Factory integrates with NLEs and other broadcast- and sports-production systems to provide a cohesive, fluid workflow.

dIgICo c2252

DiGiCo will exhibit the SD7B, SD10B, and SD11B mixing consoles, all with broad-

cast-specific functionality including MADI I/O, 5.1 ingest routing and mixing, monitor mix matrix, and a wide choice of remote racks.

doLBY sU1212

Dolby Laboratories is committed to provid-ing the best experience to consumers no

matter where they are or how they get enter-tainment content. Dolby invites visitors to see how the latest Dolby audio and video technolo-gies deliver the best experience on any screen.

dTs sU7619

DTS Neural Surround processing is de-signed to allow for seamless conversion

between stereo and surround sound. The DTS Neural Surround family includes: UpMix, DownMix, and MultiMerge. The DTS Neural Surround UpMix transforms any stereo sig-nal into a surround sound soundfield. UpMix can be used to decode stereo or LtRt encoded broadcasts back into surround sound, often in-distinguishable from discrete 5.1 content with-out affecting the spectral and timbral balance.

Neural UpMix can output any channel con-figuration from 3.0 to 7.1 surround sound. The system also provides creative controls for soundfield width and depth, channel layout, output levels, LFE filtering, and a final limiting.

The DTS Neural Surround DownMix pro-cess reduces 7.1 or 5.1 surround sound to a stereo mix that accurately represents the multi-channel original. Active Correction within the DownMix can fix issues such as comb filtering, spatial location, and distor-tion, creating a stereo mix that can be re-ren-dered into surround sound later.

DTS Neural Surround MultiMerge incor-porates both UpMix and DownMix paired with Auto-Detection to guarantee a 24/7 surround sound output for any transmis-sion path. MultiMerge features a full-time 5.1-surround-sound output as well as a full-

time LtRt stereo output from any content source.

DTS Neural Surround is licensed to suppli-ers of hardware and software for professional broadcast, such as Harris and DaySequerra.

ECHosTAR sU8509

Providing video distribution, data com-munications, and backhaul solutions for

broadcast, commercial, government, and mil-itary customers, EchoStar Satellite Services represents a significant source of Ku-band and Ka-band satellite capacity and space-craft-operation services with 11 satellites, ground-based teleport facilities, an expansive terrestrial U.S. backhaul network and 24-hour Satellite Access Centers. It’s a wholly owned subsidiary of EchoStar Corp.

EdITsHARE sL9012

EditShare will showcase its entire product lineup in the areas of storage perfor-

mance, file migration across storage tiers, en-hanced file and metadata management, and new enterprise capabilities. This includes dis-tributed processing for large-scale file ingest and proxy rendering, as well as system-wide workflow monitoring from ingest to archive.

The company integrates high-performance shared-storage solutions (XStream, Energy, Metro) with video capture/asset management (EditShare Geevs/Flow), editing (Lightworks), archiving (EditShare Ark), and playout (Geevs) to offer broadcast and postproduction profes-sionals an end-to-end tapeless workflow. The workflow enables capture, logging, searching, sequence creation, project sharing, and ar-chiving. From start to finish, metadata and me-dia are easily searchable and accessible from EditShare’s central storage or archives.

ELEmENTAL TECHNoLogIEs sU10012

Elemental will demonstrate a variety of new and advanced features recently in-

troduced into its suite of video-processing products to meet the needs of professional


naB2012Previewsports programmers and broadcasters serv-ing up multiscreen video on PCs, tablets, and mobile devices. The company will show El-emental Live performing real-time encoding of multiple video streams using the MPEG DASH (Dynamic Adaptive Streaming over HTTP) streaming protocol. DASH is designed to address the dramatic growth of Internet video by defining a universal delivery for-mat, which provides end users with the best possible video experience and dynamically adapts to changing network conditions as video streams to their devices.

Elemental will also demonstrate Elemen-tal Live performing audio normalization, ad insertion, and captioning/subtitling. In ad-dition, Elemental Server will perform high-capacity, file-based J2K decoding, ProRes en-coding, and DECE Ultraviolet asset creation.

The company will also issue a transcoding challenge in which NAB attendees can bring source video to the Elemental booth for faster-than-real-time transcoding on the spot. And it will show an application featuring dynami-cally changing graphics in a live output stream through real-time Twitter integration. Image overlay is used in real-world applications for video branding, tracking, and spoiling.

ENComPAss dIgITAL mEdIA sU6522

Encompass offers HD, SD, and 3D ser-vices including fixed teleport and remote

satellite-uplink transmission for backhauls, production, and origination services — mak-ing the company home to a large number of high-level networks in the sports-broadcast arena. Via its global, fully integrated facili-ties, Encompass provides seamless disaster recovery and archival solutions, giving its cli-ents an alternative, cost-effective game plan. As Encompass partners with various sports leagues, its fleet of C- and Ku-band satel-lite trucks head to some of America’s most watched sports events. Clients include CBS Sports Network, ESPN, Gol-TV, IMG College, NASCAR Media Group, MLB, NFL Network,

NHL, ROOT Sports, Tennis Channel, TVG, Speed, YES Network, and WWE.

ENsEmBLE dEsIgNs n2524

Suited to live sports events, the Avenue mod-ular digital video router from Ensemble

Designs uses new technology for configura-tion and display that makes it different from existing routers in the marketplace. The ease of expansion, user-definable input/output port geometry, unique video thumbnails, built-in test-signal generation, and optional clean and quiet switching on multiple outputs make it suitable for high-end broadcast use. Applica-tions include live events, master-control bypass switching, QC monitoring, and mobile trucks.

Real-time video thumbnails travel over Ethernet to the Router Control Panel, where they are displayed on a compact, high-resolu-tion display. This enables the operator to visu-ally verify source content before performing any switching operations. Ethernet enables the panel to be used remotely, thousands of kilometers from the main installation.

Many routers are limited in that they are fixed at a specific size, such as 8x8 or 16x16 or 32x32. This new router has a flexible matrix de-sign, which allows the user to configure the pre-cise number of inputs and outputs. With more sources than destinations, the router could be configured to 22x8 or 25x5, for example.

Users can switch live to air with confidence. Full-frame synchronization ensures a clean switch between asynchronous SDI sources.

ERICssoN sU819

HD sports contribution and backhaul are growing with the increased availability

of IP links from venues, which is why Ericsson will be showing new multi-codec versions of its Voyager DSNG and Contribution Encod-ing platforms, offering MPEG-2, MPEG-4, and JPEG 2000 in the same product and SD, HD, and 1080p workflows. In fixed contribution, combining all three compression technologies in a single product line maximizes operational

flexibility, reduces engineering- and operation-al-staff training costs, and simplifies both initial installation and long-term support, compared with a “mix-and-match” multivendor environ-ment. In DSNG, truck operators can now roll to events and use just one encoding platform for either satellite or IP-based contribution.

EVERTz n1502

At the NAB Show, Evertz will showcase new features for MAGNUM and MAG-

NUM VUE: integrated tally, advanced event scripting, timer control, unified naming, and new widgets for the MAGNUM VUE custom-izable user interface. A next-generation con-trol system, MAGNUM unifies control of ele-ments found in production facilities, including Evertz’s video/audio routers, multiviewers, and inbound-signal–processing products.

Evertz will also feature its new 3480 series platform, which facilitates delivery of content to multiscreen end points. Expanding the company’s growing portfolio of compression products for contribution and distribution, the 3480 platform offers a cost-effective solu-tion for bulk MPEG-2/H.264 encoding and transcoding, plus adaptive-bitrate encoding/transcoding and statistical multiplexing.

In combination with Evertz Compression solutions, the company’s Media Transport So-lutions allow content providers to move com-pressed and uncompressed content over large geographical regions using fiber or IP. When paired with the high-quality Evertz contribu-tion H.264/JPEG2000 encoders, Media Trans-port Solution is flexibile, scalable, and reliable.

EVs sL3815

EVS will unveil the latest enhancements to its Sports360° solutions, including the

XT3 future-proof recording and media server featuring eight channels in loop recording mode. EVS will present a new configuration of the hybrid media-sharing network, a 3-Gbps (single-link) video in/out capable system with embedded high-/low-res management.

You’re a creative genius, let your ideas flow. Unleash the power of Adobe® Creative Suite® 5.5 software with NVIDIA® Quadro®

professional graphics solutions. Quadro transforms a workstation into a full post

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are editing ultra high-resolution video, creating stunning visual effects, or enhancing

digital images, Quadro provides blazing-fast performance and fluid interactivity.

Upgrade today to a Quadro solution, accelerate your full workflow and infuse your

projects with creative inspiration.

© 2011 NVIDIA Corporation. All rights reserved. NVIDIA, the NVIDIA logo, NVIDIA Quadro, and CUDA are trademarks and/or registered trademarks of NVIDIA Corpora-tion. All company and product names are trademarks or registered trademarks of the respective owners with which they are associated.

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naB2012PreviewAlso part of Sports360°, the new version of

CCast is an advanced multicam solution al-lowing instant distribution of multiple cam-era angles on Web-connected screens during live productions. Suited to any sport, it offers possibilities for multiple audiences, includ-ing TV viewers, spectators, coaches, journal-ists, and referees. With fully modular and service-oriented architecture, CCast adapts to any kind of business or workflow and offers advanced integration with third-party Web systems and import of such data as statistics, commercials, and tweets.

foR-A c5219

The manufacturer of video and audio sys-tems for the broadcast, postproduction,

and professional-video markets will show-case several products — 1 to 4M/E Hanabi switchers, VFC-7000 high-speed camera, LTR-100HS LTO-5 archive recorder, MV-3200 multiviewer, FA-9500 signal processor — and highlight many product introductions.

fRoNT PoRCH dIgITAL n5806

LYNX, an integrated, cloud-based environ-ment for managing assets on a global scale

from any device and any location, offers media organizations a next-generation approach to global asset management, with a range of ben-efits in adaptability, on-demand scalability, cap-ital-cost reduction, and simplified maintenance.

LYNX applications and services are tightly integrated with the company’s DIVA technol-ogy and are designed to fit the needs of media organizations facing today’s challenges. LYNX technology provides a route to sustained prof-itability in such fluid and competitive operat-ing conditions by offering rapid infrastructure deployment on demand, matching IT invest-ment to revenue opportunities, and making it easier to bring new channels to market.

fRoNTLINE CommuNICATIoNs c7519

Frontline Communications will display four vehicles at the NAB Show. SNV NT-5

for Peak Uplink, DSNG/ENG HT for KNTV, Sprinter Production/Uplink vehicle for QVC, and a Ford Transit Journal Vehicle for KTLA.

fuJINoN/fuJIfILm c7525

FUJIFILM North America, Optical Devices Division has announced that two com-

pact HD lenses will make their U.S. debut at the NAB Show. Expanding their respec-tive product lines are the HA19x7.4BERM/BERD ⅔-in. Premier Series high-perfor-mance HD ENG/EFP production lens and the XA19x7.4BESM-D8 compact HDTV studio and field box-style lens.

Introduced at IBC 2011, each lens features a 19x zoom ratio and is the first in such a compact size to feature three floating zoom groups and Aspherics. They also feature the latest EBC coating, resulting in rich colors and improved blue response and transmittance.

The XA19x mini box lens offers automatic compensation of focus breathing. This mech-anism synchronizes the zoom movement to the focus movement, enabling the image size to remain constant when focusing.

Weighing only 3.3 kg, the lightweight HA19x7.4BERM/BERD is suited to the rigors of high-end ENG/EFP HDTV production, in-cluding entertainment, news, sports, and doc-umentaries. A new ergonomic grip reduces operator fatigue, and the lens can be ordered with manual or servo focus and zoom.

The XA 19x7.4BESM-D8 is suited to live studio production, such as news, sports, and entertainment. With features like RS-232 con-trol and tally lights, it can also be used in con-junction with virtual-reality studio sets and robotic camera systems.

Making a worldwide debut at the NAB Show, the XA20xs8.5BERM is the newest member of the ⅔-in., cost-effective EXCEED ENG lens series. A telephoto lens with a 2x range extender, it features an ergonomic digital servo, Quick Zoom, and inner focus, as well as improved corner resolution. It is the first of the EXCEED series of economically

priced ENG lenses to include a 2x extender. Suited to a variety of production applications from newsgathering to in-studio use, it can be used with rear controls for zoom and focus, so is suitable for tripod use.

The Optical Devices Division will also demonstrate its XA50x9.5BESM HD field telephoto lens. The cost-effective lens is suited to regional, minor-league, and colle-giate sports coverage, as well as to houses of worship, corporate events, and other venues requiring longer-focal-length lenses. The 45-lb. lens features an integral camera supporter that requires no additional lens support.

gEPCo INTERNATIoNAL c8508

The Gepco-brand V-Light active fiber cable system, designed with easy-to-use

copper connections, offers the transmission distance of fiber without the hassle of keep-ing fiber-optic connections clean. Based on the Gepco-brand V-CON connector system, the V-Light offers a convenient, reliable, and durable interface for high-speed serial digi-tal-video-transmission over single-mode fi-ber with data-transfer rates up to 1.485 Gbps. Available in two- or four-path versions with either unidirectional or bidirectional signal transmission, custom-length V-Light active fiber cables combined with V-Light panels provide a unique and innovative solution.

gERLINg & AssoCIATEs oE1256

According to company President Fred Gerling, business is booming, requir-

ing a seven-day work week through Aug. 1 at the company’s Sunbury, OH, facilities. The recently acquired 40,000 sq. ft. of manufac-turing and office space is up and running to fulfill the current log of more than 40 units under construction. The past six months have seen deliveries to NEP Supershooters, Game Creek Video, Lyon Video, MIRA Mobile Pro-ductions, F&F Productions, Crosscreek Video, Time Warner Cable, Cox Cable, and others, for total of more than 28 units delivered.

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naB2012PreviewgLoBECAsT sU812

Any Time, Any Screen, Anywhere” will be the theme as GlobeCast spotlights mul-

tiplatform delivery at the NAB Show. In ad-dition to announcing the launch of an over-the-top (OTT) platform for the international community, GlobeCast will display a stream-ing Web TV service and highlight its solu-tions for global satellite and fiber delivery, ex-hibiting alongside corporate sibling NETIA.

GlobeCast will also demonstrate GlobeCast Multiscreen, a streaming product that allows broadcast clients around the world to stream content to any Internet-connected device.

gRAss VALLEY sL106

Karrera Production Center, Grass Valley’s new midmarket platform, offers a suite

of flexible features and an intuitive user inter-face to ensure that Karrera operation feels very familiar to experienced Grass Valley switcher operators and is easy to learn for those new to Grass Valley switchers.

Karrera borrows heavily from predeces-sors Kayenne and Kayak, providing a cost-effective, high-powered switcher for live and studio productions. It is available with 1.5-2.5 M/Es in a 4RU frame and 2.5-4.5 M/Es in an 8RU frame. Karrera also features the com-pany’s DoubleTake split M/E mode, which effectively increases the maximum possible number of M/Es (including an optional half-M/E) to 10. In addition, there are four inter-nal DPMs (iDPMs) in each M/E with Kurl and Spektra and available in the 8U frame four independent channels of eDPM with primary and secondary combiner outputs.

A newly designed control panel makes TDs more efficient by accentuating the most-used functions, while providing quick access to more in-depth features through an instinctive menu structure and panel shift levels. The pan-el incorporates bright OLED displays for source and function names, and all buttons have RGB LEDs that dynamically change, allowing color-coding functions and source grouping.

Preproduction time and resources are re-duced with Karrera’s fast-access configura-tion and setup. The switcher’s optional high-resolution, 1280x768-pixel touchscreen menu features a shallow menu structure with “His-tory” and “Favorites” features that existing Grass Valley switcher users have come to rely on, with context-sensitive pull-down menus that put everything at their fingertips.

Karrera is a fully digital 10-bit 4:2:2 switcher. Models are available with up to 96 inputs and 48 outputs. It features HD/SD-SDI signal support with optional up/down/crossconverters on se-lected inputs and outputs, as well as six keyers in every full M/E — four full-function keyers plus two linear/luminance keyers. Each full-function keyer has two pages (frames) of video and key storage to free up Image Store outputs and re-duce the number of external graphics sources.

HAIVIsIoN sL9911

The new KulaByte Internet encoder offers excellent picture quality, uplink efficien-

cy, and ROI for streaming to Dynamic Flash and Adaptive HTTP Live Streaming (HLS) networks. Combining high quality-per-bit (QPB) with tight bandwidth control and Adaptive Bitrate Control allows broadcasters to have better quality contribution and af-ford more sources from any venue. Because it is software-based, broadcasters can achieve high ROI because they can scale and take ad-vantage of future encoding efficiencies with-out hardware dependencies.

The KulaByte live transcoder is now avail-able for Linux operating environments, deliv-ering multiple-bitrate HLS and RTMP streams for adaptive/dynamic streaming. Version 4.0 also introduces transport stream and MPEG-2 ingest support.

Also at the NAB Show, Haivision will launch the Viper KB compact, portable appli-ance that simplifies Internet streaming. With a touchscreen interface, users can stream Full HD at multiple bitrates for Dynamic Flash and Adaptive HLS networks. The company

will also showcase Viper MAX, a standalone, dual-channel performance-streaming, re-cording, VoD, and publishing appliance for the conference room, classroom, and medi-cal-procedure room.

HARmoNIC sU1802

Harmonic’s ChannelPort speeds the cost-effective deployment of new television

channels by integrating flexible branding and master-control switching with clip playback on the playout platform. Fully compatible with all Harmonic Spectrum media-server compo-nents, ChannelPort fits into existing infrastruc-tures, simplifying the launch of new services. Rich multilayer graphics and dynamic text can be easily keyed over programming, and sup-port for a broad range of automation systems offers customers the freedom to choose what’s best for their workflows. Ongoing expenses are reduced by ChannelPort’s operational simplic-ity, high channel density, and low power con-sumption. By adding ChannelPort to any Spec-trum or MediaDeck system, customers gain a hybrid, modular environment with the option to play out programming branded with simple logos, lower-thirds, regulatory graphics, and dynamic (“live”) text crawls.

HARRIs n2502, n3400

The new HView SX Pro high-density, scal-able multiple-display management sys-

tem is designed for live production, outside broadcast, and other video/audio-processing needs. The HView SX Pro reduces space, power, and complexity while offering superior picture quality and intelligent, flexible control options.

The HView SX Pro offers low-latency pro-cessing and enhances image quality through Harris MicroFine scaling technology. Its high-density design accommodates more sources and outputs in fewer rack units to reduce system and installation costs. Harris customers can use the HView SX Pro as a standalone solution or inte-grated within Harris Platinum routers.

Also new is Harris QuiC software, designed

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naB2012Previewto minimize workloads for video-server opera-tors in TV stations and other media operations. Customers using QuiC software tools to analyze files ingested into video servers can achieve re-sults faster through automated processes.

The QuiC software family comprises three tools: QuiC Pro and QuiC Express offer ready-to-go test templates for file-based analysis in operations of any size, while QuiC View is a professional-grade viewer for close inspection of file-based assets.

HEgo sL9309

This year’s NAB Show will be Hego Group’s first since establishing a presence in the

Americas market this year.Hego will show its diverse product lines,

ranging from sophisticated continuous-ren-dering engine GS2 to the real-time player and ball-tracking system Tracab, already proven on many of the world’s top sporting events and able to provide live performance metrics for football, lacrosse, tennis, ice hockey, base-ball, and basketball — all in full 3D.

The company will also show its range of AKI sensor-less virtual-graphics and telestration products that, through real-time image pro-cessing, provide broadcasters with cost-effec-tive delivery of sports enhancements to live TV coverage and near-live analysis segments.

I-moVIx c4644

The new X10 system is the industry’s first live ultra-slow-motion solution to de-

liver real-time continuous extreme slow mo-tion in full HD at a groundbreaking 300 fps (or 600 fps in 720p). Developed in partner-ship with EVS, the X10 system is used with an EVS XT3 production server under LSM control, bettering existing continuous super-slow-motion systems, which are restricted to three times slower than real time, or 75 fps. As a live ultra-slow motion solution, the X10 system is designed to give production teams the ability to use it for continuous slow mo-tion at frame rates far in excess of existing

systems. Thanks to its typical EVS LSM workflow, the X10 provides a consistent and familiar user interface and controls that any broadcast crew can use immediately, with-out specialist training.

IkEgAmI ELECTRoNICs c5108

The new Ikegami HDK-97C Unicam HD 3G field production multiformat CMOS

camera supports not only 1080i/720p but also 3G signals, such as 1080/60p 4:2:2 and 1080/30p 4:4:4 for next-generation HD pro-duction. A compact low-profile docking-style camera, the HDK-97C allows easy changeover between fiber and triax adapters, with the Ikegami CCU-970 capable of supporting both cable types with simple front-panel switch selection, an important feature for mobile sports production.

The new HDK-97A 3G multiformat pro-duction camera deploys progressive CCD image sensors. Like the new 1080i Ikegami HDK-55, it is a compact low-profile docking camera and joins the HDK-97C as the Uni-cam HD camera line. Unicam cameras oper-ate with new and existing CCUs, including the 3G CCU-970, the 3G half-rack BS-97, and the compact BSF-55.

The Hi-Motion II ultra-slow motion HDTV camera system (co-developed, sold, and sup-ported by Ikegami) from NAC Image Tech-nology uses a three-CMOS-sensor camera head with 96 GB of built-in memory to deliver greater than 10x speed for clear, sharp ultra-slow-motion playback of HD sports action, as was seen in Super Bowl XLVI game coverage. A dual-format 1080i/720p system, it provides simultaneous output of live normal-speed video and ultra-slow-motion replay video.

INTELsAT sU4919

A provider of satellite services for more than 45 years, Intelsat has delivered

information and entertainment for many of the world’s leading media and network companies, multinational corporations, In-

ternet service providers, and governmental agencies. Intelsat’s satellite, teleport, and fiber infrastructure sets the standard for transmis-sion of video, data, and voice services. From the globalization of content and the prolifera-tion of HD to the expansion of cellular net-works and broadband access, with Intelsat, advanced communications anywhere in the world are closer by far.

JosEPH ELECTRoNICs c5349

The newly developed Caddie System by JFS remote fiber-transport production

solution provides customers with the pieces needed to improve existing equipment or use as a complete system. It can be applied to pro-sumer and high-end broadcast systems alike. The Caddie System consists of five segments: Carry Caddie, Booth Caddie, Camera Caddie, Studio Caddie, and Wall Caddie. Each one fea-tures base systems that function just like all traditional fiber solutions, providing point-to-point transport of multiple signals. The JFS Caddie system can be expanded or scaled with the OPTC feature and features versatile modular design.

JVC c4314

JVC will expand its ProHD camera lineup; details will be announced at the 2012 NAB

Show. Known for outstanding image quality, feature-rich shoulder-mount and handheld models, native-file recording, and a shoot-to-edit workflow that uses inexpensive, non-proprietary solid-state media cards, ProHD cameras are currently used by hundreds of stations around the country.

The GY-HM150 ProHD handheld cam-corder, making its NAB debut, is built to handle demanding production environments. It records to SDHC or SDXC media cards, of-fers simultaneous recording to two memory cards for instant backup or client copy, and provides HD and SD recording options. The new ProHD Compact Studio configures the GY-HM150 for a studio environment using


naB2012Previewthe HZ-HM150VZR ProHD remote lens con-trol and the DT-X71 ProHD monitor.

JVC will also introduce a number of new professional monitors, as well as the SR-HD2500US, its latest Blu-ray disc and HDD recorder, which features HD/SD-SDI input and output for compatibility with most HD cameras, recorders, and production switchers. The company will also showcase the world’s first handheld 4K camcorder, the GY-HMQ10, which captures, records, and plays video im-ages at four times the resolution of HD.

LAWo c2046

Lawo will showcase its full range of broad-cast products, including the Crystal,

Zirkon, and Sapphire radio-mixing consoles, selected large-format consoles from the mc² series for broadcast and postproduction, and routing and DSP solutions. Key highlights will include Lawo’s integrated digital-routing technology and the intuitive layering capa-bilities of the mc² series consoles, which en-hance workflow efficiency.

Lawo’s new V4.16 software for the mc² series will also be featured. With V4.16, cur-rent DSP boards offer 96 channels instead of the 48 previously available. Lawo developed Broadcast Channels that offer a feature set adapted specifically for broadcast applica-tions using simplified signal flow while main-taining Lawo sound quality. Depending on the requirements of the production, sound engineers can select either the 48 “classic” or the 96 Broadcast Channels for the DSP boards — on the fly. By upgrading the mc² console with v4.16, customers can boost the overall DSP performance of their Lawo desk to more than 800 channels. Version 4.16 also supports the new Lawo DALLIS mic card, which offers high dynamics at minimal distortion with low latency and also will be on display.

LEVEL 3 CommuNICATIoNs sU10415

A newly expanded set of media and broadcast services combines Level 3’s

Vyvx Services platform for broadcast back-haul with Global Crossing’s Genesis Solutions managed video-contribution and -distribu-tion services. The combined video fiber net-work — one of the largest in the world — al-lows the company to offer an even broader set of video solutions to media clients worldwide.

From creation to consumption, Level 3’s booth will showcase broadcasting and video solutions fo three primary areas: Vyvx solu-tions, Internet Broadcast Elements, and CDN.

Level 3 will provide demonstrations of its VenueNet+ service, managed video-network services, and the Level 3 Media Portal. The com-pany will discuss network expansion and reach; augmenting JPEG 2000 and HD transmission within the U.S.; continued expansion of Venu-eNet into more sports venues with VenueNet Lite, as well as completion of the VenueNet+ upgrade program across major-league football, baseball, hockey, and basketball venues.

Improved and streamlined delivery of ser-vices will be demonstrated with Level 3 Inter-net Broadcast Elements, a toolbox of services designed to seamlessly integrate multiple Level 3 services for an end-to-end solution for delivering high-quality video online.

Level 3 will also demonstrate how its CDN can be paired with third-party performance reporting all from a single source. Users will be able to view independent, third-party data via the Level 3 Media Portal, providing in-sight on individual content and assets using real-time data for a better understanding of end-user experience. This reliable third-party CDN performance data backs vendor and audience-targeting efforts.

The booth will be directly connected to company’s global network to deliver real-life demonstrations showcasing the power and ease of use of Level 3 services: book live HD Vyvx feeds from cameras at the Level 3 booth, which connects seamlessly to the Level 3 CDN for on-line delivery; and book incoming video feeds from locations across the compa-ny’s newly expanded global network.

LEVELs BEYoNd sL11512

Levels Beyond is publicly releasing its Reach Engine workflow platform to the sports-

programming and media industries. Already in use by sports-rights owners like Ultimate Fighting Championship, television networks, movie studios, and postproduction houses, the platform connects deep video libraries and live production assets to the revenue opportunities available from new distribution models. Reach Engine is available to the global market after proving its utility to the largest, most complex library and creators of live content in the me-dia ecosystem. The product will be demon-strated in Active Storage’s booth.

LIVEu sU9119

LiveU, a supplier of portable HD video-over-cellular uplink solutions, will pres-

ent the latest enhancements to its premium, professional-grade LU60 solution for global broadcasters and its handheld, lightweight LU40i solution for online media.

Its new powerful multicore, distributed processing LU60 professional-grade backpack is designed to provide excellent video quality and improved wireless bandwidth utilization, as well as extra-strong resiliency for extreme conditions (crowded urban areas, etc.) in con-junction with LiveU’s sub-second delay.

LiveU will also demonstrate its high-quality LU40i handheld device, which weighs less than 1.5 lbs. (700 g) and handles SDI, analog and HDMI outputs. With up to six network con-nections, the bonded LU40i offers 4G LTE/3G, WiMAX, Wi-Fi, and LAN video transmission in a substantially smaller form factor.

mIRANdA n2512

For production studios and trucks, in par-ticular, Miranda’s array of signal process-

ing, routing, and monitoring systems will be on display, showing tight integration between infrastructure and production switchers/au-dio mixers to deliver workflows that are more flexible and responsive for operators. For

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naB2012Previewbroadcasters, Miranda will launch an expand-ed fiber range that offers simpler connectiv-ity within and between facilities, including a new, ultra-high-density fiber to-and-from electrical converter system. End-to-end loud-ness monitoring and logging and correction solutions will also be on display, using audio processing that adapts to suit any content.

Enhanced, integrated playout solutions for broadcasters, based on the iTX automation and playout platform, will feature automated VOD mastering, advanced social-media inte-gration, and end-to-end monitoring.

moToRoLA sU2819

Motorola Mobility’s portfolio includes converged mobile devices, such as

smartphones and tablets; wireless accesso-ries; end-to-end video and data delivery; and management solutions, including set-tops and data-access devices.

muLTIdYNE c10421

MultiDyne’s FS-6000 portable file-saver solves the problem of too many sig-

nals and not enough fibers. The easy-to-use, throw-down module will accept six indepen-dent digital signals up to 3 Gbps each on ei-ther coax or optical fiber. It then receives the signals and retransmits them into a CWDM mux. The receiver demuxes the signals and presents them on either STs or BNCs. This product is suited for rental and OB companies that often need to get “more” onto “less.”

Also to be displayed, the SMPTE–HUT al-lows customers to use Sony, Ikegami, Pana-sonic, Grass Valley, or Hitachi camera systems at distances simply not possible with hybrid cables. These small units convert the SMPTE cable into two plain single-mode fibers and permit full camera power, operation, and con-trol at distances of up to 10 km.

NAC ImAgE TECHNoLogY c8749

The Hi-Motion II super-slow-motion cam-era debuted by providing replays for NBC

Sports and for the NFL World Feed during Su-per Bowl XLVI. The complete camera system brings together NAC and Ikegami technology that couples three CMOS sensors with high-speed recording.

In recent side-by-side tests, it is also of-fered improved sensitivity of 2.5 stops versus the older version, allowing it to provide better picture quality and more details.

A Sky football match in the UK and MLB coverage are also on the schedule for the cam-era’s debut year.

NEP BRoAdCAsTINg oE2319

In February, NEP rolled out ND5 and Arizo-na, two HD mobile-production trucks. De-

signed and built at its integration facility, they combine broadcast technology with NEP’s mobile-facilities design. They build on NEP’s 30 years of experience designing mobile-tele-vision-production facilities and use innovative design features, including a new lightweight power system in ND5 and full 16-channel em-bedded audio support in Arizona.

These additions bring NEP’s HD fleet to 47 production trucks world-wide, the largest HD fleet in the industry. ND5 and Arizona are the first in a series of next-generation HD trucks scheduled to debut across NEP this year. In the works are ND6 in the Supershooters fleet, entertainment truck Entourage in the Sweet-water fleet, and an additional HD truck in NEP’s UK fleet.

NET INsIgHT sU3919

Net Insight will showcase Nimbra 310 Compact Access MSR and Hitless

Switching, which offers a flexible alternative to service protection and ensures seamless user-experience. An improved Service-Cen-tric Network Management with Preemption is a JPEG2000 Video Access Module with high port density and flexibility. The company will also address the opportunities for service pro-viders related to content delivery networks (CDNs) and over-the-top (OTT).

Net Insight is driving the trend toward re-mote workflow in production environments with transport solutions that deliver the re-quired real-time, low-latency content with 100% QoS. The company will support broad-casts for the upcoming Summer Olympics through its media-operator customers.

NETAPP sL11815

Rolled out at SMPTE, the NetApp Media Content Management (MCM) system is

designed for bandwidth-intensive environ-ments that need always available data-ac-cess workflow processes. The system allows throughput of up to 50 Gbps reading and 30 Gbps writing per single 40RU rack and support of up to 1.8 PB of each 40 RU rack, as well as 40% fewer disk drives and 25% less rack space and power compared with previous offerings.

The system integrates with Quantum StorNext file systems, allowing collaboration among professionals in different locations and time zones. And coupling the StorNext database with NetApp E-Series storage, us-ers can handle formats like HD, 2K, and 4K resolutions, as well as 3D animation, special effects, and delivery.

NEWTEk sL5111

NewTek will showcase professionals who have expanded their fan base, built their

brands, and added new sources of revenue using NewTek live production and streaming solutions.

On display will be the full range of TriCaster live production solutions that provide the abil-ity to simultaneously produce, live-stream, broadcast, project, and record HD and SD network-style productions. NewTek’s 3Play levels the field for sports producers, provid-ing an affordable, easy-to-use solution for slow motion and instant replay. 3Play now features an over-the-network connection to TriCaster for seamless live switching, production, and re-play, without sacrificing valuable video inputs.

At the NAB Show, NewTek will also feature


naB2012PreviewLightWave 11, the latest version of its Emmy Award-winning, professional 3D modeling, animation, and rendering software.

NVIdIA sL9215

NVIDIA will be demonstrating advances in interactive on-air graphics, interactive

simulation for film production, cloud-based solutions for broadcasters, and GPU-accel-erated video editing — all based on NVIDIA Quadro and Tesla professional GPUs. NVIDIA GPUs power solutions from more than 150 companies, including Adobe, Autodesk, Chy-ron, Cinnafilm, GenArts, and Vizrt.

oN CALL CommuNICATIoNs oE910

On Call Communications will be showing a single-operator SNG system. Its innovative

vehicle design features integrated curbside cam-era, dual curbside monitors, automated satellite system, HD or SD video encoding, and the sys-tem can even be remotely controlled from the studio. On Call’s QuickSPOT satellite network gives users full-time access to dedicated satel-lite space on demand with no minimum usage commitment. Automated antennas connecting users directly to an IP-based satellite network make it easy to access the reliable communica-tions needed for HD video, Web streaming, In-ternet access, and voice lines.

oRAd sL4524

Among the products that Orad will fea-ture at the NAB show, PlayMaker slow-

motion replay server provides up to eight I/O channels of high-quality ingest in multiple video formats, with synchronized slow-mo-tion replay and powerful yet simple editing tools. New features include events tagging, support for Avid’s DNxHD codec, and cyclic recording mode.

The company’s MVP platform provides fast preparation of captivating sports-highlight clips to better visualize critical plays, the flow of the game, and postgame analysis. New en-hancement features include virtual camera

flights between two real cameras, viewing a play as it is drawn on the coach’s drawing board to compare position and technique of individual athletes, drawing a specific player in color on top of a black-and-white back-ground, and breaking down a play into a se-quence of frames to better analyze the player’s movements.

PowerPlay manages live sports productions from ingest through instant highlight editing to dedicated media-asset management in a postproduction environment. It is designed to provide a turnkey solution for large-scale sporting events, focusing on fast turnaround and advanced data-management tools.

oRIgIN dIgITAL sL6824

Origin Digital, an Accenture company, will showcase its Odaptor Video Plat-

form, live-event services, and cloud-based application services. The platform includes an easy-to-use content-management system and next-generation players backed by the workflow capabilities of Odaptor. Cloud ser-vices include a scalable transcoding platform and a distributed content- and ad-publishing system that provides greater advertisement targeting through the analysis of content con-sumption by the user.

The company’s goal is to enable organiza-tions across all industries to capture, convert, and publish HD live and on-demand video to all IP-connected devices.

PANAsoNIC c3607

After a busy show in 2011, Panasonic is promising to leave its mark on the NAB

Show floor this year, with a variety of product introductions and established product show-cases. But Panasonic has already left an indel-ible mark on the college-sports-production market, with the latest example being the University of Michigan.

Last season, the Wolverines’ video staff be-gan shooting with Panasonic AG-HPX370 P2 HD camcorders to capture game action and

practices for coaching analysis. In addition to four AG-HPX370s, the Big 10 team also in-vested in five AG-HMR10 handheld AVCCAM HD recorder/players, an AG-HPX170 P2 HD handheld camcorder for roaming coverage, and PT-DZ570 series DLP native-WUXGA-resolution projectors to display footage in meeting rooms for coaches and players.

Each HPX370 camcorder is teamed with an HMR10, taking advantage of the AVCCAM recorder’s ability to take an HD-SDI feed. The camcorder-and-recorder configuration com-bines the redundant, higher-quality recordings of P2 HD with the lower data rates of AVCCAM recording. The video crew shoots with three camcorders at a game (two on end-zone plat-forms, one on the sidelines) and four at practices. The footage is recorded through the HPX370s’ HD-SDI output directly to the HMR10, and the software (Thunder Football HD by XOS Digital) allows the video crew to serve the AVCHD video to many clients at a very low bitrate.

PEsA sL9615

Expanding on the capabilities of its local-network–based Cattrax system-control

software, PESA’s new Cattrax Web software uses a Web browser to monitor and control routers in locations around the world. The in-terface is an ASP.net application that runs in-side most popular browsers and is compatible with the full line of PESA routers and switch-ers from 8x8 to 1024x1024. The software is a 32-bit architecture running under an HTTP Web server engine.

PESA will also showcase its new audio distributed routing system (DRS) Expanded Data Exchange Engine (E-DXE), which re-moves the boundaries between mixed signal formats. It provides all the essential signal processing to distribute AES3, AES3id, time-code, analog audio, and MADI in one frame; no external converters are needed. Any input type is converted to a packet stream and can be switched as stereo pairs or as two indepen-dent mono analog channels.

ARTEMIS, FROM CALREC.SMALL SIZE…

Putting Sound in the Picture

calrec.com

2

A R T E M I S

Broadcast audio is changing. Today’s broadcasters require more elegant ways to control their increasing channel count, interact with other sources on the network and have clear, concise status at their fingertips. With the same levels of reliability for which Calrec are world-renowned and a remarkably intuitive control surface which still manages to pack in enormous flexibility, Artemis uses Bluefin2 DSP to deliver enormous resources in a tiny package. Able to operate at multiple sample rates, Bluefin2 equips Artemis with up to 640 channel processing paths, and its internal 8192² Hydra2 router turns the console into a powerful networking tool. The world’s most successful broadcasters rely on Calrec consoles. Hard working, rugged, powerful and operating in highly organized networks, Artemis provides much more for far less.

MASSIVECAPABILITYSVG_Artemis_8.125x10.875".indd 1 27/02/2012 15:41


naB2012PreviewPRoduCTIoNHuB c9806

ProductionHUB connects users to the pro-duction people, services, or equipment

needed to get the job done, free of charge. With ProductionHUB.com, they can hire a freelancer or book a crew, rent or buy equip-ment, and hire a company or service. Produc-tionHUB matches users to qualified, available people and companies that will compete for business. Featured profiles receive 10 times the exposure and get leads from Production-HUB’s Request Engine.

PssI gLoBAL sERVICEs – sTRATEgIC TELEVIsIoN sU4719, oE1738

PSSI – Strategic Television has designed and integrated a multidish, mobile

teleport to support WWE production and transmission of WWE programming in-cluding broadcasts of Monday Night Raw, Smackdown, and monthly pay-per-view offerings. This addition to the PSSI – Stra-tegic broadcast fleet (CK-30) will be on display in the Outdoor Exhibit Area at the NAB Show. The 43-ft. trailer is equipped with C-band and Ku-band antennas ca-pable of supporting transmissions on four discrete C-band and Ku-band transponders simultaneously. The unit’s spacious interior has been equipped with state-of-the-art monitoring equipment and the latest in transmission gear. It has also been designed with the possibility of additional digital en-coding/decoding and production gear for future growth.

quANTEL sL2415

At the NAB Show, Quantel will showcase new developments for its post and fast-

turnaround broadcast-production systems, as well as key new features for the QTube global-media-workflow technology.

Enterprise sQ SD/HD/S3D fast-turnaround production systems are relied on by such broadcasters as Rogers Sportsnet, ESPN, Fox, and the BBC to maintain their competi-

tive advantage. On show will be the latest V5 workflows, as well as integration with Orad graphics systems.

QTube global-media-workflow technology allows media professionals to view and edit live production content anywhere, using just the In-ternet. QTube facilitates integration with asset management, newsroom scripting, and archives.

Pablo is an advanced color-correction and finishing system for HD, 2K, 4K, and Ste-reo3D.

quANTum sL5024

Clients like Turner Entertainment and Lime Pictures rely on Quantum StorNext

for everything from content acquisition to distribution. StorNext provides the power to centralize content, enable faster sharing across applications, and build cost-effective digital archives for long-term storage and data protection.

With more than a decade of providing solutions, Quantum StorNext offers shared-storage and data-management solutions for the media and entertainment industry worldwide. Proven in broadcast environ-ments around the globe, StorNext deliv-ers scalable, high-performance file sharing across Linux, Mac, Unix, and Windows oper-ating systems and cost-effectively manages, archives, and protects enterprise storage en-vironments.

RIEdEL CommuNICATIoNs c4337

MediorNet Compact and the Connect AVB solution will be on display at

this year’s NAB show. MediorNet Compact is the cost-effective, easy-to-use entry into the Riedel MediorNet world of integrated-media signal distribution and processing. It provides the flexibility of a true real-time media network, including integrated sig-nal processing, at the cost of simple mul-tiplexing point-to-point products. With a network bandwidth of 50 Gbps, MediorNet Compact provides enough capacity for bi-

directional transport of 12 HD-SDI signals, dozens of MADI streams or Gigabit Ether-net signals, and hundreds of audio chan-nels or intercom.

Connect AVB connecting intercom panels over an Ethernet-based LAN environment has been the dream of many system planers. But issues inherent to IP like latency, reliabil-ity, and missing synchronization prevented them from doing so. Riedel’s AVB product line overcomes these issues and provides a real-time solution for professional intercom users. This allows new approaches in system and facility design to provide significant savings in infrastructure investments. The Riedel suite of AVB products offers intercom applications over LAN infrastructures, such as matrix-to-control panel connections, au-dio distribution, matrix-to-matrix trunking connections, or distribution of digital party-lines.

RImAgE sL12210

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The Signal Online Publishing platform enables businesses to securely push content directly to employee and customer devices, yet still maintain security and measure use. Signal directly delivers and updates published content on user devices with no action required by the user. With Signal, publishers remain in control of their con-tent with highly secure usage policies that stay in effect whether devices are online or offline.

Rimage Blu Lock copy protection for Blu-ray discs prevents the unauthorized copying of high-definition content and joins forces with DVD copy protection and Zip encryp-tion and password protection to provide high-level content protection.

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naB2012PreviewRoss VIdEo n3807, n4506

The Vision Series high-end production-switcher family continues to evolve with

v15 software. This new version extends the integration with production switcher, XPres-sion graphics system, and OverDrive auto-mated-production-control system. Sports and news workflows that previously would have required multiple CG channels across multiple platforms are streamlined without compromising that perfect on-air look.

XPression has gone through some major enhancements for NAB 2012. With the in-troduction of v4.0, users can load multiple projects simultaneously, or even single graph-ics, without disrupting on-air operation. Also at the show will be new Vision control panel modules that accommodate additional exter-nal device control. Vision offers cost-effective operational flexibility for mid to large pro-duction systems.

Version 12 software for OverDrive will be pre-viewed. It completes the set of redundant options, which include HotSwap to switch between Over-Drive servers; DeviceSwap to manage sync rolling of video servers; and FrameSwap, allowing two Vision switchers to be operated synchronously from a single OverDrive system. Also featured will be the QuickTurn new-media workflow, which enables concurrent creation of Web and broadcast streams.

sENNHEIsER c2632

At the NAB Show, Sennheiser will feature the latest transmitter in its wireless ew

300 G3 series, a new “Sennheiser Easy Con-trol” app for the iPhone and IPad, and more.

The SKP 300 G3 plug-on transmitter, whether on a speaker’s podium or in fast mo-bile use in video productions, converts any conventional cabled microphone quickly and easily into a wireless one. The phantom power required by condenser microphones is sup-plied by the rugged transmitter, a highly ver-satile device that enables cabled microphones to easily become wireless.

The Sennheiser Easy Control app allows users to remotely control a conference sys-tem or a microphone receiver easily and di-rectly from an iPhone or iPad. The free app enables both the ADN conference system and Sennheiser transmitters and receivers from the evolution wireless G3 300 and 500 series and the 2000 series to be centrally controlled and monitored.

With the new firmware version 1.7.0, Sennheiser is now providing a media-con-trol protocol for its 2000, evolution wireless ew 500 G3, and evolution wireless ew 300 G3 series. This new open protocol enables rack-mount devices of the series to communicate directly with media-control units in an Eth-ernet network (UDP/IP) and to be integrated into larger audio/video control systems.

sEs sU2412

The global satellite operator and provider of broadcast channels delivers more than

6,000 television and radio channels, more than 1,200 in HD.

SES played a key role in the very first HD broadcasts and distribution and continues to enable HD expansion and innovation as an HD-platform choice. The company reaches more than 245 million homes, which receive cable, DTH, and IPTV programming via SES.

Established and emerging market broad-casters are tapping into SES’s fleet of 50 sat-ellites to reach new audiences everywhere. The company is expanding its satellite fleet at record pace to meet demand for quality tele-vision content and broadband connectivity across the globe. Fourteen spacecraft will be launched through early 2014.

sgL BRoAdCAsT n1520

SGL will continue its successful rollout of next-generation archiving technol-

ogy by announcing support for writing AS02-wrapped files (part of the MXF standard) to LTFS tape. SGL’s support for LTFS provides instant content portability between systems

and streamlines file-based workflows. Users can benefit even further because AS02 files written to LTFS tape allow the simple trans-portation of primary video/audio content and the related metadata. Besides demonstrating this important development in current ar-chive practices, SGL will also highlight an end-to-end Avid InGame workflow using its FlashNet archive-management software.

To further enhance FlashNet’s cross-plat-form support, SGL will show a new Web-based interface for managing content held within a FlashNet archive. This thin client allows users to archive, search, browse near-line and offline content, and restore from any networked PC or Mac, using any Web browser.

sHuRE c1610

The Axient system merges several break-through technologies to create a solution for

the world’s most extreme RF challenges, including interference detection and avoidance, spectrum management, advanced power management, fre-quency diversity, transmitter remote control, and Wireless Workbench 6 software.

The VP89 shotgun condenser microphone is designed to significantly ease any field shoot, offering superior RF immunity, internal low-frequency roll-off, and a rugged, roadworthy construction. With interchangeable long, me-dium, and short capsules, the VP89 provides scalable off-axis rejection and allows an ex-tremely narrow to a wide pickup angle.

The ULX-D personal wireless system of-fers uncompromised audio, spectrum effi-ciency, and signal stability. The easy-to-use system boasts a wide mix of audio quality and incorporates frequency scanning, in-telligent battery technology, and advanced encryption to bring a new level of perfor-mance to professional sound reinforcement. With technological innovations such as net-worked control and intelligent scanning, ULX-D defines a new standard for wireless excellence.

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naB2012PreviewsIgNIANT sL4228

Signiant’s Media Manager system-to-sys-tem solution is designed to handle admin-

istration, control, management, and execution of all system activity — including workflow modeling — from a single platform. Suited to batch transfers of large numbers of me-dia files, Manager provides a Web-based user interface for system configuration, task auto-mation, and reporting. Intelligent agents on the sending and receiving ends manage and monitor successful content movement. The company will also show Signiant Media Ex-change (MX), a private cloud solution for fast, secure file transfer designed for the business needs of media-content providers — from major studios and global broadcasters to re-gional postproduction houses. MX expands user access options with simple, powerful cli-ents that automate the unattended delivery of content to/from any desktop or mobile device. At the NAB Show, the company will unveil powerful products that combine enterprise-level security, management, and control.

soNY c11001

Sony’s 2012 NAB Show theme is “Believe Beyond HD,” which underscores its com-

mitment to providing comprehensive tech-nologies and complete workflow solutions. The company will exhibit a range of HD prod-ucts, workflows, and technologies for 2D, 3D, and 4K production. The products on display will include camcorders and cameras, switch-ers and displays, media-asset–management solutions, and more.

Sony will highlight additions and enhance-ments to many products in its current line: the NXCAM and XDCAM families and the PMW-F3 have akk been extremely popular for a range of ENG and EFP applications. In addition, its newest products are now current-ly in use. In January, Sony began worldwide deliveries of its F65 CineAlta digital-motion-picture camera. Since being announced just a few months ago, it has been in high demand,

with pre-orders for approximately 400 units worldwide.

The F65 has been tested by a range of DPs and production professionals, and F65 proj-ects currently in progress including the latest film from production company Overbrook Entertainment and director M. Night Shya-malan, After Earth, scheduled for release next year by Sony Pictures Entertainment’s Columbia Pictures, the first major motion picture to be shot using Sony’s F65 camera.

Its 8K image sensor, with approximately 20 total megapixels, offers higher image fidel-ity than any other digital cinema production camera. With 16-bit Linear RAW File output capability, the F65 creates the gateway to an end-to-end 4K file-based mastering workflow.

A centerpiece of the show will be OLED professional master-monitoring technology. Sony will show its full line of professional production monitors, including its current OLED models, as well new OLED panels and sizes in development. Its OLED range is of-fered in three series: the PVM line used in ed-iting, dailies review, graphics generation, and special effects; the step-up BVM F series for technical image evaluation; and the flagship BVM E series for cinematic production.

Sony will also highlight its 3D professional technology, including its newest 3D camcord-ers: the PMW-TD300 shoulder-mount model and the HXR-NX3D1U NXCAM compact camcorder. The camcorders have been used on a range of projects, including the Sony Open golf tournament and the X Games, as well as several documentaries and movie shoots.

Sony will also show 3D professional moni-tors and 3D processing and 2D/3D conversion technology.

sos gLoBAL ExPREss oE1720

SOS Global concluded its 25th-anniversary year in 2011 with an expanded internation-

al business, a new London office, and having been awarded the international logistics of the Asian Winter Games in Kazakhstan. In 2012,

SOS Global will continue to build and diver-sify their businesses, both internationally and within North America. SOS has already man-aged logistics for the Youth Olympics (Austria) and looks forward to working with custom-ers on the UEFA Euro Cup, the Pope to Cuba, and the highly anticipated London Olympic Games. The North American team has also expanded its reach into non–sports-related entertainment, including American Idol and So You Think You Can Dance, along with feature films and conventions worldwide.

sPECTRA LogIC n6212

Spectra Logic defines, designs, and deliv-ers innovative media-asset protection

through data-tape and disk-based archive storage solutions.

At the NAB Show, Spectra plans to display its T-Finity and T950 data-tape libraries. T-Finity is a high-capacity tape library that scales to millions of hours of storage and in-cludes management features that help ensure that archives are always available.

sTAgETEC usA c3332

XDIP Dante network-interface card works in collaboration with Audinate for the

NEXUS digital audio router. Vivace, a state-of-the art room-acoustics-emulation system, creates highly convincing spatial acoustic en-vironments in any indoor and even outdoor environment. Also to be exhibited are soft-ware v3.8 for the Crescendo digital mixing console and a new software version to allow reconfiguration of the NEXUS digital audio router without the need of a cold boot. The NEXUS XCPU09 board offers loudness me-tering, spectral analysis, and True-Peak meter.

sTudER (HARmAN) c2619

Studer will display its OnAir 1500 digital mixing console for broadcast and produc-

tion. The 12-channel, six-fader console (ex-pandable to 12 faders) is suitable for studios needing an additional professional-grade


naB2012Previewfader unit and additional I/O or a compact, cost-effective mixing console for a produc-tion room or on-air studio. Integrated USB playback and record functions make the OnAir 1500 a very compact yet complete pro-duction unit and mixer. The OnAir 1500 will be on display as part of the Interactive Learn-ing Zone at the Studer NAB booth.

The Interactive Learning Zone will also feature Studer’s RELINK (Resource Linking) I/O sharing system, which can link numerous Studer consoles in various locations of a broad-cast facility to allow audio source and control data sharing across a wide network. The Studer RELINK system is based totally on Studer’s ex-isting SCore system, an integral part of a Studer console architecture, so no additional hardware or breakout boxes are required to complete the network. Any combination of Studer Vista (5, 6, 7, 8), the OnAir 2500 and 3000 consoles, and Route 6000 can be linked via RELINK, com-municating over TCP/IP.

T-VIPs sU7907

T-VIPS will launch the TNS547 DTT mon-itor for DVB-T and DVB-T2 networks,

which provide end-to-end monitoring for DVB-T and DVB-T2 operators. The TNS547 is the newest member of the T-VIPS nSure product line and is designed to ensure deliv-ery of high-quality video content by simpli-fying the monitoring and analysis of DVB-T/T2 transport streams and services throughout a terrestrial network. This new solution will ship at the end of the first quarter.

The TNS547 provides efficient monitor-ing of all major interfaces, formats, and layers found in DVB terrestrial networks. The moni-toring and analysis features enable fast fault-detection and diagnostics through either an intuitive Web-based user interface or integra-tion with a network-management system.

The TNS547 provides an extensive range of RF measurements, T2-MI analysis capabili-ties (DVB A14-1), IP/Ethernet statistics, and EPG/EIT verification. Error detection and

alarms are compliant with ETSI TR 101 290 (Pri 1-3) for DVB signals.

TAsCAm sL2108

The X-48mkII 48-track hybrid hard-disk workstation is a purpose-built hard disk

recorder and computer-based digital audio workstation. It features a 1-TB internal hard drive, eSATA and USB interfaces, 48-hour continuous recording at 44.1 kHz or 20-hour continuous recording at 96 kHz, dual-core In-tel ATOM processor, and HDTV tri-level sync. In addition, the workstation includes GUI for recording, mixing, editing, and metering the HS-2 solid-state two-track recorder, which allows timecode DAT recorder replacement; SD and CF (ultra DMA-compatible) cards that can be used as recording media; up to 192-kHz/24-bit broadcast WAV-file record-ing; BWF file format with iXML metadata; multichannel flash start; and dual slots, which allow two cards to be loaded and recorded si-multaneously in mirror recording mode.

TATA CommuNICATIoNs sU9309

Tata Communications delivers specific communications- and asset-management

solutions for the media and entertainment industries. Key offerings include Mosaic, an advanced cloud-based media-asset-manage-ment platform, CDN, and Video Connect for real-time broadcast of video globally over Tata Communications’ dedicated network.

The company recently announced a multi-year technology service and marketing agree-ment with Formula One Management. Under the agreement, Tata Communications will de-liver world-class connectivity to all 20 Formula 1 race locations over its global network. It will also provide hosting and content-delivery ser-vices to Formula1.com, which is accessed by tens of millions of fans around the globe.

TEkTRoNIx n1023

Tektronix will showcase its WFM7200 waveform monitor and WVR7200 ras-

terizer to help content providers verify the quality of video content and make precision adjustments that reduce the potential for gamut errors during the editing and format-conversion process, effectively preventing client dissatisfaction and the need for costly rework. Advanced color-gamut monitoring, including Tektronix Luma Qualified Vec-tor (LQV) and Spearhead gamut displays, which, working in conjunction with Dia-mond gamut display, provide comprehensive color-gamut monitoring for precise adjust-ments.

In addition, Tektronix will exhibit its new fully featured WFM2200 portable waveform monitor to help engineers in the field. This portable HD, SD, and 3G-SDI–capable wave-form monitor features a large, bright LED back-lit display and a replaceable and re-chargeable battery that eliminates down time. It also pairs signal generation with waveform analysis, making it ideal for verifying link performance between two broadcast-facility devices. The WFM2200 displays the external reference as an analog signal to check the quality of the video sync pulse signal, and the Tektronix timing display helps ensure facility system timing.

TELECAsT fIBER sYsTEms c8925

Among the products that Telecast Fiber will introduce at the NAB Show is the

Thunder system, a cost-effective, compact, and versatile fiber-optic solution for trans-porting audio, intercom, and data in mobile-production, broadcast-infrastructure, and live-sound applications. The new Terrapin TR-D6 compact, bidirectional throwdown device features fiber-optic (ST) input and copper (BNC) input, as well as fiber-optic output (ST) and six copper (BNC) outputs. A single pushbutton operation makes it easy to switch among four modes, permitting the Terrapin TR-D6 to act as an HD-SDI distri-bution amplifier with six BNC outputs and a fiber-optic output, a fiber-optic transceiver

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naB2012Previewwith six BNC outputs of the received signal or the local copper signal, or as an optical repeater with a six-output BNC tap. The Co-bra 2 DT fiber-optic solution permits exten-sion of the industry’s new digital triax-based camera chains using simple, inexpensive fiber-optic cable. At NAB, Telecast will intro-duce several members of its Thor family of fiber-optic extenders for broadcasting, gov-ernment, and professional A/V applications, and the new TR6442i CommLink fiber-op-tic transceiver system will make its North American debut.

TELEsTREAm sL1405

Telestream’s video-transcoding software products range from desktop applica-

tions and single-server installations to large-scale, multiserver systems that produce and assemble millions of finished media packag-es. Developed for the start of NASCAR’s 2012 racing season and making its NAB debut, the Pipeline Replay system is a multichannel video player that combines with Pipeline HD systems to provide video capture and instant, synchronous playback of multiple HD camera feeds. The Replay system allows race or game officials to easily locate any camera and scrub forward or backward through any portion of the video.

At NAB, Telestream will demonstrate its Vantage, Agility, FlipFactory, and Episode transcoding solutions. Vantage video trans-coding and workflow automation products will address specific workflow needs, in-cluding adaptive-bitrate streaming for OTT, enhanced Avid support for postproduction, greater support for broadcast systems and cable IPTV set-top boxes, and improved au-dio support. Vantage LCS allows Agility 2G customers to access and control Vantage from within existing Agility 2G installations — enabling access to the unique capabilities of Vantage, including QC, analysis, decision making, direct encode of non-transcoded files, and closed captioning.

TERANEx sL220

Teranex’s broadcast-video processors pro-vide format and frame rate conversion,

video-noise reduction, film restoration, and pre/post-compression conditioning. The Ter-anex SIMD-array processing technology de-livers real-time processing with reprogram-mable products, providing a future-proof solution for the broadcast industry’s chang-ing needs. Teranex video processors are used extensively by the world’s leading broadcast-ers, for both live production and postproduc-tion. Broadcasters often must receive video signals in a range of different formats, which they have to convert in real time for live trans-mission. This is particularly relevant at sports events, where video signals from different crews, internal stadium cameras, or a host broadcaster’s feed may need to be converted prior to switching and output. Teranex video processors also are leading the broadcasting revolution from 2D to 3D. Users can create 3D programs from 2D sources with Teranex’s 2D-to-3D software, and dual-channel processing hardware transforms 2D material into stun-ning simulated 3D. Teranex became part of Blackmagic Design in December 2011.

THE sTudIo - B&H c11022

The Studio - B&H is dedicated to provid-ing professional solutions to all market

segments in the sports-broadcast, media, and entertainment industries. Building on last year’s success, The Studio - B&H will again host its own booth and showcase a number of comprehensive solutions, ranging from con-tent production to final delivery. The entire Studio team of application specialists, sales engineers, and account representatives will be on hand to assist and provide NAB attendees answers on virtually any type of environment.

THE sWITCH sU9905

The Switch has completed phase one of its expansion plan, bringing 21 new cit-

ies onto its upgraded network, for a total of

27, with plans to connect 23 additional cities across the U.S. and Canada in the coming year. At completion, The Switch will be present in the majority of professional-sports markets. Each location of The Switch is connected via the company’s Inter-City On Demand (ICOD) network and is capable of transmitting in any format, including uncompressed 3G, uncom-pressed HD-SDI, compressed HD (JPEG2000) and 270-Mbps SDI. Upon completion, the net-work expansion will position The Switch as the largest provider of customer-controlled video fiber switching and transmission in North America. The Switch and ICOD are registered trademarks of Beers Enterprises Inc. The Switch provides customer-controlled video switching across the U.S., the UK, and Canada.

THE sYsTEms gRouP n9905

At the NAB Show, The Systems Group will invite visitors to learn about the com-

pany’s extensive consulting services, including Operational Analysis, an in-depth examination of current operations; Space Programming, which defines room complements, square foot-age, space, and adjacency requirements for op-timized workflows; Conceptual Design, which provides an elegant engineering solution with defined technology parameters; Architectural Planning, which aligns architectural plans with current and future technical and operational needs; Budget Development, which balances the preliminary equipment budget between financial constraints and operational expec-tations; and Technical Specification, which conclusively defines and documents critical project data, such as preliminary technical drawings, working budgets, and project time-line milestones.

THE TIffEN Co. c8818

Solutions will be introduced across the company’s brands: Tiffen optical filters,

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naB2012PreviewTiffen will exhibit the full line of profes-

sional video and film Steadicam solutions as well as the hand-held Merlin product.

Lowel-Light will showcase four fixtures of the recently released Lowel Prime LED lighting system. Lowel Prime LEDs are brighter than many similarly sized production LEDs, with a wider, more usable 50-degree beam angle.

Tiffen filters are manufactured using the company’s ColorCore technology, which en-ables Tiffen to control the color and density of its filters with greater accuracy than typical dyed-in-the-mass filters.

Designed for the professional shooter, the new Davis & Sanford Tripod Pro Elite Se-ries incorporates the company’s high-quality engineering with outstanding price-perfor-mance value.

TIgHTRoPE mEdIA sYsTEms c9515

Tightrope Media Systems will showcase new features to its ZEPLAY multichannel

instant-replay platform for fast-paced sports and live production environments.

A new 12-drive RAID configuration for ZEPLAY supports MPEG-2 encoding at 180 Mbps per stream and Apple ProRes 4:2:2 en-coding/decoding at 145 Mbps per stream. This offers another high-quality option for video transfer across all eight ZEPLAY chan-nels.

The company will also introduce Avid DNxHD codec support, offering workflow en-hancements that allow Apple Final Cut Pro users to import and record files in that sys-tem’s native format — improving speed and efficiency.

ZEPLAY remains open accessible, with ease of use that offers quick learning curves and intuitive operation. Compact and low-cost, its all-in-one approach integrates mul-tichannel streams (four in, four out), a pris-tine-quality multiviewer, program switching, media storage, control options, and metadata tagging options to enable simple archive and recall capabilities.

TVLogIC sL5005

Monitor manufacturer TVLogic offers a wide range of video-monitoring solu-

tions for broadcast, production, and postpro-duction, as well as digital signage and multiv-iewer applications.

Founded in 2001, TVLogic has earned a reputation for developing and manufactur-ing high-quality video-monitoring systems with precision-engineered technology and innovative designs that provide broadcast and production customers worldwide with professional, reliable reference-grade displays for critical viewing applications.

TVu NETWoRks sU8519

The latest-version TVUPack Mini ultra-small, lightweight camera-mountable

portable video-transmission system uses one or more wireless data cards to broadcast live events from virtually any location with HD or SD broadcast quality. Its lightweight de-sign and small form factor give broadcasters, production crews, news agencies, and inde-pendent videographers a professional-quality tool to capture live video and broadcast high-quality images directly to the Web or a broad-cast facility. Combined with the company’s TVUPack Cloud receiver, TVUPack Mini de-livers live news conferences and sports events to Web audiences.

uTAH sCIENTIfIC n4511

Utah Scientific will showcase embedded-audio signal processing for the UTAH-

400 series digital routing switchers. Embedded audio is especially important for mobile trucks where space is at a premium and provides the added benefit of power saving. The capability comes courtesy of a new line of I/O boards that rely on advanced field-programmable gate array (FPGA) technology to perform signal process-ing. The enhanced UTAH-400 routing systems also incorporate a virtual control panel to pro-vide an easy-to-read display of the video signals and their associated audio positions. The GUI

design enables control of digital-signal-process-ing functions and other signal-configuration information.

VIdoVATIoN sU11012

VidOvation will demonstrate an array of solutions, each designed with cus-

tomer requirements in mind and built to the demanding specifications of today’s media operations. The company’s In-Net GoalCam wireless video-transport system was imple-mented recently by the NHL to aid and support officiating and instant-replay needs to ensure accurate calls at every venue in the league. It withstands the hardest hits and specification needs of the NHL. This one-of-kind system uses 60-GHz wireless HD-SDI RF technology.

The Meridian wireless microwave broad-cast system is designed for extremely high-quality, zero-delay, wireless, and RF camera links. It offers short-range transmissions as an affordable alternative to traditional COFDM systems. Using license-exempt channels while offering secure encrypted transmissions, Me-ridian operates in a variety of applications, including large-screen presentations, award ceremonies, and live broadcast events.

VIdYoCAsT sL11024

VidyoCast offers a comprehensive plat-form for remote broadcast production

and transmission over IP with modules for contribution, distribution, remote live produc-tions, camera robotic control, and monitoring.

The platform provides broadcast quality and reliability at a fraction of the cost of tradi-tional broadcast solutions. It includes an online control console for real-time management of feeds, encoders, decoders, and cameras.

Leveraging the latest video-compression standard, H.264/SVC, together with the con-cept of an IP-based video switcher allows reliable transport of high-quality video over low-quality IP networks without compromis-ing service or signal quality.

VidyoCast’s suite of broadcast products oper-


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naB2012Previewates over any IP networks, either public IP net-works (internet) or private IP networks (MPLS, WAN, satellite) or a combination of the two.

The platform offers hardware and software solutions for SD/HD transmission with point-to-point and multipoint distribution; remote live feeds management and routing with real-time monitoring; remote productions with ro-botic camera control; IP monitor wall; remote contribution (live shots) for single- and multi-ple-party on-air discussions; MCR with channel origination/zoning; and low-latency net-return.

VIsIoN REsEARCH c7843

A highlight of Vision Research’s booth will be the new Phantom v642 camera,

which offers Multi-Matrix color correction, allowing improved color matching and inde-pendent adjustability over 16 axes.

Vision Research is a winner of the National Academy of Television Arts & Sciences Emmy Award for Technical/Engineering Achieve-ment in the category of HD Super Slow-Mo-tion Systems for Acquisition, Recording and Playback for Broadcast Entertainment and Sports Productions.

Four employees of Vision Research won a Scientific and Engineering Academy Award for the design and engineering of the Phan-tom family of high-speed cameras for mo-tion-picture production.

VIzRT sL5605

The Viz Media Engine is a central point for complete control over all assets and a digi-

tal management solution that provides tools to manage the entire multiplatform distribution from ingestion and transcoding to publishing content automatically adapted for playout on TV, Web, and phone and other handheld devic-es. The latest version of Viz Trio has enhanced video-content–management support with the integration to Viz Media Engine.

Vizrt will also show LiberoVision, which will demonstrate the latest innovations in 3D sports analysis. LiberoVision sports-

analysis tools are now integrated into Viz-rt’s general graphics and video workflow. LiberoVision’s Libero Highlight 4.5 offers the ability to embed virtual advertisements in live programming, iPad-enabled control of the LiberoVision annotator, 3D arrows, detection of camera angles used in football, faster video processing, and a simplified user interface.

Viz Multichannel automates commercial insertion on multiple channels. It combines prescheduled, timecode-based playlist op-erations with the possibility of adding real-time 2D and 3D graphic effects and powerful branding capabilities. With Vimond Media Solutions’ integration with the Viz Media En-gine and Escenic Content Engine, users have a complete online video platform handling live streaming from mobiles, editors’ ingest, and insertion of graphics and ads.

WHITE sANds ENgINEERINg/sEg sU7315

White Sands Engineering supplies con-nectors, cables, and cable assemblies

for broadcast, CATV, and A/V applications. The company specializes in 75-Ohm, mini RG59 products that feature excellent performance in a small, flexible design and have been widely used for more than 10 years. White Sands Engineering’s innovative, one-piece coax con-nectors for several types of cable include BNC, RCA, F, and more and can be reliably termi-nated in 15 seconds. The high-performance AirBNC and 1.0/2.3 DIN connectors exceed SMPTE and industry requirements.

WoHLER TECHNoLogIEs n5211

The new DVM-2443 MPEG video monitor is a cost-effective four-screen monitor-

ing system that offers broadcasters advanced test and measurement features in a stand-alone 2RU configuration. The DVM-2443 MPEG video monitor incorporates four 4.3-in. 16:9-aspect-ratio LED backlit displays for flexible and convenient at-a-glance monitor-ing of program content from MPEG-2/4 ASI

streams, as well as PID table metadata, wave-form, and vectorscope overlays and audio-level meters.

Wohler will debut a dual-input SDI audio monitor that offers high-performance moni-toring of embedded audio in 3G/HD- or SD-SDI streams at an attractive price point. The 1RU unit de-embeds and provides metering and monitoring of any or all of the 16 audio channels in the selected 3G/HD- or SD-SDI stream.

The company also will launch two ver-sions of its popular HDCC Series cap-tioning/subtitling cards for use with the openGear 2RU modular frame and asso-ciated Dashboard control software. The first is a full-featured model that provides all the capabilities of the current HDCC Series dual-channel captioning/subtitling card within the openGear form factor; the second HDCC version is a cost-effective single-channel encoding solution designed to complement the new Ross Nielsen Wa-termarks Encoder (NWE-3G).

YAmAHA CommERCIAL AudIo sYsTEms sU7315

The new Rupert Neve Designs Portico 5045 Primary Source Enhancer will make its

NAB debut. The RND 5045 has been developed for and is distributed exclusively by Yamaha. Designed primarily for live-sound applica-tions, the RND 5045 is a two-channel analog, 1RU device enables up to 16 dB of additional gain before feedback when conditions allow, and, because it is a dynamics-only processor, the integrity of the original signal is preserved. The device reduces background sounds and enhances the main audio source, providing clarity and warmth to podium, lavaliere, and headset mics as well as in extreme situations, such as referee mics. The unit has been used or is installed in the Alamo Dome, Notre Dame, Northwestern, Lambeau Field, Cowboys Sta-dium, Reliant Field, University of Phoenix Sta-dium, the Rose Bowl, and Lucas Oil Stadium.

Selenio is bringing an all-new blueprint to mobile sports production.

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a number of SVG sponsors won’t be exhibiting at NAB, but that doesn’t mean they aren’t busy moving the in-

dustry forward. On the following pages is an overview of those sponsors’ newest services, projects, and growing presence in sports broadcasting.

AERIAL VIdEo sYsTEms

Aerial Video Systems (AVS) released its second-generation 12.5-lb. wireless-

camera package for Steadicam applications, which combines the Sony HDCP1 box cam-era with a Link L-1500 transmitter for the highest-quality, ultra-low-delay wireless signal possible. AVS’s new design mounts the transmitter below the camera, lower-ing the center of gravity — a feature Stea-dicam operators have been asking for since AVS released the first P1 package last year. In 2011, AVS provided the wireless facilities for Monday Night Football, Sunday Night Football, and Thursday Night Football and wrapped up the season with the NFL Cham-pionship games on Fox as well as Super Bowl XLVI. Other 2011 credits include ABC’s Dick Clark’s New Year’s Rockin’ Eve, Academy Awards, Dancing With the Stars, American Idol, So You Think You Can Dance, Amer-ica’s Got Talent, Rugby World Cup in New Zealand, the NBA All-Star Game, and the Los Angeles Marathon.

ALL moBILE VIdEo

This spring, AMV will introduce its VOIP server service, which uses RTS VLink cli-

ent and server products. As a virtual-intercom-matrix provider, AMV will guarantee critical communications paths for outside-broadcast and television productions on a per-day or event basis. Its Gateway and Westar teleports will of-fer both static and DHCP Tier 1 connectivity, through facilities supported by uninterruptible battery- and generator-backup power systems.

All Mobile is now a mobile-production-truck manufacturer, offering frame-up fabri-

cation for complete mobile-broadcast solu-tions. With its two nine-bay facilities in New Jersey and in-house design, metal, wood, and paint services, trucks can be customized to each unique client’s needs.

ALPHA VIdEo

In fall 2011, Alpha Video started installa-tion of three HD-video control rooms on

the Penn State University campus. One con-trol room in the Bryce Jordan Center controls the video distribution for events in the center and for football games in Beaver Stadium. The two other control rooms are installed in Rec Hall: one controls video for events in the building, and the second is used to provide event programming to the Big Ten Network.

Alpha Video also completed integration of the HD-video control room and video coach-ing systems for the new Miami Marlins Ball-park and the technology systems for the Col-lege Park Center Arena at the University of Texas at Arlington (UTA). The UTA project demonstrates the company’s approach to large-venue technology, incorporating a wide variety of systems: an HD-video control room, team coaching video systems, broadcast infrastruc-ture cabling, an IPTV distribution network, digital signage, digital menu boards, and dig-ital-signage creative-content services.

ARCTEk sATELLITE PRoduCTIoNs

In January, ARCTEK Satellite Productions logged a record number of transmissions

for its four uplink trucks (two Ku- and two C-band). Based on the Sprinter chassis, all are equipped with HD encoding and monitoring.

The company was in Iowa with multiple trucks for news coverage of the Republican Cau-cus. The White truck headed to the West Coast for eight weeks of college basketball. College hockey and basketball and HD encoding kept the rest of the fleet busy in the Midwest.

The Minneapolis-based satellite-transmis-sion provider also worked conference bas-

ketball tournaments and will be doing racing and Major League Baseball this summer and fall. These highlights, breaking-news coverage, corporate events, and plenty of college football keep the trucks running from coast to coast.

AxIs gLoBAL LogIsTICs

Axis Global Logistics specializes in on-de-mand delivery of critical shipments of any

size, weight, or dollar value. The company oper-ates 24/7, 365 days a year, and offers a wide range of logistics services in the areas of domestic and international transportation, carnet and customs-documentation preparation, warehousing, and fulfillment services. Among the high-end indus-tries Axis serves are marketing and advertising, broadcast production, financial services, and le-gal services, as well as manufacturing with time-critical logistics requirements.

BRoAdCAsT sERVICEs INTERNATIoNAL

BSI has been host broadcaster at World Cups and covered World Championships

and more than 18 Olympic Games.In 2011, BSI supplied airpacks and RF

equipment to such high-profile events as World Track and Field Championships in Ko-rea, World Swimming in Shanghai, and Skins Golf in Canada. This summer, BSI will supply facilities and technical management services to a variety of clients at the European Cup and the London Olympics.

CAT ENTERTAINmENT sERVICEs

Cat Entertainment Services took part in a salute to U.S. veterans and service mem-

bers on Nov. 11, when the UNC Tar Heels and MSU Spartans tipped off aboard an aircraft carrier in what the Navy hopes will become an annual Veteran’s Day event. Just off the coast of Coronado, CA, in San Diego Bay, the USS Carl Vinson had been transformed with the instal-lation of a basketball court, hoop stanchions, and 7,000 seats. Behind the scenes, CES techni-cians worked nonstop for eight days to beat the

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sPonsoruPDaTeclock: loading in and hooking up two 1,000-kW generators, three 150-kW generators, and two 60-kW generators to ESPN’s broadcast compound. The setup used more than 5.5 miles of cable and 350 rubber safety ramps.

CBC moBILE PRoduCTIoNs

CBC Mobile Productions’ newest HD truck, Infinity, launched in January, has been

busy covering NHL hockey, NBA basketball, college sports, and recently, the Kevin Smith: Live From Behind direct-to-theater produc-tion. The company is also in the process of building a 53-ft. expando trailer, which will be used to replace its first HD unit, Premiere.

In February, the company covered FIBT’s Bobsleigh and Skeleton World Cup events in Whistler, BC, and Calgary, AB. Currently, the company is gearing up for its annual NHL Playoffs run for Hockey Night in Canada (HNIC). It is not uncommon for HNIC to cover more than 50 NHL games during the typical nine-week playoff run: a run that usu-ally spans cities coast to coast on both sides of the border.

CBC Mobile Productions is looking for-ward to a busy summer covering large out-door events, including Spruce Meadows Equestrian, Calgary Stampede Rodeo, LPGA Canadian Open, ATP/WTA tennis events, and the Union Cycliste Internationale (UCI) World Tour Canadian events.

CBT sYsTEms

After developing and implementing MLB Network’s Ballpark Cam Systems at all

30 MLB baseball parks in 2011, CBT Systems will move on to new and exciting ventures. First up is the new Univision Deportes Sports Network in Miami, where CBT Systems has provided facility-design programming, architectural-MEP development guidelines, conceptual systems design and engineering. Hot on the heels of the Univision project is the new Pac-12 Network currently being built in San Francisco. To support the Pac-12, CBT

Systems recently completed a 12-campus sur-vey of more than 90 sports venues across all of the conference’s universities and is in the process of developing campus-by-campus systems to produce and deliver sports pro-gramming to the Pac-12 Network facility.

CBT Systems is also assisting Google-You-Tube with their new YouTube Next develop-ment and buildout of video-audio media pro-duction and training studios.

CLARk mEdIA

Clark Media provides corporations, pro-duction companies, and networks with

broadcast-equipment rentals and production services. The company brings a full-time staff of rental managers, engineers, and production pro-fessionals to provide custom-designed solutions and technical expertise for individual needs.

ComCAsT mEdIA CENTER

CMC has added NHL Network and Ray-com Sports to the roster of sports organi-

zations relying on its Content Solutions divi-sion to originate and deliver video program-ming across multiple platforms. The two net-works join the growing number of national and regional sports networks, out-of-market professional-sports-league packages (via iN DEMAND), special events, and sports-con-tent VOD providers that rely on CMC for their various content needs.

CommuNICATIoNs ENgINEERINg INC.

A Newington, VA-based consulting, design, and systems-integration company, CEI

represents more than 600 equipment manu-facturers for project integration and direct equipment sales. The company also operates a large service and support organization, avail-able to the sports-media industry nationwide, from its Service Depot in Virginia to onsite field repair and maintenance. CEI service en-gineers receive regular industry training and authorized certification to keep pace with new products and technologies.

CP CommuNICATIoNs

For the 2012 NBA All-Star Game, NBA En-tertainment had a challenge: how to put

a 53-ft. HD mobile unit into a 30-ft. space outside behind the stage at Amway Center. CP Communications provided a solution.

For the Sprint Pre-Game outside concert, the company brought in HD1, which fea-tures four Grass Valley LDK6000/8000 se-ries camera chains and two Thomson Viper RFHD cameras. Two LDK8000s with Canon 86x lenses were located at the front of house, along with three handheld cameras with Fuji 13x4.5 wide-angle lens: one on a jib, one on stage, and the other one RF.

The truck was outfitted with an EVS XT2 six-channel HD server and a 360° systems HD server for ingest and playback as well as a final record on Panasonic DVC Pro format.

CRossCREEk TELEVIsIoN PRoduCTIoNs

Crosscreek, a partner in Alliance Produc-tions, is readying a new HD mobile unit,

to be known as Voyager 11. The company will transform its Voyager 6 SD unit, converting it to Full HD. The trailer is under construction at Gerling & Associates in Sunbury, OH, and, when completed, V-11 will offer the largest production area of any truck in the Cross-creek fleet. Beck & Associates will handle the technical integration, which will include Sony cameras and the Calrec Artemis Light audio console. When V-11 rolls in August, the 53-ft. HD expando will service various regional football packages.

Crosscreek is also upgrading Voyager 10, which debuted Dec. 28 on New Orleans Hor-nets basketball and provides the facilities for ACC Sunday-night basketball this season.

CRoWN CAsTLE

Fans attending major sports events want to share their experience and stay connected

via smartphones by sending videos, photos, and texts to friends across the country. For years, Crown Castle has designed, deployed,

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AZZURROCAM 3.0This latest AzzurroCam version is tailor-built to give sports leagues, news networks and radio

studios the ability to manage multiple remote sites equipped with single or multi-camera

studio configurations, from one or multiple locations. The unit serves as a complete remote

studio capable of controlling professional cameras, lighting and audio all through a single

simple user interface that can be modified to run on numerous touch screen applications

such as tablet PCs and iPads.


sPonsoruPDaTeand monitored neutral-host distributed-an-tenna system (DAS) networks to enable wire-less communication at a variety of profes-sional and collegiate sports facilities. A DAS provides a wireless infrastructure solution for venues looking to provide wireless coverage for fans, staff operations, and venue security.

As a provider of shared wireless infrastruc-ture, Crown Castle has relationships with all major wireless carriers. With expertise in design and deployment, it works directly with the carri-ers to lease capacity on the system, enabling the venue owner to deliver on the fan experience and enjoy incremental revenue without the bur-den of coordinating deployment, installation, and maintenance of the system.

CsP moBILE

A Maine-based full-service video and au-dio mobile-production provider, CSP

enjoyed a banner year in 2011 after launch-ing its two HD mobile units. This year, the company has added Big East men’s basketball for ESPN; UConn basketball and Red Bull for NBC Sports; C-USA for Fox; and Tampa Bay Rays, Texas Rangers, and college lacrosse for ERT. CSP is committed to giving its clients the quality they deserve with an engineering staff that goes above and beyond the standard. CSP is looking to grow with its clients and hopes to add a truck in the coming year.

dALE PRo AudIo

Dale Pro Audio announced that DiGiCo’s SD10B and SD11B broadcast consoles

now offer 5.1 surround inputs on a single fader, 5.1 buses, simple mix/minus, back-stop PFL, enhanced software metering, and a surround-monitor matrix. Other features include a 15-in. touchscreen, the ability to assign any channel or bus to any fader on the surface, quick access to alternate chan-nel inputs for backup mics, two individually configurable solo buses, and local MADI I/O. Externa-rack options with modular archi-tecture can be connected via Cat 5E, MADI,

or fiber optics. Also, the company is now shipping Shure’s

new Axient wireless-microphone system. Ax-ient features new technologies in RF trans-mission, reception, and spectrum manage-ment. Automatic interference detection and avoidance allow the system to move to a clear and compatible frequency within millisec-onds, making even major interference issues nearly undetectable.

dIVERsIfIEd sYsTEms

Diversified Systems has been involved in significant system-integration projects

in the sports-facility-network/mobile market for more than 15 years.

Last year, the company completed or be-gan projects for such high-profile sports cus-tomers as Madison Square Garden, Citizens Bank Ballpark, Pac-12, TWC Sports, Raycom Sports, and the Wells Fargo Center.

These projects have included multiple sports-production trucks, broadcast-control and replay rooms, training centers, 24/7 sports networks, and IPTV solutions.

domE PRoduCTIoNs

Production facility provider Dome Pro-ductions continues to offer a long list

of production and digital services. Among them: HD and SD production trucks, fly-packs, uplinks and satellite, fiber, and In-ternet distribution. As the world becomes more familiar with Twitter, Facebook, and YouTube, Dome is stepping up its transition to the new digital paradigm and recently in-troduced Dome Companion TV trucks that will enable the broadcaster to provide an in-teractive experience, allowing viewers to synchronize their tablets with content while they watch their television. Also, within this new space, Dome is specializing in the man-agement of social-media campaigns with tweets, status updates, blogs, and streaming video to ensure a greater exposure on the Web for the second-screen experience.

dTAgs

An encoding-solution provider for the sports and media industries, DTAGS

specializes in turnkey transmission solu-tions for live sports, news, and special events. DTAGS continues to grow, providing the broadcast and media industry with digital-video transmission services combined with monitoring and quality control to create the most reliable remote HD solutions.

EuRoVIsIoN

Over the past 12 months, Eurovision has continued to expand the volume of

sports and news content it delivers into North America from the rest of the world for such clients as ABC News, C-SPAN, Voice of Amer-ica, National Geographic channel, the Univer-sal Sports Network, Fox Sports International, Canadian Broadcasting Corp., ESPN, and Speed channel.

The company continues to grow the volume of sports content for the PGA Tour and the NBA to rightsholders around the world, dis-tributing both full-time and ad hoc material. All this content is delivered in both MPEG-2 and MPEG-4 format and encompasses every-thing from 11-Mb SD programming up to 42-Mb HD feeds, in both 2D and 3D formats.

Eurovision services all of its North Ameri-can clients via the company’s main 24/7 TOC facility in Washington, DC, as well as through its New York bureau.

f&f PRoduCTIoNs

F&F Productions’ GTX fleet of single/dou-ble-expando HD mobile units feature Ike-

gami’s native-multiformat CMOS HDK-79EC cameras, expanded virtual-monitor walls, Evertz multiviewers, MVP server software, and EVS’s upgrades to GigE Vision.

The recently launched GTX-16 — boasting Grass Valley’s Kayenne HD production switch-er, four EVS HD XT2+ LSM six-channel serv-ers, and Apollo audio console with two Hydra2 I/Os — joined CBS Sports in New Orleans for


sPonsoruPDaTeits exclusive live coverage of NCAA Men’s Final Four and now gears up for US Open tennis and the network’s SEC football season.

GTX-15 hosted CBS’s pre/postgame shows from the Final Four and will boost ESPN’s US Open tennis, MLS soccer, and college-football coverage this season with enhanced DTS Neu-ral surround sound, expanded monitoring featuring 18 Boland 32-in. HD-SDI monitors, router-output capacity doubled to 288x576, and updated Image Video Tally System.

fILmWERks INTERNATIoNAL

When the Red Bull Crashed Ice World Championships needed the infra-

structure to make its event happen, organiz-ers turned to North Carolina-based power supplier Filmwerks.

Filmwerks helped construct a 1,300-ft. ice track that snaked its way down through the streets of Minnesota’s capital for the extreme-racing event. The Filmwerks crew had to de-sign five separate power grids: one each for the chillers that made the ice; the lighting and audio; the VIP and media tents; athlete tents; and the production compound.

It was essentially a blank slate for Filmwerks, which helped design and power a course at a location that had no infrastructure in place. It took more than 5 MW of electricity to light the structure and power the NBC Sports Network broadcast crew, as well as 50,000 ft. of cable and 4,000 kW worth of boilers.

fLETCHER sPoRTs

At Super Bowl XLVI in Indianapolis, Fletcher Sports provided four of the new NAC Hi-

Motion II ultra-slow-motion digital cameras. The Hi-Motion II camera, developed in coopera-tion with Ikegami, is a dual-format 1080i/720p system that can provide simultaneous output of live normal-speed video and ultra-slow-motion replay video and can be used as both a “tradition-al” HD portable/field camera and an ultra-slow-motion HD camera that can work side-by-side with other Ikegami HD cameras on production

trucks to deliver the exceptional imagery that today’s HDTV sports viewers demand. The Hi-Motion II camera is sold and supported by Ike-gami. The Hi-Motion II cameras use a three-chip (CMOS) sensor capable of capturing more than 10x high-speed images in Full HD and provide simultaneous output of live real-time video and ultra-slow-motion replay video.

gAmE CREEk VIdEo

During Super Bowl XLVI week in Indianap-olis, Game Creek Video’s Victory mobile-

production unit served as a remote outpost for NBC’s Late Night With Jimmy Fallon, which produced four on-site shows at Indianapolis’s Hilbert Circle Theater, concluding with a live postgame special on Sunday. The production, which used 12 cameras, served as a hotbed for new workflows at Late Night, including remote editing and the use of the Stagetec NEXUS network for audio routing.

In terms of video editing, a StorNext SAN was installed in the Game Creek B unit along-side two Apple Final Cut Pro editing systems and three Mac Pros ingesting the 12 camera signals. Blackmagic Decklink Quad cards al-lowed four channels of ingest on each of the Mac Pros, ToolsOnAir was the ingest engine, and Anystream Agility transcoded the signals.

Using a Stagetec NEXUS network, all audio signals from all stage sources were distributed from one central location to front of house, public address, and monitoring to the music-mix mobile and Game Creek trucks parked outside the theater.

gEARHousE BRoAdCAsT

Gearhouse Broadcast, a leader in broad-cast services, specializes in broadcast-

equipment rental, equipment sales, project solutions, and systems integration; it operates globally, with offices in the UK, U.S., Austra-lia, India, and Qatar.

The company offers a vast degree of experi-ence and a proven track record in its involvement in major world sports events. In 2011, Gear-

house Broadcast’s systems integration delivered two new London-based HD studios, which are used by the BBC’s The Football League Show and ESPN’s Premier League matches.

gLoWPoINT

Glowpoint delivers a complete portfolio of high-quality cloud-managed video servic-

es for end-to-end management of telepresence and videoconferencing environments, delivered via the company’s OpenVideo cloud. With years of experience supporting large video deploy-ments, the company manages thousands of telepresence and videoconferencing endpoints for our customers, using its Video Network Op-erations Centers (VNOCs) and network points of presence (POPs) all over the world.

HTN CommuNICATIoNs

HTN Communications, the longest-tenured sports-television and –radio-transmission

provider in North America, packages customized services for broadcast, cable, and radio rights-holders. In the sports market, the company offers seamless point-to-multipoint live HD transmis-sion from every Major League Baseball, National Basketball Association, and National Hockey League sports venue to any site worldwide. For these and other rightsholders, HTN controls, manages, and monitors its own private national fiber network with experienced technical staff at its state-of-the-art fiber-optic transmission facili-ty in New York City. This year, HTN is continuing to build out its transport infrastructure and pro-vide various customer transmission solutions.

ILLumINATIoN dYNAmICs

ID provides lighting and power for many prominent sports events across the nation,

including Monday Night Football, college foot-ball, Summer and Winter X Games, Red Bull New Year’s Eve No Limits, and ESPN’s Super Bowl coverage and Sunday Night Baseball.

ID focuses on making technological and en-vironmentally friendly decisions, purchasing new, low-emission generators that comply with

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sPonsoruPDaTeEPA regulations for many years to come. ID is also investing in state-of-the-art LED lighting fixtures for remote ops and booth lighting.

Last year, ID specially modified the C unit provided for Sunday Night Baseball so that it could be used as an operations office on-site.

Ims PRoduCTIoNs

A provider of production and mobile TV facilities for leading networks, adver-

tisers, and entertainment and sports events, IMSP has built one of only two serial digital mobile units in the U.S.

IMSP comprises three distinct business units: Mobile Television, Post Production, and the Indianapolis Motor Speedway Radio Net-work. HD1 or HD2 rolls out at each of the 17 Izod INDYCAR Series races, including the In-dianapolis 500, as well as to 30 weeks of Pro-fessional Bull Riders’ Built Ford Tough series.

INERTIA uNLImITEd

Visit Inertia Unlimited at Vision Research’s NAB Show booth (C7843), where it will

be displaying the latest broadcast version of the X-Mo camera, which is designed, manu-factured, and supported in the U.S. and is deployed at shows in the U.S., Europe, New Zealand, Australia, and Brazil. The stable and reliable X-Mo is the only high-speed camera system that can be easily used for handheld, hard, robo, RF wireless, or ENG configurations.

In the past year, X-Mo has been used at more than 1,000 sports events, including for golf on NBC, Golf Channel, BBC, ESPN/ABC, and CTV (European Golf Tour); for baseball, including the World Series, on MLB Network, Turner Sports, MASN, and Fox Sports; NFL on Fox and CBS; NCAA football on CBS, Fox, FX, and The Mtn. network; NASCAR on Fox and Turner Sports; Professional Bull Riders on var-ious networks; boxing on HBO and Showtime; MMA Strikeforce on Showtime; UFC on Fox. X-Mo covered the Australian Open, the French Open, Wimbledon, the US Open, and the US Open run-up series tennis for BBC Sports,

NBC, ESPN, CBS, and Tennis Channel. CBC used X-Mo for Hockey Night in Canada and the NHL Playoffs. Comcast used it for NBA and NHL; BBC Sports/SIS, for Six Nations Rugby; and NBC, for the Dew Tour. Gearhouse used X-Mo for the Australian Football league.

INTEgRATEd mEdIA TECHNoLogIEs

Integrated Media Technologies (IMT) has in-troduced a Sports Digital Asset Management

Service specifically designed for the athletics industry. For sports-content owners and produc-ers, having a digital-asset-management strategy has become an essential part of doing business and affects virtually every aspect of an organiza-tion’s operations and future multimedia ROI op-portunities. IMT worked with Tennis Channel to design and build a state-of-the-art file-based workflow, which allows its broadcast-operations, editorial, graphics, and postproduction teams to share and archive content. IMT’s Sports Digital Asset Management Service enables real-time collaboration and coordination throughout the organization, capitalizing on video assets through increased output, accelerated operations, and op-timum utilization of staff.

At the NAB Show, IMT will host technology briefings in its hospitality suite at the Renais-sance Hotel at 3400 Paradise Rd.

isTREAmPLANET

iStreamPlanet is the managed-broadcast pro-vider behind the biggest live and on-demand

sports events, including the Vancouver Olym-pics, Wimbledon, US Open tennis, French Open, Tour de France, Sunday Night Football, TNT NBA Overtime, PGA, NASCAR, and UFC.

In 2011, iStreamPlanet broadcast more than 250 live events with more than 12,000 hours of live video encoded, streamed, and accessed by global audiences on multiple devices.

Relied on by top sports and entertainment brands — such as NBC, Turner Broadcast-ing, and the U.S. Olympic Committee — iS-tream’s Managed Broadcast Services include automated video workflow: acquisition and

multiformat encoding to simplify content in-gest; complete content-management system to handle the complexities of sophisticated video delivery, including managing meta-data and ad insertion; fault-tolerant cloud-based origin to provide massive scalability; and smart multiscreen delivery to maximize reach and provide audiences a unique video experience on a variety of connected devices.

LIVECLIPs

LiveClips — which specializes in creation, digitization, and real-time delivery of

smart-video clips to sports- and fantasy-league fans via Internet-enabled and mobile devices — recently reached an agreement with Encompass Digital Media to host its service offerings.

LiveClips’ patent-pending smart-video clip-ping technology ingests live feeds from games and creates, digitizes, and delivers discrete searchable video clips of every play/replay to Web-enabled or mobile devices within 10 seconds of live action, in accordance with customer-personalized filters. LiveClips, which received $2.15 million in investments over the past three months, created 83,000 discrete video clips, with 6,887 distributed to fans who viewed them more than 65 million times dur-ing the 2011 NCAA college-football season. ESPN and Major League Baseball, among oth-ers, have used LiveClips’ technology.

LYoN VIdEo

Lyon 1, 2, 11, and 12 have been upgraded with the Grass Valley 3G-camera trans-

mission system. The 3G transmission system on the Grass Valley 8000 Elite cameras are fi-ber- and triax-based and support resolutions up to 1080p at 60 fps.

Lyon 11 will use the new camera transmis-sion system at Daytona International Speed-way for Supercross, Daytona 200, and AMA flat-track racing events on Speed. The net-work covers the events with up to 16 cameras from the Lyon 11 and adds robotic cameras and onboard cameras for point-of-view shots.

Over the past two decades, no one has built more sports television facilities than Diversified Systems. From professional and college sports replay, to broadcast centers and sports networks, to production trucks and IPTV, Diversified Systems is your best choice for industry leading technology, cost effective design, and well managed projects.

New yOrk908.245.4833

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Diversif ied Services. Focused Solutions.

DiversifieD systems. We’re here to Play.


sPonsoruPDaTeLyon 12 has been working ESPN NCAA

basketball coverage, primarily in the ACC, and features a 64-fader Calrec Audio Arte-mis console. The images are conducted to an Evertz 3G routing and processing package, a system that provides 64 embedding desti-nations and 48 de-embedding sources, each with 16 channels of audio.

mANsIoN moBILE

Mansion Mobile will partner with KCPT Kansas City Public Television to produce a

national spotlight segment with the Kansas City Symphony for public television, providing mo-bile-production services for the event. The com-pany continues to partner with Alliance Produc-tions and ESPN Regional Television to provide mobile units for Big 12 college basketball.

mAsERgY

Masergy’s Intelligent Broadcast Connect helps organizations acquire all of their

remote featured programming over a pri-vate and fully secure IP network. It supplies smooth, reliable, broadcast-quality HD video for remote talk-backs, live shots, and backhaul. According to the company, the world’s largest sports leagues use the Masergy network.

mEdIARECALL BY dELuxE

MediaRecall provides digital video ser-vices and technology, anchored by a

2,000-person distributed workforce and pro-prietary media workflow, digital video search, and white-label Website platform technologies.

In early 2010, Deluxe acquired MediaRecall, which helps enterprise-scale owners of video archives digitize and organize their content at 10% of traditional costs and 50x faster. Medi-aRecall also assists archive owners in securing distribution and revenues for their content via the stock-footage and consumer markets. To-day, the company is rapidly increasing its client base with an impressive base of brand names, including Deluxe, Getty Images, ITN, National Geographic, and WGBH.

mETRoVIsIoN PRoduCTIoN gRouP

MPG has added C-band transmission to its list of enhanced services and capa-

bilities with the addition of three C-band mo-bile vehicles.

Adding to its existing fleet of Ku HD uplink and HD mobile-production units, MPG de-signed, equipped, and integrated each of the two 4.5-m and the 2.5-m units with state-of-the-art monitoring and HD transmission gear including Evertz multi-image processors, Harris VTMs, Sony LCD displays, and Tand-berg encoders.

mIRA moBILE

MIRA will launch its seventh HD truck this spring. While M12HD will build

on the popular layout and engineering design of M7HD, M9HD, and M11HD, it will feature several key changes as well.

M12HD will be the first truck in the MIRA fleet to feature a Kayenne switcher, Evertz rout-er, and Calrec Artemis Beam audio desk. In addition, there will be enough embedding/de-embedding capability throughout the truck to handle a minimum of 48 video sources. Given the audio density incorporated into M12HD, MADI is used extensively throughout the truck to transport large-scale audio more efficiently.

After launch in late May, M12HD will serve MIRA’s clients in the western U.S. and throughout the country.

moBILE TV gRouP

This year, Mobile TV Group plans to launch two 53-ft. expando HD mobile-produc-

tion trucks. The 31HDX and 32HDX units are dual-feed–capable with Grass Valley Kayenne switchers, Grass Valley LDK8000 cameras, and nearly 30 channels of EVS servers. They will be used primarily by regional sports networks for NBA, NHL, and MLB games as well as for col-lege sports. 31HDX will launch in June 2012, and 32HDX is due in October.

mPE

MPE, New York’s largest postproduc-tion rental house, offers HD and SD,

offline and online Avid rentals, deck rentals, and shared-storage solutions. In addition to delivering, installing, and supporting film and video rental equipment on location, the company has three buildings and more than 60,000 sq. ft. of edit suites and production space in midtown Manhattan.

NEs CommuNICATIoN sERVICEs

A provider of mobile-production and transmission services worldwide, NES

last fall completed the build of an additional ESPN-certified C-band truck, adding to its fleet of five mobile uplinks. Some of its fea-tures are a massive 4.5-m trifold antenna, hub-mounted redundant 600-W solid-state amplifiers, four HD MPEG-2/4 encoders with 16 channels of audio (truck is wired for four additional encoders for a total of eight), two multiplexers, and encoder software upgrades for redundant 3D transmissions, two modu-lators with advanced modulation up to 32 APSK, multiviewer, bit-stream analyzer, and an HD waveform with Dolby, eye, and jitter.

NEuLIoN

Powering the next generation of interac-tive TV, NeuLion delivers live and on-

demand content to multiple devices around the world. From TV Everywhere to profes-sional and college sports, NeuLion builds, manages, and helps grow digital networks for its customers through flexible cloud-based solutions. As a result, NeuLion’s customers are able to provide dynamic destinations for subscribers, viewers, and fans to view and interact with their content in new ways. The company currently powers interactive expe-riences on more than 20 consumer devices, including mobile handsets, tablets, gaming consoles, smart TVs, and third-party set-top boxes for major entertainment, sports, global-content, and news companies.


PACsAT

A full-service video- and audio-production, postproduction, and satellite-transmis-

sion company, PACSAT provides services na-tionally and internationally from its headquar-ters in Sacramento, CA. It provides services in the West, Midwest, Southwest, and Southeast U.S. for major news, sports, entertainment, ad-vertising, corporate, and government clients.

PHIzzLE

The technology provider for advanced mobile-marketing products and digital-

advertising solutions has grown significant-ly over the past 12 months with new cus-tomers, partnerships, products, and Series A financing. Last year, Phizzle secured $3 mil-lion in Series A financing from venture-cap-ital firm Alsop Louie Partners and launched PhizzleBiz, a suite of Web-based self-service mobile-marketing solutions aimed at an af-fordable mobile marketing platform.

Phizzle also formed a strategic partnership with Home Team Marketing (HTM) for inte-gration of traditional and digital-mobile-mar-keting solutions designed to enhance fans’ dig-ital experience specifically among local high school athletic teams throughout the country. The cross-platform approach to digital mar-keting will enable HTM’s network of 10,000 high schools across the country and 21 state-association partners to access Phizzle’s mobile-marketing and digital strategic solutions to in-tegrate new media within traditional elements.

PLATINum uPLINk sERVICEs

Platinum Uplink Services will launch its latest HD satellite-uplink truck in April. The truck,

currently under construction with Frontline Communications, is a 32-ft. satellite/production truck that will be equipped with the latest RF and HD equipment. It is intended to enable Platinum to support the latest RF-modulation and video-compression schemes that clients require. The eight-camera/six-path truck will have the capa-bility to serve multiple sectors within the broad-cast industry, including sports-event backhauls, newsgathering, corporate events, and multicam-era productions. The flexibility of the new truck will allow Platinum Uplink Services to better cus-tomize its services to meet client needs.

PNC EquIPmENT fINANCE

PNC Equipment Finance provides equip-ment financing to clients throughout

the U.S. and Canada in the broadcast, cable, film, audio- and video-production, projec-tion, presentation, display, and sports-facility-technology segments of the broadcast, media, and entertainment industries.

The company provides financing assis-tance for major sports-venue and broadcast-ing installations.

PoLAR moBILE

Polar Mobile provides global media com-panies a platform that makes it fast and

easy to launch branded mobile apps across all smartphone and tablet devices. Thousands of mobile apps are powered by Polar Mobile’s SMART platform for hundreds of media pub-lishers in dozens of countries, which include top-tier magazines, newspapers, broadcast-ers, and online portals across the news, sports, entertainment, and lifestyle media verticals.

PRg

Supplying entertainment and event tech-nology to a wide range of markets —

live broadcast, television and film, special events, corporate and automotive events, concerts, theater, trade shows — PRG pro-vides integrated services and equipment, such as editorial, engineering, and live streaming, as well as audio, video, lighting, rigging, scenery, automation systems, and postproduction from more than 40 offices in North America, South America, Europe, Africa, Asia, and Australia.

PRosHoW BRoAdCAsT

2012 is off to a busy start at Proshow. Its compact HD truck Prodigy spent the win-

ter in Phoenix, handling NBA dual feeds for the Phoenix Suns, as well as other events in the Las Vegas/L.A./San Diego area.

On May 1, Proshow Broadcast will take de-livery of its new 40-ft. Gerling Super Stallion expando and begin integration. The company is Gerling’s launch customer for a new Dimplex option for over-cab–mounted air-conditioning on the Super Stallion series. Maestro will seat eight in production, five in tape/EVS, and two

in video. It will be equipped with Sony triax HD cameras, a 4M/E Grass Valley Kalypso switcher, Chyron HyperX3 graphics system, multiple EVS XT2 servers, and a Calrec Ome-ga audio consoles with Bluefin. Maestro will launch in August.

REALITY CHECk sYsTEms

RCS worked with Sky Germany to launch the first 24-hour sports-news channel

on Dec. 1. The scope of responsibility the company undertook included all design, branding, implementation, workflow inte-gration, statistical-database development, and automation. RCS also handled all statis-tical integration and database development used by the custom ticker system as well as the on-air graphics that required automated statistics.

RCS designed, programmed, and supplied hardware for the HD ticker for MASN. The in-stallation includes authoring of ticker content on revolving playlists; breaking news automated score data for MLB, NFL, NBA, NHL, CBK, and CFB; integration with master-control automa-tion; and remote-control operation for manual insertion and removal during commercial. RCS also provided the ability for simultaneous con-trol and building of unique content on the alter-nate network (MASN2) ticker output.

RCS is developing graphics and software for client Mediatec to support a multilanguage platform for coverage of the International Ice Hockey Federation World Championships in Helsinki and Stockholm.

For the start of the 2012 season, Golf Channel looked to RCS and design partner Cake Studios to deliver a complete show rebrand for flagship show Golf Central. RCS and Cake provided a turnkey solution from initial concept, design of the show logo, open/pre-rendered animations, and Vizrt real-time graphics package.

Most recently, RCS launched the Golf Su-perbrackets on Golf Channel’s morning-drive show. It was the first time Golf Channel dedicated four hours of programming for the match-play tourney selections. The Super-brackets application was driving elements on all of the screens on the set in addition to on-air full-screen elements zooming around with analysts breaking down all the matches.


sPonsoruPDaTesgI

SGI has announced the newest addition to its high-performance storage ecosystem

with the introduction of SGI Modular Infi-niteStorage, an integrated server and storage platform designed to provide customers with the maximum flexibility for compute and data-management applications.

Leveraging density in an innovative, adapt-able design, the core SGI Modular InfiniteStor-age platform will be available as either SGI Mod-ular InfiniteStorage Server (SGI MIS Server) or SGI Modular InfiniteStorage JBOD (SGI MIS JBOD) storage products, for wide-ranging, func-tional scalability in diverse data environments.

As a modular storage server designed for customer applications requiring tight coupling of data storage and compute resources, SGI MIS Server can pack two motherboards to-gether with up to 72 3.5-in. SAS or SATA drives or 144 2.5-in. SAS or SSD drives within a single 4RU chassis. Each of the two compute engines provides dual-socket capability, which will be populated with one or two processors from the Intel Xeon processor E5-2600 family.

In this way, the optimum mix of SAS, SATA, or SSD drives can be deployed to tune the sys-tem specifically to customers’ I/O, IOPS, and/or processing performance.

sHoW PARTNERs

Show Partners is continuing to make op-erational improvements to its line of ser-

vices while expanding its à la carte offerings.The company recently redeveloped its crew-

timekeeping process allowing freelance payroll to be submitted, verified, and processed in a matter of hours. The new process was imple-mented at the 2012 NBA All-Star Game in Or-lando, for which Show Partners staffed 57 tech-nicians on a number of shows over the course of 10 days. The process successfully captured data from the clients’ existing electronic time-keeping system, eliminating the need for mul-tiple on-site timekeeping systems.

Show Partners has added two Apple Final Cut Pro mobile systems to its inventory of

specialty rental gear, as well as a RAID Fiber Channel Storage system and an assortment of media-storage devices.

smT

In February, SMT (SportsMEDIA Technol-ogy Corp.) acquired Information and Dis-

play Systems (IDS). Having focused almost exclusively on real-time data and graphics in-tegration for live sports television in the past, SMT broke into the in-venue market with the acquisition of IDS, a provider of scoring, sta-tistics, and display products/services at sports venues all over the world.

IDS will be a wholly owned business unit of SMT, with Gerard Hall as CEO over both companies.

The acquisition is the first in what is expect-ed to be an ongoing expansion effort by SMT, which secured growth funding from Vincente Capital Partners (VCP) in September 2010 and is now looking to break into markets outside sports and beyond North America.

sPoRTVIsIoN

Sports-data and broadcast-enhancement company Sportvision offers fans entertain-

ment and insight by collecting a full digital re-cord of events and creating compelling products for delivery across multiple media platforms. Its solutions have enhanced experiences for fans and marketing partners on five continents, including those of the NFL, MLB, NBA, NAS-CAR, the Olympic Games, NHL, IRL, PGA Tour, NCAA, MLS, Korean Baseball League, X Games, and other sports events on-air and online.

For this spring, Sportvision and its partners plan several major product launches, includ-ing the next generation of its RACEf/x car-tracking technology, the first-ever implemen-tation on the NASCAR Camping World Truck Series, and the installation of PITCHf/x track-ing technologies at six new minor-league baseball facilities, bringing the installed MiLB base to more than 25 stadiums.

sTATs

In the near future, broadcast and second-screen viewers will enjoy performance and

fitness metrics currently used exclusively by NBA teams. The source is STATS player-tracking technology called SportVU.

SportVU, a system of six cameras and STATS’ proprietary software, is in 10 NBA arenas this season, calibrating and measur-ing both players and the ball in X and Y co-ordinates. The result is a continuous stream of statistics based on speed, distance, player separation, and ball-possession data and al-lowing more-detailed and targeted analysis of players and teams — all in real time.

SportVU graphics and data will depict such game intricacies as the speed of a pass, the arc of a shot, and a player’s acceleration, deceleration, and distance he actually runs during a game.

TEksERVETekserve is now an Elite partner with Avid.

The new agreement makes the company the only top-level Avid partner with a New York City retail store and a full complement of on-site sup-port professionals. For years, Tekserve has been a recognized Avid audio reseller and consultant, specializing in Pro Tools implementations with some of the biggest names in music. Now Avid video customers in the New York metropolitan area have access to Tekserve’s expertise in work-ing with creative professionals to design, inte-grate, and deploy the technology solutions that deliver award-winning and industry-defining entertainment. In addition to the full suite of Avid’s software technologies, Tekserve now re-sells Avid ISIS, the storage solution that is a real-time shared-media network for content creators and the basis for the complex workflow endemic to the digital-arts community.

THougHT EquITY moTIoN

The UK Football League and BBC Sport have appointed BBC Motion Gallery to digitize

and license the rights to six decades of archived footage. As part of the agreement, BBC Motion Gallery is leveraging Thought Equity Motion’s


advanced platform to digitize content and li-cense clips in North and South America, Asia, and Australasia. The archive features iconic mo-ments from the League Cup and priceless foot-age of vintage teams spanning the past 60 years. This deal is the first of its kind in the UK where a sporting organization and broadcaster have pooled resources to create a joint archive.

In addition, Thought Equity Motion signed exclusive licensing deals with the USTA and Mountain West Conference and has built exten-sive content vaults for the Atlantic Coast Confer-ence and Tennis Australia’s Australian Open.

TokEN CREEk

Token Creek recently provided HD mo-bile-production-truck services for bas-

ketball tournaments in Illinois, Wisconsin, and Minnesota in addition to hockey tourna-ments in Minnesota.

TRIo VIdEo

Continuing its growth in the entertain-ment sector, Chicago-based Trio Video

recently provided HD mobile unit Tango technical-systems design and engineering support to the Norton Anti-Virus 24-Hour Live Comedy Marathon produced by Leo Burnett Advertising and CapGun Collective. The Webcast, featuring actors from Chi-cago’s Second City, originated live from the Windy City’s Copernicus Theatre and was notable as the first time that more than 24 non-stop hours of improvisational comedy content (from more than 660 performances) was fed in real time to Facebook’s worldwide audience. At the same time, the entire event was ingested via EVS servers and directly recorded to Trio Video’s specially designed removable-hard-drive system. Immediately following the live event, these performances were posted online and available as archived viewable files on Facebook.

TxTsTATIoN

In February, the Ultimate Fighting Champi-onship selected CommerceTel and Txtsta-

tion to facilitate mobile-marketing tactics, such as voting, text alerts, and special offers for in-venue and in-broadcast initiatives.

With CommerceTel’s C4 and Txtstation

Pro Web-based platforms, the UFC will be equipped to deliver HD-quality graphics and animations to screens, whether broadcast, in-venue boards, or digital signage. Fans text their messages to a short code, and, within sec-onds, the real-time results can appear live on the screen. The dynamic display of responses not only improves overall response rate but also engages the consumer in an interactive way. Additionally, fans can opt-in for real-time alerts from in-venue or online calls to action.

VCA

Founded in 1972, Video Corp. of America (VCA) is one of the ten largest systems

integrators in the U.S., with offices in New York, New Jersey, and Pennsylvania. Re-cent projects include MSG Networks, MSG Varsity, and Rutgers football. New display technology from Christie Digital and post-production systems from Avid help VCA integrate all elements of live coverage, post-production, digital signage, asset manage-ment, and IT infrastructure to create com-plete communications solutions. VCA has maintained a presence in the sports indus-try for many years, handling such projects as the coverage of the NFL and NBA drafts, along with building postproduction spaces for MLB Network, the New York Jets, New York Giants, and New Jersey Devils.

VER

A broadcast, AV, audio, computer, light-ing, and creative-LED-equipment rental

company, Video Equipment Rental has a nationwide presence, with 23 offices across the U.S., Canada, and Europe, and provides equipment everywhere in the world. Its ex-tensive inventory includes HD cameras/cam-era systems, custom flypacks, VTRs, DDRs, EVS, fiber, super-slo-mo systems, and audio.

VER has added a variety of new HD camer-as and a new video-production switcher from Grass Valley to its extensive inventory of HD production equipment.

VIsTA sATELLITE

Vista Satellite provides satellite and trans-mission-production services to global

clients. It delivers more than 25,000 hours

of occasional-use satellite time each year for such clients as Fortune 500 companies, broadcasters, cable programmers, educa-tional institutions, government agencies, and news organizations.

VIsuALoN

VisualOn develops multimedia software solutions for the connected-device eco-

system and is committed to helping sports broadcasters enable superior playback on a wide range of devices, including iOS, An-droid, and other consumer devices.

Its technology takes the OS, device, pro-tocol, file format, and form factor out of the equation for content playback across the frag-mented device ecosystem.

One recent success is the company’s part-nership with Cisco Systems to provide tech-nology in some of its sports-related video-solution offerings.

VisualOn’s solutions are used by the larg-est streaming-media providers, carriers, and cable operators to power device playback for consumers.

VisualOn supplies the default audio and video codecs on major handset manufacturers shipping in more than 200 million devices. .

xos dIgITAL

XOS Digital’s Hurricane HD Replay, a slow-motion instant-replay system for live event

production, is now available. Hurricane is pow-erful, reliable, and user-friendly. Features and functionality include multiple speed, playlist and highlight creation, graphics support, cus-tom controller, expandable up to eight channels, RAID6 hot-swappable, 77 hours of storage, and live-editing capabilities that no other replay sys-tem currently offers. Hurricane debuted during the 2011-12 football season at the University of Kentucky’s Commonwealth Stadium. XOS Digital will have a presence in Las Vegas, giving demos of Hurricane.

YEs PRoduCTIoNs

YES Productions staff was very busy with the Sugar Bowl and the BCS in New Or-

leans. The company provided mobile units and crew for numerous events surrounding these events.


sPonsor/aDverTiser inDex

SPONSOR PAGE LEVEL CONTACT EMAIL PHONE NAB BOOTH

3ALITY TECHNICA Corporate Steve Schklair [email protected] 818-333-3000 OE1371

ABEKAS 93 Premier Junaid Sheikh [email protected] 650-470-0903 SL1515

ABELCINE Corporate Alan Rosenfeld [email protected] 212-462-0137 C8932

ACTIVE STORAGE Corporate Skip Levens [email protected] 310-212-5248 SL11512

ADOBE SYSTEMS BACK COVER Platinum Rebecca Gerben [email protected] 408-536-4700 SL2624

ADTEC DIGITAL 37 Premier Kevin Ancelin [email protected] 904-720-2003 SU7602

AERIAL VIDEO SYSTEMS Mobile Argyle Nelson [email protected] 818-954-8842

AJA VIDEO SYSTEMS 33 Corporate Shea Byrnes [email protected] 415-834-5675 SL3305

ALL MOBILE VIDEO Mobile Eric Duke [email protected] 212-727-9862

ALLIANCE PRODUCTIONS Mobile Craig Farrell [email protected] 501-219-2653

ALPHA VIDEO Mobile Jeffrey Volk [email protected] 952-841-3311

AMBERFIN Corporate David Abel [email protected] [44] 1256 317 500 SU9005

ARCTEK SATELLITE PRODUCTIONS Mobile Brian Stanley [email protected] 612-308-9079

ARQIVA Corporate Simon Thrush [email protected] 202-728-8615 SU8822

ARTEL VIDEO SYSTEMS Corporate Richard Dellacanonica [email protected] 978-795-4914 SU3402

ASPERA 47 Premier Michelle Munson [email protected] 510-849-2386 SL10315

ATEME Corporate Pierre Lauzon [email protected] 514-907-1351 SU3002

AUDIO-TECHNICA Corporate Mike Edwards [email protected] 330-686-2600 C3010

AVID 13 Platinum Nick Shilling [email protected] 650-731-6405 SU902

AXIS GLOBAL LOGISTICS Corporate Brian Harvey [email protected] 718-906-2866

AXON DIGITAL Corporate John Carapella [email protected] 866-757-9890 N4624

AZZURRO SYSTEM INTEGRATION 119 Mobile Francis Luperella [email protected] 201-784-2020 C7508

BECK ASSOCIATES Mobile Fred Wright [email protected] 512-252-7555 C6908

BEXEL 1 Platinum Lee Estroff [email protected] 770-448-8522 C6833

BLACKMAGIC DESIGN 3 Platinum Mel Atherton [email protected] [61] 3 9682 4770 SL220

BROADCAST SERVICES INT’L. Mobile Brooke Eady [email protected] 905-332-2171

BROADCAST SPORTS Corporate Peter Larsson [email protected] 443-831-1296 C7849

CALREC AUDIO 101 Premier Kevin Emmott [email protected] [44] 1422 842159 C1746

CAMERON-PACE GROUP COVER 2 Platinum Lucas Wilson [email protected] 818-565-0005 OE2390

CANON BROADCAST 17 Platinum Rich Eilers [email protected] 201-807-3342 C4325, C3634

CAT ENTERTAINMENT SERVICES Mobile Phil Wessels [email protected] 904-494-7550

CBC MOBILE PRODUCTIONS Mobile Dale Smith [email protected] 416-205-6513

CBT SYSTEMS Mobile Darrell Wenhardt [email protected] 858-536-2927

CHYRON 61 Premier Bonnie Barclay [email protected] 631-845-2179 SL1510

CISCO 83 Premier Michael Caponigro [email protected] 408-527-6111 SU7408

CIVOLUTION Corporate Emmanuel Josserand [email protected] [44] 20 7845 7371 SU7923

CLARK MEDIA Mobile Gary Snyder [email protected] 610-694-9800

CLEAR-COM – A HME COMPANY Corporate Judy Cheng [email protected] 510-337-6676 C8008

COASTAL MEDIA GROUP Mobile Bob Adler [email protected] 818-880-9800 SU4723

COBALT DIGITAL 41 Premier Bob McAlpine [email protected] 631-651-2713 N1929

COMCAST MEDIA CENTER Corporate Jeff Rohr [email protected] 303-486-3811

COMMUNICATIONS ENGINEERING INC. Mobile Phil Whitebloom [email protected] 703-550-5800


SVG SPONSOR PAGE LEVEL CONTACT EMAIL PHONE NAB BOOTHCORPLEX Mobile Scott West [email protected] 847-457-1430 OE2310

CP COMMUNICATIONS Mobile Kurt Heitmann [email protected] 914-345-9292

CROSSCREEK Mobile Spruce McRee [email protected] 205-663-4411

CROWN CASTLE 105 Corporate Sandy deSosta [email protected] 724-416-2444

CSP MOBILE Mobile Len Chase [email protected] 207-282-9680

DALE PRO AUDIO Corporate Tim Finnegan [email protected] 212-475-1124

DALET DIGITAL MEDIA SYSTEMS Corporate Raoul Cospen [email protected] [33] 1 41 27 67 53 SL4615

DIGICO 31 Premier Jack Kelly [email protected] 516-249-1399 C2252

DIVERSIFIED SYSTEMS 125 Mobile Fred D’Alessandro [email protected] 908-245-4833

DOLBY Corporate Dale Schweppe [email protected] 415-558-0158 SU1212

DOME PRODUCTIONS Mobile Mary Ellen Carlyle [email protected] 416-341-2022

DTAGS Mobile Sheila Smith [email protected] 918-398-0061

DTS 7 Platinum Mark Seigle [email protected] 425-522-0709 SU7619

ECHOSTAR Corporate Kathryn Miller [email protected] 303-706-4833 SU8509

EDITSHARE Corporate Andy Liebman [email protected] 617-782-0479 SL9012

ELEMENTAL TECHNOLOGIES 97 Premier Keith Wymbs [email protected] 503-222-3212 SU10012

ENCOMPASS DIGITAL Corporate Keith Kozicki [email protected] 678-421-6830 SU6522

ENSEMBLE DESIGNS 53 Premier Cindy Zuelsdorf [email protected] 530-478-8328 N2524

ENVIVIO Corporate Sarah Lum [email protected] 650-243-2710 SU3902

ERICSSON TELEVISION INC. Corporate Ed Giovannini [email protected] 203-268-1335 SU819

EUROVISION 134 Corporate Jim Scott [email protected] 973-764-5234

EVERTZ 29 Premier Joe Cirincione [email protected] 818-558-3910 N1502

EVS 43 Corporate Greg Macchia [email protected] 973-575-2111 SL3815

F&F PRODUCTIONS Mobile George Orgera [email protected] 727-535-9595

FILMWERKS INT’L. Mobile Mike Satrazemis [email protected] 910-675-1145

FLETCHER SPORTS Corporate Tom Fletcher [email protected] 312-932-2703

FOR-A CORPORATION Corporate Pedro Silvestre [email protected] 201-944-1120 C5219

FRONT PORCH DIGITAL Corporate Phil Jackson [email protected] 303-926-5873 N5806

FRONTLINE COMMUNICATIONS Mobile Bob King [email protected] 727-573-0400 C7519

FUJIFILM/FUJINON 5 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

GEPCO INTERNATIONAL Corporate Glen Powers [email protected] 845-535-3035 C8508

GERLING & ASSOCIATES Corporate Fred Gerling [email protected] 740-965-2888 OE1256

GLOBECAST Corporate Matthew Rosenstein [email protected] 212-332-2178 SU812

GLOWPOINT Corporate Stephen Vobbe [email protected] 973-855-3411

GRASS VALLEY 23 & 71 Platinum Andy Jackson [email protected] 404-929-5004 SL106

HAIVISION 87 Premier Eric Batangan [email protected] 514-334-5445 SL9911

HARMONIC 81 Premier Paulien Ruijssenaars [email protected] 408-490-7021 SU1802

HARRIS 115 Premier Jennifer Rosemann [email protected] 816-434-4061 N2502

HEGO Corporate Kevin Prince [email protected] 212-537-0158 SL9309

HTN Corporate Joe Cohen [email protected] 212-239-3710

I-MOVIX Premier Nadia Sinigaglia [email protected] [32] 0 65 554 110 C4644

IKEGAMI ELECTRONICS 63 Premier Teri Zastrow [email protected] 201-368-9171 C5108

ILLUMINATION DYNAMICS 69 Mobile Jeff Pentek [email protected] 704-679-9400

IMS PRODUCTIONS Mobile Robby Greene [email protected] 317-492-8710

INERTIA UNLIMITED 27 Premier Jeff Silverman [email protected] 802-368-2591 C7843

INTEGRATED MEDIA TECHNOLOGIES Mobile Tom McGowan [email protected] 818-761-9770 RENAISSANCE

HOTEL

INTELSAT 37 Platinum Peter Cleary [email protected] 212-839-1812 L103


sPonsor/aDverTiser inDexiSTREAMPLANET 117 Premier Robin Cole [email protected] 702-492-5900

JOSEPH ELECTRONCS Corporate Chris Annella [email protected] 847-588-3800 C5349

JVC Corporate Craig Yanagi [email protected] 973-317-5117 C4314

LAWO 91 Premier Herbert Lemcke [email protected] 416-292-0078 C2046

LEVEL 3 21 Platinum Kirsten Megahan [email protected] 720-888-4524 SU10415

LEVELS BEYOND Corporate Art Raymond [email protected] 303-495-2424

LIVE CLIPS 111 Corporate Jack Loop [email protected] 203-856-1454

LIVEU Corporate Ken Zamkow [email protected] 201-742-5227 SU9119

LYON VIDEO Mobile Bob Lyon [email protected] 614-319-4080

MANSION MOBILE Mobile Matt Adams [email protected] 913-647-9700

MASERGY 103 Corporate Dan Boland [email protected] 630-632-2062

MEDIA RECALL BY DELUXE Corporate Don Hollenback [email protected] 847-513-6810

METROVISION Mobile Jim McGillion [email protected] 212-989-1515

MIRA MOBILE Mobile Frank Taylor [email protected] 503-464-0661

MIRANDA Corporate Jay Gravina [email protected] 201-995-1590 N2512

MOBILE TV GROUP Mobile Philip Garvin [email protected] 303-542-5555

MOTOROLA MOBILITY Corporate Jaime Kyajohnian [email protected] 978-614-3370 SU2819

MPE Corporate Neal Pilzer [email protected] 212-245-0970 C7406

MULTIDYNE Corporate Frank Jachetta [email protected] 516-671-7278 C10421

NAC IMAGE TECHNOLOGY Corporate Andy Hayford [email protected] [44] 1844 290585 C8749

NEP BROADCASTING Corporate George Hoover [email protected] 800-444-0054 OE2319

NES COMMUNICATION SERVICES Mobile Keith Valeri [email protected] 508-842-4328

NET INSIGHT Corporate Anna Karin Verneholt [email protected] [46] 8 685 04 00 SU3919

NETAPP 23 Corporate Gail Costantini [email protected] 646-497-8640 SL11815

NEULION Corporate Chris Wagner [email protected] 516-622-8357

NEWTEK 8-9 Platinum Philip Nelson [email protected] 210-370-8266 SL5111

NVIDIA 89 Premier Greg Estes [email protected] 650-255-4282 SL9215

ON CALL COMMUNICATIONS Mobile Erin Ludden [email protected] 949-707-1985 OE910

ORIGIN DIGITAL 45 Premier Nicole Figueiredo [email protected] 201-537-8646 SL6824

PACSAT Mobile Steve Mallory [email protected] 916-446-7890

PANASONIC Platinum Carter Hoskins [email protected] 770-619-1779 C3607

PESA Corporate Dan Holland [email protected] 256-726-9200 SL9615

PHIZZLE Corporate Stephen Peary [email protected] 415-613-3396

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 Regan Fletcher [email protected] 415-608-3293

PRG MEDIA SERVICES 57 Premier Lee Golinello [email protected] 407-996-4126 C6042

PRODUCTION HUB Corporate Steve Rotz [email protected] 877-629-4122 C9806

PROSHOW AUDIO VISUAL BROADCAST 125 Mobile Matt Hussack [email protected] 604-293-1771

PSSI/STRATEGIC TV Mobile Clayton Packard [email protected] 310-893-6024 SU4719, OE1738

QUANTEL Corporate Brad Wensley [email protected] 212-812-1485 SL2415

QUANTUM 123 Corporate Laura Ramsey [email protected] 949-856-7870 SL5024

REALITY CHECK SYSTEMSINSIDE BACK

COVERPlatinum Jeff Heimbold j.heimbold@realitychecksystems.

com 323-465-3900

RIEDEL COMMUNICATIONS 65 Premier Kelly Fair [email protected] 818-241-4696 C4337

RIMAGE Corporate Jason Evans [email protected] 301-529-1015 SL12210

ROSS VIDEO 25 Premier Steve Romain [email protected] 613-652-4886 N3807, N4506

SVG SPONSOR PAGE LEVEL CONTACT EMAIL PHONE NAB BOOTH


SENNHEISER Corporate Jeff Alexander [email protected] 860-434-9190 C2632

SES 99 Premier Sean Tietjen [email protected] 609-987-4465 SU2412

SGI Corporate Floyd Christofferson [email protected] 408-212-0291

SGL BROADCAST Corporate Mickey Charles [email protected] 615-324-3613 N1520

SHOW PARTNERS 113 Mobile Michael Mantovani [email protected] 321-257-1854

SHURE Corporate Mike Lohman [email protected] 847-600- 6417 C1610

SIGNIANT Corporate Colleen Cosgrove [email protected] 781-221-4051 SL4228

SMT Corporate Patricia Hopkins [email protected] 919-493-9390

SONY 15 Platinum Mark Bonifacio [email protected] 201-358-4190 C11001

SOS GLOBAL EXPRESS 55 Premier Fernando Soler [email protected] 800-628-6363 OE1720

SPECTRA LOGIC Corporate Hossein ZiaShakeri [email protected] 303-449-6444 N6212

SPORTVISION Corporate Mike Jakob [email protected] 773-293-4350

STAGETEC USA Corporate Rusty Waite [email protected] 650-209-5557 C3332

STATS INC. Corporate Nick Stamm [email protected] 847-583-2110

STUDER 76 Premier Katy Templeman-Holmes

[email protected] 818-920-3295 C2619

T-VIPS Corporate Steve Sloane [email protected] 973-376-8282 SU7907

TASCAM 121 Corporate Dan Montecalvo [email protected] 330-329-8735 SL2108

TATA COMMUNICATIONS Corporate Kevin Watson [email protected] 703-547-6539 SU9309

TEKSERVE 107 Corporate Matt Cohen [email protected] 212-929-3645

TEKTRONIX Premier Richard Duvall [email protected] 503-627-3203 N1023

TELECAST FIBER – A BELDEN BRAND Premier Steve DeFrancesco [email protected] 508-754-4858 C8925

TELESTREAM 85 Premier Barbara DeHart [email protected] 530-470-1306 SL1405

TERANEX 59 Premier Mike Poirier [email protected] 407-858-6039 SL220

THE STUDIO - B&H 67 Premier The Studio Team [email protected] 800-947-9962 C11022

THE SWITCH Corporate Jessica Mintz [email protected] 323-645-8012 SU9905

THE SYSTEMS GROUP Mobile Chris Mehos [email protected] 201-795-4672 N3421

THE TIFFEN COMPANY 75 Premier Rick Booth [email protected] 631-609-3130 C8818

THOUGHT EQUITY MOTION 71 Corporate Abby Lurie [email protected] 720-382-2890

TIGHTROPE MEDIA SYSTEMS Corporate Steve Israelsky [email protected] 866-866-4118 C9515

TOKEN CREEK Mobile John Salzwedel [email protected] 608-849--4965

TRIO VIDEO Mobile Gary Meagher [email protected] 312-533-4110

TVLOGIC 73 Premier Wes Donahue [email protected] 818-842-4632 SL5005

TVU NETWORKS Corporate David Robertson [email protected] 646-510-1987 SU8519

TXTSTATION Corporate Michael Falato [email protected] 512-535-5381

UTAH SCIENTIFIC Corporate Richard Hajdu [email protected] 330-865-7552 N4511

VCA Mobile Belinda Binkley [email protected] 212-967-4400

VIDEO EQUIPMENT RENTALS (VER) Corporate Howie Rosenthal [email protected] 818-956-1414

VIDOVATION Corporate Jim Jachetta [email protected] 949-777-5435 SU11012

VIDYOCAST Premier Eyal Hillman [email protected] 917-455-4997 SL11024

VISION RESEARCH 109 Corporate Patrick Ott de Vries [email protected] 973-692-4018 C7843

VISTA SATELLITE Corporate Joshua Liemer [email protected] 954-838-0900

VISUALON Corporate Deepak Das [email protected] 408-244-8801

VIZRT 19 Platinum Isaac Hersly [email protected] 646-746-0010 SL5605

WHITE SANDS ENGINEERING/SEG Corporate Jill Lynch [email protected] 623-516-4211 SU7315,

SU7314

WOHLER 95 Premier Don Bird [email protected] 510-870-0865 N5211

XOS DIGITAL Corporate Chris Taylor [email protected] 978-294-0286

YAMAHA COMMERCIAL AUDIO SYSTEMS Corporate Marc Lopez [email protected] 714-522-9544 C2239

YES PRODUCTIONS Mobile Jim Moriarty [email protected] 504-840-4891

SVG SPONSOR PAGE LEVEL CONTACT EMAIL PHONE NAB BOOTH

HD

MOBILE

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MOBILE/INTEgRATOR SPONSORSAeriAl video systems • AlliAnce productions • All mobile video • AlphA video • Arctek sAtellite prods. • Azzurro system integrAtion • beck AssociAtes

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w w w.spor tsvideo.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

AdvAncing the creAtion, production, & distribution oF sports content


THE FINAL BuzzER

for years, the hot acronym at the Consumer Electronics Show, held each January in Las Ve-gas, was HDTV and then 3D. This year, two new acronyms were on everyone’s lips: OLED and CLED. LG Electronics and Samsung introduced sets for the former; Sony, for the latter.

Yes, the technologies are related to HDTV, but they truly represent the next-generation home and professional viewing experience.

Both technologies, OLED (organic LED) and CLED (crystal LED), offer significant advantages over current LCD and plasma technologies: more-accurate colors, much improved dark levels, resolutions that move beyond 1080p.

When the doors closed on 2012 CES, the buzz among industry production professionals centered squarely on the new display technologies. But, as impressive as the capabilities are, there is a fundamental problem: with broadcasters unable to broadcast beyond 720p and 1080i and cable and satellite distribu-tors unable to deliver even 1080p/60 signals, there is currently no way to deliver content that utilizes the capabilities of the TV sets. In many ways, content distributors are out of touch with current market de-mands, pressures, and technology roadmaps.

The introduction of next-generation sets points to next-generation problems facing the entire TV in-dustry. The current business model, with Nielsen ratings, is working fine (especially for live sports). But plenty of signs suggest drastic changes in TV watching in the next two or three years.

There was a time when cable operators could increase the value of their services by offering more channels of more content. But will more channels be a selling point for a generation of viewers raised on YouTube, Netflix streaming, and other services that provide plenty of content for a tenth the price? The answer, emphatically, is no.

The cable/satellite value proposition could potentially flip on its head, away from offering more and more channels to offering higher-quality services, services like 3D or 4K. And the proof of that can be found by simply observing the behavior of today’s HD viewers. Once viewers discover the HD tier, they tend to spend the vast majority of their time within it. The large number of non-HD channels are wasted bandwidth: rarely visited (especially with most networks now in HD) and nearly always redundant.

So how will cable and satellite operators be able to retain subscribers? One way is to create next-gener-ation TV services that expand the available bandwidth to content creators and ensure that the viewer has the highest-quality experience possible.

As with HD, much of the early content will consist of movies converted from 1080p to 4K. But it will also provide incentive for TV networks and sports leagues to embrace more-immersive technology.

The good news for sports networks and leagues is that the current HD workflows will continue to at-tract audiences. And making the not-so-simple transition to 1080p services could be enough of a step to keep fans happy.

The NAB Show in April will feature a number of next-generation production tools for 3D- and 4K-content creation. And SVG members will certainly spend a portion of their time investigating those tools. But, at the end of the show, they won’t feel business pressure to invest in those technologies.

The real pressure will be on the manufacturers of the next-generation sets and on the cable and satellite operators, not on the sports networks themselves. And given the important role that sports plays in get-ting consumers to purchase new TV sets, the sponsorship of 3D and “beyond-HD” broadcasts of sports events should be something all TV-set manufacturers and even cable and satellite distributors should continue to embrace.

WILL 3d & 4k Buzz RETuRN To VEgAs duRINg NAB?

by ken kerschbaumereditorial director, sports video group

Paul Gallo, Executive Director [email protected]

Tel: 212.696.1799

Martin Porter, Executive [email protected]

Tel: 516.767.6720

Ken Kerschbaumer, Editorial Director

[email protected]: 212.481.8140

Jason Dachman, Managing [email protected]

Tel: 646.861.2373

Brandon Costa, Associate [email protected]

Tel: 646.861.2370

Karen Hogan, Assistant [email protected]

Tel: 646.559.0434

Carolyn Braff, Contributing [email protected]

Susan Qualtrough, Copy [email protected]

Rob Payne, Director of Sponsor Development

[email protected] Tel: 212.481.8131

Andrew Lippe, Membership & Client Services Manager


Andrew Gabel, Sales & Marketing Coordinator


Cristina Ernst, Circulation Manager [email protected]

Tel: 917.309.5174

Riva Danzig, Art [email protected]

Tel: 917.602.4588

About SVGThe Sports Video Group was formed in

2006 to support the professional community that relies on video, audio, and broadband

technologies to produce and distribute sports content. Leagues, owners, teams, players, broadcasters, Webcasters, and consumer-

technology providers have joined SVG to learn from each other, turn vision into reality, and implement innovations, while

sharing experiences that will lead to advances in sports production/distribution and the

overall consumer sports experience.

Mission:To advance the creation, production, and

distribution of sports content.To provide a knowledge resource for the

growing community of sports video profes-sionals working for broadcast/broadband

organizations, professional teams and leagues, collegiate and secondary schools, and facilities.

To facilitate a dialogue with manufacturers, suppliers, and technology developers that will improve the quality and profitability of sports

programming.

Published by sPorts Video grouP

260 Fifth Ave., ste. 600 New york, Ny 10001

tel: 212.481.8140 Fax: 212.696.1783

www.sportsvideo.org

GRAPHIC DESIGN CUSTOM SOF TWARE HARDWARE ENGINEERING

GRAPHIC DESIGN CUSTOM SOF TWARE HARDWARE ENGINEERING

Documents

spring 2012 • Volume 6, issue 1